Sydney ambient electro darlings Seekae dropped news of their third album and a national August tour earlier this year. Luckily they didn't do it so silently. They've also gifted us with a new single, 'Test & Recognise'. Picking up the tempo and embracing the power of the synth, it could signal a new direction for the group — from classic chillout sessions to the dancefloor. With past releases, The Sounds of Trees Falling on People and +DOME, Seekae have made a name for themselves in the past few years, playing local festivals like Harvest and Golden Plains. Known for hypnotic electro-pop such as 'Void', 'Crooks' and 'Blood Bank', their name is synonymous with late night drives through the city or relaxed midnight hangs with friends. In the bigger picture, their debut was named one of the albums of the decade by FBi Radio, and their follow-up earned them four nominations at the Australian Independent Music Awards. Since then they've been touring internationally and even took to the stage at this year's SxSW. Seekae's third album, The Worry, is openly described as their most ambitious work to date. Bringing vocals to the fore and losing some of that distinctive ambient haze, it definitely marks a departure from their past sound that may not win over all fans. However, the shift will make for an entertaining live gig. Caught somewhere between blissful oblivion and classic electro these new tracks are sure to get people awkwardly shuffling around the dance floor nationwide. https://youtube.com/watch?v=S78pfy37SN8
In Martin Crimp’s Attempts on Her Life, 17 scenes encircle the play’s central character, Anne, a woman who is everyone; a child, a terrorist, an artist. It’s an unstable narrative that forms a seamless backdrop to the work’s meditations on 20th-century obsessions. Dennis Kelly’s The Ritual Slaughter of Gorge Mastromas shares some aspects of this focus, but where the “attempts” of Crimp’s title are efforts at capturing the impossibility of fully knowing a person, here the ritual at the core of Kelly’s play is a systematic process of dread certainty, building up and destroying every atom of a man’s soul. Ritual Slaughter opens with the ambiguous voices of a sustained, direct-address prologue, one that maps out the early life of Gorge Mastromas with painstaking clarity; each sentence another pin in a butterfly’s wings. Even here at the beginning, Kelly’s writing makes organic, dizzying leaps between clinical detachment and stylised poetry. Somehow, the scope of his vision is exhaustive enough to enfold both microscopic detail and grand epic. While actor Dion Mills’ obvious relish for the text helps to keep this first, long section dynamic, the writer slyly introduces the play’s vein of jet-black humour and the uncertainties that begin to infect its narrators’ voices; the patches of time that “history does not record”. The twists and turns of Gorge’s deceit would spoil any retelling of the plot beyond this point, as the play enters a more conventional series of scenes between the central figure and other characters which hinge upon his constructed persona. The initial restraint in the production’s AV design pays off in the wrenching impact of the play’s first real revelation, with Mills and Olga Makeeva’s faces projected onto the stage itself, throwing up the collision between the play’s increasingly contradictory worlds of narration and action in stark, simultaneous relief. Here and throughout this Australian premiere at Red Stitch, director Mark Wilson and his actors embrace the ebbs and flows of the text’s slow-burning build to devastating effect. All of the ensemble cast are excellent, with Mills, Makeeva, Elizabeth Nabben and Richard Cawthorne joined by the company’s new graduate Jordan Fraser-Trumble. As Gorge, Cawthorne manages to wrap utter pathos in a magnetic physical presence, a combination that makes his character’s degradation hypnotising to watch. It’s all too tempting to explain away a play where the ravages of mindless financial expansionism are intertwined with literal and abstracted violence as overt, didactic commentary. Nietzsche wrote that “whoever thinks that Shakespeare’s theatre has a moral effect, and that the sight of Macbeth irresistibly repels one from the evil of ambition, is in error … He who is really possessed of ambition beholds this its image with joy; and if the hero perishes by his passion this precisely is the sharpest spice in the hot draught of his joy.” In this way, Ritual Slaughter is much more than a stern parable about the morass of unknowable forces that govern the flow of power and wealth worldwide. Kelly puts that darkness inside a man, and he squeezes. This is an intoxicating show, and bitterly rare among Melbourne theatre for a willingness to treat an audience as its equal. Pictured: Richard Cawthorne and Elizabeth Nabben. Image by Jodie Hutchinson.
Each autumn, Melbourne movie lovers score a super-sized French treat: a feast of flicks hitting the big screen, all thanks to the Alliance Française French Film Festival. In 2025, the fest marks its 36th year. On the lineup: 42 pictures that span the breadth and depth of Gallic filmmaking. So, when you're not enjoying the latest version of the The Count of Monte Cristo, you'll be diving into France's newest black comedies, then plunging into French drama and seeing a restored masterpiece. In the Victorian capital, the fun starts on Wednesday, March 5, with the full 42-title program playing until Wednesday, April 9 at Palace Cinema Como, The Kino, Palace Balwyn, Palace Brighton Bay, Palace Westgarth, Pentridge Cinema,The Astor Theatre, Palace Penny Lane and Palace Regent Ballarat. Kicking off the fest: opening night's Tahar Rahim (Madame Web)-starring Monsieur Aznavour, about singer-songwriter Charles Aznavour — which has been doing big business in France, selling 1.8-million-plus tickets. From there, the highlights keep coming, right through to closing night's rom-com In the Sub for Love. The aforementioned The Count of Monte Cristo features Pierre Niney (The Book of Solutions) in the lead and takes AFFFF's centrepiece slot, while Jean-Pierre Melville's 1969 great Army of Shadows arrives in 4K Down Under after premiering its restored version at Cannes 2024. Or, catch a 50-years-later remake of Emmanuelle, this time starring Noémie Merlant (Lee) and Naomi Watts (Feud), with Audrey Diwan (Happening) directing — or see Mélanie Laurent (Freedom) and Guillaume Canet (All-Time High) portraying Marie Antoinette and Louis XVI in their final days in The Deluge. Plus, Meet the Leroys is a road-trip dramedy that marks Charlotte Gainsbourg's (Alphonse) latest film, while Prodigies delivers a tale of sibling rivalry with Emily in Paris' Camille Razat. Viewers can also look forward to The Divine Sarah Bernhardt, with Sandrine Kiberlain (Meet the Barbarians) as the eponymous actor; All Stirred Up, a comedy focusing on a customs officer on the border between Quebec and the United States, plus her daughter's attempts to win a cooking contest; and Riviera Revenge, where an affair almost four decade prior sparks a quest for vengeance in the French Riviera. Elsewhere, How to Make a Killing features regular AFFFF face and Call My Agent favourite Laure Calamy (The Origin of Evil), as does My Everything; Louis Garrel and Vincent Cassel (co-stars in the 2024 festival's The Three Musketeers: D'Artagnan and The Three Musketeers: Milady) team up in Saint-Ex, about Argentinian pilot Antoine de Saint-Exupéry; When Fall Is Coming is the latest from acclaimed director François Ozon (The Crime Is Mine); and nonagenarian filmmaker Costa-Gavras (Adults in the Room) delivers the personal Before What Comes After. Or, get excited Beating Hearts, which is helmed by Gilles Lellouche (Sink or Swim), stars Adèle Exarchopoulos (Inside Out 2) and François Civil (The Three Musketeers), and played at Cannes International Film Festival 2024 — as did the music-loving My Brother's Band from The Big Hit writer/director Emmanuel Courcol. Also in the Cannes contingent are a range of movies exploring the stories of a courier facing a interview to obtain residency, plus artist Niki de Saint-Phalle, a midlife crisis, pastoral France and being a teenager amid Corsican gang politics, aka The Story of Souleymane, Niki, This Life of Mine, Holy Cow and The Kingdom.
Have you ever seen Nick Cave smile before? It's a shocking thing. For the generations of Australians — and there are many of them — who have grown up with Nick Cave and his Bad Seeds at the centre of musical life, it is startling to realise that amongst the darkness and the tales of addiction, Cave's face can crease itself not into a grimace or a tormented frown but an expression of unguarded joy. Cave's sudden smile is not the only first for the quasi-documentary 20,000 Days on Earth. Filmmakers Jane Pollard and Iain Forsyth have made a documentary that plays like a narrative but feels like a video clip. Unlike its obvious fictional music-doco predecessor This Is Spinal Tap, the duo's film is not a stealthy takedown: they're playing for real. Partly this is because the filmmaking team are artists with a 20-year partnership of making work together. Without any of the film world's preconceived ideas of what constitutes a documentary, their artistic training has allowed them to craft something out of elements that others would see as disparate and incompatible. And partly it's because Nick Cave's life and music necessitates a different approach to making documentaries. An artist as unconventional as Cave requires the defiance of filmmaking conventions. After opening Sydney Film Festival in June, 20,000 Days is now in art-house cinemas for everyone — including two very special sessions at Melbourne's Astor where Cave will be appearing in person for a Q&A. We spoke to Pollard and Forsyth about what it means to make a hybrid music documentary, the process behind the beauty and what Nick Cave is really all about. https://youtube.com/watch?v=Ap0_y5EGttk This is a documentary that blurs some serious lines between genres and fiction and what we think we know as documentary. What exactly was scripted and what flowed organically? Cave himself is credited as a writer. Pollard: No dialogue was scripted at all. Apart from one line [preceding Cave's meeting with a therapist, Darian Leader], the psychoanalyst's assistant says, "Darian will see you now." The things that Nick wrote were all the voiceovers, with that particular tone. Some of those things came pre-written, we found them in his notebooks, like the first quote we used: "At the end of the twentieth century, I work, I write, I eat…" — that was a lyric from his notebooks. Then we we asked him to expand on those notes. We sent him about twenty, thirty topics for the voiceovers, and when he was on tour he'd write a paragraph and send it back. And if we thought it was worth recording, we'd get him to record it on his iPhone and just try it in different places in the film. I understand you didn't actually set out to make a doco about Nick Cave. How did this project start and evolve? Pollard: We'd filmed the scenes of Nick and Warren [Ellis] writing and demoing the album, and then the band in the studios. And we'd filmed all of that before we knew what it was we were going to make this into. The big scene in the film is them playing live from the album 'Push Back the Sky'. At that point we knew we had something that deserved to be carried in something much bigger than the scope of a contemporary music film or a promo that would end up on YouTube and sync very quickly. We wanted to make something bigger that would be more meaningful and stand the test of time, and that's when Iain and I wrote an action script. We knew we had two things we wanted to do, we had the cycle of the album, and then more specifically the individual song — that's the first thing you hear, the song 'Jubilee Street', and then the performance on the Sydney Opera House stage. So we had that cycle as one parallel for the storyline. The other cycle came from finding the film's title in Nick's notebook - it was a discarded song, and he'd done this calculation of how long he'd been on earth. We loved the phrase 'twenty thousand days on earth' and it gave us a very simple conceit to strap the rest of the film onto. So we thought, okay, let's make the film one day on earth. And then we can make whatever we want happen on that day. Everything that happened in that day was something we decided. We wrote the parameters of it, and Nick worked with us. He'd say, 'I'm not so sure about waking up in bed with my wife; I'll give it a go, but I might not be happy with that.' He kinda just cast his eye over what we wrote and said 'I'll give it a shot'. For us, that's where we decided to start. Cave talks a lot about the intersection of living in a story and telling a story. I really can't tell where the boundaries are with your film. Where did you guys draw these boundaries? Pollard: We set ourselves certain parameters. One rule was, we'd never ask Nick to do something twice. Even if he said something and it was great, but we didn't catch it or the camera wasn't on, we wouldn't ask him to do it again. He never had to flip from that headspace of being in the moment, to suddenly remembering the act of what we were doing which was making a film. And with Darian, we met him a few times, we gave him a set of topics, he read books and novels, and we gave him some structure. He had an idea of the sorts of things we were looking for. And then it became an endurance thing that we filmed for ten hours. There's a disorientating thing for both Darian and Nick, talking and not knowing what we would use. Forsyth: With Darian, the psychoanalyst, it was a totally artificial location. Darian is a professional psychoanalyst, that's what he does. Our cameras were out of Nick's sightline, all the technical side of filmmaking was hidden, so as much as possible, it would feel like a genuinely intimate conversation. They met for the first time on set. How do you negotiate these funny blurred lines in hybrid documentaries like this? How do you ensure you create something that's real and true and still semi-scripted? Pollard: It's a very simple thing: if we can physiologically feel an emotional truth in a scene, then that's the truth we're interested in. Whether it's factual or autobiographical, you still need to feel an emotional truth. [Had we only taken a strictly observational approach], it's a narrow road to take your story down, because suddenly it becomes tied and tent-pegged by things that are outside of it, outside its control and parameters and you'll inevitably have to break those parameters, as every reality program does. Everything we see that presents itself as factual or observational is flawed in the truth that it's telling, the actual truth that it's telling. I think the audience is sophisticated enough to get it. I just never doubt that an audience is going to stay with us. In your film, Cave talks a lot about his fear of being forgotten. As someone who's gone to art school and knows a lot of people who also have this fear, I'm not sure how I feel about it. Do you think it's intrinsically egotistical to want artistic immortality? Or is it a natural inclination for an artist? Pollard: I think anybody who has, as their job, put themselves into performing and creating something bigger than themselves, something that is about being remarkable and being on show and being a spectacle … to be a spectacle but not to be remembered? That's a tough dichotomy. His reason for existence is to be remarkable, to be the centre of something, to be spectacular and to entertain. Forsyth: If the question was, 'are you concerned about not making a difference?', that would be completely agreeable. As an artist, as a filmmaker, you want to be impactful. 20,000 Days on Earth is in select cinemas nationally, and also showing at some special screenings. The most special of these is probably Friday, December 19, at Melbourne's Astor Theatre, when Nick Cave will appear in person for a Q&A. More info and tickets on the Astor website.
By now, Bryony Kimmings should be well-known to Melbourne audiences. Last year, the daring British performance artist simultaneously toured two critical smash-hits to the city: Credible Likeable Superstar Role Model at the Festival of Live Art, and Sex Idiot at the Melbourne International Comedy Festival. In some ways, Fake it 'Til You Make It is a kind of dark sequel to the achingly funny Sex Idiot, in which Kimmings traced her sexual chronology back through time. Now her real-life partner Tim Grayburn has become her co-star and collaborator, as the pair craft a narrative that intertwines his experience of chronic depression with hers as the woman who loves him. More than one moment in the show makes obvious references to the other; at one point the pair spell out an exhaustive, staggering list of the symptoms of depression on cuecards, a moment with traces of Kimmings’ crowdpleasing 'Fanny Song' from Sex Idiot (a song which made its own nod towards Bob Dylan's 'Subterranean Homesick Blues'). Here, the artist’s approach to music and sound design is just as eclectic and often surprising, with the 'Love Theme' from Cinema Paradiso taking pride of place alongside infectious earworm 'Let’s Talk About Gender, Baby'. Throughout the show, there are some brilliant scenes that stand as defiant reminders of what theatre alone can do — where the arrangement of competing voices, music and live bodies in space align. In one hugely affecting moment of this kind, a masked Grayburn is delivering a routine speech to colleagues at his advertising firm before he is first interrupted then overwhelmed by burst fragments of his own verbatim recordings with Kimmings. Overall, the combination of all these different elements — the recordings, songs, heartfelt confessions exposed to an audience and spotlight — occasionally risks overbalancing, feeling jumpy and disjointed. But that’s the paradox of representing trauma onstage; it’s a ruptured, messy form that marries content with style, and its messiness ultimately says a lot more about its subject than any conventionally polished play ever could.
Take one of popular culture's biggest supervillains, throw in one of today's very best actors and add the director of The Hangover trilogy. Only a few years ago, the above sentence might've seemed like a joke. Today, it's the reality we're living in — the reality that sees a standalone Joker movie cackling its way towards cinema screens, starring Joaquin Phoenix in the titular role. Move over Cesar Romero, Jack Nicholson, Heath Ledger and Jared Leto — it's Phoenix's time to don exaggerated clown makeup, wield a killer smile and wreak havoc on Gotham City. The just-released final trailer for Joker promises plenty of all three, as failed standup comedian Arthur Fleck turns to a life of facepaint-wearing crime (and eventually obsessing over Batman, we're guessing). As directed and co-written by Todd Phillips (Old School, Starsky & Hutch, Due Date), Joker also comes with a suitably unhinged vibe, as if Phoenix's You Were Never Really Here character stumbled into Martin Scorsese's The King of Comedy. (Fittingly, the latter film plus Taxi Driver and Raging Bull have been cited as inspirations for the new DC Comics flick, and Scorsese is one of Joker's executive producers.) It also looks certain to help everyone forget that the last take on the famous villain only arrived three years ago, because who wants to remember Leto's green-haired turn in Suicide Squad? If the first and second trailers are anything to go by, it looks like Phoenix will — thankfully — follow in the footsteps of Nicholson and Oscar-winner Ledger instead, as he plays alongside his nemesis (and talk show host) Robert De Niro, his love interest Atlanta's Zazie Beetz and his mother Frances Conroy, as well as Marc Maron and Brett Cullen. But we'll have to wait till October to know for sure. If you'd like a dose of terrifying clown cinema before then, IT: Chapter Two drops next week. In the meantime, check out the final trailer below: https://www.youtube.com/watch?v=zAGVQLHvwOY Joker releases in Australian cinemas on October 3, 2019.
Something delightful has been happening in cinemas across the country. After periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — at present, spanning both big chains and smaller independent sites in Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. BLACK WIDOW Closure is a beautiful thing. It's also not something that a 24-film-and-growing franchise tends to serve up often. Since 2008, the Marvel Cinematic Universe has operated with the opposite aim — extending and expanding the series at every turn, delivering episodic instalments that keep viewers hanging for the next flick, and endeavouring to ensure that the superhero saga blasts onwards forever. But it's hard to tick those boxes when you're making a movie about a character whose fate is already known. Audiences have seen where Natasha Romanoff's (Scarlett Johansson, Marriage Story) story finishes thanks to Avengers: Endgame, so Black Widow doesn't need to lay the groundwork for more films to follow. It's inexcusable that it has taken so long for the assassin-turned-Avenger to get her own solo outing. It's indefensible that this is just the second Marvel feature to solely focus on a female figure, too. But, unlike the missed opportunity that was Captain Marvel, Black Widow gives its namesake a thrilling big-screen outing, in no small part because it needn't waste time setting up a Black Widow sequel. Instead, the pandemic-delayed movie spends its 143 minutes doing what more MCU flicks should: building character, focusing on relationships, fleshing out its chosen world and making every inch of its narrative feel lived-in. The end result feels like a self-contained film, rather than just one chapter in a never-ending tale — which gives it the space to confidently blend family dramas with espionage antics, and to do justice to both parts of that equation. Sporting an impressive cast that also includes Florence Pugh (Little Women), David Harbour (Stranger Things) and Rachel Weisz (The Favourite), Black Widow begins in 1995, in small-town Ohio. Here, Harbour and Weisz play Alexei and Melina, parents to young Natasha (Ever Anderson, Resident Evil: The Final Chapter) and Yelena (Violet McGraw, Doctor Sleep), and the portrait of all-American domesticity — or that's the ruse, at least. The film doesn't revel in small-town life, neighbourhood playtimes, 'American Pie' sing-alongs and an existence that could've been ripped from The Americans for too long, however, with the quartet soon en route back to Russia via Cuba at shady puppetmaster Dreykov's (Ray Winstone, Cats) beckoning. When the action then jumps forward to 2016, and to the aftermath of that year's Captain America: Civil War, Natasha hasn't seen her faux family for decades. On the run from the authorities, she isn't palling around with the Avengers, either, with the superheroes all going their separate ways. Then the adult Yelena (Pugh) reaches out, because she too has fled her own powers-that-be: Dreykov, the fellow all-female hit squad she's been part of for the last 21 years, and the mind-control techniques that've kept her compliant and killing. There's an unmistakable air of Bourne and Bond to Black Widow from there, but this deftly satisfying flick doesn't trade the MCU's blueprints for other franchises' templates. With Australian filmmaker Cate Shortland (Somersault, Lore and Berlin Syndrome) in the director's chair, this welcome addition to the franchise spins a thoughtfully weighty story about women trapped at the mercy of others and fighting to regain their agency. Read our full review. THE SPARKS BROTHERS "All I do now is dick around" is an exquisite song lyric and, in Sparks' 2006 single 'Dick Around', it's sung with the operatic enthusiasm it demands. It's also a line that resounds with both humour and truth when uttered by Russell Mael, who, with elder brother Ron, has been crafting art-pop ditties as irreverent and melodic as this wonderful track since 1969. Sparks haven't been dicking around over that lengthy period. They currently have 25 albums to their name, and they've taken on almost every genre of music there is in their highly acerbic fashion. That said, their tunes are clearly the biggest labour of love possible, especially as the enigmatic duo has always lingered outside the mainstream. They've had some chart success, including mid-70s hit 'This Town Ain't Big Enough for the Both of Us', Giorgio Moroder collaboration and disco standout 'The Number One Song in Heaven', and the supremely 80s 'Cool Places'. They're beloved by everyone from Beck and 'Weird Al' Yankovic to Jason Schwartzman and Mike Myers, too. They're the band that all your favourite bands, actors and comedians can't get enough of, but they're hardly a household name — and yet, decade after decade, the Maels have kept playing around to make the smart, hilarious and offbeat songs they obviously personally adore. Everyone else should love Sparks' idiosyncratic earworms as well — and, even for those who've never heard of the band before, that's the outcome after watching The Sparks Brothers. Edgar Wright, one of the group's unabashed super fans, has turned his overflowing affection into an exceptional documentary. It's the Shaun of the Dead, Hot Fuzz and Baby Driver's first factual effort, and it's even more charming and delightful than the films he's best known for. That said, it'd be hard to mess up a movie about Sparks, purely given how much material there is to work with. Russell and Ron, the former sporting shaggier hair and the latter donning a pencil-thin moustache rather than the Charlie Chaplin-style top lip he's brandished for much of his career, are also heavenly interviewees. That's the thing about these now-septuagenarian siblings, every Sparks tune they've ever blasted out into the world, and this comprehensive yet always accessible film that's instantly one of 2021's best: they're all joyously, fabulously, eccentrically fun to an infectious and buoyant degree. The world has always needed more Sparks on a bigger stage; now, to the benefit of everyone that's ever loved them and anyone just discovering them, it's stopped dicking around and is finally delivering Read our full review. DATING AMBER "You look like a shit version of that guy from Blur". Before his reluctant first kiss, they're the exact words that the shy Eddie (Fionn O'Shea, Normal People) hears from the gum-chewing Tracey (Emma Willis, Vikings) — and the rest of their behind-the-building encounter, which is the result of pure peer pressure from Eddie's bullying classmates and zero actual desire on his own part, goes just as well. Afterwards, he soon finds himself face to face with another girl from his grade. This time, the similarly picked-on Amber (Lola Petticrew, A Bump Along the Way) has a far different assessment. In fact, she has a proposal, suggesting that they start dating each other to stop their peers from constantly taunting them about their sexuality. She's gay, she's picked that Eddie is as well, and this arrangement will help them stay in the closet in County Kildare circa 1995 until they finish the school year, graduate, and then both chase different futures. Plucky, no-nonsense and enterprising — she makes cash by renting out caravans in the park her widowed mother (Simone Kirby, Calm with Horses) runs to teens looking for somewhere to have sex — Amber wants to move to London to open "an anarchist bookshop with franchise potential". Quiet, determined to convince himself and the world that he's straight, and accustomed to tiptoeing around his parents' (This Way Up's Sharon Horgan and Extra Ordinary's Barry Ward) unhappy marriage, Eddie is training to join the military just like his dad, a path he clearly doesn't really want to follow. A warm and witty hormone-fuelled coming-of-age tale about seeking happiness, following your heart and breaking free of others' expectations, Dating Amber charts Eddie and Amber's faux relationship — including the camaraderie they feel as they play their parts, the comic subterfuge that comes with pretending they're the school's hottest couple, and the complications that spring the longer their charade continues. In another rom-com, this charming pair would simply be the queer best friends always by the straight protagonist's side, but thankfully that isn't the film that writer/director David Freyne brings to the screen. Instead, making his second feature after impressive zombie flick The Cured (and demonstrating his ability to hop seamlessly between genres in the process), the Irish filmmaker crafts a movie that's tender, thoughtful, perceptive and hilarious. His knack for 90s-era teen dialogue helps every exchange feel authentic, especially in the schoolyard. Even with the picture clocking in at a mere 92 minutes, the time and space he gives his central characters, as well as their hopes, dreams, fears and yearnings, is always noticeable. He helms a sunny but never visually glossy movie, too; however, alongside his insightful screenplay, he's served best by his core duo. In this amusing and astute gem, O'Shea and Petticrew put in wonderfully nuanced and layered performances that bring depth and emotion to every frame, and give them both a strong calling card for future roles. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; May 6, May 13, May 20 and May 27; June 3, June 10, June 17 and June 24; and July 1. You can also read our full reviews of a heap of recent movies, such as Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella, My Name Is Gulpilil, Lapsis, The Conjuring: The Devil Made Me Do It, Fast and Furious 9, Valerie Taylor: Playing with Sharks, In the Heights, Herself and Little Joe.
On the long list of things that were bound to happen after the success of Stranger Things, seeing Dungeons & Dragons roll back into cinemas has always been right at the top. The role-playing game has already sparked three movies, with the first dating back to 2000 — but none of them starred Chris Pine, Rege-Jean Page, Michelle Rodriguez and Hugh Grant (or were well-received, whether they hit the silver screen or went straight to home entertainment). Another D&D film has been in the works in some shape or form since before the world saw a bunch of kids in Hawkins, Indiana play the game, unsurprisingly. Thanks to the success of Game of Thrones, fantasy epics have become a huge Hollywood cash cow (see also: the return of The Lord of the Rings as a streaming series later this year). Whether the new D&D will become one of the genres hits or misses is clearly yet to be seen — Dungeons & Dragons: Honor Among Thieves doesn't reach cinemas until March 2023 — but the just-dropped first trailer certainly looks like it's aiming to start a franchise. Released to coincide with San Diego Comic-Con, which is currently on now, the initial glimpse at Dungeons & Dragons: Honor Among Thieves introduces its motley crew of characters. "Here's the thing, we're a team of thieves," Pine (All the Old Knives) explains, if the title wasn't already obvious enough. This crew, which spans Page (The Gray Man), Rodriguez (Fast & Furious 9), Justice Smith (Jurassic World Dominion) and Sophie Lillis (IT and IT: Chapter Two), too, "helped the wrong person steal the wrong thing". Cue the greatest evil the world has ever known, unleashed unwittingly, which this band of thieves now endeavours to stop. Dragons pop up, of course. So do dungeons, to the astonishment of no one. Other fantastical animals, fights, flaming swords, fireballs: they're all included as well, as are Grant (The Undoing), fellow cast members Chloe Coleman (Marry Me) and Daisy Head (Wrong Turn), and Led Zeppelin's 'Whole Lotta Love'. Behind the camera, Jonathan Goldstein and John Francis Daley (Game Night) are in the directors' chairs, and co-wrote the screenplay with Michael Gilio. And yes, films based on Hasbro properties don't have the best record — the Transformers series, the GI Joe flicks, Battleship, Power Rangers — but if you're a D&D devotee, you'll be hoping this one changes that. Check out the trailer below: Dungeons & Dragons: Honour Among Thieves opens in cinemas Down Under on March 2, 2023.
Pushing ladies to the front, welcoming them on-stage to discuss their fields of expertise and their experiences, and exploring a broad range of topics that are relevant to women: that's been the aim of Sydney Opera House's key feminist festival since 2013. From its inception, All About Women has dedicated a day to focusing on female voices, fittingly popping up around International Women's Day each year. Of course, it's never been possible to confine everything there is to talk about to one single day, so 2022's fest is expanding. When next March rolls around, All About Women will mark its tenth festival — and it'll hit double digits and broaden its footprint in tandem. To celebrate, Sydney Opera House's Head of Talks & Ideas Chip Rolley and First Nations legal academic, broadcaster, filmmaker, writer and Distinguished Professor Larissa Behrendt OA, the event's co-curators, have amassed an impressive range of speakers to participate in talks, panels, performances and workshops. The big focus: bravery, allyship and collective responsibility. One of the must-attend sessions of the 2022 fest, which'll take place between Saturday, March 12–Sunday, March 13: current and former Australians of the Year Grace Tame and Rosie Batty, who'll appear together publicly for the first time. In a session to moderated by author and political commentator Jamila Rizvi, they'll chat through the title they've both shared, including its challenges and opportunities. [caption id="attachment_837696" align="alignnone" width="1920"] Jacquie Manning[/caption] Another of All About Women's key talks will feature American Bad Feminist and Hunger writer Roxane Gay in conversation with writer/actor and Gamilaroi/Torres Strait Islander woman Nakkiah Lui, discussing their personal experiences of racism and misogyny. Other highlights include a session on the story of 'Kate', who posthumously accused federal MP Christian Porter of sexual assault; an exploration of consent, featuring lawyer and author Bri Lee, writer Lucia Osborne-Crowley, and advocate for sexual assault law reform Saxon Mullins; a conversation with Distinguished Professor Aileen Moreton-Robinson, Goenpul author of Indigenous feminist text Talkin' Up to the White Woman; and a panel discussing the everyday of disabled parenting curated and led by Eliza Hull, whose anthology of stories by disabled parents, We've Got This, will soon be published. [caption id="attachment_837698" align="alignnone" width="1920"] Jacquie Manning[/caption] The rest of the lineup also features an opening night gala headlined by poet and contemporary dancer Tishani Doshi, who'll perform Girls Are Coming Out of the Woods; writer, historian and podcaster Yves Rees hosting a panel that imagines a future without gendered expectations; Fight Like A Girl, Boys Will Be Boys and How We Love's Clementine Ford giving a secular sermon on love; a panel on the fate of women in Afghanistan now the Taliban has taken back control of the country; a session highlighting veteran ABC journalist Laura Tingle; and a panel showcasing next generation First Nations voices. While the festival is going ahead in-person for Sydneysiders, it'll also live-stream to viewers both around Australia and worldwide — because this top-notch program, and the subjects it covers, can't be confined to either one day or one place. All About Women 2022 will take place on Saturday, March 12–Sunday, March 13 at the Sydney Opera House. Livestream tickets and event multipacks are on sale from 9am AEDT on Thursday, December 16, with single-ticket pre-sales starting at the same time — and general public tickets available from 9am AEDT on Friday, December 17. Top image: Prudence Upton.
Across 2021's cooler months, locations around Australia will transform into winter wonderlands, celebrating the chilly season in all of its frosty glory. From May through until September, The Winter Village is returning after its debut run in Melbourne two years back — with the city's return stop taking place at Skyline Terrace at Federation Square (aka the top of the carpark) from Thursday, May 13–Sunday, August 29. Modelled on your typically picturesque European winter market — and giving Aussies a taste of a winter experience that we don't really have otherwise — The Winter Village comes complete with an ice rink, an igloo village, daily snow showers, and a food and drink lineup. Think of it as your quaint wintery escape in the very heart of Melbourne. Attendees will be able to dust off their skates and hit the ice, and hire a private igloo where you can wine and dine in cosy solace — either with up to five people in a smaller space, or in a six-metre-wide igloo that can cater for 14. Folks spending their time in The Winter Village's igloos will feast on grazing plates of chips, dips, mini pretzels, cured meats, fried chicken bites, mac 'n' cheese croquettes and more, drink their choice of wine or beer, and tuck into a chocolate ice cream sandwich for dessert. That's the $49 package, with the $69 option including espresso martini-flavoured chocolate fudge dipping sauce, berries, brownies, marshmallows, cookies and your choice of an Aperol spritz, espresso martini, wine or beer. Or, get festive over brunch instead — which includes a 45-minute skate session and a meal afterwards for $35. There'll also be pop-up bars and outdoor seating throughout the village, should you be keen on heading along without spending time in an igloo. The latest venture from hospitality group Australian Venue Co, the frozen oasis will be open daily and free to enter — from 11am–10pm Monday–Thursday, 11am–12am Friday, 10am–12am Saturday and 10am–10pm Sunday. That said, ice skating, igloo hire and a couple of winter warming beverages will obviously come at a cost. Top images: Mazloum J.
Next time you do your grocery shopping, you could cut down your reliance upon single-use plastics, treat your four-legged friend and pick up a fresh-cooked pizza — all at Coles. The supermarket chain has just launched a revamped store in Moonee Ponds, and it comes with a big focus on sustainability and quite a few upgrades. Also included: a fishmongers, cheese from That's Amore, and a fruit and vegetable bar. It certainly hasn't been a normal 12 months for supermarkets, with toilet paper battles and limits on everyday items hitting the front page more than once. But now the pandemic palaver has settled down somewhat, Coles hopes to make your everyday grocery shop (dare we say) exciting with the launch of its fancy new store — which is part of the company's mission to reduce waste. The newly renovated and reinvented store joins Chatswood in Sydney in boasting a range of forward-thinking elements. You can stop buying shampoo, conditioner, body wash, hand wash and laundry liquids in throwaway containers thanks to packaging-free in-store refill stations — and some fresh foods will be misted and stored on cold plates to reduce the need for packaging there, too. Herbs are being sold without plastic packaging as well, and you can also head to the fruit and vegetable bar to get your fresh produce of choice sliced, diced or made into juice while you wait. On the eco-friendly front, the Moonee Ponds site also has a coffee cup recycling station, as well as a soft-plastic recycling service — with the latter turning your discarded waste into benches, furniture, playground equipment, roads and Coles car parks. And, it's using trolley baskets made from recycled milk bottles and other recycled plastics, and also capturing waste heat from the refrigeration system to warm up the store. Overall, Coles has pledged to deliver net zero greenhouse gas emissions by 2050, and to power the entire Coles Group via 100-percent renewable electricity by the end of the 2025 financial year — with the Moonee Ponds store operating as a sustainability concept store. Last month, the company also announced that it would stop selling single-use plastic tableware from July 1. As well as ticking a heap of eco-conscious boxes, Coles Moonee Ponds now features locally caught seafood available at The Fishery, which is run by industry expert John Sussman and features food by Sam Cheetham (ex-Cumulus Inc). Pizzeria Tremila is whipping up the Italian favourite in 90 seconds in its in-store oven, and selling pizzas whole or by the slice. Roll'd also has a space onsite, serving its Vietnamese dishes; That's Amore is suppling 13 lines of cheese as part of an artisan dairy nook; Vegan Dairy is providing handmade products from the Mornington Peninsula; and Liquorland is heroing 140 local beer, wine and spirits brands. Plus, Coles hasn't forgotten about the most important member of your family: your pets. You can pick them up a few goodies thanks to the new in-store pet treat pick-and-mix bar — so your pooch can have an after-dinner snack while you enjoy your Tim Tams. Coles Moonee Ponds is located in Moonee Ponds Central Shopping Centre, Homer Street, Moonee Ponds — operating from 7am–11pm daily. Images: Coles.
Far more than simply sustenance, food is about bringing people together, creating an experience and sharing something of yourself. Preparing a meal is an act of love, and it's this attitude that a handful of revered cooks will be bringing to Abbotsford Convent for Double Delicious. There's a story behind every dish, and the storytellers — which include prolific writer Benjamin Law, chef and kimchi master Heather Jeong, and choreographer Raghav Handa — will be spinning a yarn while slicing and sautéing to tell you what food means to them, both personally and in terms of its cultural significance. It'll be an experience that promises to be equal servings mouth-watering and mind-altering. The show is part of Asia TOPA, Melbourne's three-month celebration of performing arts in the Asia Pacific region. Image: Ashley de Prazer.
When Peninsula Hot Springs unveiled its revamped facilities in 2018, the acclaimed Fingal spot added something extra exciting — especially if you're keen to pair your soak with some entertainment. At the Mornington Peninsula getaway's outdoor Bath House Amphitheatre, you can now not only relax in the 39-degree geothermal pool in the evening air, but also direct your eyes at a movie on the big screen while you're there. The Peninsula Hot Springs bathe-in cinema is all about getting blissful in warm water while watching movies that explore themes of connection, nature and laughter. A different film plays every Friday night in February, as well as on Sunday, February 14 as well — and, for its 2021 run, the site is doing something different with its lineup. Until January 31, you can hit up the venue's Facebook page to vote for your choice of movies. Two options are available each week, and it's a smartly curated range whichever one you pick. Do you prefer Sixteen Candles or Ferris Bueller's Day Off? Sliding Doors or Bridget Jones' Diary? The Adventures of Priscilla, Queen of the Desert or The Sapphires? They're just some of the hard decisions you'll have to make. The finalised lineup will be announced afterwards — and then you'll just have to choose the best date to head along. Even better — catching a flick is included in the regular Bath House bathing price, which'll set you back $45 per person.
If you're struggling to remember a time when you didn't have a craving for Lune Croissanterie's world-class, New York Times-approved pastries, that's probably because the cult-favourite bakery has been around for an entire decade. Yep, the Melbourne-born croissant haven has been in our lives for ten whole years — and in a huge win for fans in Melbourne, it's celebrating its milestone birthday with a month full of buttery, flaky specials. In fact, for the month of October, Lune will be tripping back in time and reviving some of its all-time greatest hits. Each weekend, it's set to drop a limited run of one of its best-loved creations, available only from the OG Fitzroy store and Lune's new Armadale outpost. October's roll-call of favourites will be kicking off with a special appearance from the famed black forest croissant, which had us all drooling when it featured on season 11 of MasterChef. The decadent dessert is baked with sweet cherry jam and chocolate frangipane, stuffed full of chocolate mousse, whipped cream and maraschino cherries, and then sprinkled with tempered chocolate and a salted chocolate crumb. [caption id="attachment_871783" align="alignnone" width="1920"] Lune founders Kate and Cam Reid[/caption] It'll be available from both stores from Saturday, October 1–Sunday, October 2, though with limited numbers of the treat being whipped up, you'll want to get in quick. Each of the following four weekends will feature a different re-release from Lune's star-studded back catalogue — keep an eye on the bakery's Instagram to find out what's coming up next. If all those croissants leave you inspired to hit the kitchen yourself, you'll also be able to get your hands on founder Kate Reid's first cookbook, Lune Croissants: All Day, All Night, from early November. Lune started life back in 2012 as a pint-sized store in Elwood. The brand then moved into its now famous Fitzroy warehouse space, before opening a second store in the CBD in 2018. It's since expanded into Brisbane with two outposts in the Queensland capital, and is set to launch in Sydney next year, too. Lune's tenth birthday specials will be available each weekend of October at Lune Fitzroy (119 Rose Street, Fitzroy) and Lune Armadale (835 High Street, Armadale).
They've taken us through the streets of Japan with Tokyo Tina, sent our tastebuds tripping across Vietnam with their Hanoi Hannah stable and, most recently, immersed us in modern Chinese flavours at their Balaclava diner Moonhouse. Now, the Commune Group has hit its next global food tour stop with its latest project, Studio Amaro — an Italian bar and eatery based in Windsor. The team has dived into unchartered territory in more ways than one, with this Chapel Street venue being its largest yet. It boasts a 100-seat dining room at ground level, leading down to a DJ-fuelled, subterranean drinking den with space for an extra 60. Open from lunch through dinner and on into late-night revelry, this big corner site celebrates the classic flavours of Italy, with an offering that's bright and lively, yet steeped in simplicity. "Studio Amaro is our interpretation of Italian dining done in a very Melbourne way: communal, casual dining," explains the group's Creative Director Simon Blacher. Along with the eats, the venue's music offering features a diverse lineup of artist residencies who grace the downstairs DJ decks, and plenty of focus is given to the overall sonic experience. Meanwhile, Bergman & Co (La Fantaisie, Poodle, Chancery Lane) have looked after the interiors, delivering a warm, nostalgic setting complete with yellow corduroy banquettes. Find Studio Amaro at 168 Chapel Street, Windsor. It's open daily from 12pm–late. Images: Julia Sansone
UPDATE, August 30, 2020: Mary Shelley is available to stream via SBS On Demand, Google Play, YouTube Movies and iTunes. It has been exactly 200 years since Frankenstein's monster first shuffled through the pages of Mary Shelley's now-classic story, completely reshaping the gothic horror landscape in the process. At the time, no one anticipated the impact that the novel or the woman behind it would have. No one realised that Mary was responsible for the greatest horror novel ever written, either, a title it still holds today. In fact, only 500 copies of Frankenstein: or, The Modern Prometheus were initially printed back in 1818. It was also published anonymously, with Mary's poet husband Percy Bysshe Shelley penning the introduction and originally thought by many to be the text's author. Today, the beast conceived by the teenage Mary has carved a path not only through the literary world, but across cinema screens for more than a century — but, as the movie's title suggests, Mary Shelley doesn't replay Frankenstein's familiar narrative. Instead, Haifaa Al-Mansour's follow-up to 2012's Wadjda subscribes to a different filmmaking trend. Like everything from James Whale's iconic 1930s adaptations, to Tim Burton's gorgeous Frankenweenie, Mary Shelley obviously owes its existence to Frankenstein. But this origin story is more concerned with the early life of its author than with an obsessed young scientist and his resurrected creature. It's not the first time that Mary has earned the biopic treatment, with 1980s flicks Gothic, Haunted Summer and Rowing with the Wind all exploring the woman behind the classic tale. Still, where that trio honed in on the Lake Geneva getaway that sparked Frankenstein into being (the novel originated from a holiday wager among friends to see who could write the scariest ghost story), this movie focuses on Mary's tumultuous adolescence, her relationship with Percy, and the influence of both upon her famous work. Before images even reach the screen, the sound of writing echoes from Mary Shelley. Before Mary (Elle Fanning) has even dreamed of Frankenstein, the film deploys her lyrical prose to set a distinctive mood and tone. Stylistically, that's Al-Mansour's vivid and evocative approach, infusing every moment of the movie with the same passion and poetry that drives its heroine. A willowy yet strong-willed teen, from the outset Mary is either spinning her own tales or reading others in her father's (Stephen Dillane) bookshop. In-between, she fights with her stepmother (Joanne Froggatt) and finds solace with her stepsister Claire (Bel Powley) — until Percy (Douglas Booth) comes along. Although Mary is just 16, and despite the fact that Percy already has a wife and child, the couple is determined to be together. In her debut feature-length script, Australian screenwriter Emma Jensen endeavours to examine a side of Mary's tale that hasn't previously received as much on-screen attention, championing her protagonist's achievements as well as the considerable obstacles that she faced. Neither can be downplayed and nor are they. That said, sometimes the scandalous love story that accompanies them is given a little too much prominence. Indeed, parts of the film feel like a stock-standard period romance that just happens to involve one of the most influential writers who ever lived. When Mary Shelley connects the dots between Mary's experiences and the book she'll forever be associated with, it's a much more satisfying, moving and involving picture. Likewise, when it delves into Mary's tussles with sexist, dismissive men who can't even conceive of a woman writing such dark, smart and terrifying things, the film comes much closer to doing justice to its subject, her struggles and her continuing importance. Thanks to Fanning's lively and spirited portrayal, there's no doubting the fire that burned inside Mary, even when the film does favour her amorous affairs. Whether surrounded by towers of tomes, scribbling by her mother's grave, or swooning over Percy, Fanning's take on the real-life figure always stands out — from the movie's sumptuous backdrops, which constantly catch the eye, as well as from the romantic plot. It's a performance worthy of the woman it depicts, and it leaves audiences wanting more. The same is true of Mary Shelley, although in a different way. You'll want to keep watching Fanning as she brings the fiercely independent and thoroughly fascinating Mary to life. But you'll also want the movie to flesh out the aspects of Mary's trailblazing existence that it sometimes rushes over. https://www.youtube.com/watch?v=9zFFs6BHsS0
Netflix might be making a docu-soap about Byron Bay influencers, but it isn't the only streaming service set to beam the area's scenic backdrops into Australian homes. Stan will soon unveil Eden, a new eight-part series shot in the coastal town and New South Wales' Northern Rivers region. It's unlikely that this fictional mystery-drama will receive the same backlash that Netflix's reality TV show has been garnering since its announcement, though. Eden does sound somewhat familiar, however. Like plenty of TV shows — Twin Peaks and The Killing, just to name two — it begins with a missing person. From there, it also charts the secrets and revelations festering beneath the surface of its small-town setting. In this case, a young woman has disappeared, with the series chronicling the aftermath over the course of a summer. The just-released first teaser sets the mood — and if you're wondering when the whole show will drop, Stan is yet to reveal an exact date. But, sometime this year (and likely to be sooner rather than later), you'll be able to watch a cast that includes BeBe Bettencourt (The Dry), Sophie Wilde (Bird), Keiynan Lonsdale (The Flash), Cody Fern (American Horror Story), Samuel Johnson (Molly), Christopher James Baker (True Detective), Rachael Blake (Cleverman), Leeanna Walsman (Penguin Bloom), Simon Lyndon (Mystery Road) and Maggie Kirkpatrick (The Letdown) step through Eden's twisty tale. Behind the camera, the show stems from head writer Vanessa Gazy (Highway) and writing team Jess Brittain (Clique), Anya Beyersdorf (Shakespeare Now), Clare Sladden (Freudian Slip) and Penelope Chai (Other People's Problems) — and directors John Curran (Chappaquiddick), Mirrah Foulkes (Judy & Punch) and Peter Andrikidis (Alex & Eve). And, the creator of Skins, Bryan Elsley, helped created Eden, too, with Fiona Eagger and Deb Cox (Miss Fisher's Murder Mysteries). Check out the first teaser trailer for Eden below: https://www.youtube.com/watch?v=GaPeDr3DoMA Eden will hit Stan sometime this year — we'll update you with an exact date when it is announced. Top image: Every Cloud Productions.
There is nothing quite like settling into a Harry Potter film. Whether you are a die-hard fan who has read every book, or just enjoy peeking into the beautiful world of Hogwarts, watching a Harry Potter flick is always a nostalgic and magical experience. Luckily, the Melbourne Symphony Orchestra are helping us make this experience even more magical with three screenings of Harry Potter and the Half-Blood Prince backed by a live orchestra. Relive the franchise's sixth instalment with Nicholas Hooper's iconic score performed live by the MSO. And to top it off, the concerts will be held in the beautiful Hamer Hall, so you can see Harry soar on his broomstick playing quidditch on a huge screen in HD, brought to life with live orchestral music, for a truly grand experience. Harry Potter and the Half-Blood Prince in Concert will take place from the Thursday, March 10 until Saturday, March 12. Tickets are on sale now from $60 per person and you will want to get in quick so you don't miss out on the magic.
If you look at some of the biggest cultural events around the country over the past few years, it's clear that we have a bit of an obsession with nighttime antics supported by neon light installations. Of course, Sydney has Vivid, Melbourne has White Night and, on a regional level, Uluru's Field of Light has been a huge hit. Now, Bendigo is following in these luminescent footsteps with its own White Night festival. Inspired by Paris' Nuit Blanche movement, White Night has been an annual festival in Melbourne since 2013 and expanded to Ballarat in 2017. And, along with Geelong, Bendigo is joining in on the festivities for the first time this year. Celebrated artistic director and producer David Atkins, OAM will be leading the event. From 7pm on Saturday, September 1 until 2am the next morning, Bendigo's CBD will be will be transformed by vibrant activities, artwork and performances. With View Street as the central hub, the festival will extend down Pall Mall and spill out into Bull Street, Chancery Lane and Rosalind Park. You will witness light installations — including a garden of a giant bugs and an inflatable space man — plus projections onto buildings, live music in the streets and endless free photo opportunities. There's also a mini film festival, a silent disco walking tour of Bendigo Art Gallery and a 70s disco in a heritage tram scheduled. For more information on the White Night Bendigo program — including info on accommodation and how to navigate the event — head to the website. Then check out our guide to Bendigo's arts and culture to make a weekend of it.
Like all significant art forms, dance is a medium that transcends language, culture and geography. This September, The Australian Ballet will explore the contemporary dance canon from three distinct corners of the globe in Instruments of Dance, a triple bill at Arts Centre Melbourne featuring three evocative ballets that showcase ground-breaking modern dance from the world's top choreographers. Each choreography talent has created a work inspired by musical scores by contemporary composers who work in very different musical fields. The resulting performance will be a spectacular showcase of modern dance and the music that inspires it. First on the bill is Justin Peck, the resident choreographer of New York City Ballet who is making his Australian debut. Everywhere We Go is set to a score commissioned from acclaimed singer-songwriter Sufjan Stevens and is a nine-part ballet for 25 dancers streaming in and out of complex group formations and expertly executed pas de deux which brings the energy of Hollywood and Broadway to the classical stage. Next up, Wayne McGregor's all-male Obsidian Tear explores the dark shadows of the planet and psyche. McGregor, who is the resident choreographer of The Royal Ballet, has created a performance that touches on a range of disciplines, from geology to mythology to the powerful effects of emotion on the body, set to a suite of violin works by Finnish conductor-composer Esa-Pekka Salonen. A range of fashion designers including Gareth Pugh and the legendary Vivienne Westwood have been enlisted for the costuming, ensuring a true visual feast. Finally, The Australian Ballet's own resident choreographer Alice Topp will present her new work, the appropriately titled New Work. The piece continues the celebrated choreographer's journey into the emotional core of the lived human experience, and features Australian design and a commissioned score by AACTA Award-winning composer Bryony Marks. Sound like something you want to see? We've teamed up with The Australian Ballet to give away one double-pass to what promises to be a spectacular showcase of 21st century ballet. You and a lucky plus one will score two premium tickets to a performance of your choosing. To really make a night of it, the prize also includes $100 to spend at Arts Centre Melbourne's sleek Mod Oz venue The Barre, where you can enjoy a pre-or post-show feast of seasonal local produce. Just drop your details below to go in the running. [competition]866781[/competition]
Unlike a certain lab coat-wearing grandfather and his nervous grandson, we can't all exclaim "wubba lubba dub dub" and zap our way to a different part of the multiverse when things aren't going our way. But, we can get schwifty, kick back and watch a couple of animated interdimensional adventurers unleash their specific style of chaos, with Rick and Morty set to return in 2021 for its fifth season. Once again, Rick Sanchez and Morty Smith (both voiced by show co-creator Justin Roiland) will do what they do best: not just aping a concept straight out of Back to the Future, but wreaking havoc in as many universes as they can stumble across. Also back are Morty's mother Beth (Sarah Chalke, Firefly Lane), father Jerry (Chris Parnell, Archer) and sister Summer (Spencer Grammer, Tell Me a Story) — and, as the just-released first trailer for season five shows, they're playing a big part in Rick and Morty's dimension-hopping antics this time around. Sneak peeks at Rick and Morty's upcoming episodes are more about the mood, look and feel than the storylines. The show's trailers tease glimpses of all of the out-there situations that its characters will find themselves in, and leave the specifics for the new season itself. That's the case here, naturally — with nods to everything from Voltron to Blade bundled into the trailer, because that's the way the news goes. As for when you'll be able to watch the next batch of Rick and Morty anarchy — and rejoin the smartest Rick and Morty-est Morty in the universe, of course — the fifth season will start airing week-to-week in the US from mid-June. Hopefully Netflix Down Under will follow suit shortly afterwards. That's what happened with season four, which released its long-awaited episodes in two batches in 2019 and 2020. Watch the trailer below: https://www.youtube.com/watch?v=F6Zy_mLgSNQ Rick and Morty's fifth season will start airing weekly from June 20 in the US. Down Under, the show airs on Netflix — and we'll update you with a release date for the new season when one is announced.
Marking the release of their new album, Leave Your Soul To Science, Something For Kate embark on their first Australian tour in five years, stopping off at The Corner. The recently released record is an almost perfect album, one fans have been waiting on for six years. The follow up to 2006’s Desert Lights is a well-paced effort, with moments of calm joined by ones of direct attack, an impressive and eclectic effort from a band whose career has spanned nearly twenty years. With eleven ARIA music award nominations under their belt, Something For Kate are heralded as one of Australia’s finest live acts, and fans here in their home city are sure to have missed them these past few years. Supported by Mr Ben Salter, Something For Kate will bring out favourites old and new like 'Survival Expert', 'Songs For A Sleep Walker', 'Cigarettes And Suitcases' and 'Working Against Me'.
Spending more time at home is much easier to stomach with a hefty rage of desserts on hand, or at least that seems to be Gelato Messina's pandemic motto. Over the past few months, the gelato fiends have served up plenty of tasty specials, including cookie pies in choc chip, red velvet, choc-hazelnut, and peanut butter and jelly varieties; 40 of its best flavours; and full tubs of both Iced VoVo gelato and Messina's own take on the classic Viennetta ice cream cake. This past week, it even whipped up a batch of sticky lamington-scroll hybrids. Next up (because this is a weekly occurrence, so it seems): Messina's version of Italy's famed cremino dessert. It's recreated with gelato, naturally. And it's another of Messina's limited releases, with tubs of the eye-catching creation available at all its stores for a very short period. Wondering what exactly Messina's cremino entails? It combines salted caramel gelato, gianduia fudge, fresh meringue and amaretti biscuits, when adds a layer of freshly piped and torched meringue on top. And if you haven't come across the cremino before, it's a chocolate from Piedmont in the country's north, it dates back to the 19th century and it's made up of three layers, with gianduia chocolate featuring heavily. The latest release in Messina's new 'Hot Tub' series, the cremino gelato can only be ordered online on Monday, August 24, with a one-litre tub setting you back $30. You can then go into your chosen Messina store to pick up your tub between Friday, August 28–Sunday, August 30. If you're in Melbourne, remember that you can only venture to shops within five kilometres of your house — and only once a day — to get essentials, including food. Gelato Messina's cremino gelato tubs will be available to order on Monday, August 24, for pick up between Friday, August 28–Sunday, August 30 — keep an eye on the Messina website for further details.
The globe-trotting flavour fest that is Pint of Origin is back this year. This fan-favourite event sees bars and pubs across the city turn over their taps to spotlight top-notch beers from different corners of the world. 2024's instalment runs from Friday, May 10–Sunday, May 19, shaking up taplists at much-loved venues like Co-Conspirators Brewpub, Terminus Hotel, The Lincoln and The Windsor Alehouse. Each drinking hole will spend ten days heroing brews from a different regional, interstate or international destination, giving punters the chance to broaden their horizons while scoping out some stellar new sips. [caption id="attachment_900291" align="alignnone" width="1920"] Mr West[/caption] Each tap takeover will span a range of beer styles from a stack of different breweries — many of which aren't readily found in Melbourne. You can hit The Catfish for a taste of New Zealand's beer scene or even explore a rotation of UK brews at Whitehart. Also in the 21-strong lineup, Benchwarmer is spotlighting Japanese drops, Heartbreaker is slinging Canadian cold ones, and Fitzroy's Near & Far is diving into some full-blown appreciation for South Australian beers. Many of the venues are also doing guided tastings, pairing events, dinners, trivia and meet-the-brewer sessions throughout the takeover. Plus, if you keep track of your wanderings with a Pint of Origin digital passport, you'll be in with a shot at some great prizes. [caption id="attachment_761608" align="alignnone" width="1920"] Carwyn Cellars[/caption] Top images: The Lincoln, Beermash
If a comet was hurtling towards earth on a collision course that'd wipe out all life as we currently know it, you'd think that humanity would react — and fast. But in the trailer for Netflix's new disaster comedy Don't Look Up, only two people really care: astronomy professor Dr Randall Mindy (Leonardo DiCaprio, Once Upon a Time in Hollywood) and his grad student Kate Dibiasky (Jennifer Lawrence, X-Men: Dark Phoenix). To everyone else, the impending end of the world isn't really something to worry about. The President (Meryl Streep, The Prom) and her son and Chief of Staff (Jonah Hill, The Beach Bum) barely seem to mind, the media definitely doesn't, and neither does the general public. Instead, Kate goes viral for screaming about the apocalypse as she and Randall embark on a media tour to try to convince the planet that being obliterated — in less than six months, and by a Mount Everest-sized comet that's orbiting our solar system — really is kind of a big deal. Forget Bruce Willis and Ben Affleck endeavouring to save the world from an asteroid, because that's so 1998. The former "king of the world" and Katniss Everdeen teaming up to stop a comet from eradicating earth is the firmly 2021 version. And, after first being announced at the beginning of the year — as part of Netflix's lengthy list of new flicks heading its way before 2022 hits — and then dropping a teaser trailer back in September, Don't Look Up now has a full trailer so you can catch a glimpse of how that'll all play out. The film thankfully isn't a sequel to the aforementioned Armageddon. Instead, it's the latest movie from The Big Short and Vice director Adam McKay — and it's set to hit both cinemas and the streaming platform in December. As well as its two high-profile leads, Don't Look Up also stars basically every other actor you can think of, including Timothée Chalamet (Little Women), Cate Blanchett (Where'd You Go, Bernadette), Mark Rylance (The Trial of the Chicago 7), Tyler Perry (Those Who Wish Me Dead), Ron Perlman (Monster Hunter), Himesh Patel (Tenet), Melanie Lynskey (Mrs America), Kid Cudi (Bill & Ted Face the Music) and Ariana Grande. The film will hit Netflix just in time for your Christmas break, dropping on Friday, December 24. It'll also screen in some cinemas from Thursday, December 9, if you'd like to see it on the big screen. And if you're wondering how Don't Look Up will fare tonally, McKay looks like he's in The Big Short and Succession mode, rather than harking back to his Talladega Nights: The Ballad of Ricky Bobby and Step Brothers days. That said, Blanchett does play a TV host, so maybe the filmmaker will have audiences thinking about Anchorman as well. Check out the full trailer for Don't Look Up below: Don't Look Up will be release in select Australian cinemas on Thursday, December 9, and will be available to stream via Netflix on Friday, December 24. Images: Nico Tavernise/Netflix.
In cinemas, on TV and on the page, the past decade or so has served up more than a couple of Nordic noir hits. It's also left audiences wanting more. So, when Australia's annual Scandinavian Film Festival rolls around each year — sitting out 2020 for obvious reasons, though — it tends to deliver a few twisty thrillers from that part of the world. In fact, when 2021's fest kicks off in Sydney on Tuesday, July 6 — and plays Canberra, Melbourne, Adelaide, Perth, Brisbane and Byron Bay as well — it'll start with a must-see new entry in the Scandi-noir genre. Hailing from Denmark, opening night's Wildland stars Sidse Babette Knudsen (Borgen, Westworld) as the head of a family crime syndicate. She's charged with looking after her teenage niece and, in a movie that instantly brings Australia's own Animal Kingdom to mind, the latter soon learns more about the family business. Also on this year's Scandinavian Film Festival lineup: Knudsen again in Copenhagen-set psychological thriller The Exception; masterful and engaging Norwegian film Disco, about an evangelical dance champion who finds her faith tested; and surreal mother-daughter drama Psychosis in Stockholm. Or, for fans of Nordic cinema's big names, relationship drama Hope co-stars Stellan Skarsgård (Chernobyl), musical comedy A Piece of My Heart sees Swedish-born actor Malin Akerman (Rampage) back on home turf, and The Country hails from Icelandic filmmaker Grímur Hákonarson — who directed Rams, which was remade in Australia last year. Other highlights include Icelandic box office hits Agnes Joy and The Last Fishing Trip, the latter of which has been compared to The Hangover; Finnish biopics Helene and Tove, about painter Helene Schjerfbeck and visual artist and author Tove Jansson, respectively; Tigers, which tells the true tale of former Inter Milan player Martin Bengtsson; and closing night's 50th anniversary-screening of The Emigrants starring Max von Sydow and Liv Ullmann. Australia's various country- and region-focused film fests have always let cinephiles see the world without leaving their cinema seats — and with trips out of the country (other than New Zealand) off the cards at the moment, that's clearly a big drawcard at this year's Scandinavian Film Festival, too. The Scandinavian Film Festival tours the country between Tuesday, July 6–Wednesday, August 4, screening at Sydney's Palace Norton, Palace Central and Chauvel Cinemas from July 6–28; Melbourne's Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, The Kino and Pentridge Cinema from July 8–28; Brisbane's Palace Barracks and Palace James St from July 15–August 4; Adelaide's Palace Nova Eastend Cinemas from July 13–August 4; and Perth's Luna Leederville, Luna on SX & Palace Raine Square from July 14– August 4. For the full program, visit the festival website.
Become the most mindful version of yourself at Melbourne's new multidisciplinary meditation studio. Now open on Glasshouse Road in Collingwood, A—SPACE is a place where busy professionals can escape from the pressures of everyday life. "It's a nourishing environment," says co-founder Josh Lynch, "that allows people to slow down, take a breath and feel like they're part of a community." Both Lynch and his business partner Manoj Dias have a background in marketing and know full well the difficulties of maintaining work/life balance. "I know what it's like to feel the weight of your working life pile up on your shoulders and not know how to remove it," says Dias. "Drinking more coffee than your body can handle, taking on more and more tasks and feeling like you can't switch off." "We wanted to create a space for people to slow down, breathe and engage in meaningful connections," he adds. To that end, A—SPACE offers a range of classes and workshops, from mindfulness meditation to pranayama techniques to yoga nidra. Classes start at $20, or you can invest in a membership. A—SPACE also has a number of corporate options for employers and their teams. With meditation having been found to make people happier and more productive, it seems like a worthwhile investment. Find A—SPACE at 5 Glasshouse Road, Collingwood. For more information visit www.a-space.com.au
UPDATE: JUNE 20, 2020 — With the number of new COVID-19 cases increasing in Victoria, Premier Daniel Andrews has today announced that some restrictions will be tightened at midnight on Sunday, June 21 instead of eased. The below has been updated to reflect this change. From Monday, June 22, more changes are rolling out in Melbourne. But not quite as first anticipated. Victoria has seen an increase in new COVID-19 cases — with 25 recorded in the 24 hours before Saturday, June 20 — which means that some restrictions are tightening once again. You are now allowed just five visitors in your home and outdoor gatherings have been restricted to ten — instead of 20 for both. Limits for hospitality venues, libraries and museums were expected to increase to 50, but, instead, they will stay at 20. There is some good news, though: you can now go buy a pint from a pub without ordering a meal, as well as visit a gym, theatre or cinema — all which have been allowed to open from today. Victoria's State of Emergency has also been extended for another four weeks, until midnight on Sunday, July 19. So, what exactly can you do from June 22? We've broken it down. GATHERINGS The tightening of restrictions as a result of Victoria's recent increase in new COVID-19 cases predominantly impacts gatherings. You can now have only five visitors in your home and outdoor gatherings must be restricted to ten. Premier Daniel Andrews has also reiterated the importance of staying at home when you are unwell — even if you just have the sniffles. "You cannot make your own decision because it is not your decision to make. You are putting the rest of Victoria at risk," the Premier said at a press conference on Saturday, June 20. "My message is very clear. If you are sick, you cannot go out. If you are sick, you cannot go to work. If you are sick you cannot — even moderate symptoms, mild symptoms — you cannot go and visit family and friends. If you are told to isolate, you must isolate." If new COVID-19 cases continue to rise, the Premier has said lockdowns could be reintroduced in COVID-19 hotspots. [caption id="attachment_738194" align="alignnone" width="1920"] Leo's By The Slice, Kate Shanasy[/caption] RESTAURANTS, BARS, PUBS AND CAFES While you've been able to head to cafes, pubs and restaurants since June 1, there have been some pretty tight restrictions, including having to order a meal with your drink. From June 22, you'll be allowed to grab a pint, cocktail or wine without having to order food — but you will need to remain seated while drinking, no dancing on the dance floor just yet. While the capacity was set to increase to 50 punters per space from this date, too, it'll stay at 20 until at least July 12. Some venues are walk-ins only and others require bookings, so be sure to check the relevant websites before you go. [caption id="attachment_753117" align="alignnone" width="1920"] NGV, Tom Ross[/caption] ART GALLERIES AND CULTURAL INSTITUTIONS Victorian cultural institutions, including galleries, museums, libraries and historic sites have also been allowed to open since June 1; however Melbourne's major cultural spots will be reopening from Saturday, June 27. This includes the National Gallery of Victoria, Melbourne Museum, State Library Victoria, IMAX Melbourne and Scienceworks. Similarly to restaurants and cafes, their capacities were set to increase to 50 people on June 22, but, instead, they'll remain at 20 in each space. As capacity is limited, time-allotted visits will be essential, with many of the galleries and museums requiring pre-purchased tickets. Arts Centre Melbourne has postponed its partial reopened that was initially scheduled for June 27. [caption id="attachment_693396" align="alignnone" width="1920"] Thornbury Picture House by Nicole Cleary[/caption] CINEMAS, THEATRE SHOWS AND CONCERT VENUES Movie theatres have been closed around the country since mid-March, but as of Monday, June 22, projectors will be allowed to start whirring again in the Garden State. And, while that doesn't mean that it's popcorn-munching business as usual quite yet, local cinemas will gradually begin to reopen. Cinema Nova will be one of initial places to start welcoming movie buffs back into darkened rooms, opening its doors on the very first day it can, as will the Classic, Lido and Cameo cinemas, and Reading's Victorian sites. Thornbury Picture House will then reopen on June 25, followed by Palace's Victorian sites on July 2. Drive-in cinemas, including Dandenong's Lunar Drive-In, Village Cinemas Coburg Drive-In and the Dromana Drive-In will continue screenings, too. You'll be able to head to the theatre or catch a live gig, too, with the Victorian Government allowing such spaces to open, with 20 seated patrons per venue or theatre, subject to the four square metre rule. Theatres with multiple seating tiers with separate entries can have up to 20 people per tier. However, many major Melbourne theatres and gig spaces are yet to announce their opening dates. Because of the recent increase in cases, all of the aforementioned venues will be allowed a maximum of 20 seated guests per venue, unlike the expected 50. GYMS, SWIMMING POOLS AND COMMUNITY SPORT If you've missed your sweat sessions, you'll be pleased to know that indoor gyms and recreation centres can resume from June 22, with a maximum of 20 people per space or zone and up to ten people per group class. Indoor and outdoor swimming pools will still have the current 20-person limit, but there'll be no restrictions of people per lane in each pool. You'll now be able to access the change rooms and showers, too. Unfortunately, you won't be able to rejoin your local footy club just yet as only non-contact competitions can resume for all ages; however, full-contact training for adults are set to resume from July 13, followed by competitions ons July 20. [caption id="attachment_714491" align="alignnone" width="1920"] Visit Victoria[/caption] HOLIDAYS We've been able to go on regional holidays for a few weeks now, but places — including campgrounds — with communal facilities such as bathrooms and kitchens have remained off limits. From next week, this will no longer be the case and you'll be able to go camping or stay in communal-style accomodations. Victoria's snowfields are also allowed to reopen from June 22, with Mount Buller reopening on the first day it can, followed by Hotham and Falls Creek on June 24. The resorts will run a little differently this year, though, and passes and lift tickets must be pre-purchased. To find Interstate travel is also allowed, but, at present, only NSW and the ACT have opened their borders. Queensland is working towards reopening to visitors from other states on July 10, although that hasn't been officially confirmed as yet, while the Northern Territory announced it'll reopen on July 17 — and South Australia is slated to do the same on July 20. Neither WA nor Tasmania have yet to announce reopening dates. If you're keen to plan ahead, Qantas and Jetstar are offering some crazy cheap domestic flights (as low as $19) until midnight on Monday, June 22. International travel is still off the cards, which looks likely to remain the case until 2021. To find out more about Victoria's COVID-19 restrictions, head to the Department of Health and Human Services website.
One festival that certainly hasn't taken a hit in the popularity stakes is Falls Festival. This year the Falls team is also bringing the party closer to home, debuting in Byron Bay. One of the longest running, boutique music events in Australia, the three-day festival boasts camping, music and arts acts from all over the globe. This year's headliners include (the greatest house band in the world) The Roots, festival favourites The Wombats and the always-interesting Grizzly Bear, as well as some killer local acts such as Hermitude, Big Scary, Chet Faker and Horrorshow.
Dinner parties always seem like a good idea. But just thinking about the shopping, setting up, cooking and cleaning can be enough to drive you to drink, often at a pricey bar. Never fear, there are some easy tricks to hosting a cracker of a meal that is easy on the wallet and won’t test your sanity. As spring beckons urging us to act on our festive impulses, many of us will brave it. Let us present to you our tips for the time poor and culinary challenged in our bluffer’s guide to hosting the perfect dinner party. Setting Up Alfresco dining is always preferable. As George Michael will tell you, people just have more fun outside. And don’t worry if your backyard is wearing the wounds of less classy occasions. Do a quick sweep-up (no need to be too fussy) and fill the place with random objects, fairy lights and lots of candles – I like to stick them in old booze bottles. Imperfections, somehow, become charming in dim lighting. Light a fire. Cover the table in something black - it’s forgiving - and pour all the wine into carafes. It is an undeniable fact that wine tastes more expensive when poured from a carafe. Vases or glass containers of any description will work also. Once setup, get the tunes going. It’s important that your playlist is tailored to accompany the swim of lady alcohol through your guests. Regardless of your preferred genre, there is a formula I’ve found never fails. Start with something new, slowly move into some cult classics, finally, if the mood is right, get a little bit tragic. Entrée Save the unnecessary effort, and washing up, that comes with preparing individual dishes and simply throw a nice platter together. The key is to know where to pick up some good grub for picking. Thankfully the city is teeming with amazing delis. Throw everything straight on the platter, no little dishes. And you need some bread. This is not the time for Wonder White, though. Try a spelt or a kamut if you want to go gourmet. Rip it up and serve straight on the board with a drizzle of olive oil and balsamic for dipping. Discarded jar lids come in handy. Set it beside the table and let the guests graze casually. Main course I opted for a vegetarian risotto. It’s cheap, easy and will keep your vegetarians and gluten haters at bay (you can hold out on the cheese if need be, but it seems lactose intolerance has become a bit passé). Any old Google recipe will do, just toss through your favourite bits and pieces and be sure to keep the rice from sticking to the bottom of the pot. Throw together a simple salad. Rocket, pear, walnut and parmesan is my go-to. The nightcap As the evening curtails, it is nice to introduce a new beverage. Boil some cheap plonk with oranges, sugar, cinnamon, cloves and vanilla (or whatever condiments you’ve got!) and voila! Mulled wine. I like to throw some rhubarb in also. And maybe a splash of port if it’s on hand. Whether the night evolves into a political debate or a living room dance-off, you’ve certainly set your guests up for a good one. Sit back, relax and bask in the host’s glory.
Whether you like hitting the beach, hopping on rollercoasters, touring movie studios or trekking through the hinterland, the Gold Coast isn't short on tourist attractions. But the Sunshine State holiday spot's latest addition will take you to new depths — swimming around underwater sculptures and coral, and past hundreds of different species of marine life, all without venturing too far from the shore. Meet Wonder Reef, which opens for dives from Wednesday, June 8. It's a huge artificial reef, and it's perched just a ten-minute boat trip from the Gold Coast Seaway. Here, you'll descend down to 30 metres, and paddle around nine giant buoyant reef sculptures, which are floating beneath the surface about 2.5 kilometres offshore from Philip Park at The Spit. First announced back in mid-2021, the new $5-million attraction is designed for experienced divers — and to draw in more tourists to the Goldie, obviously. The site's coral was planted just before Christmas last year, and has already been attracting everything from lobsters, octopus and tropical fish to turtles and giant gropers. It's also expected to grow by between one and 25 centimetres a year. That's what more than 16,000 divers will see each year, too, as well as those nine sculptures. Made by Queensland artist Daniel Templeman, they measure up to 22 metres tall, weigh more than 738 tonnes (in air) and span a reef habitat of 32,000 cubic metres in size. If you're now keen for a dip, Gold Coast Dive Adventures and Queensland Scuba Diving are running regular tours. Or, if you're an experienced diver with your own boat and dive equipment, you can also book a public mooring. Pitched as a new bucket-list dive site by the City of Gold Coast and the Queensland Government, who've brought it to fruition, Wonder Reef has been given a 50-year seabed lease. So, it's sticking around for both a good time and a long time. And while the site is man-made — the coral is real, but the reef setup is artificial — it's been crafted with the natural environment in mind. Indeed, not that anyone should need any assistance, but helping folks to appreciate the underwater beauty of the natural world is another of Wonder Reef's big aims. Wonder Reef is open for bookings from Wednesday, June 8. For more information, head to the Wonder Reef website.
When it comes to showcasing up-and-coming Australian musical talents, and also celebrating the country's music industry in general, Brisbane's BIGSOUND has never held back. Going big is right there in its name, after all. So, with the event finally making its in-person return after a pandemic-afflicted couple of years — and also marking its 21st birthday — it should come as no surprise that it's set to host its biggest lineup ever. Back in April, BIGSOUND confirmed its comeback details for 2022, including dates and basic numbers — a four-day event including the conference side of things, running from Tuesday, September 6–Friday, September 9, and popping up in 21 different venues, to be precise. It also promised that more than 150 bands and artists would take to its stages, too. Now that the full bill is here, that figure has gone up to a whopping 182. [caption id="attachment_861893" align="alignnone" width="1920"] Jess Gleeson[/caption] That's 38 artists more than the last in-person event, in 2019, boasted — and they'll take to 23 stages at those 21 Fortitude Valley venues over three nights. Leading the charge: Adrian Dzvuke, Budjerah, flowerkid, Dallas Woods, Mia Wray and Teenage Joans, as well as Dulcie, Ghost Care, Ashwarya, Birdz, Jem Cassar-Daley, Concrete Surfers and VOIID. The list goes on, and also includes the event's first BIGSOUND Country lineup, spanning country The Buckleys, Hinterland, DARLINGHURST, Loren Ryan, Melanie Dyer, Taylor Moss and The Wolfe Brothers. A contingent from New Zealand will head over as well, with JessB, Soaked Oats, Troy Kingi, TE KAAHU, Church & AP, MELODOWNZ and Jenny Mitchell making the trip. [caption id="attachment_861894" align="alignnone" width="1920"] Lachlan Douglas[/caption] Wondering which venues will be doing the honours? The list features everywhere from Black Bear Lodge and both inside and outdoors at The Brightside through to The Wickham and The Zoo. If you're a BIGSOUND regular, you'll know what all of this entails: jumping between as many spaces as possible, all teeming with as many bands, industry folks and music-loving punters as possible, and enjoying the latest and greatest tunes and talent that's on offer. Expect 2022's iteration to be no different to usual — well, the pre-pandemic usual — although the vibe is set to jump up a few notches given that there's so much to celebrate. [caption id="attachment_851420" align="alignnone" width="1920"] Bianca Holderness[/caption] Past events have showcased everyone from Gang of Youths, Flume, Tash Sultana and Courtney Barnett to San Cisco, Violent Soho, Methyl Ethel and The Jungle Giants, making the BIGSOUND program a very reliable bellwether of current and up-and-coming musos. This year's fest will also include 300 artist showcases and more than 20 parties, while the conference side of things will welcome in 150-plus speakers over 55 sessions (and more than 1500 delegates as well). Leading the conference bill so far: 'Friday' singer Rebecca Black; activist, author and #MeToo movement founder Tarana Burke; Mushroom Group CEO Matt Gudinski; and Jaguar Jonze and Example. BIGSOUND's return to the Valley's streets follows a virtual event in 2020, and comes after 2021's fest was originally slated to go ahead in-person, but had to cancel due to COVID-19. [caption id="attachment_851423" align="alignnone" width="1920"] Lachlan Douglas[/caption] BIGSOUND 2022 FESTIVAL LINEUP: Adam Newling Adrian Dzvuke AGUNG MANGO Alter Boy Andrew Gurruwiwi Band Andrew Swift Andy Golledge Anesu Aodhan Asha Jefferies Ashwarya Ayesha Madon Baby Cool Banjo Lucia Beckah Amani BIG SKEEZ BIG WETT Birdz BLOODMOON Blusher Bones and Jones BOY SODA Brekky Boy Bud Rokesky Budjerah Bumpy C.O.F.F.I.N Caroline & Claude Chanel Loren Chloe Dadd Church & AP CLOE TERARE Club Angel Cody Jon COLLAR CONCRETE SURFERS cookii Dallas Woods dameeeela Daniel Shaw DARLINGHURST Dean Brady Death by Denim Diimpa Dulcie Eastbound Buzz EGOISM Eilish Gilligan Eliza Hull Eluize Enclave ENOLA Evie Irie Fash Five Island Drive flowerkid FLY BOY JACK Folk Bitch Trio Forest Claudette FOURA Franko Gonzo Full Flower Moon Band Future Static Germein Ghost Care Girl and Girl Gold Fang Grace Cummings and Her Band Grand Pine Great Sage Greatest Hits grentperez Greta Stanley Grievous Bodily Calm Hallie HANNI Hauskey Hinterland Holliday Howe Hope D ISUA JACOTÉNE JELLY OSHEN Jem Cassar-Daley Jenny Mitchell Jerome Farah Jess Day JessB June Jones KANADA THE LOOP Kee'ahn KEYAN Kid Pharaoh Kutcha Edwards LÂLKA Lee Sugar LION Liyah Knight Loren Ryan LOSER MALi JO$E Melaleuca Melanie Dyer MELODOWNZ Memphis LK merci, mercy Mia Wray Mitch Santiago Molly Millington Monnie Moonboy Moss MOUNTAIN WIZARD DEATH CULT Mr Rhodes Mulalo MUNGMUNG Mvlholland Newport Nick Griffith Nick Ward Noah Dillon OK HOTEL Old Mervs Phoebe Go Pink Matter Platonic Sex Queen P RinRin Romero Roy Bing Ruby Gill Ryan Fennis & Voidhood Saint Ergo Sam Windley San Joseph Sappho Sarah Wolfe SayGrace Selfish Sons Selve Shanae (FKA MADAM3EMPRESS) Shannen James Siobhan Cotchin Skeleten Soaked Oats SOPHIYA South Summit Srirachi Stevan Suzi Talk Heavy Tasman Keith Taylor Moss TE KAAHU Teenage Dads Teenage Joans Teether & Kuya Neil Tentendo The Atomic Beau Project The Buckleys The Last Martyr The Rions THE RIOT The Terrys The Wolfe Brothers To Octavia Toby Hobart Troy Kingi Tulliah VOIID VOLI K Waxflower WIIGZ Wildheart Woodes Yb. Yen Strange yergurl YNG Martyr Zeolite ZPLUTO BIGSOUND 2022 VENUES: Black Bear Lodge Blute's Bar The Brightside The Brightside Outdoors EC Venue Ivory Tusk King Lear's Throne La La Land O'Skulligans The Outpost Press Club The Prince Consort Hotel Prohibition Ric's Bar + Backyard Stranded Bar Summa House Tomcat The Warehouse The Wickham Woolly Mammoth Mane Stage The Zoo BIGSOUND 2022 will take place between Tuesday, September 6–Friday, September 9 in Fortitude Valley, Brisbane. For more information, or to buy tickets, visit bigsound.org.au. Top image: Bianca Holderness.
It's best known for whipping up eye-popping, intricate sweet treats; including the legendary strawberry and watermelon creation that once claimed the title of 'world's most Instagrammed cake'. But for its latest trick, Sydney-born bakery Black Star Pastry is doing something a little different. The famed brand is now in the business of liquid treats, today releasing two new signature drinks inspired by two of its best-loved cakes. It's time to ditch your usual coffee order and say g'day to the Strawberry Watermelon Latte and the Hot Chocolate Mirage. The decadent sips will be joining the menu permanently at all of Black Star's Sydney and Melbourne stores, clocking in at $7 a pop. Fans of pink drinks will be all about the strawberry and watermelon concoction — crafted on a secret-recipe syrup featuring all the same notes as the iconic cake, as well as almond milk to capture the flavours of its almond dacquoise layers. It's all finished with a spritz of rosewater, a sprinkling of pistachio powder and a garnish of rose petals. For the chocolate fiends, there's the Hot Chocolate Mirage, which is built on rooibos tea — just like its eponymous Choc Mirage Slice. The tea's mixed with your choice of milk, plus caramel, hazelnut syrup and paste, and rich Valrhona Madagascan Manjari chocolate. Then, the drink's garnished with chocolate and gold, and served with the same passionfruit, chocolate and yuzu sun that normally sits atop the cake. Find the Strawberry Watermelon Latte and the Hot Chocolate Mirage at all Black Star stores in Sydney (Newtown, CBD, Rosebery, Moore Park) and Melbourne (Chadstone).
Virtual assistants in our homes, facial recognition technology everywhere, drones throughout the skies — it's no secret that we're being watched and listened to more than ever before. None of us want our data used for nefarious purposes, but what is the true price of living in such a state of surveillance? The Ethics Centre director Dr Simon Longstaff is chairing a panel — which features AI researcher Toby Walsh, former national human rights commissioner Edward Santow and journalist and filmmaker Yaara Bou Melhem — that will attempt to answer some of the modern world's most urgent questions. Join these luminaries in The Great Hall at UTS as they share their ideas and concerns.
UPDATE, FEBRUARY 15: Moonlight Cinema has now dropped its March program, which'll take the openair cinema through until the end of its 2019–20 season on Sunday, March 29. Highlights include Oscar-winner Parasite, the creepy new version of The Invisible Man and a couple of chances to see Margot Robbie unleash mayhem in Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn). You can also enjoy a blast from the past with The Dark Knight and Harry Potter and the Prisoner of Azkaban. UPDATE, JANUARY 18: Moonlight Cinema has revealed its February lineup, with a fresh batch of films coming to the outdoor venue. Recent gems such as Little Women and 1917 will screen alongside old-school hits such as Mean Girls, Ghost, The Adventures of Priscilla, Queen of the Desert and a sing-along session of Grease (yes, it's playing on a summer night). You can also head along to a pooch-focused night of movies thanks to a collaboration with Top Dog Film Festival, who'll be presenting a best-of screening. Like all sessions at Moonlight, you can bring your pupper along, too. When Moonlight Cinema returns for its 2019–20 season, the annual feast of outdoor movies will give film fans exactly what we all want. Sure, we're all keen to roll out our picnic blankets, sit under the stars and stare up at the big screen — but, given that this openair cinema launches at the end of each and every year, we also want Christmas movies. In the week leading up to the big festive day, Moonlight will screen Last Christmas, Die Hard, Home Alone, Love Actually and Elf. Yep, all the basics are covered. They're not the only highlights from the just-dropped November, December and January program, but they sure do twinkle brightly among a heap of other movie standouts. If you're wondering what else will tempt your inner cinephile from November 28, it's a lengthy list. With recently or newly released movies a big part of Moonlight's lineup, expect to watch Rocketman, Hustlers, Joker, Ford v Ferrari, Knives Out, Cats, Star Wars: Episode IX — The Rise of Skywalker and Charlie's Angels — and, in some cities, to see Brad Pitt twice thanks to Once Upon a Time in Hollywood and Ad Astra. Moonlight also showcases advanced screenings of upcoming films, so add the Nicole Kidman, Charlize Theron and Margot Robbie-starring Bombshell and Tom Hanks in It's A Beautiful Day in the Neighbourhood to your must-see pile. Going retro, the outdoor cinema will mark 20 years since The Matrix with an anniversary screening, and revisit last year's A Star Is Born and Bohemian Rhapsody. Dirty Dancing is also on the bill, like every year — it wouldn't be a Moonlight without it. As always, Moonlight will also boast its usual food truck and licensed bar offering, and its reserved bean beds. You can also BYO booze and bring your dog.
Trying not to think about Leonardo DiCaprio and Kate Winslet is about to become impossible in Australia. So will getting Celine Dion's 'My Heart Will Go On' out of your head, where it's dwelled for most people since the Oscar-winning track was released in 1997. The reason: a Titanic exhibition has dropped anchor Down Under and docked at Melbourne Museum until Sunday, April 21. Titanic: The Artefact Exhibition has brought 200-plus items from the shipwreck to the Victorian capital in its Aussie trip after selling out its Paris season and also proving a hit in the US. The pieces on display were legitimately recovered from the vessel's wreck site, too, after the RMS Titanic's ill-fated voyage in April 1912 — aka the events that James Cameron (Avatar: The Way of Water) turned into the DiCaprio (Killers of the Flower Moon)- and Winslet (Ammonite)-starring Titanic more than a quarter-century ago. For everyone bound to exclaim, "I'm the king of the world!" while walking through Titanic: The Artefact Exhibition's Australian-exclusive stop, this is the king of all Titanic exhibitions. In fact, it's the most extensive in the world. As well as seeing the genuine objects from the ship, attendees will wander through full-scale recreations of the vessel's interiors, such as the veranda cafe, first-class parlour suite and grand staircase. In addition to the recovered items and recreations of the Titanic's spaces, the exhibition will tell tales about those onboard the ship that launched its maiden voyage on April 10, 1912, only to sink five days later on April 15, after hitting an iceberg. You'll be able to immerse yourself in the fateful events of that night with interactive exhibits like a touchable iceberg chilled to the temperature of the water the night of the sinking. This exploration of a tragic chapter in history will focus on passengers and crew alike while stepping through the vessel's class divisions and pondering the boat's legacy. Beyond the historical learnings, you can enjoy a Titanic-themed high tea designed by a Michelin-star chef to fully immerse yourself in the era in an elegantly designed lounge. Titanic: The Artefact Exhibition must close on Sunday, April 21. Evening sessions are also available. For more information or to book tickets, visit the website. Images: EMG / Alexandre Schoelcher / Eugene Hyland / Museums Victoria.
If a cheeky ancient spirit wanted to unleash their signature beverage, how would they go about it? Mix up some rum cocktails? Corral a bunch of bands and DJs? Take over some bars and pubs? In the case of Campari's new lip-smacking spirit Baron Samedi Spiced, all of the above proves true. To celebrate the launch of Baron Samedi Spiced — a Caribbean rum laced with spices such as vanilla, cacao, cinnamon and native Haitian spice Vetiver — the folklore villain is spreading his brand of mystery across Sydney and Melbourne. After all, you don't become a skull-faced underworld figure in Haitian Voodoo, leader of the Guédé, guardian of the afterlife (and general go-to dude whenever magic and death comes up) without causing a bit of mischief. If you're in NSW, you have a few options, starting with Baron Samedi Haitian Nights at Taylor's Rooftop from June 8 to July 7. If Sunday hangouts and tunes by Sydney hip hop legend Joyride north of the bridge take your fancy, there will also be heap of fun stuff taking place at Manly Wharf Hotel and Daniel San throughout June and July. Melburnians can head to Brunswick's Penny Black to get in on the action, with local band Dallas Frasca kicking things off with a live set on June 3. The venue will also offer nightly Baron Samedi drink specials until the end of July, as will Big Mouth St Kilda. So it's time to switch to rum for winter — it's one of the best ways to keep warm, after all.
After two years of COVID cancellations, Australia's most interestingly named beer festival is finally back. Blobfish makes its much-anticipated return to North Melbourne's Meat Market this month, once again pulling together a lineup that celebrates the sour, the funky and the delightfully different. Founded and helmed by the team at Footscray's own Hop Nation Brewing, the tasting party will run across two sessions on Saturday, July 23, offering punters the chance to sample a whole swag of rare and unusual beers from 19 leading Aussie and New Zealand labels. You'll spend 4.5 hours sipping your way through a diverse range of sours, saisons, barrel-aged brews, fruity concoctions and rare small-batch runs, from the likes of NZ's Garage Project, Sydney's Wildflower, Van Dieman out of Tasmania and Queensland's AWOL. Locals among the lineup include Future Mountain, La Sirène, Collingwood's Molly Rose and regional favourite Bridge Road Brewers, as well as Hop Nation's own funky, barrel-aged spin-off label, Site Fermentation Project. The options don't end there, either, with a 'lager lounge' where you can cleanse the palate between tastings, a range of food vendors and an oyster bar shucking all through the day. Plus, there'll be DJ tunes to soundtrack your sipping. A ticket will cost you $85, which includes entry, a keepsake Blobfish beer glass and tastings from each brewery. Blobfish sessions run from 11.30m–4pm and 5–9.30pm.
One of the big hits of this year's Melbourne International Comedy Festival is back in town for Melbourne Fringe. Featuring some of the city's best improvisers, Completely Improvised Potter delivers exactly what it promises, building on suggestions from the audience to tell the story of a typical year at Hogwarts. Naturally, things go off the rails almost immediately. Will our plucky heroes do battle with a horde of Hippogriffs, or defend their honour on the Quidditch pitch against a rival wizarding school? No two shows are the same, but one thing's for certain: there's always magic.
From a rooftop glamping hotel to rumours of a rooftop bar at Tullamarine Airport, Melbourne's high spots have been getting more and more attention. The latest addition to the mix is QT Melbourne's secret rooftop garden. Not that the space, dubbed Secret Garden, hasn't existed before now. It was established the garden a couple of years ago by Andy Harmer, executive chef of QT's Pascale Bar and Grill, who has since been using it as a source of fresh produce. Every morning, he and his team head up into the sunshine to harvest vegetables, herbs, flowers and fruit in their wonderland of natives and rare varietals. Next time you're perusing the menu, look out for fruit salad sage, karkalla, native river mint and blue lily pilly. Now, for the first time, the garden has become open to the public — more specifically, to parties. Get together with 10–25 mates and you can have the beautiful space to yourself. There's a couple of food-and-drink packages available. With ten people, you can partake in a long, lazy, multi-course feast made up of dishes like asparagus, truffle and stracciatella, and rose veal with almond gazpacho and secret garden radish, all with matching wine, cocktails and spirits. Meanwhile, if you're travelling with a bigger group, you can opt for a two-hour experience that gives you a private chef, private bar and handpicked selection of share plates. Find Secret Garden at QT Melbourne, 133 Russell Street, Melbourne. More information and to make a booking, visit the hotel website.
Located on South Wharf, The General Assembly is brought to you by the good people of Matilda Bay Brewing Company, and is the only venue outside the brewery itself to stock all of the Matilda Bay beers on tap. The clean, open space is filled with with long wooden tables and an inventive beer bottle light fixture makes the venue a pretty prime location to sample a few beers by the river — and while you're there you should definitely grab something off the menu. Matilda Bay is the brewery that brought you Fak Yak, Beez Neez, Alpha Pale Ale and other staple Australian craft brews. If you can't decide what to drink, they do beer tasting paddles which includes 5 glasses for $16. For those of you who are well acquainted with the Matilda Bay selection already, don't fret, they also stock one-off seasonal beers on tap, as well as other bottled local and international ones. If wine is more to your taste, they've carefully selected wines that are 'minimal intervention', which includes biodynamic, organic and preservative-free drops. Their beer taps are really interesting here — arranged lightest to darkest, the taps are transparent so you can actually see the colour of the beer before it starts pouring. The menu appears uncomplicated, with each dish focusing on few ingredients to make the most of excellent produce. It's part of the simple but effective philosophy going at The General Assembly, and it makes for tasty and satisfying fare. The prawn bun with cos and Marie Rose sauce ($10), is a nice way to kick things off if you just want something small off the snack menu. The fiore di burrata ($12) was one of the more intriguing smaller dishes we've had in a while, with an interesting mix of flavours and textures. Baby cos is drizzled in a creamy anchovy dressing, and the delicate burrata is surrounded by stronger flavours of liquorice and candied olives. The anchovy doesn't overpower the dish, allowing everything on the plate to have a distinct taste, while still working well together. Candied olives sound a bit unusual but, let us warn you, they're addictive. For something a little larger that's ideal for sharing, try something from the Josper grill, which is a hybrid of a charcoal grill and an oven. We can vouch for the whole snapper, which is wonderfully cooked and covered with capers, lemon and beurre noisette, with a side of a refreshing watercress and fennel salad ($32). As with this dish, the beers on tap and the simple aesthetic of this riverside pub, The General Assembly comes out as a winner with their keep things simple approach. This venue will be quite the crowd pleaser this summer.
Twice a year, the Sydney-based Queer Screen team puts together a film festival — because condensing the year's best LGBTIQ+ into just one event is a tricky feat. The first, the Mardi Gras Film Festival, happened earlier in 2020. Now, in this new pandemic-afflicted world, the crew's second fest for the year is heading to your screens. That'd be Queer Screen Film Fest, which runs from Thursday, September 17–Sunday, September 27 — and, adapting to this chaotic year, will largely be held virtually. If you're located outside of Sydney, that's particularly excellent news, as the festival is going national in 2020, too. On the bill: more than 40 feature films, documentaries and shorts, with the majority streaming to your chosen device during the fest period. That means that you can curl up on the couch and watch everything from queer German coming-of-age film Cocoon and Japan-set drama Moonlit Winter to New Zealand rom-com Same But Different: A True New Zealand Love Story — plus cross-cultural romance Breaking Fast, documentary Steelers: The World's First Gay Rugby Club and a heap of shorts as well. For Sydneysiders keen for a night out, that is still an option — at the Skyline Drive-In and the Chauvel Cinema. Hop in your car to see the Jacki Weaver-starring Stage Mother or Aussie classic The Adventures of Priscilla, Queen of the Desert under the stars, or get cosy in the theatre to check out acclaimed doco Welcome to Chechnya. https://www.youtube.com/watch?v=8N0bzQ-qzCg The 2020 Queer Screen Film Fest runs from Thursday, September 17–Sunday, September 27 , with most of its program available online nationally. It's also hosting physical events on Saturday, September 19 and Sunday, September 20 at the Chauvel Cinema, and on Saturday, September 26 at the Skyline Drive-In.
If this isn't a golden ticket to a great night on the couch, then we don't know what is: the delightful Willy Wonka prequel starring Timothée Chalamet (Bones and All) and directed by the Paddington films' Paul King is now spreading its sweetness to your couch. Although it's still playing in cinemas after opening in mid-December 2023, Wonka has been fast-tracked to digital so that you can get chocolate cravings at home. And you will be have a hankering for desserts as Chalamet sings, twirls around an umbrella, and talks about making weird and wonderful treats — and as a childhood favourite gets a prequel. Our tip: choose your movie-watching snacks accordingly. Otherwise, your stomach will start grumbling amid the songs, dancing and Hugh Grant (Dungeons & Dragons: Honour Among Thieves) stealing scenes as an Oompa-Loompa. Wonka hitting digital helps add to any pre-Dune: Part Two Timmy C marathons that you might be planning before the latter film reaches the big screen at the end of February. With King writing and directing, the first with co-scribe Simon Farnaby, this new stint with Roald Dahl's chocolatier gives the character an origin story starring the actor who has had his heart broken during a lusty Italian summer, romanced Saoirse Ronan in a Greta Gerwig film not once but twice, spiced up his life in a sci-fi saga and sported a taste for human flesh. Here, Chalamet croons his way through a whimsical world of sugar and pure imagination. First gracing the page almost six decades back, in 1964 when Charlie and the Chocolate Factory initially hit print, Willy Wonka has made the leap to cinemas before with Gene Wilder playing the part in 1971, then Johnny Depp in 2005. The difference this time: not just Chalamet, but a film that swirls in the details of Wonka's life before the events that've already been laid out in books and filled those two movies. The picture's main man has a dream — and, after spending the past seven years travelling the world perfect his craft, he's willing to get inventive to make it come true. Starting a chocolate business isn't easy, especially when the chocolate cartel doesn't take kindly to newcomers, selling choccies at an affordable price and sharing their wares with the masses. From there, brainwaves, optimism, determination, Wonka inventions and life-changing choices all spring, plus big vats of chocolate, chocolate that makes you fly and Willy's dedication to making the greatest chocolate shop the world has ever seen. Beyond Chalamet and Grant, Wonka's cast is as jam-packed as a lolly bag, with the pair joined by Farnaby (The Phantom of the Open), as well as Olivia Colman (Heartstopper), Sally Hawkins (The Lost King), Keegan-Michael Key (The Super Mario Bros Movie), Rowan Atkinson (Man vs Bee), Jim Carter (Downton Abbey: A New Era) and Natasha Rothwell (Sonic the Hedgehog 2). And the magical tone sprinkled throughout Wonka doesn't just fit the tale — it's exactly what King and Farnaby spun when they were celebrating a marmalade-loving bear. King helmed and penned both Paddington movies, while Farnaby also did the latter on the second (and acted in each). The duo worked together on wonderful and underseen 2009 film Bunny and the Bull as well, and on The Mighty Boosh, of which King directed 20 episodes. Check out the trailer for Wonka below: Wonka is available to stream via platforms such as YouTube Movies, iTunes and Prime Video. It's also still showing in cinemas Down Under. Read our review.
When I was eight, I drew detailed portraits of each of my family members with a brand spanking deck of Derwent pencils. I put up my masterpieces on the wall of my room and forced everyone who crossed the threshold of our front door to come up and praise my abilities, demanding 50 cents per person for the privilege of this experience. Pretty steep I know, but those Lipsmackers weren't going to buy themselves. While unfortunately for everyone my pop-up gallery has long since closed its doors, the only portrait exhibition you need to worry about right now is 69 Smith Street Gallery's Likeness 3. The third of its kind in the annual portraiture exhibition out of this artist-run space, Likeness challenges each artist to consider the process behind painting the portrait — in both the development of the idea and also the production of the image. The exhibition runs from July 3–21, and opening drinks will be held from 4pm on July 6. We have it on good authority that wine and cheese will be there. Which means you should also be there.
Every January, ABC radio station Triple J counts down the hottest 100 tunes of the past year, and gives Australians a new go-to playlist for the next few months. Now, fellow station ABC Classic has gifted fans of movie, television and video game music their own version — the Classic 100: Music for the Screen, which just named the best scores and soundtracks that've echoed from screens big and small over the decades. The Classic 100 isn't new. It's been around for two decades, in fact, and threw Beethoven some love back in 2021. For 2022, however, the countdown has solely honed in on music from films and TV, plus the gaming realm. To the surprise of no one, the winner game from a galaxy far, far away. Yes, John Williams' additions to all things Star Wars topped the list, because the force was clearly with this poll — which, like the Triple J Hottest 100, was voted for by listeners. Coming in second was Howard Shore's efforts for The Lord of the Rings trilogy, while iconic Italian composer Ennio Morricone's score for 1986 film The Mission took out third spot. Muggles and wizards alike must've cast their votes for the Harry Potter series in fourth, recognising the work of John Williams, Patrick Doyle, Nicholas Hooper, and Alexandre Desplat. And John Williams took fifth spot, too, for Schindler's List. Other highlights include the late Vangelis' Chariots of Fire score, John Williams (again) for Jurassic Park, and Ramin Djawadi's work on Game of Thrones — all in the top ten. And yes, Williams popped up a lot. He was also recognised for the Indiana Jones series (11th), E.T. the Extra-Terrestrial (42nd), Superman (55th) and Jaws (57th). Among the other standouts, Doctor Who came in 12th, the music for The Legend of Zelda series notched 23rd spot, Blade Runner sat at 36th, The Godfather trilogy at 41st and Back to the Future at 47th. Or, there's the wonderful and strange sounds of Twin Peaks at 50th, the Super Mario series at 52nd, The Princess Bride at 59th, the Final Fantasy games at 64th, The Simpsons at 70th and the James Bond theme at 72nd. Also on the list: Pokémon at 75th, Bluey at 83rd, Bernard Herrmann's stellar Psycho tunes at 84th and Daft Punk's exceptional Tron: Legacy score in 89th place. Studio Ghibli was well-represented, with Howl's Moving Castle at 21st, Spirited Away at 32nd and My Neighbour Totoro at 66th. Hans Zimmer was too, with nine showings — for the Pirates of the Caribbean (6th), Gladiator (19th), Interstellar (27th), both versions of The Lion King (sharing 28th place), Inception (49th), The Crown (65th), 2021's Dune (74th), Christopher Nolan's The Dark Knight trilogy (75th) and Dunkirk (95th). Yes, you've now got 100 iconic soundtracks to listen to. And if you missed the countdown live, you can still work your way through it via the ABC Classic website. For the full ABC Classic 100 Countdown, head to the ABC Classic website.
A giant gumball machine that you can climb inside. An igloo made of doughnuts. An adult-sized ballpit in bubblegum-pink hues. A mini-cinema dedicated to sweet-themed movies. Throw in a free ice cream, sweets and snacks; a dedicated fairy floss room with its own swing; and the ability to jump out of a giant birthday cake — and Melbourne's new pop-up dessert museum sounds like the kind of place Willy Wonka might own. Called Sugar Republic, it's actually a short-term exhibition on Smith Street in Fitzroy, bringing eight weeks of sugary delights to folks with a sweet tooth. Running until August 17, the pop-up features 14 spaces designed to immerse the senses in all things chocolate, confectionery and dessert-oriented. When you're not making yourself a soft serve and showering it in sprinkles, you'll be spinning a wheel o' treats. Other highlights include a sherbet-filled rainbow bridge, a forest of giant bananas, an interactive sprinkles wall, a neon art wall and other dessert-centric art, including a giant Bubble O' Bill sculpture. And it wouldn't be a celebration of all things sweet without a huge lolly store, of course. As for the location, Sugar Republic's site was once the MacRobertson's confectionery factory — aka the brand originally behind the Freddo frog and Cherry Ripe. The last room in the space pays tribute to the company's founder, Sir Macpherson Robertson, adding a dose of history to the sugar rush. Basically, if you missed out on visiting New York's Museum of Ice Cream back in 2016, this is Australia's equivalent. Typically these kind of places are designed to be as photogenic as possible, so expect plenty of pics to clog your Instagram feed. If you're keen to take some of your own, tickets cost $35 for adults, which includes free lollies, treats and ice cream over your 90-minute stay. Find Sugar Republic at 377 Smith Street, Fitzroy until August 17. For more information, visit the museum's website.
In response to Melbourne's growing Holiday Inn COVID-19 cluster, the entire state of Victoria will enter a five-day lockdown from 11.59pm on Friday, February 12 until the same time on Wednesday, February 17. That means that stage four restrictions will be back in effect, and you'll only be able to leave your house for the now-familiar four reasons. The lockdown is happening in the middle of one of Melbourne's biggest annual sporting events, too: the Australian Open. It's running from Monday, February 8–Sunday, February 21, with big-name stars including Serena Williams, Naomi Osaka and Rafael Nadal flying in (and quarantining) for the event. The good news is that the Australian Open will go ahead during the five-day lockdown. The bad: no spectators will be allowed to attend. https://twitter.com/AustralianOpen/status/1360069954800807938 Under the new stage four restriction rules, professional athletes are considered 'essential workers', so they are allowed to leave their homes and their five-kilometre radius to go to work. This means, not only can the Australian Open games go ahead — but so can the AFLW games that are scheduled for this weekend. Once again, without crowds. It does mean, however, that you can't head out in person to cheer on Ashleigh Barty, Carlton or North Melbourne, but you can order in a feast for you and your housemates (or intimate partner) and yell as loud as you want from the comfort of your house. In regards to tonight's matches, in particular the much-hyped 7pm game between Nick Kyrgios and Dominic Thiem, the AO has said "sessions today and tonight will continue as planned with COVIDSafe protocols in place". But, do remember that stage four restrictions begin at 11.59pm. All of Victoria will revert back to stage four restrictions from 11.59pm on Friday, February 12 to 11.59pm on Wednesday, February 17. For more information about the rules, head to the Victorian Department of Health website. Top image: Australian Open 2020 by Rob Keating via Wikimedia Commons
Of the crop of locally commissioned works featuring at this year’s Melbourne Festival, one sure to get attention is experimental dance piece A Small Prometheus. It is the brainchild of choreographer Stephanie Lake, known for her work with cutting edge companies such as Chunky Move and Lucy Guerin Inc, and audiovisual artist Robin Fox, also a Chunky Move veteran (eg. Mortal Engine 2008) and recently responsible for installing a giant theremin on Southbank. Taking its name from the Greek myth about the immortal who gave fire to humanity thereby sparking civilisation, the show exploits the creative potential of fire in a very direct manner. The performers dance even alongside fire-powered kinetic sculptures: mobiles that move in response to the heat of live flame. Lake’s choreography will blend into freeform movement as the dancers interact with the machines, which also generate music as they move. A celebration of creativity, A Small Prometheus seems sure to be as mesmeric an experience as looking into a candle flame.
In good news for people who hate spending more than ten seconds on a single task, you can now get personalised contents insurance with just one swipe. A new app named Trōv has just launched in Australia, and it allows you to insure individual items quickly, painlessly and potentially without even having to ask your parents for help. It's being described by media outlets as the 'Tinder of insurance', which is honestly quite ridiculous as the only similarity between the two apps is the generic swiping motion and the fact you access it on your smartphone. But despite the fact that the app can't offer you a date for Friday night, Trōv is pretty cool. The app allows you to insure individual items against damage, loss and theft on-demand. So you add your valuables to your account (at the moment they're just insuring common electronics), choose your excess, and — much like switching Wi-Fi on and off — 'turn on' protection for that particular item. You can 'turn off' protection in the same way as well. Insuring individual items means that you don't need to take out a hella expensive blanket contents insurance plan just to cover the one or two things you own that actually have monetary worth. And, during periods when you're not using your gear or it's packed away safely, you can turn insurance off to save some moolah. Best of all, it's a good alternative to not insuring any of your stuff and simply praying that the God of small things is a merciful one. Another concession to the tech generation is the claims process, which can be started by sending a text. It's not quite at the level of ordering takeaway with an emoji but it's certainly better than being on hold with an insurance claims operator for ten hours. The San Fransisco start-up behind Trōv have obviously tried to understand the way Gen Y use technology and apply it to something we largely don't understand: insurance. According to The Age, Trōv has gained $US39 million in funding so far, which includes $US5 million from Australian insurance company Suncorp — hence the Australian launch. It will expand to the UK later this year, and the US in 2017. Trōv can currently only insure electronics and appliances, but is working to add more options to their repertoire. In the meantime, you can insure some of the most precious items we have: our laptops and phones. They're the bringers of GoT, memes and UberEATS, after all.
