Now in its eighth year, the Iranian Film Festival Australia returns with another lineup of cinema straight from the Middle Eastern country — with 12 features and three shorts in 2018, in fact. Running between Thursday, October 25 and Tuesday, October 30 at ACMI, it's a lineup that both highlights old masters and showcases new talent. And yes, there's plenty of both. In the tried and tested category sits Jafar Panahi's Three Faces, which sees the filmmaker get playful and star on-screen in his latest combination of fact and fiction. Or, viewers can check out Bahmam Farmanara's Tale of The Sea, a family drama that's also dedicated to the late Iranian auteur Abbas Kiarostami and kicks off the whole fest Then there's Kamal Tabrizi's Sly, a fictional account of a political leader — which features Mani Haghighi, who also directs IFFA dark comedy Pig, about a filmmaker suspected of murder. If you're keen to check out up-and-coming voices and see different interpretations of classic material, As I Lay Dying offers an Iranian take on William Faulkner's tale of the same name. And, in only their third feature, filmmaking brothers Jamshid and Navid Mahmoudi achieve something extraordinary with Afghan-Iranian co-production Rona, Azim's Mother, with the movie their third title to be entered into the Oscar foreign-language category by Afghanistan.
While many of Australia's film festivals showcase the cinema of a particular country, region or genre, the Jewish International Film Festival embraces an entire culture. From films about famous comedians to thrilling docos about strange-but-true tales to award-winning dramas, if it ties into JIFF's Jewish focus in any shape or form — and from almost any country or filmmaker — then it's probably on the fest's program. In 2018, that means Love, Gilda, about original Saturday Night Live star Gilda Radner; The Twinning Reaction, which uses a different angle on the real-life situation also chronicled in Three Identical Strangers; and Israeli effort Redemption, about an devout musician contemplating returning to his rocker ways in a time of personal crisis. In a star-studded lineup, other highlights include Can You Ever Forgive Me? starring Melissa McCarthy as a writer who dabbles in literary forgery, Matthew Broderick in buddy comedy To Dust and Charlotte Gainsbourg in French biopic Promise at Dawn. From Wednesday, October 24, JIFF runs across three Melbourne venues: at Classic Cinema Elsternwick until Wednesday, November 21, at Lido Cinemas Hawthorn from Thursday, October 25 until the same end date, and at Cameo Cinemas Belgrave between Wednesday, November 8 and Sunday, November 18. Marking its 29th year, the full program features more than 60 films from 23 countries — and, if you're keen to hear more about some of the flicks, plenty of post-screening Q&As. If you're hungry, a borek bake-off is also on the menu.
Chicken lovers of Melbourne, rejoice — there's no shortage of places to get your fix around the city, and plenty of them are kind on your wallet. But, on Saturday, November 17, make a hasty beeline to Wings of Glory as the chicken joint will be doing 30-cent wings. There's a catch, though — you can only order 15 per person. But maybe that's only a catch if you're feeling particularly hungry. The offer runs from 2–5pm, so have a light breakfast and lunch and dinner will be sorted. Usually, you'd have to pay $14 for ten, but, with this offer, you'll only have to pay $3. The 30-cent wings will be on offer at both the Little Lonsdale and South Melbourne stores as part of Wings of Glory's third birthday party celebrations. The party's 80s-themed, so dress up if you're feeling extra celebratory. Beer will naturally be on-hand (at an extra cost).
Start your springtime Saturday or Sunday as you intend to go on — with a feast of food and unlimited drinks. Because everyone loves a boozy brunch, Bang Bang is now pairing its hawker-style eats with bottomless beverages every weekend. Taking place across two-hour periods between 11am–3pm (with last bookings taken for 1pm), Bang Bang Bottomless Brunch kicks off as every weekend meal should: with freshly shucked oysters with red chilli and lime granita. From there, you'll munch your way through the eatery's set menu of Indochine bites, such as wagyu beef bao, salt and pepper squid and satay chicken skewers. Other dishes include with pomelo betel leaf, smoked trout san choy bow and French fries seasoned with kaffir lime and chilli. Drinks-wise, cocktails range from pomelo mimosa (and regular mimosas on request) to Prosecco, with the venue's signature Graperol spritz and Bang Bang Mary also on offer. That'll set you back $59 including food — or $49 if you'd prefer the non-alcoholic option with sodas, juice and rotating mocktails. Every bottomless offering always comes with a few caveats, and Bang Bang's is no different. Reservations are available for a minimum of four people, the unlimited drinks start from the time of your booking — so make sure you're punctual — and each person will only be given one beverage at a time.
The Equality Project has launched an event which aims to create conversation and explore issues impacting the LGBTIQ community in Australia. Held over two days at Melbourne Town Hall, Better Together 2018 will generate intersectional discussion around equality. The Equality Project states that the conference will be Indigenous and feminist in its approach and will aim to bring individuals from women's rights, Indigenous rights, disability, multicultural and faith groups together. Before the conference there will be a number of workshops and training sessions designed to assist emerging leaders in developing skills and knowledge in leadership and a special event on the Saturday evening will see former number one tennis champion Billie Jean King speaking. Both the conference and training sessions will be interpreted in Auslan, as required. And be sure to RSVP for the Beer and BBQ kick-off event on Thursday, January 11. Established to drive conversation and push for rights after last year's marriage equality vote, The Equality Project aims to connect groups and communities and establish a platform for voices in the LGBTIQ community.
With 39 degrees predicted all long weekend-long, you're going to need a spot to cool off. Not enthused by the notion of battling beachside crowds? The folks at Welcome to Thornbury understand. That's why they're throwing you a huge pool party. Swing by anytime between 10am and 11pm on January 26–28 with your togs. The venue's mega courtyard will be dotted with inflatable pools of all shapes and sizes, from swimming pools to wading pools to dog-dedicated pools. Plus, pretty much every creature that boarded Noah's Ark will get representation in inflatable form. Listen to the Triple J Hottest 100 countdown on Saturday and kick back to DJs on Friday and Sunday. Keeping you well fuelled between dips will be a herd of food trucks, including Mr Burger, Super Taco, Copa, Jamm'd and a pop-up by Brunswick Mess Hall. Of you can't bring yourself to leave the house, try our sustainable hacks for keeping cool without air-conditioning.
With the innocence and energy of youth, six-year-olds Moonee (Brooklynn Prince), Scooty (Christopher Rivera) and Jancey (Valeria Cotto) spend their sunshine-filled days running around their Florida neighbourhood. It's a jubilant time for the cheeky, cheerful, unsupervised trio who aren't old enough to have any worries, full of ice cream, pool dips and trips through abandoned houses. Disney World looms nearby, its fireworks often blossoming above, while the industry surrounding the theme park — oversized fast food joints, discount outlets and souvenir-shops — is all part of their playground. And although the mischievous kids don't attend school even when classes are in session, they know how to make the most of their summer. So it is, with affection, exuberance and the sounds of Kool & the Gang's 'Celebration', that writer-director Sean Baker (Tangerine) tells their story. The acclaimed filmmaker focuses in on Moonee and her young mother Halley (Bria Vinaite), with much of the movie favouring the rebellious girl's perspective. Lush widescreen visuals captured in 35mm abound, alongside personality-filled close-ups that capture a sense of youthful adventure. Crucially, however, Baker doesn't shy away from the darker side of his protagonist's lives. While vibrant, The Florida Project casts its unblinkered view over spitting at cars, selling knock-off perfumes, begging for extensions on the rent, fighting with the authorities, trifling with crime and doing whatever it takes to make ends meet. That's everyday existence in The Magic Castle, the purple-hued week-by-week hotel that's home to Orlando's poor and battling. Suffice it to say, it's a far cry from Disney's Magic Kingdom. That gap — that chasm — between the haves and the have-nots is impossible to miss. But Baker isn't interested in delivering a lecture or serving up a colourful piece of poverty porn. In much the same way he did with the iPhone-shot Tangerine, which followed a pair of trans sex workers in Los Angeles, the director's latest effort both depicts and embraces a group of people and a way of life rarely seen elsewhere, all without judging or sugar-coating. It's a film that understands that Moonee's antics are magical to her because she's never known anything else. Indeed, if every filmmaker looked at the world in the same way as Baker, we'd be living in a much kinder and more empathetic place. He also receives considerable assistance from his largely inexperienced and non-professional cast, with the movie's devotion to detail seeing Prince kick-start her career with the kind of complex performance actors five times her age or more aren't often able to muster. Vinaite, meanwhile, makes her debut after Baker found her via Instagram, proving lively, spirited and soulful as a mother who treats her kid more as a friend and co-conspirator than a daughter. Finally, there's Willem Dafoe. One of just a handful of recognisable faces in the picture, and on course to win a thoroughly-deserved Oscar for his efforts, Dafoe doesn't steal the show from Prince and Vinaite, but supports them with grace and sensitivity. As the Magic Castle's exhausted but understanding manager Bobby, the veteran actor delivers a perfect supporting turn — making everyone around him shine brighter but never jumping into their spotlight. Made with clear eyes, an open heart and a willingness to show both the highs and lows of life on Florida's margins, Baker's latest isn't the kind of film that makes it to cinemas every day. It's an honest, accessible, compassionate account of low-rent troubles and tussles – a tale that's tender, tragic and joyous with a knockout ending that's both devastating and beautiful. https://www.youtube.com/watch?v=Nv5wCO0huEA
Just because you've gone and left all your Christmas shopping till the last minute (again), doesn't mean all hope is lost. The folks at Good Cmpny are here to save the day with a perfectly timed pre-Christmas pop-up sale this Saturday, December 23. The Melbourne-born clothing brand known for its minimalist unisex staples is throwing open the doors to its Prahran showroom for a one-day sale. And, yes, you should go IRL — it will include some savings you won't find online. All remaining sweatshirts from the 2017 range will be slashed from the usual $125 down to just $75. If it's destined for the present pile, you can even get yours dressed up in some nifty Good Cmpny wrapping paper, ready for the tree. There's also a secret in-store offer for those buying two or more sweatshirts on the day. Surely you deserve a present of your own…
From little things, big things grow. That seems to be the thinking behind the 2015 Poppy Seed Festival, a month-long showcase of homegrown theatre blossoming in Melbourne for the very first time. Running from November 10 to December 13 at various venues around town, the inaugural edition of this grass-roots event will feature four different productions from some of the most unique voices in local independent theatre. The festival begins with TBC Theatre's Project Hysteria, a brand new take on two one-act Tennessee Williams plays, The Pretty Trap and Interior: Panic. Next up comes 15 Minutes from Anywhere's The Yellow Wave, a tale of love and sacrifice set against a Mongol invasion of Australia. Thirdly, Man with a Plan presents Gin Sister, a three-woman show that examines female drinking culture through a mix of song, dance and poetic self-reflection. Finally, Fire Curtain Co. will perform Vicky Jones' award winning play The One, a brutal critique of modern-day relationships that took London's Soho Theatre by storm. Tickets costs $30 per show, although theatre-nuts can attend all four for $100. For more information, including precise dates and locations, visit poppyseed.net.au.
The team behind the phenomenal stage play Songs for Nobodies are returning for a spiritual sequel. Written by playwright Joanna Murray-Smith specifically for singer and actress Bernadette Robinson, Pennsylvania Avenue showcases Robinson's masterful vocal ventriloquism, as she performs songs by Marilyn Monroe, Aretha Franklin, Bob Dylan and more. The show had its world premiere at the MTC in late 2014, and now returns to the Melbourne Arts Centre for a three-and-a-half week run. Robinson stars as Harper Clements, a staffer in the White House Social Office in charge of booking musicians for Presidential functions. Its conceit is just an excuse to let Robinson dust off her vocal chords, delivering musical impressions so bang on the money you'd swear the actual stars were right there in the room. To read our review of the original run of Pennsylvania Avenue, go here.
Some might say, summer is a good drumstick. But is it more than just the combination of nuts and dairy or the piece of coveted poultry at a picnic. Drumsticks are the backbone of any good summer song. And now is your chance to learn the art of drumming and become one of the coolest rock chicks about. Back by popular demand, this intro to drumming workshop is run by Alex Roper and covers the basics, from reading notation to counting a pulse, playing a rock beat and forming a simple groove. And unlike dairy or meat, music is something nearly everyone can enjoy. Right? Roper believes drums are a ridiculously fun instrument, yet there aren't nearly enough girl drummers out there, embracing the snare. "The drums can and should be played by anyone interested, independent of age, gender or experience levels," she says. No experience is required, and drummers will even get tips on practicing without a kit. No doubt music to your mates' ears while you thrash out a rendition of a John Bonham solo. If that's enough to get your pulse racing, you're already halfway there. Grab your ticket (they're $35 each) to the All-Girls Intro to Drumming Workshop running Monday, November 30, from 6.30pm at Work-Shop.
If koalas are considered among Australia’s national treasures, then a certain cute, cuddly critter must be their king. He’s the one everyone knows by name, even though he’s fictional. He’s graced books since 1933, thanks to author Dorothy Wall. Yes, he’s Blinky Bill. In his second big-screen outing following the 1992 movie that shares his name, Blinky (voiced by Ryan Kwanten) is up to his usual brand of cheeky trouble, though his intentions — like his heart — remain in the right place. When his father, adventurer Bill (Richard Roxburgh), leaves their sanctuary of Green Patch to chase white dragons and hasn’t returned a year later, Blinky decides to search for him. He knows that his mother (Deborah Mailman) will disapprove, but with treacherous goanna Cranklepot (Barry Otto) trying to take over their home, the young koala is certain that wandering the outback is the right thing to do. An animated — in both the colourful cartoon style and the lively antics they depict — escapade awaits in Blinky Bill the Movie, first journeying into a roadside store, and then venturing through several dangerous situations. Along the way, Blinky meets Nutsy (Robin McLeavy), a zoo koala unhappy about the idea of not being in captivity. He also attracts the attention of feral cat (Rufus Sewell) with sinister plans, seeks the assistance of a wandering wombat (Barry Humphries) and a stranded frill-necked lizard (David Wenham), and befriends two emus (Toni Collette) who help him hitch a ride. The celebrity voices, particularly a charming Kwanten boasting his native accent for a change, help enliven a film that’s sweet but standard from start to finish. The feature's primary director, Deane Taylor, is content to stick with cliches when it comes to the story, hence the upbeat goings-on, array of comic sidekicks and fearsome feline. These days, it wouldn’t be an animal-oriented effort without a cranky kitty as a nemesis. Buried underneath a family-friendly caper filled with slapstick sight gags is a slight, brief statement about Australia's treatment of asylum seekers, as seen in Cranklepot's desire to lock off Green Patch from outsiders; however, comic chaos always trounces commentary. The smooth edges you'll see in the computer-generated imagery also extend to the content, it seems, with even the usual environmental message typically included in Blinky Bill efforts absent. What stands out instead, and not always in a good way, is an overdose of Australiana and slang, as often seen in our nation's amusement-oriented, all-ages films. Accordingly, for those who won't just find an anarchic koala fun just for the sake of it, Blinky Bill the Movie works well enough as a piece of nostalgia about an Australian icon. Delving beyond that is less fulfilling, though the film doesn't demand it, given that it really is aimed more at young audiences than the young at heart.
Two of Australia's best modern yarn spinners are heading around the country together this spring. Sydney blues crooner CW Stoneking is embarking on an Australian tour, with Perth singer songriter Peter Bibby in support. Having just wrapped up a huge, 36-show run through the UK and Europe, Stoneking is finally heading back home for a home turf tour. He'll be taking ditties from his most recent album Gon Boogaloo as well as long-loved favourites. It's the last time Aussie fans will get to see Stoneking on a home stage for a while — he's moving to the US to work on some new music. Bibby's been a busy lad too, having released his debut album Butcher/Hairstylist/Beautician last year and made quite the splash at the likes of Laneway Festival around the country. Stoneking and Bibby will hit Sydney's Manning Bar on Friday, October 30, Brisbane's Triffid on Saturday, October 31 and Saturday, November 7 at Melbourne's Corner Hotel.
Michael Ware, the lawyer turned Courier-Mail, Time and CNN journalist turned filmmaker, calls Only the Dead a film that wasn't meant to be made. His documentary is cobbled together from hundreds of hours of footage he shot while in Iraq as a reporter, with a movie never part of his plans. Perhaps that's why the trembling handicam images feel immediate and urgent, even in a time where alarming visuals of combat have become commonplace. Only the Dead charts Ware's obsession with Abu Musab al-Zarqawi following the U.S. invasion and occupation of Iraq. Al-Zarqawi wasn't a point of focus for many at the time, but his brutal methods — starting with suicide bombings, then escalating to filmed beheadings of foreign hostages and worse — certainly earned him increasing attention. The faction he founded would become the Islamic State. There's more to Ware and al-Zarqawi's story, just as there's more behind the documentary's existence. Many of the remarkable sights contained within only became possible after Ware forged a connection with the insurgents, who began to feed him discs of their own videos, wanting him to disseminate them to the western media. Becoming an unofficial intermediary, he was placed in a tenuous and tricky position. While Only the Dead doesn't delve into the ethical side of Ware's interactions, it does chart the clear influence the situation had upon his viewpoint. A picture really does speak a thousand words in that regard, although the film isn't short on the latter — filling in the history of the Iraq war, as well as conveying Ware's reflections. Context is helpful, but verbal explanation almost seems unnecessary given how striking the shaky footage proves. And yet, there's something about the combination of distressing visuals and voiceover insights that hits the mark. Ware is the key, starting out "young and dumb enough for war to have its false sense of adventure", but slowly changing as a result of his time chronicling the Iraqi conflict. As his narration makes plain, even as the film depicts violent and bloody events gone by and horrors occurring in a nation far from his own, this strory is overwhelmingly personal. Entertainment, this is not. Cast Homeland, American Sniper or any other screen effort that claim to dissect the war on terror far from your thoughts. Ware's offering — as co-directed with veteran filmmaker Bill Guttentag — walks in the shoes and offers the mindset of someone who's there, and is then lucky enough to be able to look back at what he lived through. It's worth remembering that his account, though released within a world now brimming with YouTube videos and social media posts from those on the ground, predates this now unavoidable phenomenon. You might have seen the likes of Ware's offering before; however prior to this, you've never been brought not just beyond the front lines, but into the complications of his harrowing journey. https://www.youtube.com/watch?v=BWdi8JJG-7U
It's time to break out the party hats because someone's about to celebrate a pretty big milestone. Since their inception in 2005, the electronic math rockers have gone through a name change, released four excellent albums, signed to indie British label Warp Records, and have played gigs everywhere from Glastonbury to Sydney Opera House. For all the die-hards out there, they’re also doing a 10th anniversary reissue of their first album Make Me Love You. Joining PVT for the momentous celebrations will be local heroes Kirkis and Pearls.
If you've got a hankering for some gumbo and brass band funk — because, really, who doesn't? — head down to Dodds Street for a good old New Orleans Street Party. Food and music collide in spectacular fashion, as you peruse the laneways and embrace the vibrant nightlife in all its glory. Musical guests include Adam Rudegeair's Bayou, Tapestry, Horns of Leroy, The Hoodrangers, The Lagerphones, and the VCA Jazz and Improv Ensemble.
Get your kicks Italian style at Topshop in South Yarra. The retailer has teamed up with 100-year-old Italian footwear company Superga to launch the latter brand's first ever Australian outlet. Located within Topshop's flagship Chapel Street store, the pop-up concept store will be used to test the waters for a standalone Superga shop in the next couple of years. Viva l'Italia! Opening Thursday, October 22, the pop-up will be decorated in the national colours of Italy, and come complete with living room furniture, foliage and a red Vespa scooter by the entrance. The store will be selling three primary shoe styles for women, including the 2750 Cotu Classic, the 2750 Cotu Shirt and the Cotu Slipon, in a variety of colours. The Sydney Morning Herald is also reporting that Superga are developing a limited edition sneaker in collaboration with a yet-to-be-named Australian designer.
It doesn’t get much more local than Lido Cinema’s 8K Radius Film Series, a collection of short films about real people from the surrounding area directed by award winning Australian director, writer, producer and editor Clayton Jacobson (Kenny). There are eight films in total, each of which runs for four minutes, with Jacobson acting as a fly on the wall as each story is narrated by its star. Some of the characters you’ll meet include Pekx, a blind champion power weightlifter and remedial therapist; Ben, an instrument maker; DJs Fab and Max who run the nearby vinyl record store and café Alley Tunes; and Jaya, a Bollywood dance teacher. Jacobson worked with Lido owner Eddie Tamir on the series to promote the idea that cinemas are community centres for everyone, and that everyday lives can be both engaging and extraordinary. The series will premier to audiences on the evening of July 23, while each short will also play ahead of regular features at the Lido across the following week.
You've probably heard of CollegeHumor, and we don't just mean the bad jokes everyone seems to make when they set foot on a university campus. We're talking about the website founded by two high school friends back in 1999. Today, it's home to some of the internet's funniest and most offbeat content — and the source of much time wasted by those who love to laugh. It's also where comedians Jake Hurwitz and Amir Blumenfeld got their start, though you might know them from their Jake & Amir web series turned TV show. Fellow funny man Streeter Seidell cut his comedy teeth in the site's sketch team, came to fame through his Prank Wars videos, and now he's writing for Saturday Night Live. The trio is travelling down under for the very first time, sharing the CollegeHumor love and telling their stories. You'll laugh, and you'll see rising comic stars in action. Australia’s Josh & Steve, from Channel [V]’s Free Shit Men and Magic 8 Ball, are also on the bill, for those keen on watching some homegrown emerging talent.
There’s magic in the air at the Northcote Town Hall, with the return of the largest showcase of the impossible this side of the equator. Returning for its eighth straight year, the 2015 Melbourne Magic Festival will welcome more than 60 guests from around Australia and the world. Hold onto your hats, because they might be full of rabbits. Among the headliners at this year’s festival are a pair of stars from Hollywood’s Magic Castle, in the form of international superstar Rob Zabrecky and six-time Magician of the Year winner Pop Hadyn. Big names from closer to home, meanwhile, include rising star Simon Coronel and magician comic Lawrence Leung, star of the ABC TV series Maximum Choppage. Play your cards right at the Magicians Invitational Poker Tournament where cheating is permitted (as long as you don’t get caught), and a theatresports-style contest of magical improvisation. There will also be a number of workshops and classes in the town hall festival hub, plus video installations, performance artists and more. For more information about the Melbourne Magic Festival, visit www.melbournemagicfestival.com.
When a movie character complains about the flimsiness and predictability of the world, it helps if the film they're in doesn't share the same traits. The character in question is Margo Roth Spiegelman (Cara Delevingne), while the feature is Paper Towns. She's the resident high school cool girl that the boy across the road, Quentin — or Q (Nat Wolff) — has spent years pining over. She's also the central mystery in the latest page-to-screen adaptation based on the work of novelist John Green. Those with a memory for melancholy teen fare might remember the last Green-penned effort to reach cinemas: cancer romance The Fault in Our Stars. Swap illness for aloofness, and a visit to Europe with a drive to upstate New York, and you know the kind of earnest drama you're in for. The same writers bring both films to fruition, and Wolff also features in each — then as the sidekick, now as the star. Here, his Q fondly remembers his younger days palling around with Margot before they grew up and into different cliques, only to feverishly relive them after she climbs through his bedroom window seeking his help for a revenge-fuelled adventure. The morning after, still buzzed from pranking Margot's cheating ex-boyfriend and the friends who knew about his philandering ways, Q thinks his life will change — only to find that the object of his affections has gone missing instead. Cue an attempt to track Margot down sparked by a series of clues she has left behind, with the smitten Q certain that they're signs she wants him to do just that. And cue a film that wears not just its heart on its sleeve, but its fantasies about halcyon high school days where important life lessons are learned. You've seen and heard them all before: try new things, follow your dreams, be yourself, cool kids have problems too, don't pin all your hopes of your teenage crush. The list goes on. Paper Towns barely gives anyone older than 18 a passing glance. Yet as it cycles through the usual house party, road trip and prom moments, it feels more like the calculated, nostalgic product of adults looking backwards than an authentic reflection of youth. That's the territory Green plays in — and while director Jake Schreier cultivated genuine emotion in his previous effort, Robot and Frank, just as writers Scott Neustadter and Michael H. Weber did in The Spectacular Now, the author's formula here is clearly at work. Hence the insubstantial and obvious narrative, the hardly memorable characters, and the other cookie-cutter elements — warm tones, a wistful soundtrack and standard performances included. An amalgam of everything those remembering their adolescence wish to recall, as well as everything those going currently through it wish to experience, Paper Towns just wants to be pleasant and neat. And that's what it achieves — however at-odds with its underlying "don't get boxed in" mantra that may be.
He won three Oscars and worked on 285 films. He created gowns for everything from 42nd Street to Casablanca, The Maltese Falcon to An American in Paris, and Oklahoma! to Some Like it Hot, and ranks among the most successful costume designers ever to ply his trade in Hollywood. He's also Australian, born Orry George Kelly but better known as just Orry-Kelly. And, as Women He's Undressed rightly assumes, most people have probably never heard of him. For those who haven't, Gillian Armstrong's latest documentary is here to shed light on a life of glamorous ups and heartbreaking downs during the Golden Age of cinema. For those who have, the movie will surely still fill in plenty of gaps, whether serving up interviews with Orry-Kelly's colleagues and those he inspired, or spilling the beans on his famous friendships and status as a confidant to many a leading lady. Either way, his journey from a small town to the big screen makes for quite the story, as do the exploits that followed. He didn't just dazzle with his prolific designs, but also with his defiance, proudly living as a gay man at a time – and in an industry – that was far from accommodating. In a factual effort that bears more than a little resemblance to Armstrong's Unfolding Florence: The Many Lives of Florence Broadhurst, Women He's Undressed doesn't only rely upon talking heads and archival footage, though what it boasts in these areas proves both engaging and illuminating. Instead, it addresses the issue that troubles many docos — not having enough existing content, but not wanting to fill its frames with wall-to-wall secondhand accounts and clips — through cheeky re-enactments. In some films, that's a tactic that doesn't work, but not in Armstrong's skilled hands. She tasks actor Darren Gilshenan (Rake) with both playing and recounting Orry-Kelly's life, with his version of the subject — who is rarely glimpsed in his real guise — speaking directly to the camera. The effect feels more conspiratorial than typical narration, like watching someone talk through their memoir and share all the juicy tidbits that were omitted. In fact, such scribblings are mentioned, as intermingled with an account of his special bond with Cary Grant. More well-known names keep coming up, of course — and with actress Jane Fonda, local designers Catherine Martin (The Great Gatsby) and Kym Barrett (The Matrix), and film critic Leonard Maltin among those offering their memories of and thoughts about Orry-Kelly, there's never any doubt that this is a tribute. If ever a film figure warranted such an adoring approach though, it's this under-sung hero and his brilliant career. Oh, and those ladies he helped in and out of his beautifully made costumes? They included Ingrid Bergman, Bette Davis, Katherine Hepburn, Natalie Wood, Shirley MacLaine and Marilyn Monroe, just to name a few.
After premiering brand spanking new works from some of Melbourne’s leading theatremakers, the 2015 Neon Festival of Independent Theatre is down to its final show. Luckily for us, it looks like a good ‘un. Indeed, it’s hard to imagine a better way to wrap up a season of boundary-pushing, forward-thinking productions than by paying tribute to some of history's leading heroines... and pitting them against each other in a full-scale battle royale. Beginning Thursday, July 9, Elbow Room’s We Get It boasts an enviable cast that includes Tamiah Bantum, Amy Ingram, Kasia Kaczmarek, Maurial Spearim, Sonya Suares and Emily Tomlins. Under the direction of Tomlins and Marcel Dorney, the actors will reimagine five classics for the modern age, in a playful performance that will challenge the way you think about these iconic characters — as well as the women who portray them. The post-show Neon Conversation event on Sunday, July 12 will feature the team at Elbow Room who’ll be joined by freelance writer and general powerhouse Clementine Ford.
As festivals go, they don’t get much bigger than South by Southwest. A ten-day marathon of music, movies and tech held in one of the most lauded cities in the world, no half-decent bucket list could be considered complete without a trip to this geek/music mecca at least once. But as awesome as it would be going as a punter, imagine what it would be like going as a guest. Well, if you’ve ever thought about submitting your film, demo tape or app idea (or are just interested in learning what the festival is about), you can pick up valuable insider info at the free Melbourne meet ‘n’ greet. Kicking off at 5pm on Monday, July 13 at Bar Open in Fitzroy, casual networking drinks will lead into a 6.30pm panel with a number of previous attendees and industry experts, moderated by SXSW Australasia and Hawaii representative Phil Tripp. The panel will then be followed by a screening of Outside Industry, a 90-minute documentary about the history of the festival thus far.
It wouldn't be a film adaptation of a Nicholas Sparks book without the glow of sunlight, the shimmer of a body of water, and some all-knowing, overly sentimental narration. Sticking as closely to the formula as it can, The Choice begins with all three. Other Sparks trademarks swiftly make themselves known: an opposites-attract romance featuring would-be paramours from different sides of the tracks; rustic homes in a scenic, small-town location; letters professing feelings of love and longing; and a sudden catastrophe threatening to tear the central duo apart. Original, this certainly isn't. Indeed, while the movie version of The Choice might not be directed or written by Sparks (those honours going to relative newcomers Ross Katz and Bryan Sipe, respectively), there's never any doubt that the author responsible for 18 sappy books to date is the most influential force behind this film. Audiences that have watched Channing Tatum and Amanda Seyfried in Dear John, Liam Hemsworth and Miley Cyrus in The Last Song or Zac Efron and Taylor Schilling in The Lucky One — yes, attractive white people hooking up is another of Sparks' staples — should know what they're in for. This time, charismatic veterinarian Travis (Benjamin Walker) and spirited medical student Gabby (Teresa Palmer) are the star-crossed parties in the spotlight, meeting when the latter accuses the former's dog of knocking up her own beloved pooch. Though Travis is already fooling around with barmaid Monica (Alexandra Daddario) and Gabby is dating local doctor Ryan (Tom Welling), sparks between the two soon fly (pun intended). The will-they-or-won't-they aspect of their relationship isn't the end of their tale, though. The first half of the feature charts their courtship, then the second half moves the characters to a hospital seven years later, where the titular decision comes into play. As it is in all movies made from Sparks-penned fare, wish fulfilment is the aim of the game, peddling the notion of an epic love story that will withstand even the harshest obstacles, and trying to push as many emotional buttons as possible in the process. But while there's nothing wrong with romantic fantasies or old-fashioned weepies, The Choice dials everything up way too many notches — clumsy meet-cute, overly adorable rapport, corny dialogue and tragic twist included. The film isn't just adhering to a template, it's lazily throwing clichés at the screen to see what sticks. At least Walker, who was previously the best thing about Abraham Lincoln: Vampire Hunter, oozes the requisite charm, while Palmer is given much more to do here than she did in the Point Break remake. The scenery also proves a highlight, though it's obviously a problem when the picturesque background is more engaging than the narrative. Of course, the more troubling thought is that there are still seven of Sparks' novels that haven't been made into movies… yet. We might all love Ryan Gosling and Rachel McAdam locking lips in the rain, but The Notebook has a lot to answer for.
Purveyors of all things creepy and cultish on the big screen and the small, you'll be happy to know Cinemaniacs are presenting a yuletide celebration unlike any other. Taking place this Saturday at Loop Bar in the CBD, The Christmas Trash TV Marathon is an ode to the best worst holiday specials, cartoons, music videos, toy commercials and general Christmas-themed crap. Unlike most events of this nature, however, viewers don't pay to get in. Instead, they pay to get out. See, the organiser's figure most people won't be able to cope with this much terrible retro television — and to be honest, they're probably right. Your time of entry will be written on your hand, and the amount you end up paying will depend on how long you last. Assuming you survive the whole six hours of secret programming, the event will only cost you five bucks. Well, that and your sanity. If you do need to step out for a moment, that's fine — just as long as you don't mind being handcuffed to an attendant. Image: David Zellaby via Flickr
Sometimes, a romantic comedy tries to do something different. Sometimes, it just seems like it does. The film's concept aside, there's little about 5 to 7 that defies convention; however even as it offers up the sweetness and convenience the genre is known for, plus a whole lot of culture clash commentary and comedy thrown in too, it proves an elegant effort to watch. Here, adherence to type doesn’t make for a bad film, just a routine one. 5 to 7 has certain charms, but you have to be willing to go along with quite a few contrived and heavy-handed elements to enjoy them — like being told, repeatedly and through montages, that there's a difference between Americans and the French. Chief among those obvious aspects is protagonist Brian (Anton Yelchin), aka the US-oriented party of the central couple. He's a 24-year-old aspiring writer who has dedicated his youthful years to his dream, preferring words to real-life experiences. If he sounds familiar, that's because he's the kind of earnest fellow many a movie is littered with. And those of his ilk often find their world changed through a chance meeting with a lovely lady, such as as the one that starts Brian's connection with European export Arielle (Bérénice Marlohe). After spotting her on the streets of New York City, Brian and Arielle chat and agree to cross paths again the next week. Their catch-ups then move to the titular hours of 5pm to 7pm, which is when she says she is available. The reason for her limited schedule: she’s married with two kids. While her diplomat husband (Lambert Wilson) is fine with her having an affair — in fact, he's having one as well, with an up-and-coming literary editor (Olivia Thirlby) — confining their extramarital dalliances to that daily period is just the way the French apparently do things. Cue Brian's intertwined infatuation and anguish, playing out over typical rom-com park strolls, hotel room liaisons and long chats about everyone's feelings. His parents (Glenn Close and Frank Langella) share reservations about their arrangement, but are similarly won over by Arielle — which shows just how lightly 5 to 7 skims the surface of its scenario. This isn't a film about challenging traditional ideas about relationships, or even exploring something different; it's simply a standard romance narrative navigating a series of problems, using adultery as a point of difference and wrapping everything up in "but she's French!" sentiments. Somehow, though, the actors and their subtle performances mostly make the movie work. Yelchin isn't helped by the writer-side of his character (with a wannabe author looking for his big break also frequent film fare), yet his awkwardness comes across as genuinely as his rapport with Marlohe. When they're just walking and talking, Woody Allen and Richard Linklater style, they're at their best, even if their dialogue remains a collection of clichés and clunky lines. That first-time feature writer/director Victor Levin likes to largely look on from afar, gives the film a leisurely pace, and knows how to put a graceful image together also helps the handsomely shot offering, which clearly aims to be one of cinema's classic love stories. Of course, 5 to 7 never reaches such heights, but it is a breezy and pleasing-enough attempt beneath the platitudes and predictability.
A backyard barbecue descends into chaos in this critically-acclaimed black comedy by playwright Lisa D'Amour. Winner of the 2013 Obie Award for Best New American Play and a finalist for the Pulitzer Prize for Drama, Detroit exposes the fragility of suburban existence and middle-class aspirations with a mix of insight and savage wit. Running from Friday, August 28 through to Saturday, September 26 at the Red Stitch Actors Theatre in St Kilda, the play's Victorian debut casts company regulars Brett Cousins and Sarah Sutherland as Ben and Mary. They're a married couple caught in a rut, whose lives are thrown into turmoil after they invite their new, younger, less well-off neighbours Sharon and Kenny, played by Ngaire Dawn Fair and Paul Ashcroft, for friendly an afternoon feed. Director Tanya Dickson is another returnee, having previously worked on Red Stitch's NSFW.
Sixty years after his death in a car accident at the age of 24, James Dean remains both an icon and an enigma. Much about him, including his hair and stare, have become instantly recognisable and commonly copied. Just as much about him, such as the contrast between his rebellious attitude and his evident shyness, still defies proper description. In Life, writer Luke Davies and director Anton Corbijn attempt to replicate what was seen on the outside and unpack what lurked on the inside of James Dean. That Davies wrote the novel and co-wrote the script of Australian drug drama Candy gives an indication of the intimacy of the storytelling. That Corbijn made his leap from photographs to music videos to movies with Control, a portrait of Joy Division's Ian Curtis, shows the style, patience and perceptiveness so keenly needed in such a biopic. Their approach to the smouldering Dean (as played by Dane DeHaan) is to show rather than tell the essence of the moody star, as seen in a snapshot spanning the lead up to the world premiere of his first film, East of Eden, plus his attempt to secure a role in his second, Rebel Without a Cause. Their entryway into his tragic narrative comes via 26-year-old Dennis Stock (Robert Pattinson), then an aspiring but struggling photographer looking to turn paparazzi gigs into acclaim, art and ongoing work. History already dictates that one of Stock's big breaks came courtesy of the series of candid images he snapped of Dean; however, they only eventuated after much convincing. From first meeting at a Hollywood party to exploits across Los Angeles, New York and Indiana, Life tracks Stock's efforts, Dean's reactions, their problems and personalities, and their blossoming friendship. The film bears the name of the magazine that would ultimately publish the photos, though that it doubles as an expression of a pivotal chapter in both its subjects' existences is always clear. Forget on-set antics and other markers of glitz and glamour, though, with the movie determined to stress that Dean didn't ever want to subscribe to the usual star behaviour. "I don't want to play their stupid games," he complains — and that he's often earning the ire of studio head Jack Warner (Ben Kingsley) by avoiding his publicity tasks also makes that evident. Indeed, Dean is painted as a picture of complexity above all else, and afforded a portrayal to match. DeHaan may be following in James Franco's footsteps again — after playing Spider-Man's Harry Osborn, too — but his efforts here do more than impersonate either figure. His mannerisms conjure the famous actor's mix of awkwardness and panache, so much so that taking your eyes off of him is impossible. That's not to discount Pattinson's latest impressive post-Twilight performance, nor the rapport that springs from the two circling around each other — it's just to highlight DeHaan's intensity. A similar level of concentration and attention to detail emanates in the graceful helming of Corbijn — and the visual precision of cinematographer Charlotte Bruus Christensen. The end result doesn't just step beyond the facade of a cinema treasure or tell the tale behind iconic images, it helps to create the same itself. Indeed, there's ample life in this film, which succeeds in capturing something and someone elusive.
Thanks to its not-so-inventive title, there's no need to worry about who the main players in Me and Earl and the Dying Girl are. There's the 'me' of the moniker, i.e. movie-loving high schooler Greg (Thomas Mann). There's his classmate and filmmaking partner-in-crime, Earl (RJ Cyler), who he describes as a colleague rather than a buddy. And then there's the unwell Rachel (Olivia Cooke), who Greg's mother forces him to befriend upon hearing that she has cancer. If you think it all sounds like a recipe for a coming-of-age effort steeped in feelings, peppered with pop culture references and always working towards everyone learning something, well, you'd be right. And the movie is as contrived and cliched as it sounds, even if it does strive to conjure up several layers of emotions. It won the audience award at both the Sundance and the Sydney film festivals — as well as the grand jury prize at the former — so it seems to be working on someone. Greg prides himself on neither fitting in nor standing out, which also means he doesn't really connect with anyone. Spending time with Rachel, rather awkwardly at first, threatens to change that. His world opens as hers starts to end, and for once, he can't avoid the consequences of actually caring about something. So, he channels his efforts into working with Earl on their latest short film following a series of comic recreations of classics, with previous efforts including Senior Citizen Cane and The 400 Bros. Movies about movie buffs, which are consequently littered with knowing nods and sly winks to movies gone by, can make for painful viewing for even the most avid cinephiles in the audience. Surprisingly, the affection for the medium that Me and Earl and the Dying Girl shows is actually among its most genuine and least calculated elements. Indeed, filmmaker Alfonso Gomez-Rejon played in similar territory with his previous effort, the remake/update/next instalment that was horror offering The Town That Dreaded Sundown. Both features share a winning way of making a love of movies part of their celluloid (or digital, as is more likely these days) fabric. Sadly, the alternating slivers of authenticity, ingenuity and subtlety evident in the cinema shout-outs are absent when it comes to the main event of chronicling the impact Rachel's circumstances have upon Greg — and almost as an afterthought, upon the scarcely used sidekick Earl's character clearly is, too. Stereotypical subplots abound as much as untraditional camera angles, yet all seem as flimsy and ill-deployed as the high-profile supporting cast (with Nick Offerman, Connie Britton, Molly Shannon and Jon Bernthal among the actors briefly sighted). It should all add up to more, especially when you consider that the script is written by Jesse Andrews, who penned the bestselling young adult book of the same name that Me and Earl and the Dying Girl adapts for the screen. Alas, trying too hard to convey both quirkiness and sentiment, including in the performances, just doesn't hit the mark the film is clearly aiming for.
Your mouth has never been more important in determining what other people should eat, thanks to The Village who are hosting a Food of Origin series over five weekends in August, showcasing cuisines from different continents. Each weekend, The Village (formerly the Belgian Beer Garden) will bring together some palate-packing delights from North America, Central & South America, Europe and Asia. Your role? Go famished. Get fuelled up. Then vote for your favourite. The weekly winner will be invited back for the final Trailer Park showcase in the last weekend in August. Europe can keep their summer because Melbourne’s going one better at The Village's Week 3 Trailer Park battle. The Brûlée Cart will be torchin' little cups of vanilla bean and chocolate Cointreau against the likes of Jakob's Kitchen, who are slicing buns for some gourmet sausages, including crowd favourite the eastern European cevapi sausage. Greek Street Food are bringing skewered meats to the show and wrapping up their offerings souvlaki style. Word is, Happy Camper Pizza’s gluten free bases are more deliciously-doughy than their silver tinned wheels. Tread lightly friends and nab one with mushrooms, artichokes and gorgonzola. Drink specials (including The Village Moonshine) will also be served in undercover bar, The Arbor. Want more? Whet those appetites further with these trucks that will be parked and waiting for you over the five weekends: August 1-2 - North America: Mr Burger, Smokin Barrys, TOASTA, Jay's Yogurt. August 8-9 - Central & South America: Taco Truck, Iv's Burritos, La Revolucion, Señor Churro. August 15-16 - Europe: Greek Street Food, Happy Camper Pizza, Jakob's Kitchen - Gourmet Sausages, The Brûlée Cart. August 22-23 - Asia: White Guy Cooks Thai, Hammer & Tong Food Truck, Nuoc Mama's, Gorilla Grill. August 29-30 - Best Of: The four chosen weekly winners will come back for the Trailer Park Showcase.
Expect the unexpected and the downright bizarre at this late-night party/video projection show at the Fringe Club in North Melbourne Town Hall. CULT is described as "a queer mash up of your old VHS collection versus your hacked Netflix account" – and while we have no idea what exactly that means, it sure does sound intense. This one time only event will also feature live orchestration and promises to make for an evening you won't soon forget. This event is one of our top ten picks of the Melbourne Fringe Festival. Check out the other nine here.
Arctic oil drilling. Corporate and government corruption. The dangers of nuclear waste. Some of the biggest environmental issues facing Planet Earth today are in the mix at this year's Environmental Film Festival Australia. Hosted over eight days at Kino Cinemas on Collins Street, the festival begins on Thursday, September 3 with the world premiere of João Dujon Pereira's Black Hole. Filmed over the course of more than a year, the film documents the community battle to save Leard State Forest in NSW from being cleared to make way for a controversial coal mine. The screening will be followed by a Q&A with both the director and former Greens leader Bob Brown. Other highlights on the program include a special planetarium screening of coral reef documentary Coral: Rekindling Venus, and a biodynamic food tasting that pairs perfectly with the film Good Things Await. For the full EFFA program, visit their website. Image: Black Hole.
Love your spirits? Then you won't want to miss this gin-soaked masterclass at Pilgrim Bar on the banks of the Yarra. In the first of a new series of Talk + Taste information sessions, the riverside venue is welcoming Sam Ng, global ambassador at Four Pillars Gin, to take attendees through the art of making — and drinking — high quality gin. Yep, turns out you've been drinking it wrong this entire time. The liquor starts flowing down by the river at 6.30pm on Thursday, February 18. Tickets cost $15 and come with drink tastings and canapés. The event is scheduled to run for an hour, but let's face it: you'll probably spend the whole evening there. Keep your eyes on Pilgrim Bar's website and Facebook page for info about future Talk + Taste events.
Sequels to romantic comedies are rare. When a movie trades in the dream of finding love and living happily ever after, exploring what comes next tends to ruin the fantasy. That's the problem My Big Fat Greek Wedding 2 faces as it endeavours to revisit the characters from its popular predecessor — and like Bridget Jones: The Edge of Reason and Sex and the City 2, it struggles. Everyday relationship issues, coping with kids and the minutiae of marriage are more the domain of sitcoms than rom-coms, after all. It's little surprise, then, that this return to the big fat Greek world wouldn't feel out of place on the small screen, rather than in cinemas. In fact, 2002's My Big Fat Greek Wedding already inspired one season's worth of television, My Big Fat Greek Life, back in 2003. The latest extension of the story ignores the TV series' existence, although it firmly follows in its footsteps. In fact, from the angsty teenaged daughter who wants nothing to do with her parents, to the demanding relatives who can't keep out of each other's business, it's the kind of fare you'd expect to watch in 30-minute weekly episodes in the comfort of your own living room. After close to two decades together, Toula (Nia Vardalos) and Ian (John Corbett) have well and truly settled into wedded bliss — and made themselves a little too cosy and complacent, they begin to realise. They try to reignite the spark in their romance; however Toula's obsession with where their only child, Paris (Elena Kampouris), will go to college doesn't help matters. Nor does the sudden need of her elderly mother (Lainie Kazan) and father (Michael Constantine) to throw their own wedding ceremony, after discovering that their marriage certificate wasn't formalised 50 years earlier. Cue a second big fat Greek wedding, and an excuse to get the whole gang from the first film (including Australian actress Gia Carides) back together. The broader group is still a collection of walking clichés, with neither subtlety nor skirting stereotypes high on the film's list of priorities. Given that their antics are constantly commented on by a couple of snarky neighbours, observations about the difference between Greek and American culture provide the bulk of the movie's content. And while such obvious insights are clearly designed to be jokes by Vardalos, who writes as well as stars, they rarely inspire more than the occasional laboured chuckle. And yet, Vardalos' honey-coloured view of her ancestry, the immigrant experience and the eccentricities of living with such a big, close Greek family as she wades further into middle age remain sweet, even if they're hardly amusing the second time around. There are traces of ragged charm to this Kirk Jones-directed effort, like slipping on an old item of clothing and finding it still technically functional – even if it is rather scruffy and well-worn. If the film's core couple are too comfortable, so is the sitcom-style sequel itself. It knows that recapturing its initial magic is a difficult task, but it also knows that it may as well try anyway — and doesn't even contemplate attempting something more.
What could be better than an Australia Day BBQ, you ask? That's a free Australia Day BBQ. Lucky for all of us, that's exactly what's going down at Fitzroy's Glamorama. The recently opened Brunswick Street venue will be opening their doors a little earlier than usual, with the snags hitting the grill at 3pm sharp. There'll also be drink specials, including VB cans for $6 and Melbourne Bitter longnecks for $11. Guest DJs, meanwhile, will be on deck until late, playing the best indie, house, hip hop, rock and pop music that 2015 had to offer.
The world of haute couture is coming to the silver screen — and no, we're not talking about the new Zoolander movie. Returning to ACMI as part of the Virgin Australia Melbourne Fashion Festival, this year's Fashion on Film program is once again packed with documentaries bringing you all the latest garments from catwalks around the world. Running from February 25 through to March 14, the Fashion on Film lineup features half a dozen docos, exploring everything from the clothes of legendary designer Alexander McQueen to the history of the Borsalino hat, made famous by movie stars like Charlie Chaplin and Humphrey Bogart. Of particular note is Jeremy Scott: The People's Designer, a documentary about the titular fashionista featuring appearances from Miley Cyrus, Lady Gaga, Katy Perry, Jared Leto and Paris Hilton. That many celebrities can't be wrong. For the full Fashion on Film program, visit the ACMI website.
When Kate Mercer (Charlotte Rampling) starts to interrogate the lifetime she has spent with her husband Geoff (Tom Courtenay), she's not just dissecting her own relationship. She's also pondering one of humanity's great concerns. The pair argue about times gone by as they plan the party for their 45th wedding anniversary, and while the details prove specific to their situation, the broader questions they raise are universal. 45 Years echoes the thought everyone has had at least once: how well can we ever really know those closest to us? The Mercers' predicament arises, as these worries often do, after a blast from the past interrupts their present. When Geoff receives word that the body of his former girlfriend has been found, frozen in ice for half a century, his devastated reaction causes Kate to re-assess their romance. The duo should be commemorating their lengthy union, but instead they're drifting apart. In their countryside home, he's sorting through old photos and wallowing in memories, and she's looking at everything they've ever shared with fresh eyes. 45 Years tells of roads not taken, of buried doubts unearthed, and of the consequences of choices. But more than that, it tells of two people trying to understand their connection with each other. It might seem like a simple topic, as well as an oft-seen one; however Andrew Haigh's effort, adapted from the short story In Another Country by David Constantine, never comes across as just another relationship drama. Indeed, while bickering wives and husbands are hardly uncommon in film, marital issues take on a different tone and texture when they stem from such an extensive bond. With that in mind, 45 Years understands the closeness and complexity that can only come with time, as well as the heightened devastation unexpected revelations can cause. It's another insightful, empathetic offering from writer/director Haigh — and given that he previously delved into the first flourishes of love in Weekend, the poise and perceptiveness he demonstrates at the opposite end of the temporal scale can't be underestimated. Ever the intimate filmmaker, he once again strands his protagonists largely in a single setting, often letting scenes play out with minimal edits. He knows that his audience can see what will happen next; his films find their power and poignancy not in surprises, but in waiting for the expected emotions to unfurl. As a performers' showcase, 45 Years excels, with its central portrayals perfecting the requisite balance of affection and uncertainty. While Rampling proves the more animated of the pair, both convey the film's underlying contemplation of the true nature of personal connections. Together, they're the image of the couple everyone does and doesn't want to be. A long-term on-screen duo has rarely felt as real as this. https://www.youtube.com/watch?v=qXAnjA9tAnQ
It’s only May but so far 2015 has dealt Melbourne indie rock four-piece British India a pretty good hand. The lads released their fifth album Nothing Touches Me in March, Triple J has had their singles (like the makes-you-want-to-move ‘Suddenly’) on high rotation every since, and they put in a stellar big-shoe-filling performance at Bluesfest, when they stepped in for The Black Keys. In support of the new record, the band is currently travelling the country on a mammoth tour — they aim to play wherever ABC broadcasts — selling out shows and adding some more and then selling them out again. Catch them at The Corner Hotel on June 3 with Grenadiers and Tired Lion. Expect a solid dose of material from Nothing Touches Me, as well as all the old favourites — get ready to bring back 2008 with the inevitable ‘I Said I’m Sorry’ belt-out sesh. Quicksticks, snap up your tickets first here — word on the street is they won’t last much longer.
Listen up, lords and ladies of dance, three of Melbourne's most loved DJs have joined forces for maximum good vibes at Alia Dance bar this Friday. Andrew McClelland from Bella Union's fabulous fortnightly parties, Finishing School, and Ding Dong’s DJ Kieran are working with newcomer DJ Dan Hall to bring you a night filled with more genre-spanning than you can poke a stick at. You can expect anything from R&B and urban, to punk and '60s soul, British indie to pop. All they ask is that you dance it out at Yeh! Yeh! Entry is a cool ten bucks, which will get you a free shot with entry and cheap beer and wine before eleven. Plus, such a measly fee will supply all of the hip-shaking tunes you’ve ever loved at every awesome house party ever. In short, don’t stop 'til you get enough.
Delve into Mongolian hip-hop, witness a high-tech Indonesian shadow play, and snap a photobooth selfie with the glamorous Siem Reap Lady Boys. It's all part of Mapping Melbourne, a four-day celebration of contemporary independent Asian artists working across art, dance, music, film, theatre and spoken word. With a focus on shifting cultural identity and engagement with the urban space, the multidisciplinary, multicultural festival features more than 40 artists from around Australia and Asia. In addition to the above, standouts on the program include a freestyle dance battle, a bunch of art exhibits and a closing night party that includes music and performance art plus free Japanese dumplings and massages. Seriously. Free massages. As a matter of fact, almost all of the events at Mapping Melbourne are free. For the full program and venue list visit Multicultural Arts Victoria.
Ten years after the conclusion of the Irish Civil War, a local folk hero returns to his small country village, much to the chagrin of the conservative priests and landowners. Sounds like a typical set-up for a Ken Loach movie; the 78-year-old English director has made a career out of grim, socially conscious dramas about the injustices perpetrated against the working class. But while Jimmy's Hall certainly contains many characteristics typical of the veteran filmmaker, the film ultimately stands out as one of his lightest and most hopeful works. Not that that's saying a great deal. Indeed, while Jimmy's Hall is buoyed by its faith in the power of the people, the Loach film it most immediately recalls is actually one of his bleakest. 2006's Palme d'Or winner The Wind That Shakes the Barley chronicled the bloody Irish conflict of the early 1920s, and in some ways could be seen as a spiritual prequel to Jimmy's Hall — a film in which the personal and social fallout of the war is still being felt a decade latter. Dublin-born actor Barry Ward plays Jimmy Gralton, a real-world political activist and the hero of Loach's tale. After spending the '20s living in America, Jimmy returns to Ireland largely to care for his elderly mother but soon draws the ire of the community's ruling elite — led by the overzealous Father Sheridan (Jim Norton) — when he decides to reopen the dilapidated village dance hall. To the priest, it's only logical that where American jazz and pelvic thrusts holds sway, communist schemes soon follow. If it all sounds similar to the plot of Footloose, that's because it is. It's obvious why Loach, an ardent leftist, was attracted to Gralton's story. Jimmy is an easy hero to root for; a man of the people, fighting tooth and nail for the little guy against a stuffy, unfeeling villain. It's an appealing underdog story, rousing if rather simplistic. Screenwriter Paul Laverty's dialogue can be pretty on the nose in regards to the politics of the era, and let's face it, Loach has never been one to keep his ideological sympathies hidden. Thankfully, the film is rather more subtle when it comes to the dynamic between Jimmy and Oonagh (Simone Kirby), his onetime sweetheart who has since married somebody else. A scene in which the two of them dance silently in the moonlit hall is one of the most beautiful moments that Loach has ever put to film. Likewise, his portrayal of the villages' young people — determined not to make the same mistake as their parents — shows a more optimistic side of the filmmaker than audiences may have come to expect.
Debaucherous dance duo Flight Facilities have been major players on the local EDM scene for some time now. Their infamous club banger 'Crave You' is guaranteed to get even the biggest of party poopers in a merry mood. It's so big, even Kylie Minogue has got in on the action. And now, after what seems like an eternity, Hugo Gruzman and James Lyell have finally seen fit to release an entire album. After bursting on the scene four years ago, they're hitting the road on their first national album tour. Down To Earth is here. Of course, this debut LP promises more of what the fans already love, with standout tracks like 'Two Bodies' building on their already stellar repertoire in a big way. Another of their quality summer tunes, 'Sunshine' even got Reggie Watts on board. But the good news doesn't stop there. This tour will see them paired with Client Liaison. Sporting '80s synth pop, oversized aviators and tan suits aplenty, these Melbourne boys will make the perfect sidekicks.
Nobody makes blockbusters quite like Christopher Nolan. The mastermind behind Inception and The Dark Knight trilogy, this British-born filmmaker has an incredible knack for blending complex storytelling with jaw-dropping visual spectacle. To celebrate the release of his latest work, Interstellar, the team at the Astor Theatre are bringing a selection of his grandest movies back to the big screen. Better yet, a number of them will be shown with pristine 35mm film prints, just as their maker intended. Indeed, while most of the film industry has made the jump to digital video, Nolan is one of the only directors in Hollywood who still insists on shooting with film. His old-school commitment to celluloid makes him a perfect fit for The Astor, as the single screen movie palace remains among a small handful of cinemas in Australia still capable of projecting film prints. The Astor Nolan retrospective begins on November 13, with the dream-hopping action thriller, Inception. After a week off, the series picks up with his Batman saga over three consecutive Thursdays, before concluding with Interstellar (in 2K digital) on December 18.
Those masters of dark yet joyful surf rock are back with a one more album and one less band member. After weathering a near-breakup, this newly downsized dup are returning to Australia for a full national tour to usher in the lazy summer months. If one thing's for sure, fans will get something different from what they've seen before. The band's new album Encyclopedia is a blunter, simpler take on their classic sound. The Drums' own brand of misanthropy is more persistent and when paired with their characteristic whistling and hand clapping give the band a new eerie quality. In the face of original member Connor Hanwick's desertion earlier in the year and a fan base that seems to have gradually forgotten their favourite kings of the summer roadtrip soundtrack, The Drums have come back with a new kind of emotion behind the same sound. Get set for a new incarnation of The Drums, clapping their hands and shaking their fists. https://youtube.com/watch?v=nWc4mZoGK2k
Can building a garden win the affection of a royal landscape architect, as well as the respect of the king? That may be the plot of A Little Chaos, but it isn't the point. There are more fascinating things afoot in this period romance. Kate Winslet stars as Sabine De Barra, gifted with a green thumb and fingers to match, as well as the gall to want to use them. She flouts the conventions of 17-century France in other ways, too: in voicing her opinions and in shunning the tradition of manicured lawns that has seen Andre Le Notre (Matthias Schoenaerts) design the outdoor areas of King Louis XIV (Alan Rickman). Yet, something about Sabine intrigues Andre, inspiring him to hire her to assist with a new project. Her vision of an alfresco addition to the Versailles palace, complete with a complex water feature, doesn't conform to expectation — just like Sabine herself. Together, the trio treads a tentative path to a more modern way of thinking, and not just in terms of gardening. This is Sabine and Andre's tale — including the threat to their blooming bond from his promiscuous yet possessive wife (Helen McCrory) — but the king's acceptance of a landscaper outside the norm is key to the story's gentle breaking down of gender stereotypes. Of course, in keeping with the time it depicts, the steps made are small in size, though they remain considerable in their fictionalised impact. Seeing Sabine strive and hopefully succeed always feels like the film's main goal, as paired nicely with a peek into what life was really like for women in the royal court. Indeed, as handsomely acted as the entire affair is, and as swept up in the period details, the slow-burning love story is actually the least interesting aspect of A Little Chaos. It's not that Winslet and Schoenaerts don't sell the romance. Their performances — her sorrowful but spirited efforts especially — are among the highlights of the film. It's just that the script rightfully cares more for the characters' professional rather than personal endeavours, and so does the audience. That would be the doing of Rickman, who co-wrote the screenplay and directed the feature in addition to acting as the monarch in the middle. In his second stint as a filmmaker after 1997's The Winter Guest, the man best known to many as Harry Potter's Severus Snape is delicate and determined, two traits the movie champions. Rickman also takes the obvious route more than once, whether lingering on the sumptuous scenery or letting Stanley Tucci turn up as yet another comic cad, once again stealing all his scenes. The formula behind the finesse is hardly surprising; the feature is called A Little Chaos, after all. The movie's title is clearly designed to reflect its heroine's wild ways within a system of order, and it does so. That it also captures the film's willingness to test boundaries within the tale itself, but not in its treatment, couldn't be more fitting.
Meet Philip Lewis Friedman (Jason Schwartzman), an emerging writer on the cusp of the release of his second book. He likes to tell off his ex-girlfriends for their lack of support and dress down his former college roommate for not living up to his standards. He assumes his talented photographer girlfriend, Ashley (Elisabeth Moss), will hang around despite his lack of attention and affection. There's no mistaking it; he doesn't really seem like a nice guy. Philip is the lead character in Alex Ross Perry's third film after Impolex and The Color Wheel, but Listen Up Philip does more than just follow the ups and downs of a self-absorbed jerk. In an act of structural daring, it tells his tale alongside Ashley's awakening that she's much better off without him. Also included is the plight of Philip's new mentor, Ike Zimmerman (Jonathan Pryce), a famous novelist renowned for his self-imposed isolation, but now having second thoughts about his life choices after spending time with his new protege. Indeed, wondering about decisions made in the pursuit of a dream — be it about professional success, romantic fulfilment or perpetuating an enigma — sits at the heart of the film, a line of thinking almost everyone can relate to. It's easy to see where things strayed from the expected path for the trio, even if it isn't always easy to watch how things move forward, particularly for the ever self-sabotaging Philip and the just as egotistical Ike. Also striking is the intersection and influence of their deeds, on each other, and on others on top of that. Listen Up Philip may start out with a stereotype of movie depictions of writers, complete with wrestling notions of ambition, arrogance, inspiration and irrelevance; however, what it does so brilliantly is map out the flow-on effects of anxiety, envy and striving for success. Thankfully, as awkward and abrasive as many of the scenarios in the script rightfully prove, Perry approaches the film with humour, empathy and balance. The narration of an all-seeing, never-sighted figure (voiced by Eric Bogosian) helps make the comic and considerate skew apparent, as does perfect casting. Schwartzman and Pryce play to the movie's sharpness, and Moss and Krysten Ritter (as Ike's long-neglected daughter) to its unanticipated understanding. In fact, Listen Up Philip actually resounds with more warmth than you might think. Moss brightens every scene she is in, not just stealing the show but demanding the camera's focus on her expressive face and her command of emotion. Hers is a performance of the lived-in variety, a feeling the feature matches in its handheld movements, naturalistic lighting, super-16mm film stock and jazz score. Actually, it's that textured sense of reality that makes the movie shine, even more than showing the bleakness of poor choices while revelling in dark comedy. In that embrace of complication, there's a lot to like, and even love — even the initially unlikeable Philip.
Swords, sandals, speeches and spectacle: in a Ridley Scott-directed epic, all are to be expected. It comes as no surprise that Exodus: Gods and Kings has each in abundance. Men fight, moral dialogue dominates, and 3D computer-generated imagery delivers everything from palaces and now-fallen monuments to parted seas and giant waves. What might come as a surprise is that Scott’s latest round of swinging steel fares better than it perhaps should. The veteran helmer’s vision of the tale from the Old Testament Book of Exodus falls between his lauded Gladiator and less applauded Kingdom of Heaven. Repetition reigns in an over-extended, blood-soaked effort, but so does a strong sense of character and contemplation. For those unfamiliar with biblical narratives, the story of Moses swaps between sides in one of the greatest tussles in Judaism. In Egypt circa 1300 BC, a punishing regime saw the empire’s 400,000 Hebrew inhabitants worked to death as slaves — a system that had been in place for over 400 years. Moses (Christian Bale) grew up alongside Pharaoh-in-waiting Rhamses (Joel Edgerton), unaware of his true heritage. Upon discovering he belongs to the people his friend so willingly exploits, he is exiled, but remains unwavering in his quest for change. So far, so standard — at least where film depictions of the oft-covered pseudo-sibling-rivalry circumstances are involved. Indeed, standard is an apt description for a feature that goes through the motions in relaying its well-documented plot points. Moses and Rhamses argue. God sets Moses on a mission. Plagues — a river of blood, frogs, locusts and more — try to convince Rhamses of the right decision. Bale’s involvement, as culturally questionable as his and other casting may be, provides a stirring central performance and a strong protagonist. In channelling the conflict at the heart of the story, he broodingly expresses the impact of Moses’s many battles — with himself, his origins, his identity, and the notion of faith. In an effort that muses at length about these issues, he offers an eloquent manifestation of the inherent struggle. The film suffers whenever he isn’t on screen, though such instances are rare. Elsewhere, the rest of the cast doesn’t fare as well, more as a result of a script tinkered with by four writers than anything else. With eyeliner aplenty, Edgerton simmers with corruption and confusion, and Ben Mendelsohn hams it up (in an unlikely Animal Kingdom reunion). Ben Kingsley is quiet but convincing as a symbol of the oppressed, but many other big names — Aaron Paul and Sigourney Weaver, most notably — are given little to do. The less said about the squandering of talented actresses such as Golshifteh Farahani and Hiam Abbass, the better. Thankfully, among the clumsiness and the bulging roster of familiar faces, Exodus: Gods and Kings finds the midway point between the overblown and unnecessary, and the interesting and epic. Come for the biblical action, stay for the powerful lead performance, and witness an average but still engaging take on a famous tale.
Put one foot in front of the other, keep going, and you’re on a journey — and sometimes an adventure that captures attention. Add a few interesting incidents, and/or intentions fuelled by self-discovery, and you might just have a book and then probably a film. In fiction, it worked for Forrest Gump; in reality, it worked for Into the Wild. It is in the footsteps of the latter, not the former, that Wild follows, as it turns the true trek of Cheryl Strayed into a cinematic hike. In 1994, Strayed (Reese Witherspoon) was 26 and struggling with her lot in life, lingering grief inspiring a raft of destructive decisions. With her marriage in tatters, and her daily routine in the doldrums, she opted to take time out to achieve what seemed an impossible feat: walking the 1770 kilometres of the Pacific Crest Trail alone, and truly coming to terms with her identity and existence in the process. Of course, helmer Jean-Marc Vallée and scribe Nick Hornby don’t just jump from point A to point B in telling Strayed’s tale on screen, nor is the considerable physical feat the point of their film. As might be expected from the linear-averse director of Cafe de Flore, as well as the emotionally astute screenwriter of An Education, flashbacks during Strayed’s wander prove as crucial as the walk itself. The usual array of dire events and moments of discovery furnish the familiar storyline, one that continually emphasises its message of persevering regardless of the circumstances. So too do glimpses of the naturalism that flavoured Vallée’s last feature (and one also based on real-life circumstances), Dallas Buyer’s Club, as well as Hornby’s witty way with words. There may be few surprises in the movie that evolves as a result, but that doesn’t mean that the voyage it depicts isn’t worth taking. Expressive cinematography and fine-tuned editing help immerse the audience in Strayed’s fractured yet persistent mindset and rough yet picturesque surroundings, creating an offering of style and sensitivity in charting a predictable triumph over adversity. As awards bodies have duly noticed, however, Wild is less remarkable for the plight it portrays and its manner of doing so, and more worthy of praise for the accompanying performances. Eschewing glamour, playing a real figure and inhabiting a gruelling experience are all common fodder for accolades and attention, yet Witherspoon is as committed to getting to the heart of her endeavour as the character she plays. Laura Dern radiates empathy and earnestness in the role of Strayed's mother, even if her scenes are tinged with tragic cliches. Indeed, that’s the film from the start of its travels until the end: weighty but always apparent, contemplative while laced with truisms, and making more than a modest attempt at striving for something beyond the usual.
For the uninitiated, Nas’s debut album Illmatic is widely regarded as his magnum opus, if not one of the best rap albums ever created. Songs like ‘Halftime’, ‘It Ain’t Hard To Tell’, and ‘New York State Of Mind’ are both ageless and highly representative of their time. In other words: it’s gold. To celebrate the record’s 20th anniversary, Nas has been touring Illmatic, playing it start to finish, all over the world. Now, it’s Australia’s turn. Nas will be headlining Sugar Mountain Festival in Melbourne, but also playing solo shows in Brisbane, Sydney and Perth. As well as tearing through Illmatic, he'll be performing a few other hits from the records that followed. While Illimatic may have been groundbreaking, the albums after that certainly weren’t shabby either, and this is a rare chance to relive something truly great in hip-hop history. If you want to go to there, we recommend snapping up some tickets quick-smart. Don’t sleep (cause sleep is the cousin of death).
