The immediate future of Melbourne's hospitality scene is still pretty hazy, even with the tentative dates outlined in the Victorian Government's reopening roadmap over the weekend. Firstly, the industry is at the mercy of the daily COVID-19 case numbers, which must have dipped drastically (to an average of less than five state-wide over 14 days and less than five cases with an unknown source in the prior fortnight) by Monday, October 26 in order for health officials to give the green light for step three. What's more, little information has been shared about that initial opening phase, other than the suggestion venues will be required to run "predominantly outdoor seated service only". Whatever unfolds, CBD hospitality businesses can at least look forward to a helping hand from the City of Melbourne, which has been busy plotting a suite of new initiatives designed to get venues back in action, reviving the city's famous food scene as fast as possible. Now that the government's roadmap timeline has been revealed, the council is set to press 'go' on a number of measures it's had in the works. [caption id="attachment_671310" align="alignnone" width="1920"] Bentwood by Kate Shanasy[/caption] Many of these are focused on elevating Melbourne's outdoor dining scene, in a push that's modelled on NYC's Open Restaurant Program, which allows food venues to temporarily use sidewalks and curbs for openair dining. In anticipation of physical distancing requirements and the balmier spring weather to come, Melbourne businesses are keen to expand al fresco service options as much as possible. And the City of Melbourne is out to make that process easier, liaising with businesses to identify issues, working closely with the Victorian Government and taking practical steps like waiving certain street service permit fees. "We will be announcing measures to make it easier for businesses to expand their seating onto footpaths and other areas," said Lord Mayor Sally Capp in a statement. "This will provide a safe way for people to enjoy our inner city food culture, particularly once the weather warms up. It's crucial we work together to provide some certainty and clarity for the future." [caption id="attachment_782900" align="alignnone" width="1920"] Ray Reyes via Visit Victoria[/caption] The plans come as modelling from Pricewaterhouse Coopers suggests the COVID-19 pandemic could reduce the City of Melbourne's economic output by up to $110 billion over the next five years. The data, which was commissioned by the council to aid recovery efforts, also showed that more than 22,000 accommodation and food services jobs could be lost this year alone. The Council has also set up a City Economy Advisory Board, aimed at helping businesses navigate the impending recovery phase. A subcommittee targeting those in the retail, hospitality and accommodation sectors will coordinate efforts to bounce back, led by representatives from the likes of the Victorian Government, the Australian Retailers Association and the Victorian Chamber of Commerce and Industry. City of Melbourne says it'll announce more hospitality-focused measures in the coming weeks. You can learn more about the City of Melbourne's COVID-19 response at the website. For more information about the Victorian Government's roadmap, head to vic.gov.au. Top image: Parco by Kate Shanasy
Could this be St Kilda's best-kept secret? An educational eco centre, a subtropical rainforest conservatory, a giant chessboard and public artwork all find a home in the St Kilda Botanical Gardens, which is tucked on the suburb's border with Elwood. Formally established as botanical gardens in 1859, this significant green space is also home to over 800 mature tree specimens, as well as seasonal displays and native flora that make the perfect backdrop for a picnic. The park also houses lovely walking tracks and a bevy of bird and animal life, including rarely seen birds like the rainbow lorikeet and crested pigeon. Image: City of Port Phillip
Following in the footsteps of renowned ramen joint Ippudo and Manila's popular TuanTuan Chinese Brasserie, another big-name Asian restaurant chain has landed in Melbourne. This time, it's Malaysian favourite GO Noodle House tempting local tastebuds, opening its first Australian store in the heart of Melbourne's CBD. With more than 30 outlets across Southeast Asia and the original Malaysian store that pumps out up to 2000 bowls of noodle soup over a weekend, it's safe to say the brand has its fair share of fans. It's made a name for its clear seafood bisque-style 'Superior Soup' and dry mi xian noodles, the bowls are usually finished with a splash of rice wine — a trend apparently started by Emperor Kangxi back in the Qing Dynasty of the 17th century. The Melbourne restaurant's menu will carry through those classic GO Noodle House flavours, though with local ingredients. Head in for customisable bowls of that hearty, seafood-based noodle soup, or a hot and sour variation, loaded with additions like meat balls, stuffed chillies, cooked prawns or mixed mushrooms. Other dishes include the likes of homemade fish dumplings, Hakka-style pan mee noodles, slow-cooked slices of pork belly and a street snack dubbed Nine Dragon Balls. If you're feeling game (and extra hungry), there's the GNH Challenge dish — a $49 mega bowl of noodles, soup, pork and beef that's free if you can polish it all off in 30 minutes. Find GO Noodle House at 195 Exhibition Street, Melbourne. It's open from 10am–10pm daily.
Finally! After all the doom and gloom this past week of the Astor closing its doors and the Palais slowly falling apart, we finally have some good news out of St Kilda. The former George Cinemas are set to be renovated into a live performance hub this year with construction starting as soon as next Monday. Specialising in cabaret and music, the venue will be split into two performance spaces seating 500 and 250 people. While this is obviously another loss for cinema lovers, it's a great win for those that don't want to see another Melbourne icon torn down and transformed into apartment units. Closed from its original form in 2010, the George Cinemas have transformed a great deal over the last few years. In 2011, it enjoyed a very brief moment as Cinema Aurora. Then in 2013, it gained a great deal of popularity as the George Revival Cinemas. But bigger plans were in the works to build apartments on the lot. New owners Pace Development Group were planning an $11 million redevelopment of the space set for 2016. Now, the property has changed hands and it's been confirmed that those plans are dead. The new owner of the space is film and theatre producer Aleksander Vass. Returning to the site of his first ever show, Vass shows a commitment to the local arts scene. "I am determined to provide a place where high quality works can be staged, in a supportive, welcoming environment," he told The Age. All in all, it's a rare win for the little guys. And, while it may not restore the venue to its former film buff glory, cinephiles should take some solace: both performance spaces will be fully set up for film too. Via The Age and Herald Sun.
Bridge Road stalwart Laikon Deli has rolled into its next phase of life, with owners snapping up the space next door, knocking down a wall and expanding their offering to include a cheery new sit-down cafe. A longtime favourite — it's been around for 42 years — for its handmade grab-and-go bites, take-home meals and a tempting array of European pantry staples, the beefed-up space is now also a destination for customers keen to really settle in over some breakfast, lunch or an Allpress coffee. It's living up to its name even more so, too, with Laikon meaning 'for everyone'. Photos and knick-knacks give the room a homey feel and throwback to Laikon's European roots, while an expanded cafe menu now includes dishes such as the chilli scrambled eggs with Calabrese salami and warm ricotta, home-style lasagne, baked gnocchi and 'Mum's Bougatsa' — a traditional Greek filo pie loaded with custard, apple and rhubarb. A selection of mix 'n' match antipasto boards makes the most of the deli offerings, with options like a 24-month Langhiranese Parma ham, Wagyu bresaola, French blue cheese and Italian-style grilled eggplant, and holds its own against the rest of the lunch menu. What's more, a booze licence has just come in for balmy summer afternoons spent camped out with a feast of salumi, cheese, negronis and Euro wine. Images: Simon Shiff. Updated: October 21, 2018.
Sorry, supermarket desserts. When Gelato Messina serves up one of its special treats, no one's hitting the local ice cream aisle. 2023's limited-edition wares have included everything from red velvet gelato, cake and fudge mixes to a mango gelato spin on Iced Vovos — plus a Neapolitan version of its super-fancy Viennetta, too — and are now gifting folks with a sweet tooth a tub of gianduia gelato topped with hazelnut rocher crack. If your ultimate chocolate is round, covered in gold wrapping and has a crunchy hazelnut centre — yes, we're talking about Ferrero Rocher — then we expect that you'll be keen for this Messina special, dubbed the Get Cracking hot tub. Clearly taking its cues from the famed Italian chocolate, the tubs feature layers of gianduia (chocolate-hazelnut) gelato, cone crunch and hazelnut mousse. Then, on top: that hazelnut rocher crack. The end result mightn't look exactly like the chocolates that you know and love, just in a scoopable form, but it's an ode all the same. Available as part of Messina's 'Hot Tub' series, the Get Cracking gelato can only be ordered online on Monday, August 7, in one-litre tubs. You can then go into your chosen Messina store to pick up your tub between Friday, August 11–Sunday, August 13. A note re ordering: because Messina's specials always attract plenty of gelato lovers, the chain now staggers its on-sale times depending on the state — and, in Sydney, also the part of town you're in. Accordingly, pre-orders commence in Queensland and the Australian Capital Territory at 9am, then hit Victoria at 9.15am, before spreading its New South Wales stores over three slots between 9.30–10am. Gelato Messina's Get Cracking hot tub will be available to order on Monday, August 7, for pick up between Friday, August 11–Sunday, August 13 — head to the Messina website for further details.
Armadale's Little Grocer is exactly what you'd expect from the name. It's a small cosy space, lined with maximum Good Stuff for padding out your pantry in style. Adjoining the longstanding Coin Laundry cafe next door, The Little Grocer is like the walk-in pantry you always dreamed of. Open till 7pm most days, you can head by after work (especially if you're jumping off the train, as it's a stone's throw from Armadale Station) and make full use of the all-Australian produce it stocks. And, if you're looking for an edible gift, it also does a very nice hamper.
Stare at The False Mirror at Magritte, one of the Art Gallery of New South Wales' big summer exhibitions for 2024–25, and the masterpiece of a painting from 1929 will peer right back. Among the Belgian surrealist René Magritte's most-famous creations, the piece features a giant eye looking at the viewer, while also filled with a cloudy blue sky. It's an unforgettable work, and it's one of the stars of the latest showcase as part of Sydney International Art Series. Another striking painting that's on display in the Harbour City from Saturday, October 26, 2024–Sunday, February 9, 2025: Golconda, Magritte's 1953 work that brings two other pieces of popular culture to mind. Just try not to think about Mary Poppins and The Weather Girls' song 'It's Raining Men' while you feast your eyes on the sight of bowler hat-wearing men streaming down from the heavens. At Magritte, which is exclusive to Sydney, The False Mirror, Golconda and 1952's The Listening Room (La Chambre d'Écoute) — which shows an oversized apple — have ample company at AGNSW's south building Naala Nura. In total, 100-plus works are on display. This is not only a huge retrospective dedicated to the artist, but also Australia's first retrospective dedicated to Magritte. More than 80 of the pieces are paintings, demonstrating why Magritte is considered one of the most-influential figures in 20th-century surrealism; however, archival materials, photographs and films also feature. Sydney International Art Series isn't just about one major exclusive showcase, of course. From Saturday, November 30, 2024–Sunday, April 13, 2025, AGNSW is also hosting Cao Fei: My City. Over at the Museum of Contemporary Art Australia from Friday, November 29, 2024–Sunday, April 27, 2025, Julie Mehretu is on display as well. Images: installation view of the 'Magritte' exhibition at the Art Gallery of New South Wales, 26 October 2024 – 9 February 2025, artworks © Copyright Agency, Sydney 2024, photo © Art Gallery of New South Wales, Mim Stirling.
How far would you go to keep a roof over your family's head? That's the question posed by 99 Homes, the blistering new moral melodrama from writer-director Ramin Bahrani. Set in Orlando, Florida during the height of the 2010 foreclosure crisis, it is perhaps the most compelling film yet made about the global economic downturn and the everyday people whose lives it tore apart. Forget serial killers wielding machetes. This is a horror movie for the modern age. Trading his spandex and web-shooters for a toolbox and blue collar, Amazing Spider-Man star Andrew Garfield plays protagonist Dennis Nash, a construction worker and single parent forced to move his family into a motel after they're thrown out of their home. Adding insult to injury, the only work Nash is able to find is as a day labourer for Rick Carver (Michael Shannon), the same ruthless real estate broker who evicted him in the first place. But Carver soon sees potential in the desperate young father and invites him to take a greater role in his business. But what will it take for Nash to sell his soul? 99 Homes is Bahrani's fifth feature effort, although it's the first to receive a significant release here in Australia. Still, those who have seen his earlier work, including Chop Shop, Goodbye Solo and At Any Price, will recognise his signature motifs. He's an unapologetically earnest filmmaker with a strong social conscience, taking major issues that dominate headlines and using them as a basis for intimate human stories. During the film's numerous eviction scenes, he employs handheld cameras and a low, pulsating score, creating an atmosphere of overwhelming helplessness. Watching Carver throw Nash and his family out of their home will likely leave viewers feeling nauseous – although not half as nauseous as they'll feel later in the film, when Nash begins evicting families on Carver's behalf. After a few years languishing in superhero limbo, Garfield recaptures the stellar dramatic form seen in The Social Network and Never Let Me Go. Every compromise Nash considers the actor makes us understand, forcing us to ponder what we'd do in the same situation. Laura Dern is likewise strong in the admittedly thankless role as Nash's kind-hearted mother. Both, however, are overshadowed by Shannon. With the same simmering intensity he brought to Take Shelter and Boardwalk Empire, the Oscar-nominated actor is captivating whenever he's on screen. A callous big screen capitalist in the vein of Gordon Gecko, Carver is at once repellent and uncomfortably persuasive – characteristics best exemplified in a monologue midway through the film in which the e-cig smoking realtor gives us a glimpse into what drives him while raining rhetorical fire down on everyone from federal regulators to homeowners themselves. It is, quite simply, one of the best written, best acted scenes you'll see in a cinema this year. That's not to say that Bahrani's screenplay isn't also without its weak points. Nuance isn't exactly his strong suit, and there are stretches of the film that feel rather histrionic. More frustrating is the ending, in which the writer-director strips away any sense of moral ambiguity in favour of a simpler, less interesting conflict between right and wrong. Yet even in the moments where the narrative falters, the weight and sincerity of Bahrani's intention are enough to carry you through. That, along with the phenomenal work of one of the finest actors working today. https://www.youtube.com/watch?v=sfttvNCIJvE
The Alliance Francaise French Film Festival is back for its 26th year and with 49 feature films to be screened at cinemas across eight cities, you'd best prepare yourself for everything from the flirting, whimsy, mishaps and misunderstandings that come with French comedy to the passion, ennui, coming-of-age rebellion, thrilling crime and non-conformist romance that come with French drama. Highlights include: gala opening night feature Gemma Bovery, an endearing comedy starring Gemma Arterton that drops the characters of Gustave Flaubert's Madame Bovary into a small Normandy town; the Saint Laurent biopic exploring the inspirations and struggles of the acclaimed designer Yves Saint Laurent at the height of his career; and Samba, starring Charlotte Gainsbourg and star of The Intouchables Omar Sy in a cross-cultural romance that looks at the hardships faced by French immigrants. See more of our highlights in this list of top five films to see at the French Film Festival. Read our top five picks of the French Film Festival here.
Opening in a 2000-square-metre Preston warehouse back in 2021, The Keys was an instant hit. The 'all-in-one leisure centre' complete with a reimagined vintage bowling alley, arcade, bar, bistro and beer garden is the brainchild of school friends Tom Peasnell and Jon Rowatt (part of the crew behind venues including Dexter, Takeaway Pizza, Kenny Lover and Dom's Social Club). The Keys' main persona is a retro bowling alley reimagined for the modern-day bowler, boasting 12 maple timber bowling lanes that have been tricked out with upcycled parts from former bowling alleys, along with the latest tech and machinery. Meanwhile, a collection of retro arcade games, pool tables and a state-of-the-art sound system will keep you more than entertained between games. The space is also home to a fireside lounge area, dance floor, dining zone, bar and a roomy beer garden with capacity for 450 punters. [caption id="attachment_903499" align="alignnone" width="1920"] Jack Lovel[/caption] Across three separate bars, a hefty 48 taps are largely championing local brewing mates, including fellow northsiders Moon Dog Brewing, Tallboy & Moose, La Sirene and Hawkers. In a fitting nod to one of history's most iconic bowling flicks, there'll also be Big Lebowski-style White Russians on the tap list. Head Chef Peasnell is fuelling nostalgia even further with a menu of revamped classics, starring bar snacks, pub favourites and New York-style pizzas. [caption id="attachment_903494" align="alignnone" width="1920"] CHawks[/caption] Appears in: The Best Bars in Melbourne for 2023
For 150 years now, South Melbourne Market has been an integral part of the fabric of Melbourne's food culture. It's not only a very pleasant place to pick up fresh produce and top-notch seafood, but it's also a go-to for morning flat whites, afternoon pastries and paella at night. Like Prahran Market, this is a market for all things food — once you've visited the green grocers and downed a dozen oysters, grab some gozleme, get a takeaway coffee and doughnut from Clement Coffee and then wander through the surrounding South Melbourne shops. Images: Simon Shiff.
Now and then, we all need to take a break from being a part of society, close the doors, turn off notifications and binge watch TV shows while ignoring all texts and messages. The tricky part, though, is being in a you-time bubble when dinner rolls around. Our instincts tell us to snuggle into our couch burrito, order enough UberEats to feed the whole apartment block and when it arrives, awkwardly call back into your apartment, "Hey, large group of my friends, the food is here!". You're not fooling anyone and you deserve better. Put on your glad rags and treat yourself to a meal out — alone. Yes, it sounds weird (food is often such a social concept, after all) but hear us out: you should be treated to fresh, delicious food and a doting waiter, even when you're retreating into your antisocial bubble. Alone but together with American Express we've uncovered Melbourne's best eateries for when you're riding solo and intend to keep it that way. Pick a spot, bring a book (and your American Express® Card) or spend the evening people watching — there's no wrong way to do it. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
Gaming and esports are coming to Melbourne in a big way. Come early 2020, the Emporium precinct will welcome Fortress, a 2700-square-metre centre devoted to computer, video, console and tabletop gaming. When it launches, it'll become the largest venue of its type both in the country and in the southern hemisphere. If you're eager to mash buttons with your mates somewhere other than your lounge room, you'll be able to do so in this sprawling two-level spot — which'll feature more than 160 gaming PCs, several suites dedicated to consoles, an entire lounge for online gaming, four streamer pods, and an area just for role-playing and board games. If you take your favourite pastime a bit more seriously, you'll also be in the right place. As well as an esports arena with grandstand seating for 200 people, Fortress will include an esports bootcamp room, a training space, and broadcast and production facilities. At least five big screens will grace the venue's walls, playing live tournaments and international playoffs. Elsewhere, function rooms with their own computer setups will be available to hire for private events and parties — and there'll be a merchandise store onsite as well. When it comes to kicking back after a few games, the esports area will boast its own bar, while the basement will be home to a 400-square-metre tavern that'll serve both drinks and food. Whether you're a Super Smash Bros lover or a Counter Strike fiend, Fortress Melbourne aims to appeal to everyone, catering for casual gamers, competitive gamers and esports diehards, as well as families and after-work crowds. A collaboration with US-based Allied Esports, which runs venues such as Las Vegas' HyperX Esports Arena, the Melbourne facility marks the first in a planned chain of similar spots across Australia over the next few years — although no date has been given as yet for the rollout around the rest of the country. Fortress Melbourne will open at Emporium Melbourne, 287 Lonsdale Street, Melbourne, sometime early in 2020. We'll update you with a launch date when one is announced.
This news isn't like rain on your wedding day. It doesn't resemble finding a black fly in your chardonnay. And it definitely isn't anything like hitting a traffic jam when you're already late, either. But, it will have you singing those lines — and it is news that you oughta know, too — because 15-time Tony Award-nominated musical Jagged Little Pill is heading to Australia. The acclaimed production is making its first trip beyond Broadway, in fact, when it hits the Theatre Royal Sydney from Thursday, December 2. And, when the curtains are raised, it'll help mark another milestone, reopening the Theatre Royal five years after it closed its doors in 2016. Inspired by Alanis Morissette's 1995 album of the same name, Jagged Little Pill the Musical weaves a story around songs from that iconic record. So yes, it's a jukebox musical like Mamma Mia!, We Will Rock You and Rock of Ages. Famed tracks 'Ironic', 'You Oughta Know', 'Hand in My Pocket', 'Head Over Feet' and 'You Learn' all feature, in a production that boasts music by Morissette and her album co-writer and producer Glen Ballard, lyrics by Morissette, and a book by Juno Oscar-winner Diablo Cody. And, songs such as 'Thank U', 'So Pure', 'That I Would Be Good', 'So Unsexy' and 'Hands Clean' all pop up as well, even though they hail from the musician's subsequent albums. At present, tickets are on sale for shows until Sunday, December 19, all starring Natalie Bassingthwaighte. She'll play Mary Jane Healey, with Jagged Little Pill the Musical telling the Healey family's tale as they struggle with their seemingly idyllic suburban lives after a troubling event in their community. Expect to hear Morissette's tunes — including two new songs written just for the show — used in a story about social issues relevant to today, but also with an overall message of hope, healing and togetherness. Images: Jagged Little Pill the Musical original Broadway cast, Matthew Murphy. Updated September 27.
Even woken up after a big night out, with vague memories of an inner-city jungle oasis? Ladies and gentlemen, you've been to the Carlton Club. This urban stalwart has been welcoming thirsty revellers for many moons, and its dedicated crowd is thoroughly addicted. The main drinking area is named the Hasti Bala bar, with lush indoor foliage, plenty of green velvet and a life-size elephant head — it's fake, don't worry. Turn the corner, and you might spy some other four-legged friends, with Gerald the Giraffe and Wally the Ostrich keeping a watchful eye over the proceedings. Upstairs you will find the aptly-named Palmz Deck, bordered with tropical greenery, and dazzling pink flowers. The food menu is similarly impressive, with Asian-fusion entrees and pub classic mains. Our pick is the jamon-crusted eye fillet, with seared scallops and pea puree ($28) — just trust us on this one. The real kicker is the opening hours, with a 24-hour liquor license allowing for some very extended revelry. Images: Giulia Morlando.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are starting to reopen — spanning 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 over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=1Qn70iqo-4Q MONOS The relentlessness of modern life, the ongoing unrest in Colombia, and the ceaseless trials and tribulations that plague all teens facing adulthood — they all sit at the centre of stunning South America-set thriller Monos. Set in a camp of teen guerrillas, Alejandro Landes' third film follows gun-toting rebels that have barely said goodbye to childhood, but are still tasked with guarding an American hostage (The Outsider's Julianne Nicholson). Unsurprisingly, even with nothing around but fields, jungle, a cow to milk and occasional enemy fire, little goes according to plan. Engagingly lingering between a dark fairytale and a psychological treatise on war, combat and humanity's dog-eat-dog nature, the result is the definite standouts of the past year. From the eye-popping landscape cinematography and the needling tension of Mica Levi's score, to the commanding performance from the young cast, there's a reason that Monos proved a huge festival hit around the globe in 2019 — including winning Sundance's Special Jury Award — before finally releasing in Aussie cinemas. https://www.youtube.com/watch?v=nzqevBnUUZU&t=3s THE ASSISTANT After exploring the JonBenet Ramsey case not only with precision, but via a perceptive re-enactment technique that interrogated its impact — with excellent documentary Casting JonBenet the end result — trust Australian filmmaker Kitty Green to turn one of the biggest topics of the past few years into a compelling, unsettling, fiercely searing thriller. The subject: the culture of sexual harassment and sexually predatory behaviour in the entertainment industry. The context: #MeToo, obviously. Following a day in the professional life of an entry-level personal assistant, Jane (Ozark's Julia Garner), as she works for an unseen film production company head honcho, The Assistant unnerves by showing the routine, everyday nature of inappropriate workplace conduct, as well as the powerlessness of those both subjected and witness to it to stop it. As always in Green's films, every element is fine-tuned to evoke a strong and earned response — which, here, includes a grey colour palette, claustrophobic camerawork, a taut script, a commitment to authenticity and a devastatingly stellar performance by Garner. https://www.youtube.com/watch?v=tqO25i-XNEU THE PERSONAL HISTORY OF DAVID COPPERFIELD He's skewered British, American and Russian politics in The Thick of It, In the Loop, Veep and The Death of Stalin. This year, in the eerily prescient Avenue 5, he pondered what would happen if a group of people were confined on a cruise of sorts — a luxury space voyage — for an extended stretch of time. But, in period comedy mode, The Personal History of David Copperfield might just be Armando Iannucci's most delightful work yet. Indeed, playfully trifling with a Charles Dickens classic suits the writer/director. Boasting a charming performance by Dev Patel as the eponymous character, and also starring Tilda Swinton, Hugh Laurie, Peter Capaldi, Ben Whishaw and Game of Thrones' Gwendoline Christie, this is a fresh, very funny and sharp-witted rendering of the obvious literary source material. Recreating this tale of a Victorian-era young man cycling from wealth to poverty and back again, Iannucci and his frequent co-scribe Simon Blackwell take shrewd liberties with the story, while never letting issues of class, abuse, loss, corruption and the dog-eat-dog nature of capitalism slip from view. And, Iannucci's visual inventiveness — including the use of split screen and rear projection — also leaves an imprint. Read our full review. https://www.youtube.com/watch?v=eVlPl0SXFiE BAIT When a film is described as 'textured', the term typically refers to its narrative, themes and emotional impact, with nothing smooth, shallow or straightforward evident. That applies to Mark Jenkin's Bait as it hones in on feuding Cornish fisherman siblings Martin (Edward Rowe) and Steven Ward (Giles King). Indeed, examining not only family in-fighting, but culture clashes, the growing chasm between tradition and modernity, and the effect of tourism on local residents of scenic spots, this is a rich, tense, complex and mesmerising affair that muses as deeply on blood ties as it does on gentrification. Jenkin's film also boasts ample visual texture, too. It's noticeable from the feature's first moments, is intrinsically linked to its tone, and proves utterly inescapable as the sea, craggy shorelines, twisted nets and gnarled ropes all fill the screen. And, as shot on location with a 16mm Bolex camera — and on black-and-white stock that the director hand-processed — Bait's look and feel is as important to the movie as anything else within its frames. In fact, paired with a noticeable penchant for close-ups that forces the audience to stare firmly at both people and objects, this stunning British feature couldn't make a bigger or more powerful aesthetic splash. https://www.youtube.com/watch?v=9DOiI_zYQrs BELLBIRD Bruce (Cohen Holloway) has long since reached adulthood. And, for all of the garbage dump worker's life, his mother Beth (Annie Whittle) has provided a buffer between him and his stoic father Ross (Marshall Napier). When tragedy strikes, however, they're forced to not only face a future without her — including the minutiae of running their scenic Northland dairy farm — but to truly face and talk to each other in a meaningful way for the first real time. Marking the feature directorial debut of teacher-turned-filmmaker Hamish Bennett, made in the area he grew up in and following the same characters from his 2014 short film Ross & Beth, Bellbird explores a straightforward and well-traversed concept, with mourning no stranger to screens. That said, this patient, understated and gently humorous New Zealand drama is a soulful and thoughtful gem. As well as finding a wealth of depth in two men ill-equipped to confront their complicated emotions but given no choice but to try, this gorgeously shot and weightily performed feature matches Bruce and Ross' taciturn ways with an astute script that conveys more through silence than words. https://www.youtube.com/watch?v=BewCjGqefoQ LOVE SARAH Also focusing on connection and reflection sparked by grief, Love Sarah steps into another family attempting to cope with loss. In this case, the dearly departed is the titular chef — the estranged daughter of ex-circus performer Mimi (Celia Imrie), beloved mother of dancer Clarissa (Shannon Tarbet), and best friend and business partner of Isabella (Shelley Conn). When the latter decides to forge ahead with Sarah's plans to open a bakery, she realises that she can't do it without both Mimi and Clarissa's help. Also lending a hand: Sarah and Isabella's culinary school pal Matthew (Rupert Penry-Jones), who might be Clarissa's father. Directing her first feature, filmmaker Eliza Schroeder lets everything about Love Sarah play out as expected, including its soft hues, appetising cake and pastry shots, and exploration of renewed bonds and new opportunities in the face of life-altering change. The film is suitably sweet, of course, and always palatable; however it's far too happy to stick to the easiest recipe possible — with some plot strands overstressed to add extra drama, and one of the movie's more enticing and interesting narrative elements quickly introduced and then abandoned. https://www.youtube.com/watch?v=2Tzas-d8MgM THE WRETCHED For part of this year, when US cinemas were closed but some drive-ins were still open, The Wretched topped the American box office. In no other scenario would that have occurred, so consider the attention afforded Brett and Drew T Pierce's instantly familiar but always effective horror film one of the few silver linings of pandemic-inspired lockdowns. Set in a small coastal town, the siblings' slickly crafted feature follows teenager Ben (John-Paul Howard), who's visiting his divorced father Liam (Jamison Jones). As tends to happen in this type of creepfest, his arrival coincides with strange goings-on at the house next door — namely a sinister force that's wreaking havoc on his neighbours and threatening to spread its malevolence even further. Immediately recalling 80s-era spookiness (and clearly the product of writer/directors who've spent much of their lives watching scary flicks from the period), The Wretched perfects the genre's jumps and bumps with ease, as well as the filmmaking nuts and bolts. In terms of its supernatural storyline, though — and its witchy villain — it does lean heavily on cliches. https://www.youtube.com/watch?v=_K4qawhyasA&feature=emb_logo A SON A tragic accident causes a long-kept secret to come to light — and sparks a series of difficult choices for a Tunisian struggling couple — in the tense and moving A Son. Despite that description, however, this isn't just an intimate drama about messy personal lives tested by heightened circumstances, although it definitely fits that bill. As well as chronicling the fallout when Aziz (Youssef Khemiri), the 11-year-old son of Fares (Sami Bouajila) and Meriem (Najla Ben Abdallah), is hit by a stray bullet during an on-the-road ambush by an armed group, debut filmmaker Mehdi Barsaoui examines the societal underpinnings deepening the family's troubles. Aziz is in dire need of a liver transplant in the aftermath of the attack, but the quest to find a donor is complicated due to cultural, religious and political reasons, as well as a revelation that rocks Meriem and Fares' marriage. Playing parents and partners pushed to their limits, Bouajila and Abdallah are superb. And, while some of the movie hits predicable narrative beats, Barsaoui isn't afraid to veer in confronting directions, or to peer intently at the state of Tunisia today. https://www.youtube.com/watch?v=Eq2n6LJrrZY THE BOOKSELLERS Calling all bibliophiles — whether your bookshelves are bulging, you've spent far too much of your life in bookstores or you've always dreamed about turning your passion for reading into your profession. Focusing on New York's rare booksellers, as well as the ups and downs of their industry, US documentary The Booksellers touches on all of the above. It's also catnip for anyone who's never more content than when they're thumbing through a printed tome, and convincingly evokes the feeling of trawling through shelf after shelf of old, beloved volumes. Cycling through the main players in NYC's antiquarian and secondhand book scene, stepping through the history of dealing in rare texts and contemplating what the future might hold as technology threatens to change everything, this is a meticulously structured, deftly edited, and immensely fascinating ode to the printed word and the happiness it brings. Filmmaker DW Young doesn't make any surprising moves, but he doesn't need to, with his overall topic, his individual subjects and the world they inhabit proving as captivating as any must-read page-turner. https://www.youtube.com/watch?v=2VSaaTCrhlU IT MUST BE HEAVEN In It Must Be Heaven, Palestinian filmmaker Elia Suleiman both directs and plays himself. He also doesn't say a single word on-screen. Serving up a slice of observational comedy, he instead bears witness to and satirises the world around him — starting in his hometown of Nazareth, then roaming to Paris, New York and Montreal. In each place, absurdity reigns. Suleiman isn't interested in overt farce, though, but in a comically heightened, expertly choreographed exploration of the type of strangeness and silliness that lingers in ordinary lives, everyday situations and widespread attitudes. Think: run-ins with authority, examples on the increasingly engrained nature of violence, pondering global tourism and ruminating on the way that one's homeland shapes identity. The ebbs and flows of Suleiman's filmmaking career provide the scantest narrative framework, complete with a brief appearance by Gael Garcia Bernal as himself; however It Must Be Heaven favours vignettes, sight gags, soulful reflection, expressive comedy and strikingly staged moments over neat storytelling. https://www.youtube.com/watch?v=7w5Ej4SF2LE MASTER CHENG The ability of food to overcome national, cultural and racial bounds — to erase barriers, bring people together and help forge new bonds — is an overused cinematic trope. So too is the healing, happiness-inducing power of a great dish, including in fish-out-of-water and down-on-one's-luck scenarios. That doesn't stop Finnish comedy Master Cheng from giving all of the above a workout, though. Here, the titular Chinese chef (Pak Hon Chu) heads to the European country with his son Nunjo (Lucas Hsuan) in tow, plans to connect with an old colleague, but finds himself forging ties in a remote village instead. Naturally, there's a slow-simmering romantic connection with a local in the form of diner owner Sirkka (Anna-Maija Tuokko). Just as expectedly, the community warms to the newcomer's presence. What helps lift Master Cheng, however, isn't filmmaker Mika Kaurismäki's love of a clearcut (and clearly sentimental) template, but the time and attention he invests in building characters, as evidenced best in the film's fleshed-out central duo. https://www.youtube.com/watch?v=0qF-TrY0hBg&feature=youtu.be ROMANTIC ROAD Many a screenwriter has probably tried to pen a similar tale, but the story of Rupert and Jan Grey, their retirement plans and the adventure that followed could've only stemmed from truth. Invited to attend a festival in Dhaka, Bangladesh, the couple decide to drive Rupert's father's 1936 Rolls Royce across India to get there. The journey proves revelatory and life-changing in a variety of ways; however it's the detail captured by filmmaker Oliver McGarvey and his documentary Romantic Road that couldn't be more authentic. The Greys' road trip hits obstacles, both expected and not-so. That's part of the genre, whether based on fiction or fact. Here, though, McGarvey doesn't just focus on the trek and the ensuing escapades along the way, but spends much of the film unpacking his subjects' 35-year relationship — and their motivation to add this hefty drive to their lifetime's worth of affection and memories. https://www.youtube.com/watch?v=Rhwx30NPMY4 THE TAVERNA Setting a film inside a bustling restaurant — here, the White Village Greek Tavern in Melbourne's Elsternwick — almost feels like science fiction at this very moment. With The Taverna, though, it's inspiration for modest laughs, dramas and insights, with this ensemble piece charting the action in its obvious setting across one particularly chaotic night. Owner Kostas (Vangelis Mourikis) has plenty to deal with, including a car accident involving his shady son Angelo (Christian Charisiou), trying to get his his waitress Sally (Emily O'Brien-Brown) to replace his belly dancer Jamila (Rachel Kamath), and troubles with the latter, her ex-husband Arman (Peter Paltos) and his new girlfriend Rebecca (Tottie Goldsmith). Embracing multicultural Australia to an extent that isn't always seen on local screens, the result is a warm, sometimes wavering but generally engaging film from writer/director Alkinos Tsilimidos (Silent Partner, Tom White, Em 4 Jay). From 11.59pm on Wednesday, July 1, until at least Wednesday, July 29, stay-at-home orders have been reintroduced in ten Melbourne postcodes, which means their residents can only leave for one of four reasons: work or school, care or care giving, daily exercise or food and other essentials. For more information, head to the DHHS website.
UPDATE: April 28, 2020: Star Wars: Episode IX — The Rise of Skywalker is available to stream via Google Play, YouTube and iTunes — and via Disney+ from Monday, May 4. Pity the fool who directs a Star Wars movie these days, even if that fool is JJ Abrams. It feels like a long time ago, in a galaxy far, far away from the internet, when fans only interacted with films at the cinema and movies survived or died largely on merit alone. Back then, criticism and praise happened in private — between friends, colleagues and, occasionally, strangers at conventions. Now, films can fail before they're released. Emboldened by online anonymity and pocket-sized megaphones, devotees decry everything from casting choices to millisecond-long trailer grabs. To borrow from A New Hope, it's as if millions of voices suddenly cried out in terror that a woman was cast in the lead, or a stormtrooper was both black and friendly. "Thanks for ruining my childhood" became the catchcry for anyone who felt they didn't see the movie they wanted to and, unfortunately, studios started listening. It's in this context that the third and final film in Star Wars' sequels trilogy arrives. Reactions to Rian Johnson's The Last Jedi were as polarised as the entire franchise had seen — with some praising his efforts to reimagine swathes of lore and actually deliver something new for the first time in nearly 30 years, and others (most, even) tearing the film down. Cries of disrespect rang long and loudly as OG fans believed that their beloved characters had rejected everything they'd once stood for. Sure, Johnson dropped the ball on a number of fronts, but at least he tried something different. Star Wars: Episode IX — The Rise of Skywalker does not try anything different. It retreats to the safest possible territory, borrowing heavily from Return of the Jedi to round out a trilogy crippled by an absence of cohesion. Like 2018's Ready Player One, nostalgia is the film's oft-used trump card, relying almost entirely on familiar visual or musical moments to trick you into thinking you're watching something clever or special. The end result is a chaotic, inconsistently paced, 142-minute package of fan service that gets a few things deliciously right and a lot disappointingly wrong. The Rise of Skywalker's best parts, as has been the case across this trilogy, stem from the relationship between Rey (Daisy Ridley) and Ren (Adam Driver). As the only enduring, meaningful source of mystery, Ridley and Driver again deliver committed performances filled with emotion and raw physicality — and both deserved a far greater story. Here, they're after the same thing: the somehow-resurgent Emperor Palpatine. We say 'somehow', because at no point does the film substantially address this crucial point. At least soaps like Dynasty offered explanations when they pulled this narrative trick (it's his evil twin; he fell off a boat and had amnesia; he was in protective custody). For Abrams, Palpatine is just back. In fact, he never left. Still, it's a joy to see Ian McDiarmid reprise one of cinema's greatest villains, with his scenes among the movie's highlights. Another strength, of course, is The Rise of Skywalker's special effects. As always, they're dizzying and dazzling. The large-scale planets and battles are amazing because Industrial Light & Magic — the company that helped kick-start incredible SFX back in 1977 — continues to push new boundaries, but the imagery particularly impresses in smaller ways. The ongoing commitment to practical effects (those that actually happen live on-set), for example, and managing to not only keep Carrie Fisher on-screen two films after she died, but to ensure that Leia remains the franchise's best character. The wizardry behind these posthumous performances must give pause to all working actors; however credit also goes to the writers for holding true to everything that made Leia an iconic hero in the first place. Her lines are limited but her actions speak volumes, and the film's most emotional moments belong to her. Others don't fare nearly as well. Kelly Marie Tran's Rose, a major player in The Last Jedi, is sidelined, as are Domhnall Gleeson and Lupita Nyong'o's characters — while franchise newcomer Keri Russell scarcely appears before she's gone. Even C-3PO is on the outer, notwithstanding one touching moment. Richard E. Grant is an inspired addition, and his turn as a ruthless First Order general makes you wish he'd been there from the beginning. As for Billy Dee Williams' return as Lando Calrissian (as already spoiled in the trailers), it's among the better nostalgic flourishes. Returning to Star Wars after first directing The Force Awakens, that Abrams plays it safe is no surprise. Yes, it can be argued that a franchise this big needs to take fewer risks to ensure it resonates with the widest possible base. Just as true, though, is the fact that playing it safe is a gross disservice to a property worthy and capable of greatness. If this really is the end of this universe as we know it, then surely it would've been better for The Rise of Skywalker to try and fail than fail to try at all. https://www.youtube.com/watch?v=8Qn_spdM5Zg
Tucked away inside the Royal Arcade, which is widely recognised as Australia's oldest arcade, Ziggurat's eccentric range of handbags, wallets, pouches and so-called 'lovely things' don't look out of place next to the wonderful light-filled corridor outside. The store's huge range of products are perfect for adding an accessory to any outfit, while still maintaining a functional design. Whether you prefer a minimalist aesthetic or a pattern that pops, Ziggurat will surely have the bag for you. Inside, you will also find host of luminous umbrellas and comfortable pillowcases so you can surround yourself with wonderfully crafted products all the time. Images: Tracey Ahkee.
Founded as a way to promote happiness and health, this five-kilometre-long run involves splashes of colour to distract you from the fact that you're, you know, exercising. All participants are asked to wear as much white as they can, and then embrace the colour pigment that's blasted at them at various points during the race. This is sweaty exercise disguised as straight-up fun. With plenty of excitement at the beginning, a party at the end, and four colour zones to dance your way through — plus a bubble zone, a foam zone and a DJ zone — the fun never stops, and neither do your legs. The Color Run now takes place in more than 35 countries worldwide, attracting six million runners across the globe. This year it'll run its Melbourne race on Sunday, November 25 at Flemington Racecourse, kicking off at 7am. If you need more motivation, there'll also be free slurpees, a giant swing and a ball pit. Plus, if you'd like to do something for others with your run, you can raise money for the Starlight Children's Foundation.
Something delightful has been happening in cinemas across the country. After periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — at present, spanning both big chains and smaller independent sites in Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. LITTLE JOE Pipes blow gently. The camera swirls. Rows of plants fill the screen. Some are leafy and flowery as they reach for the sky; others are mere stems topped with closed buds. Both types of vegetation are lined up in boxes in an austere-looking laboratory greenhouse — and soon another shoot of green appears among them. Plant breeder Alice (Cruella's Emily Beecham, who won the Cannes Film Festival's Best Actress award for her work here) is cloaked in a lab coat far paler than any plant, but the symbolism is immediately evident. Audiences don't know it yet, but her shock of cropped red hair resembles the crimson flowers that'll blossom in her genetically engineered new type of flora, too. "The aim has been to create a plant with a scent that makes its owner happy," she tells a small audience. She explains that most research in her field, and in this lab, has revolved around cultivating greenery that requires less human interaction; however, her new breed does the opposite. This species needs more watering and more protection from the elements, and responds to touch and talk. In return, it emits a scent that kickstarts the human hormone oxytocin when inhaled. Linked to parenting and bonding, that response will make everyone "love this plant like your own child," beams Alice like a proud parent. So starts Little Joe, which shares its name with the vegetation in question — a "mood-lifting, anti-depressant, happy plant," Alice's boss (David Wilmot, Calm with Horses) boasts. She's borrowed her own teenage son's (Kit Connor, Rocketman) moniker for her new baby, although she gives it more attention than her flesh-and-blood offspring, especially with the push to get it to market speeding up. The clinical gaze favoured by Austrian filmmaker Jessica Hausner (Amour fou) is telling, though. The eerie tone to the feature's Japanese-style, flute- and percussion-heavy score sets an uneasy mood as well. And, there's something not quite right in the overt eagerness of Alice's lab colleague Chris (Ben Whishaw, Fargo), and in the way that Planthouse Biotechnologies' other employees all instantly dismiss the concerns of the one naysayer, Bella (Kerry Fox, Top End Wedding), who has just returned to work after a mental health-induced sabbatical. Making her first English-language feature, Hausner helms a disquieting and anxious sci-fi/horror masterwork. Like many movies in the genre, this is a film about possibilities and consequences, creation and its costs, and happiness and its sacrifices — and about both daring to challenge and dutifully abiding by conformity — and yet it's always its own beast. There are aspects of Frankenstein at play, and The Day of the Triffids, and even Side Effects also. But as anyone familiar with Mary Shelley's iconic work knows, combining familiar elements can result in an intriguing new entity that's much more than just the sum of its parts. Read our full review. HERSELF Survivalist films typically pit humans against the elements, nature or space, testing a character's endurance when they're cast adrift in the ocean (as in Kon-Tiki and All Is Lost), enduring unwelcoming expanses (Into the Wild, Arctic), faced with animal predators (The Grey, Crawl) or navigating the heavens (Gravity, The Martian). Herself doesn't tick any of those boxes, but it still fits the genre — because what else is a movie about a woman trying to escape an abusive marriage, care for her two young daughters alone and build a safe future if not a story of survival? In Dublin, Sandra (Spider-Man: Far From Home's Claire Dunne, who also co-wrote the feature's screenplay) is unhappily married to Gary (Ian Lloyd Anderson, Vikings), and has the bruises to prove it. When he finds money hidden in her car, a badly fractured hand becomes the latest marker of their domestic horror. She leaves, children Molly (Molly McCann, Vivarium) and Emma (debutant Ruby Rose O'Hara) in tow, but forging a path forward proves complicated at every turn. Social services can only put the trio up in a hotel far away from the girls' school, juggling two jobs to barely scrape by becomes even trickier and, by court order, Gary still gets weekend visits with the kids. Then, thanks to a spark of unexpected inspiration, Sandra decides to try to build her own house — a €35,000 self-build that'll require an overwhelmingly thoughtful gift from one of her bosses (Harriet Walter, Killing Eve), the kindness of a construction industry veteran (Conleth Hill, Game of Thrones) and all the help she can muster. As a writer (with What Richard Did's Malcolm Campbell), Dunne doesn't make easy choices. Her narrative doesn't follow a straightforward path, either. Herself's script highlights the devastating complexities that surround Sandra at every turn, but avoids plotting the obvious course — because more hopeful and more grim moments are always in everyone's futures, even when it seems that worse surely can't come. Stress, resilience, tender gestures and uncaring powers-that-be are all a part of this story. So is interrogating a system that's quick to push back at victims in the name of family, and the impact upon children who grow up in a household blighted by domestic violence. Herself fleshes out this reality, but always hurtles forward, because that's all that Sandra can do. Worlds away from the two other features on her resume — Mamma Mia! and The Iron Lady — director Phyllida Lloyd helms an intense , compassionate but still clear-eyed drama. It's as bleak as French standout Custody, which also plunges into an abusive marriage. It's also as brutal in its unflinching depiction of navigating bureaucracy as fellow Irish film Rosie, which also tells of a mother trying to find housing for her kids. And yet, without any cloying sentiment, there's hope and tenacity here as well, including in Dunne's phenomenally rich and vulnerable performance. Read our full review. WEREWOLVES WITHIN The last time that filmmaker Josh Ruben trekked to a snowy mountainous locale and tracked the characters stranded in its midst, Scare Me was the end result, with the entertaining horror-comedy combining cabin fever chaos with creepy tales. Accordingly, it's easy to see how he's jumped from that Sundance hit to Werewolves Within, which shares the same kind of setting and setup — but with lycanthropes and a whodunnit twist. Forest ranger Finn (Sam Richardson, Promising Young Woman) has just arrived in the remote town of Beaverfield as the weather turns and the strange attacks start. He's barely been given a tour by fellow outsider Cecily (Milana Vayntrub, This Is Us), the local mail carrier, when the village's generators are found destroyed and the bodies start piling up. Finn has already established that he's surrounded by eccentric characters, including an oilman (Wayne Duvall, The Trial of the Chicago 7) trying to build a pipeline through the foliage, a store owner (Michaela Watkins, Search Party) obsessed with her dog, a constantly arguing couple (No Activity's George Basil and Barry's Sarah Burns) with a fondness for skirting the law, and a pair of ex-city slickers (What We Do in the Shadows' Harvey Guillén and Saved by the Bell's Cheyenne Jackson); however, he's soon forced into close quarters with his new neighbours as they all try to work out who's transforming into a ravenous creature and indulging their hunger. If it all sounds a bit like Cluedo but with werewolves, there's a reason for that; the 2016 virtual reality game that Werewolves Within is based on also matches that description. Adapted into a movie, the narrative aims for Knives Out with claws — but, while overflowing with one-liners, sight gags and a healthy sense of humour to a not just jam-packed but overstuffed degree, the end result is never as funny as it should be. It's never quite as fun, either, even though the concept is a winner on paper. Comedian-turned-screenwriter Mishna Wolff spends far too much time trading in the glaringly apparent, not to mention the predictable. Hell is other people here, and the fact that a seemingly quaint and friendly small town can be filled with deceit, duplicity and disaster is hardly a new observation (and neither is the musing that the sniping within the community just might be worse than the supernatural threat they're now facing). That almost every character remains purely one-note doesn't help, and nor do the over-amped performances given by all of the film's supporting players. Richardson is a delight, though, as he has been in everything from Detroiters to Veep. Indeed, he makes the case not just for more work, but for more leading roles. Vayntrub sinks her teeth into her part, too, and her rapport with Richardson is one of the movie's highlights. Also engaging: the off-kilter tone that Ruben adopts throughout, again aping his previous — and better — feature. PERFUMES Add Perfumes to the lengthy list of odd-couple comedies that bring folks with opposing personalities together, and suddenly, all so that they can learn life lessons, face much-needed realisations and ultimately live better futures. This French feature also hinges upon an only-in-the-movies setup, after a professional "nose" — someone with enhanced olfactory receptors who plies their talents in the fragrance trade — strikes up an unlikely connection with the struggling father that starts working as her chauffeur so that he can eventually win shared custody of his tween daughter. The key here: sincerity. There's sweetness in writer/director Grégory Magne's (L'air de rien) film, and whimsy, too, but this tale about two lost souls unexpectedly finding commonalities in each other never plays up its quirks. Instead, as penned with heart, helmed with patience, and performed with soul by stars Grégory Montel (Call My Agent!) and Emmanuelle Devos (Violette) as well, Perfumes is like smelling a familiar yet still enticing, comforting and surprising scent. Just as fragrance designer Anne Walberg (Devos) builds aromas out of recognisable ingredients while striving to create something that stands out, this charming movie blends its array of easy-to-spot elements into a pleasingly distinctive cinematic treat. In the latest French-made or -adjacent feature to include a custody battle of late (see also: Custody and My Zoe), all that Guillaume Favre (Montel) wants is to convince a judge that he can spend every other week with his daughter Léa (Zélie Rixhon, The Ideal Palace). To do so, he needs to radiate stability, something that he starts seeking through his driving job. When he's assigned to ferry Anne between assignments, he's far from impressed by her aloof demeanour or unusual demands. Helping her change the sheets at her hotel isn't in his job description, he notes. But he's also intrigued by her work, which currently involves recreating the specific odour of a cave, masking an unpleasant smell that's infected a leather brand's handbags, and trying to counteract the stench being pumped out by a rural factory — new gigs she's pushed into by her money-motivated agent (Pauline Moulène, Boomerang) after starting out concocting designer perfumes. Magne's film isn't about narrative surprises, but about emotions. It's also about spending time with two nicely fleshed-out characters who find friendship blossoming despite their initial misapprehensions, and bring out the best in each other as a result. Perfumes wouldn't work if it didn't unfurl with gentle but genuine warmth, if it didn't value attention to detail so highly, and if it didn't have both Devos and Montel as its anchors; however, thankfully they're all a part of this elegant Gallic effort. ESCAPE ROOM: TOURNAMENT OF CHAMPIONS More than once in Escape Room: Tournament of Champions, a supporting performance stands out — and not for the right reasons. Overdone and obvious, these portrayals leave audiences with no doubt that the corresponding characters are part of the game that this franchise has been playing for two movies now. The overall premise of this series sees ordinary folks receive invites that lead them into a maze of escape rooms. These are literal life-and-death spaces, and the body count grows room by room. This time around, Zoey (Taylor Russell, Words on Bathroom Walls) and Ben (Logan Miller, Love, Simon), the sole survivors of 2019's series starter, are trying to track down the villains responsible for the death traps. Of course, they're soon stuck in another one, alongside four fellow winners (In Like Flynn's Thomas Cocquerel, Follow Me's Holland Roden, Queen & Slim's Indya Moore and Step Up: High Water's Carlito Olivero) from other games. There's supposed to be a sense of anxiousness about where the escape rooms begin and the outside world ends, and vice versa, but that's completely stripped out of this second effort. Throughly unsubtle bit-part performances, even for a movie this blatant at every turn, will do that. Escape Room: Tournament of Champions is still tense when Zoe, Ben and their fellow pawns are trying to sleuth their way to safety, thankfully, but that's largely a result of giving them twisty puzzles to solve at an urgent pace. Watching people trying to problem-solve quickly comes with innate tension. Will they succeed? Won't they? The seesawing between those two extremes is inherently suspenseful. That, and the rooms themselves, are two of Escape Room: Tournament of Champions' three highlights. The third: Russell, who is capable of so much more — as seen in Waves, for example — and gives her part here more depth than is written on the page. But, as much as returning director Adam Robitel (Insidious: The Last Key) tries to spin something memorable out of the nervous tone, elaborate spaces and Russell's presence, the repetition and overtness gets tiring fast. While individual scenes may be tense, the overall film never is. It's always apparent where the narrative is headed, even when the six credited writers (Mortal Kombat's Oren Uziel, Hand of God's Daniel Tuch, Counterpart's Maria Melnik, The Hive's Will Honley, Invincible's Christine Lavaf and Wildling's Fritz Böhm) think they're serving up surprises; thought has clearly gone into the minutiae of each escape room, and yet little seems to have been afforded the bigger picture. Visually, and in its soundtrack, every stylistic touch paints by the numbers, too. Also much too predictable: that the film is a setup for yet more to follow. The Final Destination franchise has ratcheted up five instalments so far, so the Escape Room series, the closest thing it has to a successor, can obviously keep milking its setup for several more formulaic movies to come. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; May 6, May 13, May 20 and May 27; and June 3, June 10, June 17 and June 24. You can also read our full reviews of a heap of recent movies, such as Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella, My Name Is Gulpilil, Lapsis, The Conjuring: The Devil Made Me Do It, Fast and Furious 9, Valerie Taylor: Playing with Sharks and In the Heights.
Yass, a small NSW town near Canberra received the signature Queer Eye makeover when the Fab Five descended on the town this week. Well, the whole town didn't, but George — a cattle farmer and former rodeo cowboy — did. As did the local pub. A rundown of the show, for the uninitiated, the original Queer Eye for the Straight Guy show hit screens a whopping 15 years ago — running from 2003 to 2007 — and the reboot Queer Eye returned to Netflix this year. The general premise is that the Fab Five give less-fashion-savvy men (and it seems, establishments) much-needed makeovers. In Yass, while three of the Fab Five, Jonathan Van Ness, Tan France and Karamo Brown, were looking after George the cattle farmer, the remaining two — Antoni Porowsi and Bobby Berk — renovated the local pub's bistro and introduced a new signature dish to the menu. Fittingly, the five were also crowned — by Yass Mayor Rowena Abbey — Yass Queens. Yas, queen. If this reference is lost on you, it's a term said to have originated in the 80s ballroom community, but recently surged to popularity thanks to this YouTube video. The Australian mini-episode of Queer Eye will hit social channels on June 22, a week after Season Two premieres on Netflix on June 15.
When the Australian Academy of Cinema and Television anoints its picks for the best movies and TV shows of 2023, it'll do so in February 2024 on the Gold Coast. The country's night of nights is on the move to southeast Queensland, making its Sunshine State debut; however, a change of location isn't the only big offering. For the first time ever, the organisation is also hosting the AACTA Festival, a celebration of everything that the country puts on screens both silver and small. AACTA's gongs will be given out on two dates, starting with its Industry Awards on Thursday, February 8 and then hosting its usual glittering ceremony on Saturday, February 10. Around those occasions, running from Thursday, February 8–Sunday, February 11 at HOTA, Home of the Arts, AACTA Festival will be filled with talks, screenings and more featuring a swag of impressive names. If Talk to Me creeped its way onto your list of favourite Australian horror movies, directors Michael and Danny Philippou will be at AACTA Festival to dive into it. Warwick Thornton is also on the lineup to discuss The New Boy as part of the fest's 'meet the creators' events, as are the teams behind Limbo, Sweet As, Shayda and The Newsreader. Can't wait to see the Boy Swallows Universe TV series? It'll be out by February, so you'll have it fresh in your mind author Trent Dalton gets talking about it. And if you were a fan of The Lost Flowers of Alice Hart either on the page or screen, Holly Ringland will also be chatting. Indeed, writers are a big focus, including Nick Earls, Lystra Rose, Mathew Condon, Richard Jameson, Tristan Michael Savage and Ben Hobson. Giving the event one of its international highlights, Lessons in Chemistry's Bonnie Garmus is on the bill as well. Also each massive highlights: behind-the-scenes explorations of The Matrix, the stunts of Mad Max: Fury Road and, for some more overseas flavour, Spider-Man: Across the Spider-Verse's animation. Or, enjoy a chat with Wellmania and The Way We Wore's Celeste Barber about her career, then find out more about the upcoming series High Country starting Leah Purcell (Wentworth), Aussie-made Robbie Williams biopic Better Man and the sequel to Mortal Kombat at their own dedicated talks. Before they get their own immersive experience in Brisbane, Bluey and Bingo will be doing a meet and greet — and, including a live-watch party for the AACTAs, a screening of 1906's The Story of the Kelly Gang, trivia, a Play School live event and a chat about music Baz Luhrmann's movies, there's plenty more joining them. In total, over 70 sessions form AACTA Festival, with most free to attend. AACTA nominees will also be taking part, although the details there can't be revealed until after exactly who is vying for a gong is announced on Saturday, December 9. "AACTA Festival is a must-attend event for anyone who lovesAustralian film, television, music, gaming, art and pop culture," said AACTA CEO Damian Trewhella, announcing the lineup. "We are excited to present more than 70 events over four days celebrating the excellence of our industry. From red carpet glamour to workshops and a special kids' lineup, it's an invitation for everyone to step into the magic of storytelling and creativity." AACTA Festival will run from Thursday, February 8–Sunday, February 11 at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise Gold Coast. For further details, head to the fest's website. Boy Swallows Universe and Wellmania images courtesy of Netflix.
Carnegie might be a bit of a hike away, at 12km from the CBD, but think of it as a pilgrimage, or another couple of steps along the path you're taking on the necessary journey that is your ramen life. Shyun Ramen Bar — named for the word "shyun" which means "season" in Japanese — follows its own instructions carefully and uses only fresh and seasonal ingredients in its bowls. The broth is simmered for the hours necessary to refine really good soup and the umami score is off the charts — we suggest you try the chef's pick pork ramen with your choice of shoyu or miso. It's also an incredibly reasonable $12.40 — another reason for you to make the ramen trek.
Mildura has been a magnet for artists for more than sixty years. So, even though international touring artists don't always make it to Australia's outback towns, it's no surprise that Lenny Kravitz is doing the honours. On 28 November, he'll take over the Mildura Sporting Precinct with his Blue Electric Light Tour, hot from London, Paris and Berlin. Skip the massive crowds in Sydney and Melbourne, and catch the legend with just a few thousand avid fans. You can expect classic hits like 'Are You Gonna Go My Way?', 'Fly Away' and 'It Ain't Over Till it's Over', as well as tunes from Kravitz's new album, Blue Electric Light. As he has for decades, Kravitz is still winning crowds with his catchy hooks, high energy and undeniable charisma. While you're in Mildura, go exploring with our weekender's guide. There's a lot to see and do – from Bruce Munro's dreamy, contemplative Trail of Lights to cruising on a 19th century paddle steamer to wine tasting on the banks of the Murray River.
Whether you watched along from 2009–15 when it was in production or you discovered its joys via an obsessive binge-watching marathon afterwards, Parks and Recreation is one of the 21st century's TV gifts — and the beloved sitcom cemented its stars, from its lead roles through to its supporting parts, as audience favourites. Plenty of those talents also share something else in common: a fondness for touring Down Under. Nick Offerman has done it, taking to Australia's stages. Amy Poehler has made multiple promotional Aussie trips for Inside Out and Inside Out 2. Henry Winkler even headed this way to chat through his lengthy career. Now, add the latter's on-screen son to the list. Ben Schwartz, aka Parks and Recreation's Jean-Ralphio Saperstein, has a date with Melbourne in 2025. Don't be suspicious: Schwartz will be performing his Ben Schwartz & Friends live improv show, which begins with just a couple of chairs onstage. Where it goes from there, you'll only discover at Hamer Hall on Sunday, May 4, because that's the joy of improv. Schwartz isn't just known for Parks and Recreation, although that's the first thing on his resume that'll always come to mind for Parks fans. Since his time in Pawnee wrapped up — since he stopped being one of the woooooooorst people in the fictional Indiana town, that is — he's also starred in murder-mystery comedy The Afterparty, voiced a certain spiny blue mammal in Sonic the Hedgehog and Sonic the Hedgehog 2, loaned his vocal tones to Star Wars: The Bad Batch and Invincible, and featured in Space Force and Renfield. Top image: Disney/Image Group LA.
It was first announced back in 2017 and originally slated to open its doors this March. Now, the three-year wait is over. Society, the much-anticipated venture from Chris Lucas (Chin Chin, Kisume), and Sepia's Martin Benn and Vicki Wild, will make its debut next Thursday, July 22. The long-awaited newcomer has made its home within the 80 Collins dining precinct, sporting a timeless aesthetic courtesy of renowned local architects Russell & George. The interior fuses elements of art deco, mid-century, art nouveau and brutalist sensibilities, with numerous works by Victorian artist David Noonan gracing the walls. Society Dining Room and Society Lounge will be the venue's first spaces to launch, with the second restaurant Lillian Terrace following suit in August. The food offering, by celebrated chef Benn, is a choose-your-own-adventure scenario with a multi-faceted menu of dishes that work as both shared and solo dining plates. The menu is considered, and the food boasts a level of precision inspired by ikebana, the ancient Japanese art of flower arranging. A strong team of head chefs helps to bring it all to life, including Rhys Connell (ex-Sepia), Luke Headon (ex-The Fat Duck) and Thomas Wooks (ex-Woodland House). At Society Dining Room, you're in for refined creations like albacore tuna matched with shiso and rhubarb, bonito with ume yuzu and roast chicken jellies, and a wagyu beef rib cap starring a Japanese pickle and wasabi butter. Meanwhile, the Lillian Terrace menu nods to the Euro influences of Benn's earlier career, running to plates like a spiced crown of chicken cooked over coals with charred lime and tomato, and a playful riff on the Napoleon mille feuille for dessert. [caption id="attachment_819105" align="alignnone" width="1920"] By Kristoffer Paulsen[/caption] To match, expect a sharp drinks offering, with the headline act an impressive wine curation assembled by Loic Avril (ex-Fat Duck and Dinner by Heston). Think, two pouring lists, cellar displays you can browse before you order and Dom Perignon available by the glass. Even more top-notch drinking can be found at Society Lounge, where a cocktail list by World Class Bartender of the Year Orlando Marzo stars with delights like the caviar-infused martini. Find Society at 80 Collins Street, Melbourne CBD, from July 22. Society Dining Room and Lounge will initially open from 5.30pm nightly, with expanded opening hours to follow come August. Reservations are now open for the Dining Room, while the Lounge will take walk-ins only. Lillian Terrace will launch from August 5. Images: Food by Adrian Lander, interiors by Tom Blachford
By the beard of Zeus, everyone's favourite TV newsman is back — in podcast form. Not content with his regular job at KVWN Channel 4, or with being the star of Anchorman: The Legend of Ron Burgundy and Anchorman 2: The Legend Continues, Ron Burgundy is giving another medium a whirl. Co-produced by Funny or Die, The Ron Burgundy Podcast is headed to the iHeartRadio platform in 2019, with two 12-episode seasons on their way. The first batch will hit your ears in the first quarter of the year, with Burgundy telling everyone why it's kind of a big deal, we expect. If you want to stay classy with the second season — and likely hear the anchorman chat while sipping scotchy scotch scotch and talking over his beloved dog Baxter — it's due mid-year. Fans can reasonably expect that Will Ferrell will reprise his role as the fictional San Diego newscaster, although that's not actually mentioned in iHeartRadio's announcement. As well as playing the character in two films, Ferrell is one of Funny or Die's co-founders, so it's a safe assumption that the actor will be involved. In true Ron Burgundy style, he had some words about the news. "Listen, I don't know what a podcast is, but I currently have a lot of time on my hands and a lot to talk about. I am also broke. Therefore, I am very excited to do this podcast. It is literally saving my life." If you're now in a glass class of emotion, a trailer for the show will drop in the coming months. The Ron Burgundy Podcast will be released on iHeartRadio in 2019.
UPDATE, February 1, 2021: Beauty and the Beast is available to stream via Disney+,Google Play, YouTube Movies, iTunes and Amazon Video. It's a tale as old as time, or so the song tells us. But just what is that ageless story at the heart of Beauty and the Beast? Opposites attracting, sure, but a fair maiden warming to an arrogant prince who's been cursed with a monstrous appearance isn't really an everyday experience. On the other hand, with gender equality still an ongoing problem in our society, a narrative about a young woman being undermined by an egocentric male, belittled for her intelligence, and robbed of her agency by an imposing force all very much fits the bill. While breathing new life into Disney's popular animated effort is the movie's main aim — just as they've done with Alice in Wonderland, Maleficent, Cinderella and The Jungle Book — the Mouse House hasn't missed the opportunity to bolster this live-action offering in certain distinctive ways. You don't cast Emma Watson as Belle without ensuring that the titular beauty isn't just kind but determined, confident, courageous and willing to fight for her place in the world. In fact, with the film also boasting Disney's first interracial kiss and first exclusively gay moment, the studio is clearly trying to bring the narrative in line with the times. The plot is much the same as it was in 1991, or the mid-18th century for that matter. The prince (Dan Stevens) is transformed due to his uncaring behaviour, with love the key to breaking the spell. Meanwhile, a young girl named Belle yearns for life beyond her quiet village, where she is frowned upon for her studious ways and persistently wooed/harassed by vain town hunk Gaston (Luke Evans). Beauty meets beast when she goes looking for her missing inventor father (Kevin Kline), who has been imprisoned in the man-turned-creature's enchanted castle. With singing household objects such as Lumière the candlestick (Ewan McGregor), Cogsworth the clock (Ian McKellen), Mrs Potts the teapot (Emma Thompson) and Plumette the feather duster (Gugu Mbatha-Raw) all on hand to dispense advice, what follows is a tale about longing and romance, as well as a spirited fable that champions a woman's right to choose her own destiny. The film's modern attitude feels especially refreshing, without ever seeming too on the nose. This is a production that's eager to weave its progressive positions into the fabric of the narrative rather than shout its from the castle turrets. Director Bill Condon (Mr Holmes) takes a classical approach to the movie's look and feel. Lavishly staged, costumed and choreographed, stepping into the world of Beauty and the Beast is like stepping into a storybook. All of the old tunes hit the spot (McGregor and company crooning 'Be Our Guest' is a highlight), although a couple of new inclusions prove little more than melodic padding. As for the cast, the expectedly impassioned Watson, suitably brooding Stevens and gloriously pompous Evans all help make this timeless tale seem equally nostalgic and new.
If hundreds of dollars seems a bit excessive for one night of antics or you've already blown that Christmas money on Boxing Day sales then check out 1000 £ Bend's converted warehouse party. Teaming up with techno party promoters Unfold, this marathon 13-hour 'multi-sensory' event will see you partying well into 2017. Some of Australia's top techno and house DJs will perform across two stages with audio-visual artists throughout the event. There is even a designated chill-out area if you just want to sit back, appreciate the beats with some good friends, have a bite to eat and a sip your glass of Champagne.
Fitzroy's Grub is teaming up with some of the sweetest folks in town for a series of extravagant weekly high teas. After a sold-out run last year, Sweet Set will again treat punters to an eight-course menu in Grub's upstairs space every Sunday afternoon from July 14–September 1. Each week will include four savoury creations from the Grub kitchen paired with with four sweet numbers from a rotating lineup of Melbourne's best pastry chefs. Expect native ingredient-spiked hot chocolates and rich cakes from Mörk, pastries and doughnuts aplenty from Penny for Pound and some next-level baked goods from All Are Welcome's Boris Portnoy, who used to be the head pastry chef at Michelin-starred restaurant Meadowood in the Napa Valley. The whole thing costs $69 per person, and includes a glass of Puncheon prosecco and either a pot of tea or Market Lane coffee. Sessions will run at 11.30am, 2pm and 4.15pm each week, and we suggest getting your friends on board now — these pastry parties sold out last year. We promise not to tell your dentist if you promise not to tell ours. SWEET SET 2019 LINEUP July 14 — Bethany Claire Cakes, Candied Bakery, Cherry Cakes, Miss Ladybird Cakes July 21 — Don't Lose Your Temper, Tivoli Road July 28 — LuxBite, Penny for Pound August 4 — Bibelot, Emelia Jackson August 11 — Geoffrey Michael Patissier, Cobb Lane August 18 — Fig & Salt, Alice Wright August 25 — All Are Welcome, Lisa Van Zanten September 1 — Mörk Images: Ewen Bell.
It was an incredibly sad day when iconic St Kilda venue Stokehouse burned down in 2014. Now, after a two and a half year hiatus, it's finally coming back, renovated and designated into a 'precinct' of multiple bars and restaurants, set to dominate that seaside like only Stokehouse can. On the ground beachside floor will be Pontoon, a casual bar and eatery, set to open at the end of October. This chic new 350-capacity beach-inspired establishment will be the second venue to open in the new multi-million dollar Stokehouse site, after a fancy new fish and chip kiosk, Paper Fish. The two will open head of the highly anticipated relaunch of Stokehouse St Kilda restaurant in December. The Pontoon menu will be casual and over the counter (think of the kind of food you can eat while standing with a drink in the other hand), and will put their four-metre grill to good use. You can expect a lot of seafood and shared plates, a strong wine list, 18 beer taps and of course, cocktails. In the most southside move ever, they'll also be serving up globally trending anomaly 'frosé' — that's frozen rosé — straight from the tap. Peppered with the furniture and trimmings of local Melbourne designers, the interior has been designed by George Livissianis (the design dynamo behind recent Sydney renos of The Dolphin Hotel, The Apollo and Cho Cho San). Expect a casual layout and a mixture of warm, natural materials (think wood, leather and cane) offset by concrete and brick. "Looking out onto St Kilda beach was a great starting point in considering colours and materials that would compliment the concrete and blackened timber building," said Livissianis. Stokehouse has announced they'll officially reopen on December 6, with Pontoon opening at the end of October. Find Pontoon on the ground floor of the rebuilt Stokehouse building, 30 Jacka Boulevard, St Kilda. From October 2016, Pontoon will be open 12pm till late every day, all year-round (except Christmas Day).
There's a moment in Netflix documentary Fyre: The Greatest Party That Never Happened that no one will ever forget. While much of the film falls into that category — cataloguing an utter trainwreck of a festival will do that — one scene particularly stands out. When event producer Andy King reveals what he was asked to do to secure bottled water for the fest's stars and patrons (and the fact that he'd resigned himself to doing it), it instantly underlines the scope and shamelessness of Fyre's catastrophic mismanagement. Given that the doco not only became an instant must-watch, but that the similar, Hulu-funded film Fyre Fraud did too, it's safe to say that everyone wants to know more about this story. Australians will be able to get the full details at this year's BIGSOUND, with King himself joining the lineup as a late addition. He'll be heading to Brisbane as one of the four-day conference's keynote speakers, appearing an event called Fyreside Chat with Andy King on Wednesday, September 4. King will likely be offering his advice on what not to do in the music festival industry, and why being willing to go the extra mile for a gig isn't always a good thing. As Fyre: The Greatest Party That Never Happened demonstrates, he isn't shy when it comes to taking about his experiences — and he has a sense of humour about it. He also has a considerable resume that ranges well above and beyond Fyre Festival, spanning more than 25 years in the event business. Expect to hear about that, too, which ranges from hosting the launch of the world's tallest ferris wheel in Las Vegas to running the Leonardo DiCaprio Foundation's annual gala. Amusingly, King also oversees a zero-waste event company that focuses on environmental and social impacts, including when plastic bottles of water are involved. Until he makes his way Down Under, revisit King's must-see doco moment via the Fyre: The Greatest Party That Never Happened trailer below. The film itself is available on Netflix. https://www.youtube.com/watch?v=uZ0KNVU2fV0 BIGSOUND 2019 runs from September 3–6 at various venues around Fortitude Valley, Brisbane. For further details or to buy tickets, visit bigsound.org.au. To discover what to do, see, eat and drink while visiting Brissie for the annual event, check out our weekender's guide to Brisbane during BIGSOUND.
UPDATE: June 11, 2020: The Hate U Give is available to stream via Foxtel Now, Google Play, YouTube and iTunes. It doesn't take long for The Hate U Give to serve up an unflinching slice of reality. "I was nine years old when I first got the talk," Starr Carter (Amandla Stenberg) notes, and she's not referring to the birds and the bees. In a flashback, her family sits at their dining table. The topic of conversation: how to behave if they're stopped by the police. Starr's father Maverick (Russell Hornsby) is firm with his instructions, telling his three kids to do exactly what they're asked and to always keep their hands in plain sight. With his wife (Regina Hall) by his side, he specifically stresses the importance of remaining calm and polite, even if they're being harassed for no apparent cause. The reason for his stern warning is obvious — by virtue of their skin colour and nothing more, they could find themselves looking down the barrel of a weapon, praying that a cop doesn't pull the trigger. You've heard of Chekhov's gun, which explains that every element in a story must be strictly necessary. If a writer introduces a loaded firearm, for example, then bullets need to fly before the tale is over. The Hate U Give follows this principle, not only starting with a conversation about police shooting unarmed African-Americans, but using that exact turn of events to kick its narrative into gear. In this case, perhaps the concept should be called Tupac's tattoo, with the rapper's words giving the movie its title, philosophy and dramatic arc. The slain star's 'THUG LIFE' chest ink is almost as famous as his music, and its full meaning dictates and shapes this riveting picture: "the hate u give little infants fucks everybody". Hailing from a poor black neighbourhood but attending a well-off private school, 16-year-old Starr knows how difficult American life can be. She can't act like herself around her white classmates, who all sling ghetto slang to appear cool. And she can't bring her school persona home, or tell her ex-con dad about her white boyfriend (KJ Apa). Already caught in a constant juggling act, she's forced into a trickier predicament while driving back from a local party with her childhood crush Khalil (Algee Smith). A cop pulls them over, a single gunshot is fired, and Starr is suddenly the lone witness to her friend's tragic death. Adapted from Angie Thomas' best-selling 2017 novel and inspired by the real-life killings of several black men by US police, The Hate U Give could've approached its story from several positions. It could've kept things personal, following Starr's attempt to balance her conflicting worlds. It could've remained grim, emotional and focused solely on the central fatal shooting. Or, it could've teemed with fury by jumping headfirst into the legal aftermath. Combining all three and more, director George Tillman Jr (The Longest Ride) and screenwriter Audrey Wells (A Dog's Purpose) craft a textured and intelligent movie, which might seem surprising given their last filmmaking credits. Cutting both deeply and sharply, The Hate U Give fleshes out its thorny narrative by embracing the complications of its subject matter. It's never constrained by its YA origins and, if anything, feels more honest, earnest and overt with its statement precisely because it's aimed at teenagers. Succeeding where other message movies have struggled, the end product offers an engaging, impassioned and detailed insight into America today. Here, nothing is simple. In fact, there's nothing straightforward about any aspect of Starr's existence. How could there be when a victim's criminal past attracts more scrutiny than a murderer's actions, when the #BlackLivesMatter movement sparks violent protests among some and becomes a trendy cause for others, and when gang activity fools the desperate into believing they've scored a better life? Examining a society happy to oppress part of the population, and dissecting the punishing cycle that springs when hostility thrives, The Hate U Give's shades of grey extend to the people in Starr's orbit, too. Her best friend (Sabrina Carpenter) can't see her white privilege, but her black cop uncle (Common) knows how the job can go awry. An activist lawyer (Issa Rae) urges Starr to speak up regardless of the cost, while a local drug dealer (Anthony Mackie) violently tries to reinforce the status quo. In a perceptive and powerful film comprised of layered components — difficult topics, diverging viewpoints, different angles and diverse tones — the most multifaceted element of all comes courtesy of its star. She might have just seven movies on her resume to date, including The Hunger Games and The Darkest Minds, however Stenberg shines as brightly and fiercely as her character's moniker. Demanding the camera's gaze and rightly adored by the movie's clear-eyed frames, her performance couldn't better capture the everyday toll of these racially divided times. When generation after generation only knows distrust, anger and prejudice, the world proves devastatingly vulnerable, overwhelmingly fractured and unwaveringly determined all at once. Stenberg makes this plain as much as any twist in The Hate U Give, and does so with both heartbreak and hope. https://www.youtube.com/watch?v=QTKo2SVDwxw
As a major player on Melbourne's street art scene for the past few years, odds are you're already familiar with some of Kaff-eine's work. Best known for her vibrant yet sinister illustrations often featuring both animals and children, this local girl has been slathering paint all over the inner suburbs since 2010. Now taking to fortyfivedownstairs, her solo exhibition Kalabaw gives you a rare indoor encounter with her work. Though Kaff-eine loves to explore surreal subject matter, it's clear that this latest collection of works is heavily influenced by some of her real-life experiences. After spending much of 2013 visiting and painting in Manila, the artist found herself inspired by much of the local community. Despite living in inner-city slums in relative poverty, the people she interacted with remained largely upbeat. Kalabaw — named after a type of water buffalo native to the Philippenes — retains much of the imagery from this trip featuring uncharacteristically realistic portraits of local children and expressive representations of animals and urban scenery. Despite the exhibition being free of charge for audiences, all proceeds the artist makes from the show will be put towards two related projects entitled Phoenix and Happyland. Looks like we have a whole lot to look forward to in 2015.
When Michael Crichton put pen to paper and conjured up a modern-day dinosaur-filled amusement park, he couldn't have known exactly what he'd done. The author easily imagined the story making its way to the big screen, because the Jurassic Park novel started out as a screenplay. He could've also perceived that a whole film franchise could follow, and that folks would be quoting the movies for decades. And yet, we're guessing that he didn't predict the latest development: a recreation of Jurassic World, the fourth movie in the series, out of Lego. Melburnians can now wander through and peer at more than 50 dinosaurs, props and scenes from the 2015 movie that have all been recreated with the popular plastic bricks. They're on display at Jurassic World by Brickman, an exhibition displaying at the Melbourne Convention and Exhibition Centre until Monday, May 31 before touring the rest of the country. More than six million Lego blocks have been used in the exhibition, to create the four-metre-tall park gates, the lab where the dinosaurs are genetically engineered, those instantly recognisable jeeps, a petting zoo, a heap of creatures and more. Lego dinosaurs are obviously the main attraction, and this event is going big. You'll see a life-sized brachiosaurus that weighs more than two tonnes, a huge tyrannosaurus rex, two life-sized velociraptors (Blue and Delta), and everything from a stegosaurus to a triceratops, too. And, you'll spy some in a baby dinosaur enclosure, encounter others on the loose, and learn how to track them over the exhibition's recreation of Isla Nublar (while using your imagination a whole heap, obviously). If it all sounds rather sizeable, Jurassic World by Brickman will be the largest Lego experience in Australia. And if getting a closer look at Jurassic World sounds a little familiar, you might remember the non-Lego exhibition that hit Melbourne back in 2016. Lego aficionados will also be able to get building while they're there, with 2.5 million bricks to play with. Obviously, this'll be a family-friendly affair, so expect to have plenty of small dinosaur fans for socially distanced company. Jurassic World by Brickman makes its world premiere in Melbourne and, after hitting up the rest of Australia, will also tour globally. And if you're wondering when you'll next see a Jurassic World flick on the big screen, Jurassic World: Dominion — the followup to 2018's Jurassic World: Fallen Kingdom — is due to release in June 2022.
It's time you set your sights on the east coast because Aperol is coming to town in style with its Kombi Tour. The vintage, retrofitted 1976 Volkswagen van is back, chasing the sun with a road trip through some of Queensland's idyllic coastal towns — from Cairns to the perpetually stunning Whitsundays. The Kombi has been cruising around the southeastern corner of the state for the last month but is heading north for the rest of its tour, racing the winter chill and bringing the red-hot vibes along, too. There are five more stops on its journey before Aperol has to hang up its spritzes for winter. If you're in the area, chase the summer feeling and grab a delectable spritz while you still can. NORTHERLIES, AIRLIE BEACH The Kombi's next stop is Northerlies Beach Bar & Grill, just outside Airlie Beach. Aperol is stopping in for four weekends at the mellow beachside resort. Enjoy ice-cold Aperol Spritzes and exclusive specials — like the rosemary-infused Rosy Cheeks spritz — while taking in the gorgeous views of the salty waves crashing into the white sandy beaches. June 16–July 11, Northerlies Beach Bar & Grill, Airlie Beach. More information here. SALT HOUSE FOOD & WINE FESTIVAL Get a taste of the tropics at Salt House in Cairns when the Kombi rolls in this winter. The iconic waterfront venue is also hosting a Food & Wine Festival on Saturday, August 5, which will see winemakers, distillers, brewers and producers descend on the locale and share their wares with attendees. Enjoy local produce while sipping on a refreshing Aperol Spritz — direct from the Kombi. Not able to make it on the festival weekend? Well, you're in luck because it will be at Salt House for four weekends. July 28–August 7, Salt House Food & Wine Festival, Cairns. Book tickets here. CAIRNS ITALIAN FESTIVAL The inaugural ten-day Cairns Italian Festival is the next stop for the brightly-hued vehicle — although it won't actually be moving from Salt House. The waterfront spot is one of the many venues taking part in the festival, so the Kombi will sit tight at the venue for the festival's weekend in July. You'll be snacking on traditional Italian plates, woodfired pizzas, gelato and more — all while sipping deliciously bitter Aperol Spritzes. Saturday, July 29, Salt House, Cairns. More information here. TASTE PORT DOUGLAS The next stop on the 2023 Aperol Kombi Tour is the Taste Port Douglas Food and Wine Festival, held at the Sheraton Grand Mirage Resort. Experience (and then taste) the rich food culture of Tropical North Queensland as top chefs arrive to dazzle you with their inspiring creations. You know the drill: wash it all down with a perfectly chilled spritz from the Kombi. August 10–13, Sheraton Grand Mirage Resort, Port Douglas. More information here. SHERATON, PORT DOUGLAS If five-star luxury eco-certified stays are on your to-go-to list in 2023, take yourself to the Sheraton Grand Mirage Resort. This August and September, you'll be on the doorstep of two staggeringly beautiful UNESCO World Heritage Sites (the Great Barrier Reef and the Daintree Rainforest), plus you'll be perfectly placed for the freshest of spritzes when the Kombi hits the digs from Tuesday, August 8 till Monday, September 11. It'll be the ideal way to toast the end of winter and celebrate the coming of spring. August 14–September 5, Sheraton Grand Mirage Resort, Port Douglas. More information here. For more information on the Aperol Kombi Tour, and to plan your road trip to one of its pit stops, head to the website.
Set amongst the rolling hills of Wahgunyah in the Rutherglen region, family-owned, heritage-listed winery All Saints Estate is now home to this stellar flagship restaurant. It's named KIN in a nod to the relationship tying All Saints co-owners, siblings Eliza, Nick and Angela Brown. Part of the winery's multimillion-dollar redevelopment, the 120-seat restaurant is housed within a 159-year-old heritage-listed castle, its indoor-outdoor space transformed into a light-filled dining oasis courtesy of acclaimed firm Technē. With stints at the likes of Jackalope and Bistro Guillaume under his belt, KIN's Executive Chef Jack Cassidy is plating up a menu that heroes regional produce and the estate's own wines, drawing inspiration from long-held Brown family recipes. It's also brimming with produce grown onsite. You'll experience it all via a two- or three-course set spread ($75/95) of modern Australian flavours. Perhaps you'll tuck into a kangaroo tartare elevated with black garlic and rye, rainbow trout paired with dill and smoked chilli, or an assembly of roast eggplant, bush tomato and kale. Bone marrow might be served alongside a top-quality piece of striploin with a marble score of four, while pumpkin is teamed with caramelised whey and ricotta salata. And dessert fiends can look forward to creations like the compressed strawberry matched with sorbet made on the All Saints Estate Durif. Wines come courtesy of All Saints' renowned catalogue, as well as fellow Brown family winery St Leonards Vineyard. A crop of local beers and booze-free drops rounds out the fun. Images: Kate Shanasy
UPDATE, March 4, 2021: Moonlight is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Amazon Video. "At some point, you gotta decide for yourself who you're going to be. Can't let nobody make that decision for you," Miami drug dealer Juan (Mahershala Ali) tells nine-year-old Little (Alex Hibbert). They're warm words of wisdom offered by someone who wouldn't be seen as a substitute father figure in most movies — and given to a shy, bullied boy desperately in need of a guiding hand. Their connection, defying expectations and complicated by Little's crack-addicted mother Paula (Naomie Harris), forms much of Moonlight's first chapter, but their interactions will influence the entire film. As the story progresses, Little grows into awkward teenager Chiron (played by Ashton Sanders), a young man who still struggles with who he is and how he feels. Then, finally, he transforms into the hardened, Atlanta-based Black (Trevante Rhodes), styling himself in Juan's image. He'll keep trying to forge his identity, while grappling with the different visions of masculinity around him, as well as his own sexuality. As he comes of age, he'll also be shaped by his mother's troubles, the nurturing presence of Juan's girlfriend Teresa (Janelle Monáe), and his friendship with his classmate Kevin (played by Jaden Piner, Jharrel Jerome and André Holland over the years). Written and directed by Barry Jenkins from an unstaged play by Tarell Alvin McCraney, Moonlight is a film of moments and mindsets, one that values sensations and textures more than any other storytelling tool. Jenkins constructs the emotions and experiences of his protagonist from the people, places, dreams and encounters that define him at any given point, plus his ongoing quest to find a persona, a companion, and a space that provides comfort and solace. Narrative-wise, it might sound slight. Thematically, visually and in its performances, Moonlight is a powerhouse. Stressing how things left unseen and unsaid are as crucial as sights glimpsed and words uttered, every frame, look and line of dialogue proves a piece of the puzzle that is Chiron in his various guises. Often, Jenkins and his college roommate turned cinematographer James Laxton make the audience stare into the eyes of their leads, conveying a pain and a yearning that borders on contagious. More frequently, the filmmaking team adopts their character's perspective, gazing into a world teeming with uncertainty. Subjectivity reigns, such as when the dialogue and imagery fall out of synch during moments of distress, or when a painful memory is cast in heightened, almost neon hues. Even when the film peers in from the outside, the little things still matter, be it green blades of grass spied up close, a hand grasping at sand during an intimate exchange, or a man removing the armour-like grill from his teeth. Jenkins seamlessly brings all of the above together, creating a cinematic symphony of the patterns and rhythms that come with deciding who you're going to be. However, he also crafts a sensitive stage for his three lead actors to infuse their protagonist with heart and soul, as a poor, black, queer boy becomes a man. Though matched in every scene by exceptional co-stars — including the charismatic, stereotype-defying work of Ali, as well as the quiet tenderness of Holland — the main trio are never anything less than devastating.
You Won't Be Alone isn't just the name of Macedonian Australian writer/director Goran Stolevski's debut feature, which hit cinemas in 2022. It's also a phrase that applies now that his second film is here. Of an Age initially premiered in the same year as well, bowing in Melbourne International Film Festival's opening-night slot — and, while it tells of growing up queer in 90s Melbourne, falling in love for the first time, then sifting through the aftermath a decade later, it's a glorious companion piece to its predecessor. No one is chosen by a sorceress here. The place isn't Macedonia, the period isn't the 19th century and supernatural shapeshifting isn't part of the narrative. But even just a mere duo of movies into his helming career, Stolevski makes pictures that profoundly ruminate upon two of life's purest truths: that absolutely everything changes and, consequently, nothing completely lasts forever. Neither You Won't Be Alone nor Of an Age fly solo in their moods of yearning, either, or in piecing themselves together from familiar elements that still feel fresh — more than that, that feel immediate and hauntingly immersive — in Stolevski's hands. Where his last flick played like a sibling to Robert Eggers' The Witch by way of The Tree of Life and A Hidden Life's Terrence Malick, his latest rich and poetic effort earns the same sensation with 2011's Weekend and 2017's Call Me By Your Name. This too is a tender love story, as both of those recent greats of LGBTQIA+ cinema are. A clock ticks inescapably, this time a single day rather than the respite at the end of the working week or a whole summer. And, in a keenly felt romance that swells and swirls with lingering emotions, two men find their lives eternally altered, while also facing the unshakeable fact that their bliss will be fleeting. 1999 is inching towards becoming Y2K when Of an Age begins, and 17-year-old Nikola aka Kol (Elias Anton, Australia Day) is only hours from taking to the floor at a Melbourne dance championship. That's how his day is meant to pan out, at least, and what he's preparing for when the film meets him practising his smooth ballroom moves in his suburban garage — conjuring up visions of John Travolta in a flick made famous two decades prior, in fact. Kol's ordinary morning fever breaks, however, thanks to friend and dance partner Ebony (Hattie Hook, Savage River) and her bender of an evening. She's awoken on the beach in Altona with no idea where she is, scrounging up change for the payphone call to say she thinks she'll miss the recital unless Kol can pick her up. Stolevski hones in on Ebony early, not because this is primarily her story — it isn't — but to commence his coming-of-age and coming-out tale with compulsive urgency. Anything can happen in the whirlwind from adolescence to maturity when your entire adult future is ahead of you. Anything can occur when you've just finished high school, as Kol and Ebony have, and the days, months and years to come seem endless and brimming with possibility. Any day can be a shock and a surprise as well, as the jittery young woman conveys while scrambling to work out what's going on, where her belongings are, what happened last night and how she'll get home. With cinematographer Matthew Chuang (another You Won't Be Alone alum), and while editing himself, Stolevski's infuses the scene with a freneticism and nerviness that could've barrelled straight out of Good Time or Uncut Gems, adding the Safdies to the picture's influences. That frenzied energy thrums when Kol dons his dance attire, rushes through the streets and looks like a Serbian Elvis all shook up as the Victorian capital wakes up. To attempt to make his big performance, he has to convince Ebony's older brother Adam (Thom Green, Eden) to play taxi — and he's still all aflutter with anxiety, and just the inertia of being so keyed up from endeavouring to sort things out, when he slides into the twentysomething's brown car. They remain in that race against time, although the reality of missing the contest slowly sinks in. Cue the aforementioned other battle with the clock, as what starts as a panicked drive between virtual strangers becomes a leisurely on-the-road chat between kindred spirits warming up. When Ebony hops in the backseat, Adam and Kol only have eyes for each other (plus mentions of music, books and movies traded as tentatively flirtatious currency, all while listening to the soundtrack to Wong Kar-wai's 1997 queer romance Happy Together). An awakening is at the centre of Of an Age, which Stolevski brings to the screen with electrifying specificity and universality in tandem. He achieves an always-sought-after but never-assured feat, making Kol's discovery that he's attracted to Adam and their blossoming bond from there feel so sincere and lived in that it could've only happened for these two characters — as thoughtfully and compellingly performed by the charismatically matched Anton and Green, too — and yet ensuring that it also feels as if it has been ripped from everyone's formative experiences, or near enough. 90s teens of Australia, prepare for a time capsule in the movie's sounds, sights and slang, plus its costuming and vibe, across the feature's first section. This isn't quite a picture of two halves but, after Kol and Adam spend an intense 24 hours in each other's orbit (including at a 21st-birthday party that leads to the moment they've been building towards), it comes with a coda in 2010. Embracing its debt to Weekend and Call Me By Your Name, Of an Age could've stayed in 1999 for its entire duration and still proven a gorgeous, heartfelt and affecting film. It cuts deeper and hits harder courtesy of its final chapter, though — and the dreamy visual sheen of its sequences in 1999, which have the intimacy and glow of fond recollections even when they're at their most fraught (with help from boxed-in Academy framing, and reminiscent of Chuang's work on Blue Bayou), is all the more powerful due to what comes next. When Kol and Adam cross paths again, both returning to Melbourne from abroad, much has shifted and transformed. That spark between them still burns bright, but confronting what it now means and how it too has evolved is another stop in Kol's coming-of-age journey. How moving and entrancing it is to tag along for the ride, and for a Melbourne-set, distinctively Aussie tour through following your heart, trying not to be alone, and understanding that perfect memories and existence-shaping delights quiver and sway just like everything else.
Owning a pair of Habbot shoes has become the dream of many a fashion-forward Melburnian. Designer Annie Abbott launched the brand from her St Kilda backyard and shed in 2010 — and in less than a decade has managed to turn her shoe label into a national sensation. Habbot Shoes' pop-up shops are always a scramble but, luckily for any Melbourne-based shoe lovers, Habbot Shoes' head office in Collingwood also doubles as a studio store. Pop in on a Friday or Saturday — or book an appointment during the week — to try on a pair (or two) in the flesh.
There's toying with horror film tropes, and then there's It Follows. Fans of the genre have undoubtedly seen all the scary movies where the characters get it on, only to be nastily dispensed with not too long after. Even those not so fond of big-screen frights have probably watched the flicks that call attention to and make fun of the cliche, such as Scream. Well, here, that convention isn't just a routine inclusion — it's the film. When hormone-fuelled teens have done the deed, something evil comes calling. That, folks, would be the titular 'it', a presence that can take the guise of a parent, friend or stranger. It follows its victim with a focus and perseverance most movie killers could only dream of. Once it sets its sights on the latest sexually active person to catch its attention, it won't stop walking and stalking until it strikes them down — or until the unlucky soul in question passes it on by sleeping with someone else. After getting intimate with her boyfriend, Hugh (Jake Weary), for the first time, that's the situation 19-year-old Jay (Maika Monroe) finds herself in. It takes some time to convince her sister Kelly (Lili Sepe), friends Yara (Olivia Luccardi) and Paul (Keir Gilchrist), and neighbour Greg (Daniel Zovatto) of such a strange predicament, but they're soon helping her try to outrun her sinister, unceasing, supernatural pursuer. There might be more than a hint of picking off the promiscuous at play here, even if getting physical is a clear substitute for fears of growing up in general, but thankfully that outdated attitude doesn't dampen the film. Instead, It Follows flies by thanks to its genuine chills, using its style to unsettling effect. If ever there was a movie that stacked up familiar horror elements and made them its own in the canniest fashion possible, it's this one. Think you've seen that fondness for symmetry before? And heard something similar to that electro score? Well, if you're familiar with the work of Stanley Kubrick and John Carpenter, that's not at all surprising. This isn't a case of blatant copying of parts of movies like The Shining and Halloween, but of affectionate nods to obvious influences. Writer/director David Robert Mitchell takes his cues from the master filmmakers he loves, his enthusiasm ensuring It Follows is never anything less than hauntingly atmospheric and spine-tinglingly creepy. So, there's sex and death, a gimmick that might get you watching. Plus, there's an unshakeable air of unease, which will probably keep you glued to your seat. It's actually the performances that will get you really engrossed in the film, however, refreshingly showing teens acting their age. Monroe is a certain star in the making, and the rest of the cast are just as great at getting to the heart of what it must be like to be scared out of your wits while still awkward, vulnerable and uncertain. As It Follows follows them coping the best they can, it also follows in the footsteps of horror greats gone by, proving a striking and sincerely scary addition to the genre. Read our feature on the history of sex in horror movies.
Don't buy a ticket to see Hotel Coolgardie if you're feeling emotionally vulnerable. It's a difficult film to stomach, for many reasons, and just as tricky to critique. Directed by Pete Gleeson, the documentary follows the story of Steph and Lina, two young Finnish travellers set down in Perth to make some money after having their bank accounts drained in Bali. It's there that they're groomed by a recruiter to do some country pub work in the little town that gives the movie its name. "It's quite a big mining area, so a lot of the clientele of the pub[s] are going to be gentlemen," the recruiter says, ominously. "You have to be the kind of girls that are okay to have male attention and not really sweat it." Shortly after, when they arrive at the Denver City Hotel pub where they'll live and work for the next three months, the pair are greeted by a welcome sign that reads "New Girls Tonight". Lina and Steph meet the previous barmaids Becky and Clio. They've done their stint and seem almost sad to be leaving, partying with the locals at a final send off. They're bubbly and flirt with the clientele; they lean in and act like perfect barmaids. Steph and Lina do not. They're reluctant to play nice, can sometimes barely understand the thick local accents, and don't win a lot of sympathy from the men who have them trapped. Pouring drinks, they soon learn, is not the only task barmaids are expected to perform at the pub. The message is clear: be complicit in maintaining a structural framework that oppresses you, or GTFO. What follows is a deeply uncomfortable look at toxic masculinity, male domination of public spaces through microaggressions, and the binge drinking culture that rots small mining towns. The ensemble of local blokes bring a playful Aussie cadence to their misogyny, one that strikes a light-hearted note against the darkness. Admittedly, Coolgardie isn't entirely bereft of kind folk. But if this documentary doesn't make you feel physically sick, you may be part of the problem. Director Gleeson has been criticised in some corners for not taking a firmer stance against the mistreatment of Steph and Lina. The doco self-identifies as a "sometimes amusing, sometimes appalling, surprisingly moving portrait of small-town insularity, fragile masculinity and the plight of the outsider forced to adapt or face the consequences". The line between observation and interference can be hard to find, for documentarians and photographers alike. Once found, it can be similarly tough for the audience to stomach. Regardless, prospective viewers should not be deceived: the mild description belies a dark documentary that exposes the reality of life for marginalised folk (in this case, women and tourists) in patriarchal, racist outback Australia. If you've ever felt othered, Hotel Coolgardie will resonate with you like nails on a chalkboard. https://www.youtube.com/watch?v=nop_Jq9M_R8
Embrace the icy weather at Madame Brussels Lane, which, for the sixth year running, will transform itself into a bustling European-style night market from 5–10pm each Friday in July. Inspired by the picturesque Christmas markets in places like Germany, Austria, Switzerland and the UK, the market will feature some of Melbourne's most decadent food vendors, serving tasty European goodies to warm your insides and satisfy your sweet tooth. Kicking off on July 5, there'll be more European eats than ever before as the market expands to encompass the old Oddfellows Hotel for the first time. You can expect everything cheesy — from French raclette scraped on top of potato and charcuterie to Swiss malakoffs (read: fried cheese balls) — as well as Polish pierogi, Puglia-style vegan panzerotti and Bavarian snacks like pretzels and sausages. There will even be gluten-free cannoli for dessert. That's in addition to the live music and entertainment, and, of course, many, many mugs of piping hot mulled wine and hot toddies. Short of actually taking a holiday to Europe, this is a pretty great way to finish a frosty working week.
Almost every Aussie state has its wine region, with the Hunter Valley in NSW and the Barossa in SA being some of the most popular destinations for wine weekenders on this side of the equator. But the star of the show is down in Victoria, with the Yarra Valley being one of Australia's finest options for a quick getaway. It's less than an hour's drive from Melbourne, and these verdant fields couldn't be a better break from the hustle and bustle of the big smoke. That's why we've teamed up with Visit Yarra Valley to show you how to swap the office desk for a midweek vineyard escape, and to recommend some local wineries for you to hit along the way. Chandon The first entry on our list might not be immediately what you're expecting. Chandon might be a global sparkling wine brand spread across four continents and five countries, but it does indeed have a branch in our very own Yarra Valley. It was during the 1980s when then Chandon bosses visited Victoria to inspect it as an area for a potential expansion into Australia; the cool climate and varied terroir of the Yarra led it to become the winner, a moment that really put the region on the global wine stage. Sparkling wine works best in a cool climate, so Victoria was well-suited for sparkling wine specialists like Chandon. Today, visitors to the property can enjoy guided and à la carte tastings, hands-on winemaking experiences, tipples in the lounge bar, multi-course meals in the restaurant, sparkling brunches, outdoor picnics and more. [caption id="attachment_982897" align="aligncenter" width="1920"] Anitra Wells[/caption] Oakridge Wines Oakridge set up shop in its current Coldstream property in 1998, but has been growing in the Yarra Valley since the late 70s. Oakridge's attention to detail has taken it to the forefront of Australia's cool-climate wine scene and made it a must-visit location in the Yarra Valley, highlighting everything that makes the area a great destination: city-level luxury with countryside scenery and world class cuisine. The winery looks as good as its wines taste with its panoramic windows and vineyard-to-mountain scenery, and visitors to the cellar door can take part in five tasting experiences, ranging from a tasting of its most awarded wines to luxurious barrel tastings, tours and helicopter flights. Oakridge also boasts two dining experiences: the fine-dining restaurant and, for more casual bites, the Terrace. Both of which use produce sourced from their own kitchen garden or a network of small, ethical producers, all served with a side of vineyard to mountain views. [caption id="attachment_982898" align="aligncenter" width="1920"] Lauren Bertaccini Photography[/caption] Punt Road Wines Nestled in Coldstream, Punt Road Wines is all about offering good times and great drops with everyone — from seasoned sippers to wine-curious beginners. With 160 years of growing grapes under its belt, the 58-acre vineyard estate produces crowd-favourites like pinot noir, chardonnay, and cabernet sauvignon alongside rarer finds like gamay and the experimental Airlie Bank range of wines. Visitors to the cellar door can enjoy all of them in tasting flights with or without matching charcuterie and cheeses. Either way, you can browse through a mix of local and international nibbles in the Picnic Pantry before you take a seat to enjoy them in the Marquee Bar or — if the weather is cooperating, pick out a grassy slice of the garden grounds for a proper picnic. [caption id="attachment_983538" align="aligncenter" width="1920"] Sharyn Cairns[/caption] Giant Steps What happens when a massive jazz fan trades the Margaret River for the Yarra Valley in search of his perfect winery? Giant Steps, that's what. The jazz fan in question was Phil Sexton, and his bold new venture was fittingly named after his favourite John Coltrane album. From the first plantings in 1997 to being named the Halliday Winery of the Year for 2025, Giant Steps has garnered a reputation for its standout pinot noir and chardonnay, grown across single sites throughout the valley. The use of single sites ensures that the wine never stays the same, aside from the fact that it stays excellent. Fret not; you don't need to hit multiple wineries to try it all; just head to Healesville and the Giant Steps tasting room. There are four tasting experiences on offer, from a seasonal selection to a deep dive into the single-vineyard wines they do best. As always, walk-ins are welcome, but bookings are best. St Huberts St Huberts is another Yarra Valley mainstay, having been established way back in 1862, but a 162-year-old winery has never looked so damn good. Led by acclaimed winemaker Greg Jarratt since 2006, St Huberts specialises in cabernet sauvignon but takes advantage of the Yarra environment that drew winemakers here all those years ago. Beyond cab sav is a whole host of cold-climate wines that find their way to shelves, cellars and glasses across Australia. St Huberts also boasts a gorgeous cellar door, launched with a contemporary makeover in 2022. Think smooth stone, dark wood panels, leather couches and stags aplenty (in keeping with its seventh century namesake, St Hubert: the patron saint of the hunt). All that makes for a luxe and comfortable environment for tastings and charcuterie. Otherwise, a full dining experience can be found at onsite restaurant Quarters, which serves seasonally selected modern Aussie favourites and European-inspired dishes. Chateau Yering All this drinking wine is bound to really take it out of you, it's a hard life sipping chardonnay and eating cheese in the sun, after all. If you're to do the Yarra justice, you need to make it an overnight adventure. Our advice? Go all out. Go to Chateau Yering. This five-star Victorian-style (era, not state) mansion sits on a spacious 250-hectare property. 32 Luxurious and uniquely appointed suites? Check. Yarra Valley views? Heritage garden? Check. Whether you fancy a leisurely stroll by the flowerbeds, a cup of tea as you watch the sunset on your private balcony, or just collapsing into a plush bed, you can do it here. Get dinner at the lavish Eleonore's Restaurant and breakfast at the conservatory-style Sweetwater Cafe before you head out for another day of tastings and adventures among the rolling green hills of the Yarra Valley. Is your interest piqued? Do you fancy wetting your whistle the Yarra Valley way? We've also teamed up with Visit Yarra Valley to give one lucky reader and a guest the chance to score a two-night stay at Chateau Yering with all sorts of extras — including a $400 voucher to spend at any of the above wineries. To find out more and put your name in the running to win, check out the competition here. For more information on the Yarra Valley and to start planning the rest of your adventure, head to the Visit Yarra Valley website.
Casual face-melter Courtney Barnett is finally about to have a debut album under her already trophy-laden belt. So naturally, the Melbourne-based shredder has announced her Australian debut album tour for May 2015. This one's going to sell fast. Marking the release of her first ever LP, Sometimes I Sit and Think, And Sometimes I Just Sit (out Friday, March 20 via Barnett's own Milk! Records and Remote Control), this tour follows Barnett's epic performances at Laneway festival around the country over the last few weeks. Having already proved herself one of Australia's brightest sparks over the last few years with her 2013 EP release The Double EP: A Sea of Split Peas, Barnett's spins one hell of a live show — having nailed sets at Lollapalooza, South by Southwest and New York City's CMJ. Supported by Teeth & Tongue, Barnett will cruise from Adelaide's The Gov on Friday, May 1 to Perth's Bakery on Saturday, May 2. Then it's over to Sydney's The Metro on Friday, May 8 and Brisbane's Hi-Fi on Saturday, May 9. In classic Australian artist form, Barnett will wrap things up in her hometown of Melbourne on Friday, May 15 at The Forum. COURTNEY BARNETT AUSTRALIAN ALBUM TOUR 2015 SUPPORTED BY TEETH & TONGUE FRIDAY MAY 1 The Gov, Adelaide, SA TICKETS SATURDAY MAY 2 The Bakery, Perth, WA TICKETS FRIDAY MAY 8 The Metro, Sydney, NSW TICKETS SATURDAY MAY 9 The Hifi, Brisbane, QLD TICKETS FRIDAY MAY 15 The Forum, Melbourne, VIC TICKETS
Indie rocker and singer/songwriter Neko Case (of The New Pornographers) has announced a tour of Australia and New Zealand for the release of her newest solo album, The Worse Things Get, The Harder I Fight, The Harder I fight, The More I Love You. Released this past September, this is Case's first album since 2009's extremely popular Middle Cyclone. The Worse Things Get... is full of tracks with the same vigour and bluntness that audiences appreciated in past hits such as 'People Got a Lotta Nerve' and 'I'm an Animal'. Her lyrical candour is particularly riotous in 'Man', where she declares, "And if I'm dipshit drunk on the pink perfume / I am the man in the fucking moon / 'Cause you didn't know what a man was / Until I showed you." Indubitably, Case is a force to be reckoned with. Neko Case will be performing at the Melbourne Zoo Twilights on Saturday March 1 and The Corner Hotel on Sunday March 2.
There is no shortage of beautiful furniture and homeware stores in Melbourne, but not all of them actively champion sustainability in the way that Southwood does. Don't get us wrong, although Southwood is all about natural products, it's also about incredible design. Owners and interior designers Val and Maria have always shared a passion for creating engaging spaces that reflect the personalities that live within them, so it's no surprise that their own showroom is the ultimate representation of their design sensibilities — think, Italian woven-style dining chairs, smooth Australian timber tables and minimal couches with wool covers.
Turn off the main drag of Toorak Road and onto Avoca Street — it's here that you'll find another small offering of designer boutiques and cafes. One local favourite is Home and Abroad, which showcases a specially curated collection ranging from clothing and ceramics to baby goods and basketware. As the name suggests, many of these fashionable creations are imported from overseas, with owner Sara Lees having a particularly good taste in products from Portugal, India and France. Perfect for finding a unique gift or something to add a touch of class to any space, Home and Abroad is a South Yarra gem. Image: Parker Blain.
They first toured Australia in 1982. They've returned plenty of times since, including on the Big Day Out and Vivid lineups. When they were last here in 2020, the pandemic got in the way, causing them to cut short their plans — and now New Order are making their latest visit Down Under five years later. 'Blue Monday', 'Temptation', 'Bizarre Love Triangle' — more than four decades after forming, the group are playing them all on a four-city Australian tour, including at Sidney Myer Music Bowl in Melbourne on Saturday, March 8, 2025. Peter Hook, Stephen Morris and Bernard Sumner started New Order out of Joy Division, following the tragic death of the latter's lead singer Ian Curtis, and helped pioneer the synth-pop sound that not only helped define the 80s but has been influential ever since. If you've seen the films Control and 24 Hour Party People, you've seen part of New Order's story on-screen. And if you've caught them live before, you'll know that they're always a must-see. Top images: Erin Mc via Flickr, RL GNZLZ via Flickr.
