It's been more than two decades since the Peninsula Hot Springs became one of Victoria's must-visit spots, especially if you enjoy getaways of the pampering, wellness-oriented and relaxing kind. Since then, the Fingal venue and its geothermal pools have become synonymous with blissful jaunts beyond the city. But in the coming years, it might become just one stop on a whole trail filled bathing spots — all thanks to the proposed Great Victorian Bathing Trail. First floated back in 2019, and set to gain its next new location mid-2022 when Metung Hot Springs opens its doors in East Gippsland — also stemming from the team behind Peninsula Hot Springs — the Great Victorian Bathing Trail is exactly what it sounds like. It'll span more than 900 kilometres along the Victorian coast, and have one big aim: linking the state's hot springs and other bathing spots into one must-trek route for folks fond of soaking away their woes. Also slated to join the trail: Phillip Island Hot Springs and Saltwater Hot Springs on Phillip Island, Nunduk Spa Retreat in the Lake Wellington part of Gippsland, 12 Apostles Hot Springs on the Great Ocean Road, Geelong Mineral Spa and the Eden project in Anglesea. The soon-to-launch Alba Hot Springs on the Mornington Peninsula is joining the lineup, too. Gippsland Regional Aquatic Centre in Traralgon will also feature, for fans of splashing around in a regular community pool, and so will Warrnambool's existing Deep Blue Hot Springs. [caption id="attachment_845455" align="alignnone" width="1920"] Peninsula Hot Springs, Visit Victoria[/caption] In other words, if you're keen to escape the big smoke and kick back in a body of water — steamy or cool alike — the Great Victorian Bathing Trail will help you connect the dots. The plan will see the route stretch from Portland in the state's southwest over to East Gippsland, and also include beaches along the way. The idea: to give Victoria a calming tourist attraction to rival hot springs and spa hotspots such as Beppu and Kurokawa in Japan, Guangdong in China, and the Nordic region's many go-tos — including in Iceland, Norway, Sweden, Finland and Denmark's Copenhagen harbour bath trail. [caption id="attachment_845443" align="alignnone" width="1920"] Peninsula Hot Springs[/caption] The numbers for Peninsula Hot Springs certainly give the concept plenty of hope, given that about 500,000 annual visitors make the visit to the spot. 2030 has been outlined as the ideal launch date — but, given that was the plan pre-pandemic, that timing could easily change. The good news is the Mornington Peninsula's new Alba Thermal Springs and Spa, which forms part of the trail, will launch in September and is already taking bookings. And while an exact date for Metung's midyear opening hasn't yet been revealed, hot springs fans can look forward to a multi-faceted attraction and wellness precinct with steamy thermal pools and sauna options. It'll encompass various hot springs bathing facilities at the main King Cove site, and also a spa relaxation centre and further hot springs constructed at the nearby King Cove Golf Club, all-around 3.5 hours out of Melbourne. And, there's set to be a glamping site as well. For more information about the Great Victorian Bathing Trail, head to the project's Facebook page. Top image: Peninsula Hot Springs, Visit Victoria.
Japanese and Peruvian cuisines have intertwined for over 100 years, leading to the creation of a new fusion cuisine known as Nikkei. It combines both cultures' produce and cooking techniques to craft new dishes and traditions that are bursting with colour and flavour. To celebrate this unique cuisine and teach Melburnians more about it, Hajime Horiguchi of Warabi and Alejandro Saravia of Farmer's Daughters (and soon-to-open Latin American restaurant Morena) have teamed up to create a ten-course Nikkei degustation as a part of this year's Melbourne Food & Wine Festival. Diners will head to Warabi (one of the best omakase restaurants in Melbourne) in W Melbourne (one of the best hotels in Melbourne) to try this one-off dining experience on Tuesday, March 19. For $300 per person, each guest will get a seat at the omakase bar, where they'll be served ten courses that have been dreamt up by both chefs. Those wanting paired drinks will also be given a few options, starting at $88 per person. Yes, this is not a cheap night out, but both of these chefs are known for serving up incredible food here in Melbourne. We have super high expectations when it comes to this one-off Nikkei collaboration. Top image: Dasha Kud
Sometimes, you just need to let go of the present and dive into a big dose of nostalgia. And if you spent any of your childhood grooving through the 90s, you're about to enjoy some serious retro goodness when Ego Expo brings the Throwback Lounge to the District Docklands precinct this month. Running every Friday to Sunday from Friday, August 5–Sunday, 28, this time-tripping affair is paying homage to the best bits of the 90s, with nostalgic eats, vintage games and more old-school pop culture references than you can shake a Discman at. Star of the show is the cereal bar, stocked with over 30 varieties of brekkie cereal from across the globe. An all-you-can-eat cereal session will set you back $39, and you can add toppings such as syrups, Nutella, marshmallows, fruit, crushed Oreaos and fairy floss for an extra fee. Other classic 90s eats include the likes of spaghetti jaffles, Pop-Tarts and Hot Pockets. Tinnies come courtesy of Urban Alley, alongside seltzers by 5PM. In between snacks, you can get your kicks with a few rounds of Playstation, Wii and Nintendo Switch, as well as iconic arcade favourites like Daytona, Street Fighter and Mario Kart, plus a stack of 90s board games. There's also a retail fashion pop-up dedicated to emerging designers, if you're in the market for some new threads. What's more, there's a program of themed happenings to sink your teeth into while the Throwback Lounge is in town — think: a celebrity e-games live-stream (Friday, August 26), a sneaker paint-and-sip session (Saturday, August 13), and even a mini music fest (Saturday, August 27). Entry to the Throwback Lounge is free, but you're encouraged to register online. There's also separate ticketing for the programmed events.
The end of the year is hurtling closer, which means it's almost time for the fleeting annual lotus flower season to kick off once again. And, for the Blue Lotus Water Garden to throw open its gates and show off its brand new blooms. Open to the public only from December 27 until April 22, the lush landscaped grounds boast a collection of ponds, lakes and lagoons, which all come alive for these few months of the year, jam-packed with thousands of flowering lotus and waterlilies. You can wander the gardens through the lotus-filled waterways and flower beds in full-boom, with over three kilometres of pathways to explore. See the stunning 500-metre-long Monet lake, carpeted with over 70 varieties of water lily — including a collection of the artist's original flowers — then wander over the Japanese Pond's red bridge to catch a glimpse of flowers spawned from one of the world's oldest known lotus blooms. There's even an onsite cafe and ice cream cafe to fuel your flower-filled adventures. Blue Lotus Water Garden is open from 10am–5pm, daily.
Plant-based kebab shop Kevabs is turning five this year and to celebrate, Angie Yaka's Brunswick eatery has unveiled a new special: the lamb steak kevab. And all day on Sunday, June 2, the meat-free wrap will be available for just $5. The meat-free kebab features a succulent juicy flavour and superb texture, perfect for those searching for a plant-based alternative. For those who have yet to experience Kevab, this Sydney Road spot showcases classic Turkish flavours via dishes free of meat, dairy, eggs, gluten, lactose, nuts and sugar. In addition to meat-free kebabs, gluten-free chips, vegan boreks, salads, baklavas, tarts, and Turkish tea are also on the menu. Be sure to mark your calendar for Sunday, June 2, and make your way to Sydney Road to get your hands around a $5 lamb steak kevab.
Its name might be a playful reference to its Brunswick East location, but that's not stopping long-running locals' haunt The B.East from expanding the family and opening a second outpost, this time in the heart of Fitzroy. Launching this February, The B.East of Brunswick Street is the latest venture from hospitality crew Cast of Falcons, who also brought you hits like Section 8, Globe Alley and Radar. It's dishing up the same burger-heavy food offering and raucous, rock 'n' roll vibes as its sibling, though with a few twists and surprises to suit its new northside home. Taking over the two-storey corner space most recently home to short-lived vegan joint Henry's, this new edition of The B.East is serving up a hefty lineup of burgers and sides, with plant-based options galore. You'll spy fan favourites like the southern fried chicken-loaded Clint Beastwood and the Filthy — a beef smash patty teamed with cheddar, house-made chilli paste, pickles and jalapeño aioli — alongside a handful of exclusive new creations. Vegan burger fiends can get excited for the likes of the mock fried chicken Bam Bam Buffalo number, and the Ad-Rock, featuring a Moving Mountains patty, maple facon, vegan cheddar, mustard and hickory barbecue sauce. The food is backed by a lineup of craft beers, local wines and fun cocktails. While the OG Lygon Street venue boasts a jam-packed program of live tunes, the music focus at Fitzroy is instead be DJ-driven. Regular crowd-pullers like trivia nights and competitions are also on the cards, with more details to drop later. We're crossing our fingers that new The B.East venue lasts a little longer than its Brunswick Street predecessors — in the space of just a few years, the site has been home to San Churro, US-inspired burger bar Chiquito & Co and Henry's, to name a few.
UPDATE MARCH 30, 2017: Suey Sins owner Eli West has responded by posting a statement on Facebook. Over the past week Suey Sins has been subject to criticism regarding its concept and theme. I acknowledge all of the raised concerns and feedback surrounding Suey Sins theming, as well as those who have voiced their opinions. I apologise unreservedly for any offence caused. I would also like to emphasise that it was never our intention to upset or offend. The theme and character Suey Sin is fictitious, however I understand that offence has been taken to image references made of Anna May Wong. Further, whilst I acknowledge there has been offence taken in regards to images of staff members wearing the traditional Qipao dress these were for our annual Chinese New Year party and opening week of trade. Circulating images portray only a small portion of our multicultural team. As a young female leading a predominantly female team the glorification and exploitation of women of any culture is not something I condone or intended in Suey Sins theming. The voices of those offended have been heard and as a team we will be taking action to remove image references of Anna May Wong. Due to the nature of the comments on the said original image of Suey Sins staff members, we did out of a duty of care for our staff remove the image from Facebook shortly after the comments no longer remained constructive In an increasingly globalised world, and multicultural society like Australia it is important we continue to share, embrace and exchange other cultures with one another, which is what Suey Sins sought out to do and will continue to do. Again, I sincerely apologise for any offence that has occurred. Should you wish to provide any further feedback of a constructive nature please continue to inbox these through. Thank you for your understanding. In the time elapsed between launching earlier this month and opening their doors this morning, Sydney cocktail bar Suey Sins has placed itself firmly at the centre of public debates surrounding cultural appropriation, deeply rooted racism, and media ethics. While the venue's owner, 25-year-old entrepreneur Eli West, has said that she was aiming for an "old world charm" theme, members of the public have struck out on social media, saying that the apparent "sexy, pre-war Shanghai" theme is nothing more than wanton cultural appropriation, and nothing less than subtle racism that ignores the dark reality of Chinese culture during the British colonial era. While West initially stated in one of the bar's press releases that she wanted to open a bar that "doesn't take it-self [sic] too seriously," public reaction has suggested that perhaps it would have been more prudent to take cultural appropriation at least a little bit seriously. While the Chinese mainland was never colonised by the British, the effects of imperialism shaped China's culture, especially in the wake of the Opium Wars, and the Boxer Rebellion. With particular reference to the bar's staff uniform (traditional qipaos/cheongsams), activity on social media, and the thematic styling of the venue, Suey Sins has been accused of "continuing negative colonial ideologies", and "racist fetishisation of a marginalised women [sic] for a dollar" on their Facebook page. Suey Sins' initial press release stated that the the name for the venue comes from a "famous Shanghai call-girl ... a quintessential icon of the 'Shanghai Naughties'." "I have spent most of my life travelling in Indonesia, and have some Chinese heritage and I like to think I may be related to a character very similar to Suey Sin," explained West in the same press release. "I love the idea of this seductive, alluring woman who had old world charm and poise but also knew exactly what she wanted and how to get it. I see a bit of that in myself and the young women who will drink here." Unfortunately, as Pedestrian reported yesterday, the search for the existence of a "famous Shanghai call-girl" called Suey Sin has been somewhat fruitless. Routledge Handbook of the Chinese Diaspora, edited by Chee-Beng Tan, suggests Suey Sin was a Chinese woman working in the film industry in Los Angeles in the 1920s. So, not pre-war Shanghai, or a 'call girl', but the timing is right. On the walls of the venue, there is also a collage of Chinese-American actress Anna May Wong who, during her illustrious career, was passed over for a role playing a Chinese woman by MGM in 1935 in favour of German actress, Luise Rainer. Compounding the backlash the venue has faced, management has taken to deleting negative comments and reviews from their Facebook page (a significantly problematic no-no), and offering a pallid ghost of an apology that focuses on their mission to "create a venue that focuses on delicious Asian fusion inspired street style food and creative beverages for all to enjoy". The apology doesn't touch on the issues with the thematics and styling of the venue from whence the backlash originated. From the mural (and bar logo) featuring a naked woman, to the implication that rampant prostitution that catered for increased global trade (and traders) in China at the time was "seductive" and "alluring", public opinion has been that the bar ignores the fact that portraying Chinese women as nothing more than sex objects is damaging to both Chinese culture, and to the cultural status of women. Here are the staff in their Suey Sins uniform: And, for the record, this is how the bar is marketing their menu on Instagram (and quietly, mie goreng is Indonesian. Mee goreng is the Malaysian spelling of an Indonesian dish, although the dish is, granted, derived from Chinese chow mein): MEE-please, MEE-so hungry, MEE-Goreng Spring Rolls! Another Suey Signature dish #sueysins A post shared by Suey Sins (@sueysins) on Mar 16, 2017 at 1:27am PDT Chinese history during the 1920s is not best characterised as "sexy" or "old world", but is instead more appropriately viewed through the lens of the warring political ideologies that shaped the country. In 1923, civil war started brewing as Chinese nationalists clashed with the growing Communist party. The civil war, in part, came about as a result of the power vacuum left by the abdication of the last emperor, Puyi, in 1912. The last Qing emperor's abdication led to decades of warlord factionalism and a civil war that technically still hasn't ended. It would be unfair and incorrect to suggest that West intended for her bar to offend, as it's always a bad business to open a venue that people won't like. However, considering the reaction the public has had, current debates surrounding the alteration of Section 18C of the Racial Discrimination Act, Hollywood 'whitewashing' in films such as Ghost in the Shell, and the misrepresentation of women in both media and society, offence has been caused and documented, despite the dubious strategy of removing negative comments on social media. At the time of writing, The Social Group, who runs the publicity for Suey Sins, informed us that the venue did not wish to comment at this stage. UPDATE MARCH 25, 2017: Routledge Handbook of the Chinese Diaspora, edited by Chee-Beng Tan, suggests Suey Sin was a Chinese woman working in the film industry in Los Angeles in the 1920s. So, not pre-war Shanghai, or a 'call girl', but the timing is right. This article has been updated to reflect this.
Two hefty names in 80s and 90s music. One massive visit to Australia and New Zealand. Pearl Jam have finally announced new Down Under gigs, as a leg on their Dark Matter tour to support their next album, and they'll have huge company thanks to Pixies. Eddie Vedder and Black Francis taking to the same stage? That'll make you feel alive and ask "where is my mind?". The Seattle-born Pearl Jam are the headliners, and about time; this is the band's first visit Australia and Aotearoa since 2014, on a tour that included the final-ever Big Day Out. They've been dropping clues for a while that they were heading this way again, complete with hints at Bondi Beach since the past weekend. Now, they've locked shows in Auckland, Melbourne, Sydney and on the Gold Coast. [caption id="attachment_940844" align="alignnone" width="1920"] Danny Cinch[/caption] Dark Matter, the band's 12th album, will release in April — which gives fans plenty of time to know it by heart before the group play Go Media, Heritage Bank, Marvel and Giants stadiums in November. The record's title track is a brand-new tune, just dropping on Tuesday, February 12. Live, that song and others from Dark Matter will feature on a setlist that's sure to span past hits 'Alive', 'Black', 'Jeremy', 'Better Man', 'Last Kiss' and 'Daughter' from previous albums such as the iconic Ten, Vs and Vitalogy from the early 90s, plus No Code, Yield and more since. [caption id="attachment_940849" align="alignnone" width="1920"] Wp72 via Wikimedia Commons[/caption] Pixies, who were last Down Under in 2022, are responsible for a helluva one-two punch with their first two albums: 1988's Surfer Rosa and 1989's Doolittle. The first gave the world the track that's been linked with Tyler Durden courtesy of David Fincher's Fight Club since 1999, aka 'Where Is My Mind?', as well as 'Gigantic' and 'Cactus'. The second is home to 'Here Comes Your Man', 'Monkey Gone to Heaven', 'Debaser' and 'Wave of Mutilation'. Foo Fighters, blink-182, Queens of the Stone Age, Tenacious D, now Pearl Jam and Pixies: it's been a great time of late for big rock tours in this neck of the woods. Pearl Jam Dark Matter World Tour 2024 with with Special Guests Pixies — Australia and New Zealand Dates Friday, November 8 – Go Media Stadium, Mt Smart, Auckland Wednesday, November 13 — Heritage Bank Stadium, Gold Coast Saturday, November 16 — Marvel Stadium, Melbourne Thursday, November 21 — Giants Stadium, Sydney Pearl Jam and Pixies are touring Australia and New Zealand in November 2024, with ticket registrations from Wednesday, February 14–Sunday, February 18 and ticket sales from Friday, February 23 — head to the Pearl Jam website for further details. Top image: Raph_PH via Flickr.
Melbourne's skyline is looking up, with the city gaining another huge tower that's not only the Victorian capital's new tallest building, but also the tallest residential building in the whole Southern Hemisphere. Named Australia 108, the Southbank building features 100 storeys soaring 319 metres high, which is more than 20 metres above the city's previous tallest building, the 88-storey, 297.3-metre-tall Eureka Tower. It comes just under Gold Coast's 332.5-metre-tall Q1, though, which still holds the title of Australia's tallest building. Designed by architects Fender Katsalidis, who also led the design of the Eureka Tower, together with World Class Global, the tower's apartments are currently three-quarters complete. The building also has a two-storey Star Club — within the protruding gold Starburst, inspired by the Commonwealth star on the Australian flag — which is home to two infinity pools, dining rooms, gyms and lounge areas. Apartments are split into the Sky Rise Residences (up to level 67) and the luxury Cloud Residences (from level 72 and above). But, they're going for a pretty penny. According to Realestate.com.au, the main penthouse sold for $25 and a two-storey apartment on level 90-91 was on the market for a bargain $10 million. The building officially took out the title as Melbourne's tallest building when it 'topped out' earlier this week, which means the roof is now complete. Australia 108 is slated for completion at 70 Southbank Boulevard, Southbank by the end of September, 2020. For more information, head to the website.
If trams are a part of your everyday commute, the concept might have lost its shine a bit. But get ready to rekindle the romance because there's a Yarra Valley getaway where you can spend the night in your very own, very comfy, refurbished 1930s-era tram. You'll find The Oaks located on two leafy acres in Lilydale, right at the doorstep of Yarra Valley wine country. The property boasts three accommodation options, including two quaint heritage-style cottages, but there's no denying the star of the show is Doris. She's an 86-year-old W Class Melbourne tram that's been carefully restored by her new owners and transformed into a cosy suite with space to sleep up to four. The fitout is cheerfully retro, with chequered floor and vintage furniture pieces, and vinyl tram seats in place of a couch. The two double bedrooms sit at either end in their own carriage compartments, while the outdoor deck areas have been designed to look like Doris has just cruised into the tram stop. She's held firmly onto her roots, too, decked out with plenty of yellow and green trimmings, and with her handles, poles and sliding doors kept intact. The tram's even sporting a fresh exterior paint job, resplendent in glossy green and yellow. Of course, guests won't be stuck dealing with 1930s-era mod-cons — the stay features all the usual luxuries, including air-con, heating, a full bathroom with proper shower and toilet, a TV, a kitchen and even an outdoor fire pit. Find Doris at The Oaks Lilydale Accommodation, 500 Maroondah Highway, Lilydale. Prices start from $450 per night for four guests. After more unique stays? Check out our roundup of extraordinary escapes around Australia.
It's been almost exactly six months since Australia's biggest shopping centre revealed plans for its new $70-million dining and entertainment precinct. And, while they didn't quite get their anticipated summer launch, those plans have now finally come to life, with Chadstone today cutting the ribbon on the 10,350-square-metre precinct it's calling The Social Quarter. Officially open to the public from Wednesday, March 1, the centre's newest addition spans a hefty 17 different entertainment offerings and dining destinations. Think of it as an eclectic playground of food and fun for visitors of all ages. [caption id="attachment_891174" align="alignnone" width="1920"] UA Brewery[/caption] Debuting as part of this week's launch are five brand-new bars and eateries, including a seventh outpost for beloved gelateria Piccolina and an all-day Euro diner from the Half Acre crew called Cityfields. Also in the mix: White + Wong's latest Asian fusion restaurant, complete with adjoining rooftop bar named Sardine, and a working brewery from UA Brewing (formerly known as Urban Alley). The latter will be producing beer especially for the precinct. [caption id="attachment_891176" align="alignnone" width="1920"] White + Wong's[/caption] These join other existing culinary offerings such as Mama's Buoi, Fonda and Betty's Burgers, and a more recent addition from David Mackintosh (co-founder of MoVida, Lee Ho Fook, Ides) in stylish Ligurian-inspired restaurant Cinque Terre. If you're here to unleash your playful side, you'll be spoilt for choice with no less than four new entertainment venues. Among them are outposts of Funlab favourites like Strike Bowling, Holey Moley and Archie Brothers Cirque Electriq, serving up a familiar offering of kidult fun. [caption id="attachment_891169" align="alignnone" width="1920"] Hijinx Hotel, by Eugene Hyland[/caption] Also making its home within The Social Quarter is Melbourne's first Hijinx Hotel — the lavish challenge room venue designed in a nod to The Grand Budapest Hotel and Willy Wonka's chocolate factory, which has proved a firm hit in Sydney and is soon set to launch in Brisbane, too. Here, you can sleuth your way through various mini challenge rooms while sipping inventive, eye-catching cocktails from the bar. [caption id="attachment_891167" align="alignnone" width="1920"] Archie Bros, by Eugene Hyland[/caption] Find The Social Quarter at Chadstone Shopping Centre, 1341 Dandenong Road, Chadstone, Victoria. Opening hours vary between venues.
Have you ever been interested in web development, or creating effective user interfaces and designs? Now's your chance to get a jumpstart on your dream career if so, because Concrete Playground has partnered with General Assembly to offer you the chance to receive a $3,000 scholarship to one of their upcoming courses in Sydney or Melbourne. The courses on offer include Front-End Web Development, which teaches you to design websites while learning the ins and outs of programming in HTML, CSS and JavaScript, and User Experience Design, enabling you to express online design ideas through sitemaps, userflows, and wireframes. If it sounds like something that interests you, click here to apply. Entries are due by Thursday, December 20 at 5pm.
Iconic Melbourne club New Guernica has a new Collingwood home, after moving out of the CBD in September. Owners Steve Costa, Dominic Lococo, Jaff Tzaferis and Kyle Bush hunted for a new location in the following weeks, and just last month announced they had found the perfect address in a historic venue on the corner of Smith and Langridge Streets. The site was the previous home to much-loved Foresters Beer and Music Hall, but its history dates back to 1868. Now the club has undergone yet another transformation, this time into a completely unique nightclub space featuring seven-metre high ceilings, a balcony high above the dance floor to see and be seen, as well as a world class lighting and sound system. But key elements remain from the club's old venue, including the recognisable trusty disco ball. And if the colour palette feels familiar, that's because the orange lighting and brass-topped bar were both inspired by Stanley Kubrick's The Shining. Spooky. Whether you want to boogie to some of Australia's most established electronic artists or catch some of the new up-and-coming talent on the scene, this will be the place to do it come the weekend. Iconic club night Guerns will continue its 12-year run on Thursday nights, including the famous $3.50 drink specials. Independent organisers like Novel, The Operatives, Thick As Thieves and Eat The Beat will run the party on Friday and Saturday.
Brazil certainly seems to have it going on at the moment. Not only are they in possession of the world's 8th largest economy and have come out of the GFC relatively unscathed, they are also playing host to the 2014 World Cup and the Olympics in 2016. Brazil is shaping up to be the place to be (or at least watch on TV) over the next few years. And if the winning design of the Rio 2016 Olympic Park Urban Masterplan is anything to go by, it looks like it is going to be quite an attractive place to be as well. Announced last week by the Brazillian Municipal Olympic Company and the Brazil Architects Institute, the Olympic Park's winning design by British firm AECOM combines both utility and aesthetics, providing a strong vision for the games, but perhaps more importantly, a strong vision for how the space can be strategically and sustainably used after the Olympics. Inspired by Brazil's rainforests and unique flora and fauna, the winning design consists of five villages, parks, sporting facilities and exceptional transport facilities. It also works with and protects the environmental features of the area, in particular a local lagoon. Brazilians have always had a reputation for knowing how to throw a damn good party. And with these designs they''ll have another great place to do it too. https://youtube.com/watch?v=JdLRuwczjwc
There are many reasons to thank Mike White, creator and writer of The White Lotus, for bringing the hit HBO series to our screens. Firstly, he's responsible for one of the best TV shows of late — a program that's weaponised luxurious settings, helped set travel itineraries, thoroughly eaten the rich, spun twisty murder-mysteries, and kept viewers guessing throughout each and every episode of two spectacular seasons. What else? He's brought cultural darling Jennifer Coolidge to her rightful place at the front of our consciousness — and the winning spot in awards season. The star of the show, she dazzled us in everything from American Pie and Legally Blonde to Promising Young Woman before she brought the cool, loveably clueless millionaire Tanya McQuoid to life. In huge news, on Saturday, June 10, worshipping the White-and-Coolidge pairing in the flesh is a possibility thanks to Vivid Sydney — and Concrete Playground Trips has an exclusive deal for you. First, the event details: the duo is coming to the Harbour City's Aware Super Theatre at the ICC Sydney for an exclusive in-conversation session moderated by Benjamin Law as a part of Vivid Ideas. As well as hearing about their careers and long friendship, you'll hear Coolidge talk about her time on The White Lotus, and White chat about the creation of the series especially for Coolidge: "Jennifer's the reason I did [The] White Lotus in the first place. I just wanted to write something for her, I just adore her," White told The New York Times. The exclusive Trips deal? Two tickets to Vivid Sydney's Mike White and Jennifer Coolidge in Conversation event on Saturday, June 10, plus a night at the lush Kimpton Margot in the CBD. That's one night to luxuriate into your inside look at this Hollywood pair's relationship before soaking up Vivid Sydney's bright lights and creative expression. So, whether you're a superfan of The White Lotus or simply witnessed the culture-altering effects of the show take shape, this Vivid Sydney session will have you immersed in a stellar friendship, creative storytelling, cultural commentary and the power of comedy. Mike White and Jennifer Coolidge in Conversation hits Aware Super Theatre at the ICC Sydney on Saturday, June 10. Take in the full Vivid Sydney experience with Concrete Playground Trips' exclusive event package, which includes two A-reserve or premium tickets to the in-conversation event and a one-night stay at Kimpton Margot (or another hotel handpicked by us). For more information, head to the website.
Make a trip to the Sunshine Coast for Yundina's annual Ginger Flower and Food Festival, taking place from Friday, January 17, to Sunday, January 19, 2020. The festival is three days of food, garden walks, floral displays, cooking demonstrations, talks, entertainment, market stalls and more, held each year among the sub-tropical gardens of the Ginger Factory. Rides, honey tastings, a boutique shopping village, a Buderim Ginger shop, play areas — and that's just the Ginger Factory on a normal day. Things are kicked up a gear for the festival, where you can learn about garden design, making honey, regrowing food from kitchen scraps, and how to keep that balcony garden of yours alive. It goes without saying that you'll also get to try a variety of sweet and savoury ginger-based creations, including a gingerbread parfait from the ice creamery.
Prepare to stare at the moon in all of its glory — up close, without a telescope and without zooming into space. Prepare to get excited about Marvel's latest Disney+ series, too, all at the same place. When you're releasing a streaming show called Moon Knight, bringing the moon to Australia — to Melbourne's Federation Square, to be specific — is one huge, eye-catching and attention-grabbing way to promote it. So, that's just what the Mouse House has done. Luke Jerram's Museum of the Moon isn't new to our shores, having popped up on the Gold Coast, in Sydney and in Melbourne before; however, this time it's here in the name of superhero worship. If you're new to the Museum of the Moon, UK-based artist Jerram's creation is a detailed installation that's suspended to look like it's floating — in this case, beneath Fed Square's Atrium. It measures seven metres in diameter and features renderings of the celestial body's surface based on NASA imagery, so it's as intimate and intricate a look as you're going to get without rocketing off to take one small step and giant leap across the real thing. The massive sculpture has been touring the world since 2016, displaying in New York, Hong Kong, Mumbai and plenty of spots around Europe. Adding its latest Melbourne stint to its orbit, it'll be on display from Tuesday, March 29–Friday, April 15. The looming artwork recreates the moon at a scale of approximately 1:500,000, with each centimetre equating to five kilometres of the lunar surface. And if you're wondering just how elaborate the 120dpi imagery is, the high-resolution NASA photograph that it uses is 21 metres wide, and was taken by by a satellite carrying the Lunar Reconnaissance Orbiter Camera. The spherical sculpture is lit from within, too, so it'll be adding a glow to Fed Square across its three-week stopover. It also combines its imagery and light with a surround sound piece created by composer and sound designer Dan Jones, and just how each venue displays it is up to them. Basically, it's never the exact same installation twice — so even if you've seen it before, it's worth a repeat visit. [caption id="attachment_716830" align="alignnone" width="1920"] Neil James.[/caption] Sadly, you won't find Oscar Isaac at the Museum of the Moon — but Moon Knight, the Isaac-led show that's inspired this lunar delight's latest Aussie installation, does hit Disney+ on Wednesday, March 30. The Dune, Scenes From a Marriage and The Card Counter star plays Steven Grant/Marc Spector, who has a dissociative identity disorder as well as a sleeping disorder, and also becomes the conduit for the Egyptian moon god Khonshu. Already dealing with multiple distinctive identities and not being able to tell the difference between being awake and asleep, his role as the moon god's offsider doesn't go down smoothly, unsurprisingly — especially when there's a sinister-looking figure played by Ethan Hawke (The Good Lord Bird) to deal with. Arriving more than a year into Marvel's new spate of Disney+ series, Moon Knight is the first one that doesn't overtly tie in with characters we've already seen in plenty of its past flicks. So, if it all sounds unfamiliar after the last 12 months or so served up WandaVision, The Falcon and the Winter Soldier, Loki and Hawkeye, there's a very good reason for that. Museum of the Moon is on display in Federation Square's Atrium, between ACMI and The Ian Potter Centre, 111 Flinders Street, Melbourne from Tuesday, March 29–Friday, April 15.
When South by Southwest revealed two key pieces of news back in 2022 — that it would be held outside of the US for the first time ever, and that it was heading to Sydney to make that happen — the end result was always going to be big. SXSW Sydney is still more than two months away, taking place from Sunday, October 15–Sunday, October 22, but it just keeps adding to its hefty lineup. The latest? Queer Eye star Tan France and Coachella CEO Paul Tollett as headline speakers. France joins the bill as part of SXSW Sydney's focus on screens. The Yorkshire-raised, fashion-loving star has plenty to talk about, including Queer Eye, his New York Times best-selling memoir, YouTube's Dressing Funny, fellow Netflix series Next In Fashion and his own gender-neutral clothing line. The screen fest within the fest is yet to announce what it'll be showing, but it also named filmmakers Leah Purcell (The Drover's Wife The Legend of Molly Johnson), Kodie Bedford (Mystery Road: Origin) and Jub Clerc (Sweet As) among its speakers earlier in July. Tollett clearly connects to SXSW Sydney's music festival, given that he has experience with one of the biggest such events in the world. As CEO of Goldenvoice, the promoter behind Coachella, he's also spearheaded the Stagecoach country fest — and he started his career in the 80s working in rock. Also joining the speaker lineup as a headliner Cal Henderson, who your workplace might owe a debt to. He's Slack's co-founder and Chief Technology Officer, and ties into SXSW's Sydney's technology strand. And, as already announced back in February, American futurist, The Genesis Machine author, and Future Today Institute founder and CEO Amy Webb is both a keynote speaker and headliner. France, Tollett, Henderson and Webb will feature among 700-plus speakers, and more than 300 panels and events, at the Austin-born festival's Down Under debut. So far, the fest has also unveiled a batch of music highlights and must-attend parties, plus details of its gaming strand, with more program details still to come. On the music front, over 400 artist performances will take over Sydney's venues, with the entire event happening within a walkable precinct in the Sydney CBD, Haymarket, Darling Harbour, Ultimo, Chippendale and more — aka a huge hub. [caption id="attachment_910712" align="alignnone" width="1920"] Brittany Hallberg[/caption] SXSW's setup includes packing festivals within the bigger fest, plus exhibitions, talks, networking opportunities and streetside activations popping up everywhere. So far, venues named include Powerhouse Museum, ICC Sydney, UTS, Central Park Mall, the Goods Line Walk, The Abercrombie and Lansdowne Hotel. Attendees can hit up the SXSW Sydney Conference, which is where those keynotes, presentations, panels, workshops and mentor sessions come in. And, there's the SXSW Sydney Technology & Innovation Exhibitions, which is all about innovative and emerging tech and entertainment companies from across the Asia-Pacific region. Plus, at the Startup Village, up-and-comers from all industries and sectors will have space to meet, present and chat. [caption id="attachment_910713" align="alignnone" width="1920"] Brittany Hallberg[/caption] SXSW's arts fests will span the SXSW Sydney 2023 Music Festival, which will be focused on live music venues in central Sydney — and the SXSW Sydney Gaming Festival, complete with more than 100 local and international independent games to play at venues (alongside demonstrations, launches performances, exhibitions and social gatherings). Movie and TV lovers, get excited — because the SXSW Sydney Screen Festival isn't just a film fest. There'll be flicks to see, including at red-carpet premieres; episodic content; and digital, XR and social content. Expect Q&As and panel discussions with the folks behind them as well. [caption id="attachment_910714" align="alignnone" width="1920"] Jordan Kirk[/caption] SXSW Sydney will run from Sunday, October 15–Sunday, October 22 at various Sydney venues — head to the festival's website for further details. Top image: Netflix. 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.
If you care about your 'do then hairdresser Leanne Peddle has got you covered at Henry Lee Barbershop — which may or may not be named after the Nick Cave & The Bad Seeds song. The place quickly became a local favourite soon after it opened and is known far and wide among well-kept northsiders as one of the best places to go when you need a precision cut, beard trim or an old-school shave with a refreshing hot towel. Customers are welcomed into the shop with a cold beer, and are charged based on hair length and service, rather than gender. The best part? Dogs are welcome, so your furry friend can come too. Image: Simon Shiff.
Australia's famed collection of oversized attractions has just gained a new addition, with the much-hyped arrival of The Big Melon in Chinchilla, Queensland. This latest 'Big Thing' takes the form of one very juicy looking watermelon, very much at home in the town long known as the 'Melon Capital of Australia'. Chinchilla's biennial Melon Festival helped rocket the town to victory in a recent nationwide competition by travel site Wotif, in the hunt to find the location and giant-sized star of the country's next 'Big Thing'. Following thousands of submissions from the public and a pretty fierce voting process, the Big Melon claimed victory over fellow sizeable finalists, Glen Innes' Big Kilt (NSW), Mittagong's Big Tulip (NSW) and the Big Peanut in the Queensland town of Kingaroy. Chinchilla's fruity new arrival clocks in at over three metres tall and almost nine metres wide, taking pride of place at the town's Visitor Centre. It joins a group of over 150 towering landmarks dotted throughout the country, from longstanding icons like the Big Pineapple (QLD) and Big Banana (NSW), to more recent additions including the Big Olive (SA) and the Big Ant (SA). The Chinchilla Melon Festival regularly pulls over 15,000 visitors from all corners of the globe, with the 25th anniversary edition happening from February 14 to 17, 2019. The event features a jam-packed program of melon-inspired revelry, from melon 'skiing' and a melon race, to a melon-eating competition and a melon bungee fling. There's even a festival weigh-in to find the area's heftiest melon — a title which looks to be a shoo-in for the town's new oversized landmark.
Peru-born Alejandro Saravia, the Owner and Executive Chef of Renascence Group (Farmer's Daughters, Victoria by Farmer's Daughters and Morena Sydney), has become a hugely successful chef in Australia. But Saravia didn't start his professional career in hospitality. He did always want to be a chef, yet he made a deal with his father when he was younger: to get a marketing and business degree, and eventually work in that space — leaving cooking as a hobby. This lasted for a while, as Saravia spent years at the likes of L'Oréal and Johnson & Johnson. Nonetheless, the call of the kitchen was too strong, and he eventually quit marketing to pursue the ambitious goal of running his own restaurants To achieve this, Saravia tells Concrete Playground, he made incredibly detailed plans from the outset — something he picked up in his brand management days — which included working at some of the world's best restaurants (learning from top chefs and owners), developing clear business strategies early on and putting in countless hours of hard work. During our long chat with Saravia, we learned that he does nothing on a whim. Everything is planned out (painstakingly so) and executed with the help of many other experts. This, he notes, is key to running successful restaurants. However, he believes many Australian hospo owners aren't running their businesses in this way, which is strongly contributing to the industry's failings. We sat down with Saravia to discuss what restaurants, cafes and bars need to do to survive these trying times — plus he shared more details on his new Morena Melbourne venues and the best advice he ever received. On the Melbourne Hospitality Industry's Collaborative Spirit "Melbourne is the epicentre of collaborations in Australia. The way the Melbourne hospitality industry works is based on collaborations. I think everybody's very open to receiving other people in their kitchens, in their cellars and in their restaurants. We want to show each other what we do because we're very proud of what we represent. I love collaborations and I will go out of my way to do them. I feel it's a really great way to exchange knowledge and experiences, and it works really well when you're trying to do new things." On Defining Contemporary Australian Cusine "I think that the narrative of tagging Australian cuisine has to change dramatically. Instead of focusing on the dishes, I think we should be focusing on the providence of the food. I'm not going to say 'sadly' because it is what it is, but in Australia, we don't have a dish that represents a region. I mean, a pie is a pie everywhere. They will have different versions, but it's not that there's a Tasmanian pie, there is a Victorian pie or even a Gippsland stew. And that's the problem we've been facing for a long time. We are trying to classify Australian cuisine, but at the end of the day, it could be passed as Japanese, southeast Asian or European cuisine. For me, it's what's in those dishes — and the provenance of the food — that matters." On the Need for Melbourne's Hospitality Industry to Be More Business-Minded "The industry is not broken. I think that there are some operators who are more resistant to changing their ways when faced with a situation where we are transitioning into a much more structured industry. I think, now, a lot of the groups that are growing, a lot of the restaurants that are opening and succeeding, are better and more professional. The advice is: don't cut corners, do your due diligence properly, and spend the money that needs to be spent in getting advice on HR, accounting and how to face a lease. It's like that in any other industry. You will not just go in blind and throw X amount of money to open a creative agency, right? Not knowing anything about how to run a creative agency, or at least half of a creative agency. There are also a lot of decisions that I would like to make that are a personal taste, but I don't for business reasons. I tell a few of my chefs that if you want to put caviar in every single dish, do it in your house. We need to make money here. So, there are decisions that sometimes go against your personal taste but they are guided by the market and what your clientele wants. Our industry is becoming more and more professional, and it's becoming more and more serious. That's a good thing." [caption id="attachment_964136" align="alignnone" width="1920"] Morena Sydney[/caption] On How Morena Melbourne Differs From Morena Sydney "I like to see the restaurants as a person. And I think that's probably something that I learned during my time at Johnson & Johnson. They started developing a product, and then the product has a person's name and it has a personality — representing a person who the customer wants to be a friend with. With the restaurant, I see the same. I like to give them a female personality because that's the warmth and personality that symbolises hospitality for me. The Morena in Sydney had to embrace that Sydney vibe, personality and charisma. If we wanted to replicate the same concept in Melbourne, it would have clashed because Melbourne people are different. The first difference is that Morena Melbourne has the Barra venue and Sydney does not. This will have Latin American cantina energy, which is loud, festive and fun without being tacky and over the top. It is more casual as well. We want to present small dishes that you can share and snack on and have a nice laidback experience. It's like a Latin American wine bar, if you want to call it that. Morena Restaurant next door is also more innovative than Sydney, in my opinion. The menu is a little more experimental and we're working with concepts of Latin American cuisine that are not traditionally exposed here in Australia. For example, we've been playing a lot with fermenting, similar to the way they do it in the Andean Sierras and the Amazon jungle." On the Best Advice That Saravia Has Ever Received "The general advice that I got and like to pass on to my teams is to always have a plan. I think that's the core of the whole story. And I think that is one of the key points of my success as well. I always had a plan. For me, you can do anything you want. Absolutely everything. There's no barriers, there's no limitations, but you have to have a plan. If you go blind to the fight, then you don't know where you're going and that's when you're going to fail. And you're going to fail without learning, which is worse. I mean, failing is part of the learning process, but if you fail without learning why you fail, that's stupid. I then tell my team that we need to understand the past in order to be prepared for the present and then face the future. When we have a new project, vision or concept, I sit down and analyse it through those three steps of learning. We need to understand the past to be prepared for the present and to face for the future — that's something that I learned in school from my history teacher. It was a tool that he was giving us to face our lives in different ways." Top image: Arianna Leggiero.
With an event title that might be better suited to Halloween, Melbourne interactive theatre collective The Boon Companions' serenade to 2016 is not as morbid as you may think. Billed as a night of performance art, music, drinking and dancing, Everybody Is Going To Die is an immersive theatre party where revellers are 'born' upon entry and 'die' at midnight — only to start the New Year renewed. Featuring a secret cast of performers — past shows have included The Presets, Tim Rogers, Kate Miller-Heidke, Megan Washington and Judith Lucy — you will never find out who's playing or what will happen until the doors open. No two people will ever experience the event in the same way and you are guaranteed to never, ever experience another NYE like it. The Boon Companions are known for throwing unusual and highly secret immersive events. These have included a wedding reception for a couple that don't exist, a dance party where the audience needed to sign a vow of silence upon entry and a interactive experience set back stage at a 1979 musical featuring forty performers. Everybody Is Going To Die is a chance to look back on 2016, for letting go, and for moving on, all within the guise of being a really good party. Wear "the outfit you would like to die in" — this is not going to be your average New Year's Eve.
If every trailer started with narration by Taika Waititi, we'd all spend our entire lives solely watching sneak peeks at upcoming movies. They all don't, of course — but, unsurprisingly, the just-dropped second glimpse at Thor: Love and Thunder definitely does. Arriving a month after the superhero sequel's first teaser back in April, the new trailer begins with an unseen Waititi — who directs again as he did with Thor: Ragnarok, co-writes with Jennifer Kaytin Robinson (Sweet/Vicious), and appears on-screen as Korg — giving viewers a few instructions. "Kids, get your popcorn in. Let me tell you the story of the space viking," he utters. The tale he unfurls steps through Thor's (Chris Hemsworth, Extraction) years spent saving the world, the aftermath, and his evolution from "dad bod to god bod" post Avengers: Endgame — plus his efforts to reclaim his title "as the one and only Thor". But if you watched the film's first trailer, you'll know that his task doesn't end as he expects. Now, his ex-girlfriend Jane Foster (Natalie Portman, Vox Lux) is in possession of Mjolnir. This new look at the upcoming movie — the 29th MCU film overall, following Doctor Strange in the Multiverse of Madness, and also the fourth to focus on Thor — dives deeper into Thor and Jane's woes, gets Chris Hemsworth in the buff, and unveils two of the feature's big new additions. That'd be Russell Crowe (Unhinged) as Zeus and Christian Bale (Ford v Ferrari) as Gorr the God Butcher, a galactic killer with a world-changing plan: eradicating the gods. Also covered: goofy vibes, as that Waititi-voiced narration makes plain; a firmly comedic mode, obviously; and general caped crusader chaos. Thor has to give up his search for inner peace to stop Gorr the God Butcher, and call upon help from King Valkyrie (Tessa Thompson, Passing) and Korg — plus Jane, who seems to be settling into her new role quite nicely. Shot in Australia, clearly looser in mood than most MCU entries, and arriving in what's already a huge year for Waititi — after getting streaming viewers swooning over warm-hearted pirate comedy Our Flag Means Death, and also featuring in a portrait that won the Archibald's Packing Room Prize — Thor: Love and Thunder hits cinemas Down Under on Wednesday, July 6. It marks Portman's return to the MCU after appearing in the first Thor flick back in 2011, but sitting out the rest. And, also set to pop up are the Guardians of the Galaxy crew (as played and/or voiced by Chris Pratt, Pom Klementieff, Dave Bautista, Karen Gillan, Bradley Cooper and Vin Diesel). Check out the new trailer for Thor: Love and Thunder below: Thor: Love and Thunder opens in cinemas Down Under on Wednesday, July 6. Images: photos by Jasin Boland. ©Marvel Studios 2022. All Rights Reserved.
During much of Hotel Mumbai, petrified guests and staff are trapped inside the Taj Mahal Palace Hotel, trying to flee the gunmen in their midst. Dramatising the real-life incident from 2008, first-time filmmaker Anthony Maras recreates the terror, tension and tragedy as attackers roam the hotel's halls, shooting everyone on sight — and as ordinary folks scramble to survive the violent onslaught. But in the movie's clumsiest scene, a group huddles in a locked area. Nerves and tempers fray, especially when an older woman voices racist worries about Taj Mahal Palace Hotel employees. It's a blatant learning moment, as viewers witness prejudice both lurking in and defeated by the most fraught of circumstances. It's also as heavy-handed as it sounds, and as unnecessary. Everyone is the same when their lives are under threat in such a horrific way. Everyone is the same anyway, but staring down the barrel of a gun helps hammer this realisation home among the closed-minded. While there's no doubting the validity of the film's message or the warm intentions behind it, Hotel Mumbai is so convincing when it's showing the truth of its central statement that it doesn't need to resort to shouting its sentiments in such a clumsy fashion. The details seen speak for themselves, from the senselessness of lives slain by those mercilessly seeking to incite fear, to the unwavering endurance, resilience, kindness and heroism demonstrated by the terrorists' intended victims. Thankfully, Maras and co-screenwriter John Collee (Master and Commander: The Far Side of the World, Tanna) avoid simple life lessons for most of the movie's running time, letting the confronting on-the-ground specifics do the heavy lifting. Wednesday, November 26 seems like another ordinary day in the titular Indian city. Concierge Arjun (Dev Patel) arrives at work wearing just one shoe, much to head chef Hemant Oberoi's (Anupam Kher) dismay. Couple Zahra (Nazanin Boniadi) and David (Armie Hammer) are seeking a respite from their busy schedules, albeit with their newborn baby and Australian nanny Sally (Tilda Cobham-Hervey) by their sides. With a private party planned, demanding Russian businessman Vasili (Jason Isaacs) is hardly a model guest. But along with Aussie backpackers Eddie (Angus McLaren) and Bree (Natasha Liu Bordizzo), they're all soon caught in a nightmarish plight, with a group of young jihadists wreaking havoc on their way towards the luxurious hotel. For many, Hotel Mumbai's events will remain fresh in their memories, as the film's use of news footage only cements. The difference between reading the headlines and feeling like you're there is enormous, of course, and it's the latter that drives dramatic big-screen recreations. Drawing their narrative from interviews with survivors and witnesses, Maras and Collee aim to place viewers in the thick of the chaos. Primarily shot in Adelaide by cinematographer Nick Remy Matthews, it's a feat they achieve. From the second the film introduces the assailants, a sense of urgency pulsates through every frame — whether racing through darkened streets, seeing innocent people mown down by bullets, or watching as the decadent Taj Mahal Palace Hotel becomes a bloody battlefield. Indeed, Hotel Mumbai is so effective at putting the audience in the moment — and in the shoes of the desperate victims — that the film's straightforward nature largely escapes notice. Big questions aren't begging to be answered and explanations aren't offered, with Maras depicting the grim situation as he's been able to piece it together, rather than editorialising or analysing the particulars. Helped by a solid cast, it's a fitting approach. Such harrowing horrors call for a sober perspective, which is what makes the movie's rare instances of overt button-pushing feel so out of place. At its best, in bringing this bleak slice of reality to the screen, Hotel Mumbai stares into one of humanity's darkest ordeals and refuses to look away. https://www.youtube.com/watch?v=Dz4jnixs8yA
Winter is on its way, which means drinks by the fireside, trips to the snow, and light festivals. But, just before the cold hits for good, The Big Design Market will take over the Royal Exhibition Building with its Almost Winter edition. This truly massive event will feature more than 250 independent designers and more than 70 artisanal food stalls. Framing all these creations will be a stunning installation by Irina Nazarova, who's been charged to add some magic to the space with her botanical artworks. Look out for sustainable climbing apparel from FiveFoot, eco-friendly accessories from Gliese504, and women's clothing handmade in Sydney from Penelope Red. Meanwhile, newbies include Tully Ward sunnies, Wicker Darling's quirky wicker bags, and, all the way from the US, Mokuyobi's bright, bold bags, hats and clothing. See the rest of the exhibitors here. Keeping you fuelled while you're browsing will be Ca Com with its irresistible banh mi, Ugo Burrata Bar with its excellent burrata and Italian fare, Wonder Pies with its handcrafted pastries, and dozens of other vendors. Plus, on Tastemakers Lane, you'll be treated to samples from more than 40 brands, and, come drinks time, you can taste your way through cocktails from Ester Spirits, limoncello spritzes from Solbevi, delicious drops from Fin Wines, and loads more. The Big Design Market: Almost Winter will take place on Friday, 23 May from 11am-8pm; Saturday, 24 May from 10am-7pm; and Sunday, 25 May from 10am-5pm. Tickets are available online for just $6 (+ a booking fee), or at the door .
UPDATE, June 23: Due to the unsurprisingly overwhelming demand for tickets, a handful of new dates have just been added to The Presets' tour, with new shows bound for Torquay, Sydney, Melbourne and Fremantle. This article has been updated to reflect that change. See the full list of dates below for all the details. When you've spent two decades doing something you love, turning it into a career and enjoying phenomenal success with it, you're allowed to get nostalgic about how things began. Back in February, The Presets did just that, returning to the Sydney venue where they started out for a one-night-only rave-cave gig. The Club 77 club set clearly struck a chord with Julian Hamilton and Kim Moyes, so much so that it's no longer a once-off. Across more than 20 shows, the duo will be taking things back to where they all began again, playing small clubs and bars around the country from July–October. The tour is set to kick off in Victoria, then head through Queensland and pinball between New South Wales, the Australian Capital Territory and the Northern Territory, too. So, fans can catch The Presets at venues such as Frankston's Pier Bandroom, Friday's Riverside in Brisbane, Magnums Hotel in Airlie Beach and the Dee Why RSL in Sydney. If you've seen the duo bust out their festival sets across Australia and the world, or their audiovisual-heavy own solo shows, that isn't what you're in for this time around. "We've been lucky enough to play the biggest stages and festivals in the world over the past 20 years," explains Moyes, announcing the tour. "But nothing compares to the buck-wild intensity of an intimate party. They are an entirely different beast and we can't wait to unleash over these 20 nights." "DJing in small clubs is a whole different experience to performing our usual live show on the big stage with the lights and visuals and things like that," adds Hamilton. "It is more freewheeling and immediate — we feed off the energy of the crowd, weaving our own tracks in with classic jams by our favourite artists. So it's a 20 years celebration of not only our music, but also all the incredible tunes that inspire us. Plus we get a chance to throw in a few unreleased surprises too." Expect hits from The Presets' hefty back catalogue, tracks you've never heard before and also different handpicked special guests each night. Who'll join the duo is yet to be revealed. As well as celebrating where their time as The Presets began, plus giving tracks like 'My People', 'Are You the One?', 'This Boy's in Love' and 'Talk Like That' a whirl, the aim is to make each night a completely different experience. Go hard then go home, obviously. THE PRESETS DJ TOUR: 20 YEARS. 20 NIGHTS. Thursday, July 13 — Torquay Hotel, Torquay — NEW Friday, July 14 — Village Green Hotel, Mulgrave — SOLD OUT Saturday, July 15 — Pier Bandroom, Frankston — SOLD OUT Thursday, July 20 — Beach Hotel, Byron Bay Friday, July 21 — Friday's Riverside, Brisbane — SOLD OUT Saturday, July 22 — Kings Beach Tavern, Caloundra — SOLD OUT Friday, July 28 — Burleigh Bazaar, Gold Coast Saturday, July 29 — C.EX, Coffs Harbour Friday, August 4 — Shoal Bay Country Club, Shoal Bay Saturday, August 5 — Drifters Wharf, Central Coast — SOLD OUT Thursday, August 10 — Gilligan's, Cairns Friday, August 11 — Kirwan Tavern (outdoors), Townsville Saturday, August 12 — Magnums Hotel, Airlie Beach Friday, August 18 — Beer Deluxe, Albury Saturday, August 19 — Torquay Hotel, Torquay — SOLD OUT Friday, August 25 — UOW Uni Bar, Wollongong — SOLD OUT Saturday, August 26 — Kambri Anu, Canberra Wednesday, August 30 — The Station, Perisher Thursday, August 31 — Miranda Hotel, Sydney — NEW Friday, September 1 — Miranda Hotel, Sydney — SOLD OUT Saturday, September 2 — Dee Why RSL, Sydney — SOLD OUT Sunday, September 3 — Dee Why RSL, Sydney — NEW Sunday, September 7 — The Espy, Melbourne — NEW Saturday, September 9 — Monsoons, Darwin Saturday, September 16 - The Espy, Melbourne — SOLD OUT Saturday, October 21 — Freo Social, Fremantle — NEW The Presets are touring Australia from July–October 2023. For more information and tickets, head to their website. Top image: Ben Sullivan.
Ask anyone their least-favourite place to sleep and planes will rank right up there. If you're on a long-haul flight and you're in economy, trying to slumber when you're soaring through the air can be one of the worst things about travelling. Enter New Zealand's new Economy Skynest, aka onboards bunk beds that were first announced back in 2020, locked in for a 2024 launch last year and now have debut routes confirmed: from Aotearoa to New York and Chicago. Lengthy trips from NZ to America are about to get a whole more comfortable, and scoring some shuteye midair is about to become easier, starting in September 2024. "We're delighted to announce that our innovative Economy Skynest will be launching on ultra-long haul flights, starting with the popular Auckland–New York and Auckland–Chicago routes," said Air New Zealand Chief Customer and Sales Officer Leanne Geraghty, announcing the news. "North America is the perfect market for Skynest, as it has a premium segment that values comfort and sleep during long-haul travel." "Skynest provides a unique and innovative way for our passengers to rest and recharge, making their journey with us even more enjoyable. By launching Skynest on these routes, we are bringing to life our commitment to providing choice, alongside the best possible experience for our passengers, and to continue to innovate and lead the way in the aviation industry." If it sounds like a game changer, that's because it is. Back in 2020, Air NZ announced the pods as part of filing patent and trademark applications, and noted that it'd make a final decision on whether they'd come into effect within a year. That go-ahead might've arrived a bit later — aka in 2022, not in 2021 — but that doesn't make it any less exciting. So, how will it work? This first-of-its-kind option will feature six lie-flat pods. Yes, they really do look like bunk beds on a plane, and you'll be able to slumber in them while zooming to your destination. On the planes, the Skynest will sit between premium economy and economy. Each pod will include a full-size pillow, sheets, a blanket and ear plugs, as well as lighting designed to optimise rest. There'll be a a separate reading light, too, and a USB outlet so that you can charge your devices — and also a ventilation outlet. Seatbelts will also be a feature in case of turbulence. When it's time to get up after your slumber, the lights will come on (and cabin crew will wake you gently if that isn't enough). After each four-hour slot, there'll be a 30-minute transition time to change the bedding as well. Air New Zealand has also unveiled some details about bookings will work. The key rule: each passenger will only be able to reserve one session per flight. Travelling with your mates, date or the family? If you're on the same ticket, you can book a session for each passenger — as long as there are enough spaces available. Price-wise, however, sleeping comfortably in the sky won't come cheap. The exact cost hasn't been locked in, but a figure of around $400–600 for the four-hour period has been floated. Air New Zealand's Economy Skynest will be available from September 2024 on routes from Auckland to Chicago and New York. For more information in the interim, visit the airline's website.
It's official: Banksy is the poster boy of the contemporary art world. Usually hidden in laneway corners and industrial wastelands, his works are no longer just a treasure to be found by metropolitan hipsters. Now they are cut, drilled and pulled from their original context and thrust straight into the hands of Sotheby's famous auction house. Hell, one of his works was even on Antiques Roadshow last week. Unfortunately, as the British artist is still wilfully anonymous, he sees no profit from such sales. And really, it goes against everything he believes in. Accordingly, he's having a bit of fun with the latest auction held in his name. I Can’t Believe You Morons Actually Buy This Shit is a real-life Banksy artwork being sold at Sotheby's this coming week. No joke. Valued at around £10,000, the piece is part of an unauthorised retrospective of the artist's work that will feature 70 items including prints, sculptures and paintings. Some person is likely going to spend real money on it, hang it unironically above their mantel, and boast about it to their similarly rich and foolish friends. Priceless. Other works on show in the exhibition at Sotheby's S2 Gallery include Banksy's iconic Warhol-esque works featuring (and signed by) Kate Moss, and the famed Pulp Fiction-style stencil of John Travolta and Samuel L. Jackson carrying bananas instead of guns. The exhibition, which has been knowingly titled The Unauthorised Retrospective, is not the first that has been carried out against the artist's will. Just this year we've seen Stealing Banksy? at the ME Hotel in London and the sale of the artist's Kissing Coppers to an anonymous buyer after being excavated from the wall of a Brighton pub (it went for a cool £345,000). It's understandably troubling that these sales are going on without the artist's consent and Banksy has spoken out about it in the past. "Art’s rightful place is on the cave walls of our committees where it can act as a public service, provoke debate, voice concerns [and] forge identities," said the artist. "The world we live in today is run, visually at least, by traffic signs, billboards and planning committees. Is that it? Don’t we want to live in a world run by art, not just decorated by it?" It's a noble crusade that street artists carry on around the world; its presence in Australia thankfully still going strong. And, while it's undoubtedly a bummer to have hoity toity types taking advantage of such a beautiful thing, you can take a little consolation in the following. The guy who drops £10,000 on this latest print is going to be confronted with the fact he's a moron every single day. Via West Morning News and Reuters. Kissing Coppers photo credit: robthomasdesigns via photopin cc.
It's been 17 years since Shannon Noll was robbed of the inaugural Australian Idol title – what else is there to say about the man? He's had ten consecutive top ten singles, his work has received 17 separate platinum certifications and his track 'Lift' was the most performed Australian song of 2007. Everybody knows Nollsy has a huge following wherever he goes. Whether shown by his popularity on I'm a Celebrity… Get Me Out of Here!, or the fact he's seemingly spending the entire month of November touring every regional venue in the state he possibly can, from country NSW to the coast. A bunch of his gigs already sold out, so if you want to see the Aussie legend — ironically or not — head over here for details. For the latest info on NSW border restrictions, head here. If travelling from Queensland or Victoria, check out Queensland Health and DHHS websites, respectively.
When it comes to experiencing the great outdoors it doesn't get much better than Tasmania. So it's no surprise that, according to Airbnb, the Best Nature Stay in Australia can be found in the Apple Isle. The winning property: Susie Aulich's The Container listing, which is the epitome of the eco-luxe aesthetic. The striking home is made out of a recycled shipping container that's been reimagined into an extravagant one-bedroom getaway blessed with uninterrupted views of the bucolic landscape of Lilydale, a town perched on the foothills of Mount Arthur and just half an hour's drive from Launceston. Catering to solo parties or couples, The Container offers an immersive nature experience. It's set on a stunning farm that's also home to all manner of flora and fauna, like chickens, wallabies, echidnas, incredible birdlife, peonies, waratahs, pepperberries and more. The perfect setting, in other words, to disconnect from reality. Fresh off her win, we spoke with Aulich about her hosting journey and her incredible property. Firstly, what are the qualities that make a good Host, Susie? Authenticity and attention to detail. What do you do to ensure an outstanding experience for your guests? Be who you are. While our guests don't ever meet us, they get a feel for who we are through The Container. We designed The Container and all that is in here for us — it's how we want to stay, travel and experience life. We believe in abundance so we supply guests with an abundance of local produce, fresh flowers and the best our local artisans can deliver. We keep signs to a minimum, which allows guests to truly immerse themselves in their surrounds. They get to experience life here just as we do. What's your favourite thing about your property? It's constantly changing — every day nature is changing. At The Container, you are surrounded by big skies and small wonders. Nature is the true host and our guests get to experience being connected to nature in a creative space. What's something you love about hosting? People are really happy and open when on a holiday — they bring joy to your place and they are open to a wonderful experience. It's an honour to be part of people's lives at such a special time. What advice would you give to someone thinking of becoming a Host? Start as you intend to continue. Set up your Airbnb to suit your lifestyle. What has hosting allowed you to do? I can live the life I want on my property — Airbnb gives me the freedom to stay, play and live on my farm, and going to work involves wandering from my house to the accommodations, checking on the chooks and my garden on the way. Want to begin your own hosting journey with Airbnb? If you're feeling inspired, head to the website to find out how to get started. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Images: Bec Baxter
Swapping sketch comedy for horror movies has turned out pretty well for Jordan Peele so far. When the Key & Peele star made his first leap behind the camera, Oscar-winner Get Out was the excellent and unnerving end result — and the comedian turned writer/director isn't done terrifying cinema audiences just yet. To add a fright or two to your festive season, the first trailer for Peele's second directorial effort has arrived. If you scare easily, consider yourself warned. In Us, the filmmaker follows a family (Lupita Nyong'o, Winston Duke, Evan Alex and Shahadi Wright-Joseph) holidaying by the beach with friends (Elisabeth Moss and Tim Heidecker), which all sounds very normal. Then things go awry, in a flick that promises to make you feel just as uneasy about your own reflection as you felt about stirring cups of tea after Get Out. In preparation for her role, Peele tasked Nyong'o with watching a heap of classic horror movies — films such as The Shining, The Babadook, It Follows, The Birds, Funny Games, Martyrs, Let the Right One In, The Sixth Sense, Dead Again and A Tale of Two Sisters, Nyong'o told EW. If that list of creepy flicks doesn't give you an idea of what's in store in Us, then the suitably unsettling trailer will. https://www.youtube.com/watch?v=hNCmb-4oXJA Us releases in Australian cinemas on March 14, 2019.
Having them take care of our more mundane tasks is one thing, but teaching them to make art? That's quite another. e-David, developed by computer scientists at the University of Konstanz (Baden-Wurttemburg), can create scarily detailed drawings and paintings from both photographs and real life. As extraordinary as his powers might seem, e-David is actually an every day kind of robot, of the 'welding' variety. They're the type that are used in automobile manufacturing. A combination of sensors, a camera and a control computer (which gives the drawing commands) enables him to roll it out like Rembrandt. In fact, e-David's 'style' is very much like that of the Dutch legend. He creates detail through the gradual build up of translucent layers, with each painting taking about ten hours to complete. Unsurprisingly, though, the end effect still tends towards the digitally-manipulated-photo-look, rather than that of the work of a genius. Art students, breathe a sigh of relief. Oh, and in case you're wondering (or concerned), e-David, as far as we know, isn't named after Michelangelo's masterpiece. It's an acronym for 'Drawing Apparatus for Vivid Image Display). e-David Robot Painting from eDavid on Vimeo. [via the creators project]
Each year since 2014, Melbourne's Queen Victoria Gardens has scored an impressive new addition, all thanks to MPavilion. When the end of each year rolls around, a new, specially commissioned temporary structure has popped up to host a summer-long festival of free events — with the pavilion itself designed by a top architect, and the accompanying community-focused cultural program covering talks, workshops, performances and installations that highlight design as well. In 2020, however, something different is happening. Yes, that's an easy way to sum up this strange and chaotic year in general; however, for MPavilion, it means that a new structure hasn't been commissioned. Instead, in a decision made in direct response to the COVID-19 pandemic, the event is activating the six pavilions from previous years rather than build something new. That was announced back in June but, in a new revelation, MPavilion has just advised that it'll also be taking up residency at the CBD's Parkade Car Park, too, in line with its 'adaptive reuse' focus for the year. Come January 2021 — with MPavilion running through until March — Melburnians will be able to head to 34 Little Collins Street for live music gigs, interactive installations, events focused on architecture and design, and school holiday workshops for kids and families. The Parkade Car Park will host MPavilion shenanigans seven days a week throughout the month, giving the Peter McIntyre-designed 60s and 70s-era site a new lease on life to start off the year. If the residency has you thinking about ways that existing spaces can be repurposed, that's a big part of the point. MPavilion focuses on a different theme each month, with January dedicated to 'Preservation: Propagating Knowledge' — and also featuring everything from circus architectural film screenings curated by architect and filmmaker Toby Reed to a roller disco. There's also a concert for dogs (and humans, of course), in collaboration with Melbourne Music Week. If you're still keen on checking out MPavilion's 2019 white lantern-like piece by Glenn Murcutt, its 2018s floating geometric building from Spanish architect Carme Pinós, 2017's inside-outside contemporary take on the ancient amphitheatre by Rem Koolhaas and David Gianotten, and 2016's huge bamboo structure from Indian architect Bijoy Jain — and Amanda Levete's forest-esque 2015 piece and Sean Godsell's 2014 creation as well — they're spread around different locations across the city until Sunday, March 21, 2021. And, as for what else is on the program, exploring both physical and virtual social spaces in December's spotlight — while February will highlight relationships of all kinds, and March will wrap things up with a month of temporal experimentation. MPavilion takes place around Melbourne until Sunday, March 21, 2021 — and will take up residency at the Parkade Car Park, 34 Little Collins Street, Melbourne, throughout January. For further details, head to the event's website. Images: Timothy Burgess.
Sydney's CBD has landed a major dose of the Tokyo-esque practical and compact, with the former Bar Century space reopening in May as The Capsule Hotel, a three-storey, luxury boutique stay. The George Street cheap drinks den, which closed in 2016, was taken over by developer Walter Guo, who invested a massive $5 million on a full interior refurb, carried out by interior design consultants Giant Design. The heritage building has somewhat retained its vintage fit-out but with more of a nod to the futuristic space-like capsules of The Fifth Element. The bar and hotel are running as separate entities, with the first two levels acting as The Century Bar, while the top three floors of the building are dedicated to the capsules. Each of the 70 capsules contains a large flatscreen TV and entertainment system, Wi-Fi, and a climate control panel. Guests can choose from single or deluxe beds with entry from either the side or the end of the capsule. The communal facilities include a kitchen space, breakfast bar, lounge area, rooftop terrace and individual bathrooms. If you're worried about security, don't be — each capsule is fitted with a secure lock and the security desk runs 24-hours. But let's set the record straight — The Century is not a hostel, and it's not aimed at overindulgent locals that can't seem to make it back home. "The accommodation, which is not quite hotel nor hostel, is aimed at solo travellers looking for something more private than a typical backpackers and those who want the designer hotel experience on a budget," says Christopher Wilks, an associate at Giant Design. It's set to sit well within your budget, with prices ranging from $50-90 a night. Which, depending on how far from the CBD you live, could be a lot cheaper than a cab home at 1am. Find The Capsule Hotel at Level 3, 640 George Street, Sydney. For bookings, head to the website or call (02) 8957 7763.
A surprise delivery was made to Melbourne's Hosier Lane this morning. It wasn't a new piece of street art, but 35,000 tulips planted by eco-warrior Joost Bakker. The designer and activist — who has recently been building the world's most sustainable shopping centre in Burwood Brickworks — arrived in the laneway before sunrise, bringing the tens of thousands of tulips with him from his family's farm in Monbulk. In a Facebook post, Bakker explained that the flowers were not of a 'high-enough quality' to sell and were destined for the bin, but he had a better use for them: an installation raising awareness about the country's flower growers. "For me this installation is about making people aware that there's a thriving industry with more than a thousand growers in this country," Bakker explained in the post. "It's currently under a lot of pressure from imported flowers with some estimating close to 70% of flowers in this country are imported." https://www.instagram.com/p/BohlYOIFwo6/?taken-by=joostbakker He then got approval from the City of Melbourne, borrowed some trucks and took the flowers on an hour-long journey into the city. As well as being nice to look at, the 35,000 red tulips are also up for grabs. So head along and pick up a bunch for your loved one — or a deserving colleague — before they disappear. Image: City of Melbourne
Things are looking bright in the centre of Australia — not only thanks to Uluru's stunning Field of Light installation, which has been illuminating the Red Centre for the past two years, but also courtesy of the annual Parrtjima – A Festival In Light. When the latter first kicked off back in 2016, it became the nation's first Indigenous festival of its kind and unveiled the country's biggest-ever light installation. Now it's back for another luminous outing in 2018. Taking place between September 28 and October 7 at the Alice Springs Desert Park, Parrtjima – A Festival in Light returns with its another big feat: its biggest program yet. The focal point is the fest's ten nights of light installations, all crafted by Aboriginal artists and set against the MacDonnell Ranges. Attendees can feast their eyes on a light show that spans along more than two kilometres of the land mass, with this year's theme "from sunset to sunrise" — or walk across projections on the desert sands, wander among large-scale sculptures and mosey through a tunnel of light. An interactive experience also allows visitors to select a series of colours, then see their choices brighten up the bush using more than 500 LEDs. In addition, this year's event will also feature a second showcase of light in the Todd Mall, complete with a new installation about the area's caterpillar dreaming stories. It forms part of the festival's second hub, with curator Rhoda Roberts' program of music, film, dance performances and talks spread across the festival's two sites. Music-wise, that includes headliners Electric Fields, who'll play against the stunning scenic backdrop of the MacDonnell Ranges. The Tinkerbee Dancers lead the dance component, while a nightly cinema program will showcase local and national filmmakers. And for those so entranced by the lights — understandably — that they want to know more, Parrtjima's Behind the Lights session will feature Roberts, the festival's lighting designer Richard Neville and AGB Events project director Rodney Cambridge chatting about their glowing creations. The 2018 event marks Parrtjima's third instalment — and while it'll be back for a fourth in 2019, it's heading to a new timeslot. If you're planning a trip next year rather than this year, mark April 5–14 in your calendars. Parrtjima – A Festival in Light runs from September 28 to October 7 in the Alice Springs Desert Park, Alice Springs, Northern Territory. For more information, visit the festival website.
In news we're filing under About Bloody Time, Melbourne has finally caught up with the rest of the world in getting its public transport data integrated with Google Maps. The news was confirmed by Minister for Public Transport Jacinta Allan this morning, almost a year after Victorian Premier Daniel Andrews announced on Reddit (so young and hip!) that the state's public transport timetables had been made available for use by third party apps. PTV mobile app, consider yourself deleted. Watch out tramTRACKER. You're next. The long-awaited Google Transit update means that Melbourne can finally join Sydney in (relative) public transport bliss, who've had the technology for FOUR years already. It will mean that PT users can now plan journeys using the ubiquitous navigation app, as opposed to the — let's call them 'less reliable' — alternatives built by Public Transport Victoria. Seriously, how is my tram somehow further away from me now than it was two minutes ago?! Minister Allan acknowledged the delay in her announcement, attributing it to Google's "additional data requirements". "We've now got it right," Allan said. "Because the last thing you'd want to see is this being introduced and not working properly". That may sound like a cop-out, given that basically every other major city in the world has had this up and running for years. Of course, that's only until you remember that these are the same people responsible for Myki. The updated Google Maps app includes routes, schedules and stop information for trains, trams and buses. It cannot currently provide real time information on delays and cancellations, although Minister Allan said that that would be part of the "next stage in development". Baby steps, people. Baby steps. Via The Herald Sun. Image: Dollar Photo Club.
Victorians can't currently visit NSW, but from next month, they'll be able to order meals from some of Sydney's best restaurant to their homes. Hospitality giant Merivale, which has 70 venues across NSW, is bringing its recently launched delivery service Merivale at Home to Melbourne this August. The food service brings signature meals from Merivale's most popular restaurants — including Mr Wong's special fried rice, Totti's puffy woodfired bread and Bert's duck liver pâté — to your dining table. It features a weekly rotating lineup of menus from the group's restaurants, each costing $70–95 for two people. You might get Mr Wong's king prawn wontons, kung pao chicken, steamed barramundi and fried rice for ($95); Bert's brioche rolls, duck liver pâté, prime rib, crushed potatoes and butter lettuce salad (for $95); or a vegetarian menu from Paddington's Fred's with whole-roasted cauliflower, jewelled rice with sultanas, chopped tomato salad and chocolate mousse (for $80). Also on offer: shawarma from Jimmy's Falafel and a truffle feast from Hotel Centennial All the meals arrive "nearly ready to eat", so you just need to add the finishing touches, which is doable by a cooking novice, supposedly, and doesn't require the skills of Dan Hong (Mr Wong) or Danielle Alvarez (Fred's). [caption id="attachment_766985" align="alignnone" width="1920"] Totti's[/caption] For special occasions — a date night with your housemate, say, or just that you made it to Wednesday — you can also add on a drinks pack of wines and cocktails selected by Merivale Master Sommelier Franck Moreau pair with each menu. Wines, cocktails and beers are available to purchase separately, too. Merivale temporarily closed all of its restaurant and bars in late March, in response to the government's ordered close of non-essential indoor venues, and launched Merivale at Home in Sydney as a way of keeping staff employed and using produce from hard-hit suppliers Merivale at Home is set to launch in Melbourne this August. To find out more and be the first to order, head to the website. Top images: Mr Wong, Fred's and Bert's.
Cinephiles have many reasons to love France. After its early filmmaking pioneers played an enormous part in establishing the medium, the country's New Wave of fresh talents helped revitalise it more than half a century later — and in the decades since, the nation has continued to make a considerable impact. Among its many achievements, it's also home to the most famous film festival on the planet, as well as the highest density of cinemas per capita. In short: the world loves the combination of France and film, and the country itself does as well. For the next month around Australia, it's time to say oui s'il vous plaît to all of the above. And, with apologies to anyone who'd love to be jetting off to Paris, it's time to do so by visiting a cinema screen near you. As it has for the past 30 years, the Alliance Francaise French Film Festival is currently treating much of the country to the best, brightest, latest and greatest movies that the European nation has to offer. If there's ever been a reason to escape into a darkened room with a glass of wine and a cheese platter, this is it. Touring Melbourne, Canberra, Perth, Brisbane, Hobart, Adelaide, Avoca Beach, Parramatta and Byron Bay until April 14, this year's AFFFF brings a feast of 54 films to Aussie audiences — big name stars, touching dramas, weird and wonderful delights, and veteran filmmakers trying their hand at English-language flicks all included. If you're feeling spoiled for choice, we've watched and picked the 12 titles you should seek out. Joyeaux viewing. https://www.youtube.com/watch?v=osqw349H9zE NON-FICTION In one of her three appearances on the 2019 AFFFF lineup, Juliette Binoche explores the complexities of living a creative life in Non-Fiction. Despite its title, Olivier Assayas' latest film isn't based on fact — and while Binoche once again plays a famous actor, she's not aping her own existence or revisiting her character from the director's Clouds of Sils Maria. And yet, this witty affair still steps into the dramas of combining the actual and the imagined, as writer Léonard (Vincent Macaigne) earns acclaim and fame for infusing his personal love affairs into his latest book. He's also romantically entwined with Binoche's TV star Selena, while her husband Alain (Guillaume Canet) is Léonard's publisher, setting the scene for a smart, amusing and perceptive dissection of life and love in today's always-online, always-sharing times. https://www.youtube.com/watch?v=AtOwfo1ypOw HIGH LIFE Already one of the best films of 2019, and of any other year for that matter, High Life is as audacious and alluring as it sounds. As should be expected from inimitable writer/director Claire Denis, this sci-fi flick is as intelligent and profound as the rest of her filmography, too, and as craftily determined not to be pinned down. Worlds away from the romance of Let the Sunshine In, Denis re-teams with Juliette Binoche for an existential — and sometimes sexual — nightmare that unravels in the clinical surroundings of a prison spaceship that's hurtling towards the edges of the solar system. But, among a high-profile cast that also includes Mia Goth and Outkast's Andre Benjamin, it's Robert Pattinson who's the star of the show. Playing a man and father haunted in a plethora of ways, the continually impressive actor furthers his hot streak of exceptional, challenging roles under the direction of similarly exceptional, challenging filmmakers. https://www.youtube.com/watch?v=N2L2USPgiMI A FAITHFUL MAN As he did with 2015's Two Friends, Louis Garrel writes, directs and stars in this ruminative romantic comedy, which marks the actor-turned-filmmaker's second stint behind the camera. He plays Abel, who's quickly discarded by his pregnant girlfriend Marianne (Laetitia Casta) in favour of his best friend — and, years afterwards, becomes an object of affection for his former pal's now-grown sister Eve (Lily-Rose Depp). Told from multiple perspectives and shot with a probing eye for beautiful sights, A Faithful Man is the epitome of bittersweet, with Garrel proving a keen observer of human intricacies as both a performer and a helmer. Indeed, while this infidelity-driven affair is light from start to finish, it's also steeped in genuine feeling and drawn from a deep vein of thoughtfulness. https://www.youtube.com/watch?v=H9d310frjNk THE SISTERS BROTHERS For his debut English-language feature, Jacques Audiard pans for gold with The Sisters Brothers — and finds it. The French filmmaker's first flick since winning the 2015 Palme d'Or for Dheepan, this slice of old west life delivers a rich, rewarding, contemplative and comedic western, combining the genre's recognisable grit and verve with its own melancholic spirit. For Charlie Sisters (Joaquin Phoenix), the gun-slinging, bounty-hunting assassin trade is a dream. For the elder Eli (John C. Reilly, taking part in another great double act after Stan & Ollie), it's losing its shimmer. Then their latest job goes awry, with their advance man (Jake Gyllenhaal) teaming up with their prospector target (Riz Ahmed) in a quest for riches, sparking shoot-outs and soul-searching in equal measure against a magnificent backdrop. https://www.youtube.com/watch?v=lXSojVVG4Z8 THE WILD BOYS The Wild Boys might bake its influences into every lurid frame — think Guy Maddin, Jean Cocteau, John Carpenter, Rainer Werner Fassbinder, David Lynch and more — but this wild ride could never be described as the simple sum of its parts. Story-wise, Bertrand Mandico's feature debut follows five unruly teens who commit a crime at the turn of the 20th century and, in an act of both punishment and rehabilitation, are subsequently taken on a sea voyage to a mysterious island. Just like the libidinous quartet, audiences are gifted a sensual swirl of stimuli and subversion; however to say much more about the narrative or the cast is to spoil the movie's many surprises. Whether flitting from flickering black-and-white to bursts of luminous colour, emphasising his exaggerated sets or experimenting with framing, Mandico ensures that every second of The Wild Boys is a vibrant and textured delight. https://www.youtube.com/watch?v=cyGC0W8PfoI AMANDA Collecting awards and nominations around the globe — Cesar and Lumiere nods in France, a prize in Venice and the top spot at last year's Tokyo Film Festival — Amanda is an involving drama that never takes the obvious route. Its title refers to the seven-year-old niece (Isaure Multrier) of 24-year-old Parisian David (Vincent Lacoste), who comes into his sole care after a devastating tragedy. Subtle rather than overt, and never blatantly tugging at the heartstrings, this is a tender yet clear-eyed account of coping with life's unexpected developments. While director Mikhaël Hers (This Summertime Feeling) approaches the material with a bittersweet tone, he also displays a a delicate and even effervescent touch. His leading man helps considerably, with The French Kissers, Eden and Sorry Angel's Lacoste fast becoming on of France's most compelling young talents. https://www.youtube.com/watch?v=eIU_IHfp3cU REVENGE A striking debut from writer/director Coralie Fargeat, Revenge stalks across the screen with all of the rape-revenge genre's violence and horror — and with visceral style and a firm feminist punch as well. During a desert getaway gone wrong, the attractive Jen (Matilda Lutz) segues from mistress to the arrogant Richard (Kevin Janssens), to victim of his brutish pals (Vincent Colombe and Vincent Colombe), to avenger of the myriad of savage wrongs committed against her. The storyline is standard; however Fargeat approaches the film's visuals, mood and energy with the same do-or-die determination as her persistent protagonist. Lutz, too, puts in an all-consuming performance, aptly conveying the feature's specific blood-soaked tale while embodying the fury of every woman who has ever had to fight back against overwhelmingly cruel and vicious forces. https://www.youtube.com/watch?v=zfeEhb4xnps THE NIGHT EATS THE WORLD Zombie movies are as common as ravenous, human-eating crowds after a horrific on-screen outbreak; however The Night Eats the World gives a distinctive taste to the genre's familiar flesh. The first feature from writer/director Dominique Rocher, the sparse horror flick plays out like a cross between I Am Legend and 28 Days Later… with a dose of expected survivalist antics and a few borrowings from single-settling thrillers; however this atmospheric, evocative film boasts a tone that's never less than intriguing. When the world turns from normal to undead in the space of an evening, Sam (Anders Danielsen Lie) is left to fend for himself. His only company is a zombified neighbour (Denis Lavant), and his own ingenuity is all that's keeping him safe from the attacking hordes outside. There's a rich flow of existential dread coursing through this addition to the genre, not only about mortality but also isolation and loneliness. https://www.youtube.com/watch?v=uRF290gedLs SORRY ANGEL At last year's AFFFF, BPM (Beats Per Minute) broke hearts and burrowed into souls with its depiction of 1990s Paris — a time when queer men loved passionately and fought proudly for their place in the world, but always found their existence lingering under a cloud. Consider Christophe Honoré's Sorry Angel not quite its successor, but its dance partner, with the two films sashaying through similar space while unleashing their own moves. Here, writer Jacques (Pierre Deladonchamps) meets student Arthur (Vincent Lacoste) and, as a bond grows between them, the former's illness and the latter's idealism shape their relationship. Sublimely blue in its melancholy mood and its exacting colour scheme, the end result is a layered, almost novel-like, always tender and touching study of life and love. — SW https://www.youtube.com/watch?v=JywE77VYpWc BY THE GRACE OF GOD Exploring sexual abuse in the Catholic Church, By the Grace of God was always going to prove both topical and sorrowful, regardless of its timing. Based on a real-life French case, the film's ripped-from-the-headlines storyline has recently seen two figures portrayed within its frames take legal action, in an ultimately unsuccessful attempt to block its release. In Australia, the movie arrives hot on the heels of high-profile local legal proceedings; however, the anger, dismay and empathy the Silver Bear recipient inspires is all its own. Focusing on three men (Melvil Poupaud, Denis Ménochet and Swann Arlaud) who were inappropriately taken advantage of by the same priest (Bernard Verley) as children, this is a measured, moving, sensitive and sobering picture from filmmaker François Ozon, who ventures worlds away from previous efforts such as Swimming Pool and Young & Beautiful. https://www.youtube.com/watch?v=gZnjwuicCq0 KNIFE + HEART It's 1979. Someone is savagely murdering gay porn stars, all of whom work for successful, ruthless producer Anne (Vanessa Paradis). And, as she tries to keep making movies while her actors keep dropping like flies, she's coping with the end of her relationship with her editor. Kudos to writer/director Yann Gonzalez for Knife + Heart's exceptional premise, which also features films within films, creepy legends, spooky woods and rather inventive weapons. Still, it's his eye-popping execution that makes this a weird and wonderful delight. In his hands, nothing is too much — and we mean nothing. The end result is an assault on the senses that's as brutal as its slasher set-up and as theatrical as its campy tone. — SW https://www.youtube.com/watch?v=WRFwJS7pu80 THE WORLD IS YOURS There are heist films, and there are heist films. The World Is Yours has earned comparisons to Guy Ritchie and Quentin Tarantino's work; however it's no mere derivative take on a well-worn genre. Instead, it's a splashy, stylish, skilfully executed and supremely entertaining effort in its own right, and a mighty fun time at the cinema. Perhaps best known for making music videos for M.I.A., Simian Mobile Disco, Kanye West and Jay-Z, and Jamie xx, French filmmaker Romain Gavras turns this account of small-time gangsters dreaming big into a cool, comic and confidently engaging caper that drips with energy and charm from start to finish. Veterans Isabelle Adjani and Vincent Cassel take to their roles with glee, but it's A Prophet's Karim Leklou who stands out among the movie's stars — playing the son of a seasoned grifter who just wants to pull one last job so he can sell icy poles in North Africa. — SW The Alliance Française French Film Festival tours Australia from March 5, screening at Sydney's Chauvel Cinema, Palace Norton Street, Palace Verona, Palace Central and Hayden Orpheum Picture Palace from March 5 to April 10; Melbourne's Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Kino Cinemas and The Astor Theatre from March 6 to April 10; Perth's Palace Raine Square, Cinema Paradiso, Luna on SX, Windsor Cinema and Camelot Outdoor Cinema from March 13 to April 10; and Brisbane's Palace Barracks and Palace James Street from March 14 to April 14. For more information and to buy tickets, visit the AFFFF website.
Name an adored Australian movie or book — or a film that was adapted to a novel — and, in plenty of cases, there's a theatre version as well. The same works vice versa, too. As a result, we've all had multiple ways to enjoy Muriel's Wedding, Moulin Rouge!, The Adventures of Priscilla, Queen of the Desert, Wake in Fright, Bran Nue Dae, Jasper Jones and more. And, before 2022 is out, the same will prove true of Looking for Alibrandi. Melina Marchetta's beloved book was initially published in 1992, and has been devoured by teenagers for three decades since. In 2000, it hit the big screen, with Pia Miranda as Josephine Alibrandi — and the movie has been given a workout for two-plus decades now. But this year marks the first time that Looking for Alibrandi will make the leap to the stage, with both Malthouse and Belvoir doing the honours. Premiering in Melbourne at Malthouse's Meryln Theatre from July 8–24, before playing Belvoir's Upstairs Theatre in Sydney from October 1–November 6, Looking for Alibrandi will still chart the same multi-generational story it has always told no matter the format, with 17-year-old Sydney student Josie at its centre. She's in her last year of school, dreaming of a bright future and trying to navigate the clash of cultures that comes with being Italian Australian. She also gets to know her dad, and falls in love for the first time. Director Stephen Nicolazzo (Loaded, Merciless Gods) is guiding this stage version of the best-selling book to theatres, as adapted by Vidya Rajan — and starring Chanella Macri (Australian Realness), Lucia Mastrantone and Jennifer Vuletic (Because The Night) as the Alibrandi women. Looking for Alibrandi fans in other cities, cross your fingers that the nostalgic stage production will make its way to your stages, too. And if you need something to tide you over until the play hits Malthouse and Belvoir, check out the Looking for Alibrandi film trailer below: Looking for Alibrandi will premiere in Melbourne at Malthouse's Meryln Theatre from July 8–24, before playing Belvoir's Upstairs Theatre in Sydney from October 1–November 6. Head to the Malthouse and Belvoir websites for further information and to buy tickets. Top image: Kristian Gehradte.
Victorians keen for a taste of the high life will soon have a new spot to show off their diving skills, thanks to a $3 million restoration project at the Harold Holt Swim Centre in Glen Iris. Part of the proposed works will see the centre's diving tower and pool given a revamp and reopened for the first time since 2003. In addition to the diving facilities, which include a restored tower with a three-metre springboard and a separate one-metre springboard, a suite of other improvements are also under way. There are plans to retile pools, improve accessibility to the outdoor 50-metre pool, swap the existing lights for energy efficient LED fittings, refurbish the outdoor change rooms and upgrade the pool's spectator seating. The site would also score a new landscaped lawn area for hanging out on in-between dips. Plans for the proposed redevelopment can be viewed online. The community feedback period has now closed, but the City of Stonnington Council will continue to liaise with Diving Victoria, Heritage Victoria and Live Saving Victoria on the upgrade. It will then use all this information to put together a report later this year. If all it approved by council, work on the upgrades would start in 2020. The centre's diving facilities were first constructed back in 1969 and are now heritage-listed. The site currently sees over 500,000 visitors through its gates each year, with the revamp expected to pull even more. The Harold Holt Swim Centre will remain open as usual for the time being at 1409–1413 High Street, Glen Iris. Updated: June 3, 2019.
The NGV is really shaking things up recently. Not only is it full of cone bras and bejewelled pubic hairs courtesy of Jean Paul Gaultier, it's now about to unleash the work of Scottich comic genius David Shrigley upon its hallowed walls. Though both showings are extraordinarily far from past NGV offerings — remember that time it was full of Renaissance masterpieces? — they're a welcome move for gallery-goers with a healthy sense of humour. In this, Shrigley's first major Australian show, we see a broad range of his much-loved work. Of course, there will be a bunch of his iconically crude drawings that take on larger existential themes, but there will also be broader selection of sculpture, video and painting. Most notable of which will be the work from which the exhibition takes its name. Life Model is an interactive sculptural piece that earned Shrigley the Turner Prize in 2012. Featuring a life-sized cartoonish sculpture of a man peeing at regular intervals — stay with us — the work asks audience to sit down and participate in a life drawing class. Their drawings will then be mounted all over the walls of the gallery space. No, it might not be the way you imagined it happening, but this may be your only chance to get exhibited in the NGV.
Whatever chatter and controversy surrounds them — whoever hosts, whichever wild moves the Academy makes before the ceremony even arrives, and no matter how much it tries to reinvent the broadcast to appeal to more people — the Oscars are always about ace films and the people who craft them. A sizeable list of flicks vie for recognition, a smaller number win and a heap of talented folks earn their time in the spotlight. That's it, that's the heart and soul of these coveted accolades. Whether everything you wanted to win actually managed the feat or not, and despite one instance of the kind of behaviour that only belongs in films, the 94th Academy Awards still delivered upon its basic aim. It celebrated the hard work that goes into making movie magic, and the features and shorts that result. And across the night's speeches, exactly how much that means to some winners truly resonated. "There is indeed a place for us," West Side Story's Best Supporting Actress winner Ariana DeBose exclaimed. "You see a queer, openly queer woman of colour, an Afro Latina who found her strength in life through art. And that's what I believe we're here to celebrate," she continued. Winning Best Supporting Actor for CODA, Troy Kotsur's signed speech was equally as moving. When he paid tribute to the power of communication while becoming the first male actor who is deaf to win an Oscar — and in a movie about a family with three members who are deaf that won Best Picture as well — it was a potent and important moment. They're just some of the highlights of this year's Academy Awards — and the best way to champion DeBose and Kotsur's efforts, the films they won for, and all of the other flicks that also picked up gleaming trophies, is to see those very movies. That's the best way to celebrate Jane Campion making history as just the third female filmmaker to win Best Director as well, and Dune's swag of technical gongs. With that in mind, here are 11 newly minted Oscar-winners that you should watch right now. (And if you're after a full list of recipients, we've put that together, too.) CODA When CODA screened at the Sundance Film Festival back in January 2021, it made history. Film distributors always clamour to snap up the event's big hits, and this four-time award-winner — which received the fest's US Grand Jury Prize, US Dramatic Audience Award, a Special Jury Ensemble Cast Award and Best Director — was picked up by Apple TV+ for US$25 million. Even though the sophomore feature from writer/director Sian Heder (Tallulah) remakes 2014 French hit La Famille Bélier, that's still a significant amount of money; however, thanks to its warmth, engaging performances and a welcome lack of cheesiness, it's easy to see why the streaming platform opened its wallet. Fans of the earlier movie will recognise the storyline, which sees 17-year-old Ruby Rossi (Emilia Jones, Locke & Key) struggle to balance her family commitments with her dreams of attending music school. She's a talented singer, but she's only just discovered just how skilled she is because she's also the child of deaf adults (hence the film's title). At home, she also plays a key part in keeping the family's fishing business afloat, including by spending mornings before class out on the trawler wither her dad Frank (Troy Kotsur, No Ordinary Hero: The SuperDeafy Movie) and older brother Leo (Daniel Durant, Switched at Birth). Heder helms this still sweet and moving feature with a distinct lack of over-exaggeration, which plagued its predecessor. The fact that Kotsur, Durant and Marlee Matlin (Entangled), the latter as the Rossi matriarch, are all actors who are deaf playing characters who are deaf really couldn't be more important. Their portrayals are naturalistic and lived-in, as is much about this rousing but gentle crowd-pleaser — including tomboy Ruby's blossoming romance with fellow wannabe musician Miles (Ferdia Walsh-Peelo, Sing Street). OSCARS: Won: Best Picture, Best Supporting Actor (Troy Kotsur), Best Adapted Screenplay Where to watch: CODA is available to stream via Apple TV+. Read our full review. THE POWER OF THE DOG Don't call it a comeback: Jane Campion's films have been absent from cinemas for 12 years but, due to miniseries Top of the Lake, she hasn't been biding her time in that gap. And don't call it simply returning to familiar territory, even if the New Zealand director's new movie features an ivory-tinkling woman caught between cruel and sensitive men, as her Cannes Palme d'Or-winner The Piano did three decades ago. Campion isn't rallying after a dip, just as she isn't repeating herself. She's never helmed anything less than stellar, and she's immensely capable of unearthing rich new pastures in well-ploughed terrain. With The Power of the Dog, Campion is at the height of her skills trotting into her latest mesmerising musing on strength, desire and isolation — this time via a venomous western that's as perilously bewitching as its mountainous backdrop. That setting is Montana, circa 1925. Campion's homeland stands in for America nearly a century ago, making a magnificent sight — with cinematographer Ari Wegner (Zola, True History of the Kelly Gang) perceptively spying danger in its craggy peaks and dusty plains even before the film introduces Rose and Peter Gordon (On Becoming a God in Central Florida's Kirsten Dunst and 2067's Kodi Smit-McPhee). When the widowed innkeeper and her teenage son serve rancher brothers Phil and George Burbank (Spider-Man: No Way Home's Benedict Cumberbatch a career-best, awards-worthy, downright phenomenal turn, plus Antlers' Jesse Plemons) during a cattle-run stop, the encounter seesaws from callousness to kindness, a dynamic that continues after Rose marries George and decamps to the Burbank mansion against that stunning backdrop. Brutal to the lanky, lisping Peter from the outset, Phil responds to the nuptials with malice. He isn't fond of change, and won't accommodate anything that fails his bristling definition of masculinity and power, either. OSCARS: Won: Best Director (Jane Campion) Nominations: Best Picture, Best Actor (Benedict Cumberbatch), Best Supporting Actor (Jesse Plemons, Kodi Smit-McPhee), Best Supporting Actress (Kirsten Dunst), Best Adapted Screenplay, Best Cinematography, Best Original Score, Best Production Design, Best Film Editing, Best Sound Where to watch: The Power of the Dog is available to stream via Netflix. Read our full review. DUNE A spice-war space opera about feuding houses on far-flung planets, Dune has long been a pop-culture building block. Before Frank Herbert's 1965 novel was adapted into a wrongly reviled David Lynch-directed film — a gloriously 80s epic led by Kyle MacLachlan and laced with surreal touches — it unmistakably inspired Star Wars, and also cast a shadow over Hayao Miyazaki's Nausicaä of the Valley of the Wind. Game of Thrones has since taken cues from it. The Riddick franchise owes it a debt, too. The list goes on and, thanks to the new version bringing its sandy deserts to cinemas, will only keep growing. As he did with Blade Runner 2049, writer/director Denis Villeneuve has once again grasped something already enormously influential, peered at it with astute eyes and built it anew — and created an instant sci-fi classic. This time, Villeneuve isn't asking viewers to ponder whether androids dream of electric sheep, but if humanity can ever overcome one of our worst urges and all that it brings. With an exceptional cast that spans Timothée Chalamet (The French Dispatch), Oscar Isaac (The Card Counter), Rebecca Ferguson (Reminiscence), Jason Momoa (Aquaman), Josh Brolin (Avengers: Endgame), Javier Bardem (Everybody Knows), Zendaya (Spider-Man: No Way Home) and more, Dune tells of birthrights, prophesied messiahs, secret sisterhood sects that underpin the galaxy and phallic-looking giant sandworms, and of the primal lust for power that's as old as time — and, in Herbert's story, echoes well into the future's future. Its unpacking of dominance and command piles on colonial oppression, authoritarianism, greed, ecological calamity and religious fervour, like it is building a sandcastle out of power's nastiest ramifications. And, amid that weightiness — plus those spectacularly shot visuals and Hans Zimmer's throbbing score — it's also a tale of a moody teen with mind-control abilities struggling with what's expected versus what's right. OSCARS: Won: Best Cinematography, Best Original Score, Best Production Design, Best Film Editing, Best Sound, Best Visual Effects, Nominations: Best Picture, Best Adapted Screenplay, Best Costume Design Where to watch: Dune is currently screening in Australian cinemas, and is also available to stream via Google Play, YouTube Movies and Prime Video. Read our full review. WEST SIDE STORY Tonight, tonight, there's only Steven Spielberg's lavish and dynamic version of West Side Story tonight — not to detract from or forget the 1961 movie of the same name. Six decades ago, an all-singing, all-dancing, New York City-set, gang war-focused spin on Romeo and Juliet leapt from stage to screen, becoming one of cinema's all-time classic musicals; however, remaking that hit is a task that Spielberg dazzlingly proves up to. It's his first sashay into the genre, despite making his initial amateur feature just three years after the original West Side Story debuted. It's also his first film since 2018's obnoxiously awful Ready Player One, which doubled as a how-to guide to crafting one of the worst, flimsiest and most bloated pieces of soulless pop-culture worship possible. But with this swooning, socially aware story of star-crossed lovers, Spielberg pirouettes back from his atrocious last flick by embracing something he clearly adores, and being unafraid to give it rhythmic swirls and thematic twirls. Shakespeare's own tale of tempestuous romance still looms large over West Side Story, as it always has — in fair NYC and its rubble-strewn titular neighbourhood where it lays its 1950s-era scene. The Jets and the Sharks aren't quite two households both alike in dignity, though. Led by the swaggering and dogged Riff (Mike Faist, a Tony-nominee for the Broadway production of Dear Evan Hansen), the Jets are young, scrappy, angry and full of resentment for anyone they fear is encroaching on their terrain. Meanwhile, with boxer Bernardo (David Alvarez, a Tony-winner for Billy Elliot) at the helm, the Sharks have tried to establish new lives outside of their native Puerto Rico through study, jobs and their own businesses. Both gangs refuse to coexist peacefully in the only part of New York where either feels at home — but it's a night at a dance, and the love-at-first-sight connection that blooms between Riff's best friend Tony (Ansel Elgort, The Goldfinch) and Bernardo's younger sister María (feature debutant Rachel Zegler), that sparks a showdown. OSCARS: Won: Best Supporting Actress (Ariana DeBose) Nominations: Best Picture, Best Director (Steven Spielberg), Best Cinematography, Best Production Design, Best Costume Design, Best Sound Where to watch: West Side Story is currently screening in Australian cinemas, and is also available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. DRIVE MY CAR Inspired by Haruki Murakami's short story of the same name, Drive My Car's setup couldn't be simpler. Still recovering from a personal tragedy, actor and director Yusuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to helm a stage version of Chekhov's Uncle Vanya in Hiroshima — but the company behind it insists on giving him a chauffeur for the duration of his stay. He declines, yet they contend it is mandatory for insurance and liability reasons, so Misaki (Toko Miura, Spaghetti Code Love) becomes a regular part of his working stint in the city. Friendship springs, slowly and gradually, but Murakami's name is one of the first signs that this won't follow a standard road. The other: Japanese filmmaker Ryûsuke Hamaguchi, who makes layered, thoughtful and probing reflections upon connection, as seen in his previous efforts Happy Hour and Asako I & II. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours, but it's a patient, engrossing and rewarding trip. It's a gorgeously shot and affectingly performed one, too, whether taking to the road, spending time with its central pair, or chronicling Yusuke's involving auditions and rehearsals. Another thing that Hamaguchi does disarmingly well: ponder possibilities and acceptance, two notions that echo through both Yusuke and Misaki's tales, and resonate with that always-winning combination of specificity and universality. Drive My Car is intimate and detailed about every element of its on-screen voyage and its character studies, and also a road map to soulful, relatable truths. OSCARS: Won: Best International Feature Nominations: Best Picture, Best Director (Ryusuke Hamaguchi), Best Adapted Screenplay Where to watch: Drive My Car is currently screening in Australian cinemas. Read our full review. THE EYES OF TAMMY FAYE Not for the first time, the eyes have it, but then they always have with Tammy Faye Bakker. Not one but two films called The Eyes of Tammy Faye have told the 70s and 80s televangelist's tale — first a 2000 documentary and now this new Jessica Chastain-starring dramatisation — and both take their monikers from one of the real-life American figure's best-known attributes. In the opening to the latest movie, the spidery eyelashes that adorn Tammy Faye's peepers are dubbed her trademark by the woman herself. They're given ample focus in this biopic, as OTT and instantly eye-grabbing as they they are, but their prominence isn't just about aesthetics and recognition. This version of The Eyes of Tammy Faye hones in on perspective, resolutely sticking to its namesake's, even when it'd be a better film if it pondered what she truly saw, or didn't. In the path leading to her celebrity heyday and the time she was a TV mainstay, Tammy Faye's life saw plenty. It began with an unhappy childhood stained by her stern mother Rachel's (Cherry Jones, Succession) refusal to be linked to her at church, lest it remind their god-fearing Minnesotan townsfolk about the latter's sinful divorce. But young Tammy Faye (Chandler Head, The Right Stuff) still finds solace in religion, the attention that speaking in tongues mid-service brings and also the puppets she starts using as a girl. Come 1960, at bible college, her fervour and quirkiness attract fellow student Jim Bakker (Andrew Garfield, Tick, Tick… Boom!), with the pair soon married even though it gets them kicked out of school. Unperturbed, she keeps seeing their calling to the lord as their way forward, first with a travelling ministry — puppets included — and then with television shows and their own Praise the Lord network. OSCARS: Won: Best Actress (Jessica Chastain), Best Makeup and Hairstyling Where to watch: The Eyes of Tammy Faye is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. ENCANTO Five years after Lin-Manuel Miranda and Disney first teamed up on an animated musical with the catchiest of tunes, aka Moana, they're back at it again with Encanto. To viewers eager for another colourful, thoughtful and engaging film — and another that embraces a particular culture with the heartiest of hugs, and is all the better for it — what can the past decade's most influential composer and biggest entertainment behemoth say except you're welcome? Both the Hamilton mastermind and the Mouse House do what they do best here. The songs are infectious, as well as diverse in style; the storyline follows a spirited heroine challenging the status quo; and the imagery sparkles. Miranda and Disney are both in comfortable territory, in fact — formulaic, sometimes — but Encanto never feels like they're monotonously beating the same old drum. Instruments are struck, shaken and otherwise played in the film's soundtrack, of course, which resounds with energetic earworms; the salsa beats of 'We Don't Talk About Bruno' are especially irresistible, and the Miranda-penned hip hop wordplay that peppers the movie's tunes is impossible to mentally let go. Spanning pop, ballads and more, all those songs help tell the tale of the Madrigals, a close-knit Colombian family who've turned generational trauma into magic. This is still an all-ages-friendly Disney flick, so there are limits to how dark it's willing to get; however, that Encanto fills its frames with a joyous celebration of Latin America and simultaneously recognises its setting's history of conflict is hugely significant. It also marks Walt Disney Animation Studios' 60th feature — dating back to 1937's Snow White and the Seven Dwarfs — but its cultural specificity (depictions of Indigenous, Afro Latino and Colombian characters of other ethnicities included) is its bigger achievement. OSCARS: Won: Best Animated Feature Nominations: Best Original Score, Best Song Where to watch: Encanto is currently screening in Australian cinemas, and is also available to stream via Disney+,Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SUMMER OF SOUL (...OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED) Much of Summer of Soul (...Or, When the Revolution Could Not Be Televised) involves stunning archival footage, as recorded more than five decades ago, capturing live performances by an astonishing lineup of musicians. At the 1969 Harlem Cultural Festival, a free series of gigs that rolled out across six weekend and saw around 300,000 people head along, Nina Simone, Stevie Wonder, BB King, Sly and the Family Stone, the Staples Singers, Mahalia Jackson and Gladys Knight & the Pips all took to the stage — and the newly unearthed reels that immortalised their efforts are the stuff that music documentary dreams are made of. For his filmmaking debut, Ahmir 'Questlove' Thompson could've simply stitched together different songs from various sets across the festival, and let those music superstars lead the show. He could've taken the immersive, observational approach and jettisoned context, too. But The Roots frontman and drummer doesn't make that choice, and he ensures that two words echo strongly throughout the film as a result: "Black Woodstock". Also in New York — upstate in the town of Bethel, 100 miles north of Harlem — Woodstock itself took place in the summer of 1969 as well. The Harlem Cultural Festival kicked off before and kept playing after its better-known counterpart ended, but comparing the two events makes quite the statement. Why has one endured in public consciousness and proven pervasive in popular culture, but not the other? Why did footage of one quickly get turned into a film, with the Woodstock documentary first reaching cinemas in 1970, but recordings of the other largely sat in a basement for half a century? Why did television veteran Hal Tulchin, who shot the entire Harlem Cultural Festival from start to finish on four cameras loaded up with two-inch videotape, get told that there was little interest in releasing much from a "Black Woodstock"? (One New York TV station aired two hour-long specials at the time, but that's all that eventuated until now.) These questions and the US' historical treatment of people in colour go hand in hand, and whenever the words "Black Woodstock" are uttered, that truth flutters through Summer of Soul. OSCARS: Won: Best Documentary Feature Where to watch: Summer of Soul (…Or, When the Revolution Could Not Be Televised) is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. NO TIME TO DIE James Bond might famously prefer his martinis shaken, not stirred, but No Time to Die doesn't quite take that advice. While the enterprising spy hasn't changed his drink order, the latest film he's in — the 25th official feature in the franchise across six decades, and the fifth and last that'll star Daniel Craig — gives its regular ingredients both a mix and a jiggle. The action is dazzlingly choreographed, a menacing criminal has an evil scheme and the world is in peril, naturally. Still, there's more weight in Craig's performance, more emotion all round, and a greater willingness to contemplate the stakes and repercussions that come with Bond's globe-trotting, bed-hopping, villain-dispensing existence. There's also an eagerness to shake up parts of the character and Bond template that rarely get a nudge. Together, even following a 19-month pandemic delay, it all makes for a satisfying blockbuster cocktail. For Craig, the actor who first gave Bond a 21st-century flavour back in 2006's Casino Royale (something Pierce Brosnan couldn't manage in 2002's Die Another Day), No Time to Die also provides a fulfilling swansong. That wasn't assured; as much as he's made the tuxedo, gadgets and espionage intrigue his own, the Knives Out and Logan Lucky actor's tenure has charted a seesawing trajectory. His first stint in the role was stellar and franchise-redefining, but 2008's Quantum of Solace made it look like a one-off. Then Skyfall triumphed spectacularly in 2012, before Spectre proved all too standard in 2015. Ups and downs have long been part of this franchise, depending on who's in the suit, who's behind the lens, the era and how far the tone skews towards comedy — but at its best, Craig's run has felt like it's building new levels rather than traipsing through the same old framework. OSCARS: Won: Best Original Song Nominations: Best Visual Effects, Best Sound Where to watch: No Time to Die is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BELFAST Warm, cosy, rosy, charming, feel-good: typically when a film spins its story during The Troubles in Northern Ireland, none of these words apply. But with Belfast, Kenneth Branagh has made a movie set in its eponymous city when the Protestant-versus-Catholic violence was a constant sight, and also helmed a feature that's about a childhood spent with that conflict as a backdrop. It's an approach that only works because Branagh draws from his own experiences — the film isn't a play-by-play memoir, but it's also clearly personal. Here, it's 1969, when the actor-turned-filmmaker would've been nine years old. The movie's protagonist, Buddy (first-timer Jude Hill), is that exact age, in fact. And with the beginnings of a three-decade-long sectarian fracas bubbling and boiling around him, he navigates the usual age-appropriate antics, such as school, crushes, doting grandparents with ailing health and a potential big move. The Troubles are a constant sight in the largely monochrome-hued film, too, and the reason Buddy's that parents are contemplating relocating to England, something they wouldn't have dreamed of otherwise. Pa (Jamie Dornan, The Tourist) already spends most of his time working there as a joiner, leaving Ma (Caitríona Balfe, Outlander) at home with Buddy and his elder brother Will (Lewis McAskie, Here Before) — with assistance from the boys' Granny (Judi Dench, Six Minutes to Midnight) and Pop (Ciarán Hinds, The Man in the Hat) — and he's been offered a new job that comes with a house. The violence swirling through Belfast has already made it to the family's street, to their hounded Catholic neighbours and, when Pa refuses to join the fray, put them on their fellow Protestants' hit list. Shifting to London (or perhaps further, to Sydney or Vancouver) would provide a new start and a safer future, but leaving all they've ever known isn't a simple decision. OSCARS: Won: Best Original Screenplay Nominations: Best Picture, Best Director (Kenneth Branagh), Best Supporting Actor (Ciarán Hinds), Best Supporting Actress (Judi Dench), Best Sound Where to watch: Belfast is currently screening in Australian cinemas. Read our full review. CRUELLA A killer dress, a statement jacket, a devastating head-to-toe ensemble: if they truly match their descriptions, they stand the test of time. Set in 70s London as punk takes over the aesthetic, live-action 101 Dalmatians prequel Cruella is full of such outfits — plus a white-and-black fur coat that's suspected of being made from slaughtered dogs. If the film itself was a fashion item, though, it'd be a knockoff. It'd be a piece that appears fabulous from afar, but can't hide its seams. That's hardly surprising given this origin tale stitches together pieces from The Devil Wears Prada, The Favourite, Superman, Star Wars and Dickens, and doesn't give two yaps if anyone notices. The Emmas — Stone, playing the dalmatian-hating future villain; Thompson, doing her best Miranda Priestly impression as a ruthless designer — have a ball. Oscar-winning costume designer Jenny Beavan is chief among the movie's MVPs. But for a film placed amid the punk-rock revolution, it's happy to merely look the part, not live and breathe it. And, in aiming to explain away its anti-heroine's wicked ways, it's really not sure what it wants to say about her. Before she becomes the puppy-skinning fashionista that remains among Glenn Close's best-known roles, and before she's both a wannabe designer and the revenge-seeking talk of the town played by Stone (Zombieland: Double Tap), Cruella is actually 12-year-old girl Estella (Tipper Seifert-Cleveland, Game of Thrones). She sports two-toned hair and a cruel that streak her mother (Emily Beecham, Little Joe) tries to tame with kindness — and she's also a target for bullies, but has the gumption to handle them. Then tragedy strikes, an orphan is born, loss haunts her every move and, after falling in with a couple of likeable London thieves, those black-and-white locks get a scarlet dye job. By the time that Estella is in her twenties, she's well-versed in pulling quick heists but loves sewing the costumes required more than anything else. And, thanks to the Baroness (Thompson, Last Christmas), she eventually gets her chance — for fashion domination, as well as vengeance. OSCARS: Won: Best Costume Design Nominations: Best Makeup and Hairstyling Where to watch: Cruella is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more Oscar-nominees to watch? You can also check out our full rundown of where almost all of this year's contenders are screening or streaming in Australia.
Jason M. Jones and Brahman Perera (Entrecôte and Hopper Joint) have just opened a new bar in Prahran, inspired by the 1958 cult classic musical Gigi — which they both have a great childhood love for. You'll find Gigi hidden down a bluestone laneway off Greville Street, decked out with velvet banquettes, antique crystal chandeliers, Persian carpets and hand-painted walls by artist Melissa Macfarlane. It has a whimsical camp feel and really screams old-world luxury without being gaudy or over the top. This elegantly flows through from the salon to the galerie space and into its open-air terrace. No doubt, Perera has overseen this playful fitout, for he also designed Hopper Joint, which opened earlier this year. Complementing the interiors, you'll find an extensive Euro-centric wine list that's been curated the Entrecote's sommeliers — covering everything from grower champagnes and Burgundy classics to Aussie pet nats and pinot noirs. Cocktails also get a good workout, including classic European sips and signature creations like the espresso martini made with popcorn-infused whisky, the Parisian Spritz that features a mandarin liqueur, and the signature Gigi cocktail made with sweet pea syrup, gin, elderflower and lemon. Digestifs, fortified wines, beers, ciders and mocktails round out the bev lineup, but we're sure most will be visiting Gigi for wine and cocktails. Keeping you from wandering off for a feed, the team has also dreamt up a long selection of snacks — available until late in the night. This includes oysters, caviar bumps, tuna tartare tartlets, beef party pies, sausage rolls and a miniature version of Entrecôte's famed cheeseburger. Co-Owner Jason M. Jones shared, "We're thrilled to be open and bringing Gigi to life here on Greville Street. "This place holds a special meaning for me — I celebrated my 21st birthday dinner upstairs when it was the Greville Bar. Now, we've created something new, but with that same sense of fun and nostalgia. "Gigi is all about escape and indulgence. We want our guests to step in, forget the outside world and lose themselves in a little Parisian magic." You'll find Gigi at 143 Greville Street, Prahran, open 5pm–late from Wednesday–Sunday. The bar doesn't take bookings but you can find more details at the venue's website.
Excellent casting doesn't guarantee an excellent movie, but it can get you booking tickets ASAP. And All of Us Strangers might just have the best lead duo there is right now, pairing the internet's boyfriends Paul Mescal (Aftersun) and Andrew Scott (Fleabag). Just as exceptional: the film marks the latest from Weekend's Andrew Haigh, who both writes and directs. Any of those three talents alone is cause for excitement. Mescal has had the world swooning since Normal People, scored an Oscar nomination this year for Aftersun, then danced spectacularly in the desert in Carmen. Scott has proven a must-watch in everything from Jimmy's Hall and Pride to Sherlock and Black Mirror. And, as well as one of the best queer romances ever made in Weekend, Haigh also worked on TV series Looking, and has 45 Years, Lean on Pete and The North Water on his resume. With All of Us Strangers, the trio tell the story of Adam (Scott) and his neighbour Harry (Mescal), who fall in love as the film's just-dropped trailer shows. Their relationship sparks as Adam is peering back to his past, to when his parents passed away when he was 12. Then comes ghosts, perhaps — because, heading back to the town he grew up, Adam's mum and dad seem to still be alive. In a feature that adapts Taichi Yamada's 1987 novel Strangers — and a movie with a stacked roster of talent all round — Claire Foy (Women Talking) and Jamie Bell (Shining Girls) join Scott and Mescal on-screen are as Adam's mother and father. And the mood around them, based on the sneak peek, which is soundtracked by the Pet Shop Boys' version of 'Always on My Mind'? Mysterious and yearning. After premiering at the 2023 Telluride Film Festival, All of Us Strangers is set to hit cinemas Down Under on Thursday, January 18, 2024 — so there's one of your first must-see movies for next year. If you're in Brisbane, you can catch it in October and November first thanks to the 2023 Brisbane International Film Festival. Check out the trailer for All of Us Strangers below: All of Us Strangers will release in cinemas Down Under on Thursday, January 18, 2024. Images: courtesy of Searchlight Pictures. © 2023 20th Century Studios All Rights Reserved.
Like the sound of a power reformer strength class? Always wanted to try hot pilates? Absolutely pumped to sweat, smile, and soak up all the good vibes? Upstate's annual Open House Weekend is back, and you're invited. With free classes cranking across 17 studios in Melbourne (and regional Victoria), New South Wales and Queensland, this event — which takes place from Saturday, March 21–Sunday, March 22 — offers two days of electrifying workouts, as well as awesome prizes and offers. To celebrate, Upstate is giving you an exclusive 50 percent discount on its 30-day intro offer. Plus, you can score the first two weeks free, and two more weeks at 50 percent off by signing up for a new unlimited membership. What's more, there's a chance to win a 12-month membership — just share a photo or video during the weekend and tag @upstate_studios on Instagram. Whether it's yoga or heavy-hitting boxing that takes your fancy, Upstate's no-strings, no-catches classes are an excellent way to challenge yourself, have fun and meet new people. They'll take place across all Upstate locations, from Richmond and Oakleigh to Torquay, Ballarat, Five Dock and Palm Beach. Ready to go? Simply download the Upstate app and reserve your free classes. Saturday sessions run from 6am–4pm and Sunday sessions from 7am–7pm – but don't forget to check the schedule for exact times. Whatever your vibe, Upstate is ready for you.
It's difficult to overstate not only the ubiquity of coffee in Australia, but also the part it plays in our day to day. As Bruno Maiolo, a life member (and incumbent president) of the Australian Specialty Coffee Association (ASCA), says: "Coffee is enshrined in our DNA. We cannot function without it." But how has our coffee culture changed over the years — and what's coming next? In partnership with Milklab, we spoke with six Australian coffee experts to get their thoughts. [caption id="attachment_755831" align="alignnone" width="1920"] St Ali[/caption] WHAT'S CHANGED The origin story of Australian coffee culture has become engrained in our nation's lore, but a quick recap. Italian migrants who came to Australia after WWII with the hope of a better future in 'the lucky country', also (thankfully) brought their espresso-making traditions with them. Cafes and espresso bars quickly popped up throughout Melbourne and Sydney, with their appeal quickly spreading beyond European migrant communities. "I refer to the Australian coffee scene as 'the new world'," says Herman Chiu (pictured below), director of Sydney cafe Haven Specialty Coffee. "Just like [Australia's] approach to winemaking, we learned [coffee] from industry pioneers. However, we had less traditional fetters, which allowed us to be more creative and open to new ideas." If one person — and their signature pork pie hat — has come to embody our 'new world', it's Salvatore Malatesta. The founder of the St Ali empire also thinks our being new on the scene has worked to our advantage. "The coffee culture was a broad church with no preconceptions of what was right or wrong," he tells us. "There was a genuine openness... Then there were a handful of evangelists (of which I was and remain one) who made it their life mission to make sure Australian won the coffee Olympics." He reckons we took home gold. Maiolo — who also runs Melbourne roaster C4 Coffee — has seen first-hand how Aussie coffee has changed over the years. "The emergence of 'specialty' coffee, and a whole lot of curious locals, has brought about a shift in what we are looking for in an espresso." He notes that these changes range from the grade of beans being purchased, to how beans are roasted. For coffee professionals, the consequences of this shift border on the existential: "These are now becoming contentious issues. Have we changed espresso too much? Have we created a 'new' drink or just bastardised a classic? Either way we have plenty of choices," says Maiolo. Chiu also notes the rise in specialty coffee as a game-changer. "In the early 2010s, although the specialty coffee scene had already been in Australia for quite some time, the general public still didn't quite understand the concept. Nowadays, walking into a cafe around the corner and ordering a batch brew or a cold drip from Ethiopia is such a normal thing." For Wendy de Jong, director of coffee at Sydney roaster Single O, black coffee is having a moment right now. "I see much more of an appreciation for black coffee in all methods — espresso, filter, drip bags," she observes. "We're pushing that charge a little I think, with innovations like our 'batch tap' (like a pub with a few beers on tap) and our commitment to delivering a high-quality coffee experience outside the cafe with our single-serve drip filters." To that end, home brewing seems to have taken off — perhaps not surprising given how much time we've spent at home these past 18 months. Andrew Wong, head barista at the Sydney CBD outpost of Industry Beans, has noticed this. "Home brewing is very common these days, with people ditching the instant and learning more about brewing their own coffee. It has become very attainable to have cafe-quality coffee at home," he says. This isn't all bad news for cafes, though. "[The rise in home brewing] created a great opportunity for us to communicate [with] and educate our audience about the coffee we source, our roasting and brewing philosophy and coffee knowledge in general," says Chiu. "I am sure [this] will push the industry to grow, as better educated customers will always be better customers, and lead to a better industry eventually." [caption id="attachment_825803" align="alignnone" width="1920"] Salvatore Malatesta by Eugene Hyland[/caption] As for the biggest change we've seen in the way we consume coffee? Many would say the rise of non-dairy milks. "The uptake of alternative milk has definitely had a significant impact on the industry," says Chiu. Maiolo adds: "Whether it is a health or dietary necessity or simply a lifestyle choice, it is an undeniable shift." It's something that Malatesta (pictured above) has also noticed. "Alternative milks are taking market share from the humble cow, with oat milk as my number-one pick as a front runner." Natalie Latimore, marketing lead at Milklab, agrees. "This is the year of oat milk," she says. "It's the fastest growing plant-based milk globally, and we're only just beginning to see the craze take off in Australia." It's not hard to imagine why: oat milk is a smooth, creamy and naturally sweet alternative to dairy — something that this writer can vouch for. Milklab's new oat milk, made with 100 percent Australian oats, has been developed in collaboration with baristas, Latimore tells us, "with the single aim of creating the perfect alternative milk to enhance the coffee experience." WHAT'S NEXT Nootropics and micro-dosing? Naturally infused flavoured coffee? These could be the future, according to the experts. "Nootropics, micro-dosing and adaptogens are all words that will become part of the everyday lexicon," says Malatesta. "The power of mushrooms is just starting to filter down to early adopters from fundamental enthusiasts. We are releasing a mushroom coffee mix soon, so stay tuned." Maiolo thinks that what we look for in taste will continue to develop. "Controversially, I believe we will see an emergence of 'infused' coffees," he says. "At origin, farmers are adding a new step in the processing of raw coffee by soaking them and infusing them with cinnamon, tropical fruit and other alternatives, thereby giving the final green beans taste profiles that you would not find naturally occurring." The knock-on effects of this could be significant, too. "This added process will inevitably fetch more money," Maiolo continues. "Farmers can potentially add interesting flavours to lower grades of coffee that would ordinarily be just a 'filler' and not fetch much money, and thus increase their sell price. Watch this space." [caption id="attachment_706983" align="alignnone" width="1920"] Industry Beans[/caption] Wong, meanwhile, thinks conscious consumption is on the rise. "People are more aware of, for example, the impacts of single-use coffee cups that aren't biodegradable — more and more people are using their own cups when buying their takeaway coffees which is great." The uptick in oat milk could be seen to run parallel with increasingly conscious coffee drinkers. For starters, oat milk ranks high on two important nutrients, namely protein and fibre, and it's also allergy-friendly for those with tree nut or soy intolerances. But perhaps even more significantly, oat milk is among the most sustainable and environmentally friendly milks available today, with one study showing that it can generate up to 80 percent less greenhouse gas emissions than dairy. As a sustainable crop, oats also aren't associated with deforestation or excessive needs for water. As for the coffee itself? "There are many places in the world which have no history of growing coffee but are now entering into coffee production," Wong says. "The impacts of climate change will also affect the way coffee is grown, with the ideal altitudes for growing also changing with it." Single O's de Jong also thinks that our changing world will inevitably have an impact on the coffee we consume. "With so many challenges to global supply chains at the moment I think we will continue to see coffee in that rare 'glad we have it' space, where it still feels really special to have a perfectly tasty brew every day." Ask for Milklab oat milk next time you order a coffee. For more information, head to the website. Top image: Julia Sansone
The last time that Emma Stone made a movie with Greek Weird Wave director Yorgos Lanthimos, 2018's excellent The Favourite was the end result. The Cruella star earned an Oscar nomination for her troubles, deservedly so, and the filmmaker's style and sense of humour gained a wider audience. Indeed, the made a winning pair, in what was one of the former's very best performances of Stone's career. Accordingly, it should come as no surprise that they've reteamed again. Also far from astonishing: that another unique movie looks set to hit screens. This time, they've traded regal dramas for a riff on Mary Shelley's Frankenstein — which will never stop being a gothic-horror masterpiece, or inspiring stories across the page, stage and screen. And, while Poor Things doesn't actually use that f-word, it looks mesmerising, eerie and stunning in both its initial and just-dropped trailers. Also, Stone is clearly playing a version of Frankenstein's monster. Poor Things adapts Alasdair Grey's 1992 award-winning novel, but the parallels with Shelley's mother-of-all horror greats are as obvious as a bolt of lightning. The focus: Bella Baxter, a woman resurrected by an unorthodox scientist, distinctive in her mannerisms afterwards and eager to learn about a world that isn't quite sure how to react. Continuing the movie's top-notch casting — and Lanthimos' in general, as seen in everything from Dogtooth and Alps to The Lobster and The Killing of a Sacred Deer as well — Poor Things features Willem Dafoe (The Northman) as the tinkering Dr Godwin Baxter; Mark Ruffalo (She-Hulk: Attorney at Law) as Duncan Wedderburn, a slick lawyer that Bella runs off with; and also Ramy's Ramy Youssef, plus On the Count of Three co-stars Jerrod Carmichael and Christopher Abbott. Poor Things jolts Stone's career back onto the screen a few years away, too — Cruella released in 2021, and only The Croods: A New Age, Zombieland: Double Tap and TV's Maniac sit on her resume since The Favourite. Viewers Down Under will get to see how this surreal-looking take on a literary masterpiece turns out on October 12. Check out the full trailer for Poor Things below: Poor Things will release in cinemas Down Under on October 12. Image: Yorgos Lanthimos. Courtesy of Searchlight Pictures. © 2023 20th Century Studios All Rights Reserved.
Since first launching back in 2002, the Australian Centre for the Moving Image (ACMI) has seen over 14.7 million visitors through its doors. The country's only museum devoted to film, television, digital culture and video games, the Fed Square icon also happens to be the most visited museum of its kind in the entire world. But now, it's time for a well-deserved makeover and upgrade, and a cool $36.6 million investment by the Victorian Government is helping to push ACMI into its next phase of life. The museum shut its doors last week to make way for an extensive revamp, with a brighter and more welcoming ACMI 2.0 slated to open its doors mid-2020. Plans for the revamped precinct include a series of new, free exhibition spaces and a 'media preservation lab', which will explore ways of preserving contemporary and emerging media for access long into the future. Visitors will be able to enjoy new immersive experiences, playful activations and cutting-edge technology. We're hoping this means there'll be more interactive exhibitions like its popular Alice in Wonderland world and David Bowie tribute. With a decade under its belt, the permanent Screen Worlds exhibition — now one of Melbourne's go-to cultural activities — will also be reimagined, with favourite installations given a new lease on life and accompanied by a stack of new content. A new education hub is also planned, which has the next generation of screen creatives in its sights. The Gandel Digital Future Labs will aim to engage over 100,000 students and teachers with tech-focused educational programming, focused on the likes of entrepreneurship, game design and emerging technologies. ACMI will also score a new cafe and bar, upgraded foyer spaces, a specialist retail shop, and revamped cinemas to host its extensive film screening program. While ACMI is undergoing renovations, its shows, films and exhibitions will take up residence at the Treasury Theatre and the soon-to-reopen Capitol Theatre. ACMI is slated to reopen in mid-2020. To check out its programming at the Treasure and Capitol theatres, head to the ACMI website.
