UPDATE, July 26, 2020: Sing Street is available to stream via Stan, Google Play, YouTube and iTunes. Who amongst us hasn't used music to process their thoughts and feelings? The right song can convey things that words alone cannot, as writer-director John Carney understands. In his films, moving ballads and catchy melodies intertwine with life and love, providing a killer soundtrack to memorable moments and an effective method of expressing emotions. When his characters pen lyrics, strum instruments and grab the mic, they're not just creating tunes and chasing dreams — they're helping make sense of everything around them. Indeed, while he put his foot in his mouth earlier this year, when it comes to making beautiful music — in movies like Once and Begin Again — the Irish filmmaker excels. You'd be right to say that Carney has a formula, but that's by no means a criticism. Although his movies can feel as though they're repeating the same narrative, they're earnest and vibrant in their own ways all the same. Carney sets his latest toe-tapping tale in Dublin in the financially struggling '80s — a period when Duran Duran's glossy 'Rio' clip played on TV, and everyone watching just wanted to make ends meet. For 15-year-old Conor Lalor (Ferdia Walsh-Peelo), money troubles means changing schools, with his bickering parents (Maria Doyle Kennedy and Aiden Gillen) sending him to the local Christian-run academy. He's bullied by teachers and classmates, but he also crosses paths with aspiring model Raphina (Lucy Boynton), who lives across the road. Eager to get her phone number, he asks her to star in a video for his band...despite the fact that he doesn't actually have one. Conor's quest involves rounding up new friends, including the rabbit-obsessed Eamon (Mark McKenna) and enterprising wannabe manager Darren (Ben Carolan). With the assistance of his college dropout brother Brendan (Jack Reynor), it also means listening to the likes of The Cure, Spandau Ballet and Hall & Oates, and aping their sounds and style. Cue some of the film's best outfits and standout original tunes, including the futurist-leaning 'The Riddle of the Model', the heartfelt 'A Beautiful Sea', and the upbeat 'Drive It Like You Stole It'. The pop tracks do more than entertain; whether amusing or tender, each one is infectious, endearing, exuberant, and anchored in authentic sentiments and experiences. The same descriptions apply to Carney's cast, particularly newcomer Walsh-Peelo and Transformers: Age of Extinction star Reynor, who convincingly capture both the uncertainties and the yearnings of youth. Accordingly, while the film initially seems like a straightforward musical romance, its coming-of-age journey also provides a touching testament to brotherly bonds courtesy of their respective performances. That's just one of a handful of surprises in a story that appears to follow a clear path, yet still finds new ways to offer depth and charm. Carney's colourful imagery and snappy pacing, meanwhile, ensures the movie always feels like the joyous blend of music, emotion and escapism that it is — complete with an inspired riff on Back to the Future that couldn't be more fitting.
When it comes to food, using fire is a gamechanger — it transforms humble ingredients into incredible flavours. And few are as skilled at harnessing flame for this purpose as Duncan Welgemoed. Welgemoed is the head chef of Africola, a North African-inspired grill and smokehouse that's so renowned, it alone is almost worth booking a trip to Adelaide to visit. A little extreme? Well, luckily, you'll soon have a chance to taste Welgemoed's lauded food right here in Sydney. He has teamed up with Red Rock Deli to host one of its upcoming Secret Suppers on Thursday, June 20. [caption id="attachment_724626" align="alignnone" width="1920"] Josh Geelen[/caption] So, what can diners expect from the chef behind menu items such as grilled smoked tongue, a 'tea sandwich' of crispy chicken skin and hot chicken dripping and wood oven cauliflower with tahini cream? Well, we don't quite know — yet. The menu will stay true to the event's name and remain under-wraps until the night. But we do know that it'll be inspired by Red Rock Deli's limited-edition flavour, flame grilled steak and chimichurri, and that fire will play a big role. "At Africola, we channel the smoke element of fire to be essentially used as a seasoning. And that's what I've done with my dishes for the event," Welgemoed said. That's some truly next-level, elemental seasoning. The raw force of nature flavouring your food? It's practically magic. As a man with a burning passion for cooking by fire (thanks to his South African roots), Welgemoed has a keen admiration for other like-minded chefs. So, in an effort to get more information on his upcoming menu, we asked him about some of his favourites. [caption id="attachment_522922" align="alignnone" width="1280"] Firedoor[/caption] Sydney's vibrant restaurant scene is home to some notable inclusions in this 'hall of flame'. One venue that stands out is the aptly named Firedoor, where smoke and flames are the conceptual theme throughout the menu. Welgemoed sings high praise of the 203-day dry-aged rib of beef. "Lennox Hastie at Firedoor is one of the best fire cooks in the world. His technique is second to none," Welgemoed said. And, while it's hard to pin down a favourite dish at the Argentinian barbeque and grill restaurant Porteño, he assures us you can't go wrong with anything cooked on the asado (fire pit). Of course, sometimes you want the comfort of a classic dish done just right, and that's when you should head for The Unicorn. Welgemoed loves the half Bannockburn barbeque chook with brown mushrooms and tarragon sauce — just the right balance of fancy and familiar. Then again, if you need your dining experience to be both firey and very fine, the wood-fired potato bread from Ester comes highly recommended. Welgemoed prefers it with dashi jelly, but Ester's latest menu refresh sees it intriguingly paired with kefir cream and trout roe for a zingy, salty lift. [caption id="attachment_658136" align="alignnone" width="1920"] Fred's[/caption] Fred's in Paddington strikes the balance between home comfort (you feel like you're in someone's luxurious open plan kitchen) and upscale city dining. Welgemoed's chosen dish reflects this perfect marriage of impressive elegance and honest, wholesome flavour — grilled rack of lamb with wine grapes, cime di rapa, fennel seed and rosemary. Like the other venues, Fred's exemplifies an approach to cooking similar to Welgemoed's own by letting the ingredients speak for themselves. So, what might we deduce about Welgemoed's secret supper menu from his Sydney sparks of inspiration? Expect delightful, yet unpretentious, play with fire and flavour, the comfort of familiar touches with innovative twists and a decidedly global approach to three flaming good courses. We'll leave that idea smouldering with you for now. Duncan Welgemoed's Secret Supper will take place across two sessions on Thursday, June 20. Top Image: Josh Geelen.
Wellness travel is on the rise, and it doesn't take a genius to figure out where Australians choose to rest and recharge most. According to Traveloka's 2025 Wellness Travel Trends, the much-loved destinations of Bali, Bangkok and Hanoi top the list, offering the ideal combination of stunning scenery, relaxing experiences and affordability. If a self-care holiday sounds pretty good right now, you'll be happy to know Traveloka has just revealed its Spring Travel Sale. Featuring stellar deals on flights to these mindful destinations and more, the sale also includes discounts on serenity-inducing resorts and renowned sightseeing experiences that elevate your adventure. Until Friday, October 10, Perth-based travellers can score one-way flights to Denpasar starting from $179, while flights from Melbourne to Hanoi start from $274 one-way. Special airline brand days also offer massive savings, with up to 30 percent off flights with Indonesia's Garuda Airlines and Malaysia Airlines. Plus, there are low-cost flights to Bangkok, Seoul, Da Nang and beyond. At the same time, Traveloka has budget-friendly discounts on luxe hotels and resorts, making it easy to secure accommodation that matches your relaxation vibe. Think up to 52 percent off Bali's Legian Beach Hotel and 77 percent off Bangkok's The Quarter Ratchayothin. That means no noisy, crowded party hostel for you. Discounts on activities will also help you get out and about more during your overseas adventure. For instance, 40 percent off tickets for Singapore Zoo or 20 percent off Hong Kong Disneyland will help keep your travel costs down and ensure your vacation is filled with incredible one-off experiences. "Travel is no longer just about sightseeing — it is increasingly a way to nurture well-being, build meaningful connections, and support local communities," says Baidi Li, VP Commercial at Traveloka. "Through our Spring Travel Sale, we want to make these restorative travel experiences more accessible and affordable, while also contributing to the growth of the tourism ecosystem across Asia Pacific." Traveloka's Spring Travel Sale is happening until Friday, October 10. Head to the website for more information.
It's been three years since Docklands last lit up brightly for the flame-filled winter arts celebration that is the City of Melbourne's Firelight Festival. But inner-city precinct set to bask in that glow once more, as the free festival returns from its pandemic-enforced hiatus to deliver a huge 2022 edition next month. From Friday, July 1–Sunday, July 3, Firelight will see Docklands come alive with a family-friendly, after-dark program of performance, entertainment, culinary delights and fire-inspired art. This year's lineup promises plenty of reasons to yank yourself off the couch and into the night, headlined by Skunk Control's Adrift — an enchanting light installation set to transform Buluk Park into a luminous forest of light stems and giant petals. [caption id="attachment_671115" align="alignnone" width="1920"] Grace Petrou[/caption] Other works set to dazzle crowds nightly include a ten-metre-long glowing lion made of thousands of LEDs that moves to its own soundscape; and a bold laser and light show, which will light up Victoria Harbour every hour with its water jets and giant fiery phoenix. More than 100 performers will descend on the precinct across the three-day festival, ranging from musicians and fire-twirlers to circus acts and flaming trumpeters. And with a collection of fire sculptures, flame jets and fire pits, things are sure to be super toasty as you're exploring the festival's offerings. Of course, appetites are sorted, too, with festival vendors slinging a menu packed with wintry delights. Think, smoked meats, woodfired pizza and roasted marshmallows, washed down with hot chocolate and mulled wine. Firelight Festival will take over Docklands nightly from Friday, July 1–Sunday, July 3. For the full program, head to the festival's website.
Anyone with a couple of Melbourne winters up their sleeve will tell you the key to coping is to have some big, bold, sensory experiences to sweep you off the couch and out of hibernation mode. And you'll find no shortage of those littered among the program of arts festival WinterWild, which is headed back to Apollo Bay for a bumper 2022 instalment this August. Launched in 2017, the Great Ocean Road festival is a fiery celebration of art, music, performance and food, with a touch of darkness to its attitude. The festival has a deep respect for the elements at its core. This time around, it'll unfold across two weekends, running Friday, August 12–Sunday, August 14, and from Friday, August 26–Sunday, August 28. And it's got one heck of a musical lineup in tow, with Cash Savage and The Last Drinks, Amyl and The Sniffers, and Emma Donovan and the Putbacks just some of the legendary acts who'll be hitting the Otway Coast for the occasion. Gigs from celebrated songstress Kee'ahn, Melbourne-based pop rockers Floodlights, Geelong rock trio ORB and folk artist Leah Senior are also on the agenda. Meanwhile, WinterWild's jam-packed program of performance art is set to showcase treats from the likes of Aphids Theatre and Long Prawn, kicking off with the ever-popular bonfire production they call The Dogwatch. Also on the eclectic bill: cemetery tours led by local historians, cold water immersion sessions held at sunrise, and a flame-driven communal seafood feast that sees the Apollo Bay Fishermen's Co-Op cooking their fresh haul over flames beneath the stars. You can join in a group somatic sound walk, do yoga to live tunes by the beach, reenergise with a guided qigong class and get those toes tapping at a variety show-meets-dance party. Plus, don't miss seeing a bunch of gutsy locals brave the ocean at night for a lively match of ocean polo, complete with glow-in-the-dark ball and likely a few sea creature spectators. WinterWild takes over various locations around Apollo Bay from August 12–August 14, and from August 26–August 28. For the full program and to grab tickets, see the website. Top Images: Fabi and WinterWild
In the darkness of space in Alfonso Cuarón's Gravity, no one could hear a stranded astronaut scream. In the writer-director's follow-up, Roma, no one would hear a maid's cries even if they shared the same room. Domestic worker Cleo (Yalitza Aparicio) attends to the everyday needs of her middle-class employers and their four loving but unruly children, treating them like family. But she's the first to rise in their well-appointed household in Mexico City's Colonia Roma neighbourhood, and the last to sleep. She's the person who both tucks the kids into their beds and scrapes dog excrement from the driveway each day. Cleo is part of the fabric of their lives, but the minutiae of her life is never part of theirs. That's a domestic servant's plight — indispensable but always an outsider — which Cuarón details with both a loving gaze and a clear-eyed stare. Inspired by his own upbringing in the early 1970s when the film is set, Roma is a tribute to women who often go unseen, as well as an acknowledgement of the realities of their existence. The contrasts keep coming, juxtaposing the privilege of Cleo's employers with her own modest reality, while recognising the comfort of Cleo's position compared to the puddles and shacks of village life. With the era's student protests also weaved into the movie, Roma similarly sees the chasm between widespread societal unrest and those clinging to their own patch of calm. Most of all, the movie sees Cleo. It spies the Mixtec housekeeper while doctor Antonio (Fernando Grediaga) complains to his wife Sofia (Marina de Tavira) about the state of the house, spotless except for the dog droppings that keep on coming. It observes when the kids call for Cleo's cuddles and snuggle up to her every chance they get. It spots the quick jokes she shares with her best friend Adela (Nancy Garcia), the family's cook, as well as the tiny apartment they share above their employer's sprawling home. And it watches on as she shares a date with Fermín (Jorge Antonio Guerrero), the cousin of Adela's boyfriend — then shares more, and then faces the aftermath. There's an episodic feel to Roma, which pieces together slices of Cleo's life more than it charts a clear dramatic arc — although the consequences of her tryst with Fermin provide a strong narrative thread. The increasing absence of Antonio, the impact upon Sofia and the ripples that flow through the house all provide another. Cuarón isn't simply paying attention to whatever takes his fancy, of course, but building a portrait: of the city at the time, of complicated lives, and of a woman that, to many eyes, would simply blend in. He's done so before in various fashions, championing the overlooked in Children of Men's dystopian future, in Y Tu Mamá También's coming-of-age road trip, and in his Harry Potter gig, The Prisoner of Azkaban. In focusing on a female medical engineer sent into space, he did the same with Gravity as well. For all of the highlights on Cuarón's resume, however, Roma sees the director enter another realm. Acting as his own cinematographer, he peers so attentively at his hometown, the era of his upbringing, and at Cleo, that he could be conjuring memories onto the screen. He's not, completely, but his visuals have that feel — and, in each crisp black-and-white frame, they have that look as well. In alternating between luxurious panoramic shots and intimate close-ups, and between slow pans and excited movement, he switches between the broad and the deep, mimicking the way that we think back about our lives. Both types of image overflow with detail, whether showing violence on the streets, wandering through a chaotic but merry party, venturing to the seaside for a holiday, or offering a window into Cleo's soul one tender glance at a time. Enter Aparicio, a first-time actor who is everywhere in Roma. She's firmly at the story's centre, in a role that recognises an important truth: Cleo, and Indigenous house staff like her, are rarely the centre of anyone's story, a fact that the untrained talent's naturalistic performance only underscores. Indeed, hers is a performance about quiet presence more than overt effort — or, more accurately, about the impact that someone has even when they're usually on the periphery. In the graceful way that Cleo soldiers on through her own crisis, as well as the family's and Mexico's circa 1971, it's a performance that makes you wish that she was always in the spotlight. https://www.youtube.com/watch?v=fp_i7cnOgbQ
Folks can't stop talking about Christy Tania. Not only did the renowned dessert chef bend minds with her 'Floating Ice Cream' creation on MasterChef earlier this year, but she has also launched her own permanent dessert shop. Opening its doors on Windsor's Peel Street, Tania's new sweet wonderland offers artisanal frozen treats for eating in and taking away. Fancy ice cream stores mightn't be a rare occurrence these days; however, as Tania's first permanent solo venture, Glacé is every bit as impressive as the rest of her artisan treats. The contemporary space offers a hefty range of frozen desserts and innovative flavours, crafted with local ingredients — such as her trademark ice cream push pops, with their layers of cake sponge and ice cream. Diners will find ice cream eclairs and ice cream macarons on the menu, because every dessert is better in ice cream form. When it comes to flavoursome scoops themselves, think creative concoctions such as boozy date (sticky date pudding soaked in rum with vanilla ice cream and salted butterscotch), coffee caramel (caramel milk chocolate ice cream with Kahlua and orange cinnamon crumble), and lamington (coconut ice cream and chocolate brownie with a swirl of raspberry sorbet), plus the zig-a-zig-ah-inducing ginger spice (vanilla ice cream with salted butterscotch and gingerbread crumble). Those keen on something more traditional can try the likes of 72% dark chocolate ice cream, strawberry passionfruit sorbet and coconut ice cream with pure coconut droplets. By Libby Curran and Sarah Ward
It’s true, Melbourne has a lot of festivals. Big festivals, piccolo festivals, and “why in hell is there a festival for that?” festivals. Well, we like to celebrate, alright? Just like Kimmy K, we'd go to the opening of an envelope if there was a chance of our face making it into the society pages. White Night Melbourne is another festival, but with a nocturnal twist — it all takes place over 12 hours, from 7pm until 7am (it's after my bedtime, too, but you know, YOLO). Since its establishment in Europe in the early '90s, White Night has expanded all over the world, with Melbourne the latest city to join the line-up. The program is teeming with activities, spread out across eight themed areas, mostly within the CBD grid but extending to Birrarung Marr and the Melbourne Museum. Expect projection art, performance, film, lights, and live music — a bombardment of colour, noise, and merriment that will display Melbourne's thriving cultural scene, or a concentrated, hyperactive, crack-fuelled version of it, anyway. Before you break out in a stress rash because it's all a little 'whelming, regain control in this crazy world of chaos by reading on to find out how to make the most of Melbourne's funnest night watch. Music Flinders Street Station will be transformed into a Theatre of Dreams, which to the weekday commuter might seem like a bit of a stretch, but they needn't be so cynical. The usual scowling youth who take up residence on the steps under the clocks will be replaced by a line-up of local acts including Eagle and the Worm, Hiatus Kaiyote, The Cat Empire, and World's End Press. Eargasms shall abound from LaTrobe street to St Kilda road, with cabaret, opera, classical, electronic, jazz, experimental, and world music scattered throughout the city. The facade of the Forum Theatre will be made over, with 3D projection and electronic music program Particle Picnic running all night long. Literature Down below Flinders Street in Campbell Arcade, zine workshop and distributor Sticky Institute will host a 12-hour zine-making marathon. If you want to soak up some more of the atmosphere, bang out that zine quick smart and head over to Fed Square, where there's an all-night dance party under a canopy of hundreds of mirror balls. There's also an Emerging Writer's Festival workshop at The Wheeler Centre, where young writers will endeavour to keep the crowd entertained with overnight readings of their work and there will always be time for one more bedtime story. Film ACMI will be showcasing a weird and wonderful bunch of films, including 101 Zombie Kills, Warhol's screen tests, and Mother Courage, a film installation that explores Australia's Indigenous communities. There'll also be films showing in the Fed Square Loading Bay Cinema. Art & Performance You'll be able to peruse all the current exhibitions at the NGV, Arts Centre, and State Library as the night wears on, with performances of the Melbourne Theatre Company's Constellations and The Other Place taking place at the civilised time of 8:30pm. Plenty of time afterwards to be as uncivilised as you wish. Surprise! While the usual culprits will be treating us to some impressive entertainment, it's the spaces in between where the city will surprise. An immersive storytelling game, The Whispering Society, will be heard in the alleyways and corridors off Flinders Street, there'll be fountains and lasers erupting from the Yarra, and a dawn procession will ask folks to sing along to a specifically written White Night Melbourne anthem (maybe trying to push the moment a little too hard but we'll see how it pans out?) It's pretty darn exciting to see an event of this calibre being held in Melbourne — the only problem being that there's no way you'll be able to see it all in one night. We can't come close to writing about all of it without developing repetitive motion syndrome, so head to the White Night Melbourne website for more information, including a full program of events. All images via whitenight.com.au
In the almost two decades that Gelato Messina has been in business, over 4000 special flavours have made their way through its gelato cabinets around the country. Yes, that's a lot of frosty and creamy scoops. To celebrate some of these oldies but goodies, the chain brings a selection of these flavours back every now and then — and, sometimes, it busts out its entire top 40 greatest hits. That's happening again between Monday, July 26–Sunday, August 1, which is when lucky Sydneysiders, Melburnians and Brisbanites will be able to treat themselves to an entire freezer-full of limited-edition gelato flavours. While, in the past, the greatest hits specials have been a buy-in-shop-only deal, the chain went with preordered tubs in 2020 — so no one had to worry about long queues and empty cabinets — and it's doing the same thing again this year. Gelato fiends can preorder 500-millilitre tubs of the 40 flavours from Monday, July 26. You'll then need to pick them up from Sydney's Rosebery, Tramsheds, Bondi, Darlinghurst, Parramatta and Brighton Le Sands stores; Melbourne's Fitzroy an East Brunswick stores; and Brisbane's South Brisbane store between Friday, July 30–Sunday, August 1. Individual tubs can be filled with just one flavour and will set you back $16, or you can get three for $45, six for $85, nine for $125 or — if you have the freezer space — 20 for $260. Wondering which flavours will be available? This time around, Messina hasn't announced which faves are making a comeback just yet. But, you can likely expect the beloved Jon Snow (white chocolate gelato with dark chocolate mud cake and almond praline), Fairy Bread (toast and butter gelato with 100s & 1000s), Mango Pancake (mango gelato with vanilla cream and pancake crunch), Old Gregg (Baileys and butterscotch sauce) and Robert Brownie Jnr (milk chocolate gelato, chocolate brownie and chocolate fudge sauce) to return in tub form — and hopefully everything from super duper dulce de leche and pavlova to finger bun and Oreogasm, too, if the flavours available in previous years are any guide. Gelato Messina's Greatest Hits will be available to preorder on Monday, July 26 with pick up between Friday, July 30–Sunday, August 1 from Sydney's Rosebery, Tramsheds, Bondi, Darlinghurst, Parramatta and Brighton Le Sands stores; Melbourne's Fitzroy an East Brunswick stores; and Brisbane's South Brisbane store.
Zulya Kamalova’s contemporary Russian folk music has earned her both an ARIA in Australia and the title of Honoured Artist of the Republic in her birth country, Tatarstan. Evolution, Revolution and the Mail Order Bride is her first foray into theatre, and the show, featuring Kamalova with support from a four-piece band, is a song of praise to the toil of Russian women, past and present. During the show, Kamalova hops back and forth between two chief characters: Eva, the titular mail order bride who lives an affluent but dissatisfied life in modern day Toorak, and Inessa, an activist campaigning for the Bolshevik revolution in the early 1900s. The latter is based on real life revolutionary Inessa Armand, a close friend and purported lover of Lenin. This is not really a historical drama though. The characters’ lives are revealed only in snippets — mere brief vignettes between songs. The piece as a whole is largely atmospheric, eschewing detail on the characters in favour of generating broad emotional ambiences. Much of the show is genuinely stunning. Kamalova is a performer of undeniable force and charisma, with a voice that can change moods like Melbourne weather. There are times when she sounds almost unearthly. The music has a charming gypsy swagger to it and the set is remarkable, a fantastical junkyard of artefacts, both modern and antique. There are times though when I wonder if Kamalova could have done with some more support onstage. While she has no trouble commanding the audience’s attention with her singing voice, she seems less at ease acting, especially when managing transitions between scenes and characters. She also seem sometimes overshadowed by the ornate set which doesn’t always offer the best eye lines to its audience. As a result, there is a whole third character, a crone, who I almost never see because her scenes happen in a blocked part of the stage. There are also a number of gimmicks which don’t really add anything, like some sideline business with the band members or a sequence where Kamalova plays out the Adam and Eve story with dolls. While the intent of the piece has clearly been to give Kamalova’s music the theatrical treatment, it’s maybe gone a little overboard about being theatrical. Given that the show’s main drawcard is the singing, I wonder if it would have worked better as a more stripped back production. There’s no denying the heart of the piece though, which is an impassioned statement on the broken dreams and thwarted aspirations of Russian women. There is a palpable sense of struggle, fatigue and frustration at the false promises of social change, and the stirring songs and passionate Slavic soul music only work to enhance this.
Alongside the front line conflicts in Afghanistan and Iraq, the attacks of September 11 set in motion a third, different kind of battle. Fought on the home front, a quiet, uncomfortable and unspoken war of words and sidelong glances directed towards anyone who suddenly came to look 'different', 'foreign' or 'un-American' ensued. While the inadequacies of American security were undeniable, the indignity of the racial profiling that became rampant in their wake remains to this day an irredeemable blight on the history of the United States. It's within this framework that author Mohsin Hamid set his bestselling 2007 novel, The Reluctant Fundamentalist, now a film by director Mira Nair. It tells the story of Changez (Riz Ahmed), a prodigious Pakistani-born Princeton graduate who's headhunted by Jim (Kiefer Sutherland) to work in New York's top consultancy firm. With the company placing him on the fast-track to partnership and the chairman's daughter (Kate Hudson) quickly besotted, Changez's pursuit of the American dream seems assured. When the Twin Towers come crashing down, so too does his perceived security. Colleagues view him differently, arrests and random searches become commonplace and despicable bigotry bubbles to the surface. At first Changez ignores, then endures, the prejudice, but eventually the feeling of victimisation and the loss of his identity become untenable and he returns to Pakistan. The film flicks back and forth between Changez's time in America and his present-day life as a radical academic suspected of kidnapping an American colleague and it's those latter scenes that engage most directly. Played out as an interview with US journalist Bobby (Liev Schreiber), they hold a distinctly Cold War-era feel that's in the vein of the recent Tinker Tailor Soldier Spy. While Schreiber puts in a sound performance as the journo with his own secrets and Sutherland shines as a Gordon Gecko-esque corporate cutthroat, it's Ahmed who steals the show. At times the rhetoric is handled a touch clumsily and the fundamentals of business/fundamentals of Islam motif is, as is the case in the book, not especially subtle, but The Reluctant Fundamentalist remains a compelling and confronting examination of one of the war on terror's less publicised dimensions.
Red Stitch are bringing out the big guns with their upcoming double bill, directed by Julian Meyrick. The performances feature the world premier of Dead Centre, by Aussie playwright Tom Holloway, and the Australian premiere of Sea Wall, by Simon Stephens. Both plays are one-actor performances that explore the fragility of life and seem to promise a pretty full on night at the theatre. Dead Centre follows the story of Helen (Rosie Lockhart), who makes the spontaneous decision to move from the UK to Australia to do the whole "turning over a new leaf" thing. However, the decision only provides temporary relief before her past catches up with her and she is forced to confront what she left behind... In Sea Wall, Alex (Ben Prendergast) seemingly has it all: the wife, the daughter, and a life he speaks of fondly. But this cherished existence is not (as we all know, because, theatre) one to last. As everything falls apart, Alex is left with the difficult task of forming a new perspective on life. With theatre this devastating, who needs Netflix?
The Victorian Government has announced a $143-million support package designed to help businesses impacted by the state's recent five-day circuit breaker lockdown. Businesses and sole traders that took a financial loss during the lockdown — including restaurants, hairdressers, accommodation providers and musicians — will all be eligible for support. Florists and confectioners who took a financial hit due to the lockdown coming over Valentine's Day will also be able to apply for financial aid. Included in the multimillion-dollar package is four separate initiatives. $92 million will be invested in the Business Cost Assistance Program that will offer grants of $2000 for eligible businesses with a payroll of up to $3 million. $24.9 million will be put back into the Licensed Hospitality Venue Fund, an initiative that has been providing financial support to licensed venues impacted by COVID-19 restriction since late 2020. The fund has already provided more than 7500 businesses with over $165 million of financial support. Accommodation providers who experienced cancelations due to the lockdown are entitled to payments through the Victorian Accommodation Support Program, which is split into two tiers. Those who experienced ten or fewer cancellations over the course of the lockdown are eligible for $2250 per accommodation premise, while that amount will increase to $4500 for businesses that experienced more than ten cancellations. The state's Regional Travel Voucher Scheme is also returning, with 50,000 new vouchers being issued — this time spanning both Greater Melbourne and regional Victoria. 40,000 of the $200 vouchers will be issued for travel within Greater Melbourne, while 10,000 new vouchers will be available for travel to regional Victoria. Registration for the next allocation of vouchers will open at 10am on Tuesday, March 30, and apply for travel between April 6–May 31. Those who successfully apply for a voucher will be able to receive a $200 reimbursement when they spend over $400 on accommodation, experiences, tour and attractions. [caption id="attachment_790890" align="alignnone" width="1920"] Peninsular Hot Springs Glamping[/caption] The Victorian Government has announced a $143 million support package designed to assist businesses impacted by the state's recent circuit breaker lockdown. To find out more, head to the Business Victoria website.
I have just got back from a 31 day mission around New South Wales as part of a new innovative approach to Tourism Marketing. The campaign took a unique angle for targeting the youth market by inviting four influencers from four of its key target destinations, being UK, US, Canada and New Zealand. We were asked to interact with the Visit NSW Facebook and Twitter communities, asking them where to go, what to do and who to see. Starting off at Mardi Gras in Sydney on March 1, we ended up back in Sydney on March 31 after travelling 3600 kilometres and pulling 56 u turns. All in all, a whole lot of fun was had. And there is more to follow, including a MTV produced documentary due to be completed in May, with a newly revamped youth page for Visit NSW, which will host a lot of the content produced from the trip. In the meantime, having just got back on Sunday, I thought I would take the opportunity to quickly highlight five of the moments that stood out for me from the trip. __________________________________________________ Eating the World's Hottest Chilli The hardest I laughed all trip. We turned up to this little balinese styled villa in the middle of Hunter Valley, after being challenged on the Facebook page to eat the world's hottest chilli. It was hot. Real hot. Quad Biking and Sand Boarding in Port Stephens By far the most fun I had. Over three hours of riding up and over some of the biggest sand dunes I have ever seen. Sand boarding was a classic experience also. #fail Surfing in Port MacQuarie Being a passionate surfer, I was hoping to get plenty of waves in during the trip. This never eventuated due to our schedule not matching with mother nature. However, Wayne from MacQuarie Surf School took me and Ben the bus driver to a nice spot, where we got the only dawnie of the trip. It was pretty magical and reminded me why I loved surfing so much. Guinea Pig Racing in Grenfell (pop 2400) The community of Grenfell reached out to us on Facebook and rallied up enough influence for us to drive in land to the small farming community of Grenfell. In June each year, they have a festival which attracts thousands, and the highlight is always the Guinea Pig Race. Calling a horse race was something I have always wanted to do, this was as close as I will get I think. Filming with MTV As tedious as the back and forth, repeat with more energy became, the opportunity to work on a film set was something I really enjoyed and again, probably will never do again. But who knows.
When Sydney Film Festival arrives each June to fill the Harbour City's cinemas with the latest and greatest movies, it does so mere weeks after its prestigious counterpart in Cannes. That's always excellent news for local film lovers, with plenty of the French fest's flicks making their way swiftly Down Under. And, it can make an impact with the Sydney Film Prize — Bong Joon-ho's Parasite scored both the Palme d'Or and SFF's gong in 2019, Lukas Dhont's Close earned the Grand Prix at Cannes and then Sydney's top accolade in 2022, and now Asmae El Moudir's The Mother of All Lies has collected the Un Certain Regard Best Director award and SFF's shiny Sydney Film Festival Prize trophy. Sydney Film Festival's 2023 jury, which featured director Anurag Kashyap (Gangs of Wasseypur), actor Mia Wasikowska (Blueback), writer/director Larissa Behrendt (You Can Go Now), filmmaker Visakesa Chandrasekaram (Earth), and film curator and journalist Dorothee Wenner, picked El Moudir's documentary as the best movie in this year's Official Competition. The Sydney Film Festival Prize winner was announced at SFF's closing-night festivities, before the Australian premiere of Indiana Jones and the Dial of Destiny, with The Mother of All Lies emerging victorious for its inventive exploration of Morocco's 1981 Bread Riots using doll-like figures. "Commending the courage of choosing a theme perhaps wilfully obliterated from public memory, appreciating the storytelling methods of playful yet calculated visual narration, the jury hails the winning film of SFF which fictionalises the interplay between facts and memories," announced Kashyap and company in a joint statement. "Juxtaposing evidence from barely existent public materials with private family memory, this film reconstructs the history of the state, the family and the individual in three distinct levels." In winning the Sydney Film Prize, The Mother of All Lies joins not only Close and Parasite, but fellow past winners There Is No Evil (2021), The Heiresses (2018), On Body and Soul (2017), Aquarius (2016), Arabian Nights (2015), Two Days, One Night (2014), Only God Forgives (2013), Alps (2012), A Separation (2011), Heartbeats (2010), Bronson (2009) and Hunger (2008). It's also just one of this year's Sydney Film Festival award recipients, with the fest also handing out annual prizes for Australian documentaries, films focused on sustainability and shorts. Marungka Tjalatjunu (Dipped in Black) won the $20,000 Documentary Australia Foundation Award for Australian Documentary, with the 24-minute-long film following Yankunytjatjara artist Derik Lynch on a road trip back to Country, and adding the accolade to its Silver Bear Jury Prize (Short Film) and Teddy Award for best queer short film at this year's Berlinale. Documentary jury members Christoffer Guldbrandsen (A Storm Foretold), Sascha Ettinger Epstein (The Pink House) and Laurrie Brannigan-Onato praised the film for being "an incredibly evocative, precise and raw film" that's "exploratory and playful in its form" and "tests the line of fact and fiction, and in turn unearths something that sits at the root of the human experience". "The film has a highly accomplished and distinct aesthetic that allows for a powerful contemplation of culture, Country, identity and belonging. Derik Lynch is utterly mesmerising in the way he shares his life experiences, on his country, and in his Yankunytjara language. This is a film that is both deeply affecting and matter of fact in its approach, and although it is short in its duration, the film is so concisely exacted, it only leaves you wanting more," they continued. The documentary jury also gave Kindred, a feature doco about two Indigenous Australian friends who were both adopted into white families, an honourable mention. With SFF's third-ever $10,000 Sustainable Future Award, Against the Tide from Indian filmmaker Sarvnik Kaur did the honours, while the jury also called out Rachel's Farm and Power to Country. "Savnik Kaur's beautiful film Against the Tide is an audacious documentary that spans six years. A thoughtful, nuanced documentary in which the director has clearly earned the deep trust of the subjects as they navigate a rapidly changing world," said the jury featuring Amanda Maple-Brown (June Again), Steven McGregor (Looky Looky Here Comes Cooky) and War on Waste presenter Craig Reucassel. "We appreciated the dedicated undertaking of showing the difficulties of traditional fishing practices in these communities as they are overrun by more modern, unsustainable, and illegal fishing practices, all in an effort to feed their own families and look forward to future films by this director." And, in the Dendy Short Film Awards, The Dancing Girl and the Balloon Man won Best Australian Live Action, and nabbed star Robyn Liu the Rising Talent Award. Teacups earned the Yoram Gross Animation Award for Best Australian Animation, while Linda 4 Eva's Sophie Somerville received the Rouben Mamoulian Award for Best Director. Also, the AFTRS Craft Award for Best Practitioner went to Kalu Oji, Faro Musodza and Makwaya Masudi, the screenwriters of What's in a Name?. The 2023 Sydney Film Festival ran from Wednesday, June 7–Sunday, June 18, with the festival screening four days of encores until Thursday, June 22.
White Night Reimagined truly is an event for all the senses, dishing up an array of artistic, musical and culinary experiences. And it all kicks off with a bang on Thursday, August 22, as the Royal Exhibition Building is transformed into a winter wonderland feasting hall. The White Night Feast promises an indulgent evening with three courses created by Melbourne chef royalty: Vue de Monde's Hugh Allen, Annie Smithers of Trentham's acclaimed Du Fermier and dessert queen Philippa Sibley. The decadent three-course affair features creations like a cider-braised duck, pork and pistachio terrine and an oozy golden syrup cobbler with spiced quince. This will be paired with iced schnapps and mulled wine, as well as Victorian wines and beer. Expect, also, to roast chestnuts and dip things into hot fondue throughout the night. The wintry feast is expected to sell out, so be sure to book in advance for this one. White Night Feast runs from 6.30–10.30pm.
Leave your Hunters and your oversized sunhat behind to spontaneously frolic and make out with strangers. Pepa Knight, Jinja Safari's co-frontman, is launching his solo career with the announcement of a 2015 album release. But fans won't have to wait until next year to take off their shoes and enjoy that unmistakably JS-popularised brand of atmospheric, drum-thumping pop. On Friday, November 28, the first collection of Knight's solo recordings, Hypnotized Vol. 1, will be released — following on from his two critically-acclaimed singles 'Rahh!' and 'Clams'. Throughout November, Knight will be performing a series of headline shows to celebrate this first half of his highly-anticipated double album. Presented by Artists Voice and Rare Finds, the confirmed dates include appearances in Melbourne, Sydney, Central Coast, Newcastle and Brisbane. In the coming weeks, Knight will also be releasing another single in support of the tour, giving fans a further insight into the infectious, whimsical sounds of his debut solo effort. https://youtube.com/watch?v=Ysx8lssBeIE
If you're a kidult at heart and remember the hours and hours spent jumping on the backyard trampoline doing sweet flips and tricks, this one is for you. Bounce is here to help you remember your anti-gravity days of youth and bounce away the sad reality of your nine to five. With over 100 springy trampolines, you can recreate aerial manoeuvres with some expansive new options like slam dunking, wall-running, jumping into a foam pit and static-electricity zapping your colleagues into submission (take that, Helen). You can get your bounce back at Bounce in Blackburn North, Glen Iris and Essendon Fields.
You may have thought your days of hanging out in car parks were over, but Melbourne's newest music event looks set to change that. Play On will bring a unique combination of live classical and electronic music to the underground car park at the Collingwood Housing Estate every Friday night in November, with tickets starting at a cool $12 a pop. The event presents classical music outside of traditional performance venues, making it both an accessible and pretty magical experience in a space that welcomes music lovers from all walks of life. The next event on Friday, November 18 will see the Affinity Collective play Panufnik and Britten string quartets, followed by a set from DJ Big Rig (aka Bec Rigby of local band The Harpoons).
Is Love Story the first crowd-written film? Indie filmmakers have been financing their projects directly from fans for a while, but this pseudo-documentary rom com credits “the people of New York City” as screenwriters. Affable, skinny-jeaned Kiwi, Florian Habicht, sees a beautiful young woman, Masha, on the streets of New York. He misses his chance to get her number, but can’t forget her. Armed with a steadycam and a gutload of courage, he asks regular New Yorkers what he should do. The suggestions of strangers prompt his next moves and the development of the romance. What emerges is less of a love story and more of a testimony to the fact that Americans will truly say and do anything on camera. But this film’s directive isn’t realism or even true love. It's cleverness and kitsch, of the stripey socks and frosted cupcake variety. It’s all pretty meta: in these post-everything times, Love Story takes the idea of a film within a film, and rewrites it on the fly. It doesn’t work like Hollywood and it doesn’t work all the time. But it’s so sweet and silly and earnest, and goofy Florian is such an entertaining host, that the film’s foibles are forgivable — just. Love Story is a fun and admirable cinematic experiment - the trick is not to think too much.
You've binge-watched everything in your streaming queue, made your fair share of jigsaw puzzles, played plenty of board games and worked out a regular exercise regime. Now, as part of your new stay-at-home routine, you've decided to learn a new skill. That's understandable — who doesn't want to emerge from this current drastic change to our lives with not only their health, but a few nifty new tricks up their sleeves? If getting arty has always been on your to-do list, the National Gallery of Victoria's Virtual Drop-By Drawing sessions are here to help. They usually take place in person; however, in the current circumstances, the NGV is moving them online. Budding creatives just need to tune into the NGV Channel, watch video tutorials hosted by Victorian artists and take inspiration from the gallery's collection in the process — with a pencil and piece of paper in your hands, of course. Lily Mae Martin takes viewers into the NGV's 19th-century European paintings gallery — and spends plenty of time marvelling at the life-size marble sculpture Musidora, 1878 by Marshall Wood, while Minna Gilligan focuses on two standouts in the NGV's 20th-century galleries, with Andy Warhol's Self-portrait no. 9 (c.1986) and David Hockney's The second marriage in the spotlight. And Kenny Pittock will take you through sketching fruit and vegetables in your kitchen, using Édouard Manet's The melon. The NGV's Virtual Drop-By Drawing sessions are all available on the NGV Channel to watch. Images: Virtual Drop-by Drawing class with Kenny Pittock, Lily Mae Martin and Minna Gilligan at NGV, 2020.Image courtesy of NGV. Updated April 29, 2020.
Time warp into the new year at our favourite cinema in Melbourne. A cult movie classic of the highest possible order, The Rocky Horror Picture Show has long occupied the December 31 slot on the iconic Astor calendar. It's the kind of movie that everybody needs to see in a theatre at least once. Dress up, sing along and get yourself warmed-up for the night of revelry that lies ahead. If you're lucky, you might even catch a glimpse of Duke the Astor Cat. And to think that just twelve months ago they were on the verge of closing. https://www.youtube.com/watch?v=_Ov8yLJkknY
Melbourne has no shortage of outdoor cinemas, but only one of them lets you watch a flick with a burrito in one hand and a margarita in the other — and donates 100 percent of ticket sales to charity. Fonda Windsor's rooftop cinema is back for summer and it's offering just that. Running from January 13–30, the openair cinema is screening new flicks and classics and donating all proceeds to WIRES wildlife rescue, which is helping save and care for animals injured or orphaned during the bushfires. So, you can watch Pretty Woman, bawl your eyes out (again) to The Notebook, sing through Bohemian Rhapsody and enjoy the fabulous Priscilla, Queen of the Desert all for a good cause. [caption id="attachment_735692" align="alignnone" width="1920"] Visit Victoria/Mark Lobo[/caption] Tickets to the films will set you back $30 and include a bean bag recliner and bottomless sparkling water. If you'd like to eat — you are at a Mexican restaurant after all — you can order food straight from your phone, including burritos, chips, tacos and quesadillas. Oh, and margaritas, of course. Tickets go on sale at 8am on Wednesday, January 8 via the website.
There are many things that the current situation is teaching us — one of the less-serious realisations being that we'll be spending more mealtimes at home. Some local eateries are still offering takeaway and delivery options, but with the government firmly advising Aussies to stay at home as much as possible, we're all going to become a lot more familiar with our kitchens. You may see this as an opportunity to crack out some of your favourite cookbooks, but with the restrictions on some grocery items, those elaborate 15-step recipes are probably going to be a little out of reach. Luckily, Queer Eye star Antoni Porowski has you covered. The Canadian, who is the food expert on the super-popular Netflix series, is hosting daily cooking tutorials on Instagram while in lockdown in Texas. The series, which he has dubbed Quar Eye, focuses on recipes that require only a handful of easily accessible ingredients with an aim to minimise waste. "It dawned on me that a lot of people in the country, and in the world, are actually going through this right now: when they go to the store and they can't find what they want. We're stuck at home so we might as well still be able to prepare good food that's good for us and makes us feel good," Porowski explained in his first video. https://www.instagram.com/tv/B90Oo5lHxYv/ Part one of the series saw Porowski create The Keep Calm-lette, an omelette served with a black bean salsa and, of course, avocado (fans of the show will know of Porowski's deep love for an avo). The punnily named dishes have continued from there, including Sequestered Salmon Squash, Cooped Up Chicken, Stripped of My Sanity Chicken Strips and Let Me Outside Leftovers. Porowski uploads his videos to IGTV and Facebook daily, so you can go back and watch them at any time. Image: Facebook
The Heide Museum of Modern Art will pay tribute to the acclaimed work of one of Australia's most important living artists in a new exhibition on display at the gallery from March 4. Charles Blackman: Schoolgirls will feature more than 40 of the eponymous artist's iconic paintings of uniformed schoolgirls in solitary urban settings, brought together from private and public collections from all around the country and the world. Open to the general public until June 18, the tempera, enamel and oil works in the exhibition showcase Blackman's unsettling style as well as his ongoing fascination with the themes of loneliness and isolation. Entry into Charles Blackman: Schoolgirls is free to Heide members; alternatively, you can buy a museum pass for $18 that will gain you access to all of the museum's current exhibitions.
You may know Loose Leaf from their prolific Instagram following but it's more likely that you've wandered into the Loose Leaf studio expecting a retail space and found anything but. Their approach to gardening is almost spiritual and an inspiration to anyone wondering what a little greenery could add to their home. The studio specialises in commercial installations and workshops ranging from terrarium building to bouquet arrangement. They're also currently writing and photographing a book. This is the place to come to track down any uncommon plants you've set your heart on (Chinese money plant, we're looking at you) but they also stock plants for all levels of expertise, as well as some sweet ceramic planters that go beyond your stock-standard ceramic pot.
UPDATE, December 1, 2021: The Power of the Dog is screening in select cinemas, and also streams via Netflix from Wednesday, December 1. Don't call it a comeback: Jane Campion's films have been absent from cinemas for 12 years but, due to miniseries Top of the Lake, she hasn't been biding her time in that gap. And don't call it simply returning to familiar territory, even if the New Zealand director's new movie features an ivory-tinkling woman caught between cruel and sensitive men, as her Cannes Palme d'Or-winner The Piano did three decades ago. Campion isn't rallying after a dip, just as she isn't repeating herself. She's never helmed anything less than stellar, and she's immensely capable of unearthing rich new pastures in well-ploughed terrain. With The Power of the Dog, Campion is at the height of her skills trotting into her latest mesmerising musing on strength, desire and isolation — this time via a venomous western that's as perilously bewitching as its mountainous backdrop. That setting is Montana, circa 1925. Campion's homeland stands in for America nearly a century ago, making a magnificent sight — with cinematographer Ari Wegner (Zola, True History of the Kelly Gang) perceptively spying danger in its craggy peaks and dusty plains even before the film introduces Rose and Peter Gordon (On Becoming a God in Central Florida's Kirsten Dunst and 2067's Kodi Smit-McPhee). When the widowed innkeeper and her teenage son serve rancher brothers Phil and George Burbank (The Courier's Benedict Cumberbatch and Antlers' Jesse Plemons) during a cattle-run stop, the encounter seesaws from callousness to kindness, a dynamic that continues after Rose marries George and decamps to the Burbank mansion against that stunning backdrop. Brutal to the lanky, lisping Peter from the outset, Phil responds to the nuptials with malice. He isn't fond of change, and won't accommodate anything that fails his bristling definition of masculinity and power, either. In a career-best, awards-worthy, downright phenomenal turn by Cumberbatch, Phil is all hawkish menace and bravado; he viciously calls his brother 'Fatso', his initial taunting of Peter over paper flowers and effete mannerisms is all the more ferocious for its dinner-table audience, and he's effusive in his admiration for Bronco Henry, the man's man who taught him everything he knows. Indeed, Phil's hyper-masculine air, complete with threatening and mocking banjo-plucking, soon drives Rose to drink. He'd rather still be bunking in with George, as they have for the quarter-century they've run their inherited ranch. He'd rather scare everyone away by failing to bathe, unless he's stealing off to a secret water hole — and by mixing his Yale classics degree into his sneering, too. The key to Cumberbatch's commanding performance isn't softening Phil or playing up his charisma, but conveying the battle of repression and self-resentment raging within; the cattleman has long tanned his own public persona, but he's as complex as rawhide. Adapting Thomas Savage's 1967 novel of the same name, Campion gives Phil's chomping misery ample company: in the sauced Rose, in the intimidating attitude that rolls around the ranch like a stubborn tumbleweed, and in Peter when he returns from his medical studies for the summer. The Power of the Dog lets this unhappy stew fester, adding grit to its brew with each passing scene and deepening its rich character studies in the process. The film's only misstep is pushing George aside, although the fact that his passivity — his main trait alongside tenderness — earns him less attention is an incisive touch. Rose becomes a supporting player as Phil and Peter's initially antagonistic relationship finds deeper dimensions but, in Dunst's hands, this is still an intense portrait of a woman heartbreakingly accustomed to being at others' whims. As a raw-boned young man who proves exacting and steely inside, Smit-McPhee isn't just similarly exceptional — he's revelatory. So much of The Power of the Dog hinges upon loaded moments where little appears to occur beyond interpersonal manoeuvring — where observing Phil, Rose and Peter's fraught dance is the most gripping thing in the film's frames. And while that back-and-forth is compulsively captivating, especially thanks to the feature's tremendous performances, the movie springs an unforgettable kicker that makes everything preceding its final scenes blister anew. Campion hasn't helmed a mystery, but she's masterful at lacing her feature with careful clues. She's meticulous with her unfurling, and with the herd of emotions it unleashes. From the get-go, she's also painstaking in her handling of tone and tension — so much so that there's never a second of The Power of the Dog that isn't on edge, particularly when Jonny Greenwood's ominous score grinds, twangs and bounces, the Radiohead guitarist setting the mood as firmly as he did with There Will Be Blood 14 years back. Westerns frequently canter through conflict, finding quarrels baked into the rough countryside. They also gallop into overt clashes about who's permitted to roam over, control and truly exist upon all that land. The Power of the Dog is a domestic melodrama as well as a western, but it's still a tale of dominance, yearning and survival in a remote place — and of people fighting for space, be it by oozing the macho toxicity expected of powerful white men, seeking safety in a sturdy marriage or extracting one's own path through the muck. Handsomely lensed and hauntingly patient, Campion's film is both classic and subversive, the two extremes that recent examples of the genre tend to oscillate between. Like Ang Lee's Brokeback Mountain and Kelly Reichardt's Meek's Cutoff — both soaring modern westerns — it's aware of its past and also firmly of the moment, too. Viewers should expect nothing less of Campion, the first woman to win the Palme d'Or back in 1993 with The Piano — only this year did Julia Ducournau become the second thanks to Titane — and also the second-ever female Best Director Oscar nominee. She's already won Venice Film Festival's equivalent of the latter for her efforts here, and deserves at least another Academy Award nomination as well. Campion approaches filmmaking like she's stitching together a delicate tapestry layered with feeling, texture and insight, and the results are exquisite and immaculate. In this case, she's braided The Power of the Dog as intricately and determinedly as Phil plaits the rawhide lasso he becomes obsessed with — and ensures that it also cuts as sharply and devastatingly as the bull castrations he undertakes with his bare hands. Top image: Kirsty Griffin/Netflix.
Going back to uni after an extended break can be an intimidating prospect. But, the stereotype of all students as bright-eyed eighteen-year-olds fresh out of high school is outdated. While it's true that a large number of students (670,000) in Australia are in the 18–22 years age bracket, the latest available figures from 2015 show that there were over 270,000 students aged 30–49. This means that thousands of Australians know the mixed feelings associated with returning to uni but also ultimately feel the rewards of finishing a degree they really want. Some study on campus, others study online; whichever you prefer, here are five hacks to help get you back into the rhythm of uni life. START WITH THE SUBJECTS THAT INTRIGUE YOU MOST Make it fun. If you know what degree you want to do, but are worried about finding that initial drive to kickstart that self-motivated study mindset, start off with the subjects that seem the most engaging to get back in the swing of things. Alternatively, if you're not set on doing a whole degree, you can take a single subject with no entry requirements. Seriously. Try studying in a particular area and see if online study suits you, or upskill in a specific career-related subject or two. Head to the single subjects and degrees page at Open Universities Australia and start perusing. CHOOSE A DEGREE YOU'RE REALLY PASSIONATE ABOUT The number one way to make uni work for you is to pick a course that excites you. So select something you like regardless of whether or not it's in fashion or earns you status points from your extended family. Maybe the first time you went to uni, you picked law or commerce because it sounded 'good'. Or dentistry, because that's what your parents did and you frankly didn't have a clue what to do straight out of school. Fair — but this time around, find something that fits more with your true passions. Because, at the end of the day, it's you doing the degree, not anyone else. GO PART-TIME AND STUDY ONLINE Going back to uni doesn't have to mean fully adopting the classic student identity of all study, endless caffeine and extreme budgeting. If you love your current job and want to keep one toe in the workforce, but also want to finish a degree, why not have the best of both worlds? Instead of going back to full-time student status, opt for part-time and study online. Take your degree at your own pace outside work hours, and enjoy a bit more flexibility when it comes to studying and completing assignments. Plus, you'll get the exact same degree that you'd get on campus. IDENTIFY ANY CREDITS THAT COULD CARRY INTO YOUR NEW DEGREE If you've started a course in the past, but didn't end up finishing for whatever reason, all is not lost. You may very well be able to count some of your previous study towards completing your new choice. If a previous course is related to your chosen degree, you can potentially use these as credits to reduce the number of subjects you will need to complete. And even if you don't have any previous study that relates to your new degree, you may be able to use those credits toward elective and non-core subjects. Being able to use previous credits will help you finish your studies faster. You can identify any potential credits you may already have here. CONNECT WITH OTHER STUDENTS IN THE SAME SITUATION AS YOU Solidarity is crucial for getting through any experience. University is meant to be challenging — that's where the growth is — but not to the point of feeling so tough you can't get through it. Connecting with other students via Facebook groups and IRL is key to building a support system. Even if your squad is just you and one other person to talk over assignments with, having that help can change the game. There are so many other people also feeling that mixture of excitement and trepidation about going back to uni — you're not alone! Take the plunge and explore all the degrees on offer from leading Australian unis, online through Open Universities Australia. You've got this.
The pooches of Melbourne will be on parade at this returning festival for our furriest of friends. On Sunday, May 25, Barkly Square in Brunswick will play host to the fourth Barkly Barks Dog Festival, complete with a doggy mini market, dog-friendly beers, professional trainers and more. The festival will cater to dogs of all shapes and sizes, with tons of activities for participants on both two legs and four. You can buy your pet a treat from Canine Wellness Kitchen, Melbourne's dog-friendly food truck; get some costumed pooch snaps and give your doggo a 'pupparazzi' moment; or take your pup to meet a different kind of canine: a real Aussie dingo. But the main event is the dog parade, where gongs will be given out in a whole range of categories, including most obedient, fastest floof, best costume, and dog and owner lookalike. Not sure we'd want to win that one, even if there are prizes up for grabs. Barkly Barks Dog Festival runs from 10am–3pm. Images: Brent Edwards.
UPDATE, September 17, 2020: Captain Marvel is available to stream via Disney+, Google Play, YouTube Movies and iTunes. From the vibrance of Black Panther to the desolation of Avengers: Infinity War, 2018 was a milestone year for the Marvel Cinematic Universe. The superhero franchise ushered viewers into a thriving new world, then destroyed much of the MCU's existing realm. It also surpassed its 10th year and clocked up its 20th movie, too. Now comes a landmark event that should've arrived far sooner: the sprawling series' first film about a female protagonist. But cause for excitement soon becomes cause for shrugged shoulders with the average and underwhelming Captain Marvel. In terms of representation, the importance of simply seeing the iconic character on screen can't be underestimated. It's about damn time, honestly, especially after DC Comics beat Marvel to the punch with Wonder Woman. And the well-cast Brie Larson makes an engaging, inspiring Captain Marvel — a self-assured, no-nonsense hero who shines brightly and won't let anyone get in her way, but is also caring, tender and supportive when it comes to the people who matter. The movie also makes history behind the lens thanks to Half Nelson and Mississippi Grind's Anna Boden and Ryan Fleck, with Boden becoming the MCU's first female director. Still, a generic film about a kick-ass female hero finally getting her due is still just that: generic. Before Carol Danvers (Brie Larson) becomes the universe's latest potential saviour, she's a woman waiting for action on the planet of Hala. Trained by Starforce commander Yon-Rogg (Jude Law), and told by the Kree civilisation that she's bound for bigger things, she's itching to use her powers — glowing hands that shoot beams of light — but can only control them when she's also able to control her emotions. Then a dangerous mission goes awry, sending the intergalactic soldier hurtling to earth. It's 1995, so she crashes through the roof of a Blockbuster, goes incognito in a Nine Inch Nails shirt, and a fresh-faced, eye patch-free Nick Fury (Samuel L. Jackson) doesn't quite know what to make of the situation. The fact that Danvers is being followed by shape-shifting extraterrestrials, called Skrulls, complicates matters considerably, as do the vague flashes of a former life as a US Air Force pilot that she can't otherwise remember. The film throws more characters at its eponymous figure, such as a long-lost best friend (Lashana Lynch), a mentor (Annette Bening) with a link to Danvers' past and a Skrull (Ben Mendelsohn) with an Aussie accent (aliens can sound like they're from anywhere, after all). Mendo can never be described as routine, however seeing him pop up in another unchallenging Hollywood role cuts to the heart of Captain Marvel's struggles. So too does the movie's competent but unmemorable action scenes, standard visuals and overall texture for that matter. Apart from championing a female Marvel protagonist in a big and thoroughly deserved way, little about the film feels unique. That includes its throwback vibe (swapping Guardians of the Galaxy's 70s and 80s schtick for the 90s), fish-out-of-water narrative (classic Thor), and buddy-comedy laughs (as seen recently in Thor: Ragnarok and Spider-Man: Homecoming). Plus, while there's always room for a cute cat, even the scene-stealing Goose isn't that far removed from the mischievous tree known as Groot. Captain Marvel also falls victim to a curse that has plagued DC films more than the MCU. There's a reason that this tale is reaching screens mere weeks before Avengers: Endgame, with Captain Marvel serving up an origin story and slotting a key puzzle piece into place just in time for the next big flick. The same was true for Black Panther's pre-Infinity War release, but where the franchise's visit to Wakanda offered a vivid diversion from the Marvel playbook, this dalliance with Danvers always seems overly calculated. When the film isn't laying the groundwork for its immediate follow-up, it's diving into the series' past to explain things that don't need explaining — as a movie from a galaxy far, far away, aka Solo: A Star Wars Story, did last year with similarly passable but unremarkable results. And when Captain Marvel wants to evoke a warm, happy mood, it leans heavily and noticeably on 90s nostalgia. TLC, Hole, Garbage, No Doubt and Nirvana music cues, while welcome, have rarely felt so forced. Indeed, at times Captain Marvel plunges further than generic, coming off as a wasted opportunity. There's much that hits the mark, including the refreshing focus on friendship instead of romance, as well as the can-do female empowerment message. But there's also much about this MCU instalment that contentedly treads in familiar footsteps, dresses up the recognisable in barely different packaging and avoids embracing a distinctive flavour of its own. As the comics have made plain for more than four decades, when Carol Danvers soars, she flies high and blazes her own path. And yet, perhaps laying the groundwork for Endgame, the film that finally brings her to the big screen seems happy just to let her show up, rather than allowing her to make a real impact. https://www.youtube.com/watch?v=0LHxvxdRnYc
A big Friends reunion just hit streaming. Sex and the City is getting a television sequel. Saved by the Bell returned to the screen last year, too. Yes, it's still 2021 — and no, you haven't hopped in a Delorean or phone booth and ventured back to the past. Based on plenty of recent and upcoming TV and streaming options, though, you'd be forgiven for looking at your viewing choices and wondering if a bit of time-travel trickery was afoot. The latest revived series heading to your streaming queue won't dispel that notion, but you know you'll love it anyway. Come Thursday, July 8 on Binge, you'll be saying XOXO to Gossip Girl once again. The new series has been billed as both a reimagining and an extension — which means that it will take place in the same world, but with different characters. Gossip Girl circa 2021 is set nine years after the eponymous and anonymous blog went dark. As the just-dropped first teaser trailer makes plain, it's obviously back in some shape or form — otherwise the series wouldn't have a premise. This time, a new bunch of private school-attending teenagers are at the ever-present, seemingly all-knowing gossip blogger's mercy, all while they navigate New York's Upper East Side and its non-stop dramas. Whether any familiar faces will pop up is yet to be revealed; however, in the most important news there is regarding this revival, Kristen Bell is returning to voice the titular figure. She's already revisited Veronica Mars a couple of times now, so bringing back another of her famous characters fits the trend. Bell will narrate the comings and goings of a group played Jordan Alexander (Sacred Lies), Eli Brown (Wrath of Man), Thomas Doherty (High Fidelity), Tavi Gevinson (Halston), Emily Alyn Lind (Every Breath You Take), Evan Mock, Zion Moreno (Control Z), Whitney Peak (Chilling Adventures of Sabrina) and Savannah Lee Smith. The cast has changed, but the social-climbing chaos is bound to be familiar. And, if you were a particular fan of the threads worn by Blake Lively, Leighton Meester and company during Gossip Girl's original 2007–12 run, you'll be pleased to know that costume designer Eric Daman (The Falcon and the Winter Soldier) is back for a second go-around. The creators of the initial show, Josh Schwartz and Stephanie Savage (The OC), have nabbed executive producer credits on the revival — so they'll have a hand in yet another adaptation of Cecily von Ziegesar's books. And the new series' showrunner, Josh Safran (Smash), was a writer and executive producer on the original series. Check out the new Gossip Girl trailer below: https://www.youtube.com/watch?v=reiGW6LTLok Gossip Girl will start streaming via Binge from Thursday, July 8.
They start off in text, drawing in readers with their mysteries, twists and psychological thrills. They focus on women in murky situations, and make that fact known in their titles. Then, after literary success, they jump to the screen. That's the path that Gone Girl and The Girl on the Train both took — for better in one case, for worse in the other — and now it's The Woman in the Window's turn. Based on the 2018 novel by AJ Finn, The Woman in the Window follows Dr Anna Fox (Amy Adams, Hillbilly Elegy), a psychologist who also suffers from extreme agoraphobia. After befriending Jane Russell (Julianne Moore, After the Wedding), the woman who lives across the street, she cries foul when her new pal disappears — but neither Jane's husband Alistair (Gary Oldman, Crisis) nor the cops (including Godzilla vs Kong's Brian Tyree Henry) are willing to listen. As well as firmly falling into clear genre — aka mystery-thrillers that reference women in their monikers — The Woman in the Window is obviously taking some cues from Alfred Hitchcock's Rear Window. And, in both the initial theatrical trailer and the just-released Netflix trailer, director Joe Wright (Atonement, Hanna, Darkest Hour) doesn't shy away from that comparison. Whether it's worthy of being mentioned in the same breath as one of Hitchcock's best films or suffers a fate closer to The Girl on the Train won't be discovered until the movie hits Netflix on Friday, May 14 — a year to the day it was originally scheduled to release in cinemas, but then the pandemic hit. Now, The Woman in the Window is going straight to streaming, as the likes of Hamilton, Mulan and Soul all have over the past year. However it turns out, The Woman in the Window has amassed a wide-ranging cast, with Possessor's Jennifer Jason Leigh and The Falcon and the Winter Soldier pair Anthony Mackie and Wyatt Russell all popping up. Lady Bird and Little Women alum Tracy Letts pops up too, and wrote the film's screenplay. Check out the latest trailer below: https://www.youtube.com/watch?v=v_0GJg_Jnlo The Woman in the Window will be available to stream via Netflix from Friday, May 14. Top image: Melinda Sue Gordon.
The title of this film is probably the least strange thing about it. The third part of a thematic trilogy by Swedish filmmaker Roy Andersson 15 years in the making, A Pigeon Sat on a Branch Reflecting on Existence consists of a series of deadpan tragicomic vignettes ostensibly ‘about being a human being’. Sexually aggressive dance instructors, a pair of morose travelling salesman and the long dead King Charles XII are just a few of the bizarre characters who inhabit this esoteric comedy, one that had us scratching our head in bafflement as often as it had us laughing.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE What a difference Mads Mikkelsen can make. What a difference the stellar Danish actor can't, too. The Another Round and Riders of Justice star enjoys his Wizarding World debut in Fantastic Beasts: The Secrets of Dumbledore, taking over the part of evil wizard Gellert Grindelwald from Fantastic Beasts: The Crimes of Grindelwald's Johnny Depp — who did the same from Fantastic Beasts and Where to Find Them's Colin Farrell first, albeit in a scripted change — and he's impressively sinister and engagingly insidious in the role. He needs to be: his fascist character, aka the 1930s-set movie's magical version of Hitler, wants to eradicate muggles. He's also keen to grab power however he must to do so. But a compelling casting switch can't conjure up the winning wonder needed to power an almost two-and-a-half-hour film in a flailing franchise, even one that's really just accioing already-devoted Harry Potter fans into cinemas. Capitalising upon Pottermania has always been the point of the Fantastic Beasts movies. Famously, this series-within-a-series springs not from a well-plotted novel, where the eight Boy Who Lived flicks originated, but from a guide book on magical creatures. That magizoology text is mentioned in the very first HP tome, then arrived IRL four years later, but it was only after the Harry Potter films ended that it leapt to screens. The reason: showing the Wizarding World's powers-that-be the galleons, because no popular saga can ever conclude when there's more cash to grab (see also: Star Wars and Game of Thrones). For Fantastic Beasts, the result was charming in the initial movie and dismal in its followup. Now, with The Secrets of Dumbledore, it's about as fun as being bitten by a toothy textbook. Nearly four years have passed since The Crimes of Grindelwald hit cinemas, but its successor picks up its wand where that dull sequel left off. That means reuniting with young Albus Dumbledore, who was the best thing about the last feature thanks to Jude Law (The Third Day) following smoothly in Michael Gambon and Richard Harris' footsteps. Actually, it means reuniting Dumbledore with Grindelwald first. And, it involves overtly recognising that the pair were once lovers. The saga that's stemmed from JK Rowling's pen isn't historically known for being inclusive, much like the author's transphobic statements — and it's little wonder that getting candid about such a crucial romantic connection feels cursory and calculating here, rather than genuine. The same applies to The Secrets of Dumbledore's overall message of love and acceptance, which can only echo feebly when stemming from a co-screenwriter (alongside seven-time HP veteran Steve Kloves) who's basically become the series' off-screen Voldemort. Referencing Dumbledore and Grindelwald's amorous past serves the narrative, of course, which is the real reason behind it — far more than taking any meaningful steps towards LGBTQIA+ representation. Years prior, the two pledged not to harm each other, binding that magical promise with blood, which precludes any fray between them now. Enter magizoologist Newt Scamander (Eddie Redmayne, The Trial of the Chicago 7) and his pals. Well, most of them. Newt's assistant Bunty (Victoria Yeates, Call the Midwife), brother Theseus (Callum Turner, Emma), No-Maj mate Jacob (Dan Fogler, The Walking Dead), Hogwarts professor Lally (Jessica Williams, Love Life) and Leta Lestrange's brother Yusuf Kama (William Nadylam, Stillwater) are accounted for, while former friend Queenie (Alison Sudol, The Last Full Measure) has defected to Grindelwald. As for the latter's sister Tina (Katherine Waterston, The World to Come), she's spirited aside, conspicuously sitting Operation Avoid Muggle Genocide out. Read our full review. AMBULANCE Michael Bay movies, Michael Bay movies, whatcha gonna do? Since the action-film director leapt from commercials and music videos to his big-screen debut Bad Boys more than a quarter-century back, there's only been two options. Slickly and unsubtly dripping with gleeful excess, his high-concept flicks embrace explosions, chases, heists, shootouts, jittery chaos and perpetual golden-hour hues with such OTT passion that you surrender or roll your eyes — having a blast or being bored by the bombast, basically. Too often, the latter strikes. That proved true of all five of his Transformers films, which are responsible for more cinematic tedium than any filmmaker should legally be allowed to crash onto screens. That his pictures are lensed and spliced as if lingering on one still for more than a split second is a heinous crime usually doesn't help, but it's what Bay is known for — and yet when Bayhem sparkles like it mostly does in Ambulance, it's its own kind of thrilling experience. Following a high-stakes Los Angeles bank robbery that goes south swiftly, forcing two perpetrators to hijack an EMT vehicle — while a paramedic tries to save a shot cop's life as the van flees the LAPD and the FBI, too — Ambulance is characteristically ridiculous. Although based on the 2005 Danish film Ambulancen, it's Bay from go to whoa; screenwriter and feature newcomer Chris Fedak (TV's Chuck, Prodigal Son) even references past Bay movies in the dialogue. The first time, when The Rock is mentioned, it's done in a matter-of-fact way that as brazen as anything Bay has ever achieved when his flicks defy the laws of physics. In the second instance mere minutes later, it's perhaps the most hilarious thing he's put in his movies. It's worth remembering that Divinyls' 'I Touch Myself' was one of his music-clip jobs; Bay sure does love what only he can thrust onto screens, and he wants audiences to know it while adoring it as well. Ambulance's key duo, brothers Will (Yahya Abdul-Mateen II, The Matrix Resurrections) and Danny Sharp (Jake Gyllenhaal, The Guilty), are a former Marine and ostensible luxury-car dealer/actual career criminal with hugely different reasons for attempting to pilfer a $32-million payday. For the unemployed Will, it's about the cash needed to pay for his wife Amy's (Moses Ingram, The Tragedy of Macbeth) experimental surgery, which his veteran's health insurance won't cover — but his sibling just wants money. Will is reluctant but desperate, Danny couldn't be more eager, and both race through a mess of a day. Naturally, it gets more hectic when they're hurtling along as the hotshot Cam (Eiza González, Godzilla vs Kong) works on wounded rookie police officer Zach (Jackson White, The Space Between), arm-deep in his guts at one point, while Captain Monroe (Garrett Dillahunt, Army of the Dead), Agent Anson Clark (Keir O'Donnell, The Dry) and their forces are in hot pursuit. Everything from Armageddon, Pearl Harbour and The Island to 2019's Netflix flick 6 Underground has trained viewers in what to expect from Ambulance — plus the movies name-checked in Ambulance's frames, obviously — but Bay is also the filmmaker who gave cinema 2013's exceptional Pain & Gain. His latest doesn't reach the same savvy heights, and it's both boosted by its hearty embrace of Bayhem and occasionally a victim to it, but it's rarely less than wildly entertaining. As the director's best efforts have long shown, he boasts a knack for heist-style films. Capers about break-ins of various sorts, even into Alcatraz, suit Bay because they're typically about chasing hefty scores no matter the cost. Ambulance was made for only $40 million, which is a fifth of most Transformers movies and somehow around half of non-Bay-directed recent release Morbius' budget, but bold moves with eyes on a big prize aren't just fiction in Bay's orbit. Read our full review. MEMORIA When Memoria begins, it echoes with a thud that's not only booming and instantly arresting — a clamour that'd make anyone stop and listen — but is also deeply haunting. It arrives with a noise that, if the movie's opening scene was a viral clip rather than part of Thai filmmaker Apichatpong Weerasethakul's spectacular Cannes Jury Prize-winning feature, it'd be tweeted around with a familiar message: sound on. The racket wakes up Jessica Holland (Tilda Swinton, The Souvenir: Part II) in the night, and it's soon all that she can think about; like character, like film. It's a din that she later describes as "a big ball of concrete that falls into a metal well which is surrounded by seawater"; however, that doesn't help her work out what it is, where it's coming from or why it's reverberating. The other question that starts to brood: is she the only one who can hear it? So springs a feature that's all about listening, and truly understands that while movies are innately visual — they're moving pictures, hence the term — no one should forget the audio that's gone with it for nearly a century now. Watching Weerasethakul's work has always engaged the ears intently, with the writer/director behind the Palme d'Or-winning Uncle Boonmee Who Can Recall His Past Lives and just-as-lyrical Cemetery of Splendour crafting cinema that genuinely values all that the filmic format can offer. Enjoying Memoria intuitively serves up a reminder of how crucial sound can be to the big-screen experience, emphasising the cavernous chasm between pictures that live and breathe that truth and those that could simply be pictures. Of course, feasting on Weerasethakul's films has also always been about appreciating not only cinema in all its wonders, but as an inimitable art form. Like the noise that lingers in his protagonist's brain here, his movies aren't easily forgotten. With Weerasethakul behind the lens and Swinton on-screen, Memoria is a match made in cinephile heaven — even before it starts obsessing over sound and having its audience do the same. He helms movies like no one else, she's an acting force of nature, and their pairing is film catnip. He also makes his English-language debut, as well as his first feature outside of Thailand, while she brings the serenity and magnetism that only she can, turning in a far more understated turn than seen in the recent likes of The French Dispatch and The Personal History of David Copperfield. Yes, Weerasethakul and Swinton prove a beautiful duo. Weerasethakul makes contemplative, meditative, visually poetic movies, after all, and Swinton's face screams with all those traits. They're both devastatingly precise in what they do, too, and also delightfully expressive. And, they each force you to pay the utmost attention to their every single choice as well. As Jessica, Swinton plays a British expat in Colombia — an orchidologist born in Scotland, residing in Medellín and staying in Bogota when she hears that very specific din. After explaining it in exquisite detail to sound engineer Hernán (Juan Pablo Urrego, My Father), he tries to recreate the noise for her, but only she seems to know exactly what it sounds like. At the same time, Jessica's sister Karen (debutant Agnes Brekke) is in hospital with a strange ailment. Also, there's word of a curse that's linked to a tunnel being built over a burial ground, and Jessica consults with an archaeologist (Jeanne Balibar, Les Misérables) before heading from the city to the country. Grief echoes as strongly through Jessica's life as the bang she can't shake, and she wanders like someone in a dreamy daze, whether she's roaming around an art gallery or crossing paths with a rural fisherman also called Hernán (Elkin Díaz, Besieged). Read our full review. NOBODY HAS TO KNOW Before Belgian actor and filmmaker Bouli Lanners started gracing screens big and small — writing and directing projects for the former as well — he trained as a painter. If you didn't know that fact, it'd be easy to guess while watching Nobody Has to Know. He helms and scripts, as he did 2011 Cannes award-winner The Giant, plus 2016's The First, the Last. He acts, as he has in everything from A Very Long Engagement and Rust and Bone to Raw and Bye Bye Morons. But it's the careful eye he brings to all that fills Nobody Has to Know's frames that immediately leaves an impression, starting with simply staring at the windswept Scottish scenery that provides the movie's backdrop. It's picturesque but also ordinary, finding visual poetry in the scenic and sweeping and yet also everyday. That's what the feature does with its slow-burning romantic narrative, too. On a remote island, Philippe Haubin (Lanners) has made a humble home. Working as a farmhand, he stands out with his arms covered in tattoos and his accent, but he's also been welcomed into the close-knit community. And, when he's found on the beach after suffering a stroke, his friends swiftly rally around — his younger colleague Brian (Andrew Still, Waterloo Road), who spreads the word; the latter's aunt Millie (Michelle Fairley, Game of Thrones), who ferries him around town; and her stern father Angus (Julian Glover, The Toll), who welcomes him back to work once he's out of hospital. But Phil returns with amnesia, which unsurprisingly complicates his daily interactions. He doesn't know what Brian means when he jokes about Phil now being the island's Jason Bourne, he has no idea if the dog in his house is his own, and he has no knowledge of any past, or not, with Millie. As a filmmaker, Lanners splits Nobody Has to Know's attention between Phil and Millie as they're drawn to each other — through natural chemistry, thanks to her kindness in helping him learn to navigate his life again, and courtesy of secrets and twists that speak to emotional truths even if they involve lying. And, it's due to finessed performances on both parts that the film always resonates with both tenderness and authenticity, befitting its restrained but still affecting tale of pain, guilt, regrets, isolation, identity and yearning. He plays a man who quickly made an imprint in a new place, but has a past he's been fleeing, and now finds himself facing them both anew. She plays a woman cruelly nicknamed 'the Ice Queen' because she's single, quiet and of a certain age, and remains just as eager to unearth her true self. Indeed, as she copes with Phil's new situation, she makes a bold leap to follow her heart. In lesser hands — with lead actors who weren't so adept at understatement, or didn't possess as convincing natural chemistry; with a writer and/or director more fond of leaning into melodrama; with a cinematographer other than the poised Frank van den Eeden (Patrick, Girl), too — Nobody Has to Know could've been relegated to a movie-of-the-week-style weepie. Thankfully, that isn't Lanners' film, which cannily eschews the easy for the deep and evocative. He takes as much care with the feature's sensitive pace, reflecting how tentatively his characters have been willing to embrace their real feelings, as he does with that painterly scenery that makes the utmost of the Scottish islands of Lewis and Harris, and with key performances that convey a lifetime of worries without uttering a word. His is a picture that builds in impact, quietly but unmistakably, like taking the time to truly stare at and soak in everything about a piece of art hung on a gallery wall. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3, March 10, March 17, March 24 and March 31. You can also read our full reviews of a heap of recent movies, such as Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke and Sonic the Hedgehog 2. Top image: ©Kick the Machine Films, Burning, Anna Sanders Films, Match Factory Productions, ZDF/Arte and Piano, 2021.
The jolliest time of the year is almost here. And, that means the most festive movie-viewing window of the year is nearly upon us, too. We all know that it wouldn't be Christmas without rewatching a heap of suitably themed flicks, whether you've loved Elf since you can remember, prefer a classic such as It's a Wonderful Life or will only watch Die Hard — but Stan is hoping that you'll add a new Australian comedy to your end-of-year rotation. Sometime around Christmas, the streaming platform's subscribers will be able to watch festive Aussie flick A Sunburnt Christmas. And yes, you are probably just now realising that Australian doesn't actually have that many Christmas films to its name. This newcomer will join the likes of Bush Christmas, both the 1947 and 1983 versions; the animated Around the World with Dot; and recent horror movies Red Christmas and Better Watch Out — and it seems to be really leaning into the fact that it's a seasonal Aussie film. Directed by Christiaan Van Vuuren (Bondi Hipsters, The Other Guy), A Sunburnt Christmas follows a group of kids who mistake a runaway criminal for the real Santa. Daryl (Snowtown and Acute Misfortune's Daniel Henshall) happens to be dressed appropriately, red suit and all. He has also just crashed a van full of toys. But as well as not being Father Christmas, he's being chased by a mobster called Dingo (Animal Kingdom and Ride Like a Girl's Sullivan Stapleton). Kids, crims, hijinks — if you're currently thinking about Home Alone or Bad Santa, that isn't surprising. But these children live on an outback farm with their a single mother (The Gloaming's Ling Cooper Tang), and neither Joe Pesci nor Billy Bob Thornton are anywhere to be seen. The all-ages-friendly flick doesn't yet have a release date, but you can obviously expect it to hit your streaming queue just as you're breaking out the eggnog. A Sunburnt Christmas will be available to stream via Stan later in 2020 — we'll update you with an exact date when one is announced.
Androids may dream of electric sheep, or they may not, but that isn't the only metaphysical question that cinema likes to contemplate. Do souls yearn and strive for — and fret and stress over — their chance to shuffle onto this mortal coil? That's the query that Pixar's Soul pondered so thoughtfully and enchantingly, and it's one that Nine Days, which actually predates its animated counterpart but is only reaching Australian cinemas now, masterfully explores as well. "You are being considered for the amazing opportunity of life," a bespectacled, suspender-wearing, serious-faced Will (Winston Duke, Us) tells the candidates hoping to soon live and breathe. They're far more enthusiastic about the process than he is, although he values their prospective existence much more than they can fathom in their wide-eyed eagerness and excitement. Will has seen what can happen next, because it's his job not only to select the best souls to embark upon this thing called life, but to monitor their progress in all the days, months and years afterwards. He's observed the success stories; however, he's also witnessed the heartbreaks as well. In this stirring and fittingly soulful debut feature from writer/director Edson Oda — a movie that won the dramatic screenwriting award at the 2020 Sundance Film Festival — Will surveys his next troupe of contenders fresh from viewing the unhappy end that met one of his previous favourites. He's already adrift from existence as we know it, and from almost everyone else who resides in the picture's ethereal yet also earthy pre-life realm, but he's now burdened with a renewed sense of solemnity. His colleague Kyo (Benedict Wong, The Personal History of David Copperfield) tries to get him to see the lighter side — the more human side — of the path his next chosen candidate will take. He emphasises the ebbs and flows that Will, who has become more rigid in his thinking and feelings the longer he's in the role, now fervently discounts. But among a roster of new applicants that includes Kane (Bill Skarsgård, IT Chapter Two), Alex (Tony Hale, Veep), Mike (David Rysdahl, Dead Pigs) and Maria (Arianna Ortiz, Rattlesnake), all of which are given nine days to demonstrate why they should be born next, it's actually the calm, passionate and inquisitive Emma (Zazie Beetz, Atlanta) that challenges the way Will perceives his work and what it means to be alive. Nine Days could've been reductive and generic. Perhaps, statistically, it should've turned out that way. Tales of men who learn what's important in their limited period of consciousness via their interactions with spirited women are far too common — and not just on the big screen, but everywhere that tales are told. Many of Nine Days' other elements echo from other films and stories, too, strongly recalling Hirokazu Kore-eda's 1998 film After Life, bringing The Truman Show to mind in Will's voyeurism, clearly sharing thematic threads with Blade Runner and its sequel, and also skirting around similar terrain as Wim Wenders' haunting Wings of Desire. But, thankfully, Oda isn't bogged down by his influences. Just as his protagonist has clear notions of what life should be, at least when Nine Days begins, the first-time filmmaker has a distinct vision for this beautiful and rousing movie. Unlike Will, Oda doesn't waver, reassess or have his ideas probed, however. Instead, he crafts a film that's certain in its message about valuing and seizing life, and just as assured and confident about conveying that concept quietly, patiently, affectingly and with grounded sincerity — and about earning every step in its emotional journey, rather than relying on platitudes. With nuance and layers, that's how Nine Days can celebrate the simple act of appreciating the small things, and yet never comes across as if it's preaching a statement that's stitched onto a throw pillow. It's how Emma can introduce Will to a new perspective, and one he definitely needs, but never play like yet another manic pixie dream girl. It's also how the feature can wade into recognisable territory but avoid falling victim to all of the obvious cliches. That its central character lives and conducts his interviews in an ordinary-looking house that's surrounded by nothing but desert as far as the eye can see aptly reflects how the film itself appears familiar but always stands apart. Another key factor that makes Nine Days the movie it is: its detail. That's a product of Oda's commitment, too. His on-screen realm looks and feels fleshed out and lived in, and so do his characters (yes, even given the premise). Visually, that approach delivers sights that slip onto the screen like favourite possessions, such as walls of old-school TVs, deep stares at both hopeful and pensive faces, and lingering gazes at the sandy expanse surrounding Will's house. Cinematographer Wyatt Garfield's (Beatriz at Dinner) striking shots are also measured, like they're genuinely taking the time to soak in every iota — and the production design he's peering at, including in a room used to give unsuccessful souls one happy memory to hold on to, is a Michel Gondry (Eternal Sunshine of the Spotless Mind, The Science of Sleep, Be Kind Rewind)-like treasure trove. The same care and attention is afforded Will, Emma, Kyo and their fellow pre-life inhabitants as well, as shines through in the movie's fine-tuned performances. Nine Days is yet another movie that's filled with actors with recent comic book franchise credits; most films are these days. But Duke, Beetz and Wong are hardly talents shackled to their respective parts in Black Panther, Deadpool 2, Joker and Doctor Strange, or to any sprawling universes such titles connect to. They're all performers who bring humanity and vulnerability to their roles here, and in different ways. There's a guarded air of woundedness to Duke's phenomenal internalised portrayal — he's basically a traumatised guardian angel — and a lively curiosity and appreciation to Beetz's work, while Wong radiates empathy. Each of these three key players, and their fellow co-stars, also bake ambiguity into their performances. No person is just one thing, or can ever be solved, after all. That's truly what this evocative and memorable film is all about: the texture, experiences, feelings and enigmas that comprise every soul, and every life.
Australia can't win the 2023 FIFA Women's World Cup, as every currently heartbroken Aussie is well aware, but the Matildas have kept scoring on and off the field. They've kicked goals, won even more fans, sparked stunning scenes at live-viewing sites around the country and absolutely smashed the ratings — and, over the past month, made plenty of history. We know that you know that Sam Kerr, Mackenzie Arnold and their teammates lost to England in their semi-final match on Wednesday, August 16, because we know that you were probably watching. How? The just-released ratings figures for the game against the Lionesses. Based on statistics from OzTAM, which captures broadcast audience numbers, the Seven Network reports that the 3–1 defeat was seen by 11.15-million Australians nationally. That isn't just massive — it's the biggest audience for anything on TV since 2001. The squad's prior match, that thrilling, nerve-shredding win via penalties against France on Saturday, August 12, already became Australia's biggest TV sports program in a decade. The England game — the first time that Australia had reached the semi-finals in the World Cup, either for the men's or women's teams — beat it. In fact, the viewership was so huge that it's the most-watched TV program, sports or otherwise, since OzTAM started its audience measurement system in 2001. Yes, that record could go back even further; OzTAM just don't have the data from before then. While the 11.15-million number is the peak figure, the average audience on Seven and 7plus for the night was 7.13 million, including 957,000 viewers via streaming. The Matildas' Women's World Cup games are available to watch via free-to-air and also Optus Sport, which means that more folks were also viewing via the latter. And, OzTAM's data doesn't include people watching in pubs, clubs, sports venues and at other out-of-home sites, so the overall audience numbers go up again. View this post on Instagram A post shared by CommBank Matildas (@matildas) Unsurprisingly, the match is also now the most-streamed event ever in Australia. To put the Matildas' repeated TV feats in context during the Women's World Cup, 2022's AFL and NRL grand finals didn't even hit the 4.17-million average figure that the France game scored — or come close. Last years' AFL numbers? 3.06-million viewers nationally. All up so far, Seven advises that its coverage of the Women's World Cup has reached 14.05-million broadcast viewers, then another 3.4-million folks via 7plus — all while the bulk of the tournament's games, especially those that don't feature the Matildas, are only on Optus Sports. That Sam Kerr goal against England? 11.15-million Australians seeing that honestly isn't enough. "Australia was captivated last night as the Matildas played their hearts out and did us all proud. Although their FIFA Women's World Cup 2023 journey ended last night, the Matildas have rewritten the history books, and captured the hearts and minds of the nation with a performance that is sure to inspire generations of Australians for many years to come," said Lewis Martin, Managing Director Seven Melbourne and Head of Network Sport. "Seven is beyond proud to have played a part in bringing Australia together around our screens, as the Matildas' performance captured the Australian spirit like nothing we have seen in decades." The Matildas are out of contention for the ultimate Women's World Cup prize in 2023, with England and Spain now facing off, but they will play Sweden at 6pm on Saturday, August 19 to see who comes in third place. That game is another must-see, and another chance to smash viewership records. View this post on Instagram A post shared by CommBank Matildas (@matildas) The Matildas' 2023 FIFA Women's World Cup games are available to watch via the Seven Network and 7plus, and also Optus Sport — with select other games also on Seven, and the entire tournament streaming via Optus Sport. The FIFA Women's World Cup 2023 runs from Thursday, July 20–Sunday, August 20 across Australia and New Zealand, with tickets available from the FIFA website. Top image: LittleBlinky via Wikimedia Commons.
Finding a critter creeping around in your food is one of most people's worst nightmares; however at this year's Antenna Documentary Film Festival, it's all part of the fun. Not only is the fest screening Bugs, a doco about two researchers from René Redzepi's experimental Nordic Food Lab exploring the culinary value and environmental benefits of eating insects — it's also serving up ant-covered choc tops. Sure, we already knew that edible bugs were in the festival's 2016 lineup; however we didn't take it quite so literally. Gelato makers Cow & Moon are doing the honours, creating a guava-flavoured sorbet choc top crawling with tiny creatures. They'll give the dish a pop of acidity — and yes, the ants are 100% real. The daring desserts will only be on offer at the October 15 session of Bugs at the Chauvel Cinema in Sydney, and really turns film-viewing into quite the interactive and sensory experience. "I am excited for audiences to connect to this film in a real, adventurous and visceral way," says Antenna festival manager Kate Vinen. Who's hungry? The 2016 Antenna Documentary Film Festival screens in Sydney from October 11 to 16, Brisbane from October 26 to 30, and Melbourne from November 2 to 6. For more information, check out the festival website.
Michael Bay movies, Michael Bay movies, whatcha gonna do? Since the action-film director leapt from commercials and music videos to his big-screen debut Bad Boys more than a quarter-century back, there's only been two options. Slickly and unsubtly dripping with gleeful excess, his high-concept flicks embrace explosions, chases, heists, shootouts, jittery chaos and perpetual golden-hour hues with such OTT passion that you surrender or roll your eyes — having a blast or being bored by the bombast, basically. Too often, the latter strikes. That proved true of all five of his Transformers films, which are responsible for more cinematic tedium than any filmmaker should legally be allowed to crash onto screens. That his pictures are lensed and spliced as if lingering on one still for more than a split second is a heinous crime usually doesn't help, but it's what Bay is known for — and yet when Bayhem sparkles like it mostly does in Ambulance, it's its own kind of thrilling experience. Following a high-stakes Los Angeles bank robbery that goes south swiftly, forcing two perpetrators to hijack an EMT vehicle — while a paramedic tries to save a shot cop's life as the van flees the LAPD and the FBI, too — Ambulance is characteristically ridiculous. Although based on the 2005 Danish film Ambulancen, it's Bay from go to whoa; screenwriter and feature newcomer Chris Fedak (TV's Chuck, Prodigal Son) even references past Bay movies in the dialogue. The first time, when The Rock is mentioned, it's done in a matter-of-fact way that as brazen as anything Bay has ever achieved when his flicks defy the laws of physics. In the second instance mere minutes later, it's perhaps the most hilarious thing he's put in his movies. It's worth remembering that Divinyls' 'I Touch Myself' was one of his music-clip jobs; Bay sure does love what only he can thrust onto screens, and he wants audiences to know it while adoring it as well. Ambulance's key duo, brothers Will (Yahya Abdul-Mateen II, The Matrix Resurrections) and Danny Sharp (Jake Gyllenhaal, The Guilty), are a former Marine and ostensible luxury-car dealer/actual career criminal with hugely different reasons for attempting to pilfer a $32-million payday. For the unemployed Will, it's about the cash needed to pay for his wife Amy's (Moses Ingram, The Tragedy of Macbeth) experimental surgery, which his veteran's health insurance won't cover — but his sibling just wants money. Will is reluctant but desperate, Danny couldn't be more eager, and both race through a mess of a day. Naturally, it gets more hectic when they're hurtling along as the hotshot Cam (Eiza González, Godzilla vs Kong) works on wounded rookie police officer Zach (Jackson White, The Space Between), arm-deep in his guts at one point, while Captain Monroe (Garrett Dillahunt, Army of the Dead), Agent Anson Clark (Keir O'Donnell, The Dry) and their forces are in hot pursuit. Everything from Armageddon, Pearl Harbour and The Island to 2019's Netflix flick 6 Underground has trained viewers in what to expect from Ambulance — plus the movies name-checked in Ambulance's frames, obviously — but Bay is also the filmmaker who gave cinema 2013's exceptional Pain & Gain. His latest doesn't reach the same savvy heights, and it's both boosted by its hearty embrace of Bayhem and occasionally a victim to it, but it's rarely less than wildly entertaining. As the director's best efforts have long shown, he boasts a knack for heist-style films. Capers about break-ins of various sorts, even into Alcatraz, suit Bay because they're typically about chasing hefty scores no matter the cost. Ambulance was made for only $40 million, which is a fifth of most Transformers movies and somehow around half of non-Bay-directed recent release Morbius' budget, but bold moves with eyes on a big prize aren't just fiction in Bay's orbit. When Ambulance works, it enthrals with its shameless hug of classic Bay trademarks — putting them to fitting use, rather than simply splashing them around because that's his familiar schtick. Drone shots (yes, Bay has discovered drones) are frequently a bane of modern filmmaking, trotted out just because they can be, but they careen and prowl here to add urgency, capture the on-the-road frenzy and plot out LA. Bay's fondness for constantly circling camerawork, as seen when director of photography Roberto De Angelis (Faces Places) can't even shoot Will asking Danny for cash without revolving around Abdul-Mateen and Gyllenhaal, also conveys the many non-stop onslaughts crucial to the movie. In that specific scene, the relentless motion expresses the toll of Will's ongoing struggle for funds, the heady excitement of Danny's lifelong grifting and also the continually spinning dynamic between the two brothers. Of course, Ambulance's pièce de résistance is all that time spent in its key mode of transport, intensely zipping and zooming around the City of Angels like Bay is making Point Break-meets-Mad Max: Fury Road (and after attempting to riff on Heat first). His commitment to kinetic and frenetic practical effects and stunts instantly makes the movie's stellar midsection stand out — and yes, that Bay's overall aesthetic and approach now looks worlds away from the franchise action fare that monopolises blockbuster cinema at present is part of what makes Ambulance feel like such a treat. Given this was never going to be a flick with clever dialogue, as those nods to The Rock and company make plain, Abdul-Mateen, Gyllenhaal and González all get their finest moments to shine while speeding along as well. All three turn in charismatic performances that invest one-note parts with flair and as much depth as they can in the circumstances, but it's Gyllenhaal in villainous mode who's always utterly mesmerising. Just like Bay, he's having a ball, it shows and it's infectious. Absent, thankfully, is the filmmaker's past fondness for leering at women (see: the first two Bad Boys movies and anytime Megan Fox appears in the Transformers flicks for especially egregious examples). Instead, that's swapped for ogling LA, its skyscrapers and landmarks, and the chases that blow past them — but Ambulance is still noticeably a sausage fest. It also can't resist overextending its running time at 136 minutes, resulting in a dragging finale. And, it throws in law enforcement- and military-worshipping patriotism that comes as no surprise from the helmer of the dire 13 Hours: The Secret Soldiers of Benghazi, and clumsily leans on stereotypes with queer and Latino characters. Ambulance's rough patches are eclipsed by its rush, rollicking, dash and dazzle, though, inherent absurdity and all — even if welcoming Bayhem as the current pinnacle of action cinema sounds as preposterous as, well, hijacking an ambulance.
If you're a dinosaur fan in Australia, life keeps finding a way to indulge your interest in prehistoric creatures. In Brisbane, the Dinosaurs of Patagonia museum showcase is currently displaying impressive fossils. In Melbourne and later Sydney, Dinos Alive: An Immersive Experience is about to hit. And also in the Harbour City, Jurassic World: The Exhibition will soon roar into town with its own critters, as well as a celebration of 30 years since the first Jurassic Park movie initially rampaged across the big screen. Yes, it's a great time to fascinated with dinosaurs right now — we've seen two seasons of Prehistoric Planet on streaming in the past two years, too — and this latest exhibition arrives as part of a global tour. A showcase with the same name displayed in Melbourne back in 2016, but this visit comes after stops everywhere from London, San Diego, Paris and Madrid to Seoul, Shanghai and Toronto. On offer: life-sized, lifelike versions of the movie franchise's animals. Expect to feel like you've been transported to Isla Nublar, complete with a walk through the big-screen saga's famed gates. From there, you'll walk through themed environments featuring dinos, including a brachiosaurus, velociraptors — yes, get ready to say "clever girl" — and a Tyrannosaurus rex. Also linking in with the animated Jurassic World: Camp Cretaceous series, there'll be baby dinos, including the show's Bumpy. Sydneysiders and visitors to the New South Wales capital will be able to get roaming, and staring at animatronic dinos, from Friday, September 22 at the 3000-square-metre SuperLuna Pavilion at Sydney Showground in Sydney Olympic Park. Exactly how long the exhibition will hang around for hasn't been announced, except that it'll be a limited stay. If it'll head to other Australian cities afterwards also hasn't been revealed. Now, all that's left is to decide which Jurassic franchise character you want to emulate (the best choices: Laura Dern's palaeobotanist Ellie Sattler, Sam Neill's palaeontologist Alan Grant and Jeff Goldblum's mathematician Ian Malcolm, of course). And no, when Michael Crichton penned Jurassic Park in 1990, then Steven Spielberg turned it into a 1993 film, they wouldn't have expected that this'd be the result three decades — and five more movies — later. Jurassic World: The Exhibition will display at SuperLuna Pavilion, Sydney Showground, Sydney Olympic Park from Friday, September 22 — head to the exhibition's website to join the ticket waitlist.
The Boyd family is one of the great Australian art dynasties, which you can explore as the Heide Museum of Modern Art opens up its extensive archives. The legacy of Merric and Doris Boyd — and their five children: Lucy, Arthur, Guy, David and Mary — will be showcased, as each family member has achieved artistic greatness throughout the last 100 years. As was often the case, Heide's founders John and Sunday Reed had their ears to the ground and acquired many of the Boyd family's (and closely associated artists) works during the 1940s and '50s. The many works exhibited include Arthur's surrealist-expressionist paintings, Merric's art nouveau pots and drawings, Guy Boyd's bronze portraits and Lucy's tile designs. In addition, you'll see works by the many great artists who spent time at the family's studio known as the 'Arthur Merric Boyd (AMB) Pottery', such as sculptures and paintings by John Perceval and earthenware by prominent gardener and conservationist Neil Douglas. Making History: The Boyd Family is open now until Sunday, November 12 at the Heide Museum of Modern Art. Image: David Boyd, Landscape (1958).
Beer nerds and coffee snobs can both get something out of this special tasting at Preston brewery Tallboy & Moose. The fittingly named Beerspresso pairs local roasters with local brewers, resulting in eight unique coffee-infused beers. Red Bean, Maker Fine Coffee and Rumble Coffee Roasters are among those providing the beans, while the booze will come courtesy of the likes of 3 Ravens, Westside Aleworks and 7 cent. Your ticket entitles you to a taster of each coffee, followed by a 130ml sample of each beer. Image: Simon Shiff.
Australia has Lune fever. That's been the case for a few years now, as the world-renowned Melbourne bakery keeps serving up delicious pastries, and also spreading its wares around the country. At present, it boasts stores in Fitzroy, the CBD and Armadale in Melbourne, plus South Brisbane and Burnett Lane in Brisbane — and it has two Sydney shops on the way, one in Darlinghurst and another in Martin Place. Also slinging Lune's wares, just for three days: select Koko Black shops. Why? Lune Croissanterie has teamed up with Koko Black to unveil a limited-edition new croissant collaboration named The Belgian Truffle. Why again? To celebrate World Chocolate Day on Friday, July 7. This year's decadent creation takes Lune's signature pastry and adds a gooey Koko Black cocoa frangipane and Guanaja fondant centre. It's also topped with tempered chocolate shards, salted cookie crumb, mascarpone chantilly and Koko Black Belgian truffles. This delectable treat will be available at Lune's Melbourne and Brisbane outposts, plus selected Koko Black stores in Melbourne and Sydney, plus a special one-off Lune Sydney pop-up over the weekend. If you want to get your hands on a croissant, Friday, July 7–Sunday, July 9 are the dates to mark down in your diary. Melburnians can head to Lune's trio of outposts, plus Koko Black's shops at The Glen, Como Centre, Highpoint, Doncaster, Royal Arcade, Flinders Lane, Melbourne Central and Chadstone. Brisbanites, you're going to Lune and Lune only. "This pastry is a classic for a reason. Our traditional croissant, elevated to celebrate Koko Black's Belgian truffle. It's the ultimate, decadent chocolate treat," said Lune founder Kate Reid. These pastries are set to be in high demand, so it's best to head down early to avoid disappointment. Lune's own venues will be trading as normal, while Koko Black will be open from 9am on Friday and Saturday, and from 10am on Sunday. Lune Croissanterie and Koko Black's 2023 World Chocolate Day special The Belgian Truffle is available at all Lune stores in Melbourne and Brisbane, and select Koko Black stores in Melbourne, from Friday, July 7 – Sunday, July 9.
Underground Cinema has been filling a void in cinema-goers hearts for over six years, having successfully created twenty-five cinematic experiences around Melbourne and Sydney. And now they're back, bringing your favourite flicks to life in an immersive cinema experience beyond dorky 3D glasses, popcorn-munching and booming surround sound. Over four nights, in a top secret location, the unique four-hour live cinema invites you to join the set of Alfonso Cuaron's dystopian world of Children of Men. From actors in costumes, detailed set and audience interaction, Hope 2.0 is unlike anything you've experienced — or probably ever will again. To prepare for the journey you will need your strength, resilience and courage. A foreign-styled costume is also strongly encouraged. But above all, you must have hope. Expect the unexpected. However, maybe not starvation or dehydration: hot food and a bar (cash-only) are available on the night. Photo credit: Kim Brewster Film/Photography
Not every ballet features dancers forming constellations, gramophone-shaped mirrors creating kaleidoscopic visuals, refractive and reflective surfaces making it appear as though performers are overlapping, and choreography created for every leaf in a 134-page text — but, not every ballet is Tree of Codes. Stemming from a dream team of creative forces, the production is currently wowing crowds in London, and for good reason. Music, dance, art and literature fans, hold on to your hats: Tree of Codes is a collaboration between Jamie xx, Royal Ballet choreographer Wayne McGregor, Icelandic artist Olafur Eliasson and novelist Jonathan Safran Foer. First previewing in Manchester in 2016, it's named after and based on the latter's book-based artwork of the same name. Also described as a "sculptural object", the printed work took Bruno Schulz's Street of Crocodiles, cut out the majority of words and fashioned what remained into a new post-apocalyptic story. So, how do you turn that into a ballet? Foer's "blurred and disorientating worlds provide a powerful point of departure for our collaboration on stage — where constellations of light, shadows, bodies, objects and sound dance at the edges of darkness," says McGregor. "Lights panning over the audience cause its spectral image to appear on the stage's reflective, coloured scrims, integrating the viewers with the activity on the stage," states Eliasson's website, while Jamie xx created an algorithm to vocalise words from the book, transforming them into melodies. Tree of Codes' season at London's Sadler's Wells ended on March 11, and we'll keep our fingers and toes crossed that it turns up on our shores. Via Dezeen.
The Spartan Race is no joke. In a bid to transport participants back to ancient times, the race, a little sibling of the Spartan Death Race, is set on harsh terrain with obstacles of fire, water, mud and barbed wire. Spartan Races come in a few different forms: there are ‘Sprints’ of 7km, which progress to ‘Super’ of 14km and ‘Beast’ of 21km. People can fly solo or register as a team, and the Spartan Kids race allows children to experience some of the challenges. The race is followed by food, drink, and stalls.
Plenty of Aussies have found themselves captivated by US TV drama The Handmaid's Tale, and the image of a dystopian society that is — even 30-odd years after the book was published — a little too close to home. And now, you'll have the chance to dive even deeper into that world, as Margaret Atwood, author of the original books that inspired the show, heads Down Under for an exclusive Australian appearance. Taking the stage at the Sydney Opera House in March 2019 in the lead-up to International Women's Day, the acclaimed Canadian writer will speak as part of the UNSW Centre for Ideas 2019 program. Atwood, celebrated for her storytelling prowess, prescient imagination and thought-provoking ideas, will share her insights into how present-day behaviours might be used to foretell any grim futures coming our way — just like those fictional worlds that hit so close to home in the likes of The Handmaid's Tale and Atwood's other works like The Blind Assassin, Alias Grace and, more recently, the MaddAddam Trilogy. The author's set to dish up her thoughts on the key issues of today and the future realities they might herald, from extremist politics, to climate change. It should be an interesting, if not eyebrow-raising, talk — as well as being an obvious advocate for women's rights, Atwood came under fire this year for her controversial take on the #MeToo movement and her reluctance to call The Handmaid's Tale feminist. Maybe she can visit Gliead while she's here. Margaret Atwood speaks at the Sydney Opera House's Concert Hall, on Sunday March 3, 2019. Tickets are from $39, available here from 9am, November 8.
Jumpers for Goalposts is a romantic comedy set in a queer community sports league in Hull. The theatre at Red Stitch has been done up as a suitably dingy graffitied locker room. The cast have cracked out their best Yorkshire accents. Pink soccer jerseys have been made. Coach Viv (Red Stitch regular Kate Cole), having parted from her former team the Lesbian Rovers, is trying to prove herself with a new gang of misfits called Barely Athletic. There's dumpster diving silly hat wearing busker Beardy (Ray Chong Nee), nervous aspiring coach Danny (Johnathan Peck), the even more nervous and totally un-sporty boy from the library who's only been invited because Danny wants to hook up with him (Rory Kelly), and Joe (Paul Denny), Viv's depressed straight brother-in-law, who she's roped in to get him out of the house. Following the familiar lines of both the rom com and the underdog sports drama, the play doesn't offer too many surprises. The team has its ups and downs, and so does their love in the locker room. The central romance is sweet and well-written and there are bittersweet moments aplenty in a show about celebrating small victories. In case you hadn't already picked it up from the same-sex romances, Red Stitch goes to great pains to establish that this is a queer show — from blasting you with 'Karma Chameleon' as you take your seats, to serenading you with 'I Am What I Am' as you walk out. The script, by quickly rising young British playwright Tom Wells, however generally avoids cliché and plays for slice-of-life realism. As a sports drama it seems well observed. Leastways, the sense of excessive drama and stress over nothing lines up with how your Concrete Playground correspondent remembers sport being. As a queer theatre piece, it hits some goals and misses others. While the league is described as being an LGBTI league, the focus of the play is firmly on the letter G. Viv, the only female character, while strongly acted by Cole, is mostly defined by her relentless bossiness. References to the other teams in the league, such as the lesbian team or "Tranny United" are most often used as punchlines. Maybe it's just because men of whatever sexuality playing sport are such a heavily travelled dramatic ground but these other teams often seemed more intriguing than the one on stage. As a romantic comedy though, Jumpers for Goalposts succeeds, being both funny and affecting. Its depiction of relationships is honest, both in showing their emotive and problematic aspects and in demonstrating how hurdles to love can be overcome with communication and respect. As such, it is ahead of many works in this genre, in that it offers something meaningful to say about how to make relationships work.
The COVID-19 pandemic has forced artists and musicians to come up with even more innovative ways to make money, as well as keep us beloved fans entertained. Despite all the live-stream festivals, fun merch and unexpected new albums, though, there is no substitute for seeing your favourite bands and solo performers in the flesh — even if we can't all be crammed shoulder-to-shoulder in a sweaty venue for the foreseeable future. Enter Great Southern Nights, the NSW Government-led initiative aiming to kick-start the live music industry by putting on 1000 COVID-Safe gigs across the state this November. Sydney might be the state capital, but that doesn't mean it's where all the action is. With summer fast approaching and no prospect of international travel on the horizon, there's no better time to explore our own backyard. We've partnered with NSW Government to bring you eight gigs we think are worthy of a road trip. So, load up your bags, put on your ultimate playlist and hit the road.
UPDATE, APRIL 4: Due to concerns around the coronavirus, Paramount Pictures has announced that The SpongeBob Movie: Sponge On the Run will no longer release on its initially scheduled date of Thursday, July 2, 2020, with the film now hitting cinemas in Victoria and Queensland on September 17, 2020, and cinemas in other Australian states on September 24, 2020. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Nostalgia and the big screen seem to go hand in hand these days. This is a year that's brought back everything from Dumbo, Pet Sematary and Aladdin to The Lion King, Zombieland and Charlie's Angels, after all. And next year is set to be no different, especially when it comes to two properties that were a staple of every 90s and 00s childhood: SpongeBob SquarePants and Sonic the Hedgehog. Flicks based on both will hit cinemas in 2020, although this isn't the first time at the movies for Bikini Bottom's resident yellow critter. The ever-perky SpongeBob has already featured in 2004's great The SpongeBob SquarePants Movie and 2015's similarly entertaining The SpongeBob Movie: Sponge Out of Water, with the new The SpongeBob Movie: Sponge On the Run marking the third in the film series. And yes, it looks as manic and irreverent — and as suitable for viewers young, old and in-between — as ever. Sponge On the Run does boast one particularly huge drawcard, too: Keanu Reeves. Fresh from voicing a character in Toy Story 4, he plays a sage shrub that's also a wisdom-dispensing sage. So, he gives SpongeBob advice when the eponymous figure's pet snail Gary is snail-napped, sparking a road trip with starfish Patrick to The Lost City of Atlantic City. Yep, of course that's what happens. As for Sonic the Hedgehog, the 90s video game character makes the leap to movies in a live-action film that co-stars Jim Carrey as his usual antagonist, Dr. Ivo Robotnik. Ben Schwartz, aka Parks and Recreation's Jean-Ralphio Saperstein, voices the speedy extraterrestrial blue hedgehog — and the picture isn't without its fair share of controversy. When an earlier trailer was released a few months back, Sonic's overall look caused a stir, with the film since undergoing a visual redesign to fix it. Check out the results — and the Sponge On the Run trailer, too — below: https://www.youtube.com/watch?v=CJJYewh4Nco&feature=youtu.be https://www.youtube.com/watch?v=d_ZCtiWvBLk&feature=youtu.be After being delayed from its original release date of July 2, 2020, The SpongeBob Movie: Sponge On the Run will now open in cinemas in Victoria and Queensland on September 17, 2020, and cinemas in other Australian states on September 24, 2020. Sonic the Hedgehog releases on February 13, 2020.
