You might have heard of Ippudo — perhaps on your travels to Japan, or just when you've been in Sydney. The legendary ramen chain can be found around the world, but it's finally expanded to Melbourne, having just opened up some new soupy digs in the QV building. So start planning some long slurpy city lunch breaks, because there's be a lot to get your stomach around. But first, a little background. Ippudo has long been a reigning global gold standard of the Japanese dish (and a winter go-to the world-over). Since Shigemi Kawahara opened his first humble ramen store in Hakata, Japan in 1985, he's splashed out and launched scores of stores across Japan, the US, and Europe. It arrived in Australia in 2012 with one Sydney restaurant, before adding three more outlets in the same city. And now, six years on, Ippudo has opened two new fronts: one in Perth and Melbourne. So what's happening in the shiny new Melbourne restaurant? The emphasis is on the tonkotsu (pork broth) ramen that has garnered Ippudo legions of fans — but there's also a variety of equally as tasty options for those who want something else. You've got the signature Shiromaru Motoaji, creamy tonkotsu ramen ($15), but you can also opt for Karaka-Men, mixing things up with spicy miso paste topping ($16). If you're not up for ramen (for some reason), you can go for the beef sagari yaki served with fried enoki mushrooms ($17.50) or the grilled eel don for $13.50. Also, don't leave without giving the global best-selling pork buns a red hot go or three ($5 each, or three for $13). The interior is all clean wooden lines, red and white accents and warm, lantern-esque lighting, making your heart feel as warm as your soup-filled belly. The ramen king Kawahara has said that Ippudo just wants to "spread smiles" with his fare — and if this ramen can't do that, nothing can. Ippudo is now open at shop 18, Artemis Lane in the QV building, Melbourne. For more info, visit ippudo.com.au. Interior shots: Simon Shiff.
When you sign up to a league and begin the arduous process of choosing a team name via group chat, you can get swept up in the excitement and forget to plan important contingencies. You focus on questions like what colour should the jerseys be? Can we afford a professional mascot? Can we have a dog on the team, like in Air Bud? You forget to answer the most important question of all: what to do if we actually win? Hey, it could happen. Even in casual leagues, there's always a winner. Also, yes, you should totally have a dog on your team. We've teamed up with our sports-loving friends at Heineken to compile a list of the best venues to hit after a sporting victory — even if you were just a spectator (it counts). Capitalise on all that post-match adrenalin and celebrate with well-earned Heineken 3.
They're best known for their dance floor tunes, but the pair behind Peking Duk have now turned their talents to a very different sort of offering, gearing up to open their very own bar later this month. The well-known electro duo, Adam Hyde and Reuben Styles, has teamed up with Sydney's Steven Hiles — who transformed a tired Surry Hills pub into what's now The Horse — along with chef James McCall, to launch the interestingly named Talk To Me. Setting up shop on South Yarra's Commercial Road, in the space once home to Less Than Zero, the intimate bar will focus on quality bar snacks, booze and late-night partying — with, certainly, a banging music curation setting the tone. For this latest venture, the musicians have pulled inspiration from their many overseas jaunts, referencing favourite spots in New York and Asia to deliver a super comfy, chilled-out locals' haunt. This American-Chinese inspiration continues into the playful food menu, too, which also works to the same theme as the venue's name. Kicking off with 'Quick Chat', where you'll find king prawns with kampot pepper and cashew honey sauce and a spam and cheese hot dog with ketchup kimchi. You'll also spy a lineup of cheeseburger-inspired treats dubbed 'Cheesy One-Liners' — featuring fun bites like cheeseburger dim sim, cheeseburger springs rolls and a tempura nori cheeseburger teamed with ponzu ketchup — and swag of vegan-friendly fare, including jackfruit bao and twice-cooked cauliflower with a hit of furikake kewpie. And, while the menu won't feature any Peking du(c)k, it will feature a small bar-appropriate Fernet-Branca duck rillete with black ash lavosh. Talk To Me is slated to open at 153 Commercial Road, South Yarra in the last week of October.
Shopping for someone a little bit special? Is that special someone you? Fancy on Ferguson is a gift boutique, and the folks behind it certainly have an eye for elegant and beautiful brands. To start, you can freshen up your home with a lick of Jolie Paint and candles from Glasshouse. You can also browse Bodyography makeup and shimmery statement jewellery from Sybella, Carolee New York and Von Treskow. There are also fragrances from France and Italy, including perfume and body wash from Parfumerie Fragonard and Carthusia. It also stocks a small range of women's fashion, favouring flowing, silky fabrics and timeless styles and colours. As well as the store's staple brands, the Williamstown shop gets into the full swing of the holiday season, so you'll find the softest toys for kids, elegant decorations, cute gifts from Little Pink Fox and bangles from The Mindful Company.
Cities are brilliant. They facilitate things like coffee, sex and conversation. You can get a pizza at two in the morning, you can stumble into washed-up models at the pub, and you can ask your local drag queen where they got their fabulous dress while you stand in line for an ATM. But for all of that, our cities have problems, and increasingly we are realising that the spaces we live in have an unparalleled impact on human health and happiness. There are 7 billion people alive today. By the end of this century there will be 10 billion. And it's estimated that 80 percent of those people will live in cities. "We have to deal with a doubling of urban dwellers in the next forty years. How are we going to make life in these places sustainable?" This is the question asked by Danish filmmaker Andreas Dalsgaard, whose documentary The Human Scale made its Australian premiere at the Sydney Film Festival last week and will screen at Melbourne's ACMI in June and July. Read our interview with Andreas Dalsgaard about the movement to build cities for people.
UPDATE, March 18, 2022: Spencer is available to stream via Prime Video. With two-plus decades as an actor to her name, Kristen Stewart hasn't spent her career as a candle in the wind. Her flame has both blazed and flickered since her first uncredited big-screen role in The Flintstones in Viva Rock Vegas but, by Elton John's definition, she's always known where to cling to. After jumping from child star to Twilight heroine and then one of the savviest talents of her generation, she's gleaned where to let her haunting gaze stare so piercingly that it lights up celluloid again and again, too. Spencer joins Stewart's resume after weighty parts in Clouds of Sils Maria, Personal Shopper, Certain Women and Seberg, and has her do something she's long done magnificently: let a world of pain and uncertainty seep quietly from her entire being. The new regal drama should do just that, of course, given its subject — but saying that director Pablo Larraín has cast his Diana well, pitch-perfect head tilt and all, is a royal understatement. Larraín also trusts himself well, making the kind of movie he's made three times now — not that Jackie, Ema and Spencer are carbon copies — and knowing that he does it phenomenally. Both essaying real-life figures and imagining fictional characters, the Chilean filmmaker keeps being drawn to tales about formidable women. His eponymous ladies could all be called strong female leads, but Larraín's features unpack what strength really means in various lights. Like her predecessors in the director's filmography, Diana faces searing traumas, plus ordinary and extraordinary struggles. She scorches away tradition, and values letting her own bulb shine bright over being stuck in others' shadows. Viewers know how this story will end, though, not that Spencer covers it, and Larraín is just as exceptional at showing how Diana's candle started to burn out. The year is 1991, the time is Christmas and the place is the Queen's (Stella Gonet, Breeders) Sandringham Estate, where the Windsors converge for the holidays (yes, Spencer is now prime seasonal viewing). As scripted by Peaky Blinders and Locked Down's Steven Knight, the choice of period puts Diana in one of the most precarious situations of her then decade-long married life, with her nuptials to Prince Charles (Jack Farthing, The Lost Daughter) turning into an "amicable separation" within 12 months. Spencer's focus is on three days, not all that defined the People's Princess' existence before or after, but she can't stop contemplating her past and future. The Sandringham grounds include the house where Diana was born, and those happier recollections — and time spent now with her children (debutants Jack Nielen and Freddie Spry) — give her a glow. Alas, all the monarchical scrutiny simmers her joy to ashes, unsurprisingly. Larraín is one of today's great detail-oriented filmmakers, a fact that glimmers in his approach to Spencer — and did in Jackie, too. Both character studies let snapshots speak volumes about broader lives and the bigger narratives around them, including when poised as "a fable from a true tragedy" as the title card notes here. 'Poised' is one word for this fictionalised imagining of real events, which builds its dramas in an immaculate chamber, lets heated emotions bounce around as it tears into privilege and power, and allows audiences to extrapolate from the meticulous minutiae. Specific tidbits are oh-so-telling, such as the demand that Sandringham's guests hit the scales upon arrival and leaving, their weight gains deemed a sign of how much they enjoyed themselves. Bolder flourishes are just as exacting, like the way the place is lensed to make the Princess of Wales resemble a doll being toyed with in a playhouse, as well as a Jack Torrance substitute trapped in her own Overlook Hotel The Shining-style. Often boldly and claustrophobically ominous in its vibe and visuals, and deliberately so — as equerry Major Alistair Gregory, overseer of every move made at the estate, Timothy Spall (The Last Bus) perfects the eerie mood — Spencer can be called a horror film and the label fits. Terror, distress, contempt and cruelty are all part of Diana's Sandringham experience, the first two emanating from the former Lady Spencer and the latter pair frequently flung her way. This is a slice-of-life biopic as well, obviously, and also a Princess of Wales time capsule thanks to its exquisite staging and costuming. Larraín does leap into lingering memories occasionally, which lets the movie survey an array of its central figure's famed outfits with a keen eye. The appearance of things, be it her crumbling marriage or herself, is the key tenet she's being told to uphold, after all — but the decreed version decided by others, not her own, down to dictating exactly what she's permitted to wear and when. Spencer's nightmare of not being able to be one's self, especially under an unyielding spotlight, sees Diana's inner turmoil manifest in multiple ways. Her bulimia and self-harming speak of tainting appearances, and forcefully; her hallucinations of fellow ill-fated royal Anne Boleyn and her general anxiety make her fragile emotional state plain. She's introduced getting lost en route, then earning ire for being late, rebellious and just someone the Windsors must deal with — and the anguish that Stewart wears like a second skin is given ample origins. Spencer's magnetic lead portrayal is smartly underplayed, though, even as the heft of Diana's evident woes, and fight for survival amid the ghosts of history, fame and expectation, fills rooms. In fact, Stewart is all the more powerful for her fine-tuned vulnerability and introspection than something bigger would've been, as past examples have shown. The Crown has done Diana well so far, but the less remembered about 2013's Naomi Watts-starring Diana, the better. Every technical choice on Larraín's part beams brightly, too — or, if dim, it's by design. Spencer looks the grey 90s British drama picture, with cinematographer Claire Mathon (Portrait of a Lady on Fire) baking in grey tones even when the hue isn't visible. Continuing to do stellar things with tension-dripping film scores, Radiohead's Jonny Greenwood adds this in alongside The Power of the Dog to his recent standouts. Spencer does capture warm moments, including sympathetic rapports with some estate staff (with compelling turns from The Shape of Water's Sally Hawkins and The Green Knight's Sean Harris, both ever-reliable), but it also ensures that the rarity of such exchanges in Diana's life is heartbreakingly clear. The upbeat 80s single "All I Need Is a Miracle" might set a glorious closing note, but this is always an equally bold and sensitive — and enthralling — portrait of England's rose wilting not from the sunlight she craves, but from the royal inferno.
On the lookout for a dope new denim jacket? Or do you want to be rid of that weird-looking lamp taking up space in the living room? Then, by golly, you're in luck. The Garage Sale Trail works with local council partners Australia-wide to get as many trash-and-treasure troves happening on the same day as possible. More than 15,000 garages are expected to open their doors to bargain hunters, selling two million items, when the event returns for its ninth time across the weekend of October 20 and 21. Aside from the retro goodies up for grabs, the Trail is all about sustainability. Instead of ending up in landfill, unwanted clutter becomes a fantastic find. So get that tight pair of sunnies for peanuts and help the environment at the same time. The Garage Sale Trail began humbly in Bondi in 2010 and is growing bigger every year. There'll be a right slew of sales happening all around Melbourne, so keep your eyes on the event website — or register online to make a quick buck from your old junk and hang out with the friendly folks in your hood.
If you're yet to catch Hannah Gadsby's award-winning comedy show Nanette, you'd better jump to it. Having announced her impending retirement from stand-up, the Tassie-born comedian will be hanging up her comedy boots at the end of the year. Thankfully, she's leaving Australians with a parting gift, squeezing in a final run of shows at the Arts Centre Melbourne this November with two new shows now on sale. Head along to catch the well-loved funny lady as she exits with a bang, the show a hilarious and raw account of taking on the world as a 'not normal'. Audiences will get a glimpse into Gadsby's life and her many capers during a recent year spent in solitude. And if the accolades are anything to go by, Nanette is a show you don't want to miss. She was just named joint winner of Edinburgh Fringe Festival's Best Comedy Award — one of the biggest comedy titles in the world — and the show also scored plenty of local love this year, scooping awards for Best Comedy at Adelaide Fringe Festival, Best Comedy Performer at the Helpmann Awards and the Barry Award for Best Show at Melbourne International Comedy Festival. Image: Jim Lee.
"They're more scared of us than we are of them," many mothers have told their offspring, soothing fears of monsters, spiders and other scary forces — and in The Boxtrolls, the adage proves accurate. The village of Cheesebridge is intent on exterminating the cardboard-wearing, subterranean-dwelling titular creatures, driven by tales of child stealing, people eating, and rivers of blood. All the benevolent grey critters want, however, is to play with junk and tinker with machines. A lost baby is the source of the boxtrolls' bad reputation, after the villainous Archibald Snatcher (Ben Kingsley) convinces the townsfolk of their involvement. A decade later, the missing boy has been raised by his new pals and christened Eggs (Isaac Hempstead Wright), happy in his existence beneath the streets. Then Winifred (Elle Fanning) spots him, her morbid curiosity soon turning to affinity. Alas, Snatcher's pursuit continues, with the rest of the populace ambivalent to the girl's protests. From animators Laika, The Boxtrolls is steeped in the offbeat and styled in the eccentric; this is the stop-motion studio that brought Coraline and ParaNorman to life, after all. Adapted from Alan Snow's novel Here Be Monsters!, the film shares many aspects with their previous hits: gorgeously grotesque imagery, smart gags slipped amongst endearing detail, a winning blend of the sweet and surreal, and intelligent messages for young and old. With a steampunk aesthetic, directors Graham Annable and Anthony Stacchi lovingly revel in their intricate world, complete with rusting metal, slops of mud, unattractive adults and more. They remain unafraid of letting the harshness of life manifest in the gothic look, albeit lightened by the sense of adventure, the cuteness of the boxtrolls, a celebration of cheese (food, not corniness) and a story concerned with acceptance outside the norm. The weighty themes don't stop there, nor does the studio's penchant for a specific type of material. Outcast children find fondness in things typically considered strange, looking beyond accepted bounds to discover their identities and values. Open-mindedness is championed, just as the blinkered view of most — Snatcher's coveting of social-climbing grandeur, and Winifred's father's (Jared Harris) preference for dairy over his daughter — is skewered. The thoughtful feature even contemplates self-determination and the outsourcing of immoral deeds to the poor through the comic conversations of Snatcher's employees, voiced by Richard Ayoade, Nick Frost and Tracy Morgan. Such high-profile casting tops the delightfully dark film, its talent deepening the characters rather than merely inciting the usual celebrity spotting (although Ayoade and Frost's banter is always a treat). Stitching together the sensibilities of Tim Burton and Roald Dahl, The Boxtrolls is a warm and witty excursion through the weird and wonderful, as well as a true slice of cinematic enjoyment for all ages. https://youtube.com/watch?v=uHfkJMILG4U
Owned by married couple Raj and Krystle, Punjabi Curry Cafe in Collingwood serves up authentic North Indian cuisine, without boasting about any modern twists. This stuff is the real deal, and with 15 years experience as restaurateurs, they know what they're doing. The restaurant features an exposed tandoor oven, so while you wait for your meal to arrive, you can sit back with a drink and watch the chefs skilfully fry up some of the best naan bread in Melbourne. The menu is extensive, with a vegetarian list that puts most other restaurants to shame. Highlights include the palak paneer, a fresh spinach and cottage cheese dish cooked with herbs, tomato and spices, and the shimla aloo jeera, a dish of capsicum and potato cooked with cumin and spices. Elsewhere, meat eaters aren't forgotten, with a range of lamb, beef, goat and seafood to choose from. If ordering goat the goat masala is excellent, cooked in the chef's special mixture of mushroom, tomato and capsicum. Then there's the delicious Punjabi kadai. King prawns are cooked in a traditional wok with fresh tomatoes, onions, capsicum, ginger, garlic and spices — it is as authentic a dish you'll find anywhere. Wash all this down with a good selection of beer and cider, including Kingfisher lager on tap, or a glass wine from their modest but well curated wine list. There is also a fair selection of whiskies to indulge in, depending on the kind of night you're having. If you're after something other than booze, then try one of its lassies, including mango or namkeen.
Lavish locations just screaming to fill Instagram feeds, wealthy clientele whiling away their hours in luxury, a significant chasm between the haves and the have nots: that's the setup behind two star-studded new miniseries that've hit streaming queues in the past month. Indeed, with The White Lotus just wrapping up its first season, Nine Perfect Strangers' arrival couldn't be better timed. TV fans can farewell the former's Hawaii-set dramas — and its biting sense of humour, savage insights into class disparities and spot-on dissection of societal inequities — and then step into this Byron Bay-shot thriller on Amazon Prime Video. Saying goodbye to the familiar and welcoming all things new sits at the heart of Nine Perfect Strangers, actually. That's because the same notions linger at the core of the wellness industry, too. In a field that's all about helping people find their bliss, any hard-earned sense of contentment tends to stem from letting go of baggage, moving past previous traumas and appreciating yourself for who you are — and often doing so in the types of spaces that'll make you forget the real world exists anyway. That's why Masha Dmitrichenko (Nicole Kidman, The Prom) has established Tranquillum House, and why the eponymous group of newcomers have sought its sprawling expanse. Each of the latter wants to break free of their troubles, and the former and her offsiders Delilah (Tiffany Boone, Hunters) and Yao (Manny Jacinto, The Good Place) are eager to assist. But there's a reason that this eight-part series keeps gazing at brightly coloured smoothies quite often, and it isn't just because that's what's on Masha's menu. Tranquillum House carefully curates each intake of paradise-seeking customers. In the case of school teacher Napoleon Marconi (Michael Shannon, Knives Out), his wife Heather (Asher Keddie, Rams) and their 20-year-old daughter Zoe (Grace Van Patten, Under the Silver Lake), Masha is even willing to drastically reduce the fee. She's mixing in the right ingredients — people who arrive broken and ready to be swirled around — and trying to perfect the recipe for everyone. Also arriving with this cohort: best-selling novelist Frances Welty (Melissa McCarthy, Thunder Force), who is having both personal and professional crises; Tony Hogburn (Bobby Cannavale, Superintelligence), who doesn't like having his pills taken away from him; and influencer Jessica Chandler (Samara Weaving, Snake Eyes: GI Joe Origins) and her husband Ben (Melvin Gregg, The United States vs Billie Holiday), whose marriage could use a new start. Then there's the newly divorced and still bitter Carmel Schneider (Regina Hall, Breaking News in Yuba County), plus exposé-courting journalist Lars Lee (Luke Evans, Crisis). Masha has brought all of these strangers together to talk out their problems, laze by the pool and soak in the natural splendour — with Byron Bay doubling for California — but it's immediately obvious that her intentions aren't quite that straightforward. Nine Perfect Strangers draws out its mysteries; however, it also lets its audience start guessing from the outset. Casting Kidman as a Russian-accented wellness guru who wades in and out of her clients' days at random, and also happens to be getting death threats via text messages, will do that. Complete with ice-blonde locks, it's a part she inhabits well, in her latest TV performance following Big Little Lies and The Undoing, and her third project after those two fellow miniseries with writer/showrunner David E Kelley. Playing a character first penned on the page by Liane Moriarty, the author behind Big Little Lies as well, it's a showcase performance — and here, her reliably inscrutable expression conveys magnetism, power and a succeed-at-all costs level of determination. Nine Perfect Strangers is an ensemble piece, however — and, when it comes to the narrative, thankfully so. It's the time spent with its full suite of characters that makes the series gripping, even though it's the thriller elements that keep viewers instantly wanting to press play on each new episode. As the show keeps teasing what Masha is really up to, who's after her and what's in her past, it finds just as many questions within Tranquillum's other residents, because that's just how humans tick. Everyone has their subplots, and their pasts, and the script by Kelley and John-Henry Butterworth (Ford v Ferrari) is all the more compelling when it's unpacking as many stories as possible stories. Everyone seeks bliss, too, even when they're not paying through the teeth to do so, and everyone has struggles and secrets holding them back. Kidman perfects her central role, but three of her big-name co-stars are just as impressive — and often more so. Shannon's usually forceful energy jostles behind an everyman exterior, giving Napoleon's affable air an always-perceptible edge. It's a stellar stroke of casting, especially given that the Marconis have sought Tranquillum's services to help cope with heartbreaking grief. McCarthy turns in her best work since her Oscar-nominated performance in the phenomenal Can You Ever Forgive Me?, and layers the distress of someone whose life keeps taking unwanted turns over Frances' flowing wardrobe. She's at her strongest opposite the impeccably haunted Cannavale, unsurprisingly. Now working on their fourth collaboration following the aforementioned Thunder Force and Superintelligence, and also Spy, the pair cycle from antagonism and comfort via everything in-between, and give Nine Perfect Strangers its most compelling double act. Directing every episode, filmmaker Jonathan Levine (Long Shot, Snatched, The Night Before) lets his stars play to their strengths, and it works. As lensed by cinematographer Yves Bélanger (another Big Little Lies alum), he also sees the show's glitzy setting with the eye of someone who appreciates how it glimmers, and how brightly, but isn't willing to lose themselves to that shine shine. That's Nine Perfect Strangers' approach overall — it doesn't sink its teeth in as firmly as The White Lotus, but it isn't here to just to play along with its chosen world either. And, in the process, it knows how to lure its audience in and keep them watching. Check out the trailer below: The first three episodes of Nine Perfect Strangers are available to stream via Amazon Prime Video from Friday, August 20, with new episodes dropping weekly afterwards. Images: Vince Valitutti/Hulu.
Burger lovers of Sydney and Melbourne, rejoice — yet another place selling your favourite food is posed to join the culinary lineup. If you've ever been on holiday in Queensland and grabbed a burg on the Gold or Sunshine coasts, then you might be familiar with the newest joint heading down south: Betty's Burgers. Don't go donning your best stretchy pants just yet, though. An opening date for Betty's first two ventures outside of their home state is yet to be announced (setting up a retro burger barn that'll make you feel like you've been whisked back to '50s America takes time, after all). But, expect them sooner rather than later — Melbourne staff have started training in the lead up to the new 97 Elizabeth Street firing up the grills, and the Betty's Facebook page has been posting pictures of Manly in Sydney. Of course, good things come to those that wait, as your mum always told you. That includes five types of burgers, including classic, crispy chicken, pork belly and shroom selections. And there's also the massive stacked concoction that combines a good old' beef burg with its mushroom sibling. If your stomach is already grumbling, that's understandable; Betty's meat-and-bread (and veg-and-bread) fare tastes as good as it sounds. Plus, it's not just the titular fare that's the attraction here, thanks to their Shake Shack-style frozen custard desserts known as 'concretes', which are available in everything from peanut butter brittle to hot fudge doughnut flavours. For more information about Betty's Burgers' Sydney and Melbourne stores, keep an eye on their Facebook page.
"Stop punishing me! Get your hands off me!" Egyptian-American reporter Adam (Hany Adel) yells. "Throw him inside," is the Egyptian police's reply, even after he tries to explain who he is and why he's there. The year is 2013, and the country is awash with conflict. Protests ended the 30-year presidency of Hosni Mubarak in 2011, but more began when the Muslim Brotherhood's Mohamed Morsi took power in 2012. Rallies and resistance became commonplace, culminating in millions of people taking to the streets, Morsi's eventual removal, and then more riots. As the days passed, Muslim Brotherhood supporters and opponents alike were rounded up in paddy wagons by the military, just like Adam and his photographer Zein (Mohamed El Sebaey). Getting comfortable within the scratched metal van is impossible — and, for Clash's 97-minute running time, viewers can't escape that fact. Writer-director Mohamed Diab sets his tense drama inside the vehicle, cramped in close quarters with a growing group of detainees. When they're not peering at the chaos outside through barred windows, or listening to the screams from others confined in a truck parked close by, they're forced to deal with each other over differences of ideology. With the camera never leaving the wagon, we're stuck in there with them as arguments arise and calls for help fall on deaf ears. Don't go thinking that the film's single location is a gimmick – even if movies such as Alfred Hitchcock's Lifeboat, the Ryan Reynolds-led thriller Buried, and the tank-set war effort Lebanon have toyed with the same idea before. While documentaries such as The Square have served up unflinching reality through on-the-ground footage, Clash uses it's claustrophobic locale to convey just how trapped its characters feel. Though it's easy to say that the narrative aims to offer a microcosm of a complex situation, it's a description Diab's film well and truly earns. Indeed, after exploring the sexual harassment of women in his debut feature Cairo 678, Diab once again chronicles the struggles of Egyptian society with an astute eye for the problems at its centre. It's not just the film's cramped setting coupled with its barely fictionalised take on actual events that makes Clash so compelling, drawing upon true tales of journalists rounded up in the dying days of the revolution. It's also the sense of balance Diab shows in heightened and horrific circumstances. His feature doesn't judge or pick sides. Instead, it takes a personal approach to looking at the country's tumultuous political troubles, focusing on the folks caught up in the fray. Help and conflict spring from both camps, providing a portrait of a divided nation united only by its anger. The concept and the content combine to capture the audience's attention, though cinematographer Ahmed Gabr deserves almost as much credit as Diab. Unsurprisingly, you won't find many patient, steady shots here. In fact, frenetic and erratic visuals couldn't be more appropriate. When the truck lurches, shudders and shakes, so does the frame. When fire lights up the sky outside, colour and shadows flicker inside the vehicle. As a result, it's impossible not to be immersed in the characters' harrowing ordeal, and to feel every bump, jump, fight and fear-filled moment. https://www.youtube.com/watch?v=dgvHd9ql7R0
Fixation Brewing Co, the Byron Bay brewery that's a joint venture between Tom Delmont and the Stone & Wood Group, is responsible for some pretty tasty brews. Well, one type of brew specifically: India Pale Ales. Brewing hoppy IPAs is the company's calling card — and its fixation, if you may — and now it has opened a hoppy tasting room right here in Collingwood. Smith Street is home to The Incubator, a tasting room for the IPA-dedicated brewery. A bar and brewery all rolled into one, it's creating and serving up a slew of IPAs — including some of its signature brews, and some Melbourne exclusives. Two new ones you can taste are The 86 IPA and the Easey Street IPA, poured straight from the tanks. The brewery bar isn't just good turf for those who want to drink, though, it's also the right place to be to learn about the brewing process, and IPAs in general. With the tanks right up close to where you'll be sitting having a tipple, be assured that any questions you might have – what is an IPA? What are hops? How does beer get made? What's in the vat? – are going to be answered by those IPA-obsessed folk in the know. No kitchen, but bringing in your own food or UberEats-ing is a go, so your stomach won't be going unlined.
There's something really inviting about Pallino. Maybe it's the warm, modern European fit-out filled with marble, dark wood and brass features. Maybe it's the inviting courtyard (complete with astro turf and Bocce games in summer), or maybe it's the humble drinks list (five regulars on tap plus a couple of rotating specials, modest and largely local wine list, and standard cocktail offerings). Or it could be the welcoming bar staff who stand at the divine marble bar and ask you how your day's been? Whatever it is, the longstanding Pallino attracts a friendly, yet trendy local crowd and strikes the perfect (and oft misplaced) balance between sophistication and neighbourhood warmth.
Part of the crew that brought you the much talked about Armadale cafe Mammoth have unveiled their latest hospitality venture, opening the doors to Gilson, an all-day diner overlooking the Royal Botanic Gardens on Domain Road. Just as Mammoth pushed the envelope with edgy café fare (like the doughnut lobster burger), Gilson is going about things a little differently to most, with owners Loren and Jamie McBride eschewing modernity and "of the moment" in favour of something much more timeless. The couple are involved in Mammoth and Northcote's Barry, and have most recently opened pizza place Primo. Open from 6am until midnight daily, Gilson is a riff on those deeply engrained, old-world European cafes; it's been built in the hopes of becoming a neighbourhood stalwart, right from the get-go. And, given it's slinging fresh flowers on weekends, offering take away pizzas, and hosting aperitivo sessions in the afternoons, there's little doubt Gilson will win over its South Yarra locals pretty darn quickly. A classic bistro menu — put together by chefs Emma Jeffrey and Pippa McLeod — has been crafted around local, seasonal produce, and the star of the show, Gilson's custom-built wood oven. This beaut works its own magic on the masses, turning out creations like wood-fire pizzas, and peach tarte Tatin. A brunch menu is also available until 3pm before the evening offering kicks in, which includes the aforementioned pizzas as well as a selection of sandwiches, small plates and dishes like spaghetti and meatballs and lamb osso bucco. Meanwhile, the enduring fit-out comes courtesy of Projects of Imagination, who've previously left their stylish mark on such foodie faves as Chin Chin and Supernormal. With their prime location across from the gardens, it's a prime posi to sit on the sidewalk with a spritz this summer. Images: Emily Weaving.
Foliage-filled haven Plantsmith is the brainchild of horticulturist and landscape designer Liz Turner. It's stocked not just with a hefty array of plant life, but loads of pots, planters, books, stands, gardening tools and treatments to help really unleash your inner green thumb. Staffed by a team of qualified experts, it's also a primo spot to load up on plant knowledge and ensure you've got all the know-how necessary to keep those plant babies alive and happy. And there's lots more plant-ucation to be gained from Plantsmith's diverse program of classes and workshops — be schooled on the basics in Plant Care 101, or prep for spring with the Propagation and Potting session.
Melbourne's vibrant music scene and coffee culture harmoniously blend together at a light-filled cafe nestled beside Albert Park, Leaps and Bounds Café. Named in honour of the Paul Kelly song, this delightful venue is located in the same spot that once housed Café No 84. The cafe retains its heritage exterior but inside you'll be greeted with a light-filled Scandi-style space kitted out with baby blue posters of iconic artists like Freddie Mercury and Beyoncé, speckled crockery, light wooden tables, blue-grey tiles and polished concrete floors. The menu strikes a chord with brunch classics alongside dishes with a Leaps and Bounds twist, like the Mustang Potato — a surprising medley of crushed spuds, red peppercorn, edamame, and spiced labneh. Other options include the spiced chilli scramble, roasted cauliflower salata, Turkish eggs, bacon benny and French toast, not to mention all the lunch plates available. It's an ideal brunch spot conveniently located around the corner from Albert Park and only a few streets away from Port Melbourne Beach, perfect for catching up with friends over the weekend. Image: Leaps and Bounds
There's certainly has an emphasis on paint for fun, not paint to show off your talent at this outdoor boozy paint class. Head to Gasworks Arts Park to unleash your creativity while sipping on a frosty chardonnay and pondering the beauty of the outdoor world. Classes are run weekly with rotating themes, so you can opt to paint a pier at sunset or another scene from nature. You can even paint your dog, which is obviously the best option if you have a furry pal you want to commemorate in painting form forever. Who knows? Maybe you're very good at art and you'll end up starting the second Renaissance. Or you might just end up gifting your sub-par effort to your mum who thought this was all over in primary school. Either way, it'll be messy fun.
It's frequently referred to as the Olympics of the art world — and at 2024's edition, Australia has won gold. The event: La Biennale de Venezia, aka the Venice Biennale. The award: the coveted Golden Lion for Best National Participation. And the winning artist: Indigenous talent Archie Moore. The First Nations artist's exhibition kith and kin received the top gong, both chronicling history and making it. The work is a hand-drawn genealogical chart that spans back 65,000 years. The win gives Australia its first ever at the Venice Biennale. Both a personal and a political piece, kith and kin works through Moore's Kamilaroi, Bigambul, British and Scottish heritage across the installation's five-metre-high, 60-metre-long black walls. More than 2400 generations are covered. On display at the Australia Pavilion, the exhibition uses chalk on blackboard, with a reflective pool sitting in the middle of the room and 500-plus document stacks suspended above it. Every aspect of kith and kin makes a statement. With its size and scale, it speaks to Australia's Indigenous peoples being among the world's longest-continuous living cultures. The use of black is also designed to look like a celestial map, and therefore nod to the resting place of First Nations ancestors. Highlighting the decrease in Indigenous Australian languages and dialects since colonisation, the fragility that stems from not being able to pass down knowledge and injustices such as deaths in custody are all also part of the work — with the aforementioned piles of paper primarily from coronial inquests. "The phrase 'kith and kin' now simply means 'friends and family'. However, an earlier Old English definition that dates from the 1300s shows kith originally had the added meanings of 'countrymen' and also 'one's native land', with kin meaning 'family members'," notes Moore's explanation of the work. "Many Indigenous Australians, especially those who grew up on Country, know the land and other living things as part of their kinship systems — the land itself can be a mentor, teacher, parent to a child. The sense of belonging involves everyone and everything, and for First Nations peoples of Australia, like most Indigenous cultures, is deeply rooted in our sacred landscapes from birth until death." "I was interested in the phrase as it aptly describes the artwork in the pavilion, but I was also interested in the Old English meaning of the words, as it feels more like a First Nations understanding of attachment to place, people and time." kith and kin was curated by Queensland Art Gallery and Gallery of Modern Art's Ellie Buttrose, and also has a date with the Brisbane gallery as part of its 2025–26 program after its Venice run. In Italy, the work is on display until Sunday, November 24, 2024. "In this quiet, impactful pavilion, Archie Moore worked for months to hand-draw in chalk a monumental First Nation family tree. Thus 65,000 years of history (both recorded and lost) are inscribed on the dark walls and ceiling, inviting viewers to fill in the blanks and grasp the inherent fragility of this mournful archive," said the jury of the 60th International Art Exhibition of La Biennale di Venezia about Moore's exhibition. "The official documents drawn up by the State float in a moat of water. The result of Moore's intensive research, these documents reflect the high rates of incarceration of First Nations people." "This installation stands out for its strong aesthetic, its lyricism and its invocation of a shared loss of an occluded past. With his inventory of thousands of names, Moore also offers a glimmer of the possibility of recovery." "As the water flows through the canals of Venice to the lagoon, then to the Adriatic Sea, it then travels to the oceans and to the rest of the world — enveloping the continent of Australia — connecting us all here on earth. Aboriginal kinship systems include all living things from the environment in a larger network of relatedness, the land itself can be a mentor or a parent to a child. We are all one and share a responsibility of care to all living things now and into the future," said Moore about his win. "I am very grateful for this accolade; it makes me feel honoured to be rewarded for the hard work one does. I am grateful to everyone who has always been part of my journey ‚ from my kith to my kin — to my Creative Australia team and everyone else back home and those of the Venice lagoon." kith and kin is on display at the Australia Pavilion, Giardini di Castello, 60th International Art Exhibition of La Biennale di Venezia, until Sunday, November 24, 2024 — head to the exhibition website for further details. Images: Archie Moore / kith and kin 2024 / Australia Pavilion at Venice Biennale 2024 / Photographer Andrea Rossetti / © the artist / Images courtesy of the artist and The Commercial.
Melbourne's just about got it all when it comes to bars, but that hasn't stopped them opening in droves this year. 2017's newbies have been diverse so far; as well as some top-notch Euro-leaning wine bars, we've had an inner-city microbrewery open alongside an all-out bar dedicated to mini golf with 21 themed holes. Yeah, there's just some things you can't recreate at home. With so many openings hitting the city in a six-month period, we whittled it down to our favourite newcomers raising the bar for Melbourne's drinking scene. Well, our favourites so far — there's still another six months to go. Image: Brook James.
As everyone takes on paleo diets and embraces kale and cacao like they're going out of style, it can be easy to forget the real purpose of good nutrition. No, it's not to impress people with buzzwords or nom on superfoods as a fashion statement — it's about your health and happiness. In an effort to bring this message back to the fore, Australia's first "happiness restaurant" has opened in Melbourne. With chemicals on their mind and delicious fruit on their plates, Serotonin Dealer has swung open the doors of their Madden Grove establishment, Serotonin Eatery, in Richmond. In case you missed that class in high school biology, serotonin is a chemical released by your body that produces the feeling of happiness. There a number of ways you can increase your serotonin levels — get a good night's sleep, maybe grab a little sunlight, cut down on your coffee and booze — but it's also got a lot to do with your food. Despite what you may secretly hope, a big binge at Maccas isn't going to make your body very happy. What we really crave is raw, chemical-free, plant-based foods. This is what Serotonin Eatery will be focusing on. "I don't believe in diets," says founder Emily Arundel. "I believe that everyone should just be aware of what they are putting into their bodies and make the right choices to lead a healthy life." Accordingly, Arundel's cafe will serve fresh juices, smoothies and fibre-rich treats for breakfast, lunch and weekly set dinners. But it won't stop there. With personal trainers and yoga instructors on site for daily morning classes, Serotonin Eatery will be an interactive, inclusive one-stop health shop — a welcome effort to curb Australia's climbing rates of obesity, depression and anxiety. Find Serotonin Eatery at 52 Madden Grove, Burnley. Open Wed-Fri 7am-4pm and Sat-Sun 8am-4pm. Images: Didriks via photopin cc, Serotonin Dealer.
You have to hand it to Peter Strickland, he doesn't make films like everyone else. The British-born, Hungarian-based writer/director makes features that are precise in both sound and vision, and use all aspects of both spectrums. If you didn't witness it in in his acclaimed second effort, Berberian Sound Studio, then you might not know quite what you're in for in his third and latest, The Duke of Burgundy. The movie's opening scene, featuring a woman ostensibly reporting for work at the stately home of her strict boss, gives a glimpse of what will follow. Strickland and his regular cinematographer Nicholas D. Knowland hone in on the details surrounding what looks to be a terse employment exchange, though apart from the meticulousness of the imagery, little is as it appears. It's soon revealed that the seemingly dutiful Evelyn (Chiara D'Anna) and the stern Cynthia (Sidse Babett Knudsen) are actually in a relationship, and that this is the first step in their regular sensual role- and game-playing. They're trying to find fulfilment by indulging their fetishes and exploring the limits of submission and domination, though the ever-curious younger woman just might be looking for something beyond her caring homebody partner's comfort zone. If The Duke of Burgundy sounds like a puzzle waiting to be pieced together, that's because it is — as well as a study of the shifting boundaries of passion, and the way pursuing them can be both limiting and freeing. Crucial to mystery is Cynthia's real profession as an entomologist specialising in moths and butterflies, with Evelyn doubling as her student. Their shared field of interest offers much about the notion of transformation so central to the story. A puzzle similarly springs from Strickland's use of his influences, again steeping his work in the hallmarks of times gone by — and adhering to one of the filmmaker's repeated flourishes. Where his last offering both paid tribute to and appropriated the style of Italian giallo horror movies, this time around '70s European art cinema is in the spotlight. Think decadent surroundings and a seductive mood, plus ample prolonged shots at pivotal moments mixed with flourishes of frenetically edited butterfly wings. Think a sometimes-comedic tone as well. Yes, really. As it treads obsessively and feverishly through its tale, The Duke of Burgundy swiftly proves an accomplished and immersive work from someone who knows how to both achieve the unusual on screen and plunge viewers into a different world. It also proves a considerable showcase for the talents of his leading ladies, the former a veteran of Berberian Sound Studio, the latter perhaps best known for TV's Borgen. In lesser hands, their characters might've played as caricatures — and anyone who has watched Fifty Shades of Grey knows that that's an outcome no one wants to see. Thankfully, D'Anna, Knudsen and Strickland are as far from this year's other big screen account of erotic bondage as they can get. Once again, that's a good thing.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. YOU WON'T BE ALONE What's more terrifying: knowing that death is inevitable, because our fragile flesh will fail us all eventually and inescapably, or accepting that little we ever sense can truly be trusted given that everything in life changes and evolves? In horror movies, both notions stalk through the genre like whichever slasher/killer/malevolent force any filmmaker feels like conjuring up in any particular flick — and in You Won't Be Alone, the two ideas shudder through one helluva feature debut by Macedonian Australian writer/director Goran Stolevski. An expiration date isn't just a certainty within this film's frames. It's part of a non-stop cycle that sees transformation as just as much of a constant. You Won't Be Alone is a poetically shot, persistently potent picture about witches but, as the best unsettling movies are, it's also about so much that thrums through the existence we all know. Viewers mightn't be living two centuries back and dancing with a sorceress, but they should still feel the film's truths in their bones. First, however, a comparison. Sometimes a resemblance is so obvious that it simply has to be uttered and acknowledged, and that's the case here. Stolevski's film, the first of two by him in 2022 — MIFF's opening-night pick Of an Age is the other — boasts lyrical visuals, especially of nature, that instantly bring the famously rhapsodic aesthetics favoured by Terrence Malick (The Tree of Life, A Hidden Life) to mind. Its musings on the nature of life, and human nature as well, easily do the same. Set long ago, lingering in villages wracked by superstition and exploring a myth about a witch, You Won't Be Alone conjures up thoughts of Robert Eggers' The Witch, too. Indeed, if Malick had directed that recent favourite, the end product might've come close to this entrancing effort. Consider Stolevski's feature the result of dreams conjured up with those two touchstones in his head, though, rather than an imitator. The place: Macedonia. The time: the 19th century. The focus: a baby chosen by the Wolf-Eateress (Anamaria Marinca, The Old Guard) to be her offsider. Actually, that's not the real beginning of anyone's tale here in the broader scheme of things — and this is a movie that understands that all of life feeds into an ongoing bigger picture, as it always has and always will — but the infant's plight is as good an entry point as any. The child's distraught mother Yoana (Kamka Tocinovski, Angels Fallen) pleads for any other result than losing her newborn. You Won't Be Alone's feared figure has the ability to select one protege, then to bestow them with her otherworldly skills, and she's determined to secure her pick. That said, she does agree to a bargain. She'll let the little one reach the age of 16 first, but Old Maid Maria, as the Wolf-Eateress is also known, won't forget to claim her prize when the years pass. Nevena (Sara Klimoska, Black Sun) lives out that formative period in a cave, in her mum's attempt to stave off her fate — and with all that resides beyond her hiding spot's walls glimpsed only through a hole up high. Then the Wolf-Eateress comes calling, as she promised she would. From there, Nevena's initiation into the world — of humans, and of her physically and emotionally scarred mentor — is unsurprisingly jarring. Her transition from the care and protection of her "whisper-mama" to the kill-to-survive ruthlessness of her new "witch-mama" disappoints the latter, soon leaving the girl on her own. Still, the need to hunt, devour and mutate has already taken hold, even if Nevena is left fending for herself as she shapeshifts between animals and other humans. With Noomi Rapace (Lamb), Alice Englert (The Power of the Dog) and Carloto Cotta (The Tsugua Diaries) also among the cast, You Won't Be Alone turns Nevena's curiosity-driven experiences of life, love, loss, identity, desire, pain, envy and power into an unforgettable, mesmerising and thoughtful gothic horror fable — charting switches and the stories that come with them with each metamorphosis. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on June 2, June 9, June 16, June 23 and June 30; and July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; and September 1, September 8 and September 15. You can also read our full reviews of a heap of recent movies, such as Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions, Nude Tuesday, Ali & Ava, Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise and Clean.
Following in the very bright and joyful footsteps of Taylor Square in Sydney, Melbourne's St Kilda is now home to a 35-metre-long flag down Jackson Street. The road is a public display of the City of Port Phillip's support for marriage equality and a celebration of the area's LGBTQI+ community, as well as a way of injecting a little colour and joy into the days of everyone who treads across it. Jackson Street makes up part of the busy Fitzroy Street precinct in St Kilda, and is considered to be highly visible to those walking, riding, tramming or driving. Acting Mayor Cr Dick Gross said the area's long-standing history with, and commitment to, the LGBTQI+ community makes it the perfect spot for the rainbow road. The area has hosted the annual Midsumma Pride March for 23 years. Head along to the new St Kilda rainbow road, take a photo — do watch for cars — and help spread colour (and positivity) throughout the city. Images: Sanjeev Singh
Studley Park Boathouse officially reopened today, Thursday, 31 August, following a $5.8-million makeover. The historic boathouse unveiled a new cafe, restaurant, pizzeria, gelato cart and outdoor dining deck along the Yarra. Australian Venue Co. (Yarra Botanica, Fargo & Co, BrewDog Pentridge) has worked closely with Parks Victoria on the transformation to protect and enhance the heritage site. To celebrate the opening, guests to Studley Park Boathouse on weekends between 2–4pm across 2–17 September will snag a complimentary welcome drink on arrival, free slices of roaming pizza and complimentary boat hire sessions. Kids can also score free ice-cream all day on weekends. "Studley Park Boathouse is a beloved part of Melbourne's history, so it was important to us to preserve its character while revitalising it for the modern Melbourne community. We look forward to welcoming locals and visitors back to the revitalised space," Australian Venue Co. CEO Paul Waterson says. On the bill: a sun-filled dining room offering a leafy outlook overlooking the Yarra River and parkland. Boasting floor-to-ceiling windows, a sophisticated yet sensible interior is promised, with touches of rattan, white timber and natural hues to tie the space together. Small and large plates run to the likes of hiramasa kingfish tartare with apples and chives, Lilydale free-range chicken and a 'Tipsy Trifle' which combines baileys, fig leaf custard, cherries and strawberries. The wine list leans local, championing an entirely Victorian menu sourced within 100km of Studley Park Boathouse. Sip through 16 wine-by-the-glass options, or opt for a seasonal tasting paddle that will showcase drops from the Yarra Valley, Mornington Peninsula, Geelong, Heathcote and the Pyrenees in spring. Downstairs, residents familiar with the former kiosk will find it revamped as the Pavilion bar, which extends to a large, al fresco dining area and riverside dining deck. A pizzeria will serve eight different woodfired options, including a charred pumpkin and ricotta number, meatballs with blue cheese, or chorizo paired with n'duja and roasted peppers. Meanwhile, a redesigned cafe named The Perch will cater brunch on weekends. All food and bevvy options are available at any location throughout the revamped Studley Park, so you can pick your favourite spot to perch and spend the afternoon tasting through the offerings. Picnic packages complete with blanket hire and a new 'Row-sé' package bundles together boat hire, glasses of rosé, pizza and gelato. The team is also preparing to host a line-up of pop-up events and live entertainment throughout the year, including live music on Fridays, Saturdays and Sundays. Studley Park Boathouse is now open. Head along between 2–4pm, between 2–17 September, to score a complimentary welcome drink on arrival, free slices of roaming pizza and complimentary boat hire sessions. Kids can also score free ice-cream all day on weekends. Images: Jamie Alexander.
This bustling Polish bar and restaurant, run by a husband and wife duo in Brunswick East, is a love letter to Poland. Bringing authentic Polish eats to the inner city for the past two years, the couple are now inviting Melburnians to leave their cold homes and warm up with a delicious winter feast. Given Poland's freezing temperatures, Polish food is perfect for winter. The feast's menu combines traditional flavours and ingredients with a modern twist, showcasing some of the couple's favourite dishes while making the cooler months a little more bearable. Guests will start with barszcz bialy (white borscht): a traditional soup featuring fermented wheat and oats cooked with pork ribs and sauerkraut, made from a family recipe from the heart of the Swietokrzyskie region. For your main, indulge in slow-cooked ham hock in apple sauce, served with mashed potato and caramelised cabbage wedges topped with house-made salsa Polska. Finish things off with a simple but tasty dessert: a traditional fruit cake with kruszonka. The Polish Winter Feast will take place on Saturday, July 26–Sunday, July 27, with seatings at 12pm and 2pm. With limited seating available, book your spot now so you don't miss out. Images: Supplied.
It is well and truly holiday season and as things heat up (literally and figuratively), Black Star Pastry has come in with the ultimate way to elevate your Christmas gathering. Enter the brand-new White Strawberry Watermelon Cake — a limited-edition Christmas version of its famous Strawberry Watermelon Cake aka the "world's most Instagrammed cake". The cake is crowned with white strawberries — rare variants originally from Japan — known as 'hatsukoi no kaori' or 'scent of first love', which have limited availability in Australia. Also included: layers of fresh watermelon and almond dacquoise enveloped in a rose- and strawberry-scented cream, then topped with white strawberries, pink cream, hand-carved snowflakes and a dusting of sweet snow — the closest thing we'll get to a white Christmas Down Under. The four-portion White Strawberry Watermelon Cake, priced at $80, is currently available for preorder. You'll want to get in quick, as this baby is available in strictly limited numbers due to the elusive nature of the white strawberry. Once ordered, collection will be available on Saturday, December 23–Sunday, December 24. In its 2023 Christmas range, Black Star Pastry is also offering a Gingerbread Chiffon Cake ($70). This take on the classic chiffon includes a gingerbread-spiced base, molasses buttercream layers, a white chocolate and lemon drizzle, then mini ginger ninjas and handmade white and strawberry chocolate candy canes on top. It serves 12 portions, with pre-orders are available now — as is collection, which will end on Sunday, December 24. For those looking to grab a slice of the festive action, individual slices of the Gingerbread Chiffon Cake are available in Sydney's Rosebery and Chatswood stores, as well as Melbourne's St Kilda store. So, if you're in Sydney or Melbourne this holiday season, why not treat yourself? After all, what's Christmas without a little indulgence? Head to the Black Star Pastry website to order the White Strawberry Watermelon Cake and the Gingerbread Chiffon Cake before Sunday, December 24.
Sleek and chic, Shadowboxer makes for a pretty fine post-work destination. It has a succinct list of local wines by the glass, fancy cocktails — including negronis aged in French oak — and refined bar snacks. Settle in with rabbit and pork terrine, kangaroo tartare and charcuterie. Or, head in between 3-6pm to catch the daily aperitivo hour.
In celebration of negroni week, Campari and The Everleigh are teaming up to present Sips On Screen: The Life Aquatic with Steve Zissou. This iconic Wes Anderson film will be paired with a cosy night of cocktails, pizza and popcorn, all at one of Fitzroy's favourite bars. After grabbing a negroni on arrival courtesy, you'll find it very easy to settle into The Eveleigh's Elk Room. During the screening, you'll be able to sit back with popcorn, Connie's Pizza and three negroni-inspired mini cocktails, with everything included in the ticket price. Running from 6pm on Wednesday, June 26, the event doesn't just mark the annual negroni week — which launched in 2013, and has become a feature at more than 10,000 participating venues worldwide, raising around $2 million for charities in the process. It also helps mark 100 years of the beloved beverage, with The Everleigh donating $5 from every ticket sold to Australian food rescue organisation Oz Harvest.
This July, a groundbreaking exhibition will kick off at the Koorie Heritage Trust in Federation Square, with the main aim of smashing preconceptions of Indigenous design. Titled Blak Design Matters and curated by award-winning architect Jefa Greenaway, it'll be the first national survey of Australian Aboriginal and Torres Strait Islander design, showcasing talent from across the country. Exploring everything from architecture and town planning, to interior and product design, the exhibition's out to celebrate Indigenous design within a contemporary context, instead of reinforcing the usual link to long-held traditions and eras past. It'll look at how Aboriginal-led design remains innovative, creative and contemporary, while still balancing a respect for history. On show will be a diverse spread of work, including jewellery from Maree Clarke, Haus of Dizzy and Grace Lillian Lee, graphic design from Balarinji Designs, Marcus Lee Designs and Galimbaa Designs, and fashion pieces by the likes of Lyn-Al Young and Teagan Cowlishaw's AARLI. "Think of the potential to appropriately and sensitively reference the depth of history that this country too often conceals," said Greenaway. "Indigenous-led design and designers have the tools to give voice to many compelling narratives that our rich culture holds".
Master sommelier Madeline Triffon describes Pinot Noir as 'sex in a glass', while winemaker Randy Ullom calls it 'the ultimate nirvana'. One of the most challenging grapes in the world of vinification, it's also one of the most surprising and rewarding. No wonder Bottle Shop Concepts — the good folk who brought Game of Rhones our way in June — are coming back to town with Pinot Palooza, an epic travelling wine festival celebrating all things Pinot Noir. For just one day, wine connoisseurs in Sydney, Melbourne and Brisbane will have the chance to sample more than 150 drops, direct from the Southern Hemisphere’s best producers. Think Ata Rangi, Yabby Lake, Bay of Fires, Rippon, Kooyong, Mount Difficulty — and that’s just the first few leaves on the vine. Whether you’re a newbie who wants to start with something light and inviting, or a Pinot pro ready for the biggest, most complex mouthful on the menu, there’ll be an abundance of selections at either end — and plenty along the spectrum, too. You’ll even be able to vote for your favourite and go in the draw to win some wine-driven prizes. If, at any point, you need to take a pause in your tasting adventures, you’ll be able to pop into the Alfa Romeo Lounge. There’ll be cosy places to sit and mull over your chosen Pinot, loads of food and the epic Burgundy Bar – a kind of Pinot Noir mecca where you’ll be able to sample bottles worth $150+ at affordable, by-the-glass prices. Expert sommeliers will also be on hand to help you make selections. What's more, those keen to fuel their brains (and not only their taste buds), can indulge in a 'Back Stage Pass'. It's a chance to partake in a master class with some of Australia's smartest wine educators and learn all about what's happening in Burgundy, France — Pinot Noir’s spiritual home. Pinot Palooza will hit Melbourne on Saturday, October 4 at St Kilda Town Hall, Sydney on Monday, October 6 at Carriageworks and Brisbane on Sunday, October 12 at Light Space. Tickets are $60, which includes tastings, a take-home Riedel 'Heart to Heart' Pinot Noir glass and the latest issue of Wine Companion magazine. You can buy tickets right here.
Get fancy with canapés and matching frothies at Good Beer Week's Hopped High Tea. Hosted by The Metropolitan Hotel, this decadent affair will feature an array of delectable treats, including fried chicken ribs with jalapeño mayo, cocktail sandwiches with blue swimmer crab, chilli fried prawns with lime and mint, and chocolate and cardamom tarts with pecan toffee shards. The team from Mountain Goat will take care of the drinks, which will include a number of beer cocktails. Of course, it wouldn't be high tea without freshly baked scones, served here with Imperial Stout cream and lashings of blackberry jam.
Trust a mockumentary about the undead to keep coming back in new guises. Taika Waititi and Jemaine Clement's What We Do in the Shadows first came to light as a short film in 2005, then made its way to cinemas in rib-tickling feature-length form in 2014, and currently has both a werewolf-focused sequel and a US television remake in the works. As first announced back in 2016, it's also getting a Cops-style TV spinoff named Wellington Paranormal — and SBS has just announced that it will air on Australian TV later this month. The first two episodes of the much-anticipated series will air on SBS Viceland (and be available on SBS On Demand) on Tuesday, July 31, with episodes airing weekly after that. We don't even have to wait too much longer than New Zealand audiences, either — it will air on TVNZ tonight. If you haven't watched the trailer, here's a little background info. Wellington Paranormal doesn't spend more time with everyone's favourite Wellington-dwelling bloodsuckers, even though Waititi and Clement conceived the six-part series. Instead, it follows police officers Karen O'Leary and Mike Minogue, who WWDITS fans might remember came knocking at the vampire share house's door. With the help of Sergeant Maaka (Maaka Pohatu), the cop duo will keep trying to keep the city safe from supernatural happenings — and we're sure viewers will keep watching. When Wellington Paranormal's existence was first revealed, Waititi described the show as "Mulder & Scully but in a country where nothing happens" on Twitter, should you need any more reason to get excited. https://www.youtube.com/watch?time_continue=2&v=WRO2QfESbEI
This one's all in the name. With a focused and easy-to-read menu that doesn't compromise on variety, I Love Pho is your go-to for a quick and no-fuss meal. Like so many of the top pho spots in Melbourne, there are topping options all across the spectrum, including brisket, meatballs, tendon, heart, liver and giblets — but notable here is a vegetarian option with tofu and veggies. Either way, you're sure to get the classic flavour and soft mouth-feel you'd expect from a top-quality pho in Melbourne. [caption id="attachment_793549" align="alignnone" width="1920"] Visit Victoria[/caption] Top image: Abir Hiranandani
When Melburnians think of a summer activity, cooling down is top of mind. A trip to an idyllic swimming hole, local ice-cream shops and gorgeous beaches top the list, but sitting in a geothermal pool isn't the first thing that springs to mind. Don't write the hot springs off entirely, though: the award-winning Peninsula Hot Springs just debuted an aptly named Cool Zone, amongst other heat-friendly amenities that put a refreshing spin on summer soaks. For the uninitiated, cold plunge pools and a cavernous ice cave sit in the spa's Fire and Ice area, a circuit designed for contrast therapy, where guests move from hot to cold experiences. Now, the icier end of the offering has expanded with the addition of three amphitheatre pools that stay at a comfortable 20 degrees, alongside refreshing mist "clouds" that spritz from above. Follow the Cool Trail as you move from one chilled pool to another — think mist-filled pathways, cold geo-thermal showers and temperature-controlled benches shaded by lush greenery. Summer menus are in full swing around the springs. Right at the entrance, local gelateria The Yard By The Bay has set up an ice cream bar with crowd-pleasing scoops like salted caramel and pistachio. From cold brews to iced matchas to acai bowls and choc-top, the Amphitheatre Cafe is stocked with more sunny-day snacks. And if the day calls for something a little more spirited, the Bath House Cafe is pouring Limoncello spritzes. Pair your bath with the seasonal Summer Salt & Glow treatment — a 75-minute ritual that combines a salt exfoliation with a soothing back massage, ending with a calming aloe vera body moisturiser. The adults-only Spa Dreaming Centre is also equipped with thoughtful details to manage the heat, including chilled face washers, hydration stations and iced teas. Our hot tips? Get to the springs early to enjoy the crisp morning air before exploring the rest of the Mornington region — it opens at 7 am on weekdays and 5 am on weekends — or dodge the UV rays completely with a moonlit bath on the weekend. Images supplied
It was a long time in lockdown, Melbourne, but, excitingly, events are starting to pop up on the cultural calendar for summer. One of the first is an immersive playground for kidults and children alike taking over The District Docklands from Thursday, November 26. It was initially set to end at the end of January 2021, but was extended till Sunday, May 23 due to popularity. Dubbed Imaginaria, the installation is made up of different structures each filled with lights, sounds, smells and even circus stars. You'll be able to wander through a futuristic light maze, a giant inflatable bubble, an echo cave, a secret garden and across a high beam in a NASA-inspired black hole simulator. The experience has been designed and produced by Loose Collective, which was also behind Fed Square's Sensory Underground. The hour-long experience is a shoes-off affair and open to all ages. It'll have capacity limits and strict hygiene measures — including mandatory face masks — as many events will this year. Tickets are $29.95 a pop for adults and go on sale from Friday, October 9 via Ticketmaster. Imaginaria is open from 10am–5pm Tuesday–Thursday and 10am–6pm Friday–Saturday. Images: William Hamilton-Coates
It's no secret that high-level cycling attracts some pretty serious devotees, but when you come across the Bike Gallery just off Burke Road, you'll be made to feel at home with some fantastic coffee and a laidback attitude. Opened in November 2010, the shop is no slouch when it comes to high-end bicycles, stocking acclaimed cycling brands such as Pinarello, Cervelo and S-Works, and also clothing and accessories by the likes of Rapha, Pedla and Melbourne's own MAAP. With a dedicated cafe, workshop and regular shop rides, Bike Gallery is a place that most cycling fanatics can only dream of.
Having a bad Wednesday? This will fix what ales you. The good people at Beer DeLuxe Federation Square are going to make your hump day easier to swallow with their summer-long Wednesday eve events. Spread over two levels and a beer garden, Beer DeLuxe are known for their excellent range of craft brews. The large beer garden will play host to kegfuls of local and international brews, as well as some of Melbourne's favourite food trucks every Wednesday throughout summer. Tapping into the post-work drinks market for hungry and thirsty city office workers seems like the perfect match for the venue, and should be perfect for balmy summer nights. Don't worry about those surprise cold Melbourne evenings though — if it gets drafty outside there's plenty of indoor seating available. The schooner you come down to try this hop-up event, the better. Good times will surely flow. Beer DeLuxe's Summer Hop Up will run every Wednesday from 6pm to late.
It's not every comedian who would take a nonchalant detour from her LA stand-up set to announce to the audience she'd just been diagnosed with breast cancer. That day. "With humour, the equation is tragedy plus time equals comedy," said Tig Notaro that night. "I am just at tragedy right now." A brave, matter of fact Grammy-nominee who did something instantly legendary in 2012, Notaro has just announced she's coming back to Australia. One of the US's biggest stand-up comedians, Notaro is heading to our shores from December 6 – 13 for a limited run of dates presented by Melbourne International. Stopping by Perth, Melbourne, Brisbane and Sydney, Notaro's Boyish Girl Interrupted tour is sure sell out venues within an inch of their capacity — having sold out her wildly successful Edinburg Fringe run last year and sold a casual 100,000+ copies of her Grammy-nominated, second comedy album Live, the follow up to her 2011 debut Good One. Notaro's blend of humour and real life truth bombs have earned her serious high fives from some significantly kickass people — Louis CK tweeted after her LA show, "In my 27 years doing this I have seen a handful of truly masterful performances. One was Tig Notaro last night." Then This American Life's Ira Glass went and praised his frequent TAL contributor, "Tig is now in the heads of hundreds of thousands of people who don’t see her as a comic, she’s now their favourite person." Throw in some kickass guest appearances on The Office, The Sarah Silverman Program, Inside Amy Schumer and Community and you've got yourself one truly applauseworthy comedian. Tig Notaro's Boyish Girl Interrupted 2014 Dates: Perth: Saturday 6 Dec, 8pm — Regal Theatre. Tickets via Ticketek. Melbourne: Tuesday 9 Dec, 8pm — Athenaeum Theatre. Tickets via Ticketek. Brisbane: Thursday 11 Dec, 8pm — Tivoli Theatre. Tickets via Ticketmaster. Sydney: Saturday 13 Dec, 8pm — Enmore Theatre. Tickets via Ticketek. Tickets on sale on Wednesday 17 September. Image: Ruthie Watt.
Another week, another cookie pie. That's how it feels sometimes thanks to Gelato Messina's beloved desserts — and no, we're not complaining. After the gelato chain first introduced its cookie pies to the world in 2020, it has kept bringing the OTT dessert back. We all need an extra dose of sweetness every now and then, obviously, including while both Sydney and Melbourne are in lockdown. So, it should come as no surprise that Messina is serving up the decadent dessert yet again. This time, though, it's quite the Frankenstein's monster of a dessert. This version is also a returning favourite — and, if you like fairy bread, cookie pies and Messina's gelato, prepare to get excited. Hang on, a cookie pie? Yes, it's a pie, but a pie made of cookie dough. And it serves two-to-six people — or just you. You bake it yourself, too, so you get to enjoy that oh-so-amazing smell of freshly baked cookies wafting through your kitchen. Now that you're onboard with the overall cookie pie concept, the fairy bread version really is exactly what it sounds like. That crunchy, crumbly cookie dough is filled with milk and dark Messina chocolate chunks, as well as vanilla custard. It's then topped with more 100s and 1000s than you've probably seen since your childhood birthday parties. It wouldn't be a fairy bread version otherwise, of course. You can only buy this pie in kits, which means that you'll get some of the cult ice creamery's famed gelato along with it. You can opt for a 500-millilitre tub for $38, a one-litre tub for $44 or a 1.5-litre tub for $48. If you're keen to get yourself a piece of the pie, they're available to preorder from 9am on Monday, July 19 — with pick up between Friday, July 23–Sunday, July 25 from your chosen Messina store. Once you've got the pie safely home, you just need to whack it in the oven for 30 minutes at 160 degrees and voila. You can preorder a Messina fairy bread cookie pie from Monday, July 19, to pick up from all NSW, Vic and Queensland Gelato Messina stores except The Star.
With a title that speaks of next generations, The Son is a film about second efforts, including off-screen. For writer/director Florian Zeller, it marks the French novelist and playwright's sophomore stint behind the camera, and notches the list of movies he's helmed based on his own stage works up to two as well. After dual Oscar-winner The Father, which earned Zeller and co-scribe Christopher Hampton the Best Adapted Screenplay award and Anthony Hopkins the much-deserved Best Actor prize, it's also his second feature with a family member in its title. And, it's his second largely confined to interior settings, focusing on mental illness, exploring complicated father-child relationships within that intimate domestic space and driven by intense dialogue spouted by a committed cast. Hopkins pops up once more in another psychodrama, too, as a dad again. Within its frames, The Son follows New York lawyer Peter Miller (Hugh Jackman, Reminiscence) as he's happily starting over with his second wife Beth (Vanessa Kirby, Pieces of a Woman) and their newborn Theo, his second son. Here's the thing about second chances, though: sometimes your first shots can't simply be forgotten, no matter how eager you are to move on. Peter confronts this truth when his ex-spouse Kate (Laura Dern, Jurassic World Dominion) unexpectedly knocks at his door one day, distraught about learning that their 17-year-old Nicholas (Zen McGrath, Red Dog: True Blue) has been ditching school long-term. The teen hasn't been a contented presence around her home since his dad left, either, with depression setting in after such a big upheaval to his status quo. So, Peter and Kate agree to a parental rekindling, with Peter giving being an active dad to Nicholas — having him come to live with him, Beth and Theo, in fact — a second go. Can lightning strike twice, for Zeller and for Peter? Once again co-writing with Hampton (who nabbed his first Oscar for adapting 1988's Dangerous Liaisons, and another nomination for his work on Atonement), The Son's creative force wants that to be a complicated question — and it is. In his layered narrative, Zeller keeps playing up doubles and playing with duality, including the varying ways that Peter treats his two boys, the push and pull of work and home as a new career opportunity arises, Nicholas' mood and attitude with two differing maternal figures, and the impact of Peter's own fraught relationship with his hard-nosed father (Hopkins, Armageddon Time). The latter is a dynamic that Peter doesn't have fond feelings about and is desperate not to reprise, but we all know what they say about history repeating. Accordingly, for The Son's increasingly exasperated patriarch, lightning striking twice is a double-edged sword. In all of the above, from the moment that it begins with Peter, Beth and Theo at home, then talks about Nicholas, his troubles and mental state before introducing him, The Son is firmly aligned with Peter. Consequently, it's also stressed by a big struggle: truly comprehending Nicholas. The Father, whose shadow the often-clinical The Son will always be under — yes, the connection between Zeller's first two movies mimics the connection between the characters in his second flick — was the masterpiece it was by bringing its namesake's mindset to the screen. Zeller surrounded Hopkins' brilliant performance with immersive cinematography that plunged his audience into the confusion, disruption and distress of experiencing dementia. With The Son, teen anxiety, truancy and the scarred arms that indicate suicidal ideation are things to talk about, brood over and saddle with Chekhovian logic rather than attempt to deeply understand. Set to a solemn score by Hans Zimmer (Prehistoric Planet), Zeller's latest film is filled with pain, hurt and devastation, clearly, but also distance from the person who's meant to be so pivotal that the picture is literally named after him. That said, the movie's moniker is revealing — because it's barely interested in fleshing out Nicholas as a person beyond being a son that Peter has to deal with due to the bonds of blood and the weight of regret. One of the feature's big emotional arcs charts Peter's growing realisation that being a parent is about genuinely seeing and accepting your child for who they are, and working to help them be the best version of themselves that they want to be instead of who you envision. It culminates in a stunning payoff sequence, but if only The Son paid more attention more often to who Nicholas is beyond his cutting anger, physical cuts, and Peter, Beth and Kate's reactions to him. If only The Son also spent more time showing rather than telling — indeed, with its talk-heavy screenplay always betraying the story's stage origins, it devotes almost all of its efforts to telling. Again, even with cinematographer Ben Smithard lensing both here and for The Father, his current work for Zeller peers on rather than dives in. It's a testament to Jackman and McGrath's performances that The Son is as engaging as it is, however, and as dripping with raw emotion. Both Australian talents, one famous for decades at home and abroad, the other an impressive up-and-comer to watch, their duel of words, heartache, expectations and internalised dismay is finely tuned and gripping. Alongside Jackman's one-scene face-off with Hopkins, their still-stagey but compelling one-on-ones are the film's showpieces. On the stage, The Father and The Son are the two parts of a thematic trilogy, completed by Zeller's The Mother — which, in its off-Broadway run in 2019, starred incomparable French icon Isabelle Huppert (an Oscar-nominee herself for 2016's Elle). Whether it too will make it to the movies is yet to be seen, but the two mums of The Son are sadly pushed aside. The always-great Dern and Kirby make the most they can of thin parts, though always deserving better, the two actors conveying a mother's and a stepmother's fears, anguish and hopes, respectively. They also share one of the film's key tussles: appreciating and unpacking its characters, Peter, Beth and Kate alike, and Nicholas especially, as more than their familial labels.
Melbourne will soon be welcoming its first pool club, just in time for summer. The Bali-inspired Olsen Pool Club (part of the chic Olsen Hotel) will officially be open to both guests and members of the public on December 1. City slickers can spend their Sundays lounging away on the rooftop terrace under dreamy white canopies, sipping cocktails out of coconuts and taking a dip in the modern, glass-bottomed 25-metre swimming pool that overlooks Chapel Street. If you need some AC relief, refuge into the Norbu Urban Retreat and Spa for a little pampering and relaxation — complete with premium organic products, personalised oils and cosmeceutical-strength products. If you further feel like relaxing in the ambience of the pool space, resident DJ Danny Bonnici will be there setting the soundtrack to your summer. In a sanctuary like this, you’ll feel like you’re in LA or Bali rather than Melbourne. The pool will be open every Sunday until the end of February from 2-7 pm along with resident DJ from 4-7 pm.
Do you wanna know the latest big Australian tour news? Yes, if you're an Arctic Monkeys fan, you do. Already slated to head Down Under for Falls Festival and Lost Paradise, the Sheffield rockers have just gone and added three huge standalone — and outdoor — gigs to their tour itinerary. We bet you'll look good on the dance floor when January 2023 rolls around, obviously. 2022 marks two decades since the band first formed in their Yorkshire home town, and they'll see out the year in Australia, then start next year here as well. For their solo shows, Alex Turner, Jamie Cook, Nick O'Malley and Matt Helders will hit Melbourne's Sidney Myer Music Bowl and Brisbane's Riverstage, both with Mildlife in support, before heading to The Domain in Sydney with DMA's & The Buoys. Arctic Monkeys' last tour to come our way, 2019's Tranquility Base Hotel + Casino World Tour, was massive. Actually, every tour they've brought Down Under has been. Given their career to-date — including scoring the fastest-selling debut album in UK chart history when Whatever People Say I Am, That's What I'm Not released in 2006 — that's hardly surprising. (Nor are the Sheffield United and Sheffield Wednesday shirts always spotted in the crowd whenever the band makes the trip Down Under, with Aussie supporters of the group's two hometown soccer teams routinely coming out in force.) It's been four years since the Monkeys' last album, the aforementioned Tranquility Base Hotel + Casino — but they won't be short of hits to play. Expect plenty of fun when the sun goes down, and not just a number-one party anthem on the set list. And if you're somehow not already excited, snap out of it. ARCTIC MONKEYS 2023 AUSTRALIAN TOUR DATES — STANDALONE SHOWS: Wednesday, January 4 — Sidney Myer Music Bowl, Melbourne, with Mildlife Wednesday, January 11 — Riverstage, Brisbane, with Mildlife Saturday, January 14 — The Domain, Sydney, with DMA's & The Buoys Arctic Monkeys are touring Australia in January 2023. Tickets go on sale online at 12pm local time on Friday, June 17, with pre-sales via the band from 10am AEST on Wednesday, June 15 and through Frontier from 10am AEST on Thursday, June 16. For more information, head to the tour website. Top image: Raph_PH via Flickr.
Autumn's here, which means less time at the beach and more time doing indoorsy things like art and theatre and music. Luckily, a stack of bands and singer-songwriters are gearing up to tour the east coast during the next few months, helping to ease your transition into cooler weather. Narrowing them down into a top five has been no mean feat, but, in partnership with JBL Link Speakers, we've come up with these recommendations to kickstart your gigging adventures. And while you're waiting for the gigs to roll around, we curated a handy Spotify list to get you pumped. Listen to it on some JBL Link 10s — anywhere you like because these babies are portable and last you five hours — and you'll feel as if you're almost (we said almost) at the gig already. Here they are, the five gigs to add to your calendar this autumn. All shows are likely to sell out quickly, so don't dilly-dally: get your mitts on tix as soon as your wallet will allow. CAMP COPE This year, Camp Cope's second album, How to Socialise and Make Friends, nabbed a coveted 7.8 review on Pitchfork. A follow-up to their 2016 self-titled debut, the sophomore continues to address misogyny, sexual assault and sexism in the music industry via songwriter Georgia Maq's clever blending of the personal and the political. Lead single 'The Opener', with its quotable lines like "Yeah, just get a female opener, that'll fill the quota", came in at number 58 on the 2017 triple j Hottest 100. On the back of this commercial and critical success, the outspoken Melbourne-based folk-punk-rock trio is gearing up to take its fierce live act across Australia. WHERE AND WHEN — Thursday, March 15 and Friday, March 16: Thornbury Theatre, Melbourne — Saturday, March 17: The Tivoli, Brisbane — Friday, March 23: Metro Theatre, Sydney — SOLD OUT ALEX THE ASTRONAUT AND STELLA DONNELLY Two young Aussie songwriters who aren't afraid of tackling the big issues are teaming up for a joint tour this April. One is Sydney-born, Alex The Astronaut, whose single 'Not Worth Hiding', about openly owning your sexuality, became a bit of an anthem for the 'yes' campaign in the lead-up to the same-sex marriage postal survey. The other is Perth's Stella Donnelly, whose 'Boys Will Be Boys' deals with victim blaming following sexual assault and rape. WHERE AND WHEN — Saturday, April 14: Festival 2018 in South Bank, Brisbane (free) — Wednesday, April 18: Oxford Art Factory, Sydney — Wednesday, April 25: The Corner Hotel, Melbourne THE SMITH STREET BAND It's been almost a year since Melbourne's The Smith Street Band treated us to a national headline tour. But that's not to say they've been resting on their laurels. In 2017, the boys rocked out at several major festivals, including Groovin' the Moo and Splendour in the Grass, supported Midnight Oil and gigged all over the US and Europe. Plus, their new album More Scared of You Than You Are of Me entered the ARIA Charts at number three. Over the next few months, they'll be appearing pretty much everywhere in Australia with support from Bec Sandridge, who toured the UK and Europe last year on the back of new single 'I'll Never Want A BF', and Press Club, who've been basking in big love following the release of their debut single 'Headwreck'. WHERE AND WHEN — Saturday, March 24: Enmore Theatre, Sydney — Monday, April 16: The Tivoli, Brisbane — Saturday, May 12: Hawthorn Arts Centre, Melbourne — SOLD OUT ALEX LAHEY Alex Lahey's catchy melodies and honest lyrics have been scoring airplay ever since she released 'You Don't Think You Like People Like Me' in 2016. Last year, she followed up with debut album I Love You Like a Brother — which made the 2017 Triple J Listeners' Album of the Year list — before touring the UK and the US (including an appearance on Late Night with Seth Myers) and returning home to scoop up the Levi's Music Prize. She's spending March gigging around the UK and Europe, before kicking off the Huge and True tour here in Australia. WHERE AND WHEN — Friday, April 6: Factory Theatre, Sydney — Saturday, April 7: The Triffid, Brisbane — Wednesday, April 17: 170 Russell, Melbourne DZ DEATHRAYS If you're keen to thrash your way through autumn, then get along to one of DZ Deathrays' shows. The Queensland-based duo, who cut their teeth at house parties around Brisbane, are heading out on the road to launch their newest album Bloody Lovely, which is all about solid, old-fashioned party rock songs. Providing support will be up and coming bands Clowns, These New South Whales and Boat Show. Several gigs have already sold out, but new dates have been added, so you've still got a chance if you get onboard and grab a ticket ASAP. WHERE AND WHEN — Wednesday, May 9: Metro Theatre, Sydney — Wednesday, May 23: 170 Russell, Melbourne — Thursday, May 24: The Triffid, Brisbane Get your tix and amp yourself up for the gig with our Spotify playlist — played on some swish JBL Link speakers, of course. And if you don't have wifi and Bluetooth-enabled, voice-activated, durable, long-lasting and, most importantly, high-quality speakers in your possession, we've got some to give away here. https://open.spotify.com/user/concreteplayground/playlist/2k4LuQ65AP4xn0ekGTH1qM
It's with vibrant detail that Coco bursts onto cinema screens. A tale of following your heart while honouring your family, Pixar's latest effort is both a colourful sight to behold and an exuberant journey; a film exploding with dazzling visual and emotional fireworks. Within frames heaving with intricacy, there's never a dull moment as the movie sashays from modern-day Mexico to the Land of the Dead during the country's Dîa de los Muertos celebrations. Often it's the little things that stand out, from the grain of the many flowers never far from view, to the weathered skeleton bones that literally dance through the streets, to the melancholy look on an old woman's face. That's the animation studio's forte, of course. It's the reason their talking toys filled us with joy, that their rodent chefs charmed us, and their feelings with feelings left us in tears. As Toy Story, Ratatouille and Inside Out all demonstrated, their films might paint with pixels rather than living people, but they vibrate with the texture of reality. Coco fits the mould perfectly, at once a lovingly realised venture into several new worlds and a familiar mosey through Pixar's usual terrain. What if the dead had feelings is just one of the questions it asks. What if we confronted our own feelings about death is another. Helmed by studio veteran Lee Unkrich (Toy Story 3) with writer and first-time co-director Adrian Molina at his side, Coco takes its name from the grandmother of 12-year-old Miguel (Anthony Gonzalez). While she sits quietly through the last phase of her life, still yearning for the father she lost when she was a girl, he dreams of being a musician, but is forbidden by his music-hating family. Their reasons for this stem from personal tragedy, but it's not enough to stop Miguel from strumming his guitar. His desperation to retrace the footsteps of his entertainer hero (Benjamin Bratt) eventually leads him beyond the mortal coil, on a quest to find his great-great-grandfather and win his musical blessing. If Alice in Wonderland had followed a Mexican boy chasing his dreams, or if Marty McFly had taken the DeLorean through the barrier between life and death, Coco might very well have been the end result. The spirit of these youthful adventures seeps through this film, in a manner that proves delightful rather than derivative. Indeed, this is a story about remembering your past even as you step into the future. As well as following Pixar's own tried and true template, the script weaves its influences into a moving escapade bearing the expected touches, but never failing to surprise. That remains true even if you've seen The Book of Life, the outwardly similar 2014 animated effort that also sees its characters frolicking through the Mexican afterlife. It mightn't be the first family-friendly feature to play in this territory, or the first to explore the conflict between ambition and responsibility. Nevertheless, Coco enchants with warmth and authenticity from start to finish. In fact, as bright as its images shine, as high as its heartfelt emotions soar, and as perfectly as its voice cast fill their roles — including Gael García Bernal stealing scenes as a dead prankster — it's the film's embrace of its setting and culture that truly makes it sing. This isn't Pixar playing tourist south of the border, but paying tribute: to people, songs, lives and beliefs. The gorgeous detail that infuses every frame is a testament to seeing what others often don't, and it couldn't encapsulate Coco's beauty better. https://www.youtube.com/watch?v=7DIm1PyBSwc
UPDATE: FEBRUARY 12, 2019 — This winter, we'll be able to return to Margaret Atwood's unsettling dystopian realm, with the announcement that the third series of The Handmaid's Tale will hit SBS and SBS On Demand at 8.30pm on Thursday, June 6. Lucky for us Down Under, this is the same time as it'll be dropping on Hulu in the States, so hopefully no spoilers will crop up. The 13-episode series will follow June's (Offred's) continued struggle against the controlling regime. While details are scarce, a teaser was dropped during this month's Super Bowl — which you can watch below. Under his eye. Praise be, Handmaid's Tale fans. The series' third season is due to hit the small screen sometime this year, and US streaming platform Hulu has just released the first sneak peek during the Super Bowl. Blessed be not only the fruit but the football, we guess. If you've been immersed in this world from the absolute beginning and can remember the show's first trailer, then this initial look at the next season will feel somewhat familiar. Of course, that's by design. How better to show just how creepy the fictional society of Gilead is than to start with a dose of recognisable propaganda — and then dive deep into the chaos that awaits Offred/June (Elisabeth Moss) and her fellow subjugated women? As the fiery clip tells us, it's time to wake up. Otherwise, details about the third season are about as scarce as a happy woman in red. The series' regulars are expected to return, and given how the second season wrapped up, expect the story to get even darker, too. While the current trailer may be brief, there's plenty more Handmaid's Tale bleakness to enjoy this year (well, not that enjoy is necessarily the right term). Margaret Atwood, author of the original 1985 novel that started it all, is coming to Sydney next month. And, she's also releasing a long-awaited sequel, called The Testaments, which'll hit bookshelves comes September. https://www.youtube.com/watch?time_continue=11&v=PuWg6AyzETg The Handmaid's Tale's third season will screen on SBS in Australia at 8.30pm on Thursday, June 6.
Melbourne's Chapel Street is already one of the most colourful and lively precincts in town, but with the return of PROVOCARÉ Festival of the Arts the area is set to explode with confronting creativity as some of the most thrilling and unapologetic artworks and performances of 2018 take place. Running from July 5–15, the second edition of PROVOCARÉ will be headlined by world-renowned American photographer Spencer Tunick. Best known for his massive-scale nude photos, captured throughout many of the world's big cities, Tunick is set to shoot another provocative artwork in the Chapel Street Precinct. Tunick will be joined by a host of leading local and international artists, performing steamy cabaret shows, vodka-fuelled plays and much more. There'll also be a host of activities — such as blindfolded dinner parties — to partake in, too. To help make your scheduling a little easier, we've picked out seven sensational events taking place across the two jam-packed weeks. SPENCER TUNICK RETURN OF THE NUDE Spencer Tunick's PROVOCARÉ installation will be his third on Australian shores, after first shocking audiences Down Under in 2001 — with confronting photographs set on the banks of the Yarra — before returning in 2010 to capture another iconic series on the steps of Sydney Opera House. The artist has described Chapel Street as reminiscent of "East Village in New York, Sunset Strip in LA, and San Francisco's Haight-Ashbury, but all combined into one juggernaut". Before Tunick can transform Chapel Street into a sea of nude bodies, he needs (lots of) nude bodies. He is seeking hundreds of courageous volunteers of all shapes, ages, races, genders and abilities to get their kit off and brave the wintery conditions to feature in the two-day installation. If you'd like to participate in his latest work, head to the PROVOCARÉ website to register your interest (you'll be rewarded with a limited edition print of the artwork). Return of the Nude will be shot over two days between July 7 and 10 in the Chapel Street Precinct. REUBEN KAYE To give you an insight into Reuben Kaye's reputation, he's been described as "the evil love child of Liza Minnelli and Jim Carrey" and "the quintessential cabaret performer". That sets the bar rather high, but Kaye's not one to disappoint — or bore. After stunning audiences in Australian and abroad, Kaye's performance for PROVOCARÉ Festival of the Arts comes hotly anticipated. Having held residencies at London's historic Savoy Hotel and Café de Paris, while also gracing stages in Berlin, Stockholm and everywhere in between, Kaye will perform his award-winning one-man show — that's equal parts song, dance and comedy — for seven nights only. Reuben Kaye will be performing between July 7–15 at Chapel Off Chapel. Tickets: $30. THE DEATH OF WALT DISNEY One of Australia's most celebrated local theatres, MKA: Theatre of New Writing presents a daring and comical production of New York playwright Lucas Hnath's A Public Reading of An Unproduced Screenplay about The Death of Walt Disney. A highly fictionalised portrayal of the American figure, whose impact on pop-culture is matched by few others, the play explores the relationship between Walt Disney, his brother Roy and one of his daughters. Led by three actors supported by a pack of cigarettes and a litre of vodka, the play features the character of Walt Disney reading his own screenplay, written about himself and on his own impending death. The Death of Walt Disney will run from July 11-14 at the MC Showroom. Tickets: $20. ARTWALK Following up from 2017's inaugural festival, PROVOCARÉ will once against host an artwalk that'll lead you through many of Chapel Street's most loved art icons, while also delving into the rich creative history of the area. Winding through Windsor, Prahran and South Yarra, Artwalk will begin at the rooftop sculpture park of MARS Gallery — which features a wind-powered sculpture by Australian artist Cameron Robbins — before heading inside to explore the gallery's latest exhibition Liquid Candy by the acclaimed Bonnie Lane. The walk will provide insight into some of the cultures behind the areas' street art, explaining why they have become such notable attractions both locally and internationally. Artwalk will take place on Saturday, July 7 and 14, and Sunday, July 8 and 15, from 3–5.30pm. Tickets: $29. DINNER IN THE DARK Art and food intersect at this surprise-filled dining experience. Held in a secret location, Dinner in the Dark features three courses of food (and wine) prepared by local chefs Garen Maskal of Shukah and Daniel Natoli of Neptune Food & Wine. After following cryptic clues to a Chapel Street location, that you'll be given 24-hours earlier, you'll be blindfolded and seated in a private dining room. Each course is created to maximise the impact on your senses (well four of them), leaving you guessing as to what delightful flavour combinations you're consuming. Dinner in the Dark will take place in a secret location on Friday, July 6. Tickets: $90. DAVID BROMLEY WHATEVER YOU DREAM Rolls Royces, Mercedes-Benzs and Jaguars aren't your typical canvases, but David Bromley isn't your everyday artist. A free open-air exhibition at PROVOCARÉ, Whatever You Dream sees Bromley take luxury cars destined for the junkyard and transform them into masterful works of art. The co-founder of leading Chapel Street design studio and shop Bromley&Co, David Bromley is one of Australia's most in-demand contemporary artists working today. Best known for three long-term series Boys Own adventure, the Female Nude series, and Butterflies, for his newest exhibition – running July 5-15 – Bromley adds his unique styling to the opulent cars, employing a host of pop culture references, found images and bold colours to explore themes of nostalgia and the lost and found. Whatever You Dream will take place from July 5–15 on Oxford Street, South Yarra. CLUB PROVOCARÉ The theme of burlesque, circus and cabaret continues with a lineup of steamy international performers at Club PROVOCARÉ. The nightly show will be hosted by multi-award winning performer Bernie Dieter, AKA the Queen of Kink. Admired around the world for her sensational voice and sharp wit, Dieter brings along an all-star cast of self-described nocturnal freaks and misfits. The kooky lineup includes Belgian burlesque superstar Laurie Hagan, Australian 'boylesque' duo Tom Worrell and Karl Kayoss, the unmistakable 'Queen of Corporate' Karen from Finance, and Japan's high-flying and pyro specialist Yusura. Club PROVOCARÉ will be an erotic and high-octane experience like nothing else you've seen. Club PROVOCARÉ will show nightly during the festival at the David Williamson Theatre, Melbourne Polytechnic. Tickets: $33. For the full lineup, visit PROVOCARÉ Festival of the Arts and keep an eye on their Facebook @provocareonchapel and @chapelstreetprecinct for more event announcements.
For one week each September, Brisbane becomes Australia's live music capital — even if a Melbourne survey generally claims otherwise. When BIGSOUND hits the city, it seems like every venue in Fortitude Valley is packed to the rafters with bands, industry folks and music-loving punters, all enjoying the latest and greatest the country's music scene has to offer. And given this year's newly announced lineup, expect that to be the case once again. Unveiling its first 76 acts for 2019, BIGSOUND will play host to a stacked pack of musos, spanning everything from pop, electronic, rock and rap to metal, hip hop and folk. Topping the bill so far is the likes of Bad//Dreems, Electric Fields, SCABZ, Outright, Milan Ring, LOSER, Tones & I and Tasman Keith, plus yergurl, EGOISM, Stevan, Laura Imbruglia and Concrete Surfers. Yes, the list goes on. A swag of other acts, reaching more than 150 in total, will be announced closer to the event. That said, the current lineup joins a host of previously revealed speakers — including keynote speaker Terry McBride, CEO and co-founder of Nettwerk Music Group, which includes Canada's largest independent record label, artist management and music publishing company; and British TV and radio presenter Abbie McCarthy, from BBC Music Introducing, Radio 1 & 4 Music, and Good Karma Club. [caption id="attachment_727168" align="aligncenter" width="1920"] I Know Leopard at BIGSOUND 2018. Image: Bianca Holderness.[/caption] Previous BIGSOUNDs have showcased everyone from Gang of Youths, Flume, Tash Sultana and Courtney Barnett to San Cisco, Violent Soho, Methyl Ethel and The Jungle Giants, so its program is usually a very reliable bellwether of current and up-and-coming talent. Even better — the festival's four-night $85 (plus booking fee) Rainbow Pass nabs you access to 270 music showcases at 18 venues. And, they're all held within three blocks of each other. Here's the full lineup of music acts so far: 100 3K Ainsley Farrell Alana Jagt Approachable Members Of Your Local Community Aquila Young Bad//Dreems Being Jane Lane Black Rock Band Bobby Alu Butter Butternut Sweetheart Chakra Efendi City Rose Concrete Surfers Deline Briscoe DREGG DRMNGNOW Dulcie EGOISM Electric Fields Fan Girl First Beige Fletcher Gull Flossy FRITZ Future Haunts Gordon Koang Hannah Blackburn Hemm Hope D Johnny Hunter Kat Edwards Kobie Dee Kymie Laura Imbruglia LOSER Louis Baker Love Deluxe Lucy Peach Mambali Marco Mariam Sawires Mermaidens Mickey Kojak micra MID CITY Miiesha Milan Ring Nerve Outright PINCH POINTS P-UniQue Raj Mahal Rebecca Hatch Reija Lee Reliqa RINI Royal And The Southern Echo Ruby Gilbert Ryan Fennis SCABZ Shady Nasty Spacey Jane Stellie Stevan Sycco Tasman Keith Teen Jesus and the Jean Teasers THE DEAD LOVE The Money War Temgazi Tones And I Wolfjay yergurl ZĀN BIGSOUND 2019 runs from September 3–6 at various venues around Fortitude Valley, Brisbane. For further details or to buy tickets from 9am on Monday, June 27, visit bigsound.org.au. To discover what to do, see, eat and drink while visiting Brissie for the annual event, check out our weekender's guide to Brisbane during BIGSOUND. Image: Bianca Holderness.
UPDATE, September 4, 2020: High Life is available to stream via Stan, Google Play, YouTube Movies and iTunes. Another unique, distinctive and thrilling film by a stellar director. Another movie so impressive, it's instantly among the decade's standouts. And, another exceptional Robert Pattinson performance. We'd say that it's becoming a welcome trend, however this pattern has been recurring since RPatz stopped wearing sparkly makeup and fake fangs. Complain all you like about the Twilight series — we don't have much that's positive to add — but the vampire romance saga gave two of today's best young actors an enormous platform, as well as the currency to choose their next roles wisely. So both Pattinson and Kristen Stewart keep doing just that, and cinema is all the better for it. In the former's case, see the likes of Cosmopolis, The Rover, The Childhood of a Leader, The Lost City of Z, Good Time and now High Life. With his latest film, Pattinson rockets into space under the guidance of director Claire Denis, which proves a match made in movie heaven. In recent years, the future Batman star has increasingly cornered the market on existential yearning, a feat that the inimitable French auteur has also been pursuing since she first stepped behind the camera thirty years ago. There's a philosophical angle to both Pattinson and Denis' work, not just depicting the quest for purpose that drives us all, but delving into the intricacies and horrors of searching and struggling — as explored across multiple settings, stories and genres. Of course, there's no more apt a place than a spaceship to grapple with life's meaning, or lack thereof. Perhaps that's where Pattinson and Denis, either together or apart, were always headed. As their vessel charts a course for a black hole, Monte (Pattinson), Tcherny (Andre Benjamin), Boyse (Mia Goth) and the ship's other inhabitants bide their time doing what they're told. They're prisoners jettisoned into the great beyond in the name of punishment, redemption and science, although resident doctor Dibs (Juliette Binoche, star of Denis' last release Let the Sunshine In) has her own plans for the captives. That's the bulk of High Life's narrative, in a broad and linear sense. The film begins with Monte roaming the halls with just a baby named Willow for company, and pressing buttons every 24 hours to stay alive, adding a palpable sense of hellish foreboding to its already moody, brooding atmosphere. Also amplifying the movie's tone is its carnal obsession, and not just in the name of necessary procreation (a room dubbed the 'Fuck Box' is also onboard). With scripting assistance from both credited and uncredited co-scribes, including novelists Nick Laird and Zadie Smith, writer-director Denis teases out High Life's tale. Sometimes, the film gets caught in the minutiae of Monte and Willow's monotonous but happy-enough lives. Sometimes, it flashes back to the ship's busier, darker, more populous and tumultuous times. Sometimes, it ventures into memories on firm soil — recollections so steeped in nature, including thriving plant-life and scurrying animals, that the otherwise space-bound film always retains an earthy feel. Of course, it's that juxtaposition that sits at the heart of this immensely intelligent, ambitious and rewarding movie. To wrestle with human existence, and with our very purpose, is to realise that we're all careening forward in a state of constant chaos, hurtling towards inescapable darkness, all while trying to grasp onto whatever we can. Quiet moments spent chatting and contemplating in the ship's own garden; lustful encounters, both alone and with others; the need to connect, whether by sex, violence or love: as they each pop up on screen, they illustrate High Life's point. 'Illustrate' is a key word when it comes to Denis' work, as she has proven across her French-language career. High Life may be the director's first film in English, but her visuals have always transcended dialogue with their probing, patient stare — as well as the sensation that they're scrutinising everything in sight as deeply and carefully as possible. Here, clinical, institutional surfaces say so much when contrasted with babbling streams and sprouting leaves. They say even more when placed opposite bodies and fluids in all of their icky, sticky glory, and against ruminative faces with furrowed brows and eyes all a-flicker as well. While the movie boasts other acting highlights, including a no-holds-barred Binoche in her steeliest guise yet, it won't come as a surprise that Pattinson's restless gaze provides the film's favourite canvas. That said, Denis and her cinematographers Yorick Le Saux (Personal Shopper) and Tomasz Naumiuk (Nina) don't simply glare, but rather stalk, circle and glide around the picture's leading man. Denis's movie doesn't do much that similar science-fiction fare has, would and will, for that matter. But while shooting into the stratosphere to ponder what it all means has become a genre of its own, High Life proudly stands in its own space boots. Perhaps that's why both the film and Pattinson seem like such a perfect fit, and why the final product both soars high and burrows deep: you won't catch either meekly treading where everyone else has before. https://www.youtube.com/watch?v=JZeIHrx7Oyc
