At first mention, collage may seem like that lost art form you left behind in Year 4 art class. Yeah, we all made a few sweet Clag-laden masterpieces, but we don't see many 'BfFs 5EvA' montages hanging in contemporary art galleries these days. We sense ACCA's new exhibition, In The Cut, may be a little different. For starters, collage and assemblage have a strong tradition with social and political activism. Stretching as far back as the photomontages of Hannah Hoch in Weimar Germany, the act of re-appropriating imagery has always been inherently political. This group exhibition featuring the work of 16 international and local artists, will span the mediums of drawing, sculpture, prints, and photography — all with a focus on historical and contemporary collage. Some artists to note include Linder Sterling whose work is synonymous with the London punk and post-punk scene; Ellen Gallagher who dissects the representation of race in print media; and Richard Larter, a local addition whose work revolves around Australia's socio-political history in the 1980s. ACCA claims the exhibition will perfectly complement Tacita Dean's monumental work FILM — a piece on show as part of the Melbourne Festival. And of course, the two collections absolutely have crossover — both are tactfully concerned with the mechanics of art production. However, from all the talent on show, it's clear In The Cut will be a standout in itself. This free exhibition is open from October 10 to November 24. Image: Pretty Girls by Linder Sterling, courtesy of Stuart Shave / Modern Art, London.
With over 500 shows under their belt, the Japandroids are known for being something special on stage. Rumours circulated about their electric vibe at Laneway earlier this year, where the band hinted at a subsequent Australian tour. The time has come for this high-energy duo from Vancouver to fulfil that pledge with a series of intimate shows in August and September. in 2009 they almost disbanded following the release of Post-Nothing. Revived at the last minute by a sudden surge in popularity, they have gone on to produce another album, titled Celebration Rock in 2012, which further bolstered their reputation for pumping out an engaging style of garage rock. After being saved by their fans, the Japandroids seem bent on repaying each and every one with as many good vibrations as they can muster in a show. The guitarist Brian King has even said he consciously writes in the first-person-pluralto further engage the audience.
Through dark wintry nights, Melbournians press on, bound by their love of music to check out live gigs. Melbourne venues outperform the rest of Australia, according to the annual survey by America’s live music bible Pollstar, and as for Melbourne's homegrown acts? Well, it wouldn't be like Melbourne to boast *ahem* but they do make it well worth clawing through the wind and rain. Footy is one such example of local talent. Not for football boffins, they're an electric piano duo featuring the fine fingerwork of Paddy Gordon and Lew Mulverino. Fresh from releasing their critically acclaimed debut record Mobile Cemetery, they're classical, psychedelic and poppy all at once. On stage, Superstar will join them — think lurid, transient tunes — and Pikelet’s Evelyn Ida Morris, who has an uncanny ability to hand off melodic lines to wildly erratic movements. This will be really *really* good, guys. You should go.
It's been a tough year for music festivals. Our hearts have been freshly broken after the cancellations of both Harvest and Homebake Festivals, and if there's anything that can put them back together it's Cherry Fest — Cherry Bar's one-day music festival still kicking strong in its seventh year. Cherry Bar is a Melbourne institution. Steadfast in its rightful spot on AC/DC Lane, this place has been the feeding ground for Melbourne rockers for the past 13 years. Well-known for its Thursday Soul nights and the fact it's every touring band's afterparty of choice, this bar is so goddamned cool Noel Gallagher once offered to buy it. Over two stages from 12 - 9.30pm, Cherry will host a total of 13 bands including The Bellrays (pictured), The Powder Monkeys, and Money For Rope. Cherry Bar owner and booker, James Young says it was easy to figure it all out. "Turns out people want to go to music festivals with a modest ticket price, modest capacity, great line-up, easy access to cheap booze and be part of an audience made up of genuine music lovers." Sign us up too.
Sometimes art galleries can be a little stuffy. We get it. The white cube is so last decade. Now we want to touch the art. We want to get all up in its business. Going above and beyond this Friday night, ACCA Art Bar will be hosting a live performance by local act Speed Painters. You might have caught these guys around the club and bar circuit, but they've recently been busy finishing up their debut album — a record that blends what they describe as "slo-mo disco", motor soul and house music. This weekend also marks the end of two major ACCA exhibitions: In The Cut, a group exhibition on the diverse art of collage, and FILM, Tacita Dean's monumental work that had its Australian debut as part of the Melbourne Festival last month. Both these shows are well worth catching before they get packed up, and what better way to do that than by swanning around listening to slo-mo disco and drinking discount drinks? (Beer and wine are just $5 from 6-7pm. You're welcome.)
Have you ever been at a gig with an awkwardly small number of audience members? Felt like they were just playing for you? Well, if this was a feeling you enjoyed, you're going to love what the Click Clack Project has lined up. Over the first two days of the festival, Federation Square will be littered with a series of small black teepees, and inside of each, an artist will be performing to an enthralled audience of one. While admittedly terrifying — oh god, what facial expression am I making / how are they maintaining eye contact with me while playing the flute?* — it also sounds a little amazing. Check it out on Saturday for Shadow Tales performed by the Footscray Community Arts Centre, or head down on Sunday if Japanese sound art is more your thing. *We really can't guarantee anyone will be playing the flute. Check out the rest of our picks for the Melbourne Festival here.
At the Shanghai International Film Festival — the most prestigious event of its kind in mainland China — the top films are awarded the coveted Golden Goblet. It therefore seems only fitting that at the Australian festival dedicated to Chinese films, the prize is the Golden Koala. Now in its fourth year, with engagements in Sydney, Melbourne and Brisbane, the Golden Koala Chinese Film Festival aims to bring attention to the best of Chinese language cinema, from arthouse titles to big commercial hits. Highlights on the 2014 program include the romantic comedy smash Finding Mr. Right, the Hong-Kong action thriller Cold War and Emily Tang's critically acclaimed drama All Apologies — a film about the impact of China's strict one-child policy on Chinese women. Best of all, because the primary goal of the festival is to spread awareness of Chinese film culture, tickets are absolutely free. The one exception is the awards ceremony, which will take place in Sydney on February 9. For more information and session times, visit the GKCFF website.
“You know how to whistle, don’t you Steve? You just put your lips together and… blow.” Lauren Bacall’s advice to Humphrey Bogart in To Have and Have Not is one of the most memorable lines in motion picture history, but a new exhibit at ACMI suggests the actress may have been selling the puckering process short. The latest work from internationally renowned Australian artist Angelica Mesiti, The Calling is designed as an immersive video installation that explores the complexities of the traditional whistling languages still in use in isolated communities in Greece, Turkey and the Canary Islands. The free public exhibit will be housed in ACMI Studio 2 from February 4 until July 13 and Mesiti will also be on hand to discuss the work in a special In Conversation event on the evening of February 5. Angelica Mesiti: The Calling is presented by the Ian Potter Moving Image Commission, a 10-year collaborative initiative between ACMI and the Ian Potter Cultural Trust that provides funding to mid-career Australian artists working with the moving image.
'Based on true events' has been the theme for 2013, and why the hell not? Stranger than fiction and all that. Pick any genre and you'll find an example: Action - Gangster Squad; Comedy - Pain & Gain; Thriller - Captain Phillips; Horror - The Conjuring. None, however, are as adept at circling the carcass of history and picking away at the choice bits like Drama. Even just to look at the 'now showing' or 'coming soon' listings is to see: The Wolf of Wall Street, 12 Years a Slave, Dallas Buyer's Club, Philomena, Fruitvale Station and The Railway Man — all in some way grounded in real-world events. The question is how grounded, and that's why the opening to David O. Russell's new film American Hustle is so refreshing. "Some of this actually happened," it declares, acknowledging in those five simple words that — yes — liberties have been taken for your amusement, but also — yes — some of this stuff actually happened. That stuff is the infamous 'Abscam' sting of the late 1970s, during which the FBI engaged two prolific con artists — Sydney Prosser and Irving Rosenfeld — to ensnare a number of high-ranking US politicians on corruption charges. Sporting elaborate combovers, fake accents and plunging necklines, Prosser (Amy Adams) and Rosenfeld (Christian Bale) were a retro Bonnie and Clyde pairing who used smooth words instead of Tommy guns to fleece desperate men of their savings. Eventually caught by the FBI, they avoided jail time by agreeing to work alongside the ambitious agent Richie DiMaso (Bradley Cooper), and atop their list of targets was a New Jersey mayor named Carmine Polito (Jeremy Renner). What began as a simple enough sting, however, soon ballooned out of control as hubris, greed and jealousy picked away at the already threadbare alliance and placed both the operation and their lives in jeopardy. O. Russell is undeniably an actors' director, and like just his previous films (The Fighter, Silver Linings Playbook), American Hustle is built around its strong performances and crackling dialogue. Bale, Adams, Cooper and Renner are all at their best here; however, it's Jennifer Lawrence as Rosenfeld's wife, Rosalyn, who steals the show. Part seductress, part clown, she moves seamlessly between the two extremes with such ease and speed that each can appear multiple times in a single scene. Keep an eye out, too, for an uncredited cameo by Robert De Niro as a mafia heavyweight in easily the most gripping of the film's 138 minutes. Yes, it is long, and it definitely drags at times; however, it's also immensely funny and beautifully captures the flashy/trashy excess of the '70s — most notably in Adams' countless revealing dresses — for which none will receive any 'best supporting role' nods vis-a-vis her perilously positioned breasts. Yet even they have their place, establishing the complexity of a character who freely exposes all to the world save for the truth of who she really is. That's American Hustle, too: a layered and captivating film where you're never quite sure who to believe or which stuff actually happened. https://youtube.com/watch?v=NqgjPRNRDSY
This gig at the Hi-Fi shows off a killer double-bill of artists straight out of the Big Day Out lineup that will no doubt be a fascinating, energetic mishmash of styles. Toro Y Moi has been pioneering the minimal and laidback chillwave sound for years now, and his live shows are nothing but joyous, summery good times. Taking inspiration from sources as diverse as house music and the beats of J Dilla, Toro Y Moi serves up a whole mix of different things to keep you dancing. But whatever you do, don't miss Portugal. The Man (which is actually a whole band from Alaska, not one dude from Europe). These guys are like a timeless mix of classic 'David Bowie, T-Rex and Pink Floyd' rock, but with a spacey, psychedelic, rhythm and blues vibe — all of which sounds like music you've always loved but with a new kick to it. They've been gradually picking up a solid following in Australia after a few tours, and their eighth studio album, Evil Friends was released earlier this year. You'd be crazy not to get down early to catch them. https://youtube.com/watch?v=fSVwJyxeVYI
Craft (formerly known as Craft Victoria) consistently puts on dynamic textile, craft and design-based exhibitions. It has established itself as the place to pioneer and support excellent designers, but is a lot more than just a gallery space. Regularly hosting artists' talks, education programs and housing a drool-worthy design shop filled with jewellery and gorgeous ceramic pieces, this place is a crafty little oasis of the inner-city. Now, from January 16 till mid-February, they are launching a new series of exhibitions — three sets of works featuring a diverse range of artists who all work with textiles and sculptural forms. Troy Emery's work from far away in Gallery One uses fabric to synthesise and amalgamate sculptures with handicrafts, creating a confusing clash between animals and creatures that are simultaneously alluring and dangerous. Gallery Two shows off husband and wife artistic team Lucy James and Kent Wilson (aka BONUS CARD) in their show Loom of the Land which features geometric structures reminiscent of tribal masks and traditional totem iconography. John Brooks new work Transgenesis in Gallery Three fuses soft sculptural forms with digital video technology, creating a play between real and imagined organisms. Visiting Craft is like stepping into an effortlessly cool apartment you'd much rather live in. Mosey on down to Flinders Lane any time in the next month to check it out, or head along on Thursday, January 16 for opening night drinks.
If nothing says 'festive summer fun' for you like war, post-traumatic stress disorder, a crumbling marriage and protracted torture, then The Railway Man is shaping up to be the perfect Boxing Day release. It's also a fair indication you should seek some form of medical assistance. Based on true events, The Railway Man tells the story of Eric Lomax — a WWII British signalman forced to work upon the infamous Burma line after the Japanese overran his base. Singled out for his role in fashioning a secret transmitter inside the prison, Lomax (Colin Firth) was subjected to extraordinary brutality and torture by his captors, the effects of which continued to torment him decades after the war's end; one conflict over, another unceasing. That second war — the private, unspoken anguish of his memories — isolated Lomax from his friends and family, including his new wife, Patti (Nicole Kidman). Even his fellow veterans refused to discuss their past; a code of silence borne as much from shame as fear. Events finally came to a head in 1980 when Lomax discovered his chief tormenter was still alive and working as a tour guide in the very complex in which he had dispensed his horrors, inviting in Lomax the possibility of long-imagined vengeance. Torture, particularly waterboarding, has become a recurrent theme in movies of late — a disturbing, confronting and just occasionally uncomfortably gratifying depiction of a very intimate savagery. The Railway Man contains several examples of this, and none are easily endured. They are, however, necessary — speaking to the heart of Lomax's condition and contributing to the extraordinary emotional impact of the final scene. As far as performances go, this is Firth at his softly spoken best. That trademark mix of schoolboy awkwardness and schoolmaster wit contributes to a beautifully nuanced character whose anguish and rage boil beneath the surface and are masked by a tight, asymmetrical smile. Kidman, too, is excellent as the wife determined to see her husband released from his pain, whilst Stellan Skarsgård brings a quiet menace to his role as Lomax's wartime friend Finlay. With much of the film taking place as flashbacks, the younger Lomax is portrayed by Jeremy Irvine, whose impersonation of Firth is eerily on the mark. For a film that covers some terrifically dark elements in excruciating detail, The Railway Man remains an overwhelmingly tender offering that won't feel at all out of place for the post-Christmas period. https://youtube.com/watch?v=ksrkKXoEJbM
Blindside Studio is arguably the backbone of Melbourne artist-run spaces, or at least a big-boned tibia. It has been instrumental in showcasing experimental artworks by some of Australia's best new artists, and those participating in this year's Summer Studio are no exception. The Summer Studio is an opportunity for two artists or collaborators to shack up in the Nicholson Building and create exciting new work. This year the work focuses on performative collaborations that utilise video art. Emma Collard, Cherie Peele and Natalie Turnbull will be occupying one of the gallery spaces with Fab(ricated) Lyf — a performative piece involving the creation of a makeshift living area out of unconventional objects. After building a bizarre lo-fi quasi-televisual stage, they will broadcast their artwork out of the studio via podcast and Google hangout. This will be complimented in the second gallery by Diego Ramirez and his work Happy Summer Tank as he transforms the space into a technicolour video studio in order to create a documentary on cosplay. All the artists involved will use audio-visual technology such as live-streaming and video-recording gadgetry, but head along to the artists' talk on Saturday, January 25 if you would like to hear more. Alternatively, opening drinks are on Thursday, January 23 from 6-8pm. The Summer Studio will run from January 21 to February 2. Image credit: Cherie Peele, Natalie Turnbull and Emma Collard via Blindside Gallery.
The creativity and highly imaginative storytelling that emerges from comics and graphic novels will be discovered, explored and celebrated in the Co-Mix exhibition at City Library this January. This month-long exhibition will feature past entries from the Lord Mayor’s Creative Writing Award in the Graphic Short Story category, with works that range from the comical to the contemplative. The exhibition does not just demonstrate the exceptional talent of Melbourne’s storytellers, you the visitor are also encouraged to produce your own work. Join in on zine making workshops with the wonderful folk from the Sticky Institute, check out the Melbourne-made documentary Graphic Novels! Melbourne! or leave your mark on the Doodle Wall. Comics and graphic novels are an art form that is accessible and devoured by all ages, and a medium that never really goes out of style. It deserves to be recognised and celebrated, so grab a sharpie and see if you have what it takes to write the next Sin City, Ghost World, or Spiderman.
Melbourne Music Week (MMW) has once again delivered a delicious program of events to satisfy all musical cravings. With 110 events, 230 artists, in 60 different locations all over this musically gifted city, there sure is a lot to see over just 10 days. For lovers of local music, over 75% of the musical acts are from Victoria, which makes us both immensely proud and also excited to find a new favourite artist. There's heaps to get out of MMW this year; whether you want to find new music, rub shoulders with industry folk, or just party somewhere you might never get the chance to again. Have a look at our full run-down of events here.
The lovely Finders Keepers traveling market is returning to the Royal Exhibition Building once more for their Spring/Summer edition. If you have a craving for colourful clay-beaded jewellery, speakers made from suitcases or some seriously snazzy stationary, there are over 150 stalls for you to peruse. As well as feasting your eyes on the fashion and homewares stalls, there will be food and coffee available to keep you sustained on your quest for treasure. Finders Keepers not only supports designer talent, but also those who are musically gifted, as there will be performances by Great Earthquake, Hello Satellites, Sui Zhen and The Weeping Willows. Our advice would be to get there early as it does get pretty packed very quickly. Also, take cash as there are no ATMs and it’s just the easiest way to get by. One last thing, entry to the Finders Keepers is now $2, so don’t forget to grab a gold coin or two before running out the door. Happy hunting!
The imaginative genius of Walt Disney meets the exceptional talent of the Melbourne Symphony Orchestra in bringing Fantasia to life. Selected clips from Fantasia and Fantasia 2000 will be screened in high definition, and the MSO will perform the memorable soundtrack under the direction of Associate Conductor Benjamin Northey. Musical performances will include The Sorcerer’s Apprentice, The Nutcracker Suite and Gershwin’s Rhapsody in Blue. The haunting animation originally created by Walt Disney is heightened by the powerful musical treatment of the MSO, making this closer to a live performance rather than a cinematic experience. If you thought Fantasia was overwhelming as a five year old, just wait until you see (and hear) it like this.
Inca Roads is beginning to make a name for itself on the Summer festival circuit, with its heart in the right place and a lovely local line-up to boot. The festival runs for three days at ‘Nonno Frank’s Place’ and will house an audience of 500 for a weekend of frivolity. Inca Roads is all about good times and good deeds with proceeds from the festival going straight back into the community of Ballarat, various charities, and back into the festival to ensure it’s longevity. Similar to Meredith, it’s BYO and there's a 'no dickheads' policy — the rule that ideally should be applied to all music festivals. Unlike Meredith, it’s $145 and is located only 55 minutes out of Melbourne. The line-up includes the likes of Gold Fields, Northeast Party House, Willow Beats, Playwrite, Alta, 8 Bit Love and many other musical gems. Inca Roads describe themselves as "a place where everyone is a friend or a friend in waiting. Great people, an ego free zone." Hard to say no to that.
"When you see the movie Deep Throat, you are watching me being raped," Linda Boreman (aka Linda Lovelace) told a 1986 official inquiry into the sex industry. "It is a crime that movie is still showing. There was a gun to my head the entire time." When Deep Throat — one of the first 'skin flicks' to feature a plot and characters — hit cinemas in 1972, porn crossed over into the mainstream. Linda Lovelace, a willowy contrast to the voluptuous blondes that had dominated American erotica, with an out-of-the-ordinary capacity for fellatio, became the face of 'porn chic' and a symbol of sexual liberation. Eight years later, however, her third autobiography, Ordeal, revealed that her entry into the porn industry had been anything but a fling with freedom. Beaten, raped and threatened at gunpoint by her husband and manager Chuck Traynor, she was, she wrote, a prisoner "just as much as if I was in Alcatraz". While the creators of Deep Throat — possibly the most profitable feature film ever made — divvied up their $600 million, she limped away with just $1250. Lovelace, directed by the award-winning Rob Epstein and Jeffrey Friedman, tells the Deep Throat tale in two halves. The first is more or less the real-time, 'public' version; the second depicts the harrowing inside story of Boreman's private life. It's a structural decision with the potential to devastate. However, too much is given away in the former chapter to allow the latter to deliver the shock intended. We hear alarm bells ringing within the first ten minutes of meeting Traynor (Peter Sarsgaard), and it's obvious from the outset that the naive Boreman (Amanda Seyfried) is putty in his hands. That's not to say Lovelace doesn't have its disturbing moments. Sarsgaard, who did the parent-charming sleaze-bag so well in An Education, brings an unnerving edginess to the psychopathic Traynor, and Seyfried, a wide-eyed and prettier-than-real-life Lovelace, is believably vulnerable. Her severe Catholic mother, played by a hard-faced, domesticated Sharon Stone, so changed in the role that even Hollywood heavyweight Harvey Weinstein failed to recognise her, and her complacent father (Robert Patrick), succeed in provoking our frustration and anger. However, a simplistic script lets this strong cast down. The characters are drawn as types, demonstrative of one or two traits, lacking meaningful development. We walk away, having once again been witness to the exploitative nature of the porn industry and the horrors of domestic violence, but none the wiser when it comes to either their implications or the life of Linda Boreman. https://youtube.com/watch?v=HPJY-g-WoQo
For the latest exhibition at No Vacancy, 14 artists have been asked to create a print inspired by the famous quote by Bertholdt Auerbach: "Music washes away from the soul the dust of everyday life”. The resulting artworks will display the diverse interpretations of the phrase, where some artists focus on the words and the questions it raises, and others create their work intuitively. To learn more about each individual artists creative method, Ingrid Wilson has made a short film about the process of this collaborative project to accompany the series of prints, giving viewers a chance to look in on a typically private practice. The exhibition offers a fascinating insight into the many different creative interpretations that can be derived from one original thought. Artists featured include Alexis Beckett, Steph Bolt, Louise Donovan, Kate Gorringe-Smith, Deanna Hitti, Hilary Jackman, Mon Keel, Andrej Kocis, Helen Kocis Edwards, Roz Rogers, Andrew Sinclair, Anna Topalidou, Ingrid Wilson and Jess Wong.
Ever-popular mod-Japanese spot Tokyo Tina is jumping into its next year of life with a bang, transforming its dining room into a party den to host its all-important fourth birthday celebrations, on Saturday, March 23. Guests are in for an all-inclusive, good times affair, complete with booze, tunes and plenty of the kitchen's signature eats throughout the afternoon. There'll be roving canapés, as well as a dedicated bao station slinging pillowy buns stuffed with punchy flavour combinations. Current Tina bao hits — like the crispy avocado and bulgogi beef rib — should give you some idea of what's to come in that department. Meanwhile, the yakitori grill will be firing up a poultry-driven menu of skewers, featuring quail, chicken skins and just about every bird in between. On top of that, you'll be able to enjoy free-flowing drinks (beer, bubbly and whisky highballs) and a party-ready soundtrack, with ample opportunity to belt out some of your own jams in a karaoke sesh.
Fans of smoky agave spirits — and Mexican eats — should block out this Sunday afternoon ASAP, 'cause Mezcal Mini-Fest is heading back to Melbourne — for the second time ever. Smith Street eatery Hotel Jesus will once again host the festivities on Sunday, March 24. The evening will celebrate the spirit that — despite popular assumption — is more akin to whisky than tequila. It all kicks off from 1pm with a three-hour tasting session where you can try over 50 notable mezcals selected by Hotel Jesus and Mamasita. The tasting is free so we recommend heading there early to secure a spot at the bar. There'll be plenty of experts on hand, too, so you can find out what really is the difference between tequila and mezcal. There'll also be plenty of Mexican eats (to help line your stomach) available for purchase, as well as many rare mezcals by the bottle — so you can continue the good times back home. Mezcal Mini-Fest runs from 1–4pm.
The future of advertising is here. You see a billboard for beer. You walk up to it. You pull a lever. Voila — you now have a freshly poured brew in your hand. While you won't find this boozy marketing magic on every street corner any time soon, you will find it at Federation Square between 2–8pm on Saturday, February 2 and Sunday, February 3. It comes courtesy of Furphys, who've set up a 20-foot sign in the middle of the public space. And yes, it comes with a novelty-sized tap handle, which triggers the billboard to pour a glass of Furphy Refreshing Ale. Once you've grabbed a drink, you can also hang out in a designated area to enjoy your brew — and marvel about the wonders of technology, obviously. Given that Melbourne is in for some toasty temperatures this weekend, hitting 35 and 39 degrees respectively, a free cold one in the middle of the CBD is sounding extra refreshing
Move over, craft beer — it's craft spirits' time to shine. Everyone's been to a day dedicated to the former, but on Sunday, March 31 you can spend an afternoon with all the whisky, gin and vodka you could ever want with more than 40 exhibitors and master distillers showcasing over 150 craft spirits at 2019's Indie Spirits Tasting. For the first time, the Indie Spirits Tasting folks are bringing their spirit celebration to Melbourne's Craft & Co for the type of event that whiskey, gin, rum, vodka and tequila-lover's dreams are made of. We'd keep listing different kinds of spirits, but we're getting thirsty. Tickets to each session — either 12–2.30pm or 3–5.30pm — are $59 and not only include samples of the best Aussie and international indie brands on offer, but free bar snacks plus access to seminars across the afternoon, too. And for those particularly eager, early bird tickets are available until February 15 for the discounted price of $38.
Melbourne's iconic street art scene is about to be outdone. Over three days this April, the township of Benalla in northeast Victoria will be hosting one of Australia's largest street art festivals. The annual Wall to Wall Festival, now in its fourth year, will bring together 20 a (gender-equal) lineup of local and international artists to create new murals around the town. Along with the live painting will be an exciting program featuring various workshops, guided street art tours, a cinema, after-dark projections and a work from Adnate in a church of the small town of Goorambat. You'll also be able to unleash your inner Banksy by participating in the Paint by Numbers community mural, which entails the creation of a permanent, large-scale town mural with the help of one of the festival's artists. Image: Nicole Reed.
One moment Dominika Egorova (Jennifer Lawrence) is the pride of Russia. The next, she's being bundled off to "whore school". They're her words, all but spat at the shady uncle (Matthias Schoenaerts) responsible, and they say plenty about Red Sparrow. She's a Bolshoi prima ballerina cut down in her prime by envious colleagues, he's a high-ranking honcho with one of the country's intelligence agencies, and their entire relationship consists of him exerting power over her with a lecherous glint in his eye and no qualms about resorting to violence. Unfortunately, this muddled and murky film is all too happy to follow his lead. With her dancing dreams dashed and the her mother's (Joely Richardson) health insurance under threat, Dominika has little choice but to take her uncle's career advice. After agreeing to meet a suspected traitor and bearing witness to his assassination, her only option is to become a 'Sparrow' — a highly trained spy enlisted to seduce and manipulate using everything at her disposal. When she's subsequently put into the field to procure the name of a Russian mole from an American CIA agent (Joel Edgerton), our heroine is quickly forced to give her new skills a workout. Thanks to Lawrence's typically committed and uncompromising performance, Dominika possesses an indefatigable air and quite the formidable stare. But Red Sparrow isn't an ass-kicking female-driven flick in the vein of Atomic Blonde, Haywire or La Femme Nikita, or even the action spin on Black Swan that it nods to in its name. Nor is it a pulpy revenge story, an icy espionage thriller or a rousing tale of a victimised woman using her feminine wiles not only to survive, but to bring down the system that's stacked against her. Based on a novel by retired CIA operative Jason Matthews and directed by three-time Hunger Games helmer Francis Lawrence (no relation), the film is simply a routine array of predictable twists packaged with a particularly problematic approach. Specifically, there's nothing empowering or entertaining about a movie that constantly wears its heroine down just because it can. Red Sparrow tries to frame its treatment of its protagonist as an example of an entire country's corruption ("your body belongs to the State!" Dominika is told in one of the film's more blatant moments), but that rationalisation fails to convince. At the same time, the screenplay touches briefly on themes ranging from toxic sexual politics to the treatment of women in the workplace, but that social commentary falls flat as well. It's hard to take seriously any statement on the objectification and exploitation of women when your female protagonist spends most of the movie being raped, beaten, pushed around and bled dry, often while naked or close to it. Frequently, it feels like Red Sparrow is putting Lawrence in the same situation as Dominika, using her for the audience's gratification. Still, Red Sparrow does have some saving graces — all of which come courtesy of the film's stacked supporting cast. There's Charlotte Rampling as Dominika's no-nonsense trainer, Jeremy Irons as a slippery Russian general and Mary-Louise Parker doing some excellent drunk acting. A better movie could be made about any of their characters, and mightn't need to include cringeworthy dialogue like "the West has gone weak, drunk on shopping and social media!" As we see demonstrated again and again, that kind of overcooked writing really does speak volumes about this troublesome film. https://www.youtube.com/watch?v=FFpJAIy-cow
She was once one of the most famous movie stars in the business, with an Oscar to her name and roles in everything from It's a Wonderful Life to Oklahoma! to The Big Heat. But in 1981, Gloria Grahame (played here by Annette Bening) was worlds away from her '50s Hollywood heyday. Preparing to take to the UK stage in a version of The Glass Menagerie, she collapsed in pain just before the curtains opened. Refusing medical treatment, Grahame instead asked to recuperate in Liverpool, at the family home of her younger ex-boyfriend and local actor Peter Turner (Jamie Bell). Adapted from Turner's memoir of the same name, Film Stars Don't Die in Liverpool doesn't play shy with its narrative. Even for those unfamiliar with this particular chapter in tinseltown's history, there's no prizes for guessing where it's all heading. And yet, much like the movie's multifaceted protagonist, first appearances soon prove to be misleading. Grahame was known for her brash femme fatales in the days of black-and-white cinema, but her on-screen persona only told part of her story. Directed with period flair and eye-catching scene transitions by Paul McGuigan (Victor Frankenstein), the film that charts her final years likewise does more than just combine a tear-inducing tale of sickness with an unlikely romance. Both love and illness feature prominently in Film Stars Don't Die in Liverpool, with Grahame and Turner's time together unfolding in flashbacks while she's convalescing under the care of his mother (Julie Walters). In sequences from their early days together, she's spirited and sultry, and he's instantly smitten — whether they're trading lines to help her rehearse, catching a showing of Alien, or enjoying a sensationally seductive disco session in her London living room. Later, as she tries to ignore her worsening condition, she's defiant and he's doting, even as her impending demise hangs between them. From these contrasting glimpses, a touching portrait forms not only of a fading star, but of a fascinating, complicated woman and an equally intricate relationship. As such, those eager for a full rundown of Grahame's career would do well to read up before (or after) they hit the cinema. Matt Greenhalgh's latest celebrity-focused screenplay (after Control, Nowhere Boy and The Look of Love) is more a character study than a cradle-to-grave biopic, evoking a entrancing sense of the actress' presence and personality rather than dwelling upon her work. In Grahame's contemplative backstage moments, her flirtatious looks and her all-round fighting spirit, the film serves up a multi-layered portrayal of a multi-layered figure. In doing so, it says as much about its subject as it does the industry's disdain for ageing, and society's lack of regard for older women in particular. With all that in mind, it's hardly surprising that Film Stars Don't Die in Liverpool benefits enormously from Bening's stellar performance. Despite missing out on well-deserved awards acclaim for both this and last year's 20th Century Women, the four-time Academy Award nominee just keeps going from strength to strength. Digging beneath glamour and vanity, and painting Grahame as vibrant and vulnerable all at once, Bening's work makes it easy to understand why Turner melts in her company. For his part, in his best role (and with his best dance scene) since Billy Elliot, Bell delivers a tender and textured performance. But when Bening shines, the whole bittersweet film shines with her. https://www.youtube.com/watch?v=cnE7jdOfp3E
For one day only, Melbourne Town Hall will become the city's must-visit shopping spot, especially if you're keen to pick up some pre-loved and vintage threads. From 10am-5pm on Saturday, June 16, the Australian Red Cross will be bringing a treasure trove of clothing and accessories to the CBD spot, as part of their 2018 pop-up shop. Expect outfits, shoes and more for women, men and kids alike — including ace secondhand wares, pieces donated by fashion bloggers and new designer pieces. And expect your wallet to thank you, because there's nothing like secondhand prices. And, as always, shopping with the Red Cross doesn't just help restock your wardrobe — it also helps those in need, with the proceeds going towards the organisation's ongoing work. Entry is free, and we'd recommend arriving early to scope out the best finds.
Masters of late night snack fuel Ben & Jerry's have been dishing out pop culture-riffing flavours like Liz Lemon Greek Frozen Yoghurt, Stephen Colbert's AmeriCone Dream and, of course, Schweddy Balls for years. Then the masters of frozen confection go and create something called 'Free Cone Day', an annual event which defies haters. You can score an ice cream on the house, as part of the company's yearly, worldwide tradition thanking its fanbase for all the gluttonous support. On Tuesday, April 10, Ben & Jerry's Scoop Shops around Australia are hosting the seventh annual Free Cone Day — scooping out free ice cream from 12pm until 8pm. Suss out your nearest Scoop Shop purveyor of frozen dairy heaven here, and rock up on April 10 to claim your cone. Check out Ben & Jerry's Facebook page for updates.
Melbourne fashion lovers sticking to a budget, rejoice — the biannual Magic Designer Sale is back for its first sale of 2018. For one weekend a massive amount of end-of-season stock and samples will be available from local designers such as Witu, Verner, Kuwaii, Handsom, Kloke, Seb Brown and Dress Up. With reductions running across the three days, your purchases are guaranteed to be investments. So cancel your weekend plans, empty your piggy bank and race over to Johnson Street. We suggest getting there early for the good stuff. The sale will run from 9am–6pm on Friday, 10am–6pm on Saturday, and 11am–4pm on Sunday.
It has been 28 years since the first Jewish film festival reached Australian screens, and the annual cinema showcase is still going strong. If a movie hails from Israel or explores Jewish culture, it's likely to end up in the Jewish International Film Festival's program — including opening night's Yiddish-language drama Menashe, Orthodox community-set screwball romantic comedy The Wedding Plan, the intimate exploration of grief and connection (and baked goods) that is The Cakemaker, and the Kevin Spacey and Nicholas Hoult-starring JD Salinger biopic Rebel in the Rye, which closes out the fest. They're just some of this year's JIFF's highlights, and there's more where they came from. In fact, the complete 2017 lineup boasts 65 films from 26 countries, including features and documentaries from Israel, Australia, Argentina, Denmark, France, Germany, the Netherlands, Poland, Spain, the UK and the USA. If you're a fan of Jewish-themed cinema, prepare to settle in for the long haul when JIFF does the rounds from October. Melburnians can get their fix at the Classic Cinemas in Elsternwick from October 25 to November 22, and at the Lido Cinemas in Hawthorn from October 26 to November 21 as well.
Prepare to stuff yourself full of the tastiest donuts in town — Day of the Donut is back. Those baking aficionados at Flour Market are at it again from 5pm on May 17, and this time they're offering sugar-glazed, jam filled, coronary-inducing wonders by twilight. As always, the event will unite some of the best and most ambitious bakers in Melbourne under a single, sprinkle coated roof. Be warned: although it's due to run until 7pm on the Melbourne Central Level 2 Link Bridge, these doughy delights may sell out earlier. BYO wheelbarrow. A full list of the specific doughnuts on offer hasn't been released, but based on the lineup, you can be certain to find something that you'll want to eat as a post-work snack, for dinner and for dessert afterwards, too. Ahhh Donuts, All Day Donuts, Ascot Vale Food Store, Baker D Chirico, Bistro Morgan, Candied Bakery, Cobb Lane, Doughboys, Shortstop Melbourne, St Gerry's, Uncle Donuts and Penny for Pound will be bringing their best fare, and you can be there feasting on them.
When Amy Schumer starred in Trainwreck back in 2015, audiences may have felt a sense of niggling deja vu. If you'd watched Inside Amy Schumer or any of her standup shows, you knew exactly the kind of character you were getting — not that that was a big problem, necessarily, since seeing the comedian and actress take her usual persona to the big screen was part of the appeal. But even the funniest folks can only coast on the same material for so long. That's not to say that Schumer doesn't throw herself into her latest film with gusto, but rather that her character, the aimless, self-absorbed, recently single Emily, offers very little that's new. The same is true of the film in which she resides, which plays out exactly the way you expect it to. Drunken pick-up attempts? Tick. Gags about intimate personal grooming? Tick. One-liners that only work thanks to Schumer's delivery? Keep ticking. A hard-partying character suddenly forced to address her messy existence? Of course that's what Snatched is about. The film kicks into gear when Emily's cat-loving mother Linda (Goldie Hawn) discovers, via Facebook, that her daughter has been dumped. Emily, for her part, is upset, although seemingly more about her impending, non-refundable vacation to Ecuador than the breakup itself. After trying and failing to find a friend to accompany her on her adventure, Emily discovers an old photo album filled with snaps of a once-carefree Linda travelling in her younger years. So she decides to invite her mother along instead. With a title like Snatched, it's not a spoiler to say that the duo soon find themselves kidnapped by local criminals. Frankly, it's hard to spoil much about this film, given how formulaic it all feels. From the predictable interplay between mother and daughter to the uncomfortable stereotypes about South America and its inhabitants, the uninspired script by Ghostbusters scribe Katie Dippold leaves one person with a huge job. And no, it's not director Jonathan Levine – the man behind The Night Before, Warm Bodies and 50/50 stays mostly on auto-pilot here. Instead, it's Hawn who does the bulk of the heavy lifting. It has been 15 years since the actress was last on screen, but the comic force of the '80s and '90s has lost none of her flair. A committed supporting performance by Joan Cusack aside, it's hardly surprising that Hawn's rapport with Schumer is far and away the best thing about this routine jaunt through the jungle. If all Snatched does is inspire you to seek out some of her earlier work, then at least it will have achieved something of value. https://www.youtube.com/watch?v=QcyeYFXdHNQ
If you're one of the many Melburnians who hate waiting but love Mexican food, prepare to rejoice. For the weekend of May 6 to 7, you'll be able to sample Mamasita's best cuisine without schlepping into the city or through the notorious queues. The famous Mexican CBD staple will be joined by their sister restaurant Hotel Jesus (which is permanently located in Collingwood) at Welcome to Thornbury to celebrate Cinco De Mayo. Mamasita will serve up their famous corn, fish and ceviche tostadas alongside never-ending margaritas. And the gluten-wary amongst you can chow down, safe in the knowledge that Mamasita's menu is very gluten-friendly If you can't make it over the weekend, on Friday May 5 a host of Mexican food truck vendors will occupy the same too. So stop by, grab a bite and celebrate the culture that brought us two of life's greatest joys: beer and tacos.
Ten days. 27 venues. 400+ artists from around Australia and the world. The Melbourne International Jazz Festival is turning 20 years old, and, boy, do they know how to celebrate. Running from June 2-11, this year's festival features countless highlights, from big-ticket events to intimate club sets to collaborative performances with KAGE Physical Theatre and the Melbourne Symphony Orchestra. The festival begins with a concert by legendary guitarist Bill Frisell, who'll be performing a unique interpretation of iconic American film scores from movies including Psycho, The Godfather and Once Upon a Time in the West. Frisell is but one of a number of international guests on the program, along with Dianne Reeves, Kenny Barron and the Carla Bley Trio. Other events worth checking out include the Second Line Street Party at Federation Square, the Jazz on Film program at ACMI, and Bridging the Divide, a free panel discussion about the under-representation of women in jazz. For the full program, visit their website.
If you're going to fork out an arm and a leg for candy bar concessions, the food may as well be good. That's the thinking behind the ever-popular Coburg Drive-In Food Truck Festival, which is back for a July run. On July 12 and 13 you can sit back in your car and enjoy the latest Hollywood releases while chowing down on delectable offerings from Melbourne's leading mobile food vendors. Look to the big screen for Spider-Man: Homecoming and Baby Driver, and to the meals-on-wheels lineup for the likes of Yo India, C'est Chick, Real Burgers, Mamma Van, Sweet Forbidden Journey, Bites on Wheels, Mary and a Little Lamb, Poncho Mexican, Ron's Handburgers and Street Crepes. Plus, your pooch is welcome to come along too.
Grab your specs, all you book worms and literary nerds out there, because the program for this year's Melbourne Writers Festival is a good 'un. Running from August 25 until September 3, this year's festival lineup is packed cover-to-cover with authors, journalists, activists, historians, bloggers, playwrights and more. The festival will begin with an address on Australian Identity by two-time Miles Franklin Literary Award winner Kim Scott. The evening will continue with an opening night party featuring music by Indigenous and Torres Straight Island artists curated by DJ Sovereign Trax. Scott is one of a number of prominent local guests; others include ABC journalist Stan Grant, social commentator and writer Jane Caro, author and journalist Benjamin Law and engineer and author Yassmin Abdel-Magied. Major international guests, meanwhile, include journalist and transgender activist Janet Mock, National Book Award winning author Joyce Carol Oates, young adult writer Angie Thomas and former UN Under-Secretary-General Shashi Tharoor. The festival will wrap up with a talk from Robert Fisk, a journalist for The Independent who has reported from battlefields in Syria, Iraq, Algeria, Afghanistan and Lebanon. Plus, there will be a glorious day filled with free Harry Potter activities, including readings, performances and a Sorting Hat. It says it's "for families" but we doubt they'd kick you out. "Literature has always been a platform for revolutionary ideas and a way to escape the politics of despair," festival director Lisa Dempster said. "Melbourne Writers Festival will explore the darkness of discrimination, oppression and war, but the program is threaded through with hope. We're listening to voices too long shut out, searching for the ideas that can bring us out of dark places and into the light."
You don't normally associate the MCG with fine dining — it's more overpriced pies and eating an entire six-pack of hot jam doughnuts to yourself. But it appears that's about to change in the lead up to this year's AFL Grand Final, as some of Melbourne's best restaurants set up outside the 'G. Part of this year's pre-GF celebrations, Yarra Park will play host to a four-day Footy Festival in the lead-up to the big game, featuring music, movies and some seriously good food. Fancy Hanks, Biggie Smalls, Taco Truck and Gelato Messina are just a few of the heavy-hitters – and you can expect footy-inspired spins on their typical cuisine. You can also have a tipple at one of the pop-up bars, and UberEATS will also be setting up their first restaurant on-site. Clearly the AFL has at least one foodie on the payroll. Yarra Park will also be home to the Grand Final Live Site, with activities, live entertainment and broadcasts. It will be open from 10–6pm on Wednesday and Thursday, and 9am–6pm on Friday and Saturday. Disclaimer: you will not be allowed to drink your wine out of a Premiership Cup. It will be a good place to get a snack if you're going to the game or just to the free Killers gig afterwards. Image: Fancy Hanks.
Cheese freaks — you're in good company. Maker & Monger's Anthony Femia will share his cheese expertise at a special Prahran Market workshop on Saturday, July 22. Cheese 101: Behind the Rind will see the master monger school punters on all things cheese, from sourcing accompaniments to preparing the perfect cheese board. And yes, there will be plenty of samples to stuff your face with. Kicking off at 11am in the Prahran Market Harvest Hall, the hour-long workshop will focus on the story and flavours behind four main cheese styles — the exact details have been kept under wraps, so the varieties could be anything from the creamiest brie to a sublimely stinky blue. Either way, participants will leave with a better nose for pairings and a fresh list of cheeses to sniff out. A $30 ticket gets you entry and a tasting booklet, as well as a complimentary glass of wine.
The work of Australia and New Zealand's top female game designers will be in the spotlight at a brand new exhibition at ACMI. On display from July 25 until November 5, Code Breakers: Women in Games is a free exhibition that will gives visitors the chance to experience a wide variety of games made by female directors, writers, programmers, developers, designers and digital artists. "Despite women making up almost 50 percent of game players, they account for less than 10 percent of the games industry," says ACMI CEO Katrina Sedgwick. "Code Breakers seeks to shatter stereotypes and celebrate the women who are breaking down barriers and building vibrant, creative careers within a global industry." Games featured in Code Breakers include Ninja Pizza Girl, Armello and Need for Speed: No Limits. The exhibition will also feature gamemakers speaking frankly about the experiences in a male-dominated industry via a custom-built audio tour.
Reboots don't just involve huge movie franchises — they can also apply to film festivals, too. When the Turkish Film Festival returns from July 6 to 16, it should feel both familiar and fresh. Indeed, the existing fest has evolved, boasting more films and more screenings in more places, plus a few special events as well. Heading to Palace Cinema Como and The Kino, this year's TFF will feature six movies that showcase the current state of Turkish filmmaking. It all kicks off with Rosso Istanbul, the latest effort from Italian-Turkish director Ferzan Özpetek, before offering up everything from 2014 Cannes Palme d'Or winner Winter Sleep and photographer-focused documentary The Eye of Istanbul to The Water Diviner's Yilmaz Erdoğan and Cem Yilmaz showing off their newest flicks. For those who want to go on a culinary journey as well as a cinematic one, The Turkish Way showcases Catalan cuisine across Turkey, with popular Istanbul chef Maksut Aşkar in attendance. As with all food-focused flicks, you'll want to grab dinner beforehand to avoid a hangry viewing experience. If the inevitable food envy wins out, you can also join chef Aşkar for a one-night only Turkish feast hosted by Tulum on July 17.
If you're the kind of market-goer who beelines immediately for the ceramics stall at your local makers market — and dreams of Patrick Swayze's ghost every time your hands hit the potter's wheel — then do we have just the ticket for you. A new ceramics-only market is coming to Fitzroy. Melbourne Ceramics Market, or MCM, is a free event launching on August 6. They'll showcase handcrafted creations from over 25 different ceramicists. You can expect unique pieces (with bespoke being ever the watchword in editorial). And, if you're big into the clay world, you may have already heard of the two founders, who are ceramic artists themselves. Daisy Cooper of Daisy Cooper Ceramics and Tina Thorburn of Clay by Tina are bringing the market to Fitzroy to create a retail space for other artists to sell their pieces directly to the public. You'll also find coffee trucks, cake stalls, and live music to fuel your ceramics-buying rampage.
Obsessing over mysteries is human nature. We're hard-wired to piece together puzzles, trawl through murky terrain and look for answers; in fact, you could say that's what life is all about. Gothic tales understand this. They take audiences to dark, strange, far-from-straightforward places, and as a rule we're more than willing to go along. They unsettle, unnerve and ooze with unease — and that's precisely what makes them so alluring. These are the sensations conjured my My Cousin Rachel as it immerses viewers in a story of love, death, money and mistrust. For Philip (Sam Claflin), that's also the feeling he gets from the film's title character (Rachel Weisz), his cousin by marriage. When she arrives at the Cornish estate he'll inherit upon his upcoming 25th birthday, he's bubbling with anger and intent on vengeance, believing that she murdered her husband. And yet Philip soon finds himself mesmerised by the new woman in his life, even if he can't quite quell his suspicions. A Gothic romance penned by Daphne du Maurier back in 1951 (and first brought to the screen one year later), My Cousin Rachel leans into its enticing climate of wariness; this is a movie where a stiff gust of wind leaves everyone shaken, and where flickers of candlelight cast telling shadows. Writer-director Roger Michell (Le Week-End) successfully bathes every frame of the film in tension, using his handsome period staging to further the mood. A grand old house in the English countryside — and one typically seen during the daytime, too — has rarely elicited such feelings of seductive discomfort. Simmering beneath the feature's mastery of tone, however, is an exploration of both the power of perception and the battle of the sexes. It shouldn't escape attention that Philip is quick to condemn a woman he doesn't know based purely on conjecture, nor that he mostly changes his mind — becoming determined to help her, and unable to hide his affection — when she pays him attention. Similarly, noticing the response that Rachel receives for wanting to live her own life, have her own money and make her own decisions is crucial. Indeed, for all of its talk of potential poisonings, subterfuge and betrayal, as well as its pondering of Rachel's true nature, perhaps the most perturbing element of the film is the bewildered reaction directed towards her for daring to be independent. Is she a killer? Does she deserve Philip's doubts? They're questions that My Cousin Rachel asks; questions that Weisz's inscrutable performance makes it impossible to answer. Ambiguity is often the key to Gothic narratives, drawing you in to themes and situations that have no easy answers. Weisz expresses that conflict perfectly. That probably wouldn't have been the case in another actor's hands, but, as she's made a career of doing, she inhabits the role of Rachel so completely that it's hard to imagine anyone else doing it justice. While Claflin does well playing the naive but stubborn Philip, the movie's real point of interest is right there in its name: an enigmatic woman, the talented actress that brings her to life, and the mystery that follows. https://www.youtube.com/watch?v=-C-q7by64mA
Back in 2017 for its 11th instalment, Opera Australia's popular Mazda Opera in the Bowl returns to the Sidney Myer Music Bowl for a wonderful night of opera under the stars — and it's absolutely free. Hosted by ABC Radio's Christopher Lawrence with featuring some of Australia's top vocal talent in soprano Stacey Alleaume, mezzo-soprano Sian Pendry, tenor Diego Torre and baritone Luke Gabbedy, Opera in the Bowl will have you whistling along to famous tunes you didn't even know you knew. Gather the crew (and your trusty picnic basket) and settle in for a night of some of opera's most famous and most beautiful moments. But don't worry if you don't actually own a picnic basket — a whole heap of the city's best food trucks will be there cooking up a storm, the garden bar will be slinging all your favourite summer cocktails, and a 'luscious flower wall' will provide the perfect backdrop for your Instagram stories. As for the soundtrack, a parade of famous arias, duets and overtures is sure to delight all music fans, whether you are an opera aficionado or you don't know Bellini from a Bellini. If nothing else, it's a perfect cheap date idea.
Kicking off with a light-hearted caper, ending with happy tears — that's what we look for in an Italian jaunt. And even if you're not heading over to Europe anytime soon, sitting in a cinema this September might be the next best thing, in the form of the 2017 Italian Film Festival. Marking its 18th year, Australia's annual celebration of Italy's filmmaking finest will kick off with screwball effort Let Yourself Go!, which won the 2017 Italian Golden Globe for best comedy, stars The Great Beauty's Toni Servillo, and follows a tightly wound psychoanalyst's dalliance with an upbeat personal trainer. Bookending the festival is a 20th anniversary screening of Roberto Benigni's bittersweet Life Is Beautiful, an Academy Award winner for best foreign language film. One of the more popular film events in Australia, IFF's 28-film, six-week national tour features brand new highlights, excursions off the beaten track, jaunts all over the country and an ode to coffee. Yes, there really is a film called Coffee in the program, which intertwines three tales about everyone's favourite caffeinated brew, and was inspired by Alejandro Gonzalez Inarritu's 2006 Oscar-winner Babel. As for the rest of the fest, highlights include the tender portrait of conjoined twin sisters that is Indivisible (the festival's centrepiece), to Sea Girls Dreaming, a documentary about carefree grandmothers living in the tiny Italian mountain village of Daone. Plus, Italian movie buffs can also enjoy romantic comedy Emma, which comes to Australia straight from the Venice Film Festival, and the based-on-a-true-tale Sicilian Ghost Story, about the disappeared teenage son of a Mafia informant. There's more where they came from, including Roman ex-cons attempting to start a new life, broad Christmas comedies and topical accounts of ex-terrorists fleeing extradition — and a special guest and a new initiative. This year's festival will welcome Australian-Italian actor Greta Scacchi, who'll attend screenings of her latest effort Tenderness, and sit on IFF's first jury. The Looking for Alibrandi star will help pick the festival's best from a six-film competition, with help from The Space Between's Ruth Borgobello, actor Daniela Farinacci, actor Damian Walshe-Howling and Radio National's Jason di Rosso.
Hophaus Bavarian Bier Bar Grill is hosting its annual charity dachshund race once again this September — and, frankly, you shouldn't need any more information to understand why that's a thing you should care about. Returning to the Southbank German restaurant, the teckelrennen is an Oktoberfest tradition, and will see sausage dogs from far and wide pumping their stubby little legs for gold and glow. The first heat kicks off at 11am on Saturday, September 23, with the grand champion expected to be crowned later that afternoon. There'll also be a costume competition, because the only thing better than dachshunds is dachshunds in tiny adorable outfits. It isn't just all for the fun of it though — all money raised from entry fees paid by competitors will be donated to Dachshund Rescue Australia. Over the last two years the event has raised over $6000. https://player.vimeo.com/video/139814129
Further cementing its status as a hot-spot for musicians and music fans alike, the City of Port Phillip is gearing up for the return of its Live N Local Festival, from August 19–26. The eight-day celebration of live, local sounds brings with it a cracking line-up of big-name talent, free gigs hosted in unexpected venues and an extensive artist development program of workshops and talks. Join in the fun as the newly relaunched Acland Street Plaza kicks things off with an August 19 'pop-up' party, featuring a record fair, live broadcast from PBS DJ Emma Peel and a brass-filled performance from Horns of Leroy. Looking deeper into the festival, Southside Twang and Soul at Starward Distillery will see the whisky makers team their signature cocktails with live tunes from La Bastard and Vasco Era's Sid O'Neill, local artists will add some rhythm to your morning rush with a series of Commuter Carols pop-up sessions and St Kilda's Sacred Heart Church will play host to a female-focused showcase of singer-songwriter talent with Women of Song. There's even a full program dedicated to events where music and eats combine, and with the festival kicking off at Starward, it's only fitting to close it out with an after party at Melbourne Moonshine Distillery featuring acts by local garage, rock and punk bands. Live N Local Festival returns to the City of Port Phillip from August 19–26. Jump over to the Live N Local website to check out the program and start planning your festival hit-list.
Throw on your winter coat and head out into the night as the Glow Winter Arts Festivaal returns to Melbourne's southeast for its fourth year. Hosted by the City of Stonnington over 11 chilly nights, this after-dark arts fest celebrates the best that local creatives have to offer, with everything from comedy acts to dazzling light projections to tempt you out into the cold. With a solid progra m of free and ticketed events stretching from Windsor to Malvern, figuring out an itinerary is no easy feat. Following on from Fitzroy's Gertrude Street Projection Festival and Footscray's West Projections, Glow will employ lights, projection art and lots of neon to bring the area to life once the sun goes down. Malvern East's Central Park oval will become Alice's Garden with surreal larger-than-life flowers, mushrooms and rainbows, while Greville Street will be lit up from 6pm each night. Punters will have plenty to discover on a little wander, with guerrilla opera taking over Greville on August 19 and Helpman Award-nominated theatre If These Walls Could Talk..? showing over at Chapel Off Chapel for two nights. For the complete Glow Winter Arts Festival program, go here. Images: Phoebe Dunn.
For the second instalment of the annual Small Works group exhibition, more than 60 local and international artists have come together to present their best works under 25cm². Held at Brunswick's BeinArt Gallery, Small Works 2017 showcases art from numerous much-loved and established artists, as well as relative newcomers to the art world. From oil paintings to acrylic, embroidery works and illustrations, Small Works 2017 has brought together a rich and diverse range of artists. Highlights include Miles Johnstone's distorted pencil drawings, Johnson Tsang's Class Series of porcelain babies, and "sculptural oddities" by Mahlimae. The exhibition is open now and runs until Sunday August 20 at BeinArt Gallery and provides the perfect opportunity to pick up some fantastic pint-sized artworks for your collection.
"Goodbye Christopher Robin," announces the title of this treacly biopic. Goodbye subtlety and and emotional nuance, too. A true tale about Winnie-the-Pooh author AA Milne, his son, and the loveable bear that made them both famous, this is a movie that doesn't trust its audience to laugh or cry without being told when and how much. Eeyore's constant moping and Tigger's bouncy zest seem almost restrained in comparison. The handsomely staged effort sets its sights on a shell-shocked Milne (Domhnall Gleeson) in the wake of the First World War. He's rattled by London life following his experiences on the battlefield, much to the dismay of his socialite wife Daphne (Margot Robbie). A move to the country doesn't seem to help matters either — or at least it doesn't until a stint in the surrounding forest without Daphne or live-in nanny Olive (Kelly Macdonald), when the writer and his eight-year-old son Christopher Robin (Will Tilston) imagine a whole new world with the help of some stuffed toys. If it worked for Peter Pan and Mary Poppins, then it can work for Winnie-the-Pooh. Or at least, that's what director Simon Curtis (Woman in Gold) appears to think. Indeed, as Finding Neverland and Saving Mr. Banks did before it, Goodbye Christopher Robin presents itself as a behind-the-scenes origin story, but soon proves more interested in riding an easy wave of affection. Given that everyone's favourite fictional bear is involved, there's ample love flowing, of course. Alas, though the movie's approach is well-intentioned, the end result remains noticeably heavy-handed. An overwrought score, uninspired cinematography and pacing that pauses for impact every time something notable happens are just a few of the film's particularly grating elements — although arguably the biggest problem is the mismatch between the script and the way it's been executed. Screenwriters Frank Cottrell-Boyce (The Railway Man) and Simon Vaughan aren't afraid to take the narrative to darker corners, touching on the trauma of war, the difficulties of marriage and motherhood, the struggle of having your childhood suddenly opened to the public, and the distance that can grow between a father and a son. Sadly, Curtis would rather skip nostalgically past the bleaker material, or wring it to inspire easy waterworks. Filmmakers underestimating their viewers isn't new. Nor is spoon-feeding plot developments and signposting sentiment, pairing a cute kid with a grumpy adult, or leaning on pop culture commodities. Goodbye Christopher Robin is guilty of all of the above — but, more than that, it's guilty of squandering its potential. As the great performances from young Tilston and the suitably conflicted Gleeson both show, there's plenty of emotion and drama to be found in the Milnes' story without smothering it in honey. As Winnie himself would say: "oh bother." https://www.youtube.com/watch?v=jb6gC-G2-6c
