Before entering the exhibit, a timeline of Sue Ford’s life leads you to the door. Though this may seem a little formal for anyone else, you can't help but find it appropriate. The documentation of change over time was something that Ford devoted much thought too; it's a concern that's echoed in almost all her works. Divided into four rooms, this retrospective exhibition brings together an impressive collection of works that include photographs, digital prints, collages, films and archived work previously unseen by the public. The works are displayed thematically not chronologically, allowing viewers to marvel at the vast array of influences and significant events that marked the life of one of Australia’s most iconic female artists. For those that don't know, Sue Ford was a prominent photographer from the 1960s until her death in 2009. Her works focus on notions of personal identity, gender issues, social discourse, politics and Australia’s Indigenous history. In this NGV show we're spoilt for choice — the collection covers all these ideas. Art as a visual timeline is a prominent concept in the first room as Ford uses numerous portrait series to create narrative; from a 12-day documentation of a friend’s beard growth to the video installation Faces which affectionately documents 20 years of ageing in subjects' faces. The exhibit also features Ford’s surrealist experiments in photograms, video installations and collage. Collage and digital print appear to be her preferred medium from the 1990s onwards, and she uses these works to signify the colonisation of Australia. These works in particular are eerie and ghostlike as she cuts and pastes portraits of colonial Australians into her own work as well as stills of fuzzy television screens. Ford used photographic documentation not as an educational tool, but as a mediated landscape for experience. Rather than printing shots of significant events in Australian history as a political record, Ford blows them up, frames them and puts them on a wall. These works are asking us to reconsider what we know about Australian life. A must see for photography lovers, or those with a keen interest in our political, social and artistic history.
Need some inspiration to live a more sustainable lifestyle? You'll find plenty of it at Fed Square's RESET festival, which returns for another month of markets, film screenings, talks and art installations. From Sunday, September 1–Sunday, October 6, this celebration of planet-friendly living will feature a vegan market (September 7), a Zero Waste Festival (September 14) and a Big Toy Swap (October 2). The Plant Based Paradise vegan market will feature cruelty-free fashion, beauty products and home goods. There'll be plenty of food and coffee vendors slinging their wares as well, so visitors are encouraged to bring their reusable cups and containers. Stalls will also be offering reusable plates, cleaned onsite by the folks from Green My Plate. Expect to find panel discussions, installations and fun activations during the Zero Waste Festival, all designed to get you hooked on the idea of a waste-free future. You'll hear passionate zero-waste innovators chat tips, tricks and key topics, plus you can even join a guided tour of Fed Square's rooftop beehives. [caption id="attachment_970906" align="alignnone" width="2048"] The Slow Art Collective[/caption] There'll also be free outdoor film screenings from September 17–19, with each film celebrating and questioning society's relationship with the natural world. On Wednesday, October 2, towards the end of RESET, families can visit Fed Square to swap some of their lightly used toys, games and books with others — giving them another life. Other events throughout the festival include a two-day performance challenging the fast fashion industry (September 11 and 13) and an interactive art installation that the public will help create (September 23–October 6). Entry is free, but you can register online for certain events and talks. [caption id="attachment_866711" align="alignnone" width="1920"] Image: Liam Neal[/caption] Top Image: Damien Raggatt
Arden V Arden is typical of The Hayloft Project’s approach to making theatre; bold, inventive, and prone to adaptation. In the hands of this company, the little-known Elizabethan work Arden of Faversham finds a strangely compelling resonance in a modern retelling which fractures between updated language and original text. The story is fairly straightforward: an unhappy wife convinces her lover to help kill her husband. Involving other conspirators in their plan only makes things worse, with a series of bungled murders punctuating a work that comfortably straddles tragedy and farce. Writer and director Benedict Hardie manages to draw on the company’s signature style of heightened naturalism and stark design without relaxing into familiarity. However, it’s an approach that juggles a lot of balls in the air, and not all land smoothly. In particular, the care that’s taken to flesh out each character in a large ensemble cast slows the pace in the first act significantly, even if it allows for some great moments from figures that could otherwise become tangential, especially true for the characters played by Tom Dent and Paul Blenheim. But it’s these kinds of decisions which make Arden V Arden so enjoyable. In the final scene, for example, James Deeth carries out a final direct address to the audience: a choice that foregrounds the artifice and threatens to completely deflate any satisfying tension. However, it's also evidence of the production's unpredictability, a quality that elevates the show far above a stock standard Shakespearean performance. Whenever the plot’s plausibility looks set to buckle under the strain of translation from Elizabethan England to modern day Perth, it’s Emily Tomlins’ utter commitment as the wife of Arden that papers over any cracks — especially in the closing stages, where she has to sell her character’s headlong reversal from certainty into unstable remorse. It's the combination of these individual performances, the cohesion of a talented ensemble, and the effectiveness of an effortlessly cool design that cap off a production filled with rich surprises, and allows Arden's story of betrayal to ring true in 2013. Unfortunately, Arden V Arden is Hayloft’s final show here before Hardie relocates the company to Sydney, although they're sure to return on tour. The success of this last Melbourne premiere might be a bittersweet reminder of their importance to the city's independent theatre scene, but don’t miss a chance to say farewell. Image: Sarah Walker.
Street artist Rone has a well-documented knack for taking on unexpected spaces as canvases for his distinctive large-scale works. In 2017, he staged an immersive installation in an abandoned weatherboard house for The Omega Project, while last year saw him reimagine the deserted Art Deco Burnham Beeches mansion for sell-out installation Empire. Now, the celebrated artist returns to his hometown of Geelong to transform Geelong Gallery into an immersive, experiential exhibition. Featuring the first comprehensive solo survey of Rone's long-running career, Rone in Geelong captures the artist's fascination with the concepts of beauty and decay. Visitors will be treated to a sprawling collection of street art, early stencil works and photographs from the many abandoned spaces he's reimagined as temporary art installations over the years. One of these past exhibitions will be reborn with a specially commissioned 3D recreation, while an exclusive new installation will see Rone overhaul the precinct's historic Douglass Gallery into a derelict space decked out with plenty of his signature painted murals. Exploring the inevitability of decay, he'll play on the room's grand architectural features with help from interior stylist and longtime collaborator Carly Spooner. A haunting soundtrack by Nick Batterham will bring the installation to life. Throughout the exhibition, you'll also catch plenty of references to Rone's youth and his own connection to the Geelong Gallery, from glimpses of portraits to pieces capturing the region's distinctive landscape. Initially set to take place in winter 2020, the exhibition has — thanks to the pandemic — been rescheduled for summer 2021. It's now set to run from Saturday, February 27 to Sunday, May 16 — and tickets are on sale now. [caption id="attachment_762250" align="alignnone" width="1920"] Rone, Powerhouse Geelong (2014). Photo by and copyright of Rone.[/caption] Geelong Gallery is open from 10am–7pm daily. Top image: Rone, 'I've seen fire and I've seen rain' (2016) from the Empty series, Geelong Gallery. Purchased with funds generously donated by Geelong Contemporary, 2019. Copyright Rone.
This Saturday, February 6, a moving sculpture will travel across the Melbourne CBD. And no, we're not talking about those guys who paint themselves silver. Conceived and assembled by London-based performance company Station House Opera with the assistance of hundreds of local volunteers, Dominoes consists of thousands upon thousands of oversized breezeblock dominoes all lined up in a row. And at 5pm on the dot, the first one will be knocked down. The subsequent chain reaction will travel along Swanston Street from Melbourne Town Hall to St Paul's Cathedral, before crossing the road and continuing down Flinders Lane and Degraves Street. After running beneath the Flinders Street Station underpass, it will then cross the Yarra via the pedestrian bridge, chart a course through Southbank Shopping Centre and Hamer Hall, before finishing up in front of the Arts Centre spire. In all it'll run two kilometres and is expected to take about 25 minutes to get from beginning to end.
Each year since 2014, Melbourne's Queen Victoria Gardens has scored an impressive new addition, all thanks to MPavilion. When the end of each year rolls around, a new, specially commissioned temporary structure pops up to host a summer-long festival of free events — with the pavilion itself designed by a top architect, and the accompanying community-focused cultural program covering talks, workshops, performances and installations that highlight design as well. In 2020, however, something different is happening. Yes, that's an easy way to sum up this strange and chaotic year in general; however, for MPavilion, it means that a new structure won't be commissioned. Instead, in a decision made in direct response to the COVID-19 pandemic, the event will activate the six pavilions from previous years rather than build something new. Accordingly, if you loved 2019's white lantern-like piece by Glenn Murcutt, you'll get to see it again. The same applies to 2018's floating geometric building from Spanish architect Carme Pinós, 2017's inside-outside contemporary take on the ancient amphitheatre by Rem Koolhaas and David Gianotten, and 2016's huge bamboo structure from Indian architect Bijoy Jain as well. And, Amanda Levete's forest-esque 2015 piece and Sean Godsell's 2014 creation will also be part of the fun, which'll be spread around different locations across the city. [caption id="attachment_772470" align="aligncenter" width="1920"] Rory Gardiner[/caption] Expect to find the six MPavilions around town from Thursday, November 12, 2020–Sunday, March 21, 2021, all as part of a program that'll contemplate sustainability and architectural reuse. The events lineup is being announced in stages, but it focuses on supporting emerging creatives and designers. Each month will highlight a different theme, too, with celebrating the power of community on the agenda in November, exploring both physical and virtual social spaces in December's spotlight, and preserving and propagating knowledge getting attention in January. February will highlight relationships of all kinds, while March will wrap things up with a month of temporal experimentation. Among the already-revealed highlights: a chat with British design critic and author Alice Rawsthorn about design in the time of COVID-19, livestreamed music from different spots around the city, weekly dance classes, morning yoga sessions and an online library curated by various guests. Chunky Move will also undertake a residency at MPavilion Monash, MPavilion Docklands will be transformed into an operating hair salon and London's Bombas & Parr will create an inflatable design work, called Happiness Now, that's meant to evoke that very emotion. Top images: Simon Terrill; Buckingham jelly by Ann Charlott Ommedal. Updated October 13.
Valerie Fong and Randy Dhamanhuri from Operator Venues (Operator25, Middletown, Makan, Operator Diner and Operator San) know a thing or two about running cafes and nailing Melbourne breakfasts. And James Cornwall from Tenable Dining (Bonny Fitzroy, Young Hearts and Seville Estate) has the after-dark drinking and dining trade sorted. These Melbourne hospo heavy hitters have come together for Ruby Dining, a new all-day brasserie in the CBD. The whole vibe of Ruby Dining is inspired by theatre-district brasseries in London and New York, so you can expect a playful yet still sophisticated venue that's set up for just about anyone to enjoy. For breakfast, you'll find the same contemporary Australian brunch fare that the Operator venues are so loved for, but with more French sensibilities — there's a mean croque madame, a luxe shokupan french toast and brown butter madeleines topped with whipped goat cheese and honey that are baked to order. When lunch and dinner service roll around, Cornwall's cooking takes centre stage. His interpretation of the modern brasserie sees him showcase great technique and top-notch local produce without being overly ostentatious. Dishes aren't overly complicated, devilishly small or overpriced. Nonetheless, he is still having plenty of fun with the menu. You've got classics like steak frites, onion tart, and ricotta and pistachio ravioli, plus more playful eats like the one-bite Caesar salad and his potato cannoli. The aforementioned freshly baked madeleines also feature on the lunch and dinner menu, so there's no need to worry about missing out if you're there after brekkie. You'll be tucking into all of this within chic surrounds designed by We Are Humble (Kaiju Cantina, No. 100 Flinders Lane, CoConspirators Brewpub, Code Black Brunswick and Good Measure). The architects kept some of the building's original features, including the bar, the exposed waffle slab above it and the mirror-panelled walls, while adding splashes of ruby red throughout the dining room and bar. Soft curved frames, Thonet bistro chairs and rich brown upholstery complete the brasserie fitout. When spending time at Ruby, you could easily forget you're in Australia, but perhaps somewhere in London, New York or Paris. But these Melbourne hospo legends have made sure to weave plenty of local touches throughout the whole experience — it still has that Melbourne je ne sais quoi. You'll find Ruby Dining at 189 Queen Street, Melbourne. open for breakfast and lunch every day of the week and for dinner from Wednesday–Saturday. For more information, head to the venue's website. Images: Jana Langhorst and Simpson Chin.
When Jamie Campbell wore a dress to his high school dance, he couldn't have known what would come next. In 2011, his story hit the small screen thanks to TV documentary Jamie — Drag Queen at Sixteen. In 2017, it became an acclaimed West End stage musical, nabbing five Olivier Award nominations in the process. And in 2020, the show is finally heading to Australia for a huge national tour. Premiering at the Sydney Opera House in July before hitting up Western Sydney, Wyong, Melbourne, Brisbane, Canberra, Perth and Adelaide between September 2020–February 2021, Everybody's Talking About Jamie tells Jamie's coming-of-age tale, complete with an upbeat pop score by The Feeling's Dan Gillespie Sells. Drawn from reality but universal in its emotions and resonance, it's a story of friendship, being yourself and overcoming obstacles such as bullies and prejudice. Here, Jamie New is a 16-year-old living in a council estate in Sheffield in Northern England. He's teased about his sexuality by his classmates, but dreams of attending prom in drag. And, despite the taunting and the small-minded attitudes around him — except from his supportive mum and his loyal friends — he's determined to make that dream a reality. In the Australian production, Fan Girls' James Majoos will play Jamie and Helen Dallimore will play his mother, with the rest of the cast including Simon Burke, Elise McCann, Shubshri Kandiah, Christina O'Neill and Harry Targett. The musical's Aussie run couldn't be better timed, too, with a movie adaptation of Everybody's Talking About Jamie due to hit local cinemas in early December. EVERYBODY'S TALKING ABOUT JAMIE 2020-21 AUSTRALIAN SEASON Sydney — Saturday, July 18–Sunday, August 30, Drama Theatre, Sydney Opera House Western Sydney — Friday, September 4–Sunday, September 13, Sydney Coliseum Theatre, West HQ Wyong — Monday, September 28–Sunday, October 4, The Art House Melbourne — Friday, October 9–Sunday, October 25, Arts Centre Melbourne Brisbane — Friday, November 13–Sunday, November 29, QPAC Canberra — Friday, December 11–Sunday, December 13, Canberra Theatre Centre Perth — Friday, January 22–Sunday, January 31, 2021, His Majesty's Theatre Adelaide — Friday, February 5–Sunday, February 14, 2021, Her Majesty's Theatre Check out the trailer below: https://www.youtube.com/watch?v=Z3mjSUeOg5g&feature=youtu.be Everybody's Talking About Jamie's Australian season will premiere at the Sydney Opera House's Drama Theatre between Saturday, July 18–Sunday, August 30, before touring to Western Sydney from Friday, September 4–Sunday, September 13; Wyong from Monday, September 28–Sunday, October 4; Melbourne from Friday, October 9–Sunday, October 25; Brisbane from Friday, November 13–Sunday, November 29; Canberra from Friday, December 11–Sunday, December 13; Perth from Friday, January 22–Sunday, January 31, 2021 and Adelaide from Friday, February 5–Sunday, February 14, 2021. To join the ticket waitlist, visit the production's website — with Sydney ticket pre-sales starting at 9am on Wednesday, March 11 before general public sales open at 9am on Tuesday, March 17. Top images: Alistair Muir / Johan Persson.
Your mates have flocked to the Mediterranean coast. Your boss is sailing around Croatia. Heck, even your parents have jetted off for a week of sun, sand and piña coladas in Hawaii. And here in Oz, we're sloshing and shivering our way through another winter season But, there's plenty of reason to rug up, get out and explore our own backyard. Even if it's chilly outside. As the mercury plummets, there's no better time to cosy up, glass of wine in hand, and let someone else do the cooking. Or perhaps you're looking for a dose of arts and culture or even something to get the blood pumping? Whatever you're craving, Sydney has a whole stack of blues-busting events, festivals and activities all winter long. To get you started, we've teamed up with InterContinental Sydney to bring you an itinerary that'll make your winter a little bit warmer. Base yourself at the hotel's CBD location and hop from exhibitions and pop-up events to must-see dining spots. We've done the hard work you; all you have to do is get exploring. INDULGE IN A LAND TO SEA BUFFET While on holiday, you should always treat yourself to the finer things. At InterContinental Sydney's Cafe Opera, you'll find a 'land to sea' buffet packed with fresh seafood, locally sourced meats and a new Asian cuisine station. Enjoy Sydney Rock oysters, prawns, green-lipped mussels and a selection of sushi, then fill up on roast meats sourced from NSW's Southern Highlands like lamb shoulder, pork belly and beef rump. You can choose to go for lunch from Wednesday to Friday or enjoy the 'deluxe experience' over the weekend. Our tip? If you're visiting on a weekend, stop by from Friday night to Sunday (all day) for a luxe seafood offering of Balmain bugs, blue swimmer crab, salmon sashimi and grilled whole salmon available lunch and dinner. Plus, if you choose to lunch on the weekend, you'll also get free-flowing sparkling wine and soft drinks with your meal. The Land to Sea Buffet is available from Wednesday 12pm to Friday 2.30pm for $69 per person and from Friday 5.30pm to Sunday 10pm for $99 per person. Kids ten and under eat free. InterContinental Sydney is also offering 20% off food till October 13, 2019. WATCH AN OPERATIC MASTERPIECE AT THE OPERA HOUSE It's a Sydney icon that welcomes 8.2 million visitors every year. Some would say it's the most popular house in the country. But, for Australians, it's often the most overlooked of attractions. Take in all of the Sydney Opera House's glory with one of the world's most famous love stories. Madama Butterfly is the bold new production by choreographer Graeme Murphy, bringing new life to Italian composer Giacomo Puccini's original work. This digital production uses 12 huge high-definition LED panels to showcase animations and film content, telling the tragic tale of a young Japanese girl's marriage with an American naval officer. Make sure to bring plenty of tissues for this one. Madama Butterfly runs from Friday, June 28 to Saturday, August 10, 2019, and tickets start at $47. [caption id="attachment_679482" align="alignnone" width="1920"] Madeye Photography[/caption] HAVE A CUPPA AT A FESTIVAL DEDICATED TO TEA Blending and brewing are terms typically associated with craft breweries. But, the specialty tea market is just as complex, and you can learn all about it at the Sydney Tea Festival. This one-day event brings dozens of tea specialists and lovers to Sydney's multi-arts centre Carriageworks for workshops, tastings and a bustling tea market. Sample specialty loose leaf tea, relax in the Brew Lounge and immerse yourself in a world of flavour with educational tastings, demonstrations and hands-on workshops. Once you've worked up an appetite, stop by the on-site food trucks for a sweet or savoury bite to eat. Sydney Tea Festival takes place on August 18, 2019, and tickets start at $16.95. DO YOUR BRAIN SOME GOOD AND LEARN SOMETHING NEW There's much more to science than lab coats and Bunsen burners. And Sydney's annual science festival proves just that. Showcasing some of the globe's leading thinkers, Sydney Science Festival brings researchers, museums, universities and communities together for a week of discovery, discussion and scientific debate. Even if science class was not your thing at school, you'll still find something that intrigues within the festival's lineup of talks, workshops and exhibitions. Picnic beneath the stars (and with reduced light pollution) explore activism in the age of climate change, challenge how you perceive reality at A Night of Illusions and celebrate the female tech visionaries who've played an important role in the history of technology but have been overlooked — until now. Sydney Science Festival runs August 6–18. Find the full lineup here. SEE THE ARCHIBALD AT THE AGNSW If you haven't had a chance to see the Archibald before, now's your chance. The annual portrait prize exhibition is now showing at the Art Gallery of NSW till September 9. This year, you can expect to see the likes of actor David Wenham, three-time Paralympic gold medallist Dylan Alcott plus Sydney-based author, broadcaster and journalist Benjamin Law. The best bit? For just $20 you'll also get to explore the Wynne and Sulman Prize exhibitions, showcasing the best landscape paintings of Australian scenery as well as the best subject, genre or mural painting. The Archibald, Wynne and Sulman Prize 2019 runs till September 8, 2019, and tickets cost $20. And while you're there, opt to catch a double exhibition with tickets to The Essential Duchamp for an additional $16, running till August 11, 2019. Plan to stay at InterContinental Sydney on your next trip to the Harbour City. Enjoy up to 30 percent off your stay if you book before August 5, 2019 and check-in before September 30, 2019. To book, visit the website here. Updated: July 22, 2019.
Filmmakers frequently trade in dreams and reality, plus the space where the two meet, clash and contrast. Directing a movie that's steeped in the daily actuality of being a woman in Mumbai, Payal Kapadia does exactly that with her first fictional feature. In All We Imagine as Light, three nurses go about their lives in India's most-populous city — big-smoke existences that appear independent, but are dictated by patriarchal societal norms, class and religious stratifications, and the growing gentrification of the nation's financial capital. Making the leap from documentary to narrative films after 2021's A Night of Knowing Nothing, Kapadia sees her characters' plights with clear eyes. Her 2024 Cannes Grand Prix-winning picture isn't afraid to embrace their hopes and desires, however, or to be romantic and poetic as well as infuriated and impassioned. Head nurse Prabha (Kani Kusruti, Maharani), her younger colleague and roommate Anu (Divya Prabha, Family), and their elder co-worker Parvaty (Chhaya Kadam, Snow Flower) all seem to be enjoying their own paths. In everything from where they live to who they love, though, their choices aren't completely their own. Hailing from Kerala, Prabha is married to a husband that she barely met before they wed, and who now works abroad in Germany. As she tends to the wounds and helps with the woes of others, the life that she so desperately wanted has failed to come to fruition. While fellow Malayali nurse Anu is carefree and in love, her boyfriend Shiaz (Hridhu Haroon, Mura) is Muslim, so their romance plays out in secret — and simply finding somewhere to be intimate is a constant mission. Maharashtrian Parvaty faces moving back to her Ratnagiri village due to Mumbai's changing skyline, with her chawl earmarked for demolition in favour of a high-rise, and her rights to her home given little consideration. For spending time with Prabha, Anu and Parvaty in this character- and mood-driven rather than story-driven gem — for juxtaposing the perceptions and the truths about their existences, too, and of women who head to Mumbai to forge their careers in general — Kapadia cemented herself as one of 2024's cinematic revelations. Awards and nominations have kept following. When it received Cannes' second-most prestigious annual prize after the Palme d'Or, so coming in behind Anora, it did so after becoming the first Indian film in 30 years to play in the renowned festival's official competition. From there, All We Imagine as Light earned two Golden Globe nods, with its guiding force a Best Director nominee. Oscar buzz lingers, even if the film wasn't selected by India as its submission for the Best International Feature category. Another tick of approval, among many, came when Kapadia's picture was named as one of Barack Obama's ten favourite movies for 2024. Is this response all that the writer/director dared to imagine when All We Imagine as Light first sprang to mind as a student project? "No, of course not," Kapadia tells Concrete Playground. "I took some time to raise the funding for this film. It was raised using a lot of funds from public institutions all over Europe, so it was a long process that they have there, and you just want to be able to make the film. That's your main priority. So we were just slowly, slowly building the budget to be able to shoot it. For us, everything has come as such a bonus — the making of the film itself was such a great, great thing for us that we, at points, would think 'are we going to be able to do it?'. Because it really takes time and that's fine. I appreciate the process. But you don't really think of what will happen. You hope, of course, that it'll do well and people will see it. But this was quite unexpected, I have to say." "I'm really so grateful," Kapadia also advises, while recognising that the fact that she's still just one of two women contending for the Best Director Golden Globe at 2025's ceremony — alongside The Substance's Coralie Fargeat — should be a relic of the past, as should cinema's poor history of appreciating female filmmakers. "And it's not just about women and a gender thing, but representation in all ways. There is diversity that needs to be there in representation, which is people of all races and castes and class. If selection committees were more diverse, I think this problem would not exist," Kapadia notes. All We Imagine as Light isn't just helping to push diversity in filmmaking accolades to the fore, but also the diversity of Indian cinema with audiences outside of the country itself. "I think in India, we have a very self-sustained ecosystem of cinema." Kapadia says. "I think that the West needs to start looking more at Indian cinema and accepting that there are different ways. There are different ways of acting. There are different ways of performance. We come from a very theatrical, sometimes melodramatic background, and that is also a way. So I think that the diversity of Indian cinema is not restricted to Bollywood. There is Tamil cinema, which is absolutely incredible; Malayalam cinema, which is really doing very avant-garde stuff; and, of course, Telugu cinema has now travelled with RRR and things like this." What did it mean for All We Imagine as Light to break a three-decade drought for Indian films in Cannes' competition? How did the film evolve from an idea for a graduation film? Kapadia also chatted with us both — as well as what influenced the movie's narrative elements, and inspires the filmmaker in general; the many layers to the script, and how to balance what is told visually versus what's conveyed in dialogue; how the writer/director's non-fiction filmmaking background had an imprint; bringing a different vision of Mumbai to the screen; and more. On All We Imagine as Light Being the First Indian Film to Play in Competition at Cannes in 30 Years "I think it was really great that we were in competition. It's also a bit scary, because it's your first fiction movie and it's competing with all these big directors who you've admired and who you studied at film school. So you're a bit nervous, like 'oh my god, what is it going to be?'. So I think for for me it was a lot of nerves, and I was a bit like 'will I be, will it …', about standing up to all these expectations of this thing about 30 years. But the truth is that in India, we do have — like this year, there was an Indian film in every section in Cannes. And that's really great because I think that having not having a film in 30 years is a bit of a disappointment for us as Indian filmmakers. I think that Indian films have been doing really well in other festivals. And a lot of competitions, in Venice and Locarno, there's more or less always an Indian film. So I think this 30-year pressure was a bit overdue, in that it should have had more Indian films. But yeah, I was nervous that I hoped that the film would be accepted and wouldn't feel like it was not worthy of being there." On the Movie's Evolution From Student Project to Earning Global Attention and Accolades "I had to make my what we call a diploma film at the Film and Television Institute of India. I had a very two-page thing about two two women who are friends, roommates, but have two different ideas of morality, and this was the starting point. But it was a very short 20-minute thing. And I had already thought that they should be nurses. So I was spending a lot of time trying to do more research about nursing. That's when I realised that I couldn't have done this in 20 minutes. I knew nothing. I needed more time to to think about all these things, to really explore this subject. I felt that 20 minutes was not enough. So I put it aside. But at that time I already got in touch with Kani Kusruti, to play the younger nurse at that time because it was eight years ago. And then I stopped the project and I did something else for my diploma. And I had put it aside for some time, and then I thought I should get back to it. A few years later, I got back to it and I started doing more research, meeting more people, spending a lot more time working on the details of the script. I was also making another movie at the same time, A Night of Knowing Nothing. So it was an on-off thing that I was doing, coming back to this film from time to time. And as I met more people, I got more stories that made it into the film, with all the interviews that I did and all of the young women I spoke to — and some part of myself, growing older also, because I went from being from the younger nurses age to the older nurse's age in the span of all this time. And I think that as you grow older, your perception of things also changes, of course. So my gaze also began to change a bit. And finally, this is the film that you see." On Where the Movie's Main Narrative Elements Sprang From, Including Focusing on Three Women Across Generations, Classes and Languages "I was thinking a lot about this question of friendship, and how certain friendships are very big city-driven. These people probably couldn't or wouldn't have met, or wouldn't have been friends, if it wasn't for Mumbai. For example, when you live in a city like Mumbai, you have to have a roommate — because it's really expensive, and sometimes you just have the roommate because you need to fill up the slot of the bed next to you because you need somebody to pay half the rent. So that's an odd kind of relationship, because you might not get along with this person. You don't want to be their friend. But now you're stuck with them for the 11-month lease. So that's a unique friendship. So Prabha's Anu's boss, in a way. She's the head nurse. But now she's stuck with this girl who is very different from her — and they are age-wise also different from each other, and their perspectives to life are very different. I was interested in this juxtaposition of two people who are so different in their way of thinking, but have to share a room, and what could come out of this relationship. And even Parvaty, who works with Prabha now, she's Maharashtrian and she speaks a different language. And they would not have met if it wasn't for Mumbai, because she would never have gone to Kerala. And there's nowhere else that Prabha would have probably gone. So that friendship is also unique because, again, it's a very Mumbai friendship between a Maharashtrian woman and a Malayali nurse. So I wanted to kind of have these unique friendships, which are, for me, very Mumbai friendships, in the film. And the character of Parvaty wasn't really that important when I started writing the film, but as I began to do more research into the housing situation — which for me was something that I had seen, but I hadn't delved into in a big way — I felt that it was something that I had to really address in the film." On Layering the Impact of Societal Expectations, Cultural Clashes and Gentrification Upon the Film's Characters Into the Script "It was quite a balancing act, because if you have three different trajectories, it's always a bit difficult to balance. And what we shot was a lot more than than you see in the film, of course. But I think we had a good editor, and along with him, we were finding that balance between the three stories and how they reflect on each other. How Parvaty doesn't feel lonely, even if she doesn't have a family — she doesn't want to go live with her son. While Prabha is somebody who's been so obsessed with the idea of a family, of a husband, and how that reflects on her — and how Prabha sees how free Anu is. And Anu is just a young girl, and she just wants to have sex with her boyfriend. It's a very fundamental thing. And the city doesn't really allow that. So I was thinking of it that it's not individual stories, but how they reflect on each other and what they gain from each other's interactions with them. It was a difficult thing — and I also feel sometimes that I could have had a longer film, but my producer was like 'two hours is good enough'." On Drawing Upon Kapadia's Background in Non-Fiction Filmmaking "The way that we shot the film has a lot of non-fiction process to it. When I was writing the script, my same cinematographer shot my previous movie also, which was the documentary. So while I was writing the script, we would go out into the city and we would both shoot. Then we would come back and we would analyse what we chose to shoot, as if we were making a documentary — because in a documentary you can shoot a lot, and then you can come back and edit it, but in fiction, everything is fixed. So we have to understand how we want to look. So we did a lot of tests of how our gaze should be towards the city. How do we feel about the lensing, and the camera movement, the feeling of space? So we thought a lot about these things, and that came from documentary, because we were shooting like documentary in our research. And we also, I spoke to a lot of people at this time, like 100, 200 people, at least. Some people, I thought I will cast them in the film, so I would call them for screen tests, but then that ended up just being long conversations and no possibility of acting, but just conversations in the afternoons. So I wanted to keep some sense of that in the film, those interactions somehow, to keep them as well. So we came up with this thing of putting a small, short documentary-like footage in the beginning and in the middle of the film — and giving it a sort of sense of a city symphony. And just talk about how diverse Mumbai really is. It's a city that is made by people who come from outside. There was nothing there. It was a bunch of islands. Only the Koli people lived there, and the British came and they reclaimed the land, and invited people to come to live and work there to create a new port. So the fundamental idea of this city is that it's made up of people who are not from there, and I wanted to highlight that somehow." On What Was Most Crucial for Kapadia to Convey About the City That She Was Born in, Then Came Back to as an Adult After Going to School Elsewhere "The multilingual quality of the city. And also one of the things that is very important to me was the trains. Because it's what you end up seeing the most, because you spend a lot of time in the transport. And they become a space for a lot of different interactions — or relationships of the ladies compartment, where you make friends. You see the same people, you don't know them but you always nod because you know you'll see them tomorrow. And you try to think about their life outside of that compartment. But for those two hours, you are in that journey together. And all these things, I think a lot about. Maybe I'm too romantic about it, but I don't know, it's how I feel. Also this question of gentrification was important to me, and the right to people owning property, and who has this right. I feel I could have made another whole film about it, because it's so complicated and there is so much anger that one feels towards this situation. I wanted to also in a visual way talk about that. So you always see the buildings and then also the smaller houses and the slum area all together in a frame, and I wanted to give a visual sense of what the city is." On Knowing What to Convey Visually and Where to Let Dialogue Tell the Story "This is a real struggle. It's something that, as a filmmaker, you think about a lot because you don't have the visuals exactly on paper. You can't exactly say what they will be. And you have to rely a bit on the writing of the visuals and of the dialogue for the person who's giving you the grant to be able to understand it. But for me, I can put an image of the city and I know what I'm thinking. So this is a big, big issue for me, about finding that balance. And finally, when I'm editing, it's when I actually realise the balance and I can let go of a lot of information — which is being, I hope, conveyed visually and it doesn't need to be told in lines. But its a big balancing act and I hope to get better and better at it because sometimes I feel — it's complicated, I have a complicated relationship with this." On the Guidance That Kapadia Gave Her Cast When They're Tasked with Revealing Complicated Characters Via Actions and Expressions as Much, If Not More, Than Dialogue "We we did a lot of rehearsals before shooting. For three weeks, we we all stayed together. We did it like a theatre workshop. So we worked on each of the characters' body language, on how silences are — and we did a really fun exercise, which was that we did many scenes where the actors would play the characters, but between dialogues say what the character is thinking. So if there was silence, you would hear what Anu's mind is going on, thinking to herself about — let's say how she's planning something or how she's bored or whatever. So we would do these exercises where the thoughts were all spoken out, so we all know how to think about it. And the actors are really, really great, and they brought in a lot of their own thoughts about this, and I think it was way beyond what I had even thought. It was really collaborative and rich process for me." On What Inspires Kapadia as a Filmmaker "Everything inspires me. I think that that's the privilege of being a filmmaker, that life seems more interesting than cinema, and I want to make films about everything all the time. It's crazy. I feel, I think just being in the world and seeing the world around you, really everything is so inspiring. And for me, my films are also about very daily things, so that is why daily life for me is is my inspiration." On the Importance of Conveying Prabha, Anu and Parvaty's Ongoing Fights for Agency "It was really what you're saying, that it is these tentacles of this patriarchal society that still hold you down, and in spite of being financially independent and physically away from the family, it is something that is for me, certainly, a real pity. It's a matter of genuine anger. Because I've seen it in people in my family as well, and girlfriends around me, and it's something that always just makes me very frustrated. So I wanted to bring out that frustration in the film and say that at least if this society is failing us in so many ways, if we could find some utopian-like space where we could all connect, at least in a way that is beyond our immediate identity and beyond our immediate morality, to at least be supportive of one another — it's a small move, but it's, for me, a big one." On How the Film's Sometimes-Romantic, Sometimes-Clinical Aesthetic Adopts Its Characters' Different Gazes "I wanted to shoot the film from the gaze of the characters. So for Anu, whenever we see her and Shiaz, the city seems very nice. They're walking through the Mohammed Ali Road and eating kebabs and the beautiful lights, and the smoke coming out. Because I think cities are better when you are with a friend or when you are with a lover. If you are in that mood, then somehow things look better. They might not be, but it's how it is. You don't mind sitting in a really crowded public bus — you don't mind that there is traffic because it means you'll have a little bit more time together. And these very normal things that would annoy you suddenly become okay. So I wanted to have that kind subjectivity to the film, whenever we are with Anu and Shiaz, then we also feel delighted at everything. And if you see the city through the wet droplets, that all looks so. Then with Prabha, it's more about the daily grind. She's not going to look at how beautiful it is, but just go from one place to the other, and it's a functional look. And for Parvaty, there is a sense of this complete injustice, feeling that she's going to be thrown out of a place that she's been calling home for 22 years. So I was trying in some senses to have a different gaze to the city, because I think it is all these things. It is a place of freedom for a lot of young women. It is a place of anonymity and that anonymity gives freedom. But it's also a harsh reality and a difficult city. So I was hoping that through these different gazes these layers came out." All We Imagine as Light opened in cinemas Down Under on Thursday, December 26, 2024.
One of the reasons that it's so easy to lose yourself at teamLab Borderless, the acclaimed and hugely popular Tokyo digital art gallery that should be at the top of every visitor to Japan's must-visit list, is the way that its stunning sights keep moving around you. No one just looks at art here — they're truly immersed in it. At RISING 2025, expect that same sensation. When Melbourne's annual winter arts festival returns, expect to step into a field of red beams, too. Whether you're a local or hitting up the Victorian capital just for the fest, expect to never see The Capitol the same way again as well. After first announcing that it'd be getting swinging in 2025 — at mini golf, that is, courtesy of an art exhibition that's also a nine-hole mini-golf course that's taking over Flinders Street Station Ballroom — RISING has unveiled its full program. Hailing from teamLab alum Shohei Fujimoto, intangible #form is a massive highlight. The Japanese artist's free installation will take over The Capitol each evening complete with all of that crimson lighting, which'll respond to your movement. Sparking the feeling losing yourself in its beams and hues is 100-percent the piece's aim. With 65 events featuring 327 artists on RISING's 2025 lineup between Wednesday, June 4–Sunday, June 15, intangible #form is just one of the fest's standouts this year. Another comes courtesy of Suki Waterhouse playing her first-ever Aussie shows, which you can only see in Melbourne at the fest. After proving a drawcard in 2024, Yasiin Bey is returning to RISING in 2025, this time joined by Talib Kweli. Still on tunes, Portishead's Beth Gibbons, Aotearoa favourite Marlon Williams, septuagenarian grime stars Peter Bowditch and Basil Bellgrave, Black Star, RONA, Soccer Mommy and Japanese Breakfast are also on the bill — as is the return of eight-hour music fest-meets-block party Day Tripper, with DIIV, Mount Kimbie, Annie and the Caldwells, Bktherula, Paul St Hilaire and Bad Vacation taking to the stage. If you haven't seen Hedwig and the Angry Inch before, this is your chance to redress that gap in your theatregoing, with this new Australian production of the rock musical starring Filipino Australian singer Seann Miley Moore. And if you've ever wondered if you could manage to sit still — completely — for 90 minutes, Woopsyang's "do nothing" challenge is part of RISING, and asking festival attendees to participate. Or, catch the Australian premiere of Olivier-winning hip-hop dance work BLKDOG by Botis Seva — and then grab a seat for The Wrong Gods, a new piece by S Shakthidharan, the playwright behind RISING 2024's Counting and Cracking. Celebrating Divinyls legend Chrissy Amphlett via cabaret, hearing sound artist Sara Retallick dive deep into The City Baths as a composition space, dancing again at the return of SHOUSE's Communitas, spotting Melbourne Art Trams' latest iteration rolling around town, embracing a playful stage musing on heartbreak with the appropriate soundtrack: that's all on offer, too. Also on the agenda: peering at large-scale projections that champion Yorta Yorta ancestral connections as they flicker across Hamer Hall, all thanks to Moorina Bonini; discovering what happens when time and sound bend in the void beneath Federation Square; watching six performers work through 36 Shakespeare plays using household objects; and another date with the Bard, with Hamlet staged by a neurodiverse cast. BLOCKBUSTER, also at Fed Square, looks set to live up to its name, giving RISING a free ode to South Asian culture. Think: street food, Pakistani R&B, Punjabi rap, art trucks, workshops and more. To similarly feel spoiled for choice while hitting up just one part of the festival's program, head to Night Trade, which is again part of the program, bringing street, karaoke and microbars to a late-night art market between Capitol Arcade and Howey Place. The list goes on — including Soda Jerk switching from bringing TERROR NULLIUS and Hello Dankness to the big screen to designing a mini-golf hole for the aforementioned Swingers: The Art of Mini Golf. [caption id="attachment_994700" align="alignnone" width="1920"] Woopsyang[/caption] Top images: Mandy Wu, Mathieu Bitton, Eugene Hyland, Katsuyuki Seki, Steven Marr, Ryan Cara, Netti Habel and Remi Chauvin.
Raise a glass to your next four must-visit vino spots: the winners of the 2022 Wineslinger Awards. Every year since 2018, these hospitality gongs have singled out the best places to get sipping, including via a Top 50 list and handing out four trophies. And for this year, ready to help shape your bar choices for 2023, all of the above is now here. Wineslinger isn't actually about vino itself, or bars in general. As the name makes plain, it's focused on watering holes that specialise in wine. Only four awards are handed out each year, covering the best Wineslinger, Best New Haunt, the Maverick prize for venues that push the limits and the People's Choice gong. While the first three awards are voted on by more than 100 industry experts, the latter stems from vino aficionados at home. [caption id="attachment_623526" align="alignnone" width="1920"] Nikki To.[/caption] Nabbing the big prize this year: Sydney's Dear Sainte Éloise, which was recognised for its focus "on organic and biodynamic producers who work with as little winemaking intervention as possible", as well as its hefty 550-plus wine list. "Over the last five years, owners Matt Swieboda and Nate Hatwell have firmly cemented a new institution to pair with their legendary wine bar, Love, Tilly Devine," said the Young Gun of Wine team, which runs Wineslinger, announcing the win. "There's a by-the-glass list of about 25 – plus saké and fortifieds – with new or featured wines chalked up daily. There's also a low-waste, sustainable undercurrent to the venue that extends to the menu where whole beasts are sourced to utilise every last piece of the animal. And the produce, like the wine, is organic or biodynamic, except for the rare exception." [caption id="attachment_623522" align="alignnone" width="1920"] Nikki To.[/caption] The Potts Point spot took out the gong after Melbourne's Embla nabbed it in 2021, and the Carlton Wine Room in 2020. In 2022, Victoria's wine spots made a showing courtesy of the Best New Haunt prize, a rather self-explanatory field, which went to Bar Merenda in Daylesford. In the Maverick category, Perth's Tetsun emerged victorious, marking the second year in a row that the award has gone to a venue in the Western Australia capital. It got the nod for being "a wine bar that steps away from rigid formality to add a splash of fun," the awards advised. "Styling itself as a neo-Italian neighbourhood osteria, the room has a lively, loud and rambunctious atmosphere, which made an immediate impact since opening in the heart of inner-Perth nightlife hub Mount Lawley in mid-2022." View this post on Instagram A post shared by Young Gun of Wine (@younggunofwine) And, the People's Choice went to an Adelaide venue, also for the second year running. The winner: bottle shop and tasting room Bowden Cellars. Just like in 2021, all four winners hailed from different cities. The Wineslinger Awards were created by Rory Kent, who also founded the Young Gun of Wine Awards. Where the latter prize aims to recognise stellar up-and-comers, the former is all about excellent and innovative places where vino lovers can enjoy an ace drop. Wineslinger also releases a list of top places to drink wine across the country each year, with 2022's rundown revealed back in November. The 50 spots span everywhere from Sydney's 10 William Street, Monopole and Poly to Melbourne's Bar Liberty, Old Palm Liquor and Public Wine Shop — plus Brisbane's La Lune Wine Co, Maeve and Wineism as well. View this post on Instagram A post shared by Young Gun of Wine (@younggunofwine) For further details about the 2022 Wineslinger Award winners, visit the awards' website. Top image: Dear Sainte Eloise, Nikki To.
Want to get back to nature without actually having to rough it? Lucky for you, you can now take in the rolling hills of Mudgee in New South Wales, with the region's first ever luxury glamping service. Now taking guests, Sierra Escape is located 20 minutes drive from Mudgee's town centre, some 260 kilometres north-west of Sydney. The 280-acre property boasts spectacular views and is home to wildlife including kangaroos, deer and a variety of native birds. So yeah, basically it's paradise. The $350 per night tent — if you can even call something this opulent a tent — includes floor-to-ceiling windows, a king-sized bed, a camp stove and fridge, an ethanol fireplace and a separate bathroom complete with freestanding bath, shower and flushing toilet. It's insulated for all seasons, and there's even a deck out front where you can kick back and watch the sunset. "Sierra Escape aims to provide off-the-grid accommodation for those who love the outdoors but still enjoy the comforts of a luxury hotel," said co-owners Cam and Tasch D'Arcy. "Sierra is close to wineries and restaurants, but far enough from it all that it's the perfect retreat. We're excited to share Sierra with visitors to the area and hope their glamping experiences inspire a new way of travelling." For more information visit www.sierraescape.com.au.
Each year, thousands of travellers from near and far make their way down to the bottom of Australia to get a taste of gorgeous locations — the type that Tasmania just seems to have an endless supply of. And while it's nice to experience many of them under the sun, winter offers a whole new perspective that visitors will love just as much. From wild ancient forests with awe-inspiring frozen lakes and waterfalls to rocky mountainsides that take on a thick coat of snow, Tasmania's landscape offers something that'll warm everyone's cockles. So, here are six beautiful sights that seem to get even better once the winter chill grabs hold of the scenery. Pack a beanie and scarf and start planning your wintry escape. [caption id="attachment_718788" align="alignnone" width="1920"] Russell Falls by Tourism Tasmania and Michael Walters Photography.[/caption] MOUNT FIELD NATIONAL PARK Mount Field National Park is Tasmania's first and oldest national park, and many consider it to still be the best. If you're looking to get the most out of the Tasmanian winter, then this rugged landscape might just fulfil all your hopes and dreams. Across this sprawling region, there are plenty of highlights to choose from. But don't look past Russell Falls and its alluring tiered cascades, which are widely considered the centrepiece of the entire park. Elsewhere, Lake Dobson's shimmering waterfront can be taken in from many a great nearby hike. And at just over 90 minutes from Hobart, Mount Mawson takes on a brilliant cover of snow that offers skiers and snowboarders a challenging but worthwhile experience — to get to the summit, you'll need to hike 30-minutes uphill through alpine forest then jump on a rope tow. We promise, it's worth it. [caption id="attachment_720512" align="alignnone" width="1920"] Ben Lomond National Park by Tourism Tasmania and Brooke Saward.[/caption] BEN LOMOND NATIONAL PARK Located in Tasmania's northeast, Ben Lomond National Park towers above the landscape, reaching up an imposing 1500 metres. The rugged landscape features sharp cliff faces and sheer drops that make it appear almost insurmountable. But once winter arrives, the mountain comes to life with skiers making the most of the steep scenery — and the variety of exciting downhill skiing routes that come with it. If you're not much of a skier, you can also drive up Jacobs Ladder, Ben Lomond's winding ascent, and experience the wonderful alpine plateau from its summit. Up here, you'll catch quite the surreal sight as you peer out upon the distant countryside — looking down on the rocky mountainside and its dramatic outcrops makes you feel completely mesmerised. [caption id="attachment_718784" align="alignnone" width="1920"] Cradle Mountain by Jason Charles Hill.[/caption] CRADLE MOUNTAIN There's never a bad time to visit the famed Cradle Mountain, but winter is when this incredible spot truly comes into its own. Part of the Tasmanian Wilderness World Heritage Area, the mountain and its surrounds feature ancient rainforests and grasslands that sweep across its boundaries, as well as some remarkable glacial lakes and bubbling creeks that careen between the nearby mountaintops. While exploring, keep your eyes peeled as the surrounding Cradle Mountain-Lake St Clair National Park is full of native wildlife, including wombats, echidnas, wallabies, quolls and pademelons. Don't forget about the low-lying lakes here either — in particular, Dove Lake, which is circled by an easy-to-access six-kilometre walking track. You might recognise it from photos (like the above) but, in real life, it's something else. As you wind your way around the lake, the trees get denser and the lookouts get quieter, and you'll feel like you've left the country for a European retreat. On a clear day you'll be able to see right across the lake; on a stormy one you'll be able to watch the sky do its thing. If you're lucky, you'll get to visit twice and see both. [caption id="attachment_718789" align="alignnone" width="1920"] Arthur River by Jess Bonde.[/caption] THE TARKINE As the second largest cool-temperate rainforest in the world, The Tarkine should be at the top of the rugged adventurer's list. Set in Tasmania's northwest, the scenery here is largely varied and only becomes more extreme and breathtaking in the winter months. Start your adventure at the Edge of the World (actual name) and look out over the Arthur River — the water here is intense as it's where it meets the Southern Ocean. Or head inland and find shelter by venturing deep into the rainforest at the upper end of the river and discover the spectacular multi-tiered Philosopher Falls. [caption id="attachment_718786" align="alignnone" width="1920"] Mount Wellington lookout by Tourism Australia and Graham Freeman.[/caption] KUNANYI / MOUNT WELLINGTON PARK Just a 20-minute drive from Hobart, kunanyi / Mount Wellington is probably the easiest way to immerse yourself in Tasmania's most beautiful sights. kunanyi /Mount Wellington Park showcases more than 18,000 hectares of remarkably picturesque scenery and links Hobart's outer reaches with world-class native bushland. You can drive right up to the Pinnacle, or take the challenge to walk to the summit. Do the whole 14 kilometres from Hobart — stopping at the Cascade Brewery along the way — or choose one of the smaller loop routes to conquer. On the way, you'll be able to enjoy sub-alpine flora and fauna that dots the towering landmass's upper reaches. Winter is a particularly special time to visit as the mountaintop is often dusted in snow (making it prime for snowball fights). Afterwards, warm yourself up with something hot at the Lost Freight Cafe, a shipping container coffee spot halfway up the mountain at The Springs. [caption id="attachment_718785" align="alignnone" width="1920"] Currie Lighthouse on King Island by Andrew Wilson.[/caption] KING ISLAND Set halfway between Tasmania and Victoria, King Island is a hidden gem. Which means you'll be able to nab the island's best (and most secluded) spots all to yourself. Currie is the island's main hotspot. Here you can explore the historic lighthouse built in the 1870s and wander the seaside town's quaint streets. It may be too cold to have a picnic outdoors, but you can do one indoors at the Boathouse. Described as a restaurant with no food, this stunning waterfront dining room if free for you to use as your own — you just have to bring your own nosh. Step things up a notch and see King Island from one of the country's most impressive saunas at Porky Beach Retreat. You'll be able to look out over the beach, wine in-hand, from the warmest spot on the island. King Island is only accessible by plane — but with flights coming in from Melbourne multiple times a day, it's an easy and rewarding place to visit. Top image: Cradle Mountain by Emilie Ristevski.
It has been over three years since Australia's most ambitious outdoor cinema held its first pop-up, letting movie lovers catch a flick under the stars while getting cosy in one of its beds (yes, beds). After four fast-selling seasons in Sydney, Mov'In Bed has announced its first national tour, bringing its comfy setup to three other capital cities. Cinephiles in Queensland, Western Australia and Victoria, it's your time to hop into one of 150 beds and stare up at the silver screen. Mov'In Bed will make its way around the nation this year, going to Perth and Brisbane before making its Melbourne debut at St Kilda Beach in January and February 2020. It'll return to Sydney for a summer season at the Entertainment Quarter, too, from January till March. While the film program hasn't been announced yet, audiences in each city can expect the same experience — the same number of beds, around 30–50 screenings, and just generally grabbing a buddy you're comfortable to share a blankie with (or make a bold first date move) for a unique night at the movies. In Sydney across previous seasons, Mov'In Bed has hosted themed and party nights too, so here's hoping that's also on the agenda. The outdoor cinema also features the usual range of movie snacks — beer, lollies and popcorn, of course — and has seen Burger Project and Fratelli Fresh bring food directly to Sydneysiders' beds. If you don't want to shell out for a bed (which have ranged from $40 for a single person to $74 for a couple in the past), it also lets patrons bring a picnic blanket and chill out on the grass. MOV'IN BED 2019–20 SEASON Perth, Ozone Reserve — October 18 – December 8, 2019 Melbourne, St Kilda Beach — January 3 – February 23, 2020 Sydney, Entertainment Quarter — January 17 – March 8, 2020 Mov'In Bed will pop up from October 2019, and tickets will go on sale later this year. For more information, keep an eye on movinbed.com.au. Updated: September 3, 2019.
While festivals and concerts around the world have been cancelled and postponed (Bluesfest, Dark Mofo, gigs at the Sydney Opera House and Splendour in the Grass to name a few), a bunch of Sydney mates have created their own virtual gig: Room 2 Radio. Dubbed Sydney's first online nightclub, this party is letting you get your groove on even if you're stuck at home. Bringing the club to your bedroom, this online boogie kicked off in March and sees local DJs perform on your screens every Friday. This week, the night is aptly dubbed Pretty over it and will see the likes of Johnny Lieu playing early 2000s garage and bassline bangers, DJ, R&B artist and FBi Radio host Latifa Tee and eclectic Sydney-based selector Papi Chulo. So, expect more than just a video of someone hitting play on Spotify. Room 2 Radio is scheduled to run every week until further notice, with each week's program being announced via Facebook. To add to the good times, there'll be disco lights, drink recommendations and a live chat going so you can socialise with other partygoers. Room 2 Radio even played a sneak peak set to get things started, which you can check out here. Is this the future of nightlife? Who knows in these wild times, but at least for now we can party together, at home. To check out upcoming programs, head here. Updated, July 31, 2020.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures and plenty of people staying home in iso will do that — that's no longer always the case. Maybe you've had a close-contact run-in. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are 18 that you can watch right now at home. EVERYTHING EVERYWHERE ALL AT ONCE Imagine living in a universe where Michelle Yeoh isn't the wuxia superstar she is. No, no one should want to dwell in that reality. Now, envisage a world where everyone has hot dogs for fingers, including the Crouching Tiger, Hidden Dragon icon. Next, picture another where Ratatouille is real, but with raccoons. Then, conjure up a sparse realm where life only exists in sentient rocks. An alternative to this onslaught of pondering: watching Everything Everywhere All At Once, which throws all of the above at the screen and a helluva lot more. Yes, its title is marvellously appropriate. Written and directed by the Daniels, aka Swiss Army Man's Daniel Kwan and Daniel Scheinert, this multiverse-hopping wonder is a funhouse of a film that just keeps spinning through wild and wacky ideas. Instead of asking "what if Daniel Radcliffe was a farting corpse that could be used as a jet ski?" as their also-surreal debut flick did, the pair now muses on Yeoh, her place in the universe, and everyone else's along with her. Although Yeoh doesn't play herself in Everything Everywhere All At Once, she is seen as herself; keep an eye out for red-carpet footage from her Crazy Rich Asians days. Such glitz and glamour isn't the norm for middle-aged Chinese American woman Evelyn Wang, her laundromat-owning character in the movie's main timeline, but it might've been if life had turned out differently. That's such a familiar train of thought — a resigned sigh we've all emitted, even if only when alone — and the Daniels use it as their foundation. Their film starts with Evelyn, her husband Waymond (Ke Huy Quan, Indiana Jones and the Temple of Doom's Short Round and The Goonies' Data) and a hectic time. Evelyn's dad (James Hong, Turning Red) is visiting from China, the Wangs' daughter Joy (Stephanie Hsu, Shang-Chi and the Legend of the Ten Rings) brings her girlfriend Becky (Tallie Medel, The Carnivores) home, and IRS inspector Deirdre Beaubeirdra (Jamie Lee Curtis, Halloween Kills) is conducting a punishing audit. Then Evelyn learns she's the only one who can save, well, everything, everywhere and everyone. Everything Everywhere All At Once is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE LOST CITY Sometimes, they do still make 'em like they used to: action-adventure rom-coms in this case. Drive a DeLorean back to 1984, to the year before Robert Zemeckis made DeLoreans one of the most famous types of movie cars ever, and the director's Romancing the Stone did huge box-office business — and it's that hit that The Lost City keenly tries to emulate. This new Sandra Bullock- and Channing Tatum-starring romp doesn't hide that aim for a second, and even uses the same broad overall setup. Once again, a lonely romance novelist is swept up in a chaotic adventure involving treasure, a jungle-hopping jaunt and a stint of kidnapping, aka exactly what she writes about in her best-selling books. The one big change: the writer is held hostage, rather than her sister. But if you've seen Romancing the Stone, you know what you're in for. As penned by writer/director duo directors Aaron and Adam Nee (Band of Robbers) with Oren Uziel (Mortal Kombat) and Dana Fox (Cruella) — based on a story by Baywatch director Seth Gordon — The Lost City's plot is ridiculously easy to spot. Also, it's often flat-out ridiculous. Anyone who has ever seen any kind of flick along the same lines, such as Jungle Cruise most recently, will quickly see that Loretta Sage (Bullock, The Unforgivable), this movie's protagonist, could've written it herself. Once she finds herself living this type of narrative, that truth isn't lost on her, either. First, though, she's five years into a grief-stricken reclusive spell, and is only out in the world promoting her new release because her publisher Beth (Da'Vine Joy Randolph, The United States vs Billie Holiday) forces her to. She's also far from happy at being stuck once again with the man who has been sharing her limelight over the years, Fabio-style model Alan (Tatum, Dog), who has graced her book's covers and had women falling over themselves to lust-read their pages. And Loretta is hardly thrilled about the whole spectacle that becomes her latest Q&A as a result, and that makes her a distracted easy mark for billionaire Abigail Fairfax (Daniel Radcliffe, Guns Akimbo) afterwards. The Lost City is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MEMORIA When Memoria begins, it echoes with a thud that's not only booming and instantly arresting — a clamour that'd make anyone stop and listen — but is also deeply haunting. It arrives with a noise that, if the movie's opening scene was a viral clip rather than part of Thai filmmaker Apichatpong Weerasethakul's spectacular Cannes Jury Prize-winning feature, it'd be tweeted around with a familiar message: sound on. The racket wakes up Jessica Holland (Tilda Swinton, The Souvenir: Part II) in the night, and it's soon all that she can think about; like character, like film. It's a din that she later describes as "a big ball of concrete that falls into a metal well which is surrounded by seawater"; however, that doesn't help her work out what it is, where it's coming from or why it's reverberating. The other question that starts to brood: is she the only one who can hear it? So springs a feature that's all about listening, and truly understands that while movies are innately visual — they're moving pictures, hence the term — no one should forget the audio that's gone with it for nearly a century now. Watching Weerasethakul's work has always engaged the ears intently, with the writer/director behind the Palme d'Or-winning Uncle Boonmee Who Can Recall His Past Lives and just-as-lyrical Cemetery of Splendour crafting cinema that genuinely values all that the filmic format can offer. Enjoying Memoria intuitively serves up a reminder of how crucial sound can be to that experience, emphasising the cavernous chasm between pictures that live and breathe such a truth and those that could simply be pictures. Of course, feasting on Weerasethakul's films has also always been about appreciating not only cinema in all its wonders, but as an inimitable art form. Like the noise that lingers in his protagonist's brain here, his movies aren't easily forgotten. Memoria is available to stream via SBS On Demand. Read our full review. AFTER YANG What flickers in a robot's circuitry in its idle moments has fascinated the world for decades, famously so in Do Androids Dream of Electric Sheep?, Blade Runner and Blade Runner 2049. In writer/director/editor Kogonada's (TV series Pachinko) After Yang, one machine appears to long for everything humans do. The titular Yang (Justin H Min, The Umbrella Academy) was bought to give Kyra (Jodie Turner-Smith, Queen & Slim) and Jake's (Colin Farrell, The Batman) adopted Chinese daughter Mika (Malea Emma Tjandrawidjaja, iCarly) a technosapien brother, babysitter, companion and purveyor of "fun facts" about her heritage. He dotes amid his duties, perennially calm and loving, and clearly an essential part of the family. What concerns his wiring beyond his assigned tasks doesn't interest anyone, though, until he stops operating. Mika is distressed, and Kyra and Jake are merely inconvenienced initially, but the latter pledges to figure out how to fix Yang — which is where his desires factor in. Yang is unresponsive and unable to play his usual part as the household's robotic fourth member. If Jake can't get him up and running quickly, he'll also experience the "cultural techno" version of dying, his humanoid skin even decomposing. That puts a deadline on a solution, which isn't straightforward, particularly given that Yang was bought from a now-shuttered reseller secondhand, rather than from the manufacturer anew. Tinkering with the android's black box is also illegal, although Jake is convinced to anyway by a repairman (Ritchie Coster, The Flight Attendant). He acquiesces not only because it's what Mika desperately wants, but because he's told that Yang might possess spyware — aka recordings of the family — that'd otherwise become corporate property. After Yang is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. AMBULANCE Following a high-stakes Los Angeles bank robbery that goes south swiftly, forcing two perpetrators to hijack an EMT vehicle — while a paramedic tries to save a shot cop's life as the van flees the LAPD and the FBI, too — Ambulance is characteristically ridiculous. Although based on the 2005 Danish film Ambulancen, it's a Michael Bay from go to whoa; screenwriter and feature newcomer Chris Fedak (TV's Chuck, Prodigal Son) even references his director's past movies in the dialogue. The first time, when The Rock is mentioned, it's done in a matter-of-fact way that's as brazen as anything Bay has ever achieved when his flicks defy the laws of physics. In the second instance mere minutes later, it's perhaps the most hilarious thing he's put in his movies. It's worth remembering that Divinyls' 'I Touch Myself' was one of his music-clip jobs; Bay sure does love what only he can thrust onto screens, and he wants audiences to know it while adoring it as well. Ambulance's key duo, brothers Will (Yahya Abdul-Mateen II, The Matrix Resurrections) and Danny Sharp (Jake Gyllenhaal, The Guilty), are a former Marine and ostensible luxury-car dealer/actual career criminal with hugely different reasons for attempting to pilfer a $32-million payday. For the unemployed Will, it's about the cash needed to pay for his wife Amy's (Moses Ingram, The Tragedy of Macbeth) experimental surgery, which his veteran's health insurance won't cover — but his sibling just wants money. Will is reluctant but desperate, Danny couldn't be more eager, and both race through a mess of a day. Naturally, it gets more hectic when they're hurtling along as the hotshot Cam (Eiza González, Godzilla vs Kong) works on wounded rookie police officer Zach (Jackson White, The Space Between), arm-deep in his guts at one point, while Captain Monroe (Garrett Dillahunt, Army of the Dead), Agent Anson Clark (Keir O'Donnell, The Dry) and their forces are in hot pursuit. Ambulance is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE UNBEARABLE WEIGHT OF MASSIVE TALENT "Nic fuckiiiiiiiiiiiiiiiing Cage." That's how the man himself utters his name in The Unbearable Weight of Massive Talent, and he knows what he's about. Now four decades into his acting career to the year — after making his film debut in Fast Times at Ridgemont High under his actual name Nicolas Coppola, playing a bit-part character who didn't even get a moniker — Cage is keenly aware of exactly what he's done on-screen over that time, and in what, and why and how. He also knows how the world has responded, with that recognition baked into every second of his his latest movie. He plays himself, dubbed Nick Cage. He cycles through action-hero Cage, comically OTT Cage, floppy-haired 80s- and 90s-era Cage, besuited Cage, neurotic Cage and more in the process. And, as he winks, nods, and bobs and weaves through a lifetime of all things Cage, he's a Cage-tastic delight to watch. The Unbearable Weight of Massive Talent does have a narrative around all that Cage as Cage, as penned by writer/director Tom Gormican (Are We Officially Dating?) and co-scribe Kevin Etten (Kevin Can F**K Himself). Here, the man who could eat a peach for days in Face/Off would do anything for as long as he needed to if he could lock in a weighty new part. The fictionalised Cage isn't happy with his roles of late, as he complains to his agent (Neil Patrick Harris, The Matrix Resurrections), but directors aren't buying what he's enthusiastically selling. He has debts and other art-parodies-life problems, though, plus an ex-wife (Sharon Horgan, This Way Up) and a teen daughter (Lily Sheen, IRL daughter of Kate Beckinsale and Michael Sheen). So, he reluctantly takes a $1-million gig he wishes he didn't have to: flying to southern Spain to hang out with billionaire Javi Gutierrez (Pedro Pascal, The Bubble), who is such a Cage diehard that he even has his own mini museum filled with Cage memorabilia, and has also written a screenplay he wants Cage to star in. The Unbearable Weight of Massive Talent is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE SOUVENIR: PART II In showbusiness, nepotism is as inescapable as movies about movies. Both are accounted for in The Souvenir: Part II. But when talents as transcendent as Honor Swinton Byrne, her mother Tilda Swinton and writer/director Joanna Hogg are involved — with the latter working with the elder Swinton since her first short, her graduation piece Caprice, back in 1986 before Honor was even born — neither family ties nor filmmaking navel-gazing feel like something routine. Why this isn't a surprise with this trio is right there in the movie's name, after the initial The Souvenir proved such a devastatingly astute gem in 2019. It was also simply devastating, following an aspiring director's romance with a charismatic older man through to its traumatic end. Both in its masterful narrative and its profound impact, Part II firmly picks up where its predecessor left off. In just her third film role — first working with her mum in 2009's I Am Love before The Souvenir and now this — Swinton Byrne again plays 80s-era filmmaking student Julie Harte. But there's now a numbness to the wannabe helmer after her boyfriend Anthony's (Tom Burke, Mank) death, plus soul-wearying shock after discovering the double life he'd been living that her comfortable and cosy worldview hadn't conditioned her to ever expect. Decamping to the Norfolk countryside, to her family home and to the warm but entirely upper-middle-class, stiff-upper-lip embrace of her well-to-do parents Rosalind (Swinton, The French Dispatch) and William (James Spencer Ashworth) is only a short-term solution, however. Julie's thesis film still needs to be made — yearns to pour onto celluloid, in fact — but that's hardly a straightforward task. The Souvenir: Part II is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. RRR The letters in RRR's title are short for Rise Roar Revolt. They could also stand for riveting, rollicking and relentless. They link in with the Indian action movie's three main forces, too — writer/director SS Rajamouli (Baahubali: The Beginning), plus stars NT Rama Rao Jr (Aravinda Sametha Veera Raghava) and Ram Charan (Vinaya Vidheya Rama) — and could describe the sound of some of its standout moments. What noise echoes when a motorcycle is used in a bridge-jumping rescue plot, as aided by a horse and the Indian flag, amid a crashing train? Or when a truck full of wild animals is driven into a decadent British colonialist shindig and its caged menagerie unleashed? What racket resounds when a motorbike figures again, this time tossed around by hand (yes, really) to knock out those imperialists, and then an arrow is kicked through a tree into someone's head? Or, when the movie's two leads fight, shoot, leap over walls and get acrobatic, all while one is sat on the other's shoulders? RRR isn't subtle. Instead, it's big, bright, boisterous, boldly energetic, and brazenly unapologetic about how OTT and hyperactive it is. The 187-minute Tollywood action epic — complete with huge musical numbers, of course — is also a vastly captivating pleasure to watch. Narrative-wise, it follows the impact of the British Raj (aka England's rule over the subcontinent between 1858–1947), especially upon two men. In the 1920s, Bheem (Jr NTR, as Rao is known) is determined to rescue young fellow villager Malli (first-timer Twinkle Sharma), after she's forcibly taken by Governor Scott Buxton (Ray Stevenson, Vikings) and his wife Catherine (Alison Doody, Beaver Falls) for no reason but they're powerful and they can. Officer Raju (Charan) is tasked by the crown with making sure Bheem doesn't succeed in rescuing the girl, and also keeping India's population in their place because their oppressors couldn't be more prejudiced. RRR is available to stream via Netflix. Read our full review. THE DUKE Back in 1962, in the first-ever Bond film Dr No, the suave, Scottish-accented, Sean Connery-starring version of 007 admires a painting in the eponymous evil villain's underwater lair. That picture: Francisco Goya's Portrait of the Duke of Wellington. The artwork itself is very much real, too, although the genuine article doesn't appear in the feature. Even if the filmmakers had wanted to use the actual piece, it was missing at the time. In fact, making a joke about that exact situation is why the portrait is even referenced in Dr No. That's quite the situation: the debut big-screen instalment in one of cinema's most famous and longest-running franchises, and a saga about super spies and formidable villains at that, including a gag about a real-life art heist. The truth behind the painting's disappearance is even more fantastical, however, as The Duke captures. The year prior to Bond's first martini, a mere 19 days after the early 19th-century Goya piece was put on display in the National Gallery in London, the portrait was stolen. Unsurprisingly, the pilfering earned plenty of attention — especially given that the government-owned institution had bought the picture for the hefty sum of £140,000, which'd likely be almost £3 million today. International master criminals were suspected. Years passed, two more 007 movies hit cinemas, and there was zero sign of the artwork or the culprit. And, that might've remained the case if eccentric Newcastle sexagenarian Kempton Bunton (played here by Six Minutes to Midnight's Jim Broadbent) hadn't turned himself in in 1965. As seen in this wild caper from filmmaker Roger Michell (My Cousin Rachel, Blackbird), Bunton advised that he'd gotten light-fingered in protest at the obscene amount spent on Portrait of the Duke of Wellington using taxpayer funds — money that could've been better deployed to provide pensioners with TV licenses, a cause he had openly campaigned for (and even been imprisoned over after refusing to pay his own television fee). The Duke is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. WASH MY SOUL IN THE RIVER'S FLOW A silent hero and a rowdy troublemaker. That's what Ruby Hunter calls Archie Roach, her partner in life and sometimes music, then characterises herself. She offers those words casually, as if she's merely breathing, with an accompanying smile and a glint in her eyes as she talks. They aren't the only thoughts uttered in Wash My Soul in the River's Flow, which intersperses concert and rehearsal clips with chats with Hunter and Roach, plus snippets of biographical details from and recollections about their lives as intertitles, and then majestic footage of the winding Murray River in Ngarrindjeri Country, where Hunter was born, too. Still, even before those two-word descriptions are mentioned, the film shows how they resonate within couple's relationship. Watching their dynamic, which had ebbed and flowed over three-plus decades when the movie's footage was shot in 2004, it's plain to see how these two icons of Australian music are dissimilar in personality and yet intertwine harmoniously. Every relationship is perched upon interlocking personalities: how well they complement each other, where their differences blend seamlessly and how their opposing traits spark challenges in the best possible ways. Every song, too, is a balance of disparate but coordinated pieces. And, every ecosystem on the planet also fits the bill. With Hunter and Roach as its focus, Wash My Soul in the River's Flow contemplates all three — love, music and Country — all through 2004 concert Kura Tungar — Songs from the River. Recorded for the documentary at Melbourne's Hamer Hall, that gig series interlaced additional parts, thanks to a collaboration with Paul Grabowsky's 22-piece Australian Art Orchestra — and the movie that producer-turned-writer/director Philippa Bateman makes of it, and about two Indigenous stars, their experience as members of Australia's Stolen Generations, their ties to Country and their love, is equally, gloriously and mesmerisingly multifaceted. Wash My Soul in the River's Flow is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BLIND AMBITION From fleeing Robert Mugabe's Zimbabwe to taking their nation's first-ever team to the World Wine Blind Testing Championships in Burgundy, Joseph, Tinashe, Marlvin and Pardon have quite the story to tell. The quartet met in South Africa, where they each individually made their home long before they crossed paths. They all also found themselves working with wine, despite not drinking it as Pentecostal Christians — and, in the process, they discovered a knack for an industry they mightn't have even contemplated otherwise. That's the tale that Blind Ambition relays, and it's a rousing and moving one. Indeed, it won't come as a surprise that the movie won Australian filmmakers Warwick Ross and Rob Coe (Red Obsession) the 2021 Tribeca Film Festival Audience Award for Best Feature Documentary. Blind wine testing is a serious business; the first word isn't slang for inebriation, but describes how teams sample an array of wines without knowing what they're drinking. Then, they must pick everything from the country to the vintage to the varietal within two minutes of sipping. As stressed both verbally and visually throughout the doco, there's a specific — and very white — crowd for this endeavour. Accordingly, Team Zimbabwe instantly stands out. Heralding diversity is one of their achievements; their infectious joy, pride and enthusiasm for the field, for competing at the Olympics of the wine world, for the fact that their plight has taken them from refugees to finding a new calling, and for opening up the world to African vino, is just as resonant. Blind Ambition is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE What a difference Mads Mikkelsen can make. What a difference the stellar Danish actor can't, too. The Another Round and Riders of Justice star enjoys his Wizarding World debut in Fantastic Beasts: The Secrets of Dumbledore, taking over the part of evil wizard Gellert Grindelwald from Fantastic Beasts: The Crimes of Grindelwald's Johnny Depp — who did the same from Fantastic Beasts and Where to Find Them's Colin Farrell first, albeit in a scripted change — and he's impressively sinister and engagingly insidious in the role. He needs to be: his fascist character, aka the 1930s-set movie's magical version of Hitler, wants to eradicate muggles. He's also keen to grab power however he must to do so. But a compelling casting switch can't conjure up the winning wonder needed to power an almost two-and-a-half-hour film in a flailing franchise, even one that's really just accioing already-devoted Harry Potter fans into cinemas. Nearly four years have passed since The Crimes of Grindelwald hit cinemas, but its successor picks up its wand where that dull sequel left off. That means reuniting with young Albus Dumbledore, who was the best thing about the last feature thanks to Jude Law (The Third Day) following smoothly in Michael Gambon and Richard Harris' footsteps. And, it means explaining that Dumbledore and Grindelwald pledged not to harm each other years earlier, which precludes any fray between them now. Enter magizoologist Newt Scamander (Eddie Redmayne, The Trial of the Chicago 7) and his pals. Well, most of them. Newt's assistant Bunty (Victoria Yeates, Call the Midwife), brother Theseus (Callum Turner, Emma), No-Maj mate Jacob (Dan Fogler, The Walking Dead), Hogwarts professor Lally (Jessica Williams, Love Life) and Leta Lestrange's brother Yusuf Kama (William Nadylam, Stillwater) are accounted for, while former friend Queenie (Alison Sudol, The Last Full Measure) has defected to Grindelwald. As for the latter's sister Tina (Katherine Waterston, The World to Come), she's spirited aside, conspicuously sitting Operation Avoid Muggle Genocide out. Fantastic Beasts: The Secrets of Dumbledore is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. NOBODY HAS TO KNOW Before Belgian actor and filmmaker Bouli Lanners started gracing screens big and small — writing and directing projects for the former as well — he trained as a painter. If you didn't know that fact, it'd be easy to guess while watching Nobody Has to Know. He helms and scripts, as he did 2011 Cannes award-winner The Giant, plus 2016's The First, the Last. He acts, as he has in everything from A Very Long Engagement and Rust and Bone to Raw and Bye Bye Morons. But it's the careful eye he brings to all that fills Nobody Has to Know's frames that immediately leaves an impression, starting with simply staring at the windswept Scottish scenery that provides the movie's backdrop. It's picturesque but also ordinary, finding visual poetry in the scenic and sweeping and yet also everyday. That's what the feature does with its slow-burning romantic narrative, too. On a remote island, Philippe Haubin (Lanners) has made a humble home. Working as a farmhand, he stands out with his arms covered in tattoos and his accent, but he's also been welcomed into the close-knit community. And, when he's found on the beach after suffering a stroke, his friends swiftly rally around — his younger colleague Brian (Andrew Still, Waterloo Road), who spreads the word; the latter's aunt Millie (Michelle Fairley, Game of Thrones), who ferries him around town; and her stern father Angus (Julian Glover, The Toll), who welcomes him back to work once he's out of hospital. But Phil returns with amnesia, which unsurprisingly complicates his daily interactions. He doesn't know what Brian means when he jokes about Phil now being the island's Jason Bourne, he has no idea if the dog in his house is his own, and he has no knowledge of any past, or not, with Millie. Nobody Has to Know is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MORBIUS Jumping into the Sony Shared Universe from the DCEU — that'd be the DC Extended Universe, the pictures based around Batman, Superman, Wonder Woman, Suicide Squad and the like (but not including Joker or The Batman) — Jared Leto plays Morbius' eponymous figure. A renowned scientist, Dr Michael Morbius has a keen interest in the red liquid pumping through humans' veins stemming from his own health issues. As seen in early scenes set during his childhood, young Michael (Charlie Shotwell, The Nest) was a sickly kid in a medical facility thanks to a rare disease that stops him from producing new blood. There, under the care of Dr Emil Nikols (Jared Harris, Foundation), he befriended another unwell boy (debutant Joseph Esson), showed his smarts and earned a prestigious scholarship. As an adult, he now refuses the Nobel Prize for creating artificial plasma, then tries to cure himself using genes from vampire bats. Morbius sports an awkward tone that filmmaker Daniel Espinosa (Life) can't overcome; its namesake may be a future big-screen baddie, but he's also meant to be this sympathetic flick's hero — and buying either is a stretch. In the overacting Leto's hands, he's too tedious to convince as a threat or someone to root for. He's too gleefully eccentric to resemble anything more than a skit at Leto's expense, too. Indeed, evoking any interest in Morbius' inner wrestling (because saving his own life with his experimental procedure comes at a bloodsucking cost) proves plodding. It does take a special set of skills to make such OTT displays so pedestrian at best, though, and that's a talent that Leto keeps showing to the misfortune of movie-goers. He offers more restraint here than in Suicide Squad (not to be confused with The Suicide Squad), The Little Things, House of Gucci or streaming series WeCrashed, but his post-Dallas Buyers Club Oscar-win resume remains dire — Blade Runner 2049 being the sole exception. Morbius is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SONIC THE HEDGEHOG 2 It was true in the 90s, and it remains that way now: when Jim Carrey lets loose, thrusting the entire might of his OTT comedic powers onto the silver screen, it's an unparalleled sight to behold. It doesn't always work, and he's a spectacular actor when putting in a toned-down or even serious performance — see: The Truman Show, The Majestic, I Love You Phillip Morris and his best work ever, the sublime Eternal Sunshine of the Spotless Mind — but there's a reason that the Ace Venture flicks, The Mask and Dumb and Dumber were some of the biggest movies made three decades back. Carrey is now a rarity in cinemas, but one franchise has been reminding viewers what his full-throttle comic efforts look like. Sadly, he's also the best thing about the resulting films, even if they're hardly his finest work. That was accurate in 2020's Sonic the Hedgehog, and it's the same of sequel Sonic the Hedgehog 2 — which once again focuses on the speedy video game character but couldn't feel like more of a drag. The first Sonic movie established its namesake's life on earth, as well as his reason for being here. Accordingly, the blue-hued planet-hopping hedgehog (voiced by The Afterparty's Ben Schwartz) already made friends with small-town sheriff Tom Wachowski (James Marsden, The Stand). He already upended the Montana resident's life, too, including Tom's plans to move to San Francisco with his wife Maddie (Tika Sumpter, Mixed-ish). And, as well as eventually becoming a loveable member of the Wachowski family, Sonic also wreaked havoc with his rapid pace, and earned the wrath of the evil Dr Robotnik (Carrey, Kidding) in the process. More of the same occurs this time around, with Sonic the Hedgehog 2 taking a more-is-more approach. There's a wedding to ruin, magic gems to find and revenge on the part of Robotnik. He's teamed up with super-strong echidna Knuckles (voiced by The Harder They Fall's Idris Elba), in fact, while Sonic gets help from smart-but-shy fox Tails (voice-acting veteran Colleen O'Shaughnessey). Sonic the Hedgehog 2 is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. DEADLY CUTS The Full Monty wasn't the first to do it, and it definitely hasn't been the last. But for the quarter century since that crowd-pleasing comedy became an enormous worldwide hit, British movies about underdogs banding together to save their livelihoods and communities have no longer been scrappy battlers themselves. Irish film Deadly Cuts is the latest, joining an ever-growing pile that also includes everything from Calendar Girls to Swimming with Men — and first-time feature writer/director Rachel Carey knows the formula she's playing with. Each such picture needs to be set in a distinctive world, follow a close-knit group, see them face an apparently insurmountable task and serve up a big public spectacle that promises redemption, and every step in that recipe is covered here. But a movie can stick to a clear template and still boast enough spirit to make even the creakiest of plot inclusions feel likely and entertaining enough, and that's this low-budget affair from start to finish. It does raise a smile that AhhHair, the glamorous hairdressing contest that Deadly Cuts' main characters want to enter and win, is all about innovation in its chosen form. The movie itself would never emerge victorious at such a competition, but it's filled with broad, blackly comic fun along the way, even if it boasts about as much subtlety as a mohawk. The setting: Piglington, Dublin, an as-yet-ungentrified corner of the Irish capital, where the titular salon is a mainstay. The aim: saving the shop from being torn down and replaced with shiny new apartments. The wholly predictable complications: the determination of corrupt local politician Darryl Flynn (Aidan McArdle, The Fall) to forge ahead with the development, which'll boost his bank account; and the suburb-scaring thugs led by the overbearing Deano (Ian Lloyd Anderson, Herself), who throw their weight around at every chance they get. Deadly Cuts is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. IT SNOWS IN BENIDORM Forty-four years have passed since Timothy Spall first graced the silver screen — and what a gift he's given both cinema and television since. He won Cannes Best Actor prize for Mr Turner, earned five BAFTA nominations in five years between 1997–2002, popped up in lively Aussie crime flick Gettin' Square, stole every scene he was in in The Party and recently proved formidable in Spencer. He has everything from multiple Harry Potter movies to playing Winston Churchill in The King's Speech on his resume, too, and also routinely improves whatever he's in with his presence alone. In fact, he does exactly that with It Snows in Benidorm, which'd be a mere wisp of a film otherwise. Following a just-made-redundant bank employee to Spain, this meandering drama by Spanish filmmaker Isabel Coixet (Elisa & Marcela) frequently mistakes mood for depth — and while Spall can't polish away its struggles, he's always the key reason to keep watching. A fan of the weather and little else, Spall's Peter Riordan has given decades of his life to his employer, and is so settled into the routine he's fashioned around his job that it's as natural and automatic to him as breathing. Accordingly, when he's unceremoniously let go, he finds it difficult to adjust. He's told that being freed from the monotony of his work is a gift, allowing him to retire early — so in that spirit, he heads off to the Mediterranean coast's tourist mecca to spend time with the brother he otherwise rarely talks to. But upon his arrival, Peter finds his sibling conspicuously absent. He still stays in his high-rise apartment, but what was meant to be a family reunion-style holiday now becomes a detective quest. Helping him is Alex (Sarita Choudhury, And Just Like That...), who worked with Peter's shady club-owning brother, might know more than she's letting on about his whereabouts, and also welcomes her new pal's tender companionship the more that they spend time together. It Snows in Benidorm is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. OFF THE RAILS In need of a bland and derivative friends-on-holidays flick that's painted with the broadest of strokes? Keen to dive once more into the pool of movies about pals heading abroad to scatter ashes and simultaneously reflect upon their current lot in life? Fancy yet another supposedly feel-good film that endeavours to wring humour out of culture clashes between English-speaking protagonists and the places they visit? Yearning for more glimpses of thinly written women getting their grooves back and realising what's important on a wild Eurotrip? Call Off the Rails, not that anyone should. Coloured with every cliche that all of the above scenarios always throw up, and also covered from start to finish in schmaltz, the debut feature from director Jules Williamson is a travel-themed slog that no one could want to remember. A grab bag of overdone tropes and treacly sentiment, it also doubles as an ode to the songs of Blondie, which fill its soundtrack — but even the vocal stylings of the great Debbie Harry can't breathe vibrancy into this trainwreck. Once close, Kate (Jenny Seagrove, Peripheral), Liz (Sally Phillips, Blinded by the Light) and Cassie (Preston, Gotti) now just call on big occasions — and even then, they're barely there for each other. But when fellow pal Anna dies, they reunite at her funeral, and are asked to carry out her final wish by her mother (Belfast's Judi Dench, in a thankless cameo). The task: catching a train across Europe, through Paris to Girona, Barcelona and Palma in Spain, to recreate a backpacking jaunt the four took decades earlier. Specifically, they're headed to La Seu, a cathedral with stained-glass windows that look particularly spectacular when the sun hits at the right time (the film calls it "god's disco ball"). Anna already bought their Interrail passes, and her 18-year-old daughter Maddie (Elizabeth Dormer-Phillips, Fortitude) decides she'll join the voyage, too. Off the Rails is available to stream via Google Play, YouTube Movies and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows, or check out the movies that were fast-tracked to digital in January, February, March, April and May.
Sorry Jamie and Nigella, every other cookbook is now irrelevant. Based on the actually genius blog that we've somehow only just discovered, Thug Kitchen gives you the full rundown on clean eating with a satisfyingly foul mouth. These are recipes for newbies to healthy living; people like us who need a proper kick in the arse to finish our plate of kale or quinoa. Though the book itself doesn't hit our shelves until next month, the trailer has just been released. And wow, it is so many types of great. Ringing a little too true for those of us scoffing our faces with two-minute noodles and artery-clogging burgers, this idea is crazy enough to actually work. Who knew profanity would pique our interest in healthy food so quickly? And here's the kicker: the food is actually pretty great. Their recipes online include Pina Colada ice cream, peach pancakes (presented in comic form) and dishes so tasty they threaten to completely "change the noodle game". Putting an end to those "sugar shakes" and "meat sweats" you've become so familiar with, the Thug Kitchen cookbook will only be available in the UK, Canada and Australia next month. Because of course we'd be interested in something that swears this much. Remember What the Fuck Should I Make For Dinner? We basically lived off that. Keep an eye on the Thug Kitchen Facebook page for a specific release date but until then, here are a few bits and pieces to get you in the right mindset. Time to get your shit together, Australia.
You might want to be sitting down for this: up in Victoria's High Country, there's a stretch of land entirely devoted to prosecco. For any fans of a post-work glass of extra-dry bubbles, this news may be life changing. And for the mere prosecco-curious, a visit to this pretty part of the world will probably want to make you get better acquainted. You see, the High Country's King Valley is the spitting image of mountainous north-east Italy — at least climactically speaking. It's that observation that led Italian immigrants to introduce the region's famous prosecco vines to King Valley nearly three decades ago. Now there are five key producers who have banded together to create the King Valley Prosecco Road, a cellar-door hop with a little extra sparkle. Autumn is one of the best times to visit, so you can enjoy its full spectrum of wine tastings, dining experiences and outdoor adventures. THE MAKING OF PROSECCO ROAD Prosecco grape varieties hail from the north-eastern regions of Italy. They came to our Australian shores via the many farmers of Italian heritage who moved here in the mid-20th century. The pioneer of prosecco in this region is Otto Dal Zotto, who was determined to see the grapes of his homeland grown in Australia. Recognising the climactic and cultural similarities between his home of Valdobbiadene and the King Valley, he sourced cuttings and planted the country's first prosecco vines in 2000. Now, 180 acres of prime King Valley land is planted with prosecco — that's 64 percent of all prosecco plantings in Australia. To celebrate some of the best prosecco being bottled in this country, five King Valley producers (Brown Brothers, Dal Zotto, Chrismont, Pizzini and Sam Miranda) collaborated to create the prosecco Road, a food and wine trail focused on prosecco in all its styles. As well as wine tastings, the trail is home to dining experiences, cooking and cocktail classes, hot-air ballooning, guided walks and pedal-to-produce cycling routes. PROSECCO ROAD STOP #1: DAL ZOTTO WINES When you drink prosecco in the King Valley, you're drinking history, and to really understand that history your first stop on the road should be Dal Zotto Wines, which released the very first Australian prosecco in 2004. Autumn is mid-harvest in the vineyard and the perfect time to visit the winery and be involved with drying the grapes for Otto Dal Zotto's 'natural' Col Fondo prosecco (just like he used to make as a young boy in Valdobbiadene). You can also get molto Italian by attending one of the winery's Salami Sessions, where you'll learn how to cure meats (with a glass of wine in your hand of course). PROSECCO ROAD STOP #2: BROWN BROTHERS The Dal Zottos aren't the only ones in the region steeped in history, Brown Brothers Milawa vineyard is only a short drive away and the family has over 120 years of experience of making wine in Victoria. Founded in 1889, the company (which now has vineyards all over Australia) has their cellar door in their Milawa vineyard, which has always been considered the birthplace of the Brown Brothers company. Ever wanted to try your hand at blending your own wine? Brown Brothers gives you the opportunity to be a winemaker (for an hour anyway) in their Blending Masterclass. Taste the diverse flavours of each individual grape varietal and experiment with different combinations to create your own unique blend of wine. Consider a wine-matched lunch while you're here — restaurant Patricia's Table has previously held a hat from Fairfax's Good Food Guide. PROSECCO ROAD STOP #3: PIZZINI You may have noticed that the wineries are a bit of a family affair in the King Valley. Pizzini is no exception. Alfred Pizzini and his family all work for the company, in roles ranging from winemaking and viticulture to sales and marketing to hosting classes at the cellar door. Their offering during the autumn months reflects their Italian heritage and family focus. At Katrina Pizzini's cooking school, novices can learn age-old techniques for making gnocchi and pasta, while the Journey with the Maker tour lets guests go behind the scenes and see how a wine goes from grape to bottle. The experience will have you tasting wines straight out of tanks and barrels, learning about the fermentation and maturation process, and getting a guided tasting of the finished wines in bottle. To top it all off, you get to enjoy a two-course picnic hamper in the vineyards, admiring the autumn foliage and the vines mid-harvest. PROSECCO ROAD STOP #4: SAM MIRANDA WINES Right in the heart of the Prosecco Road lies the most architecturally impressive and award-winning cellar door. Entry to Sam Miranda Wines is via a subterranean passage that leads to the cellar door, lit by way of a 40-foot light tower. Sam is a self-confessed cycling addict (who jokingly says he makes wine 'on the side' and seriously organises an annual race through the King Valley), so get into the spirit by hiring a bike to explore this part of the King Valley. You can rent a ride in Milawa and do the Milawa Gourmet Trail, or borrow one from neighbouring Brown Brothers. How else are you going to burn off all the Italian homemade pasta, salami and wine you've ingested over this trip? PROSECCO ROAD STOP #5: CHRISMONT Need a place to rest your head after all this excitement? Well, your last stop along the Prosecco Road is where you want to finish. Chrismont winery features elegant guesthouse accommodation set among the vines, making it an idyllic place to restore, relax and rejuvenate (and each room comes stocked with bottles of their signature prosecco). Those who haven't had their fill of prosecco can take part in their daily Prosecco Masterclass with Chrismont winemaker Warren Proft. Showcasing the full range of prosecco styles, the session includes wines, tasting notes and wine production information. Finish with a classic Italian dinner at the Chrismont Restaurant and Larder — tagliatelle and a tiramisu will set you on the path to a sweet night's sleep. To get prepped for your trip to the King Valley Prosecco Road or to plan further frolics through the autumn leaves of the High Country, visit the Wander Victoria website.
"The mormons are coming", posters popping up in Sydney, Melbourne and Brisbane promised in the 2010s. If you start spotting something similar now, they might feature the words "the mormons are back" instead. After breaking records on its first Australian run, The Book of Mormon is returning Down Under, with the smash-hit musical's suitcases are packed for Sydney. Written by South Park and Team America's notoriously puerile creators Trey Parker and Matt Stone, together with Robert Lopez of genius grown-up muppet show Avenue Q, The Book of Mormon is probably one of the most-lauded comedies ever to have centred on the Church of Latter Day Saints and African missions — and to approached both with Parker and Stone's usual humour. If it wasn't so smart and so funny, few would forgive it. But since it is, The Book of Morman has picked up nine Tonys, four Olivier Awards and a Grammy since it debuted in the US in 2011, when it was called "one of the most joyously acidic bundles Broadway has unwrapped in years". Australia's OG date with The Book of Mormon also earned accolades, including Best Musical and Best Direction of a Musical at the 2017 Helpmann Awards. When the show premiered in the Victorian capital in 2015, it enjoyed the highest-selling on-sale period for a show at Melbourne's Princess Theatre. When it first went to Sydney, it also set a record for the highest-grossing musical in the city's history. A decade ago, Parker and Stone's hilariously irreverent hit production spent a year in Melbourne, then did the same in Sydney, then made two trips to Brisbane — because one wasn't enough. This time, debuting from July 2025, The Book of Mormon is hitting Sydney's Capitol Theatre first up. Exact dates haven't yet been revealed, however, and neither has any planned stops in other Aussie cities. If missed it then or you're keen to see it again, you'll be plenty excited that you're getting a new chance to go learn all the idiosyncratic details of Mormonism, meet war criminal General Butt-Fucking Naked and know the true meaning of the hakuna matata-like saying 'Hasa Diga Eebowai'. The waitlist is open now for the Sydney season, with no word yet as to when tickets will go on sale — or about who'll be taking to the stage in the cast, either. The Book of Mormon will play Sydney's Capitol Theatre from July 2025 — we'll update you when exact dates are announced. To sign up for the ticket waitlist, head to the musical's website. Images: Paul Coltas, London Company.
Family feuds are a deadly business in Bad Sisters, Apple TV+'s latest must-see. Just don't believe the first word in its title for a second. Starring, co-written and co-developed by Sharon Horgan, as Catastrophe was before it, this ten-part streaming series focuses on the Garvey girls, a quintet of Irish siblings who became bonded by more than blood when they were orphaned years earlier. Horgan's Eva took on the matriarch role and has doted on her siblings Grace (Anne-Marie Duff, Sex Education), Ursula (Eva Birthistle, The Last Kingdom), Bibi (Sarah Greene, Normal People) and Becka (Eve Hewson, Behind Her Eyes) ever since, even now that they range from their late twenties through to their forties. Used to doing whatever they must for each other, there's nothing bad about their sisterly devotion — but it just might include killing Grace's husband. A pitch-black comedy, a murder-mystery and a family drama all in one — an Irish riff on Big Little Lies, too, although it's actually adapted from Belgian TV's Clan from back in 2012 — Bad Sisters ponders two questions. Firstly, it wonders what lengths loyal siblings would truly go to to protect one of their own. Secondly, it contemplates what comeuppance women pushed to their limits will exact upon the source of their misery. Indeed, it's a darkly funny revenge fantasy as well, and a puzzle to compulsively sleuth along with. Do the Garveys get their wish? How will they try to make their dream a reality? Will their various murder plots work? What'll go wrong next? These queries also keep coming, and unfurling the answers makes for equally riveting, entertaining, empathetic and amusing viewing. Bad Sisters begins on the day of a funeral, farewelling John Paul Williams (Claes Bang, The Northman) after Grace makes sure that his erection won't be noticed first. Her dead husband has long been nicknamed 'The Prick' anyway, with his four sisters-in-law all thoroughly unimpressed, to say the least, about the toxic way he openly treated his dutiful wife. They're all sick of the underhanded abuse he also directed towards each of them, as well as anyone he didn't like, and the unearned air of superiority that always came with it. Calling him manipulative, callous, misogynistic, racist, narcissistic, spiteful, vicious, pitiless, ruthless, flat-out intolerable — they all fit. When a guest offers condolences at JP's wake, Eva's response is: "I'm just glad the suffering's over". When she's then asked if he was ill, she replies with a blunt and loaded "no". Relief lingers during JP's sendoff, but so does tension. Eva, Ursula, Bibi and Becka long wanted The Prick dead and, as flashbacks show, had been planning to bring about that very end. Complicating matters: two insurance agents, aka half-brothers Thomas (Brian Gleeson, Death of a Ladies' Man) and Matthew Claffin (Daryl McCormack, Good Luck to You, Leo Grande), who start nosing around as John Paul is being laid to rest. Their family-run outfit is meant to pay out on his life insurance policy, but it's a hefty amount of cash and will bankrupt the firm. And with Thomas' wife Theresa (Seána Kerslake, My Salinger Year) heavily pregnant and on bed rest, the Claffins already have their own share of family stresses. As brought to Apple TV+ by Horgan with United States of Tara, New Girl and 30 Rock's Brett Baer and Dave Finkel, Bad Sisters uses that insurance investigation to justify its jumps backwards — and it's a savvy tactic. In its weekly instalments, the series works through JP's awfulness and the Garveys' campaign of vengeance in two directions, contrasting the sisters' motivations in the months leading up to their brother-in-law's death with the aftermath. That said, exactly how Grace ends up a widow, who's responsible and which of the siblings knows what all drive the show's whodunnit angle, sharply and entertainingly so. Bad Sisters teases out the precise reasons that Eva, Ursula, Bibi and Becka can't stand JP, too, because The Prick's abysmal behaviour made enemies out of everyone around him over and over. Boasting a devilish setup is just one of Bad Sisters' drawcards. What a premise it is, though. The whole 'offing your arsehole brother-in-law' idea may seem obvious at the outset, but this is a series with both bite and warmth as it unpacks what happens when women don't have any other options but potentially breaking bad — and sticking together. The pervasive feeling: wish fulfilment and catharsis, as Grace's siblings attempt to make everyone's lives better, even if it requires one of the most drastic moves there is. Just as Horgan inhabits her part with fierce affection, as characters played by the This Way Up star tend to sport, the entire ten-episode run bubbles with unfailing determination. It's dedicated to seeing the horrors of coercive control and the harrowing ordeal that is life with someone like JP, but it's as devoted to maintaining hope in the Garveys' sense of sorority. Bad Sisters is also unflinching about perfecting the right balance between twisted, heartfelt, weighty, amusing, sincere and audacious — as resolute as it is about filling its frames with scenic Irish sights. The show's roster of writers and directors, which includes Dearbhla Walsh (Tales From the Loop), Rebecca Gatward (The Spanish Princess) and Josephine Bornebusch (Love Me) behind the lens, ensure four outcomes: lapping up every twist and turn; wishing you're a Garvey yourself; planning a getaway to Ireland; and feeling seen if you've ever been treated terribly by someone you love or even someone you know, be it a relative, friend, neighbour, boss, colleague or acquaintance of an acquaintance. There's no doubting the impact of Bad Sisters' on-screen talents in making it such an instantly addictive Irish delight, however. It isn't merely the central murder-mystery that lures viewers in — and the comic way the series cycles through the Garveys' schemes — but also the show's wonderful leading ladies. From Horgan through to Hewson, the eponymous sisters are exceptionally well-cast, with all five actors conveying the clan's strengths, flaws, differences, fights and camaraderie, including at an individual level and together. Duff is especially heartbreaking as the spouse who has convinced herself that her husband's exploitation and cruelty is normal, while the Bang ensures that the potently odious, easily despised JP is abhorrent on every level but never cartoonish. They're all ably supported by the charmingly bumbling Gleeson and just charmingly charming McCormack, who help reinforce that every family has its ups and downs — including when no one is contemplating homicide. Check out the trailer for Bad Sisters below: Bad Sisters streams via Apple TV+.
California's endless sunshine and awe-inspiring scenery helped establish it as the home of US filmmaking. Nowadays, just about every nook and cranny in the state has appeared on the silver screen, with Hollywood productions making the most of dynamic landscapes and architectural wonders. Ready to see some of pop culture's most iconic scenes in person? We've teamed up with Visit California to highlight ten of the best attractions to visit when you want to geek out on cinematic history. [caption id="attachment_960577" align="aligncenter" width="1920"] Hang Tran via iStock[/caption] Griffith Observatory, Los Angeles Perched on the side of Mount Hollywood, Griffith Observatory offers incredible views across Los Angeles stretching from downtown to the Pacific Ocean. After dark, it becomes a buzz of activity as free telescopes give visitors glimpses into deep space. Inside, cosmos-related exhibitions dazzle guests. A go-to spot for directors, Griffith Observatory has been the setting for hundreds of productions. You might recall the opening shot of The Terminator, featuring a stark-naked Arnold Schwarzenegger, or a mesmerising musical number in La La Land. Don't miss the James Dean busk to celebrate the observatory's role in Rebel Without a Cause. [caption id="attachment_960579" align="aligncenter" width="1920"] Travelview via iStock[/caption] Union Station, Los Angeles Few train stations have appeared on camera more than Union Station. Although it typically serves as LA's major rail terminal, its fascinating combination of art deco and Spanish colonial revival architecture gives it an undeniable gravitas that makes for a powerful scene. In the original Blade Runner, Union Station stands in for Los Angeles Police Station, while The Dark Knight Rises sees it transformed into a kangaroo court overseen by the Scarecrow. Although surprisingly rare, Union Station was simply a train station in Pearl Harbor. [caption id="attachment_961524" align="aligncenter" width="1920"] Ross G Perry[/caption] Fox Plaza, Los Angeles You might still debate whether Die Hard is a Christmas flick, but there's no doubting where it all began for Detective John McClane. Better known as Fox Plaza, or 2121 Avenue of the Stars, this LA skyscraper is where villainous mastermind Hans Gruber met his match. Yet McClane isn't the only cop to roam this building. In Brooklyn 99, Jake makes the team detour to the fictional Nakatomi Plaza, quoting McClane every step of the way. You can also catch Fox Plaza's exterior in Lethal Weapon 2, connecting more made-up cops to the building's legacy. [caption id="attachment_960584" align="aligncenter" width="1920"] Michael Overstreet via iStock[/caption] Bodega Bay, Sonoma County North of San Francisco, Bodega Bay is one of the top spots on the West Coast for whale-watching, peaceful hiking trails and day spas. It's also a must-visit on a cinema-inspired road trip along the coast. Though you might not get that impression from Alfred Hitchcock's 1963 classic, The Birds. After socialite Melanie Daniels follows lawyer Mitch Brenner to Bodega Bay, mysterious bird attacks terrorise the townspeople. Head along to discover how the reality is far more tranquil. [caption id="attachment_961526" align="aligncenter" width="1920"] Marie Beschen[/caption] Museum of Western Film History, Lone Pine Western films had a defining role in the development of American cinema, with the desolate surroundings of Lone Pine central from the beginning. Over 400 feature films were shot across the Alabama Hills, the Sierra Nevada and the Owens Valley since 1920, starting with the silent film, The Round Up, starring Roscoe Conkling "Fatty" Arbuckle. Iconic films like Gunga Din, High Sierra and The Lone Ranger have featured the same vast landscape. For a true movie-buff experience, the Museum of Western Film History offers a diverse collection of frontier film memorabilia. [caption id="attachment_960608" align="aligncenter" width="1920"] Olga U via iStock[/caption] Alabama Hills, Owens Valley On the outskirts of Lone Pine, the Alabama Hills is where numerous seminal western genre films were captured. Surrounded by towering rock formations and seemingly endless desert, traversing Movie Road with the Sierra Mountains adorning the horizon is a great way to get introduced. Films new and old were shot along this barren stretch, with the likes of The Lone Ranger, Iron Man and Gladiator just some of the best-known. Discover landmark geological wonders rising from the desert like the Mobius Arch, Nightmare Rock and Cyclops Arch. Kansas City Barbecue, San Diego Belt out 'Great Balls of Fire' just like Maverick and Goose in Top Gun at Kansas City Barbecue — the setting for the iconic diner scene. It was discovered by Paramount Studios' location scout ahead of production who liked the atmosphere so much that he returned with director Tony Scott. Situated in the harbour district of San Diego, Kansas City Barbecue serves up jam-packed meat dishes and hearty sides. If the classic diner vibe wasn't enough, the walls are adorned with assorted Top Gun memorabilia and the real piano used in the movie is still there. [caption id="attachment_960613" align="aligncenter" width="1920"] Damien Verrier via iStock[/caption] Death Valley National Park, Southwest California Tatooine might seem like a galaxy away in Star Wars Episodes IV and VI, but these otherworldly scenes were shot in the dunes and canyons of Death Valley National Park. Wander into Artist's Palette — a colourful collection of volcanic deposits — just like R2-D2 does in A New Hope. The movie also used one of Death Valley's most impressive vantage points, Dante's View, to capture a panorama of Mos Eisley, a spaceport town filled with scum and villainy. [caption id="attachment_961525" align="aligncenter" width="1920"] Courtesy of Flickr[/caption] Hillard House, San Francisco Featuring a masterclass in comedic performance by Robin Williams, Mrs Doubtfire remains an essential childhood film for millions. Many of the jokes might have gone over your head as a youngster, but this 90s classic still has much to say when you watch as an adult. Located in the upmarket Pacific Heights neighbourhood of San Francisco, Hillard House, featured throughout Mrs Doubtfire, still looks much the same. Although the interiors were shot on a soundstage, it's well worth climbing the hills to visit. Plus, the bay views are incredible. [caption id="attachment_960618" align="aligncenter" width="1920"] Rebecca Todd[/caption] Muir Woods, San Francisco Bay Delve into Muir Woods to discover a fascinating old-growth coastal redwood forest. With some of these towering trees dating to over 1,000 years old, this ancient landscape is bound to leave you feeling in touch with nature. Throughout the Planet of the Apes series, Muir Woods becomes home to a super-intelligent colony of apes. Although these scenes in the films were captured in Vancouver with the help of a little old-fashioned movie magic, the in-universe setting is a stunning location, easily driven to from San Francisco, and it makes for an unforgettable detour. Start planning your tour of California, America's ultimate playground, today. Header images: B Alberts via iStock, Visit California
We can't hate on your everyday supermarket hot cross bun, but if you're looking for something a little fancy this Easter, Morning Market has got a timely surprise. For the first time, the team behind Andrew McConnell's European-style pantry and provisions outfit are making their own spiced creation for your festive pleasure. With an elevated take on the classic recipe, these hot cross buns are produced with anise-flavoured pastis, brandy, cardamon and allspice, while top-quality dried prunes and apricots are added to the mix. With cool autumn mornings primed for this limited-time treat, starting your day with a sweet, fragrant bite puts you in good stead for what lies ahead. So, when can you get them? Morning Market's hot cross buns are available for pre-order and purchase from Friday, February 28 to Saturday, April 19, ensuring you have more than enough time to find out what makes them special. Priced at $4.50 each or $26 for a pack of six, these buns are the ideal way to complement your Easter festivities. With stores in Fitzroy and Prahran, Morning Market is no stranger to special-edition creations and hard-to-find gourmet goods. With both outposts stocked with the same tight curation of culinary goodies, it's become a go-to spot for browsing everything from gold-standard Comté cheese to bluefin tuna roe and best-selling sourdough from cult-followed Baker Bleu. Meanwhile, McConnell (Cumulus Inc, Builders Arms Hotel, Cutler & Co) has also been hard at work organising a refined selection of food-related gifts and homewares. Whether your foodie friend has a birthday coming up or you're keen to add some tasteful items to your collection, sophisticated cookbooks, vases, pepper mills and candles make shopping hassle-free. If you decide to pop in, both Fitzroy and Prahran have street-side seating where you can rest after your shop. Order up a coffee with a breakfast bap, the sandwich special of the week or – if you get down during this Easter celebration – a freshly baked hot cross bun that will open your mind to the possibilities of the enduring autumn tradition. [caption id="attachment_809358" align="alignnone" width="1920"] Jo McGann[/caption] Morning Market is found at 59 Gertrude Street, Fitzroy, and 579 High Street, Prahran. Head to the website for more information. Images: Parker Blain.
It could potentially be the final film for Studio Ghibli. And by gum, it looks like our hearts will be firmly in our hands. Set for limited release across Australia on May 14 for two weeks only, When Marnie Was There could be the last Ghibli feature film ever; after the Japanese animation legends announced the possibly permanent closure of their film division last year. Spirited Away creator and Ghibli co-founder Hayao Miyazaki retired from filmmaking before the 2013 release of The Wind Rises, and fellow Ghibli head Isao Takahata's Academy Award-nominated film The Tale of the Princess Kaguya didn't fare too well at the box office outside Japan. So we've got big hopes for the studio's last wild feature-length ride, directed by Hiromasa Yonebayashi (The Secret World of Arrietty). When Marnie Was There following the life of a lonely girl, Anne, whose foster parents decide to send her to the country to stay with distant family. After stumbling across a strangely familar old mansion, she meets Marnie, the mysterious girl who lives there. Ghibli magic ensues. Check out the trailer here: When Marnie Was There is set for limited release across Australia on May 14 for two weeks only, screening in both original Japanese language and English dubbed versions. Check your local cinema listings.
After the first cases were announced on Monday, May 24, Melbourne's latest COVID-19 outbreak has been moving rapidly. On Tuesday, the Victorian Government implemented gathering restrictions and an indoor mask mandate and, today, Thursday, May 27, it's taking the thoroughly expected next step. From 11.59pm tonight, the state will go into a snap seven-day circuit-breaker lockdown, which will see all of Victoria revert back to stage four restrictions from tonight until 11.59pm on Thursday, June 3. Victorians will be familiar with the rules and restrictions from previous lockdowns — including the last one back in February — but this time you'll be able to leave you home for those five reasons, not just four. The first four are familiar: shopping for what you need, when you need it; caregiving and compassionate reasons; essential work or permitted eduction that can't be done from home; and exercise. As for the last one, you can also now leave to get vaccinated against COVID-19. Exercise must be limited to two hours a day with your household members, your intimate partner or one other person who is not from your household or your partner. Once again, though, Victorians must stay within five kilometres of their homes, unless you're leaving for permitted work or you're shopping for essentials if there are no shops in your radius. Masks are also mandatory everywhere outside of your home — and private gatherings are banned, as are public gatherings. But, while you can't have any visitors enter your home, there will be single bubbles. So, if you live alone, you can form a bubble with another person. https://twitter.com/JamesMerlinoMP/status/1397728720291463169 Weddings are not permitted, unless on compassionate grounds, while funerals are limited to ten. Hairdressing and beauty services, indoor physical recreation and sport venues, swimming pools, community facilities including libraries, entertainment venues and non-essential retail venues will all close during the seven-day period — and hospitality venues will once again revert back to takeaway-only. Supermarkets, bottle shops and pharmacies will remain open — and professional sports can proceed, but without crowds. And, regarding vaccinations, the state is also rolling out the vaccine to everyone over the age of 40 from Friday, May 28. Victorians aged between 40–49 years will be able to access to the Pfizer vaccine via the state's vaccination sites. https://twitter.com/VicGovDH/status/1397686292297793543 The announcement comes as Victoria now has 34 active COVID-19 cases, including 12 new cases identified in the 24 hours to midnight last night. Genomic sequencing indicates that current outbreak is linked to a positive case out of hotel quarantine in South Australia from earlier in May. At the time of writing, since the first new cases in this cluster were reported on Monday, 79 locations are currently listed as exposure sites by Victoria's Department of Health — a list that has been growing quickly. When Melbourne reentered stay-at-home orders in February, the lockdown came to an end after the allocated five-day period. Last August, though, the same restrictions remained in place for six weeks, before slowly easing from mid-September. That said, during the August lockdown, Victoria was recording in the realm of 671 new COVID-19 cases in a 24-hour period. Acting Premier James Merlino advised the current situation has been complicated by the fact that the state is "dealing with a highly infectious strain of the virus, a variant of concern, which is running faster than we have ever recorded". He continued: "from first thing this morning, we have identified in excess of 10,000 primary and secondary contacts who will need to either quarantine, or test and isolate, and that number will continue to grow and change. Our public health experts' primary concern is how fast this variant is moving. We've seen overseas how difficult that movement can be to control." All of Victoria will revert back to stage four restrictions from 11.59pm on Thursday, May 27 until the same time on Thursday, June 3. For more information about the rules, head to the Victorian Department of Health website.
If you're hunting for a new staycation spot in Melbourne, here's good news: Victoria's first Hotel Indigo has just landed in Flinders Lane, following a sleek $20 million renovation. The global hotel chain originally launched in Australia last year with the opening of its design-led Brisbane outpost. Bringing the brand's signature focus on art and design to Melbourne, Hotel Indigo on Flinders will nod to its namesake location. Specifically, the hotel takes inspiration from internationally-acclaimed and controversial fashion photographer Helmut Newton across a sprawling 216-room property. The space is decked out with Newton's work and a wealth of commissioned pieces from local artists to pay tribute to fashion, art and runway photography in all its forms. "We're confident our intriguing Flinders Lane neighbourhood, the Helmut Newton inspired styling and stories of the city artfully weaved into everything we do will fascinate and inspire our guests to discover Melbourne in new ways," General Manager of Hotel Indigo Melbourne on Flinders, Joseph Simmons says. Amenities run to the likes of Biology haircare, soft bathrobes courtesy of Seed & Sprout and spacious work areas. Breakfast and coffee are served in the lounge daily, while Spanish restaurant and bar BESO offers a contemporary take on traditional Spanish tapas. "After a multi-million-dollar transformation this exceptional property brings Hotel Indigo to life in Melbourne — the brand inspires creative design and unique guest experiences which our passionate team will embody for each and every guest," CEO of Asia Pacific of Pro-invest Group Jan Smits says. Hotel Indigo on Flinders is now open for bookings at 575 Flinders Lane, Melbourne. Rates start from $225 per night.
In the story of ACCA, right after NEW13 comes a first of another variety, with two concurrent exhibitions in the form of American, British based artist Daria Martin’s One of the Things that Makes Me Doubt and prolific Australian artist Mikala Dwyer’s Goldene Bend’er set to be unveiled at Friday night’s opening, to run until the end of July. The two female artists link ACCA’s multiple gallery spaces, offering parallel visual journeys that traverse dreams, the unconscious psyche, human form and revolution through 16mm film, performance and sculpture. If somehow the art isn’t to your taste, you can always take joy in watching Melbourne’s creative kids hob knob and your glass fill up with free champagne come Friday night’s dense throng of artistic activity. Image Mikala Dwyer, The Collapzars, 2012, via ACCA
As support acts go, Amyl and The Sniffers are a perfect pairing with AC/DC, a union made real with the Power Up tour that's kicking off in Melbourne tonight at the MCG. If you wanna rock n' roll, but missed out on tickets to the big gig, Amyl and The Sniffers have just announced the show for you. It's free, it's Fed Square, and it's this Friday. Best get to clearing your calendar. Your average Friday plans can wait when you can instead bask in the breakneck riffs and unfiltered rock energy that's made these local legends soar to stardom in recent years. And you don't have to drop as much as a dime. The band originally formed back in 2016, with frontwoman Amy Taylor providing vocals (and no small amount of stage presence), Bryce Wilson on the drums, Dec Mehrtens on the guitar and bassist Gus Romer joining in 2017. Their first EP, Giddy Up, was released twelve hours after they started writing it, and now the band has sold out headline tours, played the world's biggest festival stages and won big at awards throughout the music industry. It's a story of all-time Aussie rock greatness that's still unfolding. Like any good concert headliner though, they won't be alone — the supporting opener comes from another Melbourne local band, Public Figures. The passion project of Evie Vlah and Gigi Argiro, they'll open up the night with a set mixing AC/DC hits with their original works. The whole evening is titled High Voltage, and it's presented by Fed Square, City of Melbourne and Double J, in celebration of Australian rock legends old and new. Katrina Sedgwick OAM, Director & CEO of MAP Co said the event and its lineup continue Fed Square's mission to bring great live music to Melbourne for free. "Amyl and The Sniffers are one of Australia's most explosive live acts. Fearless, magnetic, and completely unmissable. High Voltage continues Fed Square's commitment to bringing iconic artists to the heart of Melbourne, celebrating the city's proud music heritage with events that are free, open and welcoming to all." High Voltage Presented by Amyl and The Sniffers will take over Federation Square's main stage from 7.30 to 9.30pm on Friday, November 14. Entry is free.
"We were just saying, we love an Aussie." When you're My Old Ass writer/director Megan Park and Australia's own Margot Robbie has produced your latest film, it's easy to understand why. Gleaning why she greets Concrete Playground that way isn't hard, either. "We do," adds Maisy Stella, the movie's star. "Yeah, we really, really do," Park chimes back in. Robbie's production company LuckyChap Entertainment, which has I, Tonya, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) and Barbie to its name as well — and, among flicks that don't boast its co-founder on-screen, Promising Young Woman and Saltburn, too — is also onboard for Park's next release after this marvel of a coming-of-age tale. Viewers of My Old Ass have more from Park to look forward to, then. Right now, though, they already have a must-see to enjoy courtesy of her second feature as a filmmaker. Actually, that also applies to her debut. An actor herself, Park initially jumped behind the lens on 2021's excellent Jenna Ortega (Beetlejuice Beetlejuice)-led The Fallout, which plunged into the aftermath of a school tragedy. Now, the former The Secret Life of the American Teenager star has penned and helmed a picture set as its protagonist gets ready to leave her small-town home behind for college. [caption id="attachment_974458" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] For her second movie about teens making sense of their world, too, Park embraces a high-concept setup — and one that heads down a universal path that resonates with viewers of all ages. Have you ever wanted to get life advice from your future self? Or, conversely, to give your younger self some words of wisdom, whether about what not to worry about or who to avoid? Focusing on Nashville's Stella as the just-turned-18 Elliott — and featuring Parks and Recreation, The White Lotus and Agatha All Along favourite Aubrey Plaza as the older version — that's My Old Ass' storyline. If you're wondering how the two Elliotts come to meet, the film uses a mushroom trip to head into magical-realism territory. When they come face to face, Plaza's 39-year-old Elliott has a specific piece of advice for the girl that she once was: stay away from Chad (Wednesday's Percy Hynes White). We all know what happens when you tell someone not to do something, especially a carefree teenager, so of course Stella's Elliott doesn't heed that warning. This is a film, however, that understands the urge to want to send your former self in a certain direction, because it understands what it's like to live with the ups and downs that life takes us on just as firmly. It equally appreciates that it's those ebbs and flows — and joys and hurts as well, so our course for better and for worse — that make us who we are. [caption id="attachment_974462" align="alignnone" width="1920"] Marion Curtis / Starpix for Amazon MGM Studios[/caption] What would Stella do if the Sundance Film Festival-premiering movie's premise became an IRL possibility for her? It depends on which way the advice was flowing. Park is of the same opinion. They'd each be keen to talk to their younger selves, but not their older guises. "I've decided that I reject it. I really reject it. I've been asked this and every time I try to think of something, and I think the reason that I don't have anything is because I would not take the opportunity. I would take the opportunity to meet younger self. But the older, it just feels a little scary to me," Stella tells us. "It gets dicey. See, it goes dark quick. I mean, it really takes a turn," she continues. "Yeah, it's a it's a scary one," agrees Park. "I think I'm going to hard pass on it too, probably. I'd want to go back and meet my younger self." Thinking about these questions is unavoidable after watching My Old Ass, no matter whether you decide that you'd seize or shirk the chance that Elliott is given. Also part of the viewing experience: wishing that Plaza could pop up in your life either way. We also chatted with Park and Stella about where the idea for the film sprang from, what Park was interested in exploring with it, Stella's excitement about playing Elliott, how she approached the character, and working with both Plaza and Robbie. On What Inspired My Old Ass, and What Park Was Interested in Exploring Megan: "I think the themes that I really wanted to explore were grief and time passing, and nostalgia — and motherhood, truthfully, was a big one that I wanted. I was a new mum when I wrote this script, so it was those feelings that were really the entry point into this idea that's so universal, I think, of wanting to talk to your older or younger self. Or regrets. Regret is another big one. I think I'm such an emotionally driven writer that I'm not thinking about necessarily the structure of the story, and what's going to happen and what are people going to take from the movie — I'm just driven from that emotional place, at least I have been so far in the two movies I've written. It's all I really know how to do it. So those were the themes I wanted to explore. And then as I didn't know where it was going, as soon as Elliott came to me, and older Elliott, I just followed that lead and figured out the story as I went." On Stella's Initial Reaction to the Script, and What She Thought That She Could Bring to the Younger Elliott Maisy: "My first reaction to it was just beaming with excitement. It was funny, because I had been auditioning for so long and I really enjoy auditioning, and I really enjoy reading scripts and I read a lot of scripts at that time, and it was just my favourite thing I'd read in forever. And I was immediately met with anxiety. The second I started reading it, the thought of it being taken from me, I was like 'no!'. And it wasn't even mine at all. But the thought of not getting to be a part of this amazing project was so scary to me. So yeah, my initial reaction to it was deeply, deeply moved; really excited and inspired by it; and would have just been so grateful and lucky to have been a part of it. And it worked out for me. I'm very grateful and lucky." [caption id="attachment_974461" align="alignnone" width="1920"] Marion Curtis / Starpix for Amazon MGM Studios[/caption] On the Journey to Realising That Aubrey Plaza Was the Ideal Older Elliott Megan: "Truthfully, I'd written the role for somebody to be much older, like in their late 40s, early 50s. And we cast the film around Maisy, and so we were really stuck on who looks the most like her, who's in that age range and who's available to come to Canada to film the movie. And there just was never anybody that came up that was the right match for the tone of the movie, for energetically with Maisy, for the comedy. It wasn't until there was a list of names that somebody had suggested, and Aubrey was on there. It was like 'wait a second, I'm such a fan of hers' — and I knew Maisy was a fan of hers. She was not even 40 and doesn't look anything like Maisy really, but we were like 'wait a second', and for some reason the energy and the chemistry was just such a connection. And it just made the whole movie make sense in a whole new way for me. I'm close to age to Aubrey and I thought 'wow, I've actually never felt older than hanging out with all the 18 year olds'. And there was something so funny to me about this idea that she thinks she's so old and she's not even 40. And even the title became funnier when it was Aubrey." Maisy: "Yes!" Megan: "So then, luckily we sent it to her, and only her, and she read it and loved it and wanted to be a part of it. So once we got it to her, the stars really aligned quickly, but it was kind of me getting out of my own way and being like 'wait, instead of worrying about who looks the most like Maisy, who fits into the movie?'." Maisy: "Instead of worrying about who's blonde?" Megan: "Yeah, exactly." On Collaboration When You're Playing the Younger Version of a Character While Sharing Scenes with the Older Version Maisy: "It was quick. What happened, I was filming for like two weeks when Aubrey was officially attached. So my younger Elliott was already kind of established. On anything else, if this was any other situation, I would have been meeting Aubrey — and she kind of had to meet me because I was filming. So it was a quick thing, she came for like a week and we just went for it." [caption id="attachment_974460" align="alignnone" width="1920"] Marion Curtis / Starpix for Amazon MGM Studios[/caption] Megan: "She'd been watching dailies and studying Maisy a bit before." Maisy: "And then when we met, I felt Aubrey staring and filming me with her eyes, and getting the mannerisms and physicality. I think that was probably more what we focused on. And also just creating a friendship and a nice connection was probably the most important part, rather than mimicking each other. It felt more enjoyable." Megan: "I remember Aubrey asking me 'do you want me to mimic her? How deep do you want me to go with this?' And I was like 'I feel like that's not the most important part of it. I'd rather we just build the chemistry and the rapport'. And that was totally what I think was the main thing. We just spent the weekend together, talked through stuff." Maisy: "100 percent." Megan: "And it was just about building that chemistry — which, they're both genius actors, they can build chemistry so quickly. That's a skill that I think the best actors can do. And the two of them together were just able to connect so quickly." [caption id="attachment_974459" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] On Having Margot Robbie as a Producer, and How That Helped Shape the Film Megan: "As we were saying, we love an Aussie. Our other producer, Bronte Payne at LuckyChap, is also Australian. It happened really organically. I had a general meeting with the company, with Bronte, who had seen The Fallout — and she really loved the film, and she just wanted to sit and chat. And she was the one, honestly, who was like 'do you have any other ideas?'. And I was like 'I mean, there's this one thing I'm thinking about'. And she was like 'we'd love to hear more about that. We think that's a great idea'. Then she introduced me to the rest of people at the company, Tom [Ackerley, also one of LuckyChap's founders] and Margot and Josey [McNamara, another LuckyChap founder]. And they are just so — it's really hard to find good people in this industry who are really honest and smart and hardworking, and treat everybody, no matter if it's the star of the movie or the PA, they're just so consistent. And they're so grounded and down to earth, and there's a reason why they get so much repeat business with their directors. It's because it's genuine, and they're obviously very smart. So they were incredibly helpful, not only helping me build the script, but every step of the way — they've just been so invaluable and so easygoing. And just lovely, lovely human beings. I'm doing my next film with them, and I hope to work with them over and over again. They're incredible." On Balancing Playing a Carefree 18-Year-Old with Their Whole Life Ahead of Them with Elliott Getting to Take Stock of Her Existence Decades Before Anyone Usually Expects To Maisy: "Preparing-wise, I honestly read the script so many times. That was really my prep, just reading it. I didn't do too much, I didn't practice the deliveries." Megan: "We just talked through the scenes." Maisy: "We'd just talk it through. And on my own time, I had months before I went to film — but after I booked it, I enjoyed reading it so I would obsessively just read it and think about it a lot. I really lived with the concept and with the message. I thought about it a lot. I think was my preparation." [caption id="attachment_974457" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] Megan: "And you believed in it." Maisy: "And I believed in it and I meant it. I really meant it. Everything that Elliott says, I ended up meaning on the day. Even if I was learning from her and trying to mean it, I did end up meaning it." Megan: "Yeah." Maisy: "And with an indie, with the director like you [talks to Megan], where you really like things to feel like you press record and you're just like watching people exist, there's only so much you can do for prep to keep it feeling natural and real and sparky." My Old Ass opened in Australian cinemas on Thursday, September 26, 2024. My Old Ass images: Marni Grossman © Amazon Content Services LLC.
Stay tuned. More info coming soon. Images: Giulia Morlando.
If you like to live like a million dollar foodie on minimum wage, this is the event for you. One of our favourite parts of the Melbourne Food & Wine Festival each year, the Restaurant Express series gives you the chance to finally try that new restaurant you've been reading about for a cool $40. Two twenty dollar bills cover a two-course lunch (including their signature dish) and a drink that will be matched to your food. And considering you can head to places like the Estelle, Albert St Food & Wine, Pei Modern, Stokehouse City and Union Dining, it's the best value in town for some of the best lunches around. See a full list of restaurants participating in Restaurant Express here.
Utes are as ubiquitously Australian as Vegemite, meat pies and nicknames abbreviated to capitulate in the letter O. This is what makes a trip to the legendary Deni Ute Muster a perfect excursion for those keen to experience a classic Australian road trip. The annual event held in the NSW Riverina town of Deniliquin (a 3.5-hour drive from Melbourne) is a celebration of the iconic vehicle. But you don't need to be a rev-head or even own your own ute to get amongst this uniquely Australian shindig. Parked between the Commodores and Falcons, Rangers and Hiluxes, will be a lineup of some of the country's biggest names in music, tasty food pop-ups and the opportunity to do two nights of camping on Friday, 29 and Saturday, 30 September. Expect to spot Jess Mauboy, John Williamson, Missy Higgins and Lee Kernaghan belting out hits over the weekend. Off-stage, entertainment will be provided courtesy of activities like an ice skating rink, Bogan Bingo, camel rides, monster truck rides and a muster sandpit. Tickets start at $310 which also covers camping, so you can bring your own tent or caravan — or simply roll out a swag in the back of your ute. Deni Ute Muster is on from Friday, September 29 to Saturday, September 30 2023. For further details, head to the website.
The return of Spilt Milk for 2025 is big news, after the Australian music festival sat out 2024. This year's four events — including in Ballarat — will be positively huge, however, thanks to a massive lineup headlined by Kendrick Lamar. DAMN. LOVE. Quoting those album and song titles fits right now, with the Pulitzer Music Prize-winning musician heading Down Under in this same year that he put on a helluva Super Bowl halftime show. Just as he did in 2022, Lamar has a December date with Australia, playing 2025's run of Spilt Milk fests across two weekends. Alongside stops in Canberra, Perth and on the Gold Coast, it's Ballarat's turn at Victoria Park on Saturday, December 6. That's a headliner worth waiting a year for — and Lamar has company from Doechii, Sara Landry, Dominic Fike and ScHoolboy Q for starters. Also on the bill: d4vd, Nessa Barrett, Sofia Isella, Skin On Skin, sombr, Club Angel, The Dreggs and The Rions, plus more. In 2025, festivalgoers can also look forward to the return of sing-alongs at Guilty Pleasures, plus country bar Howdy Howdy and the Bus Da Move party bus. The art component will feature artists from Studio A. Spilt Milk's 2025 return is immense, not just due to its lineup, but because not every fest that sat 2024 out has made a comeback. Sadly, both Groovin the Moo and Splendour in the Grass have scrapped their events in both years. Spilt Milk 2025 Lineup Kendrick Lamar Doechii Sara Landry Dominic Fike ScHoolboy Q d4vd Nessa Barrett Skin on Skin sombr Baby J Chance Peña Club Angel Don West Ennaria Esha Tewari Lyric Mia Wray Ninajirachi Rebecca Black Rum Jungle Sofia Isella South Summit The Dreggs The Rions Spilt Milk image: Mackenzie Sweentnam.
A group of entrepreneurs and creative thinkers will come together for The 8 Percent Festival, which will hold its inaugural two-day event this October at the Plaza Ballroom in Melbourne. The keynote speakers include journalist and news presenter for ABC's Late Edition and SBS's World News Tonight Indira Naidoo, South Sudanese refugee and law graduate Deng Thiak Adut — who you might recognise from Western Sydney University's 'unlimited' marketing campaign — and undefeated martial artist Nadine Champion, who has given a TEDX talk on courage. The festival will combine keynote speeches, think tank panels and breakout workshops across two days, and includes a third Creative Inspiration Day for those willing to fork out $2500 for VIP tickets. Panellists and guests will together discuss diverse industries such as health, film, media, education and business, and will be encouraged to contribute to a new business model to solve issues in one industry. General tickets are a little pricey at $997, but you can get a much more affordable voyeur ticket for $197, which allows you to watch the keynotes and panels over both days, but not participate. [competition]590147[/competition]
Historic Melbourne cinema The Astor is hosting their Great Astor Spooktacular again this year, which means nine movies will be shown in a 13-hour-long horror marathon — right in time for Halloween. Directed by "the devil" and featuring a cast of "hell itself", some of the films include The Amityville Horror — the original 1979 supernatural horror film that inspired the 17-film franchise — as well as 1988 slasher film Child's Play (you know, the super creepy and murderous doll), and cult film Night of the Comet, a 1984 film about the survivors of a comet that killed (or zombified) almost all of humankind. The historic cinema, known for its presentation of classics and cult films, is the perfect venue for the all-right horror marathon. It all kicks off at 8pm on Friday, October 28 and runs overnight. Needless to say, this one isn't for the faint of heart.
Hyrule is heading to the big screen, and Link and Princess Zelda along with it. After almost four decades of mashing buttons to save the magical land, fans of The Legend of Zelda will be able to see the game franchise make the leap to cinemas. Coming off a huge year for film adaptations of its titles thanks to box-office smash that is The Super Mario Bros Movie, Nintendo has announced that it's turning its beloved Ganondorf-battling action-adventure series into a feature. The Legend of Zelda will have something else in common with Nintendo's favourite plumbers: it's getting the live-action silver-screen treatment first. While animation worked well for Mario's latest date with picture palaces in 2023, Link, Zelda and the like will be flesh and blood. Just imagine how Hyrule's stunning landscapes will look. The Legend of Zelda's move into movies will boast Shigeru Miyamoto, Representative Director and Fellow of Nintendo, as one of its producers — alongside Avi Arad, whose resume includes all the Spider-Man flicks (live-action and animated), some X-Men films, early Marvel titles like Iron Man and The Incredible Hulk, and also Ghost in the Shell and Uncharted. While it's too early for any news on stars, The Maze Runner filmmaker Wes Ball will be directing. And the film will indeed hit cinemas, with Sony distributing — and co-financing the movie with Nintendo. No details about the feature's storyline have been unveiled so far, either. Accordingly, if you're wondering which game or games it might follow — and if your favourite, be it the OG 1986 The Legend of Zelda, 1991 masterpiece A Link to the Past, 1998's Ocarina of Time or 2013's A Link Between Worlds, for instance, might get a nod — there's no answers as yet. "By producing visual contents of Nintendo IP by itself, Nintendo is creating new opportunities to have people from around the world to access the world of entertainment which Nintendo has built, through different means apart from its dedicated game consoles," said the company in a statement announcing the film version of The Legend of Zelda. "By getting deeply involved in the movie production with the aim to put smiles on everyone's faces through entertainment, Nintendo will continue its efforts to produce unique entertainment and deliver it to as many people as possible." Given that The Legend of Zelda: Tears of the Kingdom hit Nintendo Switch back in May, 2023 is clearly a big Zelda year, even if the film obviously won't release before 2024 hits. Exactly when it will start showing in cinemas is also among the details that haven't yet been revealed. The live-action The Legend of Zelda movie doesn't yet have a release date — we'll update you when one is announced. Images: The Legend of Zelda: Tears of the Kingdom.
The Daniel Schlusser Ensemble, headed by the 2012 George Fairfax Memorial Fellow, Daniel Schlusser himself, have a way of exploding classics into tiny pieces and then placing them back together in a hyper-realist format for a modern audience. What does that mean exactly? Usually it means lots of sex, violence and strobe lights used to create a potent, bold and contemporary re-telling of a story that often seems familiar to us all. In Menagerie, this story surrounds a family living in squalor, each harbouring personal desires that threaten to escape through the cracks in their inner worlds to permeate their collective exterior. It’s based on the life of Tennessee Williams, one of theatre’s greats, and will kick off the Melbourne Theatre Company’s NEON 2013 season. In it's first year, NEON invites Melbourne’s top five independent theatre companies into the renowned MTC space, allowing them complete curatorial control; something that sounds like a pretty wild ride in the hands of Daniel Schlusser. Image via Sarah Walker Photography
An appropriately frosty selection of films are set to screen this July as part of an Icelandic programme curated by ACMI's Roberta Ciabarra. Highlighting two of Reykjavik's eminent directors, Fridrik Thór Fridriksson and Baltasar Kormákur, there are nine award-winning films to explore from the early '90s up to today. For those of you aurally attuned, check out Fridriksson's Rock in Reykjavik (Rokk í reykjavík) to see some 1980s post-punk panache and a teenaged Björk in one of her earlier bands. If you feel like something a little more dramatic, with a touch of slapstick, why not try Kormákur's 2008 White Night Wedding (Brúdguminn), which was officially selected for the Best Foreign Film Oscar, as well as being the highest grossing film in Icelandic box office history. From cockle-warming drama to icy criminal thrillers, this programme delivers something for every film lover and is a perfect warm-up for MIFF. Both single tickets and passes are available.
Using a combination of photography and paint, New Zealand native Monique Barnett presents Famesque — a warped interpretation of celebrity that challenges existing, idealised associations with fame. She navigates the shiny waters of the high-gloss celebrity aqueducts to offer a unique view, one that plays with both eyes and ideas. Large-scale pieces draw the viewer in to Barnett's world, only to find that this unfamiliar territory is in fact a distorted mirror of our own making. Nameless, yet recognisable faces inhabit the space, allowing the viewer to question what these people truly represent. Discourse is encouraged, meaning this could be your chance to brush shoulders with Gaga! Image by Monique Barnett.
Remember Piccolina's epic Gelato Project? Well, it's back for an even bigger, better third iteration. If you missed this last year, it's an eight-week partnership between Melbourne's much-loved gelateria and eight innovative local chefs, inviting this group of kitchen heroes to take over the specials board. The Piccolina Gelato Project will once again see eight Melbourne chefs each have a crack at impressing the masses with their gelato game. A different name will step up to the plate each week, teaming up with Piccolina's Sandra Foti to create three special flavours that capture the spirit of their respective restaurant — along with a healthy dose of personal flair, of course. That's 24 new flavours dropping. [caption id="attachment_905508" align="alignnone" width="1920"] Image: Chef Coskun Uysal[/caption] This year features a diverse line-up of culinary superstars, from Ross Magnaye (Serai) and Nornie Bero (Mabu Mabu) to Charley Snadden-Wilson (Clover Wine). Others on the lineup include Ella Mittas (Author Ela! Ela!), Nagesh Seethian (Manzé), Ellie Bouhadana (Hope St Radio), Coskun Uysal (Tulum) and Brigitte Hafner (Tedesca Osteria). Piccolina takes a bit of a punt with this one. They give each chef free creative reign to drop flavour bombs on unsuspecting customers. For Uysal, that involves tapping into his Anatolian-Turkish heritage, with creations like chicken and milk pudding, and melon Raki sorbet with feta cheese and mint oil. "I strive to entice people to step outside their comfort zones and explore something different," Uysal says. "Although the flavour combinations may be unconventional, they work harmoniously." [caption id="attachment_891171" align="alignnone" width="1920"] Image: Piccolina, Social Quarter[/caption] Keep an eye out for Bero's week too: she's planning to use native ingredients like wattleseed, peppermint gum, rosella and quandong. "Given our core brand values of creativity, integrity and originality, we're thrilled with what the chefs have come up with and feel they have really taken it to the next level," says Piccolina founder, Sandra Foti. Roll into any Piccolina outpost to find these inventive desserts from Wednesday, June 21 to Tuesday, August 15. Images: supplied.
Generally when you order a burger, it doesn't come flying to you at 100km an hour. The thought of that doesn't actually sound very fun or delicious; it sounds a lot like copping a pickle to the eyeball. But at Christchurch's C1 Espresso, high-speed sliders are a reality that doesn't hurt or impede your vision, thanks to an impressive overhead air suction system that delivers your chow straight from the kitchen to your table via pneumatic tube. It's the future, as owner Sam Crofskey puts it. And there is something very Fifth Element about food travelling through clear plastic tubes to get to your mouth, but this system is actually more in tune with the past than the future. Originally operating as a bank — and taken over by C1 after their previous site was destroyed in the February 2011 earthquake — the High Street building was already fitted with old-school pneumatic tubes. After using the vacuum-like system to transport handwritten orders to the kitchen, the next step, naturally, was to stick food up there and see what happened. With the existing tubes not quite big enough for edibles, new, slider-sized ones had to be fitted. They run from the kitchen and along the ceiling before dropping down to arrive at tables that sit up against the walls (and there's even talk of expanding delivery to outside tables through underground tubes). This means the cafe is always whirring, moving and buzzing; people's eyes flicker as they see a cylinder fly past up above and then grin in delight when said cylinder arrives at their table, holding three sliders and piping hot curly fries. "We just thought it was very Willy Wonka or something, and we had to do it," says Crofskey. "It was really important that when people talked about us after the earthquake, that they connected with us in the same kind of way as before ... We had to make sure that people would make the effort to come back." And with most of the city shut down — particularly when they initially reopened in November 2012 — C1 didn't just need a novelty; they needed to do something unique that fit in with their already-established brand and the community. Pioneering the second wave coffee movement since their beginnings in 1996 (back when no one knew what a barista was, according to Crofskey), C1 has always been known for great coffee and breakfast and details like their customised sugar packets that look like crayons and the sparkling water on tap from an old sewing machine. The pneumatic burgers and the decision to open for dinner are another extension of the C1 culture, and a good reflection of Crofskey's approach to hospitality. "We had a chance to reinvent ourselves and, when we reopened, we were deciding who we wanted to be," says Sam. "We didn't want to deviate from our brand — it's still warm and inviting, and a place for the community to come together." But offering breakfast, lunch and dinner isn't the only thing on Crofskey's agenda. Along with the cafe, he also works with a Samoan community to create a sustainable coffee industry in partnership with Women in Business, he bottles and sells OK! fruit nectars that also originate from the region, and he produces his own honey from the building's rooftop beehive and garden. And, with the cafe sharing real estate with a video store, art house cinema and, temporarily, the Christchurch Art Gallery, the space is so much more than somewhere to eat. "We had this idea that we wanted to have this space that people could get lost in for a while, so you can go here and go to the movies, come out and go to the art gallery," says Crofskey. And with plans to turn the upper levels into a boutique hotel, C1 will be like an island for the people of Christchurch. One where the room service is delivered at 100km an hour, of course.
It's hard to say where and when the whisky highball was first invented. The story goes that English actor E.J. Ratcliffe brought the concept to America in 1894, where a bartender at the Adams House in Boston dubbed it a 'highball'. The recipe — whisky and sparkling water in a tall glass — appeared in a book called The Mixologist in 1895, under the name 'Splificator'. But over the years, the name highball stuck — and the rules for making one vary as much as the story of its invention. Here to shake up the whisky highball this spring are two of Melbourne's leading bartenders: Darren Leaney from cosy Carlton bar Capitano and Michael Madrusan, bartender and owner at late-night haunt Bar Margaux. Each bartender is working with Johnnie Walker to take the well-loved drink to a new level — with twists like leatherwood honey or a dash of absinthe. A BRIEF HISTORY OF THE HIGHBALL During the late 19th century, there was a phylloxera epidemic that wiped out vineyards in Europe — and wine and spirits like brandy and cognac were not as readily available as they had been. The wealthier classes, who used to mix brandy and cognac with carbonated water, instead opted for blended scotch whisky with soda. And the whisky highball was born. To make it, some say the whisky and ice needs to be stirred 13 and a half times and soda water poured down the arm of the spoon, while others tell you to keep that spoon the hell away from it. What's not debatable is the tall glass, ice, whisky and carbonated water. [caption id="attachment_743080" align="alignnone" width="1920"] Kate Shanasy.[/caption] Artisans of the craft know there are countless combos and garnishes available, from adding mint to a smoky whisky or introducing a lemon twist when you want to highlight the citrus notes. It's designed to have a refreshing taste, to accompany a nice meal and to bring out the flavours of the whisky. Today, Blended Scotch Whisky has become an increasingly popular base for the highball — thanks largely to its diverse flavour notes. Johnnie Walker Black Label, for example, has layers of vanilla and dried fruits with a subtle smoky finish. That's because Johnnie Walker has 29 distilleries in Scotland, producing roughly 11 million casks of whisky from which they make their blends. It makes it the perfect starting point for a whisky highball as there's a variation that suits lots of people's palates. WHO'S SHAKING THINGS UP? [caption id="attachment_743115" align="alignnone" width="1920"] Kate Shanasy.[/caption] Capitano, the cosy Carlton bar from the folks behind Bar Liberty, is working with that concept to create a whisky highball that complements the killer pizzas it serves. Innovative bartender and all-round hospo legend Darren Leaney has teamed up with Johnnie Walker to take the well-loved drink to a new level. The Leatherwood Highball ($18) is made with leatherwood honey, barley tea, saline, soda and Johnnie Walker Black Label. And every night from 5.30–6.30pm you can pair a classic cheese or tomato pizza with the Leatherwood Highball for $30. [caption id="attachment_743081" align="alignnone" width="1920"] Kate Shanasy.[/caption] Over at the French-inspired, late-night Bar Margaux, co-owner and bartender Michael Madrusan has come up with a deluxe, bespoke take on the classic whisky highball. It's a balanced blend of Johnnie Walker Black Label, Pommeau de Normandie (apple aperitif), lemon and a cheeky dash of absinthe. And the name? Madrusan is calling it the Tall, Dark and Then Some. To match Madrusan's creation, British-born head chef Daniel Southern has chosen panisse (chickpea fries) that'll bring out the flavours of the drink. Head to Bar Margaux between 4–6pm or after midnight on any day of the week to order a Tall, Dark and Then Some with panisse for just $20. Far from being just a scotch and soda, the highball is surprisingly versatile, creative and has a refreshing taste. Head to Capitano and Bar Margaux to try the creative takes on this classic drink. Top image: Kate Shanasy.
What kind of holidaymaker are you? Do you seek sun and sand on your break from the daily grind? Country-hopping and site-seeing? Or just comfortable surroundings and a cold brew or two? Those keen on the latter can now put their feet up at the ultimate accommodation for beer lovers from Monday, August 27. In fact, The DogHouse is so steeped in yeasty tipples, it's attached to and run by a brewery. After a successful crowdfunding campaign, Scottish outfit BrewDog has set up the boozy venture, which lives next to its US facility in Columbus, Ohio. So, what does the world's first craft beer hotel entail? In addition to a sour brewing facility, it includes beverages and lots of them, of course. Visitors sleep in beer-themed rooms, eat craft beer-infused meals with brews tailored to every course, take brewery tours and check out the onsite beer museum. In-room beer taps are also on the agenda, as well as shower beer fridges. And, when you check in, the concierge gives you a beer — naturally. There are 32 rooms in total, including eight deluxe suites and four that are dog-friendly, should you find yourself in America with your pooch in tow. And if you're not going to be in that neck of the woods any time soon, BrewDog is also opening a second hotel at its Scottish headquarters in 2019. The company is also heading to Australia to launch its first $30 million Aussie facility in Brisbane; however that won't have a hotel attached. Images: BrewDog.
This month was set to be busy for Boatshed Cheese. But with Australia's mass gatherings ban, and just other event cancellations due to COVID-19 in general, the Mornington Peninsula shop has an excess of dairy on its hands. That's where Victoria's cheese fiends come in, obviously — because if there's one thing we all can do, it's ensure that cheese doesn't go to waste. Make the trip to the Dromana store between Monday, March 16–Friday, March 20 — open between 9am–3pm — and you'll find a massive array of cheese waiting to be bought and eaten. Even better, if you buy three cheeses, you'll get the fourth free. You can also order online in advance — and, if you live in the area, you can get your dairy delivered as well. From blue cheese to goat cheese to everything in-between, you'll be having cheesy dreams before you know it. Due to the response so far, Boatshed Cheese will also put on a pop-up in Dromana on Saturday, March 21, with details still to come. Images: Boatshed Cheese. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
Plants, art, friends and family — The Wildwood Collective might have given itself an ambitious remit, but it definitely pulls it off. This Pakington Street space stocks everything you need to become the best plant parent you can be, from We The Wild plant care to Mr Kitly self-watering pots. You can also browse a selection of macrame plant holders, each handmade by studio owner Tess Cook. There's also a considered range of bath and body care, while the space itself is home to two other independent local designers: Ikigai, which designs handmade clayware for the home, and Ernest and Joe, a family-run designer and maker of handmade jewellery using recycled Australian sterling silver and gold. [caption id="attachment_809134" align="alignnone" width="1920"] Julia Sansone[/caption] Images: Julia Sansone
A great meal should satisfy your tastebuds and your stomach. When Vertigo opens in Brisbane, it'll also get your blood pumping and pulse racing. A brand-new addition to the River City's iconic Brisbane Powerhouse, this soon-to-launch eatery is joining the sky-high ranks, but with a difference: it isn't just located on top of the riverside New Farm venue, but hangs off of the site's industrial facade. Forget just living on the edge — this is dining on the edge, and literally. Obviously, the views will be spectacular. Given that you'll be climbing out to your seat while donning a safety harness, then eating four stories (and 17 metres) up, so will the thrills. An Australian-first vertical dining experience, Vertigo will start serving up — and levelling up — dinner with a view from October, with bookings now being taken for dates from Thursday, October 12 onwards. Once open, it'll operate four nights a week, from Thursday–Sunday, welcoming in tables of two. The one caveat: naturally, this adrenaline-pumping restaurant will be at the mercy of the weather, which will certainly play a factor over Brisbane's stormy summers. If it's only lightly raining, however, the night's sitting will still go ahead. The other key point: if you're not fond of heights, this won't be for you. But if you're fine with towering not just atop but over the side of an old power station-turned-arts precinct that dates back to the 1920s — whether you're a Brisbane local or a tourists — you'll be in for quite the unique experience. A third caveat: you can't head up if you've been drinking, with everyone breathalysed first and required to return a 0.00-percent blood alcohol reading. Brisbane Powerhouse's Bar Alto downstairs will be providing Vertigo's food across its eight tables — and each reservation's two-hour sitting — with the two-course menu featuring local ingredients to go with what's certain to become a local attraction. Unsurprisingly, a visit here won't come cheap, costing $250 per person. While you need to be sober to climb over the edge, a matched glass of wine will be served with dinner. You'll also get a post-descent champagne, beer or soft drink. To make the evening even more dramatic, diners can also choose to come back to earth post-meal via dropline down the facade. Or, if that's too much adventure for you — especially after eating — you can just head back to the ground through the venue. "Vertigo is unlike anything else in the world, it is an unexpected combination of adventure tourism and fine-dining on a heritage site," said Brisbane Powerhouse CEO/Artistic Director Kate Gould, announcing the restaurant. "Stepping off the roof of Brisbane Powerhouse to take a seat suspended at your table, four stories above the ground, will be the ultimate thrill. Experience silver service dining — albeit one with unbreakable crockery and cutlery attached to the table!" [caption id="attachment_850754" align="alignnone" width="1920"] Atmosphere Photography[/caption] "We are creating a uniquely Brisbane dining experience, at height. You will be on the edge of your seat in the open air before descending via an unforgettable exit," added Riverlife creator and co-founder John Sharpe, with the outdoor tour operator partnering with Powerhouse on the venture. "Vertigo will inspire fear but with the knowledge that safety is the priority of our experienced team of adventure tourism guides." If star chef Luke Mangan achieves his dream of setting up a restaurant on the Story Bridge, too, Brisbane might need to rename itself the Sky-High City. [caption id="attachment_776880" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] Vertigo is set to open at Brisbane Powerhouse, 119 Lamington Street, New Farm, Brisbane from Thursday, October 12 — head to the venue's website for further details and bookings.
On the big screen, Beetlejuice has already made a comeback, with a sequel hitting cinemas in 2024. The original 1988 film is rarely far from cinemas anyway, proving a staple at retrospective screenings. But watching the ghost with the most sing and dance onstage? That's a brand-new experience for Australian theatre audiences. Start chanting three times: seeing the Beetlejuice musical Down Under is a reality in 2025. Penned by the nation's own Eddie Perfect and debuting on Broadway in 2019, this take on Beetlejuice still focuses on the character from Tim Burton's beloved 80s flick, of course — just with songs and dance routines. Cinema's famous 'bio-exorcist' haunts Melbourne's Regent Theatre from Saturday, May 17, 2025 for its Aussie-premiere run, with Perfect starring. You don't need a Handbook for the Recently Deceased in your ghostly hands to head along, but you will spend time with a couple with one: Barbara and Adam Maitland. And, you'll see what happens when they start to suspect that they're no longer alive, a new family moves into their house and they decide they need that bio-exorcist. In the Beetlejuice musical's Aussie debut, audiences are also in for an acclaimed production directed by two-time Tony Award-winner Alex Timbers (Moulin Rouge! The Musical), and with a book by Emmy-nominee Anthony King (Broad City) and Scott Brown (Sharp Objects) — plus Perfect's Tony-nominated original score, of course. The show picked up a whopping eight Tony nominations in 2019, and won Timbers a Drama League Award for Excellence in Directing, plus both Outer Critics Circle and Drama Desk nods for set design. Images: Matthew Murphy, 2022.
Can you remember what Homer sells his soul to the devil in exchange for? If you answered a doughnut you might have a shot at Bartronica's Treehouse of Horrors Simpsons trivia night. The Treehouse of Horrors episodes have featured some of the most memorable moments throughout the show's 29 and counting seasons, and this trivia evening sets out to test your Simpsons knowledge with a deep-dive into the first ten episodes of the Treehouse of Horrors series. Tucked away in a discrete Flinders Lane basement in Melbourne CBD, Bartronica is one of the city's best gaming arcades and is home to some downright classics like Mortal Kombat, Street Fighter, Time Crisis II, NBA Jam and – of course – The Simpsons arcade game from way back in 1991. There's also a room dedicated to pinball machines, plus Nintendo 64 and Super Nintendo to round out the retro goldmine.
After months of speculation, it seems Amazon's much-hyped Australian launch finally has a start date. And that date is tomorrow. As business information researchers IBISWorld confirmed, emails were sent out to a bunch of Amazon Marketplace sellers on Tuesday, suggesting that the online retail giant would be kicking off an 'internal testing phase' here in Australia at 2pm Thursday, November 23 — just in time for that hectic, pre-Christmas retail rush. There's not a whole lot of info to go on, though sellers are being told to ensure their pricing and stock is up-to-date, and that their accounts are ready for purchases from the start of this soft launch. They're also being given the opportunity to opt out of the testing phase, by temporarily deactivating their account. It looks like the rest of us will have to wait until tomorrow to see which, and how many products are available during the launch period — though if we know anything about Amazon, it's that they don't do things by halves. According to Senior Industry Analyst for IBISWorld Kim Do, Amazon's arrival in Australia is set to give the local retail industry a solid shake-up. "The company intends to challenge domestic retail prices by offering items for 30 percent less than domestic retailers," she explained, adding that technology products are expected to be Amazon's highest selling category. Let the retail therapy begin!
