The event that floods Instagram feeds with thousands of vibrant flowers has returned to the Dandenong Ranges. Now in its 64th year, the annual Tesselaar Tulip Festival features over a million tulips planted across 25 acres of farmland. If the stunning sight of a million (yes, it's literally a million) of the bulbous flowers isn't quite enough for you, you'll be happy to know there's heaps of stuff happening at the tulip farm throughout the month, which sits on the cusp of the Dandenong Ranges and the Yarra Valley east of Melbourne. For the food enthusiastic, we would highly recommend pencilling the Food, Wine & Jazz Weekend (September 28–30) into your eating plans. Boasting locally-brewed beer, wine and a drool-worthy selection of fresh food from area, you can expect warm, buttery fire-baked scones, artisanal ice cream and wood-fired pizzas among the tulips. If you're still not convinced, entry includes complimentary wine and beer tasting. Similarly, the Dutch Weekend (September 21–23) will showcase the best that Holland has to offer – other than tulips — with music, markets, unique crafts (wooden tulip-making, anyone?) and Dutch available inside the festival. Or, head by on the Irish Weekend (October 5–7), where Irish pipers and dancing will perform (and plenty of Guinness and Kilkenny-drinking will take place) around the site's floral rainbow The Tesselaar Tulip Festival runs from Saturday, September 15 through to Sunday, October 14. Tickets are available at the farm, but you can buy them online in advance to skip the queue.
1987's Predator is so much better than you remember, even if you remember it being pretty bloody great. Written by Shane Black (who also scribed Lethal Weapon before writing and directing Kiss Kiss Bang Bang and The Nice Guys), Predator was framed as just another action blockbuster vehicle for Arnold Schwarzenegger, yet proved a surprisingly smart and masterfully constructed thriller with equal measures of horror, science-fiction, eternally quotable lines and laugh out loud comedy. Best of all, its villain was something entirely new: a sneaky, lethal and superior hunting machine that could turn invisible as it hunted humans for sport like the antagonist from an alien version of The Most Dangerous Game. Sequels followed. The first wasn't bad. The rest were. They even tried spinoffs, hoping the success and popularity of the Alien vs. Predator comic book series would translate to the big screen. It didn't. Now, some 31 years after the original, Black returns as both writer and director with The Predator. At the end of the day though, things probably would have been better if he hadn't. If the original Predator defied easy categorisation, The Predator proves even harder, shifting from extreme gore and violence one minute to 80s-style quips and blokey banter the next. The hero this time round is Narcos star Boyd Holbrook, whose vanilla performance matches his vanilla character - a grizzled sniper who finds himself on the wrong side of a shady government agency after inadvertently establishing first contact with Earth's latest predatory guest. He's soon bundled in with a bunch of PTSD-affected military rejects as part of a smear campaign, only to have these so-called loonies become his reluctant allies in a desperate effort to stop the extraterrestrial killer and save his autistic son (whose savant abilities – surely one of cinema's most tired cliches – allows him to read and interpret the alien language). It's a mess of a movie, uncertain from its opening scene whether it wants to make you laugh, wince or hide behind your hands. Black's strength has always been dialogue, so it's no surprise The Predator's less action-oriented scenes are also its strongest. Even in these moments, though, the jokes a wildly inconsistent, with every witty high point undermined by a crude, racist, bigoted or sexist jibe. Yes, soldiers are far from saints and doubtless many speak exactly like those presented on screen. Less so scientists whose behaviour in The Predator is often distinguishable from the soldiers around them thanks only to their white lab coats. Performance wise, Olivia Munn does what she can with limited resources (including having her introductory sequence edited out of the film after she discovered her co-star in the scene was a registered sex offender and raised objections with the studio). She's one of a number of talented actors stuck with thinly-crafted actors, including Moonlight's Trevante Rhodes and Key & Peele's Keegan-Michael Key. Jake Busey also makes a cameo, marking one of the film's many tips of the hat to the preceding films (his father was in the sequel), with playful quotes, musical cues and various props all there to reward long-time fans. The gritty action-comedy genre could well do with a comeback, and nobody would seem better placed than Black to make it happen. With The Predator, however, he falls short, delivering something that's entertaining at times but ultimately feels entirely forgettable. Certainly, it's a far cry from the brilliance of his original. https://www.youtube.com/watch?v=WaG1KZqrLvM
If come January you find yourself stuck in the city battling the inevitable post-holiday blues, consider Sunset Sounds one of your summertime saviours. Launching its sixth season, the free concert series will once again feature a program of gigs hosted at parks across the Stonnington area throughout the month. Returning for three all-ages Sunday sessions from January 6, Sunset Sounds is set to dish up a cracking mix of up-and-coming homegrown musical talent, best enjoyed from the comfort of your picnic blanket. Prahran's Victoria Gardens helps to kick-start the 2019 season in style, with explosive pop act Vaudeville Smash supported by seven-piece party band The Seven Ups. Zimbabwean-born singer-songwriter Thando headlines the January 13 edition, gracing Central Park in Malvern East with help from groove and soul act The Meltdown. And the fun wraps up on January 20 at Malvern Gardens, as dance duo The Twoks take the stage, followed by New Orleans-style brass band Horns of Leroy, with special guest Shannen Wick (lead singer of Fulton Street) in tow. Each concert runs from 6-8pm, with a lineup of food trucks on hand — just in case you forget your picnic basket — to back the open-air tunes and barefoot dance moves.
UPDATE, September 24, 2020: Arctic is available to stream via SBS On Demand, Google Play, YouTube Movies and iTunes. Whether stranding Sandra Bullock in space in Gravity, casting Robert Redford adrift in All Is Lost or pitting Liam Neeson against wolves in The Grey, survival thrillers rise and fall on the strength of their performances. You can now add Mads Mikkelsen to the list of actors testing their mettle against the elements — and add him to the ranks of stellar near-solo portrayals as well. His character, Overgård, is trapped in the Arctic Circle. Snow and rock stretch out as far as his weary eyes can see, the remnants of a crashed plane provide his only shelter, and greeting each morning relies on his wits and will. As a result, much of Arctic involves looking at his weathered, determined face, and it paints a compelling picture. Details are hard to come by in Arctic, which thrusts viewers into the thick of Overgård's plight from its opening frames. He's first spied scraping away at the ground to create a giant SOS sign, then tending to his icy fishing holes, and then cranking the transmitter he hopes will attract the attention of any aircraft that happen to fly nearby. The specifics of his situation — why, when, how — aren't offered, and they aren't important. All that matters is his dogged fight to survive. Before long, however, he's not the only person trying to endure oppressively frosty climes. A helicopter appears like something out of Overgård's dreams, but then it swiftly crashes, leaving an injured and unconscious woman (Maria Thelma Smáradóttir) in his care. While the scenario might sound familiar, The Mountain Between Us this isn't. Arctic is concerned with survival and nothing more, with no rosy backstories or blossoming romances. Writer-director Joe Penna and his co-scribe Ryan Morrison understand the most crucial aspect of their chosen genre: that there's nothing more powerful than watching a tale of life and death play out in the actions and expressions of a desperate protagonist. Faced with challenge after challenge — finding food, abiding the cold, attending to injuries, contending with polar bears, staving off frostbite and more — Overgård becomes the ultimate everyman. The circumstances he's navigating might be nightmare fuel for most, but the mechanics of soldiering on when the world is sparse, conditions are harsh and a disaster could wipe you out are both potent and relatable on an existential level. The key, unsurprisingly, is Mikkelsen. The Danish star has played a grimy drug dealer in crime franchise Pusher, a suave Bond villain in Casino Royale, a persecuted teacher in The Hunt and a cannibalistic sociopath in TV series Hannibal, amassing a hefty resume and becoming one of the finest actors working today. Monopolising the screen in Arctic, he's at his best as a man confronting his worst experience and persevering by any means necessary. His performance is one of loaded silence and telling physicality; of saying more by saying nothing. The exertion as Overgård battles the inhospitable conditions, the care as he treats a stranger's wellbeing like his own, the desolation as he thinks his quest will never end — Mikkelsen ensures that viewers always share the ride on his character's emotional rollercoaster. Indeed, when there's a talent like Mikkelsen leading the charge, it's easy to overlook Arctic's generic moments. Much about the film fits the survivalist playbook, yet it never feels routine — just recognisable. And when the movie's star isn't stealing the show, Brazilian first-timer Penna and his cinematographer Tómas Örn Tómasson have the ideal substitution, with Iceland's frozen vistas telling their own intricate tale. As lensed with an awareness of the landscape's stark beauty as well as its evident dangers (and often viewed in wide and aerial shots that emphasise its enormous size), Arctic's vast expanse of ice and snow perfectly reflects Overgård's inner state. https://www.youtube.com/watch?v=MjlJm_SJc3Y
We're closing in on that time of year when the Virgin Australia Melbourne Fashion Festival (VAMFF) sweeps through town and leaves us all inspired to up our style game. And this time around, riverside spot Fatto Bar and Cantina is helping to dish up a few of those fashionable fixes, with a spritz and nail art pop-up on Thursday, March 7. The nail art masters at Richmond's Trophy Wife will be on hand from 5–8pm, offering fresh paint jobs and nail designs to any customer who purchases one of Fatto's signature $14 Fashion Festival spritzes. Choose from blends like the Honey, I'm Home, featuring pear liqueur, melon purée, soda and prosecco; and the English Summer Rain, crafted on elderflower liqueur, cucumber and mint. You'll find Aperol spritzes, too, as well as the blueberry-spiked Purple Haze. Can't make it? While the finger pampering is a one-night-only affair, the bar will be slinging all six spritz creations for the duration of VAMFF, from March 1 to 10.
You saw the huge Fyre Festival social media campaign, featuring every Instagram celebrity imaginable cavorting on a scenic Bahamas island. You witnessed the massive fallout when the fest didn't turn out as planned — how could you have missed it?. And in just the past month or so, you watched Netflix's revealing Fyre doco, which details the whole mess. You might've even watched it more than once, because it's that mind-boggling and compelling. Now, you can head on over to The Mill House, listen to tunes by acts who were supposed to play the event, and help those who were left high and dry in the aftermath. That's Fyre Melbourne, which takes over the Flinders Lane venue from 8pm on Saturday, March 2. Fyre Fest itself didn't happen, but you can bet this party will (and that it'll be must better organised, obviously). Tracks by Major Lazer, Disclosure, Migos, Blink 182, Lil Yachty and more will provide the soundtrack, tropical cocktails will set the mood, and a portion of bar sales will go to Exuma locals affected by the failed event. There might also be some cheese sandwiches and Evian on offer, too. Image: Netflix.
The last weekend of summer deserves a big ol' seafood feast and the crew at Harry and Larry's are more than happy to oblige. Footscray's own urban general store is turning on the southern charm, for the return of the Low Country Boil, on Saturday, February 23. The long-running, seafood-fuelled fiesta will this year take over neighbour and sister events venue The Line, for a generous long table lunch that'll transport you all the way to South Carolina. Pull up a seat at one of the big communal tables and prepare to get messy with the mountain of food on top, tucking into an unlimited feast of mussels, prawns, sausage, corn and potatoes, along with tasty sides and starters. There'll be plenty of liquid treats to match, too, including Squealing Pig rosé, a saison from fellow western legends Two Birds, classic Brooklyn Lagers and Capi soft drinks. Tickets to the bottomless feast will set you back $98 a pop.
What's Melbourne's nightlife culture like for you? That's the question that VicHealth addressed to over 150 locals across the streets of Southbank, St Kilda and Prahran. Those answers have been transformed into three interactive light installations for What's Your Story? — a project which seeks to understand the drinking culture among young people and to change any risky behaviour associated with it. The two-year-long project explored the social norms and expectations of Melbourne's 18 to 24-year-olds. Through the conversations based on their most memorable nightlife experiences, three central narratives emerged. And now, poignant quotes from those interviews form the basis for the large-scale, colourful lighting displays, designed by creative studio John Fish. The first of the three installations, Music Is All I Need, uses 1600 LED pixel tubes in a double semi-circle signboard. The second, Savour it, Remember it, is an interactive LED dancefloor and stage, which visitors can be photographed on. The third, Drinking Isn't Centre Stage, displays nine mirrored pillars, among which visitors can take selfies. These roaming installations will take over four entertainment precincts — namely St Kilda's Acland Plaza, Prahran's Grattan Gardens Plaza and Southbank's Queensbridge Square and Southbank Spillway — on three consecutive Fridays, spanning February 15, 22 and March 1. For the full schedule, head this way. What's Your Story? is in partnership with City of Port Phillip, City of Stonnington and City of Melbourne, plus research body Turning Point and social enterprise Humankind Enterprises. Image: David Hannah
For its latest event, Welcome to Thornbury is celebrating a popular pairing: seafood and sparkling. One comes from the ocean, the other spans everything from Champagne to prosecco to bubbling rosé, and they each make the other taste even better. Free to attend from midday Saturday, November 17, the Seafood & Sparkling Festival might have an obvious name, but its lineup won't fall into the same category. Mexican faves Mamasita will be getting its seafood hat on, and it'll be joined by a heap of others slinging oysters, mussels, calamari and fish finger burgers. If you're really keen on your sparkling, there is the option to go bottomless for three hours: $45 for prosecco, $75 for a more fancy sparkling and $145 for bottomless Veuve (and a dozen oysters). Otherwise, sparkles will be available to buy by the glass.
Two of Melbourne's best-loved Asian barbecue joints are joining forces for a night of chargrilled goodness and boozy karaoke. Heroes, the CBD's rooftop and karaoke bar in the CBD will play host to the late-night collaboration with Richmond's Kong, as chefs from both venue work their magic over the coals. For $50 per person, punters will be ushered up to the venue's rooftop and left to enjoy a selection of drinks and one of two Kong x Heroes barbecue platters. The meat tray includes bulgogi barbecue chicken wings, smoked pork shoulder, crispy pork belly, Japanese slaw and fried mantou buns. Alternatively, you can opt for a vegan feed, which replaces the meat with Korean fried cauliflower and ember-roasted butternut pumpkin with miso dressing. When you've finished with that, the real fun begins. Head down to the basement where the karaoke will be free and flowing all night. Make a booking through Heroes website, stat.
In Joel Edgerton's second film as director and sixth as a screenwriter, the actor-turned-filmmaker also takes a role in front of the camera, as the head therapist at a Christian facility. Sporting a trim moustache and a prim-and-proper look that'd make Ned Flanders proud, Boy Erased's Victor Sykes claims to be able to make teens pray the gay away and embrace heterosexuality. The counsellor expresses little sympathy for his charges. He may also have personal experience with his field of interest, but belittling the kids in his care — and forcing them to unearth family skeletons to apportion blame for their sexuality — is his technique. Sykes is the unmistakable villain of the piece, and rarely more than one-note. And yet, the film he's in thankfully doesn't share the same overall obviousness. Gay conversion should be condemned. It's a horrific and inhumane practice that's somehow still part of life in the US as well as Australia. Worlds away from his filmmaking debut The Gift, Edgerton may paint his character in the most glaring of terms (and do a fine enough job doing so), but Boy Erased itself is much more evenhanded. In the second movie about the subject this year after The Miseducation of Cameron Post, the film directs its quiet but palpable anger towards those humiliating and persecuting queer teenagers in a misguided attempt to turn them straight. For anyone that seeks such services, it offers empathy. In a story about a college kid sent away by his preacher father and dutiful mother, that distinction is important. Based on Garrard Conley's memoir, just with the names changed, Jared Eamons (Lucas Hedges) is the well-rounded son of Arkansas pastor Marshall (Russell Crowe) and his wife Nancy (Nicole Kidman). Soon, he's also an unhappy attendee at the Love In Action therapy centre. After a horrific incident at school forces him to come out, his Baptist parents — and his dad, specifically — deem conversion the only option. Just what Jared and his fellow participants (including singer Troye Sivan and filmmaker Xavier Dolan) endure will threaten both his sense of self and his relationships. Edgerton may write, direct and act in Boy Erased, but one of his biggest achievements stems from how he treats the film's main characters. This is a sensitive, earnest, sombre and understated movie that's shot in neutral tones, and wants to explore what motivates folks like the Eamons. Rather than judge them, it tries to understand these people who clearly love their son yet still send him to a conversion camp. With Jared, the film doesn't shy away from the impact of his experience, the conflict it causes or the difficulties of being a gay teen in general. He's hurt and uncertain, and also defiant and determined. He wants his parents' love, but not the emotional torture he's put through with their approval. Eventually, he also wants to stop self-censoring his identity to please others. Of course, these characters aren't just creations on a page, jumping from Conley's recollection to Edgerton's dramatic script. Edgerton's other big coup with Boy Erased is evident in the portrayals that he nurtures out of his core trio of actors. Crowe grapples with the intersection of Marshall's faith and being a good father, while Kidman helps convey the punishing patriarchal constraints of religion, with both playing their parts in a textured and thoughtful manner. And as he proved in Manchester by the Sea and Lady Bird as well, the supremely talented Hedges excels at internalised performances. Indeed, his work here encapsulates Boy Erased at its best. If Edgerton's own near-cartoonish part represents the movie at its most blatant and furious, then Hedges embodies the complex emotions that swell in almost every scene. https://www.youtube.com/watch?v=BBZQ5F5T51I
If potentially finding your parched self a tall drink of water in the otherwise dry desert of the Melbourne dating scene isn't a good enough reason to head along to a speed dating night, we have another: as well as livening up your dating life, you might just be contributing to ending world hunger. So it will go at CitySwoon Charity Fundraiser event, The Party to End World Hunger. Singletons, unite — open to any age, gender and orientation, the party will incorporate drinks and dating rounds facilitated by your hosts from CitySwoon. The hosts will match you with five or six potentials, and there'll also be a DJ post-rounds if someone takes your fancy and you want to stick around for dance. All proceeds from the night will go to The Hunger Project Australia, supplying food to those in need. The Hunger Project's goal is to end world hunger by 2030 and break the poverty cycle. CitySwoon holds the Guinness World Record for the biggest blind date ever, so you know the team knows what they're doing. Tickets are $49, or $34 for CitySwoon members, so sign up now — good things can happen. The Party to End World Hunger will take place on Saturday, November 17 from 7pm. To purchase a ticket, head to the CitySwoon website.
After making an impressive debut in 2017, One Night in Footscray is returning this Friday, November 23 with an even bigger and more expansive program. From 5pm, the streets of the inner-west suburb will be brought to life with an array of interactive art installations, live music and exhibitions. And it's all free. Visitors are encouraged to take a self-guided journey through the suburb, engaging in various cultural experiences along the way. Keen Fred Astaires can take to a pop-up LED dance floor, while others can get up close and personal with the giant puppet troupe Snuff Puppets. There's even a makeshift photo studio to get your family portrait taken, so don't leave pooch at home. Hungry punters will no doubt make a beeline for the walking degustation tours. You'll be able to skip between eight local eateries to devour everything from crispy Vietnamese spring rolls from Thien An, fresh Turkish burek from Double Degree Kebabs, and pies from boozy bakery Bad Love Club. Leave work on time so you don't miss any of the action.
How long has Charles Boyle been dreaming of Jake Peralta and Amy Santiago's wedding? What did Rosa Diaz do before she was a cop? Who keeps swooping in and taking the Nine-Nine crew's cases? Which one is Scully and which is Hitchcock? If you can answer all of the above — and name Captain Holt's dog, Terry's twins, Gina's dance troupe and Jake's favourite movie — then you're set for The Mill House's latest trivia night. Yes, it's all about the hit cop sitcom we all know and love. You know, the one that was cancelled and then resurrected in the space of 36 hours. We'd keep asking Brooklyn Nine-Nine questions and dropping tidbits, but we'll save some for the big night. The big night in question is free (huzzah) with B99-themed cocktails available to purchase on the night and a heap of prizes up for grabs. If you're all about keeping your costs down this festive season, head in early for happy hour. Running from 4–7pm, you'll be able to snag $7.50 pints, spirits and wines — as well as $12 pizzas all night long. Last time a trivia evening dedicated to B99 hit town, places were snapped up faster than Terry can snap open a tub of yoghurt. So nab a spot ASAP and it may be your night to shine (and that can be the title of your sex tape if you'd like). To book, call (03) 9662 4002. Trivia registration will open at 6pm on the night before questions kick off at 6.30pm.
If the name alone hasn't already got your attention, this next part will. Psychedelic music has been known for some pretty insane visual accompaniments, but for this performance, you'll see nothing at all. In complete darkness at The Toff you'll experience a live and improvisational gig from emerging producers and artists Dark Space Project, Hextape and James Teague. But, prepare yourself for the climax. In true psychedelic style, right at the end you'll be brought out of the dark by video synthesisers and lasers. Think of it as one of the more meditative shows on the Melbourne Music Week program.
Revving up the bikie drama genre and ramping up the bloodshed and brutality, 1% is a shiny new ride made from familiar parts. It's ostensibly Australia's big-screen answer to Sons of Anarchy, with that comparison both a curse and a blessing. The two share so much in common narrative-wise that, if you've seen the American TV series, it's impossible not to think about it while you're watching 1%. That said, Stephen McCallum's directorial debut still offers an engaging West Australian-set and -shot take on leather-clad brotherhood — one that never feels like its motoring down a new path, and yet never feels like it's blindly sticking to the expected route either. The story falls firmly into the first camp, but the film's energy falls into the second. Dwelling in Perth's seedier side, 1% steps into the world of the Copperheads Motorcycle Club. For the past three years, vice president Paddo (Ryan Corr) has overseen the gang with his ambitious girlfriend Katrina (Abbey Lee), trying to steer the club down a legitimate road. He wants to stop the outlaw life and start making cash they're actually able to splash around, but two things threaten to derail his plans. Firstly, his brother Skink (Josh McConville) gets on the wrong side of a rival motorcycle gang, with its leader (Aaron Pedersen) demanding that the two crews start laundering money together — or there'll be deadly consequences. Secondly, Copperheads president Knuck (Matt Nable) is released from prison and, helped by his wife Hayley (Simone Kessell), is quick to throw his weight around. Both within the club and within WA's broader gangland underbelly, conflict roars louder than a two-wheeled chopper down an open highway. So too does a term that's often bandied about when bikie battles get serious on-screen: Shakespearean. Across its seven seasons, Sons of Anarchy moulded its mayhem in Hamlet's image, throwing in a bit of Macbeth for good measure. Each rears their heads here as well — and while nodding to the Bard can signal that a film or TV series is trying to bulk up otherwise routine material, 1%'s violent clashes, grim power struggles and testosterone-soaked atmosphere all prove suitably tense and tragic. Also adding bulk is the film's cast, a roster of talent that fires on all cylinders. Bringing depth, nuance and authenticity to characters that might've seemed one-note in the hands of other actors, Corr and Nable are memorable as two leaders striving for the same thing in different ways, while McConville fleshes out Skink to become more than merely a plot device. Lee and Kessell ensure that 1% isn't just a boy's club, even if the idea of scheming women standing behind their men is far from a new one. Indeed, if there's a disappointment in this department, it's a matter of screen time rather than performance. One of Australia's best contemporary talents, Pedersen makes his presence known, however his part falls firmly in the supporting category. Nable also wrote the script, his second after jumping from playing rugby league to making movies. Perhaps he's the Sons of Anarchy fan? Or perhaps he's simply fond of a genre that has enjoyed plenty of entries, including 1970s Aussie classic Stone. Either way, exploring male-dominated realms has proven his recurrent fascination — whether featuring in front of the camera in Underbelly, Son of a Gun and Hacksaw Ridge, or penning 2007's The Final Winter, which was set in and around a football club. Given visual grit by McCallum, Nable's latest story fits his usual mould, and does enough to leave an impression. https://www.youtube.com/watch?v=Nva4s76JW_o
Now in its eighth year, the Iranian Film Festival Australia returns with another lineup of cinema straight from the Middle Eastern country — with 12 features and three shorts in 2018, in fact. Running between Thursday, October 25 and Tuesday, October 30 at ACMI, it's a lineup that both highlights old masters and showcases new talent. And yes, there's plenty of both. In the tried and tested category sits Jafar Panahi's Three Faces, which sees the filmmaker get playful and star on-screen in his latest combination of fact and fiction. Or, viewers can check out Bahmam Farmanara's Tale of The Sea, a family drama that's also dedicated to the late Iranian auteur Abbas Kiarostami and kicks off the whole fest Then there's Kamal Tabrizi's Sly, a fictional account of a political leader — which features Mani Haghighi, who also directs IFFA dark comedy Pig, about a filmmaker suspected of murder. If you're keen to check out up-and-coming voices and see different interpretations of classic material, As I Lay Dying offers an Iranian take on William Faulkner's tale of the same name. And, in only their third feature, filmmaking brothers Jamshid and Navid Mahmoudi achieve something extraordinary with Afghan-Iranian co-production Rona, Azim's Mother, with the movie their third title to be entered into the Oscar foreign-language category by Afghanistan.
Imperial is known around the Chapel Street traps for its high-calibre cocktails, especially those $20 fishbowls on Fridays, and its top-notch pizzas — the pickle-plenty reuben pizza will blow your mind. Now, the venue is expanding its offering and bringing a bottomless brunch into the mix. Yes, it seems the team have cottoned onto the trend of 2018 — and the fact that people really like boozy brunching — and will be running sessions every weekend. Moreover, this indulgent affair will only cost you one pineapple ($50). Melburnians, rejoice. With sessions starting from 10am, both Saturday and Sunday, the bottomless brunch includes a dish off the scrumptious brunch menu as well as two hours of beverages — ample time to drink your fair share of bubbles, beer and a cocktail, or two. Food-wise there are crème fraîche scrambled eggs with chives, smashed avo on toast with feta and buttermilk pancakes with seasonal fruit, mascarpone and berry coulis, to name but a few. Every kind of bruncher is catered for and each dish can be enjoyed at a leisurely pace in between sips. So, clear your calendar, grab your friends and get ready to eat and drink to your heart's content. You don't need an official reason — it's spring and you deserve a treat. Spots fill up fast, so it's best to book through Imperial's website. Happy brunching.
It has been a busy two years for Timothée Chalamet, aka the internet's current boyfriend. Not too long ago, he was best known for a bit part in Interstellar, and now he's one of cinema's biggest talents. Chalamet swooned over first love in the gorgeous Call Me By Your Name, and was nominated for an Oscar for his impeccable performance. He played one of the titular character's first loves in Lady Bird, a film that nabbed Oscar nominations for almost everyone else involved. In his latest movie, Beautiful Boy, he's grappling with addiction — and he'll likely receive plenty of awards love again. This true life drama stands out from Chalamet's recent hits, however, and not in a positive way. His work is exceptional once more, inhabiting rather than performing his troubled character, but the film doesn't do its star justice. Or, to be more accurate, it doesn't do its stars justice. Beautiful Boy is a father-and-son drama as much as it is a deep dive into the trauma wrought by drugs, with Steve Carell as journalist David Sheff and Chalamet as his bright, thoughtful, college-bound son Nic. David can only watch on as Nic escalates from casual marijuana use to an insatiable crystal meth habit, and the respective tolls of bearing witness to, and spiralling through, the depths of addiction are written across Carell and Chalamet's faces. Each actor plays their character like a man possessed, one by trying to understand what drove his boy down this path, the other by an urge that he can't and won't stop indulging. Or perhaps it's that they both seem like they're haunted — by dreams, wants, needs and choices, and by a life that's not what either originally planned. Based on separate memoirs by the actual David and Nic, Beautiful Boy's details are familiar. Viewers first meet David when he's asking an expert exactly what all of these illicit substances are doing to Nic, before the movie jumps back to show the progression to that point and beyond. The Sheff household is happy, with David remarried to painter Karen (Maura Tierney), and Nic getting along with both his stepmother and much-younger half-siblings. But then, suddenly nothing is happy. All that's changed is Nic, and his newfound penchant for getting high rather than burying his head in a book. Soon he's withdrawn and sullen, out late and disappearing for periods of time, and hiding his soulful gaze further and further behind his dark, wavy locks. Every moment that Chalamet and Carell are on screen, either individually or together, it's easy to believe the Sheffs' plight. Beautiful Boy can't answer why Nic dissolves into his addiction, other than the fact he enjoys taking drugs. It can't explain why this thoroughly middle-class family is put through such an ordeal, other than the fact that the unexpected happens. With images that feel both dreamy and gritty simultaneously, what it can do instead is depict the torturous aftermath. The results are authentic and heartfelt, thanks to the film's basis in reality, its brilliant leads, and the stellar support offered by Tierney and Amy Ryan (as David's first wife and Nic's mother). And yet, while the actors make the most intimate, internalised and difficult of emotions ring true, conveying the pain and suffering that clearly changed the Sheffs' lives, the movie itself couldn't be more heavy-handed. Even if it actually happened, having one character read "I just love drugs" in another's diary, or words to that effect, isn't the most subtle of moves. The same applies to Beautiful Boy's use of Nirvana, Neil Young, John Lennon and more on its soundtrack — songs which may stem from the Sheff's real-life music choices, yet are always deployed to obvious effect. While nuance wasn't in director Felix Van Groeningen's wheelhouse when he helmed the heartstring-tugging Broken Circle Breakdown in 2012, he's made a much less effective melodrama this time around. Beautiful Boy is still a moving, affecting picture — with its two main stars putting in some of their best work, how could it not be? — but it never trusts that viewers will respond accordingly. Chalamet and Carell show the audience what the Sheffs went through, however the film itself doesn't just want to tell their story. Rather, it wants to scream it, and to push every sentimental, blunt and cliched button. https://www.youtube.com/watch?v=vaOhgZez1Nk
You can expect a musical celebration for all the senses, when the annual Darebin Music Feast kicks off its 2018 season this Thursday, October 18. The festival's ringing in its 22nd edition with a whopping 120 parties, gigs and industry events, showcasing venues all across this vibrant pocket of Melbourne's north. Unfolding across ten jam-packed days, the program launches with a Darebin Arts Centre opening party brimming with girl power. You'll catch a screening of powerful film Her Sound, Her Story, exploring the experiences of women in the Australia music industry, before settling in for an evening of art and music, headlined by legendary ladies Alice Skye, Girl Zone and Jesswar. Family-friendly daytime gig Sonic aGender: Shake the Tree descends on the Thornbury Bowls Club on October 21, dishing up sounds from the likes of The Pink Tiles and Ally Boom Boom & The Cool Bananas, along with an old-school sausage sizzle and meat tray raffles. An Aboriginal and Torres Strait Islander music showcase hits the Northcote Town Hall on October 27, with a lineup that includes Bricky B, Maylene Slater Burns, Drmngnow and more, while on October 19, Jen Cloher delivers a keynote focused on ideas of gender, songwriting and wall breaking. And this year's Feast Films series celebrates some of music's most extraordinary women, as the Thornbury Picture House shines the spotlight on iconic female-centric flicks like The Punk Singer, PATTI CAKE$ and 20 Feet from Stardom. Images: Thornbury Picture House, Nicole Cleary.
While many of Australia's film festivals showcase the cinema of a particular country, region or genre, the Jewish International Film Festival embraces an entire culture. From films about famous comedians to thrilling docos about strange-but-true tales to award-winning dramas, if it ties into JIFF's Jewish focus in any shape or form — and from almost any country or filmmaker — then it's probably on the fest's program. In 2018, that means Love, Gilda, about original Saturday Night Live star Gilda Radner; The Twinning Reaction, which uses a different angle on the real-life situation also chronicled in Three Identical Strangers; and Israeli effort Redemption, about an devout musician contemplating returning to his rocker ways in a time of personal crisis. In a star-studded lineup, other highlights include Can You Ever Forgive Me? starring Melissa McCarthy as a writer who dabbles in literary forgery, Matthew Broderick in buddy comedy To Dust and Charlotte Gainsbourg in French biopic Promise at Dawn. From Wednesday, October 24, JIFF runs across three Melbourne venues: at Classic Cinema Elsternwick until Wednesday, November 21, at Lido Cinemas Hawthorn from Thursday, October 25 until the same end date, and at Cameo Cinemas Belgrave between Wednesday, November 8 and Sunday, November 18. Marking its 29th year, the full program features more than 60 films from 23 countries — and, if you're keen to hear more about some of the flicks, plenty of post-screening Q&As. If you're hungry, a borek bake-off is also on the menu.
Chicken lovers of Melbourne, rejoice — there's no shortage of places to get your fix around the city, and plenty of them are kind on your wallet. But, on Saturday, November 17, make a hasty beeline to Wings of Glory as the chicken joint will be doing 30-cent wings. There's a catch, though — you can only order 15 per person. But maybe that's only a catch if you're feeling particularly hungry. The offer runs from 2–5pm, so have a light breakfast and lunch and dinner will be sorted. Usually, you'd have to pay $14 for ten, but, with this offer, you'll only have to pay $3. The 30-cent wings will be on offer at both the Little Lonsdale and South Melbourne stores as part of Wings of Glory's third birthday party celebrations. The party's 80s-themed, so dress up if you're feeling extra celebratory. Beer will naturally be on-hand (at an extra cost).
Start your springtime Saturday or Sunday as you intend to go on — with a feast of food and unlimited drinks. Because everyone loves a boozy brunch, Bang Bang is now pairing its hawker-style eats with bottomless beverages every weekend. Taking place across two-hour periods between 11am–3pm (with last bookings taken for 1pm), Bang Bang Bottomless Brunch kicks off as every weekend meal should: with freshly shucked oysters with red chilli and lime granita. From there, you'll munch your way through the eatery's set menu of Indochine bites, such as wagyu beef bao, salt and pepper squid and satay chicken skewers. Other dishes include with pomelo betel leaf, smoked trout san choy bow and French fries seasoned with kaffir lime and chilli. Drinks-wise, cocktails range from pomelo mimosa (and regular mimosas on request) to Prosecco, with the venue's signature Graperol spritz and Bang Bang Mary also on offer. That'll set you back $59 including food — or $49 if you'd prefer the non-alcoholic option with sodas, juice and rotating mocktails. Every bottomless offering always comes with a few caveats, and Bang Bang's is no different. Reservations are available for a minimum of four people, the unlimited drinks start from the time of your booking — so make sure you're punctual — and each person will only be given one beverage at a time.
The Equality Project has launched an event which aims to create conversation and explore issues impacting the LGBTIQ community in Australia. Held over two days at Melbourne Town Hall, Better Together 2018 will generate intersectional discussion around equality. The Equality Project states that the conference will be Indigenous and feminist in its approach and will aim to bring individuals from women's rights, Indigenous rights, disability, multicultural and faith groups together. Before the conference there will be a number of workshops and training sessions designed to assist emerging leaders in developing skills and knowledge in leadership and a special event on the Saturday evening will see former number one tennis champion Billie Jean King speaking. Both the conference and training sessions will be interpreted in Auslan, as required. And be sure to RSVP for the Beer and BBQ kick-off event on Thursday, January 11. Established to drive conversation and push for rights after last year's marriage equality vote, The Equality Project aims to connect groups and communities and establish a platform for voices in the LGBTIQ community.
With 39 degrees predicted all long weekend-long, you're going to need a spot to cool off. Not enthused by the notion of battling beachside crowds? The folks at Welcome to Thornbury understand. That's why they're throwing you a huge pool party. Swing by anytime between 10am and 11pm on January 26–28 with your togs. The venue's mega courtyard will be dotted with inflatable pools of all shapes and sizes, from swimming pools to wading pools to dog-dedicated pools. Plus, pretty much every creature that boarded Noah's Ark will get representation in inflatable form. Listen to the Triple J Hottest 100 countdown on Saturday and kick back to DJs on Friday and Sunday. Keeping you well fuelled between dips will be a herd of food trucks, including Mr Burger, Super Taco, Copa, Jamm'd and a pop-up by Brunswick Mess Hall. Of you can't bring yourself to leave the house, try our sustainable hacks for keeping cool without air-conditioning.
Latest on that growing list of excuses to venture west is West Side Best Side — an open-air bar, sustainable garden and food truck hub from Ellie Marin, the hospitality whizz behind roving ventures like Cornutopia and My Two Mums. Running Friday through Sunday each week throughout summer 2017-18, the multifaceted venue breathes new life into a former car yard, located just a hop, skip and jump from West Footscray Railway Station. It's a diverse spot for a diverse part of Melbourne, embracing the area's laidback nature and sparkling sense of creativity, promising something new with each visit. Taking care of the eating side of things is a strong rotation of food trucks, with The Rib Crib, Meat Me Here, The Little Spring Roll Company and Beatbox Kitchen just some of the vendors who've parked their vehicles at West Side Best Side so far. Meanwhile, the bar offering is steadfastly independent, featuring craft beers, ciders, wines and a selection of share-friendly cocktail pitchers. Throw in a cracking soundtrack and a welcoming, neighbourhood vibe, and you've got another winning westside venue.
With the innocence and energy of youth, six-year-olds Moonee (Brooklynn Prince), Scooty (Christopher Rivera) and Jancey (Valeria Cotto) spend their sunshine-filled days running around their Florida neighbourhood. It's a jubilant time for the cheeky, cheerful, unsupervised trio who aren't old enough to have any worries, full of ice cream, pool dips and trips through abandoned houses. Disney World looms nearby, its fireworks often blossoming above, while the industry surrounding the theme park — oversized fast food joints, discount outlets and souvenir-shops — is all part of their playground. And although the mischievous kids don't attend school even when classes are in session, they know how to make the most of their summer. So it is, with affection, exuberance and the sounds of Kool & the Gang's 'Celebration', that writer-director Sean Baker (Tangerine) tells their story. The acclaimed filmmaker focuses in on Moonee and her young mother Halley (Bria Vinaite), with much of the movie favouring the rebellious girl's perspective. Lush widescreen visuals captured in 35mm abound, alongside personality-filled close-ups that capture a sense of youthful adventure. Crucially, however, Baker doesn't shy away from the darker side of his protagonist's lives. While vibrant, The Florida Project casts its unblinkered view over spitting at cars, selling knock-off perfumes, begging for extensions on the rent, fighting with the authorities, trifling with crime and doing whatever it takes to make ends meet. That's everyday existence in The Magic Castle, the purple-hued week-by-week hotel that's home to Orlando's poor and battling. Suffice it to say, it's a far cry from Disney's Magic Kingdom. That gap — that chasm — between the haves and the have-nots is impossible to miss. But Baker isn't interested in delivering a lecture or serving up a colourful piece of poverty porn. In much the same way he did with the iPhone-shot Tangerine, which followed a pair of trans sex workers in Los Angeles, the director's latest effort both depicts and embraces a group of people and a way of life rarely seen elsewhere, all without judging or sugar-coating. It's a film that understands that Moonee's antics are magical to her because she's never known anything else. Indeed, if every filmmaker looked at the world in the same way as Baker, we'd be living in a much kinder and more empathetic place. He also receives considerable assistance from his largely inexperienced and non-professional cast, with the movie's devotion to detail seeing Prince kick-start her career with the kind of complex performance actors five times her age or more aren't often able to muster. Vinaite, meanwhile, makes her debut after Baker found her via Instagram, proving lively, spirited and soulful as a mother who treats her kid more as a friend and co-conspirator than a daughter. Finally, there's Willem Dafoe. One of just a handful of recognisable faces in the picture, and on course to win a thoroughly-deserved Oscar for his efforts, Dafoe doesn't steal the show from Prince and Vinaite, but supports them with grace and sensitivity. As the Magic Castle's exhausted but understanding manager Bobby, the veteran actor delivers a perfect supporting turn — making everyone around him shine brighter but never jumping into their spotlight. Made with clear eyes, an open heart and a willingness to show both the highs and lows of life on Florida's margins, Baker's latest isn't the kind of film that makes it to cinemas every day. It's an honest, accessible, compassionate account of low-rent troubles and tussles – a tale that's tender, tragic and joyous with a knockout ending that's both devastating and beautiful. https://www.youtube.com/watch?v=Nv5wCO0huEA
Prepare to drool all over yourself Homer Simpson-style, because the Yaks Ale Melbourne Barbecue Festival is back. Now in its fourth year, this weekend-long celebration of all things smoked and slow-cooked will bring together some of the biggest names in local barbecue, along with celebrity pitmasters from Memphis to LA. Held on February 3 and 4 at Flemington Racecourse, the festival will feature live music acts, culinary demos, a cook-off and a butcher battle. But let's not beat around the bush here: you want to know about the food. Chances are, you won't be disappointed. Bluebonnet, Burn City Smokers, Fancy Hank's, Southside Smokers and Sugarfire Smoke House from the US are but a few of the meat maestros who'll be in attendance. Our advice? Start fasting now. Image: Southside Smokers.
Just because you've gone and left all your Christmas shopping till the last minute (again), doesn't mean all hope is lost. The folks at Good Cmpny are here to save the day with a perfectly timed pre-Christmas pop-up sale this Saturday, December 23. The Melbourne-born clothing brand known for its minimalist unisex staples is throwing open the doors to its Prahran showroom for a one-day sale. And, yes, you should go IRL — it will include some savings you won't find online. All remaining sweatshirts from the 2017 range will be slashed from the usual $125 down to just $75. If it's destined for the present pile, you can even get yours dressed up in some nifty Good Cmpny wrapping paper, ready for the tree. There's also a secret in-store offer for those buying two or more sweatshirts on the day. Surely you deserve a present of your own…
Grab your guitar and a boot-scootin' babe, and saddle up for the biggest event on the Australian country music calendar. The Tamworth Country Music Festival is now in its 46th year and is back, bigger than ever. There will be over 700 artists performing across 120 venues around the city over the course of the ten-day festival, with both ticketed and free events on offer. Tamworth will be alive with the coos of country music, from street corners to pubs to backyards, and everything in between. Spot the next Troy Cassar-Daley at the Australian Country Music Busking Championships and marvel at the Toyota Cavalcade, which features over 100 floats, bands and magnificent groups of horses marching through town. And let's not forget Australian country music's night of nights, the 46th Country Music Awards of Australia, where the best country artists will be named and get to take home golden guitar statues.
From little things, big things grow. That seems to be the thinking behind the 2015 Poppy Seed Festival, a month-long showcase of homegrown theatre blossoming in Melbourne for the very first time. Running from November 10 to December 13 at various venues around town, the inaugural edition of this grass-roots event will feature four different productions from some of the most unique voices in local independent theatre. The festival begins with TBC Theatre's Project Hysteria, a brand new take on two one-act Tennessee Williams plays, The Pretty Trap and Interior: Panic. Next up comes 15 Minutes from Anywhere's The Yellow Wave, a tale of love and sacrifice set against a Mongol invasion of Australia. Thirdly, Man with a Plan presents Gin Sister, a three-woman show that examines female drinking culture through a mix of song, dance and poetic self-reflection. Finally, Fire Curtain Co. will perform Vicky Jones' award winning play The One, a brutal critique of modern-day relationships that took London's Soho Theatre by storm. Tickets costs $30 per show, although theatre-nuts can attend all four for $100. For more information, including precise dates and locations, visit poppyseed.net.au.
Under the light of a full moon, the Queen Vic Gardens will come alive with a fusion of music, dance and experimental art. Curated by Unconscious Collective along with HTRK vocalist Jonnine Standish, prepare yourself for a (free!) nocturnal arts party where the lines between technology and magic aren't as rigid as they might seem. Running from 9pm on Sunday, January 24 until 4am the next morning, M*SYNC will see a number of DJs and musicians perform under the MPavilion canopy. Move to the rhythms of Lisa Lerkenfeldt and Karli White, before sinking into a moon-age bean bag that syncs up your pulse with those of your fellow party goers. There'll also be a witching hour dance ritual from local dancers Benjamin Hancock, James Andrews and Lauren Langlois, plus a Tea Bar which will be open all night.
The team behind the phenomenal stage play Songs for Nobodies are returning for a spiritual sequel. Written by playwright Joanna Murray-Smith specifically for singer and actress Bernadette Robinson, Pennsylvania Avenue showcases Robinson's masterful vocal ventriloquism, as she performs songs by Marilyn Monroe, Aretha Franklin, Bob Dylan and more. The show had its world premiere at the MTC in late 2014, and now returns to the Melbourne Arts Centre for a three-and-a-half week run. Robinson stars as Harper Clements, a staffer in the White House Social Office in charge of booking musicians for Presidential functions. Its conceit is just an excuse to let Robinson dust off her vocal chords, delivering musical impressions so bang on the money you'd swear the actual stars were right there in the room. To read our review of the original run of Pennsylvania Avenue, go here.
The most hyped summer event of 2014/15 is returning once more for you to relive the summers of years past — those when it was stinking hot and the sprinkler never shut off. The world's largest street slide, all 400 metres of it, will be making its way to this city once more, setting up on Lansdowne Street for two summer days only: one in December, and one in February. Each ticket gets you two hours of sliding — which is just as well, because you're going to need a Calippo break at some point. While there's certainly a lot of fun to be had, there are a couple of rules to follow. So before you purchase tickets, it can't hurt to double check with the requirements on the website first. Cloakrooms and change rooms are available once you get there, so you don't have to ride a tram into the city in your bathers. Or you can if you want. We won't stop you.
The latest exhibition at Linden New Art will explore the contributions from six specifically commissioned design studios, as they delve into both the process and the final product. As part of the exhibition, viewers will be offered a glimpse into the design process — from ideas to prototypes to the final product. Object Future III will explore many different fields of design, including industrial, product, furniture, object design, sculpture and contemporary art. Australia’s design landscape presents itself in many different forms, which is exactly what Object Future III carefully demonstrates. Exhibiting designers include Hamish Munro, Hugh Altschwager, Amos Enders-Moje, Kate Stokes and Haslett Grounds from Coco Flip, Rosanna Ceravolo and ACV Studio. Object Future III is curated by Suzannah Henty and Dale Hardiman, and will be opened by the director of Workshop 3000, Susan Cohn.
Some might say, summer is a good drumstick. But is it more than just the combination of nuts and dairy or the piece of coveted poultry at a picnic. Drumsticks are the backbone of any good summer song. And now is your chance to learn the art of drumming and become one of the coolest rock chicks about. Back by popular demand, this intro to drumming workshop is run by Alex Roper and covers the basics, from reading notation to counting a pulse, playing a rock beat and forming a simple groove. And unlike dairy or meat, music is something nearly everyone can enjoy. Right? Roper believes drums are a ridiculously fun instrument, yet there aren't nearly enough girl drummers out there, embracing the snare. "The drums can and should be played by anyone interested, independent of age, gender or experience levels," she says. No experience is required, and drummers will even get tips on practicing without a kit. No doubt music to your mates' ears while you thrash out a rendition of a John Bonham solo. If that's enough to get your pulse racing, you're already halfway there. Grab your ticket (they're $35 each) to the All-Girls Intro to Drumming Workshop running Monday, November 30, from 6.30pm at Work-Shop.
If koalas are considered among Australia’s national treasures, then a certain cute, cuddly critter must be their king. He’s the one everyone knows by name, even though he’s fictional. He’s graced books since 1933, thanks to author Dorothy Wall. Yes, he’s Blinky Bill. In his second big-screen outing following the 1992 movie that shares his name, Blinky (voiced by Ryan Kwanten) is up to his usual brand of cheeky trouble, though his intentions — like his heart — remain in the right place. When his father, adventurer Bill (Richard Roxburgh), leaves their sanctuary of Green Patch to chase white dragons and hasn’t returned a year later, Blinky decides to search for him. He knows that his mother (Deborah Mailman) will disapprove, but with treacherous goanna Cranklepot (Barry Otto) trying to take over their home, the young koala is certain that wandering the outback is the right thing to do. An animated — in both the colourful cartoon style and the lively antics they depict — escapade awaits in Blinky Bill the Movie, first journeying into a roadside store, and then venturing through several dangerous situations. Along the way, Blinky meets Nutsy (Robin McLeavy), a zoo koala unhappy about the idea of not being in captivity. He also attracts the attention of feral cat (Rufus Sewell) with sinister plans, seeks the assistance of a wandering wombat (Barry Humphries) and a stranded frill-necked lizard (David Wenham), and befriends two emus (Toni Collette) who help him hitch a ride. The celebrity voices, particularly a charming Kwanten boasting his native accent for a change, help enliven a film that’s sweet but standard from start to finish. The feature's primary director, Deane Taylor, is content to stick with cliches when it comes to the story, hence the upbeat goings-on, array of comic sidekicks and fearsome feline. These days, it wouldn’t be an animal-oriented effort without a cranky kitty as a nemesis. Buried underneath a family-friendly caper filled with slapstick sight gags is a slight, brief statement about Australia's treatment of asylum seekers, as seen in Cranklepot's desire to lock off Green Patch from outsiders; however, comic chaos always trounces commentary. The smooth edges you'll see in the computer-generated imagery also extend to the content, it seems, with even the usual environmental message typically included in Blinky Bill efforts absent. What stands out instead, and not always in a good way, is an overdose of Australiana and slang, as often seen in our nation's amusement-oriented, all-ages films. Accordingly, for those who won't just find an anarchic koala fun just for the sake of it, Blinky Bill the Movie works well enough as a piece of nostalgia about an Australian icon. Delving beyond that is less fulfilling, though the film doesn't demand it, given that it really is aimed more at young audiences than the young at heart.
Two of Australia's best modern yarn spinners are heading around the country together this spring. Sydney blues crooner CW Stoneking is embarking on an Australian tour, with Perth singer songriter Peter Bibby in support. Having just wrapped up a huge, 36-show run through the UK and Europe, Stoneking is finally heading back home for a home turf tour. He'll be taking ditties from his most recent album Gon Boogaloo as well as long-loved favourites. It's the last time Aussie fans will get to see Stoneking on a home stage for a while — he's moving to the US to work on some new music. Bibby's been a busy lad too, having released his debut album Butcher/Hairstylist/Beautician last year and made quite the splash at the likes of Laneway Festival around the country. Stoneking and Bibby will hit Sydney's Manning Bar on Friday, October 30, Brisbane's Triffid on Saturday, October 31 and Saturday, November 7 at Melbourne's Corner Hotel.
Michael Ware, the lawyer turned Courier-Mail, Time and CNN journalist turned filmmaker, calls Only the Dead a film that wasn't meant to be made. His documentary is cobbled together from hundreds of hours of footage he shot while in Iraq as a reporter, with a movie never part of his plans. Perhaps that's why the trembling handicam images feel immediate and urgent, even in a time where alarming visuals of combat have become commonplace. Only the Dead charts Ware's obsession with Abu Musab al-Zarqawi following the U.S. invasion and occupation of Iraq. Al-Zarqawi wasn't a point of focus for many at the time, but his brutal methods — starting with suicide bombings, then escalating to filmed beheadings of foreign hostages and worse — certainly earned him increasing attention. The faction he founded would become the Islamic State. There's more to Ware and al-Zarqawi's story, just as there's more behind the documentary's existence. Many of the remarkable sights contained within only became possible after Ware forged a connection with the insurgents, who began to feed him discs of their own videos, wanting him to disseminate them to the western media. Becoming an unofficial intermediary, he was placed in a tenuous and tricky position. While Only the Dead doesn't delve into the ethical side of Ware's interactions, it does chart the clear influence the situation had upon his viewpoint. A picture really does speak a thousand words in that regard, although the film isn't short on the latter — filling in the history of the Iraq war, as well as conveying Ware's reflections. Context is helpful, but verbal explanation almost seems unnecessary given how striking the shaky footage proves. And yet, there's something about the combination of distressing visuals and voiceover insights that hits the mark. Ware is the key, starting out "young and dumb enough for war to have its false sense of adventure", but slowly changing as a result of his time chronicling the Iraqi conflict. As his narration makes plain, even as the film depicts violent and bloody events gone by and horrors occurring in a nation far from his own, this strory is overwhelmingly personal. Entertainment, this is not. Cast Homeland, American Sniper or any other screen effort that claim to dissect the war on terror far from your thoughts. Ware's offering — as co-directed with veteran filmmaker Bill Guttentag — walks in the shoes and offers the mindset of someone who's there, and is then lucky enough to be able to look back at what he lived through. It's worth remembering that his account, though released within a world now brimming with YouTube videos and social media posts from those on the ground, predates this now unavoidable phenomenon. You might have seen the likes of Ware's offering before; however prior to this, you've never been brought not just beyond the front lines, but into the complications of his harrowing journey. https://www.youtube.com/watch?v=BWdi8JJG-7U
For No Vacancy’s latest exhibition, 25 writers, poets and songwriters, including Ali Barter, Bertie Blackman, Lior and Marieke Hardy, have contributed a sentence, a scribble or a song lyric to Duality. These contributions were then randomly paired with local visual artists, who were each given a blank archival rag and seven days to create an artwork inspired by the words. It’s not exactly a typical collaborative project, as the writers and visual artists don’t necessarily interact with one another, however the artist's subjective interpretation of the words given to them allows for the creation of new meaning. It's a genuinely great experiment. Freelance photographer Shannyn Higgins is the brains behind Duality, and this is the second time she has brought writers and visual artists together for this project. The first Duality exhibition was in Vancouver, and Higgins is looking to continue the project in other countries. Don’t miss the Melbourne instalment of Duality, a wonderful example of this city’s creative minds influencing each other’s work.
Did you know that there are around 60 young artists, designers and students who work at ACCA as volunteers and casual staff? As well as working for an excellent artistic institution, they have the opportunity present their own work in ACCA’s Startups program. Startups runs for five weeks out of a shipping container in the ACCA Forecourt, with a different artist inhabiting the space for a week at a time. Each artist will work with the ACCA team to develop their artwork and week-long exhibit. This is the fifth year this program has run at ACCA, and the artwork presented will include video, sculpture and multimedia works. Contemporary modes of communication, modern beauty standards, how constant stimulation and heightened stress are affecting development, as well as the influence that digital technology has on our perceptions on the world will all be thematically explored during Startups. Artists featured in this year’s Startups include Dalton Stewart, Jacqueline Stojanovic, Lucinda Florence, Jesse Dyer and Jacqui Shelton.
It's time to break out the party hats because someone's about to celebrate a pretty big milestone. Since their inception in 2005, the electronic math rockers have gone through a name change, released four excellent albums, signed to indie British label Warp Records, and have played gigs everywhere from Glastonbury to Sydney Opera House. For all the die-hards out there, they’re also doing a 10th anniversary reissue of their first album Make Me Love You. Joining PVT for the momentous celebrations will be local heroes Kirkis and Pearls.
If you've got a hankering for some gumbo and brass band funk — because, really, who doesn't? — head down to Dodds Street for a good old New Orleans Street Party. Food and music collide in spectacular fashion, as you peruse the laneways and embrace the vibrant nightlife in all its glory. Musical guests include Adam Rudegeair's Bayou, Tapestry, Horns of Leroy, The Hoodrangers, The Lagerphones, and the VCA Jazz and Improv Ensemble.
We open on a hotel party, all the horrors of the world: a Hawaiian-themed engagement bash. Upstairs in her room, a single woman in her mid-thirties takes a swig of wine, stares into a mirror and convinces herself to join in… only to immediately abort and instead order room service, don her tracksuits pants and settle in to watch Silence of the Lambs. This is Nancy (Lake Bell), a sarcastic, self-deprecating and utterly cynical romantic train wreck. The following day, however, mistaken identity lands her on a blind date with Jack (Simon Pegg), and — against all odds — they hit it off. What follows is a sort of ‘un-romantic comedy’ transpiring entirely over the course of one evening, and while its outcome is formulaic, the journey is novel enough to warrant viewing. To its credit, Man Up dispenses with the ‘will he find out?’ subplot a lot faster than expected, focusing instead on Jack's subsequent outrage as its primary source of tension and drama. It also boasts some of the most realistic family writing in years, with Nancy’s parents, sister and brother-in-law providing a charming mix of laughs and tear-jerkers in practically every one of their scenes. Pegg and Bell hold the lion’s share of screen time, however, and their obvious chemistry keeps everything cracking along at a jolly pace. Man Up offers an amusing and — at times — honest perspective on modern dating, complete with drunken sobbing, burdensome baggage and unforgettable exes. With its “fuck the past!” mantra and enthusiasm for risk taking, the script's none-too-subtle critique of self-help books ultimately ends up proffering a fairly pronounced message of its own — but it’s not a bad one, and neither is the film.
Get your kicks Italian style at Topshop in South Yarra. The retailer has teamed up with 100-year-old Italian footwear company Superga to launch the latter brand's first ever Australian outlet. Located within Topshop's flagship Chapel Street store, the pop-up concept store will be used to test the waters for a standalone Superga shop in the next couple of years. Viva l'Italia! Opening Thursday, October 22, the pop-up will be decorated in the national colours of Italy, and come complete with living room furniture, foliage and a red Vespa scooter by the entrance. The store will be selling three primary shoe styles for women, including the 2750 Cotu Classic, the 2750 Cotu Shirt and the Cotu Slipon, in a variety of colours. The Sydney Morning Herald is also reporting that Superga are developing a limited edition sneaker in collaboration with a yet-to-be-named Australian designer.
It doesn’t get much more local than Lido Cinema’s 8K Radius Film Series, a collection of short films about real people from the surrounding area directed by award winning Australian director, writer, producer and editor Clayton Jacobson (Kenny). There are eight films in total, each of which runs for four minutes, with Jacobson acting as a fly on the wall as each story is narrated by its star. Some of the characters you’ll meet include Pekx, a blind champion power weightlifter and remedial therapist; Ben, an instrument maker; DJs Fab and Max who run the nearby vinyl record store and café Alley Tunes; and Jaya, a Bollywood dance teacher. Jacobson worked with Lido owner Eddie Tamir on the series to promote the idea that cinemas are community centres for everyone, and that everyday lives can be both engaging and extraordinary. The series will premier to audiences on the evening of July 23, while each short will also play ahead of regular features at the Lido across the following week.
It’s no big secret that Melbourne is full of hidden treasures, what with our street art down unsuspecting laneways, hidden bars and tucked-away cafes. All too often have we stumbled around the city and wanted to know what was behind closed doors, or what certain buildings must be like on the inside. Melburnians, here’s your chance to enter some of the city’s most iconic venues and find out. Open House Melbourne has been running since 2008, allowing people to appreciate the city’s best design and architecture. The free weekend includes access to various houses, buildings, infrastructure and landscapes that have shaped Melbourne into one of the most liveable cities in the world. Alongside the highly anticipated reveal of Flinders Street Station's secret ballroom, a few places that will be open for your perusal include The Myer Mural Hall, State Library of Victoria, Parliament House and the Hotel Windsor, among many others that can be seen here. It's time to get reacquainted with your city in a whole new way.
Of all the gin pop-up bars with bespoke cocktails and seasonally crafted tapas pairings in all the world, you have to walk into this one. Bombay Sapphire, touchstone of the gin world, has returned once again with their pop-up bar and gastronomic experience Project Botanicals. The project is back following the sell-out success of last year’s pop-up and will be held over three intoxicating weeks from June 24 to July 11. Where? Why, at a bespoke location of course. The newly established warehouse digs are being taken over by guest DJs and lush live botanical walls for the event at 64 Sutton Street, North Melbourne. Project Botanicals is a collaborative effort between some of the finest gin bars in Melbourne; Black Pearl, Eau de Vie, 1806,Union Electric and Gin Palace have all created unique (and devastatingly indulgent) cocktails to feature on the menu alongside ten food pairings. MasterChef‘s Gary Mehigan has constructed textured dishes that complement each cocktail. Catch a preview of five of the dishes and cocktail pairings in our feature.
Zero gravity circus act meets pop culture-savvy burlesque; there’s something mighty strange afoot at 45 Flinders Lane. The latest show from local cabaret legends Maude and Anni Davey, Retro Futurismus is a futuristic vaudeville production that offers a nostalgia-driven vision of an alternative present that combines dance, theatre, song and god only knows what else. Taking over the space at fortyfivedownstairs Wednesdays through Sundays from June 10 until the end of the month, Retro Futurismus draws on a staggering array of influences, from Fritz Lang to Stanley Kubrick to David Bowie to Björk. Each night will feature a different guest artist, including Polytonix co-director Leah Shelton, choreographer Benjamin Hancock and dance group Glitter and Snatch. It’s a show that’s looking to defy genre labels wherever it can, and redefine what audiences think about when they think about cabaret.
You've probably heard of CollegeHumor, and we don't just mean the bad jokes everyone seems to make when they set foot on a university campus. We're talking about the website founded by two high school friends back in 1999. Today, it's home to some of the internet's funniest and most offbeat content — and the source of much time wasted by those who love to laugh. It's also where comedians Jake Hurwitz and Amir Blumenfeld got their start, though you might know them from their Jake & Amir web series turned TV show. Fellow funny man Streeter Seidell cut his comedy teeth in the site's sketch team, came to fame through his Prank Wars videos, and now he's writing for Saturday Night Live. The trio is travelling down under for the very first time, sharing the CollegeHumor love and telling their stories. You'll laugh, and you'll see rising comic stars in action. Australia’s Josh & Steve, from Channel [V]’s Free Shit Men and Magic 8 Ball, are also on the bill, for those keen on watching some homegrown emerging talent.
