After filming two of his last four movies in Australia (Lion and Hotel Mumbai), and also stepping into a Dickens classic set in Victorian England (The Personal History of David Copperfield), Dev Patel is heading somewhere completely different. Jumping back to medieval times, he's delving into the fantasy genre, messing with Arthurian legend, and swinging around a mighty sword and a giant axe, all thanks to the dark and ominous The Green Knight. Based on the 14th-century poem Sir Gawain and the Green Knight, the film casts Patel as Sir Gawain. Nephew to King Arthur (Sean Harris, Mission: Impossible — Fallout), he's a knight of the Round Table and fearsome warrior. The character has popped up in plenty of tales, but here, he's forced to confront the giant green-skinned titular figure in an eerie showdown. As the poem explains, the Green Knight dares any other knight to strike him with an axe, but only if they'll then receive a return blow exactly one year and one day later. Based on the new, just-dropped trailer, this film adaptation looks to be sticking to that story rather closely — and the end result also looks more than a little moody, brooding and creepy. Patel is in great company, too, with The Green Knight also starring Alicia Vikander (Earthquake Bird), Joel Edgerton (Boy Erased) and Barry Keoghan (Calm with Horses). Games of Thrones' Kate Dickie pops up as Guinevere, while her co-star Ralph Ineson — who is also known from the Harry Potter flicks, The Witch and the UK version of The Office — plays the Green Knight. Originally set to release in 2020 until the pandemic hit, The Green Knight is the latest movie by impressive and always eclectic writer/director David Lowery. His filmography spans everything from Ain't Them Bodies Saints and Pete's Dragon to A Ghost Story and The Old Man and the Gun — and, based on both the initial teaser and the new sneak peek, The Green Knight won't be like anything on his resume so far. Check out the new trailer below: https://www.youtube.com/watch?v=sS6ksY8xWCY The Green Knight will release in the US on July 30, but it doesn't yet have a release date Down Under — we'll update you when it does.
As always, Melbourne's summer celebration of queer and LGBTQIA+ culture starts off with a bang with its annual Midsumma Carnival in Alexandra Gardens. There'll be 11 hours of live music and entertainment on the main stage, heaps of food stalls and bars, plus the return of the Midsumma Dog Show which is just an absolute delight. Then, once the sun starts to set, the park will be transformed into one enormous dance floor, with DJs and artists performing well into the night, led by Aussie hip-hop artist Miss Blanks. It's the perfect way to get into the Midsumma mood — and best of all, it's 100 percent free.
What could be better than a Saturday afternoon wrapped up on a picnic rug among the dogs wagging their tails and the kids tossing balls watching the local footy team in Edinburgh Park? The answer is a perfect spot to soothe your aching cold limbs when the sun goes down afterwards. And guess what? We've found it. If you're ready for a no-nonsense grown up glass of red, Underwood is your date for the evening. Nestled between the antique shops and grand homes of Fitzroy North, you'll find this gem showering all the best buzz words over their restrained and well thought through bar and drinks menus. The beers, ciders and wine seem to be exclusively Australian, including plenty of blossoming Melbourne born-and-bred breweries. The boys here really know their stuff, so if you're not a wine connoisseur, just let them know what you're in the mood for. They'll help you choose something that suits. The food menu also champions the real locals, including perfectly cooked duck rillettes ($15) from deli Obelix & Co which is just a stone's throw away. We loved the cheese board which changes weekly and comes adorned with a delicious quince and rosewater jam, as well as various breads. A large blackboard and open shelving combined with simple wooden furniture and soft lighting creates a lovely laid-back environment, perfect for afternoon or evening. A cracking spot to impress on a first date or hang out during the week with a group of mates, we'd venture north of the main Fitzroy drag for this park-side treat again in a heartbeat. Photos by Sarp Soysal.
Another year, another Archibald Prize forced to adapt to these pandemic-afflicted times. After the 2020 award was delayed due to COVID-19, this year's gong was handed out as normal — but now the Art Gallery of NSW exhibition that always follows has been impacted by Greater Sydney's current lockdown. So, the folks at AGNSW have released a virtual version of the popular showcase, which means both at-home Sydneysiders and folks around the rest of the country can view 2021's top portraits from their couch. The 360-degree experience lets you tour the exhibition at your own pace, and see its works as they appear within the gallery space. You can learn more about the pieces along the way as well, thanks to clickable hotspots that provide information about each artwork. Every year for the past century, the Archibald Prize has recognised exceptional works of portraiture by Australian artists. In 2021, from a field of 52 finalists, the coveted award has gone to Melbourne-based artist Peter Wegner for Portrait of Guy Warren at 100. A unanimous decision by this year's judges, Wegner's portrait of the centenarian and fellow artist obviously won the gong in a fitting year. "Guy Warren turned 100 in April — he was born the same year the Archibald Prize was first awarded in 1921," Wegner said. "This is not why I painted Guy, but the coincidence is nicely timed." Wegner's win came after an equal number of works from both male and female artists made the finalists list for the first time in Archibald history — all of which you can now scope out from home, alongside entries and winners for the Wynne and Sir John Sulman prizes, too. Across the three prizes, 2144 entries were received this year, which is the second-highest number ever after 2020. And, the three prizes received the highest-ever number of entries from Indigenous artists. If you don't agree with the judges, you can also cast your own vote for the People's Choice Award before 5pm on Sunday, August 29. [caption id="attachment_814784" align="aligncenter" width="1920"] Archibald Prize 2021. Peter Wegner, 'Portrait of Guy Warren at 100'. Oil on canvas, 120.5 x 151.5 cm. © the artist. Photo: AGNSW, Felicity Jenkins. Sitter: Guy Warren.[/caption] Top image: Archibald Prize 2021 finalist. Kirsty Neilson, 'Making noise'. Oil on linen, 50.1 x 60.1 cm, © the artist. Photo: AGNSW, Felicity Jenkins.
One-shot movies fall into two categories. Some hide their edits to make it appear as though they've been filmed in one continuous take, such as Alfred Hitchcock's Rope and the Oscar-winning Birdman. Others achieve the feat without resorting to cinematic trickery, including historical drama Russian Ark and Iranian thriller Fish & Cat. Either way, the intended effect is the same. By presenting an unbroken image free from cuts and interruptions, filmmakers try to plunge the audience so deeply into the on-screen action that they simply can't bear to tear their eyes away. Wandering from a Berlin nightclub to a cafe to a life or death bank heist, the adrenaline-fuelled Victoria joins the fold, unfolding in a single, unstaged take. Like all films that employ this technique, there's no denying the underlying technical wizardry on display in this heart-pounding German thriller. But writer/director Sebastian Schipper does more than simply jump on the latest movie-making bandwagon. Indeed, in his skilled hands, Victoria rarely feels like a gimmick. As the titular Spanish traveller (Laia Costa) catches the eye of the flirtatious Sonne (Frederick Lau) during a night out, and then tags along with him and his mates as they make the leap to the wrong side of the law, the uncut footage endeavours to take the audience along for the ride. Describing cinematographer Sturla Brandth Grøvlen's camera as one of the film's characters might be a cliché, but it's fitting. Victoria doesn't just want to make viewers watch its protagonist's wild night. It wants them to feel like they're in the thick of the frenzy, experiencing every single moment along with her. Here, variety and movement is key. While the screenplay crafts its own convincing dramas of the criminal and romantic kinds, it's not just the real-time story and changing locations that offer up a few unexpected elements. Equally unpredictable is the way Schipper uses the frame. Sometimes the visuals are claustrophobically precise and tight, while other times they're coasting and loose. The images lurch and circle, simultaneously going with the narrative's flow and creating their own momentum, and mimicking the feature's freewheeling mood while imparting their own urgency and personality as well. Of course, with the film clocking in at 138 minutes, Victoria's style does eventually threaten to overstay its welcome. Thankfully, Costa's naturalistic performance offers the pick-me-up fatigued audiences might need, even when she appears to be tired herself. The cast's improvised efforts add another layer of realism to a movie that could've just been the latest one-shot stunt. Instead, it's one of the most absorbing, surprising films we've seen in quite a while.
It's not like Mexican or Mexican fusion is all that hard to find in Melbourne, but new Windsor Street taqueria Tacocat intends to make their own mark and rethink the taco. With a menu inspired by owner Craig Dick's world travels, the dishes fuse Mexican street food with elements of traditional foods from a wide array of cultures. While tradition is usually the name of the game when it comes to international cuisines, Tacocat is taking the road less travelled. There's a 'Tacocat Madam' for breakfast, made with pulled pork, melted cheese, tomato, fondue sauce and a fried egg on sourdough, or the 'Pho' taco with beef, bean sprouts, coriander, Vietnamese mint, spring onions and Sriracha. For those with a sterling palate, Tacocat also serves a chilli and garlic roasted grasshopper taco with guac and pico de gallo, quite an interesting twist on the traditional protein. There are plenty of more traditional taco options, as well as vegetarian options across the board. The idea came during a trip through Central America, Iran, and North Korea in 2016, where Craig decided he could fuse flavours from Asian cuisine with Mexican food. "I just thought the two were a natural fit," he explains. Tacocat's insistence on not sticking to one location continues into dessert, as well. For those who have never tried a deep fried tequila shot, they are the business, so it's good to see one included on Tacocat's menu, albeit tweaked into a full dessert. With Cinco de Mayo just around the corner, Mexican places are going to be amping up the festival game around town, and Tacocat is throwing their sombrero into that ring, too — head down on the day to score yourself a special taco for free. Find Tacocat at 118 High Street, Windsor. Open Tuesday to Friday 5–10pm, Saturday to Sunday 8am–10pm.
For Australian music fans, Triple J's Hottest 100 is the most important event of the calendar year — followed closely by the date Splendour in the Grass tickets go on sale. With so much at stake music-wise, nominating yourself as host for the Hottest 100 party — and deciding what to serve — can be a daunting task. So, we've teamed up with BWS to ensure you snag a sausage that pairs perfectly with your Hottest 100 picks — a banger for your banger, if you will. Plus, if you share a snap of your snags to Instagram (post or story) and tag BWS, the company will donate $1 for every sausage in the picture to GIVIT. How good. So, before you head to the shops to get the supplies, hit this list to make sure you select savoury cylinders that are as tasty as your favourite tunes. 'GET MY OUT' BY KING STINGRAY Fans of this track by King Stingray are likely to have found themselves in one of two circumstances in 2021: a seemingly unending lockdown in one of our major cities or in a garbage job that they were ready to give the middle finger to. In our opinion, lovers of a song called 'Get Me Out' deserve a snag that'll set them free. If that's you, we can't go past the free-range frankfurters from Paddock to Plate. 'HERTZ' BY AMYL AND THE SNIFFERS The high-octane energy of Amyl and the Sniffers requires a snag that'll live up to the band's turbo reputation and gets the job done without too much fuss. And, since we're matching it with a title that measures frequency, we believe quantity is important, too. Our pick for Sniffers fans is a value pack of snags that are a staple at all good sharehouse barbecues and Bunnings sausage sizzles — the 1.8 kilomgram value pack of thin snags from Woolies. These bangers have been proven to satisfy the masses and feel almost as good as fanging down a highway in a Hertz hire car. 'MAREA (WE'VE LOST DANCING)' BY FRED AGAIN.. AND THE BLESSED MADONNA If you voted for 'Marea (We've Lost Dancing)', there's a good chance you're the person at a party who dominates the dancefloor. Considering you'll be spending most of the day hurling your flesh prison all over the backyard, we recommend taking your snags in small doses to avoid tasting them twice. A 16-pack of chicken chipolatas are an ideal bite-size snag that you could probably woof down in one go if you really tried. Plus, given there are so many in the pack, you'll have plenty of fuel to sustain your dancing all the way to number one. 'LIE TO ME AGAIN' BY THE BUOYS If you're someone who wants to be lied to, a pack of the plant-based snags with the adjective 'beefy' in the title seem like the kind of misleading sausage that you'd be into. Unreal Co's six-pack of vegetarian beefy brats are perfect for people who want to feel hoodwinked by a sausage. Go on, gaslight yourself with this irresistible snag. It'll be just like when the person this song reminds you of did it, right? 'KIM' BY TKAY MAIDZA (FEATURING BABY TATE) A track that brings as much heat as 'Kim' by Tkay Maidza and Baby Tate calls for a snag that is as hot and spicy as the song itself. Our solution? The smoked chilli snags from Suzy Spoon's Vegetarian Butcher. These vegan sausages are both super delicious and pack a punch, much like the song in question. Big fan of chilli dogs? These are a quality meat-free alternative with a chorizo-like flavour for an added kick. 'GOLD CHAINS' BY GENESIS OWUSU Fans of Genesis Owusu aren't your run-of-the-mill music lovers. They boast a superior sonic palate and we suspect that this elite taste exists when it comes to the humble snag, too. Lovers of an award-winning artist will want an award-winning snag. And, if Kel Knight has taught us anything, winning sausage competitions is serious business. Our go-to is The Gourmet Sausage Company's award-winning artisanal pork and fennel bangers. 'STAY' BY THE KID LAROI AND JUSTIN BIEBER Voted for a collaboration this huge in the Hottest 100? You'll be needing a snag that has a minimum of three main ingredients in it for the countdown. There are plenty of combination sausages to choose from however we're of the firm belief that it's the chicken, feta and spinach variety that pairs perfectly with this sad banger. It's salty, smooth and surprisingly good — much like the Bieber x Laroi collaboration itself. 'DRIVERS LICENCE' BY OLIVIA RODRIGO So you spent 2021 rinsing Olivia Rodrigo's debut album Sour? Us too. And while we simply adored immersing in the rich teenage angst of the record, a track from an album with a title this tangy needs a sweeter snag to balance things out. We recommend a pack of honey-flavoured beef sausages. And if that's a touch too sugary for you, load them up with onions to ensure you get that all-important cathartic cry while slicing them up and belting out this tune. Want to support a good cause while you enjoy your bangers? Upload a snap of your snags to Instagram (post or story), tag @bws_au and use the hashtag #snagadonation to ensure a $1 for every sausage in the shot is donated to GIVIT. Just make sure your Instagram profile is set to public for your entry to be counted. For more information, visit the website. Images: Elliott Kramer.
A ten-minute dance session for ten people at a time, held in a caravan. A future-focused art party featuring live performance, projection, visual art and music. A photo exhibition exploring the transformation of Australia's premier drag performers. Now that's how you mark three decades of celebrating Melbourne's LGBTIQA+ community and showering the city in queer arts and culture — and it's only the beginning of Midsumma Festival's 2017 lineup. Hitting the big three-oh is a spectacular affair and then some for the annual fest, complete with more than 130 events in the program. Keeping the impressive numbers going — and growing, as they have since Midsumma first kicked off in 1988 — the forthcoming iteration will also feature the work of over 1200 artists and culture creators in more than 70 venues and outdoor space, including hubs at Arts Centre Melbourne, Gasworks and The Hare Hole at Hares & Hyenas. As always, the annual Pride March through St Kilda proves one of the festival's must-attend highlights, alongside the fellow returning flagship event that is the Midsumma Carnival and T Dance. At the former, everyone will dance, strut, sing, catwalk, vogue, placard, drag and move together in a display of difference, acceptance and equality. At the latter, prepare to party all day and night, watch queer sports and even see a dog show, all at Alexandra Gardens. Other standouts include a showcase of portraits of LBTI women by photographer Lisa White, a new take on Oscar Wilde's The Happy Prince by the folks behind Psycho Beach Party, a reimagined version of Fringe favourite dance piece HardQueer DeathPony, and UK drag stars Jonny Woo and Le Gateau Chocolat working their way through musical theatre hits such as Les Mis, The Lion King, Cabaret and Annie. Or, hear marriage equality activist and Queen of Ireland star Panti Bliss share her experiences, catch a comedy cabaret about how to be a wingman, enjoy the Cuddle Puddle (yes, it's exactly what it sounds like), pay tribute to Elizabeth Taylor, show off your interpretative dance skills and participate in the Muddy Gras obstacle course. It's going to be a fun and busy three weeks, that's for sure. Image: Coal Photography.
OMG Philip Quast! Sorry. We know that’s an undignified way to start a review of something as venerable as an MTC production of Henrik Ibsen but the sight of Quast on the posters for Ghosts has been exciting us for weeks. For those unfamiliar with him, Quast was the first man to play Javert in an Australian production of Les Miserables and his glorious stentorian voice has a special place in the hearts of theatre nerds nationwide. In Ghosts he plays a tormented priest, which is just perfect, opposite Linda Cropper (Offspring) who delivers a commanding performance as embittered widow Helene Alving. The drama on stage is so thick you could carve it. Ghosts is about as bleak a piece of theatre as you could wish for in your darkest hour. The widow Alving is sourly planning a memorial to her late husband, who she detested. Her maid (Pip Edwards), mistreated and manipulated by her drunken father (Richard Piper), schemes ruthlessly for advancement. Alving’s son (Ben Pfeiffer) is decaying with illness. Meanwhile Quast’s priest, Pastor Manders, scarce able to control his own tangle of emotions, savagely judges everyone else. Every single character is in some way haunted by their past. The ghosts of the title are not supernatural spirits but the echoes of bygone deeds, the lasting damage done by destructive people or obsolete ideas that continue to control people’s lives. The play appalled critics when it was first performed in the 1880s. It was described as “revoltingly suggestive and blasphemous", “as foul and filthy a concoction as has ever been allowed to disgrace the boards of an English theatre,” and “gross, almost putrid, indecorum.” Ibsen gave the critics a lot to be rattled by. Not only does the story includes illicit affairs, sexually transmitted disease and incest, the play’s indictment of outdated ideas is a clear tilt at religious moralising. MTC’s production, far from being putrid, is elegantly dark. The emotional tone is emphasised by a stark set, depicting the widow’s house as a mouldering barely furnished mansion. Rain beats constantly against a glass wall, heightening the feeling of entrapment, and characters frequently appear first through the fogged glass, like phantoms out of mist. At times the show does seem to waver between trying to modernise Ibsen and milking 19th century melodrama for all it’s worth. It can feel a little disjointed at times but this works in context with the script, which is after all about people failing to break free from their past. It is as if the play is also trapped by history, trying to modernise but unable to avoid sliding back into melodrama. While there are some inescapably dated elements — the depiction of illness in particular feels antiquated — Ibsen’s rage against the societal hypocrisies of his day shines through fiercely with strong resonance to our current time. It is still a powerful drama and this production drives that home with some blistering performances. Image: Jeff Busby.
Australia's film festival calendar is about to kick into gear for 2022, with fests dedicated to documentaries, European cinema, queer flicks and Japanese movies all among the events that've already announced their upcoming lineups. Another ace excuse to stare at the big screen in a darkened room that Aussie movie lovers can look forward to in the very near future: the Alliance Francaise French Film Festival, which is returning across March and April for its 33rd year. It's still a tad too early for AFFFF to reveal its full program, but it has confirmed a few details to get you in the French film-watching mood. First up, there's the fest's dates, with the event making its usual capital city stops. So, cinephiles in Sydney, Melbourne, Brisbane, Perth, Adelaide, Canberra and Hobart — and in Byron Bay and Parramatta, too — you can now start blocking out time in your diaries. Also unveiled early: AFFFF's first ten films from its 2022 lineup, including opening night's 19th-century Paris-set Lost Illusions. Starring an impressive cast that includes Benjamin Voisin (Summer of 85), Cécile de France (The French Dispatch), Vincent Lacoste (Sorry Angel) and Xavier Dolan (Matthias & Maxime) — the latter acting rather than directing — it follows a lower-class poet who falls in love with the baroness Louise de Bargeton. Other highlights span two movies that premiered at last year's Cannes Film Festival, with rom-com Love Songs for Tough Guys featuring Vanessa Paradis (Knife+Heart), set in Dunkirk and taking its cues from Cyrano de Bergerac, and La Traviata, My Brothers and I focusing on a 14-year-old who wants to become the new Luciano Pavarotti. There's also The Young Lovers, also led by the aforementioned Cécile de France; Waiting for Bojangles, a page-to-screen adaptation starring Virginie Efira (Bye Bye Morons) and Romain Duris (Eiffel); The Kitchen Brigade, which is set in the world of French gastronomy; Hear Me Out, a rom-com directed by and starring Pascal Elbé (The Swallows of Kabul); and the 60s-set Happening. Or, you can look forward to documentary The Velvet Queen, where photographer Vincent Munier and writer Sylvain Tesson head to the Tibetan highlands on a quest to find the snow leopard — or, from the retro program showcasing the work of actor and filmmaker Alain Delon, Purple Noon, which adapts Patricia Highsmith's novel The Talented Mr Ripley. The full festival lineup will be revealed on Thursday, February 3 — and you can check out the festival trailer below in the interim: ALLIANCE FRANÇAISE FRENCH FILM FESTIVAL 2022 DATES: March 1–April 6, with encore screenings from April 7–10: Palace Central, Palace Norton Street, Palace Verona, Chauvel Cinema and Hayden Orpheum Cremorne, Sydney March 2–April 6, with encore screenings from April 7–10: Palace Electric, Canberra March 3–April 6, with encore screenings from April 7–10: Palace Balwyn, Palace Brighton Bay, Palace Como. Palace Westgarth, Pentridge Cinema, The Kino and The Astor Theatre , Melbourne March 9–20: State Cinema, Hobart March 9–April 6, with encore screenings from April 7–10: Camelot Outdoor Cinema, Luna Leederville, Luna on SX, Palace Raine Square and Windsor Cinema, Perth March 16–April 13, with encore screenings from April 14–18: Palace Barracks and Palace James Street, Brisbane March 24–April 24, with encore screenings from April 25–26: Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas, Adelaide, plus Victa Cinemas, Victor Harbor March 30–April 14, with encore screenings from April 15–16: Palace Byron Bay, Byron Bay April 7–10: Parramatta Riverside Theatres, Parramatta The Alliance Française French Film Festival tours Australia from Tuesday, March 1–Tuesday, April 26. For more information, visit the AFFFF website.
If there's something Melbournians have in common, it's coffee (and cocktails). Merging the worlds of caffeine and booze, Patricia Coffee Brewers, Grada and Tarts Anon are teaming up for a one-night-only event featuring cocktails conceptualised by Grada's co-creator Darren Leaney (ex-Capitano/Aru, current Caretaker's Cottage). Patricia Coffee Brewers, known for its quaint hole-in-the-wall aesthetic, will transform into a bar for the night. A variety of cocktails – think Espresso Martini, Pina-Colada, Manhattan and Old Fashioned – will feature Grada's locally-produced single-farm coffee along with modern modifications. Don't worry: desserts make an appearance as well, thanks to Tarts Anon, who have crafted a Grada Hazelnut tart made of shortcrust pastry, hazelnut caramel, Grada crème diplomat, caramelised choux pastry, and hazelnut and Grada financier cake. Spotlighting more coffee offerings, Stella, Grada's sister company, will also make a small menu of espresso and filter coffees available at the event. This day-to-night transformation event, dubbed 'Stella By Day, Grada By Night,' promises an immersive coffee experience. Stella By Day, Grada By Night will take place at Patricia Coffee Brewers on Thursday, April 11 from 5–9pm. Tickets are priced at $25, which will get you a cocktail of your choice and a slice of tart.
Conformity rarely bodes well in cinema. Whenever everyone's dressing the same, little boxes litter the landscape or identical white-picket fences stretch as far as the eye can see, that perception of perfection tends to possess a dark underbelly. The Stepford Wives demonstrated that. Pleasantville, Blue Velvet and Vivarium all did as well. Yes, there's a touch of conformity in movies about the evils of and heralded by conformity; of course there is. That remains true when Florence Pugh (Black Widow) and Harry Styles (Eternals) navigate an ostensibly idyllic vision of retro suburbia in a desert-encased enclave — one that was always going to unravel when the movie they're in is called Don't Worry Darling. Don't go thinking that this handsome and intriguing film doesn't know all of this, though. Don't go thinking that it's worried about the similarities with other flicks, including after its secrets are spilled, either. It'd be revealing too much to mention a couple of other movies that Don't Worry Darling blatantly recalls, so here's a spoiler-free version: this is a fascinating female-focused take on a pair of highlights from two decades-plus back that are still loved, watched and discussed now. That's never all that Olivia Wilde's second feature as a filmmaker after 2019's Booksmart is, but it feels fitting that when it conforms in a new direction, it finds a way to make that space its own. That's actually what Pugh's Alice thinks she wants when Don't Worry Darling begins. The film's idealised 1950s-style setting comes with old-fashioned gender roles firmly in place, cocktails in hand as soon Styles' Jack walks in the door come quittin' time and elaborate multi-course dinners cooked up each night, with its protagonist going along with it all. But she's also far from keen on having a baby, the done thing in the company town that is Victory. It'd curtail the noisy sex that gets the neighbours talking, for starters. Immaculately clothed and coiffed women happily playing dutiful housewives in a cosy sitcom-esque dream of America generations ago: that's Wilde and screenwriter Katie Silberman's (also Booksmart) entry point; however, they waste zero time in showing how rebelling in her own child-free way isn't enough to quell Alice's nagging and growing doubts about utopia. There's much to get her querying, such as the earth-shaking sounds that rumble when Victory's men are at work, doing top-secret business on "progressive materials" out in the sandy expanse. There's the reflections in the mirror that briefly take on a life of their own, too — starting in a ballet class that's about retaining control, coveting symmetry and never upsetting the status quo far more than dancing. And, there's the pushed-aside Margaret (KiKi Layne, The Old Guard) after she disrupts a company barbecue. All the rules enforced to keep Victory's women in their places, and the cult-like wisdom that town and company founder Frank (Chris Pine, All the Old Knives) constantly spouts, are also inescapable. So is the force with which asking questions or daring to be different is publicly nixed, as Alice quickly discovers. And, it's impossible to avoid how the men band together when anything or anyone causes a bump, even their own other halves. Swiftly, Alice's days scrubbing and vacuuming her Palm Springs-inspired bungalow, then sipping cocktails poolside or while window shopping with fellow Victory spouses like Bunny (Wilde, Ghostbusters: Afterlife) and Peg (Kate Berlant, A League of Their Own), fall under a shadow — not literally in such sunnily postcard-perfect surroundings, but with shade still lingering over every part of her routine. Speaking up just gets dismissed, and Frank and his underlings (including a doctor played by Timothy Simmons, aka Veep's Jonah Ryan, who is instantly unnerving thanks to that stroke of casting) have too-precise answers to her concerns. As set to a jaggedly breathy score by John Powell (Locked Down), hell is all those drinks, chats and parties teeming with plastered-on smiles and oh-so-fake conversations. It's also the idea that deviating from the norm is an act of betrayal. Hell is the glitching existence that Alice finds herself in, in other words, as her suspicions won't subside and the urge to investigate and challenge keeps swelling. When it comes to showing the cracks fracturing Victory's gleaming facade, Don't Worry Darling moves fast — plenty of other movies have spent more time in the illusion of domestic bliss before shattering it, and Wilde smartly knows that her audience don't need to luxuriate in all that glitters to care about why nothing truly does glisten. Her audience can't miss the mirage anyway, thanks to the stunning production design and costuming, as brightly lensed by cinematographer Matthew Libatique (The Prom). Given how pristine that Alice's life literally looks, it's easy to see the flaws just as she does. It's easy to buy how speedily Alice's status quo starts to unfurl from there when the performance that accompanies it is so phenomenal. Pugh just keeps going from strength to strength since first earning attention in 2016's Lady Macbeth, in just her second film role, then backing it up with everything from The Little Drummer Girl and Fighting with My Family through to Midsommar and Little Women — and her anxious and alarmed work here is on par with her best. When Don't Worry Darling doesn't quite put its pieces together (when it gets repetitive with its psychological thrills in its midsection, primarily), she's the unbreakable glue still holding the movie in place. Forget the supposed feuds, screaming matches, affairs, boycotts and flying saliva, aka the picture's long list of highly publicised off-screen dramas; Wilde knows how to cast just as well as she knows how to lay impeccably manicured and yet insidiously tense scenes. That knack for finding the right actors for the part extends to Wilde enlisting her own talents (and visibly having a whole lot of fun in the process) as the gossipy but compliant Bunny — and, yes, casting Styles as well. The pop superstar-turned-actor is meant to pale in comparison to Pugh, in a portrayal that clicks exactly as it's designed to when the twist comes. On that subject, Don't Worry Darling's big revelation is hardly difficult to predict. It also doesn't say anything new about our patriarchal society, the power that men have long wielded over women and today's toxic perspectives. Still, that doesn't make Wilde's cautionary tale any less engaging, involving and rattling. It's imperfect, but that's apt; eschewing conformity always has to be.
Float on, festival fans: come April, Australia's newest excuse to see a heap of bands in one spot will make its way along the country's east coast. That touring event: the just-announced Daydream, which joins the country's ever-growing roster of excuses to see and support live music. Daydream is hitting the Sidney Myer Music Bowl in Melbourne on Saturday, April 22 with quite the roster of indie-rock talent — headlined by Modest Mouse three decades after the Washington-born group first got together. Don't listen to the title of the band's acclaimed 2004 album, though — this is good news for people who love good news, not bad. Joining Modest Mouse on the bill are Britain's Slowdive, who initially formed in 1989, the reformed in 2017, as well as Australian favourites Tropical F*ck Storm. The lineup varies slightly per city, with Beach Fossils and Cloud Nothings also taking to the stage at all stops, plus Majak Door in Melbourne. [caption id="attachment_817946" align="alignnone" width="1920"] Somefx[/caption] Top image: Modest Mouse by Matthewvetter via Wikimedia Commons.
For four days this week discover the hidden masterpieces of artists living and working in Melbourne's inner west with Maribyrnong City Council's Open Studios in the West. Through a self-guided tour, you'll be able to wander in and out of the studios, galleries and workshops of some of Melbourne's most interesting artists, performers and designers in Footscray, Yarraville, Maidstone and Braybrook. These artists will welcome you into their studios — be it their backyard shed, a warehouse, or even their own lounge room. It's a great opportunity to experience the inspiration and working spaces of a diverse range of the city's creatives. Alongside the artistic wandering, the Maribyrnong City Council will be hosting two accompanying events: a screen-based arts instillation called Dangerous Deeds, and exhibition This Empty Chair. For the full program, visit the website.
It might have come a little late in Melbourne's outdoor drinking season, but the city's CBD just got a luxe new rooftop bar. Fleet, sitting on top of Vibe Hotel Melbourne (within the hotel's former penthouse apartments), boasts views over Flinders Street Station and the Yarra River that can be enjoyed no matter the weather, thanks to the retractable roof and smattering of indoor seating. Interior architecture firm Paul Kelly Design (BLACK Bar & Grill and Crown Casino) has designed the light-filled space, incorporating natural amber and pink hues throughout an interior full of high tables and plush stools. In contrast to these dusty tones, the wrap-around terrace is considerably brighter, with white accents. Low tables and upholstered couches line the windows, making the space ideal for long, casual hangouts in the sunshine. The drinks lineup comes courtesy of food and beverage consultant Grant Collins, who has stocked the bar with more than 70 different rums from across the globe, including a vintage and rare bottle collection dating back to the 1930s. But rum isn't all that's on show. There are 50 different gins on the docket, alongside an extensive list of other spirits. Collins has also curated a lengthy menu of nautical-themed cocktails, plus a few different spritzes, negronis and martinis. Craft beers, Victorian wines and mocktails round out the impressive bevs list. Whatever you want to drink, Fleet is likely to have it. And while you'll spend plenty of time flipping through the drinks menu, food is kept to a very manageable single page. Either keep it simple with fresh oysters and a meat and cheese board, or opt for a bigger spread. Chef Asish Kumar has crafted a Euro-centric menu with plenty of luxury French and Italian influences — think charcoal mushroom arancini, seared scallops with butter and caviar, lobster crepes and a chocolate cremieux with coffee caviar and cocoa meringue. Even though, first and foremost, this is a bar, the food is no mere afterthought. Folks can happily sip and snack a night away up at Fleet while admiring Melbourne's lit-up skyline and river. Fleet is located at Level 22 of 1 Queen Street, Melbourne (on the corner of Queen and Flinders Streets). It operates from 3pm–late Tuesday through Saturday. For more details, visit the rooftop bar's website.
Summer may technically be over, but apparently no one told the weather. The nights aren't getting any warmer though, so you may as well make the most of it. Held most Saturday nights (excluding public holiday weekends) from 4–9pm, the Batman Night Market is your go-to for delicious food, hand-crafted goods and some of the best fresh produce in town. Located right next to Batman Railway Station, the market features dozens of regular traders. Food-wise you can feast on a variety of multicultural cuisines, plus crepes, gelato and other sweet treats for dessert. If you prefer to cook at home, you can also pick up a load of fruit and veggies, meat and poultry, cheese, baked goods and more. Local makers, meanwhile, will be selling art, cosmetics and boutique fashion accessories.
When Lamaro's first announced they were swapping their gastropub schtick for something much more Spanish, South Melbourne locals weren't too happy about it. You see, the pub has been the suburb's go-to schnitzel joint for 10 years, and now there's not a piece of crumbed veal in sight. The restaurant's focus has shifted to ethical dining. The menu honours Victorian produce from Cape Schanck and Greenvale farms, which are both owned by Lamaro's parent company, Colonial Leisure Group. Upon entering the bar, a giant meat fridge filled with the farm's spoils now welcomes patrons. It's a pleasant form of compensation. The team running Lamaro's is impressive. Leading the revitalised kitchen is Louis Naepels, who previously headed the CBD's Grossi Florentino. Sworn in as floor manager is Marvin Holder, a Vue de Monde veteran who managed the restaurant for five years. Naepels has crafted a menu that sings the Spanish food language: tapas. The menu options come in forms hot, cold, sweet, spicy, sultry, crunchy and smooth. Whatever taste or texture you can think of, it's in there. Start off with some wood-fired octopus, served with broad beans, potato and squid ink ($22). The Greenvale Farm acorn-fed ham with stracciatella (shredded burrata) on country bread is a non-negotiable ($33). That schnitzel the locals were so accustomed to has been replaced by the suckling pig drizzled with pork gravy ($43). It's topped with a crackling hard to put down, regardless of how full your stomach is from overeating. Although a glance at the dessert options will make you revaluate your stomach capacity. Seal off your meal with a sweet potato ice cream sandwich drizzled with dulce de leche ($10). It's surprisingly light for something that sounds so hefty. The space has been revived by Techne Architecture, the minds behind Lee Ho Fook, Fonda and Botherambo. The interiors have been altered to create a sense of warmth, made up of tan leather seats, timber tables, and a marble fireplace that exudes an earthy vibe. Above Lamaro's communal table is a giant mural of Cape Schanck's rolling hills, giving diners a sense of the where their food has come from. At Lamaro's you can either grab a quick bite, or partake in the full tapas experience. It's one that's packed with love, community and passion for produce.
Starting out as a late-night snack stop for nightclub punters in Perth, Pretzel has just opened the doors to its first two Melbourne outposts making baked-to-order pretzels loaded with tasty toppings. The biggest and brightest of the two is in South Yarra — and you definitely won't miss this vibrant store as you make your way down Chapel Street. Pink from floor to ceiling, the colour blocked shop plays with velvet chairs, neon signs and numbered doors with a wall of retro motel-style keyrings (that, yes, you can purchase). Inside, you'll see staff swiftly rolling dough and shaping them into pretzels that are cooked to order and topped with the likes of cheese, bacon, chilli and chocolate (thankfully, not together). After making pretzels for five years, owner and founder Brittany Garbutt decided to venture out and expand the flavour horizons of this humble snack. [caption id="attachment_758354" align="alignnone" width="1920"] Julia Sansone[/caption] While the classic cinnamon is a crowd favourite, flavours like The Lot with three cheeses, pepperoni and bacon ignite the taste buds in a similar way to a cheesy pizza, but with the added layer of enjoying it on more soft, doughy pastry. Those looking for something slightly more adventurous can try the Chipotle & Cheese pretzel loaded with a jalapeños and a smoky chipotle sauce. Or, if sweet is more your thing, order the salted caramel, coconut or mint slice glazed numbers. [caption id="attachment_758364" align="alignnone" width="1920"] Julia Sansone[/caption] If you're thinking these salty, doughy numbers would go down a treat after a beer or two (or ten), you'd be right. And, thankfully, they're available late, with the shop opening till 2.30am on Friday and Saturday. While pretzels are popular food overseas, the team at Pretzel say they hope to popularise the oft-forgotten-about soft pretzel here in Australia. If you're not down south side often, Pretzel also has a newly opened store in ELLA Melbourne Central. Find Pretzel at 397 Chapel Street, South Yarra. It's open from 10am–9pm Monday, 10am–10pm Tuesday–Thursday, 10am–2.30am Friday–Saturday and 10am–10pm. Images: Julia Sansone
The festival scene has taken a knock in recent times, with Groovin' the Moo and Splendour in the Grass cancelling their events for 2025. However, Town Folk Festival is ready to rock, as it lights up Djaara, aka Castlemaine, on Saturday, November 15, with tickets on sale at 9am on Friday, May 30. Since arriving on the scene in 2022, the festival has quickly become a go-to event for the region's music scene. On the lineup, Town Folk Festival is serving up a healthy mix of local and international acts, with Sharon Van Etten & The Attachment Theory taking top billing. Returning to our shores for the first time since 2022, Van Etten will present her recently released seventh album, this time made in collaboration with her backing band, as well as plenty of her crowd-pleasing indie hits. Catch us belting out 'Seventeen' at the front. Spread across four stages, there's no shortage of other stellar acts to experience, including genre-defying singer-songwriter Meg Washington, Yolngu surf-rock powerhouse King Stingray, and cult Zambian psychedelic rockers WITCH getting crowds moving and shaking. Plus, legendary Indigenous Australian band The Pigram Brothers will head to Victoria from Broome for the first time in 15 years. Next, Dan Kelly's Regional Crisis performs dusty narrative-driven grooves, while eight-piece soul-psychedelic collective JAZZPARTY lights up the stage with soaring vocal harmonies and horns. From overseas, Jenny Don't and the Spurs are bringing rowdy honky-tonk tunes, while Sylvie serves up gentle soft rock harmonies cooked up amid a sunny Californian backdrop. Then, locals like Annie-Rose Maloney, Charm of Finches and Cool Sounds ensure your festival is filled with good vibes. For first-timers heading to Town Folk Festival, performances are held across three dynamic local venues — The Bridge Hotel, Boomtown Winery and Shedshaker Brewery. Then, the biggest shows on the schedule take place at the main stage on Castlemaine's grassy Sunken Oval. With all stages just a short stroll from each other, roaming between the sites to discover new artists and experiences is made easy. If you're making the trek up from Melbourne for the day, the festival offers an express bus service from three points — Thornbury, Richmond or Brunswick — to Castlemaine and back again. Meanwhile, you're welcome to camp overnight, with Campbells Creek Recreation Reserve offering a picturesque spot to set up the tent, or park the camper, amongst the gum trees. Of course, you've also got local motels, hotels and short-term rentals to rest your weary head. Town Folk Festival is happening Saturday, November 15, in Djaara/Castlemaine. Tickets go on sale at 9am on Friday, May 30 — head to the website for more information.
Staying up late absorbing after-dark art and culture might sound like a pastime reserved for inner city folk, but come May, that's exactly what the crowds will be doing in one of Melbourne's outer suburbs, too. Werribee is set to score a brand-new 24-hour arts festival filled with music, performances, live art and film. Simply dubbed 24, the inaugural fest is set to take over Chirnside Park from 6pm on Saturday, May 6 to 6pm on Sunday, May 7. It'll be an all-ages affair that's free to explore, with a jam-packed program of happenings to keep you entertained non-stop for 1440 minutes straight. The Riverside Stage will play host to a broad-ranging lineup of acts, including all-female Wurundjeri dance outfit Djirri Djirri, reggae singer-songwriter Nhatty Man, hip hop and spoken word artist NOMAD, and Amadou Suso & Friends Band, showing off those legendary skills on the kora (a West African stringed instrument). [caption id="attachment_895392" align="alignnone" width="1920"] 'Chromatica', by David Beach[/caption] Tarabeat and MzRizk will treat audiences to a fusion of classic and contemporary Arabic tunes, Halo Vocal Ensemble will be delivering their signature RnB-soaked sound and indie-rock three-piece Berkeley will have the crowds thrashing. The multi-sensory fun continues away from the stage, with a slew of giant installations and live art performances. You'll spy the massive tune-spinning robotic insect UKI, recognisable from appearances at White Night and Burning Man, plus pop-up dance performances by Janette Hoe and a colourful cast of roving entertainers weaving through the night. [caption id="attachment_895393" align="alignnone" width="1920"] 'UKI', by John Palmer[/caption] You can unleash your own creativity with a couple of large-scale interactive works by Slow Art Collection, wander through a luminous garden maze made entirely from recycled plastics, and see artist and designer Callum Preston (set builder for RONE's Time) transform a beat-up car into a neon masterpiece live in front of your eyes. There's a giant interactive kaleidoscope, games of glow-in-the-dark tennis and a silent disco that'll have you bopping from 11pm until 7am. You can even put your feet up, pop on some headphones and catch a flick, thanks to the 24-Hour Outdoor Cinema, which'll be screening back-to-back classics right through the festival. And of course, to keep you fuelled for all that late-night action, there'll be food trucks onsite slinging a wide array of goodies. [caption id="attachment_895397" align="alignnone" width="1920"] Callum Preston[/caption] [caption id="attachment_895388" align="alignnone" width="1920"] Slow Art Collective[/caption] [caption id="attachment_895389" align="alignnone" width="1920"] 'Imaginary Botanicals' by The Indirect Object[/caption] The inaugural 24 will run from 6pm on Saturday, May 6–6pm on Sunday, May 7, at Chirnside Park, 220 Watton Street, Werribee. Top image: Halo Vocal Ensemble
When Easter rolls around each year, one thing is always on everyone's minds: eating as much chocolate as humanly possible. Chocolate eggs, chocolate ice cream, chocolate cocktails, chocolate-filled hot cross buns — the list goes on. Thanks to SBS, Easter 2020 won't just involve eating chocolate, however. Courtesy of The Chocolate Factory: Inside Cadbury Australia, Australian audiences can also spend three hours watching chocolate Easter treats get made. It's the latest instalment in the network's 'slow TV' series — which has previously let viewers spend 17 hours watching a train journey on not one but two occasions, and tracked a lengthy cruise from Broome to Darwin, and a trip from New Zealand's north island to its south island as well. Of course, vicariously indulging your wanderlust is one thing. Teasing your sweet tooth is another entirely. Spanning three hours — and set to a new original score by Amanda Brown and Caitlin Yeo — The Chocolate Factory: Inside Cadbury Australia charts the chocolate-making process from beginning to end, starting with seeing sugarcane being harvested from north Queensland fields and milk being collected from a Tasmanian dairy farm. Naturally, the observational documentary devotes the bulk of its time to the factory itself, focusing on the creation of its best-selling easter eggs and chocolate bunnies by combining the aforementioned two ingredients with cocoa imported from Ghana. Expect melting, rolling, drying, shaping and wrapping. Expect to be mesmerised by the routine and rhythm, too. Airing twice over the Easter weekend of Saturday, April 11 and Sunday, April 12 — and then available for a year on SBS On Demand — it's basically Charlie and the Chocolate Factory, just without the Oompa-Loompas, songs or everlasting gobstoppers. That said watching chocolate come to fruition will likely have your stomach singing out with hunger, so don't forget to stock up on appropriate snacks (yes, chocolate) to accompany your viewing. Check out the trailer for The Chocolate Factory: Inside Cadbury Australia below: https://www.youtube.com/watch?v=yFSE3TW7EPc&feature=youtu.be The Chocolate Factory: Inside Cadbury Australia screens is now available to watch on SBS On Demand.
Late last year, Taco Bell quietly opened a test store in Annerley, Brisbane. And today — fittingly, International Taco Day — the US Tex-Mex chain has announced plans to open 50 new stores across Australia in the next three years. While its expansion will begin in Queensland — with stores already confirmed for Robina, Cleveland and North Lakes — the chain has confirmed that it will also be expanding interstate. Taco Bell, whose parent company is Collins Foods — which also operates 28 Aussie KFC restaurants and the 13 remaining Sizzler venues — announced today that after receiving positive feedback from its test store, it would be rolling out 50 new Taco Bell outposts over the next three years. Managing Director Taco Bell Asia Pacific Ankush Tuli suggested locals have embraced the brand. "We have had an overwhelming response to the launch of Taco Bell in Brisbane," Tuli explained. This is, however, Taco Bell's third attempted foray into the Australian market. The chain tried to launch here in 1981 (and was then taken to court by Sydney store Taco Bell's Casa) and again in 1997 — but both attempts were unsuccessful and the brand withdrew. It was speculated earlier this year that as part of the brand's expansion, Collins Foods would be rebranding its Sizzler restaurants as Taco Bells; however, this has not yet been confirmed. You can currently find Taco Bell at 594 Ipswich Road, Annerley, with the Robina store slated to open this year.
Looking for an excuse to get out of the city this weekend? The Great Australian Beer Festival might be it. The fest is returning to the Geelong Racecourse for its seventh year this Saturday, February 16 with over 200 Australian beers and ciders in tow. Craft producers from across the country will set up stalls, including the Gold Coast's Balter Brewing Company — which just won top spot on the GABS Hottest 100 list — Melbourne's Stomping Ground and Two Birds, Sydney's Young Henrys and Adelaide's Pirate Life and Prancing Pony. This year, in addition to tasting tokens, the festival is also offering middies and craft tinnies for purchase. The beer cocktail stall will return as well, and table reservations are up for grabs, too. Apart from the brews, there'll be over 20 live acts performing across three stages — one of which is a dedicated piano bar. Headliners include Great Gable, The Settlement, Mick Thomas and the Roving Commission, The Grand Wazoo and Skyscraper Stan. Otherwise, there's a keg rolling competition, themed races, a beer cabaret and carnival DJs to boot. And, for eats, expect a range of food trucks, with a focus on barbecued, slow-cooked meats. General admission tickets are $39 in advance, or $45 on the day. Tasting tokens can be purchased at the venue or a ten-pack can be purchased with your ticket. The whole thing kicks off at 1pm, and a shuttle will run to the event from South Geelong Station, so no one in your crew has to be designated driver.
The Heide Museum of Modern Art is one of Melbourne's most significant cultural institutions — with a history that dates back to 1934 and an exhibition program that often plays host to some of the biggest names in Australian art. Boasting 15 stunning acres in Bulleen, it's a prime spot for laidback weekend adventures. We suggest you spend a blissful Saturday out here, browsing the architecturally stunning galleries, exploring the mid-century Heide house, and cruising through the sculpture park while moseying among the lush green grounds. When lunchtime rolls around, be sure to hit Shannon Bennet's on-site Café Heide for some top-notch coffee and seasonal fare courtesy of the nearby kitchen garden.
Do you find yourself wondering what this existence is all about? How we came to be? What it means to live a short life in an expansive universe? Well, wonder no more, you curious beings. Professor Brian Cox is bringing his dazzlingly brilliant mind and science expertise Down Under with Horizons: A Space Odyssey, the live stage show that explores those very questions. ICYMI, Cox is a world-record holding (highest ticket sales for a science show) physicist, TV host and best-selling author. And this spring, the talent is fusing his planetary passions with showstopping production values for an entertaining, educational and thought-provoking journey through the cosmos. On Saturday, October 15, Cox will hit the stage at the Melbourne Convention and Exhibition Centre. Staggering visuals travelling through faraway galaxies, supermassive black holes and alien worlds will backdrop an inquisitive celebration of human life, philosophy and art. Expect deep questions, expert knowledge and Cox's optimistic eye examining the existentialism in all of us. To nab your tickets to the intergalactic stage show in Melbourne, head to the website.
Trumpy is a surprise. And everyone loves surprises. In fact, the only indication there's a bar behind the heavy wooden doors on High Street is the unmistakable beacon that is the brightly lit Cooper's sign hanging overhead. Judging by the inconspicuous entrance of this large brick warehouse you'd expect a loud, cavernous space to lie beyond, but instead you'll find an inviting bar with a warm interior and sophisticated neighbourhood vibe. This is a bar that will serve you equally well whether you're having dinner with a friend, cocktails with a group, or a first date wine. It's cosy, warm and intimate (hence the date suitability), despite the warehouse factor with lofty ceilings and exposed beams. I was, however, left wondering how they might water the plants, sitting by the dozen up in the pitch of the roof. Trumpy is a purveyor of beer, wine, cocktails and tapas — with the odd live gig or DJ set thrown in for good measure. The food is modest in selection, but confident in execution. Pea, zucchini and mint arancini with orange yoghurt ($12), 'fancy' fish fingers with hand cut chips ($19) and prawns with spring bean salad ($16) are great for sharing, and the perfect complement to the drinks list — one that features cocktail jugs, no less. The Pimms Cup ($35) has summer written all over it, whereas the Fish House Punch ($40) should come with a warning instead. If it's not that kind of occasion, perhaps a specialty brew such as The Hills Cider Company cloudy apple cider would be more appropriate. While this area has been bombarded with great bars recently, Trumpy seem to have hit the coveted sweet spot: always busy, consistently enjoyable, and perfectly located for residents of the north to make it their new go-to meeting spot. Images: Julia Sansone
Looking to be a little more mindful this year? Perhaps a get a bit more spiritual? Make tracks to Bendigo's impressive Buddhist structure, The Great Stupa of Universal Compassion (which also happens to the largest stupa in the southern hemisphere) in May. The annual appreciation for Buddha and his life, known as Illumin8, will take place across Friday, May 17 and Saturday, May 18. If Buddha is your jam and light installations and fireworks are your peanut butter, then roll on up. Illumin8 2019 will incorporate light sculptures in The Great Stupa's Peace Park, roaming performances and vegetarian and vegan food and market stalls. Be sure to visit the giant Jade Buddha while you're there, too (it's his day after all). The centrepiece of the whole shebang is a light projection show each night telling the story of Buddha's life, topped off by fireworks. Open your mind and let the light in (just don't get too close to the fireworks). Illumin8 2019 will run from 4–8pm on Friday, May 17 and 10am–8pm on Saturday, May 18. To purchase tickets, head to The Great Stupa's website.
With her obliteration and infinity rooms drawing huge crowds around the globe, a range of merchandise brandishing her dot-filled designs on scarves and umbrellas, and even her own busy museum in Tokyo, Yayoi Kusama is one of the most popular artists alive today. That makes a documentary about the art star feel almost inevitable; however for filmmaker Heather Lenz, Kusama: Infinity was nearly two decades in the making. Drawn to Kusama's work as an art student in the 90s, Lenz decided to make a movie about the Japanese artist long before her pumpkins filled Instagram feeds. It wasn't an easy process. As a female filmmaker trying to direct a documentary about a female artist — and, more than that, about a female Asian artist — the path from concept to finished film was filled with knockbacks and setbacks. And that's before even getting Kusama involved. In several ways, the difficulties that Lenz experienced prove apt for a doco about Kusama, who found the world far from welcoming when she started to pursue her dreams. Lenz's struggles are also indicative of a filmmaker who was simply ahead of the times. When Kusama's star began to rise, the writer/director/producer/editor's path became smoother. With Kusama: Infinity now screening in Australian cinemas, we chatted to Lenz about her colourful and informative movie. The first-time feature filmmaker actually initially planned to make a biopic about Kusama — and that's just one of our topics of discussion, alongside the long and complicated process of bringing the documentary to fruition, the allure of Kusama's work and the joys of meeting the artist. BECOMING INTERESTED IN KUSAMA'S WORK BEFORE HER CURRENT FAME "It began in the early 90s — that's when I first saw an image of her work. I was earning degrees in art history and fine art, and for probably every thousand or so male artists we learned about, we learned about perhaps five women artists. And Kusama was definitely not among them at that time. Around 1990, there was an exhibition at the Centre for International Contemporary Art, and that helped start the process of putting Kusama back on the map in America. I saw an image of her work in that catalogue, which at the time was the only catalogue on her art — and I really felt from that exposure that her contribution to the American art world hadn't been properly understood or recognised. I was just really interested in her, and later I decided to go back to school and get a film degree. While I was a student, I started working on a biopic script about her. Then, over time, I decided to put that on hold and work on a documentary — in part because Kusama was still alive and able to tell her story her own words." THE PARALLELS BETWEEN THE FILM'S DIFFICULT PATH AND KUSAMA'S OWN CAREER "In the beginning, it was her artwork and the fact that she had been neglected that attracted me to her. But over time, I began to tune in more and more into her tenacity and everything that she had to overcome in order to finally achieve success — because it was, of course, mirroring the issues that we were facing. When I started the film, I was rather naive about the obstacles and challenges women directors faced. I just thought, 'oh, if you work hard, you can achieve whatever you set your mind to'. But when I started pitching the film to people, I was constantly told that it was a terrible idea, that no one would be interested. And it was men telling me that. I just felt like, well, we don't have the same taste. But there was a point where I had the opportunity to pitch the film to a woman who actually worked for Madonna back when she had a production company. And I thought, 'oh wow, she's really going to love this'. Instead, she questioned the fact that I wanted to make a film about a foreign female, so it never advanced to Madonna to review. At the time, I really wasn't thinking of Kusama as a woman or as Asian. I just thought here's someone who's lived this super compelling, interesting life, who's a brilliant artist, so she would be a great subject for a film. But that's when I started to get the idea that there were pre-conceived ideas about what's going to sell and what isn't. And even within the last few years, I had someone tell me 'you can't put her on the poster because she's Asian and no one will want to see the movie'." DOING MORE THAN JUST CONNECTING THE DOTS "I wanted to shine a light on her and her accomplishments — I wanted her to get more attention. These days, people know about her from social media, so they've seen images of her art, but they really don't know her backstory. I wanted to show the world in which she was raised, which was Matsumoto City. She was growing up in the 30s, and her dreams and ambitions to be an artist at this time, they were just completely out of step with the expectations for her. The idea her family had for her was that she was get married — not only get married, but have an arranged marriage — and become a mother. And to just to have a much more conventional life. She was just really really out of step with that. I think she thought that when she got to America [in the 50s] that the doors would be much more open and things would be much easier, but of course she still had many, many obstacles to overcome. I wanted to show everything she was up against, and to correct her place in history. That remains very very important to me. Recently I screened the film at a college and I had an art history professor, who was a man, tell me that the film was going to change the way he taught this section of art history in the 60s. That was very exciting. Those kinds of things are really meaningful." THE ALLURE OF KUSAMA'S ART "She's made a broad range of work. The work that seems to be featured these days is a lot of the infinity rooms and a lot of the more colourful pieces she's made in recent years. I think people see it as a very optimistic and cheerful work, which is very interesting given the issues she's had with depression and everything. It's almost like she's managed to take her own trauma and transform it into art that functions in a way like an antidepressant for society." WORKING WITH KUSAMA "Kusama actually has a history of cancelling on people, because maybe she's not feeling well or she's just not in the mood or whatever it is. So it was very risky to go all the way to another country, hire a crew and just take on all this expense and just not even know if she would show up. But fortunately she did show up and we really clicked. At the end I told her it was the happiest day of my life, and she said 'mine too'. Then a few months later I was able to go back, and that time I was able to spend a whole month in Japan. I had this very rare opportunity to go through her archives, which were just extraordinary. There were so many amazing photos. There were letters and receipts and calendars — there was just a treasure trove of archival materials for me to explore. It was really amazing." https://www.youtube.com/watch?v=RRqxWNn3iQU Kusama: Infinity is now screening in Australian cinemas. Read our review.
Let's go party, indeed: Barbie is here, filling Australian cinemas with pink-hued cheer, and slaying both the patriarchy and the Australian box office. Greta Gerwig's Margot Robbie-starring take on the famous doll packed picture palaces not just with every shade of not-quite-red it could, but with people, breaking a Malibu DreamHouse worth records in the process. If you noticed plenty of fellow filmgoers watching this trip to Barbie Land, then Los Angeles, then back with you last weekend, that was the experience mirrored around the country. In fact, Barbie notched up the biggest opening at the Australian box office for 2023 so far, raking in $21.5 million including preview screenings. The stats keep coming, but the best is truly historic: Barbie enjoyed the biggest opening weekend for a film directed by a female filmmaker. It earned that same huge opening weekend title for films with any of Robbie, Gerwig and Ryan Gosling (The Gray Man) involved. Now that's some Kenergy. Also, Barbie helped smash even more records as part of the double feature of 2023: Barbenheimer. Thanks to both Barbie and Christopher Nolan's vastly dissimilar atomic-bomb thriller Oppenheimer, the Aussie box office saw its biggest-ever Saturday and Sunday takings. On Saturday, July 22, $11.1 million spent bested the $10.3 million recorded in April 2019 when Avengers: Endgame released. On Sunday, July 23, the $10.5 million gross topped the $9.96 million taken in December 2105 — on the Boxing Day public holiday on December 27, in fact — as fuelled by Star Wars: Episode VII — The Force Awakens, plus Boxing Day releases. Specific cinemas also broke past records. At Sydney's Hayden Orpheum Picture Palace, the independent theatre scored its highest-grossing weekend in its 88-year history. Oppenheimer in 70mm notched up the cinema's highest-grossing opening ever, while Barbie now sits second in that same category. At Melbourne's Cinema Nova, the also-independent cinema looks set to earn its biggest box-office week of all time. If it does, it'll break the record set in January 2020, when Gerwig's Little Women was playing alongside films like Jojo Rabbit and Parasite. Barbie also took the opening-week record from Wes Anderson's The Grand Budapest Hotel, and might become the first film by a female filmmaker to hit the venue's top ten of all time list. As for Oppenheimer, it's in the top ten biggest opening weekends. It shouldn't be lost on anyone that Barbie and Oppenheimer's successes mean that two movies that aren't part of long-running franchises have audiences flocking in. Neither film comes in as the fifth or 11th or 17th or 31st entries in a long-running saga, and don't we all know and love it. Here's the big takeaway: more of that please, especially given that oh-so-much of what reaches the silver screen is a sequel, prequel or chapter in a sprawling universe these days. Check out the trailers for Barbie and Oppenheimer below: Barbie is showing in Australian cinemas now. Read our review. Oppenheimer is also showing in Australian cinemas now. Read our review, too.
When I was bartending, a lovely lady gave me her number over the bar. My manager, having seen the smooth exchange, turned to me a said, "I didn't think people met like that anymore!" It gets to feeling like that in Melbourne's dating scene, with so many first contacts with a potential flame coming through the simple swipe of a finger. Keely Sonntag, the brains behind The Datevine, is looking to chuck that notion away — or at least provide an alternative. Instead of checking out a bunch of pictures and making a snap judgment, The Datevine is all about getting together in a fun environment and just simply seeing what happens. You know, social interaction. There's no pressure, no expectation, just some single people maybe or maybe not hanging out together. After a string of sold-out events in Sydney, The Datevine is hosting their first Melbourne party on Thursday, June 8, booking out Brunswick Street's Rice Queen for the night. $59 gets you dinner in the form of a set menu, plus the opportunity to chill out with similarly minded people. So put the phone down, get out there and meet some people. The next event will take place at Rupert on Rupert on Thursday, June 22.
Consider yourself reminded – Valentine's Day is just around the corner. But don't fear if you've forgotten to organise a fancy table for you and your SO, bestie or group of pals – with A Table to End Hunger you can secure that last minute booking, while also supporting an important cause. A Table to End Hunger has already made reservations at 140 of Australia's best restaurants, which come inclusive with a dinner and drinks package to ensure your night goes off without a hitch. All you have to do is place the winning bid on any one of the many high-flying restaurants, and you'll get the spot. Plus, your winning bid will also help end world hunger by 2030, as 100% of the proceeds go straight to The Hunger Project. And going one step further, if the winning bid is paid with an eligible American Express Card, Amex will donate an additional 15% of the bid value. No matter what part of the country you live in, there are loads of participating restaurants in your state. Feel like some Spanish tapas overlooking Melbourne CBD? Place a bid on Bomba. Or, if stylish Italian is more your game, stake your claim on Double Bay's Matteo. If you're in Brisbane, snag a table at newcomer Little Big House. There's pretty much every type of atmosphere, cuisine and location you could need, so head over to the A Table to End Hunger auction page and spread the love this Valentine's Day. Online bidding is happening right now and will close on Sunday February 11, 2018 at 9pm AEDT. Terms and conditions apply. Image: Nikki To.
Filling the void left behind by the closure of Torino Aperitivo — a charming, Italian-inspired aperitivo bar tucked down Driver Lane — the venue has relaunched with a fresh identity. Reimagined as Baby Driver, this soulful laneway nook is now spinning 70s jazz, deep funk and rare groove vinyl deep into the night. Launched by Liquid Living, the award-winning team behind much-loved venues, Beneath Driver Lane and the now-closed Rum Diary Bar, this fresh spot is defined by old-school sounds, international wines and low-intervention cocktails. And with a 100-person capacity, it strikes the ideal balance between intimacy and energy. "2024 was the toughest year I've seen in hospitality," says founder Hamish Goonetilleke. "Venues were closing, and everyone was feeling the pressure. But it was also a time to get creative. That's where Baby Driver came from — a desire to innovate, to bring music and good times back to the centre." Set upstairs from Beneath Driver Lane, expect Baby Driver to serve as the original's funkier sibling. Replacing the whisky and blues with wine-soaked grooves, the party kicks off at golden hour and runs until the early morning. For those getting down, there's also a fresh spin on food, with a series of rotating kitchen takeovers offering bold culinary collabs throughout the year. Taking charge of the first takeover is Lady T — Cremorne's favourite Latin street-food spot. Bringing fiery flavours from Colombia, Brazil and Peru to the CBD, you can score a bite from Thursday–Saturday. "This has been in the works for a while," says Goonetilleke. "Lady T's food matches our vibe perfectly — vibrant, loud, and totally unique. She's the first of many collaborators who'll keep our food offering as fresh and dynamic as the music." Yet there are even more highlights to consider. Held daily from 4pm–6pm, Golden Hour features specials like $8 tap beer and wine alongside $15 negronis and espresso martinis. For those keen to go all out, check out the Dinner & A Show set menu for $75 per person, featuring the chef's selection at Baby Driver and reserved seating for a live blues performance downstairs at Beneath Driver Lane. Baby Driver is open Wednesday–Thursday from 4pm–12am and Friday–Saturday from 4pm–1am at 2 Driver Lane, Melbourne. Head to the website for more information.
Mile End Bagels in Fitzroy takes its name from a neighbourhood in Montreal, whose bagel obsession gives New York's a run for its money. Boiled in water and honey, and baked in a woodfired oven, these rings of dough are seriously legit. Mile End is owned by Ben Vaughn and Michael Fee, the latter of whom worked for the former at the much-loved Carte Crepes at Melbourne University. Trading up from a crepe stand to a full-blown bagel bakery and café, the team now has three locations — in Fitzroy, Brunswick and Richmond. The bagels come in three varieties: sesame, poppy and "everything". Spreads include peanut butter and jam, a classic cream cheese option, and vegemite (because Australia). The fillings are numerous, including cream cheese with pickled jalapeños, avocado with chive cream cheese, tomato, pink salt and chilli oil and free-range ham, tasty cheese, egg salad, pickles with dijon and mayo. No Melbourne bagel joint is complete, however, without a smoke salmon option, and the one here doesn't disappoint with dill and caper cream, tomato and onion. If you're after something simple, order a New York classic crunchy peanut butter and raspberry jam bagel for breakfast. In the beverage department. The Mile End Bagles team serves Seven Seeds Coffee, Mork Hot Chocolate and Chai Boy artisan tea. With a wood fired oven and a sweeter take on bagels, Mile End is unlike anything else on offer in Melbourne. Images: Jo Rittey. Appears in: Where to Find the Best Bagels in Melbourne for 2023 Where to Find the Best Breakfast in Melbourne for 2023
They say great things take time and, as you can imagine, the State Library Victoria's huge $88.1 million makeover counts as one of those things. Dubbed Vision 2020, the redevelopment project has been almost five years in the making — and you can get your first proper look from today, Thursday, December 5, as the site opens to the public to show off its full suite of changes. Along with its brand-new look, Australia's oldest public library now boasts an extra 40 percent more public space, as well as a 70 percent boost in seating. Which means it'll be a whole lot easier to nab yourself a table and hit the books. And of course, without its scaffolding that has seemingly been up forever, that grand facade is now looking a much better backdrop for hangs on the iconic front lawn. [caption id="attachment_753888" align="alignnone" width="1920"] Swanston St Foyer by Patrick Rodriguez[/caption] The 163-year-old building now comes armed with a suite of new features and services, with the crowning glory a striking new Swanston Street entrance, sporting a modern foyer and plenty of digital upgrades. The library's many spaces have been refurbished and reimagined for public use. The original heritage reading room has been transformed into The Ian Potter Queen's Hall, to be used as a library space by day and an events space by night. Hansen Hall will be a multi-functional space for meetings and projects, and, courtesy of the John and Myriam Wylie Foundation, October saw the launch of a new exhibition space known as the Victoria Gallery. The building has also been divided into newly named quarters. If you're a small business owner, you'll want to make use of StartSpace in the Ideas Quarter, a new service featuring co-working spaces, business-oriented meet-up events and free support for start-ups, born with the support of the Christine Christian Foundation. Meanwhile, the new Conversation Quarter is somewhere you might also find yourself, attending lectures, conferences and workshops. [caption id="attachment_753890" align="alignnone" width="1920"] Conversation Quarter by Patrick Rodriguez[/caption] The other two quarters are aimed at budding young minds — a program of talks and events will take place in the schools-focused Create Quarter, while the Pauline Gandel Children's Quarter is specifically for families and children. Australasian design firm Architectus, along with Scandinavia's Schmidt Hammer Lassen Architects, have headed up the multi-million dollar build. The massive project has been funded with a mix of donations, public contributions and support from the Victorian Government. The State Library Victoria will reopen to the public today — Thursday, December 5 — at 328 Swanston Street, Melbourne. It's open from 10am–9pm Monday to Thursday, and 10am–6pm Friday to Sunday. Images: Patrick Rodriguez.
If everyone looked at strangers in the same way as French New Wave icon Agnes Varda (Cléo from 5 to 7, Vagabond), the world would be a much kinder place. Indeed, when Faces Places begins with the Belgian-born filmmaker and oldest ever Academy Award nominee hitting the road with street artist JR, the octagenarian can't hide her excitement. "I'm always game to go towards villages," she explains, "toward simple landscapes, toward faces." It's with honesty and humour that she expands upon why: "In fact, JR is fulfilling my greatest desire. To meet new faces and photograph them, so they don't fall down the holes of my memory." So commences Varda's 22nd film, one of this year's best documentary Oscar contenders. Co-directed by JR, the movie centres on the pair's jovial jaunts through the French countryside. Zipping about in JR's custom-made vehicle — a van with an in-built large-scale photo printer — Varda and her younger companion do just what the doco's title promises: they take photos of different faces in different places. The photographs are her obsession; for him, it's just the start. Thanks to his distinctive car's printing abilities, it's not long before JR is standing in a cherry picker, zooming up the exterior of rustic, historic, often crumbling buildings and pasting the giant photos on their facades. As pieces of large-scale art, the results of their efforts are never less than striking, each installation towering down in all of its detailed glory. Moreover, their odd couple collaboration makes for a heartwarming project, requiring and encouraging openness, curiosity and warmth. Wide smiles beam from lofty heights, sparking wide smiles from those below — regardless whose portrait is on the wall, or if it's a goat instead. A sense of community also springs up around the photographs, cultivated not only by something as simple as paper stuck on buildings, but by the willingness to pay a stranger some attention. "I like your laughing eyes," Varda tells one woman, whose likeness will soon adorn a stack of dockside shipping containers. "We wanted to pay homage to you," she tells another, who refuses to move out of her slated-for-demolition home in an old mining town. With her friendly, empathetic chatter and her distinguishing mop of grey and red hair, Varda looms as large over the project as the images she makes with JR. As the duo roam through small yet lively villages, Varda makes new memories while reminiscing about older ones — about love, work, times passed, friends lost and past moments immortalised in earlier photos. She's looking forwards and backwards in tandem, observing, sifting and making sense of her lengthy life in the process. Of course, all photos, films, paintings and the like are informed as much by the artist's aims as their experiences. Faces Places doesn't pretend to coin this idea, but rather explores it in a thoughtful and affectionate manner. In her travels, in the people she meets and in her blossoming friendship with a man six decades her junior, Varda interrogates how she chooses to capture her existence as it's inching towards an end. Well known for making personal documentaries across her career, hers is a sometimes melancholy but always enchanting journey, accepting the changes that time brings and acknowledging the fact that nothing is permanent. Served up with charm and heart, that's a perspective we could all benefit from embracing. https://www.youtube.com/watch?v=KKbjnLpxv70
Fans of Donald Glover, excellent television or both, rejoice: after a four-year gap between its second and third seasons, Atlanta is a mere month away from returning to our screens. The show's creator, co-writer, sometime-director, star and all-round driving force has been more than a little busy since we last saw him play Earnest 'Earn' Marks — cancelling and rescheduling Australian tours, playing Coachella, voicing Simba in the photorealistic remake of The Lion King, dropping albums and making Guava Island with Rihanna, and that was all before the pandemic — but now the wait for new episodes of his exceptional TV series is almost at an end. Get ready to be all about that Paper Boi again — and all about Glover as Earn, obviously. If you're new to Atlanta, it follows Princeton dropout Earn after he returns home to the titular city, then starts managing his cousin Alfred's (Brian Tyree Henry, Godzilla vs Kong) rap career. The 30-something also has an on-again-off-again relationship with Van (Zazie Beetz, The Harder The Fall), with the pair sharing a daughter, which throws up complications on a regular basis After a phenomenal second season which ranked among the best things on TV back in 2018 (as the show's first season did in 2016, too), Atlanta's third season looks set to follow Earn and Alfred/Paper Boy on tour in Europe — based on its teaser trailer. And yes, that means it's still tackling the ins and outs of its characters lives, including the daily reality of being Black in America today, while examining race, money, relationships, parenthood, art, music and trying to get by on the road on the other side of the world. Lakeith Stanfield (Judas and the Black Messiah) also returns as Darius, Alfred's righthand man, with Atlanta also boasting one of the best casts on television. [caption id="attachment_843677" align="alignnone" width="1920"] Matthias Clamer/FX[/caption] After season two gave us the marvel that was the Teddy Perkins episode, it's basically impossible to guess what Glover has in store for his on-screen alter ego and his pals, and for viewers, this time around — but, when Atlanta's third season starts streaming in Australia via SBS On Demand on Friday, March 25, it'll be a definite must-see. That said, the good news keeps coming with the bad theses days, with Atlanta set to follow in Stranger Things' footsteps. We're not talking any storyline similarities, which truly would be wild. Instead, it's been announced that Atlanta also only has one more season left after its upcoming batch of episodes, so it'll end with season four — which is set to also air in 2022, arriving sometime during spring Down Under. Check out the trailer for Atlanta's third season below: Atlanta season three will start streaming via SBS On Demand from Friday, March 25.
This quirky, bright blue store has been on Brunswick Street for over 20 years now. Founded in 1993 by furniture makers Jeremy Wilkins and Stephen Kent, Wilkins and Kent was conceived as a workshop for custom-made bookcases, cupboards and chests. Now it's a fully-fledged boutique of not only furniture, but homewares of all kinds. While you can still find yourself a specialty-made desk or tallboy, you can also pick up terrariums, alarm clocks, kitchen goods, and bedspreads — anything that makes your home just that little bit brighter. You can also find Wilkins and Kent in the city at 372 Lt Bourke Street, Melbourne.
If you're a Melbourne movie lover who's been hanging out for a night — or several — staring at the big screen, you've had to take your trips to the flicks in stages. First, when the city's lockdown ended, outdoor cinemas were permitted to reopen. Now, with the next set of eased restrictions kicking in at 6pm on Friday, October 29, indoor picture palaces can get their projectors whirring again as well. Under stay-at-home restrictions, no one is ever short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over by now, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent more time than usual over the past 18 months glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of films are hitting indoor cinemas so that you can do just that — and we've picked ten must-see flicks that've only reached big screens from Friday, October 29 that you can now head to. LAMB Just over a decade ago, Noomi Rapace was The Girl with the Dragon Tattoo — The Girl Who Played with Fire and The Girl Who Kicked the Hornet's Nest, too. After starring in the first film adaptations of Steig Larsson's best-selling Millennium books, the Swedish actor then brought her penchant for simmering ferocity to Alien prequel Prometheus, and to movies as varied as erotic thriller Passion, crime drama The Drop and Australian-shot thriller Angel of Mine. But Lamb might be her best role yet, and best performance. A picture that puts her silent film era-esque features to stunning use, it stares into the soul of a woman not just yearning for her own modest slice of happiness, but willing to do whatever it takes to get it. It also places Rapace opposite a flock of sheep, and has her cradle a baby that straddles both species; however, this Icelandic blend of folk-horror thrills, relationship dramas and even deadpan comedy is as human as it is ovine. At first, Lamb is all animal. Something rumbles in the movie's misty, mountainside farm setting, spooking the horses. In the sheep barn, where cinematographer Eli Arenson (Hospitality) swaps arresting landscape for a ewe's-eye view, the mood is tense and restless as well. Making his feature debut, filmmaker Valdimar Jóhannsson doesn't overplay his hand early. As entrancing as the movie's visuals prove in all their disquieting stillness, he keeps the film cautious about what's scaring the livestock. But Lamb's expert sound design offers a masterclass in evoking unease from its very first noise, and makes it plain that all that eeriness, anxiety and dripping distress has an unnerving — and tangible — source. The farm belongs to Rapace's Maria and her partner Ingvar (Hilmir Snær Guðnason, A White, White Day), who've thrown themselves into its routines after losing a child. They're a couple that let their taciturn faces do the talking, including with each other, but neither hides their delight when one ewe gives birth to a hybrid they name Ada. Doting and beaming, they take the sheep-child into their home as their own. Its woolly mother stands staring and baa-ing outside their kitchen window, but they're both content in and fiercely protective of their newfound domestic happiness. When Ingvar's ex-pop star brother Pétur (Björn Hlynur Haraldsson, Eurovision Song Contest: The Story of Fire Saga) arrives unexpectedly, they don't even dream of hiding their new family idyll — even as he's initially shocked and hardly approving. Enticing, surreal and starkly unsettling all at once, Lamb also benefits from exceptional animal performances — it won the Cannes Film Festival's Grand Jury Prize for Palm Dog, the prestigious event's awards for best canine acting — and its own savvy. It nabbed Un Certain Regard Prize of Originality at Cannes as well, but the movie's shrewdness isn't limited to its standout concept. Each patient shot that roves over the hillside, peeks through the fog, and soaks in the strain and pressure is just as astute. Each rustle, huff and jangle in the film's soundscape proves the same. Every aesthetic decision paints Lamb in unease and uncertainty, in fact, and lets its lingering gaze towards the steely Rapace, affecting Guðnason and their four-legged co-stars unleash an intense and absurdist pastoral symphony of dread and hope, bleakness and sweetness, and terror and love. Read our full review. RIDERS OF JUSTICE Few things will ever be better than seeing Mads Mikkelsen get day drunk and dance around while swigging champagne in an Oscar-winning movie, which is one fantastic film experience that 2021 has already delivered. But the always-watchable actor is equally magnetic and exceptional in Riders of Justice, a revenge-driven comedy that's all about tackling your problems in a different and far less boozy fashion. In both features, he plays the type of man unlikely to express his feelings. Instead of Another Round's mild-mannered teacher who's so comfortably settled into his adult life that his family barely acknowledges he's there, here he's a dedicated solider who's more often away than home. Beneath his close-cropped hair and steely, bristly beard, he's stern, sullen and stoic, not to mention hot-tempered when he does betray what's bubbling inside, and he outwardly expects the same of everyone around him. Mikkelson excels at transformational performances, however. He's also an exquisite anchor in films that dare to take risks. No matter what part he's playing, the Danish star is gifted at conveying subtlety, too, which is ideal for a character, Markus, who slowly realises that he needs to be more open with his emotions. And, while Mikkelson is usually expertly cast in most entries on his resume — the misfire that is Chaos Walking being one rare outlier — he's especially in his element in this genre-defying, trope-unpacking, constantly complex and unpredictable film. With a name that sounds like one of the many by-the-numbers action flicks Liam Neeson has starred in since Taken, Riders of Justice initially appears as if it'll take its no-nonsense central figure to an obvious place, and yet this ambitious, astute and entertaining movie both does and doesn't. After a train explosion taints his life with tragedy and leaves him the sole parent to traumatised teenager Mathilde (Andrea Heick Gadeberg, Pagten), Markus returns home from Afghanistan. Talking is her method of coping, or would be if he'd let her; he refuses counselling for them both, and opts not to discuss the incident in general, because clamming up has always been his PTSD-afflicted modus operandi. Then Riders of Justice's writer/director Anders Thomas Jensen (Men & Chicken) and screenwriter Nikolaj Arcel (A Royal Affair) send statistician Otto (Nikolaj Lie Kaas, The Keeper of Lost Causes), his colleague Lennart (Lars Brygmann, The Professor and the Madman) and the computer-savvy Emmenthaler (Nicolas Bro, The Kingdom) knocking at the grieving family's door. They're a trio of stereotypically studious outsiders to his stony-faced military man, but they come uttering a theory. Mathematically, they don't think that the events surrounding the accident add up, so they're convinced it wasn't just a case of pure misfortune — because it's just so unlikely to have occurred otherwise. The nervy Otto, who was on the train with Mathilde and her mother Emma (Anne Birgitte Lind, The Protector), has even started to narrow down possible culprits with his pals. Markus, with his action-not-words mindset, is swiftly eager for retribution, but again, this isn't like most films of its ilk. Narratives about seeking justice often ride the expected rails on autopilot, getting from start to finish on the standard vengeance template's inherent momentum; this attentive and layered gem questions and subverts every usual cliche, convention and motif along the way, including by putting its characters first. Read our full review. THE HARDER THEY FALL Idris Elba. A piercing gaze. One helluva red velvet suit. A film can't coast by on such a combination alone, and The Harder They Fall doesn't try to — but when it splashes that vivid vision across the screen, it's nothing short of magnificent. The moment arrives well into Jeymes Samuel's revisionist western, so plenty of stylishness has already graced its frames before then. Think: Old West saloons in brilliant yellows, greens and blues; the collective strut of a cast that includes Da 5 Bloods' Delroy Lindo and Jonathan Majors, Atlanta's Zazie Beetz and LaKeith Stanfield, and If Beale Street Could Talk Oscar-winner Regina King; and an aesthetic approach that blasts together the cool, the slick and the operatic. Still, Elba and his crimson attire — and the black vest and hat that tops it off — is the exclamation mark capping one flamboyant and vibrant movie. Imaginative is another appropriate word to describe The Harder They Fall, especially its loose and creative take on American history. Where some features based on the past take a faithful but massaged route — fellow recent release The Last Duel, for example — this one happily recognises what's fact and what's fantasy. Its main players all existed centuries ago, but Samuel and co-screenwriter Boaz Yakin (Now You See Me) meld them into the same narrative. That's an act of complete fiction, as is virtually everything except their names. The feature freely admits this on-screen before proceedings begin, though, and wouldn't dream of hiding from it. Team-up movies aren't rare, whether corralling superheroes or movie monsters, but there's a particular thrill and power to bringing together these fictionalised Black figures in such an ambitious and memorable, smart and suave, and all-round swaggering film. After proving such a commanding lead in HBO series Lovecraft Country, Majors takes centre stage here, too, as gunslinger Nat Love. First, however, the character is initially introduced as a child (Anthony Naylor Jr, The Mindy Project), watching his parents get murdered by the infamous Rufus Buck (Elba, The Suicide Squad). A quest for revenge ensues — and yes, Nat shares an origin story with Batman. Samuel definitely isn't afraid to get stylised and cartoonish, or melodramatic, or playful for that matter. One of the keys to The Harder They Fall is that it's so many things all at once, and rarely is it any one thing for too long. This is a brash and bold western from its first vividly shot frame till its last, of course, and yet it's also a film about the tragedies that infect families, the violence that infects societies, and the hate, abuse, prejudice, discrimination and bloodshed that can flow from both. It's a romance, too, and it nails its action scenes like it's part of a big blockbuster franchise. As an adult, Nat still has Rufus in his sights. It'll take a few twists of fate — including a great train robbery to free Rufus en route from one prison to the next — to bring them face to face again. The sequence where the outlaw's righthand woman Trudy (King) and quick-drawing fellow gang member Cherokee Bill (Stanfield) take on the law is sleek heist delight, and the saloon clash with marshal Bass Reeves (Lindo) that gets Nat back on Rufus' trail is just as dextrously handled. Nat also has bar proprietor and his on-again, off-again ex Stagecoach Mary (Beetz) on his side, plus the boastful Beckwourth (RJ Cyler, Me and Earl and the Dying Girl), sharp-shooting Bill Pickett (Edi Gathegi, Briarpatch) and diminutive Cuffee (Danielle Deadwyler, P-Valley). Everyone gets their moments, and every one of those moments sashays towards a blood-spattered showdown. Read our full review. THE ALPINIST Standing atop Yosemite National Park's El Capitan after scaling it alone and without ropes, harnesses or any other safety equipment, Alex Honnold cut a surprisingly subdued figure. As the Oscar-winning documentary Free Solo captured, he was obviously ecstatic, but he isn't the type to leap and scream with excitement. So, he smiled blissfully. He also advised the cameras that he was "so delighted". In the opening moments of new doco The Alpinist, however, he is effusive — as enthusiastic as the no-nonsense climbing superstar gets, that is. In a historical clip, he's asked who he's excited about in his very specific extreme sports world. His answer: "this kid Marc-André Leclerc." Zipping from the Canadian Rockies to Patagonia, with ample craggy pitstops in-between, The Alpinist tells Leclerc's tale, explaining why someone of Honnold's fame and acclaim sings his praises. Using the Free Solo subject as an entry point is a smart choice by filmmakers Peter Mortimer and Nick Rosen — industry veterans themselves, with 2014's Valley Uprising on their shared resume and 2017's The Dawn Wall on Mortimer's — but their climber of focus here would demand attention even without the high-profile endorsement. Indeed, dizzying early shots of him in action almost say all that's needed about his approach to great heights, and his near-preternatural skill in the field. Scaling hard, immovable rock faces is one thing, but Leclerc is seen here clambering up alpine surfaces, conquering glistening yet precarious sheets of ice and snow. Any shot that features the Canadian twenty-something mountaineering is nothing short of breathtaking. Describing it as 'clambering up' does him a disservice, actually, and downplays The Alpinist's stunning footage as well. Leclerc is just that graceful and intuitive as he reaches higher, seemingly always knowing exactly where to place his hands, feet and axe, all while heading upwards in frighteningly dangerous situations. As Mortimer notes, narrating the documentary and almost-indulgently inserting himself into the story, alpine free soloing is another level of climbing. No shortage of talking-head interviewees also stress this reality. Protective equipment is still absent, but all that ice and snow could melt or fall at any second. In fact, the routes that the obsessive Leclerc finds in his climbs will no longer exist again, and mightn't just moments after he's made his ascent. Simply charting Leclerc's impressive feats could've been The Alpinist sole remit; Mortimer and Rosen certainly wanted that and, again, the film's hypnotic, vertigo-inducing imagery is just that extraordinary. Some shots peer at the mountains in all their towering glory, letting viewers spot the tiny speck moving amid their majesty in their own time, before zooming in to get a closer look at Leclerc. Other nerve-shattering scenes intimately capture every careful choice, every movement of his limbs and every decision about what to hold on to, inescapably aware that these are sheer life-or-death moments. But The Alpinist isn't the movie its makers initially dreamed of, because Leclerc isn't Honnold or The Dawn Wall's Tommy Caldwell and Kevin Jorgeson. While affable when posed in front of the camera, he's also silently begrudging, because he'd visibly rather just be doing what he loves in total anonymity instead of talking about it, having it filmed and earning the world's eyes. Read our full review. PASSING Locking gazes across the room, staring intently with a deep fascination that feels fated, seeing oneself in the sparkle of another's eyes: when these moments happen in a movie, it's typically to fuel the first flushes of romance. When they occur early in Passing, however, it's because former childhood friends Irene (Tessa Thompson, Westworld) and Clare (Ruth Negga, Ad Astra) have spied each other in a swanky Manhattan hotel. The pair peer back and forth, intrigued and attentive. That said, it isn't until Clare approaches Irene — and calls her Reenie, a nickname she hasn't heard in years — that the latter realises who she's been looking at. It's the immaculately styled blonde bob that fools Irene, as it's meant to fool the world. As becomes clear in a politely toned but horrendously blunt conversation with Clare's racist husband John (Alexander Skarsgård, Godzilla vs Kong) shortly afterwards, Irene's long-lost pal has built an entire life and marriage around being seen as white. Passing's eponymous term comes loaded not just with meaning, but with history; adapted from Nella Larsen's 1929 novel of the same name, it's set in America's Jim Crow era. This introductory scene between Irene and Clare comes layered with multiple sources of tension, too, with Irene only in the hotel because she's decided to flirt with visiting a white establishment. Still, she's shocked by her pal's subterfuge. When she initially spots Clare, the film adopts Irene's perspective — and its frames bristle with a mix of nervousness, uncertainty and familiarity. Irene rediscovers an old friend in a new guise, and also comes face to face with the lengths some are willing to go to in the name of survival and an easier life. Friendships can be rewarding and challenging, fraught and nourishing, and demanding and essential, including all at once, as Passing repeatedly demonstrates from this point onwards. Irene can't completely move past Clare's choices and can't shake her fears about what'd happen if the vile John ever learned Clare's secret; however, she's also quick to defend her to others — to her doctor husband Brian (André Holland, The Eddy), who swiftly warms to Clare anyway; and to acclaimed white novelist Hugh Wentworth (Bill Camp, News of the World), who's her own entry point into an artier realm. Indeed, in household where talk of lynchings is common dinner conversation, Irene recognises far more in Clare's decision than she'll vocally admit. Almost everyone she knows is pretending to be something else as well, after all, including Irene in her own ways. Largely confined to Irene and Brian's well-appointed Harlem home and other parties in the neighbourhood — after that first hotel rendezvous, that is — Passing is an economical yet complicated film. It may seem straightforward in charting Irene and Clare's rekindled acquaintance, but it's exacting and precise as it interrogates both societally enforced and self-inflicted pain. Its Black characters live in a world that pushes them aside and worse merely for existing, with its central pair each internalising that reality. Their every careful move reacts to it, in fact, a bleak truth that actor-turned-filmmaker Rebecca Hall (The Night House) never allows to fade. That's one of the reasons she's chosen to shoot this striking directorial debut in elegant, crisp and devastatingly telling monochrome hues: both everything and nothing here is black and white. Read our full review. ROADRUNNER: A FILM ABOUT ANTHONY BOURDAIN When Anthony Bourdain strode around the world, and across our screens, in food-meets-travel series A Cook's Tour, No Reservations, The Layover and Parts Unknown, he was as animated as he was acerbic and enigmatic. Beneath his shock of greying hair, the lanky New Yorker was relatable, engaging to a seemingly effortless degree and radiated a larger-than-life air, too. The latter didn't just apply because he was a face on TV, where plenty gets that bigger-than-reality sheen, but because he appeared to truly embrace all that life entailed in that hectic whirlwind of travelling, eating and waxing lyrical about both. Arriving three years after his suicide in 2018, documentary Roadrunner: A Film About Anthony Bourdain captures that. It's so filled with Bourdain thanks to all that time he'd spent in front of the camera, it'd be near-impossible for it not to. But it also lurks under a shadow due to its now-infamous choice to use artificial intelligence to add dialogue that its subject didn't speak. Watching the film, there's no way of knowing which words Bourdain merely penned but didn't utter; the technology truly is that seamless. It still resounds as an unnecessary move, though, especially when such lines might've been incorporated in ways that wouldn't sit at stark odds with his visible liveliness. Roadrunner delves behind the facade that Bourdain presented to the world, of course. It notes his death immediately and goes in search of the sorrow and pain that might've led to it, as mulled over by friends such fellow chefs David Chang and Éric Ripert, and artist David Choe; crew members on his shows; and his second wife Ottavia Busia. Still, once you know about the AI, there's a sense of disconnection that echoes through the doco — because it surveys all that Bourdain was, compiles all of this stellar material and still resorted to digital resurrection. Thankfully, the passion and curiosity that always made Bourdain appear so spirited — yes, so alive, as compared to being vocally recreated by AI after his death — still makes Roadrunner worth watching. That's true for Bourdain fans and newcomers alike, although director Morgan Neville (Oscar-winner 20 Feet From Stardom) doesn't use his two-hour-long film as a birth-to-life primer for the uninitiated. Crucially, as also proved the case with his 2018 Mr Rogers documentary Won't You Be My Neighbor?, Neville jumps through the details of Bourdain's life in a way that also muses on what his success and popularity said about the world. Why he struck such a chord is as essential an ingredient in Roadrunner as how he went from cook to celebrity chef, TV host, best-selling author and travel documentarian. The footage of Bourdain — from his shows, obviously, as well as from a plethora of TV interviews, behind-the-scenes clips and home videos — is edited together with the same restlessness that the man himself always exuded. You don't spend most of your year travelling if you can be easily pinned down, after all. It's a wise choice on Neville and editors Eileen Meyer (Crip Camp: A Disability Revolution) and Aaron Wickenden's (Feels Good Man) parts, but Neville has long had a knack for making his films feel like his subjects. Talking-head chats are spliced throughout, offering further details and grappling with how Bourdain's story ends; however, Roadrunner is repeatedly at its finest when it's peering at him and showing how his work encouraged us all not just to watch, but to eat, travel, think, talk and live. Read our full review. BECOMING COUSTEAU He's been parodied in a Wes Anderson film and mentioned in a Flight of the Conchords song. His red beanie, and those worn by his fellow crew members on his research ship Calypso, are an enduring fashion symbol. He won the second-ever Cannes Film Festival Palme d'Or — becoming not only the first filmmaker to receive the prestigious prize for a documentary, but the only one to do so for almost half a century afterwards. When he started making television in the 60s, he turned his underwater-shot docos about the sea into truly must-see TV. He helped create undersea diving as we know it, and he's the most famous oceanographer that's ever lived. He was also one of the early voices who spoke out about climate change and humanity's impact upon the oceans. He's a rockstar in every field he dived into — and he's Jacques Cousteau, obviously. Becoming Cousteau touches on all of the above — except The Life Aquatic with Steve Zissou and Flight of the Conchords' 'Fou de Fafa', of course — and makes for a a riveting splash into its namesake's life and career. There's just so much to tell, to the point that it frequently feels as if director Liz Garbus (an Oscar-nominee for What Happened, Miss Simone?) could've filled an entire series instead. Her big-screen tribute to Cousteau doesn't suffer from packing so much into its slice of celluloid, however. It simply makes the most of its time, leaving viewers wanting more because they've loved what they've just experienced. Becoming Cousteau is the cinematic equivalent of having a splash, gazing fondly at the sea's blue expanse, or peering deeply at the ocean's underwater wonders, all activities that beg for as much of your attention as possible. This isn't just an affectionate ode, though, even with ample praise floated Cousteau's way. When Garbus includes vision of wide-eyed children beaming up at her subject with wonder splashed across their faces, you could call it a case of a director telling audiences how they should feel — or signalling how she's looking his way, or both. But she knows that Cousteau's achievements, and the glorious archival footage that comes with it, elicits that reaction anyway. She also doesn't shy away from the thornier aspects of his personal and professional lives, tragedies and struggles among them. This is a film about a man who lived a life like no one else's, especially when he kept plunging beneath the sea, but it's also a movie about a man first and foremost. That's why Garbus sticks to a familiar biographical documentary format, as tempting as it might've been to take a more playful route. By chronicling Cousteau's existence in a chronological fashion — from naval officer to icon, with help from his own words as read by French actor Vincent Cassel (The World Is Yours) where footage doesn't exist — she emphasises who he becomes as he spends more and more time in, atop and contemplating the ocean. Yes, her title is that straightforward; however, neither the simplicity of Becoming Cousteau's structure nor the descriptiveness of its moniker can sum up this fascinating and thoughtful documentary. There's nothing standard about the way it charts his evolution or examines how he used his fame, either, or about the glorious way it selects, curates and compiles its wealth of clips — or about the movie's transfixing ebb and flow. THE NIGHT HOUSE The history of cinema is haunted by oh-so-many movies about oh-so-many ghost-riddled abodes, and the often-troubled and bereaved folks dwelling within them. The first clever move The Night House makes is recognising it's floating into busy spectral waters, then ensuring its tension stems from its living, breathing protagonist as much as the frights and fears she's forced to face. The film's second stellar step: casting Rebecca Hall (Godzilla vs Kong) as that central figure. An always-welcome addition to anything she's in — see also: Professor Marston and the Wonder Women, Christine and Tales From the Loop in just the past few years — she plays her tormented part here with brooding sorrow, reluctant vulnerability and a sharp, smart edge. She knows that grappling with loss involves being jolted in many different directions, and being subjected to bumps and jumps of the emotional kind, and that it's never easy to surrender to. Indeed, many of The Night House's surprises come from Hall as Beth, a schoolteacher whose life has been turned upside down by her husband Owen's (Evan Jonigkeit, The Empty Man) unexpected suicide. Clearly normally a no-nonsense type whether she's guiding pupils, dealing with their parents or navigating her personal life, she probes and questions everything that comes her way. As a result, her reactions — including just to herself — are constantly complex, thorny and compelling. Also among The Night House's savvy moves: understanding that grief really does change everything. Not only has Beth's life lost one of its brightest lights, but everything Owen once illuminated now keeps being cloaked in shadows he's not there to extinguish. Since his passing, she's cycled through the familiar stages of mourning. When she returns to work to her colleagues' astonishment, including her close friend Claire's (Sarah Goldberg, Barry), Beth shocks her co-workers by discussing Owen's suicide note, admitting her home now seems different and obsessing over how much she really knew her husband. That last written missive ties back into one of her past traumas, as well as her own dealings with the end that awaits us all. When she's alone at night, she's not sure that she can trust what she sees and hears, or tell whether she's awake or dreaming. Filling her time by sorting through Owen's things, she's also unsure what to make of the eerie sketches and books about the occult that sit among his possessions. And, Beth's thrown even further askew when she finds photos of brunette women that could be her doppelgängers; plans for a home just like hers, but mirrored; and a cascade of tidbits that cast her memories of her marriage into disarray. The Night House has a strong sense of terror about the the fact that life doesn't extended forever, and it's a movie made with meticulous horror style as well as smarts. When it comes to plot twists, though, director David Bruckner (The Ritual) and screenwriting duo Ben Collins and Luke Piotrowski (Super Dark Times) are alittle less careful about becoming prey to indulgence. Read our full review. A FIRE INSIDE Some colours only exist in nature, as much as paints, dyes and pixels attempt to pretend otherwise. The raging reds, blazing oranges and burning yellows seen in A Fire Inside's bushfire footage are some such hues — and, away from the safety of a cinema screen, no one should ever want to spy these specific searing tones. They're haunting enough as it is to look at in a movie. Taking up entire frames of on-the-ground footage shot during the summer of 2019–20, they're scorching in their brightness and intensity. This documentary about the national natural disaster just two years ago, when swathes of Australia burned for months, deploys those apocalyptic colours and the imagery containing them sparingly, notably; however, even when they only flicker briefly, those shades aren't easily forgotten. After everything the pandemic has delivered since the beginning of 2020, just as the 'Black Summer' bushfires were cooling, that chapter of history might seem far longer ago than just a couple of years. A Fire Inside is also an act of remembrance, though. Directors Justin Krook (Machine, I'll Sleep When I'm Dead) and Luke Mazzaferro (a producer on Girls Can't Surf and The Meddler) firmly look backwards, pushing these events back to the top of viewers' memories. That said, they also survey the situation since, as the rebuilding effort has been complicated and elongated by COVID-19. This approach also enables them to survey the lingering aftermath, including the homes that still haven't been rebuilt, the people still residing in makeshift setups, and the emotional and mental toll that's set to dwell for much longer still. Accordingly, what could've merely been a record of a catastrophe becomes a portrait of both survival and resilience. Unsurprisingly, interviews drive this Australian doco, focusing on the afflicted and the volunteers. Folks in each group chat about their experiences, and the lines between them frequently blur. Firefighter Nathan Barnden provides the first and clearest instance; the film's key early subject, he saved seven strangers and retained his own life in an inferno on the very first night that the fires reached New South Wales' far south coast, but also lost his cousin and uncle to the blazes the same evening. Barnden claims Krook and Mazzaferro's attention for multiple reasons, including his initial youthful eagerness to pick up a hose — following his father, who had done the same — as well as his candour about his distress in the months and now years afterwards. Often overlooked in tales of such events, that kind of emotion sears itself onto the screen with unshakeable power, too. A Fire Inside spends time with others affected, residents and volunteers alike. RFS captain Brendan O'Connor saved his community, alongside his crew, but suffered in his personal life — and his is just one of the film's stories. Krook and Mazzaferro don't loiter on the same kinds of details over and over again, but whether talking to food bank staff, backpackers helping with re-fencing damaged farms or locals who saw everything they belonged succumb to the flames, the duelling sensations of both endurance and loss remain throughout their doco. The mood: careful, caring, sensitive and poignant. This is a movie that conjures up every sentiment expected, but also one that earns every reaction. Heartbreak and hope seesaw, and recognising that back-and-forth ride is one of the film's canny touches. Read our full review. THE KILLING OF TWO LOVERS If you stare at something long enough, you don't just see the obvious. You notice everything, from the details that fail to immediately catch your attention to the way things can change instantly right in front of your eyes. The Killing of Two Lovers is all about this idea, and on two fronts. It puts a fractured marriage before its lens, ensuring its struggles and troubles can't be ignored. It also takes its time to peer at its protagonist, the separated-and-unhappy-about-it David (Clayne Crawford, Rectify), and at all that his new life now entails. In a sparse small town — with the film shot in Kanosh, Utah — its central figure attempts to adjust to living with his ailing widower father (Bruce Graham, Forty Years From Yesterday). His wife Niki (Sepideh Moafi, The L Word: Generation Q) remains in their home with their four children, as they've agreed while they take a break to work through their problems. David isn't coping, though, a fact that's apparent long before his teenage daughter Jess (Avery Pizzuto, We Fall Down) gets angry because she thinks he isn't fighting hard enough to save their family. He's trying, but as Crawford conveys in a brooding but nervy performance — and as writer/director/editor Robert Machoian (When She Runs) and cinematographer Oscar Ignacio Jiménez (Immanence) can't stop looking at in lengthy and patient takes — he can't quite adapt to the idea of losing everything he knows. There's an element of Scenes From a Marriage at play here, although The Killing of Two Lovers pre-dates the new remake — and so much of the feeling in this gorgeously shot movie comes from its imagery. When it's hard to look away from such rich and enticing visuals, it's impossible not to spot and soak in everything they depict. Each frame is postcard-perfect, not that those pieces of cardboard ever capture such everyday sights, but wide vistas and the snowy mountains hovering in the background are just the beginning. With its long takes, The Killing of Two Lovers forces its audience to glean the naturalistic lighting that never casts David and Niki's hometown in either a warm glow or grim glower. Repeated images of David alone, especially in his car, also leave a firm impression of a man moving and solo. And, presenting most of its frames in the 4:3 aspect ratio, the film also possesses an astonishing and telling sense of space. Nothing is bluntly boxed in here, but everyone is trying to roam within the claustrophobic patch of turf they've scratched out. And, within the feature's square-shaped visuals springs an added fountain of intimacy that cuts to the heart of such close relationships, such as when David and the kids all pile into his truck, or during one of David and Niki's car-bound dates. Read our full review. Melbourne cinephiles are currently being spoiled for choice — and while we've outlined ten must-see options newly hitting the big screen when indoor cinemas reopen on Friday, October 29, there are plenty more flicks now gracing the city's silver screens. When outdoor cinemas relaunched, we highlighted Candyman, Nitram, Shang-Chi and the Legend of the Ten Rings, Malignant and The Last Duel, for instance — films now showing in indoor cinemas as well. Also opening in Melbourne cinemas on Friday, October 29 — and also only available to watch in cinemas — are Halloween Kills, Antlers, Ron's Gone Wrong, Respect, Eiffel, Ride the Eagle, Joe Bell and Don't Breathe 2. And, a number of movies that've been fast-tracked to digital in recent months are also hitting the big screen in Melbourne now that cinemas have reopened. So, you can also head out to see Pig, Free Guy, Annette and Summer of Soul Summer of Soul (...Or, When the Revolution Could Not Be Televised). Plus, after showing on Melbourne's silver screens for short spells before lockdown, Nine Days, Perfumes, Shiva Baby, Some Kind of Heaven, The Sparks Brothers, Fanny Lye Deliver'd, The Toll, Rosa's Wedding, Dating Amber, Three Summers, Little Joe, Black Widow, Jungle Cruise, The Suicide Squad, Space Jam: A New Legacy and In the Heights have returned to cinemas as well.
It's the ultimate 90s Christmas movie. It's the film that's made every kid since 1990 wish to get stranded home alone. It made Macaulay Culkin a star, features Schitt's Creek legend Catherine O'Hara and turned "keep the change, ya filthy animal!" into a festive catchphrase. And, it's never far from screens when the end of the year hits, a tradition that the Melbourne Symphony Orchestra is continuing in 2024. The entire seasonal cinematic treat that is Home Alone will echo through Hamer Hall come December — again. Here's one way to relive the movie: watching it play in the hefty venue with a live soundtrack. As it did back in 2019 and also in 2022, the Melbourne Symphony Orchestra is bringing the film back to the big screen in the best possible way, aka in concert, and welcoming the merriest time of the year in the most appropriate fashion. Home Alone truly is the best movie there is about an eight-year-old who outsmarts two burglars while living it up without his parents and siblings — and while it charts Kevin McCallister's antics, it also boasts a rousing Oscar-nominated score by iconic composer John Williams. That's what the MSO will bust out at 7.30pm on Thursday, December 5–Friday, December 6 and at 1pm on Saturday, December 7 — and there's your essential end-of-year viewing taken care of. It can't be said enough: Home Alone isn't just any old Christmas flick. It's one of the highest-grossing Christmas films of all time. And, it's spawned sequels great (Home Alone 2: Lost in New York) and forgettable (all the other ones, including 2021's Home Sweet Home Alone). If your response to the above news is to hold your hands to your cheeks and exclaim, then you'll want to nab a seat. There's no need to set traps or play pranks to grab a ticket, though — they go on sale at 10am on Thursday, May 23. Home Alone in Concert will take place on Thursday, December 5–Saturday, December 7, 2024 at Hamer Hall, Arts Centre Melbourne, with tickets on sale from 10am on Thursday, May 23. Head to the Melbourne Symphony Orchestra website for further details.
Between an immersive dinner experience in a historic house, performances by The Flaming Lips and Kamasi Washington and a swag of captivating theatre experiences inviting audiences into parallel worlds, this year's Melbourne International Arts Festival (MIAF) will be tough to ignore. Unveiled yesterday, the festival's 2019 program is set to deliver a diverse, vibrant celebration of dance, music, theatre, visual arts and architecture from October 2–20, with the entire city as its stage. For one of 12 Australian premieres, famous illusionist Scott Silven will host multi-sensory dinners for 24 people inside Chapter House, combining magic and storytelling (and, hopefully, some food). Another Australian premiere that'll be equally captivating is Yang Liping's contemporary dance masterpiece Rite of Spring. Tokyo-based art collective teamLab — made up of mathematicians, architects, animators and engineers — will take over Tolarno Galleries with sculptures of light and "cascades of shimmering luminescence", which will make you feel as though you're standing on a floating wave of light. If you've been lucky enough to visit Tokyo's Digital Art Museum or Shanghai's pop-up digital waterfall you'll know what to expect — they're both works by teamLab. Over at the Arts Centre, Black Mirror actor Maxine Peake will lead 15 musicians in a captivating exploration of enigmatic artist Nico and her 1968 masterpiece The Marble Index, in an Australian exclusive. [caption id="attachment_724480" align="alignnone" width="1920"] The Flaming Lips[/caption] In terms of music, there are some big names heading Down Under for the two-week festival. Psychedelic rock legends The Flaming Lips will perform their ninth, and most celebrated, record The Soft Bulletin in full to celebrate its 20th anniversary. The band's performances are never run-of-the-mill either — so, expect confetti cannons, elaborate costumes and neon unicorns. Jazz king Kamasi Washington — who has collaborated with everyone from Herbie Hancock to Kendrick Lamar and St Vincent — will be performing his latest album Heaven and Earth, as well as other top hits. Grammy Award-winning string quartet Kronos Quartet will be heading to Melbourne, too, and if the name doesn't immediately sound familiar, you'll most definitely recognise their Requiem for a Dream soundtrack. Elsewhere on the program — which, yes, continues – will see the return of Melbourne's beloved art trams, Nakkiah Lui's new show Black is the New White, a thought-provoking look at (and questioning of) 2019 Melbourne in Anthem and a world premiere of Chunky Move's new contemporary show Token Armies. This will be the last MIAF in its current format, too. Starting from 2020, MIAF will also form part of a new and bigger winter festival, in conjunction with White Night. Melbourne International Arts Festival runs from October 2-20, 2019, at venues across the city. Tickets are available here, from Monday, July 22. Images: Borderless Tokyo Digital Art Museum by Sarah Ward; Yang Liping's Rite of Spring; Kamasi Washington.
This week, enter the charming little dream world of Lucy Folk and make her covetable candy-hued cocktail clutches and wearable works of art yours. And all for a fraction of the price, because the Melbourne-based jewellery designer is hosting a sample sale from April 19–21. Huzzah! Older styles, past collections and samples will be available at a reduced price. So does this mean we'll find those peppercorn earrings and caviar rings from the 2014 food-inspired Appeteaser collection? We sure hope so. Plus, even though it's a sample sale, there's no need to worry about being sample sized, because we're talking eyewear, clutches and jewellery. Double huzzah. The sale will run from 8am–7pm on Thursday and Friday, and 10am–5pm on Saturday at the Lucy Folk studio in Windsor. As we move into cooler weather and shorter days, future you will thank Lucy Folk (and your shopping habits) for adding a little bit of colour to your everyday Melbourne black.
If there's one thing that can get a Sydneysiding burger fiend all jittery, it's a Mary's burger. Opened in an old Newtown warehouse in 2013, this humble burger joint has developed a cult-like following in Sydney over the last couple of years — they've even opened a second chapter in the CBD and made our ten best burgers in Sydney list. But now it's time for Melburnians to take a bite of the Mary's hype, putting aside our Huxtaburgers for a day and heading down to a one-day-only pop-up at fellow Americana lovers, Belle's Hot Chicken. On Sunday, May 24, Mary's will be making 200 burgers (that's right, 200 only) at BHC in Fitzroy, kicking off at around 4pm. We're guessing all focus will be on their famous Mary's burger, renowned for its mouth-wateringly tender med-rare beef patty slathered in liquefied cheese — whether the top notch veggie burger makes it down remains to be seen. But you're going to want to get there early; you can't pre-book a spot and these are seriously sought-after burgs. This marks the second Sydney/Melbourne swapsie for Belle's Hot Chicken, who took a pop-up to Bondi Icebergs earlier this year. Mary's Burgers pops up at Belle's Hot Chicken, 150 Gertrude Street, Fitzroy, Sunday, May 24 from around 4pm. Get. There. Early. Via Good Food.
Slinging fast-paced rhymes with a feisty attitude to match, Patricia Dombrowski (Danielle Macdonald) isn't naively chasing fame in Patti Cake$. With "mylifesfuckinawesome" one of her spirited rap anthems penned under the stage name of Killa P, she's certain that her music dreams will come true. The fact that she's stuck in New Jersey stringing together dead-end jobs to take care of her boozing mother (Bridget Everett) and ailing grandmother (Cathy Moriarty) might make it seem like her confidence is misplaced. But Patti's determination is as big as her smile. As quick as you can say "gender-swapped 8 Mile", Patti Cake$ takes its eager protagonist down the expected path, with her working-class background and plus-size shape thrown in as roadblocks. She's also got the requisite support from her old pal Jheri (Siddharth Dhananjay), as well as a new friend and collaborator in anti-establishment punk Basterd (Mamoudou Athie). They're soon laying down tunes, fighting for attention and eventually catching a few lucky breaks. It's all a bit predictable, but what this first feature from writer-director Geremy Jasper lacks in surprises, it makes up for in detail, heart and a stellar lead performance. With Jasper himself a Jersey native chasing dreams of his own, Patti Cake$ is filled with the kind of specificity that can only be plucked from real life. As a result, it has more than a few tricks up its sleeves. Audiences may be tempted to judge the movie prematurely due to its familiar narrative and slick-meets-gritty aesthetic. And yet, as the characters who underestimate Patti discover, there's a difference between appearances and reality. Just as there's more to Macdonald's protagonist than cruel nicknames like "Dumbo" and "white Precious", there's more to the film as well. Lurking within this standard underdog story is a clear-eyed portrait of small-town existence — from the sense of restlessness evident at every turn, to the need to seek escape by belting out tunes or taking to the bottle, to the distinct blend of hip hop and white working-class subcultures. Whenever the formula kicks in, the sights and sounds of Patti's mundane life don't quite counteract the obviousness of the plot, but they do give the film's feel-good trajectory weight and authenticity. There's bleak truth and an almost documentary-like spirit that accompanies every convenient twist and turn. Accordingly, when the big, crowd-pleasing moments come, the emotion that swells with them feels well and truly earned. The same can be said of Macdonald's efforts, with the Aussie actress dazzling in a way that would make her on-screen alter ego both proud and jealous. In her hands, Patti relishes the highs she has toiled for with the knowing smile of someone who has weathered the lows, and remains well aware that fantasies don't really come true overnight. It's a star-making turn in a movie that's all about chasing star-making chances, and it comes with excellent support from Everett and Moriarty. All that plus a catchy soundtrack will have your toes tapping even if Killa P's beats aren't your usual jam. https://www.youtube.com/watch?v=vLUqLITumZA
There's nothing like watching a film at the planetarium, but it's something most of us don't do all that often. Daytime sessions cater to school groups — and in the years that the Melbourne International Film Festival has hosted a fulldome program, it's only been for a few sessions. Thankfully, Scienceworks' late-night series changes that. Every Friday evening in September and October 2024, once the planetarium's usual working day is done, adults can have some after-hours fun in the venue's impressive space. That means sitting in the reclining chairs, looking up at the 16-metre domed ceiling, listening to the 7.1 surround-sound system and soaking in the best the fulldome video projection system has to offer. In September, the Planetarium's Friday-night program is exploring the relationship between humans and frosty climes during the 7.30pm session, thanks to a fulldome film called Worlds of Ice. Then, at 9pm, it's time to get lost in Pink Floyd's Dark Side of the Moon, which is back by popular demand. October's lineup features Black Holes — Journey into the Unknown in the early slot, and the MC Escher-style XYZZY in the late timing. Making things even better is the fact that the whole thing is boozy, so you can grab a drink from the bar, take it into the auditorium and sip while you watch.
The story behind Melbourne folk foursome Husky's new song, 'I'm Not Coming Back', sounds pretty damn cute. It's something to do with looking up at the stars in the night sky, seeing the lights of airplanes gliding under them and the universal need to leave parts of ourselves behind. Swoon. This whimsically starry-eyed vision fits perfectly with the soaring sounds of the track itself. But contrary to the song's title, Husky are indeed coming back — with a show at The Hi-Fi on November 29. The folk-fuelled whiz kids stole our hearts back in 2011 with their debut LP Forever So. Husky then became the first Aussie band to be signed to Seattle label and arbiters of cool Sub Pop, then toured pretty much non-stop around Australia, the USA and Europe for a couple of years. It's a good thing they stopped to take a break, because now we're privvy to a whole lot of new Husky — as well as promising to play much-loved tracks from Forever So, they'll be showing off their new album Ruckers Hill. Half a decade later and we're still swooning. https://youtube.com/watch?v=FkkSw4HM0_8
More than three decades since it was first published, the Watchmen series of comics is still considered one of the all-time greats of the medium. Brought to the page by writer Alan Moore and artist Dave Gibbons, the premise says plenty: in an alternative version of the world we all live in, superheroes definitely exist — but their presence has drastically altered history. Here, the Cold War turned out differently, caped crusaders largely work for the government and anyone else enforcing law and order while wearing a costume has been outlawed. Now, imagine that tale told with a satirical edge that deconstructs the superhero phenomenon, and you can see why it has hordes of devotees. Back in 2009 when comic book flicks were just starting to pick up steam — and when 23-film franchises were a mere dream — Watchmen was turned into a movie by Zack Snyder (who was fresh from 300, but hadn't made the jump to Batman v Superman or Justice League yet). Sequels clearly didn't follow; however, HBO is now hoping that the story will flourish on the small screen, enlisting Lost and The Leftovers co-creator Damon Lindelof to make it happen. Obviously, with Game of Thrones all done and dusted (at least until its prequels start hitting the screen), the network is in the market for a new pop culture phenomenon. This isn't just a straight adaptation. Apparently the ten-part series "embraces the nostalgia of the original groundbreaking graphic novel of the same name while attempting to break new ground of its own," according to HBO. If you're wondering just how that'll play out, the program's trailers might help. Building on the first teaser from a few months back, the latest trailer serves up murky mysteries, complicated heroes and villains, and a fine line between the two — plus "a vast and insidious conspiracy". To help bring the above to the small screen, Watchmen boasts quite the stacked cast, which includes Jeremy Irons, Don Johnson, Tim Blake Nelson, this year's Best Supporting Actress Oscar winner Regina King, Hong Chau, Louis Gossett Jr and Aussie actress Adelaide Clemens. The big names don't stop there, with Trent Reznor and Atticus Ross providing the score. Check out the new trailer below: https://www.youtube.com/watch?v=-33JCGEGzwU Watchmen launches on October 21, Australian and New Zealand time — with the series airing weekly from that date on Foxtel in Australia. Image: Mark Hill/HBO
If Moor's Head's Middle Eastern-meets-Italian pizza is one of your staples, but you wish you didn't have to trek to Thornbury for a fix, then we have some good news — especially if you live in Carlton. The popular pizza joint has opened the doors to a new outpost on Drummond Street. "People living closer to, and in, the city will now find it easier and more convenient to drop in or grab takeaway pizzas," says co-owner Joseph Abboud. "We particularly love that it is a stone's throw from Cinema Nova." The kitchen's bigger than the one at Thornbury, which brings a few new surprises to the menu, including haloumi fries with pomegranate-pepper sauce and 'turkamisu', a Middle Eastern take on tiramisu, with cardamom coffee, pistachio and green walnut liqueur. On the drinks list, look out for a bunch of local craft beers, boutique wines and arak, an anise-based spirit popular in the Middle East. Moor's Head has taken over the Drummond Street space once home to Markov and it's a location Abboud had been eyeing for quite a while. At one point, he was in talks with Markov's owners, Joseph and Guy David, about moving in next door. "We've been friends for a long time and often discussed how we could work together, so this opportunity seemed like a right fit at the right time," said Guy. Moor's Head Carlton is now open daily from 6pm till late at the rear of 350 Drummond Street, Carlton. For more info, visit themoorshead.com.
Nobody translates the teenage psyche to film better than John Hughes. Nobody. We have this genius to thank for the 80s classics such as Ferris Bueller’s Day Off, Pretty In Pink, The Breakfast Club and Sixteen Candles - the latter two of which are playing back to back at The Astor Theatre this Saturday night. That’s right: strap in for some quality Molly Ringwald. After briefly closing down earlier this year, The Astor Theatre was thankfully saved and given new life under the management and craftsmanship of General Manager Zak Hepburn. Their most recent calendar is fun, clever, and a little off-beat in an absolutely glorious way. If you’re after a pair of classics that get more enjoyable after every watch, don’t miss this John Hughes double feature for an awesome date night or a nostalgic evening with your pals.
Melbourne Cup not really your thing? If you'd rather be outdoors than cooped up inside going bonkers over a horse race, take advantage of the public holiday to get your nature fix with a ride along the Lilydale to Warburton Rail Trail. Pack a picnic, some water, and your bike, and drive over to this iconic 40km path that will have you testing the gears on your bike (and the muscles in your calves) as you climb and fly from mountain to valley to river. Following the historical railway, the trail winds through the vineyards of the Yarra Valley, over quaint bridges, and through lush forests, before finishing at the picturesque little town of Warburton.
