The Yarra Valley is known and loved for its cooler-climate wines, celebrated vineyards and attractive sites that lure many visitors to the area. But off the beaten wine trail, northeast of the Yarra and away from the crowds, you'll find the 'Little Italy' of Australian wine production: King Valley. It's the epicentre of Italian farming and grape growing in Australia, and the resulting wine varieties, along with the surrounding Italian heritage, make the region a top spot to visit. Sangiovese and prosecco are the key players here, thanks to the strong Italian influence. With all this Italian epicurean culture around, it's incredibly easy to find a delicious meal to pair with these local wines. One winery you should call into is the famed Brown Brothers and its fine dining restaurant Patricia's Table. Making wine since 1889, the family-run Brown Brothers Winery produces everything from King Valley staples like prosecco and pinot grigio to light and fruity moscatos, a big, bold shiraz and a hearty durif. Based on the philosophy that nobody should leave empty handed, it's all about experimentation, innovation and a dedication to making wines for all tastes. Each year Brown Brothers harvests over 18,000 tonnes of grapes to make 100-plus different wines, with about 20 trial wines currently in the works, too.
She's already sporting a diverse lineup of eateries, a program of live tunes, art installations and even a boutique bottle shop. Now, Melbourne's new CBD food and entertainment precinct Ella has added to the family again, this time with a venue that's sure to impress the city's cocktail aficionados. Cocktail bar Byrdi is the latest venture and first Aussie project for Luke Whearty and Aki Nishikura — the bartending masterminds responsible for Singapore's multi award-winning Operation Dagger. Given the venue has claimed a spot among the World's 50 Best Bars for four years running (and currently sits at number 30), we're expecting Byrdi to bring some pretty exciting things to the party. At the bar, seasonality and locality aren't just passing flings — they're at the heart of absolutely everything Whearty and Nishikura do. Expect a constantly evolving cocktail list that showcases local ingredients sourced at their peak, with no two visits to be the same. Native botanicals are set to star throughout, while the 40-seat space itself heroes sustainable materials like bluestone and coconut husk flooring. [caption id="attachment_748355" align="alignnone" width="1920"] Kate Shanasy[/caption] Right now, you'll find sips like the In Bloome — a mix of freshly hand-picked jasmine, gin, Applewood's Red Okar, lavender tincture, mandarin vinegar and a house-made pear blossom liqueur. There's a handful of house-fermented creations, too, including a take on the much-loved Weis Bar with fermented Northern Territory mango, Gippsland cream and mango vinegar — along with highballs and a tight rotation of local craft beers and wines. The funky drops get plenty of airtime here, as do ingredients like strawberry gum and smoked davidson plum. The food lineup is concise, but clever, also built around local, seasonal goodies. Find the likes of tempura salt and vinegar green beans, grilled tiger prawns teamed with finger lime and broccolini matched with a fortified macadamia cream. Tired of decisions? Settle in with the three-course ($75) or five-course ($120) food and drink pairing menu. Byrdi joins Ella's ever-growing collection of food and drink haunts, alongside the likes of Chilli Everest, Lomah, Sam Sam and Reverie. Find Byrdi at Ella, corner Elizabeth and La Trobe streets, Melbourne. It's open from 10am–1am daily. Images: Kate Shanasy
Pitch Music & Arts Festival is back for 2020, this time with an even bigger lineup of electronic acts and visual art on display. The event will again take over Mafeking — about three hours northwest of Melbourne — from Friday, March 6 to Tuesday, March 10. The BYO camping festival is brought to you by the team behind Beyond the Valley, who will set up a satellite community out in the bush and invite festival-goers to pitch a tent — camping is included in your weekend ticket, or splash out extra for a glamping setup — then fully immerse themselves in the weekend's festivities. Expect a bunch of house, techno and disco tracks over the four days, with 47 music acts on the bill. The international 2020 lineup features Russia's Nina Kraviz; Berlin-based DJ Objekt; Midland (UK); South Korea's cosmic disco DJ Shubostar; Aurora Halal (US) who'll be playing a live set; Canadian techno pioneer Richie Hawtin; Ben UFO (UK); and genre-defying selector Hunee (The Netherlands) of Rush Hour Recordings; and new label Lifetones. Local names like Kllo, Moopie, Hiatus Kaiyote, Fantastic Man, Collarbones and Late Nite Tuff Guy are also on the docket. On the art side of things, you can expect CGI, spacial design and light installations from a host of local and international artists and creative companies, all of which are arranged to interact with the festival at large. Images: Duncographic.
During this last week of April there's been a bit of good news about Australia's battle to contain coronavirus. Queensland and NSW both announced the easing of some restrictions from this Friday, May 1, South Australia has had seven days in a row of no new cases and the ACT, as of today, has zero active cases. Also unveiled today was the Northern Territory's Roadmap to the New Normal, which includes the reopening of restaurants, bars and cafes — in just two weeks. Announced today by Chief Minister Michael Gunner, the roadmap is broken into three parts. From midday tomorrow, May 1, some "simple and safe" outdoor activities are allowed — including weddings and funerals, outdoor sports where physical distancing can be maintained (so tennis is OK, but not basketball) and fishing, boating and sailing with other people — and public swimming pools, water parks, playgrounds and campgrounds (outside biosecurity areas) can open. Stage two, set to start from midday on Friday, May 15, allows "safer" indoor activities for "less than two hours". Places of worship, public libraries, gyms, beauty therapy salons (for non-facial services), shopping centre food courts and restaurants, cafes and bars can all have customers for short bursts. So, you can go and have a couple of pints at a bar or a bowl of pasta and a wine, but not sit down for an eight-course degustation. The venues wanting to reopen as part of this second round of eased restrictions must submit a "simple COVID-19 safety plan checklist" to prove they're operating within physical distancing and hygiene guidelines, but these do not need to be approved. At present, the Chief Minister has not outlined exactly what these physical distancing guidelines are, but the checklist will be made public on May 5. [caption id="attachment_714483" align="alignnone" width="1920"] Sydney's Cantina OK is currently closed. Image by Kimberley Low.[/caption] If the guidelines include the Federal Government's previous one person-per-four-square-metre limit, it's possible it won't be viable for all hospitality venues to reopen. When this restriction was first introduced back in March 20, many hospitality spots — including tiny Sydney mezcal bar Cantina OK — chose to close. Some closed even earlier, when the government introduced a ban on indoor gatherings of more than 100 people. Part three of the NT government's plan is set to be rolled out on June 5, and includes the removal of the two-hour limit and the commencement of more indoor and outdoor activities, such as going to a football game and the opening of cinemas, theatres, concert halls, nightclubs and entertainment venues (in an "approved configuration"). The territory's 14-day forced quarantine rules for all non-essential interstate travellers does not have an end date as part of the plan — so, no, don't expect to go on a holiday to the Top End anytime soon. The NT has had significantly less cases compared to other states and territories, with a total of 27 — as of 6am on April 30 — compared with 1034 in Queensland, 1354 in Victoria and 3016 in New South Wales. But the two-month plan could be an example of what the road out might look like for the rest of the country, albeit a little later on. You can find out more about the Northern Territory's Roadmap to the New Normal here.
The Pleasure Garden returns for its sophomore run on December 9, painting St Kilda's Catani Gardens with colour, art installations, roving performers and, of course, some huge beats. A heady mix of Rainbow Serpent, Glastonbury and every other time you've had an impromptu sweaty day dance party with your mates (costumes mandatory), the festival, though only in its second year, knows exactly what it's doing. The brainchild of organisers who've worked the festival circuit both here and overseas for years, for starters, their line-up is solid: Remi, Montaigne, Baker Boy and Fat Freddy's Drop are part of the eclectic mix. Think dub and bass with a smattering of pop. And once you've flailed around to Remi and itched in your costume for a while, there'll be plenty to revive your sweaty self; Toasta, Sparrow's Philly Cheesesteaks and Franklin's Classic American Hotdogs (plus vego options) are on the menu, so you can roam around and check out the art installations and hula hoop performers while thinking about what you want to line your tummy with. FYI, there's also a kombucha truck if you're feeling like you've overindulged and want to regain a bit of body equilibrium (we guess).
The roll call of food favourites setting up shop at 80 Collins Street continues to grow, with four final venues announced for the $800 million CBD development. Melbourne's already getting excited for new eateries from Chin Chin's Chris Lucas and Sepia's Martin Benn and Vicki Wild, Alejandro Saravia's new paddock-to-plate Farmer's Daughters restaurant and a Melbourne outpost of high-end cocktail and Champagne bar Nick and Nora's by the Eau de Vie team. Now, it's been revealed that Handpicked Wines, Glacé, Colours Bowls and Maverick will also be joining the party. Handpicked Wines will launch its first Melbourne urban cellar door, showing off its award-winning range of drops. The site is set to boast a retail space and wine bar, dishing up cheese, charcuterie and vino for taking away or enjoying in. There'll be wine flights, workshops and barrel tastings, as well as a rotation of tap wines, with nifty refillable bottles to minimise waste. The two-level Glacé venue will be a flagship for dessert queen Christy Tania's artisanal creations, complete with an open kitchen, a Parisian-inspired tea house and a dedicated dessert bar. This one's set to be a go-to for stunning cakes and sweet treats, lush high tea sessions and decadent dessert degustations. Colours Bowls is the latest from young gun chef Charlie Carrington, riffing on his well-known Colours by Atlas concept. Mediterranean-inspired plant-based fare will reign supreme here, in a space inspired by Carrington's recent jaunts in Tel Aviv. [caption id="attachment_634417" align="alignnone" width="1920"] Glacé[/caption] Fronting Little Collins Street, Maverick will be the next offering from the minds behind Richmond's Mayday Coffee & Food and the original Petty Officer in Albert Park. The contemporary cafe is set to deliver ethically sourced specialty coffee from Axil and a creative menu filled with local, seasonal produce. The space itself is a warm, playful setting, that comes courtesy of Pitch Architecture & Developments. Slated for completion in 2020, the 80 Collins development will also boast a futuristic new office tower, a 255-room boutique hotel and a luxury retail offering, alongside its star-studded hospitality precinct. 80 Collins Street is slated for completion in 2020.
A band whose name summons up parental fears and memories of legendary video nasties like 'Last House On The Left' and 'Evil Dead', Cannibal Corpse once had their records banned from sale in Australia, but now they’re here and ready to riot, with their 2012 Torture Tour. Back on our shores after three long years, Cannibal Corpse take their Torture Tour to Melbourne, bringing a relentless mêlée of nerve-rendering riffs, cataclysmic drums and guttural, razor-sharp vocals. Their new record proves that even after twenty-four years and twelve studio albums the Buffalo quintet remain the undisputed overlords of death metal. Friday’s gig will see a dark cloud of chaos hang over Billboard. Expect the wretched spawn to eviscerate your very consciousness, and drag your wretched soul into the very pit of despair where nightmares lie. Support will be provided by Entrails Eradicated, Disentomb and Psycroptic.
Bluesfest has done it again. The annual event up in Byron Bay looks to have another stellar lineup on its hands, featuring artists from around the world across a diverse range of genres. There's truly something for everyone but if you're unable to schlep up the coast for the Easter weekend then there's no need to fret. Some of the biggest names on the bill are making the most of their trip Down Under by putting on gigs in Sydney and Melbourne, too, meaning April promises to be a bumper live music month across the country. With over 19 artists set to do sideshows this year, we've teamed up with Bluesfest Touring to help you decide what not to miss. Read on to discover seven sideshows that you should nab tickets to, then check out the rest of the sideshow lineup — Buffy Sainte-Marie, John Mayall, The Marcus King Band, Walter Trout, The War & Treaty, The Allman Betts Band, Amadou & Mariam, Cory Henry & The Funk Apostles and Tal Wilkenfeld — on the Bluesfest website. DWEEZIL ZAPPA Sunday, April 12 at Enmore Theatre, Sydney and Monday, April 13 at The Croxton Bandroom, Melbourne Since 2006, Dweezil Zappa has been the driving force behind the touring band whose main aim is to breathe life into the work of his father — avant-garde virtuoso Frank Zappa. Hot Rats, Frank Zappa's 1969 jazz-progressive rock-fusion album, is arguably his best-known work, and Dweezil Zappa is honouring his legacy by touring the record in its entirety. Hot Rats hit the shelves the same year that Zappa was born, so it holds a special place in his heart, and he's said that this is the best version of his touring band that he's ever had. Given previous iterations of his group are Grammy winners, that's some claim. PATTI SMITH AND HER BAND Wednesday, April 15 and Thursday, April 16 at Enmore Theatre, Sydney and Tuesday, April 21–Thursday, April 23 at Forum Melbourne, Melbourne "I really thought that I wouldn't be able to come back, so I'm delighted that I was wrong," Patti Smith told Bluesfest Touring on her impending return to these shores. Smith — poet, author, singer, icon and 'godmother of punk' — has been an inspiration to millions since the release of her debut classic album Horses in 1975 and, despite now being in her 70s, shows no signs of slowing down. Her touring band includes both Lenny Kaye and Jay Dee Daugherty, who have been with her since day dot, plus her son Jackson on guitar. EAGLES OF DEATH METAL Thursday, April 16 at Metro Theatre, Sydney and Sunday, April 19 at The Croxton Bandroom, Melbourne Californian singer-songwriter Jesse Hughes and Queens of the Stone Age frontman Josh Homme have been recording as Eagles of Death Metal since 1998. The name comes from a literal imagining of what country-rock stalwarts The Eagles would sound like were they a death metal band. In mid-2019, the band released a record of covers featuring classics from artists as diverse as Guns N' Roses, George Michael and Mary J Blige, all played in EODM's own inimitable style. Their live shows have always been known for their raucous, OTT behaviour, and their Bluesfest sideshow promises to be no different. LARKIN POE Wednesday, April 15 at The Factory Theatre, Sydney and Thursday, April 16 at Corner Hotel, Melbourne Sisters Rebecca and Megan Lovell celebrate a decade of performing psychedelic blues rock under their Larkin Poe moniker in 2020. Originally hailing from Georgia but now based in Nashville, as any self-respecting Americana outfit would be, Larkin Poe's close harmony take on roots music has earned plaudits from the likes of Elvis Costello and Keith Urban. Oh, and Russell Crowe, apparently. Dragging blues rock into the 21st century, the duo isn't afraid to throw horns and electronics at a genre steeped in tradition and, in doing so, breathe life into it, while simultaneously creating something vibrant and exciting. Be sure to catch them as soon as Bluesfest draws to a close. MORCHEEBA Tuesday, April 7 at 170 Russell, Melbourne and Thursday, April 9 at Enmore Theatre, Sydney Next year marks quarter of a century of Morcheeba, the downtempo duo who were instrumental in bringing trip-hop to the masses in the 1990s. Led by the sweet vocals of Skye Edwards, the London-based band have released nine albums in their career, cracking the Top 20 twice at the start of the century. Morcheeba must love playing over here — they played Bluesfest and a bunch of sideshows back in 2018. Clearly, we love them playing here, too, because those sideshows completely sold out. If you want an evening of warm, enveloping sounds to set your mind at ease, nab tickets to the show in your city. BRANDI CARLILE Monday, April 6 at Hamer Hall, Melbourne and Wednesday, April 8 at Enmore Theatre, Sydney Alt-country vocalist Brandi Carlile is certainly an artist on the up. She was the most nominated woman at the 2019 Grammy Awards taking home three gongs, including Best Americana Album for her latest record, By the Way, I Forgive You. It's been over ten years since she played in Australia, and she's certainly a bigger draw now than she was then. She's also part of The Highwomen, the country supergroup that features Natalie Hemby, Maren Morris and Amanda Shires, so there's every chance that some tracks from their self-titled debut could also make their way into Carlile's set. [caption id="attachment_753622" align="alignnone" width="1920"] Austin Hargrave[/caption] GEORGE BENSON Sunday, April 5 at State Theatre, Sydney and Thursday, April 9 at Palais Theatre, Melbourne Perhaps best known for the 1980 soft disco hit album, Give Me the Night, soul man George Benson is still going strong after more than 65 years in the business. He can still command a crowd, too — he's had to add a second date to his Sydney and Melbourne sojourns to accommodate public demand. His most recent record, Walking to New Orleans, is a tribute to the music of Fats Domino and Chuck Berry, but surely Benson has now earned the right to be listed among such greats. After all, it's not just anyone who gets their own star on the Hollywood Walk of Fame. To book tickets to these sideshows, and many more — including Buffy Sainte-Marie, John Mayall, The Marcus King Band, Walter Trout, The War & Treaty, The Allman Betts Band, Amadou & Mariam, Cory Henry & The Funk Apostles and Tal Wilkenfeld — visit the Bluesfest website.
When your last festival screened 48 films to 168,000 people around Australia, what comes next? It's a problem many events wish they had, however, in their 28th year, the Alliance Française French Film Festival is on the case. With the massive celebration of Gallic cinema continuing to draw huge crowds, the beloved annual festival is offering up more of the same. The lineup has changed, of course, but the eclectic nature audiences have come to expect of the event is back. Kicking off on March 7 in Sydney before touring to Melbourne, Canberra, Perth, Brisbane, Adelaide, Hobart, Parramatta and Casula until April 9, the 2017 program begins and ends with a bang — or, with two very different journeys. In pole position at the start of the fest sits The Odyssey, an adventure-filled biopic focused on famous oceanographer Jacques Cousteau, and co-starring Audrey Tautou as Cousteau's wife Simone. Then, after running through the bulk of its 45-film selection, the fest comes to a close with maternal comedy A Bun in the Oven, featuring The Bélier Family's Karin Viard as an unexpectedly expectant 49-year old. In between, the AFFFF delivers on two fronts: stars and a vibrant array of big screen stories. There's plenty of both. The former includes 2017 Oscar-nominees Isabelle Huppert and Natalie Portman, with Huppert showing up twice — playing a woman with a secret past in the rom-com Souvenir, and a philosophy professor in Things to Come — and Portman joining forces with Lily-Rose Depp (yes, Johnny's daughter) in Planetarium. Depp also stars with French singer-actress Soko in The Dancer, while Marion Cotillard does double duty too in romance From the Land of the Moon and the Xavier Dolan-directed family drama It's Only the End of the World. Inglourious Basterds actress Mélanie Laurent co-directs environmental doco Tomorrow, the great Gérard Depardieu takes a road trip in Saint Amour, and one of the last roles played by Amour's Emmanuelle Riva, as an elderly aunt in Lost in Paris, also features. Elsewhere, the 2017 fest tells the tale of the first popular Afro-Cuban artist of the French stage in Monsieur Chocolate starring The Intouchables' Omar Sy opposite James Thierrée (aka Charlie Chaplin's grandson), examines the real-life circumstances surrounding a pregnant nun in The Innocents, dives into coming-of-age affections with Being 17 and gets ghostly with the haunting Daguerrotype. Or, viewers can catch Juliette Binoche at her most slapstick in farcical detective effort Slack Bay, and enjoy the kind of moral dilemmas the Dardenne brothers explore so well in The Unknown Girl. Looking back as well as forwards, a two-movie retrospective steps into the court of Versailles courtesy of the Marie Antoinette-centric Farewell, My Queen and music drama Mozart's Sister. Plus, if all of the above isn't enough for the most eager film buffs, dedicated cinephiles can take A Journey Through French Cinema for 191 minutes of movie history. The Alliance Française French Film Festival screens at Melbourne's Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Kino Cinemas and The Astor Theatre from March 8 to 30.
UPDATE: Tuesday, January 20 — With a majority of the Melbourne Music Week events selling out, this year's extended program has been expanded again with six new events being added. Punk rockers Skeggs and Ruby Fields will be taking to the Sidney Myer Music Bowl on Saturday, February 20 for Live at the Bowl, artists and musicians Atong Atem, Adolfo Aranjuez, Birdz and more will be taking over the Immigration Museum on Friday, February 26 and indie-rock groups Primo! and Floodlights will be performing across the city. Check out the full extended program here. With venues closing, gigs cancelling and festivals postponing, Melbourne's live music industry took a big hit during COVID-19. But, when restrictions slowly started easing, the City of Melbourne announced that the annual Melbourne Music Week is still going ahead — and that it will take place over three whole months. Originally set to take place in November (before Victoria's second round of restrictions), the aural celebration will now run from Wednesday, December 9–Sunday, February 28. As always, expect plenty of gigs in unusual Melbourne venues. Expect lots of local talent as well. The numbers paint an impressive picture — with more than 330 artists playing at more than 35 locations and venues, tallying up over 200 events and sessions. And that's just from the first program announcement, with more artists and gigs due to be revealed in January 2021. So, who can you see? In MMW's 11th year, the event will kick off with Wominjeka (MMW Welcome) — featuring a Welcome to Country and citywide smoking ceremony curated by Kee'ahn, a performance by Aboriginal dance group Dijirri Dijirri, additional live programming at four different city locations, and a show at Section 8. Also on opening night, the Music Victoria Awards will take over the Melbourne Recital Centre, which you can also watch via livestream. That's how it all starts — but, as for how MMW means to go on, there'll be shows by Baker Boy, Adalita, Cable Ties and High Tension, plus an audio-visual performance by Melbourne producers Ara Koufax and iconic DJ and academic Simona Castricum. Also on the bill: Blake Scott, Banoffee, Mick Harvey, Private Function and Allysha Joy. And, you can play techno bingo (which'll be seated, but otherwise it's exactly what it sounds like), take a tai chi class or learn how to vogue with Kiki Dévine. Venue-wise, you'll be hitting up the Capitol Theatre, The Forum, Max Watts, Colour, Cherry Bar, Curtin and more — and, unsurprisingly, outdoor gigs are a big part of the lineup as well. Can't make it to everything? Streaming is here to stay, and will help you check out plenty of MMW's shows. Updated December 2.
When Anchovy co-owners Jia-Yen Lee and Thi Le first started slinging khao jee pâté — the Lao cousin of the Vietnamese banh mi — during last year's lockdown, it was never meant to become a permanent venture. But as lockdowns and restrictions continued, and the duo's street food offering earned itself a loyal following, it became clear the Ca Com pop-up was here to stay. Now, it's spawned its own standalone shopfront next door. Named after the Vietnamese words for 'anchovy', Ca Com first made an appearance at the front window of Anchovy in May 2020. The restaurateurs were keen to keep busy while Anchovy was closed to dine-ins, and a rotating menu of banh mi was exactly the kind of accessible, lockdown-friendly fare the neighbourhood needed. The pair have been running the pop-up on and off ever since, using a hibachi on the window sill to barbecue proteins and ramping up opening hours whenever Melbourne goes into a snap lockdown. The concise banh mi menu changes regularly depending on the availability of meat cuts and other ingredients, giving the team a chance to flex their creativity and test out new flavour combinations for its dedicated Melbourne fans.
It’s interesting what happens when you throw a whole bunch of disconnected ideas into a skip and see what comes out. Let’s say you had an idea for a story about an isolated girl learning to connect with a family she’s never met before. Or you have an idea about what it’s like for a group of kids to survive in the country when nuclear war hits the capital. Or you have a forbidden love idea about cousins falling for one another. Or you want to write about a sullen teen with psychic abilities. Rather than writing four different books, why not just put them all in the same book and hope for the best? On the outside, How I Live Now looks like a mess. Part Tomorrow When the War Began, part The Shining, part 28 Days Later, it’s a hodgepodge of concepts that don't completely gel. So it’s weird that the film is actually quite good. Part of the reason it works is that it’s compellingly all over the shop. You genuinely don’t know where it’s going to go next, and that sort of haphazardness keeps your attention. Even when some of the storylines — hell, most of the storylines — remain unsatisfactorily unresolved, it still makes for a tale that’s far more than the sum of its parts. It’s directed by Kevin Macdonald, best known for 2007’s The Last King of Scotland, and he establishes an unsettling and powerful mood throughout. Saoirse Ronan (The Lovely Bones, Hanna, The Host) is good as ever, creating a thoroughly unsympathetic moody teen and then making us sympathise with her. Young actors Tom Holland, George MacKay and Danny McEvoy acquit themselves very well, especially the exceedingly young Harley Bird (known to a very specific portion of the world as the BAFTA award-winning voice of Peppa Pig), who has to play an enormous range of emotions in increasingly difficult circumstances. The consequences of war — the violence, the sex, what happens when the rule of law collapses — are presented in an extraordinarily unvarnished manner. It’s almost difficult to believe this is based on a Young Adult book; it’s so intense at times that, were the protagonists all adults, this would surely be considered unsuitable for anyone under the age of 18. But make your characters teens, and it’s suddenly relatable. That’s the theory, at least. In practice, audiences will likely be divided. It will be an unsatisfying experience for those who require an explanation for some of the more outlandish setups this film gives us, but for others, the story’s uniqueness will overcome these issues. Its untainted look at the realities of war, and the suspense this creates, will make this a firm and enduring favourite.
The performance of Wagner’s Ring Cycle by Opera Australia is shaping up to be one of the most hotly anticipated events of Melbourne 2013 cultural calendar, inspiring a full-blown festival complete with art exhibits, lectures and even a boxing match. Not to be outdone, the Australian Centre for the Moving Image will present its own Wagnerian program consisting of two vastly different documentaries as well as a talk on the influence the composer has had on the movies. Lessons of Darkness, from director Werner Herzog, is a surreal 50 minute meditation on the first Gulf War that combines awe-inspiring images of Kuwait’s burning oil fields with Wagner’s evocative music. On the lighter side of things is Patrick McGrady’s Wagner & Me, wherein British comedian Stephen Fry chronicles the composer’s life, works and legacy. The third event on the program is a presentation by Dr. David Kram, musical director of the Melbourne Chamber Choir. An expert on Wagner, Kram’s talk will highlight the use of Wagner’s music in films such as Lars von Trier’s Melancholia and Francis Ford Coppola’s Apocalypse Now.
2022 is flying by, but if the year's hectic pace is getting you down, here is some small solace for you. Melbourne's Boho Luxe Market is determined to make you remember those times when you could dip your toes in the ocean without a care in the world, and take you to a sun-dappled place of dreamcatchers and flower crowns. Hitting Federation Square on Sunday, December 11, it'll be split into two sections: a bohemian market brimming with Christmas gift ideas held in the Atrium, and another stocked with an all-vegan lineup of wares popping up at Deakin Edge. Across both markets, you're in for a day of complete Christmas wanderlust. Shoppers can expect to find a huge array of fashion, jewellery, art and design items, as well as heaps of stalls slinging ethical activewear, accessories and skincare products. Of course, there'll be lots of tasty things on offer, too, including all the pantry items you need to pull off a top-notch vegan Christmas. While you're there, you can unleash your creative side with a guided workshop on crafting Christmas wreaths or baubles. Plus, there'll be psychic readings, henna artists and hair-braiding pop-ups to further get you in the boho spirit.
The CBD's massive new entertainment and dining precinct has arrived — and it's a triple threat. Ella has a street art gallery, a live music venue and a food-filled laneway that includes outposts from some of the city's favourite eateries. The precinct spans a whopping 2500-square-metres and takes inspiration from the food-filled train stations in Asia. It's the latest creation by the GPT Group, which also developed next-door Melbourne Central. As far as food goes, Ella is home to ramen, fried chicken, momos and Israeli classics created by some of the city's most loved eateries. These include Colours Bowls, the latest plant-based offering by young gun chef Charlie Carrington (of South Yarra's hatted Atlas Dining); Korean fried chicken joint Sam Sam; Pick a Stick Chinese Skewers by the Dainty Sichuan team; and a new concept by Collingwood's Son in Law, dubbed The Pad, which serves up Thai street food. Already located in the space are Nepalese restaurant Chilli Everest and Japanese noodle shop Ajisen Ramen, both of which have reopened with a new fit-out for the Ella launch. A second outpost of Collingwood's hospitality hub and co-working space Worksmith will round out the initial openings — when it's open it will come complete with a drinks lab and events space. Apart from the extensive food offering, expect live gigs by emerging and established musicians to be on offer several days per week — the precinct has been given special acoustic treatment for just this purpose. Local Melbourne artists will pull together the soundtrack on nights without gigs, and the app crowdDJ will be on offer for visitors to to choose their own tunes, too. Melbourne street art will also be on display, covering a dedicated mural wall that will be continuously refreshed by local artists. Phase two of Ella's openings will happen June 27, when bottle shop Blackheart & Sparrows launches, followed by a new cocktail bar by famed bartender Luke Whearty (of Singapore's award-winning Operation Dagger) called Byrdi. Further openings are expected in early 2020, too. Ella is now open at the corner of Elizabeth and La Trobe streets. Opening hours are 10am–10pm, daily. To check each restaurant's opening hours, head to the website.
Melbourne Central's famed giant cone top looks pretty impressive from below... but just imagine the view from above. Well, soon enough, that might not be such a stretch of the imagination, as the centre reveals plans for a huge transformation, including the addition of a sprawling rooftop garden and cultural hub. Following the announcement of Melbourne Central's new ten-storey office tower Frame and the opening of its boutique food and drink precinct Ella, comes news the centre is planning a total reinvention by 2021. If it gets the go-ahead from council, it'll be the site's biggest transformation in twenty years. Under the most recent proposal, the crowning glory of the new-look Melbourne Central will be a 2000-square-metre open-air rooftop complete with large-scale art installation, hawker-style food stalls and a series of 'experiential spaces'. The vision for the rooftop shows plenty of greenery, along with sweeping views of the city skyline. Two new retail levels would be also added, while the existing Drewery Place will be revived with a new cafe and tower access. It's all set to be imagined by ARM Architecture, the same studio behind the original build. If you're getting deja vu, that's probably because this is just the latest in a string of new public rooftop spaces currently in the works. A 2000-square-metre rooftop urban farm is being built at the Burwood Brickworks site, Melbourne Skyfarm is set to grace the rooftop of a carpark within the Seafarers Place precinct, and a smaller urban farm helmed by Pastuso chef-owner Alejandro Saravia will also be featured atop the new 80 Collins development. If the proposed Melbourne Central designs get the tick of approval from Melbourne City Council, construction would kick off early next year, with completion slated for 2021.
If you're a fan of rooftop bars or barbecue (or, better yet, both) prepare to have your day made. As we announced back in June, the Fancy Hank's BBQ crew are planning to open a dedicated, two-storey barbecue joint on Bourke Street, and now they've unveiled their plans for the rooftop bar that will sit above it: Good Heavens. Set to open for trade in September, the new venue will feature a 100-seat downstairs restaurant and a brand new casual rooftop bar — unlike anything the Fancy Hank's guys have done before. The bar has chosen to champion brightly-coloured '80s-inspired cocktails (blue curaçao may be making an appearance) and barbecue snacks like spicy southern chicken ribs, chilli nachos and a seared and smoked lamb neck grilled cheese sandwich. While Good Heavens will be a whole new concept, downstairs, the restaurant will be a bigger, better version of their venue at The Mercat. Co-owner Michael Patrick says the menu will feature their signature smoked meats, as well as a rotating vegetarian main, such as a smoked eggplant or sweet potato, as well as a few more surprises. "The sides will be a bit more considered as well — a bit more seasonal, a bit more made to order, a bit more interesting," he says. "And mains will be served up on platters, family-style — that's the way to go. We'll be adding a dessert cabinet too." And when this new, heavenly door opens, the other one doesn't have to close. The Mercat will still serve your beloved Fancy Hanks, but it'll be a more casual, sandwich-based menu as the big smoker is moving over to the new Bourke Street kitchen. Fancy Hank's and Good Heavens are slated to open next month at 1/79 Bourke Street, Melbourne. Keep an eye on their Facebook page for updates. By Imogen Baker and Lauren Vadnjal.
UPDATE, April 19, 20201 The Invisible Man is available to stream via Amazon Prime Video, Binge, Foxtel Now, Google Play and YouTube Movies. In the latest version of The Invisible Man, Universal unwraps the bandages from one of its iconic horror figures in an astute, unnerving and thrillingly contemporary fashion. But it almost didn't happen, with the studio originally pursuing completely different plans. Let's all take a moment to thank the cinema gods that Tom Cruise's stint as The Mummy didn't work out. If his time dallying with Egyptian spirits had been a success, we'd now be watching Johnny Depp as The Invisible Man instead. That's what Universal's 'dark universe' — aka the studio's modern-day remakes of its old 1930s monster movies — had in store. Then the 2017 version of The Mummy proved a flop, forcing the company to change course. Suddenly, Depp's slated film disappeared into thin air just like the imperceptible man he was supposed to play. So too did an Angelina Jolie and Javier Bardem-starring take on The Bride of Frankenstein. And that left Universal with a gap — which Australian writer/director and Saw co-creator Leigh Whannell fills grippingly and convincingly with his top-notch update of cinema's most famous see-through character. In the Upgrade filmmaker's hands, The Invisible Man has been through some significant changes since HG Wells' 1897 novel and James Whale's 1933 first film adaptation. In fact, this movie doesn't really tell the eponymous figure's story, but that of the woman terrorised by the unseen guy. After years of suffering through an abusive relationship with hotshot optics pioneer Adrian Griffin (Oliver Jackson-Cohen), Cecilia Kass (Elisabeth Moss) works up the courage to leave him. Fleeing from his remote mansion in the middle of the night with the help of her sister (Harriet Dyer), she's petrified that he'll track her down and retaliate. But, as she hides out with a cop friend (Aldis Hodge) and his teenage daughter (Storm Reid), word arrives that Adrian has committed suicide — although when strange things start happening around Cecelia, she's convinced that he's still somehow messing with her. To not only make The Invisible Man today, but set it in today's world too, two areas needed to be addressed. The first is technology, recognising that turning a person invisible is far more plausible than it once was — and that being involved in someone's life without being physically present isn't just possible these days, but commonplace. The second is gender politics. Watching a man terrorise a woman sight unseen has very different connotations in the 21st century, as does the stalking and gaslighting that comes with it. Crucially, Whannell embraces the complexities of both areas in this thoroughly modern take on the tale, switching focus from villain to victim, and bolstering his narrative by pondering the underhanded capabilities of technology as well as the ongoing problem that is domestic violence. Accordingly, this slow-building version of The Invisible Man isn't an account of a scientist corrupted by his latest discovery, as seen in its predecessors. Rather, it's a portrait of a woman at the mercy of a man who'll do anything and use any means to get what he wants. The end result: psychological horror mixed with futuristic science-fiction and layered with a piercing societal statement, and it's as effective as it sounds. Of course, anyone who saw Upgrade will realise that this is the only interpretation of The Invisible Man that Whannell could've made. The Aussie filmmaker continues his fascination with body modification and tech-enabled surveillance, as well as his fondness for hyper-kinetic action, a pervasive mood of dread and tension, and a sparse, sleek look — plus his interrogation of the kind of society that, with not too many imaginative tweaks needed, we just might be headed for. Forgetting the terrible Insidious: Chapter 3, the only blip on his directorial resume to date, Whannell is swiftly establishing a reputation as a genre filmmaker with smarts, style and something to say — as well as the skill to combine all of the above into a thrilling, harrowing and engaging package. He also has canny casting instincts, with The Invisible Man as much Moss' movie as Whannell's. The Handmaid's Tale and Her Smell actor has had more than a little practice in this terrain of late — aka battling insidious enemies, navigating persecution, and devolving into distress, distrust and paranoia — and she draws upon that experience here. Indeed, watching someone face off against an unsighted foe can play as hokey or unintentionally comic, but not with Moss and her haunted yet determined stare taking centre stage. This definitely isn't the movie that Universal imagined when, high on dreams of building its own megastar-studded, monster-fuelled universe, the studio announced its now-defunct Depp-led project. That's something else to continue to thank the movie gods for — because no one needed Depp's usual daffy schtick wrapped in gauze, but cinema definitely does need Whannell's savvy, unsettling, spirited and refreshing The Invisible Man remake. Great horror movies have always reflected and responded to the times they're made in and, in the same vein as Jordan Peele's Get Out and Us, The Invisible Man helps lead the charge as the 21st century reaches its third decade. This is a socially conscious, savagely creepy, supremely clever reinterpretation of a classic scarefest that takes every part of that equation seriously. https://www.youtube.com/watch?v=KLAJyugYEiY
Folks can't stop talking about Christy Tania. Not only did the renowned dessert chef bend minds with her 'Floating Ice Cream' creation on MasterChef earlier this year, but she has also launched her own permanent dessert shop. Opening its doors on Windsor's Peel Street, Tania's new sweet wonderland offers artisanal frozen treats for eating in and taking away. Fancy ice cream stores mightn't be a rare occurrence these days; however, as Tania's first permanent solo venture, Glacé is every bit as impressive as the rest of her artisan treats. The contemporary space offers a hefty range of frozen desserts and innovative flavours, crafted with local ingredients — such as her trademark ice cream push pops, with their layers of cake sponge and ice cream. Diners will find ice cream eclairs and ice cream macarons on the menu, because every dessert is better in ice cream form. When it comes to flavoursome scoops themselves, think creative concoctions such as boozy date (sticky date pudding soaked in rum with vanilla ice cream and salted butterscotch), coffee caramel (caramel milk chocolate ice cream with Kahlua and orange cinnamon crumble), and lamington (coconut ice cream and chocolate brownie with a swirl of raspberry sorbet), plus the zig-a-zig-ah-inducing ginger spice (vanilla ice cream with salted butterscotch and gingerbread crumble). Those keen on something more traditional can try the likes of 72% dark chocolate ice cream, strawberry passionfruit sorbet and coconut ice cream with pure coconut droplets. The fixed digs come hot on the heels of successful pop-ups in Sydney and Melbourne in May, which gave sweet tooths a taste of the flagship store's range. As for Tania herself, the chef first popped up in 2013, after famously steering Melbourne dessert bar Om Nom into its first chef's hat within just two months of heading up the kitchen. Since then, her inspired sweet treats have continued to dazzle and astound, both out of the Om Nom kitchen and during a host of MasterChef guest judge appearances, making jealous messes of audiences across the country. Find Christy Tania's Glacé at 1A Peel Street, Windsor. For more information, check out the eatery's website. By Libby Curran and Sarah Ward.
Melbourne, we have lift-off. Collingwood brewery Stomping Ground has officially opened the doors to Australia's first working airport brewery, located inside domestic Terminal 3 at the Melbourne Airport. And we'll happily snub the overpriced sushi in favour of some pre-flight beers and pub grub. The new 330-square-metre venue takes its cues from Stomping Ground's OG Gipps Street beer hall, even imagined by the same award-winning designers Studio Y. You'll find a big central bar at its heart, bold murals from local artist Justine McAllister adorning the walls and a six-hectolitre brewery system on show behind glass. Up to 30 beers will be brewed on-site each year, which means even the regular jetsetter should be able to find something new to sip each time they swing by. There are 24 taps devoted to house brews — such as the Hop Stomper West Coast IPA, sour Key Lime Smash, nutty Upside Down brown ale and nitro milk stout Bearbrass — and another six pouring wines, including drops like the Mornington Peninsula's Quealy pinot grigio. Mixed six-beer tasting paddles and takeaway tinnies are also on offer. An all-day food lineup from Stomping Ground Executive Chef Ben Isaacs features breakfast options (available 6am–12pm), alongside contemporary pub-style share plates and mains. Fuel up for that early morning flight with the likes of a passion fruit bircher or go large with the brewer's brekkie — a hearty serve of bacon, mushrooms, roast tomato, andouille sausage, kale and eggs. Later in the day, there are bites like a classic chicken schnitty, a twice-cooked lamb shoulder with tahini dressing, ricotta dumplings and grilled haloumi with figs. The new permanent venture follows Stomping Ground's popular summer pop-up beer garden, which graced a space in between Terminals 3 and 4 in both 2017 and 2018. It's also just one part of a major hospitality overhaul for Melbourne Airport's Terminals 2 and 3. Acclaimed chef Shane Delia will open his new concept Moors by Shane Delia here, Scott Pickett is set to unveil a new outpost of his produce-driven Pickett's Deli & Rotisserie and coffee favourites Cobb Lane, Axil Coffee Roasters and Proud Mary are also set to call the airport home. Over in the international terminal, you'll find a new outpost of St Ali, too. Find Stomping Ground in Terminal 3, Pier E (before Gates 4 and 6) at Melbourne Airport. It's open from 5am–9.30pm daily.
The past 18 months or so haven't been a golden time for much, but the pandemic has been great for watching animal live-streams. Are your pets asleep? Don't have any furry four-legged companions of your own? Just like watching adorable critters all day, everyday, because who doesn't? Thanks to zoos and aquariums around Australia and beyond, there's always something to peer at. And, that applies whether you have minutes, hours or days to lose to cute creatures, or you'd just like to check in on them every now and then. You can even keep them on your screen all day long if that's what'll brighten your mood. Melburnians — or anyone interested in the city's bird life — currently have something special to watch, too. This live-stream isn't actually new, but it's particularly relevant at this time of year. Thanks to a camera on 367 Collins Street in the CBD, you can train your peepers on two peregrine falcons nesting outside the building. You can give them a squiz any time you like, but if you do so from August onwards each year (aka now), you'll see them lay and hatch their chicks. At the moment, the eggs are already there, so you'll spy a whole lot of sitting atop them as the feathered couple waits for them to hatch. To give them, head to the Mirvac building's website. For those visiting the structure itself, the CCTV footage of the falcons is also on display in the foyer. This nest comes with quite the history, too, as peregrine falcons have been making nests at 367 Collins Street since 1991. This is actually the only known peregrine falcon nesting site within the Melbourne CBD, which obviously makes it extra special. Check out the live-stream below: For more information about 367 Collins Street's peregrine falcons and their nest, head to the 367 Collins website and the 367 Collins Falcon Watchers Facebook page.
The Makers and Shakers Market will visit Melbourne again this April, bringing with it the whole kit and caboodle of bespoke ceramics, homewares and jewellery (as well as tasty food to rejuvenate you when you get the oh-no-I-just-spent-all-my-money sweats). Kick things off at 10am with a coffee, spend a few hours browsing, and then chow down on a toastie, cannoli, doughnut or meringue. The market gives space to local makers to sell their handmade wares, with everything from resin rings to tomato chutney to be found. Stallholders this time round include designer soaps from Fazeek, flowers from Little Jar of Happiness, granola from Humble Homies, whimsical lamps from Upswitch and linen homewares from Olioko Designs. And that's just the crust of the pie — there are many more to choose from when you take a full bite, and a free paper craft workshop as well. Images: Alana Dimou.
Melbourne is getting a gin festival. Or should we say: Melbourne is getting another gin festival. In a turn of events that could only be a problem in our fine city, Melbourne is all of the sudden faced with the happy problem of having not one, but two gin festivals on the cards for this year. You might remember the hugely successful Juniperlooza, a locally-organised festival which was held in November last year. Well, this new festival — confusingly called Junipalooza (yes, that's an 'a' instead of an 'er') — is coming to Melbourne by way of the UK, and will unsurprisingly be dedicated entirely to gin. The Melbourne version of the festival (the first to be held outside of the UK) will be a twin event to Junipalooza London, which started back in 2013. The event will be held over two days this October at North Melbourne's Meat Market. It'll be hosted by founders of the UK's Gin Foundry, Olivier and Emile Ward — so you know you're in good gin-pouring hands. The award-winning brothers live, breathe and drink gin, compiling all their knowledge onto their comprehensive online gin directory. It makes sense then that the pair have teamed up with local gin expert, The Gin Queen (aka Caroline Childerley) and gin makers Four Pillars, Archie Rose and Poor Toms Gin (just to name just a few) to celebrate the noble spirit in Melbourne. Junipalooza will feature sampling stations, cocktails and gin masterclasses with some of the world's best distillers. Over 26 distillers from around the globe will be in attendance, giving punters the chance to take a bottle or two of their favourite gin home. Tonic water specialists Capi will be on-hand as well to bring the T to your G&T. The festival will take place over the weekend of October 22-23, while Juniperlooza has locked in dates for November 19-20. We see a lot of gin drinking in your future. Junipalooza Melbourne will be held on October 22-23 at Meat Market, North Melbourne between 12-6pm. Early bird tickets are on sale now from ginfoundry.com.
For its 2021–22 iteration, QT Melbourne's rooftop hideout has been reimagined as a vibrant, Italian-inspired oasis embodying the motto of la dolce vita. The new-look Secret Garden is now open for walk-ins, serving up Euro-inspired snacks, vino, tunes and a healthy dose of art until the end of summer. A collaboration with King Valley's Dal Zotto Wines headlines an all-Victorian offering of eats and drinks, with the celebrated winemaker pouring a selection of its Italian-leaning signature drops — sí, that includes plenty of prosecco. There are beers from Beechworth's Bridge Road Brewers, gin and limoncello courtesy of Bass & Flinders on the Mornington Peninsula, and salumi from The Meat Room in Kilmore, Central Victoria. While you're sipping and snacking beneath the festoon lights, you'll also get to soak up the large-scale artistic offerings of artist Rowena Martinich. There'll be bocce for those seeking some friendly competition, plus a soundtrack heavy on 1920s Italia from QT's music collaborator Andrew Lewis. Catch Secret Garden from 2pm–late, Thursday–Sunday. Images: Hayden Dib
The winter chill has set in across Melbourne, which means it's time to bust out your warmest winter woolies once again. Happily enough, to coincide with the start of winter, a heap of private igloos have popped up across the city so you can get your winter escape without even having to leave the big smoke. As part of the Winter Igloo Garden, these pop-up winter wonderlands have descended upon The Auburn Hotel's beer garden, Footscray's Station Hotel, Studley Park Boathouse and the banks of the Yarra at The Wharf Hotel. Each see-through structure can fit up to six people and comes decked out with twinkly fairy lights and winter-inspired furnishings. You can hire any igloo out for a two-hour time slot, which includes a different food and drink offering depending on the venue. The Studley Park Boathouse igloo is serving a winter high tea full of sweet and savoury bites with a glass of bubbly for $49 per person, with the option to add on 90 minutes of bottomless drinks for an extra $25. At The Auburn you'll be chilling out in your wintry bubble enjoying a shared three-course feast featuring the likes of mini lobster rolls, charred broccolini with toasted almonds, and a king salmon with saffron-braised fennel for $59. That'll also get you your choice of drink — think mulled wine, local beer, cherry spritz or a hot toddy. At the riverside Winter Igloo Garden at The Wharf Hotel, you'll part with $49 for your choice of wintery beverage, paired with a shared grazing board loaded with bites like southern fried chicken ribs, salt and pepper squid, and triple cheese pumpkin arancini. If you're looking for more soul-warming fare, The Station's igloos come with a meat-heavy set menu with options like short ribs, wagyu tartare and yakitori, teamed with your pick of drink for $69. Espresso martinis, house wines and boozy hot chocolate set the tone here. And while you're hanging out in any of the above igloos, further drinks can also be ordered via an app, so you don't have to leave your wintry lair.
Residents of Melbourne, here's some good news to buoy you in these dark times. Barkly Square in Brunswick will run a pop-up cinema throughout December and January. It'll go down in the laneway of the shopping centre and unlike other outdoor cinemas that have recently been announced — like Moonlight and Sunset — this one has a difference: it's silent. Kind of like when you go to the drive-in and attach the speaker to your car, they'll be transmitting the film's audio through dedicated headphones. The best part is that all proceeds from the event will be donated to the Victorian Deaf Society. And even better, tickets are only a tenner. Take that Hoyts. There's only 60 seats per screening though, so be sure to book early — especially for the spesh Christmas screenings. On the whole, the lineup is pretty decent and eclectic, with everything from Donnie Darko to Home Alone to Whiplash. BARKLY SQUARE OPENAIR CINEMA PROGRAM 2016-17 16 December — Home Alone 23 December — Elf 6 January – Whiplash 7 January – Amy 13 January – The Big Lebowski 14 January – Amelie 20 January – Guardians of the Galaxy 21 January – Dogtown and Z-Boys 27 January – Hunt for the Wilderpeople 28 January – Donnie Darko
While wallet-friendly price points and a penchant for the flat-pack can often see IKEA's designs pitched as short-term furniture, the Swedish retailer is keen to shake off those perceptions. And how better to do so than by teaming up with an acclaimed design company for a clever new collection? The latest move in IKEA's push towards longevity is a statement range called Ypperlig, created in collaboration with Danish designers HAY. Launching this October, it's a collection of basics crafted for contemporary styling, drawing on HAY's flair for functionality and aesthetics. According to Rolf Hay, one half of the husband-and-wife duo behind the design company, the project proved an all-round win. "It's fair to say that HAY and IKEA are two very different companies," he acknowledged. "But when we started talking to IKEA it became very clear that we shared many perspectives on design." Unlike some of IKEA's more ubiquitous designs, this is a range of furniture and accessories you won't want to get rid of in a hurry — each piece clever, yet understated, sleek and undeniably Danish. Expect nifty products like a slimline LED lamp complete with in-built touch dimmer, hand-painted stoneware vases, a contemporary take on the classic Scandinavian plank table and a spring mattress sofa bed that's actually comfy enough to sleep on. HAY has even redesigned the iconic blue Ikea shopping bag, working in a range of new colours and weave patterns. The best part about this HAY x IKEA collaboration is that you can purchase a HAY piece for IKEA prices. While a HAY chair retails for around $200–400, one from their IKEA collaboration will set you back less than $100. The HAY x IKEA Ypperlig collection will go on sale this month. To browse the collection, visit ikea.com.
Some really distinguished people pepper the RMIT University alumni roll call: Rove McManus, John Safran, and Jim Stynes, to name a few. None of those people are well dressed, but don't let that dissuade you from attending Alice Euphemia's launch of LEVEL TEN, the catalogue publication showcasing the work of RMIT's 2012 Fashion Design grads, because none of the aforementioned people studied fashion. Hell, they wouldn't know the beauty of a bespoke, hand-embroided, androgynous illusion sleeve if it grabbed them by the gonads. The crowd at Wednesday night's opening will be aspirational, the experimental designs of the young not yet stultified by the need to sell, sell, sell ‘dem clothes, and the drinks free flowing (disclaimer: this may not be true and if it is, it will probably only be true for the first half hour of the 6-8pm opening. Fash folk are thirsty creatures by nature). If you choke and can't put together a good enough outfit to attend, selected graduate work will be on show in the week following at Alice for your viewing pleasure.
See the film that many have tipped to clean up big at this year's Oscars, at one of a handful of gala previews on New Year's Eve. Set in New York City during the early 1950s, Carol follows two women — played by Cate Blanchett and Rooney Mara — who embark on a forbidden romance with drastic consequences for them both. The film is due to release in mid-January, however Palace Cinemas are hosting early NYE screenings at Brighton Bay, Palace Balwyn, Cinema Como, Dendy Brighton, Palace Westgarth and Kino Cinemas. Attendees with receive a glass of wine on arrival, as well as a complimentary ticket to see Brooklyn – another potential awards contender – when it hits cinemas on February 12. https://www.youtube.com/watch?v=H4z7Px68ywk Session times vary cinema to cinema. You can check the times here.
In the wacky family comedies you usually see at this time of year, everyone will come to accept the quirks and legacies of their kinfolk. They'll acknowledge that even a wacky family is better than no family, probably while laughing around a Christmas ham with all the trimmings. August: Osage County is not that movie. It started life as a play — in fact, probably the best play I have ever seen. Sydney was lucky enough to receive a visit from its original production company Steppenwolf in 2010, giving Australian audiences a chance to join the cacophony of praise already coming from the Tony Awards committee, Pulitzers, American critics and Broadway-goers. But what was amazing about the show seemed quite theatre-specific. At nearly four hours long and set across a three-storey, bisected house, Osage County feels momentous. And more than that, it relies entirely on the crackling chemistry of its taut ensemble, a feat that seems magical on stage but prosaic on screen, where you know it's the product of take after take, plus editing. Sure enough, the new film — adapted by its own playwright, Tracy Letts, and starring a cast so heavyweight as to tip the scale into ridonkulous — is good, but it's not quite great. The tone is spot on: it's dark comedy infused with the Southern Gothic. You will laugh, but you'll probably feel evil about it. The family in question is the Westons, who are all drawn back into their childhood home miles from any significant town in Oklahoma. It's not the festive season; rather, the family patriarch, Beverly (Sam Shepard), has disappeared without warning or explanation, leaving his abrasive, abusive, cancer-inflicted and pill-addicted wife, Violet (Meryl Streep), alone with only the new carer, Johnna (Misty Upham). Violet's children understandably have mixed feelings towards her, but they're also dragging their new problems into the house. Barbara (Julia Roberts) is there with her recently estranged husband, Bill (Ewan McGregor), and teenage daughter Jean (Abigail Breslin); lifelong adolescent Karen (Juliette Lewis) has pinned all her hopes on the shoulders of shifty new fiance Steve (Dermot Mulroney); and Ivy (Julianne Nicholson) feels emboldened by a clandestine romance with her timid cousin, 'Little Charles' (Benedict Cumberbatch). This all culminates in a couple of exquisite dinner table confrontations, during which a lucid and destructive Violet exercises her finest skill and favourite hobby, 'truth telling'. Streep is, of course, excellent to watch in these moments, although every one of the actors needs to be — and is — at their best in the rapid-fire, emotionally fraught verbal rallies. Even if their purpose is to poison, Letts' script is full of beautiful words, which might actually be a let down for the movie. It's lofty, alienating and artificial in a way that doesn't totally work on screen, and a fair few critics have taken the hatchet to it in return. Elsewhere, though, Letts and director John Wells have done well making a very theatrical work cinematic (and have, mercifully, cut down the length). In the absence of the 'character' played by the imposing set, plentiful landscape shots of the open yet unfriendly plains of Osage County make an impact. One of the best scenes has Violet, hit by withdrawals, run blindly, desperately into this landscape, and it's one of the few moments where you really feel for her, and for her inability to escape a prison that she has helped build. If the film doesn't quite stand on its own, it's at least a good approximation of a great play. And some kind of record for sheer quantity of acting. https://youtube.com/watch?v=4VBEZrkCT8Q
In an emotional sense, things aren't really looking up in Australia at the moment. 2020's horror show has continued into 2021, thanks to new outbreaks and lockdowns, because the chaos of the pandemic hasn't passed just yet. But, for one night, it's worth literally looking up with your eyes and your noggin — because a conjunction of Venus and Mars is about to happen way above our heads. Peer skywards tonight, on Tuesday, July 13, and you'll see the two planets in close proximity. How close? According to NASA, they'll appear a mere finger's width apart. They won't actually physically be that close, of course, but they'll sure look like it. If you're not familiar with the term 'conjunction' within the field of astronomy, it refers to two objects or spacecraft sharing the same right ascension or ecliptic longitude — so they're at the same angular distance in one way or another. Specifically, it's used to describe the moment that two objects are at their closest apparent point together in the sky. You might remember the term from last year, because Jupiter and Saturn went through the same thing in December. https://twitter.com/NASAAmes/status/1414660845557125120 For this conjunction, you'll want to find a spot where you can peer in a northwestern direction. That's where you need to look — but if you're wondering when you should take a peek outside this evening, The Conversation advises looking up between 6.30–7.30pm. You'll be able to see Venus before then, from dusk, but Mars will only be visible once it gets dark. In Australia, you'll spy Mars slightly above its neighbour, and to the left. Venus isn't hard to spot; it has been called "the evening star", after all. To get a glimpse of the red planet, you'll need to peer a little harder, as it is nowhere near as bright. To get the best view, you'll want an unobstructed vantage of the sky — and, to look even closer, to use binoculars or a telescope. If you do choose some optical help, you'll be able to see both Venus and Mars in the same field of view. 2021 has already delivered a few sky shows, via pink, blood and strawberry moons, so this is just the latest astronomical gift this year. But, at a time that hasn't been big on good news, it's definitely worth looking up for. The Venus and Mars conjunction will be visible in the evening of Tuesday, July 13. For further details, head to the NASA website.
Fashion runways usually feature models of the leggy variety, but don't expect to see any of those at the NGV's Kids Summer Festival fashion parade, which instead will star a drove of tiny-legged dapperly dressed dachshunds. Taking over the NGV's Great Hall on Australia Day, this pup parade will conclude the annual, 11-day festival of kid-friendly fun. Although 'technically' for 'kids', anyone can head along to see the four-legged fashionistas show off their threads for free. Take a little one along and let them run wild in the gallery afterwards — they can unleash their own creativity by crafting dog-inspired 3D paper designs under the guidance of illustrator Alice Oehr and artist group Soft Stories. The whole dog thing is a homage to three dog-lovers being celebrated in NGV's hottest summer exhibitions — David Hockney (Current), and design duo Viktor & Rolf (Fashion Artists). The rest of the Kids Summer Festival program is chock-full of legitimately awesome free events — think magic performances, kids yoga, dance classes and a swag of creative workshops hosted by local artists. Images: Wayne Taylor.
It's the longtime Abbotsford favourite known for its chilled vibes and live tunes. And this spring, Lulie Tavern returns with its namesake rock 'n' roll street party, Luliepalooza. Bust out your dancing shoes because Saturday, November 5 will see Lulie Street — the home of Lulie's OG bar — energised for a huge day of live tunes, eats and drinks. Oh, and a spot of mechanical bull-riding, too. This time around, there'll be two stages, as the festivities extend to beneath the Victoria Park Grandstand. Treating your ears there'll be no less than 12 bands — including indie rockers Children Collide, Byron Bay punk outfit Mini Skirt, Caitlin Harnett & The Pony Boys, Eaglemont, Spunk and Queenie. Plus, DJ sets from Camp Cope's Georgia Maq and DJ JD. There'll be plenty of food stalls and cold bevs to round out the fun, plus you can have a crack at conquering the mechanical bull in between sets. [caption id="attachment_861658" align="alignnone" width="1920"] Bibby Photo[/caption] Top Images: Bibby Photo
Melbourne's food scene breathed a collective sigh of relief earlier this year when renowned chef Scott Pickett stepped in to save dining institution Longrain from closure. Former owners John and Lisa Van Haandel announced they'd be forced to shut the 15-year-old restaurant as a result of COVID-19 lockdowns, when Pickett offered to take the reins and steer it into a new era. But we were barely given an expected relaunch date before Melbourne sank back into lockdown, closing down the hospitality industry once more. Now, as restrictions ease and venues gear up to reopen to dine-in customers from Monday, November 2, Longrain 2.0 will finally get its much-anticipated debut. Joining the likes of Estelle and Lupo in the Pickett & Co stable, the Chinatown restaurant is set to launch with a bang on Wednesday, November 4, showing off both a new look and a refreshed menu offering. With six years already under his belt as the venue's Head Chef, Arté Assavakavinvong will continue heading up the kitchen, his team delivering a menu of Longrain classics and new additions. Return favourites will include the likes of the caramelised pork hock with five spice and chilli vinegar, and the smash-hit green papaya salad, while dishes like a kangaroo red curry and bean curd-wrapped Moreton Bay bug cakes head up a cast of intriguing newcomers. You'll also be able to choose from two new banquet options: the $75 Longrain Signature lineup and the Royal Banquet for $95. [caption id="attachment_787181" align="alignnone" width="1920"] Tim Grey[/caption] In the same vein as the menu, the fit-out aims to pay homage to its roots, while embracing a few considered modern touches. See Adnate's tiger mural offset by a newly charged palette of green tones, while custom tableware by Adceramics artist Andrei Davidoff brings new nuances to the vibrant dishes. There's been change afoot upstairs, too. Formerly a separate venue, Longsong has been reimagined as an extension of its downstairs sibling, its entrance staircase illuminated by a striking new work from acclaimed light designer Alex Earl. Up here in The Loft, the drinks will play star of the show, backed by resident DJs, projections and a street food offering harnessing the same flavours as the restaurant below. Longrain will reopen from November 4, at 44 Little Bourke Street, Melbourne. It's open for 5–11pm Tuesday to Saturday.
In Unsane, Sawyer Valentini (Claire Foy) moves across the country to escape her stalker David (Joshua Leonard), but can't break free from his grasp. She still sees his face everywhere she looks. She still feels like she's unravelling. She still experiences flashes of pain and anxiety at inopportune moments — when a Tinder date is getting hot and heavy, for example. Alone in a new city, Sawyer seeks professional medical help, yet even that exacerbates her situation. Signing what seems to be a routine form, she's soon trapped in a mental health centre "for her own safety". Even worse, she spies David among the staff. Directing his second feature following his short-lived retirement from filmmaking, Steven Soderbergh puts Sawyer through a recognisable ordeal. As scripted by Jonathan Bernstein and James Greer (in quite a departure from their previous work, the Jackie Chan vehicle The Spy Next Door), the movie takes a leaf out of the well-thumbed psychological thriller playbook. Or does it? Surprises are part of the film's nightmarish world, as well as the genre that it knowingly fits into, but Unsane isn't just a chip off the old block. It slides smoothly into Soderbergh's filmography — in fact, if his 2013 flick Side Effects met his excellent TV series The Knick, it might look something like this. More than that, Unsane pairs a savage takedown of America's profits-before-patients health system with an equally sharp take on society's treatment of women. Specifically, Soderbergh and company dive into the mindset of someone who has been violated and attacked, providing a devastating expression of a victim's fraught, overwhelmed viewpoint. The film's plot continues to set the appropriate scene, pitting Sawyer against hostile doctors, nurses and cops, as well as her stalker, with allies few and far between (Amy Irving plays her mother, while Jay Pharoah pops up as a fellow detainee). If it sounds broadly familiar, that's by design. Here, a woman is harassed through no fault of her own, and is stuck reliving the trauma. She's subjected to unwanted attention from her assailant, and is scrutinised by the powers-that-be when she tries to take control. Further, when she asks for assistance, she's left at the mercy of a system that's complex at best and oppressive at worst. Indeed, Unsane's biggest shock doesn't spring from anything in its narrative, even when the film toys with reality. Instead, what's truly astonishing about the picture is how effectively it relays its perspective. The twists and suspense all work swimmingly, keeping the audience on edge throughout, but figuring out what's true or false is really beside the point. What matters in Unsane is how Sawyer is made to feel over and over again, and how the movie conveys her emotional and mental agitation to the viewers. Who, under intense stress, hasn't imagined something they definitely didn't witness? Who, in the same circumstances, hasn't felt like they're being watched? Who hasn't questioned their own sanity? Who hasn't felt hyper-alert, physically reacting to everything and everyone around them? In bringing these aspects of Sawyer's turmoil to the screen — and making her anguish seem to seep from the screen — Soderbergh's decision to shoot the film on three iPhone 7 Plus handsets is particularly astute. Every shot is intimate and urgent, as well as both voyeuristic and claustrophobic. Each visual composition feels heightened, frequently positioned at a slightly askew angle and often keeping part of the frame out of focus. Every image looks gritty and grim, even bordering on unpleasant. Crafting a literal picture of distress, the director (who also acts as his own cinematographer and editor under different pseudonyms) matches his style with the movie's substance, in an inventive filmmaking masterclass. Regardless of who Soderbergh was pointing his camera-phones at, his shooting technique would've hit the mark. But with Foy on the other side of the filmmaker's jumpy handheld lens, Unsane hits home hard. Far removed from the drama and glamour of The Crown (and with the American accent to prove it), the actor's performance couldn't be less regal. It also couldn't be more committed or compelling. The movie itself might come packaged with a pulpy tone, but the uneasy look in Foy's eye, the jitters in her hands and the stiffness of her stance speak to something more than lurid thrills. In fact, as this powerful film makes plain, they've stared back at many a viewer from their own mirrors. https://www.youtube.com/watch?v=1yOkE3vsU6g
Stages graced with international acts? Check. A hefty lineup led by Lizzo, Flume and Mumford & Sons? Check again. Gumboots aplenty, everyone from Pussy Riot to Tony Armstrong, and three wild days at North Byron Bay Parklands? Tick them off the 2023 Splendour in the Grass checklist, too. A graveyard, though? No one had that on their Splendour bingo card, but it's part of this year's fest thanks to ABC series War on Waste, which is drawing attention to fast fashion. Sometimes, you need to see a problem to truly grasp it. That's an approach that folks have been applying to the vast piles of textiles that end up in landfill for some time — in 2022, Joost Bakker filled Melbourne's Federation Square with 3000-plus kilograms of fashion waste, for instance. A cemetery symbolising discarded clothing items is another eye-catching away to get everyone thinking about the issue, with this pop-up gracing Splendour for its full 2023 run from Friday, July 21–Sunday, July 23. "Fast fashion has exploded! We've moved to ultrafast fashion, even though 30 percent of clothing in the average wardrobe has not been worn in the last year," said War on Waste host Craig Reucassel. "We're throwing out ten kilograms of fashion per person each year. To make only the cotton clothes that we throw out each year would take as much water as there is in Sydney Harbour. Meanwhile, over 60 percent of our clothes are made from plastic derived from fossil fuels." "Through this activation, we hope to engage the festival community in meaningful conversations about the impact of fast fashion and inspire them to embrace more sustainable and ethical practices. Buy less and wear it longer!" Reucassel continued. Splendour attendees will spot the graveyard opposite the Forum and Comedy Club, acting as a commentary on the 227 million kilograms of clothing that goes to Aussie landfills every year. The site's tombstones jokingly pay tribute to items bought and scrapped quickly, yet won't decompose for hundreds of years, and offer facts about the problem. Everything featured has been recycled or repurposed, and all materials used will be recycled or repurposed again after Splendour is over. As well as getting festivalgoers thinking about their outfits, the cemetery pop-up is timed to promote War on Waste's third season, which hits the ABC from Tuesday, July 25. Splendour in the Grass runs from Friday, July 21–Sunday, July 23, 2023 at North Byron Bay Parklands — head to the festival website for further details and tickets. Images: Georgia Jane Griffiths.
Peninsula Hot Springs just keeps getting bigger and better. Back in 2018, it received a massive $13 million upgrade, which saw the addition of several hot and cold pools, and a hilltop bathhouse amphitheatre. In 2020, luxury glamping facilities landed on the property. And now, a couple of years after scoring a cool $3.3 million investment from the Regional Tourism Investment Fund (RTIF), the crew is ready to unveil its new Eco Lodges in early November this year. These will each feature a plush 60-square-metre suite complete with wifi, room service, a mini bar, and split-system heating and cooling. One thing that makes these accommodations so special is the dedication to giving guests a damn good night's sleep. Each room has self-guided sleep wellness content like sound and movement experiences, plus sleep masks and mineral salts. Co-founder and Creative Director of Peninsula Hot Springs Charles Davidson notes how "Wellness is a holistic and multidimensional feeling of wholeness and happiness, of which sleep is a quintessential factor. Understanding that humans spend a third of their lives asleep, it was important to us to create an environment in which guests can achieve cathartic release through our extensive wellness programs. "Our Eco Lodges have been designed with our seven pillars of wellness in mind to ensure our guests leave feeling rejuvenated and restored." Each Eco Lodge also opens out onto its own garden and private hot spring bathing pool that looks out over the surrounding wetlands. Usually, you'd need to share the property's large geothermal pools with others, so this private experience is an absolute win. Nonetheless, if you do want to jump around the other natural hot spring pools, your stay includes unlimited access to all of them. Both guests also get a complimentary wellness session and buffet breakfast each morning. This is some next-level treat-yourself stuff, so expect to pay handsomely for it. Rooms within the Eco Lodges sleep two adults, with accommodation and bathing packages starting at $880. The new Peninsula Hot Springs Eco Lodges will open in early November 2024. For more details, visit the venue's website. Top image: Alarna O'Connell.
Chunky Move's artistic director Anouk van Dijk has taken on our shared experiences and the current time we find ourselves in with her new piece Common Ground. An encounter between two dancers — contemporary artists Tara Jade Samaya (Chunky Move) and Richard Cilli (Sydney Dance Company) — the work will be a boundary-transcending study of the instability of the world we're living in. In it, Van Dijk will explore the common ground that unites all of us and that can rupture and disturb our lives. Common Ground will look at how to stand firm when the ground around you is shifting. "There is an incredible sense of instability in the world — social, political, economic and environmental — this affects us on a visceral level," she says. Common Ground will demonstrate the universality of our shared experiences, and how we manage to find unity in a world that is shook. It'll show at Chunky Move Studios from April 26 until May 5, then at The Drum Theatre in Dandenong on May 8.
So you're getting out of lockdown, you've painstakingly pieced together the perfect outfit and you're ready to re-enter society from your WFH cocoon. You're feeling great, looking fab and keen to head out for some delicious food. You might be catching up with a mate, treating your partner for an out-of-the-house date, or taking the plunge with that person you've been Hingeing throughout lockdown. But, there's one small hiccup: while you may enjoy all of the wonders of eating plant-based, your dining companion isn't quite there yet. Do not despair — with a plethora of welcoming and accessible plant-based restaurants all over Melbourne, you'll have no trouble finding a spot that suits you and your omnivorous pal. To help you out, we've teamed up with Vegkit to select nine that you should check out immediately, because your date shouldn't have to wait. SMITH & DAUGHTERS, FITZROY Shannon Martinez took Melbourne by storm when she opened Smith & Daughters in 2014, and, since then, has continued to inspire plant-based eating trends around the country. Arguably, Smith & Daughters has done more than its fair share to normalise plant-based dishes — nothing here is labelled as mock meat or with terms like 'fakon'. Instead, dishes such as the vodka napoli and meatballs or the roast beef fillet appear on the menu as just that, despite being plant-based from start to finish. Martinez recently announced that Smith & Daughters will be moving into larger premises with sister venue Smith & Deli, so watch for that when it opens in Collingwood later this year. [caption id="attachment_795303" align="alignnone" width="1920"] Red Sparrow Pizza by Simon S[/caption] RED SPARROW PIZZA, COLLINGWOOD AND PRAHRAN Proof that eating plant-based doesn't mean giving up your favourite treats, Melbourne's first fully vegan pizzeria has everything you'd expect from a top pizza restaurant, with the added bonus of being kind to the planet. The woodfired pies here are made using time-honoured Neapolitan techniques and the dough is fermented for 48 hours to improve flavour and digestibility before being hand-stretched to order. Less traditional, though, are some of the toppings. While the classics are represented — its pepperoni has gained a cult-like following — the menu also includes more creative pizzas like the Patatas Bravas, with a smoky tomato base, potato and 'chorizo', and the Verde, in which dairy-free mozzarella, spinach, artichoke, broccolini and pepitas sit atop a kale pesto base. Doubling down on the indulgent vibes, the drinks list is bustling with juicy natural wines and locally brewed beers. Plus, with sites on both Smith Street and Chapel Street, you can get your fix without having to cross the river. GREEN MAN'S ARMS, CARLTON Missed the pub? Us too. If you're stinging for a pint and a plate at a top vegetarian boozer (yep, they exist), then look no further than Carlton stalwart Green Man's Arms. Owned and operated by acclaimed Aussie actor Alison Whyte and her partner Fred Whitlock, this Lygon Street local serves up seasonally driven vegetarian dishes, all of which can also be made entirely vegan. You can order house-made falafels, charred corn salad with pickled capsicum, radicchio and jalapeño crema, and possibly one of the finest eggplant schnitties going. Creative cocktails and a tight selection of local craft beers help to wash it all down. LONA MISA, SOUTH YARRA One of Melbourne's biggest new restaurants of 2021 just happens to be entirely plant-based. South Yarra's Ovolo Hotel is home to Shannon Martinez' first venue south of the river, for which she has teamed up with veteran chef Ian Curley. In an eclectic setting featuring vibrant (but sophisticated) mid-century decor, the duo oversee a Latin-inspired veg-heavy menu that's designed to share and bears both the marks of Martinez's signature rebellious stylings and touches of Curley's fine-dining flair. Standout dishes include an oyster mushroom ceviche paired with coconut, fermented soybean, poblano and pineapple, while plates from the Josper include a whole cauliflower basted in a peri-peri sauce and served with a spicy chimichurri. The drinks menu celebrates the local and the seasonal, with a solid range of old- and new-world wines by the glass, as well as cocktails, cold-pressed juices and kombucha on tap. BIO BY DOC, CARLTON Through its stable of renowned Italian eateries, mozzarella bars and delis, the DOC Group has earned a solid reputation for its classic Italian fare executed to precision. However, the classics take a backseat at the team's latest addition — a new restaurant dedicated to food that is entirely vegetarian (in fact, mostly vegan) and gluten free. And it's all brought to life with the team's signature style and uncompromising quality. Plus, the airy space, which features al fresco dining and a leafy courtyard, is practically made for an intimate and laidback date night. Fresh produce is the hero here, reflecting the generations of Italian home cooking that underpins the ethos of the DOC Group. Expect dishes such as wild mushroom polenta with crispy kale and black sesame seeds; charcoal spaghetti with grilled vegetable ragu; and a signature lasagne, which features sheets of spinach pasta, plant-based bechamel and lentil ragu. TYRANNY OF DISTANCE, WINDSOR If you like your date night a little rowdy, this Windsor haunt is just the ticket. The diverse menu has something for every taste, and features bar-friendly food such as jackfruit nachos with house-blended spiced beans and Korean bao sliders packed with plant-based pork belly, spicy gochujang, roasted green onions and brown sugar peanut dust. Helping to wash all this down is a great selection of beers, wines and cocktails, the latter of which are also available by the jug — the classic Pimms jug is perfect for the upcoming warmer weather. Hot tip: get in early for one of the best happy hours in town, with $5 basic spirits, house taps and wine on offer every day between 4–7pm. THE CARRINGBUSH, ABBOTSFORD A beautiful heritage pub complete with exposed brick and a roaring fireplace, this Abbotsford local is a real gem for a casual date night. The menu is imaginative but concise, offering creative spins on modern pub fare like buffalo cauliflower with garlic and chive aioli; saffron tagine with baked rice, root veggies, coriander, preserved lemon and currants; and house-made gnocchi with cannellini bean chilli and herb puree. Drinks-wise, it's all about the taps here — the pub features a rotating selection of 22 local craft brews on tap, as well as eight wine taps. GOOD LOVE, ST KILDA With a neon sign above the bar that reminds you to 'be a good lover', Acland Street's bright and airy Good Love is ideal date-night material. Here, you and your person can indulge in boozy cocktails and a delicious array of all-day, plant-based plates, making it even more of a winner. Good Love also hosts semi-regular date nights, which lets you sit back and enjoy the company as the kitchen prepares a three-course meal and two cocktails for you. The menu at this Acland Street spot is constantly evolving, and might include the likes of seitan steak kebab with watermelon salsa and hot chips, a plant-based philly cheesesteak with fried chat potatoes, or garlic mushrooms and chilli oil on cornbread. You can pair such dishes with creative cocktails like jalapeño and tequila sangria or guava bubblegum fizz. The venue is licenced until 1am, too, so you can stick around and work your way through the list. TRANSFORMER, FITZROY A date spot sure to impress, this converted Fitzroy warehouse effortlessly oozes laidback charm, yet serves up a truly sophisticated dining experience. Both the food and wine menus change regularly to follow the seasons, and both champion organic and biodynamic culinary practices wherever possible. Past menu standouts have included dishes such as mushroom parfait with pickled shimeji, Pedro Ximenez jelly and russet crisp, and baby radishes with dill butter and black lava salt. Throw in a seriously impressive list of local and imported wines and you're all set for a memorable date night. For more plant-based dining and recipe inspo, head to the Vegkit website. Top image: Transformer
If you go nuts for doughnuts, there's only one place to pop on your itinerary for Saturday, June 1 and Sunday, June 2: Queen Victoria Market, which is throwing a weekend-long celebration dedicated to the world's favourite holey treat. Returning for a huge 2024 edition, the Donut Festival is set to showcase a multicultural array of doughnuts and other closely-related sweet treats, from old-school US-style dough balls oozing hot jam, to choc-centred morsels and sugar-coated churros. There'll be plenty of vegan and gluten-free goodies among the lineup, which comes courtesy of traders like Daniel's Donuts (glazed creations in flavours like Golden Gaytime), St Gerry's (syrupy Greek loukoumades), MochiMelb (hand-made mochi doughnuts) and Shortstop (think brown butter and maple walnut, or honey with sea salt). These are among some of the best doughnuts in Melbourne — all found in one place. Of course, QVM's iconic American Doughnut Kitchen will also be on hand, slinging its famed sugar-coated, jammy creations, along with house-made jam by the jar. And if you're looking for a decadent drinks pairing, check out the pop-up Spiced Milo Mocktail Bar where you can nab a delightfully sweet bev. Of course, you get to enjoy all of that while feasting your ears on live tunes and roving performances. [caption id="attachment_853638" align="alignnone" width="1920"] St Gerry's[/caption]
UPDATE, December 22, 2021: Annette is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Dreamy and dazzling from its first moments, rock opera Annette bursts onto the screen with a simple question: "so may we start?". As the opening credits roll, the long-awaited latest film from Holy Motors director Leos Carax addresses its audience before it poses that query — via an unseen announcer who tells viewers "you are now kindly requested to keep silent, and to hold your breath until the end of the show" — but the movie doesn't begin to truly kick into gear until the filmmaker himself asks if things can get going. Images of a recording studio flicker, with Carax on one side of the glass and Ron and Russell Mael, of art-pop duo Sparks, on the other. Carax tells his real-life daughter Nastya that the fun is about to commence, and the Mael brothers start singing and playing keyboard, with a band around them. Soon, however, everyone is on their feet and spilling out into the street, with the feature's stars Adam Driver (Star Wars: Episode IX — The Rise of Skywalker), Marion Cotillard (We'll End Up Together) and Simon Helberg (The Big Bang Theory) joining them in the glorious, song-fuelled, sing-and-walk scene. No one is playing a character here yet, but they're all still playing a part. They're finally coming together for the big spectacle that is this eagerly anticipated film — which has been in the works since 2016 — and they're setting the vibe in a bold and sensational way. The tune is pure Sparks, with the pair both composing the movie's music and writing the feature itself with Carax. The tone bubbles with the pair's avant-garde sensibilities, too, and the whole song echoes with the promise of remarkable things to come. Grand and resonant despite its low-key staging and setting, Annette's memorable opening number ends with the Maels, Carax and his daughter, and some of the film's supporting cast members farewelling the feature's two protagonists — with Driver and Cotillard putting on clothing their characters will favour during the rest of the movie during the track. "Bye Henry," the crowd exclaims as the standup comic played by Driver zips off on a motorcycle. "Bye Ann," they chirp at the opera star played by Cotillard as she's chauffeured off in a black SUV. The audience is sent tumbling through the looking glass now, and diving in deep. Nine years ago, Carax gave the world a once-in-a-lifetime gem. Annette is a different film to Holy Motors, obviously, but it gleams just as brightly and with the same beguiling, inimitable, all-encompassing allure. There's an ethereal, otherworldly quality to Carax's work — of heightening reality to truly understand how people feel and act, and of experimenting with artforms to interrogate them — and that sensation seeps through every second of his gleefully melodramatic musical, which deservedly won him the Cannes Film Festival's Best Director award. Everything about Annette has been turned up several notches on every setting, from its lush and lavish imagery to its cascade of toe-tapping, sung-through tunes that keep propelling the narrative forward. Every character detail, both external and internalised, has been amplified as well. This is a movie where Driver's Henry wears the same shade of green over and over like a uniform, beaming his envy at every turn. It's a film where sex scenes involve singing, as though they're the only way these characters can really convey their innermost emotions. And, it's a feature where the titular character — the baby born of Henry McHenry and Ann Defrasnoux's mismatched but passionate and all-consuming love — is played by a marionette. This is a tragedy and a fairy tale, in other words, because life so often veers between elements of both. Henry and Ann "love each other so much", as another of Annette's catchy tunes intones repeatedly, but it's apparent from the outset that their chalk-and-cheese affair has its struggles. Early on, the film contrasts their on-stage antics to quickly but effectively express their dissimilarities. In a show called The Ape of God, Henry broods over the microphone as he struts and shakes in nothing but underwear and a bathrobe, and opines about how he loves killing his audiences with his brutal and brusque comedy. He talks about how Ann is always dying in her operas, with cuts to her sweet soprano singing and heartbreaking death scenes underscoring his point. These juxtapositions keep simmering as the paparazzi charts the couple's romance, and as Ann's pregnancy brings Annette into their lives. The girl has an astonishing gift, but her presence can't save the movie's star-crossed lovers — or moonlit paramours, to be more accurate — from continuing to weather stormy seas. The Maels and Carax haven't held back in almost every facet of the feature; that aforementioned delight of an opening number is perhaps the most restrained thing they splash across the screen. The story sprawls, the lively and clever songs keep coming, and this intricately, overtly stylised affair pushes wave after wave of hypnotic imagery, mesmerising music and heated, near-Shakespearean relationship dramas into its frames. Expectedly and welcomely given the melding of creative minds behind it, it's a movie filled with idiosyncrasies and eccentricities. It's so very Carax, as fans of the director's back catalogue will instantly spot. It's so very Sparks as well, which is evident even if you're new to the duo despite their five-decade-plus career, or if you've only just discovered them via stellar documentary The Sparks Brothers. It's "so much" just like Henry and Ann's love, and it adores it — and it happily and vibrantly melds elements of cinema, gigs, opera and live performance, all while weaving in everything from commentary about celebrity culture and stints of singing cunnilingus, and also knowing that it's constantly toeing the line between oh-so-exaggerated and oh-so-heartfelt. Annette is also long, and both looping and sometimes a little loopy. It satirises, unpacks and embraces, and it loves being multiple paradoxes at once. It thrusts forward with its own pull — but once you're caught in the thrall of its exuberance, playfulness, overwhelming emotions and surreal touches, you're as subject to its whims as Henry and Ann. Inhabiting those parts, Driver and Cotillard commit to the ride. The former visibly cycles between resembling both Ron and Russell Mael in one of the film's devilishly joyous small flourishes, and bustles through the movie like a force of nature. The latter always feels like her co-star's delicate counterweight, while also ensuring that Ann's light, grace and yearning shine through. Their strings are being pulled masterfully by Carax and Sparks, as are viewers' — and yes, we want them to start, and then to never stop.
With its latest movie-fuelled event, Underground Cinema is hoping that you've never felt like this before — and that you love Patrick Swayze and Jennifer Grey dancing up a storm in a much-loved 1987 romantic drama. As part of the outfit's new Immersive Cinema spin-off, it's promising to plunge cinephiles into the world of Dirty Dancing. And give you the time of your life, presumably. Hitting outdoor venues for three nights in each Sydney and Melbourne in March 2019, Dirty Dancing: The Immersive Cinema Experience won't just screen one of Swayze's biggest film roles, but will recreate the world of the popular film. That means that attendees will travel back to 1963 in spirit, check into Kellerman's Mountain House in the Catskills, and enjoy a day of painting classes, volleyball, croquet and — of course — dance lessons. You can probably also expect a stint of carrying watermelons, as well as a talent show. It all ends with a sunset screening of Dirty Dancing on the big screen. You'd be just a fool to believe that's all that's on the agenda. Actors and dancers will roam around like the wind, and, food and drink-wise, Americana-style eats and several pop-up bars slinging summery cocktails are on offer for those with hungry eyes (and stomachs). You'll also be able to wander through recreations of Kellerman's famous fictional spaces, from the staff quarters where Francis 'Baby' Houseman gets her first taste of dirty dancing, to the studios where she learns all the steps from and starts swooning over Johnny Castle, to the restaurant where nobody puts Baby in a corner. Like the film version of Kellerman's, the event is also an all-ages affair — Underground Cinema's first that'll welcome families and kids along. And everyone is encouraged to dress up like it's the 60s, although appropriate footwear for dancing is a must. Tickets are available in two tiers, with the $89.90 'Kellerman's Guest Experience' giving you access to all of the above, and the $129.90 'Time of My Life Package' (naturally) also letting you sashay in via express entry, nab a premium elevated viewing spot, explore secret spaces and take a group dance class with one of Kellerman's dance instructors. Dirty Dancing: The Immersive Cinema Experience will take over The Domain in Sydney on March 15–17, and Flemington Race Course in Melbourne on March 22–24, 2019. Tickets for members go on sale at midday on Thursday, November 15, with general public tickets available from 10am on Monday, November 19.
The folks behind Welcome to Thornbury, Welcome to Brunswick and Belles Hot Chicken have done it again, this time unveiling a new pizza-slinging, DJ-fuelled party spot on Sydney Road. Dubbed NONO, it's made its home within the former Penny Black digs, with space for a huge 950 punters across its public bar, roomy beer garden and dedicated rave cave. Kicking on until 2am Thursday to Sunday, NONO is a surefire hit for night owls and music fiends alike, with a top-notch roster of local DJs on the decks, curated by Music Director Anyo Castro. Rubi Taboo and Bettie Rose are set to host Thursday's riotous drag bingo night (weekly from December 15), and there'll be many a music-filled Sunday session to come, too. In keeping with NONO's unpretentious nature, Executive Chef Sandy Melgalvis (Three Blue Ducks, Mulberry Group) is plating up a laidback menu of top-quality $8 pizzas, all hand-rolled to order. Find options like a classic margherita; a mushroom, mozzarella and fontina number; and a lamb kebab pizza topped with slow-cooked shoulder, spinach and tzatziki. And yep, they're $8, all day, every day; as are extras like a rocket salad and the crinkle-cut fries bathed in Belles' famed seasoning. An easygoing drinks offering features classic cocktails alongside signatures like the Northside Lights (Patient Wolf Gin with Pampelle Ruby Grapefruit liqueur and rosemary syrup) and the Super Silver Haze, crafted on Don Juilo and jalapeno brine. There's also a couple of cocktail jugs, a tap lineup starring plenty of 4 Pines brews, and fridges stocked with tinnies from the likes of Young Henry and Mountain Goat. Want help welcome NONO to the 'hood? The venue's kicking things off with a bang on December 17 (1pm–1am) and 18 (1–10pm), with a few specials and a cheeky nod to its Sydney Road address. Not only will it be giving away 420 pizzas across the weekend, but you'll also score house pints and shots for an easy $4.20 a pop. Find NONO at 420 Sydney Road, Brunswick. It's open from 4pm–very late Thursday to Saturday, and from 1–10pm Sunday.
In the wake of the dubious election of Donald Trump to the office of President of the United States of America, the world took a shocked breath, flabbergasted that an openly misogynistic and accused perpetrator of numerous sexual assaults could be elected to such an important position. For some, however, that shocked breath was immediately followed by plans to take action against an open enemy to women's rights and gender equality. As a result, the Women's March on Washington was born. The march aims to provide a show of power on the first day of Trump's term with the goal of demonstrating that "women's rights are human rights", according to the official website of the organisation. As a show of solidarity to the women, men, and children who will march on the U.S. Capitol, over 170 sister marches are planned to take place on the January 21 all over the world, including the Women's March on Melbourne, which will start at the State Library at 1pm on Saturday. The marches are not only to protest the systemic repression of women, but the unfair treatment of marginalised populations in general. According the Women's March On Melbourne Facebook page, the march is "against misogyny, bigotry and hatred". It is a researched fact that furthering the cause of women's rights leads to greater social growth for all demographics, and these marches are examples of the fact that policy decisions need to tackle the gender inequality that still so blatantly exists in our societies. Aside from the fact that gender inequality is a violation of the Universal Declaration of Human Rights — or just, y'know, repressing more than half the population — ignoring women's rights is detrimental to the rest of society as well, as spending time and money on women's health and rights has a multiplier effect than benefits society as a whole. The March on Washington is due to draw crowds that will rival that at Trump's inauguration, and almost 2000 people are expected to attend the march in Melbourne. Image: Kimberley Low.
Surfing and gig-going have always been two of Australia's best-loved pastimes, and now we've scored a festival celebrating the best of both worlds. Debuting this autumn, The Drop festival will cruise around the country as it follows the Aussie leg of the World Surf League Championship Tour and it's bringing a banging little lineup of musical gold along for the ride. Surfing the festival wave for 2018 are Canberra favourites Safia, Indie pop darlings San Cisco and Brisbane rockers Dune Rats, along with other local legends Holy Holy and Ruby Fields. Held on the first weekend of each area's surfing event, The Drop's set to grace some of the Australia's most iconic surf spots, each outing featuring a locally-focused offering of food, drink and culture, to match the tunes. Catch it at Tweed Heads' Ebenezer Park on March 17, Torquay Common in Torquay on March 31 and then on April 14 at Margaret River's Three Oceans Winery. First release tickets for The Drop are $75, available here for Tweed Heads and Torquay, and here for Margaret River. For more info, visit thedropfestival.com.au.
The Australian Centre for the Moving Image might be all about celebrating screen art — peering at films and TV shows, stepping into virtual reality and showcasing the talents that've made such a huge impact, for instance — but that doesn't mean that the Melbourne-based venue doesn't appreciate nature. The world around us can look stunning projected as large as a cinema can allow. David Attenborough has turned his documentaries about the planet into their own spectacular genre, too. And the natural realm can provide experimental artists with quite the playground to ponder, as Marshmallow Laser Feast: Works of Nature is exploring. This world-premiere exhibition sees art collective Marshmallow Laser Feast unveil a showcase of works that muse on trees, black holes, cells, breathing, space, science and more. Hitting ACMI from Thursday November 23, 2023–Sunday, April 14, 2024, Works of Nature spans five major pieces that aim to deeply contemplate and appreciate humanity's role in nature, and just nature overall. And, these aren't tiny pieces — these large digital works aim to inspire awe in both their size and content. This is the London-based MLF's first major showcase in Australia, adding a stint Down Under to appearances at the Sundance and Tribeca film festivals, the Istanbul Design Biennial, Lisbon Triennial and the V&A and Design Museum in their hometown. [caption id="attachment_917014" align="alignnone" width="1920"] Marshmallow Laser Feast, 'Distortions in Spacetime', 2018, courtesy of the artists[/caption] That impressive history is matched by a significant lineup of names involved with MLF's immersive Works of Nature pieces. Cate Blanchett (The New Boy) lends her narration, director Terrence Malick (A Hidden Life) executive produces, while Radiohead's Jonny Greenwood (Licorice Pizza) and fellow acclaimed composer Jóhann Jóhannsson (Last and First Men) are among the talents providing music — the latter's work continuing to entrance after his passing in 2018. Daisy Lafarge provides poetry, while Jon Hopkins, Meredith Monk and Howard Skempton also contribute tunes. Whether you're a Melburnian or have a trip to the Victoria capital in your future, you'll be able to see the meditative Evolver, which uses Blanchett's voice to journey through the human body, breath, the origins of cells and the cosmos — and Distortions in Spacetime, which heads to a black hole's edge. Or, there's the large-scale Sanctuary of the Unseen Forest, a video installation about the Amazon's kapok trees. Thanks to The Tides Within Us, oxygen is in focus again via six static pictures. And with We Live in an Ocean of Air, MLF examine how that last word in the piece's moniker connects life on earth. [caption id="attachment_917018" align="alignnone" width="1920"] Marshmallow Laser Feast, 'We Live in an Ocean of Air', courtesy of the artists.[/caption] Marshmallow Laser Feast: Works of Nature is running at the Australian Centre of the Moving Image until Sunday, April 14. For more information or to book tickets, visit the website. Top image: Marshmallow Laser Feast, 'Distortions in Spacetime', 2018, courtesy of the artists.
Whether you're travelling from Sydney to Canberra or Parramatta, Melbourne to Geelong, or Brisbane to the Sunshine Coast, you'll soon be able to get there a whole lot quicker — or that's the plan, at least. Various government bodies have announced various high-speed transport proposals throughout 2018, all focused on journeying relatively short distances in as short a time as possible. But if a potential new transit network comes to fruition, Australians would be able to zip between many capital cities in less than an hour. One of several companies trying to build Elon Musk's Hyperloop vacuum-tube transport system, Hyperloop Transportation Technologies has lodged a submission to the federal government's current parliamentary inquiry into automated mass transit. Its key feature: travelling at a top speed of 1223 kilometres per hour. At speeds that fast, you'd be able to zoom from Brisbane to Sydney in 37 minutes, and from Sydney to Melbourne in the same amount of time. Melbourne to Adelaide would take just 33 minutes, while a jaunt down from Sydney to Canberra would need a mere 14 minutes, and venturing from Canberra to Melbourne would be over in 23 minutes. The timings are just estimates for now; however each potential leg proves considerably quicker than the equivalent plane journey — and the longest outlined route, from Brisbane to Adelaide, would take one hour and 47 minutes. Zipping between the northern and southern ends of the country faster than you can watch a movie sounds incredibly enticing, as does simply popping over to another city for a day trip. Billed as "bringing aeroplane speeds to ground level", Hyperloop sends capsules along low-pressure tubes, with each capsule seating 38 passengers. That said, the system is still well and truly in the testing phase. In October, Hyperloop TT's first full-scale passenger capsule was revealed in Spain, with the company also building a 320-metre system in France. By next year, it intends to construct a one-kilometre system for further pilots. If Hyperloop does become a reality, Hyperloop TT's Aussie submission also suggests incorporating the Gold Coast, the Southern Highlands, Newcastle, Wollongong, Nowra, Port Macquarie and Orange into routes — further broadening the network's reach, reducing road congestion and decentralising the country away from major cities, all while using solar panels to power the system. There's no proposed timeframe in Hyperloop TT's proposal, so don't go dreaming about zooming across the country just yet. Also, this isn't the first time that Hyperloop has been proposed for Australia, with rival outfit Hyperloop One outlining plans for a Sydney to Melbourne route back in 2016. Via news.com.au. Images: Hyperloop TT.
A giant gumball machine that you can climb inside. An igloo made of doughnuts. An adult-sized ball pit in bubblegum-pink hues. A mini-cinema dedicated to sweet-themed movies. Throw in a free ice cream, sweets and snacks; a dedicated fairy floss room with its own swing; and the ability to jump out of a giant birthday cake — and Melbourne's new pop-up dessert museum sounds like the kind of place Willy Wonka might own. Called Sugar Republic, it's actually a short-term exhibition on Smith Street in Fitzroy, bringing eight weeks of sugary delights to folks with a sweet tooth. Running until August 17, the pop-up features 14 spaces designed to immerse the senses in all things chocolate, confectionery and dessert-oriented. When you're not making yourself a soft serve and showering it in sprinkles, you'll be spinning a wheel o' treats. Other highlights include a sherbet-filled rainbow bridge, a forest of giant bananas, an interactive sprinkles wall, a neon art wall and other dessert-centric art, including a giant Bubble O' Bill sculpture. And it wouldn't be a celebration of all things sweet without a huge lolly store, of course. As for the location, Sugar Republic's site was once the MacRobertson's confectionery factory — aka the brand originally behind the Freddo frog and Cherry Ripe. The last room in the space pays tribute to the company's founder, Sir Macpherson Robertson, adding a dose of history to the sugar rush. Basically, if you missed out on visiting New York's Museum of Ice Cream back in 2016, this is Australia's equivalent. Typically these kind of places are designed to be as photogenic as possible, so expect plenty of pics to clog your Instagram feed. If you're keen to take some of your own, tickets cost $35 for adults, which includes free lollies, treats and ice cream over your 90-minute stay. The exhibition is open from 10am every day except Wednesday. Last entry is at 4pm all days except Thursday and Friday, when it's 7pm.
A couple embraces. A man thrusts. The next shot shows, from above, a car driving directly up a straight road. Viewers everywhere can put two and two together. The cut from one to the other is actually meant to be subtle, segueing from an adulterous duo to the man they've cuckolded — but it's also meant to complete a tastefully sensual picture. That's The Aftermath in a nutshell: prim, proper and discreet; brandishing plenty of emotions underneath; and obvious even though it's trying desperately to remain restrained. You could say the same about many period dramas starring Keira Knightley, and you'd be right, however this one particularly sticks to the familiar template. Dressing up in her 20th-century finest as she did in Atonement, A Dangerous Method and The Imitation Game, Knightley plays British military wife Rachael Morgan. After spending most of the Second World War alone, even when bombs were dropping on London, she now joins her colonel husband Lewis (Jason Clarke) in Hamburg. He's been tasked with overseeing the city's enormous rebuilding project, and she's once again left in their acquired home while he works. This time, she has the grand building's original owner, brooding German widower Stefan Lubert (Alexander Skarsgård), for company. Whether you've read Rhidian Brook's 2013 novel of the same name or you're coming to The Aftermath with fresh eyes, guessing what comes next couldn't be easier. No film is going to let Knightley and Skarsgård roam around a sprawling, stately mansion without taking the blatant next step, not even when the story is set immediately after such widespread devastation. Accordingly, while Knightley starts out staring daggers and Skarsgård smoulders sorrowfully in knitted jumpers, it doesn't take long for director James Kent to connect the dots. But in making its post-war romance so straightforward, the movie lacks the one thing every torrid affair thrives on: passion. An absence of passion isn't the same as an absence of emotion, and lacking one particular quality isn't the same as purposefully holding back in general. The Aftermath doesn't skimp on histrionics, or on creating an elegant mood, but the end result is just so dutiful and formulaic. Indeed, it's hard to feel for characters caught in a love triangle, let alone get swept away by their amorous entanglements, when every plot development is as glaring and forceful as the many bombed-out buildings lining Hamburg's streets. And the less said about the movie's unconvincing attempts to dig into deeper territory — courtesy of Stefan's Nazi-sympathising teenage daughter (Flora Thiemann), as well as his own thorny past — the better. Kent previously combined matters of the heart with the horrors of combat in 2014's First World War romance Testament of War, which proved both handsome and heartfelt. While The Aftermath isn't helped by its script, the filmmaker has only managed to tick one of those boxes here. There's no denying the film's rich imagery, which recreates the time with stellar detail. That said, there's also no denying that cinematography, costuming and production design rank among the movie's best traits. Pretty pictures are part and parcel of any period drama, but when they steal the show above all else, it's never a good sign. They mightn't always succeed, however Knightley and Skarsgård endeavour to stand out — against the eye-catching scenery and routine narrative, and despite their star-crossed lovers barely being given any depth. Although neither actor is asked to rise to any challenges, when sparks fly between them, it's easy to wish they were carrying a better film. In a way, that's The Aftermath's big problem. So certain of its stars' power, it thinks that the two can simply carry the entire movie. In fact, it largely squanders Clarke in the process. But, even with gorgeous visuals and a striving cast, the heart still wants what the heart wants: in this case, a story that doesn't feel finished before it starts. https://www.youtube.com/watch?v=FPv3e2FZOgo
The King has risen. Head out to Parkes in January and you would be forgiven for thinking you're in Graceland — if there's anything this town is known for (apart from the iconic Dish, of course) it's the Parkes Elvis Festival. Pull on your blue suede shoes and get ready to find yourself a hunk, a hunk of burning love. The festival takes place over five days during the second week of January to coincide with the King's birthday (January 8, as if you didn't already know). Over 25,000 visitors flock to the town to see international and national Elvis tribute artists battle it out to be named the Ultimate Elvis Tribute Artist. There's also a Miss Priscilla competition, rock 'n' roll dancing, busking, a midnight show and a finale concert. The Parkes Elvis Festival is officially endorsed by the King's estate, Elvis Presley Enterprises Inc., so you know it's legit. Stop talking about it, and just do it this year. A little less conversation, a little more action.
