New Zealand entrepreneur Hamish Dobbie is in the final rounds of a Kickstarter campaign to fund Yolkr, a rather nifty egg yolk separator. 'Finally', I hear you say, a simple and incredibly good looking kitchen tool for separating those whites from the yolk, without scattering shells throughout your 'egg'cellent kitchen creation. Having been tested by his 90 year old Grandfather, who has one eye, wears glasses and shakes somewhat, along with numerous others, the Yolkr project reached its Kickstarter goal within 5 days, and there are still 54 days remaining. Move over Number 8 wire, a new and revolutionary Kiwi invention has arrived. And it will change the way you make your omelette forever.
The Unbearable Weight of Massive Talent was purely fictionalised and definitely not a documentary. Still, has Nicolas Cage ever been more relatable than when he was gushing over Paddington 2 in the 2022 action-comedy? No, probably not. Here's something else for fans of everyone's favourite bear to adore like a certain animal loves marmalade sandwiches: the first trailer for Paddington in Peru. The third film in the Ben Whishaw (Bad Behaviour)-voiced big-screen franchise that started with 2014's Paddington spells out its main point of difference from its predecessors in its title: instead of an entire picture filled with more of the coat- and hat-wearing talking bear's exploits in London, the flick is taking him and the Brown family to South America. In the sneak peek, the namesake country awaits, and the Amazon rainforest as well — after the chaos of getting a passport photo taken, of course — as Paddington decides to visit his Aunt Lucy (Imelda Staunton, Chicken Run: Dawn of the Nugget) at the Home for Retired Bears. "I'm afraid she's set off on some sort of quest deep in the jungle, and we have no idea where she is," advises The Reverend Mother, the guitar-playing nun that adds Olivia Colman (Wicked Little Letters) to the Paddington realm, when Paddington arrives. Also joining the cast this time as the page-to-screen bear first created by Michael Bond goes off on his own search: Antonio Banderas (Indiana Jones and the Dial of Destiny) as an adventurer and Emily Mortimer (The New Look) as Mrs Brown. The latter replaces Sally Hawkins (Wonka), who played the part in the initial two features. Hugh Bonneville (The Completely Made-Up Adventures of Dick Turpin) is back as Mr Brown, however, and so are Samuel Joslin (Houdini and Doyle) as Jonathan Brown and Madeleine Harris (Man Down) as Judy Brown. Behind the camera, feature first-timer Dougal Wilson is in the director's chair, following on from Paddington and Paddington 2's Paul King (Wonka). With fellow Paddington 2 alum Simon Farnaby (The Phantom of the Open) and Paddington in Peru co-screenwriter Mark Burton (Shaun the Sheep Movie: Farmageddon), King still has a story credit, though. Viewers Down Under will be starting off 2025 with the latest Paddington movie, which will hit local cinemas on Wednesday, January 1, after releasing in the UK in early November 2024. Check out the first trailer for Paddington in Peru below: Paddington in Peru releases in Australian and New Zealand cinemas on Wednesday, January 1, 2025.
A beloved vintage motor show is returning to Melbourne this spring. From October 7 to October 9, the Royal Exhibition Building will be hosting Motorclassica 2022. It's a motorhead's dream, with over 160 vintage cars and motorcycles on display across an impressive events program. In a Motorclassica first, the showcase will not only be limited to classic vehicles — there will also be modern supercars on display, including Lamborghini, Veyron and Ferrari models you would normally never see in the same room. You can also play (to win) the latest VR racing simulators against other guests for epic prizes, enjoy live panel stories and talks, get a meal from Melbourne's finest food trucks and take home new merch. Ferrari aficionados won't want to miss the Saturday of the event for a special celebration of 75 years of the legendary manufacturer, which will be the country's biggest tribute to the Italian carmaker. Motorclassica 2022 opens from Friday, October 7 to Sunday, October 9, 9am-9pm every day except Sunday, which closes at 4pm. Tickets are $49 for adults and $20 for kids, multi-day passes are available. See the website for more information.
Modern Japanese restaurant Tokyo Tina is bringing big noodle energy to Windsor this winter, with a brand new ramen menu running until the end of August. It follows the success of the Commune Group's Rubbish Ramen Soup Shop, an experimental pop-up that transformed produce originally destined for landfill into a ramen feast. Head into Tokyo Tina from Sunday to Thursday to slurp on a soy-rich shoyu ramen number, served with a soy egg and spring onion, or a vegetarian-friendly miso ramen paired with mushrooms, corn and bamboo. Other new, limited-edition menu favourites include a pork, char-siu don with kimchi rice and pickled carrots, or a mushroom-loaded bibimbap. Expect classic add-on extras like pork belly char-siu, nori, soy eggs and extra noodles for an easy $3. Images: supplied.
Enjoying a brew on the beach is a tradition Australians understandably savour, but with the joy of knocking back a few cold ones on the sand comes the responsibility of not acting like an idiot. It's simple, really. With adhering to the latter part of the bargain proving too difficult in St Kilda over Christmas, the local city council has responded by contemplating a ban on beachside boozing. Approximately 5000 people gathered at the popular St Kilda foreshore on Christmas day, resulting in unruly behaviour through the afternoon and evening, 29 tonnes of rubbish and a clean-up bill of around $23,000, according to a statement released by the City of Port Phillip. As Mayor Bernadene Voss stated, "the sheer number of intoxicated people milling around in the area also resulted in Council having to close some roads, creating a traffic nightmare for residents returning home from visiting friends and relatives on Christmas Day." A ban planned over the New Year's Eve period had already been extended prior to the incident, running from December 26 to January 4, and was subsequently increased to continue until February 15. The area affected spans from Marina Reserve to West Beach, including the site of the Christmas day party. The council will next meet on February 7 to consider extending the ban further. "We will be looking at factors such as volumes of broken glass and feedback from groups including residents, visitors, traders and police to help us decide whether an alcohol ban is useful in helping us tackle the challenge of managing such a popular destination which attracts all age groups," explained Voss. Until a further decision is reached, visitors will still be able to enjoy a drink on other Port Phillip beaches — although drinking is prohibited in all public places in the council's region over NYE until 9am on January 2, and again from 5 pm on January 26 to 9 am on January 28. Via ABC.
No matter where they pop up around the world, Yayoi Kusama's infinity rooms instantly attract hordes of eager visitors, as anyone who has lined up to peek inside can attest. At present, with galleries and public spaces closed across the globe, no one can explore the Japanese artist's dazzling mirrored spaces in person — but one American venue is providing virtual access. That'd be The Broad in Los Angeles, which is currently home to Kusama's Infinity Mirrored Room — The Souls of Millions of Light Years Away. With the whole site closed due to COVID-19, the gallery has started an online video series called Infinite Drone that steps through the glittering, LED light-filled attraction. And, it's pairing each clip with a drone, electronic, ambient and pop music-filled soundscape. Attempting to mimic the sensation of standing inside one of Kusama's infinity rooms in person — and, as the artist intends, soaking in her dazzling contemplation of eternity as it gleams all around you — the idea is to give art fans as an immersive experience as possible. Of course, when you're viewing the installation via virtual means, you don't have to queue — or worry about a time limit. So far, one video has been released, with Los Angeles-based artist and composer Geneva Skeen on scoring duties. Available to watch via Facebook and Instagram, the first 14-and-a-half minute clip watches on as the infinity room's lights glow and fade over and over again — and as well as offering an escape from being glued to the news, it serves up quite the meditative experience. https://www.facebook.com/thebroadmuseum/videos/2906806926047006/?__xts__[0]=68.ARBOxGpmFiisf4BHLIydeMauefG6Y0zMqYRM-_OEsoFmmwxv1XErWIVbc9OrYayVAN4R2pMW4F0LUdPiihR9Zwgv6eh-Hlwgd0DTcZXT5qKh780Ngti2z4G1jYkk_FGa4-u70sYu4n2RM3u8wLuDHncUysxot5mMb5qjoRMP46B4BEaHJNdzT_HMubTLIcu32LXtUEi57v0FlZ6H_WVtCaizQZwoT677vUqlthU8vUsd2-NVXIZFLqwQVZhUudCPCmN_W13ZzMXe-bTRcdQRUjvh_jn02gqPan5HZyXkQfq1G4IsLJh6dJHXxW0X69Z4h_5GodXgnb7N-DGc89xUwb98yrekEHJO01AKWQ&__tn__=-R To check out The Broad's virtual Infinity Mirrored Room — The Souls of Millions of Light Years Away tours, head to the gallery's Facebook and Instagram. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
Art of either great or dubious origins. Airport facilities where items can be stored — art masterpieces included — without their owners abiding by taxation rules. Both played parts in Christopher Nolan's Tenet; however, it's no longer the only recent thriller to include the two. The Lost Leonardo doesn't feature a phenomenal heist of a disputed piece from a freeport, but it is as tense and suspenseful as its 2020 predecessor. It also tells a 100-percent true tale about the artwork dubbed the 'male Mona Lisa'. Exploring the story of the Salvator Mundi, a painting of Jesus that may hail from Leonardo da Vinci, this documentary is filled with developments far wilder and stranger than fiction (sorry not sorry Dan Brown). And while there's little that's astonishing about the film's talking heads-meets-recreations approach, it still couldn't be more riveting. Although the Salvator Mundi itself is thought to date to the 15th century, The Lost Leonardo only jumps back as far as 2005. That's when the High Renaissance-era piece was sold for US$1175, and when Alexander Parrish and Robert Simon, art dealers eager to dig up sleepers — works from renowned masters that've been mislabelled or misattributed — suspected there might be more to it. The pair tasked restorer Dianne Modestini with tending to the heavily overpainted and damaged work, which revealed otherwise unseen details in the process. Cue a now-prevailing theory: that the Salvator Mundi sprung from da Vinci's hands. That's a shattering revelation given that, despite the prominence that the Mona Lisa and The Last Supper enjoy, the list of surviving works attributed to da Vinci barely hits 20 — and that's with questions lingering over his involvement in quite a few. Uncovering one of his previously unknown paintings was always going to be huge as a result; locating it in such a way, and for so cheap, only bolsters the extraordinary tale. Debates over the painting's provenance have continued for the past 16 years, although that's not the only reason that The Lost Leonardo exists. The piece has increased in fame over the last decade thanks to two factors, including the Salvator Mundi's inclusion in a 2011–12 da Vinci exhibition at the National Gallery, London, placing it alongside the author's accepted works — and its sale for US$75 million in 2013, then for US$127.5 million, and finally again in 2017 for a whopping US$450.3 million. Its unglamorous discovery, the ongoing argument over authenticity, the legitimacy gained by exhibiting in one of the world's most influential galleries, that it's now the most expensive painting ever sold: these details are unpacked and analysed by writer/director Andreas Koefoed (At Home in the World) via his array of interviewees — and so is the fact that, when that mind-blowing sale occurred, Saudi Arabia's Crown Prince Mohammed bin Salman was the secretive buyer. It's little wonder that the filmmaker has chosen to unfurl the ins and outs of these remarkable events as if he's joining the dots and puzzling together the pieces right in front of viewers' eyes, making The Lost Leonardo a detective story of a doco. It isn't a new approach, let alone a unique or unusual one, but it savvily relies upon the combined force of a ripping yarn and rollicking storytelling. Within all those twists and turns also sits a vital examination of art, money and power. That works by artists such as da Vinci can end up lost at all is a marker of art's links to wealth and class, and of pieces being controlled by the rich behind closed doors to the detriment of the artistic greater good and public access. The same notions play out in the jaw-dropping Christie's auction, as bids rise to more than double the expected amount (which still would've made it the most expensive painting ever sold) and it becomes evident that the Salvator Mundi won't be purchased by a gallery for public display. The frenzied atmosphere, which the auction house stages like a piece of theatre, is all about control and status. Letting the world see a masterpiece isn't even an afterthought. An entire documentary could be made about that auction alone, and the techniques deployed to turn it into such a production. Case in point: a Christie's promotion that showed the emotional reactions of art lovers peering at the piece — ordinary folks all visibly moved, and also Leonardo DiCaprio. The reality that art is a business couldn't be painted on a larger canvas. That art is about prestige, too. In getting these points across, Koefoed's choices aren't always subtle — Sveinung Nygaard's (Huss) score would suit a heist film, there's a slow-drip pace to the documentary's early sections to ramp up the intrigue, and sparking a future fictionalised feature based on The Lost Leonardo feels like a clear aim — but everything about the film is always entertaining and effective. Here's hoping that certain-to-arise dramatisation turns out more like American Animals than The Goldfinch; the former was based on a true story, the latter on a Pulitzer Prize-winner for fiction, but the details here are so juicy, gripping, layered and important that they deserve to be told with the greatest care. As one interviewee puts it, it's the tale of finding a spaceship with unicorns on one's lawn. As the whole cast of talking heads explains — dealers, academics, restorers, art critics and buyers alike, vocal naysayers included — it's the story of commerce usurping creativity and history, regardless of the mystery behind the potential da Vinci work. Perhaps there'll even be a sequel: an NFT of Salvator Mundi now exists, because of course it does.
A future path of degeneration seems set: first you reduce your social life to interacting with Little Robot Friends instead of humans, and then inevitably, you start drinking with robots. Hopefully one-night stands with robots don't follow, but a yearly event in San Francisco doesn't seem too worried about this outcome. BarBot, a fundraiser hosted by the Robotics Society of America (launched all the way back in 1978 when robots were considerably less adept at shaking Martinis) takes its cues from Austrian cocktail-robot event Roboexotica. Inventors bring their mechanised bartenders to the event, demonstrating the many weird ways a robot can create and present an alcoholic beverage. Nerds still know how to party, y'all. It's a natural marriage when you think about it: cocktails require a very precise measure of different ingredients, and robots can be programmed to carry this out flawlessly. A robot-mixed drink might lack the flair of human interpretation, but chances are it'll be pretty good, and why shouldn't cocktails be automatically dispensed from a robot like coffee from a coffee machine? Monday morning would never be the same. Now in its seventh year, the two-day BarBot is growing in popularity, with 3000 drinks mixed for up to 2000 human attendees over the course of each evening. So who makes the barbots? Everyone from IBM top research brass to engineering students, and the diversity of entrants is reflected in the different ways their machines work, with spinning transparent cylinders of liquid, flashing lights and clever ornamentation. This year some bots were upwardly-mobile, touring the floor to tantalise guests with their offerings, while others utilised touch screens and one even took drink order specifications via dance moves on a DDR mat. Sense of humour is key: there was a requisite R2D2 and a steampunk barbot, and in the video you will see delightful classical statues pee out bespoke booze for one very lucky punter. Through this kind of fun interaction between people and technology, the RSA hopes to foster education and enthusiasm for the development of robotics. Via Gizmodo.
Melbourne's Royal Park is an oasis of green space nestled blissfully close to the CBD. With a tradition of relaxation and sport since it opened in the 1850s, the stretch of parkland forms the perfect antidote to all that city hustle and bustle with 170 hectares, plenty of wildlife and fresh air galore. Knockoff on time, stick a few of your favourite tunes in your ears and watch the sunset work its magic while you run some heart-pumping kilometres along Royal Park's winding, tree-lined running tracks. Trust us, you'll be reaping the benefits all week long. Image: cafuego via Flickr.
Melbourne's baking scene has gone from strength to strength over the past few years. While stalwarts such as Baker Bleu keep expanding, newbies such as Cheri in South Melbourne have launched to rave reviews. And the very best of the them all are gathering for a massive, one-day-only bake sale. Get along to Bechamel Studio in Northcote on Saturday, April 12, to discover their latest, greatest and tastiest creations. Look out for Akira Toyama of Collingwood's Japan-inspired Papirica Cafe; Audrey Allard of Northcote's Holy Sugar, famous for its delectable cakes; and Giorgia McAllister Forte of Monforte Viennoiserie in Carlton North, who's trained with some of the world's best bakers. Also on the program are Alice Bennett, Alisha Henderson, Grego Montalbán Sánchez (aka the Invy Baker), Michael James and Raymond Tan. What they have in common is an appearance in The Baker's Book, a brand new publication that celebrates Melbourne's bakers, featuring more than 30 chefs and 80 recipes. The bake sale will double as its launch, giving you a chance to recreate what you see (and taste) in the comfort of your kitchen. Entry is free but bookings are essential.
Introducing a must-do for dog owners who can't bear to be parted from their pooches: the Doggy Drive-In. Village Cinemas' trusty Coburg Drive-In is welcoming all doggos for a chill night out at the movies on Saturday, September 3. The flick your furry BFF will be watching? DC League of Super-Pets. Alright, so we can almost guarantee it won't be relaxing — no doubt the pups will run everywhere, sniff, snuffle, make friends, leave presents — and you won't have much time to sit and watch the film. But dammit, there'll be so many pats to deliver. So for those of you who love dogs and movies and solid date ideas and watching films in your car, this could be your perfect outing. As well as the advance screening of DC League of Super-Pets, which starts flickering at 6.30pm, there'll also be dog-friendly market stalls and pet caricatures. Dress your canine in its most adorable outfit and you can endeavour to win some prizes, too. Tickets cost $40–50 per carload, which includes your pet pupper and up to five people. And, for humans, there'll be bites to eat on offer via food trucks, plus the drive-in's resident diner. If you're keen to do a good deed as well, bring along a spare tin of pet food, or any dog treats, to donate to not-for-profit charity Pets of the Homeless — and you'll receive a free collectable DC League of Super-Pets toy.
Don't mess with Vin Diesel's on-screen family. Since 2001, that's been a basic cinema rule, holding hard and fast — and furiously, of course — in the Fast & Furious franchise. Back then, it didn't seem like a high-octane take on Point Break with a heap of extra Coronas and 100-percent more street racing would span ten sequels and a spinoff, and also become one of the biggest movie series there is. But here we now are awaiting the arrival of Fast X, and knowing that there's another flick to come after that. The saga's penultimate ride (well, supposedly) races into cinemas on May 18 and, after dropping a first trailer a few months back, it has just given audiences another sneak peek. All the essentials are covered, which really means Diesel (The Guardians of the Galaxy Holiday Special) glaring at everyone who threatens that brood, an ever-growing list of other famous faces, speedy-driving vehicles everywhere, ridiculous dialogue, OTT action setpieces and more than a few explosions. In Fast X, Dom's grandmother (Rita Moreno, West Side Story) joins the series — and so does his new nemesis Dante (Jason Momoa, Dune). The latter is going after the usual F&F crew to avenge his own blood, another franchise staple. He's on that quest because he's the son of Fast Five's drug kingpin Hernan Reyes (Joaquim de Almeida, Warrior Nun), which is a handy way go get him threatening Dom and company for slights against his own family. Seasoned viewers will remember that that's how Jason Statham's (Operation Fortune: Ruse de Guerre) Deckard Shaw originally came into these films. Accordingly, this new stint of ride-or-die, quarter-mile-at-a-time chaos can only be resolved by high-action stunts and ties back to past movies, as Dom faces off against Dante. Statham does indeed make an appearance, as he's done since Fast & Furious 6 and in spinoff Fast & Furious Presents: Hobbs & Shaw. Also featured are a whole heap of franchise regulars, such as Michelle Rodriguez (Dungeons & Dragons: Honour Among Thieves), Jordana Brewster (Who Invited Charlie?), Ludacris (End of the Road), Tyrese Gibson (Morbius) and Sung Kang (Obi-Wan Kenobi) as Dom's wife Lottie, sister Mia, and pals Tej, Roman and Han. And, Nathalie Emmanuel (The Invitation) returns as Ramsey, Scott Eastwood (I Want You Back) as government operative Little Nobody, John Cena (Peacemaker) as Dom's brother Jakob (see: Fast and Furious 9), Helen Mirren (Shazam! Fury of the Gods) as Deckard's mother Queenie and Charlize Theron (The School for Good and Evil) as criminal mastermind Cypher. Every F&F flick also throws new famous folks onto its road — and while sadly Keanu Reeves has yet to grace its frames to cement the Point Break ties, or Channing Tatum in a Magic Mike/F&F mashup that'd be a ridiculous dream, Fast X adds Momoa, Moreno and Brie Larson (Just Mercy). Also, while not a household name by any means, Leo Abelo Perry (Cheaper by the Dozen) joins the series as Brian Marcos, Dom's young son. As for how it'll all turn out when Fast X unfurls its wonders — in what's meant to be the first film in a two-part finale for the franchise, and what feels like it'll have to be a five-hour movie itself just to fit the entire cast in — the two previews so far are filled with chases and aerial feats, ample mentions of family, twist reveals and glorious F&F vehicular mayhem in general. Now You See Me and Grimsby filmmaker Louis Leterrier directs, fresh from helping make TV series Lupin such a hit, and also reteaming with Statham after The Transporter and The Transporter 2 back in the 00s. Yes, we'll count that as another F&F instance of family ties. Check out the latest Fast X trailer below: Fast X releases in cinemas Down Under on May 18, 2023.
What happens when a shared love of hip hop and Vietnamese fare inspires four young homies to open a restaurant? Well the result looks a lot like Queen Street's just-launched Homi Noodle Bar, a bold new venture from friends Thomas Ho (Richmond's Tho Tho), Brian Taing (Workshop Brothers), Jason Ngo and Hung Huynh. Having each grown up eating real, honest Vietnamese cuisine, the quartet were keen to show Melburnians a taste of Vietnam beyond the basic pho and rice paper rolls. And so was born the team's neon-clad, street art-heavy, hip hop-pumping noodle bar, Homi. Here, the menu nods to traditional flavours from both northern and southern Vietnam, tossed through with a few modern, Melbourne influences. That means treats like cornflake-coated prawn patty buns, chicken mien noodles and an amped-up beef trio pho, alongside the boys' riff on that Hanoi cult classic, bun cha. See also, a very sexy serve of potato gems, here laced with sesame mayo, tobiko and 'crack salt'. Things get even funkier come dinnertime, with dishes like coffee caramel beef ribs and a spicy steak tartare livening up a pre-noodle nibbles selection. While Homi is already trading, help welcome the restaurant to the neighbourhood by celebrating its official launch next Monday, September 18. The store will be handing out 50 free brioche rolls and 50 free noodle bowls between 11am-2pm. Now that's a lunch break situation to get excited about. Find Homi Noodle Bar at 2/190 Queen St, Melbourne, Monday to Saturday, or visit the eatery's website for further details.
Anyone can conjure up a weird and wonderful story. But, finding a tale that's not only astonishing and surprising but drawn from reality, linked to topical subjects and reflective of the world we live in — that's a particular art. Truth is stranger than fiction, after all, which seems to be the mantra driving the best documentary filmmakers. This year's Melbourne Documentary Film Festival demonstrates that idea in action, with a program covering everything from world-changing technology and polarising filmmakers to a just-graduated lawyer tasked with defending one of America's worst serial killers. Throw in acclaimed chefs stepping out of the kitchen, dogs roaming the streets of India and the intersection of glam rockers KISS with Japanese pop, and the scene is set for an eye-opening 12 days of factual cinema between Friday, July 19 and Tuesday, July 30. And they're just some of our ten picks from the fest's 112-film lineup. https://www.youtube.com/watch?v=hvohNgVWKvw TRUST MACHINE: THE STORY OF BLOCKCHAIN When he's not playing Bill to Keanu Reeves' Ted, Alex Winter has carved out a considerable documentary filmmaking career. Specifically, he's been unpacking today's technological landscape with Trust Machine: The Story of Blockchain. It not only follows in the footsteps of 2013's Downloaded and 2015's Deep Web but also marks the first-ever blockchain-funded, blockchain-distributed and blockchain-focused doco. All things cryptocurrency sit at its centre, including hacktivist and expert Lauri Love, who is fighting extradition for stealing data from US government computers. This isn't just a tale of blockchain's perceived negative side, however — it also shows how advocates are using it to make a difference. https://www.youtube.com/watch?v=puE32LuxPz4 ANTHROPOCENE: THE HUMAN EPOCH The fact that the planet has been changed by human civilisation is beyond debate, even if some factions of society like to pretend otherwise. Because seeing is believing, Anthropocene: The Human Epoch travels the globe to show just how we have forever altered Earth with our behaviour, waste and utter lack of care. A message like this can't be conveyed often enough; however, if you are feeling eco-documentary fatigue, filmmakers Jennifer Baichwal, Edward Burtynsky and Nicholas De Pencier amass an array of visually astonishing sights. Narration by Alicia Vikander also assists, putting everything into context. KISS VS MCZ Back in 2015, something strange hit the Japanese music scene — a collaboration between the immensely popular all-female Japanese idol group Momoiro Clover Z (MCZ) and face-painted 1970s-era US rockers KISS. This odd team-up resulted in a single as well as an accompanying video. It's all as offbeat as it sounds, with KISS vs MCZ delving into the story behind it. Music, of course, is the great cultural leveller, as Toru Tokikawa's film shows. You can indeed rock 'n' roll all night and revel in bubblegum J-pop all day, or so it seems in this entertaining music doco. https://www.youtube.com/watch?v=3962T4ZZyUI CIELO The wonders of the night sky brighten up the cinema screen in Cielo, which stares up at the darkened heavens from the Atacama Desert. The Chilean spot is considered on of the world's best place for stargazing — and if you've ever wondered why, or wanted to see for yourself but haven't been able to make the trip, then Alison McAlpine's eye-catching documentary is here to help. Through stunning images that ponder the space above our heads in detail, the film explores the stories and questions that such a location inspires, complete with assistance from observatory workers and folks who dwell in the desert. https://www.youtube.com/watch?v=wFhGpRJiC14 FUNKE What causes a hit chef to walk away from their career, especially when they're a pasta whiz in Los Angeles who's become the talk of the town? What motivates them to try again a few years later, singing the praises of handmade pasta in a tumultuous industry more obsessed with trends than age-old culinary arts? That's the tale told in food doco Funke, which hones in on its titular subject, as well as Evan Funke's various professional ups and owns. The usual advice applies, as it does to all cuisine and chef-centric films: don't watch it on an empty stomach. https://www.youtube.com/watch?v=AhS7bRwq4K8 SHARKWATER EXTINCTION In the sequel to his 2006 film Sharkwater, Canadian filmmaker and conservationist Rob Stewart once again tackles an important topic: shark finning. Something that the eco-conscious have rightly been rallying against, it involves the removal of a shark's fins — without which they can't swim properly, sink to the ocean floor and become prey for other predators. This time around, Stewart focuses on the industry driving the cruel trend, with his findings evoking well-deserved outrage. The film also acts as a tribute to the documentarian, who died while diving during the movie's production. https://vimeo.com/316360791 PARIAH DOG In one of the great animal documentaries of the past decade, Kedi dedicated its frames to the street cats of Istanbul, as well as the people who care for them. Pariah Dog is the canine-loving, Indian-set equivalent, following four men and women who look after the pups and pooches scampering around Kolkata. Prepare for more than adorable dogs, although you're guaranteed to get your fill of four-legged cuties. These pups, and the folks who devote their lives to their wellbeing, paint a vivid and intimate portrait of a thriving city — the kind of snapshot it is so easy to otherwise overlook. https://www.youtube.com/watch?v=DfXDJ5UA98M TEDDY PENDERGRASS: IF YOU DON'T KNOW ME During the late 1970s and early 1980s, Teddy Pendergrass achieved what no other male African American artist had before by releasing five consecutive platinum albums. That story alone — and the Philadelphia-born and -raised singer's early years and immense talent — is enough for one documentary. But, Teddy Pendergrass: If You Don't Know Me ventures further. In 1982, the R&B and soul star was paralysed from the waist down after a car accident, with the incident understandably changing his life. While this film is a tribute, it doesn't shy away from the darkness that clouds Pendergrass' immensely complicated tale. https://www.youtube.com/watch?v=6SIXHA7vQ4A&feature=youtu.be F*CK YOU ALL: THE UWE BOLL STORY When it comes to German filmmaker Uwe Boll, the title of this documentary really does say it all. Hardly the most popular or critically acclaimed director during his 32-feature career, Boll has always been determined to do things his own way. That attitude has resulted in widely derided movies such as the Rampage series, Alone in the Dark and BloodRayne, as well as petitions to stop him from making any more films. In 2006, he even challenged five of his critics, as well as fellow director Quentin Tarantino, to a boxing match. Now, Boll is a restaurateur. His is truly a strange story — as Sean Shaul's doco explores. JOHN WAYNE GACY: DEFENDING A MONSTER Based on the best-selling book of the same name, Defending a Monster spins a compelling true crime narrative, even if you think you've heard them all before. The documentary not only delves into the gruesome exploits of notorious serial killer John Wayne Gacy, who was convicted of killing 33 teenage boys and young men, but specifically focuses on his trial, which hasn't received as much cinematic attention. It also hones in on Sam Amirante, who was a fresh-out-of-school lawyer when he was asked by Gacy to defend him. The obvious question is why, of course. However, filmmakers Marc Menet and Scot Prestin find plenty more to query in this fascinating movie.
If anyone knows how to flip a burger, it's Raph Rashid, founder of Melbourne burger empire Beatbox Kitchen. The chef launched the business's first food truck back in 2009, so it's safe to say he's had a fair bit of practice. But he'll really be putting those skills to the test on Saturday, August 17, when he'll hosts his 24-hour charity flip-a-thon. Setting up shop at Beatbox's Sydney Road store from 11am, Rashid will be madly dishing up burgers for a whole day straight — all the way through till 11am on Sunday, August 18 — to raise much-needed funds for Youth Support + Advocacy Service (YSAS), a non-profit that helps vulnerable and high-risk young Victorians. To share the workload (and help stave off any RSIs), he'll be joined on the grill by some big-name mates. Catch Jimmy Hurlston of Jimmy's Burgers, Melbourne Food and Wine Creative Director Pat Nourse, sommelier and author Matt Skinner, skateboarder Casey Foley and renowned illustrator (and Rashid's wife) Beci Orpin. Beats courtesy of local legends such as DJ Chris Gill and Mzrizk will set the mood while you're tucking into a menu of freshly flipped Raph burgers ($13), cheeseburgers ($13), 'shroom burgers $12) and vege supremes ($14). All profits from the burgers flipped will go straight to YSAS. Can't make it? Show your support by sending some monetary love via the day's donations hotline. The Flip-A-Thon runs from 11am–11am.
This winter has already served up an array of art-filled festivals that transform outdoor precincts into immersive after-dark galleries filled with glowing sculptures. And the next one to add to your calendar is Emerge, which descends on the Mount Waverley Community Centre gardens this week. Illuminating the parklands each night from Friday, June 24–Tuesday, June 28, the free festival will see you wandering through a showcase of dazzling light works, projections, installations and performance art. Among them, catch a flock of large-scale lantern sculptures created by The Lanternist — 45 luminous likenesses of Aussie animals, from possums and platypuses, to echidnas and butterflies. There'll be performers twirling LED hula hoops, flashing mirrored suits, trailing bubbles and captivating audiences with breathtaking fire shows. And throughout the festival, a lineup of musicians will soundtrack the after-dark celebrations, including Jazz Party with their new-school take on RnB. [caption id="attachment_843754" align="alignnone" width="1920"] Lantasia by The Lanternist[/caption] Emerge will run from 5–9.30pm each night. Images: The Lanternist
Those lucky enough to have roamed the streets of Florence might just have come across Vivoli Gelato, a family-run coffee shop and ice-cream parlour that has stood the test of time since the 1930s. While the gelato is stellar, this bustling spot is best known for its square-cut affogato, with around 350 sold day in and day out. Now you can experience this renowned affogato without travelling to Italy, as ST. ALi has teamed up with Piccolina to serve its own version inspired by the original. With the collaboration recently extended to Friday, August 22, this square-cut affogato stays true to the classic recipe while adding a little of its own imagination. Featuring a careful balance of sweet, bitter, hot and cold notes, gelato is packed into a chilled cup before a neat square is carved into the centre. Then, a hot shot of freshly brewed ST. ALi espresso is poured into the middle, creating an eye-opening beverage. In fact, this might just be the first square-cut affogato sold in Australia. Going the extra mile, each location selling this tasty collab uses La Pavoni's timeless manual lever espresso machines to achieve a deep and clean espresso shot. Plus, you're welcome to choose any Piccolina gelato flavour to be flooded with coffee. Get one for $10 at ST. ALi South Melbourne and all Piccolina stores — or start booking your airfare to Italy.
If someone mentioned bubbles before 2020 hit, they were usually talking about baths, sparkling wine, gum or tea. For the past 12 months, however, the term has been on every hopeful holidaymaker's lips, referring to arrangements between countries that allow overseas travel in these pandemic-afflicted times. Since mid-2020, the big hope for Australians eager to head abroad while the international border is shut has been a travel bubble with New Zealand. That has actually been in place on and off since October, but only on a one-way basis — so New Zealanders can come to some parts of Australia, but not vice versa. There had been chatter that the complete trans-Tasman arrangement might come into effect in early 2021, allowing Aussies to jump across the ditch. It's now March, though, and that hasn't come to fruition as yet. So, the Australian Government has set its sights on a different location: Singapore. As confirmed by Deputy Prime Minister Michael McCormack on Sunday, March 14 on the ABC's Insiders, Aussies might be able to fly to the island city-state for a holiday by mid-year. "We're working with Singapore at the moment, potentially for a bubble in July," the Deputy Prime Minister said. "As the vaccine rolls out, not only in Australia but in more countries, we'll reopen more bubbles," he continued. If you're after more details, that's all that was discussed; however, The Sydney Morning Herald reports that Aussies would be permitted to go to Singapore for work or leisure. And, getting permission from the Department of Home Affairs — which is the only way you can go overseas at present while the nation's international border restrictions are in place — wouldn't be necessary. It'll only apply to folks who've been vaccinated against COVID-19, however. Singaporeans who've been vaccinated would also be able to travel to Australia, without undergoing the currently mandatory 14-day quarantine period. While the details are yet to be finalised, if the Australia–Singapore travel bubble comes into effect, it'll be great news for everyone that's been dreaming of overseas holidays since the pandemic began. At present, Australia's international border closure has been extended until mid-June, but airlines Qantas and Jetstar have begun selling overseas flights for trips from October onwards in the hope that the border will reopen by then. Qantas has also started trialling a digital health passport on repatriation flights, which allows passengers to provide proof that they've received a negative COVID-19 test result before flying — and will ideally note vaccination status in the future, too. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Via Insiders / The Sydney Morning Herald.
While Melbourne's burger obsession rages on, Dean Sholl's set out to reinvigorate our excitement for another bread-and-meat combo, and the underrated gem of classic Aussie fare: the humble steak sandwich. It's been a year since Scholl launched his first Empire Steak store on Little Collins Street, delivering an eatery dedicated entirely to what he calls the 'unsung hero' of our time. We're talking a menu of meaty sandwiches as good as any local burger creation, starring grass-fed porterhouse steaks, alongside extras like Asian slaw and char siu sauce, and shaved beetroot with egg and cheese. Now, the concept's heading south of the river, with Empire Steak opening the doors to its South Yarra outpost this week. Southside steak sanga fans will be able to get their hands on all the Empire Steak favourites, alongside lively new menu additions like The Scorcher — which comes with jalapeño, pickles, Sriracha and aioli — and The Smoko, featuring cheese, mayo, bacon and smoky barbecue sauce. The kitchen's also worked up a range of hearty steak salads for the gluten-free. To help launch its new Chapel Street digs, Empire Steak's giving away 150 of its The Opener sandwiches for free, next Wednesday, September 6 from noon. There is a catch though — to claim one you'll have to recite the first verse of Advance Australia Fair well enough to impress the Dame Edna Everage impersonator on site. Good luck, possums! Empire Steak launches at 592 Chapel Street, South Yarra, this Wednesday, August 30. It'll be open for your steak sanga fix daily, from 11am till 9pm. For more info, visit empiresteak.com.au.
Perhaps all this mushy pre-Valentine's Day hype only stands to enforce your new mantra: "I can buy myself flowers". Well, you can make those self-acquired blooms look damn pretty, too, thanks to social enterprise and floral delivery service The Beautiful Bunch. On Tuesday, February 14, it's spreading a little Valentine's Day self-love with a hands-on floral arrangement workshop at its Fitzroy North studio. So forget about a table for two and make a date with your creative side instead. Led by the group's expert florists, the two-hour class will guide you through putting together your own stunning vase assembly of fresh blooms. The $150 session also includes free-flowing rosé and a few snacks for added creative fuel. You can feel extra good about your evening's floristry pursuits knowing that you're helping support The Beautiful Bunch's work providing meaningful employment for young refugee and migrant women. And you'll have a gorgeous floral piece to take home as a reminder that you can indeed buy yourself some flowers.
What's better than indulging in a sweet treat? Indulging in one that gives back — and that's exactly what you can do with this exciting new collaboration. Social enterprise Two Good Co. is teaming up with Gelato Messina on an exclusive, Australian-inspired dessert range, the proceeds of which will be donated to aid women and children facing domestic violence and homelessness. From Monday, October 9, the Sydney-based food brands have launched a joint chocolate bar and a festive Christmas cracker, available nationally on the Two Good website and in-store at Messina outposts. Then, from Saturday, November 25, a limited-edition gelato flavour to pair with the chocolate bar will also be available alongside a bunch of gelato cart pop-ups across the country. This particular dessert will aim to raise awareness of a 16-day global initiative called the 16 Days of Activism Campaign, whose mission is to eliminate gender-based violence. "For this year's festive release, we wanted to create a truly immersive experience that enhances your holiday celebrations and leaves a lasting impact — for both our customers and our community," said Rob Caslick, Founder of Two Good Co. The epic collaboration will feature three enticing desserts, including an indulgent milk chocolate bar crafted by Messina chocolatiers — featuring dark chocolate and wattleseed brownie pieces and sea salt flakes throughout — alongside a Christmas cracker containing a voucher for a free Messina scoop and a limited edition milk chocolate gelato flavour aptly named Two Good to Miss, which also features the additions of sea salt with dark chocolate and wattleseed brownie pieces. The Two Good Foundation will power its missions to aid those in need, with 50 percent of the chocolate bar profits being reinvested into its core programs, while each Christmas cracker purchase will provide a much-needed meal to women and children in need. Every scoop of the 'Two Good to Miss' flavour will also contribute to the mission, as each scoop purchased will provide a free serving to women's refuge shelters. "It's not just about serving gelato; it's about serving love, support and hope to women and children in need. For every scoop sold, it's our way of wrapping them in love and letting them know they are not alone," says Messina's Siân Bishop. "[We want] to inspire our customers to engage in small acts of kindness during a time when some people need it most." Plus, there will be the aforementioned gelato cart pop-ups, called Scoops for Good, serving the limited-time gelato at Charter Hall office towers throughout Australia, as well as any participating Charter Hall retailers. But be sure to get in quick — the limited edition treats are only available online, in stores and at the pop-up gelato carts while stocks last. Head to the Two Good Co. website for more information on the social enterprise's collaboration with Gelato Messina.
"Know thyself" is an oft-repeated mantra, but how much do you really need to know? Thanks to advances in technology, people can now generate a whole heap of data about themselves that would have been unthinkable not long ago. If you've got a smart phone, you can already get apps to track your activity and sleep; and heart-rate monitors are just as likely to be worn by joggers as those in a hospital bed. Nike and Apple have already combined to offer Nike+ to the data-hungry running community, but the quantified self crowd will probably want more than distances and times. The yet-to-be-released data-tracking-bracelet from Jawbone (best known for wearable tech in the form of bluetooth headsets) is already causing quite a buzz. Up is more than just a sensor-packed piece of wrist-wear to catch all your data, it can send the numbers to your phone to be crunched, and come back with helpful health tips based on your recent activity. But be careful what you do with all that data! Some fitbit users have been sharing a little too much information — logs of their sexual activity have accidentally been showing up online. [via PSFK]
For the past 13 years, Qantas cabin crew have been dressed in Martin Grant's creations — French navy wool suits with a ruby-red vent, bold striped dresses and statement trilby hats — at airports worldwide. Now, Ballarat-born designer Rebecca Vallance is preparing to give Australia's flagship carrier a fresh look. Best known for her luxury cocktail pieces, Vallance started her namesake label in 2011 and debuted at New York Fashion Week in 2014. Since then, her collections have expanded to include categories like workwear and denim. This isn't Vallance's first collaboration with Qantas either — she's designed the business-class pyjamas for Qantas' recently-launched Project Sunrise direct flights to New York, a jersey-style navy set incorporating the airline's iconic kangaroo logo, a geometric heart motif and flight numbers QF3 and QF4. As the eponymous label grows globally — it's set to launch a modest clothing capsule in December with the Middle East market in mind — outfitting Qantas' 17,500-plus employees is just the lift-off it needs. The airline's employees are part of the design process, too. In January, it conducted a company-wide survey on the wearability of the current uniform, and the feedback will inform the redesign's fabric choices, fit and more. The project will also mark Vallance's first foray into menswear, and she's approaching it with practicality in mind. "I've been deep-diving into the staff — how they move, what they need. It's not like designing a normal collection. These garments have to withstand bending, lifting bags, and long flights," Vallance says in an interview with Vogue Australia. View this post on Instagram A post shared by Qantas (@qantas) Line up all ten of Qantas' past uniforms and you'd have a museum-worthy exhibition, with designs from fashion luminaries including Yves Saint Laurent and Emilio Pucci. Vallance hopes to carry on that legacy, this time with an emphasis on sustainability. She's exploring low-impact materials and ways to repurpose the uniforms when they reach their end of life. "Martin Grant did such a fantastic job with the current uniform, and I want to build on that. There have been incredible designers before me, who made iconic uniforms for their time period, so I hope to do the same thing, and that my uniform will last just as long when it's done, for the next 10 to 15 years, at least," she tells Vogue Australia. The new Qantas uniforms will be rolled out in 2027. Images: Qantas
Melburnians are pretty darn adventurous when it comes to food. They'll eat crickets on a salad, try salt-flavoured soft serve and even broccoli lattes. But, the city's new dumpling house takes things a few steps further. Setting up shop on Bourke Street, the neon-drenched Drumplings is the brainchild of Deon St. Mor, the mind behind beauty brand MOR Cosmetics and the now-closed rooftop glamping hotel St Jerome's. And it has more than a few surprises in store for local dumpling lovers, with a menu filled with some pretty wild, globally-inspired inventions. Here, classic Chinese creations like prawn and chive har gow, and soup-filled xiao long bao, sit alongside dumplings stuffed with fillings riffing on chilli con carne, cheeseburger, truffle mushroom and beef rendang. A chicken laksa version features braised meat, lemongrass, tamarind and coconut; while the 'fish n chips' number lists hoki, roasted chips, beer batter and vinegar salt among its ingredients. Team yours with a craft beer or alcoholic icypole, as you soak up the vibe of the equally bold space — think, palm fronds, hot pink floors and loads of high-energy prints. Drumplings is open at 227-229 Bourke St, Melbourne from 11am–8pm Monday–Wednesday, 11am–10pm Thursday–Saturday and 11am–6pm on Sunday.
It’s going to be a big year for exotic cuisine in Melbourne. We the people are a little tired of same-same Mexican food, don't really want to see another modern Vietnamese restaurant open, and, unfortunately, it's starting to feel like diner-style American fare has done its dash. Instead we're seeing an increase in Ethiopian, Eritrean and Moroccan restaurants serving their traditional dishes — and it’s an absolute delight because really, guys, there’s only so many times you can eat a cheeseburger without getting bored. Spencer Street’s newest establishment Pretty Mama is keeping the dream alive by bringing traditional Caribbean eats to the CBD. Officially called Pretty Mama Caribbean Grill Island Bar, the venue is set to open for business tomorrow, Tuesday, February 16. The restaurant-bar comes from an A+ team of Melbourne foodies, including Michael Cotter (of Gumbo Kitchen and Po' Boy Quarter), ex-Der Raum bartender Shae Silvestro and Warren Wu, who's worked at Rockpool and London's Pied a Terre. Chef Clinton Gresham (ex-Mamasita and Cobb Lane) has created a menu that captures the essence of Caribbean food and pays tribute to the influences from around the globe — think African, Spanish, French and English all rolled into one. Don’t expect a whole menu of various jerked meats; there’s a big influence on the grill and seafood, with complex and subtle flavour palates such as the wood-grilled lobster doused with champagne and saffron butter. But there's also jerk chicken. The drinks menu, as you may have guessed, is heavily influenced by rum. Caribbean rum (which is called rhum and distilled from sugar cane juice as opposed to molasses), French rum, Spanish rum — the whole gang's here. As well as your favourite rum-based cocktails, of course, like piña coladas and mai tais. If you're wondering how to get there — and how to get there quick — you'll have to trek down the Spencer Street end of the city, right across from Southern Cross Station. Pretty great, Pretty Mama. Pretty Mama opens Tuesday, February 16 at Watertank Way, 220 Spencer Street, Melbourne CBD. For more info visit prettymama.com.au.
When The Haunting of Hill House hit Netflix back in 2018, it left a strong impression. The horror show clearly had that effect not just on audiences, but on the streaming platform, even though it stepped through a once-off storyline. So, anthology series-style, the service is bringing viewers a follow-up — in the form of The Haunting of Bly Manor. As the name makes plain, an eerie abode definitely plays a very prominent part once again. Created and co-directed by filmmaker Mike Flanagan (Doctor Sleep), just like its predecessor, The Haunting of Bly Manor adapts Henry James' 1898 horror novella The Turn of the Screw. That means that it heads into gothic chiller and even romance territory; however, given that it's set in 1980s England, you can expect a few tweaks to that story. As both the initial teaser and the just-dropped full trailer demonstrate, the show's narrative kicks off when Henry Wingrave (Henry Thomas, Stargirl) hires an American nanny (Victoria Pedretti, Once Upon a Time in Hollywood) to look after his orphaned niece Flora (Amelie Bea Smith) and nephew Miles (Benjamin Evan Ainsworth). Her employment follows the death of an au pair, and her arrival at Bly Manor exposes the estate's centuries of secrets. If you're a fan of The Haunting of Hill House, you will have spotted that both Thomas and Pedretti return from that series, as do The Invisible Man's Oliver Jackson-Cohen and Gerald's Game's Kate Siegel — all playing different characters this time around. And, if you'd been wondering what you'll be watching to celebrate the spookiest month of the year — October, obviously — The Haunting of Bly Manor has you covered, as it'll drop on Friday, October 9. A word of warning: if you're not too fond of creepy dolls (are there any other kind in horror movies and TV shows?), expect to feel extra unsettled. Check out the full trailer below: https://www.youtube.com/watch?v=tykS7QfTWMQ The Haunting of Bly Manor will hit Netflix on Friday, October 9.
If you're a bit wary of technology's ever-growing influence in humanity's daily lives — be it artificial intelligence, streaming algorithms, social media, drones, augmented reality or online dating, to name just a few examples — then Charlie Brooker and Black Mirror might be one of the reasons. Since 2011, they've been spinning dystopian nightmares about what might happen as tech evolves. In plenty of cases, they've been satirising and interrogating innovations we use today, and what their next step might be. Yes, that makes Brooker the perfect speaker to get chatting at SXSW Sydney. Just days after the tech, innovation, screen, music, games and culture festival added Chance The Rapper to its list of headliners at its first-ever event outside of the US — celebrating 50 years of hip hop — it has now announced that Black Mirror creator Brooker is on his way to Australia as well. He'll hit Sydney during Sunday, October 15–Sunday, October 22 as part as a stacked lineup that also includes Coachella CEO Paul Tollett, Queer Eye star Tan France and Future Today Institute founder and CEO Amy Webb among its big names. [caption id="attachment_917939" align="alignnone" width="1920"] Netflix[/caption] "Having to quickly provide a personal quote for a press release about how excited I am to join the inaugural Sydney-flavoured SXSW event is exactly the sort of thing ChatGPT is for, but I've written this one myself because I still care about our species, dammit," said Charlie Brooker in a statement announcing his trip Down Under. "Although I initially misspelt 'inaugural' just then until I got corrected by a machine, so actually maybe we're just rubbish." "This tense love-hate relationship with technology is what Black Mirror is all about. That and stories about Prime Ministers and pigs. Anyway, I can't wait to attend and get so cowed by all the creativity and innovation on display that I go home feeling depressed and inadequate. I'm genuinely looking forward to it," Brooker continued. [caption id="attachment_917938" align="alignnone" width="1920"] Netflix[/caption] "SXSW Sydney seeks to offer unique perspectives of the future, making Charlie Brooker an ideal speaker for our event," added SXSW Sydney Managing Director Colin Daniels. "Black Mirror consistently leads the cultural conversation on what we face in the now or may confront in our future, offering a chance for reflection and change. Charlie embodies what attendees can expect from SXSW Sydney: creativity and innovation." Also on the SXSW Sydney lineup so far: a 700-plus strong bill of talent, covering over 300 sessions. The event will feature more than 300 gigs across 25 venues, too, and has been dropping its music highlights and must-attend parties since earlier in 2023. Its dedicated gaming strand will include a tabletop game expo. And, the SXSW Sydney Screen Festival will open with The Royal Hotel, and host the world premiere of Hot Potato: The Story of the Wiggles. The entire event — the festivals within the bigger fest, exhibitions, talks, networking opportunities and streetside activations — will happen within a walkable precinct in the Sydney CBD, Haymarket, Darling Harbour, Ultimo, Chippendale and more, with the SXSW Sydney's footprint operating as a huge hub. Venues named so far include Powerhouse Museum, ICC Sydney, UTS, Central Park Mall, the Goods Line Walk, The Abercrombie and Lansdowne Hotel. [caption id="attachment_911084" align="alignnone" width="1920"] Jane Greer[/caption] SXSW Sydney will run from Sunday, October 15–Sunday, October 22 at various Sydney venues, with the SXSW Sydney Screen Festival running from Sunday, October 15–Saturday, October 21 at The ICC's Darling Theatre, Palace Cinemas Central and more venues to be announced. Head to the SXSW Sydney website for further details. Charlie Brooker images: Michael Wharley. If you're keen to make the most of Australia's first SXSW, take advantage of our special reader offer. Purchase your SXSW Sydney 2023 Official Badge via Concrete Playground Trips and you'll score a $150 credit to use on your choice of Sydney accommodation. Book now via the website.
Have you ever noticed how trailers are almost exclusively narrated by men? Lake Bell has. Taking its title from those three iconic words which have set the scene in movie promos for decades, Bell’s directorial debut is an endearing indie comedy set in the world of Hollywood voiceovers — a selective, male-dominated industry for which the actress-cum-filmmaker exhibits both affection and justifiable disdain. Bell plays Carol Solomon, an underachieving LA vocal coach who spends her days teaching Hollywood actresses how to master complicated accents. Her real dream, however, is to break into voiceover, despite the protestations of her father Sam (Fred Melamed), a legendary vocal actor himself, who insists that the industry just “does not crave a female sound”. Taking its cues from the slacker comedies of Judd Apatow (Knocked Up) and company, In A World… moves at an unhurried pace, much more concerned with banter than plot. In addition to the smoothly voiced Melamed, whose delightfully pompous performance recalls his breakout role in A Serious Man, Bell’s stacked comedic cast includes Ken Marino as Sam’s sleazy heir apparent Gustav, Demetri Martin as Carol’s awkward romantic admirer Louis, as well as Michaela Watkins and Rob Corddry as Carol’s sister Dani and brother in-law Moe, whose marital woes Carol inadvertently aggravates. The entire cast operates at the top of their game. Yet it’s Bell who is undeniably the main attraction. As an actress, she imbues Carol with a disarming combination of gawkiness, determination and wit. As a director, she shows natural ability, capturing the less glamorous corners of Los Angeles with an unexaggerated lens. As a writer, she packs her script with hilarious rejoinders and snarky jabs at pop culture (the job for which Carol, Sam and Gustav eventually find themselves competing is the teaser trailer for the massive new Amazon Games quadrilogy about “fierce mutated Amazonian warriors battling clone prehistoric cavemen hybrids. It’s all based on the Prussian war.”) Better yet, amidst all the relaxed humour, Bell makes a genuine point. Chauvinism still runs rampant in our culture, perpetuated, at least in part, by the entertainment industry. In A World… sets its sights on the double standard — an explicit denouncement of Hollywood’s sexism in the third act is rather blunt, but perhaps bluntness is what's required. Bell’s own big-screen résumé to this point consists mostly of thankless rom-com bit-parts. It’s telling that it took a role she wrote for herself to finally give her the chance to shine.
On the page and on the screen, audiences know what's in store when Sydney-born and -based author Liane Moriarty's name is attached to a book or TV series. Domestic disharmony within comfortable communities fuels her tales, as do twisty mystery storylines. When they hit streaming, the shows based on her novels add in starry casts as well. Indeed, after Big Little Lies and Nine Perfect Strangers, it might come as a shock that Nicole Kidman (Expats) is nowhere to be found in Apples Never Fall, which drops its seven episodes via Binge in Australia and TVNZ+ in New Zealand from Thursday, March 14. The Australian actor will be back in another adaptation of Moriarty's tomes, also with a three-word title, with The Last Anniversary currently in the works. Fresh from an Oscar nomination for Nyad, Annette Bening is no mere stand-in right now. Where Kidman has co-starred with Reese Witherspoon (The Morning Show), Laura Dern (The Son) and Alexander Skarsgård (Mr & Mrs Smith), and also Melissa McCarthy (The Little Mermaid), Michael Shannon (The Flash) and Luke Evans (Good Grief), Bening is joined by Sam Neill (The Twelve), Alison Brie (Somebody I Used to Know) and Jake Lacy (A Friend of the Family). If Lacy's involvement brings The White Lotus to mind, he's again at home playing affluent and arrogant — but no one is on holiday in Apples Never Fall. Rather, in West Palm Beach, the tennis-obsessed Delaney family finds their well-off existence shattered when matriarch Joy (Bening) goes missing, leaving just a banged-up and blood-splattered bicycle, a strewn-about basket of apples and her mobile phone behind. Her adult children Troy (Lacy), Amy (Brie), Logan (Conor Merrigan Turner, Thai Cave Rescue) and Brooke (Essie Randles, The Speedway Murders) are worried, while husband Stan (Neill) first advises that his spouse is merely ill, a choice that does nothing to stop suspicion rocketing his way. In addition to charting the search for Joy, the Queensland-shot Apples Never Fall bounces through ample backstory. After its introductory instalment, each episode focuses on one of the family; across them all, the timeline is split into "then" and "now". It soon becomes apparent that the doting Joy and determined Stan were talented players, then established the Delaney Tennis Academy when his aspirations were cruelled by injury, and she sidelined hers to support him and have their kids. The entire quartet of offspring all pursued the sport, too, but not to the glory that the quick-tempered Stan always wanted for the Delaney name. The closest that he got was via a former pupil (Giles Matthey, Invitation to Murder) who went on to win grand slams long after Stan was his coach. Only months before Joy's disappearance, the couple retired, an adjustment that neither is taking to blissfully. Credited more than once by her children with saving them, Joy believed that she'd be able to become an even bigger presence in their lives when she had an influx of spare time. None are overly obliging. Raking in cash as a venture capitalist, and also divorcing the wife that his family all adored, Troy is busy — plus simmering with years of anger over his strained relationship with his dad. The new age-leaning Amy is struggling to ascertain where she fits in, with a string of different jobs and courses to her name as she rents a sharehouse from a guy in his 20s (Nate Mann, Masters of the Air). Logan now prefers working at a marina and doing yoga to the Delaney obsession, yet can't bring himself to skip town away from his relatives with his partner (Pooja Shah, Escape the Night). And Brooke has a post-tennis physical therapy service that's lacking clients, and is also having doubts about marrying her restaurateur fiancée (Paula Andrea Placido, The L Word: Generation Q). Another person looms large over the narrative: Savannah (Georgia Flood, Blacklight), who graces the Delaneys' doorstep fleeing from domestic abuse, or so she claims. Seeking shelter for the night swiftly turns into virtually moving in. Joy loves her company but her brood is sceptical about the newcomer's motives. As a result, what's happened to Joy isn't the sole question lingering over Apples Never Fall. Neither is why Stan is being so cagey and erratic about where she is and what he knows. Both through Savannah's easy immersion into the family, and also when the four Delaney kids only realise over lunch that their mother might've vanished — coming to that conclusion because none have heard from her, after each of them ignored her most-recent calls — it also sparks queries about this supposedly close-knit clan's seemingly perfect facade. That's also Moriarty's remit, unpacking lives that appear idyllic, only to prove a stark reality that everyone should know: that absolutely no one's is. It's also a whodunnit staple, given that nothing exposes cracks and flaws within the bonds of blood like the possibility that a murder could've occurred from within. Apples Never Fall has the right title for that train of thought, thanks to the proverb that its moniker is taken from. The show isn't pointing its fingers at Joy's children, though, but delving into the idea that how we see and interact with the world ripples downwards through families. Although obvious, the concept underscores a series where baggage and its pain are as inescapable as balls flung from an automatic machine. That Apples Never Fall's opening episode features apples literally falling demonstrates its willingness to make easy, overt and predictable choices; it isn't plot or thematic surprises that make this engaging viewing, but the performances that go with them. While showrunner Melanie Marnich (A Murder at the End of the World) frequently sticks with tropes, and with exposition-delivering dialogue as well — especially from the two detectives (Hightown's Jeanine Serralles and Sweet Tooth's Dylan Thuraisingham) on the case — the portrayals that populate the series are layered and grounding. There's nothing that astonishes among the show's character types, either; however, Apples Never Fall is well-aware that tropes and archetypes become just that because they spring from truth over and over. Accordingly, as set within a Florida-residing clan where tennis has always dictated the pace, the latest Moriarty-based page-to-screen effort fills its frames with figures who make expected moves — unshakeably so — while also examining why that's the outcome. As the Gold Coast, Brisbane's Queensland Art Gallery and more stand in for America, the minutiae is equally familiar, spanning unfulfilled dreams, weighty pressures, nagging resentments and taking people for granted, alongside envy, infidelity, and endeavouring to forge a sense of identity beyond the notion enforced by birth or marriage. From Bening in exceptional form as a woman coming to terms with everything that she's sacrificed to fit wife and mother roles, Neill also digging through haunting regrets, and Brie and Lacy in particular fleshing out parts that could've remained one-note in other hands, this cast is up to the task of cutting to the heart of this tale and its crucial relationships, and of Moriarty's recurrent fixations. The title is right: these apples never fall far from the author's template, but Apples Never Fall still makes for intriguing and quickly bingeable viewing. Check out the trailer for Apples Never Fall below: Apples Never Fall streams via Binge in Australia and TVNZ+ in New Zealand from Thursday, March 14. Images: Vince Valitutti and Jasin Boland/PEACOCK.
Whenever Dr Jane Goodall takes to the stage to look back on her career, fascinating tales follow. In Australia and New Zealand, that'll prove the case in 2024, when the English ethologist, activist and chimpanzee expert will return Down Under for her latest speaking tour. On her first visit this way since 2019 due to the pandemic, she's not only reflecting upon her work, however — she also has good news stories to share. It's been 63 years since Goodall volunteered to live among chimpanzees in Tanzania's Gombe Stream National Park, and since newspaper headlines were dismissive. Now, she's a pioneering primatologist who is world-renowned for her groundbreaking research, highlighting how closely connected humans are to our closest living relatives. Having dedicated the bulk of her life to her ongoing study, animal welfare in general and conservation, Goodall has lived a vastly fascinating existence, which she'll be speaking about in Perth, Adelaide, Melbourne, Sydney and Auckland. "I love Australia and New Zealand with its rich biodiversity and proud First Nations heritage", she said. "It will be tremendous to catch up with old friends and meet some of the young leaders making a difference through Roots & Shoots," said Goodall. Goodall's Reasons for Hope tour heads to Curtin Stadium in Peth on Tuesday, May 28; Adelaide Town Hall on Friday, May 31; Melbourne's Palais Theatre on Tuesday, June 4; Sydney Town Hall on Thursday, June 6; and SkyCity Theatre in Auckland on Monday, June 10. The session will feature a presentation and lecture by Goodall about her work, followed by a conversation between Goodall and a host, plus a Q&A. Topics certain to get a mention include just how revolutionary her findings were at the time — and the impact they still have now — as well as her connection with the resident primates of Gombe. You can also expect Goodall to discuss her subsequent efforts to fight against threats to African chimpanzee populations, such as deforestation, illegal trade and unethical mining operations. Indeed, wildlife and environmental conservation is the main aim of the Jane Goodall Institute, which she founded in 1977. The Jane Goodall Institute Australia and TEG Dainty are behind her 2024 Down Under trip. DR JANE GOODALL: REASONS FOR HOPE TOUR 2024 DATES: Tuesday, May 28 — Curtin Stadium, Perth Friday, May 31 — Adelaide Town Hall, Adelaide Tuesday, June 4 — Palais Theatre, Melbourne Thursday, June 6 — Sydney Town Hall, Sydney Monday, June 10 — SkyCity Theatre, Auckland Dr Jane Goodall's Reasons for Hope tour visits Australia and New Zealand in May–June 2024. Head to the tour website for further information, and for pre-sales from 10am local time on Tuesday, December 5, then general sales from 11am local time on Friday, December 8. Images: Michael Neugebauer / Tony Burrows / The Jane Goodall Institute.
Nothing in pop culture every truly dies, and that includes teen-oriented late 80s and early 90s-era sitcoms about high schoolers. Yes, more than three decades since it first hit the air, Saved by the Bell is returning to screens. Sure, you're now past the point of being able to watch it after school each day — but if you want to stream it when you get home from work, that'd be fitting. After initially running from 1989–1993, Saved by the Bell has actually popped up in several guises since. Two spinoffs arrived shortly after the original show, thanks to 1993–94's Saved by the Bell: The College Years and 1993–2000's Saved by the Bell: The New Class. And, it also gave rise to two TV movies: 1992's Saved by the Bell: Hawaiian Style and 1994's Saved by the Bell: Wedding in Las Vegas. Now comes a new series that's simply called Saved by the Bell, and also features some of the show's original cast members. That makes it a revival and a sequel, rather than a reboot or remake — although there's a new bunch of teens navigating high school, obviously. And while the likes of Elizabeth Berkley Lauren, Mario Lopez, Mark-Paul Gosselaar and Tiffani Thiessen all reprise their characters, they're either the parents or teachers of the series' new kids. Comedy veteran John Michael Higgins also features as Principal Toddman and, if you saw his last sitcom appearance, that's particular good news. Actually, it's a reunion with his Great News costar and that show's creator Tracey Wigfield, who is also doing the latter on the resurrected Saved by the Bell. Check out the trailer below: https://www.youtube.com/watch?v=O0uCr5-5p5Q&feature=emb_title Saved by the Bell starts streaming via Stan in Australia from Thursday, November 26. Details for New Zealand are still to be announced.
No one makes social satires like Boots Riley. Late in I'm a Virgo, when a character proclaims that "all art is propaganda", these words may as well be coming from The Coup frontman-turned-filmmaker's very own lips. In only his second screen project after the equally impassioned, intelligent, energetic, anarchic and exceptional 2018 film Sorry to Bother You, Riley doesn't have his latest struggling and striving hero utter this sentiment, however. Rather, it springs from the billionaire technology mogul also known as The Hero (Walton Goggins, George & Tammy), who's gleefully made himself the nemesis of 13-foot-tall series protagonist Cootie (Jharrel Jerome, Spider-Man: Across the Spider-Verse). Played with intensity by the inimitable Goggins, this head of "a modern computational instruments fortune" also publishes comic books about The Hero. In character, he dons a helicopter backpack to roam the skies and scour the streets for lawbreakers. He's also reminiscent of both Iron Man and Batman, and makes a target out of Cootie, his biggest fan, from the moment that the shy Black teen takes his first steps in the broader world at the age of 19. And, as he chats about creativity and its choices always being commentary, The Hero helps Riley stress a pivotal point. Knowing that all stories make a statement isn't just the domain of activists fighting for better futures for the masses, like himself, and he wants to ensure that his audience knows it. Streaming via Prime Video from Friday, June 23, with all seven episodes dropping at once, I'm a Virgo is a show with something to say, and forcefully. On the big screen, Sorry to Bother You was the same. They both share more than just a creator, purpose and stunning outcome, which Riley also wants viewers to notice. Again, he sets his scene in a science fiction-infused alternate version of Oakland. Once more, he takes aim at capitalism — and savagely — alongside the prevailing status quo around race, class and wealth. Crying out for justice and equality, he remains concerned about the way that corporations and their ultra-rich overseers wield their power, influence and fortunes to control everyday lives. Riley is angry again, too, and wants everyone giving him their time to be bothered — and he still isn't sorry for a second. With Jerome as well-cast a lead as Atlanta's Lakeith Stanfield was, I'm a Virgo also hinges upon a surreal central detail: instead of a Black telemarketer discovering the impact of his "white voice", it hones in on the oversized Cootie. When it comes to assimilation, consider this series Sorry to Bother You's flipside, because there's no way that a young Black man that's more than double the tallest average height is passing for anyone but himself. Riley knows that Black men are too often seen as threats and targets regardless of their stature anyway. He's read the research showing that white folks can perceive Black boys as older and less innocent. There isn't a single aspect of I'm a Virgo that doesn't convey Riley's ire at the state of the world — that doesn't virtually scream about it, actually — with this series going big and bold over and over. How does someone so towering exist for nearly two decades without attracting attention? Via a massive effort by his cautious uncle Martisse (Mike Epps, You People) and aunt LaFrancine (Carmen Ejogo, Your Honor). They've brought Cootie up in secrecy, promising that he can venture out when he turns 21, and endeavouring to instil a wariness about how the world will treat him because he's black and preternaturally lofty. "People are always afraid, and you are a 13-foot-tall Black man," says LaFrancine. "People are gonna try to figure out how to use you and, when they can't use you no more, they're gonna try to get rid of you," Martisse warns. But, like anyone that's only ever experienced life beyond their own four walls and canopy-hidden backyard through windows and television, Cootie is curious and sick of being cooped up. Thanks to TV ads, he also desperately wants a Bing-Bang burger. The first time he sneaks out, he's nicknamed "twamp monster" and goes viral. Next, he finds pals by reaching over the fence for a joint: the car-worshipping Felix (Brett Gray, Star Trek: Prodigy), laidback Scat (Allius Barnes, Cruel Summer) and fierce activist Jones (Kara Young, The Staircase). When Cootie finally tastes one of those coveted burgs, he swoons over Flora (Olivia Washington, Breaking), who works behind the counter and stands out with The Flash-esque super speed. Friends, fast food, falling in love: that's the coming-of-age path that I'm a Virgo charts, with the horoscope-abiding Cootie chasing adventure and attempting to work out who he is. Of course, most tales about teenagers discovering themselves don't also span giants, vigilantes, cults, streetwear modelling campaigns, shrunk-down people, stoner cartoons that incite existential malaise, odes to bass and rebellions for fair treatment, all while tearing into myths by spinning one, but Riley couldn't tell most tales even if he wanted to. What Riley can and does craft is potent, probing, playful and piercing — a wild and wonderful series that has everything on its mind, too, and is determined to be unlike anything else that's streaming. This may be another story about heroes and villains, aka popular culture's prevailing type of narrative at present. And, it might sit on the same platform as The Boys. And yet, it couldn't be further from the onslaught of caped-crusader universes that frequently fill screens. As it contemplates and agitates, I'm a Virgo eschews slickness for authenticity visually as well. Practical effects are everywhere, with forced perspective getting a heavy workout and sets boasting a handmade feel. Puppetry, miniatures, animation that'd look at home on Adult Swim: they're also part of the series' experience. Imagination reigns supreme in every image, and the lack of dull CGI is a genuine sight for sore eyes. Advocating for thinking and seeing differently is a task that I'm a Virgo adopts with the utmost seriousness, clearly, even as it constantly proves eagerly eccentric and sharply amusing. In other words, Riley is back doing what he does impeccably, but no one could ever accuse him of repeating himself. From racism and conformity to social hierarchies and capitalist domination, the parts of life that he's challenging demand continual scrutiny. Including exploited workers, violent policing and America's money-driven healthcare system that seems to regard living as a right only afforded those who can afford it, the distressing art-apes-life elements of I'm a Virgo's dystopian realm need interrogating in as many ways as possible. This won't be the last time that the filmmaker brings them to the screen, or champions a different way forward. Here's hoping that everything that follows — be it a second season of this or whatever Riley plies his talents on next — is as glorious and essential. Check out the trailer for I'm a Virgo below: I'm a Virgo streams via Prime Video from Friday, June 23.
UPDATE, April 21, 2021: A Simple Favour is available to stream via Netflix, Stan, Google Play, YouTube Movies and Amazon Video. A Simple Favour is an unashamed delight: a deliciously twisty mystery with the zest and kick of a strong gin martini (and the visible gloss and sparkle of one too). Based on Darcey Bell's 2017 novel of the same name, the film slings its thrills with an upbeat vibe from director Paul Feig, dynamic performances from Anna Kendrick and Blake Lively, plus a knowing but never mocking tone. It's the fun, fierce movie that Gone Girl might've become had it been vastly more playful, and boasts the flair that The Girl on the Train desperately needed. That's not a criticism of the former film, although it definitely is about the latter. If there's one thing that A Simple Favour knows above all else, it's how to turn a pulpy airplane read into an irresistible big-screen experience. Kendrick plays the widowed Stephanie, a perky, perennially helpful mum who lives for her young son. From overzealously signing up for every school activity that she can, to dispensing mothering tips on her vlog, she's a maternal wind-up bunny, to the point of ridicule by other parents (including Andrew Rannells as a snarky, scene-stealing dad). No one, including Stephanie, would've expected fashion executive Emily (Lively) to pay her any attention. The duo only start spending afternoons together downing cocktails and listening to jazzy French pop because their kids beg for a playdate. It's a chalk and cheese relationship, with Stephanie awed by her new pal's glamorous home, life and husband (Henry Golding), while Emily maintains an air of aloof, self-involved intrigue. Then Emily asks Stephanie to do her a simple favour, and nothing is ever simple again. One of Stephanie's video blogs kickstarts A Simple Favour, instantly revealing that Emily has disappeared. That's the film's basic premise — and when the movie fills in the gaps via flashback, it sets up one of its recurring motifs. As this sleuthing story slinks and snakes along a trail of gloriously unhinged developments, the truth proves slippery. Any good thriller involves duplicity, and all notable detective tales have their fair share of zigzags. Feig frequently serves up both while simultaneously fracturing the flimsy facade of suburban bliss, letting his characters spin their stories as his images expose the reality behind them. It's a technique that the filmmaker has cause to use often, and it adds to an enjoyably devilish atmosphere. Indeed, the director of Bridesmaids, The Heat, Spy and Ghostbusters might be in less overtly jokey territory than usual, but Feig's trademarks are all still on show. His latest female-focused flick throws women into a realm often populated by men, yet firmly retains its own personality. As the movie charts a knotty whodunnit narrative, it also follows its protagonists as they realise just what they're really capable of — be it nice or nasty. Furthermore, A Simple Favour brandishes a cutting, subversive sense of humour, while ensuring that viewers are always laughing with rather than at his on-screen ladies. Even when Kendrick is at her peppiest, and Lively at her most gleefully cunning, siding with the two is consistently on the cards. Whatever Stephanie and Emily get up to — and this is a film with a body count, oh-so-many deep secrets and more than 50 shades of darkness — the actors behind them are flawless. Kendrick nabbed an Oscar nomination for Up in the Air almost a decade ago, and Lively ruled New York's Upper East Side for six seasons on Gossip Girl, but here they're both given roles that are intricately attuned to their individual talents. That remains true emotionally as well as physically, with Stephanie a pocket livewire who's enthusiastic, awkward but never out of her element, and Emily seductive yet savage whether she's decisively making the perfect drink or devastating everyone around her with the sharpest of dialogue. Screenwriter Jessica Sharzer is in her element, too, even if a A Simple Favour doesn't initially seem an obvious companion to 2016's tech-savvy Nerve, her previous screenplay. Both movies share a knack for finding the sweet spot between the silly and sublime as their warped plots turns themselves inside out, A Simple Favour more successfully so. Sharzer's scripts veer into ridiculousness but float above B-grade schlock, and throw winks at the audience yet never act like the whole thing is just an ironic gag — although the source material assists considerably in this case. With help from Feig, Kendrick and Lively, the end result is slick, smart, slightly sleazy and ruthlessly entertaining, and remains thoroughly committed to making viewers eat up every moment. https://www.youtube.com/watch?v=UqsdrYBPjv8
Sometimes, it's the little things that motivate us. That's why we savour a coffee when we get out of bed each morning, and love a Friday afternoon drink after a week at the 9-to-5 grind. And, it can work when it comes to getting vaccinated, too. Indeed, plenty of companies have been offering up small rewards to encourage getting the COVID-19 jab — and, if you like your meals with a side of chips, Deliveroo is joining them. The delivery platform's vaccination incentive is open to everyone, but there's a big catch: it only kicks in when 60 percent of eligible folks in your state or territory have received both their COVID-19 shots. When that happens, Deliveroo will add a free large serve of fries to orders from Hungry Jack's and other participating eateries for three days — on the following Friday, Saturday and Sunday. Yes, you would like fries with that. You do need to order something to get the freebies, so you can't just get a large fries by itself without buying anything else. But, hey, free chips makes every meal better. And, it'll be added to your order automatically, so you won't need to do anything. Exactly when this giveaway will kick in around Australia obviously depends on vaccination numbers in each state and territory. Keen to keep an eye on vax rates? We've rounded up the websites helping you do just that. Deliveroo will add a free large serve of fries to each order from Hungry Jack's and other participating restaurants in a particular state or territory when that state or territory hits the 60-percent double-jabbed mark. For further details, head to the Deliveroo website.
As everyone takes on paleo diets and embraces kale and cacao like they're going out of style, it can be easy to forget the real purpose of good nutrition. No, it's not to impress people with buzzwords or nom on superfoods as a fashion statement — it's about your health and happiness. In an effort to bring this message back to the fore, Australia's first "happiness restaurant" has opened in Melbourne. With chemicals on their mind and delicious fruit on their plates, Serotonin Dealer has swung open the doors of their Madden Grove establishment, Serotonin Eatery, in Richmond. In case you missed that class in high school biology, serotonin is a chemical released by your body that produces the feeling of happiness. There a number of ways you can increase your serotonin levels — get a good night's sleep, maybe grab a little sunlight, cut down on your coffee and booze — but it's also got a lot to do with your food. Despite what you may secretly hope, a big binge at Maccas isn't going to make your body very happy. What we really crave is raw, chemical-free, plant-based foods. This is what Serotonin Eatery will be focusing on. "I don't believe in diets," says founder Emily Arundel. "I believe that everyone should just be aware of what they are putting into their bodies and make the right choices to lead a healthy life." Accordingly, Arundel's cafe will serve fresh juices, smoothies and fibre-rich treats for breakfast, lunch and weekly set dinners. But it won't stop there. With personal trainers and yoga instructors on site for daily morning classes, Serotonin Eatery will be an interactive, inclusive one-stop health shop — a welcome effort to curb Australia's climbing rates of obesity, depression and anxiety. Find Serotonin Eatery at 52 Madden Grove, Burnley. Open Wed-Fri 7am-4pm and Sat-Sun 8am-4pm. Images: Didriks via photopin cc, Serotonin Dealer.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=lZAQT0jTFuU AMMONITE Looking at an ammonite fossil is like putting your ear up to a seashell: in their ridged spirals, it feels as if a whole new world could exist. In the latter's case, each one is made from the remains of extinct molluscs from millions of years ago, and lingers now as a reminder of a different time and existence, its compact coils encasing all of its secrets. The striking specimens from the past provide the film Ammonite with its title, and with an obvious metaphor as well — but also an apt one that's brought to life with meticulous delicacy. In the second feature from God's Own Country writer/director Francis Lee, the two central characters in this patient yet always evocative 1840s-set romance are the product of centuries of convention and expectation, with society's engrained views about women both weathering away at them and solidifying their place. In a queer love story that once again arises organically in heightened circumstances, dives into a labour-intensive field with a resolute connection to the land, derives an elemental tenor from crucial locations, watches on tenderly as a new arrival upends the status quo and gifts two lonely souls a connection they wouldn't otherwise admit they yearned for, they're also as tightly wound as the historical remnants they tirelessly search for along the craggy, cliff-lined West Dorset coastline. Lee's impeccably cast, exquisitely acted, solemnly beautiful and moving film isn't just the lesbian counterpart to its predecessor, though. While the movies complement each other perfectly, Ammonite unearths its own depths and boasts its own strengths. Lee has made the concerted decision not just to focus on two women, but to fictionalise the relationship between real-life scientists who find solace in each other as they're forced to fight to be seen as anything other than housewives. Living in Lyme Regis with her ailing mother (Gemma Jones, Rocketman), Mary Anning (Kate Winslet, Wonder Wheel) is no one's wife, and doesn't want to be — but, working in the male-dominated realm of palaeontology, she's accustomed to being treated differently to her peers. As a child, she found her first ammonite fossil, which is displayed in the British Museum. Now scraping by running a shop that sells smaller specimens to rich tourists, she hasn't stopped looking for other big discoveries since. When geologist Roderick Murchison (James McArdle, Mary, Queen of Scots) visits Mary's store, however, he's after her services in a different way. In a casual reminder of just how dismissively women are regarded, she's asked to take care of his melancholic wife Charlotte (Saoirse Ronan, Little Women) while he travels abroad for work. Roderick thinks it'll be good for Charlotte to learn from Mary, to get outside daily and to have a sense of purpose, but Mary only agrees for the money. Read our full review. https://www.youtube.com/watch?v=JZQz0rkNajo THE DIG When Ralph Fiennes first trundles across the screen in The Dig, then starts speaking in a thick Suffolk accent, he's in suitably surly mode, as he needs to be. But, playing forthright and hardworking excavator Basil Brown, the adaptable Official Secrets, Hail, Caesar!, Spectre and A Bigger Splash star also flirts with overstatement in his initial scenes. Thankfully, he settles into his role quickly — and this 1939-set drama about an immense real-life archaeological discovery finds its rhythm with him. Hired by Edith Pretty (Carey Mulligan, Promising Young Woman) to burrow into what appear to be centuries-old burial mounds on her sprawling estate, Basil doesn't unearth any old find. His kindly employer has always had a feeling about the small hills on her property, she tells him in one of their friendly, leisurely chats, and her instincts prove accurate, sparking national interest. Adapting the 2007 novel of the same name by John Preston, this graceful movie explores Basil's dig, Edith's fight to retain both recognition and the items buried deep in her soil, her increasing health woes, and the keen excitement of her primary school-aged son Robert (Archie Barnes, Patrick). It also follows the circus that kicks up when the British Museum's Charles Phillips (Ken Stott, The Mercy) insists on taking over, and the love triangle that arises between his married employees Stuart (Ben Chaplin, The Children Act) and Peggy Piggott (Lily James, Rebecca) and Edith's airforce-bound cousin Rory Lomax (Johnny Flynn, Emma). Whether you already know the details or you're discovering them for the first time, The Dig tells an astonishing story — and while a mid-20th century archaeological dig mightn't sound like rich and riveting viewing, this fascinating feature proves that notion wrong. As well as its true tale, it benefits from two important decisions: the casting of Mulligan and Fiennes, and the involvement of Australian theatre director-turned-filmmaker Simon Stone. After the anger and raw energy of Promising Young Woman, Mulligan finds power in restraint here. Once Fiennes finds his knack as Basil, he's a source of stoic potency as well. Their scenes together rank among the movie's best, although, making his first movie since 2015's The Daughter, Stone ensures that even the most routine of moments is never dull. The Dig abounds with sun-dappled imagery of Suffolk fields, their green and yellow expanse being carved into one shovel at a time, but it's a gorgeously lensed film in every frame. Stone and cinematographer Mike Eley (who also worked on The White Crow, which was directed by Fiennes) rarely shoot anything within view in the expected manner, resulting in a movie that steps back into the past, chronicles an historical discovery, appears the handsome period part, yet also looks and feels fluid and lively as it ponders the reality that time comes for all things and people. Read our full review. https://www.youtube.com/watch?v=5-0w6yTt3lg MY SALINGER YEAR Cinema's recent obsession with JD Salinger continues, with My Salinger Year joining 2013 documentary Salinger, 2015 drama Coming Through the Rye and 2017 biography Rebel in the Rye. The reclusive The Catcher in the Rye author famously wouldn't permit his acclaimed novel to be adapted for the big screen, and that absence has clearly made the filmmaking world's heart grow fonder in the years since his 2010 death — although, in this case, Joanna Rakoff's 2014 memoir was always bound to get the movie treatment. In 1995, fresh from studying English literature at college and newly arrived in New York to chase her dreams, the wide-eyed aspiring scribe (Margaret Qualley, Once Upon a Time in Hollywood) takes an assistant job at one of the city's oldest and most prestigious literary agencies. Landing the role requires lying about her own ambitions, telling her new boss, Margaret (Sigourney Weaver, Ghostbusters), that she isn't trying to become a writer herself. (That's one thing the seasoned agent won't abide; another: any new technology beyond typewriters and telephones.) Joanna soon finds an outlet for her talents, however, when she's asked to reply to Salinger's fan mail. She's advised to send a generic response to the author's aficionados, as has always been the agency's policy, but she's moved to both secretly read and pen personal responses to them instead. French Canadian writer/director Philippe Falardeau's Monsieur Lazhar, from 2011, was one of that year's tender, touching and thoughtful standouts. But My Salinger Year, which opened 2020's Berlinale almost a year before reaching Australian cinemas, is far more perfunctory — making an interesting true story feel far more formulaic as it should. The filmmaker retains a gentle hand, fills his script with affection for the enthusiastic Joanna, and literally gives a voice to those who've been moved by exceptional literature, and yet the end result spins an adult coming-of-age story just pleasantly and affably enough, rather than strikes much of a lasting chord. It also feels slight while proving overstretched, making obvious statements about art and commerce, the past and the future, and the eternal struggle to maintain a personal-professional balance (with Salinger, or Jerry as Margaret calls him, weaved throughout each point). At the same vastly different junctures in their careers as the characters they play, Qualley and Weaver are the feature's obvious highlights, however. They're placed in a well-worn Devil Wears Prada-style relationship, but their back-and-forth provides the film with its spark (and, for Weaver fans, even recalls her Oscar-nominated supporting role in 1988 workplace comedy Working Girl). https://www.youtube.com/watch?v=35jJNyFuYKQ THE WHITE TIGER Adapted from Aravind Adiga's 2008 Man Booker Prize-winning debut novel, The White Tiger shares an animal metaphor in its name; however, it's another, about roosters and coops, that truly cuts to its core. Like poultry in a cage awaiting slaughter, India's poor are kept in their place as servants, explains protagonist Balram (Adarsh Gourav, Hostel Daze) in the pacy narration that drives the film. At the mercy of cruel and ruthless masters, they're well aware that they're being treated thoughtlessly at best. They watch on as others around them are stuck in compliant lives of drudgery, in fact. But, ever-dutiful, they're unwilling to break free or even defy their employers. That's the life that Balram is supposed to lead, and does for a time — after he ingratiates his way into a driver position for Ashok and Pinky (Bollywood star Rajkummar Rao and Baywatch's Priyanka Chopra Jonas), the American-educated son and New York-raised daughter-in-law of the rich landlord (Mahesh Manjrekar, Slumdog Millionaire) who owns his village and demands a third of all earnings from its residents. The White Tiger starts with a car accident outside Delhi involving Balram, Ashok and Pinky, then unfurls in flashbacks from a slick, unapologetic Balram in the future, so it's immediately apparent that he won't always be kowtowing to those considered above him in his country's strict caste system. It's also evident that his tale, as cheekily told via a letter penned to 2003–13 Chinese Premier Wen Jiabao, will take the audience on quite the wild journey. The White Tiger's framing device is a little clumsy, and its overt, blackly comic observations about the wealthy taking advantage of everyone they consider below them aren't new — but this is still a savage, compelling and entertaining film with something smart to say and an engaging way of conveying its central message. Thanks to 2005's Man Push Cart, 2007's Chop Shop and 2015's 99 Homes, Iranian American writer/director Ramin Bahrani is no stranger to street-level stories about everyday folks trying to survive and thrive under capitalism's boot, or to the twisted power dynamics that can ensue in society at large and in close quarters. Accordingly, he's a perfect fit for the material here, and brings a constantly probing eye to the narrative penned by his college classmate Adiga. Also ideal is Gourav. The actor is in excellent company, with Rao and Chopra Jonas each finding multiple layers in their characters' lives of privilege and eagerness to regard Balram as a friend while it suits. But as a bright-eyed but still calculating young man trying to work his way up in the world, and then as a cynical experienced hand who has seen much, endured more and knows how he wants the world to work, Gourav is electrifying. It's a performance that's bound to catapult him into other high-profile roles, and it's also the likeable and empathetic yet also ambitious and slippery portrayal this rollercoaster ride of a story hinges upon. Read our full review. https://www.youtube.com/watch?v=l7OVB-7gjJ0 MUSIC Sia isn't the first musician to try her hand at filmmaking. Music is barely a movie, however. As co-penned with children's author Dallas Clayton, the scantest of cliche-riddled, Rain Man-esque narratives is used to stitch together ten whimsy-dripping musical numbers — packaged as brightly coloured and costumed insights into the unique way in which the film's titular character sees the world, but really just lavish music videos to new Sia-penned songs performed by the feature's cast. And, awash in rainbow hues, surrealistic outfits and jerky, stylised dance moves, these frequent video clips are actually the most subtle parts of the movie. Sia's regular dancer and muse Maddie Ziegler jumps from the singer/songwriter's 'Chandelier' and 'Elastic Heart' videos to play Music, a nonverbal teenager on the autism spectrum, with such pronounced mannerisms that her performances feels like a caricature from her first wide-eyed stare. As the girl's just-sober, on-probation, much-older half-sister Zu (and acting in her first screen role since 2017), Kate Hudson stamps around with a shaved head that's supposed to signify the character's alternative credentials — and, as her character scowls about her new responsibilities to her sibling, drops phrases such as "people pound" and flits around town dealing drugs to fund her dream of starting a yoga commune, she's just as forceful. Music starts with its headphone-wearing namesake's daily routine, which has been carefully established by her grandmother Millie (Mary Kay Place, The Prom), and is maintained with help from the kindly local community. But then tragedy strikes, Zu is called in to look after Music, and she quickly establishes that she knows far less about what she's doing and about her sister than Millie's doting neighbours, such as boxing teacher Ebo (Leslie Odom Jr, a Tony-winner for Hamilton) and building mainstay George (Hector Elizondo, one of Hudson's co-stars in 2016's also abysmal Mother's Day). The movie might bear Music's name, but it tells Zu's story. Controversy swelled around the film when its first trailer dropped in 2020, with Sia called out for the fact that the neurotypical Ziegler isn't from the autistic community — and it shouldn't come as much of a surprise that the first-time feature director happily uses Music as a catalyst to spark Zu's growth, rather than as the movie's actual protagonist. Zu's journey involves learning not to resent her sibling or dump her on others (something that should be self-evident) and falling for Ebo, while Music becomes little more than her sidekick. By the time that Sia shows up, playing a version of herself and purchasing pills from Zu to send to Haiti as an act of charity, Music has already outstayed its welcome; however, her brief on-screen appearance hammers home not just the film's indulgence, but the fact that the movie is really just an advertisement for a concept album above all else. https://www.youtube.com/watch?v=XjLnk8YriCQ SHADOW IN THE CLOUD In Shadow in the Cloud, a passenger on a plane spies a gremlin peering at them from outside the aircraft — and science fiction fans will know that in 1963 with William Shatner, in 1983 with John Lithgow and in 2019 with Adam Scott, The Twilight Zone got there first. The second of those instances, in Twilight Zone: The Movie, was produced by filmmaker John Landis. In what's hardly a coincidence, the script for Shadow in the Cloud is co-credited to Landis' controversial son Max (Chronicle, American Ultra). Plenty of details have been changed here, with the second feature from director and co-writer Roseanne Liang (My Wedding and Other Secrets) set in 1943, primarily taking place on a B-17 bomber from Auckland to Samoa and focusing on Flight Officer Maude Garrett (Chloë Grace Moretz, Greta). From the outset, the film also endeavours to draw attention to gender politics. After its airborne scenes, it gets gleefully absurd, too. Still, after some initial intrigue, Shadow in the Cloud kicks into gear with a been-there, seen-that air that can't be shaken, even as the movie tries to fly into over-the-top B-movie territory. It doesn't help that, while endeavouring to mixing feminist sentiments with gonzo genre flourishes, it spends far too much time letting men voice their utter surprise that a woman could be caught up in this narrative. Those comments echo as Maude sits in the ball turret hanging beneath the aircraft. She's hitching a ride with an all-male crew (including The Outpost's Taylor John Smith, Hawaii Five-O's Beulah Koale, Love, Simon's Nick Robinson, Operation Buffalo's Benedict Wall and Avengers: Endgame's Callan Mulvey) for a secret mission that she isn't allowed to let them in on, and they're none too happy about the situation. So, that's the only space they're willing to give her. They're content to chatter away obnoxiously about her, though, and to dismiss her worries as hysterics when she spies a critter wreaking havoc outside. This part of the picture is enough to give viewers whiplash. In the tension-dripping creature-feature tradition, and as a Twilight Zone remake, Maude's experiences during the flight are the film's best. If her anxiety-riddled time with the gremlin had been stretched out to movie-length and packaged with example after example of how society overlooks women, they could've had real bite, too. And yet, the way the movie's sexist dialogue is used to make a girl-power point proves near-excruciatingly clunky and cliched, rather than clever or meaningful. Imbalance plagues the film over and over, actually — as evidenced in the 80s-style synth score that sounds great but doesn't quite fit, its constant tonal shifts, Moretz's performance, and the overall feeling that the movie thinks it has nailed the combination of out-there and astute. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26; and December 3, December 10, December 17, December 26; and January 1 and January 7. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky, The Furnace, Wonder Woman 1984, Ottolenghi and the Cakes of Versailles, Nomadland, Pieces of a Woman, The Dry, Promising Young Woman and Summerland.
Shopping for someone a little bit special? Is that special someone you? Fancy on Ferguson is a gift boutique, and the folks behind it certainly have an eye for elegant and beautiful brands. To start, you can freshen up your home with a lick of Jolie Paint and candles from Glasshouse. You can also browse Bodyography makeup and shimmery statement jewellery from Sybella, Carolee New York and Von Treskow. There are also fragrances from France and Italy, including perfume and body wash from Parfumerie Fragonard and Carthusia. It also stocks a small range of women's fashion, favouring flowing, silky fabrics and timeless styles and colours. As well as the store's staple brands, the Williamstown shop gets into the full swing of the holiday season, so you'll find the softest toys for kids, elegant decorations, cute gifts from Little Pink Fox and bangles from The Mindful Company.
Did you wear out many VHS tapes re-watching your favourite movies as a kid? Don't worry, you're not alone. There's a type of fanatical viewing that comes with childhood, as we immerse ourselves again and again in the stories that we love most. For Owen Suskind, however, this rite-of-passage ran even deeper. Diagnosed with autism at the age of three, Owen threw himself into Disney flicks. For him, they weren't just entertainment. They were a way of learning how to process the world. That's the real world narrative that Life, Animated explores — and the heart-warming details are worthy of an animated musical. When the documentary begins, Owen is 23 and getting ready to leave home, an achievement that family members credit to his singular obsession. As he grew up, titles such as The Little Mermaid, Aladdin and Peter Pan helped him understand those around him, giving him the tools he needed to forge a life of his own. Taking his cues from the best-selling book by Owen's father Ron, Oscar-winning director Roger Ross Williams (short documentary Music by Prudence) recounts this moving story, combining home video with new footage in order to chronicle both Owen's childhood and his big move into his own assisted-living apartment. As the film unfolds, Ron and his wife Cornelia step through their two-decade journey, while Owen offers his own thoughts on his favourite films and the role they played in his coming-of-age. Unfortunately, while there's plenty of emotion to be felt here, Williams doesn't trust the audience to feel it on their own. His filmmaking tactics are as heavy-handed as they are steeped in easy emotion, and as repetitive as Owen's own viewing habits. Not only that, but by including countless moments from the movies that Owen loves, Williams trades far too heavily on viewer nostalgia, rather than actually focusing on the true tale he's meant to be telling. As a result, Life, Animated also struggles with tone, wavering between compassionate and self-congratulatory. Interestingly, the documentary's most effective sections aren't the interviews or Disney clips, but animated recreations of the Suskinds' lives provided by artist Mac Guff. These moments convey the underlying sentiment with much more subtlety than you'll find elsewhere. A cautious comment by Owen's older brother Walter, worried about someday having to take responsibility for his sibling's care, also stands out. As magical as Mickey Mouse's output may be, reality still leaves a stronger impression.
In great news for online streaming fans who feel as though their options are limited now that Netflix has cracked down on that whole VPN thing, there's now another streaming service to add to your rotating repertoire. After quietly and somewhat inexplicably making their Prime Video streaming service available to Aussie customers in mid-November, Amazon has gone and made it all official, with the online shopping behemoth last night launching their film and television streaming platform in 200 countries including Australia and New Zealand. So if you signed up for a Prime Video account last month, it now has the offical stamp of approval from Amazon — but don't expect the number of titles that you can watch to change dramatically just yet. Amazon's first round of titles represent their efforts to dip a toe in the waters of online streaming, but the company still has to navigate around existing local rights deals for some of their original content. Basically, if it's already available on another platform — such as the most recent seasons of Mozart in the Jungle and Transparent, which are linked to Stan in Australia and Lightbox in NZ — then you won't find it on Prime. What you will find is an introductory deal of USD$2.99 per month for the first sixth months, with the cost rising to USD$5.99 monthly after that. And yes, Amazon is keeping their prices in US currency. So, go forth and stream, film and television fiends, whether car-focused banter on the highly anticipated The Grand Tour, catching up with the first seasons of Amazon Original Series such as Red Oaks and The Man in the High Castle, or diving through a host of movies takes your fancy. Next year, additional efforts such as Woody Allen's Crisis in Six Scenes, David E. Kelley's Goliath featuring Billy Bob Thornton, and Sneaky Pete, which is produced by Bryan Cranston and stars Giovanni Ribisi, will join the global lineup. Amazon Prime Video also boasts offline downloads, which Netflix only recently introduced. Alas, as for how you can watch it, you'd best get used to viewing on it on a phone or tablet (sorry, anyone who likes watching television actually on their television). At the time of writing, the service is supported by Android and iOS phones and tablets, plus Amazon's own Fire Tablets, but only on LG and Samsung smart TVs. For more information about Amazon Prime Video, visit PrimeVideo.com.
The New York City Public Library is one of the most instantly recognisable buildings in the world. The grand entrance to its marble halls has been guarded majestically by twin stone lions, Carrere and Hastings, for nearly a hundred years. This weekend, the building and the lions celebrate their centenary. Although it is the fifth largest library in the United States, to celebrate its centenary the Library is proving it’s more than just books. The Library’s artifact collection is absurdly steeped in historical importance and draws on four main themes - Observation, Creativity, Contemplation and Society - and includes items such as Charles Dickens’ letter opener, Charlotte Bronte's desk, Thomas Jefferson’s copy of the Declaration of Independence, Jack Kerouac's personal affects and Christopher Columbus’ first letter from the Americas. In recent years, the Library has come across hard times. Recently, New York Mayor, Michael Bloomberg has tabled over $40 million in cuts. Paul Gunther of the Huffington Post sees the greatest hurdle for the library as not budgetary but a question of relevance, stating that ‘the challenge for its second century is that this thriving architectural masterpiece not fossilize into merely an historic monument to some greater yet abandoned neo-classical past.’
There's no Academy Award solely for vocal performances. If there was, Lupita Nyong'o might've added another of Hollywood's prized statuettes to her mantle when the 2025 ceremony rolls around. A decade after taking home an Oscar for 12 Years a Slave, her first feature, and following standout work in everything from Black Panther and Us to Little Monsters and A Quiet Place: Day One since, she's the voice of Roz — short for ROZZUM unit 7134 — in the big-screen adaptation of Peter Brown's The Wild Robot. Unsurprisingly, she's marvellous and moving, taking viewers on an emotional journey even while playing a robot without facial expressions. When Roz is fresh out of the box, powering up on an animal-filled island devoid of humans in a futuristic vision of earth, Nyong'o lends her vocals to the perky Siri and Alexa peer that audiences will wish spoke back to them from their own devices. As the task-oriented mechanical helper learns that there's more to life than her programming — as she befriends a gosling that she names Brightbill (Kit Connor, Heartstopper) and a fox called Fink (Pedro Pascal, Drive-Away Dolls), too, and wins over other wild critters who are initially fearful of the metallic interloper — the warmth that begins to infuse Roz's tones couldn't feel more genuine. The Wild Robot doesn't only prove a gem thanks to Nyong'o's pivotal performance, but it wouldn't be even a fraction of the film that it is without her. In 2024, the actor has had two movies in cinemas. In A Quiet Place: Day One, speaking was one of the worst things that anyone could do. In The Wild Robot, Nyong'o's entire portrayal comes down to talking. "I love that you made that comparison. I hadn't even thought about it that way," she tells Concrete Playground when we point out the contrast, and also ask what she seeks out in new projects at this point in her career. "What gets me excited? I think about the character that I've been offered to play, and I think about what I will require to play the character — and what I could learn as well from playing the character, what I'm curious about. If the character makes me ask questions of the world and of myself and I'm excited to find out the answers, then I want to play that character," Nyong'o explains. When The Wild Robot came her way, she didn't say yes immediately, however. For Nyong'o, voicing Roz was always going to need to be a creative collaboration; just showing up to speak her lines and leaving it at that isn't how she wanted to work. "I don't know how to be just a voice for hire. I have opinions and I want to share them, and I want to make sure that the person I'm sharing them with wants to hear them," she notes. Nyong'o joined the film after meeting with director Chris Sanders and understanding his vision. "You shape these things together. You go on this journey together, and she is a creative force just like every other artist in this film, for sure," he tells us. "And I have to say, she's an absolute genius. Taking Roz apart bit by bit to understand her thinking kept me honest as a writer," he continues. The Lilo & Stitch, How to Train Your Dragon and The Croods director — and voice of Stitch — couldn't be more enthusiastic about the latest picture that now sits on his packed resume (also on his filmography from the 90s when he was starting out: production design on The Lion King, visual development on Beauty and the Beast, and story credits on both alongside Aladdin). Before signing on for The Wild Robot, Sanders describes himself as "book-adjacent" to Brown's illustrated tome, as his daughter had read it. "I saw it sitting around the house and I'd actually forgotten about it until the day I came into DreamWorks to look at what was in development. And there was the book, and they described it, and I thought 'that's the one I'm interested in'," he advises. As the feature's writer and director, he's crafted a version that takes inspiration from Hayao Miyazaki's enchanting Studio Ghibli fare, classics such as Bambi and the work of painter Claude Monet, too — and a gem for all ages. How does Nyong'o tackle a voice-acting part — and, whether she's seen on-screen or heard echoing from it, how does she find the right voice for a character? What kind of thinking and planning goes into expressing Roz's inner journey? How important was it to Sanders that the film didn't shy away from animals being animals, not just in appearance but also into recognising the food chain and cycle of life? We chatted with the pair about all of the above as well, and more, including how animated movies trade in big emotions —because we all have that flick, or several, that we'll never forget — and how that sits in your mind when you're making one. On How Nyong'o Approaches a Voice-Acting Part, Especially Playing a Character Without Facial Expressions Lupita: "I think the animators did a great service to Roz — and a great service to an audience — by not giving her facial features. Because then we stay truer to the fact that Roz is not a feeling entity. She is a robot and has a goal — she's goal-oriented and her goal, luckily, is to be of service to whomever purchased her. So that lends itself to kindness. And she's also very adaptable, so she's able to adapt to the behaviours and expressions of the wild animals that she is now living with. And through that, you can adopt sensibilities akin to emotional expression. I like figuring that out cerebrally. How do I play a character without emotions but still be able to convey a bunch of emotions, and then trust that an audience will project their emotions onto her? We are given that license because she doesn't have facial expressions, so she's not doing it for us. We were very much a part of the performance." On Finding the Right Voice for the Right Character Lupita: "It starts off with understanding the given circumstances of the character. What are the facts, right? And so for Roz, one of the main facts that was very important was that she is a programmed robot. That was very informativem and it led me to listen to automated voices like Siri and Alexa, the voices on TikTok and Instagram — they were an inspiration, their relentless, positive vibrancy was the inspiration there. For someone like Red in Us, I knew that there had been a strangulation at some point, and so that fed my imagination on what could that sound like if you were strangled. Things like that. Then I also work very closely with a vocal coach, and I worked with her on both Us and The Wild Robot, and that's really helpful to just externalise my ideas and make sure that I'm doing it in as healthy a way as possible to stave off injuries." On What Sanders Was Excited to Bring to the Screen in Adapting The Wild Robot Chris: "The story for sure. I've always wanted to do a robot movie. And the other thing that I never thought I'd get a chance to work on would be an animal movie like this. This is a lot like Bambi — the forest, the animals, the creatures. And it's a real forest, they're only slightly anthropomorphised. Bambi is a huge favourite. It always will be. One of the things I think that you cannot understate is the emotional power of that film. It has a staying power and a beauty that we wanted to emulate. Aspire to it, actually, is a better way to say it — that and the art of Miyazaki films. These are things that have a huge influence on us as animators and filmmakers. So we had big boots to fill if we were going to equal the power and the scale of those of those stories. Our animators really took to it, by the way. I didn't understand until they started working on the film the level of excitement that they had to do animals that were animals. That kind of movement, I guess, is really a huge thing for an animator. They're usually doing animals carrying cell phones and they have jobs, etcetera. Animals that are animals, there's a purity to the motion that I was really struck by. The animation went unusually quickly because of the lack of things, like jackets and coats and stuff. And so it was a joy to see all of this come to life day by day." On the Importance of Not Shying Away From the Reality of Animals Being Animals Chris: "It was critical because if there isn't consequence, then the story is just not going to work. We don't want to shy away from any of those things because we need that kind of ballast. I would actually harken back to things in The Lion King — if you don't have consequences, you're not going to have that emotional resonance, and I don't think you going to have a movie that works. So death shows up several times in this movie. The first time, of course, is the critical and pivotal event where Roz accidentally, quite literally, runs across this goose's nest by accident and that sets this whole story in motion. Later on, we revisit it, but we often revisit it with humour. We get a laugh out of it. It's a dark kind of humour, but boy is it effective. The animals on this island have programming, and that's the way that Roz looks at it. She's a creature of human programming, and she sees the animals as running programs as well. I thought that was a really interesting way to look at the world, and one of the load-bearing ideas and themes of the film is the idea that someday you may have to change your programming in order to survive. In our lives, we are creatures of habit, we resist change, and we may have to change the way we think. I think that sometimes we're so fearful of losing ourselves for some reason. I think we're very protective of ourselves. I can only speak for myself, but I get that — but whenever I've been forced to see things in a different way, I've been better for it." On What Goes Into Conveying Roz's Inner Journey Through a Vocal Performance Lupita: "I would say the intention was set at the beginning. Before I took on the role, I asked Chris why he thought I would be good for it, and he said he liked the warmth of my voice. So that was very good information for me, so that I knew what I had for free to offer Roz, and so that was where we would end up — that's the voice when Roz has taken on and embraced the role of mother most fully, that she sounds most like me. And then in the process, a two-and-a-half-year process, the script is developing, and along with it our understanding of who Roz is and how we experience her evolution is also developing. That was really quite technical, and we had certain markers, certain benchmarks for where the quality of my voice was shifting. And I did it quite technically, so it dials up in a way that when you're watching the performance is perhaps, hopefully, quite subtle and unnoticeable — until you meet the robots that are more like the other robots like her, towards the third act of the film." On the "Miyazaki by Way of Monet" Visual Approach to the Natural World Within the Film Chris: "All these things we've been talking about, what a perfect line of questioning actually, all these things are linked together like spokes of a wheel. I felt that it was absolutely critical, and I pushed very hard for this level of sophistication in the look of the movie. Think back to what we were talking about with Bambi, that level of sophistication, I felt, would make our audience see this film in the right way, if that makes sense. This is a film that kids will love. Kids should go see it. Families should go see it. But it's not a little kids' film — it's a film. And that's how Walt Disney looked at those stories as well, he always said so. So that level of sophistication helps us to get into the film in a certain way, and it really immerses us in a way that I've never seen a film like this accomplish. I have gotten so much feedback since we finished the film that it really blurs the line between a live-action film and an animated film, frankly, the way that you see it — and that was very deliberate. And I have to credit the artists and the incredible advances that DreamWorks had made technologically that allowed this look. The funny thing is all that technology opened this film up so that humans are more present than ever before. Literally everything is hand-painted. It would be as if I took out a brush and started painting dimensionally in space. That's exactly what they were doing. So there are no forms underneath the trees or the rocks. It's free handed. So the beauty that you get from that, there's no substitute for it. There's an analogue warmth that we reconnected with on this journey that we've taken through CG." On How Animation Allows Audiences to Have Big Feelings — and Thinking About That When You're Making an Animated Film Lupita: "You have to keep the audience in mind. One of the things that I remember us discussing, Roz has a lot of robotic language, just mumbo jumbo that she says — and you want to keep that in a way that allows for children to grow their vocabulary, and also a way for adults to understand and appreciate what she is saying. But you can't make it too difficult that you lose the children altogether. So those were fun workshops where we tried different words. I remember in the script, there was a time when a character asks Roz something and she goes 'hmm, let me see'. But 'hmm', that's a very human expression, and so I said 'processing' and everybody broke out laughing, and it became part of Roz's vocabulary. For children, that is perhaps maybe a new word — children never say processing, I can't imagine they do. But in that sense, you've expanded their vocabulary and stayed true to the character." Chris: "It's something I don't know if I'm really thinking about it, but in a sense I'm striving for it as I'm working on scenes. I'm scaling things. I think one of the neat things about taking a story like Peter Brown's to the screen is the potential for how big these feelings can be. I'm always going for audacity and scale. And I will run a scene over and over and over in my head, modifying it before I even commit anything to paper a lot of the time, until I'm feeling I've found every edge of the boundaries of that particular moment, and I've built it as large as it possibly can be. Because why wouldn't you, you know? Why wouldn't you? And then the really amazing thing is, I take it only so far, and then we have our actors and our and our animators — and eventually the cinematographer, the lighting, and then eventually Kris Bowers [who composed The Wild Robot's soundtrack]. I cannot overstate his contribution as well. I credit him for, I think, the gosh-darn best score I've ever heard in a movie ever." On What Nyong'o Makes of Her Career Over the Past Decade Since 12 Years a Slave Lupita: "I was sitting at the premiere of The Wild Robot at TIFF [the Toronto International Film Festival], and there was a moment, I think it was a moment when Brightbill is flying away and a feather floats into Roz's hands. And it's a very emotional moment within the story. But in that moment, I was just caught, I was struck by the truth that I have been living out my dreams and this project is another dream come true. I was just filled with gratitude, because not everybody gets to live out their dreams so exactly. And I've had that wonderful, wonderful privilege, and I just don't take it for granted. It's been deliberate. It's sometimes been scary. I've had to say no before I knew I could in order to wait for the project that felt like it would give me the kind of expansion I was looking for. And those times that I've said no have paid off. And looking at the last ten years, I'm very, very proud of the work that I've been able to do, and I look forward to continuing to live out my dreams one decision at a time." The Wild Robot opened in Australian cinemas on Thursday, September 19, 2024.
Maybe your house needs the kind of colour and flair that only art can bring. Perhaps you're keen on supporting artists. If the first applies, the second should as well. Whichever fits, one event has you covered without requiring you to bust your budget to enjoy art on your walls. Even better: Affordable Art Fair is doing the rounds of Australia's east coast again in 2025, including popping up for a four-day run in Melbourne in winter. Everyone should be able to fill their home with art no matter their bank balance. That's the idea behind this event, and has been since 1999. Back in the 20th century, Affordable Art Fair initially popped up in London to share eye-catching pieces with the world at manageable prices, and then started spreading its art-for-all ethos around the world. Clearly Melburnians are fans, given that it's returning again in 2025. This year, you'll be heading to the Royal Exhibition Building from Thursday, August 28–Sunday, August 31. On offer: original artworks by the thousands, with prices starting from $100. If you do happen to be flush with cash, however, costs will max out at $10,000 per piece. Alongside London and its three Down Under host cities, Affordable Art Fair has brought its budget-friendly wares to Brussels, Hamburg, Stockholm, Amsterdam and Berlin in Europe; Singapore and Hong Kong in Asia; and New York and Austin in the US. Unsurprisingly, democratising art has been proving the hit as Affordable Art Fair notches up the years. Up to 2024 across its stops worldwide since 1999, the event had sold 568,000 artworks at a value of over AU$820 million.
Concrete Playground is looking for a Digital Sales Manager to join the team on a part-time basis. The candidate will be responsible for selling online advertising inventory across Concrete Playground’s various city editions, and will bring with them a proven history in media sales and a healthy database of contacts at agencies and brands. The role requires a well-presented, self-motivated individual who exhibits initiative and drive to generate new sales. It is a part-time role that would suit someone who is seeking 8-24 flexible hours of work each week. Qualifications: • Bachelor’s degree or equivalent business experience Responsibilities: • Build bespoke sales, sponsorship & partnership proposals • Present our properties face to face, over the phone and email • Generate ad revenue via agencies and direct clients • Anticipate new growth areas to develop ad revenue Experience: • Has worked in a target driven media sales environment • A proven track record of producing significant revenue • Proven track record in building relationships that turn into sales • In depth knowledge and understanding of Digital Sales including display/video and Rich Media advertising across online and mobile • Grown and managed business relationships with key agencies and direct advertisers. • Ability to manage a self generated workload TO APPLY: Please direct resumes to hello@concreteplayground.com.au
Pointless, derivative follow-ups to profitable Hollywood films aren't exactly a recent concept. The first big-screen sequel can be traced back to 1916's The Fall of a Nation, which attempted to cash in on the popularity of D.W. Griffith's silent (and incredibly racist) epic The Birth of a Nation after it stormed theatres the year before. While in that case the sequel was a commercial failure, the seeds of soulless corporate greed had been planted. Suffice it to say, studio executives have been laughing their way to the bank ever since. So why the film history lesson? I guess it's to point out the fact that, even in the context of Hollywood's long legacy of artistic bankruptcy, it takes a particular brand of cynicism and greed to make a comedy sequel, about three working guys sticking it to The Man, for the sole purpose of exploiting the financial success of the original. The fundamental hypocrisy of Horrible Bosses 2 is staggering, although admittedly that wouldn't be nearly as much of an issue if the movie was actually, y'know, funny. Unfortunately, not even the proven chemistry of its cast can redeem this formulaic comedy con-job, one that's totally unworthy of your time and, perhaps more importantly, your money. Directed with barely a shred of visual personality by the same hack responsible for such yuck-fests as Sex Drive and the Adam Sandler statutory rape comedy That's My Boy, the second film in the Horrible Bosses please-don't-let-it-be-a-trilogy reunites idiot protagonists Nick (Jason Bateman), Kurt (Jason Sudeikis) and Dale (Charlie Day). This time out, they're their own bosses, until they make the mistake of partnering with a German businessman (Christoph Waltz) who swindles them for everything they've got. So they decide to kidnap his son Rex (Chris Pine), because after all, if the previous film taught us anything, it's that there a no consequences to your actions and that crime definitely pays. Bateman, Sudeikis and Day are all talented comedians, but there's only so much they can do with such a formulaic and puerile screenplay — incidentally, for any aspiring screenwriters out there, any time your opening scene steals a sight gag from Austin Powers: Goldmember, it's probably time to go back to the drawing board. The best moments in Horrible Bosses 2 have the feel of cast improvisation, but are few and far between. The same can't be said, unfortunately, of jokes at the expense of women, gay people and ethnic minorities, although to be honest these moments feel born more of laziness than genuine malice. Then again, on further reflection, that might actually be worse. Say what you will about the woeful sequels to The Hangover, but at least they were unrepentant in their nastiness. Horrible Bosses 2, on the other hand, manages to be both offensive and bland. The good news is that we'll probably only have to sit through two more sequels and a Jennifer Aniston spinoff before the whole thing finally goes away.
In a year already filled with huge tour news Down Under, Abel 'The Weeknd' Tesfaye dropping plans to hit both Australia and New Zealand before 2023 is out is up there with the biggest — and concertgoers clearly agree. The Canadian singer-songwriter and The Idol star only announced his Aussie and Aotearoa dates on Tuesday, August 22, and general tickets aren't due to go on sale until Friday, September 1, but he's already doubled the number of shows that he'll be playing in Sydney, Melbourne, Brisbane and Auckland. This arena spectacular will now play two nights apiece in each of the four cities across November and December, with the second dates immediately after the first in every spot. The extra gigs will join a tour that's been notching up soldout shows far and wide. In the UK, The Weekend saw 160,000 folks head to London Stadium across two nights, smashing the venue's attendance record. And in Milan, he became the first artist to sell out the Ippodromo La Maura for two nights. Those feats are just the beginning. In Paris, he scored Stade de France's biggest sales this year — and in Nice, the 70,000 tickets sold across his two shows are the most in the city's history. Will his Down Under dates add to his record-breaking run? Australia in particular has been loving the return of huge international tours. See: the Taylor Swift frenzy. And, if more shows are already being added to the 'Starboy', 'I Feel It Coming', 'Can't Feel My Face', 'The Hills' and 'Blinding Lights' artist's visit before the general on-sale date, fans are obviously mighty excited. The reason for the extra Aussie and Aotearoa gigs is the massive demand during the Vodafone pre-sale. And the reason for the whole tour, other than just because, is to celebrate The Weeknd's 2020 record After Hours and its 2022 followup Dawn FM. Obviously, he'll be playing tracks from 2013's Kiss Land, 2015's Beauty Behind the Madness and 2016's Starboy as well. In support across The Weeknd's four Down Under shows: Mike Dean and Chxrry22. The tour will help a good cause, too, other than your need to see The Weeknd live. The artist has been contributing funds for his shows to the United Nations World Food Programme's XO Humanitarian Fund, as one of the organisation's Goodwill Ambassador, raising over $1 million from his Europe run alone. THE WEEKND'S 'AFTER HOURS TIL DAWN TOUR' 2023: Monday, November 20–Tuesday, November 21 — Suncorp Stadium, Brisbane Friday, November 24–Saturday, November 25 — Accor Stadium, Sydney Friday, December 1–Saturday, December 2 — Marvel Stadium, Melbourne Thursday, December 7–Friday, December 8 — Eden Park, Auckland The Weeknd is touring Australia and New Zealand in November and December 2023. For more information, and for pre-sale tickets for the second shows on Thursday, August 31, then general tickets from Friday, September 1 — all at staggered times depending on the city — head to the tour website.
Anyone who has ever worked in hospitality will tell you the same thing about their customers: they're awful. For some cruel and arbitrary reason, all human decency tends to go out the window when someone is wearing an apron. Sure, this isn't true of all customers, but definitely an alarming majority. Now, a cafe on the NSW south coast is doing something to change the etiquette game. The Seven Mile Beach Kiosk in Gerroa has been displaying a sign for the past few months advertising cheaper coffee for polite people. "A coffee: $5. A coffee please: $4.50. Good morning, a coffee please: $4," the sign reads. Though intended as more of a gimmick than a serious rule, the sign does pose some interesting questions. Is this problem so bad that we actually need to introduce incentives for general manners? Owners of the cafe Kev Chilver and Kylie Pickett told the Daily Mail that they created the sign to curb some of the rude interactions (read: caffeine-addled demands) they were receiving from their customers. Apparently, despite living in a small town on an idyllic strip of surf beaches, Gerroa coffee-lovers are just as abrupt and demeaning as those in the major cities. "Common courtesy is ... becoming less and less common, and we're trying to bring it back," said Mr Chilver. "We are in service industry but we’re not servants. We deserve as much respect as anyone else." The cafe owners are not alone in this frustration. In fact, you might remember similar initiatives taking place in Europe last year. Last January, a photo from an cafe in Italy stirred up the initial buzz by offering a €2 discount to those giving proper greetings. The idea then reached France where a cafe on the Riveria knocked that discount up to €5.60 (FYI French coffee is crazy expensive). The story gained notoriety online, on television and in newspapers being shared tens of thousands of times; at one point a French government minister even spoke out in favour of the concept. While it's a lovely idea, it's also an easy way to get already grumpy customers further offside. It's not hard to see why most venues don't properly enforce the policy — I'd hate to be the person behind the till asking some rude dude to fork out more cash for his weak decaf soy latte because he didn't smile at me enough. That's just asking for trouble. We think the real solution is something bigger. At some point in everyone's life, they should be forced to work in the hospitality industry. Clearing plates, getting covered in warm frothy milk on a hot day, and having to slap that 'I'm actually dead inside' smile on your face all day will give you a lifelong appreciation of your wait staff. Failing that, you could just skip the years of grief and torment and just find it within yourself to be a decent human being to the guy making your coffee. Via Daily Mail.
Plastic straws are slowly but surely disappearing from venues across the globe — including plenty of switched-on bars and eateries here in Australasia. And now, even fast food giant McDonald's is taking a stand against single-use plastic straws, announcing it'll start phasing out the unnecessary drink accessories across its UK stores next month. According to Sky News, McDonald's hopes to reach a point where 100-percent of its packaging is recyclable, having already phased out polystyrene and foam. Although, the company is yet to find an alternative to its plastic drink lids. Its next move is to start trialling the use of biodegradable and recyclable paper straws, in place of its less eco-friendly plastic alternatives. McDonald's UK restaurants will also start keeping its straws behind the counter, making them available only upon request. With 90% of the UK's population indulging in at least one Macca's run a year, and the Marine Conservation Society estimating 8.5 billion single-use plastic straws are used annually across the country, this new initiative is no small win for the planet. No word yet on whether McDonald's restaurants in other countries will follow suit, though here's hoping we're not too far behind.
Can’t make friends? There’s an app for that. Do you find you’re too busy checking in and tweeting to meet actual people? Help is at hand. Agora, created at the first foursquare Hackathon by Pierre Valade, will find like-minded folk for you. The app finds people who are checked in near you, and then works out if you have common interests based on your Twitter feeds. It then sends you both a tweet suggesting you meet up, with a link to each other’s Twitter accounts so you can check if the algorithm’s compatibility score is on the money. Ingeniously, since the matching is done through Twitter, it can introduce you to people who don’t have the app themselves. Of course, it does mean you’ll have to stop posting all those ironic tweets about Justin Bieber’s haircut, otherwise you’ll end up being introduced to a busload of tweens. [via PSFK]
You can put a beloved animated series into cryogenic stasis, but someone is going to thaw it out one day. In Futurama's case, US streaming platform Hulu has announced plans to defrost the Matt Groening-created show about life in the 31st century, marking the second time that it has been brought back. Originally airing from 1999–2003, the futuristic animated series then returned from 2008–2013 — and now it'll be revived again in 2023. Obviously, in the words of Professor Hubert J Farnsworth: good news, everyone! Hulu has announced a new 20-episode run for Futurama, as well as the return of most of the original voice cast. That means that you'll be spending more time with Philip J Fry (voiced by Billy West), the 20th-century pizza delivery guy who managed to get accidentally cryogenically frozen on New Year's Eve 1999, only to defrost a thousand years later — and then get a job delivering packages with Planet Express, the cargo company run by Farnsworth, his distant nephew. It also means more antics with one-eyed Planet Express captain Turanga Leela (Katey Sagal); fellow company employees Hermes Conrad (Phil LaMarr), Amy Wong (Lauren Tom) and Zoidberg (also West); and everyone from self-obsessed starship captain Zapp Brannigan (West again) and his amphibious 4th Lieutenant Kif Kroker (Maurice LaMarche) through to scheming corporation owner Mom (Tress MacNeille). One key cast member who hasn't yet been confirmed for the Futurama revival: John DiMaggio, aka the voice of constantly sauced robot Bender Bending Rodríguez. Variety reports that it's still hoped that DiMaggio will return for this trip back to the animated future, but if that doesn't happen, Bender will be recast. Whoever will be exclaiming "bite my shiny metal ass!", Futurama will keep doing what it did hilariously well over its past seven seasons and four direct-to-DVD movies: peering at life in the year at 3000 and beyond in its offbeat way. "I'm thrilled to have another chance to think about the future... or really anything other than the present," said David X Cohen, Futurama's head writer and executive producer, in Hulu's announcement. "It's a true honour to announce the triumphant return of Futurama one more time before we get canceled abruptly again," added The Simpsons great Matt Groening. Viewers Down Under can likely expect to watch the new Futurama via Disney+, given that the Mouse House owns Hulu and airs Hulu shows in Australia and New Zealand via its Star expansion — but expect further specifics to be confirmed, alongside a premiere date, as 2023 approaches. New episodes of Futurama are set to air in 2023 — we'll update you with further details, including where you'll be able to watch Down Under, when they're announced.
The Harbour City doesn't lack art highlights all year, every year, but every two years the New South Wales capital plays host to the Biennale of Sydney. 2024 will be one such year, with a hefty lineup in store under the theme Ten Thousand Suns. Wondering where you'll be going, which artists will be providing works and what events you'll be hitting up? March might still be almost half a year away, but the Biennale has unveiled more 2024 details. Art fans had already learned that everything will revolve around Ten Thousand Suns next year. The first 39 artists that'll be reflecting on the topic had been named as well, and the fact that White Bay Power Station will open to the public for the first time in over a century for the Biennale had similarly been announced. Now comes more creatives, places and specific events, all taking over Sydney — and for free — from Saturday, March 9–Monday, June 10, 2024. [caption id="attachment_910495" align="alignnone" width="1920"] Mr. Cuddles Under the Eave (2021). Trevor Yeung. Pachiras, straps, 7 x 8 x 8m. Photography: South Ho. Courtesy the artist and Blindspot Gallery, Hong Kong.[/caption] Contributing pieces: 88 artists and collectives from 47 countries. Australia is represented, of course, as is everywhere from Aotearoa New Zealand, Indonesia, India and Japan to Ukraine, Brazil, Mexico, the UK and the US. International talents include Andrew Thomas Huang, Adebunmi Gbadebo, Pacific Sisters, Martin Wong, Frank Moore, Maru Yacco and Anne Samat. Among the Aussies: Gordon Hookey, Tracey Moffatt, Serwah Attafuah, William Yang, VNS Matrix, Kirtika Kain, Joel Sherwood Spring and Juan Davila. Also, 14 First Nations artists have been commissioned by Fondation Cartier pour l'art contemporain, one of the Biennale's partners, to make new works just for the event: Mangala Bai Maravi, Doreen Chapman, Megan Cope, Cristina Flores Pescorán, Freddy Mamani and Dylan Mooney, as well as Orquideas Barrileteras, John Pule, Eric-Paul Riege, Darrell Sibosado, Kaylene Whiskey, Yangamini, and Nikau Hindin in collaboration with Ebonie Fifita-Laufilitoga-Maka, Hina Puamohala Kneubuhl, Hinatea Colombani, Kesaia Biuvanua and Rongomai Gbric-Hoskins. [caption id="attachment_924219" align="alignnone" width="1920"] Ethics, 2021. Oil on canvas. Triptych: 244 x 183 cm; 120 x 120 cm; 244 x 183 cm. Courtesy of the artist and Milani Gallery, Meeanjin / Brisbane. Photography credit: Carl Warner.[/caption] Expect to enjoy Mooney's mural tribute to Malcolm Cole, the queer queer First Nations dancer and activist who created history by leading the first-ever Aboriginal float at the Sydney Gay and Lesbian Mardi Gras Parade in 1988 — and also Sibosado's riji (aka pearl shell) designs in neon. Both will feature at White Bay Power Station, as will VNS Matrix's exploration of women and technology via banners. Chau Chak Wing Museum joins the Biennale of Sydney footprint for the first time, which is where Mangala Bai Maravi and Wong will feature pieces — one continuing to preserve tattooing patterns used by her people, India's Baiga group; the other being celebrated posthumously with nine paintings that focus on queer sexuality, as well ethnic and racial identities. At White Bay Power Station and Artspace, Indigenous weaving and jewellery making will be in the spotlight via Riege. Also at the latter venue, Gbadebo will display new ceramic works that continue her interrogation of her family's past and America's history of slavery. And over at the Art Gallery of NSW, Hookey and Yacco will have works on offer. The lineup also spreads over to the Museum of Contemporary Art Australia, which is where pieces by Moore and Kain will feature — and to UNSW Galleries, where Sherwood and Elyas Alavi will be found. Whoever is showcased where, they'll be pondering heat, power, light, summer, joy, strength, the changing climate and everything else that the sun brings to mind. And, they'll be part of a lineup that also includes artist talks, art tours, workshops and more. Kicking off the 2024 Biennale of Sydney: Lights On, a concert at White Bay Power Station on Friday, March 8, with the Phoenix Central Park team curating an outdoor stage headlined by Charlotte Adigéry and Bolis Pupul. Vv Pete, UTILITY & Friends and DJ HALFQUEEN also feature on the bill, while roving performers will do the rounds and there'll be an indoor dance floor that uses a traditional Colombian picó sound system called El Gran Mono. [caption id="attachment_910498" align="alignnone" width="1920"] Cannot Be Broken and Won't Live Unspoken (2022) [installation view]. Anne Samat. Rattan sticks, kitchen and garden utensils, beads, ceramic, metal and plastic ornaments. Wall panel: 365.75 x 731.5 x 61 cm. Floor: 609.5 x 609.5 cm. Commissioned by the Kochi-Muziris Biennale. Photographer: Anne Samat. Courtesy of the artist and Marc Straus, New York.[/caption]"Ten Thousand Suns departs from an acknowledgement of a multiplicity of perspectives, cosmologies and ways of life that have always woven together the world under the sun. A multiplicity of suns conveys ambiguous images. It evokes a scorching world, both in several cosmological visions and very much in our moment of climate emergency," said 2024 Biennale of Sydney Artistic Directors Cosmin Costinaș and Inti Guerrero about the program. "But it also conveys the joy of cultural multiplicities affirmed, of First Nations understandings of the cosmos brought to the fore, and of carnivals as forms of resistance in contexts that have surpassed colonial oppression." "The 24th Biennale of Sydney works with these different layers of meaning, acknowledging the deep ecological crises derived from colonial and capitalist exploitation while refusing to concede to an apocalyptic vision of the future. The 24th Biennale of Sydney proposes instead solar and radiant forms of resistance that affirm collective possibilities around a future that is not only possible, but necessary to be lived in joy and plenitude," Costinaș and Guerrero continued. BIENNALE OF SYDNEY 2024 — ARTIST LINEUP: Adebunmi Gbadebo (USA) Agnieszka Kurant (Poland / USA) Agnieszka Polska (Poland / Germany) Alberto Pitta (Brazil) Andrew Thomas Huang (USA) Anne Samat (Malaysia / USA) Barrileteros Almas del Viento (Guatemala) Bonita Ely (Australia) Breda Lynch (Ireland) Candice Lin (USA) Chitra Ganesh (USA) Choy Ka Fai (Singapore / Germany) Christopher Myers (USA) Christopher Pease (Minang/Wardandi/Bibbulmun, Australia) Citra Sasmita (Indonesia) Cristina Flores Pescorán (Perú / Netherlands / USA) Darrell Sibosado (Bard/Noongar, Australia) Destiny Deacon (KuKu (Cape York) & Erub/Mer (Torres Strait), Australia) Dhopiya Yunupiŋu (Gumatj/Yolŋu nation, Australia) Diane Burns (Anishinaabe/Chemehuevi, USA) Doreen Chapman (Manyjilyjarra, Australia) Dumb Type (Japan) Dylan Mooney (Yuwi/Meriam Mir/South Sea Islander, Australia) Eisa Jocson (Philippines) El Gran Mono (Colombia / Australia) Elyas Alavi (Hazara, Afghanistan / Australia) with Hussein Shirzad (Afghanistan / Australia); Jimmy Hintons (Australia); John Hintons (Australia) and Alibaba Awrang (Afghanistan / USA) Eric-Paul Riege (Diné/Navajo, USA) Felix de Rooy (Curaçao / Netherlands) Francisco Toledo (Mexico) Frank Bowling (UK / Guyana) Frank Moore (USA) Freddy Mamani (The Plurinational State of Bolivia) Gordon Hookey (Waanyi, Australia) Hayv Kahraman (Iraq / Sweden / USA) I Gusti Ayu Kadek Murniasih (Murni) (Indonesia) Idas Losin (Truku/Atayal, Taiwan) Irene Chou (Hong Kong / Australia) James Eseli (Kala Lagaw Ya/Badhulaig, Torres Strait Islands, Australia) Li Jiun-Yang (Taiwan) Joel Sherwood Spring (Wiradjuri, Australia) John Pule (Niue / Aotearoa New Zealand) Josh Kline (USA) Juan Davila (Chile / Australia) Júlia Côta (Portugal) Kaylene Whiskey (Yankunytjatjara, Australia) Kirtika Kain (India / Australia) Köken Ergun (Turkey / Germany) Kubra Khademi (Afghanistan / France) Lawrence Lek (Malaysia / UK) Leila el Rayes (Australia) Mangala Bai Maravi (India) Mariana Castillo Deball (Mexico / Germany) Marie-Claire Messouma Manlanbien (France) Martin Wong (USA) Maru Yacco (Japan) Mauroof Jameel & Hamsha Hussain (Maldives) Megan Cope (Ngugi/Noonuccal, Quandamooka, Australia) Ming Wong (Singapore / Germany) Monira Al Qadiri (Kuwait / Germany) Nádia Taquary (Brazil) Nikau Hindin (Te Rarawa/Ngāpuhi, Aotearoa New Zealand), Ebonie Fifita-Laufilitoga-Maka (Fungamapitoa, Tonga, Aotearoa New Zealand), Hina Puamohala Kneubuhl (Kihalaupoe, Maui, Hawai'i), Hinatea Colombani (Arioi, Tahiti), Kesaia Biuvanua (Moce, Lau, Fiji), Rongomai Gbric-Hoskins (Te Rarawa/Ngāpuhi, Aotearoa New Zealand) Niño de Elche & Pedro G. Romero (Spain) Orquideas Barrileteras (Guatemala) Özgür Kar (Turkey / Netherlands) Pacific Sisters (Aotearoa New Zealand) Pauletta Kerinauia (Miyartuwi (Pandanus), Tiwi Islands, Australia) Petrit Halilaj (Kosovo / Germany) & Alvaro Urbano (Spain / Germany) Robert Campbell Jnr (Ngaku/Dunghutti, Australia) Rover Joolama Thomas (Kukatja/Wangkajunga, Australia) Sachiko Kazama (Japan) Sana Shahmuradova Tanska (Ukraine) Satch Hoyt (UK / Jamaica) Saule Dyussenbina (Kazakhstan) Segar Passi (Meriam Mir/Dauareb, Torres Strait Islands, Australia Sergey Parajanov (Armenia / Georgia) Serwah Attafuah (Ashanti, Australia) Simon Soon (Malaysia) Tarryn Gill (Australia) Te Whā a Huna (Tūwharetoa, Aotearoa New Zealand) Tracey Moffatt (Australia) Trevor Yeung (China / Hong Kong) Udeido Collective (West Papua) VNS Matrix (Australia) Weaver Hawkins (England / Australia) Wendy Hubert (Guruma/Yindjibarndi, Australia) William Strutt (UK) William Yang (Australia) Yangamini (Tiwi; Gulumirrgin; Warlpiri; Kunwinjku; Yolŋu; Wardaman; Karajarri; Gurindji; Burarra, Australia) The 24th Biennale of Sydney will run from Saturday, March 9–Monday, June 10, 2024. Entry will be free, as always. We'll keep you posted on the whole artist lineup and exhibition program when they're announced. Top image: Ngarrgidj Morr (the proper path to follow), 2022. Darrell Sibosado. Powder-coated steel, LED tubes, fittings, electrical component. 300 x 245 x 8 cm (each panel). Collection of The National Gallery of Australia. Photographer: TheNational Gallery of Australia. © Darrell Sibosado.
