Think of live music and you invariably think of one of our rich and diverse capital cities — but there's plenty going on beyond the big metropolises. From renowned multi-day festivals to the regional town that turns itself over to celebrate an enduring cultural icon once a year, there's something to tempt every music lover away from the city this autumn. Ready to reconnect with your love of music, dance under the stars in the outback and experience those heart-swelling, foot-stomping, feel-good moments that live tunes provide so well? We've teamed up with Destination NSW to pick a half-dozen events that'll satisfy your cravings for a live gig and a road trip in one go.
This Is Not Art is Newcastle's premier independent arts and media festival, where the emphasis is on collaboration and experimentation. It is a testing ground for new ideas, an opportunity to mingle with industry professionals and fellow artists in order to re-invigorate your artistic passion and develop new skills. An umbrella sheltering a number of festivals, this year TINA is home to the Crack Theatre Festival, National Young Writers' Festival, Critical Animals and Electrofringe. Between, the festivals boast workshops, performances, round table discussions, interactive events and a sleepover. A forum for showcasing, networking and inventing, TINA is a festival targeted at launching a generation of aspiring artists and fostering the creativity of local communities. Capping off a weekend of bold and dynamic events, don't miss the epic closing party hosted by Electrofringe and featuring a swag of emerging electro artists from Melbourne, Sydney and Newcastle spinning danceable tunes and experimental beats.
Where some of director Alkinos Tsilimidos’s previous works for the Melbourne Theatre Company have been highlights of the company’s seasons — shows like Red and The Mountaintop — Glengarry Glen Ross is flat and unaffecting. By the time the cast leaves the stage before their second curtain call, any world they’ve created is long gone from our minds and hearts. It’s difficult to point to what precisely makes this production such a depressing experience; the feeling is pervasive, running through the listless ensemble, the fact that it was programmed in the first place, and even David Mamet’s acclaimed 1984 script itself. Much is made of Mamet’s burst-fire dialogue and invective — but what is it actually doing? The play’s Chicago real-estate salesmen, backed up against a wall by their company’s relentless demand for sales, descend into conniving manipulation and vicious diatribe. But what this production highlights is that for all Mamet’s facility with language, it is also, at its most basic level, just one man swearing at another. It’s testament to Greg Stone’s abilities as one of the country’s most consistently fine stage actors that he at least can wring many satisfying moments out of the text as Moss. That said, Stone’s prowess is only made starker by contrast with the rest of the ensemble, with the exception of Alex Dimitriades, who makes the role of Roma his own, unencumbered by Pacino’s definitive performance in the film. The language of playwrights with far more draconian notation allows their work to endure today (think of Beckett, with his commands for every shake, breath and turn of the head in Happy Days). Here, indulging Mamet’s fastidious attention to punctuation and rhythm has the effect of locking this production firmly in its mid-'80s context, but perversely without allowing a 2014 Melbourne audience a way into this world. It’s been 30 years since the MTC presented their first production of the play. There’s nothing intrinsically bad about choosing to program what is essentially a period piece, but there is in a production that offers nothing more. There is so much that only live performance can do. Theatre interacts simultaneously with both the minds and hearts of an audience; it makes our world bigger, more full, because it lets us strain our lives past what we know. But watching this show was an hour and a half of the world just getting smaller.
As soon as last year's Indonesian action thriller The Raid: Redemption hit cinemas, you knew Hollywood would be scrambling to develop a remake. By contrast, when 1995's Judge Dredd hit cinemas, you simply couldn't imagine a time when anyone would ever deem it worthy of a second chance. Tinsel Town's hard to read that way. Some might call the phenomenon 'predictable unpredictability', but an easier term would just be 'Dredd 3D' — where novel idea meets stale disaster in a surprisingly successful union. The film's central character, Dredd (Karl Urban), hails from John Wagner's dark and dystopic graphic novel in which the police have become judge, jury, and executioner all in one. Dredd and his fellow ‘judges’ are the sole symbols of authority in a gritty metropolis beset by gangs and drug syndicates, coldly enforcing the law and upholding ‘justice’ with near-fascist ruthlessness. When he and his rookie partner (Olivia Thirlby) find themselves trapped in a high-rise apartment block controlled by drug czar 'Ma-Ma' (Lena Headey), their only option is to wage war on the gang, one floor at a time, until help can break through. Helloooooooooo Raid: Redemption. Plot, however, is not their only similarity; the bloodshed in Dredd 3D is both frequent and highly graphic, often delivered with such rich slow motion it plays like the most violent Schweppes commercial ever made. Coupled with the 3D, Dredd serves up a relentless visual feast of shiny gold bullets that tear through enemies' flesh and send specks of blood and bone gently tumbling towards your eyes like James Cameron butterflies from Avatar. It’s also probably the highest body count for a movie not featuring an atomic bomb, at least since Commando, yet it’s precisely that stylised and completely-over-the-top violence that elevates Dredd 3D above the run-of-the-mill. Action movies are rarely about plot or dialogue, so it’s in the manner and aesthetic of the carnage where they can best define themselves, and in that respect, Dredd 3D delivers. It's certainly not for the squeamish, but the stunning visuals, inventive action, and warped sense of humour make this one of the better heart-pumpers of 2012.
Ghostface Killah constantly features as an 'honourable mention' in countless publications' lists of the greatest rappers of all time — perhaps perceived as almost too smart a lyricist for his own good to attain too many top billings in his own right. Just as RZA’s overall production vision for the legendary Wu-Tang Clan has been the sonic foundation to the diverse crew’s raw power, Ghostface has been credited with holding the at-times fractious group together over twenty years at the cutting edge of the game. The 44-year-old New Yorker is the kind of rapper who's more at home sampling You Roam When You Don’t Get It At Home (from his acclaimed solo record Supreme Clientele) than repeating the mantra "Everyday I'm hustlin'". More recently he's embraced rap's intertwined foundations in classic soul even more fully, collaborating with Black Dynamite composer Adrian Younge and the Delfonics on Twelve Reasons to Die (soon to get a sequel) for a time capsule-like recreation of live 1970s instrumentation that spawned a series of unlikely singles, capped by 'Murder Spree'. Fresh off the back of a headlining slot at Meredith — where he invited Australian paralympian Dylan Alcott onstage for 'Protect Ya Neck' — Ghostface is playing an unmissable sideshow at St Kilda's Esplanade Hotel.
South Melbourne Market has long been an integral part of the fabric of Melbourne's food culture, having been churning out fresh produce, top-notch seafood and much-needed flat whites for nigh on 150 years now. So the time is ripe for a big ol' party to say well done, you old thing. To celebrate the market's milestone, Saturday, May 6 will see a barbecue-heavy street party take over Cecil Street. From 10am until 10pm, pop-up stalls, live music and games will ensue — if you've got kids with you, you'll be able to drop them at the jumping castle while you head off in search of serious adult entertainment like the giant Connect Four and Jenga games on offer. Celebrate and eat yourself silly with barbecued Spanish chicken, Polish deli foodstuffs, spanakopita, haloumi souvlakis and barbecued pork belly tacos. But just leave room for some cake — there'll be a huge one on display made by the market's traders (150 years is a lot of candles, so it's bound to be big). The street party is just one of the events being put on by the South Melbourne Market to celebrate their 150th anniversary, others of which include an exhibition, tours and three new mural commissions. You can view the whole calendar of birthday events here.
Christmas isn't the only source of cheer in Sydney this month, especially if you like heartwarmingly endearing baby animals. After introducing the world to its new koala joey and lion cubs earlier this year, Taronga Zoo has just unveiled footage of its pygmy hippo calf, which was born at the zoo on Monday, November 22. The calf doesn't yet have a name; however, Taronga visitors will get to see her in the flesh in the coming weeks — with the adorable critter set to make her public debut just in time for the upcoming school holidays. She was born to parents Kambiri and Fergus, and marks the first calf born at the zoo in more than four years. At the moment, the calf's day involves spending time in an off-exhibit nursery den with Kambiri — suckling, getting energetic in short bursts and napping. And, learning how to navigate the water, because pygmy hippo calves aren't born knowing how to either swim or hold their breath. So, that's something that Kambiri is teaching her offspring. Once the calf masters splashing around, she'll be able to enter the public hippo exhibit, which has had its pond floor raised so it's easier for the calf to access. The new calf will call Sydney home but, in the wild, pygmy hippos are native to West Africa's forests and swamps. Only around 2000–3000 are estimated to remain outside of zoos, which makes the species endangered. And, in the wild, they only tend to come together for breeding. That's enough words about this new cutie, because we all know that you're here to get a glimpse. Check out Taronga Zoo's footage below: [video width="1080" height="1920" mp4="https://cdn.concreteplayground.com/content/uploads/2021/12/HippoAnnouncement.mp4"][/video] [video width="1080" height="1920" mp4="https://cdn.concreteplayground.com/content/uploads/2021/12/Pygmy-hippo-antics.mp4"][/video] Taronga Zoo's new pygmy hippo calf will make its public debut sometime in the coming weeks. For further information, keep an eye on the zoo's website.
Well before Margaret Atwood's dystopian novel The Handmaid's Tale was turned into a TV series, it was transformed into an opera. And this October, the show will make its Australian premiere as part of the inaugural Yarra Valley Opera Festival. Among the historical buildings and landscaped gardens of Olinda Yarra farm, you'll experience Offred's story taken to new dramatic heights, thanks to Melbourne-based opera company Gertrude Opera. The work was originally created by Danish composer Poul Ruders and librettist Paul Bentley and, since premiering in Denmark in 2000, The Handmaid's Tale opera has appeared in the UK, the US and Canada. We can safely say there will be no Talking Heads in this version. If you don't yet know the story by way of your high school reading list or SBS On Demand, here's the gist: a handmaid, Offred is sent to a barren household, where, once a month, she is forcibly inseminated in the expectation that she'll bear a child for The Commander, Fred Waterford. The Yarra Valley Opera Festival will take place over ten days, from October 12–21. Other highlights include the Gala Opening Concert, Mozart's Cosi Fan Tutte sung in English and an evening combining opera trivia and dinner.
In an era when plastic waste is on all our minds and packing a serious threat, Melbourne's got a new eco hero. And this one happens to be of the four-wheeled variety. Introducing Roving Refills — a new local environmental initiative that's set out to put a big dent in our container habit. The vehicle operates a bit like your favourite food truck, with locations posted to social media. But instead of takeaway fare, this one's loaded with bulk cleaning and laundry products. Think detergent, dishwashing liquid, disinfectant, shampoo and conditioner, plus ingredients for DIY products such vinegar, bicarb soda and coconut oil. Rather than racking up more plastic waste with each trip to the supermarket cleaning aisle, you can bring your own reusable containers to Roving Refills to fill up on the go. It's the brainchild of Environmental Management and Sustainability Masters student Claudine Lagier, who runs the van as a part-time side project with her sister Raphaelle. Right now, they're operating using a borrowed ute and a mobile vendor permit for the City of Maribyrnong, but have plans to expand to more locations — and hopefully obtain a new solar-powered or hybrid vehicle to keep those carbon dioxide emissions to a minimum. You'll also spy them popping up at a handful of markets, in areas like Kensington and Altona. The Roving Refills concept sets out to take a direct hit at plastic waste, inspire action and give consumer habits a big ol' shake-up. While most of us are becoming more mindful of the waste generated by our food products and things like straws and plastic bags, Lagier wants to extend the focus onto other plastic-filled aspects of daily life. And she's certainly leading by example — aside from the products themselves, which are bought wholesale from mindful operations like Williamstown's Back to Basics and Robyn's Soap House in Knox, Roving Refills uses almost only recycled items. We're talking ice cream containers upcycled into storage boxes and chipped cups used as scoops, sourced from places like Urban Upcycle in Geelong. Keep track of the Roving Refills van — its movement are posted on its Facebook page. Updated: June 4, 2019.
In the early 1970s Patti Smith and Sam Shepard illicitly shacked up in the notorious Chelsea Hotel and co-wrote a play in just two nights, literally shoving a typewriter back and forth across the table until Cowboy Mouth was complete. Forty years on director Emily O'Brien Brown and Exhibit A: Theatre pay homage to the self-destructive lovers' attempt to immortalise their young wild selves through the play’s two characters, Slim and Cavale. Cavale is French for “escape” and Slim is “a rock ‘n’ roll Jesus with a cowboy mouth” — a far cry from Slim Shady. Cavale and Slim fight, drink and wrestle with their own egotistical fantasies of themselves; their unravelling mental states mirrored by the literal deterioration of their decrepit, rundown hotel room. Like a rock royalty version of Vladmir and Estragon in Waiting for Godot, both express a desire to leave but neither follow through. Instead, they play games or musical instruments and survive, barely, on dreams, Cavale’s stories and lobster take-out. Adorned with a baseless mattress, tatty drawings and a drum kit, the stage at GoodTime Studios is cleverly used to show the two characters trapped in their perceived corner. Cavale cuddles a dead bird and tells stories of dead French poets as she avariciously stalks Slim across the stage. He is edgy and practically aquiver with artistic torment: he’s left a wife and child (or she’s left him) for Cavale’s feverish artistic blatherings. Partnered in psychotic torment the two ricochet from happy to wretched, from lustful to fearful, from psychiatrists to podiatrists. Comic relief comes, happily, when they call up the Lobster Man — an inarticulate delivery dude outfitted in full crustacean uniform. The theatre group has breathed new life into this rock ‘n’ roll tale of psychotic infatuation with two impossibly attractive leads, an eclectic soundtrack and even a Rock Lobster. Regardless of whether Cavale and Slim are drunk, demented or simply defiant of spiritual demarcation it's surprisingly easy to relate — we all know what it's like to look around and find ourselves trapped in a corner. Image via Exhibit: A Theatre
It's been less than a year since Scottish craft beer giant BrewDog made its much-anticipated Australian debut, opening the doors to its hefty Brisbane brewery DogTap last November. But already the team's looking to ramp up that local presence, announcing ambitious plans to open more flagship venues across Brisbane, Melbourne and Sydney by the end of 2021. While the company's keeping hush for now on exactly where these new bars will be located, it has confirmed it's already started searching for sites between 300 and 1000 square metres, in each of the three above cities. It seems the choice to kickstart Aussie operations in the Queensland capital has proved a smart move for the brewery, especially given the extra COVID-19 fallout some other states have had to endure. "The continued success of our DogTap taproom has convinced us that the time is right to start the search and find exciting locations to join the fold," said BrewDog's Head of Australian Operations Calvin McDonald in a statement. Already operating in over 80 countries, the company plans on snapping up 25 more sites worldwide before the year's out. [caption id="attachment_751726" align="alignnone" width="1920"] Pandora Photography[/caption] BrewDog's ambitious expansion plans come off the back of a few news-filled months for the brewing company. Just recently, it claimed the distinction of becoming the first carbon negative international beer brand in the world, removing twice as much carbon from the air than it emits. BrewDog plans to open more sites in Brisbane, Melbourne and Sydney in the coming 12 months. We'll share more details as they're confirmed. Images: DogTap Brisbane by Pandora Photography
It takes a lot to make great wine. It also takes a lot to successfully run a business and a happy family. So, what about when all three things are put together? We chat to three wineries in Victoria's north east that are managing to nail all three. Here are a few stories from their journey through wine, family, tradition and hard work. Brown Brothers Winery – Stories and Shiraz An old lady is fussing about in her kitchen, many moons ago. She takes four teacups and places them in the oven, just until they are too hot to touch. She takes them carefully out of the oven and places them on the table, next to a steaming hot pot of tea. In walk four of her sons. They take a chair at the kitchen table as their mother pours them a cup of tea in the scorching cups. The cups are too hot to touch. They stay that way for a while. The boys linger, telling storing, sharing tales of the family business — tales of the winery. The woman is happy. Her plan to keep them there long enough for their tea to be drinkable is working. The hotter it is, the longer they stayed. A brilliant plan. She is the mother of the Brown brothers and grandmother to Katherine and Caroline — the fourth generation of Browns and the next to take over the reigns of the well-known Brown Brothers family winery. Now picture this: three young, beautiful and driven Brown daughters are sent off into the big bad world. They must complete the non-negotiable task of working outside the family business for four years before being allowed to work within the winery. A beautiful clause, it encourages hard work and avoids entitlement. And it's worked. The daughters ooze with appreciation of the business and a keenness to continue the legacy. Brown Brothers have just relabeled their 18 Eighty Nine range, each fit with a different chair from their family table and a different tale of the family. This dry range includes a fruity Chardonnay, a Shiraz made in Heathcote and a savoury Cabernet Sauvignon. 239 Milawa Bobinawarrah Road, Milawa VIC 3678, brownbrothers.com.au Dal Zotto Wines – Practice and Prosecco Otto, Eleanor, Christian and Michael Dal Zotto are sitting around the large table in their trattoria in King Valley. While Italian voices are coming from one end and Australian accents from the other, there is no denying they are related. Mother, father and two sons. As the kitchen serves up divine, simple, sharing style Italian cooking, the wine begins to pour. A Prosecco to begin, of course. The two wine glasses in front of each person are instantly filled. Then the gentle bickering begins. Where are the rest of the wine glasses? After all, it is only right that each guest have the opportunity to taste all the wines on the table at once. After lunch, stuffed to the brim, they take their guests outside for a throw of the bocce ball, a run with the two dogs in the kitchen garden and to play with the many grandchildren that live just next door. What began as Otto and Eleanor's business — pioneering Prosecco in Australia — is now strongly ingrained in the lives of their children. Michael takes the reigns as the winemaker while Christian looks after the marketing. Spend an afternoon in their trattoria with them if you get the opportunity. The passion is tangible. 4861 Wangaratta-Whitfield Road, Whitfield VIC 3733, dalzotto.com.au Pizzini – Community and Chardonnay Roberto and Rose Pizzini, along with their three children migrated from the Northern Italian Alps to Australia back in 1955. Lost for what to do, digging potatoes became their bread and butter. This later turned into tobacco growing. None of these felt quite right to the Pizzinis. It was only when Brown Brothers planted their first grapes in the King Valley in 1978 that the Pizzini family began farming grapes. A collection of Chardonnay, Sauvignon Blanc, Cabernet Sauvignon, Merlot, Malbec and Shiraz were farmed by Alfred and Katrina and sold to different winemaking companies around Australia. Over the next twenty years Alfred Pizzini began trying his hand at two relatively unknown Northern Italian red grape varieties — Nebbiolo and Sangiovese — and later the white Italian varietals Verduzzo, Picolit and Arneis. It was only in 1994 that Alfred and Katrina Pizzini began the Pizzini label with their signature chardonnay. As they began to build their business they realised they needed to help build up the local area as well. After a cellar door was created from tobacco drying kilns, the Pizzini's invested in three local hospitality venues around town. A little restaurant in Oxley, the Mountain View Hotel in Whitfield and finally they renovated a cottage on the property and turned it into a self-contained B&B. Fast forward to today, Katrina Pizzini running a thriving cooking school, the winery is one of the biggest in the area and the King Valley is never short of wine enthusiasts. The winemaking is now in the capable hands of their son Joel. 175 King Valley Rd, Whitfield VIC 3733, pizzini.com.au
The Act of Killing is one of those movies that in its very form is something new. While filming survivors of the 1965-66 Sumatran massacre, Joshua Oppenheimer discovered that the perpetrators, now elder statesmen, remain openly proud of their crimes — and eager for fame. So he takes the project in a new direction (the survivors, for good reason, weren't keen to appear on camera anyway). Oppenheimer has the perpetrators join the film, scripting and starring in re-enactments of their murders. They jump at the chance; they're fans of American movies. The Act of Killing then becomes a documentary with fictionalised elements that, by virtue of what they reveal about their subjects, are a mode of deep-digging documentary in themselves. It's chilling but also achieves a surprising effect, leading Werner Herzog to say "I have not seen a film as powerful, surreal, and frightening in at least a decade...it is unprecedented in the history of cinema." He signed on to executive produce, along with documentary king Errol Morris. No synopsis can quite convey how extraordinary this all is. We in Australia, Indonesia's closest neighbours, have barely any memory of the genocide that took 1 million lives. The current Indonesian government still has links to the militias of 50 years ago, and in a speech by a senior politician, we see him further the ideology of the 'gangster', a libertarian delusion that alleviates the war criminals' consciences. They're welcomed on a daytime TV show as if they were pop stars, while the cheery host recognises their achievements in finding "a new, more efficient system for killing Communists". There are so many of these extraordinary scenes — too many, probably. It's hard to figure out what could have been cut, but there is a point in the middle at which it becomes a catalogue of bewilderment rather than a purposeful trajectory — and the running time is 159 minutes, so. US-born, Copenhagan-based Oppenheimer's real strength is his knowledge of Indonesia — he's spent a lot of time there, speaks the language without an interpreter and was able to really relate to his subjects as human beings. They're comfortable and candid around him, without his having to trick them into participating. He's also proved to have a great eye for character, as his main focus, Anwar Congo, is both charismatic and very easy to empathise with. Those spotlighted around him, too, serve to elucidate other sides of his character. It's challenging. We're made to wonder, who is more evil, the murderer who is an ostentatious true believer in the cause? The pragmatist quietly living out his days in great wealth? Ultimately, it's hard to believe there are evil people at all — just crazy, heightened situations with patterns that repeat all over the world. The Act of Killing is deeply humanist that way. There's no point dwelling on some minor drawbacks; The Act of Killing is the film of the year, if not the decade, if not documentary history. Just go see it already. It's simultaneously being disseminated in Indonesia via private screenings and sparking, you can imagine, a big conversation. Proof that sometimes, art changes everything. Read our interview with director Joshua Oppenheimer here. https://youtube.com/watch?v=zJ5_JAgoZ5Q
Like karaoke? Fond of singing along to well-known songs, whether you're solo or in a group? Happy to belt out a tune from your couch? If you answered yes to all of the above questions, then it's time to up your crooning game during Australia's Biggest Singalong. If you love singing when you're in a pub with a beer in your hand, too, then you'll want to join in as well. Since early 2017 in Brisbane, Pub Choir has been amassing brew-loving music fans in venues around the city. The regular event asks its attendees to learn a particular song in three-part harmonies, with talented professionals on hand each time to show everyone the ropes and lead the way. Every evening then culminates in a big boozy singing session, with the event making its way to bigger Brissie locations over the years, as well venturing around the country. Now, it's heading to television. Set to air on SBS, NITV and SBS On Demand at 8.30pm AEST on Saturday, June 5, Australia's Biggest Singalong transports the Pub Choir format to TV — with a few adjustments, obviously. While still feeling like a far more organised version of exactly what happens whenever someone puts 'Wonderwall' or 'Weather With You' on the pub jukebox, it'll have big-name hosts in Julia Zemiro and Miranda Tapsell — and it's asking for viewers at home to record their own videos in advance, upload them and hope they'll be screened during the two-hour-long special. Multiple songs will be covered, but Hunters and Collectors' 'Throw You Arms Around Me' is the big track that eager crooners can film themselves singing in advance. Entries close on Monday, May 17, with all of the details available on the Couch Choir website — which belongs to Pub Choir's pandemic-era spinoff from last year, as you might already be aware. Hunters and Collectors lead singer Mark Seymour will be part of the broadcast, and Pub Choir co-founder and choirmaster Astrid Jorgensen will be guiding the singing, too. So, you just need to decide whether you're fine to take part from home while pouring yourself something cold from your own fridge, or if you'd rather head to the pub and sing with your mates during the show. Pub Choir's IRL events are mighty popular, with tickets getting snapped up very quickly each time, so that's something you don't have to worry about in this format. Australia's Biggest Singalong will screen on SBS, NITV and SBS On Demand at 8.30pm AEST on Saturday, June 5, Australia's Biggest Singalong. For more information, head to the SBS website. To upload your own video before Monday, May 17, visit the Couch Choir website. Images: Jacob Morrison.
Irish-French singer Camille O’Sullivan left a burgeoning career as an architect after embracing the cabaret on display in Berlin and Dublin. Since then she’s won international acclaim for her singular interpretations of the songs of artists like Nick Cave, Kurt Weill, Tom Waits and Jacques Brel, drawing on the German tradition of “art song”, and the narrative music of Weimar composers. In O’Sullivan’s modern incarnation, this tradition manifests itself in radical retellings of classic songs — her rendition of Nick Cave's 'The Ship Song' is well worth a listen. On tour in Australia, for her show at the intimate Fairfax Studio at the Arts Centre O’Sullivan will be playing songs from her album Changeling, including works from Radiohead, David Bowie and Arcade Fire.
Fall down the rabbit hole with artists Hans Berg and Nathalie Djurberg, as they exhibit their work in Australia for the very first time. Installed at the Australian Centre for Contemporary Art, The Secret Garden is an original work presented by Melbourne Festival. Combining film, light, sculpture and sound, the piece promises to showcase the Swedes in all their surreal, hallucinogenic glory. ACCA will also host a marathon screening of the duo's early claymation short films that helped catapult them to international acclaim. This event is one of our top ten picks of the Melbourne Festival. Check out the other nine.
Melbourne's trams aren't just a handy way to get from A to B. Each year, six of the city's public-transport carriages also become mobile artworks. Melbourne Art Trams gives the vehicles a vibrant revamp — and, since 2021, the designs gracing each one have hailed from Victorian-based First Nations artists. The initiative has fallen into winter arts festival RISING's remit since then, too, with the end results for 2023 now rolling around the Victorian capital. The theme for this year's Melbourne Art Trams series: Blak futurism. As well as celebrating and exploring history, Country, community and connection, that's what the latest round of artists has responded to, as curated by visual artist Jarra Karalinar Steel (Boonwurrung/Wemba Wemba) — an alumni of the 2021 trams. "This year's First Peoples Melbourne Art Trams truly embody the transformative narratives of First Peoples Artists' creative expression, and the diversity that is often overlooked when it comes to Aboriginal Art in Australia. For me, the theme this year — 'Blak futurism' — is about reclaiming and taking back space, and breaking the status quo while maintaining culture and connection to country. It' also about learning from our past and those who came before," said Steel. "Blak futurism plays with nostalgia, pop culture and the desire to see ourselves represented in a world where we feel unseen and heard. Changing the way we are seen and the way we see ourselves." "I was looking for works that truthfully spoke to how these artists saw a Blak bright future for their community, families and country. This year's Art Trams will provide a world of colour to our grey city streets, exploring themes of community, togetherness, intergenerational collaboration, protection and care for country and our animals, future folklore, nostalgia, representation, and pay tribute to our beloved city." The first art tram to start doing the rounds boasts work by Amina Briggs (Boonwurrung/Erub). It hit the streets on Tuesday, June 13, featuring a portrayal of Bunjil the creator and Waa the protector, key figures in Boonwurrung culture. Also included, in a piece that's about reclaiming land: the Australian raven and the wedge-tailed eagle, the symbolic animals for both figures, plus a diamond, which is the traditional Boonwurrung symbol. By Friday, June 23, the remaining five trams will also get zooming, giving Melbourne a moving exhibition. Rubii Red's (Lama Lama) contribution is an ode to Naarm, including its protests, music and nightlife; Charlotte Allingham (Wiradjuri and Ngiyampaa) has created a piece envisioning a future that values Blak freedom, self-expression, sustainability and innovation; and Jay Van Nus (Pibelman Noongar, and a Chilean Australian brotherboy) celebrates Indigenous knowledge and community, including diverse skills and ideologies coming together. For their tram, Lyn Thorpe (Yorta Yorta/Wurundjeri/Wamba Wemba/Wadi Wadi) and her son Coree Thorpe (Yorta Yorta/Wurundjeri/Gunnai/Gunditjmara) hone in on the Aboriginal continuum, which spans connections to ancestors and being caretakers for knowledge. And Peter Waples-Crowe's (Ngarigu) work focuses on the alpine dingo, using it as a symbol of ecosystem restoration, while contemplating restoring Indigenous knowledge. Melbourne Art Trams is a collaboration between RISING, Creative Victoria, Department of Transport and Planning and Yarra Trams, allowing local First Nations artists submit their own original tram-inspired designs — and ran as part of the Melbourne International Arts Festival before RISING's arrival. The first of Melbourne's 2023 art trams hits the tracks on Tuesday, June 13, with the rest of the fleet joining them by Friday, June 23. For further details, head to the RISING website. Images: James Morgan.
To choose the life of an artist means choosing canned tuna dinners, free beer at openings across the city and what is often a constant battle between maintaining artistic integrity whilst trying to put those aforementioned cans of tuna and that free beer on the (dirty share house) table every night. Each year, in association with the philanthropic Balnaves Foundation, the Australian Centre for Contemporary Art gives a handful of Australia's most exciting emerging artists a massive leg up, inviting them to create site-specific pieces for the annual NEW exhibition. NEW 13 is curated by ACCA's associate curator Charlotte Day and features the work of Benjamin Forster, Jess MacNeil, Alex Martinis Roe, Sanne Mestrom, Scott Mitchell, Joshua Petherick and Linda Tegg. The vastly divergent offerings include a sculpted weeping woman that cries actual tears, the ghosts of imaging technology captured and a piece that sheds sunlight on previously overlooked crevices of ACCA. Image — Alexis Martinis Roe, The Practice of Doing, 2013
Myers Place: That tiny laneway capillary between Bourke and Little Collins streets, flowing with booze and the aroma of exotic cooking. As one of Melbourne's original inner-city small-bar destinations, it's now home to a small fortune in restaurants, art venues and drinking holes — all within metres of each other. This time we move beyond the solid stuff, as Eat Streets shows you not only where to get fed but watered and cultured too. Lily Black's Boasting the 'largest collection of bitters in world', Lily Black's prides itself on the cocktail craft. The seasonal cocktail menu is testament to the claim, best attacked using their ingenious visual key — choose between bitter, boozy, dry, hot, refreshing, rich, savoury, smoky, sour or sweet flavours, and let your bartender do the rest. Take a seat in the speakeasy-style surrounds and watch the staff chisel hand-cut shards from the ice block and shake drinks like they're Ricky Martin with a set of maracas. On the last Sunday of every month, check out the Iron Bartender competition — an opportunity for Melbourne's best mixers and shakers to demonstrate their flair and brew up their cocktail best. Until then, drop by after dinner for a Hot Forest (Maker's Mark bourbon, maple, lemon and charred cedar; $19) or a Japanese Cigar (Courvoisier VS cognac, Ardbeg whisky, hickory-smoked orgeat and bitters; $19) — they're open late. 12 Meyers Place, Melbourne, (03) 9654 4887, lilyblacks.com.au San Telmo After a cocktail next door, don't be surprised if you find yourself on the doorstep of San Telmo, succumbing to the enticing pull of the Argentinean grill. Inside, carnivores congregate around the Parilla (the imported Argentine charcoal grill, pronounced par-ee-sha) — feasting on slabs of tender, smokey charred meat. Order by cut: short ribs, flank, rib eye and all the steaks of rump are on offer here. The menu is designed to share, which means that our vegetarian friends needn't miss out. The sweet-burnt carrots with thyme and goats cheese ($13), provolone, mozzarella, basil and capsicum empanadas ($6), or Brussels sprout, roasted shallots, hazelnuts and agave vinaigrette will appease the non-animal eaters, while desserts like the dulce de leche creme caramel with salted peanut praline ($14) will have both tribes fighting over the fork. 14 Meyers Place, Melbourne, (03) 9650 5525, santelmo.com.au The Waiters Club It's been around since 1947 and still resembles an old Coles canteen from the 70s, but, despite missing out on the neighbouring Meyers Place revolution, the Waiter's Club remains a city stalwart. Originally a members-only, after-work venue for Melbourne's new-Australian waiters, the restaurant now hosts a cross-generational legion of foodie fans. Tuck in to a welcoming bowl of pasta or a generous slice of tiramisu; fine dining it's not, but it's homely and dependable. In fact, its no-frills service, laminex tables and daggy curtains might remind you of Nan's kitchen as it remains immune to the evolving trends of the streetscape downstairs. Let's hope it never changes. 20 Meyers Place, Melbourne, (03) 9650 1508 Meyers Place Meyers Place was a pioneer of Myers Place when it first opened in 1994 (as one of the first on the scene, its owners probably didn’t realise how confusing their name would one day become). Part of Melbourne's original hole-in-the-wall bar revolution, the venue was first conceived by a group of mates who lived in the city and wanted somewhere nearby for a drink. From there, 6 Degrees Architects took responsibility for the build, using recycled materials such as ex-government office fittings, train armrests and timber panelling ripped from the old stage of Melbourne's town hall. Doubling as an art space, the regular program of exhibitions allows punters to feels cultural while imbibing in a $5 house wine. After all, it's all part of the arts experience — and there's nothing wrong with that. 20 Meyers Place, Melbourne, (03) 9650 8609, meyersplace.com.au Senoritas While Mexican food might not be as in-vogue as it once was (long surpassed by the dude food trend, food trucks, and science-lab gelato), people are still willing to queue down the street for a taste of taco, suggesting its popularity remains strong. Joining the likes of Touche Hombre and Mamasita, Senioritas gains a competitive advantage over their popular peers by allowing bookings — saving diners an agonising wait in the queue. This allows maximum time to sit back and try the tequila — perhaps matched to grazing the selection of tacos like the roasted pork shoulder with cinnamon, orange, thyme, frijoles and pickled red onion ($14), or the sweet potato, epazote and black bean taco with queso fresco and chipotle mayo ($12). Eating amongst the dramatic neon-lit interior and ghoulish, Day of the Dead-themed decor isn't as authentic as grabbing a quesadilla from the dusty Mexican roadside, but it sure makes for an entertaining night out. 16 Meyers Place, Melbourne, (03) 9639 7437, senoritas.com.au Unfortunately Senoritas has temporarily closed, but hopes to reopen again shortly. Loop Part bar, part performance venue, Loop provides a space for artists, film makers and live audiovisual performers (and fans of all the above) to share their creative energies — over a pizza and pot of beer. With an event calendar that offers something different almost every night of the week, expect film festival screenings, performances of buzzing electro-pop and DJs every weekend. Loop is also a pillar of the local filmmaking community, presenting Comfortable Shorts each month — a series of short films from local and international creatives. 23 Meyers Place, Melbourne, (03) 9654 0500, looponline.com.au Lane's Edge Fuss free, friendly and a bit of fun, Lane's Edge serves as casual entry point to the off-Bourke laneway. It takes a multidisciplinary approach to hospitality — the kind that warrants anything from a morning coffee with the paper, a lunch break with your work colleagues or a late night passed with a stranger on a loose night out. Accompany any of the above with a bowl of pumpkin soup. The bamboo-clad beer garden provides offers a discrete vantage point from which to enjoy sneaky lunchtime beers, while still keeping an eye on the laneway antics. Chances are you might catch a glimpse of your boss at the bar next door. 39 Bourke Street (cnr of Bourke and Meyers Place), Melbourne, (03) 9654 2409, lanesedge.com
It may have taken 15 years and two full blown reboots, but the Spider-Man movies finally have a decent villain. Gone are the Green Goblins and anthropomorphic sandpits, replaced at long last by...a guy. Just a guy; a vulnerable, human, salt-of-the-earth labourer trying to carve out a little something of his own amongst the rubble and ruin of a post-Avengers New York City. Played by Michael Keaton, Adrian Toomes is an ordinary character in an extraordinary world, whose bare bones simplicity helps ground this refreshingly low-key entry in the Marvel Cinematic Universe. And low-key is the key to this movie's appeal. Spidey (Tom Holland) isn't a world saver, but a hero for the little guy; intervening in grocery store holdups and helping grandparents with their luggage. The problem is that he wants more. He's fought alongside Iron Man and taken on Captain America, and the expectation of future avenging is what drives his daily routine. Expectation, however, soon falls short of reality, as he's told by Tony Stark (Robert Downey Jr) that which no teenager ever wishes to hear: "you're not ready". What's worse is that Stark is plainly right. Thing is, gaining super-powers doesn't mean you automatically gain super skills, and Spidey/Peter Parker is a superhero still very much in the training wheels phase. It's a clever device by director Jon Watts, whose hero – like a giraffe attempting its nervous first steps – repeatedly fumbles his landings, misses his web castings and wreaks low-level havoc in suburban backyards while chasing down the bad guys. Paired with raging hormones in a body that's also transforming in a more typically teenage way, and Peter makes for an immensely likeable lead. It helps that Holland makes for a far more plausible teen than either Tobey Maguire or Andrew Garfield. The teenage superhero setup has always given Spider-Man an added complexity (one perhaps only shared by Superman), in that his public persona is painfully weak and nerdy. Bruce Wayne and Tony Stark get to be billionaire playboys when they're not battling criminal kingpins, but Peter Parker is perceived as a weedy, bookish, scatter-brained dork who rolls over for bullies and can never keep an appointment. His life would be immediately and immeasurably better if he simply revealed his true, courageous self. But to do so would invite sudden and deadly peril upon all those he cares about. That dilemma, in turn, passes on to the audience, as you find yourself grappling with your desire to see Spider-Man take down the villains but also make his date with the dream girl. Even better, it all comes without another version of Uncle Ben's 'great power comes with great responsibilities' speech, or another retelling of Parker's spider-bite origins. Spider-Man: Homecoming is a film that knows what we already know, and just gets on with telling its story. If there's a drawback to all of this, it's that the final product feels a little bit childish. Yes, it's a film about a teenage superhero, but plenty of movies have captured the teenage experience without feeling like they were written by teenagers as well. There's far too much 'whoa, awesome, dude, bro, cool' going on here for our liking, although thankfully the adults (Downey Jr, Jon Favreau, Marisa Tomei and Keaton) provide plenty of counterbalance. Minor flaws aside, Spider-Man: Homecoming is a fun cinema experience, and a refreshingly human story amidst the surfeit of superhero movies that continue to flood our screens. Oh, and yes, there are the additional Marvel scenes – so if you're so inclined, remember to stay through to the very end of the credits. https://www.youtube.com/watch?v=n9DwoQ7HWvI
Over the past decade, perhaps the greatest collective strength of the 18 (yes, 18) movies in the so-called Marvel Cinematic Universe has been their relative independence. From the very first Iron Man through to the most recent Black Panther, each film has (mostly) achieved an impressive balance of telling its own, distinct story while also servicing the ultimate end-game. Each new entry had enough in-jokes and easter eggs to satisfy the super-fans, but never so many that a newcomer couldn't enjoy the experience from an entirely cold start. The same cannot be said for Avengers: Infinity War, but then again, for directors Anthony and Joe Russo, that was never the intention. This isn't just the 19th film in the MCU, it's the culmination of the entire franchise; a sprawling, non-stop action movie purpose built, this time, for the fans. It's relentless, entertaining and more than a touch surprising. Unfortunately it's also starved of substance and likely to leave many feeling shortchanged. Ultimately, it all comes down to scale. Perhaps for the first time, this cinematic universe is truly universal in its scope. It moves from one galaxy to the next with bewildering speed, including planets so ancient and remote many of the characters have either never heard of them or dismissed their existence as the stuff of legend. And of those characters, where to even begin? In January of this year Chris Hemsworth, who plays Thor, casually dropped mention of an extraordinary 76 separate Marvel characters set to appear in Infinity War. Even if he was being slightly hyperbolic (one quickly loses count, so the number might actually be bang on), his comments nonetheless captures the magnitude of this gargantuan blockbuster. But like the pop culture references in the recent Ready Player One, many of these inclusions offer little substance beyond an excitable Pavlovian response triggered by recognition ("Heeey, it's Black Widow! Ooo it's…whatshisface!"). Even with the film's indulgent 156-minute run time, the decision to pack so many characters into a single film inherently means Infinity War must choose between cameo and character, with the former largely winning out. That means that many of the incredible cast members are saddled with just a handful of lines each, with perhaps the fewest coming from Chadwick Boseman's Black Panther (despite the fact that a significant section of the film taking place in his kingdom of Wakanda). Again though, the Russos have knowingly committed to the 'as read' nature of this film, opting instead to devote the lion's share of screen time and dialogue to the only real newcomer: the villain, Thanos (Josh Brolin). Thanos first appeared during the end credits of the original Avengers movie back in 2012. Since then he's been a constant (if fleeting) reference point for the coming storm that is Infinity War. He is nothing if not formidable – a softly-spoken juggernaut whose vision for a harmonious universe involves the mass genocide of precisely half its inhabitants. To achieve that he requires the fabled 'infinity stones', several of which are unfortunately located on earth in the hands (or foreheads) of various Avengers. He is a worthy antagonist for such an enormous project, and what really separates him from all the other Marvel villains is his capability; an indomitable strength that renders void the efforts of every other hero he encounters. Teamwork has always been the name of the game in the MCU, but even the combined efforts of the entire super-powered lineup seems destined to fall short. Of course Infinity War is actually just part one of two films, with the second instalment scheduled to drop in May 2019. Its ending, hence, leaves a lot to be resolved, and it's difficult not to assume much of that will centre upon some extensive Dr. Strange time reversal. There's a serious chance the series could be veering toward shark-jumping territory, so fingers crossed the Marvel boffins have something far grander and more unexpected planned. Until then, brush up on your backstories and strap in for one helluva ride. https://www.youtube.com/watch?v=QwievZ1Tx-8
The city is about to get greener, thanks to the City of Melbourne's new $500,000 investment in five sprawling greening projects worth an estimated $3.8 million, announced Saturday, December 10. The spaces are expected to deliver 1,000 square metres of lush new green cover across the city. In partnership with the Department of Transport and Yarra Trams, four Melbourne tram stops will score rooftop green spaces including planters filled with local flora and Indigenous wildflowers from the Volcanic Plains Grasslands. Port Melbourne-based developer, Plant Based Building Solutions, has been tasked with the complicated growing and installation process. The team plan to use drought-tolerant plant palettes to combat Melbourne's dry summers, with installations expected to be completed in mid-2023. [caption id="attachment_882118" align="alignnone" width="1920"] Image: Realview Studio, Yarra Trams[/caption] You'll be able to spot these mini ecosystems at Stop 3 at Collins and William Streets and Stop 5 at William and Bourke Streets. Two native community gardens are also on the cards, with the historic North Melbourne fire station and a Jolimont apartment block on Agnes Street both earmarked for developments. Finally, a wall of greenery is expected for Collins Street's Hero apartments. [caption id="attachment_836582" align="alignnone" width="1920"] Image: Skyfarm[/caption] The final project will be announced in early 2023. The five projects are funded by the City of Melbourne's Urban Forest Fund Grant Program, which also supported Skyfarm — the rooftop urban farm nestled on a CBD rooftop. This is the third round of funding announced to support green projects across the city. Top image: Realview Studio, Yarra Trams
Maltesers Moonlight Cinema is back for its 18th season of open-air cinema. The summer staple has put together another cracking program to tickle the cinematic tastebuds of old and young alike — from advance screenings of the hottest blockbusters to cult classics, blood-rushing action flicks to heart warming rom-coms. This year's venue is the Royal Botanic Gardens. Embrace the serenity of the gardens at day's end — look, not a personal trainer in sight! Hire yourself a beanbag or simply sprawl out on the grass under the stars with a loved one. Movies aren't the same without a few delicious snacks and perhaps a few beverages to complete your cinematic experience. It's the perfect way to unwind after a hard day and usher in those balmy summer nights. There's also the option of 'Gold Grass' tickets, which gets you a bean-bed in the front rows and designated waitstaff. New releases include the much-anticipated return of Ron Burgundy in Anchorman 2: The Legend Continues as well as sneak previews of big Boxing Day releases The Railway Man and The Secret Life of Walter Mitty. Sometimes it's the classics that can be most fun, however. Embrace your inner dag and negotiate how much a set of jousting sticks should cost with the much-loved and highly quote-able Aussie comedy The Castle. Or roll out the picnic rug and share a meal fit for Jehovah over Monty Python's 1979 gut-buster, The Life of Brian. If there's one thing Moonlight Cinema has proven itself more than capable of, it's cherry-picking the most enjoyable moments in cinema and creating a relaxed and sociable atmosphere to boot. Maltesers Moonlight Cinema runs from December 5, 2013, to March 30, 2014, and Concrete Playground has five double passes to give away (valid for a screening of your choice). To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address at win.melbourne@concreteplayground.com.au.
This American Life no longer requires any introduction. You and your youngish, globalised, culture-hungry friends are probably all over this podcasted hour of digestible journalism and storytelling. What's slightly less well known is the producers' experiments in translating the show's trademark style to visual media, including through a Showtime TV show and stage show The Invisible Made Visible. They're playful, inventive forays for our cross-platform age. Now comes phase (approx.) four: the movie. Co-written and produced by Ira Glass, Sleepwalk with Me is the feature-length adaptation of Mike Birbiglia's very memorable extreme-sleepwalking/relationship-breakdown stand-up routine, which was included in the TAL episode 'Fear of Sleep'. He has to preface this story with an assurance that it's true, because as he goes from fighting an imaginary jackal to falling off a shelving unit he's climbed in the belief it's a winner's podium to waking up bloodied on a hotel lawn, it increasingly doesn't sound like the cute, ha-ha version of sleepwalking we know. As Mike (or 'Matt Pandamiglio' as he's known in the movie) tells it, his sleepwalking gets worse as his girlfriend of eight years, Abby (Lauren Ambrose), starts to hint at marriage, babies and other grown-up things he's not ready for. He starts using the relationship concerns he can't vocalise to her in his stand-up, getting laughs for the first time. If you've heard the comedy routine that underlies Sleepwalk with Me on TAL, you'll know its engrossing, winningly self-deprecating and very funny. But it's as if the creative team felt that to make it worthy of a feature film they had to emphasise the relationship element, and that's just not the story's strong point. The idea of the man-boy who can't commit is rather '90s, and neither the narrative nor style brings it forward two decades, to where it should be. Sleepwalk with Me is still funny, but nothing in its bones suggests the creativity, forward-thinking or immediacy that This American Life has cultivated as its brand. And that dulls the experience of watching it. Birbiglia certainly makes some adorable, true-ringing observations about life and love. Just be prepared that the laughter-to-irritation ratio may not be one you find favourable. https://youtube.com/watch?v=u9tRN7bok4o
A long time ago, in this very galaxy, brass instruments sounded, a text crawl started and the first Star Wars film burst onto the screen. Thanks to director George Lucas and composer John Williams, it's one of the most iconic movie openings in history — and, in all of its force-wielding, Death Star-destroying, orchestra-scored glory, the sci-fi classic is making a kriffing special return. With Star Wars: Episode VII — The Force Awakens getting the concert treatment in 2017, every jedi, wookiee, droid and even sith around the rest of the country has been crossing their fingers and toes for a similar blend of Star Wars movies and music. Those hopes and dreams are being answered with three screenings of Star Wars: Episode VI — A New Hope at Hamer Hall in February 2018. The film will roll, the Melbourne Symphony Orchestra will perform Williams' Oscar-winning compositions, and you'll burst with a Millennium Falcon's worth of happiness. Whether you're a huge Star Wars buff eager to ride a wave of excitement past Star Wars: Episode VIII — The Last Jedi's December release, just have a casual interest, or have no idea what the term R2-D2 means, mark February 2 and 3 in your diary and prepare to experience history — it's the first time that a live performance has accompanied A New Hope in Melbourne. The MSO's associate conductor Benjamin Northey will once again lead the charge, as the city's finest provide the soundtrack to Luke Skywalker meeting Obi-Wan Kenobi, Princess Leia sending a message for help, Han Solo oozing his usual attitude and Darth Vader just being a power-hungry jerk.
After a stack of time spent cooped up in your house this year, there are likely few creative outlets you're yet to have a crack at. At-home ceramics? Paint-by-numbers? Banana bread? Done, done and done. But the dessert slingers over at Doughnut Time might just have a new one for you, involving some crafty flair and a much-needed sugar rush. Roll up those sleeves and get ready, because it's time to try your hand at doughnut decorating. Having made a comeback under new owners, relaunching stores in Queensland and Victoria, the doughnut company has just unveiled its latest creation — a series of DIY doughnut kits. Each comes with four plain doughnuts and all the trappings needed to whip up some mini edible masterpieces, allowing you to recreate Doughnut Time signatures with the help of colourful glazes, sprinkles and other toppings. You can have a go at making your own version of the Caramilk Baskin, or perhaps attempt the chocolate-caramel fusion that is Life On Mars. There is even a vegan kit, if you prefer your doughnuts and decorations cruelty-free. Each DIY kit clocks in at $34, with shipping currently available to Brisbane, the Gold Coast and Melbourne. Folks in Sydney, Adelaide and Canberra, stay tuned — you'll be able to order kits to your cities in the coming days.
The Speechmaker is billed as one of the highlights of the Melbourne Theatre Company’s 2014 season, and it's easy to see why. It has a cast of marquee players, a script by Working Dog — the Australian comedy legends behind The Castle and Frontline — and the action all takes place aboard Air Force One. Rapidly escalating revelations of a terrorist plot threaten to overshadow the festive mood of Christmas Eve and the play promises madcap gags and high stakes from the get-go. At times some fine performances threaten to elevate The Speechmaker from vaudeville into effective political satire – Erik Thomson is especially good as the President, the character made real by the choice to play an unironic belief in his own empty rhetoric. But where the imperfections of debut playwright Eddie Perfect’s script brought vital, unpredictable colour to The Beast in 2013, Working Dog’s first outing onstage shows an unfamiliarity with the form that is more vice than virtue. Nowhere is this more apparent than the endless, numbing transitions between multiple locations aboard the plane, each making heavy use of the revolving stage and repetitive sound design. Director Sam Strong manages to find many moments within these transitions for physical comedy, especially from actors like Brent Hill and Sheridan Harbridge, but weirdly, this only draws all the more focus to every tension-puncturing ride on the carousel. The device also invites an unfortunate comparison with the same company’s West Wing-flavoured Richard III in 2010, directed by Simon Phillips. With a tone that’s unerringly upbeat throughout we’re left wanting more light and shade. For instance, Lachy Hulme’s character — an Under Secretary of Defence — is loaded with suitably European, finger-steepled menace but left with little else, like a lukewarm Dr Strangelove. One of the many strengths of Working Dog’s writing for television has been their commitment to truly dark humour, especially in Frontline. In every episode it festered inside the characters’ listless interior lives, and often bubbled to the surface of the world they inhabited; look no further than the brutal ending of the episode 'The Siege'. After a show like The Speechmaker it would be easy to see the MTC as locked in an ouroboros-like relationship with its massive subscriber base, forced to program crowd-pleasers just to maintain its size. In fairness, it's commercial successes like these that allow the company to support initiatives like the NEON Festival of Independent Theatre. But even then, as Literary Manager Chris Mead writes in the program for The Speechmaker: "People turn to the plays of the moment to know the truth and the lies of the times." If the tens of thousands of punters who’ve bought tickets to this play — at the moment the entire season is sold out — are expecting entertainment, they’ll be in for pleasant farce. But anyone looking for a glimpse into the "truth and the lies" will be left wanting. Photo credit: Jeff Busby.
South Yarra's retro dive bar Leonard's House of Love is gearing up for a venue takeover this weekend when Sydney's famed burger joint Mary's comes to town for a greasy Sunday session. The House of Hell party starts at 2pm on Sunday, November 18 and goes until the wee hours, with the Mary's team taking over both the kitchen and bar. Leonard's usual ski trip-party atmosphere will be met with the rock 'n' roll vibes from the Mary's crew, and the tunes will likely follow suit. While most menu details are scarce, we do know there will be a list of funky specialty cocktails that includes the Unicorn Coola — a concoction of pet nat wine and watermelon juice, topped with a heaping portion of fairy floss and 100s and 1000s. In the kitchen, expect Mary's signature Maccas-style burgers (including the vego-friendly mushroom burger) on the menu. Its beloved fried chicken might even make an appearance, too. Whatever the menu, it's all in limited quantities, so get in early to avoid missing out on the best bits. Image: Mary's, Sydney.
Forget taking ride shares and public transport this weekend. Instead, zip between the CBD and South Melbourne within a decked-out supercar thanks to Jack Daniels and the McLaren F1 Racing Team. From Friday, March 22–Sunday, March 24, rev heads (or anyone who just wants a free ride down south) can head to Next Hotel on Little Collins Street to nab some of the available slots. McLaren rides can be booked from 12pm, and it's a first come, first served kind of situation — so be sure to get down a little early if you want to up your chances of getting a lift. Throughout the day, two supercars will be driving together, and each passenger will get a headset so they can chat with their mate in the other car throughout the drive. It's a rare occasion to be chauffeured in a car this luxe, so make sure to soak it all in while you venture down to the Golden Gate Hotel. Once you arrive, you'll lift the car doors open and step out to get a free Jack Daniels cocktail. From there, either head to the F1, into the pub or spend the day roaming around South Melbourne at your own leisure. You don't have to be going to the Grand Prix to get this freebie. Up until 10:00pm each night, there'll also be the option to book a into the CBD – to either Good Heavens rooftop bar or The George on Collins. More JD cocktails will await you at each of these spots, helping with weekend kick-ons.
Renovating a house is stressful, as no shortage of television shows keep stressing. Trying to flip a house when you've been hexed for snatching back a $100 bill from a child? That sounds disquieting, and it also looks eerie and sinister in the just-dropped full trailer for The Curse. Forget the usual series about household makeovers, buying real estate, blitzing backyards and building dream houses — even though it's about a couple who hosts their own home reno program, this isn't that kind of show. Indeed, no one has watched an entry in bricks-and-mortar genre quite like this spoof, which gets Emma Stone (Cruella) and Nathan Fielder (The Rehearsal) playing a focusing on home improvement on-screen — and having some bad luck. An initial teaser arrived in September, and now a full trailer has hit for the A24 effort, which looks like far from your average series on this topic. Unsurprisingly, Fielder doesn't just star but also co-created, co-writes and co-directs. In the first sneak peek, the Safdie brothers' collaborator Oneohtrix Point Never set the unsettling mood — and yes, not just the talent that made Good Time and Uncut Gems sound so unnerving but the sibling filmmakers behind both flicks are also involved in The Curse. Benny Safdie (Oppenheimer) co-stars, co-created, co-writes and co-directs, with Josh Safdie an executive producer. Fielder and Stone play Asher and Whitney Siegel, who host a show on HGTV — American pay TV network Home & Garden Television — called Fliplanthropy. Newly married, they're trying to have a baby, but find their plans disrupted after that incident with a kid in a carpark. Cue The Curse's title, obviously. Benny Safdie plays their producer, with Barkhad Abdi (Little America), Corbin Bernsen (White House Plumbers) and Constance Shulman (Search Party) also featuring. Like everything almost everything of late, it seems — Close, Beau Is Afraid, You Hurt My Feelings, Past Lives, smash-hit Australian horror movie Talk to Me, fellow TV series Beef, the return of iconic Talking Heads concert film Stop Making Sense to cinemas, the Nicolas Cage-starring Dream Scenario, Sofia Coppola's Priscilla, wrestling drama The Iron Claw — The Curse hails from A24. In Australia, it'll stream from Saturday, November 11 via Paramount+. Check out the trailer for The Curse below: The Curse will stream from Saturday, November 11 via Paramount+. Images: Beth Garrabrant and John Paul Lopez/A24/Paramount+ with SHOWTIME.
Afternoon drinking can bring out animal instincts in the best of us, but The Zoo at Trunk isn't a reference to the bar on a Saturday night — it's a new series of Sunday afternoon sessions that bring together live street art, music, cocktails and that beautiful beer garden. Running for eight weeks, Trunk will give you the chance to get up close and personal to street artists in their natural habitat. You'll see them paint live in one of Melbourne's most inviting inner-city urban settings, whilst enjoying food, drink and music from local DJ's. The Zoo kicks off on Sunday, February 2 with international street artist Makatron, whose art can be found everywhere from New York to Brazil and Japan. After that you'll see the likes of Conrad Bizjak, Hancock, LucyLucy & Deams and Kaffiene creating art right before your eyes (and your wine glass). As always, Trunk's famous cocktail jugs will be readily available into the evening, along with burgers and their Diner Dogs.
Say goodbye to your faithful cheap Fitzroy dinner — Naked for Satan is changing things up, and canning its ever-popular pintxos menu. But before you start to mourn the blue cheese and quince, take note: the death of this bite-sized menu isn't necessarily a sad death. Rather, things are being reborn over at Naked for Satan, and perhaps – after eight years – it's time. Taking over from the pintxos downstairs will be what they're calling "Naked Bar Food". Kevin Middleton, co-head chef, is waving goodbye to the tasty bites you've come to know so well and saying hello to honest and slightly indulgent fare. Now, the downstairs bar will be serving up mussels ($13–15), cooked with a choice of five different sauces — including one with ale, garlic and thyme — and served with shoestring fries (moules frites). Continue along the sea train with fresh oysters ($2.2), served with either lemon, cava jelly & finger lime or kimchi vinaigrette. If meat of the land is more your thing, the slider menu will sort you out. It features ones stuffed with beef cheek and chimichurri ($6 each), southern fried chicken ($6) and grilled mushroom and halloumi ($5.5). Add to that corn and manchego empanadas ($5.5), chargrilled lettuce with blue cheese sauce ($8.5), and burrata with pickled eggplant ($14.8) and you've got a fine little menu that will have you forgetting all about your past pintxos. If you're more worried about bargains, the Naked for Satan's rooftop specials are still going strong, which include $11 weekday lunches and dinners on Sundays. The new menu kicks off this week, so head along to start a new Fitzroy tradition for yourself. Change is good, we promise.
Monash Uni swings open its theatrical doors for this two-and-a-half week festival. With shipping containers scattered around campus, a pop-up bar and lounge and bucketloads of affordable entertainment from Melbourne's brightest up-and-coming performers, it's worth the trip to Clayton. There's cabaret, clowning, 10-minute dance parties, visual art, theatre and much more in this 35-page program. Particularly intriguing is award-winning performance troupe The Dig Collective Does Cabaret, described as "Monty Python and Rocky Horror's illegitimate child". Their mash of cabaret/physical theatre/clowning/poetry/comedy/drama is as visceral as it is funny. There's also Danception, a combination of dance, fashion, professional lip-syncing (who knew) and visual art that explores ideas of pop culture, social media and trends. How can we find our own voice in a world forcing expectations on us? At the very least, surely this is worth it for the lip-syncing. And where else but uni can you spend a few hours contemplating a question that has plagued Shakespeare students for years: Is It Okay to Tame a Shrew Today? Can The Taming of the Shrew be performed in a way that extracts the push for patriarchy? Or is it just a sexist play about women submitting to their husbands? Go on a journey to potentially find an answer.
Did you miss out on the mid-year trip to Europe? You need not worry, because the team behind vibey Italian restaurant Marameo has announced their plans to bring an Athenian-inspired drinking and dining destination to Melbourne. Mark your calendars, Bar Sophia is set to open on Burke Road in Central Park village this November. Michael Badr of Marameo, who visits Greece often to see his wife Sophia's family, says "Athens has changed so much in the past decade, there's a real vibe to it right now… we're hoping to bring back a little of that energy and flavour, and create the kind of place we'd be proud to call our local." Inspired by an enviable two-month research trip to Greece, Executive Chef Nicholas Deligiannis (of Mid Air) will create seasonal menus using a central woodfire hearth. Baked sheep's curd with spinach and silverbeet might be served alongside charred squid with smoked red pepper , and charry whey flatbread with whipped cod roe. Larger plates are set to include the likes of Cretan-style braised lamb and orzo with saffron and Moreton Bay bugs. The new venue will consist of an intimate dining room, a 12-seat no-bookings bar, and a wine wall where locals can pick up a bottle to go. Badr hopes the space will be "familiar and welcoming—the kind of place you can swing by a few times a week and settle in however you like." Anthology Studio has designed the venue to help achieve this vision, with walnut timber, smoky mirrors, exposed brick, chocolate velvet and burgundy tones creating an inviting and comforting space. Taking the lead on all things wine is Steve Kimonides (the Rocket Society, Il Bacaro), whose extensive knowledge is built on a whopping 13,000kilometres of vineyard-hopping across Greece's mainland. The hefty wine list will feature wine varieties such as Saviatano, Assyrtiko and Xinomavro, and wine-based spirits served over ice or in a cocktail, such as grappa, ouzo and tsipouro. Images: Kristoffer Paulsen. Follow @barsophia.melbourne on Instagram to be the first to hear further details, or join the newsletter today.
Whether you're trying to find your way around your a far-flung holiday destination, a part of your own city you're not so familiar with or your own neighbourhood, Google Maps has probably helped you out of a bind more than once. Over the years, you've been able to play everything from Pac-Man and Mario Kart to Where's Waldo and Snake via the online service, too — so using it for a global Easter egg hunt really isn't too far out of the ordinary. Because it's almost that time of year, and because Cadbury wants to remind us all to eat chocolate, the brand has teamed up with Google Maps to create a virtual way for you to hide and search for Easter eggs. It's all digital, though, so it does mean that you won't actually be eating any choccies. If you want to dive into your own stash while you're clicking and scrolling away, though, absolutely no one is going to stop you. Here's how it works: you head to the worldwide Easter egg hunt website, sign up and then get hiding. Once you've picked your spot — somewhere of significance to you and the person you're hiding it for — you'll write a clue, which'll then get sent to your chosen person. For those on the receiving end, it's up to you to decipher the details and find the virtual egg. If it's too hard, that's all down to whoever enlisted you in the hunt — so, if you can't find your digital egg, you might want to ask them for more hints. You can only hide one egg at a time, and only send the corresponding clue to one person. But, you can repeat the process as many times as you like. While there is a physical component, it sadly doesn't involve racing around the world, the city or even the house actually trying to get your hands on chocolate. Instead, you can arrange to send one of three Cadbury products to someone in Australia, starting at $50. Staying virtual doesn't cost a thing, however, if that better suits your budget. To take part in the worldwide Easter egg hunt, head to the Cadbury website.
Melbourne, it's time to get on the spritzes. The Yarra Kitchen & Bar, Southbank's garden pop-up set on the banks of the Yarra, is the ideal setting to soak up the sun with a drink in hand, with incredible city views to boot. The dog-friendly spot has got you sorted every weekend until they close on Sunday, April 25. Head over on a Saturday from 12–2pm for the bottomless brunch. For $45, you'll be sipping unlimited spritzes, beer or prosecco on tap, paired with a meal of your choice. There are four spritzes to choose from, including an elderflower version, blood orange one and the classic Aperol. Food-wise, expect dishes like kingfish flatbread with smoked chilli and passionfruit dressing and lemon myrtle mayo, or a ramen-fried chicken sando with bacon, blue cheese mayo, pickles and a zesty slaw. On Sundays, it's all about the spritz. From 3–5pm, enjoy two hours of all-you can-drink spritz, with a choice of three snack items, for $45. You'll also have some pretty impressive city views from right on the Yarra, perfect for soaking up the last of the sun before the venue closes at the end of April. Booking for both sessions are essential. To reserve your spot, head here for the bottomless brunch and here for the Sunday spritz session.
Coffee can do many things. It can bring you back to life when you've had a big one and need to drag your ol' bag of bones to the office. And it can keep those tired eyes open after hours of staring at the same screen. Yep, coffee can get you raring, but it won't be what keeps you going. That's food. The wonders of a square meal in your stomach via a very good feed are many so, together with our friends at American Express, we've compiled a list of six places to head to when you need to refuel your empty tank. Haircuts, groceries, taxes: you can power through them all, thanks to food (and your American Express Card). It turns out eating isn't cheating when it comes to getting things done.
A cult favourite on the local stand-up scene, the comedy of Laura Davis is at once baffling, confronting and uproariously entertaining. Her show at last year's Melbourne International Comedy Festival saw her deliver jokes from the top of a ladder while wearing a blindfold. On paper it sounds like a gimmick; in execution it was one of the funniest and most disarming acts we saw all festival. Her follow-up is titled Cake in the Rain, and we haven't the faintest idea what it's about. But you can bet your bottom dollar we'll be there opening night.
UPDATE: MAY 27, 2019 — Due to an overwhelming response, Matty Matheson's Sydney and Brisbane shows have been moved to bigger venues. The former will now take place at Marrickville's Factory Theatre (previously Oxford Art Factory) and the latter at Newstead's The Triffid (previously Brightside). All tickets already purchased will be valid for the new venues. New tickets for Sydney can be purchased here and Brisbane here. Chef Matty Matheson is stepping out of the kitchen and onto the stage, heading Down Under for an expletive-laden speaking tour next month. Known for his hit TV shows Dead Set On Life and It's Suppertime — and his new New York Times best-selling book, Matty Matheson: A Cookbook — the culinary star and award-winning author will hit up Perth, Sydney, Melbourne and Brisbane. A colourful character famed for his larger-than-life personality, Matheson will be dishing up a his cooking (and life) tips, with an audience Q&A and a meet-and-greet session, too. He's set to serve his home truths on topics like addiction and mental health, the #MeToo movement and its impact on the food industry, and a few of his own life's ups and downs, as well as talking about his new web series, Just A Dash. https://www.instagram.com/p/BjKhY6iHrRZ/ Audiences will be treated to a true taste of this foodie legend, as Matheson tweaks each show to best represent himself, even down to the soundtrack plucked straight from his own playlists. MATTY MATHESON 2019 DATES Perth — Rosemount Hotel, Saturday, June 22 Sydney — Factory Theatre (previously Oxford Art Factory), Sunday, June 23 Melbourne — Corner, Tuesday, June 25 Brisbane —The Triffid (previously Brightside), Thursday, June 27 Tickets are $49 and go on sale at 9am on Tuesday, May 21 via the Secret Sounds website.
Takeaway or dine in? It's the question that everyone who can't be bothered cooking dinner has faced, and it is more complicated than it sounds. Perhaps you'll be flying solo with your containers of food, but feel like some company? Or, maybe you and your pals all want meals delivered from different places, but know that's a bit impractical. A Helsinki pop-up has the answer, whether you're looking for an alternative to eating alone or trying to keep your gang of fellow diners happy. Called Take In, the kitchen-less venue is all about pulling up a chair, picking from around 20 restaurants, and enjoying the space as your dining room away from home — plus, making sure you have someone to share it with, even if your mates are all already busy. There's also a bar on-site, so that's the drinking side of the equation taken care of (or some liquid courage if chatting to folks you don't know makes you a little nervous). Customers can drop in just for a tipple, too; however eating out alone, but not alone is the main aim of the game. For anyone finding themselves in Finland in in the near future, the pop-up runs until April. Via Eater.
Architecture aficionados and self-confessed sticky-beaks, listen up. The historic city of Bendigo, located an easy two-hour drive from Melbourne, will throw the doors open on some of its top buildings again this year, for one weekend this month. Across October 26–27, locals and visitors will get the chance to see inside spaces that are generally closed to the public. A boom town during the gold rush period, Bendigo is home to a rich architectural heritage that has been met with rapid development in recent years. Hop on one of the vintage trams and explore the city from the inside. The Open House weekend is a chance to engage with city planners and discuss Bendigo's design future. Visitors are welcome to explore the most notable designs of the city, from private homes and heritage buildings to commercial and civic developments. Over 20 buildings will be on display — highlights include Kooroork House II, a 160 square metre family home created by e+ architecture; the Eaglehawk Heritage Precinct including the Mechanics Institute; former Eaglehawk Town Hall (now operating as the Star Cinema Boutique); and the Eaglehawk Courthouse. Plus, be the first to enter the newly renovated historic Beehive Building at the Bendigo Mining Exchange, which has been restored to its former glory. Alongside the program will be a series of talks and public workshops. For more information or to pre-book tours, head to the Open House Bendigo website.
Becoming something of a winter tradition in recent years, Pidapipo Gelateria's hot chocolate is back again for the season, making it easy to warm up your hands with a drink-meets-dessert creation. Borrowing techniques from the world of pastry, Pidapipo Co-Founder Lisa Valmorbida developed this recipe back in 2023 alongside Head of Production Nicola Totaro, resulting in the ultimate winter comfort. For first-timers, expect a cup of pure indulgence, where rich and silky hot chocolate is crafted from 70% dark chocolate, meaning there's soothing warmth in every sip. Topped with a generous scoop of Pidapipo's signature house-churned fior di latte gelato folded with marshmallows, the hot chocolate is crowned with caramelised hazelnut croccante — ensuring the ideal sweet crunch finish. "We didn't expect our hot chocolate to become such a thing – but it did, and it's been so nice hearing how much you all missed it. So yes – it's back, and we're so excited to share it with you again!" says Valmorbida. While previous years saw Pidapipo's beloved hot chocolate only available at select stores, the good news is that now every location is serving up this heartwarming beverage until the end of August. Featuring an unchanged recipe that resonates with nostalgic goodness, don't miss your chance to order one from the Fitzroy Laboratorio, alongside the Windsor, Degraves Street and Carlton stores. Perfect for a cold snap pick-me-up or just an extra sweet treat, have no doubt that this decadent drink will bring a little more warmth to your chilly bones this winter. Ready to sip? Pidapipo's cult-followed hot chocolate is available now for $10.50. Pidapipo Gelateria's hot chocolate is now available at all locations — Fitzroy, Degraves Street, Carlton and Windsor — until Sunday, August 31. Head to the website for more information.
There'll be a fresh tune flowing through the Melbourne CBD, as Murmur on Warburton Lane gets set to relaunch as the city's first dedicated piano bar. Set to start tickling the ivories on the final day of November, Murmur Piano Bar takes its cues from venues in Chicago, New Orleans and New York, and will play host to a rotating roster of local musicians beginning with acclaimed entertainer Matt Ganim. "Melbourne's bar scene has rapidly evolved and a regular bar just doesn't cut it anymore," said venue manager Charlie Haggarty in a statement. "People need a bigger reason to venture out, get off the couch and step away from the Netflix series they're binging on." "Murmur Piano Bar gives people a reason to leave the house again" On the beverage front, Murmur Piano Bar will offer a mix cocktails with a focus on whiskey and gin. The list will feature predominately Australian drops, with a few Spanish numbers thrown in. The Spanish influence can also be seen in the food offerings, with tapas available courtesy of Portello Rosso downstairs. Think fresh charcuterie, ham hock croquettes and sweet, sweet churros. Find Murmur Piano Bar upstairs at 17 Warburton Lane, Melbourne from November 30. For more information visit www.murmur.com.au.
Drop whatever it is that you're doing: the ticket ballot for the 27th Meredith Music Festival is officially open. Running from December 8–10, the latest edition of the much-loved dickhead-free music festival will take place at its usual digs, Meredith's Supernatural Amphitheatre, which last year got itself a brand new sound system and this year will no doubt take us to magical places once more. Aunty, meanwhile, has been working hard on the lineup, of which she has divulged just one part of this morning: self-described "gothic folk" New Zealand singer-songwriter Aldous Harding, who will play on the Friday night. Standouts from last year included Peaches, Kelela, King Gizzard and the Lizard Wizard, BADBADNOTGOOD and Angel Olsen. The Meredith Ballot will be open from now until 10.27pm on Monday, August 7. Head on over to the festival website to sign up.
Early 2000s, Apple-powered minimalism. It's a thing. At least one this designer is running with. German designer Klaus Geiger has resurrected the now-retired Apple Power Mac G5, the once proud must-have of the post-millennium hoo-ha, in a stunning new furniture line we're chomping at the bit to have in the office. If it's not too painful, cast your mind back to 2003. Botttles full o' bub were being swilled by Fiddy Cent. Ol' Delta Goodrem gave the finger to Neighbours. The US launched a slight little you know, invasion of Iraq. Things were on the move. Apparently the still slick-looking Mac was the fastest in the Apple family when it hit shelves in the same golden year of 2003, now it lies dormant, superseded by Airs and Pros. But old models don't just vanish into the ether. Geiger's elegant-as-blazes project BENCHMA(®)C rounded up the old towers and transformed them into sleek desks, shelving units, drawers that make you remember the Macs of the millenium not as this: but as sleek marvels of minimalist design. Like this: We're signing up now. Via The Verge. All images Klaus Geiger
If you've been needing to restock your bookshelf at home, and you find looking at lines of orange-and-white Penguin classics soothing to the soul, then time to strike while the iron is hot — as well as doing some good for charity. The annual Penguin Random House charity book sale will take place at Collins Square on Tuesday, July 31, with books starting from a mere $4. Entry costs a gold coin, and the proceeds will go towards The Indigenous Literacy Foundation, one of Penguin Random House's charity partners. Last year, the book sale raised more than $18,000. This year, the aim is to outdo that, so toss your old collection of the Twilight series and stock up on some classics. The sale runs from 8am-3pm or until sold out — head to West Pod at Collins Square to find it.
The country's largest celebration of short form filmmaking is back for another year. Following on from its 30th birthday celebrations in 2013, the St Kilda Film Festival will light up the esplanade once more, serving bite-sized movie morsels from all around Australia and the world. Opening night at the Palais Theatre will showcase standouts from the 10 day line-up, before the festival jumps across town to The Astor. As always, the backbone of the program consists of the Top 100 Australian Shorts, stretched strategically across 14 separate sessions. From Cannes competitors to Tropfest finalists, there's no shortage of local talent on display. Outside of the main program, a partnership with the Palms Spring Film Festival in the US ensures a selection of international shorts, while the returning Under the Radar contest highlights films by directors under 21. There's also a music video competition, a zombie shorts marathon and costume party, plus forums with filmmakers and a variety of other industry pros. For the full St Kilda Film Festival Program, visit their website. Photo credit: Jim Lee.
Imagine an informercial, but instead of steak knives and stain-proof trousers, this one's selling nothing less than The Great Society itself. You've got your host, Michael Moore, waddling his way from one set piece to the next and reacting with staged incredulity to every deal and reveal ("you get HOW MUCH annual leave in Italy!?") Then there are the interviews, not strictly scripted, but painstakingly selected to ensure they provide every piece of tantalising information without any of the fine print or shortcomings. And, finally, the offer: "Act NOW to adopt the Norwegian penitentiary system and we'll throw in Finnish tertiary studies ABSOLUTELY FREE!" The thing is, unlike so many of those late night absurdities, this one's genuinely enticing. The premise of Moore's latest documentary is a simple one: America hasn't won a war since WWII, so he's giving the US Armed Forces a well-earned stand down order and is instead single-handedly invading countries to steal the things America's most desperately in need of, including France's healthy school lunches, Germany's recognition of past national atrocities, and Italy's fair workplace conditions. Yes, Moore is selective in his 'spoils of war', only showing us the instances where such programs work, but as a model for better government, better business…better living, it's a forgivable choice. Unlike many of Moore's previous films such as Bowling for Columbine, Fahrenheit 9/11 and Capitalism: A Love Story, there's a refreshing absence of cynicism in Where To Invade Next. Even with the overarching message, which basically boils down to "look how much better than us the world does these things", the film ends by reminding us how so many of those initiatives were born in America and, with just a little legislative courage, could easily be reintroduced to sudden and sweeping effect. Greed, unsurprisingly, is identified by Moore as the chief source of America's ills, and it's no grand revelation that the privatisation of prisons, schools and healthcare invariably precipitates a clash between value and values. However, as Moore seeks to prove, a healthy and educated society where welfare is considered a strength rather than an embarrassment is, in the long run, both a cheaper and a more productive one. Moore's trademark one-liners, musical gags and, for want of a better term, 'clowning', repeatedly threaten to distract (or even detract) from his message. Thankfully he demonstrates enough reserve throughout to let the compelling facts speak largely for themselves. And they are compelling, speaking directly to many of the same shortcomings here in Australia that few would deny are in need of significant redress. Most notable of these are Norway's humane treatment of incarcerated criminals to combat recidivism, and Iceland's massively increased female representation at the executive level across both business and politics. This is a film that shows you how things can be done better, then compels you to ask why it's not already the case. https://www.youtube.com/watch?v=1KeAZho8TKo
Titles matter. A film with a good one can intrigue, inspire and entice audiences from far and wide, just as a bad one can turn you off faster than a date swearing at a waiter. The grey area is when things get literal. Everything's okay so long as it's just a case of 'does what it says on the can' — your Ghostbusters, your Ferris Bueller's Day Off, your The Pianist — but what about when it gives something away? That poor choice of words can destroy all semblance of mystery for a movie. It's why studios ultimately didn't go with: 'Bruce Willis Is a Ghost', 'Don't Trust the Gimp with the Limp' or 'It's...His...Sled'. With that in mind, the decision to title Peter Berg's new film Lone Survivor would seem a miscalculation. "Four Navy SEALs go into Afghanistan to target a Taliban leader, but how many make it out ali- oh, wait, it's one. Just one. A 'lone survivor'. Says so right there on the poster. And yet, despite having directed Battleship, Peter Berg's no idiot. Mindful that the details of this true (and widely publicised) military mission were already known to many, he realised the most compelling question was not 'how many would survive?' but rather 'how did ANY of them survive?' That disastrous mission was Operation Red Wings, and the reason for its failure was essentially the SEAL team's decision to not kill three unarmed farmers who'd stumbled across their position. For the (moral) armchair general, it's a no-brainer. Rules of engagement and all that. But in the moment, knowing that to let the civilians go was to guarantee an attack by the Taliban and fail the mission… the ethics of combat became a lot murkier. Mark Wahlberg, Emile Hirsch, Ben Foster and Taylor Kitsch play those four imperilled SEALs, and from the moment they elect to abort the mission, Lone Survivor becomes a heart-in-mouth, hug-yourself-for-two-hours, ball-breaker of a film. Pursued through inhospitable mountains by several hundred Taliban and cut off from their support, the feats of those four soldiers quite simply defy belief. That's where the film's opening titles come into play: a montage of real-life footage from the SEALs' infamous 'Hell Week' training program that effectively acts as a 'proof of concept' for what you're about to see (if you're interested: youtu.be/sg2vF4UQMmQ). This is a war movie at its most confronting; it terrifyingly captures the confusion, brutality, chaos and intensity of combat in a way not seen since 1998's Saving Private Ryan. It's a suffocating sort of tension, and whilst there's no question the movie suffers from some clumsy jingoism, the experience is so tactile and overwhelming, you frequently find yourself ducking in your own seat. The author and journalist Sebastian Junger observed after his embedment in Afghanistan that "War is a lot of things and it's useless to pretend that exciting isn't one of them." From an adrenaline standpoint that might well be the case, but in every other respect, from every other possible viewpoint, it's an inescapable waking nightmare that you'd never wish upon anyone. If that doesn't ring true for you, go see Lone Survivor. https://youtube.com/watch?v=yoLFk4JK_RM
