It’s difficult not to see Betrayal as playwright Harold Pinter’s justification for his own affair with Joan Bakewell. At its core is a message similar to the existentialist theatre of Albert Camus: who can judge these characters in a world where there is no judge, where no-one is innocent? Emma (Alison Bell) meets her former lover Jerry (Nathan O’Keefe) in a pub, and tells him she’s finally going to leave her husband, Jerry’s best friend. Plagued by guilt, Jerry confesses to Robert (Mark Saturno), only to discover he has known for years, and had affairs of his own. The play’s structure has a kind of reverse chronology — ending with the beginning of the couple’s affair and interspersed with scenes that move forward in time, and director Geordie Brookman draws on the artifice a revolving set and costume-lined stage to emphasise these shifts. Saturno takes on a gift of a part with relish as her cuckolded (and cuckolding) husband Robert, his delivery steeped in arch, brittle bite. It’s a performance that skates dangerously close to the edge of something like caricature but instead manages to ride the rhythms of subtext and rhythms of Pinter’s text to deeply satisfying effect. The only flaw in this otherwise excellent State Theatre Company of South Australia production is Jordan Sweeney’s sound design. Even if the advent of digital technology makes the possible choices on offer endless, ironically it seems like the fondness Australian theatre 'composers' have for Logic bundles of glitchy scratches and sub-heavy bass is having a depressing, flattening effect upon our contemporary theatre. The one upside to the appearance of this well-worn modern palette here, in a production that otherwise hews so closely to the play’s original setting in costume and style, is that it forces us — however bluntly — to reflect upon our modern context’s relationship with the idea of infidelity. This is especially potent at a time when we’ve got access to the kinds of tools that would facilitate the characters various 'betrayals' — whether websites like Ashley Madison, or dating apps like Tinder.
Arctic oil drilling. Corporate and government corruption. The dangers of nuclear waste. Some of the biggest environmental issues facing Planet Earth today are in the mix at this year's Environmental Film Festival Australia. Hosted over eight days at Kino Cinemas on Collins Street, the festival begins on Thursday, September 3 with the world premiere of João Dujon Pereira's Black Hole. Filmed over the course of more than a year, the film documents the community battle to save Leard State Forest in NSW from being cleared to make way for a controversial coal mine. The screening will be followed by a Q&A with both the director and former Greens leader Bob Brown. Other highlights on the program include a special planetarium screening of coral reef documentary Coral: Rekindling Venus, and a biodynamic food tasting that pairs perfectly with the film Good Things Await. For the full EFFA program, visit their website. Image: Black Hole.
Love your spirits? Then you won't want to miss this gin-soaked masterclass at Pilgrim Bar on the banks of the Yarra. In the first of a new series of Talk + Taste information sessions, the riverside venue is welcoming Sam Ng, global ambassador at Four Pillars Gin, to take attendees through the art of making — and drinking — high quality gin. Yep, turns out you've been drinking it wrong this entire time. The liquor starts flowing down by the river at 6.30pm on Thursday, February 18. Tickets cost $15 and come with drink tastings and canapés. The event is scheduled to run for an hour, but let's face it: you'll probably spend the whole evening there. Keep your eyes on Pilgrim Bar's website and Facebook page for info about future Talk + Taste events.
Sequels to romantic comedies are rare. When a movie trades in the dream of finding love and living happily ever after, exploring what comes next tends to ruin the fantasy. That's the problem My Big Fat Greek Wedding 2 faces as it endeavours to revisit the characters from its popular predecessor — and like Bridget Jones: The Edge of Reason and Sex and the City 2, it struggles. Everyday relationship issues, coping with kids and the minutiae of marriage are more the domain of sitcoms than rom-coms, after all. It's little surprise, then, that this return to the big fat Greek world wouldn't feel out of place on the small screen, rather than in cinemas. In fact, 2002's My Big Fat Greek Wedding already inspired one season's worth of television, My Big Fat Greek Life, back in 2003. The latest extension of the story ignores the TV series' existence, although it firmly follows in its footsteps. In fact, from the angsty teenaged daughter who wants nothing to do with her parents, to the demanding relatives who can't keep out of each other's business, it's the kind of fare you'd expect to watch in 30-minute weekly episodes in the comfort of your own living room. After close to two decades together, Toula (Nia Vardalos) and Ian (John Corbett) have well and truly settled into wedded bliss — and made themselves a little too cosy and complacent, they begin to realise. They try to reignite the spark in their romance; however Toula's obsession with where their only child, Paris (Elena Kampouris), will go to college doesn't help matters. Nor does the sudden need of her elderly mother (Lainie Kazan) and father (Michael Constantine) to throw their own wedding ceremony, after discovering that their marriage certificate wasn't formalised 50 years earlier. Cue a second big fat Greek wedding, and an excuse to get the whole gang from the first film (including Australian actress Gia Carides) back together. The broader group is still a collection of walking clichés, with neither subtlety nor skirting stereotypes high on the film's list of priorities. Given that their antics are constantly commented on by a couple of snarky neighbours, observations about the difference between Greek and American culture provide the bulk of the movie's content. And while such obvious insights are clearly designed to be jokes by Vardalos, who writes as well as stars, they rarely inspire more than the occasional laboured chuckle. And yet, Vardalos' honey-coloured view of her ancestry, the immigrant experience and the eccentricities of living with such a big, close Greek family as she wades further into middle age remain sweet, even if they're hardly amusing the second time around. There are traces of ragged charm to this Kirk Jones-directed effort, like slipping on an old item of clothing and finding it still technically functional – even if it is rather scruffy and well-worn. If the film's core couple are too comfortable, so is the sitcom-style sequel itself. It knows that recapturing its initial magic is a difficult task, but it also knows that it may as well try anyway — and doesn't even contemplate attempting something more.
A long-time local favourite, Sam Simmons took out the prestigious Barry Award at last year's Melbourne International Comedy Festival for his brilliant Spaghetti for Breakfast. Now he's back with a brand new show he's called Not A People Person. Anyone who's ever seen him perform before will probably agree it's a fairly appropriate title. Prickly at the best of times, Simmons' new act is described in the MICF 2016 program as "a brand spanking new hour of mind-blending internal self-hatred, paranoia and comedy." With a logline like that, you know it's gotta be funny.
A familiar face on panel shows like Would I Lie To You? and Never Mind the Buzzcocks, Paul Foot is one of the most unique voices on the stand-up circuit today. His strange, ranty, stream-of-consciousness comedy has made him a favourite with festival audiences around the world. An Evening With Mr Paul Foot at the Melbourne International Comedy Festival features highlights from some of his best shows in years gone by, making it a perfect primer for those unfamiliar with his work, and a must-see trip down memory lane for his fans.
Racers at the ready! If an open water swim sounds like your perfect way to celebrate the island that we call home, then grab a wetsuit and get down to Brighton. The 1.4-kilometre open water swim is a clockwise course around the Middle Brighton Pier and breakwater from the pier to the finish gate on the beach. For those who like a bit more of a challenge, there is also a 5-kilometre swim option, and for those who want to get back to the Hottest 100 as quickly as possible, there’s an intermediate 650-metre swim. Registration closes January 24.
What could be better than an Australia Day BBQ, you ask? That's a free Australia Day BBQ. Lucky for all of us, that's exactly what's going down at Fitzroy's Glamorama. The recently opened Brunswick Street venue will be opening their doors a little earlier than usual, with the snags hitting the grill at 3pm sharp. There'll also be drink specials, including VB cans for $6 and Melbourne Bitter longnecks for $11. Guest DJs, meanwhile, will be on deck until late, playing the best indie, house, hip hop, rock and pop music that 2015 had to offer.
While we all love a good public holiday, it's sometimes hard to take full advantage of the days off work when pretty much everything is closed. Luckily for us, both the NGV International and NGV Australia will be open for the entire Easter long weekend, including Good Friday for the first time ever. Not only that, but they're hosting a special edition of their Friday Nights series, featuring a performance by alternative rock band Died Pretty and a DJ set by Misty Nights. Have a drink, catch some tunes, and enjoy after-hours access to the new 200 Years of Australian Fashion collection and the phenomenal Andy Warhol | Ai Weiwei exhibition — you've only got another month to catch it before it's gone for good.
The world of haute couture is coming to the silver screen — and no, we're not talking about the new Zoolander movie. Returning to ACMI as part of the Virgin Australia Melbourne Fashion Festival, this year's Fashion on Film program is once again packed with documentaries bringing you all the latest garments from catwalks around the world. Running from February 25 through to March 14, the Fashion on Film lineup features half a dozen docos, exploring everything from the clothes of legendary designer Alexander McQueen to the history of the Borsalino hat, made famous by movie stars like Charlie Chaplin and Humphrey Bogart. Of particular note is Jeremy Scott: The People's Designer, a documentary about the titular fashionista featuring appearances from Miley Cyrus, Lady Gaga, Katy Perry, Jared Leto and Paris Hilton. That many celebrities can't be wrong. For the full Fashion on Film program, visit the ACMI website.
When Kate Mercer (Charlotte Rampling) starts to interrogate the lifetime she has spent with her husband Geoff (Tom Courtenay), she's not just dissecting her own relationship. She's also pondering one of humanity's great concerns. The pair argue about times gone by as they plan the party for their 45th wedding anniversary, and while the details prove specific to their situation, the broader questions they raise are universal. 45 Years echoes the thought everyone has had at least once: how well can we ever really know those closest to us? The Mercers' predicament arises, as these worries often do, after a blast from the past interrupts their present. When Geoff receives word that the body of his former girlfriend has been found, frozen in ice for half a century, his devastated reaction causes Kate to re-assess their romance. The duo should be commemorating their lengthy union, but instead they're drifting apart. In their countryside home, he's sorting through old photos and wallowing in memories, and she's looking at everything they've ever shared with fresh eyes. 45 Years tells of roads not taken, of buried doubts unearthed, and of the consequences of choices. But more than that, it tells of two people trying to understand their connection with each other. It might seem like a simple topic, as well as an oft-seen one; however Andrew Haigh's effort, adapted from the short story In Another Country by David Constantine, never comes across as just another relationship drama. Indeed, while bickering wives and husbands are hardly uncommon in film, marital issues take on a different tone and texture when they stem from such an extensive bond. With that in mind, 45 Years understands the closeness and complexity that can only come with time, as well as the heightened devastation unexpected revelations can cause. It's another insightful, empathetic offering from writer/director Haigh — and given that he previously delved into the first flourishes of love in Weekend, the poise and perceptiveness he demonstrates at the opposite end of the temporal scale can't be underestimated. Ever the intimate filmmaker, he once again strands his protagonists largely in a single setting, often letting scenes play out with minimal edits. He knows that his audience can see what will happen next; his films find their power and poignancy not in surprises, but in waiting for the expected emotions to unfurl. As a performers' showcase, 45 Years excels, with its central portrayals perfecting the requisite balance of affection and uncertainty. While Rampling proves the more animated of the pair, both convey the film's underlying contemplation of the true nature of personal connections. Together, they're the image of the couple everyone does and doesn't want to be. A long-term on-screen duo has rarely felt as real as this. https://www.youtube.com/watch?v=qXAnjA9tAnQ
There’s a lot of hype surrounded Ryan Trecartin in the art world these days; the young American artist who's installations and video projects have many curious and enthralled. So it's pretty exciting stuff that the NGV has snapped up Trecartin’s work for their latest exhibition Re’Search Wait’S. The NGV has also acquired Trecartin and Lizzie Fitch’s collaborative 2011 piece Available sync — now showing as part of Transmission: Legacies of the Television Age at NGV. The pair first met when they began studying together at Rhode Island School of Design in 2001. The rest, as they say, is history. Re’Search Wait’S will be comprised of four film works: Ready, The Re’Search, Roamie View : History Enhancement and Temp Stop. Together they form an immersive and cutting essay on consumerism and identity. The films contain multi-linear narratives, where the characters endure having every action studied. This exhibition is a wonderful chance to see an exciting, hyped-up young artist reflect on our world today, make time for it.
It’s only May but so far 2015 has dealt Melbourne indie rock four-piece British India a pretty good hand. The lads released their fifth album Nothing Touches Me in March, Triple J has had their singles (like the makes-you-want-to-move ‘Suddenly’) on high rotation every since, and they put in a stellar big-shoe-filling performance at Bluesfest, when they stepped in for The Black Keys. In support of the new record, the band is currently travelling the country on a mammoth tour — they aim to play wherever ABC broadcasts — selling out shows and adding some more and then selling them out again. Catch them at The Corner Hotel on June 3 with Grenadiers and Tired Lion. Expect a solid dose of material from Nothing Touches Me, as well as all the old favourites — get ready to bring back 2008 with the inevitable ‘I Said I’m Sorry’ belt-out sesh. Quicksticks, snap up your tickets first here — word on the street is they won’t last much longer.
This review is of the Sydney run of this production in December 2013. If you listen to many theatre reviewers, you'll believe there's something wrong with you if you enjoy the opening act of Oedipus Schmoedipus, apparently the Sydney Festival's most divisive work. But I'm here to say it's bloody brilliant (emphasis on the bloody — it's basically writer-performers Zoe Coombs Marr and Mish Grigor killing each other and themselves in numerous vivid ways). The comedic timing, the ingenious weapon concealment, the improbable wailing of 'Love the Way You Lie' — the whole thing really comes together as a surreal mash-up of comic-book violence and a celebration of the craft of stage blood. There are other highlights in the hour that follows, as the women of post riff on the death scenes from some 2500 years of drama, from Aeschylus to Shakespeare, Moliere, Ibsen and Wilde. The ensemble has a gift for making layered, surprising shows out of seemingly novelty premises — in Who's the Best? they tried to empirically determine which one of the group was the best all-round human, and in Everything I Know About the Global Financial Crisis in One Hour they intentionally plunged into socioeconomic analysis without doing any research. Following Oedipus Schmoedipus's gory opener, the group attacks the death question with an arsenal including absurd comedy monologues, wordplay, group dancing, frenetic kabuki drops and two dozen fresh volunteers each night, squirming on stage while following carefully choreographed directions. It's fun to watch all this smash together — there's a strain of modern Dada to post's comedy, as randomness, nonsense and juxtaposition play their parts. The crazy experiments of durational performance artists are felt too. Perhaps the problem is that the methods don't quite match the mission this time around. Although their previous works allowed the audience glimpses of poignancy, in the face of a big subject like death — the biggest subject, some might say — most of what post fling at us seems pointless. Unless the only point that can be made about death is that it's pointless, in which case, everything is perfect. What can be said for sure is that the show seems to throw up more obstacles than aids to the audience's engagement. Though the entertainment value falls rather than climbs in Oedipus Schmoedipus, it's great to see the spirit of experimentation grip the Upstairs Belvoir arena. Post are one of the most exciting forces in devised performance in Sydney, and they deserve to be up here. Oddly enough, considering the show's whole premise is playing on the theatrical canon, it's fans of said canon who will likely hate the result. Intrepid arty genre-hoppers, your presence is required.
Listen up, lords and ladies of dance, three of Melbourne's most loved DJs have joined forces for maximum good vibes at Alia Dance bar this Friday. Andrew McClelland from Bella Union's fabulous fortnightly parties, Finishing School, and Ding Dong’s DJ Kieran are working with newcomer DJ Dan Hall to bring you a night filled with more genre-spanning than you can poke a stick at. You can expect anything from R&B and urban, to punk and '60s soul, British indie to pop. All they ask is that you dance it out at Yeh! Yeh! Entry is a cool ten bucks, which will get you a free shot with entry and cheap beer and wine before eleven. Plus, such a measly fee will supply all of the hip-shaking tunes you’ve ever loved at every awesome house party ever. In short, don’t stop 'til you get enough.
Go crazy and punch a higher floor, with one of the funkiest motion pictures ever made. Returning to the big screen at ACMI for a strictly limited season, more than thirty years after it first took the box office by storm, it doesn’t get much more '80s than Prince, Apollonia, Morris Day and The Time in Albert Magnoli’s cult rock musical Purple Rain. Screening just six times at the Fed Square cinema, this celluloid time capsule stars Prince in his feature film debut; playing a brooding but talented musician caught up in a bitter musical rivalry. Full of over-the-top costumes and ham-fisted dialogue, the film is redeemed by its Oscar and Grammy award-winning soundtrack, which includes the likes of 'When Doves Cry', 'Baby I’m A Star' and of course 'Purple Rain'. If you’re a fan of the artist formerly known as The Artist Formerly Known As Prince, this is one movie you need to see — and more importantly hear — in a cinema. https://www.youtube.com/watch?v=bpWbH4qQ-J8
Delve into Mongolian hip-hop, witness a high-tech Indonesian shadow play, and snap a photobooth selfie with the glamorous Siem Reap Lady Boys. It's all part of Mapping Melbourne, a four-day celebration of contemporary independent Asian artists working across art, dance, music, film, theatre and spoken word. With a focus on shifting cultural identity and engagement with the urban space, the multidisciplinary, multicultural festival features more than 40 artists from around Australia and Asia. In addition to the above, standouts on the program include a freestyle dance battle, a bunch of art exhibits and a closing night party that includes music and performance art plus free Japanese dumplings and massages. Seriously. Free massages. As a matter of fact, almost all of the events at Mapping Melbourne are free. For the full program and venue list visit Multicultural Arts Victoria.
What do board shorts, obnoxiously colourful Hawaiian shirts, Reg Mombassa (of Mental As Anything fame) and surrealist art all have in common? They have all participated in the evolution of Mambo, one of Australia's iconic clothing brands. Famed for injecting humour and artistic expression into a surfing apparel industry more preoccupied with the branding of products than creating memorable designs. This year marks the 30th year of the Australian surf brand, which was dreamt up by Dare Jennings by the pool of a Redfern motel, over a slab of beer and some Jatz crackers. Not limited to clothing, Mambo has slapped their designs onto surfboards, posters and ads. Over the years the brand has churned out some pretty iconic designs. From the contentious Aussie Jesus at the football, to the oddly enduring farting dog – the designs have continued to shock and delight Aussie audiences throughout time. Dancing on the line between political incorrectness and social awareness, Mambo frequently used their designs to grapple with issues such as religious intolerance, racism and commercialism. In 1995, they protested French nuclear weapon testing in the Pacific with the 'Chirac' t-shirt, donating $40,000 of the profits to Greenpeace. In 1998, they released the 'redneck' design, to protest the racist tenets of the One Nation Party — with proceeds going to National Aboriginal and Islander State Development Association, an organisation that would have been threatened by a victorious One Nation Party. Proudly Australia, the brand has harnessed local talent during its tumultuous 30-year trajectory. From designing the Australian Olympic uniforms in 2000 to financial insecurity in 2008, the brand still stands strong today as a pioneer of Australian design. Celebrating this, The National Gallery of Victoria will be showcasing the Mambo: 30 years of shelf-indulgence exhibition. Curated by T-shirt devotee, Eddie Zammit, original art director Wayne Golding and the current owner of the brand, Angus Kingsmill, the exhibition will feature the largest collection of Mambo works to date, incorporating all the unique Australianisms that defines the brand. Mambo: 30 years of shelf-indulgence will be on display at The Ian Potter Centre: NGV Australia at Federation Square in the NGV Studio from December 6, 2014 until February 22, 2015. Entry is free.
Ten years after the conclusion of the Irish Civil War, a local folk hero returns to his small country village, much to the chagrin of the conservative priests and landowners. Sounds like a typical set-up for a Ken Loach movie; the 78-year-old English director has made a career out of grim, socially conscious dramas about the injustices perpetrated against the working class. But while Jimmy's Hall certainly contains many characteristics typical of the veteran filmmaker, the film ultimately stands out as one of his lightest and most hopeful works. Not that that's saying a great deal. Indeed, while Jimmy's Hall is buoyed by its faith in the power of the people, the Loach film it most immediately recalls is actually one of his bleakest. 2006's Palme d'Or winner The Wind That Shakes the Barley chronicled the bloody Irish conflict of the early 1920s, and in some ways could be seen as a spiritual prequel to Jimmy's Hall — a film in which the personal and social fallout of the war is still being felt a decade latter. Dublin-born actor Barry Ward plays Jimmy Gralton, a real-world political activist and the hero of Loach's tale. After spending the '20s living in America, Jimmy returns to Ireland largely to care for his elderly mother but soon draws the ire of the community's ruling elite — led by the overzealous Father Sheridan (Jim Norton) — when he decides to reopen the dilapidated village dance hall. To the priest, it's only logical that where American jazz and pelvic thrusts holds sway, communist schemes soon follow. If it all sounds similar to the plot of Footloose, that's because it is. It's obvious why Loach, an ardent leftist, was attracted to Gralton's story. Jimmy is an easy hero to root for; a man of the people, fighting tooth and nail for the little guy against a stuffy, unfeeling villain. It's an appealing underdog story, rousing if rather simplistic. Screenwriter Paul Laverty's dialogue can be pretty on the nose in regards to the politics of the era, and let's face it, Loach has never been one to keep his ideological sympathies hidden. Thankfully, the film is rather more subtle when it comes to the dynamic between Jimmy and Oonagh (Simone Kirby), his onetime sweetheart who has since married somebody else. A scene in which the two of them dance silently in the moonlit hall is one of the most beautiful moments that Loach has ever put to film. Likewise, his portrayal of the villages' young people — determined not to make the same mistake as their parents — shows a more optimistic side of the filmmaker than audiences may have come to expect.
Debaucherous dance duo Flight Facilities have been major players on the local EDM scene for some time now. Their infamous club banger 'Crave You' is guaranteed to get even the biggest of party poopers in a merry mood. It's so big, even Kylie Minogue has got in on the action. And now, after what seems like an eternity, Hugo Gruzman and James Lyell have finally seen fit to release an entire album. After bursting on the scene four years ago, they're hitting the road on their first national album tour. Down To Earth is here. Of course, this debut LP promises more of what the fans already love, with standout tracks like 'Two Bodies' building on their already stellar repertoire in a big way. Another of their quality summer tunes, 'Sunshine' even got Reggie Watts on board. But the good news doesn't stop there. This tour will see them paired with Client Liaison. Sporting '80s synth pop, oversized aviators and tan suits aplenty, these Melbourne boys will make the perfect sidekicks.
When Andy Warhol's Jewish Geniuses exhibition was first shown in 1980, people got pretty mad. Though his trademark pop art style was well known by then, critics just couldn't deal with it being used to depict important intellectuals and Jewish luminaries. A critic from The New York Times labelled the show "tawdry" and "offensive". Now, for the first time ever, this beautiful tacky mess is coming to Australia. Featuring ten portraits of 20th century icons such as Albert Einstein, Sigmund Freud and Franz Kafka, Jewish Geniuses will be on show at the Jewish Museum of Australia from November 20 until May 24 next year. On loan from the Jewish Museum of Vienna, the artworks will also depict actress Sarah Bernhardt, philosopher Martin Buber, judge Louis Brandeis, composer George Gershwin, literary great Gertrude Stein, ex-Israeli prime minister Golda Meir and The Marx Brothers. Accompanying Jewish Genuises, the museum will also host a larger series of events called Warhol Now. Partnering with the Jewish International Film Festival, the National Gallery of Victoria, Midsumma Festival and the Melbourne Food and Wine Festival next year, Warhol Now will combine trivia nights, artist talks and a "Warhol-inspired dining event" to examine the artist's importance and influence on art today. It's all a little ironic, really. Warhol was not Jewish. He didn't have any particular passion for Jewish issues. In his diary he allegedly wrote that he created these portraits "[because] they're going to sell", now they tour Jewish museums all over the world with new meanings and importance. That being said, Warhol had a strange kind of wisdom about him too. "Don't pay any attention to what they write about you," he said. "Just measure it in inches." Touché. Andy Warhol's Jewish Geniuses will be on show at the Jewish Museum of Australia from November 20, 2014 until March 24, 2015. See the website for more details.
Nobody makes blockbusters quite like Christopher Nolan. The mastermind behind Inception and The Dark Knight trilogy, this British-born filmmaker has an incredible knack for blending complex storytelling with jaw-dropping visual spectacle. To celebrate the release of his latest work, Interstellar, the team at the Astor Theatre are bringing a selection of his grandest movies back to the big screen. Better yet, a number of them will be shown with pristine 35mm film prints, just as their maker intended. Indeed, while most of the film industry has made the jump to digital video, Nolan is one of the only directors in Hollywood who still insists on shooting with film. His old-school commitment to celluloid makes him a perfect fit for The Astor, as the single screen movie palace remains among a small handful of cinemas in Australia still capable of projecting film prints. The Astor Nolan retrospective begins on November 13, with the dream-hopping action thriller, Inception. After a week off, the series picks up with his Batman saga over three consecutive Thursdays, before concluding with Interstellar (in 2K digital) on December 18.
Music is becoming just as important as art at the NGV these days. Even when the walls are covered in works from Monet, Caravaggio and a relative stampede of local talent, you can't help but itch for the latest announcement of who'll be playing Friday Nights in the Great Hall. Well itch no more, the latest group of musos have arrived and they're exciting enough to rival Jean Paul Gaultier himself. Friday Nights this season will kick off on October 24, when The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk is already in full swing. Though the lineup is characteristically packed with young local talent, the first two acts are both from the US — and more specifically, the '90s. Lead singer of MEN, one-third of Le Tigre and bona fide feminist legend JD Samson will be first up. Samson is then quickly followed by iconic world music duo Cibbo Matto. Known for their collaborations with the likes of Yoko Ono and Michael Gondry, these ladies will feel right at home inside a gallery setting. From November onwards the lineup is dominated by an exciting though familiar list of Triple J darlings. Young artists like Remi and Elizabeth Rose will be gracing the stage as well as more established Aussie acts like Touch Sensitive and The Bombay Royale. In fact, of all the 14 artists announced, Kate Miller-Heidke is probably the only one you would have heard on commercial radio. Of course, this isn't a bad thing — it shows the NGV is all up for supporting local talent and alternative terrain. To add to this exciting atmosphere, the Friday Nights series will also present fashion talks and pop-up food and drink offerings. Each performance will even be accompanied by a crew of street artists from Everfresh Studio creating new work on stage. And they better be feeling confident — the final night of the series will be tied up with a performance by the legendary Chicks on Speed. Aside from pioneering art pop before Lady Gaga was even a thing, in the past they've collaborated with the likes of Douglas Gordon, Karl Lagerfeld and the Red Hot Chilli Peppers. No pressure or anything. Full lineup: October 24 — JD Samson (USA) October 31 — Cibo Matto (USA) November 7 — Saskwatch November 14 — The Bombay Royale November 21 — Cumbia Cosmonauts November 28 — Nun December 5 — Touch Sensitive December 12 — Remi December 19 — Elizabeth Rose January 9 — Kate Miller-Heike January 16 — Frikstailers (ARG) January 23 — HTRK January 30 — Rat & Co February 6 — Chicks on Speed (AUS/EUR)
Melbourne prides itself on being the thinking person's city. We don't have Brisbane's sun or surf and we certainly don't have the picturesque views of Sydney. With weather that fluctuates between the howling gales of Siberia and the scorching highs of the Sahara, we're pretty much forced to sit inside all day and read books. Now we're taking full advantage of all those smarts: from October 27 - November 2 the City of Melbourne is hosting Melbourne Knowledge Week. Featuring 90 events, this mini-festival scattered across the CBD spans the fields of science and medicine, design and urban planning, business, art, culture and technology. Featuring talks, panels, workshops, walking tours and performances, Melbourne Knowledge Week is all about ongoing discussion, interrogation and learning. The highlight of the arts program will undoubtedly be The Crack Up at Malthouse Theatre. A "transmedia dance performance", this work will incorporate live dance and virtual performers against a high-resolution 3D backdrop. The cutting-edge work will then be followed with a panel entitled 'Performance and Technology: where to from here?’. If your smarts come from books rather than the stage, you might instead be interested in 'Stop Apologising for Your Arts Degree' — a forum on the versatility and use of humanities, and a guaranteed pick-me-up to your post-university slump. Alternatively, you can explore the uses of virtual reality technology or debate the pros and cons of making Melbourne a 24-hour city. There's really no need to choose at all. With most events offered free of charge, you may as well hit up as many as possible. Your education shouldn't stop with your final VCE exam. Check out the full program here.
It's the end of the year, work is winding down and every day is a day closer to the extended family Christmas party. Things seem a little slow, right? A little dull? A tad exhausting? Don't know what to do to keep you going from now until Chrissy? It's all good guys, Coburg's got this. Every Friday from 5.30 until 10pm, you can get your festive on early at the Coburg Night Market. Get out on some balmy December nights and support the community culture that makes Melbourne, well, Melbourne. With wine tasting, face painting and live music, there's not much else you could want. Except maybe a health check and/or energy assessment — but wait! Coburg's got this! Thanks to Coburg Leisure Centre and Moreland Energy Foundation Ltd, all your health and energy needs can be met in between tasting some wine and munching on some market foods. Local acts The Furbelows, The Public Opinion Six, Sin Frontera Trio, Emilee South, Kylie Auldist and Nicky Bomba will feature across two stages over the four Fridays. If that's not enough, then the big man himself is sure to be a major drawcard. Santa and his elf will be waiting for you to whisper sweet nothings into their ears before posing for the obligatory festive photo. Like we said, Coburg's got this.
Recharge your batteries at the latest biennial exhibition commissioned by Australia's leading media arts group, Experimenta. Housed in the RMIT Gallery on Swanston Street, Experimenta Recharge brings together the work of experimental practitioners from all around the world in order to explore notions of knowledge and technology across every artistic medium imaginable. Intent, as always, on pushing creative and technological boundaries, Experimenta's new show includes everything from painting and sculpture to photography and video, to 3D printing, sound art and robotics. Le Societe Anonyme, an anonymous European art collective, have produced a history book written in code, while local artist Maree Clarke chronicles the rituals and practices of her Indigenous ancestors via a multidisciplinary installation. On top of the main exhibition, the Recharge program also features a number of special events, including talks, panel discussions and film screenings. For more information about what's on, visit their website.
Those masters of dark yet joyful surf rock are back with a one more album and one less band member. After weathering a near-breakup, this newly downsized dup are returning to Australia for a full national tour to usher in the lazy summer months. If one thing's for sure, fans will get something different from what they've seen before. The band's new album Encyclopedia is a blunter, simpler take on their classic sound. The Drums' own brand of misanthropy is more persistent and when paired with their characteristic whistling and hand clapping give the band a new eerie quality. In the face of original member Connor Hanwick's desertion earlier in the year and a fan base that seems to have gradually forgotten their favourite kings of the summer roadtrip soundtrack, The Drums have come back with a new kind of emotion behind the same sound. Get set for a new incarnation of The Drums, clapping their hands and shaking their fists. https://youtube.com/watch?v=nWc4mZoGK2k
Can building a garden win the affection of a royal landscape architect, as well as the respect of the king? That may be the plot of A Little Chaos, but it isn't the point. There are more fascinating things afoot in this period romance. Kate Winslet stars as Sabine De Barra, gifted with a green thumb and fingers to match, as well as the gall to want to use them. She flouts the conventions of 17-century France in other ways, too: in voicing her opinions and in shunning the tradition of manicured lawns that has seen Andre Le Notre (Matthias Schoenaerts) design the outdoor areas of King Louis XIV (Alan Rickman). Yet, something about Sabine intrigues Andre, inspiring him to hire her to assist with a new project. Her vision of an alfresco addition to the Versailles palace, complete with a complex water feature, doesn't conform to expectation — just like Sabine herself. Together, the trio treads a tentative path to a more modern way of thinking, and not just in terms of gardening. This is Sabine and Andre's tale — including the threat to their blooming bond from his promiscuous yet possessive wife (Helen McCrory) — but the king's acceptance of a landscaper outside the norm is key to the story's gentle breaking down of gender stereotypes. Of course, in keeping with the time it depicts, the steps made are small in size, though they remain considerable in their fictionalised impact. Seeing Sabine strive and hopefully succeed always feels like the film's main goal, as paired nicely with a peek into what life was really like for women in the royal court. Indeed, as handsomely acted as the entire affair is, and as swept up in the period details, the slow-burning love story is actually the least interesting aspect of A Little Chaos. It's not that Winslet and Schoenaerts don't sell the romance. Their performances — her sorrowful but spirited efforts especially — are among the highlights of the film. It's just that the script rightfully cares more for the characters' professional rather than personal endeavours, and so does the audience. That would be the doing of Rickman, who co-wrote the screenplay and directed the feature in addition to acting as the monarch in the middle. In his second stint as a filmmaker after 1997's The Winter Guest, the man best known to many as Harry Potter's Severus Snape is delicate and determined, two traits the movie champions. Rickman also takes the obvious route more than once, whether lingering on the sumptuous scenery or letting Stanley Tucci turn up as yet another comic cad, once again stealing all his scenes. The formula behind the finesse is hardly surprising; the feature is called A Little Chaos, after all. The movie's title is clearly designed to reflect its heroine's wild ways within a system of order, and it does so. That it also captures the film's willingness to test boundaries within the tale itself, but not in its treatment, couldn't be more fitting.
Meet Philip Lewis Friedman (Jason Schwartzman), an emerging writer on the cusp of the release of his second book. He likes to tell off his ex-girlfriends for their lack of support and dress down his former college roommate for not living up to his standards. He assumes his talented photographer girlfriend, Ashley (Elisabeth Moss), will hang around despite his lack of attention and affection. There's no mistaking it; he doesn't really seem like a nice guy. Philip is the lead character in Alex Ross Perry's third film after Impolex and The Color Wheel, but Listen Up Philip does more than just follow the ups and downs of a self-absorbed jerk. In an act of structural daring, it tells his tale alongside Ashley's awakening that she's much better off without him. Also included is the plight of Philip's new mentor, Ike Zimmerman (Jonathan Pryce), a famous novelist renowned for his self-imposed isolation, but now having second thoughts about his life choices after spending time with his new protege. Indeed, wondering about decisions made in the pursuit of a dream — be it about professional success, romantic fulfilment or perpetuating an enigma — sits at the heart of the film, a line of thinking almost everyone can relate to. It's easy to see where things strayed from the expected path for the trio, even if it isn't always easy to watch how things move forward, particularly for the ever self-sabotaging Philip and the just as egotistical Ike. Also striking is the intersection and influence of their deeds, on each other, and on others on top of that. Listen Up Philip may start out with a stereotype of movie depictions of writers, complete with wrestling notions of ambition, arrogance, inspiration and irrelevance; however, what it does so brilliantly is map out the flow-on effects of anxiety, envy and striving for success. Thankfully, as awkward and abrasive as many of the scenarios in the script rightfully prove, Perry approaches the film with humour, empathy and balance. The narration of an all-seeing, never-sighted figure (voiced by Eric Bogosian) helps make the comic and considerate skew apparent, as does perfect casting. Schwartzman and Pryce play to the movie's sharpness, and Moss and Krysten Ritter (as Ike's long-neglected daughter) to its unanticipated understanding. In fact, Listen Up Philip actually resounds with more warmth than you might think. Moss brightens every scene she is in, not just stealing the show but demanding the camera's focus on her expressive face and her command of emotion. Hers is a performance of the lived-in variety, a feeling the feature matches in its handheld movements, naturalistic lighting, super-16mm film stock and jazz score. Actually, it's that textured sense of reality that makes the movie shine, even more than showing the bleakness of poor choices while revelling in dark comedy. In that embrace of complication, there's a lot to like, and even love — even the initially unlikeable Philip.
Melbourne's most excellent funk and soul experts are bringing their sweet groove to The Corner this month for the Soul A-Go-Go New Years Eve bash — featuring PBS DJs Vince Peach, Miss Goldie, DJ Manchild, Matt McFetridge, Andrew Young, Zack Rampage and Women of Soul. This right here is seriously good value, $35 for a ticket (or $30 if you’re a PBS member) and the party goes from 9pm-3am. Tickets are strictly limited so if you want to get on down to Funky Town, book now.
Swords, sandals, speeches and spectacle: in a Ridley Scott-directed epic, all are to be expected. It comes as no surprise that Exodus: Gods and Kings has each in abundance. Men fight, moral dialogue dominates, and 3D computer-generated imagery delivers everything from palaces and now-fallen monuments to parted seas and giant waves. What might come as a surprise is that Scott’s latest round of swinging steel fares better than it perhaps should. The veteran helmer’s vision of the tale from the Old Testament Book of Exodus falls between his lauded Gladiator and less applauded Kingdom of Heaven. Repetition reigns in an over-extended, blood-soaked effort, but so does a strong sense of character and contemplation. For those unfamiliar with biblical narratives, the story of Moses swaps between sides in one of the greatest tussles in Judaism. In Egypt circa 1300 BC, a punishing regime saw the empire’s 400,000 Hebrew inhabitants worked to death as slaves — a system that had been in place for over 400 years. Moses (Christian Bale) grew up alongside Pharaoh-in-waiting Rhamses (Joel Edgerton), unaware of his true heritage. Upon discovering he belongs to the people his friend so willingly exploits, he is exiled, but remains unwavering in his quest for change. So far, so standard — at least where film depictions of the oft-covered pseudo-sibling-rivalry circumstances are involved. Indeed, standard is an apt description for a feature that goes through the motions in relaying its well-documented plot points. Moses and Rhamses argue. God sets Moses on a mission. Plagues — a river of blood, frogs, locusts and more — try to convince Rhamses of the right decision. Bale’s involvement, as culturally questionable as his and other casting may be, provides a stirring central performance and a strong protagonist. In channelling the conflict at the heart of the story, he broodingly expresses the impact of Moses’s many battles — with himself, his origins, his identity, and the notion of faith. In an effort that muses at length about these issues, he offers an eloquent manifestation of the inherent struggle. The film suffers whenever he isn’t on screen, though such instances are rare. Elsewhere, the rest of the cast doesn’t fare as well, more as a result of a script tinkered with by four writers than anything else. With eyeliner aplenty, Edgerton simmers with corruption and confusion, and Ben Mendelsohn hams it up (in an unlikely Animal Kingdom reunion). Ben Kingsley is quiet but convincing as a symbol of the oppressed, but many other big names — Aaron Paul and Sigourney Weaver, most notably — are given little to do. The less said about the squandering of talented actresses such as Golshifteh Farahani and Hiam Abbass, the better. Thankfully, among the clumsiness and the bulging roster of familiar faces, Exodus: Gods and Kings finds the midway point between the overblown and unnecessary, and the interesting and epic. Come for the biblical action, stay for the powerful lead performance, and witness an average but still engaging take on a famous tale.
It's no exaggeration to say that The Everleigh is home to some of Melbourne's best cocktails, and therefore some of the city's most excellent bartenders. To prove their high-skill level and impressive imagination, this week they're asking you to give them a real challenge. In groups of 1-6 people, you can bring along your own spirits and they'll make a big ol' bunch of surprise cocktails for you. Set up in the Elk room, the bartenders will make drinks over two hours at your table, using a selection of citrus, syrups, liqueurs, bitters, ice and garnishes. To shake things up a bit, they'll also call a half time break, where guests can choose to switch their bottle with another party. Spaces are limited so you’ll need to pre-book for this iron chef battle of the bartenders. Hot tip: the more obscure the bottle you bring, the better.
It takes a truly talented band to reach the heights of international stardom without a drummer, but New Zealand eight-piece Fat Freddy’s Drop make it look a synch. They’ve been touring for well over 15 years now, their inimitable horn-based sound, bringing together a soul, dub, reggae fusion that sends audiences loco. Now, they’re bringing their brass, bass and organic melody and lyricism to Australia for a nationwide tour. Testament to Fat Freddy’s Drop success is their ability to remain independent and reassured that the crazy little thing they’ve got going on is worth it. They were first band to hit number one in New Zealand with an independently produced record, and said album, Based on a True Story, is still the highest selling album by a national artist in the country’s history. They’ve released three studio albums, two live albums and several singles, and even built a studio. As for their live performances, they’re infamous for their energy. From the music to the atmosphere, the reggae sounds hit hard, and the techno spin Fat Freddy’s Drop has taken lately keeps the rhythm dynamic.
Put one foot in front of the other, keep going, and you’re on a journey — and sometimes an adventure that captures attention. Add a few interesting incidents, and/or intentions fuelled by self-discovery, and you might just have a book and then probably a film. In fiction, it worked for Forrest Gump; in reality, it worked for Into the Wild. It is in the footsteps of the latter, not the former, that Wild follows, as it turns the true trek of Cheryl Strayed into a cinematic hike. In 1994, Strayed (Reese Witherspoon) was 26 and struggling with her lot in life, lingering grief inspiring a raft of destructive decisions. With her marriage in tatters, and her daily routine in the doldrums, she opted to take time out to achieve what seemed an impossible feat: walking the 1770 kilometres of the Pacific Crest Trail alone, and truly coming to terms with her identity and existence in the process. Of course, helmer Jean-Marc Vallée and scribe Nick Hornby don’t just jump from point A to point B in telling Strayed’s tale on screen, nor is the considerable physical feat the point of their film. As might be expected from the linear-averse director of Cafe de Flore, as well as the emotionally astute screenwriter of An Education, flashbacks during Strayed’s wander prove as crucial as the walk itself. The usual array of dire events and moments of discovery furnish the familiar storyline, one that continually emphasises its message of persevering regardless of the circumstances. So too do glimpses of the naturalism that flavoured Vallée’s last feature (and one also based on real-life circumstances), Dallas Buyer’s Club, as well as Hornby’s witty way with words. There may be few surprises in the movie that evolves as a result, but that doesn’t mean that the voyage it depicts isn’t worth taking. Expressive cinematography and fine-tuned editing help immerse the audience in Strayed’s fractured yet persistent mindset and rough yet picturesque surroundings, creating an offering of style and sensitivity in charting a predictable triumph over adversity. As awards bodies have duly noticed, however, Wild is less remarkable for the plight it portrays and its manner of doing so, and more worthy of praise for the accompanying performances. Eschewing glamour, playing a real figure and inhabiting a gruelling experience are all common fodder for accolades and attention, yet Witherspoon is as committed to getting to the heart of her endeavour as the character she plays. Laura Dern radiates empathy and earnestness in the role of Strayed's mother, even if her scenes are tinged with tragic cliches. Indeed, that’s the film from the start of its travels until the end: weighty but always apparent, contemplative while laced with truisms, and making more than a modest attempt at striving for something beyond the usual.
For the uninitiated, Nas’s debut album Illmatic is widely regarded as his magnum opus, if not one of the best rap albums ever created. Songs like ‘Halftime’, ‘It Ain’t Hard To Tell’, and ‘New York State Of Mind’ are both ageless and highly representative of their time. In other words: it’s gold. To celebrate the record’s 20th anniversary, Nas has been touring Illmatic, playing it start to finish, all over the world. Now, it’s Australia’s turn. Nas will be headlining Sugar Mountain Festival in Melbourne, but also playing solo shows in Brisbane, Sydney and Perth. As well as tearing through Illmatic, he'll be performing a few other hits from the records that followed. While Illimatic may have been groundbreaking, the albums after that certainly weren’t shabby either, and this is a rare chance to relive something truly great in hip-hop history. If you want to go to there, we recommend snapping up some tickets quick-smart. Don’t sleep (cause sleep is the cousin of death).
Since legendary Japanese animator Hayao Miyazaki announced his retirement in late 2013, many a film lover has taken the opportunity to revisit the man’s incredible body of work. Last year’s nationwide Studio Ghibli Showcase inspired us to count down our five overlooked Ghibli films, and now Melbourne’s favourite repertory cinema is getting in on the whimsy as well. In much the same vein as their recent Hitchcock and Tarantino retrospectives, The Astor Theatre will celebrate the best of Miyazaki’s career via a series of double features. The three-week overview begins on Monday, January 12 with two of the animator’s earliest films: Nausicaa of the Valley of the Wind and Laputa: Castle in the Sky. The series continues the following week with Princess Mononoke and the Oscar-winning Spirited Away, before concluding on January 26 with Howl’s Moving Castle and Ponyo.
For a slightly more civilised evening, dinner at Pope Joan for New Year's Eve is less about the boozy d-floor sessions and more geared toward a sumptuous feast of the finest local produce in a relaxed but festive setting. Tasty morsels you can look forward to include duck cigars and salmon wings, vitello tonnatos and king prawns, Flinders Island lamb and carrot terrine, and for dessert there's chocolate mousse, wattleseed sponge, fennel and smoked salt. It's $95 for the feast and matching drinks will set you back $150. We can honestly say you'll be in exceptional hands for the last meal of 2014.
It's been nearly four months since we were first introduced to MPavilion and, though they debuted with the extraordinary promise of 118 free arts events, we're now unfortunately having to face the the last few. The temporary venue will be shutting up its petal-like structures for the final time on Sunday, February 1. Now, to celebrate the creative spirit with which the project was founded, MPavilion is hosting an incredible artwork from the UK's Alisa Andrasek and Jose Sanchez. Previously seen at in the London Design Museum, 2012 Olympics and The Future Is Here exhibition at RMIT, BLOOM is an enormous structure composed of small interchangeable components like giant hot-pink Lego. On Tuesday, January 27, four design agencies (Assemble, Edwards Moore, Sibling, and ARM Architecture) will face off against one another to manipulate pieces of the artwork into the best new form. You're invited to head along along from 10am-1pm to watch the action or lend a helping hand. From the sheer size of the thing, it looks as though they may well need it.
Another summer, another EDM sweatfest. While its more well-behaved, boutique festival cousins have been dropping off one by one over the last few years, Future has only upped the ante, with this year's giant lineup boasting more than 200 artists. And sure, wrestling with singlet-clad bros fistpumping to Avicii isn't everyone's idea of fun, but while you're waiting for the beat to drop there's a load of other international and local artists to check out in the meantime. There's Drake of course, who recently dropped his surprise mixtape, If You're Reading This It's Too Late, '90s legends The Prodigy, German techno pioneer Sven Väth, and irresistibly catchy pop artist Kiesza. Locally, watch out for Brisbane management company Mutual Friends, who manages producers along the likes of Young Franco and DJ Butcher, Sydney stalwart DJ Deckhead (whose Drake stunt exploded on social media), and house producer Acaddamy, who has played alongside Disclosure and Dusky. Plus, Darude's going to be there. So if you've ever wanted to see 'Sandstorm' dropped by the dude who created it, this is your big chance.
Like your films short, though not necessarily sweet? Keen to check out up-and-coming homegrown talent? If you answered yes to either of the above questions, then Flickerfest is the event for you – but this really shouldn’t be news. Australia’s leading Academy® accredited and BAFTA recognised short film festival has been running for 24 years now. Come February 18, the fest’s annual national tour stops by Kino Cinemas to share the local love via a jam-packed Made in Melbourne program. Over 2,300 entries were received for Flickerfest 2015, and only the top 110 shorts made the cut for the entire national tour, so the handpicked Melbourne flicks are certain to be something special. The moving and mesmerising Grey Bull, the thrillingly scary Waterborne, and the very funny time travel film I’m You Dickhead are just a few of the shorts in the session. Of course, it wouldn’t be a festival without a bit of post-film fun, aka the afterparty. Hang around after the screening for delicious food from misschu and drinks from Little Creatures, Vodka O, Rosnay Wines and Phoenix Organic Juices, all included in the ticket price.
An antihero in a spiral of self-destruction? Here we go again. In The Gambler, Jim Bennett (Mark Wahlberg) descends into a dangerous gambling addiction from privileged heights, risking more than most people dream of. He comes from a rich family and has a plum associate professor job teaching literature. He also has two big debts to the type of people you don’t want to owe money to, is thinking about taking on a third and walks around scowling beneath his sunglasses. A good guy with good vibrations Jim is not, as his put-upon mother (Jessica Lange) would confirm. He isn’t anything special either, as he admits in rants on genius to his students — including star pupil Amy (Brie Larson) — about his failed novelist career. His story has been seen before, quite literally given that the film remakes the 1974 movie of the same name. And yet, there’s something fascinating about Jim, The Gambler, the drifting and grifting, and the overall mood of just not giving a damn. Perhaps it is seeing Wahlberg as a different type of character, relying on looks and glances rather than muscle and weapons. He’s more than a step away from the well-intentioned heroes he usually plays. He is also paired well with The Wire’s Michael Kenneth Williams and John Goodman, both standouts as two of the formidable loan sharks trying to collect their cash. It isn’t a coincidence that Marky Mark does his best work with conflicted protagonists caught in dubious situations; think Boogie Nights and the more recent Pain & Gain. He may not show the depths of compulsion others have managed, but he convinces as someone given every advantage and opportunity to make the right choice, yet constantly, selfishly and damagingly, opting otherwise. Also effective is Rupert Wyatt’s direction, a clear change of pace from making Rise of the Planet of the Apes. The script, by The Departed’s William Monahan, relies on the gimmick of time, giving Jim seven days to settle up or get killed, but Wyatt’s ‘70s-influenced look and feel — favouring patient pacing, wide spaces and lingering moments — helps patch over a story that’s often more than a bit too convenient. The Gambler isn’t without its troubles, almost unforgivingly furnishing Larson and Lange with little to do, their talents wasted on their slight roles. The film also hits the audience over the head with its blunt themes and a few silly twists, not to mention heavy-handed music cues. Pulp’s Common People as Larson’s supposedly normal Amy walks along campus? A choral rendition of Radiohead’s Creep as Wahlberg’s Jim ponders his actions? We get it. There’s a reason that antihero stories just keep on coming, feeding viewer interest in complicated folks in tricky situations. The Gambler may not sell everything about its scenario, but it embraces its grating character and its familiar circumstances with style and assurance. Like Jim, the film goes all in, never playing it safe or hedging its bets. There are worse things to take a punt on.
The ReelGood Film Festival is back for round two, out to prove that sometimes the sequel can be even better than the original. After a successful launch in 2014, this returning one-day film forum once again aims to promote the work of local filmmakers, screening 24 shorts over the course of an afternoon and promoting discussion between directors and their audience. Organised by Melbourne-based film website reelgood.com.au, this year’s festival will be hosted at the Schoolhouse Studios in Collingwood on Sunday, March 29. Films start at 1pm and screen in groups of two and three, giving viewers the chance to grab a drink and have a chat in between sessions. The festival closes with a small awards ceremony, with prizes given out for Best Film and Audience Favourite. For more information on the ReelGood Film Festival, check them out on Facebook.
There's no doubt about it, the Scandinavians are a stylish bunch, with their immediately recognisable modern and minimalist aesthetic. We largely have Finnish architect and designer Alvar Aalto to thank for this iconic and organic form, and the NGV is paying tribute to his great work in their latest exhibition Nordic Cool. The exhibition will focus on pieces created from the 1920s to the 1960s including ceramics, glass, silver, furniture, textiles and lighting. Is it a sculpture? Can I sit on it? What would this go with in my house? These are all questions you’re likely to ask while perusing Nordic Cool, which will most likely send you into an irrefutable desire to redecorate your abode. Just don’t head straight to IKEA after visiting this exhibition, it will only lead to disappointment.
Celebrate Aboriginal voices in the contemporary Australian screen industry, at the latest edition of Blak Nite Screen in the Treasury Gardens this weekend. Hosted across two nights by actor Aaron Pederson, the free event will include live music, Q&A sessions and film screenings, as well as a tribute to one of Australia's most iconic Indigenous performers. The evening begins on Friday, February 6 at 7pm, with a set by singer and guitarist Frank Yamma. After that, Pederson will be joined in conversation by the legendary actor David Gulpilil, as well as acclaimed Indigenous director Darlene Johnson. The talk will be followed by a screening of Rolf de Heer's Charlie's Country — for which Gulpilil just won an AACTA award — along with Johnson's hour-long biographical documentary Gulpilil: One Red Blood. Saturday will begin at the same time, with a performance by Ursula Yovich. She'll then join Pederson, as well as Jon Bell, Bruce Carter and Jub Clerk, in a talk about the rise of the Blak New Wave in Australian film and television. The night will conclude with three segments of the recent Australian anthology film The Turning, plus episodes of Gods of Wheat Street and Redfern Now.
Classic film buffs, clear your calendars: the big screen matinee is back. Starting February 1, Palace Kino on Collins Street are dedicating Sunday afternoons to cinema’s golden oldies, screening quintessential titles from critically-acclaimed filmmakers for a fraction of the regular price. The series begins, in suitably epic fashion with David Lean’s Dr. Zhivago. Other standouts in February and March include Taxi Driver, Blade Runner and Gone with the Wind, along with the first two parts of The Godfather trilogy and the mesmerising horror film The Shining. Looking further ahead, genre lovers can get revved up for Mad Max and Mad Max 2, dropping just in time for the reboot in early May. Also on tap: a handful of Hitchcock classics like Rear Window and The Birds, early Bond flicks Dr. No and From Russia with Love, plus several much-loved comedies including The Castle and Monty Python and the Holy Grail. Check out the complete Vintage Classics program here.
Just when you thought one night stands couldn’t get any more awkward, Oz outfit Unhappen arrive at the Fringe to present the Melbourne premiere of Rob Hayes’ Awkward Conversations With Animals I’ve Fucked. Unlike some of the more esoterically-titled offerings in the festival, here what you see is what you get. In a series of connected monologues, Bobby speaks to a succession of cuddly critters — from the domestic to the exotic — that have all been the object of his affection. Awkward Conversations is billed as a dark comedy, but the groundswell of critical favour that surrounded its first outing in Hayes’ native England speaks to the work’s deeper layers of meaning and sophistication. While the subject matter is fertile ground for crude humour, it’s also a situation that allows the writer to explore complex issues involving consent, zoophilia, and the role that sexual identity can play in isolating individuals from society.
We're not ones to make light of someone's sexuality, but when people say they want to marry the Eiffel Tower we're happy to have a little giggle. Representing the ladies in the Fringe Festival comedy stakes and exploring the odd life choices of objectum sexuals with a 50-minute stage show, Nicolette Minster comes out — she's officially in a relationship with her security blanket. It's a naturally funny concept and one we can't wait to see come to life on stage, but if there's a warning for mature audiences at the door we're calling quits. We don't know how you can fully prepare yourself to watch someone seduce a step ladder. This event was chosen as one of the top ten things to see at this year's Melbourne Fringe Festival. See the full list here.
Heralding from Argentina, the enigmatic Juana Molina makes her way to the Thornbury Theatre Ballroom for a one-night-only performance guaranteed to dazzle. Described as "Spanish-sung folktronica", Molina's performances are as unique as they are playful; full to the brim with experimentation and honest passion in song. Continuing soundscapes full of surprises, never dull or anticipated. Some have attempted to pigeonhole Molina, tried to fit her into a niche genre or have compared her to other songstresses such as Beth Orton or Bjork while trying to describe her sound; one of the most admirable characteristics of Juana is her very selfness, her unique sensibilities and authentic original sound. Molina's always in good company, even as a staunchly solo artist — she's worked with the likes of Vetiver and Vashti Bunyan and has toured with David Byrne and Feist. Molina is also a member of the Congotronics vs Rockers collaboration with Konono N°1, Kasai Allstars, Deerhoof, Wildbirds & Peacedrums and the Skeletons' Matt Mehlan. Busy, busy. https://youtube.com/watch?v=UC2lFttTOIM
Whether you're a fan of Nick Hornby's original novel, or John Cusack's iconic performance as worldweary rock nerd Rob Gordon, High Fidelity is a modern classic. The world of Championship Vinyl has become sacred ground for all music lovers, and the story's heartbreaking truths about life and love have rung true for decades. This production at Chapel off Chapel will follow the same formula, but it will breath new life into the story with the inclusion of a live band on stage. Originally appearing on Broadway in 2006, this musical version of the famous novel was the work of talented American composer Tom Kitt. The concept is understandably a daring one. How do you create a live soundtrack for a story about the best music of our time? How can the sacredness and beauty of Rob's treasured little musical realm translate to such a big stage? Though many reviewers felt the Broadway show fell at these intimidating hurdles, there's definitely still hope for this Australian premiere. Far from the glitz and showmanship of Broadway, this production has been crafted by local independent theatre company Pursued by Bear. Maybe an intimate setting at Chapel off Chapel will recreate the magic and importance of the illustrious Championship Vinyl.
One Day is the closest thing Australia's got to a hip hop supergroup. The crew comprises Sydney acts Horrorshow, Spit Syndicate, Jackie Onassis and Joyride. They're probably best known for their now legendary One Day Sundays at Sydney's Vic on the Park pub — a regular hip hop social on the last Sunday of the month, headlined by the sharpest producers and best up-and-comers in local hip hop, plus slow-cooked spit, live graffiti art, basketball and a heaving dancefloor in the carpark. But the One Dayers haven't limited themselves to the monthly local block party. The collective/powerhouse have just released their debut record Mainline and its first single 'Love Me Less'. Now they're taking their Sydney-born brand of hip hop on a national tour — to the biggest venues they've played to yet. These guys go from strength to strength, and they're proving some pretty sweet things about the quality of Aussie hip hop. For the tour, each act will play an individual set — but hold out for the collaborative finale. All seven crew members will come together on stage together for the first time, and if their trajectory so far's anything to go by, you can expect something big. https://youtube.com/watch?v=ZSxCB7wU1gw
