Stieg Persson is an Australian contemporary artist who has been exhibiting since the early '80s and who, most recently, had work in the celebrated Melbourne Now exhibition at the NGV. Born and raised in Melbourne, Persson has contributed to many local group exhibitions and is a regular exhibitor at the Anna Schwartz Gallery. His work is recognised for its abstraction, realism, romanticism and decorative complexities. Often they critique contemporary society and the contradictions of middle-class rebellion, in a playful and effervescent manner. This exhibition features canvases of abstract graffiti-like lines and curling patterns, resulting in almost floral images.
In Fred Schepisi's new rom-com, the unimaginatively titled Words and Pictures, two antagonistic high school teachers argue the merits of images versus prose. It's a flimsy and vaguely pretentious premise for a movie, but one that, at the very least, feels well-suited to the medium. After all, what is cinema if not the marriage of sight and sound? The unfortunate irony of Schepisi's film is that it fails to make a very good case for either. Clive Owen plays Jack Marcus, an English teacher at the expensive Croydon Academy. A burnt-out poet with a puffed-up ego and a drinking problem, Marcus openly bemoans the ability of his students, despite it having been years since he wrote anything of significance himself. A few of Marcus's colleagues find his attempts at roughish charm amusing. The rest treat him with barely concealed contempt. One faculty member well and truly in the latter category is Juliette Binoche's art instructor, the icy Dina Delsanto. Like Marcus, she was once an in-demand artist, although rather than a pen, her tools were paint and canvas. But rheumatoid arthritis has stripped her of her dexterity and forced her to take up teaching. The pair could hardly be more different. So naturally, they're destined to fall in love. The catalyst for their romantic conflagration is a remark made by a student, that pictures are more powerful than words. Delsanto, being an art teacher, agrees, prompting Marcus to strike back in his own class. Soon the debate embroils the entire school — because after all, nothing gets young minds firing than the surly sexual tension between their professors. It's difficult to think of a supposed romantic comedy with two less sympathetic protagonists. That being said, Marcus is so actively unlikable that the humourless Delsanto seems positively charming by comparison. Rejoinders that are meant to be witty instead play as painfully smug, while his smarmy attempts at wooing cross well into the realm of harassment. As a teacher he's even more unbearable, dropping truth bombs on his students by explaining that haikus are, like, the original tweets. Say whaaaaaat? Schepisi's direction is uncharacteristically flat, the director putting up as poor a case for pictures as screenwriter Gerald Di Pego does for words. At least the contest is even that way, although frankly both mediums deserve better. For that matter, so do we. https://youtube.com/watch?v=1JX6NScig7M
The story behind Melbourne folk foursome Husky's new song, 'I'm Not Coming Back', sounds pretty damn cute. It's something to do with looking up at the stars in the night sky, seeing the lights of airplanes gliding under them and the universal need to leave parts of ourselves behind. Swoon. This whimsically starry-eyed vision fits perfectly with the soaring sounds of the track itself. But contrary to the song's title, Husky are indeed coming back — kicking off their first headline tour since 2012 at Northcote Social Club on July 18. The folk-fuelled whiz kids stole hearts back in 2011 with their debut LP Forever So. Husky became the first Aussie band to be signed to Seattle label and arbiters of cool Sub Pop, then toured pretty much non-stop around Australia, the USA and Europe for a couple of years. It's a good thing they stopped and took a break, because now we're privvy to a whole lot of new Husky — as well as promising to play much-loved tracks from Forever So, they've been working on a whole lot of new folky goodness to tour with.
Four shows. Four sites. Four weeks. Coming to a location near you, the Site is Set mini-fest is bringing some brand spanking new visual and immersive performance shows to Melbourne that will have you gearing up to choose your own mini adventure. First up is Exposition by Lara Thoms and Jason Maling. Throughout the year Jason and Lara have visited Melbourne's best expos so you don't have to. In one glorious location, they bring everything you may have missed, creating a niche expo... of expos. Join them and guests from the cosplay community, the tattoo world or perhaps if you're feeling particularly colourful, the untapped world of scrumble in their exclusive study of these wonderfully diverse events. Bron Batten approached a hypnotist to help her write her new show. They agreed. This is the result. Use Your Illusion blurs the line between truth, performance and lies as audience members as well as Batten herself are placed under hypnosis. Is this a brilliant study of the human psyche? Is Batten just using tricks to reel in her audiences? Is it both? Astrojet is an after dark experience exploring Melbourne's forgotten and short-lived museum, The Astrojet Space Centre. Artist Zoe Meagher takes audiences on a tour of the building, incorporating multimedia, performance art and a 'disco-infused' soundtrack. With bonus bus tour, Astrojet is sure to set your senses a-tingling and your brain a-thinking. If you're a dog person, then My Best Friend is for you. But be warned; this can and will get emotional. Following the death of his family dog, Malcolm Whittaker was inspired to honour the memory of dogs past. By retracing their walking rituals, Whittaker will unravel stories of Melbourne's dearly loved best friends. Running from August 17 until September 7, Site is Set mini festival is an inherently Melbourne experience — one you should immerse yourself in, if you're game.
Omar Rodriguez Lopez is a man of many talents. He first made his musical mark in the early ‘90s as a guitarist in prolific post-hardcore band At The Drive In, followed by his work as guitarist and producer for the Grammy Award-winning progressive psych-rock ensemble The Mars Volta in the early naughties. Ten years on, Omar has established himself as a solo artist, as well as successful label manager, actor, producer and film director, having received cinematic acclaim for his first feature-length film “The Sentimental Engine Slayer” which appeared in film festivals the world over. Now, Omar Rodriguez Lopez is bringing his group to all major Australian cities, as well as co-headlining the Cherry Rock Festival in Melbourne. Be sure to take the rare opportunity to see such a well-established and multi-talented musical force in person.
It’s no secret which part of the world Bethany Consentino is talking about when she sings “We were born with the sun in our teeth and in our hair” and questions how you could possibly live anywhere else. But it is testament to her charm that even those whose Instagram feeds consist almost solely of Aussie beach pics are willing to listen to her latest 45-minute love letter to California without harbouring any feelings of resentment. Or maybe it’s just that it’s easy to graft pretty much any of Consentino’s sentiments on to our own. Her lyrics about boys and heartbreak and nostalgia seem appropriate whether you’re feeling a little emo or just a little bored. And even though most of the fuzzy reverberation and endearing sloppiness bleeding through Best Coast’s debut has been removed, The Only Place is still homey rather than slick. Supported by our own Pear Shape and Queensland’s Dune Rats, their Melbourne show will be a melting pot of blissed-out benevolent vibes.
Girls is a phenomenon. Everyone has an opinion one way or the other, whether you regard it as a groundbreakingly honest show with unprecedentedly strong female characters, or think it's overhyped trash that has a lot of problems. ACMI is hosting 'It' Girls as a panel discussion with some of Melbourne's hipster-iest cultural commentators to discuss the wildly divergent views of the show. With wits like Clementine Ford and Byron Bache on board, alongside talented writers/editors Sam Cooney and Michaela McGuire, the conversation is sure to be heated and insightful. Mediated by indy radio stalwart Jess McGuire and with musical interludes by the enchanting Kikuyu, this little microcosmic slice of Melbourne-meets-New York look to be an engaging and entertaining evening. Update: It Girls is now sold out.
Low-carbon and low-key, Home Art is a City of Melbourne initiative attempting to bring together members of the local community to be creative in the name of environmentalism. Locals will be involved in the creation of a piece of performance art, and then perform it in their homes. You can witness these artworks as part of an hour-long tour, which will be dramatically narrated by a 'local personality'. While one may or may not be skeptical about the quality of the art, this event has the possibility to bring excitement, creativity and meaning into the lives of many. If you live in North Melbourne, this is an opportunity for you to connect to your community. If you are into the environment, support this program which aims to be artistic without being wasteful. If you believe in publicly funded and developed art, this is the event for you. The Low-carbon art tours on December 1-2 are sold out, but screenings of the performances will take place in Federation Square December 15-17. Still from Geetha Raju and Aditi Chetty's 2011 performance.
Angus Stone is embarking on a solo tour to promote his new album, Broken Brights. Known mostly for his work with sister Julia in the award winning folk-pop duo, Angus and Julia Stone, Angus is breaking away on his own with a mammoth tour that will see him performing not only in Australia, but also Europe and North America. Broken Brights has been earning favourable criticism all over the world, with Mojo Magazine giving it 4 stars and Triple J naming it ‘album of the week'. This solo effort is doing well even before its release on November 6. Stone describes the album and "a whole different trip” to his previous efforts, with reports saying that the album ‘deftly shifts between genres without compromising’ and is as ‘steady as a heartbeat’. If those quotes piqued your interest, check out the album and Angus when he performs at the Palace Theatre.
Woody Allen in recent years has moved away from his relationship with New York. It's not that the two have broken up, he's just found a more mature mistress in the bosom of Europe. With the likes of Vicky Cristina Barcelona, Midnight in Paris and, now, To Rome With Love, Allen has started a new love affair in Europe - but it's truly a fine romance. Phyllis (Judy Davis) and Jerry (Woody Allen) are heading to Rome to meet their daughter Hayley (Alison Pill)'s new fiance Michelangelo (Flavio Parenti). While there, the retired opera director Jerry discovers Michelangelo's father is an undiscovered operatic talent. Meanwhile John (Alec Baldwin) is reliving his youthful love affair through the eyes of Jack (Jesse Eisenberg) and Monica (Ellen Page), while Anna (Penelope Cruz) is a prostitute in a mix-up playing the wife of a timid young newlywed Antonio (Alessandro Tiberi) who's trying to impress his wealthy relatives. It sometimes feels like a chaotic film, however the comedy keeps the pace, so while each story ramps up to a climax, they all feel like they're running the same marathon. Allen's scriptwriting wit isn't what it used to be, and he is certainly starting to show his age. But if for nothing more than to fall in love yourself with the eternal city of Rome, this is a sweet comedy for a Saturday night.
Fans of Mumford & Sons need sigh no more; the folk darlings are bringing their banjos and heartbreaking harmonies to Melbourne as part of their Australian Stopover Tour. The city is one of 10 stops on a tour which sees the gentlemen visit metro and regional venues across the country. Mumford & Sons, who gave us the #1 hit 'Little Lion Man' back in 2009, are a band whose music is orchestrated for live shows. Their latest offering Babel is even more adrenaline-filled than their debut, which is an exciting prospect for punters who have experienced Mumford shows themselves or are yet to. Supporting the lads will be North American singer/songwriter Willy Mason as well as equally as uplifting uber group, Edward Sharpe & the Magnetic Zeros.
If you thought home grown talent Hungry Kids of Hungary had fallen off the radar in the past couple of years, you could be forgiven. In fact, the boys have been busy recording their second album and jet-setting across the world playing to international audiences. Their second album, You're a Shadow, is due for release in March 2013 and has fans of the band's catchy indie pop tunes waiting with baited breath. Catch them at the Northcote Social Club as they embark on their national tour. The Brissie boys are playing in smaller venues this time around, so head along for what will be a special, intimate show. The foursome will be playing a mix of old favourites such as 'Set it Right' and new tracks including 'Sharp Shooter'. These guys are old hands in the music scene, so you are guaranteed a night of infectious and perfectly polished tunes.
Oh Mercy are back with their new album and a string of shows as part of the 'Deep Heat' tour. Fresh from their successful North American tour, as well as a recording stint in the States, the band is celebrating their third and most colourful offering. This time they are stretching their musical legs, delving into heavier grooves with reggae influences, still maintaining the wholly pop-rock sound they have garnered a strong following from in previous albums. Their latest single ‘Drums’ is a bass-driven, dance-worthy track that showcases the best of frontman Alexander Gow’s vocals. Supported by Brisbanites Millions and alt-rockers from Perth, Split Seconds, the trio of talented bands are a treat in the flesh.
Stephen Malkmus and The Jicks have been playing for over a decade and have perfected their unique sound, which drips with catchy melodies and bursts with intricate guitar riffs. With five successful albums up their sleeves, it's safe to say that they are onto a good thing. The band formed in the hiatus of indie rock royalty, Pavement, and is fronted by Stephen Malkmus, who was the main singer and songwriter of the successful '90's band. NME has called Malkmus a “blessing from the indie gods”, so you know you'll be in for a treat on Tuesday and Wednesday nights as they grace the stage at The Corner Hotel.
Released in 1945 and directed by David Lean, the film Brief Encounter was adapted from Noel Coward's one-act play, Still Life. It tells the story of Laura and Alec, who fall in love after a chance meeting at a train station but, both trapped in bland yet affectionate marriages, are never able to fulfil their mutual passion. The Guardian's 2010 critics' poll selected Brief Encounter as the best romance movie of all time. In 2008, dynamic UK theatre company Kneehigh (whose Red Shoes was a memorable part of the 2011 Sydney Festival) decided to return the tale to the stage with an epic production combining drama, film, live music and vaudeville. After a successful nine-month run at London's Haymarket Cinema, it toured the UK before jumping the Atlantic to play several seasons in the US. Now, it's on its way to Australia, playing Melbourne, Perth, Wollongong and Sydney. https://youtube.com/watch?v=GW6WDC4E2fY
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.
On February 24, 2010, Florida SeaWorld employee Dawn Brancheau drowned after being pulled underwater by the park's star attraction, a five-and-a-half tonne orca named Tilikum. Her death was the third in 20 years to involve the massive killer whale, who has spent most of his life in captivity. Troubled by reports of the marine park's unethical treatment of its animals and spurred on by conflicting stories about how Brancheau's tragic death occurred, documentary filmmaker Gabriela Cowperthwaite decided to investigate further. The result is Blackfish, a troubling if not particularly revelatory doco about the dangers of keeping predators in captivity. It's obvious that Blackfish is pushing an agenda, albeit one that most viewers will probably agree with. Convinced that SeaWorld's treatment of animals like Tilikum is morally wrong and may have played a key role in the death of Brancheau and others, Cowperthwaite's primary aim is to appal and incite outrage. Her interview subjects consist of marine biologists, animal activists and disillusioned former SeaWorld workers. Through the testimony of the latter in particular, Blackfish paints a damning portrait of physically and emotionally neglected animals along with subpar safety conditions for their trainers. Despite this, the trainers maintain they felt connected to their animals, like a parent does to a child. Footage of Brancheau at work — focused, professional but full of energy and laughter — is Cowperthwaite's emotional trump card. In contrast, the marine park chain is depicted as a faceless corporate entity, whose primary concerns seem to be dodging culpability and maximising profit (an end credits title card pointedly informs viewers that SeaWorld representatives refused to appear on camera). At the same time, Cowperthwaite never really breaks with documentary convention. Most of her major talking points, from the intelligent and social nature of marine mammals to the shady practices of the animals-in-captivity industry, have already been covered in earlier exposes, like Louie Psihoyos's shocking, emotionally devastating Oscar winner The Cove, to which Blackfish can't quite compare. Still, there's no denying the director's noble intentions, or the fact that her film is effective. While viewers may not be presented with much information that they didn't already know (or at least, assume to be true), there's certainly no harm in being reminded. Sickening footage of trainers barely escaping with their lives begs the question: when will the next fatality occur? If Blackfish causes even a few members of the public to reconsider where they go on holiday, then the project will have been a success. https://youtube.com/watch?v=G93beiYiE74
You've probably never seen anything like White Rabbit, Red Rabbit. Guess what? Neither have the actors. In this one-of-a-kind theatrical experiment, each night a different performer takes the stage having never seen the script, their only instruction beforehand to prepare an impression of an ostrich. Described by critics as everything from humorous to terrifying, it is the work of Iranian writer Nassim Soleimanpour. For years unable to leave his country — Soleimanpour was denied a passport for refusing national service — he created a play that needed no direction beyond what he could include in the script. The play has travelled the world and hopped languages since he wrote it in 2010. Soleimanpour himself only finally got to see it performed earlier this year. Now it's come to the Malthouse and an eclectic range of local performers — including actors, comedians and TV personalities — will take the plunge. It promises to be a journey deep down the proverbial rabbit hole.
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.)
All art is arguably an exploration of the artist’s ego, but performance artist Nicola Gunn seems determined to take this to a new level with her Melbourne Festival show, In Spite of Myself. It is framed as a show within an exhibition. The exhibition is a fictional retrospective about Gunn herself, entitled Exercises in Hopelessness: Nicola Gunn (1979 – present). The audience are free to peruse it as if at a gallery for an hour or so before the performance begins, setting the stage for a surreal self-referential parody of the arts world. Gunn, a veteran of the festival circuit, won a Best Experimental Performance Award at the 2012 Melbourne Fringe Festival for Hello my name is…, a show which left a slew of reviewers saying they couldn’t really describe what it was other than amazing. Featuring video art, live performance, a parody lecture and accompanied by an arts forum picnic on October 12, In Spite of Myself looks set to garner a similar response.
In a terrifying trailer for The Shadow King, Tom E. Lewis is hunted like an animal by a four-wheel-drive; its spotlights piercing the night. Just as the trailer draws upon the imagery of classic Australian cinema, this massive undertaking from Lewis and director Michael Kantor translates the story of Shakespeare’s King Lear into a theatrical retelling of Indigenous experience. A brief documentary on the background and process for the project sees Kantor outline how the framework of Shakespeare’s tragedy has shifted in their adaptation. “For millennia people have lived and existed with the land and on the land without claiming to own the land,” he says. “This story is about a man who believes he can own land, and therefore divides it, and give it to his three daughters.” The work will be performed in a combination of English, Kriol, and the performers’ own languages. “We’re taking Shakespeare’s story; not his words,” Kantor says. The ambition of the play and the scale of the production itself — with a large cast of Indigenous performers, as well as musician Bart Willoughby (Yothu Yindi) — makes this a difficult piece to overlook in the Melbourne Festival and beyond; it’s also set for seasons in Perth, Sydney, Adelaide and Brisbane.
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.
Few films in recent memory better capture the heartbreak of loss, the agony of indecision or the burden of familial duty than Rama Burshtein’s Fill the Void. A favourite on this year's international festival circuit, including the just now concluded Jewish International Film Festival here in Australia, the picture explores life in Israel’s most conservative religious sect, and one young woman’s choice between independence and obligation. Fill the Void is set within the confines of the ultra-Orthodox Haredi community of which Burshstein herself is a member. The story concerns the Mendelman’s, a well-off family from Tel Aviv splintered by despair after eldest daughter Esther dies in childbirth. Their grief is compounded when Esther’s devastated widower Yochay (played by Yiftach Klein) declares his intention to remarry abroad, taking the newborn baby Mordechai with him. Believing that the loss of Esther’s child will be too much for the family to bear, Esther’s mother Rivka (Irit Sheleg) attempts to convince Yochay to stay and wed Esther’s 18-year-old sister Shira (Hadas Yaron) instead. If nothing else, Fill the Void is an intriguing, remarkably immersive look at an intensely private people who are rarely depicted on screen. Duty and religious decorum informs everything in this film, from the most incidental day-to-day practices to decisions of life-changing importance. The world the characters inhabit is also one of deep-seated patriarchy. Yet tellingly it is the film’s female characters, particularly young Shira, that exhibit the greatest internal strength. Just as the practices of the Haredi community may seem strange and outdated to outsiders, so too does Fill the Void feel like a movie from a different time. Not once are unmarried male and female actors permitted to make physical contact, as such immodest behaviour would not accord with religious law. Yet rather than diminish the film’s emotional power, this restriction works to enhance it. Without overt displays of affection, Burshstein and her cast are forced to rely on more subtle devices. In a moment where two actors in an American production might share a kiss, Klein and Yaron steal a glance. Where other films might contain effusive declarations of passion or anger, Fill the Void leaves feelings unspoken. Klein and Yaron are both phenomenally good, expressing everything with almost nothing. Burshstein’s cinematography is incredibly intimate, at times almost uncomfortably so. With soft lighting and blurred backgrounds, it often feels as though we’re viewing the film from under the soft, white mesh of a bridal veil; in the same room as Shira and Yochay, yet separate at the same time. We can empathise with their heartache and uncertainty, because such feelings are universal. But we will never fully appreciate the manner in which they experience them.
Rural Australia becomes a place of horror in Wake in Fright. John Grant, a young teacher on a bonded placement to the back of nowhere, is trying to return to Sydney for his holidays but finds himself stranded in a mining town where he becomes drawn into a nightmare spiral of boozing, gambling and competitive machismo that begins to erode his very sense of self. The savagely satirical 1961 novel by Kenneth Cook is perhaps best known for its film adaptation, which saw a revival in cinemas in recent years after its long-lost negatives were discovered. This stage version was produced by students at La Trobe University shortly after and, unlike John Grant, they got out of town in a big way. After playing at the Festival of Australian Student Theatre in 2010, they were invited to tour the show to Britain as part of the cultural program attending last year’s Olympics, an honour given to only a handful of non-British acts. Clearly they were doing something right. You can find out what when this repeat season of the show, featuring a mostly new cast, opens at La Mama. Just don't bet your tram fare home on a two-up game.
The show opens with a disclaimer: those who’ve come expecting The Philadelphia Story are going to be bitterly disappointed. Those who’ve come for a faithful re-telling of The Government Inspector might be a little disappointed too. But despite all the determined attempts to lower expectations, the show that follows is in no need of such qualifications. All this confusion stems from the fact that the Malthouse were originally set to perform The Philadelphia Story, but following an issue with rights, director Simon Stone and his cast instead turned to a new adaptation of Gogol’s classic. The original story is a biting satire on bureaucracy — a Parks and Recreation for 19th Century Russia — whose plot revolves around a low-level clerk mistaken for a high-ranking official. But in this adaptation, Stone and his cast choose to transplant the confusion of their own rehearsal room onto the stage. Each member of the ensemble (Fayssal Bazzi, Mitchell Butel, Gareth Davies, Robert Menzies, Zahra Newman, Eryn-Jean Norvill, and Greg Stone) plays an exaggerated version of themselves. Newman also appears as the theatre’s Hispanic cleaner after Zahra bails on the other actors, and when Davies chokes to death on some activated almonds he returns as the hapless actor Frank. Without giving away any spoilers, the way that the actors manage to confuse Frank with the famous Uzbeki director they’ve hired is exquisite; from this perfect moment of misunderstanding The Government Inspector descends into ever-more excruciating farce. The cast are in excellent form. While much of the comedy stems from the actors’ willingness to eviscerate their own egos, choices like Fayssal Bazzi’s more understated performance create a well-rounded dynamic by contrast. Davies is devastatingly funny as the poor schmuck Frank, never more pathetic than caught in a car crash of a conversation with his ex-girlfriend, reduced to drinking vodka from his "water bottle”. However, many of the jokes rely heavily on an audience’s knowledge of the Australian theatre scene — whether it’s jibes at Menzies’ identity as an “elderly character actor”, or Butell’s fanciful acceptance speech at the Helpmann Awards. It’s difficult to tell whether these are in-jokes which could exclude a broader audience from the show because the generosity of these self-deprecating performances allows a comedy of ego and misunderstanding to transcend the play’s more obscure references. Although the work is hugely entertaining, elements towards its end hint at something more complex. In its third act (again, without giving too much away), the play is performed as a musical, in the style of a grotesque operetta. Some of the funniest and most beautiful scenes arrive here, like the “torch song” performed by Butell and stand-out singer Newman. But as entertaining as this musical sequence is there was a point where it almost felt deliberately over-long. Without an unfair amount of guessing at Stone’s motivations, the length of and commitment to this musical sequence came across like a comment on his own notoriety for adaptations that valorise entertainment at the expense of fidelity to an original text. Coming from someone who’s expressed his frustration with theatre that doesn’t live up to the possibilities of the form it’s difficult to overlook intentional irony in this dumb, fun, final section. But the beauty of this Government Inspector is that it defies and welcomes this kind of cerebral engagement, balancing its in-jokes with a comedy of sheer humanity, and making for deeply satisfying farce. For more background on the production, read our interview with actor Gareth Davies.
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
With his 2002 debut Funny Ha Ha, Andrew Bujalski inadvertently gave birth to the mumblecore movement, a loose American subgenre of cheaply made indie films with a focus on naturalistic dialogue. Now his latest film, Computer Chess, might be the mumbliest of them all. Set in the early 1980s and filmed using only the most rudimentary video equipment that would have been available at the time, this fascinatingly esoteric, ultra-niche comedy feels almost like a response to the mainstream success of folks like Lynn Shelton (Your Sister's Sister) and Lena Dunham (Girls), contemporaries of Bujalski who’ve used their hipster-auteur cred to secure projects of greater gloss and star-power. One thing’s for sure: there’s nothing glossy about Computer Chess. Shot in black and white, using old analogue video cameras that haven’t been manufactured in decades, cinematographer Matthias Grunsky achieves an aesthetic of low-tech glitch and grain. It’s a look that meshes perfectly with Bujalski’s screenplay, in which competing teams of polyester-clad programmers descend on a cheap hotel to pit chess-playing computer software against each other. Indebted to the mockumentaries of Christopher Guest (This Is Spinal Tap, Best in Show), awkward exchanges and low-key absurdity are Bujalski’s comedic tools of choice. The stakes of the tournament are impossibly low, something that’s made all the more funny by how seriously the proto tech-geeks take it. In their off time, characters flirt clumsily with the comp’s sole female entrant, before retreating to their rooms to argue about the future of computing. One of many surreal subplots sees a contestant left without a place to sleep, his nocturnal odyssey eventually comes to a head after encountering the group of new-age self-helpers with whom the contest is sharing their event space. But beneath this cringe-inducing humour exists a sad and bitter heart. The ubiquity of computers nowadays has seen the geeks inherit the earth. But for the characters in Computer Chess, that is still the distant future. Outcasts, introverts and weird egomaniacs, these are men born before their time, with no way to assert their masculinity. No way, save for lines of computer code and those 64 black and white squares. As much as it is comedy, Computer Chess is also a treatise on isolation, social hierarchy and the crippling male fear of inadequacy. In a scene that exemplifies the movie as a whole, a virginal junior competitor is propositioned by a middle-aged couple. It’s hilarious, uncomfortable and tragic all at once.
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.
The Butler tells the story of Cecil Gaines (Forest Whitaker), an African American man who grew up on the cotton fields of the South only to then serve for decades as a butler in the White House. His tenure lasted from the administrations of Eisenhower all the way through to Reagan, and through his eyes director Lee Daniels shows us the intimate, unseen moments behind some of America's most turbulent periods. From Jackie Kennedy sitting alone, blood-soaked and weeping, to Richard Nixon foraging for snacks in the kitchen, Gaines dutifully tended to their needs — at once indispensable and yet imperceptible so as to not even seem present in the room. While presidents came and went, however, the issue of race relations remained ever-present and increasingly divisive in the United States, and it is that which forms the focus of Daniels' film. This subject is explored not just through Gaines' story as butler to those most possessed of the power to effect change but through his son, Louis (David Oyelowo), who became a passionate black rights activist, travelling on the Freedom Bus, working alongside Martin Luther King and even becoming a Black Panther. This use of concurrent plot lines occasionally hits home, most notably when a lavish state dinner at the White House is intercut with the infamous Woolworth's diner sit in, during which black customers were bashed and abused for ignoring segregated seating. More often, though, the White House scenes feel like they're from an entirely different movie; a cavalcade of celebrity impersonations ranging from the impressive (Alan Rickman as Reagan) to the outright bizarre (John Cusack as Nixon). Given the poignancy (if also Forrest Gump-esque convenience) of the son's civil rights vignette, it's tough not to feel The Butler would've been better served by excluding the presidents entirely, perhaps save for the occasional use of archival footage. Gaines is based on the former White House butler Eugene Allen, and in bringing him to life, Whitaker turns in arguably the performance of his career. He masterfully demonstrates the 'two faces' worn by African Americans during the decades of racial tension: one that's real, vulnerable and angry, the other that's designed to calm white people and keep them from feeling threatened. Oprah Winfrey also puts in a powerful performance as Gaines' wife — her first film role in 15 years since Beloved. Theirs is a marriage no less turbulent than the world around it, but its foundation is sound and their tenderness is genuinely moving through both the highs and the lows. Around them, the supporting cast is enormous, including Robin Williams, James Marsden, Cuba Gooding Jr, Lenny Kravitz, Liev Schreiber, Jane Fonda, Vanessa Redgrave and Terrence Howard. The Butler may at times stray into sanctimonious territory, even veering towards parody, but its honest depiction of some of America's darkest days and the performances by its leads make it more than worthwhile, delivering an ambitious, powerful and emotional two hours of cinema. https://youtube.com/watch?v=DUA7rr0bOcc
"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.
Devised in residence at The Australian Tapestry Workshop, Yarn is an evocative, site-specific piece of theatre that combines physical performance with poetic language. The work was created by Lily Fish (Inside A Mime's Compact, Alone, Isobel and Installation A), a member of the award-winning Fringe favourites The Dig Collective, who tease apart the mythology of the past to ground old stories in the here and now. Read the rest of our top ten picks of the Melbourne Fringe Festival here.
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.
UPDATE, August 26, 2020: Bumblebee is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube Movies and iTunes. According to journalist and author Christopher Booker, there are seven basic story archetypes. According to the writers of the Michael Bay Transformers movies, there are none. Thank goodness, then, for screenwriter Christina Hodson, whose new film Bumblebee manages to be both a Transformers spinoff and a coherent story at the same time. This is, put simply, a franchise reborn. Rebooted. Resurrected. It dispenses with all the bombast of the Bay cacophony machine – the inexplicable explosions, one-dimensional characters and hyper-sexualised teenagers – in favour of a small scale story about a teen girl and her first car. Yes, a girl, and instead of miniature ripped shorts and extreme push-up bras, this one's prone to wearing grubby overalls, Smiths tour t-shirts and a spanner in her back pocket. Even better, her characterisation doesn't feel contrived: her late father was a grease monkey and fixing cars was their special father/daughter thing. Now that he's gone, it's all she has left. Played by Hailee Steinfeld, Charlie is an instantly appealing lead to get behind. She loves her family but feels detached and alone because of her reluctance to move on and accept the new man in her mother's life. She's independent, but not wealthy enough to forge a new life for herself. She's pretty, but not in the 'rich girl' way like the cruel queen bee from across town who torments her at every opportunity. When Charlie eventually finds Bumblebee, an injured alien robot hiding on earth disguised as an old yellow VW beetle, the instant bond they form is as touching as it is (strangely) believable. Together they will help each other find what they're looking for, with their bond far more integral to the story than the intergalatic robot war that provides the film its backdrop. Does that mean Transformers fans will feel shortchanged? Absolutely not. The opposite, in fact, because everything about Bumblebee treats its mechanical stars with the love and respect of someone who grew up watching the cartoons in the 80s (the film itself is set in 1987). The robot design and colour palette is admirably faithful to the source material, the voice work is spot on, and *that* sound effect (aka the transformation garble) is used with gleeful abandon. Even better, the action is entirely comprehensible, even at its most frenetic. Take nothing away from the Bay-era special effects – they were utterly groundbreaking. But there was just so much of it going on at all times that keeping track of who was fighting what became an exercise in nausea. In Bumblebee it's rare to see more than two transformers on screen at any one time, and the agile direction by Travis Knight allows you to enjoy every punch, blast and transformation. In the scenes involving the other human characters, principally John Cena's robot-hunting soldier Agent Burns, the story does tend to lose its momentum, flicking between goofy comedy and comic-book villainy without ever properly nailing either. Thankfully, though, the focus remains squarely on Charlie and 'Bee' for the majority of Bumblebee, and it's a better film for it. A delight in its own right, Bumblebee is also the perfect pivot point for a welcome franchise reset. On that front, the future looks bright. https://www.youtube.com/watch?v=lcwmDAYt22k
After spooking participants in Queen Victoria Market in July, the unnerving Séance installation is returning to Melbourne. The big, white container — with dark curtains and black letters splashed across its side — is popping up at the Market for one last (terrifying) hurrah this January. If you're not familiar with the installation, and didn't have the chance to visit early this year, a word of warning: its aim is to mess with your senses. Participants take a seat inside the tiny space, put on a headset and are told to place both hands on the table. The lights go out leaving the container in absolute darkness and, for 15 uneasy minutes, participants are taken on an immersive journey led only by touch and sounds. Expect to feel confused, repulsed and struck with temporary claustrophobia. According to organisers, numerous participants bailed halfway through sittings during the recent Melbourne sessions. You're probably thinking that there's something dark or supernatural about the whole thing — and going by the name, we don't blame you. But the installation's organiser assures us that 'séance' is simply a French word meaning 'session' or 'sitting'. Did we mention that the velvet seats date back to 1913 and were pulled from an abandoned theatre? And so Séance is a sensory experience that looks at the psychology of both sensory deprivation and the dynamics of a group sitting together. It's a scary indicator of how easy it is for confusion, disorientation and information overload to affect our judgment. Artists David Rosenberg and Glen Neath of Darkfield (who have collaborated in other sensory deprivation projects before) are the creative masterminds behind the project, which has been described as 'disorienting' and 'deeply unsettling'. We're serious when we say it's not recommended for the claustrophobic, the easily frightened or those afraid of the dark. Séance will be held on Wednesday, Friday and Saturday nights between 6–8pm.
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
