Melburnians, when spring rolls around this year, you can expect to welcome in the warm weather with yakitori. Just when you thought the CBD couldn't fit in any more deliciousness, chef Adam Liston has announced he'll be building and opening a two-storey eatery in collaboration with The Hotel Windsor, combining Japanese, Korean and Chinese influences. Named Honcho, the eatery will squeeze into the now-vacant block of land between Rosa's Kitchen and Longrain on Punch Lane. Liston hinted at this plan back in February, when he closed his Smith Street yakitori bar, Northern Light. But it's only just now that he's let spill some of the details. Honcho's menu will have two main focuses. The first is yakitori (a moreish Japanese dish, involving chicken being placed on a skewer and then grilled to mouthwatering perfection), which will be cooked on an epic, custom-made grill. The second is seafood, to be served at a dedicated bar. According to Good Food, we can look forward to ocean trout sashimi with pickled ginger and saltbush, among other delicacies. Served up with such creations will be a handpicked selection of Japanese beers, sake and shochu. Mercifully, for those already set up in the area, drilling and hammering over winter will be kept to a minimum. The new building, designed by architect Kerstin Thompson, will be creating the building elsewhere, and then slid into place at 18 Punch Lane. Honcho is set to open in September. If you can't wait to get your Adam Liston fix, swing by The Windsor, where he'll be heading up a pop-up noodle bar from the beginning of June till the end of August. Keep an eye on the hotel's website for more details on that one. Via Good Food.
Carlton's Argyle Square has recently been graced with a new outdoor eatery, though you may not immediately recognise it as such. Parco's middle-of-the-street courtyard digs better resemble a little kiosk for good reason. Originally built as a power substation, the tiny cottage-like building was most recently used as an information kiosk — though, according to locals, it's been vacant for nearly 20 years. Enter long-time mates Jarrod Balme and Adrian Pagano, who saw an opportunity to reclaim this space. They've turned the site into a cafe surrounded by outdoor park-bench seating — with space for 50 all up. It's uniquely situated in the centre of the street just south of Argyle Square. Fitzroy's Therefore Studios took care of the fit-out — having also been responsible for Richmond's Union House and Vacation cafe in the CBD — along with branding expertise by Australian designer Peter Jay Deering and drawings by Tokyo-based designer Yu Nagaba. "The inspiration behind the fit-out was to do something complementary to the space and not jolting to the surrounding environment," says Balme. "We really wanted to be seen as an extension to the beautiful Argyle Square through our space and our menu." To complement the space, head chef Piers Bielby has created a succinct menu that focuses on 'hand-to-mouth' eating, including all-day brekkie items like the banh mi — a miso-mayo dressed milk bun piled with maple bacon and a fried egg, then topped with pickled carrots, coriander and cucumber. The avo smash is a bit different, too, set on rye bread and topped with vegan cream cheese and a beetroot slaw. For lunch, think confit crispy duck salad with Thai spices or the salty-sweet Scuttlebut vegetarian ciabatta —with a boiled egg, avocado and feta, topped with fresh herbs, pickled veggies, olives and capers. Seasonal fare is sourced from local suppliers, with all meat from Meatsmith and bread from Dench Bakers in Fitzroy North, plus coffee by Coffee Supreme and tea by Love Tea. Fresh smoothies and indulgent milkshakes are also up for grabs, as are daily-baked pastries from the takeaway display (made both in-house and sourced from Dench). Sure, the all-outdoor seating may not be ideal for these winter months, but it does mean the cafe is dog friendly — and they've got plenty of blankets to keep you warm, too. We expect to see the space to really boom in the warmer days ahead. Images: Kate Shanasy
Peer through a portal and experience a whole new perspective with this immersive exhibition at NGV Australia. Located in the gallery's Federation Square foyer, this unique piece consists of five distinct works ranging from film to hand-blown glass sculpture, all housed in an intriguing architectural creation of timber and steel. Visitors make their way around the structure, peering at each work through one of five seperate portals. Each portal shaping the visitor's experience in entirely new ways, as the act of viewing becomes warped and reflected by everything from mirrors to a long timber cantilever reminiscent of a Venetian mask. A collaboration between John Wardle Architects, filmmakers Coco and Maximilian and New York based Australian artist Natasha Johns-Messenger, Somewhere Other was first shown at the 16th International Architecture Biennale of Venice, and now makes its way to Melbourne as part of the third annual Melbourne Design Week. Image: Tom Ross.
UPDATE, October 29, 2020: Halloween is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Amazon Video. The boogeyman is back, and his warped face mask, stolen mechanic's overalls and gleaming kitchen knife too. But Michael Myers' return isn't the entire point of the latest (and second greatest) Halloween. While the creepy convicted killer stalks the streets of Haddonfield, Illinois as if he's never left, Jamie Lee Curtis' resourceful and determined Laurie Strode is back as well — and in the current version of events, she's spent four decades preparing for this very moment. Once a 17-year-old babysitter targeted by an escaped criminal asylum patient on October 31, Laurie is now a silver-haired, gun-toting grandmother. Living in a compound-like property in her hometown, she's so intent on facing her attacker that she has dedicated years to this very purpose. Laurie's now-adult daughter Karen (Judy Greer) resents her for the impact that it had on her childhood, while teenage granddaughter Allyson (Andi Matichak) is caring but concerned. Regardless, Laurie knows that Michael will come for her — and when he again breaks free en route to a new psychiatric facility, she's proven accurate. Carnage ensues, just as it did in John Carpenter's original slasher classic. As Haddonfield trick-or-treats like it's any other Halloween in any other place, Michael adds more notches to his body count, Laurie lies in wait and Allyson follows in her grandmother's footsteps like it's 40 years earlier. Directed by David Gordon Green (Stronger) and co-written with frequent collaborator Danny McBride, 2018's Halloween knows how to incite bumps, jumps and screams, many of which will be gloriously familiar to seasoned Halloween buffs. But, with Carpenter's blessing and a new musical score from the horror maestro and composer, this take on the franchise also knows how to carve its own path. Now reaching its 11th instalment, Halloween unleashes the series' fourth different timeline, ignoring everything else except the initial 1978 flick. Black Mirror just announced that it's making a choose-your-own-adventure episode, but this franchise has been doing it for decades. Viewers can pick the cultish thread that eventually connects the first five sequels (including the Michael-free Halloween III: Season of the Witch), Laurie's first big return in Halloween: H20 and its terrible follow-up Halloween: Resurrection, or Rob Zombie's two remakes, however the series' next chapter is the most thrilling, perceptive and satisfying. Green and McBride are clearly fond of Carpenter's seminal work, stripping the saga's underlying suburban nightmare back to its terrifying basics, while contemplating the consequences of terrible trauma. Their film recognises the scariest fact of life: that truly awful things happen for absolutely no reason, and that they cast a dark shadow. That makes 2018's Halloween a powerful account of the ways that horrific acts shape the lives of survivors, as well as a celebration of women rallying to reclaim their own story. Nothing robs inexplicable terror of its potency quite like its intended victims refusing to be defined by fear. Thankfully, this Halloween isn't just thoughtful — it's thoroughly entertaining, even when it's hitting recognisable notes. Balancing the old and the new is a game that this sequel plays as well as Michael plays cat-and-mouse, from subverting genre tropes initially established by the series, to lovingly nodding to its many predecessors. When the true crime podcasters (played by Jefferson Hall and Rhian Rees) who kickstart the film's narrative visit Haddonfield's cemetery, and when Laurie calls new doctor Sartain (Haluk Bilginer) the "new Loomis", franchise devotees will want to cheer. When the movie turns Laurie into Michael's boogeyman, rather than vice versa, everyone will want to applaud. Of course, as plenty of horror shockers have demonstrated over the last 40 years — including a few Halloween follow-ups — it's not enough to simply work through the Halloween checklist. While 2018's Halloween does that with finesse and fondness that goes beyond mere fan service,it also feels the part thanks to its unsettling atmosphere and ample blood splatter. There's lingering menace in Michael Simmonds' (Nerve) cinematography, both when it's mirroring old shots from the original and bringing its own flourishes. Collaborating with his son Cody and godson Daniel Davies, Carpenter's score reworks the iconic synth and piano-heavy music that has served the series so well, but with a suitably bleaker tone. They both contribute to the sequel that Carpenter's seminal picture has deserved for all of these years. That said, 2018's Halloween does present a conundrum. It's the perfect culmination to the long-running franchise but, more than any other chapter, it leaves the audience pumped for more. https://www.youtube.com/watch?v=cL_I2vNwkXQ
Hosting pre-drinks can be a lot of pressure. The playlist has got to be on point and create the right vibe. The snacks need to be that perfect mix between 'line your stomach' and 'small enough to eat with one hand while straightening hair'. And the drinks have to be knockouts because they're kind of like the marker for the night ahead; pick a great drink, you're in for an even greater night. And you can't go past prosecco; The dramatic 'pop' will immediately liven up the crowd, and the versatile Italian bubbly can be enjoyed on its own or heroed in a bunch of tasty cocktails. (And no, not just in a spritz.) To make sure you serve up some real humdingers, we've partnered with the prosecco masters at Dal Zotto Wines and crafted five prosecco cocktail recipes to try before your next night out. Bottoms up, bubble lovers. PASSION PIT Let this be our little secret... This cocktail is like a fancy, adults-only version of Passiona. It tastes just like an Aussie summer (read: pavlova and bubbly). — 70g castor sugar — 70ml lemon juice — 70ml triple sec — pulp from 4 passionfruits — 1 bottle of Dal Zotto prosecco, chilled (serves four to six) Mix together the lemon juice and sugar, dissolving it as best you can. Next add the triple sec and passionfruit pulp. Pour the mixture over a couple of ice-filled glasses, then top up with chilled prosecco. Garnish with passionfruit, mint and pineapple. You'll be feeling higher and higher in no time. EL LOCO Forget frozen margaritas — it's all about sparkling margaritas, amigos. This fizzy twist on the classic will send your mates loco in all the right ways. Cocktail: — 90ml blanco tequila — 90ml triple sec — 120ml chilled simple syrup (recipe below) — 240ml lime juice — 1 bottle of Dal Zotto prosecco, chilled — coarse salt — lime wedges Simple syrup: — 250 ml water — 250 ml castor sugar (serves six to eight) First, you need to make the simple syrup which is, well, super simple to make. Grab a medium saucepan and over medium-high heat stir together the sugar and water until all the granules have dissolved. Allow to cool to room temperature and then chill in the fridge. Next, add the tequila, chilled simple syrup, triple sec and lime juice into a cocktail shaker along with a good handful of ice, then give it a good shake. Grab your tumblers — or margarita glasses, if you've got 'em — and run a lime wedge around the rim of each glass before dipping them into a small plate of course salt. Add a handful of ice to each glass and divide the tequila mixture among the glasses. Finally, top with a wedge of lime and a splash of prosecco for that all-important fizz. PRINCESS PEACH Just like everybody's favourite crown-wearing Mario Kart character, this tipple is sweet yet punchy and will always score first place. — 2 ripe peaches, seeded and diced — 1 tablespoon freshly squeezed lemon juice — 1 teaspoon sugar — 1 bottle of Dal Zotto prosecco, chilled (serves six) Chuck the peaches, lemon juice and sugar into your trusty food processor, and blend until smooth. Pass the mixture through a sieve and get rid of all the chunky peach bits. Place 2 tablespoons of the puree into each champagne glass and top with well-chilled prosecco. Yeah, Peach has got it! LEMON DROP This cocktail is a riff on those zingy, sherbert-filled lollies you probably ate as a kid. And it's got two Italian heavy-hitters, limoncello and prosecco, so you know it's going to be good. — 1 bottle of Dal Zotto prosecco, chilled — 250ml limoncello, chilled — blueberries — thyme — lemon slices (serves four) Pour the prosecco and limoncello into a jug and stir together. Next, press your lemon slices into the bottom of a large highball glass (a hurricane or sling will work equally well), top with ice and fill with the prosecco mixture. For added pizzazz, garnish with thyme and blueberries. PURPLE RAIN Just like Prince, this tipple is kinda strange but, also, utter genius. If it were to change its name to a symbol it would be an exclamation mark, because it's that delicious. Cocktail: — 1/4 cup blackberries — 90ml blackberry syrup (recipe below) — juice from one lime — mint — 120ml light rum — 1 bottle of Dal Zotto prosecco, chilled Blackberry syrup: — 2 tablespoons water — 1 cup blackberries — 1/3 cup granulated sugar (serves two) First, you'll need to whip up the blackberry syrup. In a small saucepan over medium-high heat, mash together the sugar, blackberries and water. Once the mixture is thick and the sugar dissolved, pass it through a fine mesh strainer and let it chill. Add the blackberry syrup, blackberries, lime and a handful of mint to a cocktail shaker and muddle well. Next, chuck in the rum and a few ice cubes and shake it like you mean it. Strain the mixture into martini glasses and top with chilled prosecco and fresh blueberries or blackberries. Then, get ready to party like it's 1999. Keen for more fizz? Visit The Osborne, Auburn Hotel, The Cove, Captain Melville, Jimmy Watsons, La Manna or Parkhill Cellars for a glass of bubbly perfection. Plus, as part of Melbourne Food and Wine Festival 2019, Dal Zotto winery is hosting an Italian lunch feast on Saturday, March 16. For more information and to book tickets, head this way.
For the second year in a row, movie buffs will need to get their Melbourne International Film Festival fix purely from their couches. After the 2020 fest jumped online due to the pandemic, the 2021 event was meant to go ahead as a hybrid of both in-cinema and digital sessions. But then not one but two lockdowns hit, venue restrictions were put in place when the city wasn't under stay-at-home conditions, and the COVID-19 situation in Melbourne in general has kept complicating plans, leading MIFF organisers to scrap its in-cinema screenings. Initially, in-person sessions were set to span the festival's first week or so, before the event closed up online; however, just days before this year's MIFF kicked off on Thursday, August 5, the fest flipped that order and expanded its virtual component. It was due to then add in-person sessions from Thursday, August 12, but that'll no longer be happening. "MIFF's heart was in a return to cinemas this year, and this is a goal that we have pursued with determination to this point," said Artistic Director Al Cossar. "It is with deep sadness and profound frustration that we must take the step of cancelling our Melbourne cinema-based screenings for 2021." This year's MIFF was designed to be able to adapt to changing conditions, given that it was always likely that the pandemic would continue to impact the festival's plans — and so it is well-positioned for the move online. "Despite the duress of this moment, we are proud that elements of our program can still continue," said Cossar. "Through our XR platform, global audiences anywhere can continue their season of MIFF's exciting range of immersive experiences; and, centrally, through MIFF Play we can continue to deliver the very best Australian and international films to audiences not just in Melbourne but right around the country, at a time that it's most needed." Via MIFF Play, the festival is screening more than 90 features, with its catalogue of titles growing in recent days. Exisiting highlights include college-set rom-com Freshman Year, Spanish influencer satire La Verónica, New Zealand thriller Coming Home in the Dark and Norwegian comedy Ninjababy, while the Mads Mikkelsen-starring Riders of Justice and psycho-thriller music mockumentary The Nowhere Inn — featuring Carrie Brownstein and St Vincent — sit among the just-added newcomers. More films are set to become available on Saturday, August 14, too, such as documentary Hopper/Welles, which sees Dennis Hopper and Orson Welles meet and chat back in 1970; Night of the Kings, a prison thriller set on the outskirts of Abidjan; and Stray, a doco about the 100,000-plus stray dogs that rove freely around Istanbul. And, other titles will drop later in the fest, like Australian drama Little Tornadoes, which is co-written by The Slap's Christos Tsiolkas; Woodlands Dark and Days Bewitched: A History of Folk Horror, a documentary exploring the folk horror genre; and closing night's Language Lessons, which takes place via video calls. MIFF's digital platform is available Australia-wide, ensuring that cinephiles around the country — including those in lockdown elsewhere, like in Greater Sydney — can enjoy its lineup as well. That facet of the online program proved popular last year, unsurprisingly, with 2020's virtual festival resulting in MIFF's biggest fest yet, audience-wise. The 2021 Melbourne International Film Festival runs via MIFF's online platform MIFF Play until Sunday, August 22. For further details, visit the MIFF website.
Recently blacklisted in its director’s native China, the new film from Jia Zhangke is a grim, unflinching ode to the disenfranchised masses. An anthology driven by fleeting acts of violence, A Touch of Sin marks something of a stylistic departure for the filmmaker, whose previous films, including Still Life and The World, were more naturalistic. Yet Zhangke’s concern for the exploitation of his country’s working class remains very much front and centre. It’s this compassion for those without options that ensures this film strikes a chord. An unsettling prologue sets the movie's tone: three men with hatchets ambush a motorcyclist (Wang Baoqiang) on a deserted road, only to be mercilessly gunned down by their would-be victim. Afterwards, we’re introduced to Dahai (Jiang Wu), a righteously indignant coal miner in the impoverished province of Shanxi, who becomes increasingly obsessed with bringing corrupt local officials to justice. Dressed in his long green overcoat, Dahai sees himself as a hero for the common man. For a time, so do we. But with every bureaucratic setback, his crusade becomes more frenzied, before finally erupting into bloody vigilantism. From there, Zhangke abruptly shifts direction, leaving Shanxi behind and picking up with the motorcyclist — a worldweary criminal whose name we learn is Zhou San. After a bittersweet evening with his family followed by a daring and violent robbery, the film switches protagonists again, peering in on the life of Xiaoyu (Zhao Tao, the director's wife), a lowly sauna receptionist who’s forced to defend herself against an overly aggressive customer. Finally, the film settles on Xiaohui, a kind young man whose job as a concierge at a high-end brothel sends him gradually into despair. This fractured narrative proves somewhat problematic. While each of the characters are inherently sympathetic, that we don’t spend more than half an hour with any of them makes it hard to become fully invested. Dahai’s vignette — part absurd black comedy, part Death Wish-style revenge fantasy — is easily the most engaging, whereas the subsequent chapters grow increasingly slow-moving and introspective. Truthfully, A Touch of Sin is less about its four leads, and more about the millions of others, both in China and around the globe, whose desperation has driven them to criminal activity and violence. Simple, lingering shots capture many scenes of privilege against a backdrop of poverty, none of which are more pointed than the sequence in which Xiaoyu’s wealthy attacker whips her with a thick wad of cash after she refuses to accept it for sex. What a perfect allegory for the relationship between the rich and poor: either concede to be screwed, or be beaten without mercy. While Zhangke’s structural approach can at times be emotionally distancing, his themes thankfully keep the movie feeling personal.
In 2019, a horrible goose wandered around a quiet village, then chaos ensued — and instigating it became one of the most-entertaining ways to mash buttons. Untitled Goose Game first released in September that year. By the time 2020 hit, more than a million copies had been sold, getting folks controlling a pesky waterfowl with a penchant for trouble. That's honking phenomenal for an indie game out of Melbourne, and it's a feat that the city's Australian Centre for the Moving Image keeps celebrating. After giving Untitled Goose Game the live orchestral treatment back in 2022, the Aussie screen museum is now hosting a world-premiere exhibition dedicated to the title. Honk! Untitled Goose Exhibition features different versions of the game from its various development stages that you can play, plus sketches, concept art and design material for attendees to check out. It's going to be a lovely five months in Federation Square from Tuesday, September 17, 2024–Sunday, February 16, 2025, and you'll be an adoring Untitled Goose Game fan. Sorry Mario Kart. Move over Tetris. Forget Wii Sports, Pokémon Go, Street Fighter or whatever other title first springs to mind whenever you think about video games. They're all well and good, but they aren't taking over ACMI like this homegrown hit from House House. If you're new to Untitled Goose Game, it's a puzzle game — and, yes, it's about a goose. You play as the bird, and your aim is to move objects and other characters, and just generally cause mayhem in a small village. No description can really do it justice, though; you just need to play it. While the game has filled oh-so-many hours over the past few years, and gotten its ARIA-nominated original soundtrack by Dan Golding stuck in everyone's heads, Honk! Untitled Goose Exhibition isn't just for diehard gamers. No matter if you know every inch of the game or you're only hearing about it now, you'll be plunged into its world in an interactive showcase that's designed to get you playing. How slapstick factors in, plus the form of comedy's history, is also a big feature. We don't expect that running off with keys, socks, glasses, radios and the like will be a part of it, however.
There's a big, white container sitting in Federation Square. It looks innocent enough at first, but, like most shipping containers in the city, it's not being used to transport furniture. And the fact that the word 'séance' is written on the side in black makes it seem kind of ominous. But Séance is actually a new installation where participants take a seat inside the tiny space, put on a headset and place their hands flat on the table in front of them. The lights go out and the container enters complete darkness. For the next 15 minutes, participants are fed 'suggestible information' through their headsets. You're probably thinking that there's something dark or supernatural about the whole thing — and going by the name, we don't blame you. But the installation's organiser assures us that 'séance' is simply a French word meaning 'session' or 'sitting'. And so Séance is a sensory experience that looks at the psychology of a group sitting together. Despite not being a horror or supernatural-themed piece, it's a scary indicator of how easy it is for confusion, information overload and the people siting right next to us to affect our judgment. Artists David Rosenberg and Glen Neath (who have collaborated in other sensory deprivation projects before) are the creative masterminds behind the project, which has been described as 'disorienting' and 'deeply unsettling'. It's not recommended for the claustrophobic or the easily frightened. After its Melbourne residence, the installation will head to Sydney (November 22 to December 10) and Brisbane (dates to be confirmed) so they, too, can experience this madness. Séance is open daily, three times an hour between 12pm and 10pm until November 12. Tickets cost $20 each and you can purchase them through the website.
So if you're lonely, Franz Ferdinand will be here waiting for you in Melbourne before 2025 is out. Fresh from releasing their sixth album in January, the Scottish band are touring Down Under to help cap off the year, including on Friday, November 28 at Live at the Gardens in the Royal Botanic Gardens Melbourne. It's been more than two decades since the Alex Kapranos-led group made a helluva splash with the catchy second single from their self-titled debuted album. Even just reading the name 'Take Me Out' is enough to get the number-one tune in Triple J's 2004 Hottest 100 stuck in your head. The song was also nominated for two Grammys, while the record that it springs from won the Mercury Prize. Since the huge success of 'Take Me Out' and their 2004 Franz Ferdinand album, the band have dropped records in 2005 (You Could Have It So Much Better), 2009 (Tonight: Franz Ferdinand), 2013 (Right Thoughts, Right Words, Right Action), 2018 (Always Ascending) and this year (The Human Fear). Touring-wise, their past Aussie trips have included sets at Big Day Out, Splendour in the Grass and Falls Festival. Franz Ferdinand's 2025 Aussie visit comes just a few months after Bloc Party, who benefited from Kapranos' approval when they were starting out, do the same in August. Select images: Raph PH via Flickr.
An author who paid others to pen his books. A flagrant womaniser and gambler. Someone who'd lose his last franc rather than live within his means. Obsessed with keeping up appearances in Parisian artistic circles, Henry Gauthier-Villars (Dominic West) — or Willy, as he preferred to be called — was many things. He's certainly the least interesting part of a story that shouldn't be about him, but the real-life figure's actions guaranteed otherwise. Marrying Sidonie-Gabrielle Colette (Keira Knightley) when she was 20, and putting her to work when he was desperate for ghostwriters, he claimed her autobiographical Claudine novels as his own. He also refused to give her any credit despite years of success — and even went as far as locking Colette in a room for hours when he wanted her to increase her literary output. While it might seem awkward to start a review of Colette's biopic by thrusting her first husband to the fore, that was her married life with Willy in a nutshell. There's no doubting that they loved each other, at least initially, however his sense of importance cast a long shadow. The conventions of the era didn't help; it was difficult for women to be taken seriously in the late 18th and early 19th centuries, and impossible for Colette to get her books published under her own name. But hers isn't a tale of a talent simply finding her calling against the odds. Rather, as handsomely directed by Wash Westmoreland, it's one of a woman breaking free of a man's control, society's expectations and gender-based constraints. More than that, it's still devastatingly timely. Co-scripted by Westmoreland along with his Still Alice co-director Richard Glatzer and Disobedience screenwriter Rebecca Lenkiewicz, there's a wily air about Colette from the outset. It's evident when Colette is glimpsed rushing through her family's modest Burgundy estate for a secret, lusty rendezvous with Willy. It's apparent, too, when she discovers her husband's philandering ways, and demands that she's no longer ignored and overlooked. Indeed, every time that Colette is pushed aside, she fights back. Whether she's dismissed for her country upbringing, left stranded at home while Willy goes out on the town, or threatened with scandal when she enjoys relationships with women, she rallies against the limitations placed upon her. Earning recognition for her own work might be her toughest hurdle — even more so than the response to her move into acting — but Colette was adept at bursting through boundaries. Often considered restrained or aloof in period dramas such as The Duchess and A Dangerous Method, Knightley frequently uses those traits to her advantage in Colette. Her protagonist isn't distant, but she does boast a sense of steeliness — one that, in another tale, might've been mistaken for detachment. That said, it's when the actor subverts expectations that she turns in some of her most memorable work in recent years, selling her character's full wit, charm and impact. Though never lacking in self-assurance, Colette proves as spontaneous and spirited as she does determined and resolute. She's someone who's always comfortable in her own skin, even when she's told that she shouldn't be, as is continually made plain in Knightley's lively and lived-in central performance. In a movie about a woman blazing brightly, it should come as no surprise that its star is the cast's standout. West's take on Willy is purposefully and convincingly grating, while Eleanor Tomlinson (Jack the Giant Slayer) and Denise Gough (Juliet, Naked), playing Colette's lovers, are barely given room to flesh out their parts. Still, they each add detail to a film that's never just celebratory. In chronicling the formative years of one of the greatest female literary figures of her time (and of all time), Westmoreland's biographical picture compellingly delves into the world that made its subject who she was. Domineering men, gossipy parties, the superficial pleasures of ornate wallpaper and costuming — to understand why Colette was most at home in her family garden, or pouring her life onto the page, or breaking fashion taboos by wearing a suit, is to first understand everything that the iconic author was told to be, yet chose to ignore. https://www.youtube.com/watch?v=JnTNgZz4Sm0
Evie's Disco Diner is a queer-friendly, bottomless brunch-serving, drag-bingo-playing bar that's loved by Fitzroy's late-night revellers. It's big, brash and doesn't take itself too seriously. This has been a winning combo for the team running the Gertrude Street haunt — one of our picks for Melbourne's best bars for dancing. But when they decided to open a spot in the CBD, they didn't want to replicate this formula exactly. Instead, new bar Champagne Problems is like Evie's grown-up sister. She still likes to party and have a big night out, but now prefers to do so while sipping on signature cocktails, and snacking on shared plates and cheese fondue. The crew running the show describes the aesthetic and vibe as "elevated camp". Where Evie's accents are all bright pink, Champagne Problems is fully embracing lime green, from the neon sign out front, to the chairs, painted walls and cocktails like its appletini and Japanese slipper — and yes, we are as confused as you are by Midori's unexpected return to so many Melbourne bars. The team has also left plenty of room inside for when long drinking and dining sessions lead into dancing around the bar late at night. A regular lineup of DJs will help set this party mood as well. But before the party gets going, plenty of food is up for grabs. Small plates dominate the menu, like devilled eggs, prawn cocktails, seared scallops with beets and roasted garlic puree, oysters with champagne granita, and cheese and meat boards. A few bigger dishes also feature, like the lobster roll, beef burger, steak frites and duck a l'orange. Late at night, the kitchen serves decadent truffle gruyere jaffles and caviar bumps. And cheese fondue is also on the cards for winter, great for big group hangs. You can pair these eats with beer and wine, but Champagne Problems is more about cocktails — surprisingly, not champagne. When the sun is shining, you can sit on the outdoor tables with limoncello and yuzu spritzes and margaritas. Those wanting the harder stuff can try the cherry negroni or coconut old fashioned. Classics can also be whipped up without fuss if the signatures don't do it for you. If you loved drinking and dancing at Evie's but now feel a little too old for it, consider a trip to its older sibling in the CBD. You'll find Champagne Problems at 238 Little Collins Street, Melbourne, open 4pm–late from Wednesday to Sunday. For more details, head to the venue's website. Images: Luke Robinson, Drop Media
Melbourne's late-night, citywide spectacular of light, art and performance has entered a new phase of existence, reborn as a three-night extravaganza for the new White Night Reimagined. Making its debut from August 22 to 24, the arts festival boasts a jam-packed, multi-sensory program. On this year's bill, you'll find myriad ways to warm those cockles amid the festival's late-night winter happenings — from a music-filled after-hours party at Melbourne Museum to a breathtaking acrobatics show descending upon Birrarung Marr. Trees come alive with artistic installations, smash-hit films are brought into new dimensions and interactive artworks offer fresh perspectives. Here are our pick of must-try experiences that'll help you get the most of the White Night Reimagined debut program.
Melbourne isn't short on Mexican joints — we've got a heap of good 'uns already on high rotation. But, still, it's just received another one in the form of unapologetically neon-lit Tex-Mex joint El Camino Cantina. El Camino comes from Sydney where is has two outposts, along with another in Brisbane, and is part of Rockpool Dining Group, which also owns Sake, Rosetta, Munich Brauhaus, Burger Project and, of course, Rockpool Bar & Grill. This loud venue — which is in the old Fitzroy Social (and Little Creatures) space on Brunswick Street — is made for casual dining, but it's also and over-the-top with giant cocktails, rock 'n' roll jukeboxes, lively Tex-Mex fare and sprawling 400-seat dining room and bar. Slushie machines signal big nights and brain freezes. El Camino's margaritas come in many renditions, including a tropical Red Bull flavour, which really says it all. Other options include a host of beers from near and far, and a collection of over 100 mezcals and tequilas. The food lineup is as fun and casual as the drinks. Think fiery buffalo wings, sizzling fajitas, plump burritos, soft shell tacos loaded with punchy flavour combinations and unlimited complimentary corn chips and salsas. It'll all rounded out with a solid selection of daily specials, including 10-cent chicken wings on Wednesdays (when you buy a drink), $2 tacos on Tuesdays, brunch on weekends and a weekday happy hour from 4–6pm.
Every Wednesday and Thursday night this autumn and winter, Handpicked Wines is hosting a series of Raclette Suppers at its cellar door in the CBD, bringing a taste of Europe's après-ski culture to Melbourne. Melted cheese, served fresh from the wheel, is poured over plates of potatoes, confit mushrooms, heirloom tomatoes, cornichons and rocket. Cured meats such as Prosciutto di San Daniele and Jamón Ibérico de Bellota are optional extras. With the Handpicked Wine Maker's Flight, visitors can pair their cheese with wines from some of Australia's most renowned wine regions, including Margaret River, Coonawarra and Yarra Valley. According to Handpicked's Sydney Cellar Door Manager Andrew Robinson, the events "bring our team's passion for regionality onto your plate, with cheese and meat sourced from some of our favourite producers around the world. Combine it with our incredible wines from some of Australia's best-loved wine regions, and it's a match made in heaven." The dining event runs from 5.30–8.30pm every Wednesday and Thursday until the end of winter, and costs $20 per person without any additions. Walk-ins are welcome, but bookings are recommended at the website.
After months of cancelled and delayed get-togethers, we're excited to be able to call up our friends and host a much-needed party. If you're in the same spirit, you may be looking to up your cocktail making game for pre- or post-dinner drinks. In partnership with Hennessy, we've pulled together five cocktail recipes that are an upgrade to the classics — from fruity concoctions that'll make you feel like you're on an overseas getaway to sophisticated takes on sidecars, martinis and champagne cocktails. And, most can be made or prepared in advance to help take the stress out of having everyone over to yours this holiday season. ESPRESSO MARTINI When you want to shake up your favourite caffeinated cocktail to pep everyone up at the end of a big meal, try whipping up this elevated version. The below ingredients serve one, but you can batch make this drink to make offering up a round easier on you. Ingredients 45ml Hennessy VS 10ml Mr Black Cold Brew Coffee Liqueur 40ml freshly made, chilled espresso or cold drip coffee 10ml sugar syrup Coffee beans (optional) Method Shake all the ingredients together with ice. Strain into a chilled glass and serve with coffee beans (optional). GINGER MULE When you're keeping things as simple as possible for your at-home occasion, there's a refreshing drink you can make with three ingredients and minimal effort, but still looks impressive. Scale up the below ingredients to serve more than one. Ingredients 45ml Hennessy VS Ginger beer Lime juice Mint leaf (optional) Method Add cognac to a tall glass and top up with ice. Squeeze the juice of a quarter of a lime and add to glass. Top up with ginger beer and garnish with a mint leaf or wedge of lime (optional). PINA COLADA Few people like getting caught in the rain, but many more enjoy this fruity drink. And you can take the holiday cocktail up a notch with this truly luxury take on a piña colada. Ingredients 45ml Hennessy VS 15ml coconut cream 15ml coconut cordial 45ml pineapple tepache (fermented drink) Squeeze of lime Method Shake cognac, coconut cream, coconut cordial and squeeze of lime together. Pour pineapple tepache into a glass. Strain shaken ingredients into the same glass and top up with ice. FRENCH 75 When you're out to impress, this elegant and easy-to-make cocktail has that je ne sais quoi. The classic drink is usually made with gin and champagne, but this twist uses cognac. Ingredients 40ml Hennessy VS 40ml champagne 30ml lemon juice 20ml sugar syrup Method Shake cognac, lemon juice and sugar syrup together with ice and strain into a glass. Top up with champagne. SIDECAR This party-ready drink will appeal to your sweeter toothed guests. Make this sugar-rimmed cocktail as a welcome drink, or to serve with desserts. Though the egg white gives it a perfect cloud-like top, it's entirely optional. Ingredients 40ml Hennessy VS 20ml Cointreau or triple sec 25ml lemon juice 10ml sugar syrup Egg white (optional) Method Shake all ingredients together. Pour over ice, or serve straight with a sugar rim on glass (not salt). Find more cocktails recipes on the Hennessy website.
Tiamo has been serving pizza, pasta and coffee on Lygon Street for more than four decades. The super-popular family-run venture is cosy and comfortable, despite spilling over into the space next door and upstairs to a second level, making it the perfect spot for a big group affair. Grab a seat inside or out on the street and settle in for a classic Italian meal featuring antipasto, salads, pasta and simple (but delicious) pizzas. There is also a selection of mains available, all authentically Italian — think veal scallopine, osso buco and eggplant parmigiana. The clientele is a mixture of students, workers and northside locals after affordable, family-friendly eats. The fact that this Carlton restaurant is BYO (with an $8 corkage fee per bottle) is but the cherry on top. Images: Tracey Ah-kee
Playwright Joanna Murray-Smith and singer Bernadette Robinson, having teamed up in 2010 on the successful cabaret Songs for Nobodies, return with this collaboration for MTC. Again written specifically for Robinson as a showcase for her remarkable vocal talents, Pennsylvania Avenue makes the White House the setting for a nostalgia-fuelled journey through the music of the late 20th century. Robinson stars as Harper Clemence, a staffer in the White House's Social Office, responsible for liaison with entertainers performing at presidential functions. Framed as a memoir of a 40-year career, from the Kennedy era to the end of Clinton' presidency, it acts essentially as a prop for Robinson to perform impressions of a wide array of celebrities, both musical and political. So we hear her whisper 'Happy Birthday' like Marilyn and boom out 'Respect' like Aretha and deliver impressive musical impressions of the likes of Barbra Streisand, Bob Dylan and Eartha Kitt. The slick production is worthy of a show about presidents and pop stars — it even boasts a series of digital screens that transform from a White House portrait gallery into images from old concerts and historical events, some with the fictional Harper photoshopped into them. There is nostalgia galore, especially for Kennedy and to a lesser extent Clinton, and musically it stays mostly in the '60s and '70s. If that's your era, this show is playing squarely to your court. As a showcase for Robinson's talent, Pennsylavania Avenue is fantastic. Both as an actor and as a singer, she has tremendous range and power. Her ability to recreate the vocal stylings of such a diverse spread of singers brings a great deal of joy and wonder to the audience. However, the premise of having a fictional character interact with a who's who of American pop music and politics, kind of like a musical Forrest Gump, is hard to do without feeling contrived. This is especially the case when the script tries to incorporate Harper as an active protagonist. At times it achieves the right balance of humour and pathos, at others — such as having Harper first utter words made famous by a president for instance — it takes the theatrical conceit that step too far. Harper doesn't really have enough depth as a character in her own right to be believable, at the same time as the show demands a high level of emotional investment in her personal journey. As a nostalgia trip, Pennsylvania Avenue is inevitably highly sentimental but at times the raw emotion from Harper doesn't gel with the tone of a piece that rides mainly on the strength of celebrity impressions. While the show could have been better served by a script that was either more grounded in reality than whimsy or else more committed to simply being fun, when Robinson sings all else is forgiven. She knocks it out of the park with every song and leaves her audience in awe.
Zombies are invading this year's Japanese Film Festival. They're hitting Melbourne courtesy of horror-comedy One Cut of the Dead, but this isn't your average undead flick. It might be about a film crew trying to make their own zombie movie, as routine as that sounds; however the gleefully low-budget effort offers up plenty of surprises. Come for the found footage-style, one-take opening and stay as it veers into unexpected territory — and for the opening night celebrations that the fest is serving up with it, too! That's just one of the movies on JFF's 2018 lineup, which also features two things that everyone loves: cats and ramen. The former comes in the form of The Travelling Cat Chronicles, about a cute feline hopping around the country. The latter is a part of foodie drama Ramen Shop, about a blogger sifting through his family's history, as well as absolute classic Tampopo, the iconic noodle western which has been given a 4K restoration. Other standouts hitting up the Australian Centre for the Moving Image and Hoyts Melbourne Central include crime flicks The Blood of Wolves and My Friend 'A', as well as The Third Murder — aka the other movie from Shoplifters Palme d'Or-winning filmmaker Hirokazu Kore-eda this year. Bowie fans will also want to catch Sukita, about rock photographer Masayoshi Sukita, who was a favourite of the star musician. All up, Melbourne's leg of the fest boasts 31 films, screening across Thursday, November 22 to Sunday, December 2. And, JFF also has a free classics program, which runs for the duration of the main fest.
Fly down the Princes Highway all the way to the moon with this expansive exhibition at the Geelong Gallery. Exploring our endless fascination with the brightest light in the night sky, the exhibition runs from mid-June until the end of winter — and coincides with the 50 year anniversary of the moon landing. It combines visual art with film, literature, music and science in order to fully transport visitors to the lunar surface. Incorporating works from galleries around the country, as well as a number of private collections, the exhibition features historical and modern works that demonstrate how the celestial body has shaped human art, mythology and our understanding of the universe for aeons. Look at photos of NASA trips to the moon and research centres, paintings by famed Japanese artists or sit back and watch the revolutionary 1902 French adventure flick, A Trip to the Moon. Stargazers will also be happy to know that the gallery will also transform into a pop-up planetarium on Saturday, July 20 to mark half a century since Neil Armstrong's famous trip across the Sea of Tranquillity. One our sessions in the planetarium will include a short film and a tour of the night sky's moons, planets, constellations and stars. Tickets for this will set you back $11. The Moon is open from 10am–5pm daily. Images: George Méliès, A Trip to the Moon (1902), courtesy of the Australian Centre for the Moving Image; Rosemary Laing, NASA — Dryden Flight Research Center #1 1998, courtesy of Tolarno Galleries and the artist.
UPDATE, December 22, 2022: Jackass Forever is available to stream via Binge, Paramount+, Google Play, YouTube Movies, iTunes and Prime Video. Older men, same ol' tricks and dicks: that's Jackass Forever. The fifth film in the prank-fuelled TV-to-movie franchise isn't afraid of letting it show, either, just as it's never been afraid of flashing around male genitalia. No one in Jackass' crew of comic daredevils is scared of that much — or, if they are, they're more frightened of not challenging themselves alongside their buddies — so the proud and purposeful attitude flaunted in the flick's title and usual formula is thoroughly unsurprising. Twenty-two years have passed since Johnny Knoxville, Steve-O, Chris Pontius, Dave Englund, Wee Man, Danger Ehren and Preston Lacy first turned outlandish stunts and practical jokes into an MTV hit, but age hasn't wearied their passion or camaraderie. It also hasn't dampened the gang's fondness for showing their junk, but there's something sweet here among all the penises: the fact that time inescapably passes but doing stupid shit with your mates sparks immortal joy. Jackass Forever is stupid, because the kinds of gags that Knoxville and company love are profoundly idiotic — including the film's opening gambit, where a green Godzilla-esque creature tramples a city but it's really Pontius' package painted like a monster. Also inherently silly: using the cast's bodies to prop up skateboarding ramps, a Knoxville-hosted game show that penalises wrong answers with a whack to the sack, exploding a port-a-potty while Steve-O is using it and a contraption made of harnesses that simultaneously gives three people wedgies. The ridiculous bits go on, including lighting farts underwater and drinking milk on a moving carousel to the point of vomiting. Another reason that Jackass is forever for this troupe: they're still as juvenile now, even though they're all over or approaching 50, as they ever were. Describing Jackass' risky skits and scenes never comes close to watching them, but how funny anyone finds this franchise depends on individual senses of humour and, sometimes, upon your mood on any given day. Regardless, there's always been an art to its follies, as captured on camera by Jeff Tremaine, the series' longstanding director, and also its co-creator with Knoxville and Her filmmaker Spike Jonze. Jackass' slapstick credentials carry on the traditions of Buster Keaton, Charlie Chaplin and The Three Stooges, but lewder and grosser, obviously. The saga's commitment to documenting not just the stunts and pranks themselves, but the setups, attitudes in advance and reactions afterwards — the key interplay between its perpetrators, victims and spectators, too — also sees it deconstruct the brand of comedy it sports as it goes. These sense-defying jesters show their working, in other words, and share the thrills it inspires. No wonder they don't ever want it to stop. Mortality does hang over Jackass Forever, however, as seen in a number of ways — starting with Knoxville's grey hair. It isn't always so strikingly silvery, and he's also shown talking about not wanting to show his bald spot, which Jonze then rushes in to cover with black spray paint. But when the crew's ringleader does let his wintry-hued tresses show, it's the best visual representation possible of how these guys will be adoring all things Jackass till they die. Well that, and the plethora of injuries suffered, including Knoxville's concussion, brain haemorrhage and bone fractures from a bull stunt. Jackass' ridiculous men can't escape the passing years and its impact upon their bodies if they wanted to, but it clearly makes them savour what they're doing. Indeed, also prominent this time around is the sense of gratefulness that they're all still able to give Jackass another whirl, a feeling deepened by the film's dedication to former co-star Ryan Dunn, who was killed in a car crash a decade back. It's been 12 years since Jackass 3D, although we all know that pop-culture hits never die — and, in this case, the brand even manages to survive 2013's hidden-camera comedy Jackass Presents: Bad Grandpa — but making this movie with so much of the OG cast definitely isn't being taken for granted by anyone involved. Plus, that aforementioned sweetness also filters through in the kindness and support the gang show in the moment here, even while devising the feature's torturous scenes, egging each other on and clearly enjoying seeing their pals squirm. They're all in it together, even if Ehren does seem to take the bulk of the movie's physical punishment. A new roster of talent joins in as well, but bringing in Sean 'Poopies' McInnerney, Zach Holmes, Jasper Dolphin, Eric Manaka and Rachel Wolfson — Jackass' first female member — isn't about passing the torch. It's about sharing, as the regulars also do with celebrity guests such as Eric Andre, Tyler the Creator and Machine Gun Kelly. Jackass has always had a hangout vibe and a more-the-merrier attitude to its dangerous displays, after all. Dispiritingly, the latter also applies to too many Jackass Forever bits that rely upon animals, including Wolfson's lone solo segment, which are the kinds of jokes that not just this comedy brand and its pranksters but the world in general should've outgrown by now. Perhaps Jackass sticks to its critter-centric jokes for the same reasons it keeps giving cinema as much male nudity as it can: its ageing daredevils just aren't interested in new tricks. Instead, they want to have the same stupid and needless fun they've always had — because no one needs to either participate in or observe any of Jackass' pranks — purely for the sake of it. You can read in plenty of meaning along the way, including the ultimate manchild schtick, performative toxic masculinity and bromance (and, here, mid-life crises as well). Also, laughing along with every setpiece, simple and elaborate alike, is far from a given. But Jackass Forever still makes its audience appreciate its lust for life and rage against the dying of the light, and its cast's undying affection for their always-immature gambit, as well as their willingness to be jackasses purely to get each other and the world chuckling.
When Raymond Tan got the keys to his soon-to-be CBD bakery in October last year, he never anticipated his cake shop creations would be delivered by hand from door to door around Melbourne as a result of a stage four lockdown. Yet, this turn of events has led to weekly sell-outs for the accounting graduate-turned-baker. He has now been successfully trialling at-home kits packed with Malaysian-inspired sweet and savoury treats for over a month. "The change has been good and bad," Tan told Concrete Playground. "I started as an at-home baker four or five years ago and it's always been a dream to have a bake shop in Melbourne." With multiple 'care packs' on offer, selections include grazing boxes such as the 'afternoon tea kit' ($45) filled with a slice of unbelievably fluffy chiffon cake, giant crumbly matcha cookies and scones. For something bigger, the impressive 'Raya at home kit' ($60) showcases the bakery's flaky shortcrust pies, scones, pandan and Thai tea-flavoured cakes — plus, a sweet spinach and yoghurt cake, which is Tan's take on a popular Turkish vegetable dessert. There's also kueh included in the kit. A sticky, gluttonous dessert popular in Singapore, Malaysia and Indonesia, it's made with ingredients like peanut, kaya custard and coconut. "In the 'Raya at home kit', people get to taste it all," explains Tan. "It's great when people try my kueh, inspired by my Malaysian background. They're tedious to make but I've had a chance to learn thanks to being in [isolation] and my store is one of the only places to buy them in Melbourne, so I get lots of orders from people missing home." [caption id="attachment_781299" align="alignnone" width="1920"] Julia Sansone[/caption] To drink, you'll find hojicha tea and matcha from Zen Wonders in North Melbourne, which are included with kits or available to add on. There's bottled black and milk coffee, too, brewed from the two coffee blends roasted by Tan's neighbour-turned-friend. "Coffee is important, and luckily this coffee roaster [Come Back to Earth] lives right below my apartment, so we quickly became friends and developed these blends together," says Tan. "There's an O blend espresso coffee, inspired by the Malaysian kopi o, as well as a C blend, after kopi c, a coffee with sugar and milk." For the foreseeable future, Raya is offering weekly deliveries within 20 kilometres of the CBD shop on Saturdays for preorders placed on its website by Wednesday midnight prior. Pickup is available for anyone within the five-kilometre radius of the bake shop. "There's lots of changes that have happened and we are adapting weekly," says Tan. "We don't just offer kits but everything else on the menu can be delivered, including whole cakes to order. We're looking to continue rotating our specials as much as possible, too, so there's always something new to try." Find Raya at Shop 2, 61 Little Collins Street, Melbourne. It's open for takeaway from 9am–3pm Thursday–Sunday and preorders via the website are open from 6pm Monday to midnight on Wednesday for delivery on Saturday from 10am–4pm. Images: Julia Sansone
The annual French Film Festival is touring the country next month and is set to be an entertaining delight for film lovers of all tastes and ages. The festival is a wing of the Alliance Française, an independent, not-for-profit organisation devoted to promoting the spread of French language and culture worldwide. With a presence in over 146 nations and over 30 Alliance Françaises in Australia alone, it is safe to say the organisation has done well in achieving these goals. The Alliance Françaises of Adelaide, Brisbane, Canberra, Perth, and Sydney have joined forces to develop the Film Festival, now in its 24th year. And the 43 films set to screen at this year's festival will certainly not disappoint. The festival has a huge array of productions on offer, sure to sate the appetites of the soppy romantics, the arty, youngsters, those simply looking for a bit of a laugh, nostalgia-sufferers, and even thrillseekers. These films are some of most acclaimed productions to have come out of France over the last 12 months and will have you adoring both the language and the artistic creativity of the French by the time the credits roll. Opening the festival is Haute Cuisine, light fare about a successful chef who is appointed to head the President's kitchen in the Elysee Palace. During the festival you can see Renoir (pictured), a sumptuous film about the feuds of great painters; the erotic tableaux of FEU by Christian Louboutin; the Cannes closer and Audrey Tautou vehicle Therese Desqueyroux; and the pre-Freudian Augustine. The French Film Festival will tour to major capital cities during March and April. Visit their website to see the full program.
Sydney has the Sydney Gay and Lesbian Mardi Gras Parade, which takes over Oxford Street for a night of celebration. Melbourne has the Midsumma Pride March, its equivalent in Fitzroy Street, St Kilda. From November 2024, Brisbane will share the show of pride, but in a way befitting the River City: with the first-ever River Pride Parade as part of the new Melt Open festival. Boats will float from William Jolly Bridge to Brisbane Powerhouse, all embracing everything that a pride parade should be — just on the water. The River Pride Parade will take place on Saturday, November 9 in the afternoon, with Courtney Act leading the charge as Melt Open's just-announced inaugural ambassador. "A pride parade on the Brisbane River — what a brilliant twist on a cherished favourite! Just imagine the magic as we all come together to celebrate on the water, surrounded by the beauty of the city," said the Brisbane-bred Act. "As I lead the river parade, you can bet there'll be plenty of SPF beneath my makeup! This is truly a unique and fabulous way to honour pride and the stunning Brisbane River." "Prepare for a dazzling spectacle with the River Pride Parade fronted by the fabulous Courtney Act. Picture dykes on jetskis, drag-clad waterskiers, iconic queer boat parties and that's just the beginning. We welcome watercraft of all shapes and sizes to join the river parade and encourage everyone to get their spots along the river to view the carnival," added Pieta Farrell, Executive Producer of Melt Open. Registrations are open now for the River Pride Parade, which will help close out Melt Open's first year, with the entire fest running from Wednesday, October 23–Sunday, November 10. Don't have a boat? Organisers advise that watercraft of all shapes and sizes can take part. Melt Open was announced in 2023 as a fringe-style event to celebrate LGBTQIA+ art and performance everywhere from Fortitude Valley to Woolloongabba, showcasing queer work, talents, legends and allies. Brisbanites should already know that Brisbane Powerhouse has hosted Melt Festival for eight years and counting, with that event considered a predecessor to this newcomer. As its name makes plain, Melt Open is broadening its scope by building upon Melt's success — spreading beyond the Powerhouse, featuring more artists and venues, and operating as an open access-style shindig. The River Pride Parade is the second major program announcement for the debut Melt Open, and the second that'll make spectacular use of the fest's Brisbane location. The other: New York-based artist Spencer Tunick returning to Brisbane after 2023's Melt Festival stint, this time to close the Story Bridge to fill it with nudes for a new photography work. If you're eager to get your kit off in the name of art, celebrating the LGBTQIA+ community and diversity, registrations are still open for the installation, which will take place on Sunday, October 27 — and there's no limit on the number of participants. Melt Open 2024 will run from Wednesday, October 23–Sunday, November 10, with the River Pride Parade taking place on Saturday, November 9. Head to the Brisbane Powerhouse website for additional information, and to register for the parade. Images: Jack Martin.
This North Melbourne corner shop is quickly becoming a community hub of love for Australian makers, crafters, artists and artisans. Boasting handcrafted contemporary ceramics and textiles that will put your IKEA homewares the shame, Guild of Objects sells one-offs perfect for the homemaker — or just for anyone who likes nice things.
A big splash of colour has just been added to your daily commute, with six of the city's trams transforming into giant — and literally moving — artworks. Hitting the city's public transport network for the latest edition of Melbourne Art Trams, they're also breaking new ground this year. For the first time, the trams are decked out with designs solely from Victorian First Nations artists. As initially announced earlier in the year, four of 2021's trams feature art from creatives who identify as Traditional Owners of Victoria, while two trams showcase pieces from First Peoples artists who live in the state. The travelling canvases cover a broad range of themes, including environmental ecologies and caring for Country, journeying and family, and the history and cultural heritage of First Peoples in the state. Each decked-out tram will do the rounds for the next 12 months. The first art tram to start rolling around Melbourne features work by Aunty Zeta Thomson (Wurundjeri/Yorta Yorta), an Elder, artist, cultural teacher and advocate. Called Mookies around the watering hole, it can be seen from today, Friday, May 21, on the 5, 6, 16, 58 and 72 tram routes — with 'mookie' meaning spirit in Yorta Yorta. Thomson's design was chosen from more than 60 expressions of interest, alongside pieces by Deanne Gilson (Wadawurrung), Thomas Marks (Wotjobaluk/Gunaikurnai), Aunty Rochelle Patten (Dhudhuroa/Wemba Wemba/Yorta Yorta), Jarra Karalinar Steel (Boonwurrung/Wemba Wemba) and Ray Thomas (Brabrawooloong Gunnai). From Monday, May 24, three more art trams will go into circulation, featuring Steel's iilk (eel) on the 48 and 109 routes, Thomas' Djeetgun Dreaming on the 70 and 75 trams, and Patten's March of the Ants on the 58 and 59. Then, come Monday, May 31, Marks' Walking on my Father's Country will hit the 6 and 19 line, and Gilson's Karringalabil Bundjil Murrup, Manna Gum Tree (The Creation Tree of Knowledge) will roll around the 3, 3a, 64 and 67 routes. If you've noticed that the trams are hitting the tracks earlier than usual, their timing coincides with the new Rising festival — the event that's merging Melbourne International Arts Festival and arts all-nighter White Night, and starts on Wednesday, May 26. Melbourne Art Trams is a collaboration between Rising, Creative Victoria, Yarra Trams and Public Transport Victoria, allowing local artists submit their own original tram-inspired designs — and has run as part of the Melbourne International Arts Festival in previous years. The first of Melbourne's 2021 art trams hits the tracks from Friday, May 21, with the rest of the fleet joining them on Monday, May 24 and Monday, May 31. For further details, head to the Rising website. Images: Aunty Zeta Thomson and her tram design 'Mookies around the watering hole'.
Craft beer isn't just for hipsters anymore. More and more people are looking for alternatives to the usual swill of Carlton Draught or Toohey's New, and the boutique market is flourishing. The beer taps at your local pub are as varied as ever and there's always a colourful, new offering to taste test. But that's just the thing; with such a wealth of options out there, how can we decide which to pick? Enter the Craft Beer Industry Association. These legends have just hosted the inaugural awards for Australian brews and picked you the cream of the crop (so to speak). At a ceremony at Giant Dwarf last night, 11 awards were given to breweries in Sydney, Melbourne and Perth (sorry, Brissie). The big winner of the night was Modus Operandi Brewing Co, a small Mona Vale brewery which launched earlier this year. We've written about them before because they sell truly incredible 1L takeaway cans, but apparently the beer's pretty good too. Their red ale, Former Tenant, took out the top gong for best craft beer as well as best amber/dark ale and their Zoo Feeder IPA also won its category. Quite rightly, the company itself was named the best small brewery in the country. Other winners include Melbourne's Moon Dog Brewing, Two Births and La Sierene, Sydney's 4 Pines and Nail Brewing Australia from Perth. The best drops for summer will undoubtedly be 4 Pines' ESB Pale Ale; Saison, the award-winning French and Belgian style creation from La Sirene; and specialty ale Taco from Two Birds. The latter beer actually has hints of corriander leaf and fresh lime peel — the perfect replacement for your tired old summer ales. These victors were picked from a spread of 280 beers from 80 breweries across the country. "We were blown away by not only the quality but the variety of brewers we have in Australia," said CBIA Chair Peta Fielding. "[We] are proud the CBIA can help draw attention to these talented brewers." Speaking as people who enjoy a beer or two over the sunnier months, we wholly appreciate this too. Stay classy, Australia — stick to craft beers this season. Full list of winners: Kegstar Champion Australian Craft Beer - 'Former Tenant', Modus Operandi Brewing Company (Sydney, NSW) AIBA Champion Pale Ale - 'ESB', 4 Pines Brewing Company (Sydney, NSW) Labelmakers Champion Amber/Dark Ale - 'Former Tenant', Modus Operandi Brewing Company (Sydney, NSW) Champion Porter and Stout - 'Black Lung IV', Moon Dog Brewing (Melbourne, VIC) Champion Speciality Beer - 'Taco', Two Birds Brewing (Melbourne, VIC) Beer and Brewer Champion IPA - 'Zoo Feeder', Modus Operandi Brewing Company (Sydney, NSW) Champion French and Belgian style - 'Saison', La Sirene (Melbourne, VIC) Hopco Champion Small Brewery - Modus Operandi Brewing Company (Sydney, NSW) Cryer Malt Champion Medium Brewery - Nail Brewing Australia (Perth, WA) Bintani Champion Large Brewery - Joint winners: 4 Pines Brewing Company (Sydney, NSW) and Two Birds Brewing (Melbourne, VIC) CBIA Services to Australian Craft Beer - Willie Simpson Photos via Modus Operandi Brewing Co.
If either St Kilda Road or Parkville's Grattan Street feature on your standard commute, you're probably going to want to scout out an alternative route — fast. Hefty sections of both roads are about to be closed for a good, long time, as major construction begins on the $11 billion Metro Tunnel project, connecting the Parkville and Domain precincts to the city's rail system. Once wrapped up, the project's expected to cut Melbourne's traffic numbers by up to 50,000 cars per day, though drivers look set to face a few big headaches in the meantime. Most significantly, around 800 metres of St Kilda Road (the part connecting Dorcas Street and Toorak Road West) will be reduced to just one lane from February 14 for up to four years. Up on Grattan Street, a 300-metre stretch between Royal Parade and Leicester Street will be closed to cars from February 19 for up to five years, though there'll still be pedestrian access and diversions for cyclists. To cope with the fallout, the Victorian Government says it's delivering more than $25 million of upgrades elsewhere on Melbourne roads and public transport routes, including increased traffic lanes and the widening of roads. They've suggested alternative routes for the St Kilda Road stretch, such as Queens Road, Kings Way, Ferrars Street and Beaconsfield Parade, and for Grattan Street, including Alexandra Parade, Queensberry Street and Cemetery Road. Acting Minister for Public Transport Luke Donnellan explained that while the works would be disruptive, they're also "absolutely necessary to build the badly-needed Metro Tunnel as safely and quickly as possible". Just to catch you up, the Metro Tunnel will see two new nine-kilometre twin tunnels and five underground train stations added to Melbourne's inner city. These new stations will be located in Parkville, North Melbourne, CBD North, CBD South and the Domain, and create a new path into the city that doesn't rely on (but connects to) the City Loop. The idea is that it will ease congestion in the City Loop and allow more trains to be getting in and out of the city.
If you're looking to escape Melbourne's grisly winter weather, even for a weekend, Ballarat might be just the place to do it. The regional town is dialling up the heat with a road trip-worthy winter program, stuffed full of cosy eats, activities and entertainment. The Ballarat Winter Festival descends on the region from Saturday, June 29, till Sunday, July 21, promising to pull you right out of hibernation mode. Kids big and little will be able to throw down moves on the pop-up ice-skating rink, which lands beside Ballarat Town Hall for the festival's duration. All skill levels are allowed to hit the ice, with bookable one-hour skate sessions. On June 29 and 30 and July 13 and 14, jump into the future at the Winteractive Arcade augmented reality exhibition. As well as checking out the latest and greatest tech gadgets, you'll have the chance to battle mates in a massive multiplayer game of Snake, a virtual reality drone racing game, or some old-school arcade favourites. The inaugural Ballarat Activated ArtWalk will transform the city into an immersive gallery, navigated via your smartphone, while on July 6–7, The Design Exchange pulls together an independent marketplace of artisan wares, woodfire pizzas and pop-up bars. And Sovereign Hill comes alive in the spirit of Christmas in July for its annual Winter Wonderlights program, featuring dazzling light projections, Euro-style winter markets and live entertainment.
Imagine being brought up by cinema. Imagine your world shaped and informed by the films you spent hours and hours watching and rewatching, and your understanding of almost everything that lurks outside your home and family coming from what you see on a screen. Even the most avid cinephiles can't say they've had this experience to the same extent as the Angulo siblings. For the majority of their lives, these seven black-wearing, longhaired children remained inside their Manhattan apartment watching movies. The exploits of Bhagavan, Govinda, Narayan, Mukunda, Krsna and Jagadisa, plus their sister Visnu, fall into the categories of so outlandish it must be true and needing to be seen to be believed. First-time documentarian Crystal Moselle enters the family's sanctuary, captures a slice of their existence, and gives the teenage and twenty-something male members of this band of film fiends a chance to chat to the camera. Their tales — and their passion — prove striking, but these brothers don't just spend all their time staring at the television. When the documentary starts, they've never actually been to a movie theatre; however, watching whatever they can on DVD isn't their only form of interaction with cinema. They also transcribe the dialogue of their favourite fare, create scripts, then re-enact and record elaborate re-stagings. They're dedicated to getting things just right, too, obsessing over costumes and accessories, and handcrafting accompanying posters. It's a fascinating real-life scenario, made all the more so by the shadow of the father who has kept his kids confined to his realm with only films as their method of escape. It's also one that Moselle is content to simply watch and wonder at, rather than probe or peer deeper into. Said family patriarch is seen, and his wife too, yet any delving into his attempts to create his own isolated brood and her inability to do anything about it remains slight and superficial. Accordingly, as a portrait of the impact film can have upon those so enamoured with it that it becomes their whole life — albeit in strange and heightened circumstances — The Wolfpack engages, but that's all there is. Indeed, as a dissection of how and why the Angulos became such avid movie buffs, it never dares to diverge from the most standard of scripts. Thankfully, sharing in the joy of the former helps temper the latter, particularly when spirited, homemade reenactments of Reservoir Dogs, The Dark Knight, No Country for Old Men and Pulp Fiction rank among the documentary's highlights. Of course, that Moselle has done little more than serve up a fly-on-the-wall look at subjects she was certainly lucky to come across is never forgotten, as enthusiastic as their love of cinema — and as eye-opening as their stories and subsequent breaking out of their comfort zone — ultimately are.
Created by Jim Henson, first seen on TV in the 50s and boasting eight movies to their name, The Muppets are easily the most loveable felt and foam creations in pop culture history. They're also the driving force behind the best variety television series that's ever reached the small screen: The Muppet Show, which ran for five seasons between 1976–81. Forget all those other efforts hosted by humans over the years, because nothing is as absurd, surreal and delightful as this puppet-fuelled program. And, whether you grew up watching reruns over and over, have always wanted to check it out or somehow weren't aware that the series even existed, it's coming to Disney+ in full from Friday, February 19. Yes, it's time to play the music and light the lights — and to revisit this Muppets-starring favourite. You won't just be checking out the comic stylings of Kermit the Frog, Miss Piggy, Fozzie Bear, Gonzo and the Swedish Chef (and their songs and skits, too), of course. The Muppet Show is also famed for its guest appearances, so get set to spy everyone from Elton John and Mark Hamill to Martin, Liza Minnelli, Alice Cooper, Julie Andrews, Diana Ross and Gene Kelly. The streaming platform is already home to a host of other Muppets-related fare — including the most recent 2011 and 2014 movies — so The Muppet Show will easily slot into the Mouse House's streaming catalogue. And, although we're sure you now already have The Muppet Show's theme tune stuck in your head, here's a clip of its opening credits anyway: https://www.youtube.com/watch?v=5zaQgbACc1E All five seasons of The Muppet Show will be available to stream via Disney+ from Friday, February 19. Top image: The Muppets, Scott Garfield.
In the pandemic's early days, Disney skipped cinema releases for three films — Soul, Luca and Turning Red — due to lockdowns, restrictions, and picture palaces either temporarily closing or having capacity limits. Instead, all three movies went straight to streaming platform Disney+. Wish you'd gotten a silver-screen experience while viewing this trio — or any one of them? Enter the new Pixar Film Fest to give you that chance. From Thursday, February 22–Wednesday, March 13, for a week apiece at various locations around Melbourne, it's debuting Soul, Luca and Turning Red in cinemas for the first time Down Under. Oscar-winner Soul sports a premise that resembles Inside Out, which has a sequel arriving on the big screen in 2024. Instead of emotions having emotions, souls do. Rather than Amy Poehler (Moxie) doing voice work, Tina Fey (Mean Girls) does. And director Peter Docter (Up) helmed them both. But Soul is definitely its own feature — and takes quite the existential trip as it follows aspiring jazz musician-turned-music teacher Joe (Jamie Foxx, The Burial) after an accident where his soul leaves his body.It's releasing in cinemas from Thursday, February 22–Wednesday, February 28. Next up is Turning Red, which'll get projectors whirring from Thursday, February 29–Wednesday, March 6. The setup: what'd happen if the Hulk was a teenage girl, but became a super-cute red panda? Or, finding a different riff on the ol' werewolf situation, what if emotions rather than full moons inspired a case of not-quite-lycanthropy? Rounding out the lineup is Luca, which is similarly about transformation. This one takes place in Italy over a gorgeous summer, also spins a coming-of-age tale and nods to Frankenstein as well. Here, teenage sea monsters Luca (Jacob Tremblay, Orion and the Dark) and Alberto (Jack Dylan Grazer, Shazam! Fury of the Gods) just want to fit in, but know that the village they decide to call home wouldn't accept them if they don't take on human form. Cinemagoers can catch it from Thursday, March 7–Wednesday, March 13.
UPDATE: June 5, 2020: Judy & Punch is available to stream via Stan, Google Play, YouTube and iTunes. Sometimes, a film lives and thrives thanks to its casting, benefiting from stellar actors who melt into their roles. That's the case with Judy & Punch, with Mia Wasikowska and Damon Herriman breathing life, depth and a roguish attitude into characters best known as wood, string and fabric. As the title makes plain, they're playing Punch and Judy, the puppet-show figures that date back more than three centuries. Still, while writer/director Mirrah Foulkes tasks her stars with fleshing out the marionettes' wholly fictional origin story, she doesn't rely on the duo to do all of the movie's heavy lifting. Her interpretation of the tale — the bold, subversive directions she takes it in, and the feisty, cheeky vibe the film adopts in the process — makes as much of an impact. Jumping behind the camera after acting in Animal Kingdom, Top of the Lake, The Crown and Harrow, Foulkes ensures that her filmmaking debut isn't the kind of feature that lights up screens often. The movie starts with two versions of Punch and his other half: one cavorting on stage, the other pulling the strings behind the curtain. The crowd roars as the perpetually drunken Punch (Herriman) and the long-suffering Judy (Wasikowska) manoeuvre and manipulate their inanimate counterparts, with the pair packing in shows in Judy's insular (and curiously inland) hometown of Seaside. Judy is actually the more dexterous and talented of the two, but Punch gets all the fame and acclaim — partly, reflecting his brutish personality, by making their puppet show literally "punchier". He makes their daily life punchier as well, and thinks nothing of treating Judy and their infant daughter with contempt, whether he's seeing another woman, complaining whenever Judy says a word or showing that he's the world's worst father. With the real-life Punch and Judy famously based on the former's slapstick violence towards the latter, you can be forgiven for feeling cautious about how a live-action version will play out. It sounds strange and inappropriate, but Foulkes is keenly aware of the material she's working with. In her hands, Judy & Punch takes puppet-show savagery and lets it loose in live-action, then rightfully questions why it's considered entertainment. And to really hammer home her point, she needs to unleash a flurry of physical and metaphorical blows. The filmmaker isn't subtle, but neither is a guy bashing his wife and child, which has happened in P&J since the 1600s. So, when Judy is the only person in the town to speak out against the communal stoning of women deemed witches — and, later, when a tragic turn of fate sees her seek solace among the local female outcasts, then plot her revenge — it's thoroughly designed to make a statement. Kudos to Foulkes for not only reclaiming P&J's problematic narrative for Judy, calling out Punch's boorishness and asking why women have so often been treated so poorly — by their partners, by complicit communities and by mobbish societies as a whole — but for clearly having fun while she's doing so. Where this year's thematically comparable and similarly excellent fellow Australian film, The Nightingale, leaned into bleakness and pain, Judy & Punch veers the other way. The movie is styled like a gothic fairytale, with its crumbling castle, sprawling woods and Elizabethan-era costuming, and it takes that look and feel to heart. Dark, fanciful, perceptive, often comic — this mix of elements mightn't sound like a natural fit on paper, but it works. Judy & Punch's tone definitely wavers, although that's on purpose too. And when François Tétaz's percussion-heavy score keeps echoing, it constantly reminds viewers of the thuds, shoves and worse that have long been baked into Judy and Punch's abusive romance, while also proving audibly playful. Given all of the above, you can excuse Judy & Punch for including a big speech at its climax; again, Foulkes isn't doing anything by halves. Nor is her cast, including the likes of Benedict Hardie (Upgrade), Tom Budge (Bloom) and Gillian Jones (Mad Max: Fury Road), who all help populate Seaside's chaotic masses. Wasikowska and Herriman are dream leads, though. She draws upon an ever-growing resume filled with fascinating and formidable women (Jane Eyre, Stoker, Tracks, Madame Bovary, Piercing… the list goes on), while he's having quite the malevolence-dripping year after stepping into Charles Manson's shoes in both Mindhunter and Once Upon a Time in Hollywood. Judy & Punch firmly tells Judy's story, so this is Wasikowska's film, but it highlights both of its main characters for a good reason. This thoroughly feminist hero doesn't just give a historic narrative a much-needed update and champion a timely cause — with their dynamic back-and-forth, she endeavours to cut Herriman's misogynistic weasel down to size, too. https://www.youtube.com/watch?v=63NAagrKOcc
If action-packed yet artful heist films are your thing — and why wouldn't they be? — Julius Avery's debut feature, Son of a Gun, is bound to tickle your armchair thrill-seeking side. Newcomer Brenton Thwaites is JR, a 19-year-old locked up for a minor offence. While inside, he is taken under the calculating wing of crime boss Brendan Lynch (Ewan McGregor). In an inevitably no-don't-you've-got-so-much-going-for-you! move, JR helps Lynch's crew orchestrate a daring prison escape — and is then invited to join in on the high-stakes heist they're planning next. Things, of course, turn progressively more dangerous. The film is all Aussie — written and directed by Avery (whose short film Jerrycan was a Jury Prize winner at Cannes), and shot in the disparate and desolate landscapes of Melbourne, Perth and Kalgoorlie. It's a nail-biting, chill-inducing thriller you'll need to psychologically prepare for. We warned you. We're offering competition winners the chance to see Son of a Gun with a friend at an exclusive preview screening on Monday, October 13, 8.30pm at Palace Como (Cnr Toorak Road and Chapel Street, South Yarra). To enter, click here. Son of a Gun officially releases in cinemas from October 16. See the film in style at Palace Cinemas. https://youtube.com/watch?v=eTOBcelRo9M
Time flies when you're watching films and pretending you're on the other side of the world, which is exactly the kind of fun that Palace Cinemas' annual Volvo Scandinavian Film Festival serves up. It has been six years since the arthouse chain started giving winter-loving movie buffs a smorgasbord of films from frosty Nordic climes — timed for the Australian winter, naturally — and the cinema showcase is still going strong. Touring the country from July 9 to August 7, this year's event doesn't hold back when it comes to its strengths. If you're a fan of twisty mysteries and thrillers, brooding dramas set against a stunning snowy backdrop, and smart leaps in genres, you're in luck. Spanning the latest and greatest titles from Denmark, Norway, Sweden, Iceland and Finland, plus old favourites that you'll want to revisit on a big screen, this year's Scandinavian Film Festival is lineup is stellar. Here are our five must-see picks. https://www.youtube.com/watch?v=3MIlE9R00ik ANIARA The savviest sci-fi films don't simply ponder a future that may not come, they follow today's big troubles to their possible end. If environmental issues are big on your radar, add Aniara to the watch list. In this Swedish imagining of the apocalypse, earth is uninhabitable, humanity is in the process of fleeing for Mars and there's no way to repair the damage of the past. When a spaceship headed to our nearest celestial neighbour is pushed off course, there's no way to return either. It should come as little surprise that this ambitious movie contemplates our ability to ignore what we're doing to the planet, as well as our need to soothe our existential ills with nostalgia and materialism. Directors Pella Kågerman and Hugo Lilja found inspiration for the film in a poem by Swedish Nobel Prize winner Harry Martinson, and the end result is quite the trip. https://www.youtube.com/watch?v=T8bzar3Nrjk THE PURITY OF VENGEANCE Across the Department Q movie series to date, crime buffs have watched eccentric homicide detective Morck (Nikolaj Lie Kaas) reluctantly team up with fellow cop Assad (Fares Fares). From there, fans have followed the duo's efforts to solve difficult and dead-end cases, including a political death that was initially ruled a suicide, a scandal at an elite boarding school, and a series of child disappearances, too. To wrap up the page-to-screen series, The Purity of Vengeance tasks the intrepid investigators with a particularly murky case and a ticking clock, after they discover three mummified bodies — plus space for a fourth. When this franchise is at its best, it offers up a compelling odd couple, gripping mysteries and plenty of twists and turns, which this huge last chapter promises to continue. At home, it absolutely smashed the local box office, achieving the biggest opening ever for a Danish movie. A WHITE, WHITE DAY One of the big hits of this year's jam-packed Cannes Film Festival — where it took out the best actor prize in the event's Critics' Week sidebar — A White, White Day marks the second Scandinavian Film Festival title in two years for Icelandic filmmaker Hlynur Pálmason. After the writer/director's stellar Winter Brothers last year, his sophomore feature is immediately worth a look. Given the remote location, striking icy scenery and exquisite cinematography on offer, there's clearly plenty to literally peer at, with Pálmason proving an accomplished visual storyteller. And, narrative-wise, this acclaimed drama charts a suitably thorny tale, following a grief-stricken ex-top cop (Ingvar E. Sigurdsson) who is trying to get over the loss of his wife, only to discover that their marriage might not have been as blissful as he thought it was. https://www.youtube.com/watch?v=ue91wuHsLIY AURORA In one of Finland's standout contributions to the program, the hard-partying Aurora (Mimosa Willamo) meets Iranian refugee Darian (Amir Escandari). Equally outcast in their Lapland surroundings, they're both at their lowest points; however, Aurora is a romantic comedy, so (naturally) their chance encounter changes both of their lives. That said, writer/director Miia Tervo doesn't stick to the usual script from there, making a movie that's passionate, lively, topical and subversive — and not only examining the plight of immigrants across Europe but unpacking the expectations placed upon Finnish women. This charming debut also proved a hit at this year's SXSW Film Festival. https://www.youtube.com/watch?v=JlF-hk3IJQE THE MILLENNIUM TRILOGY Before Rooney Mara and Claire Foy stepped into Lisbeth Salander's shoes, Noomi Rapace got there first. She'll always be the original and best incarnation of everyone's favourite tattooed computer hacker. A decade after the Swedish adaptations of Stieg Larsson's best-selling novels first hit screens, it's easy to forget just how fantastic Rapace is in The Girl with the Dragon Tattoo, The Girl Who Played with Fire and The Girl Who Kicked the Hornets' Nest. While the trio of Millennium movies follows the same trajectory as the books they're based on (starting off with quite a bang, then losing their impact a little as they go along), it's also easy to forget just how involving the entire series is as a whole. As directed by Daniel Alfredson and Niels Arden Oplev, and also starring the late Michael Nyqvist (John Wick) as a journalist who makes Lisbeth's acquaintance, this franchise kicked off the world's obsession with Nordic noir for a reason. Plus, if you can't get enough of Larsson's twisted fictional world, the festival will also be screening a documentary on the late author's life. The Volvo Scandinavian Film Festival tours Australia from July 9, screening at Sydney's Palace Norton Street, Palace Verona and Palace Central from July 9 to July 31; Melbourne's Palace Cinema Como, Palace Westgarth, Palace Brighton Bay and Palace Balwyn from July 11 to July 31; Brisbane's Palace Barracks and Palace James Street from July 18 to August 7; and Perth's Palace Cinema Paradiso from July 17 to August 7. For more information, visit the festival website.
Luxury restaurant and food store Calia is bidding farewell to its original Melbourne Emporium digs, though it's not venturing too far. The brand is swapping its Level 3 space for the grand 800-square-metre Lonsdale Street site most recently home to Top Shop. Three years on from its debut and following the success of its younger Chadstone Shopping Centre sibling, Calia is set to take things up a few notches. Not only is its new home giant, spanning over two and a half storeys, it'll be dishing up an extended fancy food offering from breakfast till dinner. Opening in May, it'll have room for over 100 diners, a bigger retail area slinging homewares and gourmet food, an on-site coffee bar and a cafe, all within a sleek space by hospitality design firm Architect Eats. The shopfront will feature a huge retractable glowing curtain that closes at sunset and opens during sunrise, while the rest of the store will be decked out with stacks of lush hanging foliage, a Japanese garden and a soaring six-metre-tall tree in the foyer. Even more special is the addition of an urban cellar door, perfect for when all that shopping gets a bit much. It sees Calia team up with the Yarra Valley's Levantine Hill Estate to offer a similar experience to what you'll find at the winery itself, complete with tastings and an expansive retail selection. Keep an eye out for some exclusive wines not available anywhere else, too. Meanwhile, the kitchen will be delivering a menu filled with Calia signatures, starring ingredients like Japanese sea urchin, A5 Japanese and Robbins Island wagyu, foie gras from southern France and tuna belly flown from Toyosu Fish Market in Japan, alongside sustainably sourced local seafood. And you can get excited to try new dishes including a dry truffle ramen. It's all set to be a pretty high-tech affair, too, with customers able to order and pay for their food via smartphone. Calia Emporium is slated to open at 287 Lonsdale Street, Melbourne in May 2020. Stay tuned for more details.
For almost four decades, Hans Zimmer has given cinema a distinctive sound. The German composer helped put the bounce in The Lion King's score and the droning in Inception's memorable tunes, and has loaned his talents to everything from Thelma & Louise to Christopher Nolan's Dark Knight trilogy to Blade Runner 2049. It's an impressive list that just keeps going — and it'll sound even more impressive played live and accompanied by an orchestra. As well as working his music magic on a wealth of movies — Hidden Figures, The Boss Baby, Dunkirk, Widows, X-Men: Dark Phoenix and the upcoming Lion King remake are just some of his recent credits — Zimmer has been taking his show on the road over the past few years. After touring his Hans Zimmer Revealed concert series in 2017, including to Australia, he's returning to our shores with Hans Zimmer Live, which'll echo through arenas in Brisbane, Sydney and Melbourne this October. While the Oscar, Golden Globe, Grammy and Tony-winner obviously isn't going to play every single one of his iconic film scores, expect to hear plenty of your favourites from a lineup that also includes Wonder Woman, Gladiator, Pirates of the Caribbean, 12 Years a Slave, Sherlock Holmes, Mission Impossible II and Pearl Harbour — plus the small screen's The Crown and Blue Planet II as well. Zimmer will be joined not only by a massive orchestra, but a full band and a huge stage production, complete with a luminous light show and other eye-catching visuals. [caption id="attachment_724806" align="alignnone" width="1920"] Hans Zimmer, Los Angeles, LA, Tour, Concert, Performance, April 14 2017, EVI[/caption] Hans Zimmer Live will hit the Brisbane Entertainment Centre on Thursday, October 3, Sydney's Qudos Arena on Saturday, October 5 and Melbourne's Rod Laver Arena on Monday, October 7. Tickets go on sale at 10am on Monday, June 17 — for further details, visit the promoter's website. Top image: The World of Hans Zimmer Berlin by Frank Embacher Photography.
What’s better than one schlocky late night cult movies? Two schlocky late night cult movies. That’s what the folks at Cinema Nova think anyway, doubling down on their Friday night cultastrophe stream with a kick-ass new program of double features tailored to hot Melbourne evenings. The summer selection begins this Friday, December 6, with a Whovian double bill of Dr. Who & The Daleks and Dalek’s Invasion Earth 2150 A.D. That’ll be washed down the following week with a Christmas themed screening of Santa Claus Conquers the Martians. How festive. Things take a break for the New Year before returning in full force on January 17, with the blood-soaked pairing of Cannibal Apocalypse and Evil Dead 2. Continuing through January all the way until the end of summer, other highlights of the program include a Queen-scored '80s throwback that combines Flash Gordon with Highlander, and a John Carpenter double feature of Prince of Darkness and Escape from New York. For more information, visit the Cinema Nova website. Tickets for the January - February program will be on sale soon.
The streets of Sydney are about to transform into a kaleidoscope of colour, charisma and character for the 46th annual Sydney Gay and Lesbian Mardi Gras, and we've got two exclusive packages to make sure you're in the thick of it. Whether you're a Mardi Gras veteran or a first-timer, these deals will set you up to have the ultimate Mardi Gras experience. First up, for those looking to add a touch of luxe to their Mardi Gras, we present the Diamond Club Viewing & Boutique City Stay. Priced at AU$1,599 for two people, this deal not only puts you in a premium viewing area for the Parade on Saturday, March 2, but also gives you access to exclusive bars, gourmet food and amenities at Diamond Club — one of the hottest tickets on the festival calendar. And when the day is done, you'll retreat to your luxury room at the Ovolo Woolloomooloo for two nights (March 1–3). This isn't just a place to crash — it's a five-star retreat complete with daily breakfast, unlimited Wi-Fi, self-laundry (because glitter gets everywhere), daily afternoon cocktails, free minibar, gym, pool and in-room Alexa and Apple TV. Alternatively, the Sideshow Viewing & Boutique City Stay starts from AU$1,299 for two people and offers front-row seats to the parade from the Sideshow area. Your accommodation? Take your pick between The Woolstore 1888 by Ovolo or the Kimpton Margot Sydney. Both options are an easy stroll to the parade route and come with all the perks you'd expect from top-tier hotels. So go on, treat yourself. You're not just booking a room; you're securing a front-row seat to one of the most vibrant events on the Sydney calendar. See you there.
UPDATE, July 26, 2020: Sing Street is available to stream via Stan, Google Play, YouTube and iTunes. Who amongst us hasn't used music to process their thoughts and feelings? The right song can convey things that words alone cannot, as writer-director John Carney understands. In his films, moving ballads and catchy melodies intertwine with life and love, providing a killer soundtrack to memorable moments and an effective method of expressing emotions. When his characters pen lyrics, strum instruments and grab the mic, they're not just creating tunes and chasing dreams — they're helping make sense of everything around them. Indeed, while he put his foot in his mouth earlier this year, when it comes to making beautiful music — in movies like Once and Begin Again — the Irish filmmaker excels. You'd be right to say that Carney has a formula, but that's by no means a criticism. Although his movies can feel as though they're repeating the same narrative, they're earnest and vibrant in their own ways all the same. Carney sets his latest toe-tapping tale in Dublin in the financially struggling '80s — a period when Duran Duran's glossy 'Rio' clip played on TV, and everyone watching just wanted to make ends meet. For 15-year-old Conor Lalor (Ferdia Walsh-Peelo), money troubles means changing schools, with his bickering parents (Maria Doyle Kennedy and Aiden Gillen) sending him to the local Christian-run academy. He's bullied by teachers and classmates, but he also crosses paths with aspiring model Raphina (Lucy Boynton), who lives across the road. Eager to get her phone number, he asks her to star in a video for his band...despite the fact that he doesn't actually have one. Conor's quest involves rounding up new friends, including the rabbit-obsessed Eamon (Mark McKenna) and enterprising wannabe manager Darren (Ben Carolan). With the assistance of his college dropout brother Brendan (Jack Reynor), it also means listening to the likes of The Cure, Spandau Ballet and Hall & Oates, and aping their sounds and style. Cue some of the film's best outfits and standout original tunes, including the futurist-leaning 'The Riddle of the Model', the heartfelt 'A Beautiful Sea', and the upbeat 'Drive It Like You Stole It'. The pop tracks do more than entertain; whether amusing or tender, each one is infectious, endearing, exuberant, and anchored in authentic sentiments and experiences. The same descriptions apply to Carney's cast, particularly newcomer Walsh-Peelo and Transformers: Age of Extinction star Reynor, who convincingly capture both the uncertainties and the yearnings of youth. Accordingly, while the film initially seems like a straightforward musical romance, its coming-of-age journey also provides a touching testament to brotherly bonds courtesy of their respective performances. That's just one of a handful of surprises in a story that appears to follow a clear path, yet still finds new ways to offer depth and charm. Carney's colourful imagery and snappy pacing, meanwhile, ensures the movie always feels like the joyous blend of music, emotion and escapism that it is — complete with an inspired riff on Back to the Future that couldn't be more fitting.
For nearly a decade, Thornbury Picture House has been more than just a place to watch films, serving as a gathering spot and a creative hub for Melbourne's northern suburbs. Now, co-owners Gus and Lou Berger are bringing that same sense of community to Brunswick, with the opening of Brunswick Picture House on Sydney Road this November. "We've been living in Brunswick for ten years," Gus says. "With that comes a kind of understanding of the area, its independence, diversity, and vibrancy. I want our programming to reflect that." For Berger, cinemas are as essential to a neighbourhood as libraries, record shops, and cafés. "Every community deserves to have a cinema nearby," he says. "It completes the community." At the Thornbury Picture House, Berger and his wife, Lou, set out to do something different from the multiplex model. A place where people could gather, chat, and share a film rather than just watch one. "We never wanted to be a typical cinema," Gus explains. "We've always seen ourselves as more of a community hang-out." That approach will carry over to Brunswick, with the same emphasis on accessibility and collaboration. Local filmmakers will be encouraged to host screenings, premieres, and cast-and-crew events at affordable rates. "As a filmmaker myself, I understand how much love and effort go into making a movie," Gus says. "It's a privilege to be the place where those films are first shown to friends, family, and collaborators." Beyond film screenings, the team plans to keep their doors open for community events and fundraisers. "It feels good to give back to the community that's supporting you," Gus adds. While many cinemas chase the latest blockbusters, Berger's philosophy is rooted in connection. "There's something special about everyone coming to see the same film together, hanging out afterwards, talking about it," he says. "That shared experience, that's what we're trying to create." That communal feeling often extends beyond the screen. Expect to see DJs or live bands performing before select screenings, themed nights, and their signature mini-festivals, as well as from the Northern Lights Film Festival, which celebrates local short films and music videos, to Beats Working, a showcase of the year's best music documentaries. "We love curating nights that feel like an event, more than just watching a movie," Gus says. Gus's passion for film heritage is undeniable. A filmmaker himself (his documentary The Lost City of Melbourne explored the city's vanished cinemas), he's committed to keeping film history alive — quite literally — through 35mm projection. "There's something about seeing a film on 35mm that feels alive and real," he says. "You can see the grain, the texture, it's imperfect in a beautiful way." The Brunswick venue will feature a 35mm projector, a rare treat for cinephiles in the northern suburbs. "We can't wait to bring that experience back." Berger believes cinemas hold deep emotional resonance for people. "Everyone remembers the cinema of their childhood, where they went on their first date, or where they escaped during hard times," he says. "Cinemas are woven into the stories of our lives." Brunswick Picture House will carry the same design as its Thornbury counterpart, part retro charm, part arthouse edge. The Bergers are bringing along their personal collection of vintage film gear, including old cameras and poster art, to decorate the space. "Framing those prints and old photographs has been such a joy," Gus says. "It's a way of honouring cinema's past while creating something fresh." Visitors can expect a warm, welcoming atmosphere and a beautiful timber bar for that pre- or post-film drink. "We want people to walk in and feel like they're in a special place, one that loves cinema as much as they do," Gus says. "After months of dealing with builders, I can't wait to get back to the fun part, creating experiences that bring people together." Brunswick Picture House opens in late November on Sydney Road. Stay tuned for programming updates and special events. Images: Supplied
Icy poles and booze — they're the two staples of a long, hot Aussie summer. Back in October, we told you that the two had finally come together as one. Now, those Calippo-style Champagne icy poles we've all been hankering for since are finally on sale in Australia. The genius creation from POPS, a UK brand that has been keeping folks stylishly cool since 2014, have started popping up around Melbourne. Head to online alcohol delivery service tipple.com.au to order one of four flavours: the Champagne pop (called The Classic) contains half a glass of Champers (wahee!), while the Bellini blends hibiscus flowers, blood orange juice, peach Schnapps, and half a glass of Prosecco. Plus, there are a couple of all-ages products too, which see the alcohol swapped out for real fruit combinations (apple and elderflower, plus strawberry and mint). The timing couldn't be better, with the frozen delights arriving in our eskies just in time to be eaten in front of the fan (or, y'know, in the sun) this summer. As part of the Melbourne-first launch, they'll also be available at Arbory Bar and Eatery — and showering festival attendees with lickable icy alcohol goodness, including at The Pleasure Garden, Let Them Eat Cake and the Inverloch Sound of Summer. The POPS website also teases POPScycle bikes, so keep your eyes peeled. When POPS launched its first frozen Champagne treat, supermodels like Kate Moss and Bella Hadid were apparently quick to jump on board, if that's something to sway you. No word yet if you'll be able to buy a box for the freezer, but let's hope. For more information about POPS in Australia, visit wearepops.com. By Libby Curran and Sarah Ward. Via Food Mag.
Japanese and Peruvian cultures have intertwined for over 100 years, leading to the creation of a fascinating fusion cuisine known as Nikkei. It combines both cultures' produce and cooking techniques to craft new dishes and traditions that are bursting with colour and flavour. And while Melbourne has hosted plenty of Nikkei pop-ups, and a few restaurants have presented limited-time Nikkei menus, our city hasn't had a permanent restaurant dedicated to this cuisine — as far as we know. Until now, that is, thanks to Chapel Street's new Inca at Morris Jones, which opened on Saturday, July 6. Chef Carlos Moreira is running the kitchen here, pumping out classic Nikkei dishes like ceviche and tiradito — but with his own contemporary twists that go well beyond the usual varieties you're used to. Sure, you'll find the obligatory kingfish ceviche which graces every other menu in Melbourne, but there are also playful tuna, salmon and vegan versions. We're also eager to sample the wagyu beef tiradito served with crispy capers, cornichons and mustard tartufo nero. Beyond these, you'll also find the likes of Sydney rock oysters with pisco sour granita; tostada de carmarones with aji verde; spanner crab taquitos; a whole dry-aged duck with burned orange and aji amarillo crema; and a 300-gram black angus picanha with sweet potato and anticuchera sauce. Moreira is originally from Brazil, but has spent vast amounts of time in Peru researching the origins of Nikkei cuisine. He's also worked in his fair share of Michelin-starred and hatted kitchens, so we are expecting big things at Inca. The drinks list is also inspired by Nikkei flavours, boasting plenty of Peruvian pisco sours, Japanese whiskies and light lagers. All of this is being served within the recently renovated Morris Jones, which is also home to a luxe bar with a dance floor and DJs, and a newly designed courtyard that takes it cues from West Hollywood in the 60s and 70s. While you're hitting up Inca for Nikkei eats, be sure to nose around the rest of Morris Jones. You'll find Inca at 163 Chapel Street, Windsor, open 4pm–1am on Wednesdays and Thursdays, and 12pm–1am from Friday to Sunday. For more details and to book a table, visit the venue's website.
It's been three years since Docklands last lit up brightly for the flame-filled winter arts celebration that is the City of Melbourne's Firelight Festival. But inner-city precinct set to bask in that glow once more, as the free festival returns from its pandemic-enforced hiatus to deliver a huge 2022 edition next month. From Friday, July 1–Sunday, July 3, Firelight will see Docklands come alive with a family-friendly, after-dark program of performance, entertainment, culinary delights and fire-inspired art. This year's lineup promises plenty of reasons to yank yourself off the couch and into the night, headlined by Skunk Control's Adrift — an enchanting light installation set to transform Buluk Park into a luminous forest of light stems and giant petals. [caption id="attachment_671115" align="alignnone" width="1920"] Grace Petrou[/caption] Other works set to dazzle crowds nightly include a ten-metre-long glowing lion made of thousands of LEDs that moves to its own soundscape; and a bold laser and light show, which will light up Victoria Harbour every hour with its water jets and giant fiery phoenix. More than 100 performers will descend on the precinct across the three-day festival, ranging from musicians and fire-twirlers to circus acts and flaming trumpeters. And with a collection of fire sculptures, flame jets and fire pits, things are sure to be super toasty as you're exploring the festival's offerings. Of course, appetites are sorted, too, with festival vendors slinging a menu packed with wintry delights. Think, smoked meats, woodfired pizza and roasted marshmallows, washed down with hot chocolate and mulled wine. Firelight Festival will take over Docklands nightly from Friday, July 1–Sunday, July 3. For the full program, head to the festival's website.
Your winter art itinerary just got a little fuller, with regional Victoria's famed Silo Art Trail unveiling its latest creative addition — a large-scale work titled Yangga Dyata ('Walking on Country'), by photo realism artist Smug AKA Sam Bates. Gracing a silo and flour mill in Horsham, the newcomer marks the 13th mural for the cultural attraction, which winds over 200 kilometres through the state's northwest to form Australia's largest outdoor gallery. Commissioned by Horsham Rural City Council via international street art agency Juddy Roller, Smug's new work is a two-part celebration of historic Wotjobaluk warrior Yanggendyinanyuk. The tracker, cricketer and cultural icon is depicted in a colourful realist portrait wrapped across the silo, while the adjacent flour mill bears the likeness of Yanggendyinanyuk's totem, the black cockatoo. The new addition is actually Smug's third work to feature in the Silo Art Trail — you'll spy the artist's painting of a flannel-clad farmer and his work dog on a concrete silo in Nullawil, and in Arkona, his tennis-themed tribute to local legend Roley Klinge. First dreamt up back in 2016, evolving from a small community art project, the now famed Silo Art Trail features a growing lineup of mural portraits, painted by a collective of artists in conjunction with Juddy Roller. They aim to capture the spirit and history of this unique corner of the world, with each work offering a snapshot of its host town and residents. If you're visiting the art trail from Melbourne, the first silo mural you'll hit is Julia Volchkova's artwork in Rupanyup, around 3.5 hours' drive from the CBD. Yangga Dyata sits about 30 minutes west of this. Find 'Yangga Dyata' at 35 Wawunna Road, Horsham. For more details on the Silo Art Trail and to plan your visit, see the website.
Looks like Australians aren't the aggressive booze-hounds we've all been told we are. New research from government report Australia’s Changing Drinking Habits, shows we're actually drinking less alcohol than we did 40 years ago — a whopping 25 percent less. Plus, alcohol related violence has decreased by 30 percent in New South Wales over the last six years. Thirty percent. Hmmm, so we're apparently drinking less, and drunkenly hitting people less. #lockouts If you're rolling your eyes and searching for our credible sources right now, take a little gander at the ACDH report, generated by the Australian Liquor Stores Association (ALSA) —an advocacy organisation affiliated with Drinkwise, representing all off-licence retail liquor stores across Australia (so yes, they've got a pretty vested interest in changing certain legislation). In results published by FoodProcessing.com.au this week, the report uses existing Australian Government data to disprove leg-to-stand-on beliefs that alcohol consumption and alcohol-related violence are on the rise. Between 1974-75, Australians consumed an average of 13.1 litres of alcohol per person. This has severely declined since the early '80s, to 9.9 litres in 2012-13. If you think this is just down to adults drinking less and those pesky good-for-nothing teenagers drinking more, you're way off. According to the report, almost three-quarters of all Australian minors drink no alcohol at all. The amount of young people abstaining from drinking has increased from 56 percent in 2007 to a huge 72 percent in 2013. Smirnoff Blacks and UDLs, you're almost out of a job. So we're all apparently drinking less in Australia, young and older. But now to the biggie: alcohol-related violence. The ACDH report shows that alcohol-related violence has decreased 30 percent in NSW over the last six years. Decreased. The report also shows that "consumption is falling at a time of significantly greater footprint of liquor store outlets in Australia," — the number of liquor licences has gone up by 16 percent, even though Australians are apparently drinking less. Looks like we're going to have to look elsewhere to entirely blame alcohol for violence — more licences and less assaults means there is a lack of evidence to connect violence to alcohol availability, according to Terry Mott, CEO of ALSA (the representative body who generated the report). Mott's positive about Australians and their drinking behaviour, telling FP he thinks we're making better choices than ever when it comes to the drink. "Australia's drinking habits have changed significantly over the course of the four decades; we are more educated about alcohol and we are making much better choices than we ever have before," he said. "The majority of Australians consume alcohol responsibly and enjoy the social benefits it brings. It is important to distinguish between the moderate consumption of alcohol by the overwhelming majority of Australians and the misuse of it by a small minority." With this in mind, most Australians are all for cleaning up the mess that comes with alcohol-related problems. While the report shows 85 percent of people polled could get behind greater enforcement of penalties for drunk drivers and 82 percent support enforcement for violation of the ol' RSA (bartenders serving intoxicated customers), only 28 percent support raising the price of alcohol. Big things to think about, for you and the government alike. Check out the report Australia’s Changing Drinking Habits, available from the Australian Liquor Stores Association's website. Via FoodProcessing.com.au.
Anyone with a couple of Melbourne winters up their sleeve will tell you the key to coping is to have some big, bold, sensory experiences to sweep you off the couch and out of hibernation mode. And you'll find no shortage of those littered among the program of arts festival WinterWild, which is headed back to Apollo Bay for a bumper 2022 instalment this August. Launched in 2017, the Great Ocean Road festival is a fiery celebration of art, music, performance and food, with a touch of darkness to its attitude. The festival has a deep respect for the elements at its core. This time around, it'll unfold across two weekends, running Friday, August 12–Sunday, August 14, and from Friday, August 26–Sunday, August 28. And it's got one heck of a musical lineup in tow, with Cash Savage and The Last Drinks, Amyl and The Sniffers, and Emma Donovan and the Putbacks just some of the legendary acts who'll be hitting the Otway Coast for the occasion. Gigs from celebrated songstress Kee'ahn, Melbourne-based pop rockers Floodlights, Geelong rock trio ORB and folk artist Leah Senior are also on the agenda. Meanwhile, WinterWild's jam-packed program of performance art is set to showcase treats from the likes of Aphids Theatre and Long Prawn, kicking off with the ever-popular bonfire production they call The Dogwatch. Also on the eclectic bill: cemetery tours led by local historians, cold water immersion sessions held at sunrise, and a flame-driven communal seafood feast that sees the Apollo Bay Fishermen's Co-Op cooking their fresh haul over flames beneath the stars. You can join in a group somatic sound walk, do yoga to live tunes by the beach, reenergise with a guided qigong class and get those toes tapping at a variety show-meets-dance party. Plus, don't miss seeing a bunch of gutsy locals brave the ocean at night for a lively match of ocean polo, complete with glow-in-the-dark ball and likely a few sea creature spectators. WinterWild takes over various locations around Apollo Bay from August 12–August 14, and from August 26–August 28. For the full program and to grab tickets, see the website. Top Images: Fabi and WinterWild
In the darkness of space in Alfonso Cuarón's Gravity, no one could hear a stranded astronaut scream. In the writer-director's follow-up, Roma, no one would hear a maid's cries even if they shared the same room. Domestic worker Cleo (Yalitza Aparicio) attends to the everyday needs of her middle-class employers and their four loving but unruly children, treating them like family. But she's the first to rise in their well-appointed household in Mexico City's Colonia Roma neighbourhood, and the last to sleep. She's the person who both tucks the kids into their beds and scrapes dog excrement from the driveway each day. Cleo is part of the fabric of their lives, but the minutiae of her life is never part of theirs. That's a domestic servant's plight — indispensable but always an outsider — which Cuarón details with both a loving gaze and a clear-eyed stare. Inspired by his own upbringing in the early 1970s when the film is set, Roma is a tribute to women who often go unseen, as well as an acknowledgement of the realities of their existence. The contrasts keep coming, juxtaposing the privilege of Cleo's employers with her own modest reality, while recognising the comfort of Cleo's position compared to the puddles and shacks of village life. With the era's student protests also weaved into the movie, Roma similarly sees the chasm between widespread societal unrest and those clinging to their own patch of calm. Most of all, the movie sees Cleo. It spies the Mixtec housekeeper while doctor Antonio (Fernando Grediaga) complains to his wife Sofia (Marina de Tavira) about the state of the house, spotless except for the dog droppings that keep on coming. It observes when the kids call for Cleo's cuddles and snuggle up to her every chance they get. It spots the quick jokes she shares with her best friend Adela (Nancy Garcia), the family's cook, as well as the tiny apartment they share above their employer's sprawling home. And it watches on as she shares a date with Fermín (Jorge Antonio Guerrero), the cousin of Adela's boyfriend — then shares more, and then faces the aftermath. There's an episodic feel to Roma, which pieces together slices of Cleo's life more than it charts a clear dramatic arc — although the consequences of her tryst with Fermin provide a strong narrative thread. The increasing absence of Antonio, the impact upon Sofia and the ripples that flow through the house all provide another. Cuarón isn't simply paying attention to whatever takes his fancy, of course, but building a portrait: of the city at the time, of complicated lives, and of a woman that, to many eyes, would simply blend in. He's done so before in various fashions, championing the overlooked in Children of Men's dystopian future, in Y Tu Mamá También's coming-of-age road trip, and in his Harry Potter gig, The Prisoner of Azkaban. In focusing on a female medical engineer sent into space, he did the same with Gravity as well. For all of the highlights on Cuarón's resume, however, Roma sees the director enter another realm. Acting as his own cinematographer, he peers so attentively at his hometown, the era of his upbringing, and at Cleo, that he could be conjuring memories onto the screen. He's not, completely, but his visuals have that feel — and, in each crisp black-and-white frame, they have that look as well. In alternating between luxurious panoramic shots and intimate close-ups, and between slow pans and excited movement, he switches between the broad and the deep, mimicking the way that we think back about our lives. Both types of image overflow with detail, whether showing violence on the streets, wandering through a chaotic but merry party, venturing to the seaside for a holiday, or offering a window into Cleo's soul one tender glance at a time. Enter Aparicio, a first-time actor who is everywhere in Roma. She's firmly at the story's centre, in a role that recognises an important truth: Cleo, and Indigenous house staff like her, are rarely the centre of anyone's story, a fact that the untrained talent's naturalistic performance only underscores. Indeed, hers is a performance about quiet presence more than overt effort — or, more accurately, about the impact that someone has even when they're usually on the periphery. In the graceful way that Cleo soldiers on through her own crisis, as well as the family's and Mexico's circa 1971, it's a performance that makes you wish that she was always in the spotlight. https://www.youtube.com/watch?v=fp_i7cnOgbQ
Folks can't stop talking about Christy Tania. Not only did the renowned dessert chef bend minds with her 'Floating Ice Cream' creation on MasterChef earlier this year, but she has also launched her own permanent dessert shop. Opening its doors on Windsor's Peel Street, Tania's new sweet wonderland offers artisanal frozen treats for eating in and taking away. Fancy ice cream stores mightn't be a rare occurrence these days; however, as Tania's first permanent solo venture, Glacé is every bit as impressive as the rest of her artisan treats. The contemporary space offers a hefty range of frozen desserts and innovative flavours, crafted with local ingredients — such as her trademark ice cream push pops, with their layers of cake sponge and ice cream. Diners will find ice cream eclairs and ice cream macarons on the menu, because every dessert is better in ice cream form. When it comes to flavoursome scoops themselves, think creative concoctions such as boozy date (sticky date pudding soaked in rum with vanilla ice cream and salted butterscotch), coffee caramel (caramel milk chocolate ice cream with Kahlua and orange cinnamon crumble), and lamington (coconut ice cream and chocolate brownie with a swirl of raspberry sorbet), plus the zig-a-zig-ah-inducing ginger spice (vanilla ice cream with salted butterscotch and gingerbread crumble). Those keen on something more traditional can try the likes of 72% dark chocolate ice cream, strawberry passionfruit sorbet and coconut ice cream with pure coconut droplets. By Libby Curran and Sarah Ward
