Girls to the front: that's the mantra at Australia's dedicated Centre for the Moving Image in 2023. We're the country that gave the world Cate Blanchett, Nicole Kidman and Margot Robbie, to name just a few renowned Aussie actresses owning the silver screen in recent years, so we're no stranger to celebrating formidable women in cinema. It tracks, then, that ACMI has curated a world-premiere exhibition dedicated to femininity across screen history — which, from Wednesday, April 5, is now open. Six-month-long showcase Goddess: Power, Glamour, Rebellion declares its affection for ladies of the screen right there in its name. Examining how women are represented in cinema and television, it pays tribute to standout ladies, how depictions and expectations of femininity have changed, and what female talents have symbolised — and been forced to deal with — about and from the society around them. Displaying until Sunday, October 1, it's both a massive and a landmark exhibition. More than 150 original costumes, objects, artworks, props and sketches are now gracing the Federation Square venue's walls and halls, all championing oh-so-many women and their impact. Launched in-person by the one and only Geena Davis, who is also the exhibition's lead ambassador, Goddess fittingly includes outfits worn by her and Susan Sarandon in 1991's Thelma & Louise — and that's just the beginning of its treasures. Among a lineup that spans threads that've never been displayed before, various cinematic trinkets, large-scale projections and other interactive experiences, attendees can check out odes to Marlene Dietrich in 1930's Morocco, Pam Grier's spectacular Blaxploitation career, Tilda Swinton in 1992's Orlando and the aforementioned Robbie via 2020's Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn). Plus, there's Mae West's sky-high heels from 1934's Belle of the Nineties, as well as Michelle Yeoh's fight-ready silks from 2000's Crouching Tiger, Hidden Dragon. The list goes on, clearly, covering Anna May Wong, Marilyn Monroe, Laverne Cox and Zendaya as well. And, everything from Glenn Close's Cruella de Vil in 102 Dalmatians to the Carey Mulligan-starring Promising Young Woman also gets time to shine. As it charts how representations of femininity have evolved over the years — not just in different eras, but in different places, too — Goddess also aims to inspire a rethink of plenty of cinema's memorable female characters. Silent-era sirens, classic Hollywood heroines, unforgettable femme fatales and villains, Bollywood stars, women in China and Japan's cinematic histories: they're all being given the spotlight. Goddess is also plunging into provocative on-screen moments from Hollywood's silent days through to today that've not only left an imprint, but also played a part in defining (and altering) what's considered the feminine ideal. So, expect an interrogation of how women on-screen have helped to redefine fashion expectations, sparked boundary-breaking genres and spearheaded the #MeToo movement — and to spend time thinking about how screen culture has shaped the world's views of gender. As it does with its big exhibitions, ACMI is pairing Goddess' wide-ranging display with soundscapes by Melbourne-based composer Chiara Kickdrum, and also hosting a sprawling events program complete with late-night parties, performances and talks — and film screenings, of course. Fancy taking an in-depth curator tour of the exhibition after hours? That's on the bill monthly. There's also a music program called Goddess Nights from late May, which'll focus on three femme-centric live music lineups with performances by DJ JNETT, CD, POOKIE and Ayebatonye — and a curated range of food and booze put together just for each evening. For film buffs, movie series Divine Trailblazers will focus on contemporary actors at the height of their powers, while the Goddess Sundays is all about on-screen personas. So, the first includes Angela Bassett's Oscar-nominated performance in Black Panther: Wakanda Forever, Academy Award-winners Michelle Yeoh and Jamie Lee Curtis in Everything Everywhere All At Once, Cate Blanchett conducting a masterpiece in Tár, Viola Davis in warrior mode in The Woman King, Filipino actor Dolly De Leon stealing every scene she's in in Triangle of Sadness, and Leah Purcell writing, directing, producing and starring in The Drover's Wife The Legend of Molly Johnson. Unsurprisingly, the exhibition is ACMI's big midyear blockbuster — and its 2023 contribution to the Victorian Government's Melbourne Winter Masterpieces series, as Light: Works from Tate's Collection was in 2022. After showing in Melbourne for its premiere season, Goddess will then tour internationally, taking ACMI's celebration of women on-screen to the world. Goddess: Power, Glamour, Rebellion exhibits at the Australian Centre for the Moving Image, Federation Square, Melbourne, from Wednesday, April 5–Sunday, October 1, 2023. For more information and tickets, head to the ACMI website. Images: Eugene Hyland Photography.
Remember when your mum told you that being popular wasn't everything? There are many situations where that advice holds true. Take watching movies, for example. Sure, superhero flicks look great on the big screen — but for every blockbuster you head along to, there's probably a heap of smaller films you're missing out on. They're the small players in a world that focuses on big hits, and the ones that pop up at fewer cinemas, run for shorter spans, and don't break attendance records. But just because they don't get as much love, doesn't mean they're not worth viewing. Indeed, among the ranks of the under-seen lurk some of the year's best efforts. Take these ten, which — by way of a limited screening season or lacklustre local box office performance — you may have missed, but we think you really should take the time to see. A MOST VIOLENT YEAR It has been a good year for Oscar Isaac. He's about to feature in one of the year's biggest films (that is, Star Wars: Episode VII: The Force Awakens), he made an unnerving impact in the best artificial intelligence movie of 2015 (Ex Machina), and he starred in a heartbreaking HBO TV series made by The Wire's David Simon (Show Me A Hero). But before all three, he teamed up with always exceptional Jessica Chastain in A Most Violent Year, a moody, '80s mob thriller from All Is Lost writer-director J. C. Chandor. The tale of an honest man corrupted as he follows his ambitions might seem familiar, but there's nothing that's routine — and plenty that's riveting — about this devastating dissection of the American dream. Read our full review. THE TRIBE Writer-director Miroslav Slaboshpitsky's first feature was always going to be a hard sell. The film runs for more than two hours without a word of dialogue, a hint of music or even any subtitles, with its characters — a group of classmates at a Ukrainian boarding school for the hearing impaired — communicating only through sign language. And it's not just a difficult concept; in an effort that becomes both violent and haunting — all the more so because it demands audiences pay the utmost attention to what they can see — it's also difficult to watch. Reports of fainting are widespread, but those who can stomach its brutal sights will find a movie completely unlike anything else they've ever seen before. Read our full review. LONDON ROAD When the National Theatre turned the real life 'Suffolk Strangler' case into a stage production, it probably wasn't expected. Adapting the play into a film shouldn't have been quite as surprising, but the results certainly are astonishing. Filmmaker Rufus Norris (Broken) teamed up once again with writer Alecky Blythe to bring the theatre work to the screen — not only telling the tale of the murders of five prostitutes that rocked England's Ipswich in 2006, but charting the media frenzy that followed and the reactions throughout the community. What makes London Road stand out isn't its narrative, though, but its approach. The words uttered by actual residents of the area, reporters covering the case and sex workers become a musical sung in stuttered bursts and choreographed in a highly stylised fashion. It also features a memorable performance by Olivia Colman, as well as appearance by Tom Hardy as a taxi driver. TANNA Two youths fall in love, but external forces — i.e. the wishes of their families — complicate matters. With that description, you're likely thinking about Romeo and Juliet — however, there's more to the first feature shot entirely in Vanuatu than simply following in William Shakespeare's footsteps. In fact, the film actually stems from a local tribal tragedy, uncovered by writer-director-producer duo Martin Butler and Bentley Dean after spending seven months living with the indigenous Yakel community, and then working with them to make the movie. Calling Tanna authentic is underselling its heartfelt account of the story, its impassioned performances and its arresting images — the latter of which makes the most of the South Pacific archipelago nation's lush greenery and ash-spewing volcanoes. GIRLHOOD With Girlhood, the third time is the charm for filmmaker Céline Sciamma — although, with the likes of Water Lilies and Tomboy also on her cinematic resume, the first and second times were pretty up there too. Her film might sound like a female version of Richard Linklater's 2014 hit, but even though it also serves up a coming-of-age narrative, that couldn't be further from the truth. Charting the tough times faced by 16-year-old Marieme (Karidja Touré) on the outskirts of Paris, the movie tackles maturity on the margins with a raw, realistic and intimate approach — and with stunning performances from the largely untrained cast, too. Plus, it ensures viewers will always feel fondly about Rihanna's 'Diamonds', which provides the soundtrack for the film's most striking scene. Read our full review. PARTISAN Trust a film about a charismatic figure that lures single mothers and their children into his cult-like enclave to have the same mesmerising impact upon its viewers. In relating the experience of the oldest boy in the commune, Alexander (Jeremy Chabriel), when he's deemed mature enough to complete special tasks, Ariel Kleiman's debut feature is the kind of movie you can't look away from — even if you want to. Partisan might be inspired by actual accounts of child assassins, but this is an atmospheric take on allegiance and rebellion, rather than an action flick. It's also the latest effort to feature a hypnotic performance by Vincent Cassel, who's no stranger to playing menacing men, but is rarely given a role so simultaneously threatening and understated. Read our full review. '71 The complexities and contradictions of war are thrust onto the screen in '71, and so is rising star Jack O'Connell. If both seem frenetic and anxious, that's understandable — the film recounts the terrors of The Troubles in Northern Ireland, as seen through the perspective of a rookie British solider left in unsympathetic territory by his squadron, after all. Director Yann Demange splices the two together with skill, his first-time helming efforts as intense as the movie's lead portrayal. If you thought O'Connell was good in TV's Skins, or in previous big-screen offerings Starred Up and Unbroken, prepare to see him blow those performances out of the water. Read our full review. LIFE If ever there was a match made in cinema heaven, it's the combination of Anton Corbijn and James Dean. Add actor Dane DeHaan to the equation, and you've got a movie that smoulders as much as its subject, all while peering behind the tragic star's mystique. Everyone knows that Dean was killed in a car accident at the age of 24 with just three films to his name — and while other features have attempted to give him the biopic treatment, capturing his allure is a much more difficult feat. With the same precision he demonstrated in his last account of a fallen idol, the Joy Division-centric Control, Corbijn achieves just that as he focuses on Dean's connection with Life magazine photographer Dennis Stock (Robert Pattinson). Read our full review. THE SALT OF THE EARTH If a picture is worth a thousand words, then Sebastião Salgado's efforts are worth several multi-volume encyclopaedias. Yes, his images are that intricate and informative — as they should be. The Brazilian social documentary photographer and photojournalist has travelled the world for more than 40 years, snapping the people and places few ever see. Thankfully, the film that charts his life, work and impact is just as engaging and illuminating, as directed by veteran filmmaker Wim Wenders alongside Sebastião’s son Juliano Ribeiro Salgado. Don't take the younger Salgado's involvement as a sign of the documentary's sentimentality, however. Instead, he helps craft a textured portrait of a man who has dedicated more than just his career to taking textured portraits. Read our full review. ZERO MOTIVATION One of the year's funniest and most thoughtful movies sprang from an unlikely place: within the human resources unit of an Israeli army administration office. There, two pencil-pushing women (Nelly Tagar and Dana Ivgy) dream of something more — however, they're never unaware of their status, nor of the military side of their employment. You're probably thinking that Talya Lavie’s feature sounds like it wouldn't be out of place alongside other amusing yet perceptive looks at bureaucracy and war, and you'd be right. Blackly comic as well constantly subversive, Zero Motivation is a slacker comedy and a contemplative consideration of combat, all in one package.
UPDATE, December 4, 2020: Sound of Metal opened in select Melbourne cinemas on Thursday, December 3, and also streams on Amazon Prime Video from Friday, December 4. When Sound of Metal begins just as its title intimates, it does so with the banging and clashing of drummer Ruben Stone (Riz Ahmed, Venom) as his arms flail above his chosen instrument. He's playing a gig with his girlfriend and bandmate Lou (Olivia Cooke, Ready Player One), and he's caught up in the rattling and clattering as her guttural voice and thrashing guitar offers the pitch-perfect accompaniment. But for viewers listening along, it doesn't quite echo the way it should. For the bleached-blonde, tattooed, shirtless and sweaty Ruben, that's the case, too. Sound of Metal's expert and exacting sound design mimics his experience, as his hearing fades rapidly and traumatically over the course of a few short days — a scenario that no one wants, let alone a musician with more that a few magazine covers to his band's name, who motors between shows in the cosy Airstream he lives in with his other half and is about to embark upon a new tour. 'Heavy metal drummer loses his hearing' is the six-word way to sum up Sound of Metal, but that's not all the film is about. Ruben's ability to listen to the world around him begins to dip out quickly and early — a scene where he's driving is methodically crafted to convey to the audience just how out of the blue and jarring it is — leaving him struggling to cope. It's how he grapples with the abrupt change, and with being forced to sit with his own company without a constant onslaught of aural interruptions distracting him from his thoughts, that the movie is most interested in, however. Ruben feels a sense of loss and also feels lost. As the awards-worthy soundscape makes plain, he feels both cast adrift and assaulted. With apologies to cinema's blockbusters (which usually monopolise the sound categories come Oscars time), no other feature this year mixes its acoustics together in as stunning and stirring a fashion, and also bakes every single noise heard into its script, and its protagonist's journey, as well. Reluctantly, Ruben takes up residence at a rural community for addicts who are deaf; he's four years clean himself, but the turn of events has Lou worried. While he's in the care of the soulful Joe (Paul Raci, Baskets), an ex-soldier and ex-alcoholic with kindness seeping from his pores, Ruben must move in alone — farewelling the love of his life and their shiny caravan. Again, he's unmoored, even as he's welcomed in by other residents and the children at the school where he's taught sign language. Although Joe stresses that deafness isn't something that needs to be fixed, Ruben is obsessed with rustling up the cash for a surgically inserted cochlear implant. The movie's most telling sequence, though, comes when Joe notices that Ruben literally can't sit still or stand his own company, and tasks him with spending his days in a quiet room unburdening his angst onto a piece of paper. On the first go, he's so distraught and so desperate to escape his brain that he smashes a doughnut as if he was beating a snare in an intense solo. 'Intense' is the word for Sound of Metal, and for its decision to express Ruben's distress as immersively as possible. It's also a term that doesn't completely do the movie justice. Making his feature directing debut, and co-writing another screenplay with filmmaker Derek Cianfrance as he did with 2012's The Place Beyond the Pines, Darius Marder turns his picture into a masterful exploration and skilled evocation of the kind of anxiety that's drummed deep into a person's darkest recesses. Viewers don't just hear what Ruben hears, but also feel what he feels as he rages and rallies against a twist of fate that he so vehemently doesn't want yet has to live with. While the film specifically depicts hearing loss, it's so detailed and empathetic in conveying Ruben's shock, denial, anger and hard-fought process of adjustment that it also proves an astute rendering of illness and impairment in general. That's Ahmed's recent niche; in two consecutive roles in just the past year, the always-excellent actor has played musicians who are blindsided by their health and the impact of a sudden affliction on their future. This year's Berlinale-premiering Mogul Mowgli, where he steps into the shoes of a British Pakistani rapper with an autoimmune condition, doesn't just pair perfectly with Sound of Metal. Together, the two movies demonstrate how committed Ahmed is to telling such tales in a piercing, probing, visceral and lived-in way. Here, he learned to play the drums and American Sign Language. What resonates as persistently as the muffled buzz that replaces Ruben's ability to discern ordinary sounds, though, is how affectingly and attentively his on-edge but also vulnerable portrayal is attuned to the everyday grief that comes with his character's situation. Losing a part of yourself, whether it's an actual sense or the sense that you'll always be healthy, is dispiritingly tough. Accepting and making the most of that scenario is just as difficult. Being deaf shouldn't be considered a state that needs to be cured, as Joe rightly espouses, so Ahmed's powerfully physicalised performance shows the fight and fortitude it takes to get to that place mentally and emotionally. From the exceptional work of supervising sound editor Nicolas Becker (Suspiria, American Honey, Gravity) to the urgent, in-the-moment cinematography favoured by Daniël Bouquet (Elektro Mathematrix), every choice made under the talented Marder's guidance has the same outcome as well. Indeed, when Sound of Metal ends — not with a bang, nor a whimper, but with a quiet yet potent moment — it has taken its audience deep into Ruben's journey, made those on- and off-screen confront both specific and existential anxiety, and rousingly, movingly and sensitively challenged traditional depictions of and attitudes towards disability in the process. https://www.youtube.com/watch?v=VFOrGkAvjAE
You can't beat a good sandwich. And Burnside, down on the big bend intersection of Smith and Gertrude Streets, has some great ones. They prove that sometimes there's no need to complicate things and recreate the dining experience. Sometimes it just is. That pretty much sums up the Burnside experience: simple food, good location, great coffee. The owners are a little bit like the A-Team of Melbourne coffee. Chris Handley, Sean Albers and Jona Gunn —from Cheerio, Brother Baba Budan and Seven Seeds respectively — know what they are doing, and have have brought their knowledge to the busy Fitzroy corner. The area is not in the least starved of good coffee, but locals seem to be flocking to Burnside just the same. Open from 6.30am weekdays, swing by for a Seven Seeds coffee on the way to work or while waiting for the tram. Croissants, doughnuts and pastries from Noisette are all available and sitting neatly on the counter until all gone, and muesli and and toast are on the menu too. But from 10am, you can get the sandwiches. Soft, fresh seeded or sourdough bread is filled with quality ingredients like veggies, tuna and olive, chicken, or pastrami and sauerkraut. You can take away or perch on the wooden benches and stools handmade by Jona. Add some low-key funk as background music, uncluttered decor and a few friendly staff, and there you have it — another quality coffee haunt for the inner north.
Doing your bit for the environment has never looked quite so good as it does with Frank Green's colourful range of reusable cups. The durable containers are not only helping to quash Australia's single-use coffee cup waste problem, they're also super stylish and beautifully designed. And you've got the perfect excuse to add a couple to your collection (or someone else's), when Frank Green hosts its first ever warehouse in Melbourne sale next week. Taking over the brand's Southbank headquarters on Friday, July 19, and Saturday, July 20, the sale will offer some very sweet bargains on a huge assortment of Frank Green products. Selling at up to 60-percent-off the usual price, you'll find items from the Stainless Steel, Original and Next Generation collections, across the dreamy 2018 colour range. With the cups usually going for around $30–40, you could score one for as cheap as $12 with the discount. For the uninitiated, those Next Generation products each feature an in-built payment chip that's linked to your Visa card, allowing you to tap and pay for that morning latte with your actual coffee cup. Very nifty – especially if you can scoop one up at a bargain price. Frank Green Warehouse Sale runs from midday–5pm Friday and 8am–5pm Saturday.
Melbourne's seaside suburbs had a bit of a foodie glow-up in 2024. Sushi Baby got a brick-and-mortar restaurant in Brighton, D.O.C landed in St Kilda, Southall moved to a bigger and better site in Hampton, and Moon Dog has announced it will open up a new brewery bar in Frankston. Bayside locals have cried out for more great places to eat and drink. And their calls are slowly being answered — with Hampton's Bang Bang being the latest to do so. The Bang Bang crew already has a site in Mordialloc, but they saw demand for a new location further out in Hampton. Here, fans of the original outpost can find most of the same dishes that span cuisines all over Asia — focusing on Southeast Asia, Japan, Korea and India. The kitchen is plating up prawn toast with tonkatsu and bonito; bao buns stuffed with 12-hour short ribs; a Balmain bug and pork larb; snapper ceviche; chicken satay served with roti; a beef cheek massaman curry; and a spicy fried Sichuan eggplant. Like most new restaurants in Melbourne, the menu is made for sharing, and the team offers up a chef's selection of dishes ($57.50 and $89) for those overcome by choice paralysis. Drinks include a stack of Asian-inspired cocktails, Victorian beers and cider, a tight selection of wines and sake, and a smattering of mocktails. The team even has a fab happy hour to entice folks over to Bang Bang Hampton. Every weeknight from 5–6pm, diners can tuck into $2 fresh oysters, a $35 raw tasting plate and a heap of $15 cocktail specials. Nabbing one of these deals ain't a bad way to give Bang Bang a go. Stop by for some cheap seafood and cocktails and see if you want to stick around for a flavour-packed pan-Asian feast. Images: Jessie B Evans
If Uluru's stunning Field of Light installation doesn't already have you planning a trip to the centre of the country, then the latest news out of the Northern Territory might — Litchfield Adventure Park, the NT's most popular national park, is getting a $12.1 million makeover. As part of the facelift announced by the NT Government, new areas of the 1500 square kilometre park will be opened up to visitors, including five new swimming spots and waterfalls, 40 kilometres of new four-wheel drive tracks and three new campgrounds. Established as a national park in 1986, Litchfield is located 120 kilometres south-east from Darwin, and is a particularly popular spot for day-trippers. Indeed, it's the Top End's most popular national park, attracting almost 370,000 visitors a year. The new addition — in the park's north, as reported by the ABC — expected to increase that number by 60,000 annually. At present, there's plenty at Litchfield to entice visitors anyway, including existing swimming holes, camping spots, picnic grounds, bushwalking tracks, scenic lookouts and more. A highlight for adventurous trekkers is the 39-kilometre Tabletop Track, which takes up to five days to complete, with camp sites along the way. For more information about Litchfield Adventure Park, visit the park's website.
Family-run Box Hill eatery Shaanxi-Style Restaurant is an argument for not judging a book by its cover. Behind an unassuming facade almost stereotypical of a suburban Australian Chinese joint, the authentic northwestern Chinese food draws in so many customers the family had to expand the original dining room into the space next door. As the name suggests, the food here all originates in the Shaanxi province in northwest China, where strong flavours of garlic, salt and onion are common. Try regional specialties like roujiamo (flatbread meat sandwiches), biang biang noodles and paomo, which is a lamb soup popular in the province's capital, Xi'an. If you walk away from Shaanxi-Style Restaurant with a bill of more than $40, we'll be very surprised, as dishes range from $3 for green bean soup, to $19.90 for the fried pork intestine with chilli; most of the dishes sit at around the $12 mark.
Spring has arrived, and with it comes the smell of fresh popcorn as starlight screenings return to Lido's Rooftop Cinema in Hawthorn. Perched atop the Glenferrie Road picture house, the outdoor screen will once again light up with a selection of new release movies in the open air — from Thursday, October 27. The 2022–23 Lido on the Roof season kicks off with Billy Eichner-starring rom-com Bros, plus sessions of Barbarian and the similarly scary Terrifier 2 and Sissy around Halloween. The Woman King and Smile help round out the rooftop cinema's first week, although that's just the beginning of the program. Also on the bill: the Harry Styles-starring Don't Worry Darling, coming-of-age tale Armageddon Time, much-anticipated Marvel sequel Black Panther: Wakanda Forever, the sleuthing Glass Onion: A Knives Out Mystery, and festive hijinks with Violent Night and Die Hard — with more titles set to be added over spring and summer. Always a hot ticket, sessions sell out quickly here — if you need any more motivation to get booking. Also, don't forget that the bar opens an hour before session start times for rooftop — and sunset — drinks.
For much of the past two years, Victorians — and Melburnians in particular — have been asked to stay at home. But when lockdown conditions haven't been in effect, the State Government has taken the exact opposite approach. With the tourism industry doing it tough during the pandemic, a number of initiatives have popped up to encourage folks to head out of the house on local getaways, with free money given away as incentives — and the new Victorian Travel Voucher Scheme is the latest. As it has done several times before, the Victorian Government is giving away $200 vouchers, this time to folks travelling anywhere in the state. This round was announced back in February, and will open at 2pm AEDT on Wednesday, March 23. And, based on previous voucher drops, and the fact that it's a first in, first served affair, getting in quickly is highly recommended. A whopping 140,000 vouchers will be made available as part of this $30 million round, all worth $200 each. You'll need to use them for travel this autumn, between Friday, April 8–Friday, May 27 — and, to get the cash back, you'll need to spend $400 on eligible tourism and travel related services, which span paid accommodation, tours and experiences. That means that, at most, half of your expenses will be covered; however, that's still $200 that you won't have to fork out yourself. You'll also need to book in for a two-night stay at a minimum — again, in paid accommodation. Also, these vouchers are being released per household (not per person), with one available to each across the entire scheme. [caption id="attachment_845440" align="alignnone" width="1920"] Peter Tarasiuk, Visit Victoria[/caption] As every initiative like this has since the beginning of the pandemic, the Victorian Travel Voucher Scheme once again has two obvious aims: enticing Victorian residents to go venturing throughout the state, and helping support pubs, hotels, wineries and small businesses. In the past, the vouchers have been able to be used on holiday parks, camping sites, cottages, farm stays, private holiday rentals, houseboats (yes, houseboats), winery tours, adventure tours and entry fees to regional attractions, such as museums, water parks and adventure parks. While the full rundown for this drop hasn't yet been released, there is always a hefty list of things that you can't spend these State Government vouchers on, too, including gaming, alcohol, fuel, food and drinks (unless it's part of a winery tour, for example), groceries, personal items (such as clothing) and transport (such as rental cars and public transport). So, you can't use the voucher just to take a road trip to a pub, for instance. That said, you can use it to book accommodation at the pub, then spend your own money on food and drinks — which will still make your trip away significantly cheaper. [caption id="attachment_837286" align="alignnone" width="1920"] Visit Victoria[/caption] Again, getting in asap is recommended — when the first two rounds of vouchers became available, they were snapped up quickly, so much so that another 30,000 were released after the first set to meet demand. The third round also unsurprisingly proved popular, as did a separate batch just for metropolitan Melbourne stays. As part of a broad stimulus package to encourage Victorians to get out and about, and to pump cash into the local economy, more free money is up for grabs right now if you're eating out in Melbourne — thanks to the Midweek Melbourne Money program. Also on the way: a new $30 million entertainment voucher scheme for discounted tickets to the cinema, theatre shows, live music gigs and exhibitions, plus conferences and other events. It's currently expected to kick off on Tuesday, March 29. The Victorian Travel Voucher Scheme opens at 2pm AEDT on Wednesday, March 23, with 140,000 vouchers up for grabs for travel between Friday, April 8–Friday, May 27. For more information, head to the Victorian Government website. Top image: Visit Victoria.
Aussies are ditching the overdone, stuffy dinner parties of yesteryear and instead are opting for bougie elevated cocktail nights at home with their besties. We're socialising more than in previous years but, with the rising cost of living, we're looking for more economical ways of hanging out with our friends. One way to do it is to host luxurious cocktail parties at home. Are you part of the trend? Read on to get some tips to elevate your next cocktail party. CONCOCT THE COCKTAIL LIST You can't have a cocktail party without cocktails. To keep things easy for you (and interesting for your guests), stick with a single spirit for your shindig. Bourbon can be a foundation for many cocktails like old fashioneds, manhattans, whisky sours or highballs. Vodka is the basis for numerous cocktail recipes like a classic cosmo, martini, bloody mary or lemon drop. Equally versatile is gin with cocktails like gimlets, Tom Collins, negronis and, of course, gin and tonic on its repertoire. Aim to prebatch your ingredients and garnishes so you can spend more time socialising with your guests. One garnish can work for many cocktails. For instance, bourbon cocktails work exceptionally well with orange peel garnish. CURATE A MENU Tasty cocktails deserve equally tasty food. It doesn't need to be complicated, especially because cocktail parties are better suited to canapes and charcuterie boards. So crack out the cheese knives and small plates and set up grazing stations throughout your party space. You don't need to bust your weekly budget on ingredients. Stock up on cheese, crackers, cured meats, fresh fruits, olives and crusty bread. Don't forget dips and spreads, and you'll be golden. Keep in mind any dietaries your mates may have, and don't mix bread and crackers with the cheese and meat to ensure any coeliacs among you are happy. CREATE THE ATMOSPHERE What's a party without the right vibes? Get onto Spotify and create the playlist to perfect your cocktail party theme. Are you going with minimalist chic? Maybe you should load up on lo-fi beats. Are you thinking more of a luxe old-world vibe? Jazz is your friend. Or perhaps you're pushing a colourful midday sesh. If so, pop music should be on the tracklist. Depending on the vibe you are going for, lighting can make a major impact on the atmosphere. No one wants to chill with overhead lights showing everything. If you don't have dimmers on your lights, you can create a soothing vibe with fairy lights, lamps or candles — just be careful where you set up candles. To let your guests know the party is over, subtly blow out the candles and turn off the music. The vibes will be over, and so will the party mood. Keen to host a luxurious night of your own? We are giving our readers the chance to host a luxury cocktail party for up to 40 guests. Check out the competition here. Images: Susannah Townsend, Woodford Reserve, Getty Images
Maybe you love nothing more than telling simulated people what to do. Perhaps a fantasy universe is your favourite place to escape to when you're mashing buttons. More than a quarter-century back, virtual critters might've been your go-to pastime. The Sims, World of Warcraft and Neopets have all made an impact on the gaming world, and on audiences. All three are also scoring plenty of love at Game Worlds at the Australian Centre for the Moving Image in Melbourne. For five months between Thursday, September 18, 2025–Sunday, February 8, 2026, this video-game exhibition is shining a spotlight on 30 iconic titles — and making attendees feel like they're stepping inside some of them, too. Expect everything from original concept art and never-before-seen designs to rare objects at the Federation Square site's Gallery 4. Expect to get playing, rather than just peering, as well. [caption id="attachment_997872" align="alignnone" width="1920"] Electronic Arts[/caption] Although the full lineup of games featured hasn't been revealed as yet, they'll span from the 70s until now, and 20 of them will be playable. Demos, games from years gone by, trying to break speed records: they're all part of the setup, which will include international hits, new Australian releases and everything in-between. ACMI has staged major video-game showcases before. This is its third, in fact, following 2008's Game On and 2012's Game Masters. Since the latter, the venue has also hosted smaller gaming exhibitions, such as 2017's Code Breakers — where women in the industry were the focus — and 2024's Honk! Untitled Goose Exhibition. Earlier in 2025, it celebrated 25 years of The Sims across one nostalgic weekend. As it regularly does with its showcases, the gallery will pair Game Worlds with talks, film screenings and other events, family-friendly activities among them. [caption id="attachment_997868" align="alignnone" width="1920"] World of Neopia[/caption] Top images: Blizzard Entertainment.
UPDATE, September 1, 2023: Aftersun is available to stream via Binge, Google Play, YouTube Movies, iTunes and Prime Video. The simplest things in life can be the most revealing, whether it's a question asked of a father by a child, an exercise routine obeyed almost mindlessly or a man stopping to smoke someone else's old cigarette while wandering through a holiday town alone at night. The astonishing feature debut by Scottish writer/director Charlotte Wells, Aftersun is about the simple things. Following the about-to-turn-31 Calum (Paul Mescal, The Lost Daughter) and his daughter Sophie (debutant Frankie Corio) on vacation in Turkey in the late 90s, it includes all of the above simple things, plus more. It tracks, then, that this coming-of-age story on three levels — of an 11-year-old flirting with adolescence, a dad struggling with his place in the world, and an adult woman with her own wife and family grappling with a life-changing experience from her childhood — is always a movie of deep, devastating and revealing complexity. Earning the internet's Normal People-starring boyfriend a Best Actor Oscar nomination, and deservedly so, Aftersun is a reflective, ruminative portrait of heartbreak. It's a quest to find meaning in sorrow and pain, too, and in processing the past. Wells has crafted a chronicle of interrogating, contextualising, reframing and dwelling in memories; an examination of leaving and belonging; and an unpacking of the complicated truths that a kid can't see about a parent until they're old enough to be that parent. Breaking up Calum and Sophie's sun-dappled coastal holiday with the older Sophie (Celia Rowlson-Hall, Vox Lux) watching camcorder footage from the trip, sifting through her recollections and dancing it out under a nightclub's strobing lights in her imagination, this is also a stunning realisation that we'll always read everything we can into a loved one's actions with the benefit of hindsight, but all we ever truly have is the sensation that lingers in our hearts and heads. That aforementioned question arrives early in Aftersun: "when you were 11, what did you think you'd be doing now?" Sophie asks. A query that's been uttered many times to many people, Wells does indeed mean to get Calum taking stock, remembering his youthful hopes and dreams, and seeing the chasm between what he once wanted and where adulthood has brought him. She also wants viewers sharing the train of thought with him, in a movie that doesn't just feel personal in every second — the filmmaker has called it "emotionally autobiographical" — but gets its audience feeling that it is personal to them. That's a remarkable skill, making a piece of fiction drawn partly and loosely from someone's facts feel as vivid to you as if you'd lived it yourself. And, for 90s kids like Sophie, it doesn't just spring from the meticulous period detail in the sets, wardrobe choices, and 'Macarena', 'Losing My Religion' and 'Tubthumping' on the soundtrack. Consider Calum's quietly, subtly shaken response to Sophie's innocent inquiry — the unsettled look on his face momentarily, owning the brief but loaded pause, before he remembers that he needs a dad's reaction — Exhibit A among the evidence that Mescal is doing career-best work. The actor still only has a handful of screen credits to his name, scoring his Academy Award nod in just his third movie role. He's never been anything less than phenomenal in anything he's been in. Earthy and charming, gentle and fragile, stoic and raw, so wounded inside and so reluctant to share it, and sporting a vulnerable gaze and a cast over one wrist, Mescal is simply heartwrenching in Aftersun, however, as it keeps diving into Sophie's remembrances of her oft-smoking, always supportive, tai chi-practising, playfully bantering, tenderly doting but also silently depressed dad. Understanding why the adult Sophie is scouring VHS tapes and her mind's eye for far more than mere nostalgia involves doing what everyone on a resort getaway does: hanging out. Aftersun spends much of its time in the simple holiday moments, including by the pool, at dinner, singing karaoke, day tripping, and in Sophie and Calum's room — and lets these ordinary, everyday occurrences, and the details that flow from them, confess everything they can. With a blue hue, the film pieces together the pair's history along the way, with Sophie living in Glasgow with her mum, Calum based in London but hardly settled or happy, and this vacation a rare chance for the two to enjoy quality time alone. It also hears the instances where he's mistaken for her older brother and, not unrelated, sees her yearning to be liked by the older kids staying at the same hotel as they drink, banter, party and represent a step closer to her dad's existence. Mescal gets a tilt at Hollywood's night of nights for his efforts, but Corio is just as extraordinary — perhaps more so given that it's her first acting role. Watching the duo together is a marvel and, befitting the wistful sensation that washes through the feature about its central voyage, a rarity. Aftersun is sensual and dreamy in its structure and texture, elaborately constructed to look and feel that way, and anchored by two sensationally naturalistic performances and one sublimely authentic rapport. Everything about the picture ripples with a lived-in air: Mescal and Corio alone and combined alike, the emotions so tremendously conveyed in their portrayals, the genuine rather than fetishised 90s minutiae, Catatonia's 'Road Rage' and All Saints' 'Never Ever' echoing among the pitch-perfect music choices, and those flashes of hazy lose-yourself-to-dance reverie that include the grownup Sophie as well as her vision of Calum. Sophie, Calum and the inescapable aching that haunts both make an unforgettable trio, but Aftersun adds more names to that list, Wells chief among them. One of her great feats in penning and helming a movie that itself is a great feat is ensuring it resembles a flickering memory, complete with making it look and play that way — aided by cinematographer Gregory Oke (Raf) and editor Blair McClendon (The Assistant) — with its faded, glitching videotape aesthetic. Her sense of pace, feel and emotional storytelling, and her ability to build layers everywhere, is as engrained as Mescal and Corio's easy vibe. Her way with all the details revealed in all those small things, and with music drops that say everything (the use of David Bowie and Queen's 'Under Pressure' is majestic and dazzling) is as well. There's nothing tiny about the talents on show here, or the story shared, or one of the most resonant, intelligent and shattering final shots any film has ever managed. "Wish we could've stayed for longer," Sophie says before that. When Calum replies "me too", he's speaking for all of us.
You can never have too much gelato, or too many places to pick up the frosty, creamy dessert — especially when summer is underway. So, following that train of thought, Piccolina Gelateria has opened a new store. If you're keen for a scoop of its handmade gelato, you can now head to Richmond's Swan Street. Open since Monday, December 21, the new digs expand Piccolina's footprint to four Melbourne shops — because it's already a firm neighbourhood favourite in Hawthorn, Collingwood and St Kilda. In Richmond, you can get your mitts on the brand's desserts, including by the scoop and via frozen gelato cakes. Frappes, thick shakes and shaved ice granitas in three flavours are also on the menu. Prepare to go a little bit nuts with the chocolate and hazelnut, too. Like Piccolina St Kilda, the Richmond store does Nutella on tap. Fancy some whipped cream atop your dessert? The new shop has its own machine to let you get extra creamy. The new Swan Street store sports a Hecker Guthrie-designed fitout like its siblings; however, this time it's aiming for a cocktail bar-esque atmosphere. You'll stand beneath a handblown chandelier imported from Europe, sit at custom-made solid walnut benches, and get your gelato served from a front counter that combines grey Italian terracotta tiles with a grey terrazzo stone benchtop. Or, if you want to soak in the location, there's also seating outside. Piccolina Richmond is now open at 85 Swan Street, Richmond — trading daily (except Christmas Day) from midday till late.
Melbourne is filled with must-try places for a bite, but there's still nothing like a home-cooked meal. Alison Roman understands this. The Brooklyn-based food writer and chef may live in New York and have access to its thriving dining scene, but she's a big fan of eating in — and she has viral recipes such as #TheCookies, #ThePasta, #TheStew and #TheDip to prove it. Roman also has two cookbooks currently in bookshops, and possibly on your own shelves: Dining In: Highly Cookable Recipes and Nothing Fancy: Unfussy Food for Having People Over. Come April in Australia, Sweet Enough: Desserts for People Who Don't Do Dessert will join them. To launch the latter, and to make her first trip ever Down Under, Roman is hitting our shores to get chatting about home cooking, those internet-famous dishes and why she adores her own kitchen. [caption id="attachment_752523" align="alignnone" width="1920"] Michael Graydon and Nikole Herriott, courtesy of Hardie Grant Books.[/caption] The viral recipe queen and New York Times-bestselling scribe will head to Melbourne Town Hall on Friday, May 5 as part of this year's Melbourne Writers Festival. In the Victorian Capital, she'll be talking with Benjamin Law, and expect her food newsletter A Newsletter and YouTube series Home Movies to get a mention. She'll also discuss her career and her journey to the dessert-focused Sweet Enough, plus everything from having her own CNN cooking show to releasing her first baking book.
Succession isn't the only Emmy-winning HBO show dropping its fourth and final season in 2023. Bill Hader's just-as-excellent hitman comedy Barry is also finishing its run when season four wraps up, and it's just-as-certain to be deeply missed. The reason is all there in the killer concept, and the phenomenal performances, writing and direction that goes with them. When you've got Hader (Lightyear) playing a military sniper-turned-hitman-turned actor, something special was always bound to result. If you've watched season three, which was characteristically spectacular, you'll know why things seem to be coming to an end for Barry in more ways than one. A show about an assassin trying to be an on-screen star in Hollywood can't keep its main figure away from the law forever. So, in the just-dropped full trailer for Barry season four — which follows an earlier sneak peek from HBO — the series' namesake is in reflective mode. "I'm really sorry. I didn't think it would end up like this. I am a good person — that is who I am," Barry tells himself in the new trailer. Everyone he knows seems to be taking stock, too, whether they still have their freedom or not. In this season, Barry is incarcerated, his mentor and veteran thespian Gene Cousineau (Henry Winkler, Black Adam) is being hailed as a hero, but this turn of events is clearly going to have consequences. That includes for his former handler Monroe (Stephen Root, Succession), as well as his ex-girlfriend Sally (Sarah Goldberg, The Night House). Is this where the killer-for-hire will be when the eight-episode season concludes? Will Chechen gangster Noho Hank (Anthony Carrigan, Bill & Ted Face the Music) somehow intervene? What's happening with Sally's career after season three? These are all natural questions to have about the show's return. Answers will start coming soon, with Barry season four set to start streaming via Binge in Australia and Neon in New Zealand from Monday, April 17. If you're new to all things Barry, Hader not only stars but created the show, has directed a heap of episodes, and also co-wrote others. The initial setup: when Hader's Barry Berkman heads from Cleveland to Los Angeles for his job, he discovers a previously unknown passion for acting after he stumbles into a class held by veteran thespian Cousineau. The catch? Barry kills people for money, and that isn't a line of work that you can leave easily, especially when you become caught in the Chechen mafia's violent and deadly dramas. Check out the full trailer for Barry season four below: Barry's fourth season will start streaming via Binge in Australia and Neon in New Zealand from Monday, April 17. Images: Merrick Morton/HBO.
Chicken has become one of most talked about topics in the culinary world this year. But unlike other passing fads (Nutella, we're looking at you), the discussion has been in many ways warranted. Because there's been a lot happening with chicken in Australia. There was the free-range egg scandal that saw significant changes to the way free-range chicken products are classified in Australia, and a new interest about where the chicken we eat comes from. Meanwhile, pundits have called out chicken — particularly rotisserie and charcoal chicken — as one of the biggest emerging food trends of 2016. Philippe Mouchel was perhaps the first chef to import and use a French rotisserie in Melbourne in the early '90s. Under the guidance of the three-hatted Paul Bocuse, famous for his contributions to the nouvelle cuisine movement, Mouchel moved from France to Japan and then Australia to open the Paul Bocuse restaurant. It was here that Normandy-born Mouchel first made his mark on the Melbourne fine dining scene. Having now just launched his new restaurant, Philippe, Mouchel has brought his much-loved rotisserie back to Melbourne. And along with it, the rotisserie chicken that shot to stardom at PM24, his previous short-lived collaboration with George Calombaris. So why has rotisserie chicken — traditionally relegated to suburban chicken shops (and always served with chips) — made a resurgence in Australia's fine dining scene? And why now? We have a chat to Sydney and Melbourne's top chook-cooking chefs to find out. IT'S ABOUT TRADITION Having grown up in a relatively self-sufficient family, a Sunday roast of chicken, duck, rabbit or goose — whichever it was that made it first from their garden to the table — was a way of life for Mouchel. "When I moved to Lyon, working for Mr Bocuse, we had a fireplace, and we used to cook the chicken that way as well," says Mouchel. "It is something you cannot forget, I think. And this is what I like to cook." "If you go to the market in France, everyone has their own rotisserie chickens," says Mouchel. "Everything about the process is natural, the potatoes and vegetables served with the chicken cook underneath it in its natural juices. "It is something that is very close to my heart and that I love. It is a fantastic way to eat I think because it really keeps in all the flavour." But it's also unique, Mouchel explains. Each region within France has their own special chicken from that area. "It's very easy to sell chicken," says Mouchel. "You can say, this is a chicken from Normandy, or this is a chicken from Bresse. Different chickens, different breeds, different prices and different tastes as well." For the ex-Momofuku chef who re-launched Sydney's The Paddington late last year, Ben Greeno, the French tradition took a similar hold over his imagination. "I spent a lot of time in France as a kid on holidays and stuff, and you'd always see those big rotisseries," says Greeno. It was these early memories of the French way of cooking and an opportunity to cook chicken a different way in Sydney that saw him install three gas-powered rotisseries in The Paddington's kitchen. [caption id="attachment_555619" align="alignnone" width="1280"] Ben Greeno's chicken at The Paddington, Sydney.[/caption] IT'S A NEW OLD WAY OF COOKING Rotisseries these days are much more widespread than when Mouchel first landed in Australia, but even today very few restaurants use them all the way through the cooking process. But for Greeno and his new team, this was part of the challenge. "We decided we'd do it from nothing, from the raw product all the way through." This is why The Paddington, in Sydney's inner east, is one of many venues ruffling feathers. After undergoing a major renovation by hospo monolith Merivale, Greeno took over as executive chef and made chicken the star of the menu. It's his free-range Bannockburn birds that are drawing a crowd at The Paddington. Henrietta's Chicken Shop in Melbourne have taken a more Australian approach to the chicken shop. But with a former sommelier in Stuart Brookshaw at the helm, there's more than enough restaurant experience at the table. His emphasis, like Mouchel and Greeno, is on local and sustainable ingredients. Which extends from his choice of either Bannockburn or Milawa chooks, all the way through to his use of mallee root coals and native lemon myrtle seasoning. But that's where the similarities stop; Brookshaw uses an entirely different process to the French rotisserie method. Here the chickens are injection-brined overnight, rolled in a dry rub and spit roasted over smoke and fire. By contrast, in Mouchel's kitchen, mushrooms and herbs are stuffed underneath the skin, before the chicken is seasoned only with salt and pepper. "There's no secret," says Mouchel, "People think it's very complicated, it's really very easy. But you need a good quality chicken first." [caption id="attachment_581500" align="alignnone" width="1280"] Philippe Mouchel's truffle chicken at Philippe, Melbourne.[/caption] IT'S RESPONDING TO DEMAND FOR QUALITY PRODUCE The chicken industry in Australia has nowhere near the diversity of France or England, but, as Brookshaw explains, "If you look at where chicken is, it's exactly where [the] beef [industry] was about 13-14 years ago." Which is on the verge of something much bigger. About 95 percent of all chicken eaten in Australia is one of two breeds, says Brookshaw — and around 85 percent still comes from the major suppliers. But the trend is now that people are more aware and interested in where their food is coming from, which means more space in the market for small producers to exist. There are currently only two specialty chicken producers in Australia licensed to breed the famous Bresse birds from France. Prized by top restaurants for their complexity of flavour, the Bresse is a slow growing and much taller chicken, with a larger thigh and leg region than the standard broiler bird. At around $50 a bird wholesale, they're not cheap. But as a more fastidious market continues to prove, there is demand for organic, hand-reared and specialty birds in Australia. Chefs are embracing and taking advantage of the better quality produce available to them, and that's not just limited to chicken. "Like everything else, if you want to cook a nice meal then you need to use beautiful ingredients if you can afford them," says Mouchel. And while Australia may not have reached its peak yet, it's very much on it's way to becoming a more diverse and specialty supplier. "Chicken is the last domain in a lot of ways," says Brookshaw. And it's true — we already know where products like beef come from, so presumably, it's just a matter of time until the chicken industry catches up. And Greeno would tend to agree. "Ten years ago, in England, if you wanted to get a really good chicken you were very limited." Like England, it looks like Australia will get there eventually. [caption id="attachment_572031" align="alignnone" width="1280"] Stuart Brookshaw's chicken at Henrietta's Chicken Shop, Melbourne.[/caption] SO CAN CHICKEN BE A TREND? "Everybody keeps saying, 'why do you think chicken is this new hot trend?' And I probably don't agree with that," says Greeno. "I mean, is it? There're some guys in Sydney that have opened a chicken shop; there are some guys in Melbourne that have opened a chicken shop. But I don't see everybody doing chicken. Dan Pepperell is doing a fantastic chicken down at Hubert, but it's just a chicken. I was doing roasted chickens at Momofuku, I was serving them with fucking witlof and black truffle, but I was still doing chicken." Whether it is a trend or some seriously trumped up charges, some interesting things are happening with chicken right now. Perhaps it isn't the hottest new trend of 2016, but rather a slow growing Bresse that will come into maturity over the next five, ten or even 20 years. [caption id="attachment_567954" align="alignnone" width="1280"] Rotisserie chicken at Mercado, Sydney.[/caption] OKAY, WHERE DO I GET SOME CHICKEN? Get your chicken fix from any of the following good restaurants. Chicken breast rôtissoire at Philippe The dish that started it all. The Belair Club at The Premises Breakfast or lunch with a solid take on the classic chicken and stuffing sandwich. Charcoal chicken at Henrietta's New world charcoal chicken cooked with native ingredients. Don't forget the potato salad. The GLT at Bar Liberty The soon to be cult classic (a chicken skin sandwich) from ex-Attica staff. Rotisserie chicken at The Paddington French-style rotisserie chicken and late night chicken bacon sandwiches. Chicken fricassee at Restaurant Hubert The go-to dish at this bound-to-become Sydney institution. Spit-roasted chicken at Mercado A picture-perfect chicken available in half or whole. Top image: The Paddington.
This year has seen a lot of us spending a whole heap more time at home, and we can't think of a better excuse for a little domestic spruce up. Or, at the very least, a neat new rug to adorn your living room floor. If it is time for a rug refresh, expect to find some winning options among Miss Amara's huge three-week sale. The online rug retailer is dishing out deals with 15 percent off each of its three best-selling rug styles across three weeks. First up, its boho rugs, with designs like the luxe wool Camilla, are on sale from October 11–18. Then, you can nab 15 percent off minimal rugs from October 21–29, and score savings across the whole collection of tribal rugs from November 1–8. Having trouble choosing? Answer a few questions online about your space and your preferences, and Miss Amara's virtual stylist will help you find your ideal rug match. What's more, you can take your favourites for a visual test drive, thanks to the virtual room simulator. Just click the button that says 'See This In My Room' below any product, snap a photo of your space and see how well they pair. And to get even more of a taste, Miss Amara will even let you try a rug at home, with free refunds and returns if it doesn't tick the right boxes. As an added bonus, Miss Amara offers free delivery across Australia, too. https://www.instagram.com/p/CFrT2KLn0gt/ FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Spend a day meeting and greeting puppies at the Guide Dogs Victoria Community Fair. Not only will you be getting more than your fair share of fluffy cuddles, you'll also be supporting a good cause. The fair is all about sharing the world of guide dogs with the public. On top of meets and greets, there'll be chances to see puppies in training, watch puppy demonstrations and see first-hand the difference that guide dogs can make to people's lives. Plus, there'll be a live performance by singer Rachael Leahcar, who placed third in The Voice in 2012. Other special guests on the bill include Collingwood Football Club's Mason Cox, Carlton Football Club's Jack Silvagni, and comedians Anthony 'Lehmo' Lehmann and Dolly Diamond. In between all that, wander through market stalls, feast on local eats and check out Guide Dogs Victoria's world-first fully accessible campus. It's a game-changing space for people with low vision or blindness.
It's a sad day for Melbourne's cafe scene, with news yet another hospitality venture has fallen victim to the dreaded apartment development. This time, it's Brunswick East stalwart Pope Joan that's getting the boot. After eight years of operation (and many a Pope Joan brekkie roll devoured), Matt Wilkinson's Nicholson Street gem is set to shut up for good on Sunday, June 24 to make way for a seven-storey apartment building. "Of course, I would have loved for Brunswick to have remained a village of quaint weatherboard houses and small cafes like ours, but it's just the way it goes," said the owner and chef. "It's the end of an era." Having won over locals for close to a decade with its honest, locavore fare, Pope Joan's not going anywhere, but in style. For the final month of cafe operations, the cafe will tap into its catalogue of greatest hits, offering a menu of staff and customer favourites. Pop in for one last go at dishes like the pumpkin and haloumi tart, and the 'Kinda' Full English, loaded with bacon, sausage and Joan's legendary baked beans. Dinner service is also getting one last hurrah, served across four Friday evenings on June 1, 8, 15 and 22. For the nighttime menu, expect yet more Wilkinson classics, from the sesame brown rice risotto with grilled Otway shiitake, to the beloved Milawa chicken kiev. Next door sister venue The Pie Shop will remain open with Wilkinson at the helm as it's thankfully on a different land title. Pope Joan will remain open at 77–79 Nicholson Street, Brunswick East until June 24. For more info, visit popejoan.com.au.
Is your wardrobe in need of a new-season refresh? Leave it in the hands of Australia's next generation of fashion legends when you shop the range of sartorial goodness that's set to grace the racks at Melbourne Fashion Hub's 2023 Pop-Up Store. It's the third annual instalment of the showcase, which is just part of the independent organisation's work supporting fashion students and recent graduates as they make their start in the industry. On show at Emporium from Saturday, March 25–Sunday, March 26, the pop-up will feature pieces from 17 emerging designers, including alumni of Holmesglen, RMIT and Whitehouse Institute of Design. They'll each have their own mini collections on show for visitors to browse and buy, spanning an array of different styles but all built on a commitment to responsible practice. You'll also have the chance to meet and chat with the designers, scoring a glimpse into the future of Melbourne's fashion scene. Who knows what rising star labels you'll unearth here before anyone else? Tickets to the pop-up are free, though you'll need to register online to secure your spot. [caption id="attachment_893782" align="alignnone" width="1920"] Works by designer Emilia Lay[/caption]
Murals don't have the best name for themselves. Instead of representing a vibrant and artistic community, they tend to conjure images of that fluoro abomination that donned the wall of your primary school hall; the one that featured fifty life-sized self-portraits of children with exceedingly long necks and circular eyes that stare at you with unblinking terror. Now, this amateur art form is being taken to the next level. Coupling with the community themselves, Spanish artist collective Boa Mistura are currently in the process of painting an entire town in Mexico (and the results are not at all cringeworthy). Taking inspiration from the art of the indigenous Otomie people, this group of painters, engineers and architects created designs that cover 30 buildings in the small town of Querétaro; with plans to expand to all 1,074 starting from September this year. Enlisting the help of young locals, Boa Mistura says the project is being carried out in an effort to rejuvenate and unite the community not only in the painting of the murals, but in their everyday lives too. "They are thinking in a different way right now," says a member of the group. "[They] have a new reality, a modified one. That's actually really good." This initiative comes after similar efforts in both Cape Town, South Africa and San Paolo, Brazil; and it's hard to say the pieces aren't a success. Bright colours pop from the landscape and energise the derelict surrounds; you can't help but smile at their simple charm. Similar groups are operating all around the world too. Much like Boa Mistura, Dutch street artists Haas & Hahn embarked on a huge project to reinvigorate Philadelphia's Germantown in 2012. Covering four city blocks, the Philly Painting project was carried out with the goal of "uplift[ing] the environment". The founding artists claimed "what feeds the eye also feeds the soul". If this is true, the citizens of Querétaro are in for some serious nourishment over the next few years. At the very least, the expression to 'paint the town red' will finally have a literal meaning. Via Design Boom and The Huffington Post.
Prepared by Hospitality Education and Training (HEAT) students, this fine dining lunch will host over 230 people who are currently homeless or have been in the past at the mouth of Luna Park. This dining experience, designed by HEAT patron Guy Grossi, gives Melbourne’s homeless community the chance to come together and be treated to a rare three-course lunch while also raising awareness of the issues surrounding homelessness and disadvantage. You can't actually attend this lunch, but by making a ticket donation, you can assist disadvantaged youth in developing self-esteem and gain accredited training qualifications — and give someone the gift of a hot lunch. And that’s the most fulfilling Melbourne Food and Wine Festival event we’ve heard of yet.
It's a chair made out of swords. So notes Daemon Targaryen's (Matt Smith, Morbius) description of TV's most-fought-over piece of furniture of the past 13 years: the Iron Throne. Not one but two hit HBO shows have put squabbles about the sought-after seat at their centre so far, and the second keeps proving a chip off the old block in a fantasy franchise where almost everyone meets that description. If the family trees sprawling throughout Game of Thrones for eight seasons across 2011–19 and now House of the Dragon for two since 2022 (with a third on the way) weren't so closely intertwined in all of their limbs, would feuding over everything, especially the line of succession, be such a birthright? Set within the Targaryens 172 years before Daenerys is born, House of the Dragon could've always cribbed the name of another HBO success. In season two from Monday, June 17 Down Under — via Binge in Australia and Neon in New Zealand — season one's black-versus-green factionalism remains a civil war-esque showdown over which two offspring of the late King Viserys the Peaceful (Paddy Considine, The Third Day) should wear the crown and plonk themselves in the blade-lined chair. The monarch long ago named Rhaenyra (Emma D'Arcy, Mothering Sunday) as his heir. But with his last breaths, his wife Alicent Hightower (Olivia Cooke, Slow Horses) — also Rhaenyra's childhood best friend-turned-stepmother — claims that he changed his pick to their eldest son Aegon II (Tom Glynn-Carney, Rogue Heroes) instead. In King's Landing, the response was speedy, with Rhaenyra supplanted as the next ruler before she'd even heard over at Dragonstone that her father had passed away. Based on Fire & Blood, which George RR Martin penned as backstory after A Song of Ice and Fire's first five books A Game of Thrones, A Clash of Kings, A Storm of Swords, A Feast for Crows and A Dance with Dragons, House of the Dragon has also long painted Rhaenyra as the preferred type of chip off the old block. She too wants peace, not war. She also seeks stability for the realm over personal glory. If Viserys spotted that in her as a girl (Milly Alcock, Upright) when he chose her over Daemon, his brother who is now Rhaenyra's husband, he might've also predicted the dedication that she sports towards doing his legacy, and those before him, proud. Aegon, also the grandson of Viserys' hand Ser Otto Hightower (Rhys Ifans, The King's Man), sees only entitlement above all else. Martin's tales of family dynasties — the names Stark, Tully, Lannister, Baratheon and more also pop up again — trade in the cycles that course through the bonds of blood, especially in House of the Dragon. Everyone watching knows what's to come for the Targaryens in Daenerys' time, right down to an aunt-nephew romance as the counterpart to Daemon and Rhaenyra's uncle-niece relationship. (No one watching has started this prequel series, the first spinoff of likely many to Game of Thrones, without being familiar with its predecessor). Ice-blonde hair, ambition that soars as high as the dragons they raise and fly, said flame-roaring beasts of the sky, the inability to host happy reunions: these are traits passed down through generations. Some are a matter of genes. Martin continues to explore why the others persist. Season one took to its role as the next on-screen trek across Westeros with seriousness, devotion and reverence, leading to a front-ended run intrigue-wise with talk — scheming, plotting, proclaiming who should be next to sit upon several thrones — and laying the groundwork for more seasons to come monopolising the ten-years-later back half. It was exactly what fans of this TV franchise could've wanted, in no small part thanks to its fondness for overt mirroring that stresses the point that some things trickle down from parent to child no matter what. Season two has less establishing to do, and therefore a quicker pace and tighter focus. It's content in one time period. It also has not just the aftermath of a usurpation but also of a tragic death at the hands of Aegon's younger brother Aemond (Ewan Mitchell, Saltburn), who bears a grudge and wears an eyepatch (the two are connected), to traverse. Rhaenys (Eve Best, Nurse Jackie), cousin to Viserys and Daemon, sums up one of the tragedies that House of the Dragon has committed itself to unpacking: that skirmishes will become such a given that no one will recall or care why the blacks (Rhaenyra's camp) and greens (Aegon and Alicent's) took up weapons and began torching each other with dragons in the first place. The audience won't forget. With images thankfully easier to discern — there's no repeat in the first four episodes of the dull-looking day-for-night atrocity of season one, its low point — the show's return witnesses the cost of pursuing the Iron Throne. It spends more time with the smallfolk, aka those beyond the royals and their cronies. It observes their reaction to the bad blood's brutality at its cruellest. And it does so even while making good on the big promise of Targaryens tearing into each other in a Seven Kingdoms period when dragons weren't a rarity: those mid-air sweeping and snapping dragon frays, which are gloriously brought to life. Scaling back the scene-setting and future-plotting is a gift to House of Dragon's cast in season two, especially to D'Arcy and Cooke. Rhaenyra's battle is really a battle with Alicent more than her son — and the two actors behind the parts expertly handle the task of conveying not only the duelling ambitions feeding the Targaryen tussle for the crown and throne, but also the emotional stakes and costs in their friends-turned-enemies portrayals. Best, as another Targaryen who should've been queen but was overlooked for Viserys, joins them in expressing what it means to walk every step with Westeros' engrained malice shaping your path beyond your control. Seeing their characters team up may now be left to fan fiction, but House of Dragon is a better series with their performances at its heart. As uttered with the snarling glibness that Smith oozes so well in his scene-stealing role, that aforementioned account from Daemon of what everyone is fighting over might sound flippant. It's designed to. But trust House of Dragon to encapsulate the undying source of its heat, and of the perpetual clashes within this conflict-riddled saga, with such a seemingly easy and ordinary turn of phrase. When the fact that leading means climbing across a path of violence, then sitting atop one, even if you're devoted to eschewing bloodshed — again, the Iron Throne is literally a chair made out of swords — and when that fact is such a routine aspect of life that no one thinks twice about it, what else but more feuding can spring? Check out the full trailer for House of the Dragon season two below: House of the Dragon season two streams Down Under via Foxtel and Binge in Australia, and SoHo, Sky Go and Neon in New Zealand, from Monday, June 17, 2024. Read our review of season one. Images: HBO.
2024 is set to be a huge year for Australia's most-inclusive music festival, with the Dylan Alcott-founded Ability Fest not only playing Melbourne but also hitting up Brisbane as well. Expanding is a massive achievement for the event. Also hefty: the lineup, with Ocean Alley, King Stingray, Cub Sport and Bag Raiders leading the bill. In Victoria, Ability Fest will head to Alexandra Gardens/Birrarung Marr in Melbourne on Saturday, October 19. As for what'll get you moving to the tunes, attendees will also see Asha Jefferies, Boone, Brenn!, Dewbs, Eliza Hull and jamesjamesjames, alongside Jordan Brando, Jordz, Kita Alexander and a triple j Unearthed winner. From there, Melburnians will can catch ONEFOUR, Crybaby, DAWS, Floodlights, Kuzco, NayNay and Wax'o Paradiso as well. Ability Fest is splitting its musicians across two stages, one for bands and one for DJs. The fully accessible event, which launched in 2018, has been carefully designed from the get-go. It features ramps and pathways for easy access, Auslan interpreters working alongside the artists, and elevated platforms to give everyone a shot at seeing the stage. Plus, there's also quiet zones, dedicated sensory areas and accessible toilets. Ability Fest is committed to being financially accessible during the current cost-of-living crisis in both of its stops. Accordingly, tickets only cost $60 plus booking fee, and carers receive complimentary entry. The fest has also lowered the age of admission to 16 so more folks can head along. While dishing up primo live tunes and music experiences to Aussies of all abilities, the not-for-profit fest also raises money for the Dylan Alcott Foundation, with 100-percent of its ticket proceeds going to the organisation. [caption id="attachment_963996" align="alignnone" width="1917"] Chloe Hall[/caption] Ability Fest 2024 Lineup: Asha Jefferies Bag Raiders Boone Brenn! Cub Sport Dewbs Eliza Hull jamesjamesjames Jordan Brando Jordz King Stingray Kita Alexander Ocean Alley triple j Unearthed winner Melbourne only: Crybaby DAWS Floodlights Kuzco NayNay ONEFOUR Wax'o Paradiso Top images: Ian Laidlaw, Chloe Hall and Jayden Ostwald.
A brand new $150 million boutique hotel is coming to Southbank, set to open in September 2025. The 188-room hotel will be developed by Time & Place and MaxCap Group, while operations lie with the Collection by TFE Hotel. TFE Hotels are the same team behind Brisbane's Calile Hotel and the new luxury 102-room hotel coming to Sydney's Surry Hills. Across a sprawling ten-storey building, Hannah St. Hotel will play host to a new bar, restaurant, lap pool, fully-equipped gym, workspace and rooftop bar. "What I love about this project is that Hannah St. Hotel will deliver an experience in a neighbourhood that is transforming, thanks to an investment in Australia's largest cultural infrastructure project, into a truly world-class art precinct," TFE Hotels' CEO Antony Ritch says. "Southbank is connected to the best of Melbourne." "This is a neighbourhood hotel. A building with roots in the community and a place where you're welcomed in to enjoy the hospitality," Time & Place's Tim Price says. It follows news that the Arts Centre will score her next facelift, as part of the Victorian Government's $1.7-billion Melbourne Arts Precinct Transformation project. TFE Hotels' new Collection property in Southbank is expected to open in September 2025. We'll bring you more details as they become available. Images: renders, supplied.
Songs, tears, Travis Barker on the drums playing 'In the Air Tonight', host Anthony Anderson advising that his mother would be on "playoff mama" duties to keep the acceptance speeches for the 20-plus awards on time, first presenter Christina Applegate (Dead to Me) getting a standing ovation, a tribute to The Sopranos with an ode to James Gandolfini, Jennifer Coolidge winning another award for The White Lotus: now that's how you start an awards ceremony. The accolades: the 2023 Emmy Awards, being held on Tuesday, January 16, 2024 Australian and New Zealand time after they were postponed during Hollywood's writers' and actors' strikes. And before half an hour had even ticked over, Anderson had advised that "Miami Vice taught me that all I needed was a tanned white friend and a cool white jacket"; Coolidge had announced that Mike White "definitely dead so I'm going along with it", then thanked all the evil gays; The Last of Us ' Pedro Pascal claimed that his arm was in a sling because Succession's "Kieran Culkin beat the shit out of me"; and the latter's co-star Matthew Macfadyen thanked his two on-screen wives, aka Sarah Snook and Nicholas Braun. So, in the second huge Hollywood night of nights in as many weeks, the Emmys started better than the Golden Globes. In fact, that's an understatement. And that's even before Tina Fey (Mean Girls) and Amy Poehler (Moxie) took to the Weekend Update desk, the Cheers and Ally McBeal casts reunited, It's Always Sunny in Philadelphia's stars pondered why they don't have Emmys, Ru Paul spoke out against hate, DAHMER — Monster: The Jeffrey Dahmer Story's Niecy Nash-Betts thanked herself and Matty Matheson couldn't be more passionate about hospitality with a "restaurants forever!" shout. All of the throwbacks and nostalgia, and spreading the love far beyond what was nominated, was in honour of a big milestone: the Emmys reaching 75 years. These awards should always feel like a celebration of the entire medium; however, that can be easier said than done — but it's a task that the delayed 2023 ceremony perfected. The big winners mirrored the Golden Globes, aka Succession among the dramas, The Bear in the comedy field and Beef in the limited series field. So, while there was no been-there-done-that feel to the presentation between the two awards, that came through in the recipients — supremely worthy as they all are. The main trio weren't the only shows to score prizes, but plenty of deserving series went home empty-handed — see: Better Call Saul, Yellowjackets, Barry and Only Murders in the Building, to name a few — even amid the warm hug-style vibes. What else nabbed a trophy? Who else was in contention? We've got that covered. Here's a rundown of the awards handed out at the main ceremony, plus the nominees competing for them — and you can check out the seven winning shows you should watch ASAP, too. EMMY NOMINEES AND WINNERS 2023 OUTSTANDING DRAMA SERIES Andor Better Call Saul The Crown House of the Dragon The Last of Us Succession — WINNER The White Lotus Yellowjackets OUTSTANDING COMEDY SERIES Abbott Elementary Barry The Bear — WINNER Jury Duty The Marvelous Mrs Maisel Only Murders in the Building Ted Lasso Wednesday OUTSTANDING LIMITED SERIES Beef — WINNER DAHMER — Monster: The Jeffrey Dahmer Story Daisy Jones & the Six Fleishman Is in Trouble Obi-Wan Kenobi OUTSTANDING LEAD ACTOR IN A DRAMA SERIES Jeff Bridges, The Old Man Brian Cox, Succession Kieran Culkin, Succession — WINNER Bob Odenkirk, Better Call Saul Pedro Pascal, The Last of Us Jeremy Strong, Succession OUTSTANDING LEAD ACTRESS IN A DRAMA SERIES Sharon Horgan, Bad Sisters Melanie Lynskey, Yellowjackets Elisabeth Moss, The Handmaid's Tale Bella Ramsey, The Last of Us Keri Russell, The Diplomat Sarah Snook, Succession — WINNER OUTSTANDING LEAD ACTOR IN A COMEDY SERIES Bill Hader, Barry Martin Short, Only Murders in the Building Jason Segel, Shrinking Jason Sudeikis, Ted Lasso Jeremy Allen White, The Bear — WINNER OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES Christina Applegate, Dead to Me Rachel Brosnahan, The Marvelous Mrs Maisel Quinta Brunson, Abbott Elementary — WINNER Natasha Lyonne, Poker Face Jenna Ortega, Wednesday OUTSTANDING LEAD ACTOR IN A LIMITED SERIES OR TELEVISION MOVIE Taron Egerton, Black Bird Kumail Nanjiani, Welcome to Chippendales Evan Peters, DAHMER — Monster: The Jeffrey Dahmer Story Daniel Radcliffe, Weird: The Al Yankovic Story Michael Shannon, George & Tammy Steven Yeun, Beef — WINNER OUTSTANDING LEAD ACTRESS IN A LIMITED SERIES OR TELEVISION MOVIE Lizzy Caplan, Fleishman Is in Trouble Jessica Chastain, George & Tammy Dominique Fishback, Swarm Kathryn Hahn, Tiny Beautiful Things Riley Keough, Daisy Jones & the Six Ali Wong, Beef — WINNER OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES F. Murray Abraham, The White Lotus Nicholas Braun, Succession Michael Imperioli, The White Lotus Theo James, The White Lotus Matthew Macfadyen, Succession — WINNER Alan Ruck, Succession Will Sharpe, The White Lotus Alexander Skarsgård, Succession OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES Jennifer Coolidge, The White Lotus — WINNER Elizabeth Debicki, The Crown Meghann Fahy, The White Lotus Sabrina Impacciatore, The White Lotus Aubrey Plaza, The White Lotus Rhea Seehorn, Better Call Saul J. Smith-Cameron, Succession Simona Tabasco, The White Lotus OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES Anthony Carrigan, Barry Phil Dunster, Ted Lasso Brett Goldstein, Ted Lasso James Marsden, Jury Duty Ebon Moss-Bachrach, The Bear — WINNER Tyler James Williams, Abbott Elementary Henry Winkler, Barry OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES Alex Borstein, The Marvelous Mrs Maisel Ayo Edebiri, The Bear — WINNER Janelle James, Abbott Elementary Sheryl Lee Ralph, Abbott Elementary Juno Temple, Ted Lasso Hannah Waddingham, Ted Lasso Jessica Williams, Shrinking OUTSTANDING SUPPORTING ACTOR IN A LIMITED SERIES OR TELEVISION MOVIE Murray Bartlett, Welcome to Chippendales Paul Walter Hauser, Black Bird — WINNER Richard Jenkins, DAHMER – Monster: The Jeffrey Dahmer Story Joseph Lee, Beef Ray Liotta, Black Bird Young Mazino, Beef Jesse Plemons, Love & Death OUTSTANDING SUPPORTING ACTRESS IN A LIMITED SERIES OR TELEVISION MOVIE Annaleigh Ashford, Welcome to Chippendales Maria Bello, Beef Claire Danes, Fleishman Is in Trouble Juliette Lewis, Welcome to Chippendales Camila Morrone, Daisy Jones & The Six Niecy Nash-Betts, DAHMER – Monster: The Jeffrey Dahmer Story — WINNER Merritt Wever, Tiny Beautiful Things OUTSTANDING DIRECTING FOR A DRAMA SERIES Andor, Benjamin Caron, Bad Sisters, Dearbhla Walsh The Last of Us, Peter Hoar Succession, Andrij Parekh Succession, Mark Mylod — WINNER Succession, Lorene Scafaria The White Lotus, Mike White OUTSTANDING DIRECTING FOR A COMEDY SERIES Barry, Bill Hader The Bear, Christopher Storer — WINNER The Marvelous Mrs Maisel, Amy Sherman-Palladino The Ms. Pat Show, Mary Lou Belli Ted Lasso, Declan Lowney Wednesday, Tim Burton OUTSTANDING DIRECTING FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE Beef, Lee Sung Jin — WINNER Beef, Jake Schreier DAHMER — Monster: The Jeffrey Dahmer Story, Carl Franklin DAHMER — Monster: The Jeffrey Dahmer Story,Paris Barclay Fleishman Is in Trouble, Valerie Faris, Jonathan Dayton Prey, Dan Trachtenberg OUTSTANDING WRITING FOR A DRAMA SERIES Andor, Beau Willimon Bad Sisters, Sharon Horgan, Dave Finkel, Brett Baer Better Call Saul, Gordon Smith Better Call Saul, Peter Gould The Last of Us, Craig Mazin Succession, Jesse Armstrong — WINNER The White Lotus, Mike White OUTSTANDING WRITING FOR A COMEDY SERIES Barry, Bill Hader The Bear, Christopher Storer — WINNER Jury Duty, Mekki Leeper Only Murders in the Building, John Hoffman, Matteo Borghese, Rob Turbovsky The Other Two, Chris Kelly, Sarah Schneider Ted Lasso, Brendan Hunt, Joe Kelly, Jason Sudeikis OUTSTANDING WRITING FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE Beef, Lee Sung Jin — WINNER Fire Island, Joel Kim Booster Fleishman Is in Trouble, Taffy Brodesser-Akner Prey, Patrick Aison, Dan Trachtenberg Swarm, Janine Nabers, Donald Glover Weird: The Al Yankovic Story, Al Yankovic, Eric Appel OUTSTANDING SCRIPTED VARIETY SERIES A Black Lady Sketch Show Last Week Tonight with John Oliver — WINNER Saturday Night Live OUTSTANDING REALITY COMPETITION SHOW The Amazing Race RuPaul's Drag Race — WINNER Survivor Top Chef The Voice OUTSTANDING TALK SERIES The Daily Show with Trevor Noah — WINNER Jimmy Kimmel Live! Late Night with Seth Meyers The Late Show with Stephen Colbert The Problem with Jon Stewart OUTSTANDING LIVE VARIETY SPECIAL The Apple Music Super Bowl LVII Halftime Show Starring Rihanna Chris Rock: Selective Outrage Elton John Live: Farewell From Dodger Stadium — WINNER The Oscars 75th Annual Tony Awards OUTSTANDING WRITING FOR A VARIETY SERIES The Daily Show with Trevor Noah Last Week Tonight with John Oliver — WINNER Late Night with Seth Meyers The Late Show with Stephen Colbert Saturday Night Live The 2023 Emmys were announced on Tuesday, January 16, Australian and New Zealand time. For further details, head to the awards' website. Top image: Chuck Hodes/FX.
The world as we know it could do with some improvement. That's a bit of an understatement; however it's also the idea behind Melbourne's returning Transitions Film Festival. This showcase of cinema aims to explore ways in which our future could be brightened, covering a huge range of topics such as food, climate change, animal welfare and renewable energy. Transitions doesn't just have an environmental focus, however. Technological innovation, gender equality, online privacy, social justice and artificial intelligence all rate a mention on the fest's 28-doco lineup — which includes 24 Australian premieres. Screening flicks at Cinema Nova between Thursday, February 21 and Friday, March 8, and hosting events at Loop Project Space & Bar and Brunswick Mechanics Institute too, the program also features sustainability academics, artists and entrepreneurs chatting about the subjects covered on-screen. Film-wise, opening night's Point of No Return explores the first ever solar-powered flight around the world, Vestige heads to South Africa to cover the efforts to save the few remaining black and white rhinos, and It Will Be Chaos charts an Eritrean refugee's attempt to navigate Italy's immigration system. There's also The Guardians, about the illegal logging threat to an ancient Mexican forest; She Started It, which highlights women tech entrepreneurs; and More Human Than Human, which ponders AI. And if you were a fan of Chasing Ice, The Cove and Racing Extinction, The Human Element comes from the same producers — and offers a visual depiction of how climate change is affecting our air, earth, fire and water. Image: The Human Element, Matthew Kennedy, Earth Vision Institute.
Never picked up a snowboard or snapped on a pair of skis? No problem. Not only are there ample opportunities to upskill on the slopes — there's so much more to Thredbo than snow sports. Welcome to the après-ski lifestyle: fine wine, fondue, fireplaces and some next-level snowfields fashion. This winter is your chance to go all out with luxurious champagne lunches, outdoor dance parties, live music, mountaintop feasts and fireworks lighting up the night sky. Whether you want to jump into the jam-packed events calendar or wind down by the fire at a cosy bar with a schnapps in hand, you're about to discover why Thredbo is an award-winning winter experience. THE FASHION Forget being swaddled in shapeless, dull puffer jackets and uninspiring colour palettes. Thredbo is all about the 80s snowfield chic. We're talking stylish fluoro detail, faux fur, and a killer headband and flashy goggle combo that'll have you looking sharp on the mountain and at the bar. Need some inspo? When it comes to vintage winter gear, it's go hard or go home. So crack out the snowflake sweaters and furry headbands and get ready to put your best boot forward. THE PARTIES Congratulations, you now have a wardrobe fit for the First Base First Base's A Vintage Après Ski Soirée — the wildest party you'll find in Thredbo this winter. If you think a night of dancing, DJs and Canadian Club will help to cut through winter's bite, make First Base your number one party priority. July 23 will see Stace Cadet take pride of place; August 20 brings the ever-fabulous Poof Doof to the chilly locale; and attendees on September 3 are in for a surprise headliner. Heineken is joining forces with Thredbo to transform Alpine Bar into the outdoor live music space of dreams with Heineken Saturday. Set Mo will be bringing their groove-heavy dance tracks on June 11; while the August 6 session will be a tribute to the electronic mastery of Daft Punk courtesy of Discovery, the duo dedicated to the One More Time virtuosos. And, if that mega offering still has you wanting more, White Claw Weekend is bringing KLP to increase the heat in the snow town. Seltzers and a DJ set from an industry heavyweight after a morning on our glorious slopes? The makings of an epic Saturday. If you only hit up parties for the food (we get it), take the Alpine Gondola up to Merritts Mountain House for its Bavarian-inspired winter feast. The Kareela Hutte Supper Club is a genteel affair where you can watch the Saturday night fireworks with a champagne and canapé in hand. Or, if you're after something a bit more low-key, see what's on at some of the smaller local venues, such as the regular trivia night at T-Bar. THE MUSIC Can't make it to one of the parties? Don't worry, you won't miss out on Thredbo's music scene. Venues around the village have loads of live gigs throughout the busy winter months. Swing by Merritts Mountain House for regular DJ sets or head over to the Schuss Bar to catch live bands performing. The Lounge Bar at First Base is the perfect spot to kick back with a drink by the fire and take in a solo set. Make sure you keep an ear out for more local gig announcements closer to the snow season — chances are there'll be something that grabs you. THE FOOD You might not think of Thredbo as a foodie destination, but that's about to change. Apart from its top-notch restaurants and delightful ski-side kiosks, Thredbo is laying on a spread of delicious events this winter. First up, the GH Mumm Long Lunch will return with luxurious alpine fare and the finest bubbles. On Wednesday evenings from July 13–September 7, you can ride on the Snowcat to Kareela Hutte for a night of premium wining and dining overlooking the picturesque snowy village. Craving a foodie experience, but can't wait to hit the slopes? Head up the mountain for a Sunrise Session. Nothing will beat a delicious breakfast and mimosa on the mountain before jumping on your skis or snowboard in the first rays of light. THE DRINKS Whether you're chasing a fine wine by the fire or hankering for mountaintop steins of beer, Thredbo has an ideal venue for your preferred tipple. Eagles Nest — the highest restaurant and bar in Australia — offers beer, wine and cocktails with an unparalleled view. Love a bev but can't loathe getting in and out of your gear? Head to ski-in, ski-out venue Kareela Hutte for your vino break. Down in Thredbo village, the Après Bar at The Denman boasts a brilliant range of spirits and liqueurs and a team of cocktail experts ready to shake up your perfect winter drink. For an enviable wine list, hit up Cascades Restaurant, Sante or grab a bottle at Thredbo Cellars. Or, take a trip out of town to the Wildbrumby distillery for locally produced schnapps, vodka and gin at the cellar door. THE VILLAGE Whether you stay in a cabin, chalet, apartment or the Alpine Hotel itself for your winter wonderland, you'll soon discover that Thredbo is more than a resort — it's got that community vibe. Be sure to visit the village bakery, the aptly named Local Pub to tie one on, and then go full alpine indulgence with fondue at Candlelight Restaurant and a rejuvenating session at Tineke Edwards Massage Therapy after a big day on the slopes (or in the lounge bar). For a touch of arts and culture, you can check out JK Gallery and Mountain Shop for original artworks, sculptures and homewares. THE STORIES Whatever winter adventure you choose, you'll have plenty of stories to tell. Whether you travel with the whole crew, the family, or make new friends along the way, you can sit back at the end of the day and regale them with tales of your successes and slip ups on the slopes. Did you catch the fireworks? The ice sculptures? Which roaring alpine fireplace is, in fact, the most cosy? Soon, you'll have all the intel on secret spots to share with your crew that are sure to keep you heading back, year after year. Keen to check out Thredbo's après ski scene for yourself? For more information and to plan your snow trip, visit the website.
Melbourne's southeast has just scored a huge new Asian-fusion restaurant and bar — Chicki Chan — thanks to Johnny Jong and Kelvyn Yeoh. Jong is running the back of house as Director, leaning on his hefty 28-plus years experience to create this venture — having worked as Executive Chef at both Crown Sydney and Lucas Restaurants. And he has enlisted the help of Yeoh to run the kitchen, who's also worked at Crown and Lucas Restaurants — overseeing venues like Chin Chin, Hawker Hall, Yakimono, and Grill Americano. With such impressive credentials, you can't help but have high expectations for the duo's own restaurant. Similar to Lucas Restaurants venues (where the duo previously worked and seem to have gained inspiration), Chiki Chan is big on the vibes, decking out the two-storey space with a long bar backed by wave-like walls (plus another bar in the room out back), neon artwork, polished concrete floors, screens showing futuristic videos, and pumping music. They have clearly learned a few things from the one and only Chris Lucas, making the space ooze cool. When it comes to food, you can expect an eclectic mix of Asian-fusion eats — think Italian-style burrata with Szechuan chili oil, fennel jam and macadamias; crispy barramundi with an Asian remoulade, jalapenos and palm sugar sauce; and a coconut chantilly served with strawberry conssome, Thai basil oil and raspberry sorbet. Set menus are also on the docket — a necessary addition to any restaurant these days — which cost an easy $55, $65 and $85 per person. As expected, Asian-inspired cocktails make it onto the menu alongside Aussie wines and beers on tap, either found in the restaurant or adjoining Hiki Bar. At the cocktail bar, you can also find a tapas-srtyle food offering to appease the sip and snack crowds and those waiting for a table in the main dining room. Jong and Yeoh are ticking all the right boxes with Chiki Chan, clearly understanding how to stand out (while also fitting in enough as to not scare off customers) within Melbounre's highly competitive hospitality industry. You'll find the new Chiki Chan at 6 Centreway, Mordialloc, open 12pm–late from Wednesday–Sunday. For more details and to book a table, you can visit the venue's website.
Melbourne has fallen a little in love with omakase, a Japanese philosophy derived from the phrase 'leave it to the chef'. From omakase served in sumptuous subterranean spaces to untraditional, flame-filled menus — omakase is certainly having a moment in Melbourne. The latest pint-sized restaurant to join the party is Aoi Tsuki, a 12-seat omakase bar nestled on a busy section of Punt Road. Tucked around the corner from South Yarra favourites including France Soir, Bar Carolina and Bistro Gitan, Aoi Tsuki's 20-course menu rotates regularly, underpinned by a deep respect for seasonality. It's a place that's been in the making for head chefs Tei Gim and Jun Pak for years, following a few years of running a popular, lockdown-induced sushi box business. Their combined resume spans stints at Japanese institutions Kisumé and Nobu. While the seasonal menu rotates daily, it may run to the likes of steamed abalone, tempura-fried eel and chawanmushi, a traditional steamed Japanese egg, that's refreshed here with black caviar and blue cheese. But the real highlight of this sharp, smart exploration of excellent produce comes in the form of a nigiri series: soft squid, gleaming salmon, sea urchin, King George whiting and several cuts of tuna laid upon expertly-crafted sushi rice. The experiential dining adventure clocks in at $235 per person, with a paired sake flight or a tidy drinks menu available to add on. Aoi Tsuki is open at 384 Punt Road, South Yarra. It's open from 6pm–late Wednesday through to Sunday. The two hour omakase session starts at 6pm on Wednesday and Thursday, while on Friday, Saturday and Sunday diners can choose between a 6pm or 830pm seating. Images: Griffin Simm, supplied.
Somehow, entirely inexplicably, we're already into the second half of the year; soon we'll be thinking about Christmas. This year, skip the typical department stores and instead pick out unique gifts for your family and friends at The Big Design Market. Coming to Melbourne for the seventh time this December, the three-day independent designer extravaganza features over 230 stallholders selling furniture, fashion, homewares, textiles, and much more. With such a wide range of products, you're sure to find something for even the pickiest people on your list. The Big Design Market also offers a series of creative workshops (create your own works of art with The Plant Society and designers Abbey Rich, Sandra Eterovic and Cat Rabbit), a beautifully-designed outback-themed kids play area, and a smorgasbord of food options from local favourites like Gelato Messina, All Day Donuts, Harper and Blohm, Earl Canteen, Mörk Chocolate, ACE Cookies, Sensory Lab Coffee and Starward Whisky. You'll also have the chance to catch a specially-commissioned floral installation of five-metre-high flowers in giant gold vases by designer and illustrator Pete Cromer. Each year the market also puts together a showbag of goodies from some of Melbourne and Sydney's best designers, including Georgia Perry, Champ Co., Leif, Kester Black, Kleins Perfumery and Little Veggie Patch Co. A limited number will be available to purchase for $30 ($190 value). So prepare your bank account, and get ready to have your Christmas shopping done earlier than you ever have before. The market will be open from 10am till 9pm on Friday, 10am till 7pm on Saturday and 10am till 5pm on Sunday.
Somehow, entirely inexplicably, we're already thinking about Christmas. This year, skip the typical department stores and instead pick out unique gifts for your family and friends at The Big Design Market. Coming to Melbourne for the ninth time this December, the three-day independent designer extravaganza features over 250 stallholders selling furniture, fashion, homewares, textiles, and much more. With such a wide range of products, you're sure to find something for even the pickiest people on your list. You can also expect a smorgasbord of food options from local favourites like 400 Gradi, Miss Chu, Koko Black, All Day Donuts and Billy Van Creamy, and St Ali will be doing coffee all day (with a discount given to those that bring their keep cup). Plus, cocktails from Sydney gin distillery Archie Rose and tinnies from Moo Brew, will ensure you're sorted for Friday night (or Saturday arvo) drinks. The Big Design Market always commissions an impressive installation, and this year Min Pin artist Penny Ferguson will fill the Exhibition Building with a giant mobile of her cute and colourful illustrations. Each year the market also puts together a showbag of goodies from some of the stallholders, including Abby Seymour, Able & Game, Orbitkey and Hello Miss May. A limited number will be available to purchase each day for $30 ($150 value). Entry is $5 this year — but a percentage of that will be donated to Landcare to help support the organisation's restoration projects. So prepare your bank account, and get ready to have your Christmas shopping done earlier than you ever have before. The market will be open from 10am–9pm on Friday, 10am–7pm on Saturday and 10am–5pm on Sunday.
Melty jaffles, oozy raclette, crispy saganaki and an array of other cheesy dishes are all on the menu at Cheese Night. Happening every Wednesday from 5pm, this turophile's dream is a collaboration between Longsong — the bar above Thai restaurant Longrain on Little Bourke Street — and cheesemonger Anthony Femia of Maker and Monger. For every session, Femia handpicks a selection of outstanding Australian cheese, which the Longsong chefs then transform into a delectable morsel. Most selections come from small producers, such as South West Victoria's L'Artisan, where third-generation cheesemaker Matthieu Megard uses only local, organic milk and traditional techniques. Once a month, Femia attends in person, to host a cheese tasting. You might've seen him dishing up raclette from his antique French food cart at Prahran Market or heard that he came fourth at the 2013 Cheesemonger World Championships held in Loire Valley, France. Meanwhile, behind the Longsong kitchen is head chef David Moyle, whose CV includes Circa and The Pacific Dining Room. Bookings can be made online or by getting in touch with the eatery via email or phone, and it's an a la carte, pay-for-what-you-eat affair. Image: Griffin Simm.
Neil Mills and Phil Gijsbers have helped gift Melbourne with a slew of hospitality gems, as two of the minds behind Richmond's Burnley Brewing, Small Print Pizza Bar, Green Acre Pizza Bar and Rusty's Sandwich Parlour. And they've just added another to the family, revamping a 113-year-old North Melbourne pub for their latest venture, Bobbie Peels. The OG Robert Peel Hotel (also once home to The Keeper's Arms and The Crimean) has been gently transformed into a contemporary take on the classic watering hole, with interiors by Margo Studios nodding to the building's rich history. They've retained all of the pub's charming, cosy nooks and crannies (along with the name of its most recent predecessor), kept its old-school pressed metal ceilings, and finished off the look with vintage subway tiles, gold velour curtains and comfy booth seating. You'll find a secluded beer garden tucked out back and, at the top of the original staircase, an upstairs event space with room for 100. The guys have made sure there's some great drinking to be done here, with a solid lineup of indie beers sitting alongside lots of local craft spirits — including pours from Mountain Distilling, where Mills has been honing his booze-making skills. The wine list is a broad-ranging one, filled with interesting drops and with as much love for new-world styles as for the classics — perhaps a chardonnay from the Yarra Valley's Dominique Portet, a McLaren Vale nero d'avola by Lino Ramble, or a French rosé out of Languedoc. Meanwhile, the kitchen is focused on drinks-friendly share plates and fresh pasta that's hand-rolled daily in-house, all of it guided by whatever's on offer at the nearby Queen Victoria Market. Order a glass or a bottle and snack your way through the hot and sticky pork ribs; chilli mussels with house-made bread for mopping; brussels sprouts finished with honey and pancetta; and pesto bruschetta topped with peppers, goats cheese and heirloom tomato. Meanwhile, pasta fiends will be more than happy faced with options like the squid spaghetti sprinkled with lemon and breadcrumbs, a vegan pistachio pesto orecchiette with feta and asparagus, the beef and pork pappardelle, and a classic carbonara. Find Bobbie Peels at 351 Queensberry Street, North Melbourne. It's open 4pm–late Tuesday and Wednesday, and 12pm–late Thursday to Sunday.
The night owls of the northside have scored an eclectic new drinking den, hidden upstairs behind an unassuming facade on Northcote's Arthurton Road. The newly opened Kepler's Yard is both a cosy cocktail bar and an escapist's delight, taking both its name and inspiration from legendary astronomer and mathematician Johannes Kepler. Venture on up and you'll find an intimate space featuring cheerfully mismatched thrifted furniture, themed trinkets and walls decorated with an array of astronomy-related paraphernalia. Heavy red drapes and gilded mirrors lend an old-world vibe, while squashy vintage lounges encourage lengthy late-night visits. As a neighbour and sibling to music venue 24 Moons, it's little surprise Kepler's Yard will be championing creativity across a regular program of DJ nights, musical offerings, comedy performances and even live drawing sessions. And, from 5pm every Sunday, local crew Pelican Villa delivers a chilled-out curation of weekend-wrapping sounds for Spin City Sundays. Stay tuned for some regular trivia, too. Otherwise, it's a comfy haunt where you can tuck into vinyl tunes and crafty cocktails well into the wee hours — the bar's open until 3am Tuesday to Thursday, with a 5am close on Fridays and Saturdays. The lineup of planet-themed libations might include the whisky- and ginger-infused Mars Attacks, as well as the Neptune Nip — a rich blend of bourbon, chocolate bitters and vanilla. Alongside those sits an all-Aussie offering of wine, beer and cider. And, while there's no kitchen as such, you can order in a bite from various local eateries to be dropped off straight to your table or couch. Find Kepler's Yard at 2 Arthurton Road, Northcote — open from 6pm–3am Tuesday–Thursday, 6pm–5am Friday–Saturday and 6pm–1am Sunday.
The debut program for Rising is set to light up and transform precincts all across Melbourne including the winding inner-city stretch of the Yarra. From May 26–June 6, the river — also known by its traditional name, Birrarung — will play host to a 200-metre-long glowing eel skeleton, undulating atop the water. Unlike some of the more questionable things to be found between the riverbanks, this large-scale creature is a beauty, created by renowned public art crew The Lantern Company. Titled Wandering Stars, the piece reflects on First People's connection to the river and nature, crafted from hundreds of community-made floating lanterns and shimmering glass eels, and emitting a mysterious soundscape as it moves. Your best views of the artwork will be on the water's edge at Birrarung Marr, where you'll also find yourself in pretty good culinary company. To complement Wandering Stars' visual delights, expect riverside pop-up kitchens from Meatsmith (Andrew McConnell and Troy Wheeler's celebrated specialty butcher), delivering a soul-warming, charcoal-fuelled winter menu. Cosy up to the likes of slow-cooked beef short rib, fennel-glazed fried chicken sandwiches, and fancy hot chocolates with house-made clove and orange marshmallows. [caption id="attachment_810874" align="alignnone" width="1920"] Expect charcoal-fuelled eats from Meatsmith.[/caption]
Victoria's Hot Chocolate Festival is back again this August. And it's just in time, too. To save Melburnians from the month's always-frosty weather, it's churning out 31 hot chocolate flavours over 31 days. Just like in previous years, the festival will be run across three locations: the Yarra Valley Chocolaterie, the Great Ocean Road Chocolaterie in Bellbrae and the Mornington Peninsula Chocolaterie. Different flavours will be served up each week, so make sure you plan your visit(s) carefully as to not miss out on the best. Wondering which inventive flavours will tempt your tastebuds? The 2022 range is as OTT and indulgent as ever — and as tasty. Kicking things off: the Top Gun, which comes with red, white and blue marshmallow, as well as a jam-filled donut and dark choc moustache. Keeping things movie-themed, there's also a Hocus Pocus hot choc as well. Or, you can pick from salted caramel pretzel, honeycomb macadamia kronut, Iced Vovo and Milky Way hot chocolates — and vegan caramel surprise as well. Feeling boozy? Opt for the tequila sunrise and espresso martini options. Taking your dog? There are puppachinos, too. All limited-edition hot chocolates will be made with hot couverture chocolate in dark, milk, white, ruby or caramel, and served with a giant handcrafted marshmallow. Together, the chocolateries create over 6000 hot chocolates per year, so newcomers can trust they know their way around this winter-warmer. If exploring the festival and enjoying all the free chocolate tastings isn't enough to satisfy your sweet tooth, you can also book into a 45-minute tasting session at the Yarra Valley, Great Ocean Road and Mornington Peninsula stores. For $24 you'll be able to sample eight hot chocolates and make three of your own 'hot chocolate spoons' from over 50 ingredients to take home. The Hot Chocolate Festival runs daily between Monday, August 1–Wednesday, August 31 at the Great Ocean Road Chocolaterie, 1200 Great Ocean Road, Bellbrae; the Yarra Valley Chocolateire, 35 Old Healesville Road, Yarra Glen; and the Mornington Peninsula Chocolaterie, 45 Cook Street, Flinders.
Chef Alejandro Saravia is building his restaurant empire at a cracking pace. He's already made a name for himself in Melbourne with contemporary Australian restaurants Farmer's Daughters and Victoria by Farmer's Daughters. And in April this year, he launched the ambitious 220-seater Morena Sydney, which champions South American flavours. But that ain't all. Come Monday, September 2, he'll open two neighbouring venues in the 80 Collins precinct that build upon the original concept of Morena Sydney. The first is Morena Restaurant, which offers a formal dining experience much like the Sydney outpost. Although Saravia did share with Concrete Playground that the Melbourne version is "more innovative than Sydney. The menu is a little more experimental and we're working with concepts of Latin American cuisine that are not traditionally exposed here in Australia." For example, Saravia and Group Head Chef Samuel Rivas are playing a lot more with fermenting, similar to the way they do it in the Andean mountains and the Amazon jungle. Latin American ingredients like palm tree hearts will also be used — something we've never seen grace a Melbourne menu. Highlights will include braised Andean ollucos (a Peruvian root vegetable) with smoked oca cream and preserved oca; seared marlin ceviche with tamarillo coconut tiger's milk and aji panca oil; alfonsino tiradito with aji Amarillo kosho and a fermented mandarin emulsion; and a suckling goat with aged mole, morita chilli salsa and nasturtium flowers. The second site, sitting right next to Morena Restaurant, is Morena Barra. Here, you'll find an all-day dining experience that's focused around a central bar. "This will have Latin American cantina energy, which is loud, festive and fun without being tacky and over the top. It is more casual as well," shares Saravia. The menu also traverses the entirety of Latin America, from Venezuela, Peru and Colombia to Chile, Argentina and beyond. There's plenty of room on the Barra menu for ceviches, plus a few Morena Sydney dishes. These include Abrolhos Island scallops with parmesan cream, lime and aji Amarillo butter; Ox Tongue Anticucho served with dried Peruvian chillies and a carretillera sauce; and the swordfish loin milanesa, served with a pira sauce and seagrass. Sommelier Pablo Toledo is overseeing the beverage lineup at both Morena Melbourne venues, which will champion Latin American fermentation and distillation. Expect an extensive selection of piscos, a range of rums and agaves as well as a handful of whiskies, gins, vodkas, digestifs and liqueurs. Wines will champion Latin American varietals that go beyond your usual malbec, and like the food will represent a range of regions on the continent. Saravia share that, "After opening Morena in Sydney earlier this year, I am so excited to return to my home city of Melbourne and open not one, but two venues to continue to showcase the traditions and flavours of Latin America to Melburnians. "With these two unique venues, we are passionate about offering Melbourne the chance to explore untold ingredients,flavours and dishes from across the very diverse cultures that make up Latin America - and it's so exciting to be doing this just around the corner from our beloved Farmer's Daughters." Morena Melbourne will open on Little Collins Street on Monday, September 2. For more information on the new restaurant opening, check out the venues' website. Images: Arianna Leggiero.
UPDATE, December 23, 2021: Pig is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Nicolas Cage plays a truffle hunter. That's it, that's the pitch. When securing funding, those six words should've been enough to ensure that Pig made it to cinemas. Or, perhaps another high-concept summary helped. Maybe debut feature writer/director Michael Sarnoski went with these seven words: Nicolas Cage tracks down his stolen pet. Here's a final possibility that could've done the trick, too: Nicolas Cage does a moodier John Wick with a pig. Whichever logline hit the spot, or even if none did, Pig isn't merely the movie these descriptions intimate. It's better. It's weightier. It's exceptional. It always snuffles out its own trail, it takes joy in subverting almost every expectation and savouring the moment, and it constantly unearths surprises. Cage has spent much of his recent on-screen time fighting things — ninja aliens in the terrible Jiu Jitsu and possessed animatronics in the average Willy's Wonderland, for example — in movies that were clearly only made because that was the case. But, when he's at his absolute best, he plays characters whose biggest demons are internal. Here, he broods and soul-searches as a man willing to do whatever it takes to find his beloved porcine pal, punish everyone involved in her kidnapping and come to terms with his longstanding, spirit-crushing woes. Sarnoski keeps things sparse when Pig begins; for the film and its protagonist, less is more. Rob Feld (Cage) lives a stripped-back existence in a cabin in the woods, with just his cherished truffle pig for company — plus occasional visits from Amir (Alex Wolff, Hereditary), the restaurant supplier who buys the highly sought-after wares Rob and his swine forage for on their walks through the trees. He's taken this life by choice, after the kind of heartbreak that stops him from listening to tapes of the woman he loved. He's found the solace he can in the quiet, the isolation and the unconditional bond with the animal he dotes on. (He's tampered down the full strength of his pain in the process, obviously.) But then, because bad things can happen in cabins in the woods even beyond horror flicks, Rob's pig is abducted in the dark of the night. Now, he's a man on a mission. He has a glare and a stare, too. As the swine's distressed squeals echo in his head, Rob stalks towards Portland to get her back. He needs Amir to chauffeur him around the city, but he has an idea of where to look and who to chase. When the big pig kidnapping comes, and early, Pig initially resembles not only John Wick but Mandy. That 2018 film cast Cage as a lumberjack seeking his abducted girlfriend — also taken by intruders in the deep of night — and it proved his best movie in at least 15 years. Thankfully, Sarnoski and co-scribe/producer Vanessa Block haven't just taken Mandy and made a blatant swap. They haven't done the same with John Wick, either. And, performance-wise, Pig doesn't ask Cage to revisit a recent standout or follow in someone else's career-refreshing footsteps. The actor does soulful and yearning heartbreakingly well, as Bringing Out the Dead so potently established over two decades ago. Even in his most cartoonish fare (the type that isn't actually animated, because he's dabbled in voice work, too), he's masterful at conveying anger. Both longing and fury filter through here, because every Cage performance tugs and pulls at his past portrayals; however, this particular role calls for tenderness, despair and resolve all at once, and also contemplation, mystery, being wearied by too much grief and appreciating the little things and kindnesses. One of the delights of his efforts in Pig is how he keeps breaking down layer after layer, then piling on more, then stewing and simmering in them as well. Cage's over-the-top turns are entertaining to watch, but this is a measured gem of a portrayal, and a versatile, touching, deeply empathetic and haunting one that's up there with his finest ever. Compassion bubbles through Pig from the outset, in fact, and isn't just directed at Rob. As viewers discover more about him, his past life, why he knows about Portland's underground network of chefs and other hospitality industry figures, and how he can whip up a meal that brings someone to tears, we also learn about Amir. Pig isn't a star vehicle, but a double act. It knows how to deploy Cage at the height of his caged-in skills, and how well he can bounce off the right co-star. So, the film also dives into everything that's made Amir who he is — aka a truffle seller who is trying to get a jump in the food business, caught in a bigger shadow, hasn't matched his own or anyone else's expectations, but keeps bustling and hustling forward. He's self-aware about his struggles, and also trying to do something about them. He's wily and resourceful, and neurotic and jumpy at the same time. Wolff is just as brilliant as getting under his character's skin as Cage is, and just as compelling to watch as well. They're at their finest when they're together, unpacking what it means to navigate tragedy, fear, loss, regret, uncertainty, an uncaring world and a complicated industry, all in Rob and Amir's own ways — and attempting to free themselves of their own histories, embrace their own niches, and seek meaning and value. In scene after scene, Cage and Wolff captivate, drawing viewers into their meaty performances. Sarnoski's directorial choices achieve the same feat, managing to favour simplicity and complexity in tandem — like cooking a dish with a variety of easy ingredients, then unlocking a world of flavours as they're combined. As lensed by Patrick Scola (Monsters and Men), Pig finds beauty in the everyday, including when Rob and the titular animal could've trotted straight out of documentary The Truffle Hunters. It lingers on walking, talking, kneading, sipping and eating, and sometimes on people overtly appreciating those things. Filling its frames with detail, including in streams of sunlight or the act of preparing a meal, it also acknowledges that nothing that comes with existing is ever straightforward — and that hurt, cruelty and darkness are inescapable. To let these notions swirl and sink in, editor Brett W Bachman (Werewolves Within, and also a Mandy alum) finds a stately, thoughtful rhythm. As set to a stirring score, too, the film muses, meditates and steeps. It's unmistakably a movie where Cage plays a truffle hunter on a quest for revenge after his adored pet pig is stolen, but this moving and humanistic picture is also welcomely and entrancingly so much more than that.
Unofficial Bridgerton balls have already popped up in Australia, but now it's time for the real thing: The Queen's Ball: A Bridgerton Experience, which comes with the backing of Netflix and Shondaland. After bringing regency-era vibes to Los Angeles, Washington DC, Chicago, Atlanta, Minneapolis, Denver and New York in the US, and also to Toronto and Montreal in Canada, the event is finally letting Down Under fans unleash their inner duke and duchess. For a month between Friday, May 24–Sunday, June 23, Melbourne will be doubling for London high society in the early 1800s, in The Queen's Ball: A Bridgerton Experience's exclusive Aussie stop. Step inside Fever Exhibitions Hall on Dawson Street in Brunswick and you'll feel like you're stepping back in time — or into the huge Netflix hit series, at least. Lady Whistledown aficionados will be able to head along every Friday, Saturday and Sunday evening to promenade around an immersive setup where a string quartet will be playing live tunes inspired by the show, dancers will accompany the music and live theatrical performances will keep you entertained. You'll also go for a spin in the ballroom yourself at the afterparty. Before then, you'll also hit up Madame Delacroix's modiste and an underground painting studio, then visit with the queen. Actors in period costumes will be wandering around, helping to set the mood — and yes, if you'd like to dress to fit the occasion, and the series, that's obviously heartily encouraged. The drinks list, including cocktails, will be Bridgerton-themed. While your sips aren't included in your ticket, a full bar will be available, as will snacks such as chips and lollies to purchase. Tickets for The Queen's Ball: A Bridgerton Experience will be available via presales from 6pm AEST on Monday, April 29 and general sales from 6pm AEST on Tuesday, April 30. The event unleashes its lavishness just after the show's third season arrives, with the first four episodes dropping on Thursday, May 16, then the next four on Thursday, June 13.
Victorians are preparing to say goodbye to plastic bags as the State Government today confirmed it will impose a statewide ban from late 2019. The Department of Land, Water and Planning has announced that all bags less than 35 microns thick will be banned — that includes degradable, biodegradable and compostable options. Regular black bin bags, animal waste bags and those little bags you put your fruit and veggies in at the supermarket won't fall under the ban. After conducting a public consultation late last year, the Victorian Government received an "enormous amount of feedback" in favour of delivering the ban. "The Government will continue to work closely with Victorian communities and businesses to design the ban — to ensure it works for all Victorians and our environment," said Environment Minister Lily D'Ambrosio. Premier Daniel Andrews announced the ban on The Project back in October last year in response to a #BanTheBag Change.org petition run by the nightly Ten current affairs program. The move brings the state into line with South Australia, the ACT, the Northern Territory, Tasmania and Queensland, who announced it will next year ditch lightweight single-use plastic bags in September 2017. NSW is now the only state that hasn't committed to banning single-use bags. Woolworths has stopped stocking plastic bags at the checkout, and Coles will do the same from this weekend. Instead, the supermarkets will provide thicker, more durable options that won't be included in this ban — but, even though they're meant to be more reusable, it's hard to say if people will use them any differently to the way they use single-use bags now.
Put some mussel where your mouth is and join The Rochester Hotel’s Miss Katie's Crab Shack for a perfect pairing and party of Bellarine Peninsula’s finest mussels, beer and wine. Aligning with Miss Katie’s strong focus on sustainable and ethically sourced produce, the Melbourne Food and Wine Festival dinner will showcase sustainably farmed mussels from Portarlington supplier, Mighty Mussel. Delicious morsels will be paired with local beverages from craft brewers Beers By The Bay, and wines from renowned Scotchmans Hill winery. To top it off, you can grill your hosts about their produce and practices while you mussel, beer, wine, repeat.
One of the world's most acclaimed galleries is coming to Australia, and it's bringing more than 70 works that chronicle the past 200 years in art history with it. For a five-month season from mid-June, the UK's Tate will take over Melbourne's Australian Centre for the Moving Image with a hefty exhibition that'll span everything from painting, photography and sculpture through to drawing, kinetic art and installations — and, of course, the moving image. Given the time period covered by Light: Works from Tate's Collection, the list of artists that'll be on display is a varied one — as drawn from pieces in the Tate's four separate sites in Britain. Art lovers will be able to see works by famed English romantic painter and watercolourist Joseph Mallord William Turner alongside the light- and space-focused efforts of American artist James Turrell, plus pieces by impressionist Claude Monet and Japanese favourite Yayoi Kusama. Running from Thursday, June 16–Sunday, November 13, the unifying theme is light, as the exhibition's name makes plain — and if you're wondering how this connects to ACMI's remit as a museum for the moving image, light is obviously crucial to all recorded vision. While Light: Works from Tate's Collection will step through art history, ACMI will further put its pieces into broader artistic context by presenting it alongside its permanent The Story of the Moving Image exhibition, which examines the origins and genesis of film and television. [caption id="attachment_842689" align="alignnone" width="1920"] Raemar, Blue, 1969, James Turrell. Tate: Presented by the Tate Americas Foundation, partial purchase and partial gift of Doris J. Lockhart 2013. © James Turrell. Photo: Tate.[/caption] From the impressive roster of art and artists, Turner's 1805 painting The Deluge will make its Australian debut, while Kusama's characteristically kaleidoscopic 2005 sculpture The Passing Winter gets viewers peering into a mirrored cube. Turrell's Raemar, Blue, from 1969, is an immersive spatial environment that surrounds visitors in infinite and immersive light. And among the other highlights sits paintings by John Constable, Wassily Kandinsky, Bridget Riley and Joseph Albers; more impressionist pieces from Camille Pissarro and Alfred Sisley; and rotating crystalline sculpture Stardust Particle by Olafur Eliasson. Announcing Light: Works from Tate's Collection, which falls under the Victorian Government's Melbourne Winter Masterpieces series, ACMI Director and CEO Katrina Sedgwick said that "this is a rare opportunity to experience the expansive collection of one of Britain's most famous cultural institutions right here in Melbourne." "ACMI is proud to present a treasure trove of artworks inspired by a phenomenon so fundamental to moving image creation. Through its exploration of light as both a subject and a medium this extraordinary exhibition enables our visitors to explore surprising and enlightening interconnections across time and artform," Sedgwick continued. [caption id="attachment_842682" align="alignnone" width="1920"] Stardust particle, 2014, Olafur Eliasson, Tate: Presented by the artist in honour of Sir Nicholas Serota 2018. © Olafur Eliasson. Photo: Tate[/caption] Light: Works from Tate's Collection was initially curated for the Museum of Art, Pudong in Shanghai, and heads to ACMI after displaying at Buk-Seoul Museum of Art, Korea. In Melbourne, the ticketed exhibition will be accompanied by talks, performances, workshops and late-night events, as well as film screenings. Although the events lineup hasn't yet been revealed, masterclasses with cinematographers, artist discussions, and magic lantern and 16mm presentations will all be on the bill, as will two free exhibits — from Australian artist Mikala Dwyer in ACMI's lightwell and by Lis Rhodes in Gallery 3, with the latter's Light Music also coming from the Tate Collection. Light: Works from Tate's Collection will display at the Australian Centre for the Moving Image, Federation Square, Flinders Street, Melbourne, from Thursday, June 16–Sunday, November 13, 2022. Top image: The Passing Winter, 2005, Yayoi Kusama. Tate: Purchased with funds provided by the Asia-Pacific Acquisitions Committee 2008. ©Yayoi Kusama. Tate.
After many years and many hours spent on the Skybus, it seems Melbourne's long-awaited airport rail link is closer than ever to being an actual reality. The Federal Government has today announced it will commit up to $5 billion to help build the project — which should help things along. Four months after Victorian Premier Daniel Andrews confirmed that construction of the link would kick off shortly, Prime Minister Malcolm Turnbull has promised the big bucks to get it done. "There have been countless reviews, reports and recommendations, but Melbourne is still waiting for a service almost all of the world's great cities take for granted," Mr Turnbull said. "This is the rail link that Melbourne, Victoria and the millions of people who use the airport every year demand and deserve." The proposed rail line is expected to help ease congestion, speed up travel times and create a stack of new jobs in the process. However, the promised $5 billion isn't quite enough to cover such a hefty project and the pressure's now on the Victorian Government to match that figure in funding of its own. The Federal and State governments have previously committed $30 million to conducting a planning study for the airport link, which is also likely to include extra train lines between Southern Cross Station and Melbourne's western suburbs. This would mean speedier commutes between the CBD and Geelong and improved accessibility across western and northern Victoria. About time, we say. Sydney and Brisbane already have airport rail links, and Perth is currently in the process of building its own. Maybe this will finally kill or clarify that myth around the airport's secret underground 'station' as well. Image: Global Panorama via Flickr.
Negronis go down well after a hard day at work. Espresso martinis go down well at a boozy weekend brunch. Aperol spritzes go down well... well, most of the time. But, shelling out for these, oft $20-plus, cocktails on the reg doesn't go down well for our wallets. Luckily, there's a slew of Melbourne bars and pubs serving up these libations for a tenner — every day of the week. MONDAY [caption id="attachment_660467" align="aligncenter" width="1920"] Jane Doe[/caption] JANE DOE BAR, PRAHRAN What's the deal? $10 tap cocktails from 2pm, Monday. Bottled, batched and tapped cocktails hit cocktail bars across the city last year. Jane Doe has embraced the trend, serving cocktails on tap every Monday night for a bargain $10. While options do rotate, expect to find drinks such as espresso martinis, old fashioneds and brambles. TUESDAY [caption id="attachment_553553" align="aligncenter" width="1920"] Archie's All Day[/caption] ARCHIE'S ALL DAY, FITZROY What's the deal? $10 negronis all day, every day. No matter what you're after, Archie's has you covered — from that first morning flat white to a nice red wine and cheese platter late at night. They've gone one step further, too, offering $10 negronis all the time. All. The. Time. Business lunch? Tick. Boozy breakfast? Tick. After-work drinks? Tick. Tick. Tick. Archie's really does have you covered. WEDNESDAY [caption id="attachment_497308" align="alignnone" width="1920"] Baby Pizza[/caption] BABY PIZZA, RICHMOND What's the deal? $10 Aperol spritzes between 3pm and 6pm, daily. Child of Chris Lucas, the famed restaurateur behind Chin Chin, Baby Pizza serves up one-metre pizza every day. To whet your appetite for this daunting undertaking, the restaurant is serving up cheap drinks during its daily aperitivo hour. Running from 3-6pm, you can choose from$10 Aperol spritz or Campari tonics (or if you find an extra gold coin down the back of the couch, grab a $11 negroni). THURSDAY HELLO JOSÉ, WEST MELBOURNE What's the deal? $10 margaritas all day Wednesday and Thursday There's nothing like a refreshing tequila-spiked drink to get you through the final days of the working week. The lovely people at Hello José agree, and they're serving up four different types for a tenner. Grab your mates and order a round of classic margaritas, ones laced with chilli, orange and passionfruit margaritas or, the crowd favourite, frozen. FRIDAY [caption id="attachment_576518" align="aligncenter" width="1920"] Massi[/caption] MASSI, CBD What's the deal? $10 Aperol and Campari spritzes and negronis between 5.30pm and 6.30pm, Tuesday to Saturday. This CBD joint fully embraces the Italian tradition of aperitivo hour. And from 5.30-6.30pm Tuesday to Saturday, your negroni, Aperol or Campari spritz will set you back a measly $10. Peckish? Order a round of stuzzichini. Starving? Its braised beef pappardelle is a standout. SATURDAY [caption id="attachment_642040" align="aligncenter" width="1920"] The Ascot Lot[/caption] THE ASCOT LOT, ASCOT VALE What's the deal? $10 espresso martinis Friday, Saturday and Sunday. The Ascot Lot is Melbourne's newest food truck park. Previously a deserted car yard, the Mt Alexander Road space has been transformed into a colourful venue for delicious food and ice-cold refreshments. It plays host to some of Melbourne's most adored food trucks, and has an epic lineup of bar offerings — including $10 espresso martinis on tap. They're available whenever the park is open, so head along anytime after 5pm on Friday and from 11am Saturdays and Sundays. THE LEVESON, NORTH MELBOURNE What's the deal? $10 summer cocktails from 12pm, Saturday and Sunday The folks over at the Leveson have been pouring pints of craft beer for 11 years. But that's not the extent of its drinks list — it has a healthy selection of wines and cocktails, too. And during the warmer months, they want you to spend a while mulling over the cocktails — so they're offering $10 summer cocktails all day on Saturdays and Sundays. So, order a glass of something refreshing and carbonated and soak up the sun in the leafy beer garden. SUNDAY THE VIC, ABBOTSFORD What's the deal? $10 bloody marys from 3pm, Sunday. When you wake up slight dusty on a Sunday morning, there's one guaranteed fix: a bloody mary. Thankfully, the team over at the Vic is serving them up all day for a measly $10. It's not the only marys it's slinging over the weekend, either. On Fridays and Saturdays, from 6–9pm, you can purchase $10 espresso martinis, long island iced teas and margaritas.
During the catastrophic bushfire season over the summer of 2019–20, flames encroached on Bundanon and Riversdale, the 1100-hectare properties that were gifted to the Australian public by by artist Arthur Boyd and his wife Yvonne Boyd back in 1993. Located in the Shoalhaven region on the New South Wales south coast, the heritage-listed sites were thankfully saved, as was the art collection within them — and now they're all part of Australia's sprawling new bushland gallery. The Bundanon Art Museum was first announced back in 2018, with construction starting in early 2020. Come Saturday, January 29, it'll finally opening its doors to the public. The purpose-built, 500-square-metre structure will showcase contemporary and First Nations art year-round, starting with opening exhibition From impulse to action, which is all about the creative energy of experimentation. And yes, works by Boyd are part of the program. The venue will host three seasons each year, drawing from its $46.5 million onsite collection of around 4000 items, plus new commissions. When they're not on display, the museum's pieces are housed in a safe storage facility, which is part of its 'environmentally prepared gallery-of-the-future' design by Kerstin Thompson Architects, and takes all of the challenges posed by its location and the changing climate into consideration. Also a highlight: The Bridge, the 160-metre-long by nine-metres-wide structure that doubles as a learning centre, and spans over the existing gully on the property's sloping hillside. As well as teaching and break-out spaces, it features accommodation for up to 64 guests, plus cafe and dining facilities. And views, too, taking in the Shoalhaven River — because seeing the scenery is as much an aim here as checking out art. That eatery, Ramox Cafe, will serve up seasonal menus that hero paddock-to-plate ingredients and source produce from the Shoalhaven region. Drinks-wise, expect sips from local wineries and breweries, continuing the local mindset. Built near the site's existing nineteenth century buildings, the new art museum and bridge also share a public plaza as part of the $34 million project. Windows that frame the artwork with glimpses of the natural splendour outside are also a big feature — and, as well as responding to its surroundings, including by making The Bridge a piece of flood infrastructure that'll still allow water to flow naturally across the property, it's all solar-powered. As for that hefty art collection, if spans around more than 1300 works by Arthur Boyd himself, as well as pieces by Pablo Picasso, Francisco Goya and Brett Whiteley. When the Boyds gave the rural site to the Australian public back more than a quarter-century ago, Bundanon and Riversdale became a haven for creativity, arts and education, and remained a working farm. That's all staying the same now that Bundanon Art Museum is opening — just with the new addition built into the hillside. Bundanon Art Museum opens on Saturday, January 29 at 170 Riversdale Road, Illaroo, New South Wales. For further information, visit the venue's website. Images: Zan Wimberley.
If Neighbours wasn't already famously taken as a title of an Australian TV series, it could've also fit Last Days of the Space Age. Set in the 70s in Perth, the eight-part Disney+ show incorporates everything from US space station Skylab and workers striking for their rights to the battle for gender equality, the nation's treatment of Indigenous Australians, grappling with trauma and the immigrant experience — plus Miss Universe and the Cold War as well. Navigating all of the above: three neighbouring families in the Western Australian capital's suburbs. Judy (Radha Mitchell, Troppo) and Tony Bissett (Jesse Spencer, Chicago Fire), Sandy (Linh-Dan Pham, Blue Bayou) and Lam Bui (Vico Thai, Total Control), and Eileen Wilberforce (Deborah Mailman, Boy Swallows Universe) are all good neighbours and good friends. The teenagers in the three households — aspiring astronaut Tilly Bissett (Mackenzie Mazur, Moja Vesna), her surf-loving sister Mia (Emily Grant, RFDS), her best friend Jono Bui (debutant Aidan Du Chiem) and new arrival Bilya Wilberforce (Thomas Weatherall, Heartbreak High) — also all go to school together. Those connections sit at the heart of the series — and, as almost everything that the Bissetts, Buis and Wilberforces know starts to change, their neighbourly ties couldn't be more pivotal. Mitchell and Spencer are more than a bit familiar with this type of situation on-screen. While their careers have taken them overseas for decades — Mitchell has Phone Booth, The Crazies, two Silent Hill films, Olympus Has Fallen and London Has Fallen on her resume; Spencer featured in 173 episodes of House before his Chicago Fire stint; both also co-starred with a 00s-era Dakota Fanning in Man on Fire and Uptown Girls, respectively — they share a past on Neighbours. Last Days of the Space Age is Spencer's big return to homegrown TV, in fact, and his first major Australian small-screen role since playing Billy Kennedy. Ramsay Street's antics aren't set in 1979, of course. Spencer can see the symmetry with the Aussie television role that brought him to fame in the 90s and his latest show, however, he tells Concrete Playground. "The writing quality is a little bit more involved, but that's up to you to decide," adds Mitchell. As Last Days of the Space Age's Judy and Tony, the pair play not just a married couple but also colleagues at the Doull Power Plant, where Tony has been leading the worker strike for six months. When Judy is promoted and tasked with negotiating an end to the union action, their family dynamic is unsurprisingly shaken up. Aided by directors Bharat Nalluri (Boy Swallows Universe), Rachel Ward (Rachel's Farm) and Kriv Stenders (Danger Close: The Battle of Long Tan), creator David Chidlow (Hidden, Moving On) unfurls the Bissetts' upheaval alongside the Bui family's efforts to build a new life after arriving from Vietnam. With the Wilberforces — and with 1979 marking 150 years since Perth was founded — the series also confronts the impact of colonisation. Game of Thrones fans will spot Iain Glen (Silo) among the cast as well, as Judy's father Bob. Also included in the clearly ambitious series, which enthusiastically embraces its era and its tonal rollercoaster: Tony's journalist brother Mick (George Mason, Exposure) covering the beauty pageant, where USSR contestant Svetlana (Ines English, Dead Lucky) is a frontrunner under close watch by her KGB minder Yvgeny (Jacek Koman, Prosper). With Last Days of the Space Age available to stream via Disney+ since Wednesday, October 2, we chatted with Mitchell, Spencer and and French Vietnamese actor Pham about what excited them about the show's bold mix of elements, the fight to be treated fairly that thrums through the series, balancing its tones, Mitchell and Spencer's homecoming, Pham connecting to her roots, Neighbours and more. On What Excited Mitchell, Spencer and Pham About Starring in Last Days of the Space Age Jesse: "I was in the States, I just had my first child and this script came across my desk — and I love period dramas. It was my first chance to play a father with two daughters, so I felt like I was looking into my future a little bit. I knew nothing really about unions or the history of unions, but my character's a very passionate union leader, so I researched that — and there's a whole pretty awful history of treatment of workers back in the day, and workers' rights. But the whole project felt like a really interesting ensemble. It was quite quirky, but it was ultimately about families, and families fighting for each other — and societal change and how they coped with that. And it was really well-written. Then I got to Australia and it was a great cast, and it was a great experience to bring it off the page and bring it to life on the screen." Linh-Dan: "I think when I choose projects, there's always something personal, somehow, unconsciously. And this one was very clear: it was about reconnecting with my roots, basically. Even though my parents didn't go through what the Bui family has gone through, I managed to talk to some of my relatives about it, and it reopened the conversation — and also discovering the hidden pain, the trauma, was my way to get into Sandy. The script was actually so amazing anyway, and period pieces are so interesting. To go back: first of all, Australia, I love traveling; 70s outfits, hello disco. So it was a no-brainer for me." Radha: "There's so much in all of the storylines, and this sense of community, and all different parts of the fabric of the Australian identity being reviewed, in a way, because we have an opportunity to have a bit of distance between now and 1979. I thought that was really an interesting mirror to history, how we've constructed our sense of identity and where we're going to go with it now. Looking through the lens of that period, I thought was really interesting. And I liked all the characters. I felt it was written with a really compassionate, kind perspective. There's so much snarky nastiness in the media lately, that it was nice to just be involved in a story that was trying to put something positive into the world. So I felt very aligned to all those aspects of the script." On Mitchell and Spencer's Homecoming — and the Joy of Not Needing to Imitate US Culture Radha: "It was a little bit of a sense of coming back home, maybe, for me and Jesse — that we were able to bring some of where we've come from to where we are now. It felt like a bit of a contribution for me, being able to come home and do something that I felt aligned to." Jesse: "Every Australian actor I know — because a lot of work is international, and for a lot of actors too — but every actor I know always loves to go home and try to do a project. Because you spend a lot of time learning about throwing yourself into other cultures, and more or less trying to imitate authentically who they are, and where they are in certain points in time and stuff. So to bring it back to something that's much more familiar is just a pleasure. Things are much, much more tangible. It's accessible. There's still challenges, but it makes it very, very fun. And especially when there's good writing and good casting — I know a lot of actors who are always trying to go back to their home countries and do it. And this was an opportunity to do that. So I grabbed it." Radha: "It's interesting — an imitation. That is true when you're working in the US." Jesse: "I mean, you don't think about it. You don't want to think about that." Radha: "Yeah, but you're imitating the culture, whereas here, I feel like this is our culture, talking about things that we're part of." On Whether Making a Show About Neighbours After Acting on Neighbours Feels Like a Full-Circle Moment Radha: "I think Jesse would say so." Jesse: "Yeah, a little bit. There was a little bit of that. Although, yes and no, because the dynamics, the themes that run through the show, the dynamics between the characters, is just a little different to Neighbours, but there is a similarity there." Radha: "We are neighbours in the show." Jesse: "I mean, we're next door to each other." On the Series' Resonant and Repeated Focus on Fighting to Be Treated Fairly Jesse: "I think it's a human trope. Everyone's fighting a hard battle against themselves and in society. It's something everyone can relate to. And it's enjoyable to watch, I think, characters have obstacles — to come up against them, sometimes fail, but sometimes find a way around that and breakthrough for a transformation. That's what this show is all about. It's about transformation, courage and ultimately hope." Radha: "But it's subverted, I guess, in a great way by this crazy stuff that's going on in history, and the crazy costumes. And all this stuff, there's a sincerity to it, but there's also an irreverence about the storytelling, which I think attracted me to it." On Balancing the Mix of Warmth, Tragedy, Humour and History Radha: "That's the challenge in the discovery. I think we were on set thinking 'what is this? Is this a comedy?'." Jesse: "Right. Right." Radha: "'Look at your outfit, man. I can't even look at you without laughing' — but here we are, we're doing this very serious scene." Jesse: "But that's life as well, when it's this tragedy but it's also kind of funny — a bit of black humour or quirky sort of humour. There's always a million shades of grey, which is better than just one colour. And yeah, that was a challenge. And we were always trying to figure out what the tone is in the scene and where you were with the character." Radha: "Even Bharat [Nalluri], who was the first director for the series, was like 'wow, okay, we're really going to create this together, the tone'. And we felt comfortable that he had recognised that that was part of what we were doing — that it couldn't be just taken for granted. I think that's what makes the series unique, that it's got its own tone, its own voice — and I think that was what we created." On How Pham Approached Playing a Character Caught Between Making a New Life and Grappling with Trauma Lin-Danh: "Well, you go deep. I think somehow what your parents instil in you, your family, your surroundings, you feed yourself from all of that, and it's the mystery also of acting, sometimes. Actually, my aunt had written a story about her side of the family, a book she self-published. I did read about that. And it was ups and down all the time, her first few years in France where she lost everything and she refused to go back to Vietnam, and had to fend for herself with her three kids. They were boat people, met some pirates. So, you just talk to these people and you feed off it. It feels a bit selfish and sometimes like I'm forcing a little bit. But they were very generous and we had great conversations with my family that I had not really had kept in touch with. So that's how I got through Sandy." On Mitchell's Take on Judy Being Pulled in Every Direction Both at Work and at Home — and Finding Herself in the Chaos Radha: "I just wanted to keep her really real. And I felt maybe what was charming about her is that she didn't want to do all these things. They were just happening and she was discovering her talents in action, but she wasn't ambitious at all. It was just happening, it was her nightmare that she was going to be doing all these things, and yet she was discovering herself in them. I thought that was really interesting about her. She wasn't this empowered woman — she was somebody discovering her power. And the conflict around that at home, and the challenges of having teenage daughters that just don't want to listen to you, I think it sort of played itself out. And maybe even my own personal bias against it — just feeling that I like these emancipated female characters, so to cut my own wings in the role was really interesting for me. I think those were the challenges, and I was lucky enough to be working with great actors, and we created this wacky little family together. And then the friendships around that, I think layered it with this — I think Linh-Dan was saying it was a feminist show in a way, and I don't think it is only, but it certainly celebrates the relationships between women and the details of women's lives in a kind of intimate way. I think that's one of the beautiful parts of the storytelling." Last Days of the Space Age streams via Disney+ from Wednesday, October 2, 2024. Images: Joel Pratley, Tony Mott and Mark Rogers.
