Across its stable of renowned Italian eateries, mozzarella bars and delis, the DOC Group (including DOC Pizza & Mozzarella Bar Carlton and Sydney, plus DOC Espresso Carlton) has earned a solid reputation for many things. That includes its signature pizzas and top-quality salumi selection; however, those classics are taking a backseat at the team's latest addition — a new restaurant dedicated to food that is entirely vegetarian, vegan and gluten free. Bio by DOC has taken over the Carlton site once home to The Town Mouse, where long-time collaborators Studio Strom have added a refresh. Think: locally made custom furniture, a new green-coloured bar, a leafy back courtyard and some clever splashes of neon. In the kitchen, veteran DOC Group chef Tomaso Bartoli is steering the new culinary concept, carefully intertwining the brand's trademark Italian sensibilities, but with all vegan and vegetarian ingredients. Not only is it a reminder that meat needn't be the cornerstone of a great food offering, but impressively, the entire menu is also gluten free. Snacks include the likes of mini eggplant parmigiana ($12) matched with burrata and a black cabbage pesto, plus a vegan-friendly tartare of grilled vegetables ($15) finished with capers, mustard and truffle paste. You can get your pasta fix with plates like the charcoal spaghetti ($26); a beetroot casarecce finished with mushrooms and truffle paste ($31); and a vegan lasagne layered with spinach pasta sheets, lentil ragu and bechamel ($27). There's more plant-based fun to be had over on the dessert list, too — expect dishes like a classic tiramisu reworked with cashew cream ($14), and sweet potato pancakes with popcorn ice cream ($16). From the drinks lineup, the vegan cocktail offering features sips like a Japanese twist on the negroni, plus the Oasis — which uses rum, coconut water and a pineapple shrub. There's also a considered wine selection, showcasing both Italian vino and locally-grown varietals from the likes of Merli and Heathcote's Vinea Marson.
When SXSW Sydney first started revealing details of its 2025 lineup, it promised more free programming on this year's bill. If you're keen to head along to the event's third year — after making its Harbour City debut in 2023, then returning in 2024 — without spending a cent, you'll want to make a date with Tumbalong Park, then. Again, the spot is playing host to the fest's budget-friendly activities, including everything from live music to movies, as well as DJ sets, talks, fashion showcases, pop-ups and more. Free sessions have always been a component of SXSW Sydney, but adding more was never not going to be a welcome move. Accordingly, after outlining that there'd be a significant expansion of its free programming, the festival has upped its Tumbalong Park lineup to 85-plus hours of events. At SXSW Sydney Unlocked, as the hub has been dubbed, there'll be more than 200 options to engage in the fest between Monday, October 13–Sunday, October 19. This part of the lineup runs every day, but will feature extended hours from Thursday–Sunday. Weekday lunch breaks are a particular focus, spanning programming from 12–1.30pm Monday–Friday, as are happy-hour sessions from 4.30pm Tuesday–Friday. So, SXSW Sydney clearly wants the city to join in whenever suits everyone's daily schedules — and via everything from guest appearances to surprise hosts, too. Highlights include the return of FOMA: Fabrics of Modern Australia on the runway; gigs by Indonesian hip hop stars Tenxi, Filipino folk-pop singer Angela Ken, J-Pop boy band Psychic Fever and Chinese Tencent singer Tia Ray; and Blak to the Future: A Celebration of First Nations Creatives' celebration of Indigenous filmmaking. Or, hit up twilight gigs in the Seymour Centre courtyard, get line-dancing lessons and see a range of country talent — Max Jackson, The Washboard Union, Lewis Love and Big Wheels — at Tumbalong Honky Tonk, and explore the Australian Space Agency's space-themed hub. There's also Small Fry Rock for families, with Grinspoon's Phil Jamieson and Little Birdy's Katy Steele taking to the stage. The Rubens are set to celebrate ten years of 'Hoops', while K-pop is also getting a moment. On the Saturday, if you fancy attending the Games Showcase and Innovation Expo without bothering your wallet, that's also on the agenda. Images: Jess Gleeson, Paul McMillan and Ben Gibson.
This former corner milk bar is a relaxed, friendly way to start the day. Despite being a crowd favourite with the Bay Road Lycra Brigade on the weekends, this little Bayside treasure is the perfect caffeine pit stop en route to a dip in the bay. The little brother of Ripponlea's acclaimed Hawk and Hunter, Little Ox benefits from the daily delivery of Hawk pastries, not to mention the Red Star fair trade coffee extracted to perfection. The all day breakfast ensures even the staples are presented with a fresh approach. The Spring Bruschetta ($21.50), for example, features house-cured salmon pastrami, seasonal mixed asparagus, pea smash, Persian feta, balsamic glaze and a poached egg. Naturally, all eggs are free range and local from Happy Hens. The lunch selection is similarly inspired with the roast porterhouse, horseradish aioli and caramelised onion sandwich ($17), and the pan-fried calamari salad is lip-smackingly tasty for $18.50. A recently introduced liquor licence ensures the food goes down extra smoothly, while the welcoming interior, decorated with white tiles and signature yellow stools, makes this particularly well-stocked seaside kitchen feel like home. The iced coffee — served in a trendy jar, no less — was especially good on a warm February day, as was the cold pea, mint and cucumber soup, a summer special for $10.50. With a solid menu and customer base, this Little Ox is no lightweight — proving that good things often do come in small packages.
Troye Sivan has something to give Melbourne: his Something to Give Each Other tour. The Grammy-nominated and ARIA Award-winning 'Rush', 'I'm So Tired...', 'My My My!' and 'Youth' artist has spent part of 2024 playing shows in Europe to sellout crowds, and hitting America for a co-headline arena tour with Charli XCX. After that, he's making an Aussie return. The Perth-raised pop star hits Melbourne's Sidney Myer Music Bowl on Thursday, November 21, with Nick Ward in support. Set to get a huge workout: the 2023 album that gives the tour its name, of course, which was Sivan's first since 2018's Bloom, earned a heap of placings on best-of-2023 lists at the end of last year and hit number one on the album charts in Australia. But given that his discography dates back to 2007's Dare to Dream — and includes fellow EPs TRXYE and Wild, plus his debut album Blue Neighbourhood — he has tracks from across almost two decades to bust out. It's been a huge few years for Sivan — as a musician, acting in Boy Erased and The Idol, being parodied by Timothée Chalamet (Dune: Part Two) on Saturday Night Live. Dance to this, obviously.
Originally, Scarlett Johansson (Asteroid City) and Chris Evans (Pain Hustlers) were set to reteam for Fly Me to the Moon, sans Marvel heroes but with championing America — the country rather than the Captain — still on the itinerary. Every movie can play the "what if?" casting game, whether through attached stars that left for various reasons (scheduling conflicts after the director changed here) or via audiences simply offering their own picks, yet this one isn't helped by the shadow of what might've been. On paper, Johansson and Channing Tatum (Magic Mike's Last Dance), who are also reuniting after the Coen brothers' Hail, Caesar!, are a winning pair. One succeeds more than the other in this 60s-set space-race screwball rom-com that's also about selling US exceptionalism, and joins Operation Avalanche and Capricorn One among cinema's fake missions into the heavens, too. The picture's entertaining-enough fate runs in parallel to its plot: there, for the shadowy government operative who pushes Johansson and Tatum's characters into each other's orbits, a good-enough approximation of the moon landing over the real thing will do. A delight as ever in comic mode with depth, Johansson turns in the type of charming performance that Hollywood could build a series around, on screens either big or small. She's Kelly Jones, a Manhattan advertising executive with the gift of knowing how to pitch whatever she needs to get the client, and then to also get the masses to consume. Director Greg Berlanti (Love, Simon) and first-time screenwriter Rose Gilroy, working with a story by Bill Kirstein (Mean Girls circa 2024's cinematographer) and Keenan Flynn (a producer on Beyoncé's Lemonade), introduce her putting on the whole show. Kelly has dismissive and misogynistic automotive executives in her sights, who think that she's present for refreshments. Aided by a baby bump that augments the act, she has soon convinced them on the merits of spruiking seat belts in sports cars. With backing from the very top of the country, aka Nixon, Moe Berkus (Woody Harrelson, Suncoast) has other plans for Kelly: serving her nation by gifting NASA her spin. Fondness for the fat stacks of cash being spent on all things astronomical are falling out of favour with politicians and the public alike, hence the request — a demand that she can't refuse, really — for Kelly's services. Johansson gleams in Fly Me to the Moon, nailing the boldness that keeps driving her character forward and the banter no matter who she's talking to, while also ensuring that impact of Kelly's shady backstory feels genuine. With Party Down, Hacks and It's Always Sunny in Philadelphia alum Anna Garcia as supportive assistant Ruby Martin, she scores her best double act of the movie. But even when he's not breaking into the tune that everyone has stuck in their head just from reading this feature's title, Harrelson is having a ball, far more so than Tatum. As Cole Davis, the straight-arrow hero war pilot-turned-mission commander at Cape Kennedy as the Apollo 11 launch nears, Tatum is instantly in a more-serious register than his co-stars. The job on-screen is literally rocket science — and Cole too has baggage, the details of which crib from actuality with a near-flippancy that borders on tasteless. Sincerity shimmers when Cole initially crosses paths with Kelly at a diner, telling her that she's the most-beautiful woman he's ever seen, and also that she's on fire (again, literally), but there's little room for it when they start butting heads as new colleagues with different agendas. Tatum plays his part like he'd be far happier in a romance without the comic battle. In contrast, Johansson relishes channelling Doris Day against Rock Hudson in the repartee. If this was a TV series, there'd be time for Cole to warm up and settle in; however, the film doesn't boast it even clocking in at a lengthy-and-feels-it 132 minutes. Thankfully, there's still an inherent spark just by getting Johansson and Tatum in the same frame, which keeps Fly Me to the Moon rolling although never soaring. If the idea by Berlanti, Gilroy and company was to make the plot busy to compensate for anything that doesn't fully ignite, they've committed to the concept with thruster-level gusto as the narrative unfurls. Kelly doesn't just have to weave her PR wonders with Cole zipping between glowering and flirting — a gig that's filled with faux engineers and astronauts stepping in for interviews (Henry Smalls, played by Bupkis' Ray Romano, is one scientist who's replaced) and product placement galore — or merely help schmooze naysayers who might scrap the space agency's budget. In secret, in a ploy that she's told to keep that way from Cole, she's also tasked by Moe with the stuff that conspiracy theorists' fantasies have been made of for 55 years: going all Tinseltown, complete with the egomaniacal "Kubrick of commercials" Lance Vespertine (Jim Rash, Loot), to stage the events of July 20–21, 1969 in case history doesn't happen the way it's meant to. It's clear why the movie has magicked up a movie-magic angle, and not only because cinema loves paying tribute to itself. Without it, there's no tension in a will-it-won't-it riff on Apollo 11. Viewers know how the attempt to make one giant leap for mankind eventuated, so whether or not Kelly can retain NASA's funding isn't a suspenseful section of the story. With its showbiz farce, Fly Me to the Moon does more than add drama beyond Kelly and Cole's own will-they-won't-they, though — it has a blast executing the chaos that springs. That said, Berlanti also cements the sensation that he's smashing together competing tones, and also making huge jumps between them. It's easy to see how Fly Me to the Moon would've fared solely with an inside-filmmaking spoof vibe, as 2024's Down with Love or just following opposites-attracting affairs of the heart against a shooting-for-the-moon backdrop, for instance, but its array of elements are haphazardly duct-taped to each other. There's a dream at the heart of the film, of course, which Kelly knows that she's slinging and the feature's dialogue isn't afraid to utter with frequency: the dream of hope, of aiming high and even of dreaming itself, given the realities of the era's wars and political situation. Half a century later, in a world just as uncertain, these notions aren't relics of the past. To those watching, Fly Me to the Moon tries a similar feat as it peers upwards with plenty of Dariusz Wolski's (Napoleon) glossy cinematography — and as Johansson's outfits prove a sight to behold, and also her Saturday Night Live-star husband Colin Jost pops up briefly — by asking audiences to buy into the dream of being affably swept away. While saying that something is so isn't the same as making it so, as the narrative is well-aware, Johansson's efforts come closest to securing liftoff.
Outer eastern suburbia is typically a leafy refuge, often mistaken as hilly outskirts heralded by hippies. And while parts of Lilydale are most definitely lush with greenery and farms boasting local produce, The Lilydale General doesn't reside there; the cafe has taken these elements of the surrounding region and settled amongst a large manufacturing area of the suburb. You can't miss it: the carefully manicured lawn, green and white striped awnings and a flawlessly painted picket fence stand out against the uninspiring industrial surroundings. It's a great expanse inside, too — high ceilings, window panes streaming sunlight and generous spacing between tables. The staff are jovial and homely — let them bring you a coffee made with beans from the guys at Coffee Supreme and allow a bit of time for a chat about your day before you place your order. They're locals interested in looking after their fellow residents. It won't be long before you'll be digging in. The bruschetta with tomatoes, avocado mash, feta, lemon rind and dukkah served on a slice of sourdough with an additional piece underneath ($15) is faultless in flavour, but the serving could be more liberal to compensate for the extra piece of bread and price. Add an egg for an extra two bucks for something more filling. The corn and leek fritters with rocket, tomatoes and feta ($17) are another winning savoury option. For those with a sweeter tooth, go for the black rice pudding with macadamia granola, lychee and coconut ($13). The fruity flavours are balanced by a light aniseed taste coming from the granola, a pleasant experience for the palate. Like any good current day cafe, not only has The Lilydale General adopted the smoothies-in-jars phenomenon, they also cover most dietary bases: vegan, gluten free and lactose free options are all available. Fresh sandwiches, big squares of vanilla slice, lemon tarts and a rotating menu of raw desserts make up the glass cabinet at the counter. Sure, the food isn't unlike what you’d find somewhere closer to the CBD, but it is for Lilydale and, most importantly, it's good quality. Owned and loved by locals, The Lilydale General is a peripheral delight.
400 Gradi founder Johnny Di Francesco is doing very well for himself. Apart from claiming the title of best pizza in Oceania in July 2018, he's also expanded his Neapolitan-style restaurant to a whopping six locations (and one gelateria) that span Melbourne, Adelaide and, most recently, the Yarra Valley. The wine country digs opened in partnership with (and within) the Rochford Wines Yarra Valley estate, having first fired up its ovens on in October 2018. Di Francesco joins the winery's owner Helmut Konecsny to bring guests a most exquisite pairing of Red 5 Star wines with fine Italian cuisine and wood-fired pizza that is considered the best in the region. The award-winning margherita verace ($22) is a showcase on the Yarra Valley menu — it's a holy combination of San Marzano tomatoes, fior di latte mozzarella cheese, basil and extra virgin olive oil. The rest of the menu has been specially curated by Di Francesco and includes more signature pizzas, along with antipasto, pasta, sides and desserts. To complement the food, Rochford Wine sommeliers have carefully paired its premium drops with each dish — and the acclaimed 2017 Single Vineyard Isabella's Chardonnay and much loved 2018 Estate Rosé are both on the list. Though 400 Gradi is located within the Rochford estate, it operates separately from the vineyard's Isabella restaurant, which offers its own seasonal menu focusing on local produce.
If seasonal change has left you in a dizzy headspin of new colours and fabrics and prints and jackets — or if, y'know, you just like some fancy new clothes now and then — you'll be pretty pleased to know that the Big Fashion Sale is coming back to Melbourne for four days this March. The name pretty much says it all. This thing is big. You'll find thousands of lush items from past collections, samples and one-offs from over 50 cult Australian and international designers, both well-known and emerging, including Kenzo, Marni, Phillip Lim, Karla Špetić, Adidas, Kowtow, Macgraw, Thursday Sunday and more. With discounts of up to 80 percent off, this is one way to up your count of designer while leaving your bank balance sitting pretty too. Prices this low tend to inspire a certain level of ruthlessness in all of us, though, so practise that grabbing reflex in advance. This is every person for themselves. The Big Fashion Sale will be open 9am–7pm Thursday, 9am–8pm Friday, 9am–6pm Saturday, and 10am–4pm Sunday.
If you're someone who loves indulging in a few G&Ts on a summer evening but doesn't love waking up to dehydrated, hungover skin, we've got you covered. Beloved Aussie brands Four Pillars Gin and Go-To Skincare are bringing back their extremely limited-edition Go-To Gin — a spirit that sent fans of Go-To founder ZFB (that's Zoë Foster-Blake for the uninitiated) into a frenzy on its release last spring. When we say frenzy we mean it — the inaugural batch of My New Go-To Gin sold out in just five hours. This year you've got some time to gather yourself — the second release drops on Thursday, November 17. Ready for cocktail mixing and shaking, flavours in this coveted drop include native Aussie peach, lemon myrtle, pink peppercorns and ruby grapefruit. The familiar peachy pink Go-To label means you could probably add it to your bathroom counter's line-up and nobody would notice anything out of the ordinary. And if you sip a few too many the night before another event (hello, festive season) you're in luck: Every bottle comes with a Go-To 'Transformazing' sheet mask to soak your skin in much-needed moisture. Four Pillars co-founder and distiller Cam Mckenzie said in a statement he was aware gin and skin are an "unlikely duo". "But after a G&T or two (or three) with the Go-To team we realised there was a lot we had in common. We're both champions of using best-in-class ingredients, we're both sticklers for quality and, speaking personally, we both have a thing for Sunday night face masking." To celebrate the launch, the skincare brand is taking over the gin garden at the recently revamped Four Pillars Distillery in Healesville for a series of cocktail workshops and skincare tutorials on November 18–20. Melbourne readers (or fans willing to travel) can find out more about that here. If last year is anything to go by, we imagine this gin is going to sell out pretty quickly, so sign up to the waitlist here — you'll also find a festive cocktail recipe. If you miss out, or peach isn't really your gin infusion of choice, you've got options however you choose to imbibe. Four Pillars has brought back its annual cult-favourites bloody shiraz gin and Christmas gin for your festive cocktail needs, or you can opt for a ready-to-pour bottled gin martini. The 2022 Four Pillars Go-To Gin will go on sale online on Thursday, November 17. Head to the Four Pillars website to sign up to the waitlist and to register for the launch weekend at Four Pillars' Victorian distillery.
Some film festivals take audiences to corners of the globe they won't visit in the multiplex, shine a spotlight on different cinematic voices, and showcase the wealth of talent working beyond the English-speaking realm. That's not the British Film Festival's remit. Here, you'll find recognisable names and faces aplenty as the best new movies Old Blighty has to offer embark on a tour of the antipodes. Taking place between late October and early November, this year's lineup includes Andrew Garfield and Claire Foy in opening night film Breathe, which marks the directorial debut of The Lord of the Rings star Andy Serkis, as well as Nicole Kidman and Elle Fanning in the eagerly anticipated How to Talk to Girls at Parties. The former tells a true tale of a couple striving to overcome a death sentence from polio, while the latter is a queer sci-fi rock-punk comedy based on a Neil Gaiman short story and directed by Hedwig and the Angry Inch's John Cameron Mitchell. Yep, this program might speak the same language as Australians, but it's serving up a variety of stories. If you're going to put one flick to put on your must-see list, make it The Death of Stalin. It's the latest from The Thick of It and Veep creator Armando Iannucci, and features everyone from Steve Buscemi to Jeffrey Tambor to Michael Palin. Other highlights include Fanning again in Mary Shelley, a biopic about the writer behind Frankenstein that's helmed by Wadjda director Haifaa Al-Mansour, as well as England is Mine, with Dunkirk's Jack Lowden playing none other than Morrissey. Elsewhere, Saoirse Ronan stars in On Chesil Beach, her latest Ian McEwan adaptation after coming to fame in Atonement, while true story 6 Days recreates the 1980 storming of the Iranian embassy in London with Mark Strong, Jamie Bell and Abbie Cornish. BFF also boasts docos about Manolo Blahnik and Eric Clapton, a biopic about AA Milne and the genesis of Winnie the Pooh, and one of the last films to feature the late John Hurt in That Good Night. Looking back as well as forward, a selection of Agatha Christie adaptations round out the lineup. Timed to coincide with the new version of Murder on the Orient Express, the program includes the 1974 take on the same tale, plus three other classics. The 2017 British Film Festival will screen at Sydney's Palace Norton Street and Palace Verona from October 24 to November 15, Melbourne's Palace Cinema Como, Palace Balwyn, Palace Brighton Bay and The Astor Theatre from October 26 to November 15, and Brisbane's Palace Barracks and Palace Centro from October 25 to November 15. For more information and to buy tickets, visit the festival website.
David Byrne started 2025 by singing and dancing with Robyn at Saturday Night Live's 50th-anniversary concert, then releasing the Saoirse Ronan (Blitz)-starring first-ever music video for 'Psycho Killer' 48 years after the song's debut. In 2026, he'll kick the year into gear by bringing his latest world tour Down Under in January. The iconic Talking Heads founder and frontman is hitting the road to support his latest record, September 2025 release Who Is the Sky?. In Australia and New Zealand, he's playing his first gigs since 2018, when he brought his American Utopia tour — which none other than Spike Lee (Da 5 Bloods) turned into a concert flick also called American Utopia, aka one of 2020's absolute best films — this way. In Melbourne and thinking "this must be the place"? You're right: Byrne is venturing to the Victorian capital, playing Sidney Myer Music Bowl on Thursday, January 22. If you caught his American Utopia gigs or watched the film, you'll recognise some other familiar faces on the Who Is the Sky? tour. Byrne is taking to the stage with 13 musicians, singers and dancers, some of whom were part of the American Utopia band. Just like in those famous shows, his fellow performers will all be mobile throughout Byrne's latest set. Like tour, like album: Who Is the Sky? isn't just Byrne's first set of live gigs since American Utopia, but also his first record since that Grammy-winning release came out in 2018. Launching on Friday, September 5, 2025 — with first single 'Everybody Laughs' out now — the new album features St Vincent, Paramore's Hayley Williams, The Smile drummer Tom Skinner and American Utopia percussionist Mauro Refosco among its guests. Byrne has long been a must-see live performer — and there's long been filmic proof of that fact. Forty-two years ago this December, he made concert film history with Talking Heads when he walked out onto a Hollywood stage with a tape deck, pressed play and, while standing there solo, began to sing 'Psycho Killer'. Then-future The Silence of the Lambs Oscar-winner Jonathan Demme directed cameras his way, recording the results for Stop Making Sense. [caption id="attachment_1008708" align="alignnone" width="1920"] Shervin Lainez[/caption] Live images: Raph_PH via Flickr.
Located in Box Hill, Zero Mode serves up pan-Asian dishes with a playful twist. That beer in an Asahi glass you've just ordered? It's actually noodles in flavourful broth topped with egg foam. The smashed avo that's tempting your tastebuds at brunch? It's a rice cracker filled with avocado mousse. And that matcha ice cream cone you're eyeing off? It's stuffed with chilli-marinated salmon, then topped with roe. If you like your meals with an element of surprise, then you're in luck. If you like foods that look like one thing but turn out to be something else entirely, obviously you're in luck there as well. The latest venture from the folks behind One Plus Piece, the idea is to give diners a multi-sensory experience — not just activating your hankering for umami, but keeping your senses guessing. Other interesting menu items include deconstructed sushi, which layers tempura nori, sushi rice, grilled wagyu beef, olive jam, foie gras, wasabi paste and crispy prosciutto — or there's also the vegetable bowl stuffed with edamame, kale, bean curd, seaweed and beetroot hummus. A more traditional lineup is also available, ranging from wagyu burgers with chips and cheese sauce, to pineapple pork belly and crispy dumplings, all in a Whitehorse Road spot that seats 80, and is open daily from breakfast through till dinner. Images: Griffin Simm. Appears in: The Best Bottomless Brunches in Melbourne for 2023
A literal underdog tale about scrappy canines, a plucky orphan and a pooch-hating politician with an evil scheme, Isle of Dogs isn't just Wes Anderson's latest movie. Filled with heart, humour and witty dialogue, this doggone delight is the most Wes Anderson-esque movie the acclaimed filmmaker has ever made. Anyone who's seen any of his previous flicks knows exactly what that means, with the writer-director's work almost comprising its own genre. Think quirky quests about spirited characters following their own paths, set in worlds that cleverly expose humanity's desires and fears. Then there are his signature visuals, complete with symmetrical compositions that look like they belong in a gallery, and distinctive colour palettes anyone would love to plaster all over their own walls. Constructed with the tail-wagging enthusiasm of man's best friend, all of these familiar components fall into place in the stop-motion animated wonder that is Isle of Dogs. And that's before Anderson trots out his other trademark: an A-list cast. For this walk around the block, he's joined by regular collaborators Bill Murray, Jeff Goldblum, Tilda Swinton, Bob Balaban, Harvey Keitel, Frances McDormand and Edward Norton, plus Anderson newcomers Bryan Cranston, Greta Gerwig, Scarlett Johansson, Liev Schreiber, Yoko Ono and Ken Watanabe. Throw in a story written with The Darjeeling Limited co-scribes Roman Coppola and Jason Schwartzman as well as The Grand Budapest Hotel actor Kunichi Nomura, and the end product couldn't feel more like an Anderson movie if it tried. Set 20 years into the future, Isle of Dogs begins in the fictional Megasaki, as the Japanese city faces a difficult doggy dilemma. Its howling furballs are infected with dog flu and snout fever, sparking fears that the virus could soon spread to humans. Hailing from a long line of cat fanciers and hardly keen on pooches, Mayor Kobayashi (Nomura) decides to banish all canines to Trash Island. To demonstrate his commitment to the cause, he even exiles his own family pet: a short-haired oceanic speckle-eared sport hound by the name of Spots (voiced by Schreiber). That's the setup. But Anderson's film really starts barking once the action moves to its offshore garbage pile — the actual isle of dogs. There, abandoned pooches fight for food, form packs and try to survive, as the mayor's orphaned 12-year-old nephew Atari (Koyu Rankin) discovers on his mission to find Spots. He's assisted in his task by Rex (Norton) and a ragtag gang of misfit mutts, including ex-baseball mascot Boss (Murray), one-time dog food spokesdog King (Balaban) and admitted gossip Duke (Goldblum). Gruff outsider Chief (Cranston) isn't thrilled about helping the boy they dub 'the little pilot', but he knows a lost puppy when he sees one. With a former show dog (Johansson), an oracle pug (Swinton), robo-hounds, and a crusading American exchange student (Gerwig) also playing their parts, Isle of Dogs isn't short on antics. Anderson fills his narrative to the brim like an overflowing bowl of dog treats, spoiling viewers like he'd spoil his own animal companion. It's an approach that matches his lovingly detailed images, which surpass even Fantastic Mr Fox's animated splendour. Aesthetically, every second of the movie delivers something gorgeous and glorious — be it the lifelike puppetry of its central canines, a particularly meticulous sushi scene, or fond odes to Japanese filmmaking icons Akira Kurosawa and Yasujirō Ozu. Indeed, even if Isle of Dogs hadn't paired its eye-catching contents with smart, timely parallels — a power-hungry leader, discarded population and trash-filled land mass make it impossible to miss the film's political, social and environmental commentary — it'd still make an ace addition to Anderson's oeuvre. That said, there's one area where the director shows his own limits. While Anderson is a seasoned master at combining exquisite visuals, lively voice work, an engaging story and a memorable message, a couple of his choices give pause (not paws) for thought. Isle of Dogs oozes affection for its location in every intricate element and never uses Japanese culture as decoration – but translating canine chatter into English while offering Japanese dialogue without subtitles threatens to marginalise the country the film is paying tribute to. Similarly problematic is Gerwig's character, who swoops in to help Megasaki's residents battle the mayor's nefarious plan, and sticks a little too closely to the white saviour trope in the process. Thankfully, she's never the main attraction, in what proves an otherwise charming tale about a determined boy, his undying love for his beloved pet, and a whole island of adorable dogs. https://www.youtube.com/watch?v=dlakrjfzCig
Trying new kicks on in-store is one thing, but how about really putting them through their paces in a multi-sensory obstacle course? Next weekend, Nike's celebrating its new Epic React running shoes by bringing its House of Go pop-up to Melbourne. Taking over the Collingwood Arts Precinct on March 3 and 4, it's a chance for punters to score a first-hand taste of Nike's latest and greatest running technology...or simply to have some good old-fashioned kidult fun. Perfect if you missed out on last month's inflatable obstacle course. Sign yourself up for one of the free 30-minute sessions and you'll get to don a pair of Nike's whizz-bang new kicks, to best experience all the House of Go activities on offer. Get some air-time jumping through a giant treadmill, squelch through a room of foam, slip down slides and feast your eyes on dazzling light installations along the way. Out the other end, you'll be greeted by striking works by acclaimed Indigenous artist Reko Rennie as you recover with ice cream and groove to beats by Nike's resident DJ.
"The best way to spread Christmas cheer is singing loud for all to hear," Buddy (Will Ferrell, The Boys) tells Jovie (Zooey Deschanel, Physical) in end-of-year staple Elf. The musical version of the hit festive flick takes that idea to heart. Debuting on Broadway in 2010, it brings the beloved movie to the stage with a swag of merry songs. Fourteen years later — and 21 years since cinemas first discovered Elf's seasonal fun — Elf: The Musical is finally making its Australian premiere. Sydney Opera House's Concert Hall is standing in for both the North Pole and New York City across Thursday, December 19–Sunday, December 29, 2024, as Buddy goes on a journey of self-discovery. If you've seen the film, as almost everyone has, you'll know the storyline already; however, unless you've caught Elf: The Musical overseas, including a West End season in 2015–16, you haven't seen it like this before. Buddy isn't an elf, but he was raised by them — and he doesn't realise that he isn't like Santa's other helpers until he grows up. Cue his trip to the Big Apple to discover who he is, and also who he wants to be, as first told in a movie directed by actor-turned-filmmaker Jon Favreau before he helmed Iron Man, The Jungle Book and the photorealistic version of The Lion King. The stage adaptation's Aussie debut comes courtesy of Sydney's most-famous venue and John Frost for Crossroads Live, with the pair serving up the ideal way to get jolly in the Harbour City this festive season (as well as a gift of an excuse to take a festive-season trip to the New South Wales capital if you reside elsewhere across Australia). Elf: The Musical boasts a book by Tony Award-winners Thomas Meehan (who also helped bring The Producers, Hairspray, Cry-Baby and Young Frankenstein from picture palaces to theatres) and Bob Martin (The Drowsy Chaperone), plus songs by Tony Award-nominees Matthew Sklar and Chad Beguelin (more film-to-stage veterans courtesy of The Wedding Singer). Starring Gareth Isaac (Grease the Musical) as Buddy, Simon Burke (Wicked) as Walter Hobbs, Brianna Bishop (Grease the Musical) as Jovie and Lara Mulcahy (MAMMA MIA!) as Santa, the Australian run is being staged as a concert production, in a presentation designed for Sydney Opera House's Concert Hall. Images: Daniel Boud. Updated Monday, December 16, 2024.
If there's one food group Melburnians take seriously, it's pizza. Most of us already know exactly what we like — we've got our go-to pizza joints sussed, and we rarely budge on either count. Until now. Northsiders, prepare to make some changes to those all-time top five lists, because Primo has arrived in Northcote to steal your heart. The brainchild of Loren and husband Jamie McBride (both of Mammoth and nearby Barry), and former Shawcross owners Iza Dawkins and Jemma Richards, this baby's got some serious foodie street cred and it's living up to all of the hype. With an offering that sits neatly in the middle of classic and creative, Primo's plating up the best of two worlds. The space is fresh and modern, without being too over the top; picture comfy booths and leather banquettes in front of an open kitchen. Out front, a neon hand spinning pizza dough beckons you inside. The menu's strong from beginning to end and, even if you've got pizza on the brain, the starters are well worth a look. Kick things off with some fried baby mozzarella ($3), or the zingy arrangement of balsamic-crusted calamari and mint ($18). A tight but balanced drinks list offers a handful of local craft brews and a solid assembly of Aussie and Italian wines, including an on-trend orange number from the Murray-Darling ($50 bottle). But it's the Italian-leaning pizzas that steal the spotlight. The bases are chewy, charry and crisp, made with all-organic flour and loaded with just the right quota of quality, local ingredients. Some lean to the traditional, some are more contemporary — all are photogenic and completely droolworthy. The Homer is equal parts hearty and fresh, topped with slab bacon, mozzarella, yellow tomato, and onion, then scattered with radicchio and shavings of Grana Padano ($22.50). Meanwhile, the plant-based Tutto Bene ($20) proves as much a hit with the carnivores as it is with vegans. This beaut features three kinds of mushroom — in various forms — with lush potato cream doing a stand-up job of replacing the usual cheese. In the lineup, you'll also spy a couple of creations inspired by some overseas pizza-spinning legends. The Roberta ($22), topped with rooftop honey, cream, and chilli, pays homage to the cult Brooklyn pizza joint of the same name, while the Jon & Vinny's ($22) riffs on a Hawaiian-style combo the owners spied in L.A. And to top it off — as if having that level of pizza goodness on your doorstep wasn't enough — Primo treats its locals to free pizza and booze delivery. Yup, if you're rocking the right postcode, they can hook you up with pizza, vino, and even a cheeky bottled Negroni, without you ever leaving your couch. If that's not a way to win over even the most loyal of pizza-loving locals, we don't know what is.
Prepare to say "accio remote!" and get comfier than Hermione Granger in a library. In news that'll keep you glued to your couch this winter — timely news given that Sydney is currently in the middle of a lengthy lockdown — everyone's favourite boy wizard is now working his magic on Netflix. You won't need the Marauder's Map to find these enchanting flicks. Today, Thursday, July 15, all eight movies in the Harry Potter series have hit the streaming platform, bringing their Hogwarts-set adventures to Australian subscribers. If you've watched your DVD copies from the 2000s so many times that they're showing a little wear and tear — or your laptop no longer has a disc drive — this is butterbeer-worthy news. Yes, everything from Harry's (Daniel Radcliffe) first visit to Platform 9 and 3/4, the Yule Ball and the Triwizard Tournament to many a fluttering snitch and He Who Must Not Be Named are now at your fingertips. It's prime viewing for wizards, witches and muggles alike — all 19 hours and 39 minutes of it. The Fantastic Beasts films haven't joined them, though with wizarding journey keeping its focus on the original franchise. If you're thinking that a time-turner might come in handy over the next few months, we completely understand. And if this sounds like familiar news, that's because all eight movies were also available on Netflix back in 2019. They jumped to Binge after that, too, because the thing about streaming services — unless they're making and funding a movie or series themselves, films and shows can switch platforms as the rights deals behind them change. https://www.youtube.com/watch?v=EG37G--drDs&list=PLnpIp0ksj4UlQWQlPaRd6WrI9XSmS6B4u Find Harry Potter and the Philosopher's Stone, Harry Potter and the Chamber Of Secrets, Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet Of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince, and Harry Potter and the Deathly Hallows Part 1 and Part 2 are all now streaming on Netflix.
The Lion King is coming back to the big screen and the latest Toy Story film is about to hit cinemas — 2019 is proving a great year for revisiting beloved animated classics all round. Come September, The Little Mermaid will join them in its gorgeous original form, and with a rousing live rendition of its Oscar-winning music played by the Melbourne Symphony Orchestra. This isn't just a case of being better down where it's wetter, as cute crab Sebastian famously tells Ariel in the track 'Under the Sea' (which you'll now have stuck in your head, of course). It's also a case of being more glorious when Alan Menken's score is roaring, with conductor Nicholas Buc leading the charge. Expect to hear other hits like 'Part of Your World' and 'Kiss the Girl' echoing through Hamer Hall, all while you get nostalgic watching everyone's favourite mermaid princess fall in love with a human prince and wonder what it's like to live on land. Even better — screening three times, at 7.30pm on Friday, September 6 and at 1pm and 7.30pm on Saturday, September 7 — the event marks the movie's 30th anniversary. Tickets are on sale now and can be purchased here.
There's still a good few months before the Australian Centre for the Moving Image (ACMI) wraps up construction and unveils its multimillion-dollar makeover. But we've already been given a sneak peek of the new-look centre, thanks to a virtual fly-through video. We've also been told one of its star attractions will be a permanent ode to Mad Max. Once the revamp is completed in mid-2020, ACMI will boast a roomier, light-filled interior, with schmancy technology used to create a "globally connected museum of the future". Its design comes courtesy of Melbourne firm BKK Architects, while construction company Built is heading up the build. ACMI's also set to score a new edition of its ever-popular, permanent moving image exhibition, the result of a collaboration with experiential design studio Second Story. The free exhibition will dive deep into the history of the moving image with the help of cutting-edge technology and a range of immersive experiences. And one of the standout installations is a car that's half Mad Max Interceptor, half Bush Mechanics creation. One side nods to the contribution Mad Max director George Miller has made to Aussie film, featuring a futuristic machine crafted by Fury Road car designer Cameron Manewell. The other was created by Melbourne production house Rebel Films and painted in the Northern Territory by Yuendumu artists Thomas Jangala Rice and Francis Jupurrula Kelly, paying homage to the 2001 reality TV series. [caption id="attachment_751351" align="alignnone" width="1920"] The Constellation[/caption] A world-first piece of technology dubbed The Lens will also make its debut here. It's a portable device that's used to collect information while moving through the exhibition, as well as offering access to a large-scale digital activation titled The Constellation. Elsewhere, you'll find spaces like the Media Preservation Lab, which gives a glimpse into ACMI's film and digital media preservation process; the Foley Room, where visitors can have a crack at creating their own soundtrack and sound effects; and the Gandel Digital Future Labs, offering a series of hands-on digital learning experiences. While ACMI is undergoing renovations, its shows, films and exhibitions have taken up residence at the Treasury Theatre and the recently reopened Capitol Theatre. To check out its programming at the Treasure and Capitol theatres, head to the ACMI website. ACMI is set to reopen in mid-2020.
Just when you thought Chadstone's Euro-inspired brasserie, Cityfields, couldn't get any bigger, they go and open a rooftop bar. It's called The Terrace, and it's been in the works for a while. The Cityfields crew decided to open the main 600-seat restaurant space while they were still finishing the upstairs build. Now, with The Terrace complete, Cityfields is firing on all cylinders: restaurant, long room, public bar, rooftop, the works. It's probably one of the most ambitious restaurant projects we've seen in the last few years. The Terrace will be focusing more on snack plates and alfresco drinks, but there is a second kitchen up here, and you can order basically the same menu as downstairs. Olive gildas, neatly skewered with guindilla peppers and anchovy sit alongside woodfired pizzas, whopping 1.2kg T-Bone steaks and the obligatory cacio e pepe (without which it's now illegal to open a restaurant in Melbourne). Considering the amount of office space in Chadstone these days, you can expect The Terrace to pack out on Friday nights. And with its west-facing location on the top of the Social Quarter, the views are pretty spectacular. Lift your eyes from the surrounding carparks and you get a panoramic vista stretching all the way to the CBD. Most of the new floor is undercover, too. Big folding doors allow some airflow, but you won't have to worry about rain and inclement weather. There's even a crackling firepit on the balcony during winter. For all the latest Cityfields news, specials and events, check out their Instagram. The Terrace is open seven days a week, 12pm till late. Images: Pete Dillon.
Every studio wants a Marvel Cinematic Universe to call its own, or an equivalent that similarly takes a big bite out of the box office — and that very quest explains why Morbius exists. On the page, the character also known as 'the Living Vampire' has been battling Spider-Man since 1971. On the screen, he's now the second of the web-slinger's foes after Venom to get his own feature. This long-delayed flick, which was originally due to release before Venom: Let There Be Carnage until the pandemic struck, is also the third film in what's been dubbed Sony's Spider-Man Universe. As that name makes plain, the company is spinning its own on-screen world around everyone's favourite friendly neighbourhood superhero, because that's what it owns the rights to, and has started out focusing on villainous folks. So far, the movie magic hasn't flowed. If that explanatory opening paragraph felt like something obligatory that you had to get through to set the scene, it's meant to. That's how Morbius feels as well. Actually, that's being kinder than this draining picture deserves given it only has one purpose: setting up more films to follow. Too many movies in too many comic book-inspired cinematic universes share the same fate, because this type of filmmaking has primarily become $20-per-ticket feature-length episodes on a big screen — but it's particularly blatant here. Before the MCU's success, the bulk of Morbius would've been a ten-minute introduction in a flick about supervillains, and its mid-credits teasers would've fuelled the first act. Now, flinging every bit of caped crusader-adjacent material into as large a number of cinematic outings as possible is the status quo, and this is one of the most bloodless examples yet. Jumping over to the SSU from the DCEU — that'd be the DC Extended Universe, the pictures based around Batman, Superman, Wonder Woman, Suicide Squad and the like (but not including Joker or The Batman) — Jared Leto plays Morbius' eponymous figure. A renowned scientist, Dr Michael Morbius has a keen interest in the red liquid pumping through humans' veins stemming from his own health issues. As seen in early scenes set during his childhood, young Michael (Charlie Shotwell, The Nest) was a sickly kid in a medical facility thanks to a rare disease that stops him from producing new blood. There, under the care of Dr Emil Nikols (Jared Harris, Foundation), he befriended another unwell boy (debutant Joseph Esson), showed his smarts and earned a prestigious scholarship. As an adult, he now refuses the Nobel Prize for creating artificial plasma, then tries to cure himself using genes from vampire bats. Morbius sports an awkward tone that filmmaker Daniel Espinosa (Life) can't overcome; its namesake may be a future big-screen baddie, but he's also meant to be this sympathetic flick's hero — and buying either is a stretch. In the overacting Leto's hands, he's too tedious to convince as a threat or someone to root for. He's too gleefully eccentric to resemble anything more than a skit at Leto's expense, too. Indeed, evoking any interest in Morbius' inner wrestling (because saving his own life with his experimental procedure comes at a bloodsucking cost) proves plodding. It does take a special set of skills to make such OTT displays so pedestrian at best, though, and that's a talent that Leto keeps showing to the misfortune of movie-goers. He offers more restraint here than in Suicide Squad (not to be confused with The Suicide Squad), The Little Things, House of Gucci or streaming series WeCrashed, but his post-Dallas Buyers Club Oscar-win resume remains dire — Blade Runner 2049 being the sole exception. It mightn't have revived the film, but the answer to one of Espinosa's troubles could've been Matt Smith, who cuts a far more compelling figure as the grown-up version of Morbius' ailing pal Milo. The lanky Last Night in Soho star is saddled with a role somehow more cartoonish than Leto's, and with a character who doses himself with the same bat-derived serum but loves it — and, even without a spot of remorse for the body count he swiftly causes, he's the the most fascinating thing on-screen. Alas, in the latest underwhelming script by Dracula Untold, The Last Witch Hunter, Gods of Egypt and Power Rangers screenwriters Burk Sharpless and Matt Sazama, Morbius and Milo are meant to be two sides of the same coin, but there's no depth or poignancy to their relationship. It just feels like a means to an end, giving Morbius another struggle to brood over. That shouldn't come as a surprise seeing that's the movie's whole gambit as well. It doesn't help that the entire idea behind Morbius and Milo's friendship, and their reason for seeking a solution in bat DNA, is abhorrently ableist. Positing that both men can only be happy if they're free of their genetic ailment could never be anything else. Folks with a health situation that causes suffering may wish to farewell it, but the image of throwing away crutches, becoming more mobile, gaining extra senses and floating in the air is thoroughly tasteless when presented as the only alternative to having a medical condition. Doing something different would've required thought, however, which Morbius lacks again and again. No one could be bothered to flesh out its protagonist, or wonder why its villain outshines him, or worry that Leto and Smith have zero chemistry together, after all. And clearly nobody was concerned that the film looks wearyingly dull to suit its story, that its CGI is laughably atrocious and overdone at every moment, or that it's a vampire flick that's afraid of blood and gore. Amid the murky cinematography by Oliver Wood (Holmes & Watson) and erratic editing from Pietro Scalia (Solo: A Star Wars Story), each compounding the movie's woes, Morbius also includes a weak attempt at a romance courtesy of fellow researcher Martine (Adria Arjona, 6 Underground), plus a crime angle via detectives Stroud (Tyrese Gibson, Fast and Furious 9) and Rodriguez (Al Madrigal, Physical) — all thankless. Its stab at giving the superhero/supervillain realm a mad scientist skew, a monster-movie chapter and a gothic horror spin proves dead on arrival as well, as does its evident pilfering from Mary Shelley's Frankenstein. That this is the best version of Morbius after almost two years spent sitting on a shelf is as illogical as the film's many plot holes. This misfire only sinks its teeth into bland monotony; vampires aren't the only things that suck within its frames.
An artist turned filmmaker, Julian Schnabel largely specialises in films about visionary artists, however he can't be accused of settling into a comfortable niche. Whether he's focusing on American painter Jean-Michel Basquiat in Basquiat, exploring the life of Cuban poet and playwright Reinaldo Arenas in Before Night Falls, or examining the experiences of French writer Jean-Dominique Bauby in The Diving Bell and the Butterfly, Schnabel does more than present straightforward biographical dramas. Rather, his pictures are dedicated to channelling their subject's mindsets with every stylistic touch — to steeping viewers in each real-life figure's perspective as deeply and immersively as possible. There's no formula at play, just an unflinching dedication to capturing each artist's essence. And with the writer-director turning his attention to Vincent van Gogh, At Eternity's Gate hits the mark perfectly. To many, van Gogh's name inspires three well-known details: his Sunflowers still-life paintings, the moody blue swirls of The Starry Night and the liberation of his ear from his head by his own hand. All three rate a mention in At Eternity's Gate, though they're hardly the most crucial aspects of the film. With Willem Dafoe plays the artist with urgent, revelatory intensity (and earning a much-deserved Academy Award nomination for his troubles), Schnabel seeks to understand rather than faithfully chronicle. As written with Jean-Claude Carrière and co-editor Louise Kugelberg, his movie happily draws upon not only van Gogh's personal letters, but on fiction, myths and speculation, including about the artist's death. A suitably post-impressionist portrait of the iconic Dutch post-impressionist, At Eternity's Gate recounts van Gogh's final years — a period of challenge, pain and immense productivity. Feeling adrift in the Parisian art scene, where galleries remain uninterested and his art-dealer brother Theo (Rupert Friend) can't sell his work, van Gogh decamps to the French town of Arles upon the advice of fellow artist Paul Gauguin (Oscar Isaac). But if van Gogh hovered on the fringes of his chosen community in the city, he's an outright pariah in his new small-town setting, with his drinking, temper-driven outbursts and psychological unravelling grating against the locals. While Theo arranges for Gaugin to join his sibling's sojourn, the solace of good company proves merely a temporary fix to van Gogh's inner woes. It would've been a revolutionary move, but Schnabel could've trained the camera solely at Dafoe for At Eternity's Gate's entire running time, and he still would've crafted an exceptional film. There's such power to the actor's performance — the power that springs not from force, or from seeing every ounce of effort, but from so convincingly stepping into someone else's shoes. van Gogh's work has always seethed with both passion and fragility. In every stroke, even in his most striking compositions, it seems as if he's feverishly exorcising the visions that are haunting his mind. In the movie's finest accomplishment, its commanding leading man gives flesh, heart and soul to that sensation. Although Isaac is memorable as Gauguin, and both Mathieu Amalric and Mads Mikkelsen make an impression as a doctor and a priest, respectively, Dafoe conveys both the emotional delicacy and the damning turmoil that made van Gogh who he was — and made his art so astonishing. Of course, Schnabel doesn't just train the camera at his star, and his film is all the better for it. How the filmmaker composes At Eternity's Gate's frames is as important as what's within them, with cinematographer Benoît Delhomme wielding the lens almost as if it's a paintbrush. There's rarely a still moment, with the image swirling, roaming and playing with focus in the same way that van Gogh's artwork does. The movie also borrows the artist's use of colour, particularly when gazing upon the French landscapes that he frequently committed to canvas. And yet, Schnabel never forgets that film is an audio-visual medium. His potent visuals say plenty about his complicated subject, but so does his layered soundscape. Staring into Dafoe's penetrating blue eyes, peering at every fleck of dirt and grass that marked van Gogh's life, and marvelling at the painter's pieces only feels complete when the artist's words float like the wind — and when the wind itself conjures up his deep-seated struggle. https://www.youtube.com/watch?v=bcPLAz1LG1U
The inaugural Vivid Residence is the headline event in Vivid Sydney's huge new food lineup. The two-week residency brings a hotly sought-after international chef behind the pass of one of Sydney's most beloved fine diners. The bad news: this exceptional dining opportunity is completely sold out — and with good reason. The once-in-a-lifetime event will give hungry Sydneysiders the chance to savour a menu from Daniel Humm — of New York's three Michelin–starred Eleven Madison Park — at Aria Sydney between Tuesday, June 6–Saturday, June 17. [caption id="attachment_902234" align="alignnone" width="1920"] Steven Woodburn[/caption] The good news: deliciously, we managed to secure a few tickets (five pairs, specifically), just for you. If you're not already aware, along with its starry reputation, Eleven Madison Park and its plant-powered plates have previously sat at number one on the World's Best 50 Restaurants list. Backdropped by the glittering harbour, Humm and his team, with the support of Aria, will offer a nine-course tasting menu (and a slightly shorter lunch menu) capturing the essence of NSW. In this exclusive Concrete Playground Trips package, you and your date will choose between a lunch and dinner service at Aria, stay in a superior heritage room at the Harbour Rocks Hotel and then enjoy breakfast the next morning. All the makings of a standout winter trip to Sydney. To secure one of the last five spots, book your package stat. Eleven Madison Park takes over Sydney's Aria from Tuesday, June 6 till Saturday, June 17. Take in the full Vivid Sydney experience with Concrete Playground Trips' exclusive event package, which includes lunch or dinner for two at the Eleven Madison Park x Aria Vivid Residence, one night at The Harbour Rocks hotel and breakfast for two the next morning. For more information, head to the website. Specific dates and dining times apply.
For most of us, hitting the gym and hitting the club are two very different propositions. But at Ascot Vale's newest workout destination, F*IT, they've been thrown together into one very unique, high-energy hybrid. A multi-sensory space where fitness meets clubbing, the Mt Alexander Road newbie offers 'high intensity group workouts in a nightclub-inspired environment'. There are five different sweat-inducing classes to get involved in, each session thumping to the kind of tunes you'd usually hear from the DJ booth at 1am on a Sunday morning. But strangely enough, the soundtrack's not the only thing at F*IT reminiscent of a weekend dance floor session. In an Aussie first, this fitness club also boasts its own fully-stocked, onsite bar, licensed and ready to booze. By day (6am-8.30pm, Monday to Saturday), you can charge up with a protein-packed signature smoothie, in flavours like Pina Covado and Gettin' Wheysted, or an espresso coffee (available in the coming weeks). Then from 7-10.30pm Fridays, members can opt for something a little stronger, when the bar starts slinging the hard stuff. On the menu is a range of cocktails, a weekly changing beer special and a tight selection of wine and spirits, plus there's a sleek, low-lit nightclub space in which to enjoy them. Just don't get too indulgent, or you'll undo all the hard work you put away in that strength training class. Find F*IT at 544 Mt Alexander Rd, Ascot Vale. Prefer to head outside for both your workout and that recovery tipple? Here's where to train for a marathon and have cool-down brew after.
A tasty new go-to for the hungry and time poor has arrived on Elizabeth Street. Chunky Town is a hole-in-the-wall serving up a cheesy Korean street food favourite inspired by carnivals and childhood memories. The 'Chunky' (as it's called) is a little like the Australian dagwood dog, but cheesier. It's made using a crisp batter and hunks of gooey cheese — and comes in seven different flavours. In Korea, it's served at one of the 200 Chung Chun stores around the country (the chain opened its OG store in Seoul's Gangnam district). In Australia, you'll find it at Chunky Town in Melbourne's CBD. How it works is simple: you pick your Chunky and your cheese filling, sprinkle it with sugar and load it with sauce at the counter. The bestsellers are the original Sausage Chunky with cheddar ($5.50) and the upgraded OG with stretchy mozzarella ($6.50). Other flavours include the Potato Chunky, the Noodle Chunky (which is dipped in crushed noodles), the black Squid Ink Chunky (all $7.50) and a vegetarian version with no sausage and lots of cheese. We suggest adding a side of crunchy waffle fries to your order for a salty hit, too. To drink, pick up one of the Korean bubble teas. The Thai-style milk tea and mango green tea are our top picks, but there are 21 different flavours to choose from. In the future, it's rumoured that Korean doughnuts (called Chunky Balls) will be added to the menu, too. The doughnuts are drizzled with maple syrup, condensed milk and seeds. It was Adam Ong, one of the four owners — alongside Adam Wang, Charles Park and Derek Lo — who wanted to bring the Korean treat to the Australian market. And, according to the group, there are big plans to expand across the city and country. So, keep an eye on this space for future openings. Images: Julia Sansone.
Well and truly over tired, dry CBD sandwiches for lunch? The business folk of Melbourne are getting a host of new lunch options, with the imminent arrival of a newly minted food precinct at the west end of Flinders Lane. Nestled on the corner of Flinders and Katherine Place, just a couple of minutes walk from Southern Cross, The Archway is the latest addition to the city's bustling laneway culture. With three tasty operators already up and cooking, and another three expected to open by the end of next month, The Archway is set to dominate CBD lunch breaks for the foreseeable future. Located in Melbourne's so-called New York end, it's only fitting that The Archway includes a selection of NYC style bagels, baked fresh daily by the team at 5 & Dime. Variations include poppy, rye, cinnamon and raisin, along with spreads like maple bacon chipotle, lemon curd and hazelnut chocolate cream cheese. Just in case that wasn't decadent enough, they’re also running a rotating sweets menu, from homemade smores (!) to snickers chocolate tarts. That said, when it comes to tarts, your best option is T by Luxbite. The latest venture by pastry chefs Yen Yee and Bernard Chu, the dessert options here are almost beyond belief. Slices include jackfruit, chilli salt, vanilla and kaffir lime sherbet; salted caramel, marshmallow, chocolate, orange and gold, and the particularly delicious-sounding lemon peel, meringue, vanilla and bamboo charcoal. Seriously, just go and look at their website. It's insane. If you're search for a caffeine hit to go along with your tooth decay, you can head to Altius Coffee Brewers. Run by Hannah Alderton and Jarrod Pageot, formerly of Market Lane, it's one of the few good coffee options west of William Street. In addition to the vendors already in operation, The Archway will soon be welcoming a pair of Asian lunch joints. Delhi Streets promises old school Indian street food, while Mr Huang Jin specialises in Taiwanese dumplings. Rounding out the precinct with a healthier option will be Hunters Roots, an organic cafe serving salads and freshly squeezed juices. The Archway is located at 517 Flinders Lane. For more information visit The Archway's website.
A certain global pandemic might have limited Melbourne's creativity fix last year, but come May, the city more than make up for that artistic dry spell. Launching with the total lunar eclipse on Wednesday, May 26, the city is set to welcome Rising, a brand new festival of arts and culture and an ambitious celebration of place. Running for 12 nights and descending on venues and public spaces all across the city, it's set to deliver a huge 133 different projects and events involving more than 750 Victorian artists. Expect a large-scale celebration of music, art and performance, in what organisers are pushing to become the major cultural event for the entire Asia-Pacific region. After being forced to postpone its planned 2020 debut, Rising is now more than two years in the making. Its expansive program has been very much steered by the artists involved, with an impressive 36 specially commissioned works set to make their world premiere during the event. "We went to the artists of Victoria and asked them for bold and ambitious ideas of what a festival can now be," Co-Artistic Director Hannah Fox explained to Concrete Playground. "So that's really informed how we've programmed it. It's as much the vision of the artists of Victoria and Melbourne as it is ours. And they really were well ahead of us in understanding how to make work for a post-COVID world." Taking place across five distinct districts within the city, Rising will serve up a broad-ranging mix of music, large-scale public art, grand installations and site-specific performances, intertwined with a healthy sprinkling of food and wine. As Fox says, it's "very much about creating an experience in Melbourne that's completely unique to this place." [caption id="attachment_805136" align="aligncenter" width="1920"] Patricia Piccinini by Pete Tarasiuk[/caption] And there truly is something in this lineup for everyone to sink their teeth into. Excitingly, renowned Aussie artist Patricia Piccinini returns with her first major Melbourne project in almost two decades, with A Miracle Constantly Repeated unveiling a multi-sensory art experience housed within the rarely spied spaces on the top floor of Flinders Street Station. The festival's Chinatown precinct will play host to everything from a naked disco called Club Purple to technology-driven laneway art takeovers and soaring visual projections. At its heart, the Golden Square car park building will be transformed into a multi-faceted pop-up gallery, showcasing new works from the likes of Reko Rennie, Parallel Park, Lucy Bleach and more. Over at the Sidney Myer Music Bowl, it'll become a supernatural forest for The Wilds, complete with light shows, supersized sculptures, mirrored illusions and a pop-up ice-skating rink. The Capitol Theatre will play host to a performance lecture by Emmy-winning filmmaker Lynette Wallworth — and, at the Comedy Theatre, you'll catch a series of collaborations and special performances to tempt music fans of all persuasions, featuring New Zealand's Marlon Williams, Julia Jacklin, The Saints founder Ed Kuepper and loads more. Also embedded firmly throughout the Rising program is a focus on the city's connection to First Peoples' culture. "One thing that we wanted to be really clear on and committed to was about our place, and really thinking about Melbourne's history in terms of deepening the understanding of First Nations stories and living culture," Fox says. Accordingly, there'll be no shortage of opportunities to dig in deep, including works like storytelling sound pavilion Blak Box and The Lantern Company's community-made Wandering Stars — a 200-metre-long glowing eel undulating its way along the Yarra, to be enjoyed by audiences on the riverbank as they share First Peoples' knowledge of the space. Or, there's Tjanabi, one of the diverse food and wine experiences happening within the Melbourne Town Hall's Mess Hall pop-up precinct. Led by N'arweet Dr Carolyn Briggs AM, the event will see diners connecting with First Peoples' food culture as they feast their way through a multi-course dinner built around long-held techniques and much-honoured ingredients. "It's about the community coming back together again in a really major way, taking advantage of the freedom that we have and bringing the city back to life after being the hardest hit city in Australia," explains Fox. "It's a very significant kind of moment... and we feel very fortunate to be launching this now. I think audiences are absolutely ready." Rising runs from Wednesday, May 26–Sunday, June 6 at various locations around Melbourne. Head to the festival's website to check out the full program and grab tickets. Images: Wandering Stars; Blak Box, 2019, photographed by Teresa Tan.
When it comes to sun, surf and sand, Australia's prowess is widely recognised. But, as any wine lover is well aware, we have something else to be just as proud of. Made in sprawling vineyards around the country — including in Victoria — our local vinos are simply top-notch. And, they're worth championing and celebrating at every possible opportunity. This isn't news to Victorians, of course. Mornington Peninsula, the Pyrenees and the Yarra Valley's wineries have strong reputations, as do others across the rest of the state. Indeed, we're betting their tipples already rank highly on your must-drink list. When such excellent wines are made so close to home, there's nothing better than to pair one with dinner, a cheese platter or a seafood lunch, obviously. In case you need a few extra suggestions, are looking for a couple of other local drops to try, or you could just use a reminder about brands you adore, we've teamed up with our pals at BWS to highlight five Victorian-based winemakers that you should definitely know and support. You might already love their tipples. You may have heard of them, but never had the pleasure of trying their wares. Either way, these wines will help you drink local.
Can a dream ever exist for more than a fleeting moment? That isn't just a question for oneirology, the field of psychology focused on studying the involuntary visions of our slumbers, but also applies whenever tales of motorcycle clubs rev across the screen. Stories of hitting the open road on two wheels, finding camaraderie and community in a group of likeminded outsiders, and perhaps discovering a purpose along the way are stories of chasing dreams — of freedom, of belonging, of mattering, of meaning in a world seemingly so devoid of it if you don't fit in the traditional sense. So it was in TV series Sons of Anarchy and in Australian film 1%, two titles set within the roar and rush of biker gangs in recent years. So it was in The Wild One, 1953's Marlon Brando-starring classic that immortalised the query "what are you rebelling against?" and the reply "whaddaya got?". Now, so it equally proves in The Bikeriders, about a 60s and 70s leather- and denim-wearing, motorbike-riding crew formed after infatuation got motors runnin' when founder Johnny (Tom Hardy, Venom: Let There Be Carnage) saw The Wild One on TV. A family man, Johnny has a dream for the Vandals MC out of America's midwest — and so does Benny (Austin Butler, Dune: Part Two), the closest thing that the club has to a spirit animal. The latter is introduced alone at a bar wearing his colours, refusing to take them off even when violence springs at the hands of unwelcoming patrons. He won't be tamed, the sixth feature from writer/director Jeff Nichols after Shotgun Stories, Take Shelter, Mud, Midnight Special and Loving establishes early. He won't be anyone but his smouldering, swaggering, rebel-without-a-cause self, either. Courtesy of the Vandals, he not only has the space to stand firm, but the assurance. He's a lone wolf-type, but knows that he has the devoted backing of the pack anyway. Johnny has fashioned the gang as a tribe and a place to call home for those who can't locate it elsewhere, and is open about how his fellow bikers need Benny — and how he does as well — to look up to. The Bikeriders is the story of Johnny and Benny, and also of the Illinois-accented Kathy (Jodie Comer, Killing Eve), whose outsider-upon-outsider perspective comprises the movie's narration (and gives it a Martin Scorsese-esque, Goodfellas-style angle). She's wary when on her debut encounter with the Vandals, also at a bar. Still, the way that Nichols and his regular cinematographer Adam Stone (Waco: American Apocalypse) shoot it, Kathy has no choice but to fall for the brooding Benny from the instant that she locks eyes on him at the pool table that night. Moments after she leaves the watering hole, she's clutching him close as they thunder off on his bike. Five weeks later, they're married. As she talks through the tumultuous and absorbing details to Danny (Mike Faist, Challengers) — Lyon, that is, the IRL photojournalist with the 1968 book that shares The Bikeriders' name, inspired the film and provides its basis sometimes on an image-by-image level — what springs from there is a love triangle of sorts, as Johnny and Kathy both see different routes for Benny, and for their respective dreams and futures. Making a much-appreciated return to filmmaking eight years after Loving — in-between, an Alien Nation remake didn't come to fruition, and he dropped out of helming A Quiet Place: Day One — Nichols fictionalises fact with The Bikeriders. Lyon snapped and spent time with Chicago's Outlaws Motorcycle Club. Its name doesn't remain in the feature, but the monikers of plenty of folks in its orbit, including Kathy, Benny and Johnny, plus other Vandals members Cal (Boyd Holbrook, Justified: City Primeval), Cockroach (Emory Cohen, Blue Bayou) and Zipco (Michael Shannon, The Flash), all do. The vibe as The Bikeriders hums is of a picture and the team bringing it to life each stepping into history, into photos that immortalised it and into a mood just as firmly, then spinning the results into a movie. That's a pivotal and purposeful sensation when the line between dreams and reality is being examined. While actuality rarely feels illusory when you're in it, the ultimate that anyone is ever pursuing — rebellion, authenticity and acceptance here, for example — so often proves ephemeral. Little in the way of surprises might fuel The Bikeriders' narrative, especially if you've watched past biker fare — Lyon's book predates Easy Rider by a year — but twists and turns are never the point. Instead, the anticipated cycles keep turning as Nichols prods whether the dream that he's capturing, as his photographer inspiration did before him, was ever destined for more than transience. Johnny's version of the club — and the solace that someone such as the scruffy Zipco, who gives voice to securing a niche he isn't otherwise afforded in a speech about being turned down for Vietnam enlistment, is seeking — withers as the Vandals grows. Rides and hangouts erupt in scuffles and fights over power. Attitudes among newcomers make the OG crew seem positively gentle. Benny struggles, too, caught between two sets of the last thing that he wants from anyone: expectations. As it gets the wind ruffling Butler's hair and the bouffant of Comer's locks defying gravity, Nichols has crafted a film that plays so eagerly like a throwback with such a lived-in atmosphere, but also with probing intentions pumping through every second. It presents. It unpacks. It motors along with the throbbing and the cruisiness alike of an engine letting rip on long Sunday-afternoon drive, digging into this slice of countercultural Americana and the hopes it stands for in the process. As its director did with Shotgun Stories almost two decades ago now, The Bikeriders also has tortured masculinity in its sights, another realm where visions of perfection are fated to crash. And as Nichols constantly returns to in his filmography, how desperately someone — everyone — attempts to hold onto what they love and dream about also slicks this intimate flick like oil. The longer that The Bikeriders goes on, the heartier that the initial Vandals tussle with their expanding roster, as more and more faces and agendas join its ranks. The feature itself has no such regrets, including when Norman Reedus (The Walking Dead: Daryl Dixon), Karl Glusman (Civil War), Toby Wallace (The Royal Hotel) and Damon Herriman (The Artful Dodger) help flesh out the cast. Mirroring the club with Benny, the movie benefits from having Butler at its heart, though. In a strong on-screen year to rival 2022's Elvis whirlwind, which nabbed him a BAFTA and a Golden Globe, plus an Oscar nomination, he follows Dune: Part Two and Masters of the Air with a magnetic, layered, revealing and committed performance while so frequently uttering little aloud. The also-exceptional Comer and ever-commanding Hardy aren't stuck in their co-star's shadow, as their characters happily are with Benny, but this film about the allure of the ideal knows how to make that exact notion its vista. Unlike everything that the Vandals aspires to encapsulate, however, Butler never falters.
With a (hopefully) balmy few months of summer stretched out ahead of us, Melbourne's just scored a blissful new spot for those sun-drenched brunch sessions and pre-picnic pit-stops. Or at least, a new 'old' spot. Darling Group (Higher Ground, Kettle Black, Stringers) has been busy transforming the Royal Botanic Gardens' iconic lakeside venue into their latest project, the Terrace Cafe — and it officially opens its doors this Saturday, December 17. Surrounded by greenery, the team's all-day cafe and adjoining event space have been designed in a nod to their lush outlook, with interiors by Technē featuring plenty of botanical references throughout. The 234-seat Terrace Cafe sports a palette of natural hues, with terrazzo-topped benches and an idyllic al fresco area spilling out amongst the gardens. Elevated classics drive the conservatory-inspired cafe's food offering, starring produce-led options like Turkish eggs with roast chorizo, tahini yoghurt and an aleppo pepper dressing; an avocado tartine (French-style open sandwich) and sumac-dressed fattoush salad with toasted pita. You can aim a little less green with likes of the cheeseburger and fries, and chilli-scrambled eggs atop house-made ciabatta. Or perhaps the homemade scones — a nod to a much-loved offering from the site's previous life. Meanwhile, Darling Group's signature coffee blend will star on the cafe's broad-ranging drinks list, with two coffee carts soon set to take up residence at Gates A and D of the Gardens for customers on the go. Of course, this is prime picnic turf and the Terrace Cafe's expansive grab-and-go lineup makes for an enviable rug set-up. Choose from the likes of loaded baguettes, pinsa romana (a style of fermented-dough pizza) and pastries, or a Terrace-To-Go box containing your choice of sandwich or salad, a juice and a sweet treat. Then, there's function venue The Terrace, where Technē's vision of gold detailing and polished concrete will play the backdrop to private shindigs and soirees of up to 300 guests (or 150 seated), overlooking the Ornamental Lake. It's an impressive space, complete with huge central skylight, a 10-metre-long bar of two-toned marble and a similarly leafy outlook to its next-door sibling. Find the Terrace Cafe and The Terrace at Royal Botanic Gardens, Alexandra Avenue and Anderson Street, Melbourne (best entry is via Gate A). The cafe will open daily from 8am–4pm. Images: Griffin Simm
This Halloween, the sound of chainsaws will echo through the Palais Theatre — plus plenty of screaming, demonic spirits and unhinged mayhem, too. To celebrate every horror fan's favourite occasion, the St Kilda venue is playing host to a ghoulish movie-and-music combination like no other. Not only will Sam Raimi's 1981 splatter classic The Evil Dead hit the big screen, but an ensemble of musicians from the Melbourne Symphony Orchestra will play a reimagined version of the scary flick's score. The latest in the MSO's growing series of film-focused live performances, this show is extra special, with the score's original composer Joe LoDuca also making an appearance. Nearly four decades since he first whipped up the perfect soundtrack for a chilling vacation in the woods, he'll hit the keyboards to revisit the movie that first brought him to fame — and helped make stars out of Raimi, actor Bruce Campbell and then-assistant editor Joel Coen (yes, one of the Coen brothers) as well. The Evil Dead has spawned two Raimi-directed sequels, a 2013 remake and Campbell-starring TV series Ash vs Evil Dead, because it really is impossible to destroy the Necronomicon — even when you're toting a trusty boomstick. But the original film remains an absolute horror delight in its own right, as does its tale of five holidaying college kids who head up to a secluded cabin, only to find themselves unexpectedly facing off against evil. Relive the carnage from 8pm on Thursday, October 31, with tickets on sale now.
In showbusiness, nepotism is as inescapable as movies about movies. Both are accounted for in The Souvenir: Part II. But when talents as transcendent as Honor Swinton Byrne, her mother Tilda Swinton and writer/director Joanna Hogg are involved — with the latter working with the elder Swinton since her first short, her graduation piece Caprice, back in 1986 before Honor was even born — neither family ties nor filmmaking navel-gazing feel like something routine. Why this isn't a surprise with this trio is right there in the movie's name, after the initial The Souvenir proved such a devastatingly astute gem in 2019. It was also simply devastating, following an aspiring director's romance with a charismatic older man through to its traumatic end. Both in its masterful narrative and its profound impact, Part II firmly picks up where its predecessor left off. In just her third film role — first working with her mum in 2009's I Am Love before The Souvenir and now this — Swinton Byrne again plays 80s-era filmmaking student Julie Harte. But there's now a numbness to the wannabe helmer after her boyfriend Anthony's (Tom Burke, Mank) death, plus soul-wearying shock after discovering the double life he'd been living that her comfortable and cosy worldview hadn't conditioned her to ever expect. Decamping to the Norfolk countryside, to her family home and to the warm but entirely upper-middle-class, stiff-upper-lip embrace of her well-to-do parents Rosalind (Swinton, The French Dispatch) and William (James Spencer Ashworth) is only a short-term solution, however. Julie's thesis film still needs to be made — yearns to pour onto celluloid, in fact — but that's hardly a straightforward task. As the initial movie was, The Souvenir: Part II is another semi-autobiographical affair from Hogg, with Swinton Byrne slipping back into her on-screen shoes. This time, the director doesn't just dive into her formative years four decades back, but also excavates what it means to mine your own life for cinematic inspiration — aka the very thing she's been doing with this superb duo of features. That's what Julie does as well as she works on the film's film-within-a-film, sections of which play out during The Souvenir: Part II's running time and are basically The Souvenir. Accordingly, viewers have now spent two pictures watching Hogg's protagonist lives the experiences she'll then find a way to face through her art, all while Hogg moulds her two exceptional — and exceptionally intimate and thoughtful — movies out of that exact process. Julie's graduation project is also an escape, given it's patently obvious that the kindly, well-meaning but somehow both doting and reserved Rosalind and William have been pushed out of their comfort zone by her current crisis. Helping their daughter cope with her heroin-addicted lover's passing isn't something either would've considered might occur, so they natter away about Rosalind's new penchant for crafting Etruscan-style pottery instead — using small talk to connect without addressing the obvious, as all families lean on at some point or another. They provide financing for Julie's film, too, in what proves the easiest part of her concerted efforts to hop back behind the lens and lose herself in her work. Elsewhere, an array of doubt and questions spring from her all-male film-school professors, and the assistance she receives from her classmates is quickly steeped in rivalries, envy and second-guessing. More than once, queries arise about why Julie makes particular choices — and seeing how Swinton Byrne responds under Hogg's meticulous direction is one of the key reasons that The Souvenir: Part II is as powerful and compelling as it is. Like everything in the film, it's a revelation in layers, which unpeel far deeper than merely asking Swinton Byrne to be her director's on-screen surrogate. An introvert, Julie is visibly unaccustomed to the scrutiny that comes with her ambitious project, and with needing to handle her inner hurt under a spotlight. Swinton Byrne makes that plain quietly but repeatedly, all while conveying how Julie's self-hesitation slowly dissipates the longer she goes on, the more she struggles with, and the more mistakes she makes and solves. How this process echoes through her work, shaping both it and Julie herself, ripples through to a disarmingly intense degree — and with crucial aid from cinematographer David Raedeker (Swimming with Men) and production designer Stéphane Collonge (God's Own Country). There's no shaking the grief of it all, of course. As a musing on mourning, plus a perceptive glimpse at how the bereaved are expected to soldier on despite placating words offered otherwise, The Souvenir: Part II is shattering. Amid movie-within-movie sequences that'd owe thanks to David Lynch and Charlie Kaufman if they weren't so clearly diffused through Hogg's own lens — and after the other glimpse at the industry that comes via Richard Ayoade's (The Electrical Life of Louis Wain) returning Patrick, now successful, pompous AF, helming a huge movie musical and an enormous scene-stealer — the all-encompassing chaos that loss begets is laid bare. It's what drives Julie into bed with one of Patrick's stars (Charlie Heaton, Stranger Things), and sees her place perhaps too much on her own film's leading man (Harris Dickinson, The King's Man). In another of the feature's standout moments, it's also what causes her to misunderstand the sympathies of her editor (Joe Alwyn, Mary Queen of Scots) when support becomes hard to find. The Souvenir was a fated romantic tragedy. It was a vehicle for its director to work through her memories, too, and immortalise what she's now decided to keep; yes, that title is oh-so-telling. The Souvenir: Part II is a meditation upon loss, heartbreak and life's worst existential and inevitable woes, and also a way for Hogg to sift through her memories about all those memories, not to mention the new ones she conjured up when she first turned them into a movie a few years back. It's as smart, sensitive and stacked as an immensely personal piece of cinema can be, and it's also thrillingly savvy about how subjective everything it shows and interrogates needs to be by necessity. Cinema isn't short on memoirs, many of them wonderful — recent Oscar-winners Roma and Belfast, for example — but The Souvenir and its just-as-phenomenal sequel are in a bold and brilliant realm all of their own.
Lumen People recently joined a growing trend in the Melbourne cafe scene, deciding to transform into a wine bar a few nights a week. This is a big win for North Melbourne locals who have plenty of neighbourhood pubs to choose from, but a much smaller number of wine bars. And even though it already has a banging evening menu, Lumen People's decided to switch things up a little this June by inviting some of the city's most creative food and wine talents to take over the menu for a three-night event series. The first, running on Friday, June 14, sees Love Shack Brewery's Joe Baylon (ex-Aru and The Moon) running the pass from 6pm. Baylon will be serving up French-inspired eats that Foreign Fruits' Ibrahim Khudeira will pair with a specially-curated list of wines. Then, on the afternoon of Sunday, June 23, Capitano Head Chef Ryan Hodgson (ex-Bar Liberty) will be cooking up some southern soul food. Expect a heap of reimagined Sunday lunch classics that are "vaguely inspired by the Atlantic coast". Matt Kingsley Shaw (ex-MoVida and Ombra) from Portuguese wine importer Tasty Things will be providing the matched drops for this takeover. Rounding out the docket is Dora Mazzeo (ex-Bar Liberty and Hope St Radio), who has most recently been overseeing kitchen takeovers at Rathdowne Street fave Florian. She'll be slinging creative eats on Friday, June 28, alongside a curated wine list by Max Helsing from wine importer and distributor Halle aux Vins. These three food and wine takeovers are a great excuse to check out Lumen People's transformation into a wine bar, and to treat yourself to a little winter warmer. Images: Hugh McDonnell.
In the last few years, Melbourne has experienced what can only be described as an explosion of vegetarian options. Suddenly, it's not just about piecing together a meal from the sides; now, establishments have dedicated veggie sub-sections on their menus and countless eateries cook entirely with plant-based products. There's never been a better time to be meat-free. The other wonderful thing about veggie dining in Melbourne is that you don't have to be a strict vegetarian or vegan to get in on the spoils. Even if you're only going meat-free on Mondays, you'll still find plenty of casual mid-week options, from veggie-driven fine dining, sans-meat Mexican to vegan lunch break options. No matter what you're craving, there's an eggplant option for you. To help you form this healthy habit, we've teamed up with American Express to find Melbourne's best restaurants that make eating vegetarian deliciously simple. Really, it's not hard to do — when you live in Melbourne, it's as easy as a swipe of your American Express® Card. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
It was a small step for man and a giant leap for mankind. But what if the moon landing didn't actually happen? As far as conspiracy theories go, that line of thinking is up there with Elvis surviving his last date with his bathroom. Now, after decades of wondering, we finally have the incriminating vision. Okay, so not exactly. After toying with the found footage genre in their debut film The Dirties, writer-director-actor Matt Johnson and his regular co-star Owen Williams bring the same faux-documentary approach to the world of outlandish government coverups in Operation Avalanche. Playing fictionalised versions of themselves several decades before they were actually born, Johnson and Williams make the leap from college whiz kids to new CIA recruits to undercover operatives at NASA. Remarkably, that's the easy part. Once they've talked their way through the door of the space agency, pretending to be a documentary film crew but actually looking for a Russian spy, they discover that the space agency can't make it to earth's natural satellite as planned. And so a new secret scheme is hatched, drawing upon their background as filmmakers. But it also attracts some unwanted attention. Operation Avalanche unfolds as a movie within a movie — with the added bonus of yet another movie within that movie, too. In essence, the filmmakers are making a film about pretending to make a film, while at the same time recreating the historic footage of the actual lunar landing. Grainy images ensure that the movie fits its '60s setting to a tee, while shooting the whole thing in handheld style, often through windows or from various other unlikely hiding spots, helps sell the underlying premise. Sounds like a bit of cheeky fun, right? Seesawing between comedy and edge-of-your-seat thrills, that's exactly what Operation Avalanche delivers. At the same time, this paranoia-riddled satire couldn't feel more timely, despite the fact that it first premiered at the Sundance Film Festival a full year ago. Not being able to believe everything you see in the media isn't exactly a new sentiment, nor is thinking twice before trusting the words spoken by those in power. Still, imagining a modern version of this story given the current global political climate certainly isn't hard. Apart from the initial concept, perhaps Johnson's greatest trick is doing something different with both the found footage medium and the cold war thriller genre. This isn't the kind of shaky horror flick you've seen countless times before, or the type of USA versus USSR effort that has been pumped out since the 1960s. That's great news if you're a film buff, for whom Operation Avalanche feels tailor made. Indeed, with one of the most common moon landing conspiracies centred around 2001: A Space Odyssey director Stanley Kubrick, it shouldn't come as a surprise that one of the greatest filmmakers in history earns more than a couple of mentions.
Once you've tried a Turkish-style ice cream sandwich, you may never go back to a "regular" one. Using stretchy Maras ice cream (the stuff can be eaten with a knife and fork) Northcote cafe Cuppa Turca serves the icy treat between two slices of crispy hand-rolled baklava. It's then topped with hot pink Persian fairy floss. For those who are after something a little less extra, there's a more tame version served between two thin wafers. Or you can just have a scoop on its own. Whatever you pick, order it with a cup of coffee made on hot sand.
UPDATE, January 7, 2021: Pieces of a Woman screens in Melbourne cinemas from Wednesday, December 30, and will be available to stream via Netflix from Thursday, January 7. Everyone has heard the claim that women forget the pain of childbirth, with hormones and maternal stirrings washing away the agony of labour once a mother meets their bundle of joy. How true that proves is the subject of debate, but if you've only seen life brought into the world via on-screen depictions, you can be forgiven for subscribing to such a school of thought. Childbirth, like sex, is usually sanitised for cinema. Courtesy of thrusts, groans, screams and part-exhilarated, part-exhausted smiles, films typically convey the gist, rather than the nitty gritty. The visceral reality rarely exists in a fictionalised world of convenient meet-cutes, perfect make-up adorned faces and zero signs of sweat; however, thanks to a tense and harrowing 23-minute delivery scene that plays out in one continuous take, Pieces of a Woman doesn't shy away from the mess and chaos. It doesn't evade the devastation when a planned home birth not only experiences hiccups, but leaves Boston-based expectant mother Martha (Vanessa Kirby, Fast & Furious: Hobbs and Shaw) struggling to cope, either. Martha won't forget what occurred when her water broke, her husband Sean (Shia LaBeouf, Honey Boy) remained by her side and midwife Eva (Molly Parker, Words on Bathroom Walls), a fill-in rather than the couple's first choice, delivered her baby. Neither will viewers of this daringly intimate drama from White God and Jupiter's Moon director-writer duo Kornél Mundruczó and Kata Wéber. The unbroken birthing scene isn't the movie's first, but it does precede its title card — with the filmmakers making it plain that, after getting a front-row seat to Martha's trauma, the audience will now witness her attempts to stitch herself back together. That's Pieces of a Woman's storyline. Shattered instead of feeling ecstatic and complete, as she had anticipated, the feature's protagonist tries to work out how to go on. But her marriage has lost its lustre, her overbearing mother Elizabeth (Ellen Burstyn, House of Cards) won't stop giving her two cents — and trying to throw around piles of money to help a problem that can't be fixed by cash — and, at Sean and Elizabeth's urging, there's also a court case to deal with. Pieces of a Woman doesn't lack narrative developments, involving both Martha and those in her bereaved orbit. Ex-alcoholic Sean also endeavours to process the situation, including falling back on old habits. His relationship with Elizabeth flips from bickering to conspiratorial, too; he's a construction worker, and his mother-in-law has always disapproved of his and Martha's class differences, but now they agree on what's best moving forward. Also having an impact: the involvement of Martha's lawyer cousin Suzanne (Sarah Snook, Succession), and the attention that comes from pursuing legal proceedings. Martha can't escape any of the above, but they're the film's scaffolding, rather than the main attraction. These external ups and downs will all pass, while Martha's maelstrom of despair and anger will remain. Accordingly, after stepping through her life-changing moment in realistic detail, the movie makes the bold choice to explore its protagonist's emotional and mental state. The Crown brought Kirby to broader fame and acclaim, earning her awards for her on-screen work after years of receiving them for her stage career — but, as stellar as she is in the regal drama, Pieces of a Woman is a career-best performance. She's tasked with weathering an ordeal rarely laid bare with such candour, and doing so via a dynamic and lived-in portrayal. She's asked to convey the torrential torment that Martha endures in every second after pushing through the contractions in Sean's embrace, holding their child in hers, and then suffering the worst type of absence. In the birth scene, she's primal and unfiltered in a way that's never seen on film. Afterwards, Kirby is glassy with and distant from those around Martha in a manner that rarely resonates as authentically as it does here. Pieces of a Woman is well-cast, and its star is ably matched — by Burstyn especially, particularly in one big monologue that rides a remarkable rollercoaster — but the intensity in Kirby as Martha crumples, yet remains resolute about her right to fracture and fray however she needs to, is near-overwhelming. Mundruczó and Wéber tackle an array of weighty notions through Martha, and through Kirby's performance, the ravenous monster that is grief being one. Pieces of a Woman is heartbreakingly unrestrained in showing how it feels to navigate loss, specifically the kind that isn't often addressed in society let alone in cinema. It does so with disarming potency, as if everything within its frames has been ripped from truth by the filmmakers. Just as effectively, the movie also unpacks how women are constantly expected to stick to set roles, even when tackling what might be the most distressing thing that'll ever happen to a mother. That's where all the struggles with Sean, Elizabeth and the court case really strike a chord — because, no matter what's going on, Martha is always supposed to fit a type dictated by long-held ideas about being a woman, and her husband, mum and anyone else with an opinion can't quite accept her refusal to adhere to convention. If Pieces of a Woman wasn't so deeply moving, some of its overt symbolism might've fallen flat, including repeated shots of a bridge being built by Sean, plus Martha's obsession with apples. And yet honesty reverberates from both, reflecting how easy it is to cling to anything and everything when life isn't progressing as planned. This excellent movie does spend its 126 minutes as intended, of course. From its attention-grabbing early sequence and intricate emotional landscape to its astonishing lead performance and its masterful direction — and its fittingly solemn score by Howard Shore (a two-time Oscar-winner for The Lord of the Rings) and roaming yet lingering visuals lensed by Benjamin Loeb (Mandy), too — it plunges viewers headfirst into Martha's experience. Nothing has been sanitised for anyone's comfort or protection here, either by the filmmakers or by their unforgettably real and raw central character. https://www.youtube.com/watch?v=1zLKbMAZNGI Top image: Benjamin Loeb / Netflix.
Before Dolly Parton's own musical about her life makes its theatre debut, premiering on Broadway in 2026, always loving the music icon on stage is easy thanks to Here You Come Again. Telling the story of a massive fan of the legend and their imagined version of a star like no other, this fellow song-fuelled production is filled with Parton's tunes. It has her stamp of approval, too, and it's playing Melbourne in 2025. Here You Come Again will enjoy a stint at Comedy Theatre from Saturday, July 12–Sunday July 20. Get ready to hear 'Jolene', '9 to 5', 'Islands in the Stream' and 'I Will Always Love You', among other tracks, as the show's protagonist navigates the ups and downs of life with his own fantasy of Dolly by his side. Playing the pivotal Parton part, so slipping into the rhinestones and blonde hair, is Here You Come Again co-creator Tricia Paoluccio — and yes, she's also a lifelong Dolly fan. In the US and UK, Here You Come Again has played soldout seasons — and expect it to prove popular Down Under, too. Alongside Paoluccio, Australian Dash Kruck (Little Shop of Horrors, Jesus Christ Superstar) stars, with the local run also featuring an all-Australian ensemble, plus a live band helping to bring Parton's music to life. And if you can't make it in July, the show will be back in the Victorian capital from Thursday, October 23–Sunday, November 2. Images: UK production, Hugo Glendinning.
If you've wandered around South Melbourne Market, Preston Market or Queen Vic Market lately, you've likely seen long lines of folks hunting down Cannoleria's ricotta-filled pastry shells. Its Sicilian-style cannolis are no joke, made with That's Amore ricotta and delicately crunchy pastry. But wherever you've bee getting your fix so far, it's been a purely takeaway affair — you either have to rush home before the cannoli start getting soggy, get the filling sold separately so you can pipe them later, or scoff the cannoli right after ordering. That is until now, as the team is bringing its first dine-in venue to town — and it'll be opening soon on Lygon Street, no less. While we're still awaiting details about an opening date, what we do know is that come late July or early August, Cannoleria will be setting up shop on the unofficial home of Melbourne's Italian dining and cultural scene, which has hosted countless Italian restaurants and gelato joints for generations. The new site will seat 18 cannoli lovers, allowing them to take their time savouring these sweet Sicilian treats. Moka Pot St Remio coffee and other hot and cold bevs will also be available. There's no word yet on whether the site will be stocking its epic pistachio spreads, cannoli-scented candles, cannoli cakes and merch, but we're quietly hopeful. To celebrate the new opening, Cannoleria will be giving away 1000 mini cannolis on its launch day, so watch this space for more details once we have them. You'll soon find Cannoleria at 334 Lygon Street, Carlton. For more information, visit the venue's website.
The shock of unkempt hair, the Irish brogue, the misanthropic attitude: there's no mistaking Dylan Moran for anyone else. It was true in beloved British sitcom Black Books, when his on-screen alter ego abhorred mornings, ate coasters and claimed that his oven could cook anything (even belts). And it's definitely true of the comedian's acerbically hilarious live shows. Moran is no stranger to Australia, and last headed our way in 2019. Whether you've guffawed at his bleak wit live or you've always wanted to, you'll be able to see him on Saturday, May 8, too — thanks to a streamed version of his Brisbane show from his last visit. Expect the kind of deadpan gags, wine-soaked insights and blisteringly sharp one-liners that've kept him in the spotlight since 1996, when he became the youngest-ever winner of the Edinburgh Fringe's Perrier Award. Dr Cosmos once again features Moran's grumpily lyrical musings on love, politics, misery and the everyday absurdities of life, which you can watch for $18 from your couch. https://www.youtube.com/watch?v=FMfRpM5PJRw
Walk past the serious black brick facade that belongs to Code Black and you'll be guided by a more welcoming, heritage-listed red brick building (previously the Toby's Estate coffee warehouse). Signposted by Brunswick locals milling on the pavement and, of course, a few bikes chained up out the front, Brunswick Foodstore is filled with both locals and bike owners getting their weekend fill of eggs, smashed avocado and single origin coffee. Thanks to the Lebanese backgrounds of owners Rich and Suzy Pavlov, the menu at the Brunswick Foodstore holds a distinctly Middle Eastern vibe, with the likes of sucuk (Turkish sausage), zaatar and labne making multiple appearances. The smashed avocado with grilled pork sausage, poached eggs, feta and rocket ($17.50) is a great way to start the day, the brioche French toast with pear mascarpone, crispy bacon, rosewater syrup and walnuts ($16.90) a pure treat, and the breakfast mezze with fried eggs, labne, grilled sucuk, feta, olives and pita bread ($18.50) is an interesting take on breakfast. Onto lunch and the menu's direction is consistent, with mezze plates, kofta wraps and falafel providing the foundations for a rather solid offering. As you sit in this expansive warehouse space that feels pleasantly warm and welcoming, you'll find plenty of things to look at. In one corner is the food store, with its rows and rows of interesting, colourful produce; from tins of tea and bags of coffee, to jars of spices and chilled deli goods as well as freshly baked bread, there is a strong local focus and everything stocked seems to have been very carefully considered. In another corner lies the kitchen and bar, decorated with geometric drawings and a wall mural of coffee machine mechanics, serving as just one piece of evidence that the coffee here (made with Toby's Estate beans, no less) is taken very seriously. But perhaps the best thing about Brunswick Foodstore is that, due to its sheer size, you're likely to nab a table when all other Brunswick cafes will make you wait. And, if you do face a small wait, perusing the food store can make for a delightful way to pass the time.
If you’re familiar with Cat Power (aka Chan Marshall), then you know how badass she is. Her singer-songwriter meets rock star persona sets her apart as one of the more unique musicians out there. Those who saw her at Golden Plains this past March know what we’re talking about. Don’t fret if you missed her then, because you’ll soon have another chance. Cat Power is crossing the pond again for an Australian tour this summer. Cat Power’s ten-show tour will kick off this January at the Sydney Festival. It was just announced that she would be a guest performer at the festival’s Big Star tribute show alongside Jody Stephens, Mike Mills (R.E.M.), Ken Stringfellow (The Posies), Chris Stamey (The dB’s), Mitch Easter (Let’s Active), Edwyn Collins and Kurt Vile. Power’s Sydney shows will continue the day after at the Circus Ronaldo Tent with a matinee and midnight show. After, she’ll continue down the coast, performing in Milton, Canberra, Melbourne, Menniyan and concluding in Perth. So if you haven’t heard Cat Power in a while, it’ll be worth hitting up one of her shows. Her newish album, Sun, is freshly awesome and and her blonde coif is shocking, but that’s why we love Cat. She always keeps you coming back for more.
UPDATE, June 28, 2022: RRR is available to stream via Netflix. The letters in RRR's title are short for Rise Roar Revolt. They could also stand for riveting, rollicking and relentless. They link in with the Indian action movie's three main forces, too — writer/director SS Rajamouli (Baahubali: The Beginning), plus stars NT Rama Rao Jr (Aravinda Sametha Veera Raghava) and Ram Charan (Vinaya Vidheya Rama) — and could describe the sound of some of its standout moments. What noise echoes when a motorcycle is used in a bridge-jumping rescue plot, as aided by a horse and the Indian flag, amid a crashing train? Or when a truck full of wild animals is driven into a decadent British colonialist shindig and its caged menagerie unleashed? What racket resounds when a motorbike figures again, this time tossed around by hand (yes, really) to knock out those imperialists, and then an arrow is kicked through a tree into someone's head? Or, when the movie's two leads fight, shoot, leap over walls and get acrobatic, all while one is sat on the other's shoulders? RRR isn't subtle. Instead, it's big, bright, boisterous, boldly energetic, and brazenly unapologetic about how OTT and hyperactive it is. The 187-minute Tollywood action epic — complete with huge musical numbers, of course — is also a vastly captivating pleasure to watch. Narrative-wise, it follows the impact of the British Raj (aka England's rule over the subcontinent between 1858–1947), especially upon two men. In the 1920s, Bheem (Jr NTR, as Rao is known) is determined to rescue young fellow villager Malli (first-timer Twinkle Sharma), after she's forcibly taken by Governor Scott Buxton (Ray Stevenson, Vikings) and his wife Catherine (Alison Doody, Beaver Falls) for no reason but they're powerful and they can. Officer Raju (Charan) is tasked by the crown with making sure Bheem doesn't succeed in rescuing the girl, and also keeping India's population in their place because their oppressors couldn't be more prejudiced. There's more to both men's stories because there's so much more to RRR's story; to fill the movie's lengthy running time, Rajamouli hasn't skimped on plot. Indeed, there's such a wealth of things going on that the film is at once a kidnapping melodrama, a staunch missive against colonialism, a political drama, a rom-com and a culture-clash comedy — involving Bheem's affection for the sole kindly Brit, Jenny (Olivia Morris, Hotel Portofino) — and a war movie. It's a buddy comedy as well, starting when Bheem and Raja join forces for that aforementioned bridge rescue, yet don't realise they're on opposite sides in the battle over Malli. It's also as spectacular an action flick as has graced cinema screens, and as gleefully overblown. Plus, it's an infectiously mesmerising musical. One dazzling dance-off centrepiece doubles as a rebuff against British rule, racism and classism, in fact, and it's also nothing short of phenomenal to look at, too. Spectacle is emphatically the word for RRR — not quite from its scene-setting opening, where Malli is ripped from her family, but from the second that Raju shows how well he can handle himself. That involves taking on a hefty horde of protesters single-handedly with just a stick as a weapon, because extravagance and excess is baked into every second of the feature. Super-sized is another term that clearly fits, because little holds back even for a second. And a third word, if the film bumped up its moniker to the next letter in the alphabet? That'd be sincere. An enormous reason that everything that's larger than life about RRR — which is absolutely everything — works, even when it's also often silly and cheesy, is because it's so earnest about how determined it is to entertain. You don't use that amount of slow-motion shots if you don't know you're being corny at times, unashamedly so. If the whole friends-but-enemies dynamic between Bheem and Raja sounds like The Departed and Infernal Affairs, that's just part of RRR's exuberant melange of influences — just like genres. Its protagonists Komaram Bheem and Alluri Sitarama Raju are actually ripped from reality, with each revolutionaries, although their tales didn't ever intertwine. (No, nothing IRL in history has ever resembled this). The Harder They Fall did the same thing, fictionalising the past to make a statement and craft barnstorming cinema, but in America, in the Old West and with Black characters. Imagine the same idea given the Michael Bay treatment in India and that's almost the wavelength that RRR runs on. Imagine the right kind of Bayhem, though — Pain and Gain, for instance — or just think of his penchant for shamelessly go-for-broke action scenes and ignore everything he usually stuffs around them. When a filmmaker is helming an action onslaught, just as when they're overseeing musical scenes, choreography is always key. That's another crucial factor in making RRR so engaging. Rajamouli's staging of both, and the way that the frays and song-and-dance numbers alike are shot by cinematographer KK Senthil Kumar (Vijetha) and edited by A Sreekar Prasad (Good Luck Sakhi), is a visual wonder. On one side, the Fast and Furious movies would be envious. On the other, Lin-Manuel Miranda might be. Again, RRR is often chaotically ridiculous, but it's also so well-made — so audaciously as well — that it's exhilarating. The films of John Woo come to mind at times, as do The Raid and The Raid: Redemption, but RRR is also its own beast. It's also easy to predict that Telugu-language cinema stars Jr NTR and Charan could get their moment in Hollywood; if Vin Diesel doesn't come calling, perhaps Quentin Tarantino will when he hops behind the camera next. Jr NTR and Charan are megawatt movie stars, one playing an everyman who becomes a hero, the other the picture of dutiful and skilled authority — and deep-seated conflict — who does the same. They're dynamite together amid the rampant maximalism, the stunts and the CGI-heavy special effects. Yes, that means that RRR is also a bromance. The film's central pair live their lives one anti-colonialist tussle at a time, though. Their characters are also posed as superheroes, never with the term ever mentioned, but in just how super-adept they are. Of course, the usual sprawling caped-crusader franchises typically don't feel this overstimulated, ardent, often-absurd and engagingly alive.
It wasn't just a Twitter thread — it was the Twitter thread. Whether you read Aziah 'Zola' King's viral 148-post stripper saga live as it happened back in October 2015, stumbled across the details afterwards as the internet lost its mind or only heard about it via Zola's buzzy trailer, calling this stranger-than-fiction tale a wild ride will always be an understatement. Its instantly gripping opening words, as also used in Janicza Bravo's (Lemon) savvy, sharp, candy-hued tweet-to-screen adaptation, happen to capture the whole OMG, WTF and OTT vibe perfectly: "you wanna hear a story about how me and this bitch fell out? It's kind of long, but it's full of suspense." In the film, that phrase is uttered aloud by Zola's eponymous Detroit waitress (Taylour Paige, Ma Rainey's Black Bottom). Still, the movie firmly embraces its origins. For those wondering how a filmmaker turns a series of tweets into a feature, Bravo handles the task with flair, energy, enthusiasm and a clear understanding of social media's role in our lives. Much of the phrasing that the real-life Zola used has made its way into the conversational script, which was co-written by playwright Jeremy O Harris. Each time that occurs, the film echoes with tell-tale swooshes, whistles and dings. But those words and alerts are just the starting point; as Zola's chaotic narrative unfurls, it comes to life with a mix of the hyperreal, the loose and the dreamy. It doesn't merely tell a tale taken from the tweetstorm to end all tweetstorms, but also uses every aesthetic choice it can to mirror the always-on, always-posing, always-sharing online realm. The other person that Zola refers to in her initial statement is the cornrow-wearing, blaccent-sporting Stefani (Riley Keough, The Lodge), who she serves at work, then joins on a jaunt to Florida. They immediately hit it off, which is what inspires the invite to head south — a "hoe trip" is how Zola describes it — however, what's meant to be a girls' getaway for a stint of lucrative exotic dancing in Tampa soon gets messy. The drive is long, and Stefani's boyfriend Derreck (Nicholas Braun, Succession) quickly dampens the mood with his awkward, try-hard schtick. Then there's X (Colman Domingo, Candyman), who, while introduced as Stefani's roommate, is actually her pimp. Trafficking Zola into sex work is the real plan of this working holiday, she discovers, but she's ferociously adamant that she won't be "poppin' pussy for pennies". As the woman both relaying and riding Zola's rollercoaster of a story, Paige is fierce and finessed. It's a tricky part; making the dialogue sound authentic, and also like it could've just been rattled off on social media with a mix of emojis and all caps, requires a precise tonal balance, for starters. So does ensuring that Zola always feels like a real person, especially given the tale's ups and downs. That said, Paige is guided by Bravo at every turn, with recognising how things play online and how they pan out in reality — and the frequent disconnection between the two — one of the filmmaker's biggest masterstrokes. That's exactly what a flick that's based on a Twitter thread should offer, rather than just mining posts for punchy content that's already proven popular. Using the platform as source material definitely doesn't equal an endorsement here. Instead, it sparks a brash and bouncy feature that interrogates its inspiration and the mechanism that turned it into a whirlwind, rather than serves up a cinematic retweet. Zola also draws upon David Kushner's Rolling Stone article 'Zola Tells All: The Real Story Behind the Greatest Stripper Saga Ever Tweeted', because 148 tweets can't cover everything. Nonetheless, plenty of the film's success emanates from its almost-surreal 16mm imagery and its airy, eerie-scored atmosphere, too. Its namesake's early words aren't misleading: this is a narrative filled with suspense. The waves it surfs in its mood and stylistic decisions cause just as must jitteriness, though — in a fantastic way. Zola hangs together immaculately, and it constantly feels as if Bravo, cinematographer Ari Wegner (The Power of the Dog), editor Joi McMillon (If Beale Street Could Talk) and composer Mica Levi (Monos) could go anywhere. That's a powerhouse lineup of talent, after all, with the latter trio's resumes spanning some of the killer films of the past decade: Lady Macbeth, In Fabric, True History of the Kelly Gang, Moonlight, Under the Skin and Jackie all included. Alongside Paige, Zola's cast is equally impressive, even if it initially appears as if a few might simply stick to type. Keough could've stepped off of American Honey's set and onto this one, and not just because they're both road-trip movies, yet adds another tricky yet memorable performance to her filmography. Written into her character, and conveyed in her portrayal as well, is a dissection of cultural appropriation. Stefani acts like she's Black in lieu of forming her own identity, is wilfully ignorant of that fact while being openly racist, and provides a pinpoint-precise portrait of oblivious, exploitative, all-devouring whiteness. Similar ideas bubble through Braun's work as the gangly and bungling Derrek — a twist on his acclaimed Cousin Greg persona, but with far less cash — and the concept of adopting a part and facade also lingers in Colman's scarily compelling and icily charming efforts. These are layered performances, befitting the rich and multi-faceted film they're in. Nothing in any movie is ever just one thing, but Zola demonstrates that notion with commitment and command. It's there in the feature's bold approach, including its eagerness to unpack its genesis on several levels. It's there in the film's gleaming yet never glamorous appearance as well, which almost pitches itself into the world of fantasy while steadfastly recognising that nothing about its story is seductive or alluring. And, it echoes in the tiniest of choices. Take an early moment, in a bathroom, where both Zola and her new pal take a leak. Shot from above, this is the smartest peeing scene you're ever likely to see, and expresses so much about its central duo purely by peering at their urine. Turning tweets and piss into a must-see movie? That's cinematic alchemy.
Hunting for the most obscure bar in Melbourne is a sport. Those who can climb the most stairs, brave the most alleyways or withstand the longest queues are glorified gurus of cool amongst their circle of friends. Dansk Bar, tucked away high up on Little Bourke, should therefore be the most discreet jewel in any punters black book. Located within the little known Denmark House, Dansk Bar is the most delightful surprise ever to be found at the top of an elevator. The interior design is, not surprisingly, very Danish with exposed beams in the ceiling, well-considered chairs (Borge Mogensen designed the sofas) and light fixtures that create an atmosphere of cool intelligence. It's a rare find that couples enormous loft-style windows overlooking the city with reindeer fur rugs on the floorboards, whilst still remaining extremely underrated by the after work crowd. The drink selection is similarly discerning. Danish brews such as Tuborg, Carlsberg and Somersby Cider are imported in, while Scandinavian themed cocktails are a top choice at $16 each — try the Copenhagen or the Danish Mary. Dansk even holds happy hour from 5-6pm on Wednesdays, Thursdays and Fridays with $5 beer and cider, proving not everything about Scandinavia is elusive and expensive. Adjoining Dansk Bar, through the passage of portraits of Crown Prince Frederik (essential to any bar's decor, quite frankly) is Denmark House's restaurant. Serving traditional Danish smørrebrød, offerings include curry herring ($17), gravlax (cured salmon with dill served with a classic mustard sauce; $16) and a prawn salad ($15). It's a taste worth acquiring. No longer restricted only to members, Dansk Bar is the most refined perch to enjoy an evening tipple — serving a taste of Copenhagen cool without the twenty-five hour flight.
Baywatch. The name alone is insanely evocative, conjuring up images of bronzed bodies, bouncing breasts and David Hasselhoff blasting his way through "some people staaaaand in the darkness, afraid to step intooo the light!" For a time it was one of the most widely syndicated and watched TV program in the entire world – despite its altogether preposterous premise about impossibly attractive lifeguards solving crimes and stopping diamond smugglers with the same regularity that they prevented a casual drowning. The show was ridiculous and it was gratuitous...but it worked, and it was great TV. Fast forward twenty-odd years and Baywatch now finds itself the latest victim of a visionless Hollywood system forever sucking the life out of cinema by simply rehashing old ideas and formats rather then gambling on something new. TV to film has admittedly seen a handful of notable wins (21 Jump Street, for example), but the vast majority of these reboots fall harder and faster than the abysmal jokes they attempt to deliver (think Power Rangers, CHiPS and the disastrous Absolutely Fabulous). The new Baywatch movie is sadly no exception. This is puerile comedy at best, where the laughs are so infrequent they almost feel accidental. It is a film without purpose, failing to even entertain at the most basic level. There's no finesse to be found; no craft on display or subtlety to admire. It's a stupid and pointless movie whose only aim seems to be to rob you of both your time and your money. If that seems unfair, consider that the longest scene in the film centres largely upon Zac Efron's character having to fondle and examine a dead man's flaccid penis and scrotum while his partner laughs and takes photos on his phone. As for the second longest scene? Another man's penis (erect, this time) is wedged in a park bench and needs to be extricated while onlookers laugh and take photos on their phones. In amongst it all is Dwayne 'The Rock' Johnson – and it's a credit to the man's charisma and star power that he almost singlehandedly keeps this stinker afloat. With penetrating eyes and a big beaming grin, Johnson treads that appealing line between physically intimidating and loveably huggable (something we've not really seen since Schwarzenegger's iconic turn in Kindergarten Cop). His onscreen rapport with Efron is not without its appeal, although there's absolutely no plot or script to back it up. As the film's antagonist, Bollywood superstar Priyanka Chopra lends her class and talent to a project that otherwise has none. Meanwhile, the supporting cast grimaces and stumbles their way through scene after scene without any clear idea why they're there or what they're doing. Sometimes self-aware and other times bizarrely serious, Baywatch is a film entirely out of its depth, slipping beneath the waves and in no way worthy of rescue. https://www.youtube.com/watch?v=eyKOgnaf0BU
For this year's Good Beer Week festivities, Taxi Kitchen invites punters to indulge in a little escapism at its sumptuous banquet inspired by a post-hunt feast. Think: long communal tables, merriment in abundance and a menu centred around a giant whole beast. On Wednesday, May 19, the Fed Square restaurant hosts its Good Swill Hunting dinner, celebrating hearty winter fare and some cracking beers from across Australia and New Zealand. Diners will be treated to a grand spread from executive chef Tony Twitchett, running from canapes and terrine, to a whole pig — with crackling — and an apple tart to finish. Each dish will be carefully matched to a tasty beer (or two), with the likes of Brooklyn Brewery's Pulp Art Hazy IPA, Panhead's Sucky Mon Mon Japanese lager and the golden sour ale by White Rabbit just some of those in the lineup. Craft Beer Ambassador Ryan Loft will play MC for the evening's festivities, and brewers from each label will be there to talk you through what you're drinking as you're drinking it. [caption id="attachment_680384" align="alignnone" width="1920"] Giulia Morlando[/caption]
If seasonal change has left you in a dizzy headspin of brand new colours and fabrics and prints and jackets — or if, y'know, you just like some fancy new clothes now and then — you'll be pretty pleased to know that the Big Fashion Sale is coming back to Melbourne for three days this October. The name pretty much says it all. This thing is big. You'll find lush items from past collections, samples and one-offs from over 20 cult Australian and international designers, both well-known and emerging, including Stella McCartney, Missoni, Karla Špetić, Studio Elke, Christopher Kane, Benah, Marni and more. With discounts of up to 80 percent off, this is one way of upping your street cred with designer threads that'll leave your bank balance sitting pretty too. Prices this low tend to inspire a certain level of ruthlessness in all of us, though, so practise that grabbing reflex in advance. This is every man and lady for themselves. The Big Fashion Sale will be open 9am till 7pm Friday, 10am till 6pm Saturday, and 10am till 4pm Sunday.
