If you’re a little dance shy, want to polish your moves or you're just curious about the whole Beyonce dance trend, the Bey Dance Street Party is the perfect setting to dip a toe. The party, which runs from 3-4pm, will be a combination of performances and a simple workshop for beginners to get an idea of the Bey Dance philosophy. The dance fest is part of the Sydney Road Street Party which will take over the Brunswick strip on Sunday, March 6. There’s a million things to see and do, so plan your day accordingly. Bey Dance have staked out the Victoria Street stage for the workshop, and it’s completely free. Don your finest Beyonce-inspired hotpants and show all of Brunswick what you’ve got. Remember though that Sydney Road will be closed off to traffic, so tram, walk or cycle instead. Image: @1naomi2
People dream of finding someone who looks at them they way that Michael Fassbender looks at Alicia Vikander in The Light Between Oceans. A World War I soldier turned lighthouse keeper, Tom Sherbourne (Fassbender) has swapped the horrors of combat for the routine and simplicity of his new life — and he never glances anything less than adoringly at Isabel Graysmark (Vikander), the woman who'll become his wife. In a film that is unashamedly a weepie, his stare tells a sometimes heart-swelling, sometimes heartbreaking story, and silently speaks of the ups and downs of life that everyone wants to weather with someone by their side. An intimate tale working with big, sweeping feelings as well as notions of guilt and forgiveness, The Light Between Oceans is a melodrama through and through. Not that that's a bad thing, necessarily. This adaptation of Australian author M. L. Stedman's 2012 novel is not what might derisively be labelled merely a chick flick. Yes, it may tug at the heartstrings, and focus its plot around marital life and motherhood, but the sentiments this period-set romantic drama stirs up remain unflinchingly real. The aforementioned couple meet, wed and forge a life together in and around Janus Rock off the coast of Western Australia. They're the only inhabitants living off the mainland, though it seems they'll be joined by the pitter-patter of tiny feet until tragedy strikes on multiple occasions. Then, a lifeboat — or a rowboat, to be exact — brings them a lost baby girl. Keeping her will help them become a family. But unbeknownst to them, it will also tear the child's real mother (Rachel Weisz) apart. After exploring the complications of romance in the raw and resonant Blue Valentine, and pondering the ties between parents and children in The Place Beyond the Pines, writer-director Derek Cianfrance combines the two in The Light Between Oceans, as though he's been building up to this all along. It may not be the strongest of the three features, but it's as astute in matters of the heart as it is picturesque. Indeed, as far as the latter is concerned, Australian cinematographer Adam Arkapaw, who gave the recent version of Macbeth such an icy, compelling gleam, will have you gazing at the soft, glowing, frequently pink-lit images in the same way that the film's characters gaze at each other. Cianfrance provides ample space for Fassbender and Vikander to flesh out their loving but troubled characters. There's no mistaking the actors' chemistry, or the hard-earned range of emotions they cultivate, often in no more than their expressions. He conveys Tom's doting affection as well as the war-inspired melancholy he can't quite hide, while she paints Isabel as vibrant and determined, both in happiness and in pain. Even when the film's efforts to evoke tears are a little too evident, Fassbender and Vikander ensure that everything feels, and looks, utterly genuine.
Freak flags are flying at full mast in Exposed, the new documentary from celebrated underground filmmaker Beth B. that pulls back the curtains on the weird and wonderful world of the New York alternative burlesque scene. "There’s freedom in vulgarity," says one of the film's subjects, Bunny Love. This remark is made shortly before taking to the stage dressed as a Southern Belle, smearing lipstick all over her genitals and wrapping herself in tape. Love’s compatriots include Rose Wood, a transgender performer whose act involves a stripping Rabbi, and Dirty Martini, who begins her show Patriot Act dressed as a star-spangled Lady Justice, only to end it naked, pulling a chain of one dollar bills out of her anus, all to the tunes of Dolly Parton. Like most of this director’s work, it’s safe to say that Exposed is not for the prudish or faint of heart (although Love and co. might tell you that’s exactly who would benefit most from watching it). The film celebrates non-conformists of all shapes, sizes and sexual identities; human beings whose performances push the boundaries of normality in an attempt to highlight what a ridiculous and outdated concept ‘normal’ really is. In an insecure world dominated by images of perfection in our media and advertising, the self-confidence these performers exhibit is remarkable. Of course, while there are some pretty eye-opening acts on display, what is most revealing about Exposed are the scenes of its subjects when they’re not performing. Articulate, passionate and politically motivated, each member of this merry band of outsiders is as compelling offstage as they are on. They have no shortage of things to say about body image and self-respect. The project does run out of steam a little towards the end, with Beth B. tending to hammer home the same points over and over, so much so that even at a scant 77 minutes, the film feels a tad on the long side. Still, the charisma of these subjects ultimately sees the film through. These individuals aren't just outrageously entertaining, they’re immensely likeable as well.
One of the best things about Melbourne's bar scene is that all that talent and booze wisdom gets shared around. We're serious about collaborations and we love seeing our favourite bartenders shaking up a storm in some exciting bar takeover scenario. So you'd best clear your calendar to ensure an appearance at Lulie's upcoming Lock-In series. The beloved neighbourhood bar recently swapped its Abbotsford home for new, permanent digs across the street, stumbling upon a former bank vault hidden in back. The Lulie crew transformed the tiny space into a cosy cocktail bar, kitted out with a 12-seater booth. Now, they're set to give it a proper christening, with a series of bar takeovers starring staff from some of Melbourne's best-loved boozers. On Friday evenings from 6pm until July 6, the bar plays host to crews from The Rum Diary, The Elysian and Jungle Boy. They'll be serving up a special range of liquid treats, to enjoy alongside tunes from the night's resident DJs.
Melbourne theatre, musical and fairytale fans, one of your wishes is about to come true — and yes, it involves a fairy godmother. Finally coming to Australia in 2022 after the pandemic delayed its planned 2021 run, Rodgers and Hammerstein's Broadway musical version of Cinderella is heading our way. Get ready for glass slippers and pumpkin carriages to take over the town, with the show dancing its way into the Regent Theatre from Friday, May 20. First premiering in New York in 2013, this version of the adored fairy tale features music by Richard Rodgers and lyrics by Oscar Hammerstein II, a couple of the best-known names in musical theatre history. The pair actually wrote their songs for a 1957 television production, which starred a pre-Mary Poppins and The Sound of Music Julie Andrews. (If you've seen the 1997 TV movie with Brandy and Whitney Houston — which remade that original small-screen flick — then you've already seen a version based on Rodgers and Hammerstein's original efforts.) Now, the Broadway production is making the jump Down Under. Don't expect the exact same story you're used to, though — as you read as a kid, and saw in Disney's classic animated film and its live-action remake. Here, Cinderella is a contemporary figure, but living in a fairytale setting. While she's still transformed from a chambermaid into a princess, the tale has been given a firmly modern spin. Shubshri Kandiah (Aladdin, Fangirls) will play Ella, Ainsley Melham (Merrily We Roll Along, Aladdin) has been cast Prince Topher and Silvie Paladino (Mamma Mia!, Les Misérables) will sparkle as Marie, the Fairy Godmother. Also set to feature in the Australian production: Tina Bursill (Doctor Doctor, Wentworth) as Madame, Ella's stepmother, as well as Todd McKenney (The Boy From Oz, Shrek) as Sebastian, the Lord Chancellor. The cast will be working with a production penned by playwright Douglas Carter Beane (Xanadu, Sister Act) based on Hammerstein's work — which was, of course, adapted from the fairy tale about a young woman dreaming of a better life. The Broadway production was nominated for eight Tony Awards and won one, for Best Costume Design. In the US, Carly Rae Jepsen played Ella for a stint, while The Nanny's Fran Drescher also took on the role of Madame, Ella's stepmother, for a period. Top image: Original Broadway production of Cinderella by Carol Rosegg.
Have you ever promised yourself an ice-cold beer at the pub as motivation to workout? Well, the minds behind The Beer Run are on the same wavelength. They are quite literally combining brews with a five-kilometre fun run that stops at five Melbourne breweries along the way. The run will kick off at noon on Sunday, February, making its way around Richmond, Abbotsford and Collingwood, going between Mountain Goat, Moon Dog, The Mill, The Craft & Co., and Fixation Brewery . Punters will enjoy a beer at each location before running on to the next, with the whole event expected to take around two to three hours. The $55 ticket price includes the five brews, a bottle opener medal and a numbered bib for the run. Tickets are on sale now — and given that the last Melbourne event sold rather quickly, you'd be best to get in quick.
What happens when some of Melbourne's most beloved burger bosses go head to head? Well, you can find out, when the likes of Benny Burger, Mr Burger, Skipping Girl Take Away, Leonard's House of Love and more all descend on the Welcome to Thornbury lot for this year's annual Burger Invitational. This year the event will span two days instead of one and entry will be free. It'll a weekend of fierce foodie competition as each vendor vies for burger glory — plus, one lucky burger fan will score a $300 voucher to spend at the food truck park. The goods — from Skipping Girl Take Away's fish 'n' chip shop-style burgers to Shannon Bennett's creations to ice cream sandwiches from Bluebonnet Barbecue — will be available at regular prices on the day.
Tim Rogers likes to keep it clean. So clean in fact that his squeaky sparkles have garnered their own moment in the spotlight. It may seem almost unfathomable — especially considering he has spent around 20 years touring with what he describes as a "grubby rock band" — but everyone has their all-consuming passions and off-centre obsessions. Just look at Beyonce, an avid consumer of crime novels. Or take Johnny Depp, a man known for collecting pig skeletons. For Rogers, he admits it ain't easy being a clean freak in the world of sex, drugs and rock 'n' roll. Running as part of The Wheeler Centre's short daytime series You Don't Know Me, these free 30-minute talks uncover the surprising passions of high profile figures who are well known for something else entirely. Between a Rock and a Hard Scrub will see Rogers answering the interminable question: is cleanliness close to rock godliness? It may well be for Rogers, for, as it turns out, this icon of Australian indie rock music is a demon with the Scotch-Brite. The You Am I frontman will discuss his enthusiasm for scrubbing, mopping and dusting — a passion he has nurtured quietly and doggedly under trying circumstances for years. We just hope the wild man chucks in some other dirty secrets too.
No longer just the realms of year three excursions where your mum came as chaperone, Melbourne Zoo Twilights — the after-hours live music series that boasts perhaps one of the best summer nights out, as well as lots of adorable animals — has proven they've got some real cred when it comes to hosting outdoor gigs in the past few years. After all, they got José González to headline the series last year — and this summer, they're back with a brand new lineup playing spesh live sets every weekend from Friday, January 27 through Saturday, March 11. Considering it includes the likes of Kurt Vile and Tegan and Sara and then Killing Heidi and george, it's probably their most diverse yet. Yep, this year there's a definite throwback to late '90s/early '00s Australian music, with both Killing Heidi and george playing reunion shows, and The Living End playing a 'stripped back' show with a string quartet. Random. In a complete 180, Kurt Vile will casually grace the stage on March 4, Warpaint will herald their new album on a Friday night, and Canada's Tegan and Sara are sure to draw some hardcore fans. Also taking over the lawns of Melbourne Zoo's fully-licensed lawns will be the likes of The Rubens, Martha Wainwright, Ball Park Music, The Jungle Giants and The Specials. Plus, you can dag it up with ABBA tribute act Bjorn Again, who will be once again returning due to popular demand after the last two years. The feathered, furred and finned have plenty to choose from this summer. Plus, all proceeds from Zoo Twilights go back into Zoo Victoria's ongoing conservation work to help fight the extinction of the Eastern Barred Bandicoot. Picnic-bringing is encouraged, but there'll also be handy gourmet hampers available on-site, as well as a slew of food trucks to choose nosh from. Either way, it's actually the one of the best dates in Melbourne — lock those tickets down. MELBOURNE ZOO TWILIGHTS 2017 LINEUP Friday 27 January – JO JO ZEP & THE FALCONS and THE SPORTS Saturday 28 January – PETER GARRETT & THE ALTER EGOS and KEV CARMODY Friday 3 February – HOODOO GURUS with special guests Saturday 4 February – THE RUBENS supported by Bec Sandridge Friday 10 February – BALL PARK MUSIC and THE JUNGLE GIANTS Saturday 11 February – BJÖRN AGAIN Friday 17 February – PAUL DEMPSEY supported by Melody Pool Saturday 18 February – george supported by Felix Riebl (Cat Empire) Friday 24 February – WARPAINT (US) supported by Big Thief (US) Saturday 25 February – KILLING HEIDI supported by Abbe May Friday 3 March – THE LIVING END 'TWANGIN' AT TWILIGHT' featuring special guests, supported by Gabriella Cohen Saturday 4 March – KURT VILE (US) supported by Mick Turner Wednesday 8 March – TEGAN AND SARA (CAN) with special guests Friday 10 March – MARTHA WAINWRIGHT (CAN) supported by Margaret Glaspy (US) Saturday 11 March – THE SPECIALS (UK) with special guests Melbourne Zoo Twilights will return to Melbourne Zoo from January 27 until March 11. Tickets go on sale at 9am on Tuesday, October 25 at zootwilights.org.au. By Lauren Vadnjal and Shannon Connellan. Image: Ian Laidlaw.
Ever thought your yoga class would be more entertaining if there was some good dance music cranking? Maybe you've been dissatisfied with a night clubbing because you felt disconnected from your chakras? Either way, this yoga class come dance party has all your unspoken prayers answered. That's right — it's a yoga dance party. Punters are advised to come dressed in lycra, stretch valour and the same colour clothing as your star sign (just go with it), and all other instructions will be given at the door. Though no yoga or dance experience is necessary, participants should be willing to let loose in the LED mayhem. After all, what is a yoga dance party if not the perfect place to relax? This event originally appeared as one of our top picks for the 2014 Next Wave Festival. See the full list here.
It's been a long time since anyone last enjoyed a session in City Wine Shop's buzzy streetside dining space, quaffing wine by the glass and nibbling on Euro-style snacks. And while we don't know exactly when you'll be able to do so next, the Spring Street venue is serving up a consolation prize to see you through the interim. Say g'day to the City Wine Shop's new takeaway schnitzel window. Every Friday, Saturday and Sunday, the pop-up is slinging a picnic-friendly menu of loaded pork neck and chicken schnitzel rolls. Both options come paired with Italian-style slaw and mustard in a crunchy baguette, sided with crisps for an easy $16. They'll be available from 11am daily, until sold out. To match, you'll find a range of takeaway cocktails, from a classic margarita and negroni, to the caffeine-charged Dionysus' Cup — a blend of coffee, ouzo, Averna and orange. And if vino's your preferred picnic accompaniment, there's the venue's famed wall of wine, filled with even more boozy takeaway offerings. A friendly reminder that metro Melburnians can only travel within five kilometres of their home at the moment. You can check if City Wine Shop is in your bubble over here. https://www.instagram.com/p/CGGcPKujgGa/ Image: Tess Kelly
Celebrating ten years since Danny Rogers and Jerome Borazio decided to fill a Melbourne alleyway with tunes in 2005, Laneway Festival returns with one of its biggest lineups yet. Kicking off in Singapore on Saturday, January 24 in The Meadow, Gardens by the Bay, Laneway will run through seven dates (including Sydney's Sydney College of the Arts on February 1 and Melbourne's Footscray Community Arts Centre and River's Edge on February 7) finishing up at its new home in Fremantle's Esplanade Reserve and West End on Sunday, February 8. But if you can't make it to the whole festival, sideshows are your go-to. On sale from Wednesday 5 November, sideshows for Banks's Heavenly Sounds show, Benjamin Booker, Highasakite, Lykke Li, Mac DeMarco, Raury and Sohn are now in pre-sale phase. Here's all the details for your 2014 Laneway sideshow ticket sales: BANKS — HEAVENLY SOUNDS Start: Wednesday 5th November (12PM AEDT) End: Thursday 6th November (12PM AEDT) SYDNEY PRE-SALE GENERAL PUBLIC TICKETS ON SALE FRIDAY 7TH NOVEMBER (9AM AEDT) Tuesday 3rd February St. Stephen’s Uniting Church, Sydney BENJAMIN BOOKER Start: Wednesday 5th November (12PM, local time) End: Thursday 6th November (12PM, local time, or until pre-sale allocation is exhausted) SYDNEY PRE-SALE | MELBOURNE PRE-SALE GENERAL PUBLIC TICKETS ON SALE FRIDAY 7TH NOVEMBER (9AM LOCAL TIME) Monday 2nd February Newtown Social Club, Sydney Thursday 5th February Northcote Social Club, Melbourne HIGHASAKITE Start: Wednesday 5th November (12PM, local time) End: Thursday 6th November (12PM, local time, or until pre-sale allocation is exhausted) Password: TREATMENT SYDNEY PRE-SALE | MELBOURNE PRE-SALE GENERAL PUBLIC TICKETS ON SALE FRIDAY 7TH NOVEMBER (9AM LOCAL TIME) Tuesday 27th January Metro Theatre, Sydney Wednesday 4th February Corner Hotel, Melbourne JUNGLE Starts: Wednesday 5th November (9AM AEDT) Ends: Thursday 6th November (8AM AEDT) SYDNEY PRE-SALE | MELBOURNE PRE-SALE GENERAL PUBLIC TICKETS ON SALE THURSDAY 6TH NOVEMBER (9AM AEDT) Thursday 29th January Metro Theatre, Sydney Wednesday 4th February 170 Russell St, Melbourne LYKKE LI LANEWAY FESTIVAL PRE-SALE DETAILS Start: Wednesday 5th November (12PM, local time) End: Thursday 6th November (12PM, local time, or until pre-sale allocation is exhausted) Password: GUNSHOT MELBOURNE PRE-SALE GENERAL PUBLIC TICKETS ON SALE FRIDAY 7TH NOVEMBER (9AM LOCAL TIME) Thursday 29 January Forum Theatre, Melbourne MAC DEMARCO Start: Wednesday 5th November (12PM, local time) End: Thursday 6th November (12PM, local time, or until pre-sale allocation is exhausted) Password: SALAD SYDNEY PRE-SALE | MELBOURNE PRE-SALE GENERAL PUBLIC TICKETS ON SALE FRIDAY 7TH NOVEMBER (9AM LOCAL TIME) Friday 30th January Metro Theatre, Sydney Wednesday 4th February The Hi Fi, Melbourne RAURY Start: Wednesday 5th November (12PM, local time) End: Thursday 6th November (12PM, local time, or until pre-sale allocation is exhausted) Password: INDIGO SYDNEY PRE-SALE | MELBOURNE PRE-SALE GENERAL PUBLIC TICKETS ON SALE FRIDAY 7TH NOVEMBER (9AM LOCAL TIME) Monday 2nd February Oxford Art Factory, Sydney Tuesday 3rd February Howler, Melbourne SOHN FRONTIER PRE-SALE DETAILS Starts: Wednesday 5th November (12PM AEDT) Ends: Thursday 6th November (12PM AEDT) For exclusive Frontier pre-sale info visit frontiertouring.com GENERAL PUBLIC TICKETS ON SALE MONDAY 10TH NOVEMBER (10AM LOCAL TIME) Thursday 29th January Oxford Art Factory, Sydney Friday 30th January The Corner Hotel, Melbourne Find the whole lineup and more info over here.
Moon Dog's sprawling Preston brewery and bar has fast become a go-to for boozy catch-ups, celebrations and beer sipping sessions. But now, it also has your morning feed sorted, too. The 700-capacity Moon Dog World is firing up the kitchen early, offering a dedicated breakfast menu from 8–11am every Saturday and Sunday. It's a family-friendly affair, with a diverse spread of options you wouldn't normally expect from your local brewpub. Punters might be tempted by some smashed avo toast ($20), caramelised banana waffles ($18), or a smoked salmon poke bowl ($17). A Breakfast in Bread roll comes stuffed with scrambled eggs, bacon, cheese, onion jam and hickory smoked barbecue sauce, teamed with crunchy potato gems ($22). And you'll even spy a loaded brewer's breakfast, starring house-made beans, lamb merguez, potato gems, mushrooms, fried eggs and sourdough ($24) or a vegan version for $22. Unfortunately, you won't be able to match your feed with a brekkie brew, as Moon Dog World's weekend booze service doesn't kick off until 11am. Though you will find a lineup of Coffee Supreme espresso, teas and fresh juices on offer instead. Or, for a dose of nostalgia, try the flavoured 'cereal milk', in either Rice Bubbles or Cornflakes. [caption id="attachment_744586" align="alignnone" width="1920"] Moon Dog World by Kate Shanasy[/caption] Images: Samantha Schultz
The barbecue maestros at Burn City Smokers are lending their talents to a whole new fusion of flavours, with their latest food pop-up Texakaya. A punchy combination of influences from both Texas barbecue joints and the izakayas of Japan, it's offering a very fresh take on some old favourites. And it's making its home at Grand Hyatt Melbourne's Collins Kitchen until the end of August. The crew's custom-built smoker will be firing up for a menu of new-school dishes — the perfect antidote to the winter chill ahead. The signature Texas brisket ramen ($25) features 14-hour wagyu in a smoked beef broth, while a vegan mushroom version ($19) teams smoked king browns and shiitake with a ginger porcini base. Alongside those, you'll spy the likes of a vegan miso cauliflower ($26), buttermilk karaage chicken ($19), smoked pork gyoza ($23) and a lively lime zest and yuzu curd pie ($16). You can check out the full menu here. You'll be able to pair all these smoky Japanese dishes with Asahi, Sapporo and a range of Nikka whiskies and sake, too. Texakaya is open for lunch from midday–2.30pm, Monday to Friday and dinner from 6–10.30pm, daily.
It's that time of year again. The sprawling Fringe program is winding up and the stages are getting a little bigger. Over the next month you can ride a golden carrousel inside the NGV, be serenaded by a choir of 40 young European girls, and hear The Avalanche's 'Frontier Psychiatrist' like never before. It's Melbourne’s flagship cultural event, and with good reason. Seamlessly blending the worlds of 'high' and 'low' culture, this year's program is jam-packed full of circus, dance, and giant fighting manga people. One thing Melbourne Festival loves to do is collaborate, collide and blur the lines between art forms. This year we will see legendary Detroit techno producer and DJ Jeff Mills work with the Melbourne Symphony Orchestra for Light from the Outside World. Framed Movements, curated by Hannah Mathews, examines the shifting boundaries between art and dance, and Complexity of Belonging — a collaboration between Anouk van Dijk from Chunky Move and Berlin director Falk Richter — uses dance and acting to explore identity in the age of social media. A strong point of difference for Melbourne Festival when comparing it to the plethora of arts events this city holds is its strong acknowledgement of the role of circus in Melbourne’s art scene. Opus from France and Cirkopolis from Canada both look spectacular and provide a rare opportunity for an Australian audience to see the tricks of pioneers in their field, while The Nanjing Project is a collaborative work between Australian and Chinese circus performers. If it’s music you’re after from this year’s program, we imagine you will be spending a fair amount of time at the Foxtel Festival Hub. We are particularly excited about Since I Left You, where musicians Jonti and Astral People will rearrange and reinterpret the Avalanches seminal record — and its 3,500 vinyl samples — via live performance. Or you may be drawn to Pop Crimes, a celebration of Roland S. Howard’s songs, with many musical guests performing on what would have been his 55th birthday. If you’re more interested in shaking your groove thing, head to The Bamboos' performance during the middle weekend. If you haven’t had your film fix from Melbourne International Film Festival this year, ex-MIFF director Richard Moore will be curating films for Art Politics and Protest. While we’re on the subject of film, Clint Mansell — renowned for his eerie and expansive soundscapes in Darren Aronofsky films — will be performing a retrospective of his film scores with a nine-piece band (and accompanied by haunting visuals, of course). Theatre is going to be high on the agenda this year as well. Revered master of stagecraft Heiner Goebbels will bring 40 Slovenian teenagers to town for his lauded 2012 work, When the Mountain Changed Its Clothing, while Hipbone Sticking Out and Hello, Goodbye & Happy Birthday are two Australian productions to consider. For dance, we can’t go past Trisha Brown Dance Company from the USA performing 18 of her brilliant postmodern dances. Our art pick for the festival at this stage is Carsten Höller’s Golden Mirror Carousel, partially because it looks awesome, and partly because you can ride it. Like last year, the festival will begin with Tanderrum: a powerful event of story, song and dace, where elders from the five clans of the Kulin nation invite the people of Melbourne to celebrate the ancestors who were here long before our time. The Ilbijerri Theatre Company will facilitate the event, and it is a proud symbol of the resilience of Melbourne’s Koori culture, and statement of optimism for the future. We could easily go on, but we’ll stop there for now. Melbourne Festival is on from October 10-26. Head to the festival website for all the details or check out our top ten must-see shows — you're certainly not going to be bored this month.
After a year of slinging their fried dough balls at markets and festivals around town, the operators of one of our favourite food trucks have cut the ribbon on their very first brick and mortar store. Now trading on Peel Street just a stone's throw from Queen Vic Market, Lukumades specialises in hand-made Greek doughnuts, and oh boy are they something. You can get them served in the traditional fashion, with cinnamon and honey, or opt for something a little more extravagant. The Twix Fix pack, for example, comes smothered with melted chocolate, salted caramel, crushed Twix and vanilla bean gelato. And yes, Nutella also plays a prominent role on the menu, because some things never go out of style. The shop itself was designed by Michelle Macarounas of Infinite Design Studio, who sought to blend modern sensibilities with a touch of tradition. "Through bringing old world Greek references into a modern light, we wanted to create a space that evoked memories for some but also transported those new to the experience," said Macarounas. The result of her efforts: a cozy space filled with plenty of natural light, with seating both indoors and in the alley around the corner. Open from 10am Monday to Sunday, find Lukumades at 83 Peel Street, West Melbourne. For more information and copious amounts of doughnut photos visit them on Facebook, Instagram or at their website.
Hitchcock’s classic suspense film North By Northwest is hitting the theatre this winter. The stage adaptation of the famous movie comes from director Simon Phillips and writer Carolyn Burns from MTC, and it looks to be as visually stunning as the original. For those who need a recap, protagonist Roger O. Thornhill is a savvy advertising exec who is kidnapped by gangsters who believe he's a man called George Kaplan. When Thornhill denies such allegations, the thugs relentlessly chase him across the country, and in true Hitchock style, he meets a beautiful and mysterious blonde along the way. Starring Matt Day, Amber McMahon, Deidre Rubenstein and Matt Hetherington, prepare for all of the thrills and spills of the classic film, with heightened suspense played out in live theatre. In true Hitchcock style, you'll find yourself on the edge of your seat.
The gang from everyone's favourite rock trivia quiz show is here to amp up your long weekend, with the return of their beloved Easter special. Legendary hosts Brian Nankervis and Julia Zemiro will join the rest of the RocKwiz team, taking over Hamer Hall on Friday, April 15, for the next edition of their Really Really Good Friday live show. As always, you can expect a night packed full of laughs, plenty of musical trivia shenanigans and special guests, with a couple of hilarious Melbourne International Comedy Festival stars even set to make an appearance. A quality soundtrack promises to have you grooving along as you watch. And who knows? You could even score the opportunity to try out for a hallowed seat up there on stage, to play along and be in the show itself. You're in for a very 'good' Friday, indeed.
An actual romp through the wilds of Africa might be tricky to pull off right now. But this summer, you can experience a taste of that safari magic right here on home soil, all thanks to the return of Werribee Open Range Zoo's after-hours wildlife adventure. Now running on Saturdays and Sundays (5.30–9pm) up until March 13, the Sunset Safari sessions will see you exploring the zoo's savannah as the sun dips, and copping a peek at resident critters including zebras, hippos, giraffes, ostriches and lions. While you wander, zoo guides will talk you through the various species that call this habitat home, and teach you all about current conservation efforts aimed at helping them thrive. Also designed to transport you is a program of traditional African performances, featuring drums, dancing and songs. And if you fancy extending the adventure, you'll find a range of food and drink options available to add on, spanning from grazing hampers to an authentic, African village-style 'braai' (barbecue). Best of all, a portion of ticket profits go towards supporting Zoos Victoria's international partners, including the Uganda Wildlife Conservation Education Centre.
If your love for Shania Twain is, shall we say, still going strong, then you're in for one hell of a few months. Not only is the hard-to-impress singer heading to Australia for the first time in 15 years this November and December, but she's also being honoured right here in Melbourne by the Melbourne Fringe Festival's Shania Choir. Featuring a team of vocal talent and proving a hit around the country, the show is an immersive musical celebration of the life, times and music of Twain, as delivered through an almost indescribable mix of song, dance, and drag over the two nights of Friday, September 28 and Saturday, September 29. Expect plenty of energy and a sprinkling of signature Shania sass, as country-pop meets a capella harmonies across all your favourite Twain tunes, from 'That Don't Impress Me Much' and 'From This Moment', through to 'Man, I Feel Like A Woman'. And if you saw the choir last year, this is a brand new show — and it includes tracks from the pop star's latest album. Image: Amanda Humphreys.
Even though this year's AFL Grand Final is set to feature two Victorian teams — it's going to look a little different from the usual year. But bars and restaurants across the city are here to help make your 2021 at-home Grand Final celebration as memorable as possible, with food and drink specials to suit every footy lover's tastes. Whether you're a diehard footy fan looking to recreate some of that Grand Final Day magic from your spot on the couch, or you're simply looking for some top-notch eats and drinks to see you through yet another lockdown weekend, we've found some primo options available for takeaway and delivery. No matter who takes out the flag, you can consider yourself the winner with one of these fine footy feasts. FEELING SNACKY? Everyone loves a good snacking session; especially when footy action means keeping your eyes glued to that screen. Prince Dining Room and Little Prince Wine have joined forces to create an upscale selection of revamped footy snacks, available for delivery via Providoor this weekend. We're talking mini prawn cocktail rolls, charcuterie, blistered bread with dips and dreamy signature sausage rolls, to feed two ($130) or four ($260) hungry viewers. Attica's nacho-style footy loaf proved such a hit for last year's Grand Final celebrations that it's making a return, available only from September 23–25 for pick up and delivery. At $85, it's designed to feed between two and four punters, featuring a rich beef and black bean chilli piled into a loaf of bread, and served with an array of accompaniments and dippers. Richmond's Spread Eagle Hotel is championing a selection of snack classics with its Granny special — a two-person ($60) or four-person ($120) serve of hot dogs, sausage rolls, party pies, fried chicken and potato cakes, plus a one-litre growler of Moon Dog beer. There's a swag of add-ons available, with collections happening at the pub on Saturday, September 25. [caption id="attachment_826212" align="alignnone" width="1920"] The Duke[/caption] AN AT-HOME PUB SESH We'd all love to be cheering on this all-Victorian Grand Final with mates at our local, but while pub doors are shut, you'll have to settle for an at-home food edition instead. Australian Venue Co is offering a DIY parma pack (or eggplant parma alternative) on the day, available to click-and-collect from six of the group's local pubs. The solo-serve boxes ($25) contain all the trimmings for a build-your-own parma, along with a raw slaw, and some mini pies and sausage rolls for warm-up snacks. The Builders Arms is offering a special at-home spread featuring Boston Butt slow-cooked pork roast, prawn cocktail rolls, potato salad and more. It feeds two for $120 and you can get it delivered, or pick it up from the pub, between Friday and Sunday. The burger gurus at Easey's are once again teaming up with The Emerson to offer a loaded footy feast, this time featuring dim sims, cheeseburgers, potato cakes, hot jam doughnuts and an espresso martini for refuelling at half-time. You'll also score some footy merch courtesy of Furphy. It all clocks in at $39 per person, available for collection from The Emerson. [caption id="attachment_826211" align="alignnone" width="1920"] Holmes Hall x The Public Brewery[/caption] FIRE UP THE BARBECUE If the biggest sporting clash of the year puts you in the mood for cold brews and smoky barbecue fare, consider yourself spoilt for choice this weekend. For starters, Moonee Ponds' Holmes Hall has teamed up with Public Brewing Co to create a couple of bumper beer and barbecue packs — a carnivore-friendly lineup featuring the likes of marinated wings and lamb chops ($99), and a vegan or vegetarian alternative starring bites like miso-glazed eggplant and barbecued mushrooms ($89). Each includes a selection of Public brews, too. Preston brewery Tallboy & Moose is doing its own beer-matched meat feast in collaboration with Bluebonnet Barbecue. Available for delivery across a stack of northern suburbs, the ready-to-heat pack stars dishes like wagyu brisket, pecan pie and a couple of one-litre 'crowler' cans of Tallboy's finest. For a luxe take on the classic Grand Final barbie, try the premium barbecue box ($300, feeds four) from St Kilda's Stokehouse. It's loaded with ready-to-grill goodies like octopus skewers, butterflied king prawns, wagyu beef and local calamari, with extras like fresh oysters and bottles of Bollinger available to add on. Click-and-collect is running this Saturday, as well as delivery for addresses within 10 kilometres. [caption id="attachment_826209" align="alignnone" width="1920"] Chin Chin[/caption] CARN THE (HOT) PIES An iconic Aussie sporting event calls for an iconic Aussie dish. And nothing screams footy quite like a hot pie. Or five. Brunswick East's beloved Pie Shop is serving up its last homemade pie (for now) on Grand Final Day, and we can't think of a much more fitting send-off. Jump online to pre-order, or roll in this Friday or Saturday to stock up on favourites like The Allen (slow-cooked beef and veg) and The Shazza (cauliflower, leek and cheddar). In East Melbourne, Hemingway's Wine Room is serving up a chic feasting pack for two ($129), featuring a homemade wagyu beef cheek pie with green tomato relish as the headline act. Supporting stars include freshly shucked oysters, potato rosti and rolls with whipped goat cheese butter, plus there's an array of food and booze accompaniments to add on. Order now for delivery or pick up. Southeast Asian favourite Chin Chin is also embracing the classic pie-and-footy pairing, with its series of limited-edition family-sized creations. Choose from pie fillings like butter chicken, yellow veg curry or the famed beef rendang, or opt for a four-pack of Thai-style pork sausage rolls. Your pick comes teamed with a chocolate brownie slab, an official AFL Grand Final Record and a mixed four-pack of Coopers brews, for $55. Click-and-collect and delivery are both available. And the much-lauded Country Cob Bakery is serving special Grand Final mixed packs of its award-winning pies for in-store pick-up and free delivery across metro Melbourne. Treat your household to an assortment of beef pie varieties ($88), or go for the pack filled with recent championship winners ($142) like the pork and pepper, and the curried scallop. [caption id="attachment_826208" align="alignnone" width="1920"] Hawker Hall[/caption] A GLOBAL FOOTY FEAST Fancy venturing beyond the usual pies and parma scenario for this year's Grand Final festivities? Hawker Hall is serving a special edition of its finish-at-home Feed Me pack, that'll see you cheering on the telly while chowing down on plates like cumin-spiced lamb buns, a whole-roasted honey and black pepper chook, and sweet apple pie. Order here before September 22 for pick up or delivery. The newly reimagined Hotel Collingwood (formerly the Robbie Burns) is getting into the Granny spirit with a Finals Day Feed Me Pack from mates at Asian street food kitchen Too Good Talker. Feed two or four with dishes like kingfish ceviche, pork and prawn wontons with a chilli peanut sauce, soy-braised beef cheek and mango sago, to pick up in-store this Saturday. A full vegan menu is also on offer, along with some tasty add-ons. Grossi a Casa is serving a couple of generous, Italian-accented footy feasts to finish at home. There's a $75 feed for two starring house-baked sourdough, lasagne and a classic tiramisu, as well as a dedicated Grand Final special ($120, feeds two) packed with salumi, a beef and porcini pie, two Peroni brews, and half-time snacks including spinach and ricotta panzerotti. Pre-order now for delivery or collection. And craft beer bar Benchwarmer invites your tastebuds on a trip to Tokyo with its Japanese-inspired Grand Final Day family pack — a sumptuous spread of karaage chicken (or cauliflower), Japanese potato salad, white miso slaw, brioche buns and house-made sauces. Pre-order online for pick up or delivery this Saturday. [caption id="attachment_826206" align="alignnone" width="1920"] Hazel[/caption] A FEED FIT FOR A CHAMPION If you're after a footy feast that's a little bit fancy, up the ante with the likes of the three-course feast Lancemore Lindenderry Red Hill is whipping up in collaboration with Red Hill Brewery. Available to pick up from the hotel or for delivery across the region, it's a hefty banquet for two ($189) complete with house-made pork rillettes, a roasted spring chicken with salsa verde and new potatoes, creme caramel with rum raisins, a mixed six-pack of beers and more. For a chic take on classic comfort food, try the at-home pack from the CBD's Hazel, showcasing the likes of smoked rainbow trout rillettes, beef wellington and a strawberry meringue roulade with Negroni marmalade for $70 per person. A vegetarian lineup is also on offer and you can even add on some excellent cocktails courtesy of sister venue Dessous. Out west, Zymurgy's generous Grand Final Footy Packs will feed four each ($130/200), with refined dishes like duck liver parfait, chorizo and fennel sausage rolls, and lemongrass-stuffed chicken wings finished with fermented honey and garlic. Teamed with a selection of craft brews from sibling Hop Nation, of course. Order here for pick up or local delivery. Top Image: The Pie Shop, Annika Kafcaloudis; The Builders Arms
If you've ever wanted to whiz through the air on a zipline across the Yarra, you'll have your chance this summer, when Firefly Zipline pops up at Fed Square. From December 1–28, a 130-metre zipline will be installed, connecting Federation Square with Alexandra Gardens. Punters of any age can book a ticket, don a safety harness and helmet, and enjoy a hurtling flight over the Yarra, either solo or as part of a pair. Soaring nine metres above the water and clocking speeds of up to 40 kilometres per hour, it's the ride you never knew you needed in your life. There's no age limit for zipline flyers, though anyone under 18 will need a parent or guardian present to sign their waiver, and kids under 12 will have to ride with a paying adult. You'll also need to weigh between 35 and 120 kilograms to jump aboard. Tickets are on sale now, clocking in at $49 for adults, $39 for kids and $159 for a family of four. You'll want to get in quick though, with only 5000 available in total.
Do you reckon the best kind of dogs are the edible ones that come stuffed in a roll and drizzled with mustard? Or perhaps you like the furry sausage-shaped ones with short legs and waggly tails? Either way, you'll find yourself in hot dog heaven at Welcome to Thornbury this Saturday, March 19. The food truck park is hosting a Hot Dog Festival, dedicated simultaneously to cute sausage dogs and snags in bread. Head along from 12pm with your dachshund (or other doggo) in tow, and enjoy a festive day out feasting on all sorts of clever hot dog-inspired creations from the day's lineup of food vendors. At 3pm, there'll be a competition to scout and crown Melbourne's longest sausage dog — so if you've got a stretchy four-legged pal of your own, enter them online now. And at 4pm, you can put your own years of training to the test in the hot dog eating competition (hoomans only, sorry Rover). You'll need to apply online for that as well. As always, the bar will be serving a swag of tap brews, wines and cocktails to see you through the day. [caption id="attachment_626788" align="alignnone" width="1920"] Welcome to Thornbury[/caption]
The Fork Festival is back for its third year, which means you can once again dine out for up to 50 percent off. Think of it as the proverbial carrot luring you out of the house. The online reservation platform's foodie affair kicked off on Monday, February 15 and is running right up till Sunday, March 28. The offer is a blessing for those feeling a little light in pocket after Christmas, NYE and Valentine's Day. To snag a discounted meal, you just need to make a reservation through The Fork website or app for one of the participating eateries for breakfast, lunch or dinner. So, where can you go? There are hundreds of great venues coming to the party, including Melbourne's Osteria 20, Lezzet, Don Taco, Temple Brewing Co and Maccaroni Trattoria. You might want to revisit an old favourite or you could get a little adventurous and road-test somewhere new. Either way, there's ample time to squeeze in a fair few discount feasts before the festival wraps up. If you're on the other side of the bar — that is, you're a venue owner — you can jump on the booking platform's bandwagon by signing up over here. You can try it out for just the duration of the festival and, thanks to the popularity of the event, you'll hopefully see a bunch of new customers come through the door. Then, if you want, you can stop taking bookings anytime after it wraps up. The Fork Festival runs from Monday, February 15–Sunday, March 28. Check out the full list of participating restaurants on The Fork's website. If you're a restaurant owner — and keen to jump on the booking platform bandwagon — head over here.
If all goes to plan, this could be one of our last Friday nights in lockdown. And how better to send it off than with a big ol' living room boogie? Fittingly enough, this Friday, October 23, also marks the final event in Melbourne Fringe Festival's lockdown program, starring a celebratory edition of fan-favourite, Mr McClelland's Finishing School. Broadcasting to a screen and speaker system near you from 9pm, the virtual dance party will see DJ Andrew McClelland working his usual magic, guiding you all through a foot-stomping, groove-inducing mix of indie, pop, soul and rock tunes. Live and loud from his own lounge room, mind you. Clear out the coffee table, put the breakables somewhere safe and get ready to sweat out your lockdown frustrations to hard-hitting songs from across the decades. Best of all, it's an affordable night spent cutting shapes. You'll pay $5 if you're flying solo, $10 for a household ticket, or $15 if you're joining in from some other magical place where IRL partying is still allowed.
An honest man follows his ambitions, but finds trouble at every turn. We’ve seen this story done before and done well; however, films as gloomy and gripping as A Most Violent Year don’t come around that often. It’s not necessarily the chaos and corruption the movie tells of that gets under your skin, though there’s plenty of that. What makes this tense, moody thriller so insidious and effective is the way it states the costs and consequences without offering an alternative. Adapt or perish, it says. That’s just life, it tells us. When we first meet that well-intentioned businessman, Abel Morales (Oscar Isaac), he’s running — and doesn’t stop throughout the film. Yes, he’s frequently standing still, but he’s never really relaxed or comfortable. He’s continually chasing the next step in his carefully controlled climb from poor immigrant to heating oil mogul, and the movie loves nothing more than to watch his struggle. Understanding why Morales itches to keep moving is simple, despite everything — his wife, Anna (Jessica Chastain), his fancy home and his growing oil company — seeming the picture of happiness. Thugs keep hijacking his trucks, threatening his staff and prowling around his house. The assistant district attorney (David Oyelowo) has targeted him in an investigation into the industry. If a property deal crucial to expanding his empire falls through, he could lose everything. Writer/director J.C. Chandor previously made Margin Call and All Is Lost, which gives an indication of the uneasiness on display. Yet again, his characters walk the fine line between success and failure, trapped in a horror story about survival in capitalist times. The American Dream is mentioned, and that’s certainly what the movie contemplates, though it’s rarely so blunt about it. Instead, it is telling that the story is set in New York in 1981 — reportedly the city’s most crime-ridden year on record, hence the title. That Selma cinematographer Bradford Young chooses to make everything from subway cars to suburban homes look shadowy and inescapable is just as revealing. Chandor has always benefited from clever casting, but in A Most Violent Year he has hit the jackpot. Isaac is exceptional as someone trying not to drown — metaphorically, not literally, here — in stormy waters. Everyone who rightfully loved him in Balibo, Drive and Inside Llewyn Davis will only do so all over again. Morales is the type of conflicted role only he could’ve done justice to. He’s constantly composing himself for the next drama — whether discussing tactics with his attorney (Albert Brooks), or begrudgingly asking a competitor (Alessandro Nivola) for help. And then there’s his battle with Anna, as formidably played as the gangster’s daughter she is by the equally outstanding Chastain. If ever there was a depiction of marriage to test the “behind every great man, there’s a great woman” adage, it’s this one (matching stylish period outfits included). It may take time getting there, building patiently and unnervingly, but when A Most Violent Year ends, it’s like the slap in the face you knew was coming yet couldn’t duck to avoid. Another famous saying springs to mind: be careful what you wish for. Viewers wanting a complex and compelling film needn’t fear, but anyone wanting life to be full of unambiguously happy endings just might.
People of Richmond, pack your bags. You're going to Paris. Well, much-adored baker Gontran Cherrier has moved into your 'hood so your taste buds are, at least. On Saturday, November 10, the French artisan opened the doors of his third Australian bakery at 85 Swan Street, Richmond. With stores in Collingwood and Hawthorn, this is the third outpost for the boulangerie and, to celebrate this marvellous news, Gontran Cherrier will be serving Le Crackle croissant for a very limited time. Available from Saturday, November 17, this delightful creation is made with Gontran Cherrier's signature crispy, chewy, buttery pastry and contains an ingenious meeting of quince paste, which you'll find on the inside, and pork crackling on top. If you love it already or desperately want to try it, move quickly: the Le Crackle won't be hanging around for long. Should plain croissants be more your thing, swing by on November 19, 20 or 21. Each morning, the store will be handing them out to its 50 earliest visitors for free. Given that every one is made with butter and flour all the way from France, chances are they'll be snapped up quicker than you can say, "mon dieu". Also on the boulangerie shelves will be an array of baguettes, miso rye loaves, almond croissants, eclairs and more, all served with ST.ALi coffee. Gontran Cherrier Richmond is open daily from 7am–4pm. For more information, visit the website.
It's with a seemingly devil-may-care attitude that A Bigger Splash indulges in the dreams of many, as Tilda Swinton channels her rock star-like essence into actually playing one, and Ralph Fiennes writhes, dances, swims and just generally throws about all of his charms. With Matthias Schoenaerts and Dakota Johnson, they form a smouldering quartet holidaying on an island off of the coast of Italy, eating, drinking, partying and enjoying the kind of sun-drenched, picturesque vacation most can only fantasise about. Of course, situations that appear relaxed and people who come across as carefree rarely remain that way under scrutiny. In loosely remaking the 1969 Italian-French film La Piscine for his English-language debut, director Luca Guadagnino (I Am Love) teams with writer David Kajganich (True Story) to present a picture of ostensible bliss, then breaks down its many moving parts. Swinton's singing superstar Marianne Lane is recovering from a vocal injury that has left her speaking only in whispers, with her cameraman boyfriend Paul (Schoenaerts) keeping her company. Enter Fiennes' Harry Hawkes, Marianne's ex-producer, ex-lover and whirlwind of a friend who has shared in many of her personal and professional ups and downs. His arrival is unexpected, as is the fact that he has his newly discovered adult daughter Penelope (Johnson) in tow. The movie flirts with a dark, devious tone, teasing the desire-fuelled tension that simmers between the four characters, particularly in light of Marianne and Harry's shared past, as well as the obvious attraction Penelope quickly harbours towards Paul. Still, there's little that's surprising in A Bigger Splash. The best movies manage to present insights into human behaviour that feel inevitable, relatable and still revelatory, which the movie manages at times. Yet it's equally as fond of simply luxuriating in the company of its characters, and in their lush backdrop, as it is dissecting their relationships. With cinematographer Yorick Le Saux (Clouds of Sils Maria) ensuring every image looks like it could have been lifted from a postcard or glossy magazine spread, and the main cast as ablaze as the visuals, the feature's affection for both is understandable. The combination of Swinton and Fiennes proves mesmerizing — and while the always-enigmatic former is in her element in a largely non-verbal role, it is the latter that steals the show. If ever an actor could capture the all-round force-of-nature that is Harry, it's Fiennes. That Schoenaerts and Johnson seem somewhat subdued in his shadow is more a reflection of his prominence than of their individual performances. Accordingly, A Bigger Splash is a film filled with standout, cast-fuelled moments that dare you to try to peel your eyes away: Harry letting loose to the Rolling Stones' aptly titled 'Emotional Rescue', the glimpses of Marianne's past glories, and the glances shared between Penelope and Paul chief among them. It's also a feature in which the triumphs linger, overpowering the less effective aspects, though never quite erasing them. Given the importance of music to the four main players, the end result comes to resemble an album that can't find the right balance between its smash hits and its non-single tracks, but keeps you listening over and over again regardless.
There's a line of dialogue, right towards the end of Obvious Child, when Donna (Jenny Slate) bemoans the overabundance of romantic comedies on TV. "I just hate that kind of film," she quips. "I just don't connect." In that moment, it's as if writer-director Gillian Robespierre is talking to the camera herself. A smart, candid, foul-mouthed and thoroughly charming subversion of sugary romantic fantasies and stereotypical representations of women on screen, Obvious Child ranks among the very best in the much maligned rom-com genre. It's also the funniest movie about abortion you're ever likely to see. Indeed, Robespierre's script feels largely like a response to the weirdly conservative position espoused — intentionally or not — in pregnancy comedies like Juno and Knocked Up, in which abortion is quickly brushed over for a more conventionally heartwarming alternative. In stark contrast, when Donna finds out she's pregnant a few weeks after a drunken hook-up, the best course of action is clear. An aspiring stand-up comic in her late-twenties with no steady source of income and no real sense of direction, there's just no way on earth Donna's ready to have a child. What's refreshing about Obvious Child isn't just the path that our heroine takes, but how resolutely she sticks to it. There no handwringing or moralising about her decision, because it's obviously the most responsible thing to do. The frank, open-minded approach with which the film treats not just pregnancy, but sex and female sexuality in general, is the sort of thing that mainstream movies could use more of. Which isn't to say that the film is preachy. Save for a frustrated rant from Donna's roommate (Gaby Hoffmann) about the "weird old white men in robes [who] get to legislate our cunts," Obvious Chid avoids the prickly politics of abortion. This movie is primarily a comedy, and a pretty hilarious one at that. Best known for her recurring role on Parks and Recreation and a short-lived stint on SNL, Slate gives what is easily one of the breakout comic performances of the year. It's clear from Donna's stand-up that she's a person who says whatever's on her mind — which tends to mean a lot of talk about sex and bodily functions. And yet, somehow, the film also manages to be sweet. Even as Donna prepares to terminate the pregnancy, she finds herself growing closer to the baby's father, the endearingly white-bread Max (Jake Lacy). They don't make for the most conventional pairing, admittedly. But then again, not being conventional is what makes the movie so great in the first place. https://youtube.com/watch?v=r2GN3wdfqbA
While hot and smoky Korean barbecue (fondly known as KBBQ) might seem like an ambitious couch experience at first, thanks to new local venture Kravin Korean — you can now enjoy this culinary endeavour with a click of a button. The niche food delivery service was born during lockdown, out of nostalgia for the inimitable smoky KBBQ experience. Since launching in February this year, Kravin Korean has been busy sating barbecue cravings by delivering its signature meal kits across Melbourne. The kits are designed to feed two or four diners, each stocked with four 'banchan' (side dishes), three different meat cuts, a trio of sauces and loads of veggies. If needed, you can even rent out a portable gas stove and grill, which you simply leave on your doorstep the next day for contactless collection. On the menu, expect a curation of Korean classics; from ready-to-grill meats like pork belly and soy beef bulgogi, to sides including spicy fish cake and corn salad. House-made dipping sauces include a traditional ssamjang, sesame oil and a special soy creation. But of course, as fans will know, the KBBQ experience goes beyond just the food — and Le and Kim are keen to help diners recreate all those other key aspects, too. Each kit comes with a QR code that scans through to a series of how-to guides and videos showing you how to set up and prepare your Korean feast authentically. You'll get access to a curated K-Pop playlist to groove to while you eat, as well as fun, easy-to-follow tutorials for a selection of popular Korean drinking games — stock up on some soju and make a night of it. [caption id="attachment_824031" align="alignnone" width="1920"] Jess Moses[/caption] Images: Jess Moses and Levi Andrew Momo
The concept of free fried chicken is always cause for excitement, but especially so when it's coming at you hot, courtesy of an international cult favourite. And this weekend, that's exactly the kind of finger-lickin' goodness headed our way, when Korean-born chicken joint Bonchon celebrates the opening of its first ever Australian store with a generous fried chook giveaway. This Saturday, January 15, swing past the new Bonchon outpost at Craigieburn Central between 2–5pm and you'll be rewarded with a three-pack of crunchy house wings. It's good stuff, too, with the brand famed for its signature sauces — spicy and soy garlic — and original recipe crispy chicken that's double-fried to order. Having launched in Busan, South Korea, in 2002, Bonchon now has over 370 global outposts under its belt. Its new Melbourne restaurant is set to be the first of many Aussie stores launching in the coming years.
Got a hankering for hot cinnamon doughnuts? The colder weather will do that. Luckily, you can get your hands on a free sweet treat in the coming days, as Donut King is giving away free hot cinnamon doughnuts for National Donut Day on Friday, June 6. There's no catch to speak of — all it takes to score a free doughnut is to head along to your nearest participating Donut King store on the day. There are over 200 locations nationwide, so finding a store filled with tantalising sugary aromas shouldn't be too hard. "The magic of our hot and fresh cinnamon doughnuts bouncing along the conveyor belt and landing in a delicious carousel of sweet cinnamon is the moment we seek to share with our loyal fans every day," says Raquel Hine, Marketing Manager at Donut King. As for what else Donut King is getting up to for National Donut Day, check out the 'Hot Cinni Hotel' — a limited-time collaboration between Donut King and Ovolo Hotels. Taking over suites and several spaces at Ovolo Woolloomooloo in Sydney, expect cinnamon-coloured walls, spice-led cocktails and doughnut-inspired bites for guests and visitors alike.
The most electrifying new movies from Spain and Latin America will heat up Palace Cinemas around the country once again this autumn. The much-loved Spanish Film Festival will celebrate its eighteenth birthday in 2015, with the festival's most diverse and exciting lineup yet. From smash-hit romantic comedies to Oscar-nominated tales of revenge, there’s a film in this year’s program to suit every conceivable cinematic taste. The festival begins with Spain’s biggest ever box-office success, the upbeat rom-com Spanish Affair. From there, audiences can choose between more than three dozen titles, including Goya Award-winning crime film Marshlands, Cannes-selected indie drama Beautiful Youth and the darkly comedic horror flick Shrew’s Nest. Further highlights include a documentary about soccer superstar Lionel Messi, and a movie that brings Bollywood dance numbers to the streets of Barcelona. Closing night film Wild Tales is another major standout, combing six outrageous short stories about people who are driven to the edge — each one funnier and more twisted than the last. For the full Spanish Film Festival lineup, visit the festival website.
The sights and sounds of Italy are heading our way once again, for the latest edition of the Lavazza Italian Film Festival. Hosted in select Palace Cinema locations around the country, this year's festival of more than 30 films will be bookended by two special gala events. Smash-hit comedy God Willing screens on opening night, while a special restoration of Bernardo Bertolucci's 1970 masterwork The Conformist will bring the festival to a close. In between you'll find comedies, dramas and eye-opening documentaries, as well as a number of high-profile titles making their Australian debuts. Heading up our list of must-sees are a pair of films that caused a stir at this year's Cannes Film Festival. Matteo Garrone directs Selma Hayek and John C. Reilly in the surreal fantasy Tale of Tales, while John Turturro stars opposite Italian actress Margherita Buy in the madcap comedy Mia Madre. We're also intrigued by Venice-set comedy Pizza and Dates, about the city's Muslim population searching for a place to build a new mosque, as well as compilation documentary Italy in a Day, made up of hundreds of short videos submitted by people from all around the country. For the full Lavazza Italian Film Festival program, visit their website.
If you're a fan of basketball, talented Aussies shooting hoops and one of the biggest local names in the game in the 21st century, then this one's a slam dunk: Patty Mills is coming home to chat about his career. The Brooklyn Nets point guard returns to Australia for the first time since helping score the Boomers their first-ever Olympic medal — and shooting 42 points himself in the crucial bronze-winning match — to tour the nation throughout September. Keen to hear the man himself discuss his success, life, learnings and everything in-between in the flesh? The four-time Olympian will be taking to the stage in Melbourne, at the Palais Theatre on Tuesday, September 20, for an in-conversation session. If you know some budding basketballers who are eager to follow in the Indigenous Aussie's footsteps, he's also hosting basketball camps while he's back Down Under — but for players aged between 12–17. At the onstage component of Mills' tour, the star player will speak from the heart about his journey — which has taken the Kokatha, Naghiralgal, Duaureb-Meriam man from growing up in Canberra to rising through the basketball ranks, and also becoming Australia's first Indigenous Olympics flag bearer. "It's been a huge couple of years and I feel privileged to have the opportunity to go back to my roots to deliver an immersive experience to be felt and enjoyed both on and off the court," said Mills. "It was also important that this tour allowed me to share parts of me that I've never been able to share before. Getting up close and personal with my own hopes, challenges and achievements has allowed me to embrace opportunity to the fullest and by sharing my own journey, I hope to inspire others out there, especially our youth, who are on their own path of self-discovery." Tickets go on sale on Friday, September 16. Top image: Erik Drost via Flickr.
It's Groundhog Day The Musical — and it's finally making its way to the Australian stages ten years after it was first announced. Back in 2014, Australian comedian, musician, actor and writer Tim Minchin (Upright) revealed that he was making a song-filled onstage version of the Bill Murray-starring classic comedy. Then, the end result premiered in London in 2016. Next came Broadway in 2017, with 2024 marking Australia's turn. Prepare for plenty of déjà vu in Melbourne from January. Feeling like you've been there and seen this comes with the territory with this production, of course, given that that's what the story is all about. Obviously, you've probably seen the film. In fact, you've likely done so more than once. Still, when Groundhog Day The Musical hits Princess Theatre from Wednesday, January 24, this'll be Aussie theatregoers' first chance to catch the stage show on home soil. The tale remains the same, with Pittsburgh TV weatherman Phil Connors tasked with travelling to Punxsutawney, Pennsylvania to cover the annual Groundhog Day event — and none too happy about it, oozing cynicism as everyone else around him embraces the occasion. After a cantankerous day, he wakes up the next morning to find that everything is repeating again. And, that's how every day continues, no matter what he does or how he tries to tinker with the cycling routine. On the big screen (and on VHS and streaming queues since), the result proved hilarious, and also one of Murray's best-ever roles. For the stage iteration, Minchin teamed up with screenwriter Danny Rubin — who originally co-wrote Groundhog Day's movie script and won a BAFTA in the process — plus Minchin's Matilda The Musical director Matthew Warchus. Their theatre efforts earned Groundhog Day The Musical Tony Award nominations, as well Olivier Award wins for Best New Musical and Best Actor. Yes, Groundhog Day The Musical's Australian-premiere season runs across Groundhog Day itself, aka February 2. Yes, you can listen to Sonny and Cher's 'I Got You Babe' on repeat now to celebrate. And yes, like the musical version of Matilda, this'll likely return to the big screen at some point — but after the Melbourne season. Groundhog Day The Musical comes Down Under exclusive to the Victorian capital — and if you're wondering who'll step into Murray's (Ant-Man and the Wasp: Quantumania) shoes, and Andie MacDowell's (Maid) as Phil's producer Rita Hanson, too, that'd be Andy Karl returning to the former after doing the honours in London, plus Elise McCann (Matilda The Musical) as the latter.
It seems spring is the season to channel your inner James Bond, at QT Melbourne's newest pop-up drinks destination, The Martini Bar. Making its home in the hotel's lobby from Thursday, September 15–Saturday, October 8, it's a sophisticated affair, honouring one of history's most famous classic cocktails while also celebrating Four Pillars' much-loved olive leaf gin. Swan in Thursday to Saturday evenings (5pm till late) for a 'wet' or 'dry' martini, a classic twist known as the Gibson, a house G&T, or the signature Dirty Dancing cocktail. If you fancy a different sort of tipple, there's also a lineup of Aussie wine and beer, plus local bubbles and French champagne. Meanwhile, the matching food offering celebrates top-notch produce from across the Yarra Valley, where Four Pillars calls home. Expect nibbles like the duck and Bloody Shiraz Gin jelly pâté with sour cherry and crusty bread, marmalade-glazed roast nuts, olives marinated in gin botanicals, and taramasalata served with a Bloody Shiraz caviar. Images: Hayden Dibb
In the film that bears her name, Wadjda (Waad Mohammed) resides within a system of oppression, yet refuses to accept her restrictions. On the cusp of adolescence, the ten-year-old rallies against her surroundings in Saudi Arabian capital Riyadh, be it the strictness of her schooling or the expectations of her gender — appropriate interests, friends and public behaviour included. In class, Wadjda is admonished for laughing, leaving her head uncovered and trading forbidden items. At home, she watches her mother (Reem Abdullah) worry about her husband taking a second wife, and struggle with the rude driver who escorts her to work. In response, Wadjda's manifestation of rebellion comes in the humblest — and most age-appropriate — manner. She desires a green bicycle, but is told no. She wants to cycle in the street, but is strongly discouraged. She yearns to enjoy the same freedoms as her male counterparts, such as her neighbour, Abdullah (Abdullrahman Al Gohani). The feature's missive of female empowerment is evident in its protagonist, though its message is never bluntly handled. Wadjda, the film, carefully and thoughtfully presents the reality of the role of women in Saudi society, without hiding or heightening the difficulties. Wadjda, the character, remains a shining emblem of possibility and potential, her choices complex and considered, not easy or simple. Of course, Wadjda's on-screen statement and subversion bears the weight of its revolutionary off-screen status, as the first feature shot entirely in Saudi Arabia, and the first full-length film made by a female Saudi director. Again, writer/director Haifaa Al-Mansour (Who studied at the University of Sydney) remains subtle in her debut fictional effort, with documentary Women Without Shadows her sole other helming credit. Her story says it all, the parallels obvious but the narrative independently affecting. Lightness, rather than solemnity, provides the pervasive tone. Her images are plain and stark against a dusty background, yet her atmosphere is one of optimism — for the little things. The broader truth is not forgotten; indeed, as Wadjda moves towards triumph, the tale remains one of tragedy. Being able to ride a bike in the street is no small feat, though life in Saudi Arabia is repeatedly filled with similar — and often insurmountable — challenges. The non-professional cast incisively articulates the dichotomy between the feature's dream and the production's actuality, none more so than Waad Mohammed in her only film role to date. Her wide eyes and expressive face convey Wadjda's determination, but also her growing acceptance. Her performance is feisty and finessed in turn, straddling the line between youthful exuberance and dawning realisations. Mohammed's portrayal truly gets to the centre of the hopeful and heartbreaking feature: cognisant of limitations, but forever striving for change. https://youtube.com/watch?v=v-4kosdSXR8
Westfield Shopping Centres around the city are celebrating the arrival of spring (and the delicate bouquets, cute pastel outfits and afternoon picnics that it brings) with a weekend of fashion and freebies. On September 12-13, they are pushing out the boat and installing various pop-ups, including a cheeky tasting stand for Brown Brothers Moscato (nothing says spring has sprung like a rejuvenating flute of bubbly). Westfield retailers are also joining in, with spring sales in stores such as Cue, Bardot, Sportsgirl and Cotton On. So ladies and gents, if you were planning on grabbing some new duds for the in-between season, now is your chance to do it in style.
Spring is here, the sun is out, and everything is 500 times more whimsical. Now times that whimsy by infinity. Studio Ghibli is bringing a showcase to our shores in October and it's touring all over the nation's cinemas. Celebrating renowned filmmakers Hayao Miyazaki and Isao Takahata, the showcase will feature four films and two documentaries that explore the intricacies and beauty of their craft. If you haven't had a chance to get acquainted with the work of these two cult favourites before, this will be the perfect opportunity to get up to date. Work your way through much-loved classics with screenings of both My Neighbour Totoro and Grave of the Fireflies. Then explore new terrain with The Tale of the Princess Kaguya and the critically-acclaimed historical anime feature The Wind Rises. Though the Japanese animation studio has 20 feature films to its name, the Australian showcase will feature just these four — a refined look at the old versus the new. But this won't just be for the newbies. Seasoned anime pros can get an inside look into the craft with screenings of both Isao Takahta and His Tale of the Princess Kaguya and The Kingdom of Dreams and Madness. Though the documentaries have had separate screenings at local film festivals this year, this will be their first standalone showing on Australian screens. Either way, whether you're a die-hard anime fanatic or have never even seen Spirited Away, there's always room in your life for a little whimsy and wonder. Get lost in the cinema for a few hours and discover an exciting new world. The Tale of Studio Ghibli Showcase will run at select cinemas in Sydney, Melbourne, Canberra and Brisbane from October 9-22. The films will be screening in Perth from November 6-19, and in Adelaide from November 27 - December 10.
Crowdsourced, Twitter-written TV drama; it's the newest collaborative project from the BBC and Aussie writer/director Gracie Otto, who've teamed up to invite the public to tweet their own television drama. Using the hashtag #whatsnext over the next five days (August 25 – 29, kicking off 6pm AEST Monday night), Twitter users are invited to contribute their own wild and wacky ideas to the evolving plot for BBC First. Otto will guest tweet from @BBCFirstAus to fuel the narrative, introducing props and themes to steer wily tweeters in an actual direction, while responding to their suggestions. "#Whatsnext is completely out of my comfort zone of writing, which is what makes this such a thrilling project to work on," said Otto. "By using Twitter to harness Australia's collective imagination, I'm looking forward to creating something really unexpected and powerfully entertaining." Each day, the latest collaborative chapter will be published on BBC Australia's website, so you can see if your genius brainwave plot twist made it into the narrative. To help you along, Otto has developed a narrative framework with some Agatha Christie-worthy characters to play with: The Heiress: mid 20s, blonde, naïve. Recently inherited an international chain of hotels after the mysterious death of her father. The Politician: mid 40s, conservative, good-looking, ambitious but with a tragic flaw. The Actress: late 30s, glamorous brunette. Alluring, seductive and motivated by greed. The Russian Oligarch: Early 50s, mega wealthy, questionable morals. Seemingly respected in society but hides a dark secret. The Concierge: 60s, has taken on a father-figure role to The Heiress. Friend and confidante to The Actress and The Politician. Tragic flaws! Mysterious deaths! Questionable morals! Go nuts. When all's wrapped up and written, the BBC First Twitter drama will be released in its entirety online next week. Follow @BBCFirstAUS to get Otto's tweets and and use the hashtag #whatsnext when you throw your straight-up genius ideas into the ring. https://youtube.com/watch?v=2biEKhRQ9Dg
Have a holly, jolly holiday at Howler this yuletide season when Melbourne's wildest art party meets Saint Nick. A late night cavalcade of dance, drag, burlesque and performance, Disco Abyss has always mixed the naughty with the nice. So really, it's only fitting that their latest shindig is on Christmas Eve. Kicking off at 8pm sharp and running until well after all good boys and girls should be tucked in bed, Disco Abyssmas will feature a gaggle of performers and live entertainers, each more outrageous than the last. Showgirl Betty Grumble, circus performer Captain Ruin and Miss Burlesque Australia Zelia Rose are just a few of the acts who'll take the floor throughout the night, while Sydney's DJ Smithers will provide the beats. Dress to impress.
Things are heating up at The B.East on Lygon Street, the official home of the Melbourne Chilli Eating Championship. On Sunday, March 20, 24 brave souls will put their lives on the line in this searing hot contest to find Melbourne's steeliest tastebuds. Doors open at noon, with the main event kicking off at 2pm. The contest consists of two heats and a final, with things getting progressively spicier as the competition intensifies. Participants can be eliminated by tapping out, passing out or vomiting their guts up – although, hopefully it doesn't come to that. It starts with fresh pods and spicy food, progresses to jalapeños and all culminates with the consumption of the Carolina Reaper. If you'd like to partake, you need to sign up in person at The B.East. And sign a waiver, of course. If you'd like to just watch, it's free to be a spectator. In addition to the championship, there'll be a special spicy menu available from 12pm (including spicy burgers, drinks and snacks). There'll also be live bands and DJs from 7pm once the comp has wrapped up.
UPDATE, May 22, 2021: Possessor is available to stream via Google Play, YouTube Movies and iTunes. From the moment he decided to become a filmmaker, Brandon Cronenberg wasn't likely to direct romantic comedies. He could've, or period dramas, action flicks or anything else that took his fancy. He still can. However, his surname is already synonymous with not only the most unnerving genre there is, but with body horror specifically. For decades, that status was his father's doing. Including Shivers, Scanners, Videodrome and The Fly, David Cronenberg is the field's undisputed cinematic master. Accordingly, Brandon's decision to craft not one but two features in the same mould isn't the least bit surprising — but just how extraordinary 2012's Antiviral and now Possessor are wasn't ever guaranteed. If either Cronenberg wants to make a movie about passing down the penchant for visceral thrills and the ability to smartly serve up savage explorations of corporeal terrors via genes (based on their own experiences, naturally), that's something that plenty of people would watch. Brandon's current foray into body horror deploys a completely different idea, of course, although someone isn't completely responsible for their own choices here either. In Possessor, technology permits assassins to hijack the bodies of people close to their targets, letting them assume not just their identities but their physical presence to fulfil their murderous missions. Tasya Vos (Andrea Riseborough, The Grudge) is one such killer, and she is so exacting and accomplished at her job that her no-nonsense boss and handler Girder (Jennifer Jason Leigh, Annihilation) keeps trying to push her further. Such work comes with consequences, though, with Tasya slowly estranging herself from her husband (Rossif Sutherland, Catastrophe) and young son (Gage Graham-Arbuthnot, Becky). During the luridly shot undertaking that opens the movie and the assignment that the often neon-hued flick spends the bulk of its time on, Tasya also begins to realise that separating herself from the folks she's temporarily inhabiting is becoming difficult. In the first job, Tasya's consciousness takes over a woman called Holly (Gabrielle Graham, On the Basis of Sex) to gun down a high-flying lawyer at a swanky hotel party. Every mission should end with extraction via suicide — the possessed person's, as forced by the possessor, who then returns to their own bag of bones, flesh and blood — but Tasya can't pull the trigger on her host body. When she's later sent into Colin (Christopher Abbott, Vox Lux), the fiancé of the daughter (Tuppence Middleton, Mank) of a ruthless business mogul (Sean Bean, Snowpiercer), she similarly struggles to retain control. As depicted in gory detail, being able to stick a probe into your head and mind-hop into someone else's may be pure science fiction, but the younger Cronenberg intentionally apes The Matrix when he shows how the tech behind his premise operates. Our present analogues to Possessor's body-jumping concept exist in the online world, virtual reality, avatars, catfishing, trolling and even just anonymous commenting while you're tapping at your keyboard or phone, and this film makes it ferociously clear that it all has a significant cost. Cronenberg isn't just taking cues from his dad — whose 1999 film eXistenZ, also starring Jason Leigh, toyed in somewhat similar territory — or from a beloved sci-fi franchise. As many works that reflect upon humanity's true nature via dystopian futures tend to, the writer/director adds an entry to both the body horror and science fiction canons that seems like it might've appeared in a feverish dream after a life spent consuming those exact types of tales. But Possessor also always feels like a unique creation, and never a film puppeteered by its influences in the same way that Tasya pulls the strings of her marks. Cronenberg's feature boasts far too much of its own chilliness, daring and determination, as well as the filmmaker's fondness for particularly gruesome imagery, to merely be the sum of its various sources of inspiration. Possessor also has its own wellspring of nihilism pumping through its veins, not only tackling big notions in a bold and ultra-violent way, but proving deeply, gut-wrenchingly, existentially dark. It's a bleak line of thinking, positing that nothing means anything in a world where anyone can be someone else without knowing, corporate interests always take precedence over individual needs, and invading the privacy of people's homes, hardware and heads is a common and lucrative business model. It's also a wave that Possessor rides. But the film needs two people to hang these ponderings from, finding them in the sensational Riseborough and the also exceptional Abbott. With hair almost as pale as her skin, there's a ghostly look to Riseborough and a similar feel to her performance, instantly illustrating how all of Tasya's time spent secreting away in other people's guises is eroding her sense of self. Abbott, playing a man whose body has been snatched but whose mental energy refuses to quietly subside, is a ball of continued conflict and also near the best he's ever been on-screen — on par with 2015's James White and this year's Black Bear, in fact. In Cronenberg's aforementioned directorial debut Antiviral, he imagined a future where our consumption-driven urges and obsession with celebrity have evolved to a disturbing point. Not only do people willingly get infected by the same viruses that afflict their favourite stars, using the latter's very own cells, but a literal meat market exists that cultivates edible proteins from the same source. That's the kind of mind that would not only conjure up Possessor's equally disturbing world, but also ground it in so many accurate observations about modern life that sometimes it's difficult to know if it's the imagery or the ideas that's causing a deep-seated reaction. The answer is both, but Cronenberg definitely inherited his father's knack for creating a nightmarish, grisly and piercing yet sleek and haunting spectacle — and for making brilliant and brutal movies that cannot be forgotten. https://www.youtube.com/watch?v=kFqCTIdF7rs&feature=youtu.be
This one's an absolute monster lineup and an extra special treat for anyone who missed out on Laneway tickets. Three of 2013's hottest hip hop acts are set to tear the roof off the Palace Theatre. Earl Sweatshirt came into the spotlight as part of the Odd Future crew but missed much of the group's huge first year of tours and releases, and no one knew quite why. Was he in prison? At boarding school in Samoa? At a military academy? Whatever it was, Earl has been making up for lost time with his debut album, Doris, both a critical and commercial smash hit, and featuring on countless end-of-year lists. Danny Brown also had a big year with the release of his third album, Old, a throwback that wears its love for old-school hip hop proudly on its sleeve. Brown's first successes as a musician came from very 'now' sounds like trap and electronica, but with this album Brown says he wanted to return to a sample-based, 'classic' sound that borrows from J Dilla and Wu-Tang. The result somehow sounds both fiercely new and groundbreaking as well as immediately familiar. Run the Jewels is a new name, but the two names behind it are anything but. El-P and Killer Mike joined forces in 2013 after featuring on each other's albums the year before, and they somehow found the perfect balance between Mike's aggressive Southern flow and El-P's tense, hyperactive delivery. There have been lots of high-profile collaboration albums in hip hop, but it's been a long time since anything was released that is this cohesive and fully developed. As anyone who saw El-P at Laneway 2013 will know, he's a tireless, frenetic live performer who never lets the intensity drop even for a moment. https://youtube.com/watch?v=anRkutaPS9w
More than 400 pieces of art will be on display and available for purchase at a month long pop-up exhibition in the CBD. Presented by Arts Project Australia, the Collins Place Pop-Up Gallery will incorporate the work of 35 different artists, working across mediums including painting, print, photography, video art, sculpture, ceramics and more. On display from July 28 until August 31, the pop-up will rotate art from week to week, creating vastly different experiences for returning visitors. The art itself will range in price from $3000 to as low as $100, giving budget conscious art lovers the chance to pick up something for themselves. Arts Project Australia helps to promote and nurture artists with intellectual disabilities. The pop-up will also feature multiple works created by Arts Project artists in collaboration with prominent contemporary practitioners, including Peter Atkins, Katherine Hattam and Richard Lewer.
Again and again, fans of slasher films have seen the one about the unhinged murderer butchering teen victims. They've seen more than one, in fact. It's a horror convention: take a bunch of young adults, then dispense with them person by person as a killer works through childhood trauma. Penning and helming his first feature — his short Z Is for Zygote was included in The ABCs of Death 2, and he did special effects work on Psycho Goreman, too — writer/director Chris Nash knows the basics of his chosen genre as much as any other diehard viewer. He's just as aware of the great, and greatly influential, flicks gone by such as Halloween and Friday the 13th. He's well-versed in their tropes in storytelling and in form alike. Making his full-length debut with a picture called In a Violent Nature, he's also clued up on what happens when someone sinister gets a-stalking in scenic surroundings. Plot-wise, Nash isn't trying to break the mould with his account of Johnny (Ry Barrett, Massacre at Femur Creek) and the folks who are unlucky enough to fall across his path. But the filmmaker asks a question: what if a rampaging slaughterer's terrors came not with a score heralding their every menacing move (even when those tunes can become iconic, as John Carpenter's Halloween music has), but with the ordinary silence of everyday life in nature punctuated only by noises just as commonplace, and then by the sounds of a killer at their insidious worst? In its imagery, In a Violent Nature adds another query: what if the audience wasn't biding its time with those likely to perish, tension dripping from not knowing when and where the murderer would strike, but was stuck at the side of the force causing such gruesome mayhem as the inevitable approaches? There's seldom any escape from a slasher; however, Nash finds a new way to take that idea literally. Let's call it the bang-and-whimper method of tackling the genre, because lives cease here with each given as much attention. Johnny still metes out big kills that create a din and sear themselves into memory. One inventively grisly death in particular can never be erased from brains, and ensures that everyone watching is incapable of contemplating its setting or the pastime involved in the same way ever again. Another sequence suggests that it's going a similar way, but becomes unforgettable for the fact that it holds back on grim expectations. And, of course, mewls of pain are hardly new to horror. Here, though, Nash's commitment to the film's ambience gives both its bangs and its whimpers extra impact. This is the way that the world ends for Johnny's prey: not with just a bang or solely a whimper, but with the haunting, echoing combination of the two that compels In a Violent Nature's viewers to reckon with them in the moment. Nash's understanding of horror at its most stock-standard commences with In a Violent Nature's opening, where wandering campers chat while stumbling across a grave beneath an old fire tower. A gold locket hangs in plain sight, which leads Troy (Liam Leone, Eli Roth Presents: A Ghost Ruined My Life) to pocketing the jewellery, opting for the kind of stupid decision that people in a slasher flick love. Yes, it'll come back to taunt him. So awakens Johnny from the earth. So stirs his ire as well. But how the audience might anticipate that this plays out from the above description isn't ever how the feature stages it. The focus is rarely on those potentially awaiting a date with the heavens, to the point that their faces aren't the picture's most-common sight. Neither is Johnny's, whether or not it's under a smoke helmet. Nature isn't merely a location, but the expanse that fills cinematographer Pierce Derks' (Frankie Freako) frames — sometimes in close shots, sometimes sprawling. As Johnny sets off, there's not a shred of doubt lingering that he'll indulge his violent urges — the reasons for which get a backstory layered in, details that are knowingly by the book — via a relentless frenzy. Nash and Derks aren't in a hurry, largely lurking behind their killer with patience as he turns the wilderness into his hunting ground. He walks. He slays. Sometimes the results are splattered across the screen with slaughterhouse-esque gore and guts. Sometimes a savvy cut by editor Alex Jacobs (V/H/S/85) conveys what has happened instead of getting blatant and bloody. The camera remains static more than it roves, and peers on from long-held wide shots more than it zooms forward. Johnny's temperament is expressed by the pace of his stride, which becomes In a Violent Nature's metronome of unease. Masked characters, not the actors who play them, tend to carve their place in common pop-culture knowledge out of horror movies. Michael Myers is the household name, for instance, as much as Nick Castle (Halloween Ends) should be. Barrett deserves the same recognition, making Johnny a petrifying presence even when so frequently spied from a few footsteps back. That said, he isn't carrying the film alone on-screen. The travellers that meet the figure's hooks and other weaponry start out disposable, but leave an impression the longer that they survive, Andrea Pavlovic (Our Mother's Secret Affair) especially. That'll ring familiar, too; to take the risks that Nash does, and to test if a slasher flick can work the way he wants it to — and it can — he leans into the template everywhere else possible. It was a Sundance sensation to kick off 2024, proved a box-office hit in America for independent studio IFC Films and now has a sequel in the works, but a movie like this, with the output of director Terrence Malick (A Hidden Life) as much of a touchstone as the Friday the 13th and The Texas Chain Saw Massacre franchises, is a gamble. Both of the latter two horror sagas earn clear nods, yet there's no mistaking In a Violent Nature's lyrical skew thanks to its ever-present greenery and naturalistic soundtrack. Combine the two and scares still spring, laced with dread that gushes like a limb lopped off by a log splitter. While it's frightening to ponder that ghastly turns of fate can and do occur randomly, as regular slashers capitalise upon, it's bone-chilling to confront that truth when it's presented as an inherent, innate, matter-of-fact certainty of existence. In a violent nature indeed.
The newly renovated Skinny Dog Hotel in Kew has teamed up with Fever-Tree to serve up discounted spritzes every Sunday throughout summer. From 2–6pm, anyone who heads upstairs to the rooftop at Skinny Dog Hotel can enjoy two of its signature spritzes for $25. There are four different spritzes up for grabs. Either nab the elderflower option made with St-Germain and Lillet Blanc, the negroni spritz, the mezcal and ginger beer creation, or the vodka and raspberry liqueur version. Melbourne bars seem to be moving beyond the classic Aperol and Campari spritz life, so why not jump on the bandwagon and try some different summery bevs up here? During these summertime Sundays, the Skinny Dog crew will also be hosting DJs, and serving up its usual gourmet pizzas and refined gastropub eats. Images: Griffin Simm.
According to Madame Armfeldt in Stephen Sondheim's 1970s smash A Little Night Music, the summer night smiles three times— once at the young, who know nothing, once at the fools, who know too little, and once at the old, who know too much. There's a touch of irony in Victorian Opera's decision to stage A Little Night Music, built around the contemplation of a summer evening, at the onset of winter. But there is also comfort to be found in Sondheim's familiar (read — classic) musical. First, in the story, in which, at the turn of the 20th century, a number of couples find their romantic pursuits entangling other players. Also, in the music, a Sondheim masterclass on the elasticity of the waltz (including heavy hitters like 'Send in the Clowns'). And, finally, in the unseasonable warmth of director Stuart Maunders' cast, with Ali McGregor, Simon Gleeson, Verity Hunt-Ballard, Alinta Chidzey and Nancy Hayes. If you can brave the cold and make it to the Arts Centre Melbourne's Playhouse, A Little Night Music will undoubtedly generate a cheerier glow than your struggling three-bar heater this winter. A Little Night Music will run from Thursday, June 27 to Saturday, July 6 at Art Centre Melbourne's Playhouse. To purchase tickets, head to Victorian Opera's website.
