Giving music lovers Splendour in the Grass, Falls Festival, Spilt Milk and Harvest Rock is a massive task and achievement, but that's not all that's on Secret Sounds' festival calendar. This summer, the team is also bringing a lineup led by Flume, Foals and The Avalanches to Melbourne for Heaps Good. To get 2023 started in style, Adelaide scored a brand-new music fest in January, with Heaps Good starting as a one-day, one-city event with Arctic Monkeys headlining. It clearly went well, because Secret Sounds announced back in August that the festival will expand its footprint, taking to the Sidney Myer Music Bowl stage on Sunday, December 31, 2023. [caption id="attachment_918622" align="alignnone" width="1920"] Zac Bayly[/caption] Having Flume and The Avalanches on the same bill is quite the homegrown feat, with Britain's Foals joining them. Also playing Melbourne: Griff, Holly Humberstone, MAY-A, Sycco and Logan. Heaps Good's Victorian stop will score a Basement Jaxx DJ set as well, and SBTRKT is also on the lineup. [caption id="attachment_912808" align="alignnone" width="1920"] Dylan Minchenberg[/caption] HEAPS GOOD 2023–24 LINEUP: Flume Foals The Avalanches Griff Holly Humberstone MAY-A Sycco Logan Basement Jaxx SBTRKT Top image: Ian Laidlaw.
If you've ever been stuck with the job of throwing away perfectly good food at the end of a hospitality shift, it probably won't shock you that Australian retailers are turfing over three million tonnes of food each year. Or that 80 percent of it is being chucked out simply because it wasn't sold. Thankfully, folks across the country are tackling the issue of unnecessary food waste head-on, with groups like OzHarvest and SecondBite built around the concept of redistributing unused food to the needy. And now, you can help fight the issue and save money on grub simultaneously, thanks to a new locally born app called Y Waste. Currently operating in Adelaide, Sydney, Brisbane and Melbourne, the app helps you locate businesses in your area that have surplus food to offload at the end of the day. You can then purchase it at a discounted price, paying via your smartphone and picking it up from the venue at the allocated time. Depending on which city you're searching in, you might find sandwiches and salads from the local cafe, unsold pastries from that nearby bakery, or even freshly made pizzas, all going cheap. The only restriction is that you have to take what's left — so if you're a picky eater or have dietary restrictions, this may not be for you. Sydney's offering includes Newtown's The Pie Tin, which is serving up a box of unsold pies for $2.90, Sol Coffee Bar in Campsie, serving up a mix of sandwiches and salads for $4, and Neutral Bay's Tonic Lane, which has mixed bags of cold and hot dishes going for $5. In Melbourne, you'll find venues like Coburg's Falafel House, serving up two falafels for $7, and Richmond's Fruscolino Pizza, with a large pizza going for only $9.90, in the lineup. In Brisbane, you can snag $5 pizzas at South Brisbane's Presto Pizza and $2.75 breads, sandwiches and muffins from 3Js Cafe in Woody Point. Now you can nab a budget-friendly feed and feel good about your efforts. The Y Waste app is available to for iOS and Android. Image: The Pie Tin, Newtown
Things are heating up at The B.East on Lygon Street, the official home of the Melbourne Chilli Eating Championship. On Sunday, March 8, 24 brave souls will put their lives on the line in this searing hot contest to find Melbourne's steeliest tastebuds. Doors open at noon, with the main event kicking off at 2pm. The contest consists of three knockout rounds, with things getting progressively spicier as the competition intensifies. Participants can be eliminated by tapping out, passing out or vomiting their guts up – although, hopefully it doesn't come to that. It starts with fresh pods and spicy food, progresses to jalapeños and all culminates with the consumption of the Carolina Reaper. If you'd like to partake, you need to sign up in person at The B.East for $10. And sign a waiver, of course. If you'd like to just watch, it's free to be a spectator. In addition to the championship, there'll be a special spicy menu available from 12pm (with spicy hot dogs and burgers), Pabst beer and tequila specials, hot sauce tastings and a pop-up hot sauce shop. There'll also be live bands and DJs from 7pm once the comp has wrapped up.
Break out the waffles: Amy Poehler is coming to Australia. If you're a Parks and Recreation fan, nothing less than eating breakfast foods non-stop between now and the end of May will do to celebrate. The actor behind Leslie Knope — and Saturday Night Live legend, and voice of Joy in both Inside Out and Inside Out 2 — has a date with Vivid Sydney, heading to the Harbour City for an in-conversation event that'll see her chat through her career. Inside Out 2 releases in cinemas in mid-June, so it'll receive plenty of focus when Poehler gets talking — so much so that the Sydney Opera House evening that'll be moderated by Zan Rowe will include a 30-minute first-look at the film. But her work spans far and wide beyond the animated Pixar franchise, including to films such as Baby Mama and Sisters, writing the hilarious Yes Please and unforgettable Golden Globe hosting gigs with Tina Fey. [caption id="attachment_793108" align="alignnone" width="1920"] Photo by: Chris Haston/NBC[/caption] Poehler's session will take place on Monday, May 27, making it one of the early highlights of the festival. It comes after 2023's Vivid Sydney also featured a massive screen-focused in-conversation session, welcoming The White Lotus' Jennifer Coolidge and Mike White.
If you haven't been able to book a trip to Spain in 2019, this dinner may be a very tasty consolation — stunning St Kilda bar Pontoon is throwing a paella party by the water. Across three days — Friday, July 12 through Sunday, July 14 — the beachside bar will be serving up bottomless pans of the tasty Spanish dish. For just $25, guests will have two hours of endless access to three takes on paella. You'll be able to choose form arroz negro, with squid ink black rice, chorizo and squid; a version with chicken, green beans and smoked paprika; and finally a mussel and squid-heavy paella with lots of saffron. Guests might be able to catch Head Chef Rhys Hunter in action, too, whipping up a big pans of paella in the fiery kitchen — which you'll then be able to enjoy out on the beachfront deck. And of course, there's no chance of going thirsty — the bar's lineup of top Spanish wines and jugs of sangria are a perfect match, both to the rice dish and to those stunning beach views. While the bottomless feed will only set you back $25, you will need a minimum of two people to enjoy the deal — so call a mate and make a date ASAP. To make a booking, call (03) 9525 5445 or email ahoy@pontoonstkildabeach.com.au. Bottomless paella is available from midday. Images: Simon Shiff
Looking for another idea for date night? There are stacks of things to do in Melbourne, but coming up with something novel isn't always easy. Good news: Capitano, the cosy Carlton bar from the folks behind Bar Liberty, has come to your rescue with a brand new cocktail and pizza deal to kick off your next romantic night out. The cocktail is Capitano's take on the classic whisky highball. Forget your run-of-the-mill whisky and soda. Instead, innovative bartender and all-round hospo legend Darren Leaney has teamed up with Johnnie Walker, to take the well-loved drink to a new level. You'll be sipping on a highball, but not as you know it. It'll be made with leatherwood honey, barley tea, saline, soda and Johnnie Walker Black Label Blended Scotch Whisky. Named the 'Leatherwood Highball' ($18), this refreshing tasting drink will join the Capitano menu on Tuesday, September 17. Better yet, the restaurant's making your next night out an affordable one, too. From 5.30–6.30pm every day, you can grab a pizza (classic cheese or tomato) and a Leatherwood Highball for $30. So, you and your partner in crime can settle in for a night of great food and booze at this fun art deco spot on Rathdowne Street — without blowing the bank. Image: Kate Shanasy.
When is a dance film more than just a dance film? When it brings a celebrated real-life performance to the cinema, fills its frames with dream-like visuals, and dives into the indigenous Australian experience. That's the case with Spear, which — its sublime showcase of fancy footwork and smooth moves aside — bears little other resemblance to the bulk of the dance film genre. Saturday Night Fever, Footloose and Step Up, this is not. Indeed, in an effort concerned with origins and evolution, understanding the movie's own leap from dance piece to film is pivotal. Spear blossoms out of a Bangarra Dance Theatre presentation first staged in 2000, and marks the feature filmmaking debut of Stephen Page, the company's artistic head. His close connection with the material is evident from the outset, and not just because his son, Hunter Page-Lochard, plays the lead character and his brother, David Page composed the accompanying music. Prior to this, Page's only credits are on a segment of The Turning and choreography work on Bran Nue Dae and The Sapphires. Nonetheless, his expressive offering demonstrates what all directors hope for: the strong imprint of a distinctive guiding hand. Given that the production relies upon imagery and movement much more than words and narrative, the importance of Page's task cannot be underestimated. In fact, as Spear cycles between rocky seaside cliffs, dusty outback plains and gritty urban locations, the feature's primary aim isn't to tell a story, but to convey a feeling and channel a sense of spirituality. Enter Djali (Page-Lochard), an Aboriginal youth trying to understand his heritage, and the audience's on-screen surrogate. As the film takes him through the past and present experiences of his people, sometimes accompanied by an Old Man (Demala Wunungmurra) or interacting with Suicide Man (Aaron Pedersen), its rhythmic sights and sounds wash over him — and over the watching viewer, too. Think of Spear as a series of exquisite dance routines, each fusing the traditional and the contemporary, and representing a plethora of issues: discrimination, marginalisation, violence, homelessness, abuse, and forced assimilation among them. Think of it as a process of layering, as well. Each individual section proves an intricate, intimate and distinctive creation in its own right, as well as a crucial piece of a bigger thematic and artistic puzzle. If it sounds unique, that's because it is. In fact, with its combination of exceptional physical feats, evocative presentation and somewhat abstract content, Spear is unlike any film most audiences will have seen. It's a stunning achievement, as well as a memorable one. The end result doesn't simply engage the brain but assaults the senses — so much so that it almost feels as though the movie could dance from the screen back into reality at any moment.
Italian filmmaker Nanni Moretti is no stranger to death, or to examining the subject on film. It might be something most of us don't like to think about, however the writer-director understands the shadow mortality can cast, as well as the way that the act of mourning can overtake a person's life. After exploring the impact of losing a child in 2001's Palme d'Or winner The Son's Room, and then writing and starring in 2008's Quiet Chaos, he returns to the topic with Mia Madre. That the film's name means "my mother" in his native tongue is telling. Taking a decidedly meta approach. the film follows a filmmaker in the midst of production while at the same time coping with the hospitalisation of her mother. It's not quite as autobiographical as it sounds: the director is a woman, Margherita (Margherita Buy), while Moretti plays her brother Giovanni, and veteran Italian actress Giulia Lazzarini plays their mother. And yet, in the way that Mia Madre hones in on the stress of simultaneous professional and personal crises, there's no doubting that the tale evolves from experience. As her mother's health begins to decline, Margherita struggles to make her movie – about factory employees fighting for better working conditions – while also using it as a distraction from her troubles. Alas, her freshly arrived American lead (John Turturro) refuses to learn his lines or follow her directions, constantly derailing and delaying production. With her live-in lover in the process of moving out and her teenage daughter struggling at school, Margherita's home life offers little solace either. Depicting many a balancing act, Mia Madre swiftly proves one itself. Moretti keeps searching for the right mix between quiet and anxious, dramatic and comedic, and contemplative and freewheeling. In fact, his film is more convincing in demonstrating how frustrating that can be than it is in finding any harmony between its competing elements. Of course, that's partially the point, with grief clearly painted as a disruptive and destabilising force. And yet, as accurate and authentic as the movie's messiness feels in an emotional sense, it also makes other contrasting factors — such as the patient camerawork and energetic performances — seem slight, a little convenient and sometimes out of place. Indeed, it's always distracting when a specific actor appears as though they're in the wrong film, even when they're one of the best things about it. Turturro lights up the screen and brings a few well-timed comic moments, yet never completely fits in with his surroundings. That's not a criticism of his performance, or of the more restrained but similarly excellent efforts of Buy and Moretti. Instead, it's an acknowledgement that even in thoughtful, intimate accounts of something as complex and challenging as death, mimicking chaos and actually embodying it aren't quite the same thing.
'Social distancing' isn't just a phrase that you might remember from watching Contagion years ago. As the world reacts to COVID-19, it's an important and crucial tactic to help stem the growing spread of the coronavirus. That means not only keeping your distance from other people if and when you do venture out of the house but, increasingly, staying home entirely. If communal viewing parties are part of your usual social routine, however, you don't have to completely adjust to watching Netflix alone. Thanks to a Google Chrome plug-in called Netflix Party, you can now stream movies and TV series on the platform simultaneously with your friends — with the browser extension synchronising everyone's playback so you're truly watching each and every frame at the same time. It also features an online chat function, allowing you to talk, laugh and otherwise comment while your film or show of choice plays. To use Netflix Party, everyone you'd like to watch with will need have their own Netflix account. They'll also need to use Google Chrome — and the plug-in is only available on desktop and laptop computers, so you won't be able to sync your television sets. After downloading the extension, you'll want to head to the Netflix website, select what you'd like to watch and hit the 'NP' button at the top of the browser next to the address bar. Then, select 'start the party', which'll create a URL for you to share with your mates. For those receiving a Netflix Party URL, you'll need to click on it to open it in Google Chrome, then hit the 'NP' button at the top of the browser next to the address bar. Once you've done that, it should automatically bring you into the communal viewing space. Of course, people have tried synchronising their streaming viewing manually ever since Netflix and other platforms emerged on the scene. If you've attempted that option, though, you'll now that it's tricky, involves a constant barrage of text messages asking "which part are you at now?", and just proves logistically frustrating. Netflix Party is available for Google Chrome on both desktop and laptop computers. To download the plug-in, visit the Netflix Party website. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Netflix.
At this time of year, it's mighty tempting to rid your after-work agenda of anything that involves leaving your blanket fort. We can't blame you — the days are shorter and it's colder than most would like. But rather than disappearing when the sun does, we want you to make the most of these bonus nighttime hours. So we've teamed up with Samsung to celebrate the Galaxy S9 and S9+ (with a Super Low Light camera to capture all your nighttime antics) to bring you a guide to the best things to do around Melbourne after dark. You can see a gig, learn a new skill and eat delicious comfort food. To celebrate the Galaxy S9 and S9+ and our after dark guide, we're throwing an epic winter party, and we want you to come along. From 6.30pm on Thursday, June 28, we'll be taking over Ferdydurke for an intimate after-dark soiree. A local DJ will provide the soundtrack to the evening, as you indulge in a decadent (and picture-perfect) grazing table from Plentiful Catering and flaming cocktails from the Ferdydurke's bar team. Your winter blues will well and truly be banished. There will be Samsung Galaxy S9's positioned around the venue for you to play around with on the night, so get snap-happy and you'll go in the running to win your very own Samsung Galaxy S9, plus a voucher to one of our featured restaurants (because you'll want to take photos of every future meal with your flashy new tech). Also, photographer Cole Bennetts will be on-hand to provide tips and tricks to capturing those winning low light moments. Regardless of whether you nab the new phone, our party will leave you with the tools to up your Insta-game and with a newfound appreciation for getting out and about in winter. To enter, see details below. [competition]673602[/competition]
Start your weekend off right with a little Saturday morning yoga, complete with breathtaking views of the city. QT Melbourne has teamed up with much-loved Los Angeles yoga brand Bender to host a pair of weekend yoga sessions set to deep house music — and held atop its spectacular Russell Street hotel. It's all set to go downward dog from 8am on Saturday March 3, and again at the same time the following week. The classes run for a cool 75 mins and are suitable for all skill levels. The early start probably won't appeal to anyone who's had a big Friday, but is perfect for people hoping to make the most of their precious days off. After class, yogis will be treated to a selection of juices and freshly-cracked coconuts. The QT's signature restaurant, Pascale Bar & Grill, will also be open for breakfast – or you can grab a coffee and a pastry from the hotel's cafe, Cake Shop.
Mill Place Merchants wants to help you travel back in time this April. Every Thursday, you can pop down to the speakeasy for Peaches and Prints: a celebration of bellinis, polaroids and vintage glamour. From 6–9pm, the bar will be serving up classic bellinis for $15 a pop. Each is a perfect blend of prosecco, white peach puree and your choice of raspberry or cherry juice — made according to the recipe that made Harry's Bar in Venice famous. For a posher tipple, add champagne for an extra $17, or go non-alcoholic. With a bellini in hand, you'll be ready to don one of the venue's vintage hats and pose for a polaroid. Tag yourself and @milllacemerchants, and you'll go into a weekly draw to win an exclusive experience. Adding to the old-timey vibes will be a pianist, playing classic songs between 7–9:30pm. And, should you work up an appetite, the bar's charcuterie, cheese and snack menu will have you covered.
If you've got a thing for heritage revivals, prepare to swoon over the lineup of winners for this year's Victorian Architecture Awards, which were announced in a digital ceremony on Friday, July 10. Among the 63 award recipients — showcasing the state's best architectural projects across 15 categories — was a bumper crop of heritage building makeovers. Included is one revamp especially familiar to anyone that's wandered down Swanston Street in the past 12 months: Architectus and Schmidt Hammer Lassen Architects' revival of the State Library of Victoria. The redevelopment took out the esteemed Melbourne Prize, along with awards in the heritage conservation and public architecture categories. Judges praised the project for being a major benefit to Melburnians, calling it "an exemplar of the enhancement of existing buildings". [caption id="attachment_775611" align="aligncenter" width="1920"] State Library of Victoria redevelopment. Photo: Trevor Mein[/caption] Other public structures that scored prizes at this year's awards include the Regent Theatre by Lovell Chen (for creative adaptation), the Ian Potter Southbank Centre by John Wardle Architects (which received the Marion Mahony Award for Interior Architecture), and Phillip Island's newly-hatched Penguin Parade Visitor Centre, the work of acclaimed firm TERROIR (receiving the Regional Prize). Kerstin Thompson Architects' work on the Broadmeadows Town Hall not only took out the Victorian Architecture Medal, but further acknowledgements in the categories of heritage architecture and public architecture. And the MCG's iconic Great Southern Stand was honoured with the Enduring Architecture Award, given to significant projects over 25 years old. Victorian winners that scooped an architecture or named award will now go up against other Aussie projects, competing in the National Architecture Awards. For further details about the Victorian Architecture Awards — and the full list of this year's 63 winners — head to the organisation's website. Top images: Broadmeadows Town Hall, John Gollings; Penguin Parade Visitor Centre, Peter Bennetts; Monash University Chancellery, Rhiannon Slatter; Ian Potter Southbank Centre, Trevor Mein.
Gobble up our bluffer's guide to oysters? Then head on down to the Albert Park Hotel this Thursday and put your newfound mollusk mastery to the test. Back by popular demand, the ninth instalment of Melbourne's largest Oyster Frenzy is shaping up to be one for the record books. For $75, diners get a front-row seat to a veritable shellfish smorgasbord, including all-you-can-eat oysters from every corner of Australia. They'll also be serving a selection of other seafood canapes, as well as local wines, beer and cider. Last September's frenzy saw a grand total of 18,760 oysters meet their maker, so naturally the organisers are hoping to smash that total wide open. Be part of history at the classiest buffet in town.
Whether you love the olive garnish that comes with a classic martini, or opt for the dirty variety where brine goes straight in the drink, there's no doubt that olives play a big role in this enduring tipple's sharp, herbaceous appeal. To celebrate one of the world's most iconic cocktails, Four Pillars is bringing back its Martini Collective for the next month or so, teaming up with much-loved bars and restaurants across Sydney and Melbourne for an aperitif-style sip and snack pairing. Running until Sunday, June 22, at a host of stellar venues, the drink at each venue is the same wherever you decide to visit — a mini martini made with Four Pillars' bright and savoury Olive Leaf Gin. However, the snack that adorns your beverage changes up from place to place, ensuring you can explore the full spectrum of pairings to see which leaves the biggest impression on your palate. In Sydney, there are ten venues taking part in the third edition of the Martini Collective, with several returning favourites to explore. For instance, Shell House is serving up a cruller topped with whipped fish roe and white anchovy; The Charles is offering a white anchovy gilda; Le Foote is plating a tartine featuring smoked peppers, sheep's yogurt and sauce vert; and NOMAD is presenting a green olive and pumpkin seed tartlet. As for the Melbourne lineup, the series is back in town for its second year, with newcomers like Hazel, Society, Grill Americano and Bar Liberty joining previous hosts, including Bar Bellamy, LUI Bar and Reine. Head to Flinders Lane to see how Hazel's fish cake complements your mini martini, or wander up to Society on Collins Street to experience its smoked tomato sourdough crostini. Who knows — maybe this carefully balanced umami bomb will provide the dream pairing with your aperitif. With this first-class selection of venues getting in the mood for Four Pillars Martini Collective over the next month, there's plenty of time to sample each and every pairing. Plus, with the Martini Collective running through World Martini Day on Saturday, June 21, it's the perfect way to celebrate your love of this timeless cocktail. The Four Pillars Martini Collective is running now until Sunday, June 22 at various venues across Sydney and Melbourne. Head to the website for more information. Images: Declan Blackall / Chege Mbuthi.
Has anyone had a better year so far than Taika Waititi? Likely not. 2022 hasn't even officially hit its halfway point yet and he's already been everywhere, doing everything, and has more to come. He was the subject of the Archibald's Packing Room Prize-winner, with his likeness now an award-worthy piece of art. He has that little Marvel movie called Thor: Love and Thunder in the works, set to hit cinemas in early July. Oh, and he went and co-starred in one of the best new TV shows of the year so far — and that series, Our Flag Means Death, has just been renewed for a second run. No, Taika's time playing a pirate isn't over yet, in supremely welcome news for everyone who sailed through Our Flag Means Death's glorious first season. His latest team-up with fellow New Zealand comedian Rhys Darby (after also working together on Flight of the Conchords, What We Do in the Shadows, Wellington Paranormal and Hunt for the Wilderpeople), it's a swashbuckling comedy that satirises the buccaneering times of the 18th century. As its first season unfurled, Our Flag Means Death also proved to be a sweet and warmhearted romance, as well as essential viewing. HBO clearly agrees, greenlighting the show's second season for its streaming service HBO Max. Exactly when it'll return has yet to be revealed, but fingers crossed that it'll cruise back into your queue — via Binge and in New Zealand via Neon — sometime in 2023. "We felt the show was special while we were making it, but fans' open-armed embrace of the inhabitants of the Revenge makes heading into a second season all the more sweet," said writer, showrunner and executive producer David Jenkins (People of Earth), who conjured up Our Flag Means Death. Based on its concept and cast alone, his series was always going to cement its spot on streaming must-see lists — and speed into comedy-lovers' hearts — and now it'll make a return voyage. If you haven't hopped aboard already, Our Flag Means Death stars Darby stars as Stede Bonnet, a self-styled 'gentleman pirate', a great approximation of Flight of the Conchords' Murray if he'd existed centuries earlier, and a man determined to bring a bit of kindness and elegancy to the whole swashbuckling game. He's based on an IRL figure, who abandoned his cosy life for a seafaring existence. The show is a loose adaptation of Bonnet's tale, though. As for Waititi, he dons leather, dark hues aplenty, an air of bloodthirsty melancholy and a glorious head of greying hair as Edward Teach — the marauder better known to the world as Blackbeard. Also featuring among the show's impressive lineup of supporting characters: Lucius (Nathan Foad, Bloods), Bonnet's righthand man and official scribe; Buttons (Ewen Bremner, First Cow), a seasoned seafarer and source of advice; Black Pete (Matthew Maher, Marriage Story), who constantly claims to have worked with Blackbeard; the fire-obsessed Wee John Feeny (Kristian Nairn, aka Game of Thrones' Hodor); and the initially secretive Oluwande (Samson Kayo, Truth Seekers) and Jim (Vico Ortiz, The Sex Lives of College Girls). Check out the full trailer for Our Flag Means Death below: Our Flag Means Death will return for a second season, with a release date yet to be announced. Our Flag Means Death's first season is available to in Australia via Binge and in New Zealand via Neon. Read our full review. Images: Aaron Epstein/HBO Max.
Even if you enter Bridge of Spies unaware of its director, it soon becomes obvious that Steven Spielberg is at the helm. Tom Hanks popping up on screen, as he did in Saving Private Ryan, Catch Me If You Can and The Terminal before this, offers one such indication of the man behind the camera, although the clues certainly don’t stop there. The way the story is handled, the heavy-handed score that tells audiences what to feel rather than trusting the storytelling to do so, as well as the almost overbearing sense of righteousness that infuses every scene, all do plenty to give away the Spielberg touch. Under his guidance, the actor many likely wish was their dad lives up to that fantasy as an ordinary, upstanding guy driven by a desire to do what's right. Hanks’ character, the real-life James B. Donovan, is a tax lawyer taken out of his comfort zone, yet always guided by his strong moral compass. He's asked by the government to undertake the unpopular role of representing Rudolf Abel (Mark Rylance), a Soviet agent found on U.S. soil, at his controversial and highly publicised espionage trial. Next, Donovan is tasked with negotiating Abel's return to his homeland in a trade for captured American operatives. And yes, for anyone wondering about the movie's name, at one point the spies really do stand on a bridge – although the film's moniker speaks more to the network that springs up between warring sides. As he journeys to the unsafe streets of post-WW2 Berlin to broker a deal, Donovan's involvement must remain secret and officially unsanctioned — at least as far as the public and the record of the time are concerned. Accordingly, Bridge of Spies never misses the opportunity to bluntly idolise its protagonist, nor stress the strength of his character as he rallies for a person, an approach and good old-fashioned due process when no one around him will share his views. That's not to say that any of these points are unreasonable, or that the praise isn't earned. It's just that Spielberg, initial screenwriter Matt Charman, and script tinkerers Ethan and Joel Coen (yes, the brilliant minds behind Fargo, The Big Lebowski and Inside Llewyn Davis) rarely let the story breathe beyond their laudatory viewpoint. Given that they certainly take their time unraveling all the necessary information and intricacies, it's an approach that proves both distracting and disappointing. Of course, Spielberg crafts a polished film regardless, and one remarkably visually textured from its almost silent opening. Hanks, too, remains a likeable, reliable lead. The real star of the show though, other than the actual events that the movie didn't need to depict in such an emotional fashion, is Tony and Olivier award-winning theatre actor Rylance. If the rest of the feature seems to strive to simplify something complex for the sake of sentiment, he's proves the humanised and genuinely heartfelt opposite. Audiences could be forgiven for wishing that the rest of the film followed his lead, and was more like Spielberg's blistering Munich and less like his sappy War Horse. https://www.youtube.com/watch?v=2-2x3r1m2I4
Luke Mangan is well known for serving up classic French cuisine in Sydney — with restaurants in the Hilton Hotel Sydney, Kimpton Margot Hotel Sydney and the Pylon Lookout inside the Sydney Harbour Bridge. His latest venture Bistrot Bisou follows the same tried-and-tested formula. Mangan has set up a contemporary French restaurant in another city hotel — this time, Melbourne's Hotel Indigo. Here, you won't find food that challenges or feels particularly playful. Instead, Mangan and his Head Chef Rory Kennedy (Vex Dining and Bar Romantica) have stuck to nailing the classics — think: steak tartare, cheese soufflé, confit duck legs, lobster thermidor, tarte tatin and crème brûlée. There might not be any surprises, but the dishes are executed with great finesse and also showcase top local produce. The flamed-cooked steaks are a standout. These are cooked in the open kitchen over a roaring fire, which fills the room with a slight smokiness that makes the space feel incredibly cosy and welcoming. Those ready to brave the heat can even sit up at the bar and eat while watching the chefs do their thing. "We want this to feel like a second home for guests, whether they're Melbourne locals or visitors wanting a relaxed place to dine after a long day of sightseeing," says Mangan. "The French bistros of Paris have an ambience about them no matter what time of day or night it is, which is what we are creating here." [caption id="attachment_959622" align="alignnone" width="1920"] Glen Percival[/caption] And Mangan has lucked out with the 96-seat dining room, which was only fitted out a few years ago for Beso, the former Spanish restaurant that once called this space home. The kitchen is mostly the same as it was before, as is the front bar. The space is full of cream and light brown tones, accented with leather banquette seats and brass finishes. There's also a seperate nook for semi-private dining. At the front bar, which boasts floor-to-ceiling windows overlooking Spencer Street, folks can also sit up on a stool while they sip and snack. Tim Davey (French Saloon) has created the impressive cocktail list for Bistrot Bisou, which includes eight martinis, plenty of signature creations, and a hefty list of French aperitifs for those wanting a little pre-dinner sip. As expected, the wine list features a great selection of French and Victorian vinos, while Taittinger Champagne is also available by the glass. If you're a fan of classic French fare in elegant yet laidback surrounds, you're in for a real treat at Bistrot Bisou. Images: Jana Langhorst.
Earlier this year, Patricia Piccinini's otherworldly pieces filled an entire floor of Brisbane's Gallery of Modern Art. In September, one of her most ambitious works will pop up at Sydney's Carriageworks as well. Not to be left out, Victoria's TarraWarra Museum of Art in Healesville is also following suit, announcing an almost four-month-long showcase of the artist's efforts from November this year — including the return of her unmissable installation work The Skywhale. Called Patricia Piccinini and Joy Hester: Through love…, the exhibition will display from November 24, 2018 to March 11, 2019. It'll not only focus on the woman with an incredibly distinctive view on all things weird and wonderful — and on the thin line between humanity and animal kind that's engrained in her creative portfolio — but on fellow Australian artist Joy Hester. If the latter's name doesn't sound familiar, she was a Melbourne artist who passed away in 1960, favoured brushwork and ink on paper, and is considered one of Piccinini's key influences. This'll be the first time anywhere in the world that a gallery has explored the connection between the pair, with more than 50 pieces on display. With the showcase broadly focused around the theme of love and intimacy as well, visitors will get to see the evolution of Aussie art through the output of the two inimitable figures, with Hester's ink and paper works considered touchstones for Piccinini's sculptures, photographs, videos and drawings. In both camps, attendees will be treated to something either rare or brand new. Much of Hester's work is rarely seen, though her famous couple-focused series Love 1949 and Lovers 1955–56 will be on display. As for Piccinini, she'll be represented by both new and existing large-scale pieces. While the specifics haven't been revealed, Piccinini will unveil a major new sculpture — and if GOMA's The Field or Pneutopia are anything to go by, then expect something special. She'll also bring The Skywhale — her 34-metre-long, animal-shaped hot air balloon — back to Victoria for the first time in five years. It'll float through the sky in the lead up to the exhibition's opening, with further details to be advised closer to the date. Patricia Piccinini and Joy Hester: Through love… will be on display at the TarraWarra Museum of Art, 313 Healesville-Yarra Glen Road, Healesville, from November 24, 2018 until March 11, 2019. Image: Patricia Piccinini, Kindred (2018), silicone, fibreglass, hair, 103 x 95 x 128 cm, The Michael Buxton Collection, Melbourne. Courtesy the artist, Tolarno Galleries, Melbourne and Roslyn Oxley9 Gallery, Sydney
Le1f, Bec Sandridge and Alex the Astronaut will headline the lineup of artists at this year's Gaytimes music festival. Set to take place over three days and two nights at the Lake Mountain Alpine Resort an hour and a half outside of Melbourne (where Paradise is held), the LGBTIQ-friendly event will feature more than 30 local and international music acts, as well as art shows, film screenings, speed dating and more. As the organisers put it: it's the camping festival "of your big gay dreams". The 18+ festival runs from February 16 to 18. Other standout acts who'll take the stage include Chicago DJ Chrissy, Paul Mac and Johnny Seymour's Stereogamous and Triple J Unearthed's Miss Blanks. In addition to the tunes, the festival will feature an array of additional action, from performance art and life drawing workshops to yoga and a drag race. Perhaps the most exciting thing will be a pop-up wedding chapel where same-sex couples will be able to get hitched (for real — it's legal now!) on the mountain. Shoot hello@gaytimes.com.au an email for more info on that one. The site will boast a cocktail bar, a coffee cart and food trucks, and you can even shell out for glamping if you're feeling extra. In keeping with their inclusive approach, Gaytimes will, as always, enforce a no tolerance policy for anti-social, homophobic, transphobic or racist behaviour. So don't be a jerk, and you should be A-okay.
A CBD joint that provides those living room vibes when your own home is too full of empty pizza boxes and you need to clear the grey matter from your brain. Venture down a street (Little Lonsdale) and scurry down a lane (Hardware) and hop up a level (one) to La La Land, where a lavishness of brown Chesterfield-style couches awaits. Inside this neighbourhood haunt, the Brooklyn warehouse-esque windows provide the light, and around you, a motley of suits, casuals and dates are a spatter. A good place to bring a mate or just a book for a boozy read. The drinks menu is vast and colourful, with beers available on tap and in the fridge by the pint or jug. Wines cover every end of the spectrum, with red, white, rosé and sparkling varietals from Australia and France all appearing. Cocktails come in signature and classic forms. The former includes Bounty, which recreates the chocolate bar we all know and some of us love, with 1800 Coconut and Joseph Carton Creme de Cacao, and Who Shot Tom Collins, which sells itself as a Bloody Shiraz spin on the classic. There are also some nifty drink specials for the thrifty, with beers and wines for $6 and spirits prices down to $15 from 4–6pm. Better yet, between 6 and 7pm, you can get two classic cocktails for just $30. Settle in, order a grazing board and enjoy the space however you please. Images: Kristoffer Paulsen.
The twisted fringes of local and global filmmaking will come shambling through Southbank in September. Celebrating 15 years of taboo-breaking, button-pushing, often stomach churning cinematic madness, The Melbourne Underground Film Festival is back for 2014, serving up questionable movie morsels to the public. The proud antithesis to the more highfalutin MIFF, the genre-centric festival has been the subject of plenty of controversy over the years, from their protest screening of banned film LA Zombie, to the divisive political views of organiser Richard Wolstencroft. Of course outrage and scandal are all part of the festival's appeal — and this year's line-up seems primed and ready to deliver. Of the nine full-length features on the program, intriguing stand-outs include American giallo homage Another, Brisbane-set drama The Suicide Theory, and closing night film Chocolate Strawberry Vanilla, about a mentally unstable ice-cream truck driver. The schedule is bolstered by more than fifty short films from directors all around the world. Check out the full program at the MUFF website.
Revenge is a dish best served sandy in Dune: Part Two. On the desert planet of Arrakis, where golden hills as far as the eye can see are shaped from the most-coveted and -psychedelic substance in author Frank Herbert's estimation, there's no other way. Vengeance is just one course on Paul Atreides' (Timothée Chalamet, Wonka) menu, however. Pop culture's supreme spice boy, heir to the stewardship of his adopted realm, has a prophecy to fulfil whether he likes it or not; propaganda to navigate, especially about him being the messiah; and an Indigenous population, the Fremen, to prove himself to. So mines Denis Villeneuve's soaring sequel to 2021's Dune, which continues exploring the costs and consequences of relentless quests for power — plus the justifications, compromises, tragedies and narratives that are inescapable in such pursuits. The filmmaker crafts his fourth contemplative and breathtaking sci-fi movie in a row, then, after Arrival and Blade Runner 2049 as well. The vast arid expanse that constantly pervades the frames in Dune: Part Two isn't solely a stunning sight. It looks spectacular, as the entire feature does, with Australian cinematographer Greig Fraser (The Creator) back after winning an Oscar for the first Dune; but as Paul, his widowed mother Lady Jessica (Rebecca Ferguson, Silo), and Fremen Stilgar (Javier Bardem, The Little Mermaid) and Chani (Zendaya, Euphoria) traverse it, it helps carve in some of this page-to-screen saga's fundamental ideas. So does the stark monochrome when the film jumps to Giedi Prime, home world to House Harkonnen, House Atreides' enemy, plus Arrakis' ruler both before and after Paul's dad Duke Leto (Oscar Isaac, Spider-Man: Across the Spider-Verse) got the gig in Villeneuve's initial Dune. People here are dwarfed not only by their mammoth surroundings, but by the bigger, broader, non-stop push for supremacy. While there's no shortage of detail in both Part One and Part Two — emotional, thematic and visual alike — there's also no avoiding that battling against being mere pawns in an intergalactic game of chess is another of its characters' complicated fights. When the tales that Herbert started penning almost six decades ago — the first Dune book hit shelves in 1965 — made their 2020s-era cinema debut, it was by splitting the writer's introductory trip to Arrakis in half. As the film's title card made plain, Villeneuve always hoped-slash-planned that a second movie would follow. It was a savvy gamble, and it's still paying off. Even in just the opening recent Dune flick (David Lynch got there first in the 80s), breaking the 896-leaf text in two for cinema allowed the story's intricacies to unfurl unhurried. It also ensured that its figures gained flesh and complexity beyond propelling the plot. Crucial to Villeneuve's take on Dune, and to his work in general, is seeing and feeling the minutiae; Paul's path and inner conflict, and Chani's reaction to it in particular, wouldn't cut as deeply otherwise. Without personal stakes, neither would the overall narrative, with its musing on what it means to seek command and dominance — or perhaps shirk it — as well as the resulting ripple effects. House Atreides' move from the lush, ocean-filled Caladan to Arrakis fuelled Part One. Relocating came via decree, not choice — and the bloodthirsty Harkonnens, led by Baron Vladimir (Stellan Skarsgård, Andor) with his brutish nephew Beast Rabban (Dave Bautista, Guardians of the Galaxy Vol. 3) doing his bidding, were about as happy with the change in planetary control as expected of their usual vicious demeanour. Before the movie was out, management had reverted back by force, leaving Paul and Jessica in hiding after House Atreides was betrayed and decimated. As scripted by its director with the also-returning Jon Spaihts (The Mummy), that's where Dune: Part Two picks up, with many Fremen still wary of aiding the two outlanders. But Stilgar is unwavering in his certainty that the new saviour that's been heralded for generations — the Lisan al Gaib, as incited by the Bene Gesserit, a string-pulling sisterhood sect — is Paul. Although 1998 album You've Come a Long Way Baby doesn't contain Fatboy Slim's overt reference to Dune, aka 'Weapon of Choice' with its "walk without rhythm and it won't attract the worm" lines, that record's moniker does describe Paul's journey throughout Dune: Part Two. Also, while Hans Zimmer (Top Gun: Maverick) is on score duties again, commandingly so, thinking about 'Weapon of Choice' is unavoidable when Villeneuve has added Christopher Walken (Severance) to the cast as Emperor Shaddam IV. So, as the House Corrino head and leader of the known universe believes that the Atreides bloodline has been vanquished — daughter Princess Irulen (Florence Pugh, Oppenheimer) isn't as confident — Paul trains to be one of the Fremen's guerrilla-esque Fedaykin fighters. He conquers riding sandworms like chariots, and also Chani's heart, even as she's unfailing in her contention that a messiah is another form of dictator and promising one is purely a method of subjugation. Wresting back Arrakis from the Harkonnen, partly by sabotaging their spice-mining operations, is one of Paul's aims. Again, revenge over his slain father is another. Dune: Part Two makes its time with the Fremen, both in the desert and in cave cities, so rich and textured and human that its departures elsewhere are jarring. That's by immaculate and meticulous design, of course, with the aforementioned shift from Arrakis to Giedi Prime — where the twisted Feyd-Rautha (Austin Butler, Elvis) is another nephew to the Baron, and even more savage and ruthless, especially in a helluva unsettling yet entrancing gladiatorial scene — proving especially impactful. The two settings are desolate in their own ways, but there's no trace of warmth or hope in the black-and-white realm where the Harkonnens only know callousness. As the Bene Gesserit, via Jessica, her superior Gaius Helen Mohiam (Charlotte Rampling, Benedetta) and the resourceful Lady Margot Fenring (Léa Seydoux, Crimes of the Future), keep trying to bend the galaxy to the matriarchal group's will, grappling with power is a desolate endeavour, too. In a telling that earns its 166-minute length due to its sheer weight, through being so nimble in laying out its story and anchoring more possible chapters (there's another five Herbert novels, and others on top since his death), Paul's is a tale of being haunted by his role, future and its implications. Unsurprisingly for a film where dialogue is not just spoken aloud but also communicated telepathically, there's a compelling interiority to Chalamet's second Dune turn. It's pitch-perfect, and in line with everything that Paul is wrestling with; he's equally excellent in action-hero mode in crisply staged and shot heists and frays, doing the Benjamin Millepied (Carmen)-choreographed sandwalk, giving rousing speeches, being plagued by visions and swooning amid the spice with Zendaya's Chani. In one of her best performances yet, she's the second of the feature's standouts and its emotional centre. Every feeling that's pumping through Chani's veins, from love and dedication to skepticism and disappointment, the audience experiences as well. The third: Butler's ferocious effort, which gets everyone shaking in a far different manner to his Academy Award-nominated stint as the king of rock 'n' roll. Indeed, with portrayals this potent, and everything seen and heard matching — the feature's technical feats are again impeccable and astounding — Dune: Part Two leaves its viewers saying thank you, thank you very much not only to this grand marvel and its predecessor, but to the potential for more spiciness to come.
These days, Easter promises a whole lot more than just generic choccy eggs and old-school hot cross buns. Bakeries, chocolate brands and dessert shops across the city are getting more inventive with each passing year, whipping up all sorts of creative treats worthy of a spot in your own personal Easter hunt. Here, we've rounded up some of the coolest grown-up goodies to seek out, from decadent cocktail-filled Easter rabbits to hot cross bun-inspired bao and even giant gelato eggs. Which of these creations will the Easter bunny be bringing you this year? HOT CROSS CRUFFINS FROM LUNE CROISSANTERIE The croissant masters at Lune have brought back their legendary hybrid Easter treat, to the delight of anyone with a penchant for buttery glazed pastry. The Hot Cross Cruffin is the limited-edition love-child of the croissant, the muffin and the hot cross bun, and features a spiced fruit creme encased within a flaky golden shell. With a cross on top, of course. They're always hot property, but this year you'll need to be especially on the ball if you want them in your life — Lune is releasing a fresh batch of pre-orders each day for its Easter products, starting from Friday, April 8. Check the website for more details, or simply race in-store to nab whatever stock's available. HOT X DOUGHNUTS FROM RUSTICA It's no secret the pastry chefs at Rustica know their way around a brioche doughnut, having served up some of the city's finest. So you can imagine the goodness in store for you when you secure a six-pack of their latest seasonal release — the hot cross bun doughnut. It features a ball of that signature fried dough, filled with a creme patissiere of brandy, vanilla and cardamom, and spiked with dried fruit. A liberal dusting of cardamom sugar and a white chocolate cross over the top, and you've got yourself a pretty plush alternative to the usual fruit bun. You'll just need to remember to order yours two days before delivery or pick-up. MORK X BUNS FROM MORK CHOCOLATE These hot crossed creations from Mork Chocolate are fast becoming an annual favourite, reimagining the humble Easter bun as an orange-scented Swedish-style cinnamon roll. The Mörk X Buns are sticky and buttery, crammed full of the kitchen's secret spiced fruit blend, along with extra hits of cinnamon, nutmeg and cloves. Best enjoyed warmed up, the signature treats are available now to pre-order and pick-up from the North Melbourne Brew House or the CBD store. And if you prefer your Easter treats in choccy form, Mork's also released a couple of new bean-to-bar eggs and 'morsels' that are well worth a taste test. BOOZY BUNNY HAMPERS FROM KOKO BLACK Renowned Aussie chocolate brand Koko Black has always had strong game when it comes to Easter treats. But this year, it's going one step further for its grown-up fans, adding a series of boozy hampers to its seasonal range. Each box comes packed with a selection of signature choccy eggs, plus a couple of hollow chocolate bunnies and a pack of jarred espresso martinis from Melbourne Martini. Combine the latter two, pop in a straw and you've got yourself an adult Easter concoction to beat them all. Choose from a dark chocolate pack, a milk chocolate version, or one starring three different varieties. GELATO EASTER EGGS FROM PICCOLINA Piccolina Gelateria is celebrating Easter in signature style — marking the occasion with a line of limited-edition gelato treats. Only this year, it's unveiled some brand new varieties of its much-loved, giant gelato Easter eggs (Uova di Pasqua). Available now in-store and online, you'll find the Caramello — filled with caramel popcorn semifreddo, crunchy chocolate pearls and sea salted caramel gelato — the hazelnut-centric Ferrerolina with its gianduja ganache core, and a riff on the classic Easter bun featuring hot cross bun gelato and raspberry jam. They're hand-wrapped and presented in cute retro tins, with each egg clocking in at $39 and designed to feed two to three people. If you can manage to share, that is. EASTER BONBONS FROM YUGEN TEA BAR South Yarra's contemporary tea bar Yugen has channelled its talents into creating a trio of limited-edition Easter-themed bonbons that are almost too pretty to eat. The dainty chocolates include a hot cross bun-inspired creation crowned with a tell-tale white cross; a lemon and vanilla treat decorated like an adorable baby chick; and a carrot, ginger and walnut bonbon emblazoned with a tiny carrot. A box of nine comes in at $31. If you're quick, there's also the Lily Tart ($16), crafted with spiced milk chocolate, coconut and mango jam, and created in the shape of a delicate Easter egg-filled nest. HOT CROSS BAO FROM DIN TAI FUNG Dumpling house Din Tai Fung is celebrating Easter with a multicultural mash-up that's sure to delight any sweet-toothed folk — these rather charming hot cross bun-inspired bao. A nod to the traditional Easter bun, the pillowy little beauties are made with steamed bread and filled with oozing molten Nutella, each one finished with a sweet white cross. Available for a limited time on the menu at Din Tai Fung's Emporium restaurant, they'll set you back $6.80 for a serve of two. Otherwise, you can extend the Easter vibes well into May by stocking up on a bag of three frozen hot cross bao, delivered to your door for $10. HOT CROSS DOUGHNUTS FROM SHORTSTOP One of Shortstop's best-loved seasonal treats is the one that makes an appearance every Easter — the smash-hit hot cross doughnut. A hole-y riff on the traditional bun, it's made using a spiced dough that's spiked with loads of brandy-soaked fruit, with each doughnut dunked in a sweet honey glaze and topped with the all-important cinnamon sugar cross. As always, these return favourites are here for a good time, but not a long time — the ovens are churning out fresh batches on the daily, only until Monday, April 18. Stock up in-store, or head to the website to pre-order a few for pick-up or home-delivery. Top Image: Mork X Buns
Get in the spring spirit and shimmy your way over to the annual Meyers Place Latin Fiesta. A vibrant street party organised by the traders of Meyers Place, this much-loved Melbourne event will become a temporary home to all things Latin American for one afternoon this October. From dynamic live music to some of the best street food in the city, a visit to the Meyers Place Latin Fiesta is a must. Enjoy an emporium of Latin cuisine with empanadas from San Telmo, cocktails from Lily Blacks and Loop Roof, as well as 'Latin-inspired' cheesy slices from Pizza Pizza Pizza. Latin crafts, dances classes and a live Latin music and performance will be taking place in the CBD laneway from 11am until 6pm. For the first time, they'll be charging an entrance fee — either $6 online or $5 on the door (if it's not full already).
The world said goodbye to Amy Winehouse in 2011, but that doesn't mean that the British singer isn't still taking to the stage. The 'Back to Black' and 'Rehab' songstress is the latest celebrity to get the hologram treatment, with a new technologically enhanced performance set to hit the road in 2019 — featuring the late talent crooning her hits accompanied by a live band and on-stage singers. Attendees can expect between 75–110 minutes of Winehouse's music, all thanks to the folks at Base Hologram, who are behind similar shows involving Roy Orbison and Maria Callas. Bringing back dearly departed music icons seems to be their new niche, in a trend that just keeps gathering steam since the Tupac hologram back at Coachella in 2012. Base Hologram states that the Winehouse show will utilise "new state-of-the-art proprietary technology" and feature "digitally remastered arrangements of her classics" as well as "theatrical stagecraft". Exactly where the production will be headed has yet to be revealed, although it's expected to launch towards the end of 2019. The Guardian also reports that the the tour will raise money and awareness for the Amy Winehouse Foundation. Via The Guardian. Image: Rama via Wikimedia Commons.
After taking the world by storm with her explosive brand hip-hop and pop, Nicki Minaj has solidified herself as a force to be reckoned with on the global music scene. Nicki hit Australian shores in May during her ‘Pink Friday’ tour, selling out venues in Brisbane, Melbourne and Sydney. Now her tour has been ‘reloaded’ and she is back for some more, bringing special guest Tyga along for the ride. 13 million Twitter followers and millions upon millions of YouTube hits can’t be wrong, Nicki Minaj is at the top of her game. If you are after equal parts aggressive frenzy and stylistic pop, look no further. Remaining tickets are now $70, get some before they are gone.
Kickstart your post-work drinks or wind down in style at W Melbourne's bold Italian eatery Bar Lollo, which is offering a weeknight feast that could prove too tempting to skip. From the hotel's luxe surrounds on Flinders Lane, these 90-minute Sip and Slice sessions feature bottomless wine and beer alongside woodfired pizza for $55 per person. For the hungry office workers who are bound to pour into the venue every weekday evening from 5pm, there are three tantalising pizzas up for order. Served fresh from the oven, you can't go wrong with a classic margherita. Not only does it taste good, but it's perfect for soaking up one too many drinks. You're also welcome to take things up a notch, as Bar Lollo includes two of its more artisan creations in this boozy offer. Check out the pepperoni, featuring buffalo mozzarella, Aleppo peppers and castelvetrano olives; or opt for a prosciutto calzone, decked out with rocket, gorgonzola dolce and honey. As for the beverage offering, choose from sparkling, pinot grigio or shiraz, with each variety hailing from the Yarra Valley. Plus, there's a selection of tinnies that are sure to go down easily after a long day of kicking goals at the desk. For days when the idea of stuffing yourself with bottomless food and drink sounds a little much, these Sip and Slice sessions also invite guests to order pizzas individually for $15. Alternatively, you can match a pizza with any drink on offer for $20. Whether you're heading along to this new weeknight shindig for a one-off feast or making it a routine ritual with colleagues, getting your fill of top-quality pizza, paired with more than a few drinks, is made easy. Bar Lollo's Sip and Slice runs Monday–Friday from 5pm at W Melbourne, 408 Flinders Lane. Head to the website for more information.
Just look at that hair. This large-scale installation — which not-so-subtly resembles the dome of Donald Trump — is the work of Canadian-born visual artist Callum Morton. Titled Monument #32: Helter Shelter 2018, the giant protruding head is now on display along Barangaroo Wharf, and you're welcome to sit inside its cavernous fiery interior, too (if you feel comfortable doing so). Morton's thought-provoking and shelter-providing sculpture is on display along with two other works as part of Carriageworks' annual art fair, Sydney Contemporary. Joining the head is Cameron Robbins' installation Remote Sensor, which combines elements of nature, wind, the tides and light in a series of drawings, photographs and moving images that will take residence along the Barangaroo foreshore. If you visit at the right time, you might also catch Mel O'Callaghan's breath-based performance, Breath repertoire. O'Callaghan and Sydney Dance Company will perform an intense movement-focused performance that uses intersecting graphic lines as a language and musical score for the dancers at 12.30pm on September 6, 7 and 13 at Barangaroo's Exchange Place. All three installations are free to view and will be on display until September 24. Sydney Contemporary will return to Sydney for its fourth year on the weekend of September 13–16. The lineup is overflowing with performances, exhibitions, tours, talks and afterparties that celebrate both homegrown and international art. The installation works at Barangaroo for Sydney Contemporary are now open from August 31 through September 24. Check the website for more information.
The long, lazy weekend lunch is up there among life's greatest pleasures — and it's one that the team at Brunswick East's Etta will be celebrating right through winter. On Saturday, May 20, the renowned eatery kicks off its new Saturday feasting series, dedicated to top-notch seafood and champagne. The food lineup is set to change up weekly, though with shellfish season peaking, you can be sure of some sensational seafood no matter what. Each week's haul will be served as a tantalisingly stacked tower for $70 per person and enjoyed alongside the crackling fire from 12–2pm. That'll be brimming with the likes of king prawns done in fish sauce and fermented chilli butter, arrow squid skewers matched with lemon balm and calamansi lime sauce, and chilled bugs and blue spanner crab, with black peppercorn and garlic butter for dipping. And, since seafood and fizz are a match made in culinary heaven, Etta will be pouring out some primo champagne options to complement your lunch. Adding to the regular lineup of by-the-glass gems, there'll be a weekly-rotating champagne special pulled from the cellar just for the occasion. Etta's full wine list will be available, too. Images: Annika Kafcaloudis
Crack open a beer and catch a movie under the stars at Geelong's openair theatre. Popping up at the Little Creatures Brewery (where they also brew Furphy) over summer for another year, the Furphy Outdoor Cinema will screen a selection of classic flicks while serving up top-notch grub and ice cold bevs. Fancy a trip down the Princes Highway? Lighting up the night on four consecutive Wednesday evenings, the season begins on January 8 with The Princess Bride. That'll be followed by Gremlins on January 15 and The Terminator on January 22, before the season comes to a close on January 29 with Back to the Future. Great Scott! https://www.youtube.com/watch?v=qvsgGtivCgs Sessions start at 8pm, with tickets costing $20. Entry is via the brewery canteen, which will be serving up food until the sun goes down.
The Bridge Hotel is all about raising the standards of what a typical pub experience should be. With its European-inspired interior complete with a cobblestoned laneway and refined twists on pub grub, the Bridge Hotel has been a favourite for locals and visitors alike for years. Made up of a collection of distinct, but interlinked, spaces across two levels, a night out here can be an intimate affair with friends or a partygoer's ideal spot for a dance and a few drinks. The pub has been mixing things up a little of late with $13 espresso martinis all day on Fridays, a new weekday happy hour and its host of Saturday offerings. To celebrate, it's giving away a special Absolut Vodka cocktail experience to seven lucky duos. In one of the pub's private spaces, you'll take a memorable cocktail making class with the Bridge Hotel's resident mixologist. Here, you'll learn to make three different cocktails using Absolut, including the much-loved Skipping Girl Sour — a tangy blend of Absolut Citron, Coco Lopez, pineapple juice and a mint garnish. Obviously, you'll get to drink them, too. Through all this, you'll be snacking on a special selection of canapés and charcuterie boards (it's always important to keep the stomach lined). And after the class is done, each duo will be able to invite friends in for drinks and complimentary nibbles. So grab your cocktail-loving pal and enter — you'll find all the details below. [competition]665986[/competition]
Few actors in Hollywood are as baffling as Nicholas Cage. From his Academy Award winning turn in Leaving Las Vegas to his self-effacing double act in Adaptation, he's repeatedly proven himself an actor of incredible talents. And yet for every great film on his resume, there's a Wicker Man or Vampire's Kiss. Even some of Cage's best performances, such as in Kick-Ass or Bad Lieutenant, blur the line between brilliant and batshit. Then there are films like National Treasure and Bangkok Dangerous, where it seems like the only thing he cared about was getting paid. So which version of Cage is in the newly released Joe — the genius, the madman or the hack? As it happens, we're pleased to report that director David Gordon Green gets one of the actor's best performances in some time. A brooding shard of contemporary Southern Gothic, Joe stars Cage as a short-tempered ex-convict doing his best to stay out of trouble. Living in rural Texas, he makes his money leading logging crews, and is well liked by everyone who works for him. When 15-year-old Gary (Tye Sheridan) approaches him for a job, Joe takes the teenager under his wing. The dynamic between Joe and Gary provides the backbone of the film, recalling the surrogate father-son pairing in last year's critical darling Mud. The comparison is obvious, least of all because both films starred Sheridan, who grows increasingly more impressive with every passing role. But Gordon Green trades Mud's lyricism for a grimmer, more hard-edge tone. When Joe finds out that Gary's alcoholic father (played with chilling menace by non-actor Gary Poulter) is acting abusive, his own brutal temperament comes to the fore. In a way, it feels like the part Cage was born to play. Joe is a character of deep, internal contradiction — selfless, but wracked by a violent anger that he struggles to control. It's fascinating watching Cage play a man who is constantly trying to restrain himself, when as an actor he's best known for throwing caution to the wind. Certainly, it's among the most restrained performances in his more than 30 year career, and a reminder of how good he can really be.
Port Melbourne is set to score its own taste of the 1950s jazz scene, when sophisticated cocktail lounge Clooney Kitchen & Bar opens on Bay Street later this month. Named not for the actor, but for his famous jazz musician aunt Rosie, it's a little dose of old-world Hollywood glamour down under. Heading up the bar are Shannon McFarland (The Rochester, Woodland House) and Will Crennan (Gin Palace, Collins Quarter), who have pulled together a collection of artisanal spirits, inventive signature cocktails, craft beers from across Italy and Australia, and a tidy, yet well-travelled lineup of wine. Dialling up the luxury will be lesser known Italian liqueurs, Scotch tasting trays and George Clooney's own Casamigos tequila. Meanwhile, McFarland's house-made liqueurs promise to add a unique edge to your drinking sessions. To match, Head Chef Leigh Stanicic (Melbourne Wine Room, The Fat Duck) has designed a menu of bar snacks and small bites drawing inspiration from across Europe and Asia, full of big, fresh flavours and boasting lots of raw dishes. Choose your own adventure, or settle in for the four-course food and cocktail degustation, a collaboration between McFarland and Stanicic. The space itself is dressed to impress, designed by Darren Kerf of Kerf Designs, with swanky plum velvet booths, art deco features and bold wallpapers full of 1950s elegance. To round out the experience, the team is matching that vintage sophistication with an old-school sense of hospitality, serving drinks carefully customised to guests' palates, and respecting the classics, while also embracing the new and innovative. Find Clooney Kitchen & Bar at 171 Bay Street, Port Melbourne, from late August.
Melbourne's newest after-hours pop-up isn't at a pub, an underground club, or even some repurposed warehouse space. Nope, the soon-to-launch Nocturnal event series is happening at a venue you've probably only ever seen in the light of day: Melbourne Museum. From July 7, the first Friday of each month will see the museum's exhibition spaces transformed into an after-dark playground, as Nocturnal swaps the school-uniformed tour groups for crowds of music-loving partygoers. Expect a space primed for Friday night revelry, complete with pop-up bars slinging cocktails, roving entertainers and spot talks from some of the museum's curators. Plus, there will be plenty of killer tunes, with a main stage set up in front of the Forest Gallery. It's all kicking off with quite the bang, too — the first of the Friday night festivities will showcase live sounds from nine-piece outfit, Dorsal Fins, and a DJ set courtesy of Jakubi. Nocturnal will take over Melbourne Museum from 6–11pm, on the first Friday of each month, starting July 7. Early Bird tickets are available here for $25, or at the door for $35.
Osamah Sami has had an interesting life. Born in Iran to Iraqi parents, by the time he was a teenager he'd survived conflict and war, sold fireworks on the Iranian black market and run afoul of the country's religious police. Things didn't get any less complicated after his family emigrated to Australia, with Sami faking his Year 12 result so he could get into medicine, and later escaping an arranged marriage by literally running away on his wedding day. If that last part sounds familiar, it's because it was the plot of his recent film Ali's Wedding (one of our favourites of 2017). And we suspect it might come up in his latest project, a stage adaptation of his autobiographical novel Good Muslim Boy. On stage at the Malthouse Theatre from February 9 until March 11, the play chronicles Sami's extraordinary life as well as the struggles he faced trying to bring his father's body back to Australia after he died on a trip to Iran. Image: Zan Wimberley.
If your 2021 plans could use a little colour and liveliness from one of the best artists that ever lived, you're in luck — because the Art Gallery of NSW is delivering exactly that as part of its newly announced 2021 program. For four months from November 2021–March 2022, the Sydney venue will host the huge Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris exhibition. It'll feature more than 100 of Henri Matisse's pieces spanning six decades of his artistry, it's only heading to Sydney and it'll mark the greatest single exhibition of his masterworks that's ever graced the NSW capital. Whether you're keen on Matisse's early efforts, including from his Fauvist phase, or you're more fascinated with how his talents progressed over his considerable career, you'll see something suiting your interests on display — with the exhibition running from November 22, 2021–March 13, 2022. Standouts include Le Luxe I 1907, if you're after one of his first pieces; Decorative figure on an ornamental ground 1925, from the middle of his career; and The sorrow of the king 1952, a self-portrait. If it all sounds a bit familiar, that's because it was originally due to happen in 2020 as part of AGNSW's Sydney International Art Series, but was postponed for obvious reasons. 2021 is now shaping up to be a great year for Australians to see European masterpieces, with Brisbane's Gallery of Modern Art and the National Gallery of Australia in Canberra also showcasing works from the region — but only AGNSW will solely focus on Matisse. As well as Matisse's paintings, sculptures and cut-outs — all from the Centre Pompidou in Paris, which boasts quite the collection — AGNSW will also be hosting Matisse Alive, which'll reflect upon Matisse in a modern context. The gallery-wide event will kick off in October 2021, letting art lovers indulge in a free festival of Matisse. Think: art, music, performances and dance, all delving into his life, his creations and how his works have inspired artists today. Textile environments, huge paintings and video works are all on the lineup, including by artists such as Nina Chanel Abney, Sally Smart, Angela Tiatia and Robin White. [caption id="attachment_794669" align="aligncenter" width="1920"] Henri Matisse. 'Blue nude II (Nu bleu II)' 1952. Gouache on paper, cut and pasted, on white paper, mounted on canvas, 116.2 x 88.9 cmCentre Pompidou. Musée national d'art moderne AM1984-276. Photo © Service de la documentation photographique du MNAM Centre Pompidou, MNAM-CCI /Dist RMN-GP. © Succession H Matisse/Copyright Agency.[/caption] Obviously, AGNSW won't be empty for the rest of the year, before all things Matisse hit. Back in mid-2020, it revealed its blockbuster summer 2020–21 exhibitions, so you might already be familiar with Streeton, Pat Larter: Get Axed, Archie Plus, Khaled Sabsabi: A Promise, Real Worlds: Dobell Australian Drawing Biennale 2020 and Joy. Joining them on the full 2021 agenda: the also previously postponed Margel Hinder and The Purple House exhibitions; the food focused The Way We Eat; and Brett Whiteley: Printmaker, featuring Whiteley's lithographs, etchings, linocuts and silkscreen prints. Or, you can scope out Longing for Home, which'll feature works by six Aboriginal artists; and The National 2021: New Australian Art, which will hero pieces from 39 emerging, mid-career and established Australian artists. [caption id="attachment_789423" align="aligncenter" width="1920"] Installation view of the 'Streeton' exhibition at Art Gallery of New South Wales, Sydney. Photo: Jenni Carter, AGNSW.[/caption] And yes, after 2020's delays, the Archibald, Wynne and Suleman Prizes are back as well, with the corresponding exhibition displaying from June–September 2021. There's an added bonus, too, with AGNSW also hosting a 100-year-anniversary look at the Archibald. Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris will display at the Art Gallery of NSW, in Sydney, from November 22, 2021–March 13, 2022. Matisse Alive will run from October 2021–2. For more information — including about AGNSW's full 2021 lineup — visit the Art Gallery of NSW website. Top images: Sally Smart. 'The choreography of cutting' 2017. © Sally Smart. Photo: Fajar Riyanto, installation view OFCA, Yogyakarta. Henri Matisse. 'The sorrow of the king (La tristesse du roi)' 1952. Gouache on paper, cut and pasted, mounted on canvas, 292 x 386 cm. Centre Pompidou. Musée national d'art moderne AM3279P. Photo © Philippe Migeat - Centre Pompidou, MNAM-CCI /Dist RMN-GP. © Succession H Matisse/Copyright Agency. Nina Chanel Abney. 'Seized the Imagination', Jack Shainman Gallery, New York, New York, 9 November 9 – 20 December 20, 2017. © Nina Chanel Abney. Courtesy of the artist and Jack Shainman Gallery, New York.
Memorable moments in David Wnendt's Wetlands include, but are not limited to: the swapping of home-made tampons, the use of an avocado seed as a masturbatory aid, multiple self-inflicted rectal injuries and an extended sequence of four men ejaculating onto a pizza, in 300-style slow-motion, all to the strains of Strauss' Blue Danube. If any of that sounds appealing, read on. An adaptation of Charlotte's Roche's controversial (and highly successful) 2008 novel of the same name, Wetlands concerns the escapades of 18-year-old Helen Memel — played with infectious, smart-alecky charm by newcomer Carla Juri. And boy, do we mean infectious. Proudly describing herself as a "living pussy hygiene experiment", Helen abhors personal cleanliness, and believes that the unique musk that emanates from her nether regions makes her impossible for men to resist. Early on in the film, an unfortunately anal shaving accident lands Helen in the hospital. Although annoyed at being bed-ridden, our heroine finds a silver lining in realising that the incident represents the perfect chance of getting her divorced parents in the same room together — at which point she's positive sparks will fly. In the meantime, she's perfectly content to flirt with her handsome nurse Robin (Christoph Letkowski) and reminisce about her various sexual and scatological adventures. There's no skirting around it: Wetlands is gross. But that certainly doesn't mean that it isn't entertaining. From as early as the opening credit sequence — a Fight Club-inspired tour through the untamed ecosystem of a pube on a public toilet seat — Wnendt's direction is loaded with energy and style. The soundtrack — a mix of German rock and pop music — has a similarly upbeat rhythm, and suits Helen's rebellious outlook to a tee. Indeed, while her behaviour will frequently have you hiding behind your hands, Helen's unshakably non-conformist attitude makes her an easy protagonist to like. As already mentioned, Juri's performance is terrific, while Letkowski is adorable as her hunky but mild-mannered beau. There's something delightfully twisted about the fact that Wetlands ends up boiling down to what is basically a standard girl-meets-boy story arc. Except that instead of chocolates and flowers, the key to Helen's heart are her own surgically removed haemorrhoids in a jar. Thankfully, whenever the film starts threatening to get romantic or, God forbid, sensual, Wnendt pulls the rug out with another revolting X-rated moment, reminding us just how unappealing the human body can be. Which is, of course, entirely the point. As Helen succinctly puts it, if you think bodily fluids are gross, you should just forget about sex altogether. Believe it not, Wetlands ends up making some pretty salient points about both society's unreasonable expectations of female beauty, as well as the unfair double standards surrounding sex. That it does so while squeezing in a POV close-up of someone applying ointment to their own asshole just makes it that much harder to ignore.
Ali Barter knows all too well that tapping into your most creative self doesn't always come easy. "I used to experiment a lot more," says Barter. "I'd play different instruments, I'd get on the keyboard, or I'd try and write to a concept. I was trying to find my pattern." Along the way, she's discovered her ideal approach is a more organic one, gathering inspiration as she goes. "It starts off with words, maybe from watching a movie or having an interaction with somebody," explains Barter. "I'll jot them down, and then when it gets to the songwriting part, I'll sit down with an instrument, make up a melody and use these words that I've saved. Or new words come along." We sit down with Barter to discuss her approach to the creative process and staying true to herself in music and in fashion. Some will tell you that routine and structure are creativity's best mates, but for this artist, it's the opposite. Between touring, songwriting, time spent in her Collingwood studio and all the other life stuff, Barter's day-to-day schedule is always changing, which means there's no chance of relying on a specific place or time of day to ignite that creative spark. "My routine's all over the shop," she muses. "So it's more just about showing up, getting my notebook and guitar and being there. And something might happen, or nothing might happen." The artist, who writes a lot with husband and producer Oscar Dawson, says she also draws plenty of inspiration from just being around someone she trusts creatively. "If Oscar's there and we're together, it doesn't really matter where we are," she says. "A creative space is really dependent on your attitude and who you're with." "It's like when I go to band practice — we're just in an empty, sterile room, but because I'm there with three other musicians that I love to play music with, we'll end up being creative." And, just as Barter's best work has come from sticking to her own guns in the creative process, the artist's discovered along the way that staying true to her own sense of style also inspires her most authentic work. "I'm just really a jeans and t-shirt girl," she explains. "Sometimes I've tried to be a little bit more out there, but I never feel like myself. And I think it's the same with my music. Musically, if I've tried to be a bit more cool or fancy, I end up not sounding like myself. And with fashion, when I try and be something that I'm not, I don't feel like me." In Barter's wardrobe, denim has always been a staple. "I wear denim every day, it's like my work gear," says the singer-songwriter. "It's just such a functional but honest piece of clothing, you know?" "I've started wearing these Wrangler jeans called Birkins, and I just wear them every day," Barter says. "They're high-waisted, cropped, not too tight and they look good with everything." Listen to Ali Barter's music here, and find the denim that brings out the creative, innovator and gamechanger in you at The Iconic. Images: Kate Shanasy.
Melbourne is a blessed city. We have trams and trains connecting most of our major streets and suburbs, there are huge gardens on the outskirts of our CBD that provide beautiful walking routes into work, and we have one of the highest rates of cyclists of any Australian city. So why are so many of us still driving into the CBD? It's got a little to do with convenience and a lot to do with laziness, but Melbourne City Council is about to put a stop to it. With a draft walking plan to be considered by this week, the council have outlined a detailed initiative to make the CBD more accessible to walkers. In the proposed plan, many of the city's main strips would become shared zones with 10km/hr speed limits or closed to traffic completely. "We want to make all of Melbourne a lot more pedestrian friendly," Councillor Cathy Oke told the ABC. The proposed changes would include sectioning off Elizabeth Street in a similar manner to Swanston Street — making it only available to pedestrians and trams. Street closures would also take place on sections of Little Bourke, Little Collins and Flinders Lane making them exclusive "walking streets" and undoubtedly easing the crowds on their larger namesakes. The proposed "shared zones" would include Market Street between Collins Street and Flinders Lane, the area of Spring Street adjacent to Parliament Station and the Princes Theatre, and Queen Street near the Queen Victoria Market. According to the council, walking accounts for 66 percent of trips made around the CBD and they'd like to see that number increase to 69 — an oddly specific and suspicious target, if you ask us. Nonetheless, it's a noble plan. People will feel more compelled to walk, the congestion in the CBD will be eased, and retail spaces will presumably see a boost from increased foot traffic. It's going to be a huge pain in the neck for business types with an aversion to public transport, but a big win for the rest of us. At the very least, we'll be beating Sydney's new pedestrian policies ten-fold — and really, isn't beating Sydney what it's all about? Via ABC. Photo credit: jungmoon via photopin cc and mugley via photopin cc.
Byron Bay's Stone & Wood and Three Blue Ducks are headed to Melbourne for one of Good Beer Week's hot-ticket items on Friday, May 18. The dinner will see head brewer Caolan Vaughan team up with Three Blue Ducks chef and co-owner Darren Robertson to showcase sustainable produce in a six-course beer degustation at Vue de Monde. The two interstate heavy-hitters are combining their passions for locally sourced and produced beer and food and are bringing it to a fine-dining restaurant that is known to do the same. Guests will sit at communal tables and eat course-after-course of ethical eats — with a vegetarian option available — paired with six craft brews from Vaughan's independently owned brewery. In between bites, you'll have the chance to chat with the award-winning brewer and renowned chef. It's certainly a pricey night, but one that's no doubt well worth it.
The past couple of years have left us all feeling a little jibbed on the travel front, especially when it comes to jetting off overseas. But finally, things are looking up, bookings fill us with a little less dread and that long-forgotten pastime of international air travel is back on the menu. And if you've been particularly hankering for a trip to the USA, United Airlines just made it even easier to get your well-deserved holiday fix. The airline has kicked off new flights between Australia and the States, leaving East Coast punters totally spoiled for choice. Newly partnered with Virgin Australia in a codeshare arrangement, United is now flying Sydney to Houston and Brisbane to San Francisco. Other services that have recently launched or resumed include direct routes from Melbourne to San Francisco and to Los Angeles, and daily direct flights from Sydney to both of those US cities as well. It's a huge win for East Coast travellers keen to jet off on a far-flung adventure without the fuss of any pesky stopovers adding extra hours and effort to the trip. And of course, it means improved access to other Aussie cities, too. United is also upping the frequency of a bunch of its existing Aussie routes. In fact, by the end of 2022, the airline will be flying more than 40 direct US flights from Australia each week, across Sydney, Melbourne and Brisbane. That means you've got more options for a speedy Stateside jaunt than ever before. Of course, thanks to the new team-up with Virgin, Velocity Frequent Flyer members can not only earn points on their United flights, but they've got access to benefits like priority check-in and boarding, and extra baggage allowance when they fly. And if you really want to up the ante for your USA getaway, there's the United Polaris business class service, where you can revel in the luxury of comfy lie-flat seats, generously sized entertainment screens and cute suitcase-inspired amenity kits filled with skincare goodies from Sunday Riley. [caption id="attachment_882756" align="alignnone" width="1920"] Polaris[/caption] United Airlines has expanded its flight offerings between Australia (Melbourne, Sydney and Brisbane) and multiple US cities. For all the details and to book a flight, see the website.
Rejoice, gin enthusiasts of Melbourne, as a series of juniper-fuelled cocktail classes is coming to town so you can take your mixology to the next level. Teaming up with German distillery Monkey 47, riverside bar Ocean 12 will host classes every Thursday from March to May on its terrace, which will be transformed into a lush forest with glowing mushrooms, wild vines and plenty of greenery. Running from 6.30–8.30pm, the classes include a free G&T on arrival, food and expert tips of the trade — all for $79. You'll be shaking and stirring cocktails, including a cucumber-infused gin martini that even a tux-wearing 007 would want to knock back, as well as other impressive tipples using Monkey 47 dry gin and Monkey 47 sloe gin. Afterwards, keep the good times going by taking advantage of the bar's happy hour from 8–10pm, where select beer, wines and spirits are a cheeky $8 while Monkey 47-based cocktails will be $12 a pop.
Melbourne has no shortage of design markets (or good designers, to that end) so we were about due for another one to take place. Held three times a year, the Little Sparrow Market is back for its second and third 2016 instalments after a kicking things off back in June. The market will fill The Atrium at Federation Square with all manner of aesthetically pleasing things, from candles to couture sleepwear to cute homewares. Altogether there'll be over 65 stalls, including some of the gourmet food kind — because no market-goer should have to go hungry. The first market will be held on Sunday, September 25, with the following one happening a month later on Sunday, October 23.
The inner west's ever-booming booze scene continues its charge, with the arrival of Kingsville newbie, Willow Wine Cafe. The charming 20-seater marks the first solo venture for local, Ellen Turner, whose hefty hospitality resume includes stints at Gin Palace, Collins Quarter, Seddon Wine Store and even Shanghai's Glamour Bar. Most recently home to a cricket shop, the Williamstown Road building now sports a comfy mix of recycled timbers and repurposed fittings, all warm, natural finishes and cheery glow. Open from 8am until 7pm, Tuesday through Sunday, it's a space that slips easily from morning coffees to those after-work wines. You'll find the early crowd tucking into Five Senses lattes, brekkie boards and crumpets, while loaded toasties and a range of milk bun rolls — perhaps filled with hot smoked trout, crème fraîche and dill — are the stars come lunchtime. Local produce is the focus and the glass cake cabinets filled with treats from the likes of Brasserie Bread, Candied Bakery and Söt by Mörk. The wine list also flies the flag for locality, with a solid crop of Victorian labels backed by a careful curation of drops from further afield. An ever-rotating by-the-glass selection is primed for post-work drop-ins, best enjoyed alongside some of the locally sourced cheese and charcuterie. You'll find a range of wines available to take away, too, while a program of seasonal dinners, tasting events and a Willow wine subscription service are also on the cards. Find Willow Wine Cafe at 126 Williamstown Road, Kingsville.
It might be a favourite for littlies, but Collingwood Children's Farm is far from a whippersnapper itself. In fact, the inner city institution is gearing up to turn the big 4-0 next month and to celebrate, it's throwing a rollicking birthday shindig to delight folks both young and old. Taking over the long-running farm on Sunday, November 3, the aptly named Party Animals will dish up a diverse program of entertainment, market stalls, workshops and more. And the best part? Profits will be heading right back into the farm, to help ensure it kicks on for another four decades. Firing up the stage will be the likes of punk rockers Cosmic Psychos, singer-songwriter Jess Ribeiro, 'BBQ punk' act The Burnt Sausages and The Ookerpookers, featuring a ukulele orchestra made up of Thornbury school students. A jam-packed series of workshops could see you becoming an expert in anything from sustainable living to ukulele jamming, while a program of Table Talks will share expertise from the likes of The Fertile Crescent, Barry The Beekeeper, specialty butcher Meatsmith and Broomfields Pies. There's a slew of culinary treats on offer, too, including a slow-cooked barbecue feast by the crew at Meatsmith. An array of food stalls will be serving up snacks like D'Lish Turkish Street Food's gozleme and giant paella from Western Port Mussel Supplies, or you can nip to the Producer's Paddock and browse a huge assortment of fresh Victorian fruit, veggies, charcuterie, baked goods, ferments, cheese and more. The drinks will also be flowing, with brews from Bodriggy Brewing Co and Mountain Goat, Innocent Bystander wines, and botanical concoctions from Melbourne Gin Co to help you kick on all day long. Party Animals runs from 10am–8pm. Images: Steve Costello
Gareth Sansom is one of Australia's most respected painters who, over the past 60 years, has merged his admired pop culture perspectives with the lurid, the erotic and the philosophical. Across his paintings, collages and watercolours, Sansom displays a strong sense of self-investigation, frequently including disguised self-portraits and blurring the lines between the abstract and the actual. On display at NGV Australia starting in mid-September, Gareth Sansom: Transformer explores the entirety of Sansom's celebrated career, presenting more than 130 of his paintings, photographs and paper works – including many that are yet to be seen by the public. Sansom studied at RMIT University during the early 1960s before rising to popularity as an avant-garde artist drawing inspiration from the likes of Pablo Picasso and Jean Dubuffet. His works are held in numerous private and public collections, including New York's Metropolitan Museum of Art and the National Gallery of Australia. Image: Gareth Sansom, Figure studies triptych (1990), courtesy the artist.
Already home to a natural landmark that can be seen from space, as well as a luminous installation that brightens up the night sky, the Northern Territory is about to add another stellar sight — and site — to its list. From next year, Australia's Top End will make history when it becomes the first privately-owned location outside of the United States to launch NASA rockets. The US National Aeronautics and Space Administration's Goddard Space Flight Center/Wallops Flight Facility is partnering with the NT's Arnhem Space Centre, SBS reports, with private outfit Equatorial Launch Australia receiving the contract to provide temporary launch facilities in the southern hemisphere. Four rockets, measuring approximately 15 metres high, are expected to launch from the spaceport next year according to the ABC, with each spending around 15 minutes in suborbital space. Their purpose: scientific investigations. Already a lure for tourists, it was Arnhem Land's distinctive landscape and geographical location that reportedly proved an attraction — with NASA clearly taking the Top End moniker literally. The ASC is located in Nhulunbuy, around 700 kilometres east of Darwin. While NASA won't take off from the site until next year, it's expected that the ASC will be ready to launch small rockets by the end of this year. Even better — the centre is planning to launch spaceflights in 2020. The news comes as Australia keeps stepping up its space game — or reigniting it after closing down the Australian Space Office back in 1996. The federal government announced formed the Australian Space Agency in 2018, and revealed that it'd be headquartered in Adelaide from this year. In a statement, ASA Head Dr Megan Clark AC said that "NASA's interest in conducting a sounding rocket campaign in Australia shows the increasing importance of commercial launch activities from Australia". Via: SBS/ABC. Image: NASA/Bill Ingalls.
Cinephiles, picnic-lovers and everyone in between, rejoice — the annual combination of movies, outdoor eating and park hangouts that is Moonlight Cinema is back for another round. After locking in their dates back in September, Australia's biggest outdoor cinema this morning announced their full 2026-17 summer program — and it's a goodie. Kicking off on the first day of summer (how fitting) in Sydney and Adelaide before launching in Melbourne, Brisbane and Perth just a few days later, this year's setup boasts all the regular features that make this one of the country's most popular summer events. Big screen shimmering beneath the stars? Check. Food trucks serving the ultimate movie munchies? Check. Letting super-organised patrons BYO their own snacks? Check. A huge lineup of new releases and cult classics? You betcha. Expect all the big summer releases, like sci-fi thriller Passengers, the much-anticipated La La Land with Emma Stone and Ryan Gosling, and Lion, based on the true story of Saroo Brierley who found his birth mother in India via Google Earth after 25 years of separation. Naturally, they'll also be playing Fantastic Beasts and Where to Find Them (which was released today) as well as the yet-to-be-released Star Wars: Rogue One and game-turned-film Assassins Creed. As always, they'll also throw in a few cult favourites — this year it's Grease and Back to the Future — and some Doggie Nights, which will kick off with The Secret Life of Pets. Of course, heading to Moonlight isn't just about the movies shown, as fun as getting a sneak peek of upcoming flicks or sharing the joyous glow of watching iconic favourites on a big screen is. It's also about the experience, which is why you're allowed to start getting excited without knowing which films you'll be watching — and why you should be blocking out December through to April in your calendar. Tickets are on sale now. MOONLIGHT CINEMA 2016-17 DATES: Sydney: December 1 – April 2 (Belvedere Amphitheatre in Centennial Park) Melbourne: December 8 – April 2 (Central Lawn at Royal Botanic Gardens) Brisbane: December 8 – March 5 (New Farm Park at Brisbane Powerhouse) Adelaide: December 1 – February 19 (Botanic Park) Perth: December 3 – April 2 (Kings Park and Botanic Garden) Moonlight Cinema's 2016-17 season starts screening around the country from December 1. For more information and to buy tickets, visit moonlight.com.au.
Every year, So Frenchy So Chic asks Melburnians a question: do you fancy prancing through a field laced with the charm of provincial France, but without needing to book a flight? If your answer is yes, which it should be, then you'll be pleased to know that that exact setup is just casual summer weekendery when the fest rolls in each January. The ever-popular French celebration will bring the can-can back to Melbourne's Werribee Park Mansion. The date: Sunday, January 14. For newcomers, expect an entire afternoon of French-inspired niceties, including (but not limited to) gourmet picnic hampers, très bon crepes and steak frites sandwiches, and supremely good wine — all set to a blissed-out French soundtrack. So Frenchy So Chic hinges on an eclectic lineup of artists, both taking cues from the classic sonic stylings of France and showcasing top-notch French talent. On the 2024 bill: La Femme, Marlon Magnée and Sacha Got's psych-punk rock group; Kill The Pain, aka Australian singer and songwriter Phoebe Killdeer with French vocalist Mélanie Pain; Laure Briard, fresh from releasing album Ne pas trop rester bleue; and the Serge Gainsbourg- and Angus and Julia Stone-loving Malo'. As always, the wine and food will flow just as easily as the tunes, headlined by an abundance of bubbly courtesy of Champagne Lanson, one of France's oldest champagne houses and a So Frenchy So Chic favourite. Expect oysters, croque monsieurs, duck liver parfait, mussels, chocolate eclairs, macarons and cheese upon cheese. Of course, there'll be plenty of French beer, cocktails, and rosé, red and white wines, too, no matter what you choose to snack on throughout the day. For groups of ten, this year's festival also includes a $199-per-person option that gets you your own prime spot with low-seated wooden tables decorated with flowers, rugs and cushions to make things comfy, two bottles of champers, a shady umbrella, and two charcuterie hampers and two cheese hampers. If you've got kids, you'll be happy to know that the whole thing is very family-friendly, with children's tickets starting from $25 (and entry free for kids under 12). Images: Liz Sunshine / Simon Schiff.
