Someone somewhere has dressed up as one of IKEA's coveted blue bags for Halloween, or fashioned an outfit out of them for the eerie occasion. This year, in the lead up to spooky day, you can do that too if you like. Or, you can just wear whatever frightening threads you prefer, or even your normal getup, to the Swedish chain's three-course Halloween dining experience. Yes, two faves are joining forces: IKEA and Halloween. No, you won't just be eating those Swedish meatballs (take children along with you, however, and that is indeed what they'll be tucking into). Happening at the brand's Springvale store in Melbourne, the Halloween feast costs $30 for adults and $25 if you're an IKEA Family member. On the menu: mac 'n' cheese, crispy fried chicken and veggie burgers, as well as pancakes with berry compote and vanilla soft serve for dessert. You'll want to book tickets ASAP — IKEA's food events are always popular — for 6pm on Friday, October 27.
If you've got a penchant for a certain creamy choc-hazelnut spread, then the most fitting place for you to be this coming Tuesday morning, is at Brunetti. The beloved Melbourne institution will be celebrating all things Nutella to mark "World Nutella Day" (it's a thing, we're told), next Tuesday, February 5. From 10–11am, both Brunetti's Carlton and Flinders Lane locations will be doling out stacks of their finest Nutella-infused creations — for free. To take advantage of the offer, you'll need to purchase a coffee and then make the tough decision of which breakfast bite takes your fancy the most — will it be the Nutella bombe (Italian doughnut), the cannoli, or the croissant? The fun continues afterwards, too, with Brunetti's full lineup of choc-hazelnut treats available to buy, including crepes, macarons and an array of biscuits (all filled, topped or stuffed with Nutella, of course). The Nutella croissant, bombe and cannoli will be free with coffee or drink purchase between 10–11am at two Brunetti cafes: 250 Flinders Lane, Melbourne and 380 Lygon Street, Carlton.
It turns out the National Gallery of Victoria's Melbourne Winter Masterpieces has inspired a whole lot more than just gallery hopping and art appreciation. First, there was a chocolate high tea with edible versions of historic Chinese sculptures; now, a one-off brunch set to a live Melbourne Symphony Orchestra (MSO) soundtrack inspired by the gallery's current Terracotta Warriors and Cai Guo-Qiang exhibitions. A true feast for the senses, this Brunch with the MSO session takes over Supernormal on Tuesday, July 30, dishing up modern Japanese bites alongside a couple of impressive live performances. Running from 9–11am, it'll see you tucking into plates like an assembly of pickled melon, wagyu bresaola and green chilli; a rice bowl with smoked trout, roe and celtuce (also known as Chinese lettuce) and that Andrew McConnell classic, the New England lobster roll. Meanwhile, MSO cellist Michelle Wood will perform a solo rendition of Pablo Casals' 'Song of the Birds' in response to Cai Guo-Qiang's 10,000 birds installation Murmuration (Landscape) and Australian composer Richard Meale's stunning 'Cantilena Pacifica' is set to be performed by a string quintet. Tickets clock in at $80 a head and include tunes, food and drinks: fresh yuzu soda, single origin filter coffee, Jasmine Dragon Pearls green tea and Champagne. To book your spot, call (03) 9650 8688 or email info@supernormal.net.au. Supernormal image by Nikki To.
If you could travel back in time via a Delorean, phone booth, hot tub or some other nifty gadget, what would you do? Making the world a better place, rewriting dark chapters in history and solving global problems are great responses, but they’re also the replies people think they should give. Be honest: if you thought no one was watching or judging you, what would you really do? Many films about temporal trickery actually answer this question accurately, understanding that we’re all just pursuing our own happiness. That excellent adventure Bill and Ted took was a by-product of trying not to fail their history class, after all. The slackers wanted to hang out, chase girls and dream of rock 'n' roll stardom — without worrying about Ted being sent to a military academy. Project Almanac might start with science wiz David (Jonny Weston) attempting to impress his way into a college scholarship, but that doesn’t last. After building a time machine from a blueprint found in his basement, David, his friends (Sam Lerner and Allen Evangelista) and younger sister (Virginia Gardner) chase fun, success, popularity, money, revenge and romance. Sure, David would like to reunite with his father, who passed away a decade ago and shares links to his new toy, but he’s more interested in ensuring his schoolyard crush, Jessie (Sofia Black-D'Elia), falls in love with him. So far, so standard, including the butterfly-effect-style realisation that actions in the past have consequences in the present, and that selfish deeds always have repercussions. Also standard is the approach chosen, and not just in affectionate name-checking of — and offering homages to — all the other time travel films you know and love. Sci-fi meets party movie wasn’t enough in the familiar stakes, so Project Almanac throws found footage into the mix as well. Think Chronicle crossed with Project X, without the surprise of the former and with the excess of the latter. It’s a gimmick plastered over a gimmick, seemingly justified because everyone everywhere apparently films everything these days — or so the movies tell us. For the first-time filmmaking team, it’s an excuse to cover up obvious plot points and generic teen tropes with a frenetic, frenzied style. Sometimes it works, the handheld, hurried camerawork matching the energy of the characters, copying their largely carefree point of view, showcasing the likeable cast and allowing the feature to rush through numerous fun situations such as winning the lottery and going to Lollapalooza. There’s a hollowness that lingers in the selfie-esque imagery, though, like putting on a fake smile and pretending that you’re enjoying yourself. Michael Bay’s name has featured heavily in Project Almanac’s marketing, not because of any giant, intergalactic, transforming robots or a semi-clad Megan Fox, but because of his involvement as a producer. Perhaps it is fitting that his brand of always shiny, sometimes entertaining emptiness is being used to draw people in. Like the believable motivations of the teens within the film in jumping into the past to seek pleasure and act in self-interest, that’s certainly honest.
He's been hailed as the king of documentaries, known for his fearless deep dives into the boldest of subjects, from sex trafficking to religious extremists and just about everything in between. And now, Louis Theroux is stepping out from in front of the camera and onto the stage, venturing Down Under for his second Aussie speaking tour this summer. In January, the intrepid BBC filmmaker will hit Melbourne for his new show Louis Theroux Without Limits. In two days over one day, the fearless journalist will be joined by local media personality Julia Zemiro for a two-hour on-stage adventure, dropping insights into his extraordinary life and behind-the-scenes secrets from his impressive catalogue of work. With more than two decades of filmmaking experience and multiple awards under his belt, Theroux has a knack for digging deep and getting people to spill the beans, telling it exactly how it is. From the opioid epidemic and the San Fernando Valley porn industry to the Church of Scientology, his work has given him countless fascinating stories to dish up on this latest speaking tour. "Australians are obviously connoisseurs of the weird side of life," Theroux said in a statement. "I look forward to coming back to share even more memorable moments and extraordinary stories from the people I have encountered in my films." He was last here in 2016, when he took his (sell-out) speaking tour to Sydney, Melbourne, Adelaide, Brisbane and Perth. While you wait for Louis to head Down Under, you can catch his new series of documentaries on BBC Knowledge from Thursday, June 27. You can check out a teaser for the new show Louis Theroux Without Limits here.
Bluebonnet Barbecue is heading down the coast for one hell of a summertime cookout. The folks behind the much-loved smokehouse are teaming up with the Point Lonsdale Surf Life Saving Club for a beachside pop-up they're calling Beach Bonnet BBQ. Road trip, anyone? Launching on Boxing Day and running through to the end of January, Beach Bonnet will serve up slow-cooked American-style barbecue on the surf club lawn. Live music and daily drink specials will help sweeten the deal even further, as will the ice cream being sold by surf club volunteers. Money raised by the pop-up will go towards building a brand new clubhouse, due to be completed in 2018. Which is good, because this way you don't have to feel so guilty about stuffing your face full of meat.
The more parties you can squeeze in between December 31 this year and January 2, 2020, the better. With that in mind, The Provincial Hotel, Fitzroy, is hosting the Bus Stop New Year's Day party, so you can keep the good times going. Kicking off at 10am on January 1, this fun shindig on the Prov's rooftop is promising bottomless drinks, food and, as the name suggests, a bus ride. At 11am, you and your friends can climb aboard a comfort coach and make a beeline for Let Them Eat Cake: the NYD party taking place at Werribee Park Mansion. This ingenious arrangement removes all the stress of organising logistics — especially with merry mates who've been celebrating all night long. Plus, it means you can get started a whole hour early, while looking over Fitzroy as it takes it first steps into 2020. The booze might be bottomless until you leave for the festival, but the bus won't be, so be sure to book your ticket before seats sell out.
Maybe you loved her when she was riding BMX bikes with her curls trailing in the wind. Perhaps you know every word to every song she sings in Moulin Rouge!. Or, you could've enjoyed her villainous turn in Paddington. Whichever category fits, if you're a fan of Nicole Kidman then you'll want to make your way to the Lido and Classic cinemas' latest retrospective. The Australian actor is in the spotlight weekly from Wednesday, April 7–Sunday, June 27 at both venues, with 13 of her movies hitting the big screen. Other highlights include Dead Calm and its sailing trip gone wrong, To Die For's icy tale of an aspiring TV presenter, the bumps and jumps of haunted house movie The Others, the page-to-screen dramas of The Portrait of a Lady and Kidman's phenomenal performance in Eyes Wide Shut. You'll be sampling some standout works from a number of great directors, too, given that the aforementioned films include movies by Baz Luhrmann, Gus Van Sant, Jane Campion and Stanley Kubrick. The Hours, Dogville, The Stepford Wives, Birth and Margot at the Wedding round out the program — and yes, looks back at iconic pictures in themed lineups has been helping to fill Melbourne's big screens while the new release slate has been forced to adapt to the pandemic. https://www.youtube.com/watch?v=VSS47StLOhk
Open the cinema doors, HAL, because The Astor Theatre is serving up a very special 11-week film feast. You won't need someone to strap you to a chair and force your eyes open with a specula to get you to watch this fantastic movie lineup — and you won't have to wander around a maze-like haunted hotel to get there either. The St Kilda venue is turning its attention to celebrating a movie master, with the one and only Stanley Kubrick is in the spotlight. On most Monday nights between October 28 and January 13 (except November 25), the cinema will unleash 12 of the British filmmaker's full-length features upon eager cinephiles. That means everything from early noir The Killing, to the controversial Lolita, to his final completed effort, aka the Nicole Kidman and Tom Cruise-starring erotic thriller Eyes Wide Shut. Discover why "I am Spartacus!" became such a famous cinema phrase, find out how Dr Strangelove learned to stop worrying and love the bomb, and plunge into the horrors of the Vietnam War with Full Metal Jacket. Sure, 2001: A Space Odyssey and A Clockwork Orange pop up in retrospective programs around the country quite often, but there's never a bad time to see these classics the way they were meant to be seen. And, with The Shining sequel Doctor Sleep hitting cinemas in early November, the timing is perfect.
Not content with terrifying Melburnians with just one unsettling shipping container installation, the folks at Realscape Productions are about to bring another disquieting experience to the city. While it also involves stepping inside a 40-foot steel box, sitting in pitch darkness and listening to a particularly immersive soundscape, this newcomer — called Flight — offers something distinctive. If you're not fond of flying or don't cope well with the possibility of things going awry in the air, you might want to stay away. If your nerves and stomach can handle all of the above, step onboard. You won't actually be jetting anywhere, of course; however you will be strapping yourself into a section of a real commercial airliner, then pondering the many possible outcomes if the cabin suddenly happened to lose pressure. Created by Glen Neath and David Rosenberg, like Seance, Flight draws upon the many-worlds interpretation of quantum mechanics while taking attendees on a multi-sensory journey. Flight lands at Southbank's Queensbridge Square from Wednesday, October 30 to Sunday, December 8, with departure times at half-hour intervals. Buckle up, and prepare to have your head completely messed with — unless you're claustrophobic, pregnant, or suffer heart or back conditions, in which case you'll have to firmly stay on the ground. Image: Mihaela Bodlovic.
Dear Dear Evan Hansen: don't. If a movie could write itself a letter like the eponymous figure in this stage-to-screen musical does, that's all any missive would need to communicate. It could elaborate, of course. It could caution against emoting to the back row, given that cinema is a subtler medium than theatre. It could advise against its firmly not-a-teenager lead Ben Platt, who won one of the Broadway hit's six Tony Awards, but may as well be uttering "how do you do, fellow kids?" on the big screen. It could warn against shooting the bulk of the feature like it's still on a stage, just with more close-ups. Mostly, though, any dispatch from any version of Dear Evan Hansen — treading the boards or flickering through a projector — should counsel against the coming-of-age tale's horrendously misguided milk-the-dead-guy narrative. When the most interesting thing about a character is their proximity to someone that's died, that's rarely a great sign. It's the realm of heartstring-tugging illness weepies and romances where partners or parents are bereaved, sweeping love stories are shattered and families are forever altered, and it uses the sickness or death of another person purely as a prop to make someone that's alive and healthy seem more tragic. That's worlds away from engaging sincerely with confronting mortality, loss, grief or all three, as so few movies manage — although Babyteeth did superbly in 2020 — and it's mawkish, manipulative storytelling at its worst. Dear Evan Hansen gives the formula a twist, however, and not for the better. Here, after a classmate's suicide, the titular high schooler pretends he was his closest friend, including to the dead kid's family. A anxious, isolated and bullied teen who returns from summer break with a fractured arm, Evan (Platt, The Politician) might be the last person to talk to Connor Murphy (Colton Ryan, one of the Broadway production's understudies). It isn't a pleasant chat, even if Connor signs Evan's cast — which no one else has or wants to. In the school library, Evan prints out a letter to himself as a therapy exercise, but Connor grabs it first, reads it, then gets furious because it mentions his sister Zoe (Kaitlyn Dever, Dopesick). Cue days spent fretting on Evan's part, wondering if he'll see the text splashed across social media. Instead, he's soon sitting with Cynthia Murphy (Amy Adams, The Woman in the Window) and her husband Larry (Danny Pino, Fatale), who inform him of Connor's suicide — and that they found Evan's 'Dear Evan Hansen' note on him, and they're sure it's their son's last words. With his high school misery amply established through catchy songs, and his yearning to connect as well, Evan opts to go along with the Murphys' mistaken belief, including the idea that he and Connor were secretly the best of pals. As penned for both theatre and film by Steven Levenson (Tick, Tick... Boom!) — with music and lyrics by Benji Pasek and Justin Paul (The Greatest Showman) — this plot point is meant to play with awkwardness and longing, but it's simply monstrous. Indeed, the longer it goes on, with Evan spending more time with Connor's wealthy family than with his own mum Heidi (Julianne Moore, Lisey's Story), a nurse always working double shifts, the more ghastly it proves. It's lazy writing, too, because this isn't just a tale that defines its lead by their connection to a deceased person; it's about someone who intentionally makes that move themselves, then remains the recipient of all the movie's sympathies. It'd be generous to wonder if Dear Evan Hansen feels more nuanced and earnest writ large on the stage — genuinely reckoning with Evan's actions, which see him become a viral sensation and inspiration, rather than merely excusing his lies because he's lonely, and also dismissing Connor as mostly angry and unliked. Or, if perhaps the theatre version highlights the potential dark comedy in such abhorrent choices being made by a teen that desperate to fit it and be found by others. Either way, it wouldn't change the movie's approach. Director Stephen Chbosky has a history with disaffected youth thanks to The Perks of Being a Wallflower, which he adapted from his own novel. Via the same film, he also has form with oversimplifying details to evoke strong emotional reactions. That's Dear Evan Hansen all over, no matter how unconvincingly it tries to be an uplifting tale of self-acceptance. Platt's casting doesn't help; he played a college student almost a decade ago in Pitch Perfect, and was never going to pass for a high schooler under a camera's gaze, especially with such emphatic and mannered overacting. He's inescapably forceful, appears to think he's still in a theatre and really just resembles an adult satirising teens. While Dear Evan Hansen sings heartfelt ballads about sociopathic behaviour, and bakes cognitive dissonance deep into its frames as a result, it'd be far too magnanimous to see Platt's performance as a response to the musical's many thematic and tonal mismatches. His co-stars can't save the film, but they surround him with far better work — especially from the reliably impressive Dever, plus Adams and Moore making the most of their thin parts, and also Amandla Stenberg (The Eddy) as one of Evan's high-achieving but also struggling classmates. Those standout supporting performances illustrate one of the movie's most unfortunate traits, apart from the story it's working with: its constant and incessant self-sabotage. Among the cast and the film's aesthetic choices, there's occasionally enough that hits its marks, but that can't balance out everything that doesn't. The fluid and kinetic camerawork busted out for early number 'Sincerely, Me' delivers another prime example, noticeably contrasting with the feature's otherwise static look and mood — only for the latter to return once it's done. Of course, lively cinematography and choreography could never overcome Dear Evan Hansen's questionable narrative and wildly misplaced sentiments, or its misfire of a central portrayal, but so many of the picture's choices feel like it's writing hate mail to itself.
It's finally time to shed those winter coats. Spring is here and it's brought with it a week-long program of runways, workshops, panels, markets and stylish soirees. It's okay if you're not a professional model or a high-flying designer either. MSFW offers opportunities for people of all styles and threads; hell, even jeans and runners are making a comeback these days. Hardcore fashionistas will find their home this year with a vast selection of runway shows. For those wanting something bright and bubbly, we suggest checking out the new collections from Gorman, Kuwaii and Leonard St. Or, if you like to spend your Spring mornings with a light jog and a latte, Nike is even getting in on the action with a collection of luxe sportswear. For everyone else, MSFW's Curated program is the way to go. Grab some cheeky threads from Round She Goes' Spring Pop Up Market or check out the new talent on show with the Emerging Designer Market on Swanston Street. The festival hub is smack bang in the middle of the CBD in City Square and will be quietly humming with excellent free events for the duration of the festival. Head along to simply soak up the sunshine and you're bound to find something exciting on display. Melbourne Spring Fashion Week runs from August 30 'til September 7. Check out the full program at the MSFW website.
Fans of the British TV series Downton Abbey will get the chance to relive the show in the comfort of their local suburb. Lady Mary's High Tea boasts a traditional English high tea with Earl Grey scones, dainty finger sandwiches and of course, a glass of bubbles all on offer. Presented by Mary Eats Cake, reminisce about your favourite moments from Downton Abbey's stacked six-season run. However, fans of the show will know that the drama and elegance are never-ending with a third film set for release in Australia on September 11 – Downton Abbey: The Grand Finale. So to celebrate, there really isn't anything else to do apart from attending this high tea experience. From September 3 to September 28, step into the tea rooms of the charming outer-suburb of Montrose or the always vibrant Brunswick, and feel instantly transported back in time. Temporarily forget about the year 2025, and pretend you're part of the aristocracy of the early 1900s. Then, indulge for two hours in savoury delights, decadent desserts, specialty teas and cocktails. You'll leave feeling poised and demure, ready for your romantic storyline with a man or woman from high society. Prices start at $82 for a weekday sitting, while weekends are $85 per person. To reserve your spot, head to the Mary Eats Cake website. Images: supplied
It's possible to believe that a film needn't necessarily exist, and still be thrilled that it does. That's the case with Gloria Bell, Sebastián Lelio's English-language remake of his 2013 Chilean drama Gloria — which keeps the same plot, brings in Julianne Moore and transfers the action to Los Angeles. The first time around, Lelio's tale of a 50-something divorcee trying to reclaim her life proved a potent character study, made blisteringly real not only thanks to an empathetic, keenly observed script, but via an exceptional lead performance. That rings true here as well, yet this narrative, its honest exploration of womanhood at a mature age and its rich texture doesn't get old. If we can have oh-so-many cookie-cutter movies about slacker man-children just trying to find a girl to love them despite their obvious flaws, we can have two versions of this story. Played with a luminous air, a sense of vulnerability and a determined spirit by the always-stellar Moore, Gloria Bell has long become accustomed to her unattached existence. Her days are spent working in insurance, singing 80s hits in her car and snatching whatever time she can with her grown-up kids (Caren Pistorius and Michael Cera), while her nights usually end beneath the disco ball at a singles bar. "When the world blows up, I hope I go down dancing," she proclaims happily, and it's fancy footwork that brings her to recently divorced theme-park owner Arnold (John Turturro). Sparks fly, but life and love haven't been easy for Gloria thus far, and they won't be from this point onwards. Reworking his initial script with actor and writer Alice Johnson Boher, Lelio fills Gloria Bell with detail. That applies equally to the film and to the figure that gives the movie its name. While the plot is straightforward — a woman and a man meet, connect and try to work out if their messy lives fit together — every character, scene and moment is gloriously layered, ensuring that nothing about the picture is simplistic. It's true when Gloria commiserates with a colleague (Barbara Sukowa) about their respective retirement savings, a conversation that speaks to the uncertainty that often greets women who've spent time out of the workforce to raise a family. It's true when the film spies its protagonist attending a laughing group, allowing herself to giggle away her troubles while participating in a pastime with a very specific audience. And it's true when Lelio pushes his heroine to finally complain about her unstable upstairs neighbour, with Gloria wavering between caring for a troubled soul and looking out for herself. From wondering how a hairless cat keeps finding its way into her apartment, to lighting up on the paintball range with Arnold, to running free on a trip to Las Vegas, Gloria Bell keeps showing what makes the open-hearted Gloria tick — and why. This isn't just a slice-of-life journey of discovery for those watching, however, but for the restless yet quietly relentless woman herself. It's this, in particular, that makes the film so evocative and meaningful. On multiple occasions, Gloria is given a choice to either go with the flow or to shape her own path and, even when her actions end in chaos, she grabs hold of her future with both hands. Gloria doesn't merely navigate ups and downs, but uncovers her strengths and limits. She doesn't just tackle dramas, but learns how to cope with whatever comes her way. She's never ashamed of being a lonely divorcee, but she also won't let it define her. Unsurprisingly, Moore couldn't be more pivotal; if Lelio remade his own movie solely to work with her, it'd be justification enough for Gloria Bell. Behind large glasses, with more blonde than red in her hair, and reuniting with her Big Lebowski co-star Turturro, Moore's radiant to the point of transcendence — middle-aged malaise rarely looked so stripped-bare and so simultaneously vivid. It helps, of course, that the acclaimed Chilean filmmaker matches his visual style and overarching tone to his leading lady, as he also did so winningly in queer dramas A Fantastic Woman and Disobedience. It worked a charm for Paulina García in the original Gloria, and it works captivatingly with Moore in Gloria Bell. One happily stands beside the other, and viewers will want to lose themselves on the dance floor with both. https://www.youtube.com/watch?v=k38zjD2QVSg
Last year, we bid farewell to Scott Pickett's renowned Collingwood fine diner Saint Crispin. Now, the acclaimed chef has announced his new plans for the dynamic Smith Street space — and it's unlike any of his other Melbourne restaurants. Opening its doors as Lupo (which means 'wolf' in Italian) on Tuesday, June 4, the new project sees the prolific restaurateur and chef revisit his love for pasta and Italian fare, inspired by years of culinary training back in London. Here, the mind behind Estelle, Pickett's Deli and Matilda will be breaking slightly from his signature style to deliver a celebration of classic Italian flavours, spiked with local ingredients and a touch of modern Australian flair. Daily house-made pasta will be the undisputed star of the show here. Get excited for the likes of squid ink linguine with bottarga and a sardine vinaigrette, decadent spanner crab lasagne, cappelletti with hare and celeriac, and a risotto of Western Australian black truffle and cipolla onion. There'll be Italian-inspired snacks, too, including toasts topped with 'nduja, fermented tomato and anchovy The menu will be a collaboration between Pickett, Pickett and Co's Executive Chef Stuart McVeigh and Head Chef Charlie Watson, who previously worked together at London's Michelin-starred The Square restaurant. Meanwhile, a 120-strong wine list will focus on Aussie drops crafted from Italian varietals, with a strong lineup of drops by the glass. Get excited, also, for a barrel-aged negroni made with an Australian take on Campari, which will feature among a cocktail selection of rejigged classics and signature blends. True to form, this latest Pickett space will be one of understated elegance, the 60-seat space brought to life with pops of orange and forest green. Find Lupo at 300 Smith Street, Collingwood from June 4. Images: Peter Dillon
The woods are a dank and dreary place in Disney's big screen adaptation of this beloved Broadway show. A star-studded fairy tale mash-up, Into the Woods contains no shortage of great actors, none of whom can do anything to distract from the film’s horribly awkward pacing or the apparent visual indifference of its director. Combine that with the script's (mostly) toothless treatment of Steven Sondheim’s subversive source material, and this is one Hollywood musical that sounds hideously out of tune. The story takes place in a generic far away kingdom, where a lowly baker (James Corden) and his cheery wife (Emily Blunt) enter into a bargain with the neighbourhood witch (Meryl Streep): locate four magical objects, and in return she'll lift the curse that prevents them from conceiving a child. The search takes them deep into the nearby woods, where they encounter a multitude of bedtime characters, including Cinderella (Anna Kendrick), Little Red Riding Hood (newcomer Lilla Crawford) and Jack the Giant Slayer (Daniel Huttlestone). Sondheim doesn't just include these names because they're familiar. Although fairy tales are aimed at children, they're inevitably packed with plenty of adult subtext. Into the Woods, in its best moments, subverts our expectations, delving more explicitly into the ideas lurking under the surface of these kid-friendly fables, or in other cases turning them totally on their head. The sexually suggestive interplay between the pre-teen Little Red Riding Hood and the lecherous Big Bad Wolf (Johnny Depp) is seriously un-Disney, while Chris Pine's delightfully hammy performance as the somewhat less than charming Prince Charming speaks to the folly of unrealistic romantic expectations. His rendition of 'Agony' is the highlight of the film by far. Sadly, these tongue-in-cheek moments rarely go as far as you would like. The instances of morbid and self-aware humour are great, but they're ultimately secondary to a dull, drawn-out story. Furthermore, although the songs are generally well written and performed, they increasingly tend to bog down the narrative as opposed to driving it forward. At the same time, despite the endeavour feeling too long, a number of the major character arcs feel seriously short-changed. The witch, in particular, simply up and disappears once the movie has nothing more for her to do. Then there's the matter of director Rob Marshall, who between Nine and the most recent, nigh-unwatchable Pirates of the Caribbean movie seems determined to prove that his Oscar for Chicago was a complete and utter fluke. His unimaginatively framed musical sequences make Tom Hooper's super-extreme Les Miserables close-ups look positively artful, while the overcast grey-green colour palette of cinematographer Dion Beebe saps the film of whatever energy was left. For a film about magic, Into the Woods contains next to none. Here's hoping this isn't an indicator of what 2015 movies have in store.
What more fitting time to indulge your inner Francophile than on France's national day of celebration? Dust off that beret because Queen Victoria Market is embracing the red, white and blue for Bastille Day, with a weekend of French festivities. Descending on the precinct from Saturday, July 13–Sunday, July 14, the Bastille Day festivities will be held across Sheds C and D, dishing up a lively program of food, entertainment, market stalls, masterclasses and more. A French winter marketplace will be stocked full of Australian-French businesses, plus culinary favourites, which might run to the likes of croissants, cheese, chocolates and charcuterie or crepes. During Bastille Day 2024 at Queen Vic Market, you can dive into topics like art, history and sustainability at one of the festival's Les Lumières talks, catch live jazz tunes and watch one of the culinary masterclasses dedicated to French favourites. Melbourne's own French connections will even be explored with a series of guided walking tours through the city. And if you can't make it IRL, there's no need to cry into your creme brûlée — the festival's also dishing up a supporting digital program featuring French films, music, books and more. Images: Previous installments of the Bastille Day French Festival
Need a break from sweating it out courtside at the Australian Open? This weekend, consider Frédéric your breezy lunchtime haven. From 12.30pm on Sunday, January 22, the French restaurant is reopening its sunny rooftop bar to host its Grand Slam Lunch — a one-off three-course feast matched with bottomless sips. Located just a stroll from Melbourne Park, the venue will kick things off with signature spritzes served on the rooftop, before guests head down to the dining room for their chic lunch spread. [caption id="attachment_885483" align="alignnone" width="1920"] Pete Dillon[/caption] We're talking plates like tomato assiette with grilled king prawn, whipped cheddar croustade, and a bavette steak served alongside roasted bone marrow — and it's all paired with free-flowing prosecco, wine and beer. What's more, you don't have to miss out on the tennis action, with the AO playing live and loud downstairs in Fred's Bar. Tickets clock in at $170, though you'll want to be quick as spots are limited — book via email or phone. [caption id="attachment_885485" align="alignnone" width="1920"] Sharyn Cairns[/caption]
Art and politics collide in incendiary fashion as part of the film program at this year's Melbourne Festival. Curated by Richard Moore, the former director of both the Melbourne and Brisbane International Film Festivals, this special screening series, entitled Art, Politics & Protest, showcases eight documentaries from all around the world, whose makers dared to upset the status quo. Hosted at ACMI, the series begins with !Women Art Revolution, about the feminist art movement during the latter half of last century. In a similar vein, Through a Lens Darkly chronicles the role of black photographers throughout American history, while from India, Salma tells the remarkable story of one of that country's most predominant poets and activists, a Tamil women whose family locked her away for more than 25 years. Unsurprisingly, a number of the films in the program shine a light on the Middle East. Playing with Fire follows the resistance faced by Greek director Anneta Papathanassiou, who travelled to Kabul to teach theatre to aspiring Afghani actresses. The US-UAE co-production The Sheik and I provides a satirical look at free speech in the Muslim world, while The Noise of Cairo highlights the work of 12 Egyptian artists in the wake of the Arab Spring. For the full Art, Politics & Protest lineup, visit the Melbourne Festival website.
Have you been watching Netflix's Big Mouth, remembering your adolescent years and laughing at the all-round awkwardness of puberty? If so, you've been enjoying the work of Nick Kroll. The comedian and actor co-created, writes, produces and performs a whole heap of voices on the hit animated series — and, given that he's popped up on everything from Parks and Recreation to Sausage Party to the US version of What We Do in the Shadows, you'll recognise him from elsewhere as well. Indeed, Kroll's resume runs much, much deeper. Over the years, he's also starred on The League, taken his Oh, Hello comedy double-act with John Mulaney to Broadway (with one of the shows recorded and released as a Netflix special) and played plenty of different characters in sketch series Kroll Show. Plus, he's been in Brooklyn Nine-Nine, The Simpsons, Bob's Burgers, Portlandia and Unbreakable Kimmy Schmidt, as well as movies such as I Love You, Man, Knight of Cups, Loving and The House, too. Yes, the list goes on. On Monday, January 6, 2020, Kroll will add something else to his name: a live gig in Melbourne. Catch his his comic talents at the Athenaum Theatre, with the comedian bringing his Middle-Aged Boy tour to town (and maybe too much tuna as well). Tickets go on sale from 1pm on Tuesday, October 29 — with Live Nation pre-sales available now. Image: Storm Santos
What do you get when you unite a rock 'n' roll Sydney brewery with one of Melbourne's go-to bars for rock 'n' roll tunes? Well, you're about to find out. Young Henrys is descending upon Abbotsford's Lulie Tavern for a free rock-infused gig series to see out the summer. Firing up the Johnston Street boozer each Friday from February 3–24, the Young Henrys Presents sessions will see you wrapping up the work week revelling in big, live sounds. [caption id="attachment_884870" align="alignnone" width="1920"] Auntie Leo & The Backstabbers[/caption] Across the series, you'll catch Melbourne five-piece Auntie Leo & The Backstabbers (February 3), garage punk duo Thee Cha Cha Chas (February 10), the genre-blending Loretta Miller (February 17) and Sydney indie-rockers Salarymen (February 24). They'll be backed by a lineup of exciting support acts, along with DJ Pistol Pete Whelan kicking things off on the decks each Friday. And of course, the Young Henrys brews will be flowing just as easily, with beer specials running right throughout the month. Entry to the gigs is free, though you can RSVP via the Young Henrys Facebook page. [caption id="attachment_884869" align="alignnone" width="1920"] Salarymen[/caption] Top Image: Jake Roden
Filmmaking is difficult enough, without officials breathing down your neck, monitoring every scene according to the government's agenda. In Iran, no director can start work before the censors have run their eyes over the script, removed whatever they disapprove of, and given it the green light. Despite such restrictions, however, the Iranian film industry continues to grow. In fact, last year's A Separation won the nation its first ever Oscar, for Best Foreign Language film. The Australian Iranian Film Festival is now in its third year. Starting in Brisbane on October 10, it will travel to Sydney, Canberra and Adelaide, before finishing up in Melbourne. Opening night will feature Snow on Pines, the directorial debut from actor-turned-director and A Separation star Peyman Moadi. Other highlights include The Wedlock from Rouhollah Hejazi, director of the provocative The Private Life of Mr and Mrs M; the Australian Premiere of Mohsen Makhmalbaf's The Gardener; and indie film Parviz, directed by Majid Barzegar.
The 39 upturned Federation Bells have been synonymous with Birrarung Marr's Middle Terrace since they were installed back in 2001, playing a variety of compositions across an evolving weekly program. Now, the public sound sculpture will get a different kind of workout for Melbourne Music Week, at the hands of electronic producer Elisabeth Dixon, on Friday, November 15. Set to soundtrack a free openair dance party at Middle Terrace as part of this year's Night Noodle Markets, the brass bells will come alive with an original sound work commissioned exclusively for the festival. Expect a boundary-pushing set fusing industrial techno beats and hypnotic trance-style drones to mesmerising effect. Dixon's work will be backed by a serve of bass-heavy melodic techno from DJ RMR, along with a helping of solo artist Nerve's signature drum and bass-tinged electro. Image: Night Noodle Markets by Kimberley Moore.
As a rule, we're not all that big on sports bars. But in this case we're willing to make an exception. Hosted by the legends at Shadow Electric in a warehouse space opposite Victoria Park Station, the Domestique Tour de France Pop-Up is your temporary home of all things Le Tour. Open 7pm till late for three nights from July 21-23, the Domestique Pop-Up sports cinema will show three of the tour's alpine stages, projected onto the same colossal screen used during Shadow Electric's summertime cinema. In addition to the race there'll be DJ sets from the likes of Mu-Gen, Jean Pierre and DJ Lanterne Rouge. You can even get in a little bit of exercise yourself with a frenetic game of ping-pong. As for refreshments, you need not stress. There'll be a fully stocked bar courtesy of Bodriggy Brewery, plus sustenance from Fancy Hank's BBQ.
The landscape of the late Harry Dean Stanton's face is home to a thousand stories. In Lucky, we're privy to a few. Directed by actor turned filmmaker John Carroll Lynch, this intimate character study revels in Stanton's crumpled gaze, rugged skin and weary expression, as though they're the only things in the world worth looking at. For 88 minutes, they might as well be. Of course, there are other things that fill Lucky's frames. The movie starts with desert vistas that are almost entrancing as Stanton, with Lynch drawing a clear connection between their arid, weathered state and the film's central figure. A tortoise, named President Roosevelt, is spied ambling across hills and through cacti, slowly but surely going about its business. Townsfolk gather at the local diner during the day and at a bar each evening, shooting the breeze about life and love, and saying everything and nothing all at once. They're all connected to Stanton's protagonist within the narrative, but speak also to his mindset and his journey through life. Still, while these elements – these images and characters – all have a part to play, there's also no ignoring that this thoughtful motion picture wouldn't have worked without Stanton in the titular role. That's partly because Lucky the film and Lucky the character can't really be separated. Story-wise, Lucky doesn't chart big developments or action-packed occurrences. Instead, it follows the charmingly cantankerous World War II veteran's routine, as he smokes a pack of cigarettes a day, watches game shows, does crosswords and exercises in his underwear. But when the nonagenarian suddenly faints, it becomes clear that his mortality lurks just around a looming corner. Much like Jim Jarmusch's Paterson, this is a film that peers into a man's existence in order to show just how extraordinary the ordinary can be. Life, death, loneliness, friendship, hopes, regrets: they all ebb and flow through Lynch's film, sometimes mapped out in Lucky's expression, sometimes seeping through in his gruff chatter. As much as the film is tied to its star, it's also peppered with extra flavour thanks to its supporting cast. Stanton's Alien co-star Tom Skerritt pops up as a fellow veteran, while Ron Livingston makes an appearance as an insurance salesman. Meanwhile, acclaimed director David Lynch — with whom the 91-year-old Stanton has collaborated on everything from Wild at Heart to The Straight Story to the recent third season of Twin Peaks — plays the owner of the aforementioned turtle, and brings vibrancy and warmth to every scene he's in. It's not an easy job, shining a spotlight so soulfully on Stanton, while leaving room for others to have their moments too. But, in his first stint behind the lens, it's a job that John Carroll Lynch does masterfully. More than just a love letter to its leading man, Lucky is a melancholy ode to the inevitability that life goes on until it doesn't. Though conveyed calmly and with lashings of warm comedy, that's a potent message — both before Stanton passed away in September and now. https://www.youtube.com/watch?v=kWxpmcZ0E0Q
Dig out your feather headbands, pearls, finest sequinned dress or suit this New Year's Eve and head to a roaring 1920s party that's taking over Ocean 12. Taking its cues from The Great Gatsby, the night will be one of glitz, glamour, fun and frivolity — and, of course, lots and lots of champagne. It's a celebration, after all. With your ticket in hand, you won't have to worry about a thing. Kick things off with a cocktail on arrival, then settle in for a whopping five hours of premium drinks and canapes — think champagne towers for drinks, plus antipasto, charcuterie and a raw bar to keep you fuelled. There'll be roving 1920s-style entertainment and you'll be dancing to a swingin' live jazz band to start, before the DJs take over and keep the dance floor going until 5am. And, if you've ever experienced Ocean 12's spectacular terrace, you'll know it's one of the best spots in Melbourne to watch the fireworks. Catch all the action, foregrounded by the Yarra River and backdropped by the city skyline. Want to make sure you nab the best seats in the house? You can take your New Year's Eve to the next level by booking a VIP ticket, which'll put you up front. It'll cost you a cool $488, but you'll get those million-dollar views. To nab your spot, head here.
Turning one is a big deal, and Preston's The Keys is ringing in its first lap around the sun with a three-day music extravaganza. Get ready, get hydrated and strap in — this party is shaping up to be the ultimate birthday bash. Kicking off on Friday, October 27 and stretching through to Sunday, October 29, the festival will feature 15 music acts spread across three jam-packed days. The best part? It's free, and non-ticketed. Just rock up and join the party. On the first night, the stage is set for a wild time with Shepparton's Louis Valentine & The Golden Age headlining, delivering their 'dirty cowboy soul music'. They'll be supported by Leslie Snipes' groovy Hammond organ vibes, plus FNR DJs and Silver Dragger. Oh, and there'll be a free mechanical bull going all night if you think you've got what it takes. Day two is part of The Eighty-Six festival's Super Saturday, guaranteeing 13 hours of funk, hip hop and dance tunes from cool fam-friendly disco in the morning to The Black Jesus Experience taking the stage from 4pm. There'll also be food and drink specials to keep you fuelled throughout the day. On Sunday, things take a chill turn with a Latin Fiesta Recovery Session in the beer garden, complete with Sabor Y Ritmo and Son Quba's Cuban melodies from 3pm — and, to top things off, Cubano sandwiches from a Nico's Deli pop-up to help fuel your recovery. If you've never been to The Keys, this is your perfect excuse to go check it out. It's truly got something for everyone. Think: vintage bowling, arcade games, a beer garden and heaps of space to lounge and enjoy the vibe. So, if a weekend full of music, dancing and electric first birthday energy is your idea of a good time, you know what to do. Images: Jack Lovel / C Hawks.
It's the film festival that gives German cinema fans a showcase of the European nation's latest and greatest movies without leaving Australia. It's a way to catch up on highlights from the Berlin International Film Festival from Down Under, too. And, it's where German-language flicks from beyond the obvious nation equally get their time to shine. Here's another description that fits: it's also where one of Rainer Werner Fassbinder's masterpieces is almost always on the bill. The event in question is the German Film Festival, which has a huge 2025 in store even just by the numbers. Making its way around Australia between Wednesday, April 30–Wednesday, May 28, this year's fest has 29 days of movies on offer across eight legs in nine places and 23 cinemas. Cinephiles in Melbourne, get excited: 19 features, plus 14-part miniseries Berlin Alexanderplatz, are hitting Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, The Kino, The Astor Theatre, Pentridge Cinema and Palace Penny Lane between Friday, May 2–Wednesday, May 21. Fassbinder's addition to this year's program is playing on the silver screen across three weekends — and clearing your diary to see the page-to-screen great that is Berlin Alexanderplatz couldn't be more highly recommended. The German Film Festival's 2025 opening-night pick is romantic comedy Long Story Short, kicking off the celebration of cinema by giving Australia the chance to see one of Germany's recent box-office smashes. Other highlights across the complete program include five flicks that first played at this year's Berlinale, spanning closing night's Mother's Baby, the Nina Hoss (Tár)-starring Cicadas and conspiracy thriller Hysteria, alongside Hildegard Knef-focused documentary I Want It All and comedy of manners What Marielle Knows. That strand of movies also demonstrates the fest's fondness for variety, and for veering from the amusing to the thrilling and the dramatic. Or, attendees can catch Anatomy of a Fall Oscar-nominee Sandra Hüller in heist comedy Two to One, which is based on real-life events in 1990; Lars Eidinger (Babylon Berlin) as an orchestra conductor in Dying; Sam Riley (Widow Clicquot) in biopic John Cranko, about the choreographer; the literary loving The Door-to-Door Bookstore, as fittingly based on the novel; or Winners, which picked up the 2024 German Film Award for Best Children's Film.
Berlin in the '80s was an undeniable creative hub, drawing the likes of Nick Cave and David Bowie to the city to explore new artistic expression. The cross-genre experimentation, the use of new electronic equipment, and the swell of bands with German names and lyrics are just a few of the aspects explored in Urban Subcultures, brought to you by Goethe-Institut Australien. At the heart of Urban Subcultures is the Geniale Dilletanten exhibition, to be held at the RMIT Gallery. Geniale Dilletanten will feature an array of video and photographic material, as well as filmed interviews, audio samples, magazines, posters, and other extraordinary artefacts that encapsulates the zeal of the Berlin scene. To get schooled on this iconic artistic moment in time, Urban Subcultures will be hosting a collection of talks, lectures and panel discussions that will explore the influence and legacy of the movement. Considering Berlin in the 80s was highly influential for musicians the world over, there will be a series of concerts from the likes of Hauschka, Monolake, Robert Henke, and Automat with Shocking Pinks. For film lovers, there will be a screening of B-Movie: Lust and Sound in West Berlin, a documentary focused on the music, art and chaos of West Berlin in the 1980s. The screening is free, but bookings are required.
We download movies onto tiny laptop screens and watch them hunched over in our beds, spilling Red Bull on the keyboard when Ryan Gosling says sexy things like 'Hey' and switching over to check Gmail when he's not onscreen. It's sad, it's solitary, and the suspension of disbelief is, at most, fleeting. What happened to the glory days of yore, when moviegoing was an event? When you were truly transported? Sensing the aching pit in your soul, on Sunday, May 5, World Movies is bringing its popular Secret Cinema event to a mystery CBD location in Melbourne. You don't know what film you'll be seeing, and the location is revealed by text the day of the screening. Like Punch Drunk theatre company's large-scale immersive productions in London and New York, where audiences wander through dark rooms wearing masks and are accosted by actors, the Secret Cinema initiative pushes a traditional medium into a new level of experiential entertainment. Live performance as well as themed food and drinks tie in with the world of the film. Examples of performative screenings from overseas have included London's 2010 version which re-created LA's Chinatown in 2019 for Bladerunner (two actors dangled from the ceiling during the climactic 'tears in rain' scene) and a 1950s Algerian casbah for The Battle of Algiers. In Sydney, Secret Cinema moviegoers were conveyed by ferry to Goat Island and subjected to a series of 'survival games' before seeing Japan's cult classic Battle Royale, forerunner of The Hunger Games. That event sold out in 15 minutes and drew a crowd of hundreds. What type of venue theming will be possible in Melbourne? The possibilities are quite endless. Tickets are $30 and go on sale at 9am on April 22. More info is available on World Movies' Facebook page.
Melbourne Fashion Week is nearly upon us and it'll once again kick off with Vogue Fashion's Night Out on Friday, August 31. Since shopping-'til-you-drop can bring on the hanger, high-end shopping centre St Collins Lane is teaming up with sweets fiend Dessert Parlour to give away 500 of its much-loved donuts. Now, its dubbed these doughnuts "holographic", which they are not. They are pastel and shimmery, but no hologram is involved, sadly — so don't go thinking you'll be eating the doughnut of the future. We're not sure how edible holographs would even work, honestly. Anyway, these shimmering creations are meant to align with the night's forward-thinking theme of 'innovation and tech' and the ground floor giveaway will go down at 12.30pm and 5pm. They'll inevitably be snatched up, so you'll have to be quick. Your free doughnuts (one per person) come with store-wide discounts from noon till 7pm that day, including 20 percent-off Coach, Furla, The Kooples, Zadig and Voltaire; 30 percent-off full price items at Rodd and Gunn; and 10 percent-off at Cerrone Jewellers. The holographic doughnut giveaway will be held at 12.30pm and 5pm in St Collins Lane.
This month at Urbnsurf, you'll be able to catch both waves and live tunes, as the surf park kicks off its new series of openair waterfront gigs. Running Saturdays and Sundays from February 26 to March 20, the Acoustic Music Series is set to celebrate an all-Aussie lineup of musical talent, best enjoyed under the sun with a cold bev in hand. From 6–9pm each evening, settle on the lawn to hear acoustic sounds from homegrown acts like Zoe Fox, Velvet Bloom, Merpire, Carousel Club, Steve Cousins, Lola and more. Supported by Hume City Council and Live Music Australia, it's a very affordable live music session, with spectator passes priced at an easy $5 and free access for Urbnsurf guests who are already inside the park. To match the tunes, the folks from Better Beer will be slinging drinks from their pop-up bar from 3pm each day. But of course, you can get there even earlier to make a day of it — Urbnsurf's waves are pumping from 6am daily, with a variety of surfing sessions and lessons on offer.
When a film goes by the name The Dressmaker, expecting a fashion frenzy is understandable. Of course, the Jocelyn Moorhouse-directed, Kate Winslet-starring movie delivers much more than that. It also serves up a quirky yet satisfying combination of western, comedy, drama, thriller, revenge and romantic elements, as well as a showcase of Australian acting talent; however there's no denying the pivotal role the feature's stunning costumes play. Those celluloid-stopping haute couture creations come courtesy of award-winning designers Margot Wilson and Marion Boyce, and they're getting their moment to shine outside of the cinema. Yes, you'll need to trek to Barwon Park Mansion to gaze at these fabulous threads — but given that the film is set in a dusty town in country Victoria, venturing 90 minutes out of Melbourne via car feels rather fitting. There'll you find the jaw-dropping costumes that graced Winslet's feisty heroine Tilly Dunnage, alongside more than 50 Parisian-inspired designs worn by the likes of Sarah Snook, Rebecca Gibney, Sacha Horler, Judy Davis and Hugo Weaving. For the sartorially savvy, learning how the intricate pieces were created and getting a first-hand glimpse of their detail and artisanship is all part of the experience. And for those keen on turning their visit into an event, we recommend timing your trip to coincide with a curator's tour, a '50s-style afternoon tea, an after-dark shindig complete with a pop-up bar, or a Sunday garden party.
Dance meets activism at Off the Grid 2016, an all-day party where the environment is on the agenda. Featuring an eclectic mix of local DJs, musicians and performance artists alongside speakers and environmentalists, this "solar powered celebration" promises more than ten hours of eating, drinking, dancing and discussion. The fun begins at 9am this Wednesday, December 21 in the Australian Centre for Contemporary Art forecourt. The music lineup includes Andee Frost, Andras, Tako and J'Nett, as well as the internationally renowned Senegambian Jazz Band. Importantly, the sound system will be powered by a solar battery bank, while proceeds from the event will be invested in solar projects around town. Speakers, meanwhile, will include Bronwyn Johnson from Climarte, Paul Gorrie from the Seed Indigenous Youth Climate Network, and State Member for Melbourne Ellen Sandell.
Like most things this year, Melbourne International Games Week (MIGW) is going to look a little different in 2020. As part of its virtual nine-day program, running from Saturday, October 3 till Sunday, October 11, it's hosting a Big Games Night In — encouraging Melburnians across the city to unpack the Scrabble, play a competitive round of Monopoly or log on to try up some free new games on the ACMI site. These games, created by Victorian developers, have been selected by the include Innchanted (Dragonbear), Wayward Strand (Ghost Pattern) and Intergalactic Space Princess (Geeiz), as well as the popular Necrobarista (by Route 59). The latter is set in a "magical Melbourne cafe" where the dead return for one night. Look out for goon-sack robots, alchemical coffee and Ned Kelly, too. Elsewhere on the virtual program, there's a MIGW edition of ACMI's Women and Non-Binary Gamers Club on Wednesday, October 7, and a Nordic Game Discovery Contest on Friday, October 9. You can check out the full lineup over here.
"Margot met Robert on a Wednesday night toward the end of her fall semester." So starts the only thing that everyone was reading, and also talking about, in December 2017. Published by The New Yorker, Kristen Roupenian's Cat Person is a short story unparalleled in its viral fame. A piercingly matter-of-fact account of a dating nightmare, the piece of fiction became a literary and online phenomenon. Cat Person didn't just spark discourse about modern romance, relationship power dynamics, 21st-century communication, age gaps and more; it monopolised them, as fuelled by the internet, of course, and arriving as the #MeToo movement was at its early heights. Releasing it as a book, still as a 7000-word piece, came next. Now there's the film that was always bound to happen. As a movie, Cat Person can count the Twitter-to-cinema Zola as a peer in springboarding from digital phenomenon to picture palaces, and it too aims for a specific vibe: the feeling that the world experienced while first roving their eyes over the details on their phone, tablet or computer screen. Cat Person and Zola have another glaring similarity: enlisting Succession's Nicholas Braun to infuse his Cousin Greg awkwardness into a wild tale. Here, he's the Robert that Margot encounters while "working behind the concession stand at the artsy movie theatre downtown when he came in and bought a large popcorn and a box of Red Vines", as Roupenian's story explains in its second sentence — and as filmmaker Susanna Fogel, the director of The Spy Who Dumped Me and one of Booksmart's writers, shows on-screen. Actors' performances don't exist in a vacuum for audiences. Unless you somehow missed the four-season Roy family shenanigans, plus all the rightly deserved attention around it, going into Cat Person unaware of Braun's best-known role is impossible. Self-consciousness, haplessness and discomfort are expected twice over of the man that Margot sells snacks to, then. Much follows. With Michelle Ashford (Operation Mincemeat) adapting Roupenian's text, Cat Person still starts unfurling as readers know it will, with Robert eventually asking Margot (Emilia Jones, CODA) out, then flirty missives bouncing back and forth via SMS daily across several weeks. She's 20 and he's 33, but she doesn't clock quite the size of that age discrepancy initially. She enjoys the banter, the thrill of connecting and the buzz of being wanted. Margot has a crush, patently, complete with telling her mother (Hope Davis, Asteroid City) and stepfather (Christopher Shyer, The Night Agent) about it when she's back at home over the break. In their exchanges, Robert advises that he has two cats, too — a tidbit worthy of a title because of what it says and softens about him, and what it also screams if those felines aren't real. Margot and Robert's rapport with their phones in their hands is natural yet often cringey, but only the latter translates whenever they meet in-person again. Still, the pair keep gravitating towards each other. Locking lips leads to "a terrible kiss, shockingly bad". The sex, which Fogel gives an out-of-body spin for Margot as a coping mechanism, is even worse. Regrets and ghosting then flow on Margot's part, while the rejected Robert floods bubbles of unwelcome anger her way. Roupenian's version is as well-known for how it ends as for everything that precedes its final word, but Fogel and Ashford had two options in making Cat Person into a movie: filling a film's running time by fleshing out its minutiae or building upon the once-in-a-decade short story, including its unforgettable ending. Their choice: doing both, actually, with their Cat Person spending 118 minutes to relay its narrative. In comes a Harrison Ford obsession for Robert, packaged with the telling revelation that he considers a Belgian bootleg of Working Girl to be the height of cinema sophistication. Margot becomes an anthropology major with a worshipped professor (Isabella Rossellini, Marcel the Shell with Shoes On) studying ants — and the college student's roommate is now the feminist subreddit-moderating Taylor (Geraldine Viswanathan, Miracle Workers), still with firmly blunt thoughts on dealing with Robert's rebuffed behaviour. In wanders a lost dog in front of their dorm, too, plus imagined sessions with a therapist (Fred Melamed, Barry) who constantly verbalises the movie's subtext, an asexual ex and a Marilyn Monroe-aping singing stint. And, in drops a third act that swings big, even for a film that wants to be a thriller, a black comedy, a cautionary tale and then a horror flick all at once. Rossellini, Davis and Melamed lend presence more than anything else, but casting remains crucial to Cat Person's quest to recreate the sensations that swelled and swirled around the feature's source material six years back. As it incited conversation, debate, devotion and memes, Roupenian's story was an in-her-shoes read — and Jones' starring performance evokes the same reaction. With the rising Locke & Key talent playing savvy yet naive and interested yet cautious, it's easy to understand the emotions, joys, doubts and fears that cycle through Margot. Pivotally, it's easy to dive into Margot and Robert's projections, too, as Jones and Braun keeping bob towards and away from each other in a purposefully anti-chemistry match. Whether it goes smoothly, horrifically, embarrassing and something in-between, what's dating if not two people filtering their own thoughts and feelings through one another? And how often is ambiguity and clashing perceptions the outcome, as well as the realisation that what we want from and spot in the person we're seeing differs from their peek into and desires for us? As Cat Person takes this on-screen journey, it's guilty of doing what everyone desperately wants in a relationship but never gets: explaining everything. Accordingly, not every new inclusion works, especially when new characters largely spout metaphors or imaginings just state the obvious. That said, there's ambition in this tensely shot (by Manfuel Billeter, The Gilded Age) and edited (by Jacob Craycroft, Pachinko) film's additions and expansions to the text. Most beats, tonal shifts, sidesteps into neatness and descents into horror help flesh out an examination of ill-advised choices, clumsy hookups, jarring perspectives, and life's ever-present dangers and uncertainties — and relatably at that. Fogel tackled much the same as a director on The Flight Attendant; Promising Young Woman sprang from Saltburn's Emerald Fennell instead, but consider it another influence upon this intriguing rollercoaster ride of a movie.
Does everybody remember The Panics? That dreamy but wholesome indie folk defined the summer of 2007 for many of us. Mainly because of this song, and honestly, it still sounds pretty great. Now, two years after the band's last release, Rain on the Humming Wire, frontman Jae Laffer is trying it out on his own. In theory this should be a pretty seamless transition — the band is better known for their pared back acoustic songs, and Laffer's songwriting has been highly acclaimed over the years. His first solo single, Leave A Light On, seems to stand up to this past promise. That affable Aussie voice carries a familiar lack of pretension and his work remains honest, direct and well-crafted. Even the music video has a certain summertime retro charm. Though his first album, When the Iron Glows Red, has just been released, he's been quick to let us know The Panics are still going strong. "I saw this as an opportunity to take ideas and themes true to myself and see them from start to finish in one burst of inspiration, without looking up," he says. On the first stop of this national headline tour, Laffer will be playing The Toff in Town supported by Karl Smith and Georgia Fair. Tickets are still available here.
Let's make some choices: this month, after a three-year wait, you can choose to dive back into Netflix's Groundhog Day-meets-The Good Place hit Russian Doll. Or, you can decide not to be a sweet birthday baby and do something else. We recommend the former, because spending time getting up, getting down and getting home before the mornin' comes with the smart and twisty Natasha Lyonne-starring show is always a good move, even when it's actively trying to melt your brain — which, as everyone who watched season one knows, is always. In Russian Doll's first batch of episodes, Orange Is the New Black, Irresistible and The United States vs Billie Holiday star Lyonne played Nadia, who had a 36th birthday she'd never forget — although she desperately wished that she could. The New Yorker kept attending a party in her honour, then dying, then repeating the experience while trying to work out what the hell was going on. Also trapped in a loop: the determined but neurotic Alan (Charlie Barnett, You), who lives around the corner from Nadia, and was a stranger until this day kept cycling over and over. When the show returns on Wednesday, April 20, Nadia is once again experiencing something wild. Now, however, she's a time traveller time prisoner, as she advises in the just-dropped full trailer for Russian Doll season two. "Inexplicable things happening is my entire modus operandi," she also notes — and based on this sneak peek, there's plenty of that coming her way. Alan is also caught up in the chaos again, with both characters jumping into their pasts quite literally, and into an intergenerational tale as a result. Accordingly, if you've ever wondered what happens when someone manages to conquer death, getting blasted into the past to trying to solve your family's unfinished business is it — in this series at least. Also returning: Nadia's closest pals Maxine and Lizzy (Sisters' Greta Lee and Werewolves Within's Rebecca Henderson), her godmother Ruthie (Elizabeth Ashley, Ocean's 8), her late mother Nora (Chloë Sevigny, The Girl From Plainview) and her cute roaming cat Oatmeal. Schitt's Creek and Kevin Can F**k Himself star Annie Murphy and District 9's Sharlto Copley join the cast — and co-creator Lyonne (alongside the one and only Amy Poehler, plus Bachelorette and Sleeping with Other People filmmaker Leslye Headland) co-writes as she did last season, and directs as well. Given its focus on fate, logic, life's loops and wading through limbo — and, this time, the ties that bind and the troubles that echo as well — Russian Doll isn't short on twists. From both the new trailer and the initial sneak peek from back in March, NYC's subway system, a stash of gold lost on a train twice, graveyards and out-there parties all factor in. And yes, the chain-smoking Nadia is still as acerbic and misanthropic as ever, of course — because dying repeatedly and riding the rails into history can't change that. Check out the full trailer for Russian Doll's second season below: The second season of Russian Doll will be available to stream via Netflix on Wednesday, April 20. Read our review of the first season. Images: Netflix.
Missed the boat for getting to Paris for Bastille Day? Fear not, as Melbourne is making up for it with a full weekend festival of all things French. Of course, basking in the sweet sounds of the piano accordion whilst nibbling on cheese and pastries is a weekend well spent, but Bastille Day is about more than just gorging yourself on croissants — it marks the beginning of the French revolution and the unity of the people. And now, 225 years après la revolution, we can celebrate our love affair with French culture, as North Melbourne's Meat Market becomes a beacon of entertainment, films, live music, food and wine. The main event requires an entry fee of just $2, but grab a ticket for a pastry, wine or cheese masterclass. Or to the theatre to catch a performance from Melbourne French Theatre or a selection of French films. Most importantly, there will be a French food market with fondue from Milk the Cow, croissants from Gontran Cherrier and goodies from Frencheese, among others. We're sure you'll have a béret good time.
The humble brunch has been given a makeover once again, with the return of Hanoi Hannah's Vietnamese-style yum cha offering. Kicking off on October 12, the weekly Saturday brunch sessions will see you chowing down on a parade of modern Vietnamese eats, matched, if you fancy, to bottomless booze. Each week at the Hannoi Hannah Elsternwick outpost, the kitchen is dishing up a selection of bites, priced between $6 and $12, according to plate — just like how you roll at Sushi Train. Expect punchy creations like dry-aged roast duck, salt 'n' pepper squid, rice paper rolls and steamed buns filled with lemongrass and chicken. For the bottomless booze, you can enjoy two hours of endless fish bowls of alcoholic ice tea (with spiced rum, green tea and mint) and sweet Vietnamese coffee with rum for an extra $30 a head. Vietnamese yum cha runs from 12.30–2.30pm.
Melbourne's iconic LGBTQI+ festival Midsumma is serving up an additional treat this year, as it hosts the first-ever Melbourne Pride Street Party. On Sunday, February 13, the inaugural event will descend on the inner-north hubs of Gertrude and Smith Streets, delivering a jam-packed day of tunes, performances and installations in celebration of the LGBTQI+ community. Specifically, it'll honour the 40th anniversary of the decriminalisation of homosexuality in Victoria. From 11am, two live music stages will play host to a diverse cast of talent; among them, neo-soul pop duo Electric Fields, drag DJs Jawbreakers, award-winning cabaret crew Yummy, Alice Ivy, Kira Puru and All the Queen's Men. You'll even catch a special opera performance by Yorta Yorta woman and legendary soprano Deborah Cheetham AO in collaboration with new classical star Evan Lawson. You can flex your own creative muscle at a Paint Your Fabulous art session led by acclaimed drag queen Art Simone, and wine and dine your way around the precinct with food pop-ups and specials from some of its best-loved eateries. There'll be some striking window installations, too, including a commissioned work by local artist Richard Harding at the Australian Print Workshop. Can't make it in person? The evening's dazzling festivities will be live-streamed online (Facebook and YouTube) from 5pm. [caption id="attachment_842430" align="alignnone" width="1920"] Electric Fields[/caption] Top Image: Midsumma by Coal Photography
It may have been violent, sexist and brainless, but when Sin City hit theatres in 2005, it was like nothing we'd ever seen before. Adapted by Frank Miller and Robert Rodriguez from Miller's pulpy anthology comic-book series, the lurid homage to hard-boiled noir stories was one of the first Hollywood movies to fully embrace digital technology — the directors filmed in front of a green screen using high-def digital cameras before converting to black-and-white in post-production. The content was still tasteless and juvenile of course, but at least it was interesting to look at. Nine years later, they've gifted us with a follow-up. Subtitled A Dame to Kill For, this part prequel, part sequel is certainly a fitting companion piece; equally stylised, equally sadistic and equally dumb. And had it come out in 2006 or 2007, it probably would have been embraced. But it didn't. Revolutionary a decade ago, digital cinematography and effects are now the norm, as are slavish graphic novel adaptations full of manufactured grit. Sin City 2 isn't a particularly inferior film to its predecessor. It's just that, after all this time, the novelty is no longer there. It also doesn't feel as though either Miller or Rodriguez have any interest in pushing the envelope further. Fleeting flashes of colour punctuate the vivid monochrome frame, looking every bit as striking as they did the first time. But the duo never attempts to really build upon the aesthetic of their original — and without the element of surprise on their side, the results are inevitably diminished. The same goes for script, again steeped in sex and vengeance but never actually covering any new ground. In the longest story, Mickey Rourke returns as brutish good guy Marv, who along with two-bit private eye Dwight (Josh Brolin), gets caught up in the machinations of a murderous femme-fatale (Eva Green, unfortunately camp). Then there's Johnny (Joseph Gordon-Levitt), a smooth-talking card-shark with a grudge against the vicious Senator Roarke (Powers Boothe). Roarke is also the antagonist in the final vignette, one that sees exotic dancer Nancy (Jessica Alba) out to avenge the honest cop who saved her life. It should go without saying that the stories are all varying degrees of stupid. If you're not willing to suspend your disbelief every time Johnny gets dealt an impossible poker hand, or when Nancy takes out an entire battalion of body guards, then the movie falls apart before it even begins. What's harder to accept is Miller's flaccid dialogue. Gordon-Levitt is an immensely talented actor, but no-one can make the word 'ambidextrous' sound cool. There's also no skirting around the movie's attitude towards women, which is unfortunately misjudged at best and flagrantly misogynistic at worst. There is not a single named female character in A Dame to Kill For who isn't either a stripper or a prostitute — and despite what Miller apparently thinks, giving a hooker a bazooka doesn't really mean she's empowered. For the most part, the film is just immature in a boring way. On this issue specifically though, it's genuinely quite unpleasant. https://youtube.com/watch?v=6iFdPcx0W2w
Melburnians, if you're currently reading this from somewhere dry, warm and cosy, we suggest that you keep it that way for the rest of the day. Wet weather is forecast to set in for Saturday, September 12 — and not just any old rainy conditions, either, with the Bureau of Meteorology reporting that up to 40 millimetres of rain is expected to fall on the city today. Melbourne's average rainfall for the entire month of September is 58 millimetres, so the city looks set for a hefty soaking — more than two-thirds of September's usual overall rainfall — in just one day. BOM is predicting a minimum of 15–20 millimetres for today, too, so it'll still be more than a little damp even if the clouds don't deliver the maximum amount of rain expected. The "possible heavy falls", as the official forecast notes, won't break the city's September record of 58.7 millimetres in a day, which was set back in 1916. But, the wet conditions are likely to be accompanied by considerable winds — with northerly gusts reaching 25–35 kilometres per hour, then turning into west and northwesterly gusts at 15–25 kilometres per hour in the afternoon. And, temperature-wise, a maximum of 16 is predicted. https://twitter.com/BOM_Vic/status/1304282290336542723 Of course, the wet Saturday comes while Melbourne is still in stage four COVID-19 lockdown — and before the first step of the Victorian Government's roadmap out of the current restrictions comes into effect a 11.59pm on Sunday, September 13. Accordingly, it's likely you'd be staying indoors anyway; however the conditions could still rain out your permitted hour of exercise for the day, plus any essential reasons you have to leave the house. If you do need to head out, remember to check Vic Roads, PTV and BOM for warnings and updates. To keep an eye on Melbourne's weather, head over to the BOM website. For more information about the status of COVID-19 in Victoria, head to the DHHS website.
A love of Woody Allen courses through Fading Gigolo, his influence evident in his inclusion amongst the film's cast but his distinctive footprint also felt in its themes and moods. Though John Turturro is the feature's guiding force as its lead actor, writer and director, the inspiration he has taken from his co-star is obvious. His fifth effort as a filmmaker offers a light homage to the type of easy and breezy New York comedies Allen is synonymous with. To saddle Turturro's protagonist with the waning prostitute descriptor of the film's title is to overstate his enthusiasm for his new-found line of work; for Fioravante — also known by his gigolo pseudonym of Virgil Howard — making money making love is a reluctant sideline to his floristry job. His friend, failed bookseller Murray (Allen), convinces him to test out the world's oldest profession with dermatologist Dr Parker (Sharon Stone). Positive reports from their first satisfied customer motivate Murray to start actively scouring for other clients, including Hasidic widow Avigal (Vanessa Paradis). The relaxed attitude that marks Fioravante's take-it-or-leave-it approach to benefiting from his bedroom skills also flavours the entire film. It's a movie that saunters with fondness rather than marches with purpose. Affection is its primary motivation — for its New York setting, for eclectic characters that careen through eccentric circumstances, for the brand of emotional sweetness and slapstick silliness too rarely offered with any intelligence, and for the continual mysteries of life and love. If it all seems familiar in that warm and witty way of Allen's directorial efforts, that's because it is, especially with the auteur in the thick of the amiable ensemble antics. In his best acting role in many years (and in a part obviously written for him), he relishes the expected affable neuroses of his accepted screen presence. And yet, his biggest feat and the feature's biggest surprise is his double act with Turturro. Where Allen provides the anticipated patter, Turturro is an engaging, alluring enigma. He sells the facade of Fioravante's sexual appeal and sensitive outlook but leaves audiences ever intrigued and always wanting more. The duo fit in perfectly in the caper-like creation that Fading Gigolo becomes, as do their well-cast supporting players; however, the hijinks-laden atmosphere stems as much from a persistent jazz score and a storyline that sees Murray tailed by a jealous neighbourhood watch cop (Liev Schreiber) and Fioravante pursued for a menage a trois with Dr Parker and her friend Selima (Sofia Vergara). Following such comic paths proves purposely frivolous and recognisable but also pointedly earnest. With a slightness of touch, Turturro whips his Allen-esque meanderings into a modest but melodious tapestry of offbeat observations and off-kilter charm. https://youtube.com/watch?v=_pdlbI4TuGY
As the name suggests, UK artist Mysterious Al doesn't mind a little surprise and secrecy when it comes to his shows. For his last Melbourne exhibition in 2019, he kept the exact warehouse location under wraps until the day before its launch. And now, his latest project Spookhouse takes an unexpected form: a multi-sensory art experience set inside a reimagined carnival ghost train. The immersive showcase is set to be the artist's largest yet, setting up shop within Collingwood's Homie warehouse from Friday, March 19 to Sunday, March 28, and displaying an impressive lineup of over 70 new works. Get set for some twisty thrills as you jump in a rickety train cart and embark on a labyrinthine journey through Mysterious Al's warehouse world, with its special effects, quirky moving characters, paintings, projections and illuminations. Two years in the making, the exhibition is designed to be enjoyed by fans young and old. And when you're done, you'll find the adjoining gallery space is filled with an array of new works available to purchase, including some limited-edition merch.
Maverick Melbourne stage company MKA: Theatre of New Writing will kick off this year’s Neon Festival of Independent Theatre with an electrifying double bill. Opening Thursday, May 14 at the Southbank Theatre, MKA's Double Feature slams together two brand new Australian plays, and looks guaranteed to give avid theatre buffs bang for their buck. The evening begins with Lucky, written and directed by MKA creative directors Tobias Manderson-Galvin and John Kachoyan, respectively. Described as a "late-night, post-punk prison fantasy", the darkly comic play follows a trio of unlikely companions — a thief, a priest and an indigenous executioner — on the edges of a remote penal colony, while tackling contemporary issues of nationalism and power. After intermission comes the second show, Lord Willing and the Creek Don’t Rise. Directed by MKA resident director Kat Henry and written by New Orleanian playwright Morgan Rose, the kitchen-sink drama is inspired by a real-life story from the wake of Hurricane Katrina, about a man who killed and ate his lover.
The ripe, soft and sweet festival that encourages you to fill your pantry with homemade pasta sauces is back for another year. Summer-grown tomatoes will be bursting with flavour and on show at the 2017 Melbourne Tomato Festival. An array of local farmers will be selling their produce, and a variety of speakers, cooking demonstrations, workshops and agriculturists will also feature on the day. After a year in Eltham, the festival has moved back closer to the CBD and will set-up at All Nations Park in Northcote on Sunday, March 19. The process of passata making is the highlight of the event — this year there will be 14 passata stations. It's closely followed by gnocchi-making workshops, grape-stomping sessions and demos from chefs like Frank Camorra, Matt Stone, Colin Fassnidge and Guy Grossi. Although tomatoes are not strictly native to Italy, their rich, chunky texture is famously embraced in Italian culture and cuisine. So it makes sense that this festival, which is strongly supported by Melbourne's Italian community, falls on Italian National Day.
Eight months after Australian same-sex couples could first formally and legally tie the knot, Brisbane Festival is celebrating the occasion in an appropriate fashion — by throwing a free wedding for eight LGBTIQ pairs. While Sydney Festival put together a huge reception earlier in the year, Brisbane's equivalent is going one better by hosting the actual nuptials. And, if you're a LGBTIQ couple looking to get hitched, you might just be able to take part. Called Qweens on King, the Saturday, September 8 event is one of the three-week-long fest's opening celebrations for 2018, turning Bowen Hills' King Street precinct into a garden party filled with merriment and real-life matrimony. Entries are now open for all interested parties, with winners saying 'I do' on stage before a celebrant named Gai Lemon, scoring a wedding party filled with Brisbane's queer performers, nabbing free wedding bands and receiving a $500 voucher towards holding their reception at adjacent food truck hangout Welcome to Bowen Hills. Everything from the music to the flowers to the photographer has been arranged, with couples simply needing to register, make sure they're available on the date and pick their own outfits. Of course, if that sounds like your ideal way to spend your big day, you'll also need to be willing to share your happy moment with a considerable crowd. "I'm hoping that the eight couples we find will represent a broad spectrum of personal experiences, from those who have been through the Bjelke-Petersen time when homosexual acts were still illegal, to newcomers and the multitude of various cultures within all those letters: L-G-B-T-I-Q-plus," says Brisbane Festival artistic director David Berthold. The ceremony will also launch the 29th annual Brisbane Pride Festival, with Brisbane Pride vice president Michael James dubbing the event "a gathering of rainbow sophistication and flair". Entries close at midnight on Sunday, July 22, with Qweens on King taking place on Saturday, September 8. To register, or for more information, check out the online application
The last of Red Rock Deli's Secret Suppers in Melbourne has been and gone, with Ms. Frankie's head chef Giorgio Distefano cooking up a feast on a CBD rooftop. The exclusive supper series saw some of Australia's most talented chefs whipping up mouth-watering, three-course feasts inspired by Red Rock Deli's new limited-edition range. And when we say exclusive, we mean it — only 20 lucky guests got to tuck into each lavish dinner. On Thursday, October 17, top Melbourne chef Distefano put up a feast inspired by Rock Deli's new Chilli, Roast Garlic and Lemon Oil Deluxe Crisp flavour. The theme of the evening was 'Elevation of the Senses', so the menu featured simple dishes masking intense flavours. To start, there was a charcuterie board with oven-baked ricotta, pumpkin, chilli and parmesan arancini and house-made bread. And to finish, guests tucked into lemon pannacotta with mixed berries. But it was the main course of tortellini filled with ricotta and lemon zest and slathered with chilli, garlic and lemon-infused oil that really had us salivating. Sounds like a meal that shouldn't have been missed but, if you did — or you went and want to recreate the magic at home — check out Distefano's tortellini recipe here. Images: Parker Blain.
