Two Fat Indians in Berwick takes its name from the two brothers who founded it, Kush and Michael, and is a cheeky homage to their insatiable appetites. Having grown up in the kitchen with their father, chef Ajit Singh, teaching them, the two brothers learnt not just how to cook, but how to love cooking. Since 2006 they've been serving up a delicious array of traditional Indian food in an environment where the diner is encouraged to sit back, relax and go with the flow. With a casual yet elegant dining room, the atmosphere is the perfect place to eat, drink and be happy. The menu offers up a traditional banquet for groups, featuring classics such as butter chicken, lamb rogan josh and butter naan, with tea, coffee or port to accompany. Then the a la carte menu gets more experimental. Get around dishes such as sour lime chicken with mango chutney, or goat curry served on the bone. For vegetarians there is a butter kofta, a mixed vegetable korma and a chickpea curry in an onion based sauce. The desserts are laid back and fun, like the venue itself, with our pick being the drunken dumpling drowned in Kahlua. The drinks menu is as extensive as the food, which shows the vibe it's trying to create. The reds range from Pepperjack shiraz by the glass, to Wolf Blass Grey Label Shiraz by the bottle. There are whites from all over Australia, with the Henschke chardonnay standing out. All up, Two Fat Indians is exactly what the name suggests — a fun, laidback, cheeky restaurant run by chefs who are deadly serious about their food. And their wine, too.
If you’re a little dance shy, want to polish your moves or you're just curious about the whole Beyonce dance trend, the Bey Dance Street Party is the perfect setting to dip a toe. The party, which runs from 3-4pm, will be a combination of performances and a simple workshop for beginners to get an idea of the Bey Dance philosophy. The dance fest is part of the Sydney Road Street Party which will take over the Brunswick strip on Sunday, March 6. There’s a million things to see and do, so plan your day accordingly. Bey Dance have staked out the Victoria Street stage for the workshop, and it’s completely free. Don your finest Beyonce-inspired hotpants and show all of Brunswick what you’ve got. Remember though that Sydney Road will be closed off to traffic, so tram, walk or cycle instead. Image: @1naomi2
UPDATE, December 20, 2021: Happiest Season is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube Movies and iTunes. Heading home for the holidays and stepping into a sea of interpersonal dramas is a familiar on-screen set-up, as a new movie every Christmas or so reminds us. By now, then, we all know the formula. Adult children make the pilgrimage to their parents' place, rivalries and animosities flare up, secrets are spilled, chaos ensues and, by the end of the film's running time, everyone has learned something. Happiest Season fits the template perfectly. With the merriest time of the year in full swing, the Caldwells converge on the Pennsylvanian family home, with their celebrations given an extra edge due to patriarch Ted's (Victor Garber, Dark Waters) mayoral campaign. His fastidious wife Tipper (Mary Steenburgen, The Book Club) insists on snapping every moment for his Instagram feed, all as stern eldest daughter Sloane (Alison Brie, GLOW) arrives with her husband (Burl Moseley, Crazy Ex-Girlfriend), two children (Asiyih and Anis N'Dobe) and plenty of unspoken tension in tow; zany middle sister and aspiring fantasy writer Jane (Mary Holland, Between Two Ferns: The Movie) is largely ignored; and Pittsburgh-based political journalist Harper (Mackenzie Davis, Irresistible) returns with the girlfriend, Abby (Kristen Stewart, Charlie's Angels), that none of her relatives know about because she hasn't come out to them yet. If someone other than The Faculty, Girl, Interrupted, Veep and The Handmaid's Tale actor-turned-filmmaker Clea DuVall had made Happiest Season, the above paragraph would accurately reflect the feature's character hierarchy — because Sloane would take centre stage, and Harper and Abby would hover around the narrative's edges. But DuVall did make Happiest Season and, with co-writer Holland, she flips the movie's focus, even while still sticking with a well-worn general premise. Accordingly, this festive flick resembles a comfy sweater that often gets a wear, but seems welcomely different on this particular occasion. As Aussie queer teen rom-com Ellie and Abbie (and Ellie's Dead Aunt) also demonstrated this year, it shouldn't be so subversive to take an overused genre that's heavy on recognisable tropes, then strip away the engrained heteronormativity. But it is, in both high school-set romances and movies about meeting your partner's parents over eggnog. After filling the credits with details of the formative stages of Harper and Abby's relationship, the feature introduces them properly as they're touring local Christmas lights. The towering Harper is giddier than one might expect of someone of her age, but the calmer Abby isn't fussed about the season after losing her parents when she was a teenager. When the former asks the latter to come home with her for Christmas, though, Abby gets excited. She wants to pop the question anyway, and figures there's no time or place better to make the festive-loving Harper her fiancée — although her best friend John (Dan Levy, Schitt's Creek) points out that asking Harper's dad's permission beforehand is hardly a progressive step. It isn't until Happiest Season's central couple has almost reached the Caldwells' that Abby discovers Harper's subterfuge. Not only do Ted, Tipper and company not know that Harper is gay and in a relationship, but Abby is asked to pretend she's straight as well (yes, one gag literally places her in a closet, because of course that happens). In the broad strokes, the movie doesn't serve up any surprises. But like moving its focus to Harper and Abby, this Christmas rom-com is all about the details. Amid the sibling struggles, the re-emergence of old flames both male (Jake McDorman, What We Do in the Shadows) and female (Aubrey Plaza, Parks and Recreation), and the always-hectic whirlwind that surrounds every seasonal family affair — and every attempt to run for political office, too — Happiest Season explores two crucial themes in a meaningful way. First, it unpacks the performative nature of human existence, where too often we're all trying to match other people's perceptions and expectations without consistently remaining true to ourselves. And, it also interrogates how coming out isn't a simple or straightforward act, even in seemingly loving circumstances. These are weighty ideas and, while Happiest Season is light and jovial overall, it doesn't sugarcoat its heavier moments. It doesn't devote all of its running time to them either, but DuVall and Holland's script finds a delicate balance — with the part played by Holland herself at first seeming to be the movie's most overtly exaggerated role for comedic effect, but eventually proving more thoughtful, for instance. It's easy to see how the screenwriting pair could've turned this into a different picture, with the initially tentative friendship that springs up between Abby and Plaza's Riley, and the commonalities they feel as women who've been pushed aside so Harper could maintain a lie, 100-percent begging for an entire movie of its own. But DuVall never forgets the task that she has clearly set herself: to make a queer meet-the-parents Christmas comedy. The film's warm-hued, Hallmark-style imagery never lets the audience overlook the fact that Happiest Season willingly sticks to a formula in order to update it, either. Also apparent is just how well Stewart and Davis anchor the movie's generic and more soulful elements alike. This shouldn't come as a surprise, with Stewart picking most of her post-Twilight roles astutely (see: Clouds of Sils Maria, Certain Women, Personal Shopper and Seberg), and Davis always a memorable addition to any cast. In their hands, their characters feel lived-in. So does Happiest Season's central relationship, especially as it navigates considerable ups and downs, including an ongoing series of questionable decisions by Harper. Steenburgen, Plaza, Levy, Brie, Garber — they're all reliably great, too, but it's likely this LGBTQIA+-friendly dose of merriment wouldn't have found the right mix of festive familiarity and emotional substance with other leads. https://www.youtube.com/watch?v=j_jjELPpKkk
In Swiss Army Man, Daniel Radcliffe plays a dead guy with a rather particular set of skills. Manny is prone to excessive bouts of flatulence, and uses his explosive gift to assist his only friend. After he washes up on a deserted island, he's just what Paul Dano's stranded and suicidal Hank needs to help him find his way back to civilisation. Manny also comes in handy in a host of other ways: his erections act as a compass, he spits fresh water out of his mouth, and he simply gives Hank some much-needed company. You may have already heard about the so-called farting corpse movie, particularly after it reportedly prompted mass walk-outs at this year's Sundance Film Festival (where it also won the Best Directing award). In truth, there's a lot more to Swiss Army Man than the emphasis on bodily functions would suggest. The feature filmmaking debut of Dan Kwan and Daniel Scheinert (known collectively as DANIELS), consider it the sweetest film you're likely to see about a deceased dude who looks like Harry Potter letting rip. Indeed, every burst of air expelled from Manny's buttocks provides a reminder of why everyone is so obsessed with the noisy but amusing phenomena. Put simply, to fart is to be human. Remembering what it is to be alive is just what Hank needs after much too long spent in isolation — and if it takes being forced to explain the ins and outs of love, family, masturbation and more to a cadaver whose chatter could simply be a figment of his imagination, then so be it. Sure, it's a rather absurd way for a film to address existential concerns, but hey, it works. As silly as it all appears, there's a careful balancing act at the heart of Swiss Army Man as it charts the unlikely duo's time together, including the stories Hank tells Manny about the girl (Mary Elizabeth Winstead) he had a crush on before his current predicament changed his life forever. Kwan and Scheinert might seem to spend a little too much time revelling in scatological humour, but after inspiring laughs, they also spin a story that contemplates plenty of hard truths. Actually, it's not just the toilet gags that may throw viewers off, but also the film's dream-like look and feel. Yet it's also why the end product isn't only insightful, but also so utterly disarming. It takes confidence to go from boy wizard-level fame to zipping around the ocean like a human jet ski. Radcliffe proves not just up to the challenge, but adept at bringing his dead character to life. While some sequences follow in the footsteps of '80s comedy Weekend at Bernie's, Manny is more than a prop — he's the film's not-quite-beating heart. Across from Radcliffe, Dano does what he does best, although he's much more effective when he has his co-star to bounce off of. With that in mind, you can add tender buddy comedy to Swiss Army Man's list of qualities. In short, this fart-filled flick will move you in more ways than one.
Collingwood's Smith Street has seen plenty of changes and welcomed scores of new additions since Attica alum Peter Gunn opened his sleek restaurant IDES on the strip in 2016. But for the chef, none have been quite so exciting as the arrival of March — Gunn's intimate new wining and dining venture, which opened in the neighbouring space last week. Embracing various elements of a wine bar, a pub and an izakaya, March isn't about to be locked into just one box — just know that it's treading a whole new direction to its next-door sibling. It's your go-to for clever small bites with contemporary flair, matched to a broad-ranging curation of sake, wine and cocktails. The 26-seat space is a moody one, created by IDES' architect Grant Cheyne Design and rocking deep charcoal tones throughout. A low, marble-topped statement counter runs down its length, allowing plenty of interaction between those with front-row seats and staff behind the bar. As you'd expect given Gunn's culinary street cred, the drinking snack game here is strong. While the two venues share a kitchen and a flair for creativity, March's menu walks its own path with a concise, oft-changing lineup rooted in Japanese flavours and technique. Venture in now and you can dip into plates like edamame coated in some kind of umami magic, green chilli pickled mussels with crispy garlic, sake-steamed pippies finished in a yuzu parsley butter and braised pork belly with a spicy nori glaze. Plus, a crispy sweet and sour quail that'll have you making fast use of the supplied hot towel. The drinks offering comes courtesy of IDES sommelier Hayley McCarthy, with Victorian and South Australian drops ruling the by-the-glass lineup, and next door's cellar offering and wine list offering a huge range of gems. Expect interesting pours that'll shake a few preconceptions, alongside signature cocktails and a solid crop of sake. Find March at 90 Smith Street, Collingwood. It's open 6pm–late Wednesday to Saturday, and 2pm–late Sunday.
Summer has (finally) arrived. And while days lazing in the sun and nights chilling on rooftops are all well and good (and some of our favourite activities, to be honest), there is more to our city than just your same-old. This year, instead of sticking to your go-tos, use the longer days and balmy nights as permission to discover a new side of Melbourne that you've never experienced before. To help you do just that, we've teamed up with our mates over at the inner city-inspired brewer Atomic Beer Project to highlight some of the most innovative events happening in our city this summer. From a hypnotic virtual reality exhibition and a free live music series to the opening of Melbourne's first surf park, these five happenings are sure to make you step a little further outside your comfort zone and seek more interesting experiences — and to give you something way more interesting to talk about at the next backyard barbie. SPEND TIME INSIDE AN INTERACTIVE VIRTUAL REALITY EXHIBITION When? Until March 1 Lovers of digital, interactive and immersive art should make tracks to the Heide Museum of Modern Art, where Terminus: Jess Johnson and Simon Ward is now exhibiting. Open until March 1, 2020, the free virtual reality exhibition is a collaboration between New York-based visual artist Jess Johnson and Wellington animator Simon Ward. Johnson's hypnotic drawings have been transformed into five interactive virtual reality works, which make up five distinct and other-worldly realms. In this choose-your-own-adventure exhibition, visitors are invited to explore the artworks through a 60-minute 'quest', venturing between the realms. It's kind of like living out your very own video game fantasy. A public program of artist talks and workshops will also accompany the exhibit, including a virtual reality cinema workshop on February 1 — during which participants will create a VR short. For more information, head to the website. WITNESS FLYING LOTUS' NEW PSYCHADELIC 3D MUSICAL PERFORMANCE When? January 25 Grammy-nominated artist Flying Lotus is heading to Aussie shores for the first time since 2015. He'll take over Forum Melbourne for one night only on Saturday, January 25 with his latest performance experience, Flying Lotus 3D. While much of the show will remain a mystery until the night, ticket holders can expect it to centre around FlyLo's fire-themed 2019 album Flamagra. The album is chockers with jam sessions, jazz influence, electro-funk and hip hop beats, along with heaps of all-star collaborators — including Anderson .Paak, Little Dragon, Toro y Moi and even renowned filmmaker David Lynch. This performance is a must for experimental music and visual arts lovers. Tickets are $89 each and this one will likely sell out, so best buy them here before it's too late. [caption id="attachment_750758" align="alignnone" width="1920"] Adam Gibson[/caption] LEARN TO RIDE A WAVE AT MELBOURNE'S NEW SURF PARK When? Opening January 2020 After years of hype, Australia's first surf park is finally set to open this January. Urbnsurf Melbourne will soon open near the Tullamarine airport, just 16 kilometres north of the CBD. The two-hectare space has already begun to test its first waves, and, once it's at full capacity, will be powered to pump out a whopping 1000 waves per hour. The park is built for both pros and beginners. The artificial wave technology used, called Wavegarden Cove, allows the on-ground crew to alter wave shape, weight and power, so punters can have their choice of waves, whether that's perfectly-formed right-handers or a random, ocean-simulating selection. Urbnsurf is also bringing some of Australia's top chefs with it. It has teamed up with Darren Robertson, Andy Allen and Mark LaBrooy to bring the fifth instalment of their farm-to-table eatery Three Blue Ducks to our city. The all-day, two-level restaurant will be built inside the two-hectare surfing lagoon and boasts high ceilings, a big open bar and an expansive, greenery-filled deck out front, so diners can watch the surfers in action. If you're especially keen, memberships have also recently gone on sale. [caption id="attachment_710997" align="alignnone" width="1920"] Daniel Lidmila[/caption] LET LOOSE AT A JUDGEMENT-FREE HIP HOP CLASS IN FITZROY When? Every Tuesday and Wednesday Judgement-free dance class Groove Therapy has become a mainstay in The Worker's Club's weekly calendar since launching a few years back. Expect no-mirrors, just-for-fun vibes, designed to help beginners let go of their fear of dancing in public. But don't be fooled, this is still a legit hip hop class, taught by professionals who have trained across New York, Los Angeles, London, Berlin, Paris and Tokyo. This is your weekly chance to learn some serious moves without being self-conscious about it — and all for just $20 a pop. The classes run every Tuesday from 6.30–7.30pm and Wednesday between 7–8pm, and you can book a spot on the website. [caption id="attachment_750081" align="alignnone" width="1920"] Glenn Mucutt[/caption] ATTEND A FREE GIG (WITH A DIFFERENCE) IN QUEEN VICTORIA GARDENS When? February 8 and 29 MPavilion — a design series which sees a new temporary structure erected in the Queen Victoria Gardens each spring — is essentially a big compilation of free arts and culture events. As part of this year's massive program, local not-for-profit Music in Exile will take over the space for two evenings on February 8 and 29 from 5–7pm. These special exhibitions will present work by Melbourne artists from a refugee or migrant background. Each session will include a one-hour live performance, with the remaining time dedicated to interacting with the musicians as they share stories and musical traditions. On February 8, the eclectic and rhythmic sounds of Ausecuma Beats will take the stage — the group is a combo of Senegambian, Cuban, Malian and Australian musicians. On February 29, Music Yared will be in the house — this group features Ethiopian musicians Haftu Reda and Anbessa Gebrehiwot, who will play traditional instruments including the krar (five-string lyre) and the masinko (single-string violin). Both nights are absolutely free. For more details, head here. Step outside your comfort zone and celebrate creativity with Atomic Beer Project's hop-driven brews. To see the full range, visit the website. Top image: Christian Capurro.
You've seen the TV series, following an incredibly relatable tale of trying to balance work, life, love and the like. Now, see the play that inspired the show. Before Fleabag was winning TV awards all over the UK, including a BAFTA for best female performance in a comedy for writer/creator/star Phoebe Waller-Bridge, it was a similarly applauded one-woman stage piece. And it's heading to small screens across the country. From Friday, April 10 till Sunday, May 31, you can watch Phoebe Waller-Bridge stepping through the story of Fleabag's titular character online via Soho Theatre's on-demand streaming site. Recorded at London's Wyndham's Theatre and broadcast as part of National Theatre Live in 2019, the show will cost £4 (about $8 AUD and $8.30 NZD) to stream, with all proceeds going to charities supporting those affected by COVID-19. Funds will be split across the National Emergency Trust, NHS Charities Together, Acting for Others and the Fleabag Support Fund, which provides grants to out-of-work freelancers in the theatre industry, If you're unfamiliar with the theatre or TV show, Fleabag's existence is perhaps best described as chaotic. Friends, family, job interviews, keeping a guinea pig-themed café afloat...they're just the beginning. The idea behind it came at one of Waller-Bridge's pal's storytelling nights, as a challenge to create a character for a ten-minute slot. If you're a fan, you'll want to see where it all began. If you've just heard everyone talking about Fleabag, and haven't watched it yet, here's your chance to jump on board. Top image: Fleabag at National Theatre Live by Matt Humphrey Updated May 11.
With Australia banning non-essential events with more than 100 people due to COVID-19 — and mandating that everyone arriving from overseas self-isolate for 14 days, too — Melbourne's arts and cultural scene has started to go into shutdown mode. The city's major institutions have already announced temporary closures, and now the Melbourne Symphony Orchestra is joining them. While MSO has announced that it's suspending all concerts with audiences in attendance from Monday, March 16–Monday, April 13, it's planning to host an online concert series — because, even if audiences can only watch and listen online from their couches, the music must go on. The series kicked off with a live-stream of Russian composer Rimsky-Korsakov's Scheherazade at Hamer Hall on Monday, March 16, followed by MSO's Beethoven & Mendelssohn gig on Thursday, March 19. Then, the series will show recordings of past performances that have never been seen online before every Thursday night and Sunday afternoon. Music lovers can check out the performances via MSO's YouTube channel. https://youtu.be/MCBYvd5LKa4 Updated: Monday, March 30, 2020
Whatever type of food you love, there's a day for it. You can celebrate your favourite dishes whenever you like, of course, but pretty much everything you can think of has a specific date on the calendar dedicated to that purpose. That includes tacos, with International Taco Day hitting on Monday, October 4 this year. And, to mark the occasion, Tex-Mex giant Taco Bell is giving away freebies. The chain has been steadily opening stores around the country since 2017, with a new Sydney store in Green Square launching earlier this year, and Perth just nabbing its own venue as well. So, if you're a big fan of Mexican-inspired food, you've probably already become acquainted with the brand's wares. No one can ever pass up free tacos, though — although you will need to break out your best emoji game to get one. Here's how it works: on Monday, October 4, you need to first visit ta.co/au to auto populate a WhatsApp message. Then, you'll need to hit 'send', which'll see instructions on how to redeem a free Taco Supreme sent to you. And, while you will need to go through that process on that specific day, you'll then have until Sunday, October 10 to collect your free taco. If you're wondering where to head, Taco Bell has 23 stores across the country. So, you can hit up Albion Park, Ballina, Blacktown, Jesmond, Green Square and Tamworth in New South Wales; Altona North, Hawthorn, Roxburgh Park and South Yarra in Victoria; Annerley, Beenleigh, Cairns, Cleveland, Currajong, East Ipswich, Keperra, Logan Central, Morayfield, North Lakes, Robina and Southport in Queensland; and Midland in Western Australia. Taco Bell is offering free tacos for International Taco Day to every customer who follows the prompts via WhatsApp on Monday, October 4. To find your nearest store, head to the chain's website.
The Adelphi Hotel's culinary offering, Om Nom, has switched gears this year. Shaking off its former identity as a dedicated dessert bar and reemerging as a wine and cocktail destination, the venue has reopened the doors following an extended pandemic-forced hiatus. It now boasts a new Head Chef in John Law (Entrecôte) and a broadened food offering championing local produce. Open Friday and Saturday nights, the reimagined Om Nom is a primo spot for snack-matched drinking sessions, especially if you're in the mood for some Victorian wine, and grazing boards loaded with the likes of Milawa Blue and free-range mortadella from Ballarat's Mr Cannubi. Small bites might include options like the chicken liver parfait ($16), cheese croquettes ($16) or a beef tartare ($16) while toasties feature fillings such as Six Farm triple cream brie with Quattro Stelle nduja ($25). Every Friday, Sydney rock oysters are going for just $2 a pop, from 4–7pm or until sold out. Signature cocktail favourites like the Salted Caramel Cracking Espresso and the Make The Call (served in a tiny red telephone booth) will return to star alongside a handful of new creations. [caption id="attachment_810364" align="alignnone" width="1920"] Om Nom's Salted Caramel Cracking Espresso[/caption] Of course, Om Nom hasn't surrendered the sweet stuff entirely — you'll now find a rotating offering of one fruit and one chocolate dessert dish on the regular menu. The renowned weekend high teas have also returned, hosted across two daytime sittings every Saturday and Sunday (12pm and 2.30pm).
Mondays can be a struggle, but at least you can ease the pain by filling your day with top-notch grub. Especially now that Abbotsford brewery Bodriggy has launched a tasty new offering to really get your week started off right. Famed for its Latin American flavours, the Bodriggy kitchen is now here to cure any pesky Monday blues with its new Death by Taco deal, slinging $5 tacos and cheap margs from 12pm each Monday. The menu's entire taco selection is being slashed to $5 a pop; including the smoked swordfish and crispy jalapeno number, the slow-cooked brisket and tomatillo salsa creation, and the vegetarian zucchini and puffed barley taco. To match, the frozen margaritas will be flowing for an easy $12 each, or you can opt for the $15 taco-and-pint deal, teaming your tortilla of choice with a Utropia Pale Ale or the crisp Stingrays Lager. The rest of the regular menu is also up for grabs.
In their stories and themes, Pixar often play in the same territory over and over. Generally, they take an object, animal or concept – say a toy, a fish or a car – and instill it with consciousness and emotion. And yet when it comes to visuals, they rarely do the same thing twice. Each new Pixar movie might feel somewhat similar, but they always look different. The Good Dinosaur, the animation studio's latest effort, demonstrates both extremes. "What if lumbering prehistoric creatures had feelings?" is the question the feature asks, then attempts to answer in heart-warming, lesson-learning fashion. A green, long-necked apatosaurus by the name of Arlo certainly has plenty, mostly of the melancholy variety. As a child (voiced by Jack McGraw), he's worried about his lack of size, strength and skill around the family farm, particularly in comparison to his bigger siblings. A few years later (now voiced by Raymond Ochoa), those self-doubts are put to the test when he wanders far from home and has to find his way back again. Director Peter Sohn (short film Partly Cloudy) and writer Meg LeFauve (Inside Out) take Arlo through well-worn territory — and not just for Pixar, but for many other animated movies about talking animals. Arlo is forced to face his fears, come of age and survive in the wild, with only a scampering, growling, primitive human boy, who he names Spot (Jack Bright), for company. They forge a connection despite having some initial troubles, and help each other through episodic encounters with other dinosaurs and creatures. Yes, it's a routine narrative, and it's mostly told as such, hitting all the expected beats. In fact, The Good Dinosaur is the kind of film that will cause your eyes to wander away from the main action — although given the artistry on display around the primary characters, that's a good thing. It's not often that the background proves more engaging than the figures at the centre of the frame, or that the direction makes sure you're noticing that peripheral beauty. Yet that's frequently the case here. The photorealistic details evident in images of fields, mountains, waterfalls, trees and other natural features are the real stars of the show, and provide the picture with a distinctive, eye-catching appearance. Of course, the film isn't without its other modest pleasures. For starters, there's its alternate timeline, one that sees dinosaurs not only roaming the planet long after an asteroid should've hit, but living an agrarian lifestyle. There are nods to the western genre, a brief but inventive hallucinatory sequence, and enjoyable voice-acting by Frances McDormand, Sam Elliott and Steve Zahn in smaller parts. Like the familiar story though, they simply pale in comparison to the splendour that surrounds them. Sure, the movie might be about a good dinosaur, but what it best serves up is great, gorgeous visuals.
For decades, Victoria Street has been affectionately known as Melbourne's Little Vietnam, lined with long-standing, authentic eateries specialising in hearty bowls of pho and freshly wrapped rice paper rolls. Now, one sister duo is out to help push that tradition into a whole new era with the strip's newest resident: Thy Thy Counter & Canteen. Thuy Lu and Thy Vo's new casual mod-Viet restaurant marks a changing of the guard, as they take over the same corner site that once housed one of their parents' eateries — named Tho Tho. The family has deep roots in the street's dining scene, with parents Trang Le and Van Ho opening both the OG Thy Thy and Thy Thy 2 on Vic Street in the 80s. [caption id="attachment_830390" align="alignnone" width="1920"] Image: Pete Dillon[/caption] While back-to-back lockdowns have meant the second-generation restaurateurs haven't had much of a chance to show off their new family project since its launch in July, Thy Thy Counter & Canteen is now on track to reopen on Friday, October 29. The restaurant celebrates the family's South Vietnamese heritage, while also embracing other regional flavours encountered on more recent trips through the country's north. In the role of head chef, Mum Le is deftly blending the traditional with the modern, with plenty of long-held family recipes getting a spin. [caption id="attachment_830386" align="alignnone" width="1987"] Image: Pete Dillon[/caption] Classics are in strong supply, with options like bo bop thau (wagyu beef salad), banh hoi (rice vermicelli cake), Vietnamese-style slaws and a range of goi cuon (rice paper rolls). You'll find a swag of stir-frys, vermicelli bowls and signature rice dishes, while a special beef pho heads the selection of noodle soups. In the coming weeks, there'll be more specials added to the lineup, too — think, bun bo hue (Hue-style spicy beef noodle soup), traditional broths and a rotation of banh mi rolls. [caption id="attachment_830412" align="alignnone" width="1920"] Image: Pete Dillon[/caption] An onsite grocery offering is also in the works, set to sell a selection of take-home meals and branded merch. The light-filled, minimalist space offers a fresher feel than some of the more traditional Vietnamese joints on the same street, with polished concrete floors and generous pops of colour a reminder that change is afoot on Vic Street. Find Thy Thy Counter & Canteen at 60-66 Victoria Street, Richmond. It'll open from 11am–late, daily. Images: Pete Dillon
Kicking off this Thursday, November 2, the Bayside Food Truck Fiesta returns for its second year, offering to fill your Melbourne Cup long weekend with tasty eats, liquid treats and maybe even a few puppy pats. Set to take over the Sir William Fry Reserve in Highett for six delicious days, the family-friendly festival will feature more than 25 of Melbourne's most popular food trucks, along with an espresso martini pop-up bar and a swag of market stalls, music and entertainment. This year's Bayside Food Truck Fiesta will also play host to its first-ever Pupper Appreciation Party (actual name) in conjunction with some Melbourne Cup celebrations on Tuesday, November 7. Four-legged friends can enjoy a spot of pampering and even strut their stuff in a doggy Fashions on the Field competition, while humans can catch the all-important horse racing action up on the big screen. Food trucks confirmed for the weekend include TOASTA, Nuoc Mama's, Senor Churro, Dos Diablos, Yo India and Soul Kitchen Pizza Truck, and plenty more.
Melbourne's seen its fair share of dockless bike share systems rolled out (and often axed) over the years. But things are shifting up a gear this year when the city's first ever long-term dockless share scheme for electric bikes launches this week. The City of Melbourne, the City of Yarra and the City of Port Phillip have announced they're starting a one-year trial with Uber's much-hyped e-bike service, Jump. Jump has already been embraced by cities across the US and Europe, and is en route to our neighbours in Auckland, but this will be its Australian launch. When they lands in Melbourne tomorrow at 6am, Wednesday, 4, the bright red pedal-assisted bikes will be available to hire through your regular Uber app. You'll just need to switch to bike mode, where you'll be able to see available bikes and use the app to unlock one and ride away. For now, 400 bikes will located in the CBD, with more bikes set to roll out across the City of Yarra and City of Port Phillip over the coming months. They'll be available to use in the three council areas, only, which cover the CBD and Docklands, West Melbourne (and over to Flemington), the inner north (Carlton, North Melbourne, Fitzroy and Richmond) and down to the bay (Port Melbourne, South Melbourne, Albert Park, St Kilda and Elwood). If you ride a Jump bike outside of these areas, you may receive a penalty charge to your Uber account. In another effort to avoid the woes of past bike share networks, the councils have signed a Memorandum of Understanding outlining the rules and regulations Jump will need to stick to in order to keep operating in Melbourne past the 12-month trial. The company using geo-fencing technologies and remote monitoring to keep track of its fleet. Hopefully that'll help curb the number of bikes ditched in trees, creeks and other questionable spots around the city, as was mostly the downfall of previous players like oBike. As well as laying down requirements for parking and maintenance, it stipulates firm resolution timeframes for damaged or discarded e-bikes. Taking care of service and maintenance will be the crew from Good Cycles, a Melbourne-based social enterprise that trains and employees disadvantaged youth. Riders will, of course, have to don a helmet and play by the usual road rules when cruising around on a Jump bike, with the bikes costing $1 to unlock and 30 cents a minute to ride. When you've finished using the bike, you'll also need to park and lock the bike in one of the e-bike zones shown on the app's map. Uber hasn't announced any plans to launch Jump in any other Australian cities yet, but if the trial goes well, we'd expect that it will in the near future. The Jump bike option will be available in your Uber app from Wednesday, March 4. You can find more info on the Jump bikes here.
Countless late-night drinking sessions and cheap pizzas have been enjoyed at 376 Brunswick Street over the years, where famous former resident Bimbo made its mark as a beloved, sticky-floored student haunt. After a fire forced the building's closure back in 2018, and a short-lived relaunch the following year, it's now getting a proper restart at the hands of new owners, Australian Venue Co (Fargo and Co, State of Grace, The Smith). Say g'day to the Fitzroy site's newest iteration: Kewpie. Named after the iconic doll figure that's long graced its exterior wall, Kewpie will carry on the legacy as a laidback neighbourhood boozer with cheap pizza and a weekly roster of DJ-fuelled party sessions. Aesthetically, little has changed since the pub's last makeover, with low booths spread across the spacious ground-floor rooms, colourful posters plastered across the walls, and a sunny bar and terrace offering prime position up on the rooftop. From the kitchen comes a delightfully affordable offering of pizza and snacks, most clocking in at an easy $5. Vegetarian options might include a caramelised onion and potato number, or the Mexican-inspired Poncho topped with corn chips and jalapenos. There's a peri peri chicken pizza, another loaded with Calabrese salami, and a garlicky marinara creation starring calamari, prawns and capers. Throw on a side of the pizza spring rolls if you're feeling snacky. To match, the bar's keeping things simple, with a mix of crowd-pleasing brews, craft tins, wines and classic cocktails on offer. And soundtracking the Kewpie good times, there'll be a slew of music-focused happenings across the second half of each week — hip hop and funk for Bump Thursdays, the Friday Glow Down curated by Anyo and Kel Rhys, a slew of familiar selectors firing up House Party 3.0 Saturdays and smooth vinyl tracks for your Sundays. To celebrate its launch, Kewpie will be giving away 50 free pizzas every day, from Monday, November 8–Friday, November 12. Head in to nab yours. Find Kewpie at 376 Brunswick St, Fitzroy, from Monday, November 8. It'll open from 4pm–late Monday–Wednesday and 12pm–late Thursday–Sunday. Top Images: Kate Shanasy
Named after a Hebrew slang term meaning 'quick-quick', Ripponlea's new Israeli street food joint Chik Chak certainly lives up to its name. Owners Adam Faigen and Rotem Papo were forced to act speedily on their plans for their second venture — their first being the newly-launched Prahran restaurant Golda — when Melbourne was hit with a second wave of lockdown restrictions. After some whirlwind preparations, Chik Chak opened its doors last week and is, for now, serving up a takeaway and delivery-only menu seven days a week. Heading up the kitchen, Papo is plating up a celebration of Israeli street eats, his menu flitting between the traditional and the contemporary. There's classic falafel — here teamed with tahini, hummus, Israeli salad and a fiery sauce — while pieces of schnitzel-style chicken come with a zesty coleslaw, house-made tomato sauce and herb aioli. You'll also recognise some instant hits plucked from the Golda menu, including the pomegranate-glazed beef cheek with pickled beetroot and that spiced cauliflower shawarma. You can have your chosen combination served in a bowl, or piled into a fresh pita pocket — maybe with some golden fries or baba ghanoush on the side. To drink, look no further than Chik Chak's line of indulgent vegan shakes. There's a blend of raspberry, oat milk and fig syrup, and a tahini and cacao number that should take pretty good care of your sweet tooth. That is, if you haven't already been tempted by the malabi, an Israeli pudding that here comes with toasted coconut and orange honey syrup. With Melburnians now under strict stage four lockdowns — and unable to venture more than five kilometres from their homes to pick up essentials — Chik Chak is offering takeaway and local delivery seven nights a week. Find Chik Chak at 54 Glen Eira Road, Ripponlea. It's currently open for takeaway, from 4.30–8.30pm Monday–Thursday and 12–8.30pm Friday–Sunday. Delivery is from 5–8.30pm nightly. Updated August 4, 2020.
It happened. Change has swept into the highest office in the United States. With it, crowds both in America and around the globe have come out in force — against newly inaugurated President Donald Trump and his highly publicised comments against women, and for equality in general. There's no shortage of reasons driving the protests, thanks to the new POTUS and his administration's stance on race, class, gender, healthcare, civil rights, queer rights, reproductive rights, immigration, education, conflicts of interest... the list goes on. There's also no shortage of folks heading out to voice their concern. The Women's March started as an event planned for January 21 in Washington, D.C. the day after Trump's swearing-in ceremony in the US capital, then quickly swelled to become a massive movement drawing hundreds thousands of people worldwide. Marches have taken place everywhere from London to Nairobi, Toronto to Tel Aviv, and Oslo to Antarctica, plus Park City, Utah, where the Sundance Film Festival is currently underway. In Sydney, a crowd of approximately 5000 people took to the streets to march in solidarity, continuing unfazed when skywriting emblazoned the US President's name above them. With such a massive outcry comes a massive onslaught of passion and creativity, including a sea of placards getting the point across in an engaging fashion. Don't just take our word for it — the array of pictures snapped around the world do all of the talking. https://twitter.com/callirachel/status/822694126588047360?ref_src=twsrc%5Etfw https://twitter.com/mradamscott/status/822969795985416192 https://www.instagram.com/p/BPh6cP5DEuu/?taken-by=womensmarch https://twitter.com/corinnepurtill/status/822923128221249536?ref_src=twsrc%5Etfw https://twitter.com/myquirky_corner/status/822931521241640960 https://twitter.com/jgitchell/status/822846113246048256 https://twitter.com/HamillHimself/status/822938477989769217?ref_src=twsrc%5Etfw https://twitter.com/lindazunas/status/822877872587231232 For more information about the Women's March, visit their website.
When the warm weather rolls around each year, Melburnians usually have multiple reasons to head to the Sidney Myer Music Bowl. For those feeling festive, it's where Carols by Candlelight is held. And for anyone keen on catching orchestral shows under the evening sky, it's where the Melbourne Symphony Orchestra has held its free summer series for decades. Come 2021, the iconic venue will also play host to a new event: Live at the Bowl. It's a response to this past chaotic year, with holding a COVID-safe summer festival its number-one aim. Well, that and giving the city's residents something fun to add to their calendars after 2020's struggles. The lineup won't be announced until early December; however, Live at the Bowl will run from January–March and feature more than 40 performances. It'll be a socially distanced affair, obviously, which the renders of the event illustrate — including separate platforms that split the audience up into groups, as festivals overseas have already been using. [caption id="attachment_789597" align="aligncenter" width="1920"] Render of Live at the Bowl[/caption] Live at the Bowl won't be the only Melbourne event tempting you out of the house this summer, of course. It's one of several to receive funding as part of a newly announced $17.2 million Victorian Government package — to "enable Victorians to reconnect with the cultural experiences they love in new and unique ways, while creating jobs for thousands of Victorians across the creative and event industries", according to a statement from Minister for Creative Industries Danny Pearson. Accordingly, Melburnians can also look forward to the Melbourne Museum Summer Plaza series, which'll feature open-air experiences performances, movies, food and drinks; dining and music in the NGV Garden to coincide with the free NGV Triennial; and outdoor experiences at State Library Victoria, Melbourne Recital Centre, ACMI and Federation Square. Sixteen individual Victorian arts companies and festivals will also receive funding to present outdoor programs across summer, including the Melbourne International Comedy Festival, Midsumma, Shepparton Arts Festival and Creative Clunes. Live at the Bowl will run from January–March 2021 at the Sidney Myer Music Bowl, with the program releasing in early December — we'll update you with further details when they're announced.
Just over a decade ago, Noomi Rapace was The Girl with the Dragon Tattoo — The Girl Who Played with Fire and The Girl Who Kicked the Hornet's Nest, too. After starring in the first film adaptations of Steig Larsson's best-selling Millennium books, the Swedish actor then brought her penchant for simmering ferocity to Alien prequel Prometheus, and to movies as varied as erotic thriller Passion, crime drama The Drop and Australian-shot thriller Angel of Mine. But Lamb might be her best role yet, and best performance. A picture that puts her silent film era-esque features to stunning use, it stares into the soul of a woman not just yearning for her own modest slice of happiness, but willing to do whatever it takes to get it. It also places Rapace opposite a flock of sheep, and has her cradle a baby that straddles both species; however, this Icelandic blend of folk-horror thrills, relationship dramas and even deadpan comedy is as human as it is ovine. At first, Lamb is all animal. Something rumbles in the movie's misty, mountainside farm setting, spooking the horses. In the sheep barn, where cinematographer Eli Arenson (Hospitality) swaps arresting landscape for a ewe's-eye view, the mood is tense and restless as well. Making his feature debut, filmmaker Valdimar Jóhannsson doesn't overplay his hand early. As entrancing as the movie's visuals prove in all their disquieting stillness, he keeps the film cautious about what's scaring the livestock. But Lamb's expert sound design offers a masterclass in evoking unease from its very first noise, and makes it plain that all that eeriness, anxiety and dripping distress has an unnerving — and tangible — source. The farm belongs to Rapace's Maria and her partner Ingvar (Hilmir Snær Guðnason, A White, White Day), who've thrown themselves into its routines after losing a child. They're a couple that let their taciturn faces do the talking, including with each other, but neither hides their delight when one ewe gives birth to a hybrid they name Ada. Doting and beaming, they take the sheep-child into their home as their own. Its woolly mother stands staring and baa-ing outside their kitchen window, but they're both content in and fiercely protective of their newfound domestic happiness. When Ingvar's ex-pop star brother Pétur (Björn Hlynur Haraldsson, Eurovision Song Contest: The Story of Fire Saga) arrives unexpectedly, they don't even dream of hiding their new family idyll — even as he's initially shocked and hardly approving. Jóhannsson isn't one for telling rather than showing, as Lamb's sparse dialogue ensures. That said, he doesn't unveil Ada a second before he needs to, either. While Maria has a little lamb and its fleece is as white as snow, the film spends much of its first half revelling in how the creature's arrival drastically alters the household's mood. Lamb is firmly a tone poem, in fact, living, bleating and breathing in its titular critter's wake. Something sinister still dwells — and recurrent shots of Iceland's towering surroundings still ripple with foreboding — but Maria and Ingvar have eagerly snatched up what bliss they can. Smartly, when the revealing shot comes, and also when Ada keeps being seen in all her human-animal glory (courtesy of live animals and children, plus CGI and also puppetry), Jóhannsson's winning mix of anticipation and playfulness isn't shorn away. It's easy to spy another picture from this part of the world with an ovine focus and think of Rams (the original, not the 2020 Australian remake). Recalling A White, White Day's musing on grief and its stunning use of wintry landscapes is just as straightforward as well. Throw in the fact that Lamb frolics forth from US distributor A24 — home to fellow folk-horror hits The Witch and Midsommar, the nightmarishly atmospheric Hereditary and The Lighthouse, and the dark and discomforting The Lobster and The Killing of a Sacred Deer, with the company's moniker now accepted in filmic circles as shorthand for a particular type of indie flick — and believing you know what's in store is equally understandable. But like Robert Eggers, Ari Aster and Yorgos Lanthimos, the directors behind those aforementioned features, Jóhannsson has made a disquieting and dazzling movie that couldn't be more distinctive. Indeed, just as Ada is her own creature, Lamb is its own singular film. Nursery rhyme nods and fairy tale-like touches add extra layers to Lamb's contemplation of parenthood, loss and all the stress that comes with each; however, the movie's religious symbolism is less effective. Christmas songs echo, placing the film at a time of year already loaded with meaning. A manger obviously exists on the farm, too. Also, having a woman called Maria embrace motherhood after a miraculous birth clearly isn't an accidental move on Jóhannsson and co-screenwriter Sjón (an Icelandic poet and frequent Bjork collaborator's) behalf. What rings loudest among these inclusions is the notion of grasping onto whatever you need to in order to understand and endure all that life throws your way. Lamb is also a movie about nature versus nurture, so brooding over the impact of choices both overt and innate cosily resides in the same paddock. Enticing, surreal and starkly unsettling all at once, Lamb also benefits from exceptional animal performances — it won the Cannes Film Festival's Grand Jury Prize for Palm Dog, the prestigious event's awards for best canine acting — and its own savvy. It nabbed Un Certain Regard Prize of Originality at Cannes as well, but the movie's shrewdness isn't limited to its standout concept. Each patient shot that roves over the hillside, peeks through the fog, and soaks in the strain and pressure is just as astute. Each rustle, huff and jangle in the film's soundscape proves the same. Every aesthetic decision paints Lamb in unease and uncertainty, in fact, and lets its lingering gaze towards the steely Rapace, affecting Guðnason and their four-legged co-stars unleash an intense and absurdist pastoral symphony of dread and hope, bleakness and sweetness, and terror and love.
As technology and art continue to collide in all sorts of weird and wonderful ways, a new smartphone app called Smartify is out to make sharing and discovering art a whole lot easier. Working similarly to how Shazam identifies music, Smartify can be used to identify art — simply hold the app up in front of an artwork to discover its name, tap into a wealth of extra information about the piece and even access audio commentary. With this in your hand, there'll be no more battling the gallery crowds for a peek at that tiny wall plaque. Users can also save favourite artworks to their Smartify profile, creating a mini art gallery within their smartphone. The app was founded by a group of four UK friends who were keen to add another dimension to the art experience beyond simply looking at pictures on a gallery wall. To bring this to life while still protecting artist copyright, they've teamed up with museum and gallery partners around the world, who help generate and direct Smartify's content. The app's currently live at famed destinations like The Metropolitan Museum of Art in New York, London's National Portrait Gallery and the Museo San Donato in Italy, with lots more to come. Venues are encouraged to get on board here — let's hope some local additions are just around the corner.
Tavi Gevinson, the precocious pixie editrix, is finally manifesting her person on our shores. As a hugely successful teen blogger and founder of Rookie magazine, her entrepreneurial chutzpah is something of a phenomenon. She'll be giving a keynote address at the Melbourne Writers Festival, as well as stopping by the Opera House in Sydney. She's an old hand at public speaking, too, having already given a TED talk. Awash as the internet is with kids promoting their #personalbrands, it's cool to see someone so young found a publication like Rookie, a surprisingly down-to-earth and intellectual voice in the teen zine scene. Launched in 2011, it's festooned with the Tavi aesthetic, which, since her solo blogging days as a 13-year-old, has channelled '90s pop-goth and pretty pastels, movies like Ghost World and all the quirkiest developments of the fashion world. But it's Tavi's self-awareness and feminism that make her a compelling fashion commentator: never glossing over the fact that this is an industry which fetishises youth, she's all for female empowerment. We're looking forward to hearing her speak on a local stage.
People dream of finding someone who looks at them they way that Michael Fassbender looks at Alicia Vikander in The Light Between Oceans. A World War I soldier turned lighthouse keeper, Tom Sherbourne (Fassbender) has swapped the horrors of combat for the routine and simplicity of his new life — and he never glances anything less than adoringly at Isabel Graysmark (Vikander), the woman who'll become his wife. In a film that is unashamedly a weepie, his stare tells a sometimes heart-swelling, sometimes heartbreaking story, and silently speaks of the ups and downs of life that everyone wants to weather with someone by their side. An intimate tale working with big, sweeping feelings as well as notions of guilt and forgiveness, The Light Between Oceans is a melodrama through and through. Not that that's a bad thing, necessarily. This adaptation of Australian author M. L. Stedman's 2012 novel is not what might derisively be labelled merely a chick flick. Yes, it may tug at the heartstrings, and focus its plot around marital life and motherhood, but the sentiments this period-set romantic drama stirs up remain unflinchingly real. The aforementioned couple meet, wed and forge a life together in and around Janus Rock off the coast of Western Australia. They're the only inhabitants living off the mainland, though it seems they'll be joined by the pitter-patter of tiny feet until tragedy strikes on multiple occasions. Then, a lifeboat — or a rowboat, to be exact — brings them a lost baby girl. Keeping her will help them become a family. But unbeknownst to them, it will also tear the child's real mother (Rachel Weisz) apart. After exploring the complications of romance in the raw and resonant Blue Valentine, and pondering the ties between parents and children in The Place Beyond the Pines, writer-director Derek Cianfrance combines the two in The Light Between Oceans, as though he's been building up to this all along. It may not be the strongest of the three features, but it's as astute in matters of the heart as it is picturesque. Indeed, as far as the latter is concerned, Australian cinematographer Adam Arkapaw, who gave the recent version of Macbeth such an icy, compelling gleam, will have you gazing at the soft, glowing, frequently pink-lit images in the same way that the film's characters gaze at each other. Cianfrance provides ample space for Fassbender and Vikander to flesh out their loving but troubled characters. There's no mistaking the actors' chemistry, or the hard-earned range of emotions they cultivate, often in no more than their expressions. He conveys Tom's doting affection as well as the war-inspired melancholy he can't quite hide, while she paints Isabel as vibrant and determined, both in happiness and in pain. Even when the film's efforts to evoke tears are a little too evident, Fassbender and Vikander ensure that everything feels, and looks, utterly genuine.
Picnics are back in Sydney and Melbourne. In the past week, outdoor gathering rules have changed in both cities, with their respective lockdown restrictions now allowing outside social interaction in groups of up to five adults as long as everyone is fully vaccinated. So, if you and your mates have had the jab, you've probably been spending your time working out exactly which patch of grass you can head to. Obviously, picking exactly where you can picnic isn't quite as simple as normal. Both cities currently have travel limits in place, with Sydneysiders only able to venture five kilometres from home or stick within their Local Government Area, and Melburnians permitted to mosey ten kilometres from their houses. So, a heap of useful websites have popped up to help you work out where you and your mates' travel bubbles overlap — including newcomer Friendship Island. This aesthetically pleasing website is immensely straightforward, and easy to use. Either type in an address or drop a pin to get started. Then, you can do the same for all your friends' addresses. In the process, you'll see everyone's bubbles on-screen, with the map getting darker and clearer where they overlap. If you need a reminder of which rules you need to abide by, both the NSW and Victorian options — which you can toggle between via links at the top of the page — come with a drop-down box to the left of the screen that outlines all the specifics. Then, you just need to sort out who's bringing what to your mate picnic date. No, the website can't do that for you. To work out your bubble crossovers, head to the Friendship Island website. For more information about the rules in NSW, head to the NSW Health website. For more information about the rules in Victoria, head to the Victorian Department of Health website.
There are two gears in Bright and beyond: high and low. It's all about getting out into the mountains by bike or on foot, and then relaxing as the sun sets with a glass of wine in hand. The entire area is connected with walking and cycling tracks, including the Murray to Mountains Rail Trail, which follows the old Bright railway line, linking Bright to Beechworth, Germantown, Wandiligong and more. We recommend the 24-kilometre stretch between Porepunkah and Myrtleford, which follows the gorgeous Ovens River past vineyards and orchards. Image: The Rail Trail, by Visit Victoria/Josie Withers
Bacon and bourbon have been lifelong drinking buddies, dredging up wild west frontier images in their smoky, smoky team-up. But the porch-lovin' pair usually remain on plate and glass, woefully separated from realising their true fusion potential. However, things are changing for bacon and bourbon romances, as well as their steadfast fans. While US company Old Major have already teamed the two in their own infused spirit, we're looking for something a little closer to home. From the Speakeasy team behind Eau De Vie and The Roosevelt Bar and Diner, brand new Australian spirit venture The Experimental Spirits Co. is launching their own smoked bacon bourbon. Coinciding with the latest unofficial hashtag on the Australian calendar, Australian Bacon Week, the smoky, smoky spirit marks the first endeavour for the brand new company — plus, they're crowdfunding it. "I had an idea to create a unique boutique spirits company some time ago, when I ran my own consultancy outfit (Behind Bars), but due to various conflicts of interests I was unable to do so," owner, founder and renowned spirit guru Sven Almenning says. "Having now untangled myself from that, I am very excited to be launching the Experimental Spirits Co. We developed this great little whisky when we were working on our Eau De Vie Small Batch Cocktails — currently available through Vintage Cellars — and we thought it was too good not to share with the world in a more familiar format." So how do you actually infuse bourbon with bacon? The key to the whole shebang is what's known as a 'fat washing' process, allowing the smoked bacon flavour to be soaked into the whiskey. Then it's filtering time (ten times over) before the alchemy is bottled and wax sealed. It's a handmade labour of love for the Experimental Spirits Co. "It’s quite a laborious process," admits Almenning. "But that’s the nature of the products we want to produce." While you'll only initially be able to enjoy the Smoked Bacon Bourbon in the Speakeasy Group venues (both Eau De Vie venues in Sydney and Melbourne, Sydney's recently opened Eau De Vie Apothecary plus The Roosevelt Bar & Diner) plus a handful of specially-picked bars, the team are making their infused bourbon a special edition crowdfunding perk of its own — $80 donations will get you a bottle of the bourbon to swill at your own leisure. So with $25,000 as the target, where's the money going? "Primarily the funds will go towards purchasing whiskey and the down payments on all the equipment that is required for creating the product," say the team. "We hope that this campaign will assist us in covering some of the costs for new production equipment such as more high-volume filtration systems as well as the rental of a small ‘lab’ where we can base our work and the new business." With the smoked bacon bourbon up and running, the Experimental Spirit Co. intend to launch a salted coconut spiced rum and a 'new-age' gin with a twist later in the year. For now, its all about bringing home the crowdfunded bacon. Throw your sweet cashola at it over here.
With eateries planted across the country, the Saké stable has made quite the name for itself over the years — and it shows little sign of slowing. The newest member of the family — an establishment on Flinders Lane — launched mid-April, with two more concept venues set to be unveiled in Sydney and Melbourne over the coming months. This latest incarnation takes over the former digs of the short-lived Woody P, and looks set to steal a good chunk of Chin Chin's hungry perma-queues. The space boasts that trademark Saké wow-factor, incorporating a chic designer fit-out and sleek open kitchen. There are, however, plenty of off-script touches, so don't go expecting another Hamer Hall or Double Bay. This version has a dedicated sushi bar, where you can get a peek at some crazy knife skills, as well as a moody basement cocktail lounge. Down here, the vibes are high; with splashes of neon, an impeccable selection of house-infused shochu and weekend DJ sets, this subterranean space screams with hopes of being a late-night haunt. Throw in the fact that you can grab a great bowl of ramen up until 2am, and it looks clear that GoGo Bar is in for some stiff competition. Outside of party o'clock though, it's the Japanese fare that's the star of the show. This time around, Jean Paul Lourdes is on the pans, serving a menu that fuses modern technique with traditional Japanese flavours. Saké favourites like the chicken karaage ($17) and vegetable tempura ($16) make a cameo appearance, while newcomers include the likes of chicken yakitori ($14) and a superb beef tataki, laced with snow pea sprouts and cherry tomato ($24). Likely to charm even the most staunch of veggie haters is the house salad topped with wakame ($12). Delicate sashimi and sushi rolls are textbook perfect, while an artisanal miso, with cured egg yolk and one-year-old onion, has a depth of flavour that'll just about blow your mind ($4). Granted, most dishes are more clever than familiar — though in Lourdes' capable hands, there's no need for trepidation. To match it all, you'll find a sophisticated drinks list with a hefty selection of the restaurant's namesake spirit starring alongside clever cocktails, Japanese craft beer, whisky flights and a considered wine list. And with service as hard to fault as the food coming out of the kitchen, this one deserves to be put on high rotation, whether for smart business lunches, dinner dates or late-night cocktails and fun times down below.
If anyone knows how to flip a burger, it's Raph Rashid, founder of Melbourne burger empire Beatbox Kitchen. The chef launched the business's first food truck back in 2009, so it's safe to say he's had a fair bit of practice. But he'll really be putting those skills to the test on Saturday, August 17, when he'll hosts his 24-hour charity flip-a-thon. Setting up shop at Beatbox's Sydney Road store from 11am, Rashid will be madly dishing up burgers for a whole day straight — all the way through till 11am on Sunday, August 18 — to raise much-needed funds for Youth Support + Advocacy Service (YSAS), a non-profit that helps vulnerable and high-risk young Victorians. To share the workload (and help stave off any RSIs), he'll be joined on the grill by some big-name mates. Catch Jimmy Hurlston of Jimmy's Burgers, Melbourne Food and Wine Creative Director Pat Nourse, sommelier and author Matt Skinner, skateboarder Casey Foley and renowned illustrator (and Rashid's wife) Beci Orpin. Beats courtesy of local legends such as DJ Chris Gill and Mzrizk will set the mood while you're tucking into a menu of freshly flipped Raph burgers ($13), cheeseburgers ($13), 'shroom burgers $12) and vege supremes ($14). All profits from the burgers flipped will go straight to YSAS. Can't make it? Show your support by sending some monetary love via the day's donations hotline. The Flip-A-Thon runs from 11am–11am.
Western Australia is known for its stunning beaches, incredible nature, top-notch eats and plenty of excellent vino. So, it's no wonder some of the best chefs and sommeliers from around the globe want to come Down Under this spring. Come November, rockstar chefs and wine experts will flock to Western Australia for an epic food and wine fair — Western Australia Gourmet Escape presented by Westpac. Taking over the Swan Valley, Perth and Margaret River for ten days (Friday, November 8 – Sunday, November 17), the event is an extravaganza of long lunches, cruises, wine tasting sessions and masterclasses. You can count on more than 50 events featuring more than 50 world-class talents. Coming from the UK, Michelin-starred chef Marco Pierre White will host a one-off dinner at Swan Valley's Sittella Winery. You'll also find him at the new Gourmet Feast in the Valley, which will run from Saturday, November 9 and Sunday, November 10. The weekend-long shindig of food, music and workshops will also host Jess Pryles (author of Hardcore Carnivore), Christian Stevenson (aka DJ BBQ), DJ-chef Yo Levins and Aussie band The Rubens playing live. Plus, you can expect artisan producers and wineries, hands-on activities, masterclasses and a lineup of Perth's best food trucks, too. Head down to Margaret River and you can also hit up a barbecue on the beach with the famed Momofuku empire's executive chef David Chang or a twilight vegetarian degustation at the idyllic Margaret River's Secret Garden, hosted by WA chef George Cooper (Tiller Dining) and Amanda Cohen from New York's Dirt Candy. You can also join chef Mark Best (ex-Marque) on a luxury catamaran to cruise around Geographe Bay, Margaret River, from Friday, November 15–Sunday, November 17. With plenty of food, wine and culinary stars hitting our western coast, a trip over could be a hot option before diving into summer. There's plenty more food and wine frivolity in store, which you can check out in the festival's massive programme over here. Tickets to Western Australia Gourmet Escape presented by Westpac go on sale at 9am on Thursday, July 18. To see our picks of the best events to check out at this epic food and wine festival, head here. UPDATE: MONDAY, AUGUST 5 – Western Australia Gourmet Escape is hosting a one-off event in Sydney. On Tuesday, August 13, you can join WA chef Luke Mangan, Gage Roads Brewing Co's chief brewer Aaron Heary and Annabelle Coppin from the Pilbara's Outback Beef, plus Sydney-based wine expert Mike Bennie for a four-course dinner at The Hilton Hotel Sydney's restaurant, Glass Brasserie. Kicking off at 6pm, the event is a celebration of Western Australian produce, with tickets costing $123 per person. Tickets include four courses matched with Gage Roads brews or with optional pairings of Margaret River wines available as an alternative. For tickets, head here.
Part of feeling cosy is dressing the part, and Bungalow Trading Co. has got you covered in that department. The shop's selection of cable knit jumpers, coatigans (yes, they're a thing), flowing skirts and snuggly scarves are perfect for preparing for winter. A visit to the Brighton store alone is enough to make you feel more sleek, but if you're looking to take things to the next level, you can organise an interior update of your home with owner and designer Anna Chisholm.
Freak flags are flying at full mast in Exposed, the new documentary from celebrated underground filmmaker Beth B. that pulls back the curtains on the weird and wonderful world of the New York alternative burlesque scene. "There’s freedom in vulgarity," says one of the film's subjects, Bunny Love. This remark is made shortly before taking to the stage dressed as a Southern Belle, smearing lipstick all over her genitals and wrapping herself in tape. Love’s compatriots include Rose Wood, a transgender performer whose act involves a stripping Rabbi, and Dirty Martini, who begins her show Patriot Act dressed as a star-spangled Lady Justice, only to end it naked, pulling a chain of one dollar bills out of her anus, all to the tunes of Dolly Parton. Like most of this director’s work, it’s safe to say that Exposed is not for the prudish or faint of heart (although Love and co. might tell you that’s exactly who would benefit most from watching it). The film celebrates non-conformists of all shapes, sizes and sexual identities; human beings whose performances push the boundaries of normality in an attempt to highlight what a ridiculous and outdated concept ‘normal’ really is. In an insecure world dominated by images of perfection in our media and advertising, the self-confidence these performers exhibit is remarkable. Of course, while there are some pretty eye-opening acts on display, what is most revealing about Exposed are the scenes of its subjects when they’re not performing. Articulate, passionate and politically motivated, each member of this merry band of outsiders is as compelling offstage as they are on. They have no shortage of things to say about body image and self-respect. The project does run out of steam a little towards the end, with Beth B. tending to hammer home the same points over and over, so much so that even at a scant 77 minutes, the film feels a tad on the long side. Still, the charisma of these subjects ultimately sees the film through. These individuals aren't just outrageously entertaining, they’re immensely likeable as well.
Prepare yourself for a night of whimsy, wonder and a weird, scaly, hermaphroditic fish man named Old Gregg. Noel Fielding, the androgynous co-lead of the surreal British comedy series The Mighty Boosh, is bringing his live show, An Evening with Noel Fielding, to a capital city near you. Combining stand-up comedy with animation and original music, as well as special appearances from some of Fielding's most beloved and baffling characters, including Fantasy Man and The Moon, the April 2015 show marks Fielding's first time in Australia since his sold-out tour in 2012. This time he'll also be joined by his younger brother Michael, best known for his recurring role on The Mighty Boosh as Naboo the Enigma, an alien shaman from the planet Xooberon. Fielding previously played the part of Richmond in The IT Crowd, appeared as a team captain on the music comedy panel show Never Mind the Buzzcocks, and helped create the comedy sketch program Noel Fielding's Luxury Comedy. He is also a member of the band Loose Tapestries along with Kasabian guitarist Sergio Pizzorno, whose music will be featured in the tour. Tickets to An Evening with Noel Fielding go on sale at 9am on Wednesday, December 17. The show begins in Auckland on Monday, April 6, following by Wellington on Friday, April 10, and Christchurch on Sunday April 12. Fielding then crosses the ditch, first to Melbourne on Wednesday April 15, then Adelaide on Friday April 17 and Canberra on Monday April 20. He'll be at the State Theatre in Sydney on Wednesday April 22, before finishing up with Perth on Friday April 24 and Brisbane on Monday April 27.
One of the best things about Melbourne's bar scene is that all that talent and booze wisdom gets shared around. We're serious about collaborations and we love seeing our favourite bartenders shaking up a storm in some exciting bar takeover scenario. So you'd best clear your calendar to ensure an appearance at Lulie's upcoming Lock-In series. The beloved neighbourhood bar recently swapped its Abbotsford home for new, permanent digs across the street, stumbling upon a former bank vault hidden in back. The Lulie crew transformed the tiny space into a cosy cocktail bar, kitted out with a 12-seater booth. Now, they're set to give it a proper christening, with a series of bar takeovers starring staff from some of Melbourne's best-loved boozers. On Friday evenings from 6pm until July 6, the bar plays host to crews from The Rum Diary, The Elysian and Jungle Boy. They'll be serving up a special range of liquid treats, to enjoy alongside tunes from the night's resident DJs.
Fresh seafood. Wood-fired pizza. Birra Moretti on tap. Pizza E Birra has all the hallmarks of a classic Italian trattoria — one you'd find along the Amalfi Coast, perhaps. And a quick renovation and change of ownership in early 2017 breathed new life into the long-standing St Kilda venue. One of the restaurant's new additions is a lineup of weekly specials, which are great for both your stomach and your wallet. There's Tuesday's pasta and wine for $20 and Wednesdays two-for-one cocktails, but the jewel in the crown is on Thursdays: bottomless pizza for only $20. All that charred dough and stretchy cheese got you feeling a little bit parched? You can tack on unlimited beer, too, for an extra $15.
Next month's a big one for beloved Abbotsford bar Lulie Tavern, as it gears up to celebrate both its fourth birthday and its first year in its current Johnston Street digs. And of course, no one's letting these occasions pass on by without a fittingly huge rock 'n' roll party, in true Lulie fashion. In fact, this year's birthday celebrations will be kicking on for a whole five days, starting on Wednesday, March 13. The Day 1 fun begins with $15 jugs and $15 pizzas from Rita's Cafeteria next door, while Thursday, March 14 promises a riotous birthday-themed trivia night. Lulie's new house band will be setting the tone on March 15, but you'll want to save some energy for the main event, on Saturday, March 16. Kicking off at noon, expect a rollicking, neighbourhood affair, complete with free pizza slices, merch giveaways and stacks of drink specials, with the unveiling of a new special-edition birthday cocktail. Resident DJs will be gracing the decks along with a surprise guest act, and we'll find out who's been crowned Mayor of Lulie 2019. If you fancy yourself taking out the revered title, register over at Lulie's website and you'll be in with a shot at winning your very own tavern party. Images: Jake Roden.
Losing yourself in a giant Pac-Man-inspired maze may or may not be your idea of the ultimate reality break, but it is something you'll actually be able to pencil into the diary when The Pac-Maze hits Melbourne, Sydney and Brisbane next year. Yep, someone has created a human-size version of the classic 80s arcade game that had you losing hours navigating tiny yellow Pac-Dots and avoiding ghosts. As with most immersive, themed experiences happening across Australia these days, this one's popping up in secret locations on unknown dates. At this stage, all we know is that it's only popping up for one day in each city — and that you can sign up for notifications and first dibs on pre-release tickets via the website. The Pac-Maze comes courtesy of the same masters of nostalgia that brought you the adults-only Lego bar, The Brick Bar, which means you can expect a bunch of interactive fun that'll delight both your adult self and your inner kid. Organisers are promising an immersive escape room-style experience, held within a 1.5-kilometre, LED-lit maze, with the chance to score prizes if you're quick enough to elude those multi-coloured ghosts (aka Blinky, Pinky, Inky and Clyde). You can play solo or in teams of up to ten, though there are only 500 tickets in total up for grabs in each city. To stay in the loop and snag pre-release tickets, visit The Pac-Maze website.
Andy Bull is on one big ol' ride. The Sydney-based singer/songwriter has been unfathomably busy over the past year, juggling tour dates and life commitments while penning and producing his second album, Sea Of Approval. Just released on July 11, the 29-year-old's new record is a brilliant blend of insightful lyricism and exquisite electro pop. Bull's unique vocals and his knack for catchy hooks have caught the ears of listeners Australia-wide. Bull's latest three singles have notched up hours of radio play; you've definitely heard his voice on the airwaves. 'Talk Too Much', 'Keep On Running' and 'Baby I Am Nobody Now' have helped build anticipation for his second LP, which was almost entirely written and self-produced by Bull. We spoke to the Sydneysider not long after the announcement of his national tour in support of Sea Of Approval, starting September. An insightful young pop virtuoso with a unique take on the creative process, Bull took us through his penchant for DIY, staying sane in the business and dealing with second album demands. You've been unbelievably busy this year, how has 2014 run so far? I worked on the album over the last 12 months and I was busy, like some sort of insect in its hole, which was intense and strangely removed. Now that it is done, it's busy in this really external way; promoting, talking, playing and emerging back into the world sort of thing. You've just put out your second album, Sea of Approval, how long has it been in the works? Although it's been four years since I've put something out, this album was really done in the last 12 months. It was a pretty intensive period. There were ideas that were a bit older that had been hanging around, but the earnest work was pretty compacted. When you started piecing together the songs, was there any overall stylistic plan that you were working towards? Before I had songs, I had a vague idea of mood and sentiment. I had a sense of what I wanted, what I wanted it to feel like. It's a really hard thing to articulate until you start writing and recording and trying to materialise it. You have a sense of it all, but you don't really know if you can do what you are feeling and you don't really know how you will do it. The songs kind of came out of that initial mood and vision, but I didn't necessarily set out to do a full album. It began as a couple of tracks to see how they would go, to see if I could produce them myself and if anyone would care. It went well initially and then there was an expectation to do an album, so I got to work on it. At what point did you hit your groove? When did you know these songs would make a good second album? To be frank, it was very hard to get a groove going for a while. I did everything myself — I was being songwriter, lyricist, musician, producer, technician and rough mixer. I was doing all of those things constantly and I was trying to find solutions to creative problems and I didn't know where to locate the solutions. I got on a roll intermittently, but I wasn't cruising for 12 months. I generated so many ideas and about 30 percent clicked. You have a good day and on that day you will be more productive than the past two weeks. It's about slow builds; one day something will click. Did you do anything differently this time around? I wanted to take a hard look at myself. What you realise is when you step into a room you see that you aren't really on your own, because you have brought with you ten years of habits, values and aesthetics that you have inherited from other people. You've always got tonnes of baggage. Being alone and being willing to change your process, work hard and work against your old habits really makes a difference. The biggest change was an internal change where I didn't want to do what I had done before; I wanted to dig a little deeper and make music that matched my internal world in a more compelling way, using sounds and lyrics that told a vivid story and that the sounds would feel more personal, less traditional and more human. I wanted a change in tone, a different intent — not just to make things that worked and was pretty, but something that was useful to me. https://youtube.com/watch?v=JSGUxRWR_r8 Is it more nerve-wracking for you that this album is focused entirely on you and what you can create alone? Not nerve-wracking in the way you might think or that I might have expected. I am trying to, in my adult life, develop values and standards that are mine regardless of the expectations of other people. While I am sensitive to the reactions of other people, what I realise is that what I do has no potential value unless I am going to adhere to standards that are personal to me. It's a weird paradox; if you're not willing to abide by what you have done it might not have value in the outside world. In a way it's not nerve-wracking because I stand by what I have done, and although it's not perfect, it's a result of genuine questions and intent. When people judge it or decide that they like it or don't like it, that's fine because it is part of the process. It's not the end point or the beginning point, it's just part of the 'biz'. You've had three songs from the album do very well already, was that always part of the plan – to slowly trickle the songs to gauge a reaction? It was mostly because I didn't have an album finished. In the beginning I didn't know if I wanted to do an album or anything. I put a song out that I quite liked, 'Keep On Running', and it did quite well and people wanted another one. The next one I finished was 'Baby I Am Nobody Now' and then 'Talk Too Much' — it was really all on the go. Maybe it was the idea, but it also gives you a lot of pressure. There is no way to do this stuff without pressure. Once you put out a single, people expect another one. When you put out another one, people expect a record. I was constantly working to finish a record and to make it a good one, not a rushed one. You have to find a way to work comfortably, to have a buffer. If you are more focused on meeting a deadline then it narrows your options prematurely. If you are trimming before you have time to play, then sometimes your ideas don't come to fruition. You've mentioned how important it is "to stay sane and keep your integrity" when creating new work — how do you do that? How does that statement hold now that your album is out there? This is the key question in any process. Staying sane is basically about being gentle; having a self awareness and integrity means choosing what you are going to put your attention on and how you are going to interpret the events you are experiencing. To me, that's what sanity and integrity are — being able to analyse but not judge, being able to experience emotion without losing yourself to it, that sort of thing. How do you do that? It's difficult, but it's key. You've got to go slowly, appreciate that what you are doing is a long difficult process. You take a step forward and two steps back, you have to have a level of gentle acceptance if you want to stay sane in this environment. Keeping your integrity or authenticity is almost the same thing; if you can keep a calmness about yourself it allows you to choose what you are going to focus on and stay a step ahead. It takes constant maintenance to keep control of your attention and focus. Humility, patience and all the stuff that gets a bad wrap is important; we love the stories of creativeness being a huge, violent mess. That is a part of it but only a small part of it. I didn't necessarily do it well along the way, but the songs that I finished are the songs where I managed to find that headspace. If you gave your album to someone to listen to for the first time, what would you hope they respond to or take away from it? It's hard to say. Now that it has been given to people, it is amazing how many different responses there have been. The most you can hope for is that it would be of some use to people. You hope that it makes them feel ok about where they are at. In music you try to handle the ambiguities of life, the hope, the despair, all of the things because that is what life is. The best thing that music can do is even out the kinks in life. If you can even people out, that would be good. Sea Of Approval is out now through Island Records. Andy Bull National Tour Dates: Sep 7 — Spiegeltent at Brisbane Festival, Brisbane Sep 13 —The Metro, Sydney Sep 27 — Corner Hotel (SOLD OUT), Melbourne Sep 28 — Corner Hotel, Melbourne
Melbourne theatre, musical and fairytale fans, one of your wishes is about to come true — and yes, it involves a fairy godmother. Finally coming to Australia in 2022 after the pandemic delayed its planned 2021 run, Rodgers and Hammerstein's Broadway musical version of Cinderella is heading our way. Get ready for glass slippers and pumpkin carriages to take over the town, with the show dancing its way into the Regent Theatre from Friday, May 20. First premiering in New York in 2013, this version of the adored fairy tale features music by Richard Rodgers and lyrics by Oscar Hammerstein II, a couple of the best-known names in musical theatre history. The pair actually wrote their songs for a 1957 television production, which starred a pre-Mary Poppins and The Sound of Music Julie Andrews. (If you've seen the 1997 TV movie with Brandy and Whitney Houston — which remade that original small-screen flick — then you've already seen a version based on Rodgers and Hammerstein's original efforts.) Now, the Broadway production is making the jump Down Under. Don't expect the exact same story you're used to, though — as you read as a kid, and saw in Disney's classic animated film and its live-action remake. Here, Cinderella is a contemporary figure, but living in a fairytale setting. While she's still transformed from a chambermaid into a princess, the tale has been given a firmly modern spin. Shubshri Kandiah (Aladdin, Fangirls) will play Ella, Ainsley Melham (Merrily We Roll Along, Aladdin) has been cast Prince Topher and Silvie Paladino (Mamma Mia!, Les Misérables) will sparkle as Marie, the Fairy Godmother. Also set to feature in the Australian production: Tina Bursill (Doctor Doctor, Wentworth) as Madame, Ella's stepmother, as well as Todd McKenney (The Boy From Oz, Shrek) as Sebastian, the Lord Chancellor. The cast will be working with a production penned by playwright Douglas Carter Beane (Xanadu, Sister Act) based on Hammerstein's work — which was, of course, adapted from the fairy tale about a young woman dreaming of a better life. The Broadway production was nominated for eight Tony Awards and won one, for Best Costume Design. In the US, Carly Rae Jepsen played Ella for a stint, while The Nanny's Fran Drescher also took on the role of Madame, Ella's stepmother, for a period. Top image: Original Broadway production of Cinderella by Carol Rosegg.
If you A) live east of the city, B) love a good glass of vino and C) have creative flair here's the news for you. On Saturday, October 29, Frida's Sip n' Paint is celebrating the opening of its brand-new Ringwood North studio. Starting with a red-carpet welcome, you'll meet your host, bust out the BYO drinks and nibbles and get settled in for a stand-out painting experience. Painting is a beautiful thing, but not all of us have the confidence to create art with no assistance. Classes can be dull. Some of us prefer to learn by doing — and maybe have a cheeky bevvy while doing so. Don't fret, because that's what Frida's is all about. A memorable experience that's all about fun art, not fine art. Your talented host will take the group through a featured artwork, brush by brush, with no painters left behind. After 2.5 hours well spent, you will be the creator of a bona fide masterpiece to take home. There is no experience required for the classes, and you are in the hands of skilled instructors, so you might even uncover a hidden talent. To get involved, you can either book tickets to the grand weekend opening or follow these steps to go in the running to win your way into an exclusive VIP night. Frida's Sip n' Paint Ringwood opens its doors on Saturday, October 29. You can book a seat in one of two opening sessions, running 2–4.30pm or 6.30–9.30pm. Tickets and more information can be found on the website.
Have you ever promised yourself an ice-cold beer at the pub as motivation to workout? Well, the minds behind The Beer Run are on the same wavelength. They are quite literally combining brews with a five-kilometre fun run that stops at five Melbourne breweries along the way. The run will kick off at noon on Sunday, February, making its way around Richmond, Abbotsford and Collingwood, going between Mountain Goat, Moon Dog, The Mill, The Craft & Co., and Fixation Brewery . Punters will enjoy a beer at each location before running on to the next, with the whole event expected to take around two to three hours. The $55 ticket price includes the five brews, a bottle opener medal and a numbered bib for the run. Tickets are on sale now — and given that the last Melbourne event sold rather quickly, you'd be best to get in quick.
For plenty of Aussies, this long weekend will be all about collecting sleep-ins, hot cross buns and chocolate bunnies. But one Sydney artist is offering a different kind of Easter egg hunt, swapping the foil-wrapped choccy for some interactive street art and a solid dose of political satire. In the wake of the recent stoush between Senator Fraser Anning and our now famous Will 'Egg Boy' Connolly, prolific street artist and muralist Scott Marsh has devised a multi-city easter egg art hunt. Hidden at various locations across Sydney, Brisbane and Melbourne this weekend will be 12 'bunny' artworks — that is, Marsh's own design of Anning, wearing a set of rabbit ears with the word 'egg' splashed across his forehead. View this post on Instagram #Eggstravaganza - Easter Egg Hunt 🥚🐰😄 Over the course of the Easter long weekend (Friday April 19th to Sunday April 21st) I will be putting on an 'Easter Egg Hunt', hiding a dozen bunnies and eggs across 3 cities; Brisbane, Melbourne & Sydney. If you are the first person to locate a bunny and 'feed' him some eggs, you will win one of a dozen limited edition Easter Bunny fine art prints. Follow my Instagram for the location of each Bunny throughout Friday, Saturday and Sunday. How to win: - Find an Easter Bunny - Be the first to DM me a video of you feeding him one of his Easter eggs 🎁 There is a Golden Egg bonus prize. 2 eggs contain gold paint - if you 'feed' the bunny a Golden Egg, you'll be able to choose any original artwork from my web store ( www.scottmarsh.com.au ), valued up to $4000. The Easter Bunny loves his eggs! Feel free to get into the spirit of Easter and BYO eggs to feed the bunnies. 🥚🥚 1 bonus print will go to the most creative egg video. Use hashtags #eggstravaganza #scottmarsh Happy hunting! ✌🏼😁 #feedhim #easteregghunt #easterbunny #freeshit #auspol *VISIT LINK IN BIO FOR MORE DETAILS* A post shared by Scott Marsh (@scottie.marsh) on Apr 15, 2019 at 11:01pm PDT The first punter to locate each Senator Anning 'bunny' and video themselves 'feeding' it an egg from the accompanying basket will score one of Marsh's limited edition Easter Bunny fine art prints, created especially for the hunt. The artist will be dropping location clues via his Instagram on Friday, Saturday and Sunday, and keeping an eye on his DMs to catch the prize-winning videos as they come through. Get ready for a smashing weekend and a few egg-covered walls around town. Whoever finds the two special gold paint-filled eggs among the bunch will take out a Golden Egg bonus prize, winning their choice of any of Marsh's original prints, up to the value of $4000. The street artist is also encouraging BYO egg action and extra creative videos. View this post on Instagram Im giving away thousands of dollars worth of art this weekend 👌🏼🥚 #eggstravaganza Easter egg hunt. Visit link in my bio for all the details #easter #easteregg #auspol A post shared by Scott Marsh (@scottie.marsh) on Apr 16, 2019 at 2:52pm PDT Marsh's Sydney-based street art includes well-known portraits of George Michael, Mike Baird, George Pell, Bob Hawke and stacks more. He's also the mind behind the city's Egg Boy mural, painted outside the Lord Gladstone Hotel to celebrate the 17-year-old who filmed himself smashing an egg onto Anning's head at a press conference on March 16. Scott Marsh will drop hints for the 'egg hunt' this Friday, April 19, Saturday, April 20 and Sunday, April 21. Keep a close eye on his Instagram for details.
National Young Writers' Festival (NYWF) is the four-day writerly celebration that takes over the imaginations of young writers around the country. Directors Alexandra Neill, Jessica Alice and Lex Hirst's colourful program features familiar names like Benjamin Law, Yassmin Abdel-Magied, Clementine Ford, Lawrence Leung, Genevieve Fricker, Steph Harmon, James Colley, Patrick Lenton and more (including some other names you might not recognise now but definitely will in the next five years). As well as more serious talks on slacktivism, mandatory detention and identity, NYWF won't be holding back on the life's practical truths, informing young writers about how to get paid as a writer, how to become an astronaut, how to make a sumptuously good sandwich and how to keep a diary and still be cool. Like any good writers' festival, Breakfast Book Club will start each day with impassioned discussion on life changing books, ones that make you plain angry and ones that are so good you turn into a nocturnal creature. Over 60 panels, discussions, workshops, performances and launches will carry you through deep into the evening when you'll get to sit back and relax to late night romance, crime and dystopian readings. Did we mention the whole festival is free? Yep, all of it. Blowing out 17 candles this year, NYWF is growing bigger and wiser by the year. But a festival is never too old for an intergalactic-themed ball and a spelling bee-cross-Hunger Games-style battle of the brains, right? NYWF runs from 2-5 October. Check out the full program here. Image: Alan Weedon.
If Sydney Road's propensity for crashes and cycling incidents gives you the heebie-jeebies, here's some very welcome news: locals now have a big say in its future, with VicRoads seeking community feedback on its latest designs for the troublesome stretch. The well-known four-kilometre corridor, which runs from Brunswick's Park Street up to Bell Street in Coburg, is currently shared by trams, cars, pedestrians and cyclists. And it saw a whopping 223 casualty crashes in the five years preceding December 2018 alone. The troubles spurred the creation of the Sydney Road Improvement Project, which has seen VicRoads team up with Moreland City Council, the Department of Transport, Bicycle Network Victoria, Yarra Trams, RACV, local traders and community groups, to hatch a plan to redesign and improve the high-use road. The resulting five designs for Sydney Road's overhaul went up for public discussion in July. Submission have now closed and a report is expected to be released in September. Proposed improvements across the five options include adding raised tram stops and removing surrounding parking, implementing a parking ban during peak periods to make way for a wider bike lane, and creating a dedicated tram lane for use during peak times. Option 3 suggests removing parking completely, in favour of a protected bike lane, extended footpaths and extra space for trading and trees. OPTION 1A OPTION 1B OPTION 2 OPTION 3 OPTION 4 The public feedback period for the Sydney Road Improvement Project has now finished. The committee will now review the 7400 responses and release a report in September. We'll keep you updated on its recommendations. Updated: July 30, 2019. Top image: WikiCommons
Opposites attracting is a basic romantic-comedy staple. When it comes to folks from different worlds falling head over heels even though they're told they should stay apart, Romeo and Juliet and West Side Story have long been singing that tune, too. So, focusing two different elements — the fiery Ember (voiced by Leah Lewis, Nancy Drew) and go-with-the-flow Wade (Mamoudou Athie, Archive 81) — who cross paths and enjoy sparks flying, Pixar's upcoming Elemental obviously follows in some hefty footsteps. "Elements cannot mix," Ember is told sternly in the animated flick's just-dropped full trailer, which arrives after a first sneak peek back in late 2022. From there, of course Ember and Wade keep floating and sizzling in each other's orbit, all while living their daily lives as Captain Planet-like characters in the gorgeously rendered world that is Element City. The setup is classic Pixar, however, because the Disney-owned animation studio knows what it likes and what it does well — usually to heartfelt and delightful effect. So, add this to the pile of movies about whether toys, fish, monsters, feelings and more have feelings. The question this time: what if the elements, aka fire, water, land and air, had emotions? The film dubs its characters fire-, water-, land- and air-residents, but getting big Inside Out and Soul vibes comes with the territory. That said, the new full trailer plays up the romance angle, including walk-and-talks that could've jumped straight out of the Before franchise. So far, it all looks as adorable as you'd expect, too, even if you've ever just seen one frame of a Pixar picture. Big on pastel hues, that animation springs from director Peter Sohn (The Good Dinosaur), and hits cinemas on June 15. Literally a story of water and fire trying to get along — maybe Pixar is staffed by George RR Martin fans? — Elemental also features Ronnie del Carmen (Soul) as Ember's dad Bernie, Shila Ommi (Tehran) as her mother Cinder, Wendi McLendon-Covey (The Goldbergs) as Wade's boss Gale, Catherine O'Hara (Schitt's Creek) as his mum Brook, first-timer Mason Wertheimer as Ember's neighbour Clod and Joe Pera (Bob's Burgers) as city bureaucrat Fern. And, when it hits the big screen, it'll come with a Pixar short that links back to 2009's Up. In Carl's Date, it's time to catch up with Carl Fredricksen (the late Ed Asner) and his talking dog Dug (writer/director Bob Peterson) after the former reluctantly agrees to go on a date, but is out of practice and needs the latter's help. Check out the first trailer for Elemental below: Elemental releases in cinemas on June 15, 2023. Images: © 2023 Disney/Pixar. All Rights Reserved.
The annually anticipated design series that is MPavilion has returned to Queen Victoria Gardens just in time for summer. Each year, a new temporary structure is erected and, in 2020, it's a minimalist design by celebrated architect Glenn Murcutt AO. Open through March 22, the space acts as the premier location for free arts and culture events in Melbourne. As part of this year's massive program, members of creative arts program Signal will take the stage for a dance battle on Friday, January 17 from 6–9pm. It will span dance forms including hip hop, break, vogue, waacking and popping — showcasing the diversity of Melbourne's subcultural dance-forms. The kiosk will be open for nibbles and drinks to enjoy alongside this energetic night, too. And, as always, the event is completely free.
When Jemaine Clement and Taika Waititi invited the world to experience the vampire sharehouse mockumentary genre, one of the best comedies of the decade wasn't the only result. Every film seems to spawn sequels, remakes, spinoffs and the like these days, but no one's complaining about spending more time in the What We Do in the Shadows universe. A follow-up, We're Wolves, is in the works, focusing on the undead bloodsuckers' Rhys Darby-led lycanthrope enemies. And television spinoff Wellington Paranormal, following the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural, debuted its first season last year and has a second season in the works. Add a US TV remake of the original flick to the pile as well, but withhold any "do we really need a remake?" judgement. First revealed by Waititi in 2017, given a pilot order earlier in 2018 and now set to air a ten-episode first season in the US this March, the American version has been written by Clement and directed by Waititi, The Hollywood Reporter notes — and sees a documentary crew follow three vampire flatmates living in New York City, according to Variety. The series stars Toast of London's Matt Berry, Four Lions' Kayvan Novak, British stand-up comedian Natasia Demetriou and The Magicians' Harvey Guillen. It's unknown whether Clement and Waititi will reprise their on-screen roles in a guest capacity, but Australian viewers will get to see the series — according to ads aired frequently during Foxtel's Golden Globes broadcast this week, the show is headed to the pay TV network's Fox Showcase channel at a yet-to-be-revealed date. Two very brief teasers were released late in 2018, and another has just dropped — and while it's still very short, it does give viewers a look at the whole main gang: https://twitter.com/theshadowsfx/status/1083072161051541504 With What We Do in the Shadows actually starting its life as a short back in 2005, the concept of flatting members of the undead arguing about bloody dishes has taken quite the journey since those early beginnings. If any idea was going to come back in multiple guises, it's this one. Of course, so have Clement and Waititi. Clement's latest Flight of the Conchords TV special aired late last year, while Waititi two post-Thor: Ragnarok flicks in the works — a stop-motion animated effort called Bubbles, about Michael Jackson's chimp, and another by the name of Jojo Rabbit, set during World War II and starring Scarlett Johansson and Sam Rockwell. Via The Hollywood Reporter / Variety. Image: Kane Skennar.
You'll find big things in small packages at the St Kilda Film Festival this year. That's always true at Australia's oldest short film festival, which has been celebrating bite-sized filmmaking for 39 years now. Shorts couldn't be more crucial to the cinematic cycle of life — they're where directors, writers, actors and more cut their teeth; they make excellent calling cards and stepping stones; and telling a tale in a concise way is a pivotal talent that isn't always put into action in full-length features. Showcasing all of the above is on the marquee from Thursday, June 1–Monday, June 12, at an event that's screened works by Adam Elliot (Mary and Max), Matthew Saville (Noise), Kriv Stenders (Red Dog), Cate Shortland (Black Widow) and Jane Campion (The Power of the Dog) in the past. In 2023, the festival spans 12 huge days of screenings — heroing short flicks of all genres — plus talks, panels, special events and workshops in the oceanside locale. [caption id="attachment_572561" align="alignnone" width="1280"] Jim Lee[/caption] It all kicks off with a spectacular opening night at the Palais Theatre, then also hits up The Astor Theatre, JMC Academy's Park Street campus, The Backlot Studios, Victorian Pride Centre, The Espy, South Melbourne Market and other venues. As always, the backbone of the festival is Australia's top short films, complete with filmmakers from every corner of the country competing for prizes. Also on the bill at ticketed screenings: programs dedicated to queer, student, documentary, family-friendly animation, Aussie animation, Australian comedy, horror, sci-fi and fantasy, crime, Aussie drama, experimental, female-directed and Victorian-made shorts.
UPDATE, September 17, 2020: Crazy Rich Asians is available to stream via Google Play, YouTube Movies and iTunes. It's a throwaway joke in a film filled with smarter, funnier dialogue. Still, when Crazy Rich Asians compares its own plot to The Bachelor, the line sticks. The movie doesn't involve women competing for a man on television, thankfully. There's no cheesy host talking the audience through proceedings either, and the flick, while fictional, doesn't feel as fake and contrived as reality TV. But the big-screen adaptation of Kevin Kwan's best-selling novel does willingly, gleefully champion a world of indulgence — a world where romance has to shine twice as bright against the glittering trappings of wealth. And, just like The Bachelor, the film remains both fluffy and breezy and over-the-top and melodramatic at the same time. Of course, there's more than a little winking and nodding evident when Crazy Rich Asians connects its opulent, soap opera-like theatrics to a popular televised dating contest. Director John M. Chu (Now You See Me 2) and his screenwriters Peter Chiarelli (The Proposal) and Adele Lim (TV's Dynasty) know exactly what they're doing, and they're not backing away from it. Combining a wealth of elements within its light and luxe confines, Crazy Rich Asians is many things, including extravagant, irreverent and entertaining. It's a rom-com about love and money, a comedy about class and culture clashes, and a modern-day fairytale about an ordinary girl falling for Singapore's equivalent of royalty — and, wholly in the service of its story, it refuses to dial down any of its excess. Indeed, there's a straightforward reason that the movie bathes in ultra-rich glitz and glamour to an almost ostentatious degree: it's giving audiences the same experience as the film's protagonist. One day, Rachel Chu (Constance Wu) is a New York economics professor from a working-class, single-parent household, and simply thinking about finally meeting her boyfriend Nick's (Henry Golding) parents. The next, she's flying first class to Asia, finding out that her beloved is well and truly loaded, and discovering the kind of life such a vast fortune can buy. Like falling down a rabbit hole, she's in unfamiliar, fantastical territory. Expecting to attend a low-key family dinner, she finds herself at a decadent blowout filled with folks wearing evening gowns. Heading to a bachelorette party for one of Nick's pals, she's helicoptered to a private resort. Even when she's just hanging out with her college buddy Peik Lin (Awkwafina), she's sitting in a gold-adorned mansion. What follows is a whirlwind introduction to the filthily, ridiculously rich, and it has consequences within the narrative. Rachel is understandably overwhelmed, Nick's mother Eleanor (Michelle Yeoh) is vocal about her disapproval, and Nick is caught in the middle. Accordingly, as Crazy Rich Asians tracks the chaos that ensues — and the battle between romance, finances and family — the film is devoted to plunging viewers into the lavish lifestyle at its centre in order to align them with its protagonist. Every filmmaking choice ramps up the indulgence, be it in the onslaught of colour, the lingering shots of sumptuous parties and homes, or the upbeat editing. Chu also uses his aesthetics to heighten the story's rampant fantasy, linking the movie not just with The Bachelor, but with fairytales like Cinderella. You can't make a film called Crazy Rich Asians without stressing every part of the title, after all. That doesn't just encompass the mania and the wealth, but also the pictures' dedication to representation. Among its many guises, the movie not only presents a rare and refreshing celebration of Asian culture in general, but puts stellar Asian talent front and centre on the cinema screen. Wu is spot-on as the relatable heroine, Yeoh is at her icy best, Ken Jeong and Awkwafina reliably steal scenes, and even Australian TV favourite Ronnie Chieng makes a brief appearance. The very existence of this cast really can't be downplayed — you have to go back to 1993's The Joy Luck Club and 2001's Memoirs of a Geisha to find other Hollywood films starring so many actors of Asian descent. Blend all of the above, and a few things happen. Much of Crazy Rich Asians glimmers with emotion, exuberance and cultural specificity, engagingly and enjoyably so. That said, some parts — its largely by-the-numbers narrative, and the fact that it presents rather than probes its excess-laden surroundings — also prove a little too neat and easy. The end result is a shiny piece of big-screen jewellery filled with gems, and while not every aspect sparkles as much as the next, the overall package still looks and works a treat. Or, to use a different analogy, the film is like the abundance of delicious-looking food that graces its frames: a huge, elaborate banquet that doesn't quite perfect every dish, but nonetheless satisfies the appetite — not to mention sating cravings for something with a bit more flavour than the usual fare. https://www.youtube.com/watch?v=14ZHRBfpeNg
A cafe, bar, film developing studio and gallery space all in one? Why not? Tucked away in Cuzens Place, Analogue Academy is a perfect spot to while away a morning in a creative and comfortable atmosphere. Drop off your film (it offers colour development daily and black and white once a week), and sit back with a cup of excellently brewed Malani coffee. Or, browse the collection of vintage cameras, old-school video games and vintage bicycles. If you're feeling inspired, you can also purchase film and a camera here, too, to create your next masterpiece. Images: Julia Sansone
Every Wednesday, Palace Cinemas is giving movie-loving students in Melbourne an extra present. It's not just the gift of great flicks — that is, the cinema chain's daily bread and butter — but the gift of cheap great flicks. Head to one of the company's Melbourne locations — Pentridge Cinema, Palace Brighton Bay, Palace Westgarth, Palace Balwyn, Palace Dendy Brighton, Palace Como and The Kino — each Wednesday, and any film at any time will only cost you $9. Want to see new blockbusters? Arthouse fare? Everything in-between? It'll cost you $9. Booking in advance is highly recommended, given how much everyone loves going to the flicks for little more than the price of a cup of coffee. If you do nab your tickets online, you will have to add a transaction fee to the cost. You will need to show your student ID to nab the bargain tickets — and the deal isn't valid at The Astor Theatre. Also, you can't score the discount on Platinum sessions, or for film festival screenings or special events. [caption id="attachment_792215" align="alignnone" width="1920"] Pentridge Cinema[/caption] Top image: Palace Pentridge.
