Summer's yet to kick off, but already you can get a jump-start on plotting your entertainment for the cooler months, as the NGV drops its jam-packed 2020 autumn/winter art program. Heading the lineup is world-premiere exhibition Pierre Bonnard, created in collaboration with famed Parisian museum the Musée d'Orsay. It offers a glimpse into the life and work of acclaimed 20th-century French artist Bonnard through a sprawling collection of pieces on loan from the likes of London's Tate and The Museum of Modern Art in New York, along with other renowned French museums. A close friend of the legendary Henri Matisse, the artist is best known for his stylised decorative works evoking scenes of everyday domestic life. The exhibition will see Bonnard's recognisable designs brought to life even further, with the help of famed Iranian-Egyptian-French architect and designer India Mahdavi. Mahdavi — who has designed eye-catching spaces like London's Red Valentino store and the famous all-pink Gallery at sketch — will use her signature colour palettes and love of textures to create an immersive, life-size version of one of Bonnard's domestic scenes. [caption id="attachment_747306" align="alignnone" width="1920"] Coffee (1915), Pierre Bonnard, Tate, London, presented by Sir Michael Sadler through the NACF 1941.[/caption] Another of the NGV's upcoming exhibitions is the first major Australian survey of contemporary artist and Venice Biennale Silver Lion winner, Camille Henrot. The now New York-based artist creates rich multimedia works that explore the idea of myth, while striving to capture the ways in which we humans try to make sense of existence. This season also sees the NGV pulling together the biggest ever retrospective of Melbourne-based artist Destiny Deacon, who explores their links to the K'ua K'ua and Erub/Mer peoples to create humorous works that confront the tougher parts of Australia's history. You'll catch a generous collection of over 100 installations, photos, sculptures and videos, including newly commissioned pieces and collaborations with fellow artist Virginia Fraser. Pierre Bonnard will run from June 5–October 4, 2020; Camille Henrot from May 22–October, 2020; Destiny from March 27–August 9, 2020. Images: The Gallery at sketch designed by India Mahdavi, London, 2014, photo by Thomas Humery; The Pale Fox (2014), Camille Henrot, copyright and courtesy of the artist and Kamel Mennour, Konig Galerie, Metro Pictures, photo by Anders Sune Berg; Smile (2017), Destiny Deacon, copyright and courtesy of the artist.
You can never have too many rooftop bars — especially effortlessly stylish rooftop bars that soar 24 storeys above street level and boast uninterrupted 270-degree views across the city and beyond. Which is good, because that's exactly the kind of sky-high sipping spot that's just arrived on Chapel Street, with Beverly Rooftop gearing up to make its long-awaited debut this April. You might remember back in mid-2021 the talk of a towering new venue set to eventually grace South Yarra's new Goldfields development. The bar and eatery's name was yet to be chosen, as was the operator selected to bring it to life. Now, we know the score: Cameron Northway (founder of LOTI, Rocker Bondi and drinks company Sweet&Chilli) is teaming up with Goldfields' Marco Gattino and Lachlan Thompson to unveil his impressive all-day spot, Beverly Rooftop, in a matter of weeks. [caption id="attachment_891071" align="alignnone" width="1920"] Goldfields[/caption] Taking cues from the cool-kid rooftop haunts of LA, the indoor-outdoor space has been imagined by acclaimed Melbourne studio Mitchell & Eades (Grill Americano, Carlton Wine Room, Rock Sugar). Boasting a retractable glass roof, it's a vision of earthy sunset tones and foliage, set against a backdrop of sweeping panoramas. Seasonality and sustainability drive the menu by chef David Ball's (the UK's Le Manoir aux Quat Saisons, The Glass House in Hobart); a lineup that has swagger but that remains approachable. Expect to match after-work vinos with the likes of truffle-infused mac 'n cheese bites with mornay sauce, bluefin tartare tostadas finished with chilli yuzu mayo, and wood-grilled octopus paired with an 'nduja romesco. Deeper in, pasta might hero a pulled pork belly ragu finished with mojo de ají, while a slow-cooked beef rib is served on the bone, sided with onion rings. We're also foreseeing many an afternoon and evening up here, sipping while soaking up the view — and the drinks list is set to offer options for all those occasions. It's packed full of local goodies, including a cocktail lineup that reimagines the classics using Aussie spirits and native botanicals. [caption id="attachment_891069" align="alignnone" width="1920"] Cameron, Marco and Lachlan[/caption] Find Beverly Rooftop at Level 24, 627 Chapel Street, South Yarra, from April. It'll open from 4pm–late Tuesday, and from 12pm–late Wednesday to Sunday.
Prepare yourself, folks — this year, Australia's launching into summer with the help of a huge new music festival. The brainchild of industry big guns Onelove (Stereosonic), Live Nation (Splendour in the Grass, Falls Festival) and Hardware (Piknic Electronik, Babylon), Festival X will hit Melbourne on Sunday, December 1. The large-scale music party is pulling no punches when it comes to its debut lineup, headlined by international heavyweights including Scottish DJ Calvin Harris, the Grammy-nominated Armin van Buuren, Steve Aoki and our own Alison Wonderland. Spanning multiple stages, it's set to deliver a world-class serve of hip hop, pop and electronica.US rapper Lil Pump will make his own Aussie debut, joined on the all-star bill by the likes of British DJ duo CamelPhat, Ohio-based rapper Trippie Redd, Denmark's Kölsch and German techno king Paul Kalkbrenner. Meanwhile, there'll be plenty flying the flag for the local scene, with sets from favourites including bass and dubstep star Godlands, Australian-raised trance DJ MaRLo, Sydney act Sunset Bros and singer-songwriter Thandi Phoenix.
We have come a long way from segregation, but there are still lessons we have to learn about racial prejudice, even if it comes in comedic form. Delectable Shelter is a “black comedy about white terror”. It looks at five fortunate survivors of the apocalypse, each of whom is privileged and white. Their plans for the future go awry when they realise they may not be the only ones to survive, and that they may be sharing the earth on equal terms with those they thought were inferior. This play is a reportedly hilarious production that takes aim at the prejudices of Western society and provides an all-too-real look into the future. Brought to you by The Hayloft Project (Thyestes and Critical Stages and featuring the 1980s pop/classical music mash-ups of the inimitable Benny Davis (The Axis of Awesome), Delectable Shelter is a comedy that makes you think about a serious issue — one that isn't simply black and white.
Somewhere in Paris a marriage is unfolding. Portraying a nuanced and gripping relationship within the confines of a particularly ordinary Parisian apartment, this Red Stitch production simmers with guilt, betrayal and regret. Written by Pulitzer Prize nominated playwright Amy Herzog (After the Revolution, 4000 Miles), Belleville tells the story of Abby and Zach — American expats who have made the move to Paris to follow their increasingly disconnected dreams. In the space of a day, their marriage tips from domestically dysfunctional to intoxicatingly brutal. The shift is so subtle that we barely notice until it erupts in our face, despite the hints along the way. This subtlety is a testament to brilliant writing by Herzog as well as the well-paced performances by Red Stitch actors. It’s a chilly December, and Zach and Abby are approaching their "first grown up Christmas" overseas, away from family. Abby comes home to find Zach who, believing he was home alone, is at his computer "not checking emails". The awkwardness that ensues suggests a marriage not equipped to handle a relatively harmless indiscretion. As Zach proceeds to try and make up for the morning’s activities, Abby chats obsessively to their landlord Alioune about their wedding, her family and life in Paris. We discover, unbeknownst to Abby, that Zach has been mishandling their finances among other secrets. So begins his downward spiral, unfortunately taking Abby with him. Directed by Denny Lawrence, Belleville features outstanding performances by Christina O’Neill as Abby, and Paul Ashcroft as Zach. O’Neill is perfect as the nervous, anxiety-ridden wife. Her performance flawlessly shifts from a somewhat irritating and seemingly self-involved yoga instructor to a woman crippled by circumstance. Meanwhile Ashcroft’s impetuous character swings terrifyingly between endearing and pathological. The direction is understated and genuine, while the Americanisms of both characters are playful and faultless. Tariro Mavondo and Renaud Momtbrun are Alioune and Amina, the French-Senegalese landlords of the property. Their quiet performances providing much-needed contrast to the abrasive Americans and their destructive relationship that exists in the apartment next door. Despite a slow beginning (but one with a justified purpose), this is by no means a gentle play. The intimacy of the set and the theatre itself means we are cocooned with them, unable to escape. Belleville is superbly crafted from beginning to end. Image credit: Jodie Hutchinson.
If you've ever spent hours falling down the wildlife and nature video rabbit hole online late at night, this one's for you. National Geographic's Symphony for Our World will combine the best of the footage from the organisation's 130-year archives with a live orchestral performance, synchronising the triumphant moments of both music and nature under one spectacle. And, that soundtrack will feature a Hans Zimmer-flavoured score and feature a live choir as well. The natural history footage will be drawn from years of past images, drawing from Nat Geo's shots from all over the world. The accompanying symphony will be created by Bleeding Fingers Music, featuring the work of composers such as the legendary Hans Zimmer, as well as Austin Fray and Andrew Christie. Just like the recent Planet Earth II Live in Concert, Zimmer's score especially will make you feel things you didn't know you could about animals you'll never meet. A five-part composition that'll tour Melbourne, Sydney and Brisbane, Symphony for Our World will take the audience on a journey from the sea, along the coastlines, across the land, through the mountains and then finally into the sky, with differing orchestral movements for each world environment. It's the story of our planet, but brought to life in a different way — so why not get out of the house and off YouTube and go see some fully immersive nature.
This autumn, parts of Alice Springs and its surrounds will shine brighter than ever before, when the region's fourth annual Parrtjima - A Festival In Light delivers its most expansive program yet. Previously held in September, the festival will this year run from Friday, April 5 to Sunday, April 14. The free ten-day public celebration of Indigenous arts, culture and storytelling is perhaps best known for its dazzling light installations. And, this year, Parrtjima — the nation's first indigenous festival of its kind — will feature six of these luminous displays, gracing both Alice Springs Desert Park Precinct and Alice Springs Todd Mall. As 2019 is the UN's Year of Indigenous Languages, the festival will also have a linguistic edge. With a theme of 'Language Expressions', the program's lineup will feature many artworks, talks and workshops focused on Central Australia's many Indigenous languages. [caption id="attachment_706524" align="alignnone" width="1920"] James Horan[/caption] While Alice Spring's CBD will light up with new installations and events, just out of town, tourism and conservation facility Alice Springs Desert Park will also come alive, awash with light from 6.30–10.30pm each night of the festival. Once again, a huge artwork will transform a 2.5-kilometre stretch of the majestic MacDonnell Ranges. Visitors will be able to immerse themselves in art and storytelling as part of Grounded, where installations are projected onto the earth accompanied by a striking soundscape. The light installations are backed by a jam-packed program of dance, music, workshops and talks, sharing stories and celebrating First Nations' culture. It's a nice supplement to the area's Field of Light installation, which has been extended until 2020. Parrtjima – A Festival in Light runs from April 5–14, 2019 around Alice Springs in the Northern Territory. For more information, visit the festival website. Images: James Horan.
The humble dimmy will make its glorious and heroic return to Welcome to Brunswick this May, as part of the sixth annual Dimmy and Dumpling Festival at the inner-north food truck park. Whether you're partial to a fried wonton or crispy gyoza, piping hot pierogi or stuffed bao bun, you'll find them at Welcome to Brunswick on Saturday, May 11. From 12–10pm, this inner-north favourite is welcoming a lineup of D&D-serving eateries. You can expect classic fish-and-chip shop dimmys, Japanese gyozas, fluffy bao buns, as well as a range of vegan and gluten-free options. The food truck lineup includes favourites such as Dimmy Su, Bao Melbourne and Doin' Dumplings. Entry is free. And although we don't recommend giving human food to dogs, your pet pupper is welcome to come along while you scoff down all of the dim sims and dumplings you can handle. Top images: Unsplash
Here's three things you need to know about the just-released full trailer for Tiger King 2 — and three reasons that'll likely get you watching the Netflix docuseries' second season. Firstly, Joe Exotic once again protests his innocence, which is thoroughly expected. Secondly, a new face pops up to make the same statement, backing it up with "I am an Eastern European bitch, so I cannot be wrong." And thirdly, Jeff Lowe, who took over Exotic's park, claims to now have "more money than god" thanks to the program's first-season success. Obviously, when Tiger King 2 arrives on Wednesday, November 17, it'll put all of those snippets in context. It also promises to take viewers on quite the chaotic ride — again. The first series, Tiger King: Murder, Mayhem and Madness, might now feel like an early-pandemic novelties (it's what we all watched when lockdowns first hit and panic-buying toilet paper became a thing, after all), but it seems that we aren't done with cool cats and kittens just just yet. As a heap of news headlines have tracked since March 2020, this story just keeps getting wilder — so there's plenty more Joe Exotic and Carole Baskin-related details for this follow-up to cover. Indeed, when Tiger King became a huge hit, another season of the docuseries itself was floated almost right away. Then, back in September, the streamer confirmed that Tiger King 2 would surface before this year is over. Expect more details about Exotic's efforts to clear his name, Baskin's ownership of his former zoo, and what Lowe has been up to since the first season hit — and about fellow zoo-owner Tim Stark, ex-Exotic and Lowe associate Allen Glover, and Exotic's former employee James Garretson as well. This season doesn't come with a subtitle this time, but clearly it'll serve up more murder-related details, more mayhem and more madness. Tiger King 2 will also arrive before any of the other projects that've leapt on the Joe Exotic bandwagon over the past two years, endeavouring to capitalise upon the worldwide obsession with him, Baskin and the duo's strange intertwined tale. So, in the near future, you'll also be watching a dramatised series with Kate McKinnon as Baskin that's been shooting in Australia this year — but you'll be watching Netflix's continuation of the story first. Check out the full trailer for Tiger King 2 below: Tiger King 2 start streaming via Netflix on Wednesday, November 17.
Down Whitehart Lane, the good times have officially been rolling for six years — and that means it's time for its famed resident container bar to fire up for some good old-fashioned birthday celebrations. Yep, Whitehart Bar is turning six and it's marking the occasion with a rollicking party on Saturday, April 29. It's free to head along, with the festivities kicking off from 2pm and running till late. Those all-important party tunes will come courtesy of the Strictly Vinyl DJs (aka the power partnership of Jimmy James and Jnett), as well as genre-jumping bassist Horatio Luna. Your peepers are in for just as much of a treat, with live art shows and striking visuals by Simbiotic Vision, plus some dazzling aerial performances taking over the space. Meanwhile, a pop-up bar from the minds behind drinks fest I Hart Agave will be slinging a stack of boozy treats to complement Whitehart's usual beverage offering. And once you've worked up an appetite on the dance floor, Goldieboy will have you sorted with a menu of his beloved burgers flying from the kitchen. Images: Duncographic.
New York has come a long way since Sex and The City's Carrie bought a cupcake from Magnolia Bakery and the world went into hysteria over the cute (but sort of bland — sorry cupcake lovers) little baked treats. Thanks to rock 'n' roll pastry chefs like Christina Tosi and Dominique Ansel — and Brooklyn's sweet artisan revival — the desserts of New York City are now competing with Paris for the title of global sweet heavyweight, and calling die-hard dessert fans from around the world to the bright lights of the city. In my three-month sweet-eating season in NYC, I ate over 373 desserts — so boiling down the selection to just five is a little tough. But if you're heading to the city soon, this is a good place to begin. And just to be clear, I'm a fan of Magnolia Bakery — I'd just recommend you order the banana pudding. Now that is worth making a fuss over. BOOZY PIES FROM BUTTER & SCOTCH NYC excels in Southern-style pies and the best ones can be found in Brooklyn, where producers combine the flakiest pastry with produce-driven flavours. Must-visits are Four & Twenty Blackbirds and The Blue Stove, but for an extra dash of fun, head to Butter & Scotch. It's a bakery and bar, and almost every sweet is made with a generous slug of liquor, from boozy shakes to the extraordinary bourbon ginger pecan pie. CHOCOLATE RUGELACH FROM BREADS BAKERY Back in the '90s, a new wave of bakeries changed the game with organic flours, age-old techniques and seasonal produce, and Sullivan Street Bakery and The City Bakery are still among the city's finest today. Breads Bakery is a relative newcomer, but just as tempting. Nutella babka may be the poster child — and rightly so, it's deliriously good — but don't leave without a chocolate rugelach: a bite-sized, light-as-air, croissant-shaped pastry laminated with chocolate ganache. Actually, make that five. CORNHUSK MERINGUE FROM COSME Today, New York is enjoying the rise of specialty sweet producers, from rice pudding and cannoli to soft serve — but that's not to say there's no innovation in restaurants. Case in point: Cosme. It's the fine dining restaurant of renowned Mexican chef Enrique Olvera, and one of the city's darlings for its good vibe and modern interpretation of south-of-the-border cuisine. Then, there's the finale: corn husk meringue with corn mousse. One of the most Instagrammed desserts of 2015 is barely sweet, with notes of charred corn husk and burnt vanilla, and is French-meets-Latino heaven. [caption id="attachment_628623" align="alignnone" width="1920"] Doughnut Plant[/caption] CAKE DOUGHNUTS FROM DOUGHNUT PLANT No trip to New York is complete without a doughnut. From Dominique Ansel's world famous cronut to Dough's mega glazed yeasted doughies, the selection will blow your socks off. If you had to choose just one, make it a Blackout, carrot cake or tres leches cake doughnut from Doughnut Plant. Inside the soft-crumb ring is a secret core of flavoured cream; it's unlike any doughnut you've tried before. SOFT SERVE FROM BIG GAY ICE CREAM NYC's ice cream offering is second to none, and you could fill an entire trip eating your way through the rambunctious flavours, epic sundaes, bad-ass floats and OTT ice cream sandwiches alone. Put Ample Hills, Van Leeuwen, Morgenstern's, Davey's and OddFellows on your list. For soft serve, however, there's only one contender: Big Gay, which elevates the creamy goodness with immaculate local dairy and grown-up flavours. Go the Salty Pimp with a dark, salty choc shell and Apple Gobbler, where apple pie meets an ice cream sundae. Yasmin Newman is a food and travel writer, photographer and presenter. For the full epic list of Yasmin's sweet adventures through New York, get your hands on her part-travel journal, part-cookbook, Desserts of New York (And How to Eat Them All) — it's published by Hardie Grant and is available in bookstores and online now.
When Disney+ made its way into the world back in 2019, it gave viewers — including folks in Australia and New Zealand — access to a huge range of Disney, Marvel, Pixar, Star Wars and National Geographic movies and shows. What it didn't do is bring Hulu, which the Mouse House owns the majority stake in, to audiences Down Under. And, with Disney+ focused on family-friendly fare, it didn't deliver the kinds of series and films that Hulu screens, either. Hulu still isn't heading our way. But, come early 2021, Disney+ is expanding to include a new section that's basically an international equivalent of Hulu. It's called Star, it'll launch on Tuesday, February 23, and it'll screen "an additional 1000 unique titles under the new Star brand in the first year", according to the announcement at Disney's big 2020 Investor Day on Friday, December 11. It's also set to premiere 35 brand new series in 2021, too. Disney hasn't listed exactly what Australia and New Zealand audiences will be able to watch via Star — but it did reveal that Star will feature "a robust collection of general entertainment movies, television, documentaries, and more, along with Star-branded new exclusive originals and local productions being created for the service". It'll be drawing upon Disney's studios, such as Disney Television Studios, FX, 20th Century Studios, 20th Television and Touchstone, and will also feature local programming specific to each region. https://twitter.com/Disney/status/1337155471422189569 Star won't feature everything that Hulu does, because plenty of Hulu's series and films pop up elsewhere Down Under — like The Handmaid's Tale, for instance. That said, it's safe to presume that some of the rights deals that deliver Hulu content to other networks and streaming platforms in Australia and New Zealand might change when Star hits, moving where you can catch certain flicks and programs in the process. When Star launches, it'll also become available in Europe and Canada, both of which already have access to Disney+. The Mouse House will also launch Disney+ including Star in Singapore on the same date, then look to roll out in Eastern Europe, South Korea, Japan and Hong Kong across the rest of 2021. And, as you might've already guessed, Disney+'s expansion to include Star will come with a price increase. Australian subscriptions will go up to AU$11.99 per month or AU$119.99 per year, while New Zealand's will cost NZ$12.99 per month or AU$129.99 per year. Star will join Disney+ in Australia and New Zealand on Tuesday, February 23, with Disney+ subscriptions costing AU$11.99 per month or AU$119.99 per year in Australia, and NZ$12.99 per month or AU$129.99 per year in New Zealand, from that date.
Polish Easter is coming back to Melbourne for another year, thanks to Eat Pierogi Make Love. Head along to the East Brunswick eatery for a hearty set menu that'll transport you to the other side of the world. Head Chef Ola Gladysz's feast starts with a massive share platter crowded with herring tartare and devilled eggs layered with salmon – alongside a traditional veggie salad with pickles, eggs and mayo, plus house-made sourdough with horseradish butter. Next comes the rainbow trout pierogi doused in lemon butter sauce, followed by zurek soup. It's a classic Easter dish reminiscent of ramen – made with fermented rye flour, smoked meats and marjoram. On the side comes a boiled egg with cwikła (horseradish and beetroot dip) and house-made white sausage. Last but not least, tuck into a big slice of Polish honey cake based on Gladysz's mum's secret recipe. You'll have two chances to experience this extravaganza – Friday, April 18, and Saturday, April 19, at either midday or 2pm. Bookings can be made here.
This time last year, the world had gone more than 12 months without seeing a new Marvel movie. Just a few months back, no one had used the words 'squid' and 'game' right next to each other unless they were talking about cooking up a particularly impressive seafood dish. But 2021 has proven the year of both caped crusaders and a certain South Korean Netflix phenomenon — and we all have the Google search history to prove it. With the year coming to a close, the technology behemoth has revealed exactly what we've all been scouring the web for in 2021, and its film and TV lists provide quite the snapshot of everyone's viewing. When we were all eager to watch a flick, we went big, with franchises, familiar names and super-famous faces defining the top ten most-searched movies. When we were staying in — it was another year filled with lockdowns, after all — we threw plenty of love towards streaming platforms. Topping the film list: Eternals, Chloé Zhao's addition to the Marvel Cinematic Universe and her first film after winning this year's Best Director Oscar for the immensely dissimilar Nomadland. It was closely followed by the long-delayed Black Widow, Timothée Chalamet-starring sci-fi remake Dune, more Marvel again via Shang-Chi and the Legend of the Ten Rings, and Netflix's heist-fuelled action flick Red Notice. Next came the new Australian-shot version of Mortal Kombat, the Emma Stone-led Cruella and the return of Michael Myers in horror sequel Halloween Kills, as well as monster melee Godzilla vs Kong and straight-to-streaming zombie film Army of the Dead. When it came to the globe's binge-viewing for the year, Squid Game came in at number one — likely not only because it's all anyone seemed to be watching in September and October, but because we all became so obsessed with it that, yes, we were all searching for every piece of information about it that we could find. It was followed by Bridgerton's period soapiness, WandaVision's trippy superhero dramas, Karate Kid spinoff series Cobra Kai and more Marvel (yes, again) thanks to Loki. Also placing in the top ten: Netflix's Sweet Tooth and Lupin, the latter of which probably benefited from dropping its episodes in two batches; the streamer's Ginny and Georgia; South Korean series True Beauty; and Big Brother Brazil 2021. If you haven't watched any of the above yet, consider this a catch-up list, too. For further details about Google's 2021 trend lists, head to the Google Trends website. Top image: Noh Juan, Netflix.
East Malvern's humble Central Park isn't quite as grand as the one in NYC, but it'll certainly be tastier with the East Malvern Food and Wine Festival coming to its green lawns on Sunday, November 18. The weather will (surely) be warming up by then and it'll be a wise call to spend a day in the park — especially when you add 20 Victorian wineries and a handful of breweries into the mix. Go along to taste vino from Bendigo, Rutherglen and Heathcote regions, beers from Cheltenham's Bad Shepherd Brewing Co. and the Yarra Valley's Coldstream Brewery, and taste till your heart is content and you've forgotten tomorrow is Monday. Four Pillars will also be there slinging G&Ts, Mr Black will be shaking espresso martinis and there will be a bar dedicated to Aperol spritzes. Food-wise, there'll be snacks from Riserva, as well as pop-ups from Nepal Dining, Richmond Oysters and an ice cream stall where you can really go all out and treat yourself. You'll be able to stock up on artisanal produce and, if you or your mates have kids, you can send them to a magician masterclass. Meanwhile, your other (furrier) kids can score some doggie treats from the Canine Wellness Truck. The event is free to attend — you'll just need to buy your food and wine as you go.
Get ready for 18 days of around-the-block queues and arguing with people who refuse to put away their phone. That's right, Melbourne movie lovers: the Melbourne International Film Festival is here, and the lineup is as diverse and enticing as ever. Of the more than 300 films and 52 countries represented on this year's MIFF program, the Australian contingent looks particularly impressive. The festival kicks off on July 31 with the world premiere of Predestination, a time travel thriller starring Ethan Hawke and Noah Taylor. Tony Ayres' period crime film Cut Snake has been tapped for the centrepiece gala, while closing night will feature Joel Edgerton and Melissa George in the Melbourne-set police drama Felony. Other local highlights include SXSW's Aussie darling The Infinite Man; Amiel Courtin-Wilson's grim but beautiful new drama Ruin; a destined-to-offend reboot of the classic Ozploitation film Turkey Shoot; and the latest cine-centric documentary from Not Quite Hollywood director Mark Hartley, Electric Boogaloo: The Wild, Untold Story of Cannon Films. American indie cinema will also have a strong showing this year, with major titles including Richard Linklater's 12-year passion project Boyhood, Kelly Reichardt's lauded environmental thriller Night Moves and James Gray's fourth consecutive Palme d'Or competitor The Immigrant. Nicholas Cage, meanwhile, proves he still knows how to act as the titular character in David Gordon Green's new character piece Joe, while Bill Hader and Kristen Wiig give rare dramatic performances in The Skeleton Twins, which also won a screenwriting award at Sundance. Speaking of major festival winners, MIFF patrons can look forward to not one but two new films from Quebecois enfant terrible Xavier Dolan, in the form of the breathtaking mother-son drama Mommy and the tense psychological thriller Tom at the Farm. The former film shared the Jury Prize at the Cannes Film Festival with Goodbye to Language, a 3D experimental work from the 83-year-old Jean Luc-Godard. The tense, strikingly shot Czech drama Honeymoon won Jan Hrebejk directing accolades at his native Karlovy Vary last July, while a little closer home, the Dardenne Brothers' Two Days, One Night deservedly took the top prize at this year's Sydney Film Festival. Melbourne's programmers have also continued their impressive run of Asian cinema, with standouts including Wong Kar-wai's long awaited martial arts epic The Grandmaster and the immaculately photographed Chinese neo-noir Black Coal, Thin Ice. More daring MIFFers might also want to check out the latest blood-soaked opus from Japanese provocateur Sion Sono, Why Don't You Play in Hell, described by Film.com critic David Ehrlich as "quite possibly mankind's greatest achievement". From the documentary section, no film buff should skip Jodorowsky's Dune, a fascinating and often hilarious look at what many people consider the single greatest movie never made. Also on tap: master documentarian Errol Morris probes the mind of former US defence secretary Donald Rumsfeld in The Unknown Known, while Michel Gondry animates a series of interviews with Noam Chomsky, posing the question Is The Man Who Is Tall Happy?. Alternatively, if all that sounds too challenging, maybe try I Am Big Bird, a no-holds-barred expose about Sesame Street's resident yellow pigeon. MIFF 2014 runs from July 31 until August 17. Tickets go on sale to the general public at 11am on Friday, July 11. For more information, visit the MIFF website
Remember Miami Horror? Back in 2010, the Melbourne electronic-pop band set our hearts alight with their excellent debut LP Illumination. Their hit single from the same album, 'Sometimes', has been on rotation on summer playlists ever since. It's been four years since then and Miami Horror are finally returning in grand comeback style. During their hiatus, they've been busy living it up in sunny Los Angeles and putting the finishing touches on their forthcoming sophomore album due later this year. In the meantime, they; sneakily released the catchy 'Wild Motion (Set It Free)' — the perfect anthem for lazy days lounging by the pool. To promote the new single, Miami Horror are heading back to the homeland with a massive eight-day headlining tour — only their second since 2011. To amp it up a notch, they're promising to build a whole new projection-based light show with hand-drawn images and and splashes of animated colour. Who knows where the band will disappear to next, so catch them live before they're off again. Supported by Thief + Tora. https://youtube.com/watch?v=IolDbdoQbaM
After several months of renovations and $4 million, the much-anticipated Morris House opened to the public back in July 2023. The Exhibition Street site, formerly home to sticky-floored comedy icon, The European Bier Café, has been transformed into a modern architecturally designed hospo space, boasting a ground floor dining room and bar, a sunny terrace on Level 1, and a leafy rooftop for 180 guests complete with resident DJs. All the ingredients you expect these days from multi-million-dollar CBD refurbishments. The only thing missing is the obligatory 'listening room'. Still, as an honour to its former life they've wisely kept the European Bier Café's comedy club downstairs. In fact, Morris House has tried to improve it, drawing inspiration from the New York underground comedy scene. You guessed it: lots of exposed brick. The space will host local and international comedy acts every Friday and Saturday night. Arj Barker is even taking up residence from July 18. Morris House Venue Manager Dylan Hewlett says the renovation brings the old venue up to Melbourne's modern pub standard — plush leather booths, a marble bar and all. "We're bringing all the best parts of Melbourne together in one place, which means there will always be something to come and enjoy. Start your night with a meal in the dining room, before heading down to the Basement Comedy Club for a show and end the evening on the rooftop with a signature cocktail."
Over a hot, tumultuous summer, a group of teenagers struggle with love, sex and betrayal. Like an artsy Australian version of an episode of Skins, writer-director Rhys Graham's debut feature Galore is an earnest and technically confident piece of filmmaking but noticeably lacking in stakes. Like so many other tales about teens behaving badly, the overblown drama on which the movie hinges never really seems that important. Lush cinematography and natural performance ultimately make little difference when you just don't care about the story. The film takes place around the outskirts of Canberra, a few weeks before the devastating 2003 bushfires. Puberty Blues star Ashleigh Cummings plays 17-year-old Billie, whose voiceover bookends the film. Her best friend is Laura (Lily Sullivan), an aspiring writer and the girlfriend of skater boy Danny (Toby Wallace). She's thinking about giving Danny her virginity, and goes to her life-long BFF for advice. What Laura doesn't know is that Billie is already sleeping with him. In short, it's exactly the kind of angst-ridden rubbish that makes you glad you're no longer in high school. Petulant and manipulative, Billie treats life like a sordid little soap opera in which she's the tragic star. The reality of the situation is far less kind, not to mention a whole lot less interesting. The movie's dramatic inflation of Billie's selfish behaviour may strike a chord with teenage audiences, although they'll probably be bored by the film's deliberate pacing. Adults, on other hand, will just want to throttle her. The poor plotting is unfortunate, because in other areas the film is quite strong. Despite Cummings being saddled with a deeply unsympathetic character, both her and Sullivan give intensely authentic performances. The same is true of newcomer Aliki Matangi as Isaac, a troubled but good-natured youth who gets caught up in Billie's drama. The weak link is Wallace as the mopey, uncharismatic Danny, whose blandness makes the love triangle that much more difficult to comprehend. Graham also deserves credit for his graceful visual direction. While handheld camerawork and sun-dappled cinematography aren't exactly new tricks for an Australian made indie, there's no discounting the beauty of the film's setting, nor the elegance with which Graham, a Canberra local, brings the sleepy location to life. But the skill all comes to naught in the service of such an uninvolving narrative. Both Graham and his cast likely have bright futures ahead of them, sure to be filled with far more accomplished projects. Go and see them, but give Galore a miss. https://youtube.com/watch?v=iRWbh_TOLdw
Finding the neighbourhood roast chook shops of your childhood seems like it's getting harder and harder. However, those living in the inner south — or those ready to travel for a good meal — will be happy to know that Hawksburn Village's latest arrival, Carvery, is a new go-to spot for roast meats, fresh salads, takeaway rolls and ready-made meals. Leaning into the nostalgia of local takeaway shops from the 70s and 80s, proud owners and Hawksburn locals, Andrew Bayley and Michael Perri (4 Cousins Supermercato) pair this concept with simple, fresh and high-quality produce. So, if you've been missing the heyday of roast chicken takeout, the duo's reminiscent offering might just satisfy your long-held cravings. "We were inspired by the carveries we grew up with that were such staples to the community, such as the Toorak Carvery that used to be out the back of the Toorak Village Car Park," says Bayley. "Most Australians have memories of those roast chook dinners our mum used to pick up or a take-away roast roll with gravy. We wanted to replicate that feeling of nostalgia, but dial up on the fresh, quality produce and deliver it in a beautiful setting with Carvery." Primed for takeaway or dine-in feasts, Carvery's permanent menu places a spotlight on Victorian produce, with occasional specials looking further afield. Of course, the bain-marie is the main event, as Bannockburn chicken is presented alongside Otway Pork, lamb from the Western District and Tassie, and Black Angus beef from the Goulburn Valley. For maximum convenience, there's also roast meat dinner packs served with salad or veggies and chips. When you need a quick feed, Carvery will also serve up roast rolls made daily in-house — like a roast roll with gravy or a porchetta roll with crackling — with plenty of hearty sides, from hot chips and seasonal veggies to scalloped potatoes with cream and cheese. Meanwhile, the salad bar is full of classics like Med salad and slaw, while a special highlight is the Stonnington Chop — Carvery's take on a chop salad. In the fridge, find grab-and-go meals like lasagne, eggplant parmigiana and traditional tiramisu. As for the design, architectural studio Nisk Design has shaped stools and stand-up benches for 18 guests, with old-world checkered tile floors, warm timber panelling and marble benches combining with European-inspired staff uniforms and disco tunes. "As Hawksburn residents, we're so excited to bring Carvery to the neighbourhood, opening the doors to locals as if they're walking into their own family kitchen," says Bayley. "We want to be your neighbourhood go-to for a nourishing meal that conveniently feeds the whole family and doesn't break the bank." Carvery is open Monday–Friday from 10am–7pm, Saturday from 9am–5pm and Sunday from 10am–4pm at 513 Malvern Road, Toorak. Head to the website for more information.
For most of Australia, 2018 has been hot. Last weekend, Melbourne endured its hottest day for two years, while Sydney experienced its second hottest day ever. Temperatures have been toasty around the rest of the country too, with Brisbane expecting a top of 38 today. And although Tasmania hasn't been immune to the extreme heat — reaching 35 degrees earlier this week — the state also just dipped firmly in the opposite direction. Yesterday, while it was a rather warm 34 degrees in Sydney, 36 in Brisbane and 37 in Perth, eastern Tassie enjoyed storms, hail and even ice. In Hobart, yesterday's maximum only made it to 15.8 degrees, while the minimum was 13.5 degrees. That's rugging-up weather, not swimming temperatures. https://www.instagram.com/p/Bd4Ob8oBD5b/?taken-by=tasmaniawhyweloveit https://www.instagram.com/p/Bd4CcbTHV-7/?taken-by=what_kat_did_next "I don't think we've seen that very often," the Bureau Of Meteorology Debbie Tabor told the ABC, explaining that the icy conditions were caused by the thunderstorms. "We had a series of thunderstorms move through the eastern half of Tasmania… and did produce some hail at various locations and that's what was seen at Orford." On Twitter, BOM also clarified that the visible whiteness wasn't snow, even if it might've looked like it. https://twitter.com/BOM_Tas/status/952077590453514240 That said, snow did reach the state's lofty peaks — at 1300 to 1400 metres, not on the ground. Today, a top of 21 is expected in Hobart, ahead of a week in the mid twenties. Via ABC. Top image: Katrina Ashton via Instagram.
Approaching the mental health of your loved ones, and your own, isn't always the easiest, but two Sydneysiders have produced a novel way to get the public opening up to each other. Intangible Goods is an installation by artists Mark Starmach and Elizabeth Commandeur, who've combined year's worth of involvement in the marketing industry with a shared experience of growing up with family members who struggled with mental health. Presented by Art & About Sydney at three CBD locations from now until April 8, Intangible Goods makes engaging with contemporary psychology accessible and easy to interact with. The former advertising colleagues share the unusual bond of having family members diagnosed with schizophrenia and have found an outlet for these experiences to go alongside their exposure to the negative aspects of consumerism that's a mainstay of their professional careers. "In both our lives, we found that our families were very hidden about it," says Elizabeth. "They felt like they couldn't be open with their friends or family and that it wasn't something they could talk about publically." With Intangible Goods, Mark and Elizabeth hope to give people a way to express their inner feelings with an element of fun and whimsy. [caption id="attachment_661905" align="alignnone" width="1920"] Katherine Griffiths. Courtesy of City of Sydney.[/caption] VENDING GOODNESS More than familiar with the typically heavy-handed campaigns marketing agencies produce concerning mental health, Mark and Elizabeth approached the subject with a touch of light-heartedness. Noticing similarities between advertising principals and psychological theories such as Maslow's Hierarchy, the duo wanted to make use of their marketing experience, help people consider their own mental wellbeing and embrace these conversations in a more comfortable way. Their solution? Intangible Goods — a vending machine stocked with ten different 'snacks' that'll feed your wellbeing. Neatly designed, each product line is the result of considerable consultation with mental health professionals and a survey of 550 of their fellow Sydneysiders who were asked what they needed most in their lives right now. Mark explains, "Throughout our survey, several answers bubbled to the top. Something like 41% of people responded that they wanted closer connections with the people in their lives, which was a clear outlier. But, in thinking about what connection to others actually is, it can't clearly be defined to just one single type of connection." That's why each individual 'Connection' package has its own concept inside. Where one reminds you to stay in touch with friends and family, others suggest making new relationships or improving your sense of belonging in the community. The same has been done for other responses, which vary from 'Purpose' to 'Structure', 'Spontaneity' to 'Calm'. Each product can be bought from the vending machine for $2 with all profits going towards beyondblue, the Mental Health Association NSW (WayAhead) and the Schizophrenia Research Institute at NeuRA. CONSUMING LESS, LIVING MORE Mark and Elizabeth are first to admit the world of marketing and advertising can promote unhealthy habits around consumerism. As Elizabeth explains, "For me, I think consumerism is habitual and almost an everyday thing. But I think much of it is mindlessly purchasing goods that help fulfil some sort of empty void in our lives." Intangible Goods aims to turn this concept upside-down by redirecting the energy put into promoting products into something positive. By providing visitors with a conversation starter and something that'll elicit an emotional response, the installation is aimed at encouraging visitors to think critically, as well as providing a way to navigate their own mindset. MAKING BIG, FIRST STATEMENTS While the concept had long been floating around Mark and Elizabeth's heads, the nitty-gritty of Intangible Goods took almost a year to complete. Being the first major art project both Mark and Elizabeth have produced, adjusting from their largely structured professional lives to something more abstract and holistic took some getting used to. This adjustment was only made more difficult with Elizabeth working remotely from Copenhagen for the duration of 2017. But after many midnight phone calls, shared online spreadsheets, discussions with vending machine suppliers, budget lists and safety reports, the pair's hard work has finally been realised. Working alongside Art & About Sydney and the City Of Sydney, Mark says the creative process was made easy with the freedom the duo were granted. "Everyone involved gave us license to run with our vision and helped us stick to it faithfully, which is not something we're super used to from working in the world of agencies." Intangible Goods will be vending across Sydney CBD 24 hours a day from March 26 until April 8, 2018. Find it at Martin Place, between Pitt and George streets from March 26–29, Customs House Square from March 30 to April 3 and Pitt Street Mall from April 4–8. See full details here.
Little has been normal about the past 12 months, and that includes heading to the movies to watch the latest blockbusters. When the pandemic first started causing lockdowns in 2020, the year's biggest flicks all started delaying their releases. So, plenty of the films you were looking forward to seeing last year didn't reach the silver screen — and, all this time later, many still haven't yet. Australian cinemas are open and running as normal, of course, and have been for some time. That said, apart from the likes of Tenet and Wonder Woman 1984, they've been light on high-profile titles. Instead, they've been showing everything else they can get their hands on, and giving local titles and smaller movies some love. But, fingers crossed, those projectors should be pumping out some of those big-name films you've been waiting for before 2021 is out. Hollywood isn't done delaying its high-profile releases just yet; however, there are still a number of notable releases slated to hit the silver screen this year. Whether you're keen on action, scares, sci-fi or a bit of singing and dancing, we've rounded up ten to put back on your radar. https://www.youtube.com/watch?v=ybji16u608U BLACK WIDOW When it comes to pushing women to the front, Marvel's track record isn't great. Captain Marvel, the Disney-owned company's first movie solely focused on a female character, only came out in 2019 — but now it's following that up with a film that really should've happened years ago. That'd be Black Widow, focusing on Natasha Romanoff, the highly trained ex-KGB assassin known played by Scarlett Johansson. The character debuted on-screen in 2010's Iron Man 2, and is now getting her own flick via a prequel. Also starring Florence Pugh (Midsommar, Fighting with My Family), Rachel Weisz and Stranger Things' favourite David Harbour, Black Widow jumps back a few years, setting the bulk of its story just after the events of 2016's Captain America: Civil War. On the run, Romanoff is forced to face her complicated (and violent) past, as well as a new masked opponent. We're sure a few familiar faces will also show up in the MCU's return to the big-screen, which is directed by Australian filmmaker Cate Shortland (Berlin Syndrome, Lore, Somersault). Black Widow opens in Australian cinemas on April 29. https://www.youtube.com/watch?v=aSiDu3Ywi8E&feature=emb_logo FAST AND FURIOUS 9 Given the Fast and Furious franchise's title, you'd think driving speedily and passionately is what this big-budget film series is all about. Over-the-top car antics play a hefty part, as the 2001 original, its seven sequels to-date and its 2019 spin-off have all shown via a constant onslaught of hectic stunts. But, if there's one thing that this Vin Diesel-starring and -produced saga loves just as much as vehicular mayhem, it's family. Over the years, Diesel's Dominic Toretto has extended the term 'family' to include not only his girlfriend-turned wife Letty (Michelle Rodriguez), his sister Mia (Jordana Brewster), her husband Brian (the late Paul Walker) and their various offspring, but their extended motley crew of fast-driving pals as well. So, when it comes to Fast and Furious 9 — or F9 as it's being called — it's unsurprising that the franchise is leaning heavily on one of its favourite concepts. Somehow, the saga hasn't expended all family-related options just yet, with John Cena joining the series as Dom's younger brother Jakob. Don't expect a happy sibling reunion, however, with the ex-wrestler playing the film's villain. Fast and Furious 9 opens in Australian cinemas on May 27. https://www.youtube.com/watch?v=U0CL-ZSuCrQ IN THE HEIGHTS Over the past seven years, Hamilton has become a cultural phenomenon — and, thanks to its fame and acclaim, so has the hip hop musical's creator Lin-Manuel Miranda. But that's not the only stellar stage show to the multi-talented composer, actor, singer and playwright's name. Before he took on US history (and before he helped bring Bring It On to the theatre, too), Miranda turned life in Manhattan's Washington Heights into four-time Tony-winner In the Heights. It's making the leap to the big screen — with a stacked cast that includes Hamilton's Anthony Ramos and Brooklyn Nine-Nine's Stephanie Beatriz, with Crazy Rich Asians director Jon M Chu behind the lens, and via a film primarily shot on location in its titular spot. Quiara Alegría Hudes, who wrote the text for the stage version, has also written the feature's screenplay. And Lin-Manuel Miranda is involved, naturally, producing the movie, overseeing the music and popping up on-screen as well. In the Heights opens in Australian cinemas on August 26. https://www.youtube.com/watch?v=tlwzuZ9kOQU CANDYMAN For nearly three decades, horror movie lovers have fallen into two categories: those who've dared to say the word 'candyman' five times while staring into a mirror, and those who haven't. If you fall into the first group, then you'll be making a date with this unnerving sequel, which revives the Candyman franchise and boasts a few tricks up its sleeves. Firstly, Candyman circa 2o21 is produced and co-written by Jordan Peele, who adds another frightfest to his resume alongside Get Out and Us. Secondly, it's directed by Nia DaCosta, whose Tessa Thompson-starring 2018 film Little Woods deserved more attention. And last but by no means least, it features the OG Candyman, Tony Todd, among its cast. Plot-wise, the new flick focuses on artist Anthony McCoy (Aquaman and Watchmen's Yahya Abdul-Mateen II), who decides to start exploring the Candyman legend through his art. His girlfriend Brianna (If Beale Street Could Talk's Teyonah Parris) thinks the story is just that, but then the bee-covered figure starts wreaking havoc again. That's what happens when folks say his name while looking at their own reflection, after all. Candyman opens in Australian cinemas on August 26. https://www.youtube.com/watch?v=k7qxYOpy9Ms A QUIET PLACE PART II In 2018, A Quiet Place tasked a young family with staying soundless, lest they be heard and then killed by giant spider-like monsters. As a result, audiences keenly listened out for any noise that could put Lee (John Krasinski), Evelyn (Emily Blunt), Regan (Millicent Simmonds) and Marcus (Noah Jupe) Abbott in jeopardy, with the film serving up a mighty tense — and noise-free — time at the cinemas. Now, three years later, the frightful aliens and the hushed tones are back. So is Blunt in kick-ass mode, too. Like the first film, A Quiet Place Part II is directed and written by Krasinski, with this follow-up picking up where its predecessor left off. Certain to serve up plenty of bumps, jumps and — naturally — silence, the sequel also welcomes franchise newcomers Cillian Murphy (Peaky Blinders) and Djimon Hounsou (Guardians of the Galaxy). A Quiet Place Part II opens in Australian cinemas on September 9. https://www.youtube.com/watch?v=n9xhJrPXop4 DUNE David Lynch's Dune is one of the most unfairly maligned sci-fi films ever made. It's not the version that Alejandro Jodorowsky would've whipped up — as explored in excellent documentary Jodorowsky's Dune — but the 1984 movie still has its surreal delights. Just how Denis Villeneuve's new adaptation of Frank Herbert's 1965 novel will fare is still yet to be seen, but the French Canadian director has already revived another 80s sci-fi property to stunning effect with Blade Runner 2049. Once again, he has amassed a stellar cast, including Timothée Chalamet, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya, Charlotte Rampling, Jason Momoa, Javier Bardem and Doctor Sleep's Rebecca Ferguson. They'll all fight over 'the spice', the most valuable substance in the universe. Dune releases in Australian cinemas on September 16. https://www.youtube.com/watch?v=pBMY2rTz_VM NO TIME TO DIE Shaken (not stirred) martinis are back on the menu, and so are suave secret agents, sinister plots to destroy the world and espionage thrills. Yes, it's James Bond time again, with No Time to Die marking the British spy's 25th official big-screen outing. Daniel Craig returns as 007, which'll be his fifth stint as the spy since 2006's Casino Royale as well as his last. He'll be facing off against an unhinged, mask-wearing new adversary called Safin (Bohemian Rhapsody Oscar-winner Rami Malek), plus imprisoned ex-opponent Blofeld (Christoph Waltz); however, he has company in the 00 stakes, too. Following the events of 2015's Spectre, Bond has left active service and started a new life in Jamaica, causing MI6 to recruit someone else to cover his turf. That'd be new agent Nomi (Captain Marvel's Lashana Lynch), and you can obviously expect the pair to cross paths. Bond being Bond, he was never going to be able to escape his line of work easily, after all. Here, he's brought back in by CIA agent Felix Leiter (Jeffrey Wright) to help with a mission to rescue a kidnapped scientist. No Time to Die opens in Australian cinemas on October 7. https://www.youtube.com/watch?v=rHhZDYVoV7w HALLOWEEN KILLS For 43 years, the Halloween franchise has been delivering stone-cold horror masterpieces, weird and wonderful detours, and entries that deserve to be locked away for all eternity with Michael Myers. The difference between the series' John Carpenter-directed best and its trashy worst is enormous, but when David Gordon Green (Prince Avalanche, Pineapple Express) took the reins for 2018's Halloween — a direct sequel to the 1978 original that ignores the seven other follow-ups and two remakes in-between — he served up one of the saga's best chapters. It helped that Jamie Lee Curtis was back, of course. Also beneficial: a meaty story that grapples with trauma, a skill for slasher thrills, a new score by Carpenter himself, and producer Jason Blum's support. So it was great news when two more movies were announced, including 2021's Halloween Kills, which brings the whole gang back to Haddonfield for another encounter with the town's masked menace. Halloween Kills releases in Australian cinemas on October 14. https://www.youtube.com/watch?v=ahZFCF--uRY GHOSTBUSTERS: AFTERLIFE There's something strange in the town of Summerville and a group of kids are calling upon themselves to bust it. That's the premise of Ghostbusters: Afterlife, which swaps New York for Oklahoma and grown men (and women) for children — and jumps firmly on the Stranger Things-led 80s nostalgia bandwagon. Whether siblings Phoebe (Annabelle Comes Home's McKenna Grace) and Trevor (Stranger Things' Finn Wolfhard) are seeing things runnin' through their heads or they'll catch an invisible man sleepin' in their beds is yet to be seen, of course. They've moved to the isolated locale with their mother (Widows' Carrie Coon), and into a rundown old house they've inherited from their grandfather. It's filled with ghost traps, containers of spores, mould and fungus, beige jumpsuits emblazoned with the name 'Spengler' and a very familiar car — which might come in handy when the ground starts shaking for no reason and a mysterious green light starts glowing. Also, Paul Rudd pops ups as teacher Mr Grooberson, who schools the kids in Ghostbusters lore, because this is a direct sequel to the original 1984 Ghostbusters and its 1989 follow-up Ghostbusters II. Ghostbusters: Afterlife opens in Australian cinemas on November 25. https://www.youtube.com/watch?v=TcPk2p0Zaw4 THE FRENCH DISPATCH An offbeat storyline. Mesmerisingly symmetrical frames. A cast that includes Bill Murray, Tilda Swinton, Owen Wilson, Saoirse Ronan, Willem Dafoe, Jason Schwartzman, Edward Norton, Bob Balaban and Anjelica Houston. Yep, it must be a new Wes Anderson film — and The French Dispatch looks like Wes Anderson at his most Wes Anderson-esque yet. The premise: in the fictional French town of Ennui-sur-Blasé sometime in the mid-20th century, Arthur Howitzer Jr. (Murray) has turned a series of travelogue columns into a weekly American magazine. A supplement to the Liberty, Kansas Evening Sun, The French Dispatch resembles The New Yorker, is staffed by top expatriate journalists, and covers life in France, world politics, high and low art, and diverse stories of human interest. As for the film that shares its name, it focuses on three tales printed in the publication's pages. The French Dispatch doesn't currently have an Australian release date.
Bingo. Rave. Two ends of the spectrum of fine holiday fun finally came together in Australia this winter. Bongo's Bingo is a games night like you've never seen before. Part club, part rave, and, of course, part bingo night, this unlikely fusion event has been wildly popular in the UK since 2015. They took the show on the road, launching in Australia this June. In partnership with Wats On Events, Bongo's Bingo Down Under threw massive bingo raves at The Tivoli in Brisbane's Fortitude Valley, Sydney's Paddington Town Hall and Melbourne's Collingwood Town Hall — and it went so well, they're doing it all again. Patrons can expect all of the debauchery of the original British version of Bongo's Bingo, including rave intervals, dancing on tables and a loose kind of bingo that you definitely never played with your nan (well, maybe you have). The victorious players can win everything from big cash prizes to a Hills Hoist, with a range of some absolutely ridiculous surprises on offer.
Maybe G&Ts are your favourite tipple and, if you're sipping drinks at your favourite bar, you always have one within reach. Perhaps you've never found a vodka cocktail that you haven't loved, or you've made it your life's mission to try all the whiskies (yes, spanning both whisky and whiskey) that you can find. Or, you could simply like broadening your horizons when it comes to knocking back the good stuff, and supporting independent producers while you're at it. Since 2015, the boozing sipping party that is Indie Spirits Tasting has covered all of the above — and it's back in 2022 after a couple of pandemic-affected years. Move over, craft beer — at this east coast event, which'll return to Melbourne in May, Brisbane in July and Sydney in September, it's craft spirits' time to shine. Everyone has been to plenty of days dedicated to brews, brews and more brews, but this touring shindig is solely about all the whisky, gin, vodka, rum, tequila, vermouth and mezcal you could ever want. More than 30 exhibitors and master distillers are on the bill, showcasing over 200 craft spirits. Clearly, your booze-loving tastebuds will be in heaven. As well as tasting away, attendees will also be able to chat to the folks behind the craft and independent tipples on offer, listen to talks on booze-related topics — Melbourne options include learning what it takes to start your own alcohol brand, celebrating Aussie whiskies and understanding all the different styles of gins — and buy bottles to take home with you. "We started the Indie Spirits Tasting events back in 2015 as a way for a few smaller distilleries and brands to be able to showcase their products to the trade," explains founder David Spanton. "Thanks to the enthusiasm of curious consumers who want to know about the latest bar and drinking trends and who are passionate about local and truly handmade craft products, the event has expanded to include both thirsty drinks enthusiasts and the bartenders that serve them." This year's events will feature brands such as Never Never Distilling Co, Poor Toms, Boat Rocker, Wolf Lane and Archie Rose, some of which will be pouring limited-edition tipples. And while the big focus is on homegrown spirits, a few international names will be on the bill as well — taking your tastebuds on a trip, including through French cognacs and American gins. INDIE SPIRITS TASTING 2022: Sunday, May 8 — The Craft & Co, Collingwood, Melbourne Sunday, July 17 — Lefty's Music Hall, Petrie Terrace, Brisbane Sunday, September 4 — Potts Point Hotel, Kings Cross, Sydney Indie Spirits Tasting starts its 2022 events in Melbourne in May, before heading to Brisbane in July and Sydney in September. For further information or to buy tickets, head to the Indie Spirits Tasting website.
From 1279–1213 BCE, Ramses II ruled over Egypt. When Saturday, November 18 rolls around this year, a collection of items from the pharaoh's rule 3000-plus years ago will gleam in Australia. First announced back in 2021, and now locking in its dates and details, Ramses & the Gold of the Pharaohs will display more 181 rare artefacts and treasures at the Australian Museum in Sydney — including sarcophagi, animal mummies, royal masks, jewellery, amulets and other golden items from the ruler's tomb. Focusing on Egypt's third pharaoh from its 19th dynasty — a ruler also known as Ramses the Great, who enjoyed the second-longest reign of any pharaoh, and is considered a symbol of the country's prosperous ancient New Kingdom period — this showcase is set to be big. The Australian Museum has dubbed it the largest cultural collection Down Under in more than a decade, in fact. While the hefty number of objects featured is impressive, so is their rare status; some of the pieces included haven't ever left Egypt before. [caption id="attachment_908639" align="alignnone" width="1920"] World Heritage Exhibitions[/caption] Bringing a slice of history to Australia's shores, Ramses & the Gold of the Pharaohs will be filled with items from museums and historical sites in Egypt, which are being loaned to the exhibition by Egypt's Supreme Council of Antiquities. Also included: letting attendees enter two of the ruler's monuments — the Tomb of Queen Nefertari, and the temples of Abu Simbel — virtually. [caption id="attachment_908637" align="alignnone" width="1920"] Paris Exhibitions[/caption] "Mystery surrounds Egypt's origins, religions and monumental architecture — many of which were built during the reign of Ramses II," said The Secretary-General of Egypt's Supreme Council of Antiquities Dr Mostafa Waziry, who is also an archaeologist, launching the countdown to Ramses & the Gold of the Pharaohs. "This ability to transcend age and time has ensured the Egyptians have an eternal place in history, and I invite visitors to discover for themselves why Ramses II is often regarded as the greatest, most celebrated and most powerful pharaoh of all time." [caption id="attachment_908641" align="alignnone" width="1920"] World Heritage Exhibitions[/caption] "The AM is thrilled to present these exceedingly rare objects in an exhibition where visitors can appreciate their astonishing beauty and enduring history firsthand. Ancient Egypt holds intrigue and fascination for all age groups, and I know Ramses & The Gold of the Pharaohs in Sydney will introduce the mystery of the pharaohs to new generations of locals and visitors alike," added Australian Museum Director and CEO Kim McKay AO. Presented in partnership with World Heritage Exhibitions, Neon and the Houston Museum of Natural Science, with support by Egypt's Ministry of Tourism and Antiquities, and also funding from the NSW Government's Create NSW Blockbusters Funding initiative, Ramses & the Gold of the Pharaohs heads to Australia after showing in Houston and San Francisco in the US, as well as its current season until September in Paris. Sydney was also meant to celebrate a different Egyptian rule, Tutankhamun, a few years back; however, Tutankhamun: Treasures of the Golden Pharaoh, which was due to bring more than 150 items to the Australian Museum in 2021, was cancelled due to the pandemic. [caption id="attachment_908640" align="alignnone" width="1920"] World Heritage Exhibitions[/caption] [caption id="attachment_908638" align="alignnone" width="1920"] World Heritage Exhibitions[/caption] Ramses the Great and the Gold of the Pharaohs will display at the Australian Museum, 1 William Street, Sydney, from Saturday, November 18 until May 2024 — head to the exhibition's website for further details, and tickets from Monday, July 17. Top image: Paris Exhibitions.
There's one mass gathering that's immune to the disruptions of COVID-19 and that's the nightly parade of Phillip Island's famed little penguins. And while the feathered friends have been continuing their daily pilgrimage from ocean to burrow without the usual audience, they'll soon be waddling back into our hearts thanks to a new live stream series. From Tuesday, August 25, you can catch the penguins' ritual sunset parade in real time from the comfort of your couch, as it's streamed for free via the Phillip Island Nature Parks Facebook page and YouTube channel. At 6pm (NZT 8pm) each night, tune in for half an hour to see the birds make their familiar journey from the water, across the dunes and back to their homes to cosy up for the evening. Not only will you get to spy those adorable penguins in action without having to brave the cold, but Phillip Island's rangers will be on hand providing some expert commentary to match. Score a daily dose of cuteness, learn a few fun penguin facts and even ask some questions of your own. Top image: Tourism Australia
With the temporary nationwide closure of restaurants, bars and cafes and restrictions set to be in place for at least another few weeks, we're seeing more and more places — from pubs and pizza joints to cocktails bars and some of the country's top fine diners — offering new delivery services. So, there's really no need to go through iso living off cans of tuna and mi goreng. Plus, occasionally treating yourself is a surefire way to break up the daily at-home routine, which less face it, is getting pretty tedious by now. Whether you've had a small WFH win, it's your housemate's birthday or you just need a little luxury in your living room right now, it's worth celebrating them. And what better way to do so with some A-class oysters delivered straight to your door. Mimosa Rock Oysters usually supplies its oysters to a bunch of Australia's top restaurants, including famed Sydney seafood spot Saint Peter. Now, as a means to support its farmers, the family-run distributor is supplying its top-quality molluscs to homes across Sydney, Melbourne and Canberra — at reduced prices, with free delivery. Sourced from Wapengo Lake and Nelson Lagoon, both located in the stunning Mimosa Rocks National Park, these oysters are harvested wild and known for their complex taste, yet smooth, creamy texture. And as soon as tomorrow, you could be slurping them for as less than $2 a pop. https://www.instagram.com/p/B7XsT3LgvxU/?utm_source=ig_web_copy_link Currently, there are two sizes available: the Lil Ripper and The Boxer. The former are smaller in size and a minimum of three years old; The Boxer oysters are larger and aged between three-and-a-half to five years old. The minimum order is three dozen, which will set you back $58 and $72 respectively. If you're really wanting a feast, you can opt for ten dozen, which will save you up to 43 percent per dozen. All oysters will arrive live and unshucked, so if you were in need of a shucking knife, you can also purchase one via its website. If stored properly — kept in the box and stored in a cool, well ventilated area between 10°C and 17°C, the Sydney rocks will keep for up to 14 days from harvest. For more storage tips, check out Mimosa Rock Oysters Instagram post here. Delivery is free and is available across Sydney and Melbourne metro areas, as well as around Canberra. For regional NSW and Vic, you can make enquiry by emailing mimosarockoysters@gmail.com or calling 0408 130 718. Mimosa Rock Oysters new home-delivery service is available across Sydney, Melbourne and Canberra. For more information and to place your order here.
While we've seen plenty of films set amidst the heat of battle, very few explore what happens next. Opening in West Germany in 1958, Labyrinth of Lies endeavours to understand how a divided nation attempted to recover from the atrocities of the Second World War, why many of its citizens tried to disregard their history, and the efforts required to bring war criminals to justice. Though it might surprise modern audiences, some Germans in the wake of WWII claimed not to have heard of Auschwitz concentration camp. Others decided not to speak about it, or the war in general. Prosecutor Johann Radmann (Alexander Fehling) learns of his compatriots' willing ignorance when journalist Thomas Gneilka (Andre Szymanski) brings a man to his attention: a former camp commander, responsible for overseeing countless deaths, who now works as a schoolteacher. Unlike those around him, the eager young Radmann can't overlook the past — even as his investigation is met with apprehension and derision, deemed almost impossible, and impeded by mountains of paperwork. "This is a labyrinth. Don't lose yourself in it," Radmann is warned early in his search for answers. That line of dialogue may sound obvious and clunky, but it's thankfully the only time (unnecessarily romance aside) that the film is guilty of those charges. As evident in the movie's stately pace, muted tones and solemn mood, writer-director Giulio Ricciarelli and co-scribe/researcher Elisabeth Bartel take a measured approach to telling an important tale. Blending fact and fiction (Labyrinth of Lies' protagonist is fictitious, but based on several real-life figures), their first feature proves as subtle as it is significant. The duo perfects the delicate balance of bringing attention to the lesser-known Frankfurt Auschwitz trials, while avoiding following too closely in the footsteps of fellow war films. Consider their approach to a crucial part of Radmann's quest: interviewing Auschwitz survivors. Knowing that the details are already a matter of record, the film presents a montage of images, but emphasises mournful music rather than the content of the conversations. Instead of letting viewers hear harrowing specifics, it forces them to focus on the faces of those doing the re-telling, as well as the shocked expressions of those discovering the truth for the first time. Given that the movie is as much about the inherently human preference to sidestep tough memories and topics as it is about Germany after WWII, it's not just a stylish way of structuring a pivotal scene, but a savvy and effective one as well. Amidst the drama, Fehling weathers Radmann's journey, making the character a figure of determination and defiance. Best known outside of Germany for appearing in Inglourious Basterds and TV's Homeland, his is a complex portrayal, as befitting a rich and layered film. With his character finding out about much of the Nazi's Auschwitz activities for the first time, he's not quite an audience surrogate, but his voyage of discovery is never less than believable. You won't just see his horror — you'll feel it, directed towards not only the realities of war, but the ways people try to forget it.
One of the world's most acclaimed galleries is coming to Australia, and it's bringing more than 70 works that chronicle the past 200 years in art history with it. For a five-month season from mid-June, the UK's Tate will take over Melbourne's Australian Centre for the Moving Image with a hefty exhibition that'll span everything from painting, photography and sculpture through to drawing, kinetic art and installations — and, of course, the moving image. Given the time period covered by Light: Works from Tate's Collection, the list of artists that'll be on display is a varied one — as drawn from pieces in the Tate's four separate sites in Britain. Art lovers will be able to see works by famed English romantic painter and watercolourist Joseph Mallord William Turner alongside the light- and space-focused efforts of American artist James Turrell, plus pieces by impressionist Claude Monet and Japanese favourite Yayoi Kusama. Running from Thursday, June 16–Sunday, November 13, the unifying theme is light, as the exhibition's name makes plain — and if you're wondering how this connects to ACMI's remit as a museum for the moving image, light is obviously crucial to all recorded vision. While Light: Works from Tate's Collection will step through art history, ACMI will further put its pieces into broader artistic context by presenting it alongside its permanent The Story of the Moving Image exhibition, which examines the origins and genesis of film and television. [caption id="attachment_842689" align="alignnone" width="1920"] Raemar, Blue, 1969, James Turrell. Tate: Presented by the Tate Americas Foundation, partial purchase and partial gift of Doris J. Lockhart 2013. © James Turrell. Photo: Tate.[/caption] From the impressive roster of art and artists, Turner's 1805 painting The Deluge will make its Australian debut, while Kusama's characteristically kaleidoscopic 2005 sculpture The Passing Winter gets viewers peering into a mirrored cube. Turrell's Raemar, Blue, from 1969, is an immersive spatial environment that surrounds visitors in infinite and immersive light. And among the other highlights sits paintings by John Constable, Wassily Kandinsky, Bridget Riley and Joseph Albers; more impressionist pieces from Camille Pissarro and Alfred Sisley; and rotating crystalline sculpture Stardust Particle by Olafur Eliasson. Announcing Light: Works from Tate's Collection, which falls under the Victorian Government's Melbourne Winter Masterpieces series, ACMI Director and CEO Katrina Sedgwick said that "this is a rare opportunity to experience the expansive collection of one of Britain's most famous cultural institutions right here in Melbourne." "ACMI is proud to present a treasure trove of artworks inspired by a phenomenon so fundamental to moving image creation. Through its exploration of light as both a subject and a medium this extraordinary exhibition enables our visitors to explore surprising and enlightening interconnections across time and artform," Sedgwick continued. [caption id="attachment_842682" align="alignnone" width="1920"] Stardust particle, 2014, Olafur Eliasson, Tate: Presented by the artist in honour of Sir Nicholas Serota 2018. © Olafur Eliasson. Photo: Tate[/caption] Light: Works from Tate's Collection was initially curated for the Museum of Art, Pudong in Shanghai, and heads to ACMI after displaying at Buk-Seoul Museum of Art, Korea. In Melbourne, the ticketed exhibition will be accompanied by talks, performances, workshops and late-night events, as well as film screenings. Although the events lineup hasn't yet been revealed, masterclasses with cinematographers, artist discussions, and magic lantern and 16mm presentations will all be on the bill, as will two free exhibits — from Australian artist Mikala Dwyer in ACMI's lightwell and by Lis Rhodes in Gallery 3, with the latter's Light Music also coming from the Tate Collection. Light: Works from Tate's Collection will display at the Australian Centre for the Moving Image, Federation Square, Flinders Street, Melbourne, from Thursday, June 16–Sunday, November 13, 2022. Top image: The Passing Winter, 2005, Yayoi Kusama. Tate: Purchased with funds provided by the Asia-Pacific Acquisitions Committee 2008. ©Yayoi Kusama. Tate.
From fake wedding receptions to wartime-era dances, The Boon Companions have made a name for themselves with their immersive theatre experiences around town. For the Festival of Live Art 2016, they present Dance Magic Dance: Cast Party, an after-dark shindig with the cast of a seventies musical theatre production. There'll be booze, music and explosive backstage drama, as actors and audience members mingle on the dancefloor. Slip into character, and get ready to party. Things are going to get wild.
West Melbourne locals are in for a real treat this winter, thanks to the return of Grazeland's seasonal transformation. Every Friday–Sunday from June 28–July 28, the Spotswood food hub will once again transform into a colourful winter wonderland, complete with neon lights, falling snow, firepits, roaming entertainers, and a stack of warming food and drink vendors. The food lineup includes Momo's, Lucky Little Dumplings and Ms Wonton, which will be serving up fried and steamed parcels of goodness throughout the month-long winter makeover, while Frencheese will pump out sizzling raclette and Brat Boy's Baked Potatoes will have you sorted for steaming plates of buttery carbs. You can also stop by Bun Tessa for its famed seafood boil, Tandoori Land for its specialty tikka masala and Drums for classic Sri Lankan curries. Follow it up with Street Crepes' pancakes topped with chocolate, ice cream and fresh fruit, or Sticky Fingers' moreish hot jam doughnuts. Grazeland's bars will also seek to warm up punters with spiced mulled wine, in addition to their usual drinks offerings. This month-long experience is a brilliant weekend alternative to QVM's Winter Night Market, not to mention the perfect excuse to get out of the house and embrace winter. Grazeland's Winter Wonderland will run every Friday–Sunday, from Friday, June 26–Sunday, July 28. For more information, visit the venue's website.
With two decades under its belt, London's Fabric is an international clubbing icon. Melburnians have usually had to fly across the globe to visit the famed nightclub, but now, it's finally heading our way. Fabric is teaming up with local music agency Novel for its first-ever Australian appearance, as part of its 20th anniversary celebrations. On Saturday, December 7, Fabric is sailing into The Paddock at Fed Square, with an impressive lineup of its favourite DJs and performers in tow, for a shindig dubbed Fabric XX. This rollicking day party is being headlined by renowned Chilean-born German party-starter and Fabric mainstay, Ricardo Villalobos. He's joined on the bill by a slew of Fabric regulars, including UK tech house DJ Craig Richards; London-based DJ, producer and label owner Bobby; and Canada's Matthew Johnson with a live serve of his distinctive electro sound. A crew of local artists are also coming to the party, with the full lineup set to be announced soon. If all that won't have you dancing into summer in style, we don't know what will. Fabric XX runs from 12–10pm.
Newport's latest culinary hub has quite a bit going on. Located on Hall Street, right across from the railway station, Heart of Hall is a cafe, a shop and a cooking school combined — meaning that you can grab a bite, pick up some stuff for your kitchen and then get educated on how to use it. The venue is the brainchild of Stacey Krbaleski and Nicole Walker, who met a decade ago when their daughters were starting primary school. Inspired by a mutual love of all things delicious, the pair got into business together, and here we are. Danni Perryman (previously of Walters Wine Bar) runs the show in the kitchen, and has helped craft a menu full of familiar staples. Breakfast options include bacon and egg rolls, and chia pudding with berry compote, toasted coconut and pistachio crumb. The rest of the menu is split into brunch (think zucchini haloumi fritters and smoked salmon bagels) and "a little more like lunch" (coconut poached chicken salad, Boscastle pies and sausage roles, and a locally sourced cheese board). Their coffee, meanwhile, comes courtesy of the folks at Small Batch. After eating, guests can head to the Heart of Hall store. There they'll find an eclectic mix of items ranging from cook books to cheesemaking sets to high-end knives. Finally, there's the school, where cooking instructor Kate McKay (Jamie Oliver's Recipease) is running evening classes on everything from Spanish cuisine to pasta-making. They've even got a chocolate egg workshop just in time for Easter. Find Heart of Hall at 17 Hall Street, Newport. For more information and to book into one of their cooking classes, visit their website.
The very beginning of Nick Broomfield's new Whitney Houston documentary features voiceover from one of the singer's friends talking about how she died. We all know the story: one of the most talented voices of our time succumbed to substance abuse and drowned in a bathtub. But her friend posits that while drugs were involved, perhaps they weren't the root cause. Perhaps Whitney Houston died of a broken heart, she says. This sad idea settles over the rest of the film like a cloud, as Broomfield recounts the story of a supremely talented yet obviously troubled young woman surrounded by people unable or unwilling to get her the help that she needed. The Whitney we first see is so young that it's difficult for us to believe she'll become the woman in the bathtub. She's bubbly and bright, singing in her gospel choir at church (led by her mother, gospel singer Cissy Houston). That trademark smile is instantly recognisable. She's just a kid with a huge voice, and she's happy. But that huge voice soon proves to be both a blessing and a curse. Signed at the age of 19, Whitney was thrown into the deep end of an industry that had its own plans for her, moulded into a pop princess by a team of men who worked at Arista Records. Interviewing some of them in the present day, it seems the muscle memory of their puppeteering is still fresh. Her old management team still talks about her like an object rather than a person, and there's little doubt that their level of control over Whitney contributed negatively towards her mental and physical health. You're left feeling sad and frustrated, wanting to call these men into account. Why didn't they help her? Whitney: Can I Be Me uses a large amount of footage from the singer's 1999 world tour, some of which is absolutely staggering. At this point in her life her voice was still in prime condition – the effort she puts into every single song leaves her drenched in sweat; her calling card "I Will Always Love You" works the audience up into a frenzy; while her ability to "caress notes", as the Arista representatives say, is unrivalled. In a time where there was no Beyoncé and certainly no Janelle Monae or Nicki Minaj, Whitney's music was a carefully crafted brand of pop, and was often sent back to the studio for being "too black-sounding". The movie's title becomes a sad realisation that hits you mid-way through. As much as this is a story about Whitney losing her life, it's also about her losing herself. The sweetest parts of the film come from home video footage of Whitney just sitting around eating takeaway and watching movies, or acting out silly scenes with her husband Bobby Brown. In these moments, we're reassured that she has friends and family who love her. And yet ultimately, these relationships all fall apart. Even Robyn, her childhood friend who stuck with her for years, eventually fades away. A lot is made in the film about Robyn and Whitney's relationship, and whether it was more than just a friendship. But regardless of whether Whitney was gay, or bisexual, we get the feeling Robyn is one of the pillars in her life. That they parted ways mid-tour seems to just weaken Whitney's grip on her voice, her health, and her increasingly unhappy marriage. The footage of her being interviewed by Diane Sawyer in 2002 about her addictions is especially moving. When asked what her biggest devil was, she replies that it is herself. Whitney: Can I Be Me paints a tragic portrait of a woman who didn't have the right people around her, nor the drive to get herself the help she required. To add to the grey cloud, Whitney's daughter Bobbi Kristina lost her life in 2015 in eerily similar circumstances. Sadly, the film feels more like a story about this pattern of unhappiness than it does a celebration of the singer's talent – a shame for a woman who had so much. https://www.youtube.com/watch?v=1G2fY0xci_c
Let's just call it here and now: Robert Duvall will be nominated for Best Supporting Actor at next year's Academy Awards. It'll be his seventh nomination, and it'll be entirely deserved. The Man. Can. Act, and in his latest film — The Judge — you get the privilege of seeing that ability up close and incredibly personal. As the title suggests, Duvall is 'the Judge' — an elderly statesman of the justice system who's presided over the legal affairs of a small town in Indiana for over 40 years. When his wife passes away, the judge dutifully farewells his sweetheart only to then find himself accused of a hit-and-run that very same night. Thankfully, his high-flying, big-city lawyer son Hank (Robert Downey Jr) is in town for the funeral. Hank is, at least publicly, master of his domain, king of the jungle, pisser on the pants of his opponents. Privately, however, his marriage is crumbling, his daughter pines for more attention and the death of his mother has done nothing to assuage the chasm of estrangement between him and his father. They can scarcely look each other in the eye, let alone share any form of actual dialogue or physical contact, which makes establishing any form of legal defence markedly challenging. Throw in the attentions of the ex-girlfriend (Vera Farmiga), the grumpy brother (Vincent D'Onofrio), the mentally challenged brother (Jeremy Strong) and the unrelenting prosecutor (Billy Bob Thornton), and Hank's already reluctant return home fast becomes an almost unliveable nightmare. The Judge was directed by David Dobkin, whose previous films have largely fallen into the comedy/action arena (most notably: Wedding Crashers and Shanghai Knights). Here, he wields the direction with a split personality: sometimes hitting home runs, other times swinging and missing with wildly misfiring scenes. When the latter happens (and, regrettably, it's probably more than the former), The Judge descends into by-the-numbers schmaltz and dials up the cheese. Surprisingly this is often in the courtroom scenes where, traditionally, drama is most at home. The revelations are either too insignificant or heavily flagged, meaning the jurors' gasps and gallery's sighs are more comical than convincing. Downey Jr is well-cast as Hank, bringing the swagger of Iron Man without the bells and whistles to protect him. His scenes with Duvall carry the movie entirely, and whether by design or misstep, every other character becomes little more than background noise. It's not a film with a lot to offer by way of innovation, but it knows how to jerk the tears on more than a few occasions and (despite its unjustifiable length) keeps you engaged enough right through to the end. Most of that engagement, though, comes via Duvall, whose layered and moving performance is right up there with the best of the year. https://youtube.com/watch?v=ZBvK6ni97W8
UPDATE, July 9: Due to Sydney's lockdown, Lord of the Fries won't be celebrating National Fry Day at its Newtown store. For Sydney only, the free chip giveaway will take place on a different, yet-to-be-advised date. This article has been updated to reflect that change — and we'll provide you with more details for Sydney when they're announced. Despite also serving up everything from all-day breakfast to ice cream sandwiches, we still think that fries are the best thing about Lord of the Fries. It's right there in the name, after all. The chain's chips are particularly tasty — as made with Australian potatoes and cooked in a cottonseed sunflower oil blend. There is one thing better than Lord of the Fries' titular dish, however. That'd be free fries from the chip-loving establishment. And on Tuesday, July 13, the vegan fast food joint is giving away just that. Free. Fries. Yes, really. To snag free fries on Tuesday, you'll need to head to your chosen store in Victoria, Queensland and South Australia between 1–2pm — and you'll be gifted a serving of shoestring deliciousness. You don't even have to purchase any vego nuggets to redeem them. There is a limit of one freebie per person, though, so take that into consideration if you're feeling particularly peckish. You'll get your choice of classic sauces, too. This is great news for, Melburnians, Brisbanites and Adelaideans who like fries — aka everyone. Folks in in Melbourne can choose between 14 different stores, Brisbanites can flock to Fortitude Valley (or Surfers Paradise on the Gold Coast) and people in Adelaide can hit up Hindley Street and Glenelg. And if you're wondering why, that's because it's National Fry Day. Of course it is. Lord of the Fries also has a store in Newtown in Sydney; however, it will celebrate National Fry Day with a free fries giveaway on a different, yet-to-be-advised date. We'll provide you with more details for Sydney when they're announced. Lord of the Fries is giving away free fries from 1–2pm on Tuesday, July 13 at all of its Australian stores outside of Sydney. To find your closest store, head to the chain's website.
In self-portrait after self-portrait, Frida Kahlo was no stranger to giving the world a window into what made the artist tick. The Mexican painter didn't just create art — she bared her soul, especially in pieces where she stares back at audiences. Frida Kahlo: In Her Own Image has a similar intimate aim in mind, as aided by some of the icon's depictions of herself, as well as a treasure trove of her personal belongings. This is Australia's latest celebration of Kahlo after the Art Gallery of South Australia's 150-work Frida & Diego: Love & Revolution showcase of Mexican modernism in 2023, and also Sydney Festival's multi-sensory Frida Kahlo: Life of an Icon the same year. That's quite the spread of places around the country that've been dedicating walls and halls to the artist, with Bendigo now joining them. Frida Kahlo: In Her Own Image displays at the Bendigo Art Gallery from Saturday, March 15–Sunday, July 13. Many of the artworks and items that feature have never been seen in Australia before. In fact, some were sealed for 50 years in her family home when Diego Rivera ensured that the site would become a museum after Kahlo passed away in 1954, and that her most-personal items were stored in the bathrooms away from public eyes. Objects such as clothes and makeup have made the journey to regional Victoria, as have mementoes and photographs. Accordingly, attendees can peer at traditional Mexican garments, including a headdress from the Oaxaca region, that were worn by Kahlo; Revlon cosmetics, such as lipstick, nail polish and an eyebrow pencil; and hand-painted medical corsets that she donned following spinal surgeries. Appearances Can Be Deceiving, a self-portrait drawing that provides a view through her clothing to her corset x-ray style, is also a highlight. Arriving direct from the Museo Frida Kahlo in Mexico, Frida Kahlo: In Her Own Image is exclusive to the Bendigo institution, so you'll need to make the trip if you're keen to explore what the artist's belongings and style says about her art. Updated: Monday, March 24, 2025. Images: Bendigo Art Gallery.
Lawrence Greenwood aka Whitley's last album, Go Forth, Find Mammoth, was a breezy, lightweight yet layered and complex example of why Australia is at the top of the list when it comes to folk singer-songwriters. After the success of the album, Whitley went on an indefinite hiatus that left fans wondering if they'd ever hear a new note from him again. Well, after some time away, Whitley has returned with a bunch of new songs in the form of his new album, Even the Stars Are a Mess. For this record, Whitley travelled to Mexico, Cuba, The Netherlands, Peru and Italy for inspiration. To celebrate his own return to the stage, Whitley is heading on a massive tour that will see him play most major cities and mega-festival, Splendour in the Grass. https://youtube.com/watch?v=7BOzH7EVV4s
This year has seen a lot of us spending a whole heap more time at home, and we can't think of a better excuse for a little domestic spruce up. Or, at the very least, a neat new rug to adorn your living room floor. If it is time for a rug refresh, expect to find some winning options among Miss Amara's huge three-week sale. The online rug retailer is dishing out deals with 15 percent off each of its three best-selling rug styles across three weeks. First up, its boho rugs, with designs like the luxe wool Camilla, are on sale from October 11–18. Then, you can nab 15 percent off minimal rugs from October 21–29, and score savings across the whole collection of tribal rugs from November 1–8. Having trouble choosing? Answer a few questions online about your space and your preferences, and Miss Amara's virtual stylist will help you find your ideal rug match. What's more, you can take your favourites for a visual test drive, thanks to the virtual room simulator. Just click the button that says 'See This In My Room' below any product, snap a photo of your space and see how well they pair. And to get even more of a taste, Miss Amara will even let you try a rug at home, with free refunds and returns if it doesn't tick the right boxes. As an added bonus, Miss Amara offers free delivery across Australia, too. https://www.instagram.com/p/CFrT2KLn0gt/ FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Since Australian cinemas started reopening more than 12 months ago, following the country's first nationwide lockdown, new films have been hitting the big screen each and every week. But, depending on whether another round of stay-at-home conditions happen to be in place, or even just restrictions, heading to the flicks hasn't been as straightforward a pastime as it was before we'd all ever heard of COVID-19. Even if you're the biggest movie buff there is, that means that you probably haven't been to the cinema as much as you normally would've. If you're the kind of film-goer who is happy to just head along every now and then, you might've been more selective with your viewing choices. Or, juggling your schedule to fit in a trip to the pictures mightn't have been your biggest priority. Thankfully, a heap of the past year's cinema gems have now made their way to various streaming platforms, so you can catch up on plenty of great movies at home. Here's 12 that'll keep you busy right this moment — whether you're in lockdown, the weather is average or you just feel like some extended couch time. AMERICAN UTOPIA There may be no catchier lyric in music history than "same as it ever was", the five words repeated in Talking Heads' 1981 single 'Once in a Lifetime'. As uttered again and again by the band's inimitable frontman David Byrne, it's a looping phrase that burrows into your skull and never leaves. So when American Utopia opens with the musician sat at a table holding a brain and talking about what its various parts do, it feels as if Byrne is acknowledging what everyone already knows in the deepest recesses of their consciousness: that Byrne long ago got cosy in our craniums and has been nattering away to us ever since. As he stares at grey matter while wearing a grey suit — a perfectly fitting one, unlike the famed big number he wore in iconic 1984 Talking Heads concert film Stop Making Sense — he has something else on his mind, however. American Utopia starts with the part of our bodies where we all mentally reside, but slowly and smartly evolves from the cerebral to the communal. It segues from one man alone on a stage lost in his own thoughts to 12 people singing, dancing, playing instruments and connecting, and also pondering the state of the world and how to better it in the process. And it takes its titular concept seriously along the way, confronting America's political and social divisions in Byrne's witty, wise and impassioned between-song chats, but never satirising the idea that the US could be improved to the benefit of everyone. American Utopia is a concert film like its predecessor but, as that masterpiece proved, the whole notion means more to Byrne than merely standing in front of a camera and busting out well-known hits.From the sublimely soothing 'This Must Be the Place (Naive Melody)' to the punchier 'Burning Down the House', plenty of Byrne's best-known songs do grace American Utopia. 'Once in a Lifetime' is among them, of course, as are 'Road to Nowhere' and 'Everybody's Coming to My House', with the film's playlist spanning his career with Talking Heads and solo. Across a range of styles and tempos, each track is a wonder, and not just in the way that fans already know. As should be obvious from the way in which Byrne has conceptualised this stage performance — which he toured in 2018, then adapted for Broadway in 2019, and has now turned into this standout movie directed by Spike Lee — this is a meticulously crafted work. Basking in the glory of Byrne and his band is inevitable and would happen regardless, but soaking in everything that American Utopia does is another marvel entirely. Before the film forces you to do so, you probably won't have realised how enlivening, wondrous and cathartic it is to see the act of connecting so firmly thrust to the fore. It takes an incredible amount of work to make something so tightly constructed seem so loose and natural, and that's just one of the reasons that American Utopia is yet another of the star's masterpieces. American Utopia is available to stream via Amazon Prime Video and Binge. Read our full review. BILL & TED FACE THE MUSIC When it comes to goofy and sweet movie concepts handled with sincerity, the Bill & Ted franchise has always proven most triumphant. In 1989's Bill & Ted's Excellent Adventure, the big-screen comedy series introduced the world to Californian high schoolers Bill S Preston, Esq (Alex Winter) and Ted 'Theodore' Logan (Keanu Reeves), who are apparently destined to write the rock song that unites the universe — if they can first pass their history exam by travelling back in time in a phone booth to recruit famed past figures like Beethoven and Socrates to help, that is. The idea that Bill & Ted's affable, air guitar-playing slackers would become the world's salvation was a joke that the film itself was in on, and the movie struck the right balance of silliness, earnestness and affection as a result. So, the end product was joyous. And, it inspired two follow-ups: 1991's even loopier but still entertaining Bill & Ted's Bogus Journey, and now Bill & Ted Face the Music's affectionate dose of warm-hearted lunacy almost three decades later. Bill (Winter) and Ted (Reeves) are back, obviously. They're older, definitely not wiser, and yet again take a few leaps through time. The fate of life as everyone knows it is still at stake. And, as always, the loveable pair's motto — "be excellent to each other" — is pivotal. Combine all of the above with marital malaise, chip-off-the-old-block daughters Theadora (Ready or Not's Samara Weaving) and Wilhelmina (Atypical's Brigette Lundy-Paine), multiple Bills and Teds, and a 77-minute deadline to write the tune the changes the future, and Face the Music saunters casually forward with a purposeful sense of familiarity. Thankfully, though, this film isn't merely trying to relive past glories. In fact, the very notion that some dreams don't come true sits at the core of this tender and loving movie. Naturally, it's a delight to see Winter and Reeves reprise their roles. They step back into Bill and Ted's shoes with ease, expertly conveying the characters' lingering immaturity, middle-aged malaise and ever-present kindness. They're also clearly having a blast as different versions of the duo, and their enthusiasm is infectious. But when Face the Music finds a plethora of ways to illustrate the merits of their characters' optimistic and warm mindset, it's at its best. Far from bogus, the heartfelt happiness it brings is 100-percent excellent. Bill & Ted Face the Music is available to stream via Stan. Read our full review. KAJILLIONAIRE When Evan Rachel Wood played a troubled teen in 2003's Thirteen, the then 16-year-old received a Golden Globe nomination. For her work in Westworld since 2016, she has nabbed multiple Emmy nods. So when we say that the actor puts in her best performance yet in Kajillionaire — the type of portrayal that deserves several shiny trophies — that observation isn't made lightly. Playing a 26-year-old con artist called Old Dolio Dyne, Wood is anxious but yearning, closed-off yet vulnerable, and forceful as well as unsure all at once. Her character has spent her entire life being schooled in pulling off quick scams by her eccentric parents Robert (Richard Jenkins, The Shape of Water) and Theresa (Debra Winger, The Lovers), who she still lives with, and she's stuck navigating her own street-wise brand of arrested development. Old Dolio knows how to blend in, with her baggy clothes, curtain of long hair and low-toned voice. She also knows how to avoid security cameras in physical feats that wouldn't look out of place in a slapstick comedy, and how to charm kindly folks out of reward money. But she has never been allowed to truly be her own person — and, from the moment that Wood is seen on-screen, that mournful truth is immediately evident. Kajillionaire introduces Old Dolio, Robert and Theresa as they're falling back on one of their most reliable swindles: stealing packages from post office boxes. But two developments drive its narrative, and make Old Dolio realise that she's far more than just the third part of a trio. Firstly, to make a quick $20 to help cover overdue rent, she agrees to attend a parenting class for someone she meets on the street, and is struck by how far removed its teachings are from her own experiences. Secondly, on a return flight back to Los Angeles from New York as part of a travel insurance grift, her parents meet and befriend outgoing optometrist's assistant Melanie (Gina Rodriguez, Annihilation). So accustomed to playing the role dictated to her by Robert and Theresa, and never deviating from it, Old Dolio isn't prepared for the emotions stirred up by both changes to her status quo. But July's poignant and perceptive movie — a film that's a quirky heist flick, a playful but shrewd exploration of family bonds, and a sweet love story — is perfectly, mesmerisingly equipped to navigate her protagonist's efforts to reach beyond the only loved ones and the only type of life she has ever known. In fact, the result is one of the most distinctive, empathetic and engaging movies of the year. Kajillionaire is available to stream via Amazon Prime Video and Binge. Read our full review. THE PAINTER AND THE THIEF Asked why he broke into Oslo's Gallery Nobel in 2015 and stole two large oil paintings in broad daylight, Karl-Bertil Nordland gives perhaps the most honest answer anyone could: "because they were beautiful". He isn't responding to the police or providing an excuse during his court appearance, but speaking to Czech artist Barbora Kysilkova, who wanted answers about the theft of her work. Captured on camera, the pilfering of Kysilkova's Swan Song and Chloe & Emma initially appeared to be a professional job. As the two pieces were removed from their frames in such an exacting manner, it was presumed that experts were behind the crime. But Nordland and his accomplice didn't plan their brazen heist, or have a background in purloining art. Thanks to the effect of illicit substances, Nordland can't even remember much about it, let alone recall what happened to the stolen works that Kysilkova desperately wants back. That said, as the thief tells the painter when she first talks with him, he does know that he walked past Gallery Nobel often. He's aware that he saw her photorealistic pieces — the first of a dead swan lying in reeds, the second of two girls sat side by side on a couch — many times, too. And, he's candid about the fact that he marvelled at and was moved by the two canvases long before he absconded with them. As a result, he doesn't seem surprised that his life led him to that juncture, and to snatching Kysilkova's creations. A victim confronts a perpetrator: that's The Painter and the Thief's five-word summary, and it's 100-percent accurate. But such a brief description can't convey how fascinating, thoughtful, moving and astonishing this documentary is as it unfurls a tale so layered and wild that it can only be true — a story that stretches far beyond what anyone could feasibly anticipate of such an altercation and its aftermath, in fact. Nordland was arrested and charged for his crime, with Kysilkova initially making contact with him at his trial. From there, the skilled carpenter and heavily tattooed addict unexpectedly gained a friend in the woman whose works he took. Kysilkova first asked to paint Nordland as part of her attempts to understand him, and he then became her muse. As all relationships do, especially ones forged under such unusual circumstances, their connection evolved, adapted and changed from there. As Norwegian filmmaker Benjamin Ree (Magnus) pointed a camera in their direction for three years, the duo weathered their own ups, downs, twists and turns, as did their friendship. If Nordland's reply to Kysilkova feels disarmingly frank and unguarded, that's because it is. The same tone remains throughout The Painter and the Thief's entire duration. Absent the usual tropes and stylistic markers that true-crime documentaries are known for, the film eschews the standard mix of talking heads, re-enactments and explanatory narration in favour of truly observing and stepping inside its subjects' unique bond. The Painter and the Thief is available to stream via Docplay. Read our full review. BABY DONE A relic of a time when women were considered wives, mothers and little else, the public need to comment on whether someone has a baby or is planning to have a baby is flat-out garbage behaviour. In your twenties or thirties, and in a couple? Yet to procreate? If so, the world at large apparently thinks that it's completely acceptable to ask questions, make its judgement known and demand answers. Baby Done offers a great take on this kind of situation. Surrounded by proud new parents and parents-to-be at a baby shower, Zoe (Rose Matafeo) refuses to smile and nod along with all the polite cooing over infants — existing and yet to make their way into the world — and smug discussions about the joys of creating life. An arborist more interested in scaling trees at both the national and world championships than starting a family, she simply refuses to temper who she is to fit society's cookie-cutter expectations. Her partner Tim (the Harry Potter franchise's Matthew Lewis, worlds away from his time as Neville Longbottom) is on the same wavelength, and they visibly have more fun than everyone else at the party. With a title such as Baby Done, it shouldn't come as much of a surprise when this New Zealand comedy soon upsets Zoe and Tim's status quo. She discovers that she's expecting and, while he starts dutifully preparing to an almost unnervingly sensible extent, she also struggles to face the change that's coming their way. Comedies about the trials and tribulations of parenthood, and of the journey to become parents, are almost as common as people asking "when are you two having kids?" without prompting at parties. But this addition to the genre from director Curtis Vowell and screenwriter Sophie Henderson (both veterans of 2013 film Fantail) approaches a well-worn topic from a savvy angle. Zoe clearly isn't a stereotypical mother-to-be, and doesn't experience the stereotypical feelings women have been told they're supposed to feel about having children — and Baby Done leans into that fact. Also pivotal in her first big-screen lead role is comedian Matafeo. Indeed, it's easy to wonder whether the movie would've worked so engagingly and thoughtfully with someone else as its star. Brightly shot and breezily toned, there's still much about Baby Done that's familiar; however, charting one woman's pregnancy experience, and her backlash to the widely accepted notion that motherhood is the be all and end all of a woman's life, proves poignant and charming more often than not here. Baby Done is available to stream via Stan. Read our full review. COLLECTIVE We can only hope that one day, likely in a far distant future, documentaries will stop doubling as horror films. That time hasn't arrived yet — and as Collective demonstrates, cinema's factual genre can chill viewers to the bone more effectively than most jump- and bump-based fare. Nominated for Best Documentary Feature and Best International Feature at the 2021 Academy Awards (only the second time that's ever happened, after last year's Honeyland), this gripping and gut-wrenching Romanian doco starts with a terrible tragedy. On October 30, 2015, a fire broke out at a metal gig in Bucharest, at a club called Colectiv. Twenty-seven people died in the blaze, and 180 people were injured as they tried to escape via the site's lone exit; however, that's just the beginning of the movie's tale. In the four months afterwards, as burn victims were treated in the country's public hospitals, 37 more passed away. When journalist Cătălin Tolontan and his team at The Sports Gazette started investigating the fire's aftermath and the mounting casualty list, they uncovered not only widespread failures throughout Romania's health system, but also engrained corruption as well. This truly is nightmare fuel; if people can't trust hospitals to act in their patients' best interest after such a sizeable disaster, one of the fundamental tenets of modern society completely collapses. Early in Collective, director, writer, cinematographer and editor Alexander Nanau (Toto and His Sisters) shows the flames, as seen from inside the club. When the blaze sparks from the show's pyrotechnics, hardcore band Goodbye to Gravity has just finished singing about corruption. "Fuck all your wicked corruption! It's been there since our inception but we couldn't see," the group's singer growls — and no, you can't make this up. It's a difficult moment to watch, but this is a film filled with unflinching sights, and with a viscerally unsettling story that demands attention. Nanau occasionally spends time with the bereaved and angry parents of victims of the fire, even bookending the documentary with one man's distress over the "communication error" that contributed to his son's death. The filmmaker charts a photo shoot with Tedy Ursuleanu, a survivor visibly scarred by her ordeal, too. And yet, taking an observational approach free from narration and interviews, and with only the scantest use of text on-screen, Collective's filmmaker lets much of what's said rustle up the majority of the movie's ghastliest inclusions. Collective available to stream via Docplay. Read our full review. NOMADLAND Frances McDormand is a gift of an actor. Point a camera her way, and a performance so rich that it feels not just believable but tangible floats across the screen. That's true whether she's playing overt or understated characters, or balancing those two extremes. In Fargo, the first film that earned her an Oscar, McDormand is distinctive but grounded, spouting midwestern phrases like "you betcha" but inhabiting her part with texture and sincerity. In Three Billboards Outside Ebbing, Missouri, her next Academy Award-winning role, she's an impassioned mother crusading for justice and vengeance, and she ripples with deep-seated sorrow mixed with anger so fiery that it may as well be burning away her insides. Now, in Nomadland, McDormand feels stripped bare and still a commanding force to be reckoned with. She's tasked with a plucky but struggling part — defiant and determined, too; knocked around by life's ups and downs, noticeably; and, crucially, cognisant that valuing the small pleasures is the hardest but most rewarding feat. It'll earned her another shiny Oscar just three years after her last, in fact. Along with the attention the movie received at the Golden Globes as well, this is highly deserved outcome, because hers is an exceptional performance and this was easily 2020's best film. Here, leading a cast that also includes real people experiencing the existence that's fictionalised within the narrative, she plays the widowed, van-dwelling Fern — a woman who takes to the road, and to the nomad life, after the small middle-America spot where she spent her married years turns into a ghost town when the local mine is shuttered due to the global financial crisis. A slab of on-screen text explains her predicament, with the film then jumping into the aftermath. Following her travels over the course of more than a year, this humanist drama serves up an observational portrait of those that society happily overlooks. It's both deeply intimate and almost disarmingly empathetic in the process, as every movie made by Chloe Zhao is. This is only the writer/director's third, slotting in after 2015's Songs My Brothers Taught Me and 2017's The Rider but before 2021's Marvel flick Eternals, but it's a feature of contemplative and authentic insights into the concepts of home, identity and community. Meticulously crafted, shot and performed, it truly sees everyone in its frames, be they fictional or real. Nomandland understands their plights, and ensures its audience understands them as well. It's exquisitely layered, because its protagonist, those around her and their lives earn the same term — and Zhao never forgets that, or lets her viewers either. Nomadland is available to stream via Disney+. Read our full review. FIRESTARTER — THE STORY OF BANGARRA More than three decades since it was first formed, Bangarra Dance Theatre is still going strong. In just the last ten years alone, the Sydney-based organisation has unleashed the beauty and potency of works such as Blak, Patyegarang, Lore, OUR land people stories, Bennelong and Dark Emu across Australia's stages, and repeatedly confronted the nation's colonial history head-on in the process. As an Aboriginal and Torres Strait Islander arts outfit, it can't avoid it. It similarly can't ignore the impact that the country's past has had upon Indigenous culture, and the trauma that's rippled across generations as a result. And so, as excellent new documentary Firestarter — The Story of Bangarra tells the company's tale, these struggles are firmly part of the narrative. Co-directors Wayne Blair (The Sapphires, Top End Wedding) and Nel Minchin (Matilda & Me, Making Muriel) know their power. Indeed, the two filmmakers are well aware that they can't step through Bangarra's history without placing the acclaimed dance theatre in its rightful social, political and cultural context. What audiences have seen on stage over the years is stunning, astonishing and important, of course, but all of those exceptional performances haven't ever existed in a vacuum. For those unacquainted with the details of Bangarra's origins, evolution, aims and achievements, Firestarter recounts them, starting with its leap out of the National Aboriginal Islander Skills Development Association and the Aboriginal Islander Dance Theatre. Actually, it jumps back further, not only stepping through Bangarra's predecessors, but also charting how Stephen, David and Russell Page became its most famous names. Just as it's impossible to examine the dance company's accomplishments and influence without also interrogating and chronicling Australia's history, it's simply unthinkable to do so without focusing as heavily on the Page brothers as Blair and Minchin choose to. Stephen would become Bangarra's artistic director, a role he still holds. David was its music director, while Russell was one of its best dancers — and their path from growing up in Brisbane in the 60s, 70s and 80s to helping shape and guide an Aussie arts powerhouse is a pivotal component of Bangarra's overall journey thus far. If it sounds as if Firestarter has been set a hefty task — doing triple duty as a celebration, a record of Australia's past and a portrait of three siblings with dreams as big as their talents — that's because it has. But this dense and yet also deft documentary is up to the immense feat, and dances through its massive array of material, topics and themes as skilfully as any of Bangarra's performers ever have. Firestarter — The Story of Bangarra is available to stream via ABC iView. Read our full review. WAVES The sight of streaming sunlight, South Florida's scenery and a blissful young couple shouldn't hit like a gut punch, but in Waves, it does. When this magnificently moving film opens, it does so with high-schooler Tyler Williams (Kelvin Harrison Jr) and his girlfriend Alexis Lopez (Alexa Demie). They sing and drive with carefree exuberance — buoyed by both youth and first love — with their happiness not only captured by fluid, enticing camerawork that circles around and around, but mirrored by the use of Animal Collective's upbeat, energetic 'FloriDada' on the soundtrack. Waves continues its sinuous cinematography and alluring tunes as it follows Tyler through a snapshot of his teenage existence, too. Viewers meet his upper middle-class family, who dote on his every word. We witness his prowess on the school wrestling team, where he's a star. We see how infatuated he is with Alexis, and vice versa. But, as intoxicatingly sensory as all of this is — and as expertly calibrated by writer/director Trey Edward Shults to convey exactly how Tyler is feeling — its glow fades quickly when the agonised glimmer in Tyler's eye becomes evident. It's only there when he's alone, looking in the mirror, but it's a picture of heartbreak. As played with a complicated mix of charm, arrogance, sadness, anger and vulnerability by the excellent Harrison, Tyler navigates his seemingly content life with an outward smile, while balancing on a knife's edge. He doesn't completely know it, though, although he can clearly feel the pressure mounting. Forceful in reminding him that African Americans are "not afforded the luxury of being average", his father Ronald (Sterling K Brown) is well-intentioned, but also stern and domineering. He pushes Tyler to be better at every turn and, when they train together for the teen's wrestling matches, even gets competitive. Stepmother Catherine (Hamilton's Renée Elise Goldsberry) is far more gentle; however the focus placed on Tyler compared to his younger sister Emily (Taylor Russell) is always obvious in her household. And so, when an injury threatens to undo his sporting future and his romance with Alexis breaks down, Tyler makes a series of self-sabotaging decisions. One leads to tragedy — and the fact that this isn't a joyful movie becomes devastatingly apparent. Waves is available to stream via Amazon Prime Video and Binge. Read our full review. ASSASSINS On February 13, 2017, at the Kuala Lumpur International Airport, a man was assassinated in broad daylight. While standing by the self check-in kiosks at around 9am, he was approached from behind by two women. After they each rubbed their hands across his face, he was dead within the hour. For a plethora of reasons, the attack garnered global news headlines. Such a brazen murder, carried out not only in public but also in full view of the Malaysian airport's security cameras, was always going to receive worldwide attention. The use of extremely deadly chemical weapon VX obviously demanded scrutiny — and so did the fact that the victim was Kim Jong-nam, the estranged elder half-brother of North Korean leader Kim Jong-un. But, despite the onslaught of newsprint, pixels and airtime devoted to the incident when it happened, the full details behind it took time to unfurl. As Assassins explores, those facts are fascinating, gripping and distressing in equal measure. Indeed, if a Hollywood screenwriter had cooked up the story at the centre of Ryan White's (The Keepers) meticulously documentary, they would've been told that it's too far-fetched. Not that the world needs any additional reminders, but real life really is far stranger than fiction here. Across 104 minutes that relay an unmistakably and inescapably wild tale in an edge-of-the-seat yet never sensationalistic fashion, White asks the question that was on everyone's lips four years ago: why? That query has many layers. It starts with wondering why two women in their 20s — one from Indonesia, the other from Vietnam — with no clear political affiliations would kill an exiled North Korean who was once expected to lead his nation. From there, it expands to contemplate why Malaysian law enforcement officers and prosecutors were so content to believe that culprits Siti Aisyah and Doan Thi Huong acted without any involvement from North Korea, and why a number of the latter country's citizens were interviewed, but then released and allowed to return home without facing any legal repercussions. Aisyah and Huong certainly weren't afforded the same treatment. Charged with Kim Jong-nam's murder, they were put through a long trial, and faced the death penalty if convicted. The pair, who didn't know each other beforehand, pled their innocence from the outset. Both women were adamant that they had each been hired to make prank videos for a YouTube show and, as far as they knew, their efforts in Kuala Lumpur were part of their latest production. Assassins is available to stream via Docplay. Read our full review. RAYA AND THE LAST DRAGON Featuring a vibrant animated spectacle that heroes vivid green and blue hues, a rousing central figure who is never a stock-standard Disney princess and lively voice work from an all-star cast, Raya and the Last Dragon boasts plenty of highlights. Directed by Don Hall (Big Hero 6) and Carlos López Estrada (Blindspotting), co-directed by Paul Briggs and John Ripa (both Disney art and animation department veterans), and penned by Qui Nguyen (Dispatches From Elsewhere) and Adele Lim (Crazy Rich Asians), the Mouse House's new all-ages-friendly release also embraces southeast Asian culture with the same warm hug that Moana gave Polynesia and Pixar's Coco sent Mexico's way — and it's always detailed, organic, inclusive and thoughtful, and never tokenistic. But perhaps its biggest strength, other than the pitch-perfect vocal stylings of Awkwafina as the playful, mystical half of the film's title, is its timing. Disney first announced the feature back in August 2019, so the company can't have known what the world would suffer through from early 2020 onwards, of course. But a hopeful movie about a planet ravaged by a destructive plague and blighted by tribalism — and a feature that champions the importance of banding together to make things right, too — really couldn't arrive at a more opportune moment. COVID-19 has no place in Raya and the Last Dragon; however, as the picture's introductory preamble explains, a virus-like wave of critters called the Druun has wreaked havoc. Five hundred years earlier, the world of Kumandra was filled with humans and dragons living together in harmony, until the sinister force hit. Now, only the realm's two-legged inhabitants remain — after their furry friends used their magic to create the dragon gem, which saved everyone except themselves. That's the only status quo that Raya (voiced by Star Wars' Kelly Marie Tran) has ever known. Her entire existence has also been lived out in a divided Kumandra, with different groups staking a claim to various areas. With her father Benja (Daniel Dae Kim, Always Be My Maybe), she hails from the most prosperous region, Heart, and the duo hold out hope that they can reunite the warring lands. Alas, when they bring together their fellow leaders for a peaceful summit, Raya's eagerness to trust Namaari (Gemma Chan, Captain Marvel), the daughter of a rival chief, ends with the Druun on the rampage once again. A movie about believing not just in yourself, but in others, Raya and the Last Dragon doesn't shy away from the reality that putting faith in anyone comes with the chance of peril and pain — especially in fraught times where the world has taken on an every-person-for-themselves mentality and folks are dying (or being turned to stone, which is the Druun's modus operandi). If the narrative hadn't been willing to make this plain again and again, including when it picks up six years later as Raya tries to reverse the devastation caused by Namaari's actions, Raya and the Last Dragon wouldn't feel as genuinely affecting Raya and the Last Dragon is available to stream via Disney+. Read our full review. MAX RICHTER'S SLEEP Since first opening its doors back in 1973, the Sydney Opera House has played host to a wealth of performances, spanning far further in genre than just the art form that gives the venue its name. But it was only during Vivid Live 2016 that the iconic locale serenaded visitors into an evening-long slumber, all as part of Max Richter's live recital of his eight-and-a-half hour work Sleep. Across 31 tracks comprised of 204 movements, the German-born British composer's concept album unfurls music based on the neuroscience of getting some shuteye. In its intonation, the ambitious yet soothing piece favours the range that can be heard in the womb for much of its duration. When performed for an audience, it is played overnight, with beds set up — and doing as the work's title suggests is highly encouraged. Attendees recline, listen and let Richter's blend of strings, synthesisers and soprano vocals lull them into the land of nod. If they'd prefer to stay awake, that's fine as well, but soaking in Sleep's ambient sounds while you're snatching 40 winks is all very much part of the experience. In its live version, Sleep has echoed through spaces in London, Berlin and Paris, too; however, it's the first openair performance in Los Angeles' Grand Park in 2018 that takes pride of place in the documentary Max Richter's Sleep. A filmmaker was always bound to be so fascinated with the concept that they'd turn their lens Richter's way, and that director is Natalie Johns (an Emmy nominee for Annie Lennox: Nostalgia Live in Concert), who endeavours to capture the experience for those who haven't had the pleasure themselves. The resulting film doesn't run for more than eight hours, or anywhere close — but those watching and listening will quickly wish that it did. As a feature, Max Richter's Sleep isn't designed to advertise its namesake. Rather, it documents, explores and tries to understand it. Still, the movie so easily draws viewers into the music, and so deeply, that making its audience want to snooze in public while Richter and his band plays is a guaranteed side effect. Max Richter's Sleep is available to stream via Docplay. Read our full review.
This time next year, you could well be spending your summer immersed in legendary Japanese artworks. The Art Gallery of New South Wales has announced a blockbuster exhibition, dubbed Japan Supernatural, set to open in November 2019 as part of the tenth Sydney International Art Series. Made up of more than 200 works from all over the planet, it's an exploration of the spirit world in Japanese art. Expect a immersive experience involving paintings, sculpture, prints, film, animation, comics and games. Leading the show is a monumental piece by Tokyo-born Takashi Murakami. He's a bit of an international rockstar, renowned for bringing together high and low art — much like Jeff Koons, Damien Hirst and Andy Warhol. Chances are, you first heard of him in the 1990s, when he launched the inaugural Superflat exhibition. Since then, he's been a prolific creator of paintings, drawings, sculptures and animations, and collaborated extensively with Louis Vuitton. Representing a much earlier era will be Katsushika Hokusai, born in Edo in 1760. His best-known piece is Thirty-Six Views of Mount Fuji, a series of wood block prints that includes the now iconic Great Wave off Kanagawa. While can't reveal, yet, which of his pieces will be travelling to Sydney, we're hoping we get some of the works that were at the NGV last year. Look out, too, for works by historical artists Utagawa Kuniyoshi, Tsukioka Yoshitoshi and Kawanabe Kyosai, as well as contemporary pop artist Chiho Aoshima and photographer Miwa Yanagi. The artworks are expected to be announced in early 2019, but, in the meantime, you can check out the ninth Sydney International Art Series, which includes paintings by Monet, Matisse and Picasso and a retrospective of South African photographer David Goldblatt's work. Japan Supernatural is slated to open at the Art Gallery of NSW in November 2019, as part the Sydney International Art Series. Image: Takashi Murakami by Claire Dorn.
The Lonely Hearts Club — known for running a few kick ass female-focused events around town — is teaming up with Two Birds Brewing for a beery night geared just for women. The craft brewers will take over The Smith from 6.30pm on Friday, April 13 for an empowering night championing birds that brew. The two-hour showcase will see Two Birds co-founder Danielle Allen and marketing manager Kerry McBride run through a tasting session of their brews, which are all handcrafted nearby at their Yarraville brewery. They'll chat with patrons on how they've made it in the male-dominated beer industry and give entrepreneurial advice on starting your own business, too. Early bird tickets have already sold out but you can still snag standard tickets at $45 a pop. It's a great way to support an event (and a business) that's run by strong women for strong women — plus, it's a great excuse for some cold Friday night brews.
Nobody can resist a subtle jab at Tom Cruise, but Com Truise is known for more than just the pun. The New Yorker's been generating buzz ever since appearing on the electronic music scene four years ago. Now, Truise, aka Seth Haley, is touring Australia for the first time, taking him across Melbourne, Brisbane, Perth and Sydney in a series of intimate sets. Like his name, Com Truise's music is fun and energetic, hailing back to an era of luscious '80s synth. Haley's most recent release, Wave 1, from the faultless Ghostly International label, is a trademark to his signature style — slick production which transforms the otherwise monochrome sounds of today's pop with an eclectic mix of sci-fi sounds, funk beats and drenching bass. It's music that makes everything feel textured, fuzzy, lo-fi and somewhat rainbow-coloured. Just go with it. Supported by Midlife.
The Intern is one of those films that’s not easily labelled. It absolutely feels like a romcom, especially with writer/director Nancy Meyers at the helm (responsible for the likes of Father of the Bride and It's Complicated), but there’s not really any romance in it to speak of. It’s also a funny film, though you’d fall short of calling it a comedy, and it consistently packs in the feels, only there are too many lighter moments for it to be an out-and-out drama. Ultimately, whether by chance or design, The Intern's indeterminate status actually offers us a neat reflection of the story within it, for this is a story about two individuals — the ‘retiree’ and the ‘working mum’ — both grappling with the expectations and misconceptions that accompany those characterisations. De Niro, the retiree, is a 70-something widower without a purpose. Intelligent, polite and openly uncomfortable with inaction, his character Ben Whittaker applies for (and secures) a place in a senior’s intern program at fashion tech startup About the Fit. Anne Hathaway, the ‘working mum’, is the company’s 30-something founder and CEO, Jules Ostin. Passionate and driven but overworked, Jules is fending off shareholder insistence that she hire a ‘proper’ CEO while simultaneously struggling to keep her family together on account of her relentless schedule and the restless ‘stay-at-home dad’ (another unhelpful label) waiting at home. When De Niro is assigned to be Hathaway’s personal intern, their initially uncomfortable partnership soon develops into an indispensable friendship: he the calming influence on her, and she his newfound sense of purpose. The early scenes in The Intern are enough to give serious pause. De Niro’s ‘old guy in a young person’s tech world’ shtick had the potential to be incredibly hammy, and moments like not knowing how to wake up his laptop or use a USB did not augur well for avoiding the tired ‘analog meets digital’ cliche. Hathaway’s character, too, was immediately unlikeable, wearing her wireless headset and riding her fixed-gear bicycle through the office from meeting to meeting. Thankfully, though, neither concern plays out for long. De Niro’s reserve — that trademark smile and gentle nod that has traditionally masked violent intent — works perfectly as a juxtaposition to the madness of the Gen Y workplace around him. His old-school approach to both work and life endears him to all, as he offers advice from fashion and accessories through to putting down the phone and actually talking to people. Similarly, as soon as Hathaway’s pristine veneer reveals its vulnerabilities, she becomes at once an entirely sympathetic character and a surprisingly cogent representation of the unresolved workplace gender debate. In many ways, The Intern plays out like an adaption of Annabel Crabb’s The Wife Drought or Unfinished Business by Anne-Marie Slaughter, the first female director of policy planning at the US State Department and author of the controversial ‘Why Women Still Can’t Have It All’ essay in the Atlantic. Both these texts highlight the difficulties and hypocrisies surrounding successful women in the workplace, including why we never hear the label ‘working dad’, and — at its heart — this is what The Intern ultimately concerns itself with. There are plenty of laughs along the way, as well as some admittedly saccharine scenes, but mostly this is a heartwarming tale of friendship and a constructive engagement with feminism and gender inequality.
Every Mac user the world over knows the scenario: you save up, invest in a shiny new Apple product and take it home just in time to discover a newer, better version has been released. So too comes the biopic Steve Jobs, released just a few short years after 2013’s JOBS starring Ashton Kutcher. Sleeker, slicker and definitely better designed, Danny Boyle’s film is undoubtedly the kind of superior upgrade that this compelling story demands. Written by West Wing creator and Social Network scribe Aaron Sorkin, and based on the book by Walter Isaacson, Steve Jobs is an intense three-act drama of such fervid dialogue and minimal action that it would not feel at all out of place on a stage instead of a screen. Each ‘act’ takes place in the minutes preceding one of Jobs’ iconic product launches, and each is filmed in an appropriately coeval format – 16mm film stock for 1984’s Mac launch, 35mm for the introduction of 1988’s NeXT 'Black Box’ and digital for 1998’s iMac. The staging is an effective device, giving the film a persistent tension by combining the inherent pre-launch nerves with heated backstage conversations between all of the key figures in Jobs’ life. Portrayed magnificently by Michael Fassbender, we find in Steve Jobs a flawed visionary, as opposed to the saccharine, almost messianic figure found in the Kutcher version. Fassbender extracts and develops every foible nestled within Sorkin’s crackling screenplay – the obsessive preoccupation with seemingly trivial details, the isolating stubbornness and the unyielding belief that he was always right (resulting in a beautifully placed third-act beat when he’s confronted by an inescapable mistake of his own making). The supporting cast is equally strong, with three outstanding performances from Jeff Daniels as Jobs’s father figure-cum-foe John Sculley, Seth Rogen as Apple co-founder Steve Wozniak and Kate Winslet as Jobs’s confidant Joanna Hoffman (sporting a terrific, if also inconsistent, Polish accent). Daniels, Rogen and Winslet each get their time in the light, exchanging witty quips and stinging admonitions with Fassbender. Says Jobs at one point: "It’s like five minutes before every launch everyone goes to the bar and then tells me what they really think of me.” It’s an overly convenient conceit, certainly, but one that also helps ground the story in the personal (rather than technological) demons confronted by its protagonist. All the usual Sorkinisms are there, and the script does at times feel overwritten, with its hyper-theatrics and laconic wordplay labouring to convince you it's cleverer than it actually is. Still, the performances transcend the shortcomings and allow Steve Jobs to provide a balanced and often critical perspective of a man whose determination to change the world did, for the most part, actually succeed. https://www.youtube.com/watch?v=aEr6K1bwIVs
If you've ever dreamed of your reality aligning a little more closely with that of, say, late-'70's rock band The Runaways or old-school Aussie indie act The Sunset Strip, consider Collingwood's FeeFee's Bar your new happy place. Gracing that eastern stretch of Johnston Street between Wellington and Hoddle, this newcomer clocks in on the glamorous side of grunge, with the spirit of rock 'n' roll coursing through its veins. For owner Fiona Meiklejohn, FeeFee's is the upscale, music-focused bar the area was missing — it's Melbourne's answer to iconic, rock-tinged haunts like London's Crobar, Le Fanfaron in Paris and The Burgundy Room in Hollywood. "It's a place for people to come, sit in a beautiful environment and enjoy a cocktail, whilst soaking up the rock vibes,"" she explains. "A haven for those who love real music." To that end, expect a complete departure from sticky carpets and dive bar shabbiness. Instead, Meiklejohn and partner Jonas Schöfer have gone for what they describe as a '1970s Scandinavian après-ski vibe', with a rock 'n' roll influence. It's a space that speaks to a bygone era of music-inspired revelry, all flocked wallpaper, sexy lighting, and framed portraits of rock gods and goddesses lining the walls. Meanwhile, the bar's slinging crafty cocktails and top-shelf gins alongside all your favourite tinnies, and the soundtrack changes focus throughout the week, gearing up to weekend DJ sets of disco, funk, and old-school rock. Plus, on Friday, June 9, they'll be handing out 100 free pots of Young Henrys beer from 6pm. FeeFee's Bar is now open at 113 Johnston Street, Collingwood. For more info, visit feefeesbar.com.
Sure they can't compete with the '60s, '70s or '80s in terms of powerful speeches, Sean Connery or gravity-defying perms, but the '90s don't have nothing to offer — and we're not talking in double negatives. This was the decade of music that was all about having fun and going to (drug-free) parties, and now that today's musical landscape is drenched in weightier lyrics it seems there's a yearning to grab this carefree innocence by the high waist of its mom jeans. In the last few months S Club, Aqua, The Vengaboys, the Backstreet Boys and, most recently, East 17 and Shai, have all staged moderately successful comebacks on our shores. C&C Music Factory and Hanson are scheduled to follow suit. Matching outfits and half-shaven eyebrows or not, here are ten more pop groups of the '90s that could, in theory, if you just wish hard enough, have an Australian tour on the horizon. https://youtube.com/watch?v=4NO-h9PFum4 1. STEPS Before synth-pop, there was techno line dance. Steps were manufactured in the late '90s in order to release '5, 6, 7 8' as a one-hit wonder, but the band stayed together for five years before splitting up in 2001. A decade later they eschewed reality television to reform for a four-part documentary series titled Steps: The Reunion, which apparently some people actually watched — Series 2 (Steps: On The Road Again) aired on Sky Living in April this year, following the band as they embarked on their sellout 22-date UK tour. https://youtube.com/watch?v=qZUn-KtTNmA 2. FIVE Formed by the guys behind the Spice Girls and signed by Simon Cowell, Scott, Ritchie, J, Abs and Sean were just made to take out Best Pop Act, Best British Band, Best Single, Best Album and Best Haircut (go Scott!). Apparently J's locks weren't quite so popular, because after an extended hiatus the group announced this year that they would reunite without him ("Four will make you get down now…") https://youtube.com/watch?v=UvjLgjtJKsc 3. B*WITCHED Were B*Witched the ultimate '90s role models? Not only did they reject mini dresses in favour of cultivating a tomboy image, but they taught millions of kids to speak French. Sure the girls were dropped by their record company only four years after the release of 'C'est La Vie', but in an interview in December 2008 Sinead said a reunion was not out of the question. And now that double denim is totez fashun, 2012 could just be the year. https://youtube.com/watch?v=4gAsPT-vgeM 4. 98 DEGREES Aren't these dudes just so real? 98 Degrees formed independently and were later picked up by a record label rather than being manufactured, and refined their harmonies while working as a landscaper, a bouncer, a take-out delivery boy and a stripper. Rumours of a reunion show for the second half of 2012 were denied by Nick Lachey, but Lachey also said he would stay married to Jessica Simpson forever and ever — so there's always hope. https://youtube.com/watch?v=Eo-KmOd3i7s 5. N*SYNC In 2002 N*SYNC went on a "temporary hiatus" while High Tenor Justin Timberlake went about getting crazy famous, and though Lance Bass said in 2007 that the group had definitely broken up, their website continues to keep fans updated on the various members' projects. Could their next one be a reunion? https://youtube.com/watch?v=zDKO6XYXioc 6. BOYZ II MEN What the boyz lack in matching parachute pants and neon accents they make up for in commercial success, selling more than 60 million albums worldwide and smashing the record held by Elvis Presley by staying at Number 1 on the Billboard Hot 100 chart for 13 weeks. Bass singer Michael McCary left the group in 2003 due to health issues but the remaining members continue to dispense emotional ballads and a cappella harmonies as a trio, releasing their most recent studio album Twenty last year. https://youtube.com/watch?v=7eul_Vt6SZY 7. BOYZONE Original member Stephen Gately tragically died of natural causes while on holiday in Majorca in 2009, two years after the band made a miraculous comeback, but the remaining members continue to keep the deliciously cheesy magic alive. Their 2010 track 'Gave It All Away', written by Mika, actually charted on our shores, and 2013 will see them tour a new album to celebrate the 20th anniversary of the band forming. https://youtube.com/watch?v=64xah1qYBYI 8. A1 Just shimmying under the metaphorical limbo stick are British-Norwegian pop group A1, who's first single 'Be the First to Believe' reached #6 in the UK singles charts right as the decade came to a close. The boys split in 2001 when Paul Marazzi decided to take his frosted tips and penchant for road worker orange elsewhere, before staging a December 2009 comeback that led to a string of new singles. 'Just Three Words' was released only last month, featuring Pakistani pop singer Annie Khalid. https://youtube.com/watch?v=k6BU6Nb_vDM 9. THE CORRS Talk about making your parents proud. While most young adults have trouble hanging around their siblings long enough to finish a meal, The Corrs have released five studio albums, including the multi-platinum Talk on Corners. They are also all actively involved in philanthropic activities, and only took a hiatus because two of them are raising families. Considering the recent surge in popularity of folk music — The Corrs' brand is a mix of pop and traditional Celtic folk — perhaps it's a good time for that hiatus to end? https://youtube.com/watch?v=qgi3PkouMxs 10. SIXPENCE NONE THE RICHER The Dawson's Creek soundtrack wouldn't have been the same without them, and neither would the '90s. After reuniting in 2007 and playing a headline slot at something called Greenbelt Festival in the UK, loyal fans including Perez Hilton are still waiting for the album that was originally scheduled to drop in 2010. But with a new release date of August 7, a tour might not be far behind.
Whether your favourite objects sit in the realm of furniture, accessories or even lighting pendants, if you've got a thing for clever design, there's only one place you need to be next month. And that's at the Melbourne Convention and Exhibition Centre when it plays host to the next instalment of the Melbourne Design Fair. From Thursday, May 18–Sunday, May 21, you can fuel your obsession with beautifully made items as you stroll among works by more than 150 designers. And if you spy something you love, lots of the pieces will be available for sale, too. [caption id="attachment_897661" align="alignnone" width="1920"] Installation view of works from Gallery Sally Dan-Cuthberton's display at Melbourne Design Fair 2022, presented by the NGV in collaboration with Melbourne Art Foundation. Photo by Sean Fennessy.[/caption] There'll be more than 60 exhibits from celebrated studios, galleries and collectives, including Sullivan+Strumpf, Craft Victoria, MARS Gallery and Neon Parc, plus Funaki, Canberra Glassworks, Design Tasmania and more. Both established and up-and-coming talent will be on show, with everything from furniture and textiles to jewellery and ceramics to swoon over. Ogle at unconventional coffee tables, bold statement necklaces, covetable chairs and maybe even the next big thing in lighting design. NGV-curated exhibition DISCOVERY will debut as part of this year's showcase, spotlighting — and selling works by — emerging designers including Charlie White, Annie Paxton, Livio Lucca Tobler and members of the Yarrenyty Arltere Artists. Meanwhile, return favourite FOCUS will take visitors on a deep-dive into the process and practice of five leading Aussie female artists. [caption id="attachment_897659" align="alignnone" width="1920"] Installation view of Nobody's Perfect, 2022, Gaetano Pesce (Neon Parc). Photo by Olga Antipina, courtesy of Gaetano Pesce.[/caption] Top image: Installation view of works from Modern Times' display at Melbourne Design Fair 2022, presented by the NGV in collaboration with Melbourne Art Foundation. Photo by Sean Fennessy.
