Footy, drinking VB and not understanding the importance of moisturiser does not maketh a man in this modern day and age. But if not, what does it mean to be a gentleman, post millennium? This Saturday's Festival of Steve, held at the usually members only Kelvin Club, attempts to shed some light by presenting a number of modern men, equipped with skills, talents and most importantly, a willingness to share, all with the aim of helping confused gents everywhere feel a little more comfortable talking feminism and fancy liquor. Comedian, writer for The Tonight Show, performer of One Man Debate and self-proclaimed feminist Simon Taylor will be holding court, billiard pro Kelvin Small (who knows his way around a pool cue) will be giving lessons on how to be more impressive around a pool table, Bar Americano's head mixologist Hayden Lambert will offer tips on how to whip up something a little fancy via the liquor cabinet and Embiggen Books will showcase a carefully curated collection of books (because everybody knows reading is far sexier than football). Image courtesy of Simon Taylor.
Beau is afraid. Beau is anxious. Beau is alone. Beau is alive. Any of these three-word sentences would make a fitting name for Ari Aster's third feature, which sees its titular middle-aged figure not just worry about anything and everything, but watch his fears come true, concerns amplify and alienation grow — and then some. And, in the Hereditary and Midsommar filmmaker's reliably dread-inducing hands, no matter whether Beau (Joaquin Phoenix, C'mon C'mon) is wallowing in his apartment solo, being welcomed into someone else's family or stumbling upon a travelling theatre troupe in the woods, he knows that he's truly on his own in this strange, sad, surreal and savage world, too. More than that, he's well-aware that this is what life is inescapably like for all of us, regardless of how routine, chaotic or grand our individual journeys from emerging out of our mother's womb to sinking into death's eternal waters happen to prove. Aster has opted for Beau Is Afraid as a moniker, with this horror-meets-tragicomedy mind-bender a filmic ode to existential alarm — and, more than that, a picture that turns catastrophising into a feature. Psychiatrists will have a field day; however, experiencing the latest in the writer/director's growing line of guilt-dripping celluloid nightmares, so should viewers in general. Even with Chilean The Wolf House helmers Cristóbal León and Joaquin Cosiña lending their help to the three-hour movie's midsection, where animation adds another dreamlike dimension to a picture book-style play within an already fantastical-leaning flick frequently running on dream logic, Aster embraces his favourite deranged terrain again. He makes bold choices, doesn't think twice about challenging himself and his audience, elicits a stunning lead performance and dances with retina-searing imagery, all while pondering inherited trauma, the emotional ties that bind and the malevolence that comes with dependence. Death, the bonds of blood, life's onslaught of damage, long-kept secrets, wild and weird groups, odd rituals, unnerving altercations: yes, they're all present and accounted for in Beau Is Afraid as well; yes, this is unshakeably and unmistakably an Aster joint. When he slides into suburbia in the second act, he also gets as Lynchian as he ever has — that Beau Is Afraid springs from a ravenous mind fed a diet of Eraserhead, Twin Peaks and Inland Empire isn't in doubt long before Mariah Carey's earworm 'Always Be My Baby' scores a Blue Velvet-esque spin. Charlie Kaufman's Synecdoche, New York and Anomalisa, Darren Aronofsky's mother!, Richard Kelly's Southland Tales: they're equally among this movie's melange of peers, ambitious and impressive company that offers a litmus test for viewers. Swimming through someone else's mindscape is never easy, after all, and doesn't Aster love sharing that feeling. Beau Wassermann is an average Joe with a rundown flat in a dilapidated neighbourhood, his therapist (Stephen McKinley Henderson, Causeway) on speed dial, and O'Loha frozen dinners — an incredulous mix of Hawaiian and Irish cuisines — for sustenance. He's also the son of a wealthy and controlling businesswoman, Mona (played by American Horror Story's Patti LuPone, plus The Craft: Legacy director Zoe Lister-Jones in flashbacks), another mainstay on his call list (Moviefone, the US number for obtaining cinema session information that's been defunct since 2014, is another). And, he's wracked with stress whenever he leaves his house, which doesn't seem that far-fetched given there's a nude killer dubbed 'Birthday Boy Stab Man' by the news on the loose. That said, after Beau Is Afraid shows its namesake's birth from his perspective, obligatory slap on the rear and all, then meets him nearing 50 and nervous about a trip home, he's just fretful all the time anyway. Thanks to an escalating series of unfortunate events — another string of words that could've doubled as Beau Is Afraid's title; Disappointment Blvd was the actual original moniker — the basis for that apprehension is similarly swiftly apparent. From the tiniest minutiae to the biggest change, Beau's existence keeps getting worse, then bleaker still, then even more grim and hopeless. He's prescribed anti-anxiety pills that he's told absolutely must be taken with water, but doesn't have any and his building's supply is shut off. When he sprints to the convenience store across the road, everyone on his crime-riddled street slips into his apartment and trashes it. Aster begins Beau's malaise in the everyday, but becomes hellish quickly, a pattern constantly repeated when he's hit by a van and taken in by the married Grace and Roger (Only Murders in the Building co-stars Amy Ryan and Nathan Lane), watches that aforementioned theatre production, reflects upon his time as a teenager (Armen Nahapetian, NCIS) on a cruise holiday falling for his first crush (Julia Antonelli, Outer Banks) and seeks answers about his father. In only his second on-screen role since winning an Oscar for Joker, Phoenix plays Beau with deeply internalised sorrow, so much so that spying his shoulders do anything but slump in the character's uniform of pyjamas seems like the most fanciful thing that could happen — and this is a movie overflowing with eccentric, imaginative and absurd touches. It's a fascinating performance, both vulnerable and primal at once, as situations exceeding Beau's foulest terrors keep bubbling. Crucially, whether Beau Is Afraid is in Freudian and Oedipal mode, or bringing Misery or Station Eleven or Lord of the Rings to mind in Aster's unceasingly distinctive way, or having its central figure wrestle naked in the bath, Phoenix is committed to the ride and to being the everyman. He's in an often bitingly funny black comedy as much as he's in a horror flick, and he's both game and empathetic as Beau overtly endeavours yet struggles to keep it together. Ideally, no one watching is discovering intruders perched above their baths and monsters in attics, but they'll always understand Beau's panic, shame, dismay and humiliation. Of course, when Aster gets amusing, it's in largely while getting so distressing that you really can only laugh, as Beau's mushrooming plight forever is. If every possible development in your life is always the most miserable, what else are you meant to do? That's Beau Is Afraid in a smart, dark, cerebral, gut-punching, hope-crushing, relatable, hilarious and horrific nutshell. Aster packs in humour wherever he can, though, demanding the utmost attention to his returning Hereditary and Midsommar cinematographer Pawel Pogorzelski's purposefully disorienting frames for slapstick silliness, dick jokes and brief flashes of background wordplay (Asstral Projection and Erection Injection are the names of the peepshows next to Beau's building, for instance). Beau is afraid of it all, and teeming with anxiety over it. He's alone in it all, but that's what being alive is. It'd be the film's biggest surprise if Aster wasn't chuckling — and having the ultimate fever dream.
At first glance, The Salvation appears to have all the elements of a classic old-school Western. A bloody tale of savagery and greed with a hardhearted villain and a hero bent on revenge, you can feel the influence of the genre’s most iconic titles, from Stagecoach to Unforgiven to Once Upon A Time in the West. Unfortunately, despite possessing all the right ingredients, director Kristian Levring stumbles in his execution, delivering a mediocre movie that will leave audiences feeling shortchanged. Hannibal star Mads Mikkelsen plays Levring’s protagonist Jon, an ex-soldier in the Danish army who has immigrated to the New World. After seven years of hard work, he and his brother Peter (Mikael Persbrandt) build a homestead near the town of Black Creek, at which point Jon sends for his wife (Nanna Oland Fabricius) and young son (Toke Lars Bjarke) back in Denmark. The family reunion is short-lived, however, when the duo are murdered by a pair of convicts on the day that they arrive. When Jon takes his revenge, he finds himself the target of the ruthless gunslinger Delarue (Jeffrey Dean Morgan), whose brother was one of the men who killed Jon’s family. Levring is best known as one of the signatories of Dogme95, a filmmaking manifesto that stressed naturalism and forbade “superficial action". With The Salvation, he (thankfully) abandons these roots and embraces the full-bodied, widescreen aesthetic of the Western genre. Kasper Winding’s score captures both the hope and the menace of the barren American landscape, and while the cinematography doesn’t quite measure up to the best contemporary Westerns such as True Grit or The Assassination of Jesse James, it’s a handsome picture all the same. So why doesn’t it work? Perhaps it’s the feeling that Levring is ticking boxes, trying to include all the typical hallmarks of a Western without ever giving them the time to properly develop. Running barely more than an hour and a half long, The Salvation is a film that consistently takes shortcuts in order to keep the story moving forward. The hasty manner in which Jon’s family is dispatched borders on the absurd, as does his own transformation from mild-mannered farmer to veritable Man With No Name. The same needlessly hurried approach is taken with almost all of the story’s supporting characters. We soon learn that the villainous Delarue works for the unscrupulous Standard Atlantic Oil Company, who hired him to intimidate the folk of Black Creek into selling off their land. It’s an ugly arrangement with roots in historical truth, yet is only really dealt with in a single scene. Likewise, it would have been great to spend more time with the town’s morally put-upon priest-turned-sheriff (Douglas Henshell), who finds himself forced to “sacrifice a single sheep in order to save the rest". However, the film's most egregious crime is wasting Eva Green. She plays Delarue’s widowed sister-in-law Madeline, mute since Native American’s cut out her tongue as child and she’s a fascinating figure played imposingly by Green. Yet like almost everyone else in this movie, she just doesn’t have all that much to do.
The 1930s in Australia was a tumultuous time — it was a decade that saw the highs of engineering marvels like the Sydney Harbour Bridge completed, but also the lows of The Great Depression, an impending Second World War and a highly conservative society. However, out of these ups and downs came one of the most important eras in Australian art history, and this period is explored in a new immersive exhibition at the NGV's Ian Potter Centre. Through more than 200 works across photography, painting, printmaking, fashion, architecture and more, Brave New World: Australia 1930s considers how artists responded to the social and political concerns of the time, features Australia's pioneering female artists, who carved out a way forward in the modern art movement, and showcases those who focused hopefully on our emerging cities in their vibrancy, colour and culture. Image: Eugene Hyland.
Sound the trumpets and let the good times roll, because the Melbourne International Jazz Festival is back. Bustling into town for the start of winter, this year's ten-day festival will see more than 100 events (and 500 musicians) pop up around the city. As expected, the 2019 program is packed to the brim with concerts, interactive shows and late-night jams. Famed jazz musician Herbie Hancock, who started his career in the Miles David Quintet back in the 60s, will perform hits from his five-decade career alongside other standout guests like five-time Grammy Award winner Billy Childs and US powerhouse Ms. Lisa Fischer. Most events are ticketed, but there are a decent amount free gigs happening at bars and public spaces around the city — like the Jazz Out West program in Moonee Ponds and Maribyrnong and the free lunchtime sessions that are happening at Southern Cross on weekdays throughout the festival. If this is your first MIJF, this is a good way to dip your toe into the musical pool. Amateur singers can also take part in the en masse choir, named Jazz Assembly, that will take place at Fed Square, or head along to Melbourne Museum's special jazz edition of its after-hours Nocturnal party.
Dig out those once-a-year novelty gumboots, Groovin the Moo has unveiled their 2017 lineup. Taking the large-scale music festival out of the city and into regional centres for another year, GTM will kick things off in South Australia before heading to Bendigo on Saturday, May 6. This year's lineup sees local talent front and centre with triple j Hottest 100 list-toppers Tash Sultana and Amy Shark (#3 and #2, respectively) taking the stage, along with The Smith Street Band, Montaigne, Hayden James and Methyl Ethel. Most of the international talent comes from the UK this year, with The Darkness, 21-year-old Loyle Carner and The Wombats making their way to the Moo, along with Germans Milky Chance. Here's the full lineup. GROOVIN THE MOO 2017 LINEUP Against Me! (USA) Allday Amy Shark Architects (UK) The Darkness (UK) Dillon Francis (USA) George Maple Hayden James The Jungle Giants K-Flay (USA) L-FRESH The LION Loyle Carner (UK) Methyl Ethel Milky Chance (GER) Montaigne Northeast Party House Slumberjack The Smith Street Band Snakehips (UK) Tash Sultana Thundamentals Violent Soho The Wombats (UK) Image: Tao Jones.
The mysteries of Hawkins, Indiana have taken Stranger Things' fans down a few snaky pathways — demogorgons, the upside down and the plight of Barb included. There's more still to come, with the Netflix sci-fi series slated to return for its third season in 2019; however, as far as twists and turns are concerned, a new attraction in Lafayette, Indiana might just have the show beat. We mean twists and turns in the most literal sense, because if you're trying to make your way through an enormous corn maze, you're going to come across plenty of both. That's what visitors to Exploration Acres will find between September 14 and October 28. This year, their corn maze isn't any old corn maze, either — it's Stranger Things-themed. The series' logo, a giant Eleven and the rest of the gang riding their bikes away from a demogorgon are all part of the huge patch of greenery, which spans 20 acres and features more than 16 kilometres of pathways. There are four mazes within the massive site, with entry costing between US$9.50–11.50 (AU$12.84–15.84). It might sound like the kind of promotion that Netflix would cook up — the streaming platform did create an online game based on its most popular titles, after all — but it's actually just a labour of love. Exploration Acres CEO and President Tim Fitzgerald coming up with the idea after binging the series, and demonstrated his fandom in a much, much bigger way than most of us. Via Lonely Planet. Image: Exploration Acres.
What better excuse for a Sunday sesh than a bit of Melbourne spring sunshine and a 10th birthday? On November 5, Abbotsford's Aviary Hotel is set to host a good old-fashioned beer garden birthday bash, simultaneously celebrating its first decade of life and bringing a brand new monthly Sunday session series into existence. Infusing the Backyard Boogie celebrations with their trademark upbeat vibes, the crew from Positively Positive will be heading up the decks and guaranteeing non-stop party jams until long after the sun sets. Meanwhile, the kitchen will be firing up the BBQ for a special lineup of al fresco eats and the Young Henrys crew will be keeping things cool with a few tasty beer and cider specials. You'll also be able to get your hands on two-for-one espresso martinis and a range of $18 cocktail jugs.
Many Melburnians have childhood memories of lining up at Queen Vic Market's American Doughnut Kitchen van to get a bag of fresh hot jam doughnuts. It's been kicking around since 1950, and still has masses of locals and tourists lining up every weekend to watch doughnuts be made right in front of them. The team has always managed the small space well, cramming a heap of staff into the van and pumping out hundreds of doughnuts each day. But it's finally time for an upgrade. In autumn 2024, the American Doughnut Kitchen will open a bricks-and-mortar store down in Prahran Market, slinging the exact same doughnuts. For a bit of fun, the new shop has been designed to give off the same look and feel as the famous van. You'll find the signature white and blue colour scheme, plus a similar open workstation where customers can watch the doughnuts be cut, cooked and filled with the mouth-watering raspberry plum jam before being tossed in a huge bowl of sugar. Like the van, these are the only doughnuts that will be available. The family running the shop see no need to experiment with new flavours and offer a heap of different varieties. Truly, if it ain't broke, don't fix it. However, one change is coming, with the American Doughnut Kitchen's Prahran market spot also selling coffee. That means you can get your sweet treat and caffeine fix all in one spot. "This expansion has been a long time coming and is a testament to our family's commitment to creating moments of delight and connection," said American Doughnut Kitchen Managing Director Belinda Donaghey. "Our doughnuts are not just a treat; they are a symbol of tradition and indulgence. We're excited to share our legacy with more doughnut lovers in Melbourne's south while still staying true to our roots as a market trader." The American Doughnut Kitchen is set to open its new Prahran Market store this autumn, with an exact date yet to be revealed. For more information, head to the venue's website.
Portarlington Mussel Festival has become one of the largest yearly events to take place in the tiny bayside community. Last year, over ten tonnes of locally harvested mussels were served to 30,000 seafood-loving punters. For its 12th year, Australia's mussel capital will host over 100 food stalls, peddling not only shellfish but fresh local produce too. There'll be live music, art and photography exhibitions, cooking classes and demonstrations, a car show (possibly muscle cars?), kids' activities, and beer and wine tastings. Special guests The Eagles Story will be among over 20 performers providing entertainment for the day, including Avalon, Jazz Connection, Chrissy Burrell, The Big Bash Band and Hip Cats. There'll be a $2 entry fee per person, with all proceeds returned to the community. Established in 2007, the festival highlights the importance of the Bellarine's aquaculture industry — 60 percent of Australia's mussels come from Portarlington. Despite the town's remoteness, you can jump on a ferry from Melbourne or even better, do a coastal road trip. Image: Archangel12 via Flickr.
This January marks the launch of the South Melbourne Night Market's tenth summer season, and it's celebrating with a fittingly huge anniversary program, jam-packed with treats suitable for you and anyone you want to bring along. Running Thursday evenings from January 4 until February 22, the twilight sessions will be headlined by a summer-perfect mix of eats and drinks, so you can take full advantage of those balmy nights. Think crisp salt and pepper seafood from Ink-credible Calamari, Caribbean-style island fare from The Real Jerk, Poke Time's vibrant Hawaiian bowls and lush single origin soft serve crafted by the team at Atypic Chocolate. Wash it all down with a chilli margarita from newcomer Bambu, or settle in with an ice-cold craft beer or rosé during a pit-stop at one of Swords' two market bars. You'll browse artisan wares from the likes of Hew, BhunnyDesigns and Birgit Holdinghausen, while listening to live tunes. There's even a kids club, so if you're bringing littlies along, you can keep them entertained with some art and craft projects of their own.
End-of-year markets are always excellent for those of us who tend to leave gift purchasing until the last minute — and, thankfully, Etsy is setting up their markets all over Australia in the last weekend of November. Etsy Made Local is a grassroots initiative that celebrates crafters, collectors and artisans in local communities, and provides them with the opportunity to sell their creations both online and in a physical space. So whether you're on the hunt for handmade wares or vintage goods, these guys have got you covered. The markets will be held in 11 places around Australia, including Melbourne, Gippsland, Sydney, the Blue Mountains, Brisbane, Perth, Adelaide, Canberra and Hobart. Because each market focuses on the best local talent, each market will be filled with different stallholders and unique creations. Supporting creative small businesses and scoring a killer Christmas gift is a win for everyone involved, so head to the Batman Market on November 25 and get your festive shopping done early, for once.
One of South Melbourne's most iconic food celebrations is back for a big weekend of music and molluscs, as the Port Phillip Mussel & Jazz Festival returns to its home at the South Melbourne Market. On Saturday, March 12, and Sunday, March 13, the precinct comes alive for a food-focused, tune-filled street party, with the humble mussel as star of the show. Seafood-lovers will find themselves in heaven, feasting their way through a host of special dishes from resident vendors including Bambu, Claypots Evening Star, Simply Spanish and Little Hof. Plus, catch all the usual market favourites slinging fine cheese, porchetta rolls and everything in between. Chef and presenter Tim Hollands will be sharing his seafood secrets — and a few cheeky giveaways — at a series of cooking demos. The market's even teamed up with The Nature Conservancy to deliver the Shuck Don't Chuck recycling program — mussel, oyster and scallop shells from the weekend's feasting will be collected, cured and used to rebuild ecosystems in the bay. As always, there'll also be plenty of fresh catches when it comes to the entertainment — enjoy soul and jazz tunes from acts like Django Rhythm, Gatsby Swing and The Treblettes. [caption id="attachment_844651" align="alignnone" width="1920"] South Melbourne Market[/caption]
Vampires can be slain by staking them in the heart. Werewolves aren't fond of silver bullets. But Taika Waititi and Jemaine Clement's addition to the undead world can't and won't be killed — not that anyone would want that outcome. First What We Do in the Shadows jumped from a short film to a hilarious feature-length comedy. Then it inspired a US television remake, which is still in the works, as well as New Zealand television spinoff Wellington Paranormal. Now, after an exceptionally amusing six-episode first season, the latter is set to return in 2019 with 13 episodes. We've said it before, and we'll say it again: trust a mockumentary about the undead to keep coming back in new guises. The Cops-style spinoff follows police officers Karen O'Leary and Mike Minogue, who WWDITS fans might remember came knocking at the vampire share house's door. With the help of Sergeant Maaka (Maaka Pohatu), the cop duo keep trying to keep the city safe from supernatural happenings — including not only bloodsuckers and lycanthropes, but ghosts, aliens and more. Wellington Paranormal's second season will once again explore the spate of paranormal phenomena happening in the city, with a 2019 airdate on TVNZ 2 yet to be set. In Australia, the first season screened on SBS Viceland and was available to stream on SBS On Demand, so fingers crossed that'll remain the same next year. Announcing the funding of Wellington Paranormal's new run, NZ On Air Chief Executive Jane Wrightson noted that "it is really pleasing to see people respond positively to content that has such a unique New Zealand flavour". Of course, for those following What We Do in the Shadows' continued evolution, Wellington Paranormal's success shouldn't come as a surprise. When the show was first revealed, Waititi described it as "Mulder & Scully but in a country where nothing happens" on Twitter, after all. https://www.youtube.com/watch?time_continue=2&v=WRO2QfESbEI
Everyone knows that distance makes the heart grows fonder - and this notion now applies to the eye as well. The contours, shapes and colours that the topography the Earth's surface forms are breathtaking marvels not rivalled by any manmade images. Yet they are only truly visible from well above the Earth. Seeing the world from this mesmerizing angle puts the insignificance of humans, when compared to Earth's enormous size, into perspective. Here are some of the most magnificent aerial images of our planet. Guy Laliberté's Space Travels The mastermind behind Cirque Du Soleil, Guy Laliberté travelled on board a Russian Soyez Rocket through space in 2009. While the billionaire was on this trip, he did a bit of sightseeing and documented some of the stunning scenery of the Earth that he was privy to. David Maisel's Vertiginous Vistas David Maisel certainly knows how to poignantly capture the most fascinating and mystifying regions of the world from the vantage point of his four-seater plane. Sometimes the photographer even removes an entire window from his plane - which gets to altitudes between 5,000 and 12,000 feet - to secure that perfect shot. But looking at these two examples we can safely say the effort is well worth it. Landsat 7 Satellite Images These two stunning images depict the Bolivian deforestation and the Bogda Mountains in China. The former shows the destructive impact that deforestation can have on native forests by severely fragmenting the ecosystem, while the latter illustrates the mesmerizing mix of sand dunes and salt lakes of the Turpan Depression laying at the foot of China's mountain range. River Deltas Around the World Water not only serves as the major life source for all living things on Earth, but the patterns it creates when travelling in estuaries throughout the world also create enchanting images. These two photographs depict such beauty from the Betsiboka Estuary in Madagascar and the Ganges in Bangladesh. Satellite Photos of the Earth These enthralling images were also taken from a satellite from outer space. The vibrant colours of these terrains almost appear to be oil pastels, yet they have emerged from genuine landscapes of the Earth. The first shows the icy blue transposed against the blood red in the Malaspina Glacier of Alaska and the second shows the twists and turns of the water and land in our very own Carnegie, Australia. Earth from Above These photos appeared on the Flickr page of a photographer by the name of curiouser*curiouser. Both images were taken over the Zion National Park in Utah from the seat of an aeroplane traversing the region. The parks appear so much more unique and beautiful from this high vantage point, featuring ripples and explosions within the Earth's surface.
There's the truth, and then there's the tale that is told, a divide Kill the Messenger acknowledges. Driven by journalistic duty, Gary Webb (Jeremy Renner) unearths a scandal, though once his report is published, the press turns their attention to him over the facts. The surrounding film falls prey to the same trick, presenting an intriguing character study but skirting over the damage done. Webb is a small-time player for a small-time paper, yet unafraid of turning big leads into big headlines. In California in 1996, he receives a tip about a deal involving the nation's intelligence agency and crack dealers in South Central Los Angeles. Covertly supporting the Nicaraguan Contras in their fight against their country's socialist rulers, the CIA is accused of assisting their US drug racket. Webb scours through sources from South America to Washington to substantiate his story, all ignored when governmental denial thrusts him into the spotlight. With Mary Elizabeth Winstead and Oliver Platt as Webb's editors, Rosemarie DeWitt as his wife, and Michael Sheen, Andy Garcia and Ray Liotta as furtive figures, a competent cast fills in the details, in what remains a portrait of Webb's rise and fall. As compelling as he has ever been, Renner retains focus, matching his physicality to the transformative plight of a determined crusader victimised for doing the right thing. Often framed from afar or shown in hand-held close-ups, his recreation of Webb constantly looks over his shoulder with good reason. "We would never threaten your children," he is told in his only official face-to-face meeting with the CIA, and the feature's best display of tension. Based on Nick Schou's 2006 book of the same name, alongside Webb's own 1998 manifesto Dark Alliance, Kill the Messenger harks back to a host of conspiracy thrillers and whistleblower dramas in its newsreel compiles offering background information and incendiary montages setting the emotional tone. Better known for helming episodes of Dexter and Homeland, director Michael Cuesta sticks to the standard in evoking an air of unease and flitting between episodic jaunts in a quest for justice, his feature fervent in sentiment but fleeting in impact. All eyes stay on Renner's rising rage in his potent portrayal; however, the feature's message remains murky, swelling in telling of personal conflict but fading in spanning the extent of the scenario. That the most damning revelations are told as a post-script may indicate the difficulty of condensing the complicated true tale, but it also speaks to the same selectivity the film ostensibly rallies against. Kill the Messenger shouts the story of someone who refused to be silenced, yet favours an impassioned underdog account over a thorough consideration of its central media machinations. https://youtube.com/watch?v=14tFIJIp1bs
In 2011's Le Havre, Aki Kaurismäki explored Europe's refugee crisis in his trademark way: with empathy, a droll sense of humour and a bittersweet outlook. He tackles the same subject with the same approach in The Other Side of Hope, although you could never accuse the Finnish filmmaker of simply retracing his own footsteps. Rather, the writer-director steps from a tale of transition to one of acceptance. It's a shift that not only reflects global events over the past seven years, but also comes with a much-needed message. What the world needs now is compassion, Kaurismäki posits — an idea that applies when asylum seekers arrive in prosperous nations searching for better lives. The Other Side of Hope begins when Syrian refugee Khaled (Sherwan Haji) hops off a boat in Helsinki. Looking for a new home far from Aleppo, he just wants the chance to start afresh, however Finland proves far from welcoming. Meanwhile, leaving his wife and his old salesman life behind to enter the restaurant trade, Waldemar Wikström (Sakari Kuosmanen) requires help getting his new business going. Both men are fleeing their respective pasts, but Wikström's plight can't compare to Khaled's, and the film doesn't claim otherwise. Instead, after Wikström spies Khaled hiding behind his eatery, the movie shows how an act of kindness shapes their intertwined fortunes. In other hands, a parade of cheesy cliches would ensue, but Kaurismäki isn't any other filmmaker. There's a reason that he's considered Finland's best living auteur, and why his movies receive widespread international attention. While they're the kind of plaudits that every director dreams of, no one views the world quite like Kaurismäki. He fills his frames with characters that wear their eccentricities on their sleeves, yet couldn't be more relatable. He shows people struggling with all types of problems, both commonplace and more extreme, while still banding together because it's the right thing to do. Further, he charts life's ups and downs without avoiding its sorrows, but never removing optimism from the equation either. Indeed, there's a word that sums up his work perfectly: humane. Another word springs to mind: absurd. It's evident when a fight quickly turns into a job offer and when salted herring is served up as sushi, two of the movie's wry, hilarious developments. From its deadpan humour to its rockabilly soundtrack, The Other Side of Hope is often offbeat, albeit in a very specific way. Kaurismäki isn't trying to make an over-the-top comedy — instead, his film recognises how odd everyday existence really can be. It's why his cast turn in portrayals that seem naturalistic as well as a little detached, whether the world-weary Kuosmanen is grimacing through a poker game or the scene-stealing Haji is relaying Khaled's background with a calm demeanour. Lensed by Kaurismäki's regular cinematographer Timo Salminenn, the movie's visuals operate in the same manner as the performances. Every shot overflows with lifelike detail, with smoke hanging in the air and pain oozing from a stranger's glare, yet every image feels like it has been meticulously arranged. It's the same sensation that great still-life paintings evoke: of not only capturing reality, but capturing the artist's unique perspective along with it. Of course, The Other Side of Hope isn't a static image frozen in time. Observed with the same compassion it champions, and proving as earnest as it is amusing, the film is an intricately composed portrait brimming with melancholy, sincerity and worldwide relevance. https://www.youtube.com/watch?v=asR1B7NrhQQ
If you've been looking for a true treat yo'self food experience, you'll find it happening on the lawns of Treasury Gardens next week. The Sheraton Melbourne Hotel is descending on the site with a few big-name chef mates in tow, to deliver a luxe long lunch for the local edition of Taste of Sheraton. On Friday, March 4, you're invited to sit down to an al fresco feast, spanning four courses and including a signature dish from each guest chef. Out to impress your tastebuds are meat maestro and Good Chef Bad Chef presenter Adrian Richardson (La Luna Bistro), French-Australian cooking star and TV regular Manu Feildel, and Colin Fassnidge of Sydney's Banksia and the two-hatted Four in Hand. The fun will kick off with bubbly and canapes, before you sit down to dive into plates like free-range porchetta, local artisan cheese, a watermelon salad with fennel and pea, and creamy almond blancmange. Tickets come in at $250, though that'll also see you enjoying high-end wines matched carefully to each course. And of course, that gorgeous openair setting makes for another primo pairing. [caption id="attachment_844250" align="alignnone" width="1920"] Adrian Richardson, Manu Feildel and Colin Fassnidge[/caption]
For the past few years, the minds behind The Beer Run have been using ice-cold beers at the pub as motivation to workout. Jog between breweries and bars, drink a brew at each one — that's how the boozy fun run plays out. No one is going to pubs, breweries, bars or watering holes at present, so The Beer Run's organisers have adapted. Meet The Virtual 5k Run, their isolation-friendly alternative. You'll still run, jog or walk briskly; however you'll do so wherever you like, be it your own street, your local park or at home on a treadmill. And if you'd like a beer afterwards, you'll need to supply your own. The run will kick off at 11am on Sunday, May 31 — and while it mentions five kilometres in the event's name, you can also hit the pavement across one or ten kilometres, too. And if you're wondering what makes this different from just getting sweaty by yourself, a live comedy host will be overseeing proceedings. Plus, there'll be prizes, including for best dressed — because dressing up and having a laugh is definitely encouraged. Keeping the beer theme going, the prizes are sponsored by breweries — and, while tickets start at $15, if you opt for the $25 option, you'll receive a Beer Run medal as well. The Virtual 5k Run is also donating $5 from each entry to a COVID-19 cause, which'll be chosen via votes from participants.
Autumn might just be the best part of year to explore Victoria's regional towns and surrounding nature. At this time, the leaves are turning golden, the weather is cool enough for long leisurely walks and a heap of new produce comes sprouting from the earth. If that isn't enough of an excuse to head off on a weekend getaway, Scrub Hill — a two-acre property in between Ballarat and Daylesford — is calling city folks out to the countryside for its very first Sunday Lunch Series that celebrates autumn in all of its delicious glory. On Sunday, April 14, Chef and writer Ella Mittas will cook up a four-course long lunch that guests will feast on within Scrub Hill's new glass marquee overlooking the property. Winemaker Owen Latta will also be on hand, creating bespoke wine pairings (included in the $160 ticket), plus the team will serve up a few aperitifs from vermouth producer Maidenii. With all this booze included in the event, you're not going to want to drive back to your accommodation. Thankfully, the team has prepared for this by organising a private shuttle to and from Daylesford. The moment that you step on the bus, you'll be in their very capable hands, letting them make all the decisions for you. Simply follow their lead, drinking and eating the Sunday arvo away surrounded by rolling hills.
If pastel wasn't already part of your gig-going wardrobe, it will be at Australia's newest music festival, with Client Liaison launching their own curated touring event. Called Expo Liaison, the seven-hour fest will tour Melbourne, Perth, Sydney and Brisbane across the last two weekends in August, with the yet-to-be-announced lineup selected by the band. There's no word yet on whether they'll be performing themselves, but you'd think that's a highly likely possibility. Just what else is in store is also yet to be revealed too, although the festival bas been badged "a multimedia, multi-city, multiversal experience" in its promotional material, as well as a "once-in-a-lifetime event". They're the kind of descriptions that plenty of gigs and fests throw around, but Client Liaison have a track record of delivering more than just the usual shows — or fashion lines or music videos, for that matter. First release tickets are currently on sale across all four cities, and if you're keen to hear the duo's own thoughts on the festival, check out the Expo Liaison trailer: https://www.youtube.com/watch?v=AgSsrdVHnh0&feature=youtu.be Expo Liaison heads to Melbourne's Flemington Racecourse on August 18, Sydney's Parramatta Park on August 25 and Brisbane's Victoria Park on August 26. Head to Client Liaison's website for further details and to buy tickets.
Good people of Melbourne, you have all of November to explore Melbourne's best restaurants, cafes and bars during Good Food Month. If there was ever a time to embrace your inner foodie, this is it. We really are so spoiled for choice when it comes to great eats and drinks around Melbourne, so a festival that celebrates this fact is nothing short of awesome. From pop-ups to rooftop parties, world-renowned guest chefs and dinners under $30, there is something for everybody (and every budget) in this year's program. Here are a couple of our hot tips for what to do see and eat during next month's festival. Stretchy pants are highly encouraged. Night Noodle Markets Round two of perhaps one of the most talked about event from last year's GFM, the Night Noodle Markets is back — bigger and better than before. This year it's moved across the river to Birrarung Marr, but the old favourites from last year will return, including Chin Chin, Mamak, Izakaya Den and Longrain. There will be over 50 food stalls and trucks in action from November 14-30, so you're winning on that front. DJs will be spinning tunes during those balmy spring nights, and for post-dinner treats, get yourself some Messina or a coffee from the St Ali pop-up. What's on the menu? Give one of the new kids on the block a go: Kong, Charlie Dumpling and Mr Miyagi are just a few of the exciting new additions to the Night Noodle Markets. melbourne.goodfoodmonth.com/noodlemarkets Jump The Queue at Mamasita A reservation can be a tricky thing to wrangle at Mamasita, and impossible if you're dining with less than seven others. During November, one table per night will be reserved at Mamasita for up to seven guests. Head chef Andrew Logan will create a 5-course Mexican progressive dinner, with influences taken from all over the country. Three of the five courses will be paired with tequila or a tequila-based drink, and the cost is between $120 and $150. We don't know how they pick and choose who gets the reservation spot, but try your luck and call incessantly. What's on the menu? Whatever Andrew Logan puts in front of you, and premium tequila is about to become your new best friend. melbourne.goodfoodmonth.com/jumpthequeue Cheap and Cheerful Dinner at Boney GFM is not just about getting good food, it's also about getting a good deal. There are plenty of places doing two- or three-course dinner feeds for under $30 if you're looking to get some bang for your buck. And at Boney, they're offering you a choice between two entrees and two mains, all for the sweet price of $25. Come for a cheap meal, stay for a wicked night out. What's on the menu? Entrees options include carrot, cashew and orange steamed bun with seaweed salad and ginger sauce, or chicken kofta with beetroot relish, tahini and yoghurt sauce. For main, choose from a baby snapper burger, feta and spinach dumplings, beetroot and walnut salad or good ol' potato skins. melbourne.goodfoodmonth.com/gooddinnerunder30 Late Night Fondue Party at Milk The Cow Calling all night owls — this one's for you. Ain't no party like a fondue party, and this is the best of the bunch. The wonderful folk at Milk The Cow are open until 1am, and the late night deal takes $10 off its usual price. Push back your bedtime for this one. We take no responsibility if you incur cheese hallucinations/nightmares, but we've got a feeling it'll be well worth it. What's on the menu? This ultimate fondue features truffle pecorino, Swiss emmental, gruyere L'Etivaz, Remy Martin VSOP cognac and French sparkling Monmousseau Brut Etoile, topped with truffle honey. melbourne.goodfoodmonth.com/supperclub Alpaca Head To Tail at Pastuso Have a taste of the Peruvian Andes with a six-course head-to-tail alpaca feast at newly-opened Pastuso. We don't know about you guys, but alpaca isn't exactly something that commonly slides across our dinner table, so we're excited to give this a go. Pastuso chef Alejandro Saravia will be dishing up the goods for one night only on November 17 as part of the 'World Dinners' series. It's $85 for the all-alpaca feast, and $125 gets you matching wines too. What's on the menu? Alpaca dishes you'll be sampling during this evening include slow-roasted neck rillettes, slow-cooked short ribs and braised alpaca shoulder with carrot and cumin puree. melbourne.goodfoodmonth.com/worlddinners Go Behind The Scenes at Messina It's pretty obvious that Messina's popularity with gelato fiends is in no way slowing down, and why would it? Gelato pioneer Simone Panetta will share some of Messina's secrets and recipes with guests, as he goes through some of his wildest creations. If you get the recipe to their salted caramel and white chocolate, we're inviting ourselves over to be your taste testers. What's on the menu? You'll go through a full tasting session at the Fitzroy store — so prepare yourself to try a little bit of everything. melbourne.goodfoodmonth.com/talkandtaste Harajuku Pop-Up Bar at Sake Nihon-themed party times are the go at the Sake Melbourne terrace, and during GFM, you'll be able to get a taste of Neo Tokyo just in time for summer. And while dressing like a Shibuyan resident is not specifically required, there's no harm if you're feeling especially inspired. The super kawaii affair is being held for one night only (on November 7) and the $45 ticket price includes three Harajuku cocktails and as much Japanese finger food you can eat. What's on the menu? To accompany those cocktails, nibble on izakaya-style skewers, grilled fish, sashimi salad, sushi rolls and deep-fried cheeseburger gyozas. Yes, that's correct: CHEESEBURGER GYOZA. melbourne.goodfoodmonth.com/popups Make Friends With Vegetables at The Town Mouse New kid on the block and one-hatted Carlton venue, The Town Mouse, is going to show you how a vegetarian multicourse meal should be done. Winemakers Patrick Sullivan and Anthony Fikkers have made some lovely drops to accompany the vegetarian feast, and young gun chef Dave Verheul will be using fresh, local produce for his creations. This lunchtime feast will be held for two hours on November 15, and $60 covers your meal and a glass of wine. What's on the menu? Vegetarian fare that will want to make you leave meat behind. While this feast is vegetarian, we should mention it's not vegan as some of the courses contain dairy and eggs. melbourne.goodfoodmonth.com/surprisesaturdaylunch Iron Chef Action at MoVida Aqui This is what we call dinner and a show! Frank Camorra is going up against the head chefs of the MoVida kitchens to create five different dishes. On November 10, the crowd will be the judge, and a seat on the panel (read: in MoVida Aqui) will be $135 with wines to match each meal. There's also a Tanqueray cocktail or G&T that comes complimentary on arrival. A bit of friendly rivalry never goes astray, and we're excited to see if someone outwits, outplays or outlasts Camorra. What's on the menu? We're expecting high-quality, creative dishes from MoVida's best and brightest, as we have our score cards at the ready. May contain traces of blood, sweat and tears. melbourne.goodfoodmonth.com/hatsoff Flinders Mixer at Saint Crispin In celebration of springtime, head chef of Saint Crispin, Joe Grbac, is creating a five-course dinner featuring wonderful fresh produce from Flinders Island. To get you into that spring feeling, Alan Mulvihill and the excellent staff of upstairs bar, Thomas Olive, will be creating cocktails that compliment the Flinders Island menu. One such drink we're inclined to try is 'Death in the Afternoon', Ernest Hemingway’s hangover cure, composed of absinthe and champagne. What's on the menu? An example of Grbac's menu includes Flinders Island lamb, nettle puree, baby leek, poached radish. Oh dear, we're salivating already… melbourne.goodfoodmonth.com/drinkanddine Good Food Month with run for the month of November. For the full program, click here.
Fancy spending the day — and night — celebrating a bunch of talented female creatives? Well, you're in luck, because that's exactly what's on the agenda for International Women's Day at Section 8. On Saturday, March 5, the much-loved container bar is getting into the spirit and throwing some love behind the female community, with a '13-hour femme festival'. First up, you'll catch a female-led artist market held in the laneway, showcasing a diverse array of goodies — shop jewellery, art, second-hand fashion, accessories, homewares and more, from 12pm. Then, funneling you into the night and beyond is a tasty program of sounds from an all-female DJ lineup. Hitting the decks through until the wee hours, you'll catch favourites like Elle Shimada, Sadiva, Mrs Wallace, Turbo Thot, Sistym and Nokia 3210. Entry is free, the dance floor promises to be hopping and the bar will be slinging its usual offering of tasty sips. [caption id="attachment_844343" align="alignnone" width="1920"] Leilani Bale[/caption] Images: Leilani Bale
The already staggeringly-large BIGSOUND lineup just got slightly more colossal. Adding another 40 or so artists to the already 80-strong list, Brisbane's answer to SXSW announced this afternoon that the likes of Seekae, Voyager, Nicholas Albrook, The Funkoars, Pierce Brothers, Hayden James, Art of Sleeping and Canada’s July will be joining the September festivities. The new batch join the existing cohort of already announced names like Gold Fields, DMA’s, Holy Holy, BAD//DREEMS, Client Liaison, KINGSWOOD and REMI. "It's no exaggeration to say that over two nights we'll be showcasing some of the most exciting rock, hip hop, punk, metal, dance, pop, folk, roots and country music in the world, said executive programmer Nick O'Byrne. "We reckon the quality of music and the incredible festival environment will firmly establish BIGSOUND as one of the most dynamic tastemaking events in the international calendar. What makes it even more exciting is the unprecedented influx of music industry leaders who can't wait to see and hear what we have to offer." BIGSOUND attendees will have to change up their highlighter colours to self-schedule the three-day conference program, with the recent announcement of speakers causing a significant amount of squealidge — think Neil Finn, the church, Bluesfest's Peter Noble, James Minor from SXSW, Tom Windish from The Windish Agency, Ben Marshall from the Sydney Opera House, and Jerome Borazio and Danny Rogers from St Jerome's Laneway Festival, all divulging all their long-lived industry secrets. Running September 10 - 11, BIGSOUND brings panels, keynotes, showcases and live gigs to Fortitude Valley for another year. This local love-in will run over 12 locations including Brissy staples like The Zoo, Ric's and Alhambra new sites such as The Underdog, The New Globe, The Elephant, Crowbar, and a new outdoor venue by Brightside and Magic City. You'll have your work cut out for you to see everything, but luckily you can start planning now. Tickets are on sale via Oztix with a two-day pass only setting you back $69+bf. BIGSOUND Live 2014 newly announced artists: the church Seekae Voyager Nicholas Albrook The Funkoars Pierce Brothers July Talk (CAN) Hayden James Art Of Sleeping SAFIA Life Pilot Meniscus Toehider THIEF Felicity Groom Jeremy Neale Harmony James DARKC3LL Mr. Hill & Rahjconkers A Million Dead Birds Laughing Kathryn Rollins Mammals Daily Meds Like Thieves Marlon Williams KU?KA Mise en Scene (CAN) Coin Banks Eden Mulholland Males (NZ) Mosman Alder Jesse Sheehan (NZ) REPTILES Bound For Ruin Mathas My Friend The Betrayer All Our Exes Live In Texas Usurper Of Modern Medicine Dozzi Peter Bibby Rolls Bayce Shellfin Sparkspitter Check out the BIGSOUND website for more info. Words by Shannon Connellan and Meg Watson.
Brunswick bar and music venue Howler has added to the family, unveiling a breezy new pop-up that'll be sticking around for the summer months. With a look reminiscent of some Wes Anderson film set in 1960s Palm Springs, Howlerwood has taken over a sunny position just around the back on Michael Street and it's your new go-to for balmy drinking sessions every Wednesday to Sunday. Expect sunset hues, palm fronds and twinkling festoon lights, painting a dreamy backdrop for the bar's lineup of kitsch cocktails. Summery sips include a range of boozy slushies — think, watermelon margaritas and a frozen Blue Hawaiian — alongside crafty tins and shareable cocktail jugs to split between two or four. Meanwhile, your mates at vegan pizzeria Red Sparrow are also on board, slinging plant-based woodfired delights out of their food truck from Friday to Sunday. With a few slices and a couple of spritz, sunset sessions here are looking pretty blissful. Howlerwood is open from 4–10pm Wednesday–Friday and 2–10pm Saturday–Sunday.
Don't go saying that you don't have anything to watch between Thursday, August 7–Sunday, August 24. In cinemas around the Victorian capital, for 18 movie-filled days, 2025's Melbourne International Film Festival boasts a program more than 275 flicks deep. This year's MIFF is where The Chronology of Water, the feature directorial debut of Kristen Stewart (Love Lies Bleeding), will screen for the first time Down Under — and where Urchin, which notches up the same feat for Babygirl's Harris Dickinson, will as well. Both are heading to Melbourne fresh from their Cannes premieres. MIFF will also give the city its initial chance to see early pandemic-set western Eddington from Ari Aster (Beau Is Afraid), celebrate a music icon with the world premiere of Jimmy Barnes: Working Class Man, enjoy the full Norwegian Sex trilogy that culminated with 2025 Berlinale Golden Bear-recipient Dreams (Sex Love), get unsettled by Daisy Ridley (Cleaner)-led Australian found-footage horror We Bury the Dead, take the family to animated sequel The Bad Guys 2 based on Aussie author Aaron Blabey's books, pay tribute to The Texas Chain Saw Massacre and much, much more. If I Had Legs I'd Kick You starring Rose Byrne (Physical) is the fest's opening-night pick, Parasite composer Jung Jae-il is coming to Australia to conduct the movie's score live in an Aussie exclusive and Cannes Palme d'Or-winning It Was Just an Accident by Jafar Panahi (No Bears) is on the lineup, too — and so is The Passion of Joan of Arc with a new score by Julia Holter performed live. Richard Linklater's (Hit Man) Blue Moon with Ethan Hawke (Leave the World Behind), Margaret Qualley (The Substance) and Andrew Scott (Ripley) is just one of two of the director's features on the bill. The other: Nouvelle Vague, with the American helmer bringing the French New Wave to life. Her Smell's Alex Ross Perry is another filmmaker with two titles on the lineup. With Videoheaven, a movie essay solely comprised from movie and TV clips, he pays tribute to the video-store era — and with Pavements, he focuses on the band Pavement via an experimental blend of documentary, narrative, musical and more. The director is among MIFF's 2025 guests as well, including as a juror for its Bright Horizons award, the fest's $140,000 official competition for filmmakers that was introduced back in 2022. After Aftersun screened in the comp's debut year, its filmmaker Charlotte Wells is this year's jury president. The aforementioned Urchin and If I Had Legs I'd Kick You are in the running for 2025's Bright Horizon prize, as are the likes of Cannes hit Sound of Falling, Un Certain Regard award-winner The Mysterious Gaze of the Flamingo, the Bangkok-set A Useful Ghost, and Matthew McConaughey (Agent Elvis)- and Kurt Russell (Monarch: Legacy of Monsters)-starring crime-thriller The Rivals of Amziah King. It isn't hard to find more standouts across the complete MIFF program, such as dramedy Sorry, Baby, which has had the film festival circuit talking since Sundance; Left-Handed Girl, with first-time director Shih-Ching Tsou boasting Anora Oscar-winner Sean Baker as her co-writer and editor; legal drama Two Prosecutors; and Kelly Reichardt's (Showing Up) Josh O'Connor (Challengers)-led The Mastermind. Others include O'Connor again in the small town-set Rebuilding, coming-of-age story Enzo from BPM (Beats Per Minute)'s Robin Campillo, Wagner Moura's (Dope Thief) Cannes-winning performance in The Secret Agent, Bi Gan's (Long Day's Journey Into Night) Resurrection, the surveillance culture examination of documentary The Perfect Neighbor, 1000 Women in Horror's cinematic celebration, Aussie animation Lesbian Space Princess, the true crime-focused Zodiac Killer Project, Peter Dinklage (Wicked) as The Toxic Avenger and horror-comedy Zombucha! with Jackie van Beek (Audrey). The festival's retrospectives titles are always a highlight, and 2025's picks are no different — whether you're keen to mark 25 years since Looking for Alibrandi reached the screen via a 4K restoration; also see Sweetie, the debut feature from Jane Campion (The Power of the Dog), get the same restored treatment; flash back to BMX Bandits; or work your way through MIFF's largest-ever tribute to a single director via the 27-film Chantal Akerman: Traces strand. From Friday, August 15–Sunday, August 31, MIFF Online is also back so you can watch along from your couch.
There's nothing like a fresh haul of shiny new workout gear to inspire a little fitness kick. Especially when that workout gear takes the form of some high-performance threads from sustainability focused label Nimble Activewear. Well, this May, you're in for a treat, as the local brand pulls together a swag of great pieces for its huge Melbourne warehouse sale. Taking over South Yarra's Ellis Street Studio from May 10–11, the sale will be packed full of bargains, offering a hefty range of outerwear, tights, sports bras, sweats, shorts and more. Some designs will be going as cheap as $25, with savings of up to 80 percent across the racks. And nothing will cost you more than $40. You'll even catch pieces from the label's core CompressLite line, which is cleverly crafted from recycled plastic bottles. Nab one of these and you'll really have something to feel good about — Nimble's saved over 300,000 plastic bottles from heading to landfill in the past year alone. Nimble Warehouse Sale will be open from 7am–7pm Friday and 8am–3pm on Saturday.
Following an extensive 18 months of consultation and collaboration with the Dja Dja Wurrung community, Bangarang artist Peta Clancy has debuted her latest exhibition, Undercurrent, at Fed Square's Koorie Heritage Trust. Clancy worked closely with the Dja Dja Wurrung community to explore numerous massacre sites and areas of Bendigo and central Victoria that saw extensive frontier violence to create this major series of landscape photographs. To create these large images, Clancy revisited the sites numerous times over a period of months, experiencing them at different times of day and in disparate weather conditions. She has also used a specific cutting and layering technique, which gives the photographs a unique look. More importantly, however, it also serves as a visual motif for the emotional and cultural scars left on the landscape by frontier violence and colonial occupation. Exploring themes of history, memory and place, Undercurrent features eight new works and a 30-metre wallpaper installation, plus a soundscape and audio interviews from the region's Traditional Owners. Images: Christian Capurro.
December 10 isn't an Australian public holiday. The nation doesn't stop to remember or celebrate it, or to look back at our past. But, thanks to a speech that took place in 1992, that date will always remain significant in the country's history. Taking to the stage in Sydney's Redfern Park, then-Prime Minister Paul Keating gave a groundbreaking address about the country's treatment of Indigenous Australians. He spoke six months after the High Court's Mabo decision, and didn't pay mere lip service to the topic. Rather, he directly discussed the negative effects of white settlement upon First Nations peoples. Keating also did all of the above after quite the opening act — with Bangarra Dance Theatre, just three years into its now 32-year existence, performing before what's been known ever since as the Redfern Park Speech. Even if your knowledge of Bangarra is limited to the many dance productions that have unleashed their beauty and potency across Australia's stages — which include Blak, Patyegarang, Lore, OUR land people stories, Bennelong and Dark Emu just in the last decade — the company's presence at Keating's famed address shouldn't come as even the slightest surprise. The Sydney-based organisation repeatedly confronts Australia's colonial history head-on in its works. As an Aboriginal and Torres Strait Islander arts outfit, it can't avoid it, the impact that the nation's past has had upon Indigenous culture, and the trauma that's rippled across generations as a result. Seeing footage from that fated day and speech has an impact, though. Such clips form just a small part of the excellent new documentary Firestarter — The Story of Bangarra, but co-directors Wayne Blair (The Sapphires, Top End Wedding) and Nel Minchin (Matilda & Me, Making Muriel) know their power. Indeed, the two filmmakers are well aware that they can't tell Bangarra's tale without placing the acclaimed dance theatre in its rightful social, political and cultural context. What audiences have seen on stage over the years is stunning, astonishing and important, of course, but all of those exceptional performances haven't ever existed in a vacuum. For those unacquainted with the details of Bangarra's origins, evolution, aims and achievements, Firestarter recounts them, starting with its leap out of the National Aboriginal Islander Skills Development Association and the Aboriginal Islander Dance Theatre. Actually, it jumps back further, not only stepping through Bangarra's predecessors, but also charting how Stephen, David and Russell Page became its most famous names. Just as it's impossible to examine the dance company's accomplishments and influence without also interrogating and chronicling Australia's history, it's simply unthinkable to do so without focusing as heavily on the Page brothers as Blair and Minchin choose to. Stephen would become Bangarra's artistic director, a role he still holds. David was its music director, while Russell was one of its best dancers — and their path from growing up in Brisbane in the 60s, 70s and 80s to helping shape and guide an Aussie arts powerhouse is a pivotal component of Bangarra's overall journey thus far. If it sounds as if Firestarter has been set a hefty task — doing triple duty as a celebration of Bangarra, a record of Australia's past and a portrait of three siblings with dreams as big as their talents — that's because it has. But this dense and yet also deft documentary is up to the immense feat, and dances through its massive array of material, topics and themes as skilfully as any of Bangarra's performers ever have. It also never loses sight of what it's about, even though it covers a range of subjects. Again and again, whether chatting through the company's formation with co-founders Carole Johnson and Cheryl Stone, hearing the Pages discuss what they learned from connecting with their culture in Arnhem Land, and inevitably facing the fact that life hasn't only brought happiness and success to Stephen, David and Russell, Firestarter demonstrates the relevance to and through the organisation's works. Attendees at Bangarra's shows have been receiving history lessons for years — some overt, some subtle — and the film makes it apparent how that applies not just in a broad fashion but, for the Pages, in a personal sense as well. Even if Blair and Minchin hadn't plunged as deeply as they do into everything that's made Bangarra what it is to this point, they were likely to make an entertaining, engaging and informative documentary. The old clips and home videos; the frank interviews from both the past and present; the glimpses at the company's stage productions; the snippets of Stephen Page's equally stellar 2015 film Spear, which adapts one of the organisation's dance works — they're a treasure trove, and Firestarter always treats them as such. It allocates just the right amount of time to approving chats with other prominent arts industry figures such as Sydney Festival's Wesley Enoch and Sydney Dance Company's Graeme Murphy, too, ensuring that their perspectives are valued but never allowed to take over. The movie doesn't merely look backwards, however. Seeing how Bangarra's history continues to mould its future, its creative decisions and the dancers that star in its productions today is just as crucial to the film. Also part and parcel of Firestarter — which should almost go without saying — is the strong feeling it leaves with viewers. Wanting to soak in and experience everything that Bangarra has to offer is a natural consequence of seeing the company's stage performances, and of watching the aforementioned Spear as well, but Firestarter doesn't let that sensation wane for a second. https://www.youtube.com/watch?v=e3REMs9I9Tg Top image: Bennelon, Sydney Coliseum Theatre, by Daniel Boud.
NGV International will again play host to a series of Sunday afternoon parties, as the appropriately named Summer Sunday series returns to the gallery in 2017. Spanning four consecutive weekends in February, the free summer shindigs in the NGV Garden will feature performances from the likes of CAMP COPE and Ali Barter, along with sets by an array of local DJs. Throw in tasty treats and ice cold bevos, and your Sundays are well and truly sorted. The sessions run 1pm to 6pm every Sunday, beginning on February 5. That first date will see Gabriella Cohen take the stage, followed by Ali Barter on February 12, Emma Russack of February 19, and CAMP COPE on February 26. "The National Gallery of Victoria is pleased to once again invite visitors to experience some of Melbourne's most talented emerging performers in the unique setting of the NGV Garden," said NGV director Tony Ellwood in a statement announcing the lineup. But it won't just be musicians taking over the NGV Gardens. The space will also feature an Asahi pop-up bar, along with food vendors such as Gelato Messina, who'll serve up a new sweet creation every Sunday.
Hold onto your hats, because things are about to get fizzy. On Saturday, March 26, The Prosecco Festival returns for its fifth annual edition, transforming Abbotsford Convent into an oasis of effervescence. Bubbles are set to be the order of the day, as leading prosecco producers from Australia and Italy show off their finest fizz, across two sessions (11am–3pm, 4.30–8.30pm). Your $65 ticket will get you entry, a tote bag and a reusable glass, plus four hours of tastings. You'll sample over 50 different proseccos from locals like Pizzini, Dal Zotto and Brown Brothers; and Italian labels including Conti d'Arco, Rigoni and Calneggia. Even Kylie Minogue's signature prosecco rosé will be pouring. Other fizzy delights will include local craft brews, Italian cider and a range of sparkling vino, as well as a bubble-filled menu from the Van Di Vino prosecco van. And an Italian-accented food offering is set to feature bites like arrosticini, Ganzo pizza, Zsa's Bar Bistro & Deli's kingfish crudo and tiramisu, and goodies both sweet and savoury from That's Amore. Feeling festive? Nab a $120 VIP ticket and you'll also enjoy an additional snack-matched tasting masterclass with The Prosecco Queen.
One of Sydney Festival 2017's most Instagrammed events was The Beach, an enormous ball pit inside a human-made cave, as created by Brooklyn-based design studio Snarkitecture. Tonnes of the city's residents spent at least some part of January diving, cannonballing and floating about in a sea of plastic bliss. Understandably. Thankfully, Melbourne got its own pop-up ball pit earlier this year — this behemoth, one-million ball, ball pit party. It sold out, and now it's returning just in time for Halloween. Like last time, it will be divided up into several spaces creating a kind of playground. There'll also be an on-site cocktail bar, to let you rest and refuel in between dips and dives. The ball pit will pop up in North Melbourne on Saturday, October 27 from 1pm till 1am. Entry will be via ticket, which will entitle you to two hours of playtime. The ball pit folk have gotten into the festival spirit this time round, too, and will be hiding $1000 throughout the ball pit. If you're keen to find it, we suggest booking into one of the earlier sessions. Anyone keen to attend between 1pm and 3pm can add some extra fun to their ball pit experience: a two-long bottomless prosecco and pizza session. Tickets including food and drinks cost $55, with only 200 available. A tip: you might want to go easy on the jumping around after getting your fill of eats and bubbles.
Before 2020 rolled around, the Victoria–New South Wales border hadn't closed for more than 100 years. So when it shut last July, it was a rather big deal. In the months since, however, residents of both states have seen the situation change back and forth multiple times. After a COVID-19 outbreak hit Sydney's northern beaches over the Christmas and NYE period, the border closed again, with Victoria starting 2021 by shutting off to all of NSW. Since then, the latter state reopened to regional NSW, then to all but ten Greater Sydney local government areas and finally to all but one LGA. From 6pm tonight, Friday, January 29, it's reopening to that last LGA, Cumberland — which means that no one in NSW will be forbidden from entering. Victoria implemented a traffic light-style system earlier in January, which colour-codes different regions of the country depending on their COVID-19 cases — so, as part of this new change, Cumberland will move from a red zone to an orange zone. That'll mean that folks who've been in the LGA in the past 14 days can enter Victoria, but they'll need to isolate on arrival and get tested within 72 hours. And, they'll need to receive a negative result before they're free to leave isolation. They also have to apply for a permit before entry, too — like all Australians, because compulsory permits are now part of Victoria's process for anyone who wants to enter the state. If you try and enter Victoria without a valid permit, you risk being fined $4957. You can apply for one online. Cumberland isn't the only part of NSW that has been downgraded, either. Victoria is also moving all parts of the state that were previously classified as orange zones to green zones. On the list: the Greater Sydney LGAs of Blacktown City, Burwood, Canada Bay City, Canterbury-Bankstown, Fairfield City, Inner West, Parramatta City and Strathfield Municipality and Liverpool, plus Wollongong and the Blue Mountains. Travellers entering Victoria from a green zone still need to apply for a permit, but do not need to get tested or isolate on arrival, unless they develop symptoms. https://twitter.com/VicGovDHHS/status/1354985485140185093 The loosened border restrictions come as Victoria records its 23rd consecutive day of zero new cases of community transmission. Overnight, the state did record one new case in hotel quarantine. Announcing the change in a statement, Premier Daniel Andrews said that he is "extremely happy to see the last red zone in New South Wales be downgraded. We're reminding people to get tested if they're returning from an orange zone, so we can continue to enjoy an open and COVID-safe summer." For more information on Victoria's new permit system — or to apply for one — head to the Department of Health and Human Services website.
It was only a matter of time before Australia's penchant for themed brunches spawned an all-out fairytale-inspired breakfast feast. And you'll have the chance to partake — and channel your inner Ariel, Mulan or, even, Simba — when a huge (unofficial) Disney-themed bottomless dinner and sing-along party rocks into town. The Magical Soirée will go down on Saturday, January 19 at Hawthorn Arts Centre. Prince, princesses and singing candelabras will sit down to an evening feast served "fairytale-style", along with four hours of unlimited beer and wine for an extra $45. We're hoping for something similar to Belle's 'Be Our Guest' feast in Beauty and the Beast. Word is there'll be themed entertainment and a Cinderella-worthy dance floor for post-brunch twirling, too. Best dust off the DVD collection and start practising — costumes are definitely encouraged, so you'd best start hunting for your best Elsa gown or Cruella de Vil two-tone wig — tickets to the original Sunday brunch sold out incredibly quick.
After wowing us with their inaugural bash last year, Beyond the Valley is back for round two. With a brand new location in the Gippsland Parklands some 90 minutes out of Melbourne, the three-day festival, which crescendos on New Year's Eve, will feature dozens of high profile acts across two separate stages. What better way to ring in 2016 than with Flight Facilities, Jamie xx, Last Dinosaurs and Miami Horror? The above names are just the tip of the iceberg, with Tkay Maidza, The Jungle Giants, The Rubens, Seth Troxler, Skepta and Nico Ghost among a host of others slated to make an appearance. As with last year, punters will be able to feast on the offerings from gourmet food stalls (and yes, they have vegan and vegetarian option) while sipping on an array of boozy bevs. For more information about Beyond the Valley 2015 including the full lineup, visit www.beyondthevalley.com.au.
The Australian Centre for Contemporary Art's latest exhibition presents French-Algerian artist Kader Attia in an exploration of his major installations, which examine ideas of the complex cultural exchange between Europe and non-Western countries after decolonisation. Curated by the MCA's chief curator Rachel Kent, the exhibition includes over a decade of artwork, focusing on his installations, videos and sculptural work. Attia's 48-minute single-channel film, Reflecting Memory (2016), is a particular highlight of the exhibition. The intimately intense film explores themes of injury, unseen repercussions of trauma and the 'phantom limb' through interviews with psychiatrists, surgeons, trauma specialists and survivors. Attia began his career working in the Congo, a region deeply affected by on-going conflict. After returning to France, he has worked with activist groups that support migrant communities, including displaced Algerian cross-dressers who faced persecution in their home country. In 2016, Attia was the recipient of the Prix Marcel Duchamp prize — the most prestigious art award in France. After a run at Sydney's MCA as part of his first exhibition in the southern hemisphere, Attia's installation at ACCA runs from September 30 till November 19. Image: Kader Attia, MCA installation view, photo by Jacquie Manning.
In the film that brought her global acclaim, Australian filmmaker Jennifer Peedom climbed up in the world — and she hasn't looked back. Sherpa explored tense times on Mount Everest, while her next documentary Mountain pondered the world's highest peaks, their beauty and their allure. With River after that, Peedom didn't stare at towering land masses. But she does peer from great heights at waterways that snake across continents. And, she once again teamed up with none other than Willem Dafoe (Poor Things), who narrates this poetic musing on just how rivers shape the planet. Watching River itself is a meditative experience, because looking at absolutely stunning sights shot in 39 countries, listening to lyrical narration, and hearing a stirring score featuring Bach, Ravel, Jonny Greenwood, Radiohead and more has that effect. Making the movie even better is River Live in Concert with the Australian Chamber Orchestra, which returns for another nationwide tour in 2024, this time with Indigenous Australian didgeridoo player and vocalist William Barton joining in. The ACO and Barton will play the film's soundtrack right there in front of you as you watch. Melburnians can get in on the action on Saturday, February 3 and Monday, February 5 at Melbourne Recital Centre — and on Sunday, February 4 at Hamer Hall. Event images: Nick Walker.
The restaurant bar is a curious beast. In recent times, it's gone from being something of an afterthought — at best, a prelude to the main event — to a considered part of the experience in many a restaurant. At its best, a restaurant bar is a destination in its own right. To shine the light on these spots, we've lined up some of the best restaurant bars in Melbourne, Sydney and Brisbane for when you want to elevate your next night on the town. Round up your crew, get the booze flowing and your night is set.
Mornings, we know them well. Roll out of bed, sleepily shuffle to the kitchen and get that elixir of life into us as fast as possible. Yep, we're talking about coffee. No matter how many cups you get through, each coffee comes with an impact on our environment, from disposable takeaway cups right down to single-use coffee pods. By now you've probably invested in a reusable cup, but what about your at-home caffeine routine? If you're lucky enough to own a super-handy Nespresso machine, there's one simple switch you can make and that's to use Tripod Coffee pods. A sustainable alternative to the George Clooney-fronted pod giant, Tripod Coffee was born from two Aussie cricketers — Steve Cazzulino and Ed Cowan — plus their mate Dave Siegel, and the trio's insatiable love of coffee. When the boys couldn't find the local, eco-friendly answer to the convenience of pod coffee, they decided it was about time someone changed that. "On a rainy day we thought, why don't we have a crack and take on the big boys?" Cowan told Concrete Playground. "We could fill the capsules with coffee that we really enjoy drinking". The result: compostable pods filled with cafe-quality coffee that neatly fit into a Nespresso machine. [caption id="attachment_781754" align="alignnone" width="1920"] Ed Cowan and Dave Siegel. Photography: Kitti Gould[/caption] It's a well-known fact us Aussies love our coffee, so making the switch to Tripod will help reduce the amount of aluminium and plastic going to landfill, which can take up to 500 years to break down. Plus, you won't have to dig deep into your pockets as Cazzulino, Cowan and Siegel believe "Australians shouldn't have to pay more for sustainability," with Tripod capsules priced similarly to Nespresso, costing $7.50–8.50 for packs of ten. So, first things first: the coffee. Tripod sources the best beans around, which are then roasted, ground and packed right here in Australia. You'll find a lot of Central and South American coffees used by Tripod and that's because "the coffees from those areas really suit the [capsule] extraction process," Cowan told CP. Currently, there are seven varieties to choose from, from a light roast to extra dark, single origin, decaf and a blend wholly made from organic and fair trade beans. Because you shouldn't have to choose between a delicious cup of joe and the earth. So how does it work? Tripod's 100-percent certified compostable pods, made from plant-based bio-polymers and sealed with a paper lid, are designed to be broken down in as little as 90 days. You can't exactly throw them into your garden, but you can chuck them into your green-lid wheelie bin if your council accepts food scraps as organic waste, which you can handily check here. If your council doesn't, no worries, Tripod's already one step ahead of you. Closing the loop on the usual issues associated with coffee capsules, the company's Pod-to-Plant program collects your pods for composting with the help of a third party. Just simply add a reply-paid Pod-to-Plant return kit ($10) to your next Tripod Coffee order and you'll get everything you need — and you'll score $10 off your next order, too. If you're into details, the composting process creates two byproducts: nutrient-rich, organic fertiliser and methane. The fertiliser is used by local farmers, growers and horticulturalists, whereas the methane is converted into green electricity. To top it off, Tripod donates one percent of its profits towards restoring the Daintree Rainforest. [caption id="attachment_781507" align="alignnone" width="1920"] @iamdanok[/caption] "We're in the business of eliminating waste and helping people live more sustainable lives. That's the lens for every decision we make — from carbon neutral shipping to the materials on promotional stickers," says Siegel. So, why not go green with your caffeine routine? You don't need to travel far to get your hands on these super-sustainable pods either, because Tripod delivers right around Australia, with free shipping for all orders over $75, or, for smaller orders, at a flat rate of $9.50. If you're in New Zealand, it's a flat rate of $20. Tripod Coffee is combating climate change with one compostable coffee pod at a time. To make your caffeine fix more sustainable, make the switch by ordering yourself a pack or signing up to one of Tripod's subscription services. Lead image: @Bridgetfeyfit
If your daily commute involves catching the train, you're set to get some free rides on Monday, August 12, and Monday, August 19, as Victoria's public transport union confirms dates for its much-discussed strike. After 99 percent of members voted last week in support of taking industrial action, the Rail Tram and Bus Union (RTBU) yesterday announced that its rail strike will go ahead. While Mondays are usually never fun, the next couple are set to be especially painful for Metro Trains...and a little cheaper for Melbourne train passengers. On August 12 and 19, RTBU members will keep ticket barriers open and refuse to sell, upload or check Myki cards, all day long. https://www.facebook.com/RTBUVic/photos/a.486088274788960/2534318813299219/?type=3&theater Commuter-facing employees will scrap their uniforms indefinitely from August 12, too, and workers will refuse to participate in any training for Melbourne's soon-to-launch high-capacity trains between August 12–18. Between these dates, drivers will also refuse to operate any train that doesn't have fully operational public address systems and passenger emergency intercoms. And there'll be no skipping stations, alternate services running, or announcements by drivers to alert when their trains are running late. The union, which supports over 35,000 members Australia wide, has seen months of failed negotiations with Metro Trains, while trying to secure a new enterprise agreement, cut a new wage deal and call for improved working conditions. "This industrial action is aimed at Metro's hip pocket, not the travelling public," explained RTBU Victorian Branch Secretary Luba Grigorovitch in a statement. With negotiations still under way, it's possible no strike will go ahead, though only if Metro and the RTBU reach a satisfiable agreement in time. Image: Josie Withers for Visit Victoria
Ryan Matthew Smith doesn't just cook and eat food - he spills its, throws it, sets it on fire and then shoots it with a sniper rifle to make sure. He's also a photographer, and has documented these sick culinary experiments in a 2,400 page tome on the subject, Modernist Cuisine: the Art and Science of Cooking. From collating several individual exposures for one delectable cutaway shot of hamburgers on a grill to shooting a lineup of eggs with a sniper rifle at 6200 frames per second, Smith shot 1,400 images for the cookbook/artwork. Despite little experience in studio work, Smith explains in an interview with Feature Shoot that his extensive portfolio of nature and architecture photography helped prepare him for the task. "Having a strong artistic sense towards photography in general can easily transfer through any of the disciplines from advertising all the way to fine art," he says. [via Coolhunting]
UPDATE: July 17, 2020: Aquaman is available to stream via Netflix, Foxtel Now, Google Play, YouTube and iTunes. Not since the screaming spider of Arachnophobia has there been something so ridiculous as a shark that roars. Then again, this is a film that also gives a bedazzled octopus a drum solo, so where does one draw the line? Welcome to Aquaman, a movie that chooses all the wrong places to play it safe, and all the weirdest ones to, well, be weird. It's a shame, too, because DC had a good opportunity here to turn things around for its ill-fated Universe. The ingredients were solid: a charismatic and sexy leading man (Jason Momoa), an unconventional hero with an appealing no-fucks-given attitude and, best of all, a generous amount of distance between itself and the woeful Justice League that preceded it. Add to that the relegation of DC veteran director Zack Snyder to a producer credit and Aquaman was neatly positioned to carve out another potentially lucrative sub-franchise in the vein of Wonder Woman. Instead, it delivers another special effects-laden delirium whose plot is both convoluted and dull. It's an origin story of sorts, albeit one set after Aquaman's formal introduction in Justice, with the film's opening scenes providing an engaging balance of history and action. We learn Aquaman (born Arthur) is the result of a star-crossed romance between lighthouse keeper Tom (Temuera Morrison) and self-exiled Atlantean royal Queen Atlanna (Nicole Kidman), whose semi-literal fish out of water routine offers the film both some amusing and tender moments (as well as a kick-arse fight scene from out of nowhere). Arthur's burgeoning powers are seldom explored, however, and the occasional training or education flashbacks offer none of the excitement or moral dilemmas that are custom-built for superhero origin stories (Clarke Kent not beating up his bullies in Man of Steel but then saving a busload of kids, including the bullies, being a prime example of the device done properly). Aquaman's powers are extreme, and extensive, yet they're rarely explained. How is it, for example, that in addition to his aquatic properties he's essentially bullet-proof? Doubtless all answers lie in the comic books, but a movie can't rely so heavily on its source material that it obviates at least some screenplay hand-holding. The problem is, Aquaman chooses to do its exhaustive exposition not for the fun stuff like talking to fish, but for dry factional politics between its secondary characters (a near-identical mistake to that made by George Lucas in The Phantom Menace). It also falls into the ridiculous trap of establishing a world full of aliens and monsters, then denying their very existence for the sake of artificial conflict. To wit, it makes absolutely no sense to have conservative TV pundits in the vein of Fox News panelists saying things like "Atlantis!? Please! It's a myth!" when they all live in a world that openly acknowledges the existence of Super Man, and Wonder Woman, and The Flash, and Cyborg, and Steppenwolf and a whole bunch of invading aliens (some of whom previously levelled several cities and tried to terraform the Earth). Given those realities, a lost city seems entirely plausible by comparison. On the plus side, Momoa owns every scene he's in, assisted by a solid turn from Amber Heard in a role that's entirely warrior princess and zero damsel in distress. It's also comfortably the brightest and most colourful DC film to date, delivering visuals that wouldn't feel out of place in Blade Runner. Too often, though, director James Wan takes the focus away from Momoa and Heard, favouring instead either long-winded pontificating from the villain Orm (Patrick Wilson) or CGI-heavy action that never even comes close to looking real. It's an entertaining ride and a refreshing break from the Snyder-driven darkness/slow-mo aesthetic that has long felt stale. But the only character you ever really care for is Arthur's father, and his story receives the least amount of time of all. Aquaman is one small step forward for DC, but one giant leap missed for the Universe. https://www.youtube.com/watch?v=WDkg3h8PCVU
Bringing the beloved Mattel doll to cinemas in live-action for the first time, Barbie wasn't specifically made for concert screenings. But with a soundtrack filled with Oscar-winning and -nominated tunes, as well as tracks by Dua Lipa, Haim, Dominic Fike, The Kid LAROI, Pink Pantheress and more, it's certain to prove quite the treat when the hit film makes its way around Australia with a live orchestra playing its music. Yes, Greta Gerwig's (Little Women) take on the iconic toy is returning to the big screen Down Under, this time with Billie Eilish's 'What Was I Made For?', the Ryan Gosling (The Fall Guy)-crooned 'I'm Just Ken' and more performed by the orchestra as audiences watch — all thanks to Symphonic Cinema Presents. Barbie the Movie in Concert's sessions will first kick off in Melbourne at the end of 2025. After that, it's set to tour the country in 2026. So far, only the Victorian capital gig has announced its details, hitting Plenary Theatre at the Melbourne Convention and Exhibition Centre on Saturday, December 13, 2025. It's a Barbie bonanza in the city of late, given that it is also currently playing host to the Malibu Barbie Cafe's first-ever Australian appearance until the end of summer. If you're located elsewhere across the nation, you'll need to wait to find out when the event is coming to you — and giving you another date with the box-office sensation of 2023. Whenever and wherever else it pops up, expect Kenergy aplenty. As viewers already know from the Margot Robbie (Asteroid City)-starring flick, Barbie can be anything. Although screenings of the film can't be President, a Nobel Prize-winning physicist, a diplomat and a Supreme Court justice, or a mermaid, doctor, lawyer and Pulitzer-winner, they can take many guises, such as movie-and-music events like these upcoming screenings. Symphonic Cinema Presents is also touring concert sessions of Top Gun: Maverick, Gladiator and The Nightmare Before Christmas if you're keen to see other beloved films with their tunes performed live in the coming months. Check out the trailer for Barbie below: Barbie the Movie in Concert is playing Plenary Theatre, Melbourne Convention and Exhibition Centre, Melbourne on Saturday, December 13, 2025 — with ticket presales from 10am on Tuesday, August 5 — and then touring the country in 2026, with dates to be announced. Head to the Symphonic Cinema Presents website for more details.
By this stage, most of us have come to terms with the fact that jetting off to USA or Europe is a seriously long slog, made worse by unavoidable (sometimes long, always painful) stopovers. But Qantas has been pondering making those trips a whole lot more bearable via direct flights from the east coast to both London and New York — even running two trial journeys over the last two months. The aim is to get the routes up and running from Sydney, Melbourne and Brisbane by the beginning of 2023 — as long as the proposed non-stop plan, which is called Project Sunrise, is given the go-ahead by Qantas' top brass. The airline was due to make the call this month, but it's now giving itself a few extra months to weigh up all the necessary details. March 2020 is the new decision deadline. A third trial flight from New York to Sydney was always planned before the future of Project Sunrise was finalised, and will take place on Tuesday, December 17; however the three-month decision delay will also give Qantas extra time to continue their industrial negotiations with pilots. Otherwise, the company looks to be powering forward. Based on current data, the airline has been provisionally told by the Civil Aviation Safety Authority "that it sees no regulatory obstacles to the Sunrise flights," it advised in a statement. Just as crucially, Qantas has chosen its preferred aircraft. If the direct flights do become a reality, they'll take place on Airbus A350-1000 planes, which have been in use in the industry for more than two years. Airbus will add an additional fuel tank to the aircraft, and slightly increase the maximum takeoff weight. Qantas hasn't placed an order yet, but if the non-stop routes go ahead, it'll purchase 12. Back in 2017, Qantas first revealed that it was exploring non-stop routes from Sydney — routes that would eclipse those direct flights between Perth and London, which launched in March 2018. Since then, the airline has been pursuing the idea enthusiastically, putting out a call for aircraft that can handle the trip and widening their plan to include departures to and from Brisbane as well. In numbers, the A350-1000s will need to be able to handle more than 19 hours in the air (around 20 hours and 20 minutes between Sydney and London, and 18 hours and seven minutes from Sydney to New York). Before its current test flights, the airline had done its homework, analysing a decade's worth of wind and weather data to confirm the lengthy routes were actually possible. Right now, the world's longest direct flight clocks in at over 19 hours, with Singapore Airlines flying 15,322-kilometres along its Singapore-to-New York route. Previously, the journey from Doha and Auckland earned that honour, taking around 18 hours to travel 14,529 kilometres. Image: Qantas/Airbus
For cinephiles who like their movies dark, twisted, offbeat and out there, Monster Fest has been a beloved name on Australia's festival circuit for more than a decade. The event started back in 2011 as a Melbourne-only showcase of weird and wild cinema, and has expanded to hit up Sydney, Brisbane, Perth and Adelaide, too — because everyone deserves a strange and surreal (and sometimes chilling and horror-fuelled) night or several at the pictures. In 2022, Monster Fest is back for another whirl, although you're forgiven if that idea sounds familiar: earlier in the year, it hosted weekender mini fests to sate movie buffs' appetites. Now, it's time for the full festival experience, which unfurls over 11 days in Melbourne, again highlighting the latest and greatest in genre filmmaking. If it's a horror, sci-fi or thriller movie and it's destined for a cult following, you'll likely see it here first. When it gets things started at Carlton's Cinema Nova from Thursday, November 24–Sunday, December 4, Monster Fest 2022 will kick off with the Yuletide terrors of Christmas Bloody Christmas, which features a robotic Santa malfunctioning, then going on a murderous rampage. 'Tis the season and all that. From there, other standouts include Stephen Dorff- and Emile Hirsch-starring The Price We Pay, which begins with two criminals on the run and gets deadlier from there; The Offering, about a family battling an ancient demon; and Swissploitation flick Mad Heidi, which has its namesake fight fascist rule in a grindhouse frenzy. Or, there's On the Edge, the latest from American Mary filmmakers Jen and Sylvia Soska; Subject, the sophomore release by Australian Watch the Sunset filmmaker Tristan Barr; and Ribspreader, another Aussie effort, this time about getting rid of smoking — and smokers. Closing night features Kids vs Aliens, a coming-of-age sci-fi/horror effort that sees a house party gatecrashed by visitors from another galaxy as directed by Hobo with a Shotgun's Jason Eisener. Elsewhere on the lineup, even though the idea of people fighting to survive their way through a building isn't new by any means — see: High-Rise, Dredd and The Raid, for starters — French film Lockdown Tower is giving it another go. A must-see for everyone: the special presentation of Friday the 13th Part III to celebrate its 40th anniversary, as screening in 3D and 4K. And a word of warning: if you like your movies happy and chirpy, this clearly isn't your kind of festival. For everyone else, settle in.
If a trip to SXSW has always been on your bucket list, here's an alternative much closer to home: Australia's own — and first — huge five-day technology and music festival. Called Sound West, the new event is headed to Sydney's west in early 2022, and will combine a two-day conference at CommBank Stadium with three days of live music events. Networking, workshops, mentoring, big tech brands and music industry leaders, performances by local, national and international talent — that's all on the bill. Mark Wednesday, March 30–Sunday April 3 in your diary, as that's when Parramatta will play host to an event that's been three years in the making — after the team behind Sound West conceived of giving Greater Western Sydney its own landmark fest. The end result will take over venues large, small and unique, bring together the music and tech industries, and both recognise and develop the next generation of talent in the two fields. Exactly what'll be on the entire lineup won't be revealed until February — which is when tickets will also go on sale — but Dylan Alcott OAM, L-Fresh The Lion, Khaled Rohaim and Serwah Attafuah will all pop up among Sound West's presenters and performers. Alcott will chat about his accessibility-focused music festival Ability Fest, L-Fresh The Lion will collaborate on a number of singer-songwriter initiatives, Rohaim will discuss his work with Rihanna, Ty Dolla $ign and The Kid Laroi (including working from his western Sydney bedroom), and Attafuah will cover her moves in the NFTs and their relevance to the music industry. [caption id="attachment_831234" align="alignnone" width="1920"] Khaled Rohaim[/caption] The program will also feature keynote addresses, panels, one-on-one sessions, live podcasting and interactive activations. SXSW has been known to get creative in the latter space, so fingers crossed that proves the same at Sound West. And, brand-wise, plenty of big music and tech names will be represented, such as NEC Australia, TikTok, Shopify, Warner Music, Universal Music Australia, Live Nation, Apple Music, ARIA and APRA AMCOS. "This region is going from strength to strength through industry development, investment in research and innovation, and a rich cultural foundation that makes for a dynamic city to live, work, visit and host events," said Stuart Ayres, NSW Minister for Tourism and Western Sydney, announcing the festival. "Sound West is the first of its kind in Australia and will bring together brilliant minds, industry leaders and music enthusiasts to share ideas, network and enjoy the creativity of home-grown artists." Sound West Technology and Music Festival will run from Wednesday, March 30–Sunday April 3, 2022, in Parramatta. The full event lineup will be revealed in February — we'll update you with further details then.
UPDATED, Friday, March 15, 2024: Taylor Swift: The Eras Tour (Taylor's Version) is available to stream via Disney+. Just like a great music documentary, an excellent concert film isn't solely about existing fans. That's still true when a movie arrives in a sea of friendship bracelets, focuses on one of the biggest current singers in the world, and perhaps the largest and most devoted fandom there is can be seen screaming, dancing and crying joyfully in its frames in a 70,000-plus drove. As the shows that it lenses were, Taylor Swift: The Eras Tour was a financial success before any Swifties experienced their version of heaven. Swift's onstage journey through 17 years of tunes sparked ticketing mayhem both as a concert and a cinema release that captures close to every moment. The Eras tour is a billion-dollar entity, with the self-produced film that's spreading it further than packed stadiums a box-office bonanza since it was announced. The 169-minute-long movie is also a dazzling spectacle that neither dedicated Swifties nor casual viewers will be able to easily shake off. When Swift told the world that she never misses a beat and she's lightning on her feet in possibly her best-known pop song, everyone should've believed her. Long before 2014 earworm 'Shake It Off' gets a spin in the 1989 segment of The Eras Tour, she's proven those words true in an indefatigable onstage effort. "Can't stop, won't stop moving" describes her efforts and the film, which is as energetically directed by Sam Wrench (Billie Eilish Live at the O2) and edited by a six-person team (with Max Richter's Sleep's Dom Whitworth as its lead) as it is performed. And, for anyone that's sat through Valentine's Day and Cats and found them hardly purring, it gives Swift the cinema presence that she's been trying to amass here and there — The Giver and Amsterdam are also on her resume — for over than a decade. Watching The Eras Tour doesn't just feel like watching a concert, but a musical spectacular in its vast grandeur, complete with the lead to match. Filmed over three concerts at Los Angeles' SoFi Stadium in August — closing out the first US leg on a global excursion that'll have notched up nearly two years of performances when it finishes in Toronto in November 2024 — The Eras Tour goes for both scale and intimacy, the holy duo of the genre. Concert flicks can't just passively watch on. One of their biggest aims: gifting audiences perspectives on the show that they can't see in-person, including spanning far and wide plus near and close. So, this one takes in the massive crowd and the just-as-enormous stage design from above. It also gives Swift's dancers and band their due. And, it, sees the star herself get sweaty, and the changing gleam in her eye depending on what which track calls for. As bouncily spliced together, each image reinforces an inescapable takeaway: everything about this tour is huge, from the cast and crystal-clad costumes to the sets and setlist, and also Swift's own stamina and chameleonic showmanship. Live and as recorded for posterity, nine of the singer's ten studio albums earn their own era (the one that doesn't, her 2006 self-titled debut, receives a track during the late acoustic section). Cue pinballing between records and styles, appearances and themes, and ballads and pop. Accordingly, songs from 2019's bright Lover sung in a bejewelled bodysuit give way to gold fringing to go all country-pop with 2008's Fearless, then orange cottagecore and witchy black cloaks for 2020's Evermore, a one-legged and snake-clad black-and-red catsuit for 2017's Reputation, and so on. Eras onstage has been exhaustively documented since opening in Arizona in March, making knowing which tracks Swift will sing, outfits she'll wear, moss-covered cabins she'll sit atop and glistening pools she'll seem to dive into scarcely a surprise not only to the Swiftiest of Swifties, but to anyone who hasn't been able to avoid the tour coverage — but in a production this immense and evolving, a "what'll happen next?" vibe still pulsates. Sans accompanying footage — interviews, behind-the-scenes glimpses and commentary are absent, with just snippets of bloopers dotted through the closing credits — The Eras Tour lets the show and tunes do the talking, plus Swift's chatter when she addresses the adoring crowd. By the time that she mentions how fun it is to segue through sounds and looks, and how it's made possible due to her fans (so: popularity and sales), the film has already made that plain, too. An ode to reinvention sits at the centre of Eras onstage and on-screen, and to longevity as well. When 'Look What You Made Me Do' enlists Swift's dancers in clear boxes, each decked out like various versions of the superstar across the years, the Barbie nods aren't subtle. 2023 is clearly the year of cinema celebrating women being everything that they want to be, which thrums at the heart of two key Swift details: why she's kept striking a chord, including with her youngest aficionados who see her as an array of role models, and her savvy knack for transformation. To the delight of The Bear's Cousin (Ebon Moss-Bachrach, No Hard Feelings), 'Love Story' gets a whirl early. Usually Swift-agnostic The Eras Tour viewers can consider the hit TV dramedy's fictional character their spirit animal while watching. This presentation is as shiny and shimmering as everything that its star wears, and as irresistible as the catchy 'We Are Never Ever Getting Back Together' refrain and slinky 'Vigilante Shit' beat as a result. Getting to the why of it all, Swift briefly explains the tour's concept; "what are you gonna do, play for three hours?" she says she was asked about touring post-pandemic after not yet taking Lover, Evermore, fellow 2020 release Folklore and 2022's Midnights on the road. The swarm of phone-wielding concertgoers before her cheer, of course. Understanding why Eras has had everyone talking since is as simple as letting The Eras Tour wash over you. A music film veteran with movies about everyone from Mary J Blige and Blur to Brandi Carlile and Lizzo on his resume, director Wrench knows that his task with The Eras Tour is multifaceted. His latest concert flick needs to spy the macro and the micro; to feel like it's on the ground and unveiling a money-can't-buy experience; and to see its star as everything and an everywoman whether she's singing about falling in love, searching for a soulmate, heartbreak, revenge, empowerment and identity — and playing guitar or piano. That it does this so seamlessly is no minor feat. Swift isn't a stranger to bringing her shows to the screen, as seen with The 1989 World Tour Live and Taylor Swift: Reputation Stadium Tour, but Swifties will consider The Eras Tour their Stop Making Sense, The Last Waltz and Amazing Grace. For everyone else, all almost three hours of the film is still enchanting to meet. Top image: TAS Rights Management, Trafalgar Releasing.
Dario Fo is a unique, irreverent theatre-maker among the ranks of Nobel prize-winners. Still working into his 88th year, he's churned out a body of work that’s as impressive as it is politically engaged, and is known for often subverting classical Italian drama like commedia dell’arte for his own purposes. The playwright himself was the first to perform his one-man show Johan Padan and the Discovery of the Americas, written in 1992 in response to celebrations for the 500 years since Columbus’ arrival. At first glance, a relatively obscure, Italian play for one performer might seem like a hard sell, especially for an independent venue that’s as priced-out as fortyfivedownstairs. But compared with the rest of the world, Australia rarely sees any productions of Fo’s vast canon that stray beyond ubiquitous stagings of Accidental Death of an Anarchist. With that in mind, this offering from Melbourne’s Hoy Polloy Theatre, which is directed by Wayne Pearn and features Steve Gome in the solitary onstage role will be a rare treat. Image by Richard Butler.
When Stephen King's Doctor Sleep released in 2013, it didn't just return readers to the world of his 1977 hit The Shining — it also meant that a film adaptation became inevitable. Hollywood loves a sequel after all, so it should come as no surprise that the book is indeed headed to the big screen, with the movie's director just announced. Mike Flanagan (Oculus, Hush, Ouija: Origin of Evil) will helm the follow-up, which explores the adult life of Danny Torrance, aka the tricycle-riding tyke at the centre of the first story. And while it might seem like the filmmaker has pretty big shoes to fill — particularly given Stanley Kubrick directed the 1980 classic that became one of the greatest horror movies of all time — Flanagan is no stranger to King's work. In fact, the last credit on his resume is last year's Gerald's Game, as based on the famous author's 1992 novel. A bestseller when it was released in print, Doctor Sleep checks back in on Danny — now going by Dan — who is unsurprisingly bearing emotional and psychological scars from his experiences at the Overlook Hotel. Variety reports that Flanagan will also rewrite the script, which was originally adapted by A Beautiful Mind Oscar winner Akiva Goldsman. Goldsman was also among the writers of last year's awful King-based effort The Dark Tower, as well as Transformers: The Last Knight and Rings. Via Variety.
Comedian Kyle Ayers was enjoying the view from the rooftop of his New York City apartment one day with some neighbours when a couple in the midst of a heated squabble suddenly appeared. So what did Ayers do? Politely look the other way and mind his own business? Of course not. Like any good social (media) Samaritan, he whipped out his smartphone and started tweeting about the whole ordeal. His series of live-tweets of the couple's retorts caused quite a buzz in the Twittersphere and was traceable by the fitting tag, #roofbreakup. He started the sequence on Saturday evening, saying "A couple is breaking up on my roof right now. I was just trying to enjoy the view. Now I will live tweet the breakup." Rapidly reporting the exchange between 'guy' and 'girl' (who we later learnt was named Rachel), Ayers captured their dislikes of friends, questions of moving in together and accusations of infidelity. Highlights include: "Say something else about my fucking wardrobe" -guy #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "I'm not looking for marriage, just what's right below marriage" -girl #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "Your roommates are fucking assholes" -guy #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "You think I'm immature? Calling people immature is immature!" -guy #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "Do you love me?" -girl (OH BOY HERE WE GO, PEOPLE) #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "My roommates are always like 'wheres your boyfriend?' And I'm like 'hmm' and stuff." -girl #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 This guy is four cigs deep right now. #roofbreakup #teamrachel — Kyle Ayers (@kyleayers) November 17, 2013 "I don't think we need to talk about this up here with some random guy over there." -guy (uh oh, I'm that guy over here) #roofbreak — Kyle Ayers (@kyleayers) November 17, 2013 "He's just sitting on his fucking phone he doesn't care (talking about me). Answer my question." -girl (hahahahahahaha) #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 and the royal cherry on top: "Are we getting pizza or what? I don't mean to change the subject but are we?" -guy #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 The guy, who was furiously chain-smoking the entire time, finally declared "I'm not talking about love on a roof in Brooklyn." Clearly, this is the 21st century's adaptation of Clark Gable's famous retort, "Frankly, my dear, I don't give a damn." How debonair. Read the full #roofbreakup tweets on Storify. Via Huffington Post.
