UPDATE Thursday, November 10: Summer Camp Melbourne has been moved and will now take place at Coburg Velodrome instead of its original location. The following has been updated to reflect the change. Summer Camp is the country's newest pride festival — and only touring pride fest, in fact. And, finally taking place in November 2022 after being postponed from last summer, the bill of performers features a jaw-dropping lineup of queer icons and experiences. Years & Years, aka British singer and actor Olly Alexander (It's a Sin), will headline the new fest's stopovers in Sydney and Melbourne, all as part of Summer Camp's two-city debut tour of the country. Also on the bill: New Orleans' Big Freedia, plus The Veronicas, Cub Sport, Ladyhawke, Jess B, Kinder, Art Simone and Stereogamous, with more set to be revealed Summer Camp will tick a big first, too: it's set to be the biggest ticketed LGBTQIA+ music festival in the southern hemisphere as well. In addition to live tunes from all of the above across two stages, the festival will feature dance, performance art and art installations, as well as food and beverage offerings. More than 200 artists will be involved all up, including over 150 DJs, drag queens, dancers and performance artists in each city. Given the name, it's clear what kind of vibe that festival founders Kat Dopper (creator of Heaps Gay) and Grant Gillies and David Gillett (creators of Red Mgmt, and former Sydney Mardi Gras marketing and international talent managers) are going for. So, expect a cruisy summer camp-meets-arts and music playground-type atmosphere that's also all about inclusivity and supporting young diverse artists. SUMMER CAMP FESTIVAL 2022 LINEUP — FIRST ANNOUNCEMENT: Years & Years Big Freedia The Veronicas Cub Sport Ladyhawke Jess B Kinder Art Simone Stereogamous Updated April 26.
January 2014 will see Sarah Blasko embark on a short but surely sweet Heavenly Sounds tour, with the singer-songwriter choosing a restrained program of just four shows in four churches across Sydney, Brisbane, Melbourne and Adelaide. The tour will be the final round of performances celebrating her ARIA-nominated fourth studio album, I Awake. Loyal fans might have already witnessed the ideal pairing of the singer's ethereal tones and cathedral acoustics back in 2011, when her collaborative side project Seeker Lover Keeper (with Sally Seltmann and Holly Throsby) launched Heavenly Sounds. Now’s your chance to settle back amongst the stained glass and enjoy a night of pure Blasko. "These will be my last shows for I Awake, and really, what better place is there to sing (apart from the shower of course) than a beautiful church?" says Blasko. "I'll be playing songs from all four albums and it's likely to be the most intimate show of mine you'll see for some time."
It's the best action movie of this century. The best Australian flick of the same period, too. And, it's one of the very best in general as well. But, because the arid expanse that usually surrounds Broken Hill was too green when filming took place, six-time Oscar-winner Mad Max: Fury Road was actually shot overseas. That won't be the case with its follow up Furiosa, though. Focusing on a younger version of the character played by Charlize Theron in Fury Road, Furiosa is actually a prequel — and it'll begin filming in New South Wales in June this year. The Queen's Gambit lead Anya Taylor-Joy will be stepping into the formidable figure's shoes, and starring opposite Chris Hemsworth. Watchmen's Yahya Abdul Mateen II will also feature and, although no other cast members have yet to be announced, it's safe to expect that plenty of local faces will pop up as well. It has been six years since Fury Road first motored its way across the big screen, so Furiosa can't arrive soon enough. Exactly when the latter will actually hit cinemas is yet to be revealed, but it'll do so after a relatively short gap by Mad Max standards. If you feel like you've been waiting for ages to see the franchise continue, it's worth remembering that there was a 30-year gap between 1985's not-so-great Mad Max Beyond Thunderdome and Fury Road's triumphant arrival in 2015. NSW Premier Gladys Berejiklian announced the news today, Monday, April 19, noting that the shoot "is expected to support more than 850 local jobs and bring in around $350 million into the NSW economy". And while it's all good and well that the Mad Max series is continuing, that it'll be shot in Australia and that it has quite an impressive cast, that'd really mean nothing if director George Miller wasn't involved. Thankfully, he'll be back behind the lens, as he has been on 1979's Mad Max, 1981's Mad Max 2, and both Beyond Thunderdome and Fury Road as well. Obviously, a sneak peek of Furiosa won't be available for quite some time given that it hasn't even begun shooting yet, but you can relive Fury Road's glory in its trailer below: https://www.youtube.com/watch?v=hEJnMQG9ev8 Furiosa will start filming in NSW in June. Exactly when the film will hit cinemas hasn't yet been revealed, but we'll update you with details when they're announced
Choose life. Choose celebrating a movie that defined the '90s, made Ewan McGregor a star and instantly made everyone's favourite flicks of all time list. Choose spending 2017 revelling in all things Trainspotting. Film fans already have long-awaited sequel T2: Trainspotting (which is scheduled for a February release) to look forward to, and now theatre fans in Australia can choose something else: Trainspotting Live. Choose 75 minutes of intense, immersive page-to-stage antics, as based on Irvine Welsh's 1993 novel about Edinburgh heroin addicts, and first adapted for the theatre in the UK back in 1995. Yes, that means that Harry Gibson's award-winning original stage version was written before Danny Boyle's iconic 1996 movie — and you haven't really experienced the story of Renton, Begbie, Sick Boy and company until you've seen it acted out, live and in person, right in front of you. Transporting its all-Scottish cast and their distinctive accents to Adelaide from February 17 to March 19, Melbourne's fortyfivedownstairs from March 22 to April 13, and Brisbane Powerhouse from April 19 to 22, Trainspotting Live does more than that — it also brings the audience into the show, starting with an extended rave, and even including the infamous 'Worst Toilet in Scotland' scene. It's no wonder that the production has been selling out shows in London, and earning rave reviews for its no-holds-barred approach. The fact that it's being staged by In Your Face Theatre should give you an indication of what you're in for. Welsh — that is, the man who literally wrote the book, plus a sequel, prequel and Begbie-focused spin-off, and recently floated the idea of a TV adaptation — called Trainspotting Live the "best way to experience Trainspotting", in case you needed any more convincing. Just don't go confusing it with the BBC television program of the same name, which is actually about looking at railways. Trainspotting Live plays in Adelaide from February 17 to March 19, at Melbourne's Fortyfivedownstairs from March 22 to April 13, and at Brisbane Powerhouse from April 19 to 22, 2017. For more information, visit the production website.
Cue the fireworks: the New Year is almost upon us. And no, we don't mean those few hours of public drunkenness and poor decision-making that fall between sundown on December 31 and your hangover the following morning. We're talking about Chinese New Year, a celebration that, quite frankly, makes our piddly little Gregorian thing look about as exciting as your grandmother's birthday. The Chinese Lunar calendar officially ticks over on Monday, February 8, but that's only a fraction of the fun. With markets, concerts, parades, film screenings, parties and more, Melbourne's Chinese community are sparing no expense. Here's our list pick of the events happening this February to help you ring in the Year of the Monkey in style.
It seems strange that street art comes with a press release these days. Its creation was once banished to the darkest hours of the night to be carried out by wanted dudes in hoodies and runners; now it gets its own fanfare. Is it even still a crime? Regardless, it makes sense that this one was delivered to our inbox today. After being the star of zillions of Instagram posts in downtown LA, Colette Miller's Wings installation is coming to the streets of Melbourne and Sydney. Brace yourselves, this is sure to trend in no time. Originally created in 2012, the now-famous installation was imagined as a way for people to start interacting with art in urban spaces. As it encouraged people to take photos with it, this multi-colour paste-up was a hit — an instant classic to the growing list of must-see artworks around the streets of LA. Since then, it's been brought to Washington, Nairobi and now Australia. It appears that the desire to be a giant neon angel is universal. Melbournians and Sydneysiders can experience this strange privilege for a limited time this month. Flying over to Sydney first as part of Arts Brookfield, the wings will be plastered at World Square and King Street Wharf from September 5 'til October 9. At two metres high and three metres wide, they'll be hard to miss — not to mention the crowd of happy snappers that will invariably surround them. The wings will be appearing in Melbourne from September 15 to October 15 at Southern Cross Lane near the corner of Bourke and Exhibition Streets. And, with such a central CBD location, the artist's point is pretty clear. "Cities bring humans together and Wings is accessible art that aims to capture the imagination of workers as they transverse the city," said Miller. "My Wings are a universal archetypal symbol of humanity and its divine self." While we think the latter point is reaching a little far, we wholeheartedly agree with the former. Everyone deserves some sprawling, neon art to admire on their lunch break and it's well worth taking the time for a selfie.
Viewing overload may be a thoroughly modern dilemma, but it's one that we can all relate to. And, it doesn't just apply to the sheer volume of options these days — across cinema releases, film festivals, regular television, pay TV and the growing number of streaming platforms, for example — but also to the types of stories told. If you're feeling a little like you've seen every superhero flick, upbeat rom-com tale, cop procedural and bromance buddy comedy ever made, then the SBS Short Film Festival is here to deliver a huge dose of diversity. The new three-day event's main aim: to showcase not only different subjects, topics and formats, but work made by creators who are typically underrepresented in the screen industry. Dropping on SBS On Demand across Friday, September 13 and Sunday, September 15, the festival will feature 14 shorts, all from Australian talents — including folks from multicultural and Indigenous backgrounds, members of the LGBTIQ+ community and those living with disabilities. Different shorts will hit the free platform each day, recreating the real-world film festival experience. Of course, to enjoy this event, you just need a TV, laptop or smartphone. Highlights include the Aaron Pedersen-starring Out of Range, which sees the acclaimed actor plays a father trying to reconnect with his estranged son on the road; Amar, about the groom-less wedding of a Muslim woman with Down syndrome; and Bananas and Flavour Swap, each exploring the bonds of food and culture. On the documentary front, Limited Surrender focuses on an artist's plight after being diagnosed with multiple sclerosis, while Lost Daylight examines the stolen generation from a personal perspective, through the tale of a woman who was placed in the Sisters of Mercy convent at Brisbane's All Hallows' school in 1950s and 60s. Other titles include The Loop, hailing from Lorcan Hopper, a first-time television director with Down syndrome; Deafinition, which crafts its sights and sounds through the perspective of someone who is profoundly deaf; and the three-part Monsters of Many Worlds, a combination of live-action and animation on the topic of mythical creatures. The SBS Short Film Festival stems from the Short-Form Content Initiative, which is committed to increasing opportunities for Australian creatives from diverse communities. The 14 films were shot across Victoria, Queensland, Western Australia, South Australia and Tasmania, with funding assistance from Film Victoria, Screen Queensland, Screenwest, South Australian Film Corporation and Screen Tasmania. Check out the festival trailer below: https://www.youtube.com/watch?v=-ex32L9dC9k The SBS Short Film Festival hits SBS On Demand between Friday, September 13 and Sunday, September 15. Images: The Small Town Drifter, Michael O'Neill, Blur Films / Out of Range, Ryan Alexander Lloyd / Amar, Zahra Habibullah / Deafinition / Flavour Swap, Amy Brown / Lives In Action, Jurban Botany.
If you're citybound and missing out on New Year's Eve festivals like Falls and Beyond The Valley this year, don't fret. Let Them Eat Cake is your inner city solution to satisfy those festival urges. Held on New Year's Day at Werribee Park, LTEC is not only great for the music, but also plays host to installation art, openair exhibitions and some killer food offerings. But back to what you're all here for: the music. This year's lineup is headed by UK electro powerhouse Jon Hopkins, who's worked with everyone from Coldplay to Brian Eno. On the program, you'll also find Chicago house icon Honey Dijon, Scottish up-and-comer Denis Sulta and underground electro musician Tom Trago. The lineup's local contingent includes funk and soul performer Harvey Sutherland, well-known dancefloor starters Wax'o Paradiso and rising star Adi Toohey. While you're there — shaking off your hangover — you'll also have the chance to dance to HAAi, Tokimonsta and Madam X. Have your cake and eat it too, guys — you've earned it this year. LET THEM EAT CAKE 2020 LINEUP Adi Toohey Cinthie Denis Sulta HAAi Harvey Sutherland Honey Dijon Jon Hopkins Madam X SAM Shigeto Sosupersam Tokimonsta Tom Trago Wax'o Paradiso + more to be announced Let Them Eat Cake 2020 tickets go on sale to the general public at 9am on Thursday, September 19. Images: Duncographic
For the average punter, the local pub is usually a go-to for budget-friendly steak nights, weekend beers and maybe the odd trivia sesh. But one southside boozer is adding to that list, with a new weekly event designed to get your creative juices flowing just as freely as the tap brews. The Windsor Castle Hotel has kicked off a new series of Saturday arvo sessions, dubbed the Windsor Art Club, inviting you to indulge your arty side in the beer garden from 1–3pm each weekend. It's free to join in, with all your art and craft materials provided, and a different creative pursuit on the agenda each Saturday. Past sessions have seen folks dabbling in watercolours, having a crack at collage and even getting messy with a grown-up riff on finger painting. What's more, the participant whose masterpiece is deemed the favourite each week will score themselves a $50 tab to spend in the pub's restaurant or at the bar. How's that for a little extra incentive to let your inner Picasso shine?
UPDATE: April 27, 2020: The Biggest Little Farm is available to stream via Google Play and YouTube. Say goodbye to your inner-city digs, pack up your belongings and head to the country — it's time to swap your concrete playground for a grassy, tree-lined, animal-filled one. That's how you might be feeling after watching The Biggest Little Farm, the warm and informative documentary that charts a just-married Californian couple's quest to follow all of the above steps in the name of a better life. John and Molly Chester's dream is simple, at least on paper. They want to run their own farm, relying on traditional methods and doing so in harmony with nature. One-crop spreads, soulless egg factories and the general type of commerce-driven farming that has become common today aren't for them. Instead, their rural utopia boasts a broad array of creatures and hundreds of different types of edible plants, creating a mini-ecosystem that supplies everything the pair eats — and everything that Molly, a private chef and food blogger, could ever need to cook with. The fact that a film exists about their efforts, and that it's helmed by John himself — a cinematographer and Emmy award-winning director when he's not working the land — signals the obvious: that the Chesters turned their vision into a reality. Spanning most of the past decade, The Biggest Little Farm chronicles the ups and downs of attempting to transform an unwelcoming 200-acre patch of soil into a thriving natural farming haven, all by following the advice of biodynamic farming guru Alan York. Taking over an abandoned farm, they strip away most of the existing crops, replacing them with new ones. They wait as the greenery grows, and as their newly acquired menagerie of chickens, pigs, ducks, sheep, dogs and other diverse critters all play their part. (Of paramount importance: the animals' poop, of which there's plenty.) First laughed at by their friends and family, the Chesters' support system expands, as does the farm they call home and the business side of the equation. Bookended by wildfires, with flames threatening to encroach upon the property an hour outside of Los Angeles, The Biggest Little Farm bubbles with timeliness — and not just because of Australia's current catastrophic blazes. The documentary actually first started screening at international film festivals back in 2018, coming in third in the audience choice award in Toronto that year, but the attitude it celebrates is a clear reflection of the growing recognition that much about humanity's current existence is harming the planet. Accordingly, as proved the case with Aussie doco 2040, watching the Chesters' plight proves educational, inspirational and aspirational. Their passion is infectious, whether they're helping birth calves, tending to an ailing pig or endeavouring to save their chickens from coyotes. The movie doesn't aim to take viewers through their feats step-by-step or teach audiences exactly how to follow the same path, but it does show what's possible for anyone willing to try. When the film leans into the adorable, heartwarming side of such an idealistic venture, cuteness abounds. An outcast rooster befriends a sow, oinking piglets run riot, and dogs lick lambs as if they were cleaning their own offspring. John doesn't shy away from the tougher realities of farm life, though — including wildlife predators, birds pecking through most of their fruit, a tricky snail infestation and serious animal health issues. First and foremost, however, he's viewing his experiences through a firmly upbeat, affectionate, resilient and persistent lens. This is a true tale that starts with a promise to a just-adopted dog, which John saves from an animal hoarder with more 200 critters and pledges to give a loving home, after all. When that pup barked so much that the couple got evicted, that's when John and Molly decided to chase their farming dreams. The movie's positive spin lends itself to lively animated sequences, bringing Molly's fantasies to the screen a suitably colourful, affable way. Still, as engaging as this rich, gentle documentary is — and as likely as it is to make you wish you could take the Chesters' lead — that jovial mood also results in a few overtly cliched touches. The film's music drips with sentiment, as if it doesn't quite trust that the on-screen critters are enough by themselves. The brightly coloured hues do more than just capture the farm's sights, literally painting a vibrant, sun-dappled picture. And, when it comes to the difficult reality of actually funding this sizeable venture (and making an independent doco about it at the same time), concrete details are glaringly absent. Plus, the personal voiceover sometimes verges on cloying. Worse: the reaction to someone's ill health and its impact on the farm plays as selfish, as if this parcel of land is more important than another person. These are all minor issues, but they do stop a valuable movie about eco-conscious living from being truly great rather than just very good. You'll still want to pack your bags and leave the rat race far behind, though. https://www.youtube.com/watch?v=fcQKWkpPB3U
There are a few ways you could spend your second last weekend of autumn, but here's a truly fitting one: the College Lawn is rounding out the season with a two-day celebration of cider, teaming fruit-based sips with apple-bobbing, live tunes and other autumnal delights. From Friday, May 20–Sunday, May 22, the Prahran pub is throwing open the doors for its inaugural Cider Fest. Getting into the spirit, the beer garden is set to score a makeover complete with hay bales and picnic blankets working as the backdrop for your weekend's cider-sipping adventures. At the bar, you'll find a swag of cider varieties on offer, from the likes of Pipsqueak, Willie Smith, Custard & Co, The Hills and more. Other liquid treats include toasty serves of mulled cider and cocktails like the Spicy Pear — a warming blend of pear syrup, Fireball, bourbon and ginger beer. There'll be live tunes happening throughout the weekend. And alongside the pub's usual menu, you'll find roast pork off the spit — piled into a bap roll with apple and fennel slaw, or paired with sides like the bacon and potato salad, and honey mustard glazed dutch carrots.
Life's way too short for boring food. In the culinary world, you might as well go big or go home, right? Thankfully, Melbourne's dining scene isn't afraid to get a little weird, wild and wonderful, with plenty of eateries whipping up supercharged, over-the-top creations on the daily. Perhaps you're partial to a monster cheese toastie, loaded with extras, or maybe you prefer to sink your sweet tooth into a creamy Italian pastry decked out with mounds of icing sugar — whatever you're craving, there's sure to be a spot that serves it and it's probably bigger, better and more decadent than you had imagined. Whatever your jam, we're here to help. We've rounded up a list of of the city's most indulgent takeaway eats that are guaranteed to lend a bit of drama and dazzle to your diet. Chuck the sad sandwich, break out the stretchy pants and check out a few of these bold choices.
If you're after some art with a bit more bite, be sure to put Flinders Quarter on your to-do list this month. For four weeks, the CBD pocket's laneways and buildings will be brought to life through augmented reality, all for the Flinders Quarter Augmented Art Walk. Reopening on Monday, June 21 and running until Friday, July 16, this interactive experience takes you on a self-guided art adventure through the precinct — the section between Flinders, Elizabeth, Collins and Swanston streets. Simply grab a copy of the map from participating Flinders Quarter businesses or Metro Tunnel HQ at 125–133 Swanston Street (or online). Then, download the supporting Eyejack app to your smartphone for free, hit the 'Launch AR' button and let the tour begin. Spanning nooks, crannies and walls throughout Flinders Quarter, the art walk showcases a slew of commissioned contemporary works from the likes of Stanislava Pinchuk (Miso), Anton Hasell, Dee Smart and Carla Gottgens, which are brought to life on your phone with a combination of digital animation and sound. You can escape into a colourful alternate reality with the Manchester Lane work crafted by Jingwen (Jina) He, catch Tracy Sarroff's glowing exploration of light and biotechnology in front of the City Library, or see the corner of Swanston and Flinders streets come alive with a jumping geometric design from Jasmine Mansbridge. Plus, challenge yourself to a treasure hunt and unlock all 12 artworks to be in with a shot at winning some big prizes. [caption id="attachment_813309" align="alignnone" width="1920"] 'Portal Glitch' by Sue Beyer, located at Little Mandarin Yoga Studio[/caption] Top images: 'What Lies Beneath' by Dee Smart, located at Alpha Barbers; 'You Can Find Something Truly Important in an Ordinary Minute' by Jingwen (Jina) He, located at Bared Footwear Mens.
With gigs and shows popping back onto calendars again over the last six months, bands and concert promoters have been forced to get creative to abide by COVID-19 restrictions. Local favourites have thrown seated gigs in small regional towns, performed to a sea of cars at drive-in concerts and are even set to take to revolving stages as part of NSW's first major music festival of 2021. Although gathering restrictions have begun to roll back and normalcy is beginning to return to the live music scene across the country, these unique opportunities to catch bands in unexpected locations don't seem to be going anywhere. Take Live At Last, for instance. It's the new live music series that will see fan-favourite Australian musicians perform at intimate venues across the country. In Sydney, it'll feature Hockey Dad, the band behind the aforementioned drive-in gigs, who'll perform in beloved bar Frankie's Pizza on Thursday, April 29. The show will be a unique chance enjoy Frankie's new Dan Pepperell-crafted pizza menu while catching the Wollongong surf-rock duo up close, with the CBD bar having a much smaller capacity than the 3000-person Big Top Luna Park the band recently sold out. A venue the size of Frankie's playing host a band of Hockey Dad's popularity could result in chaos, so you'll have to win tickets in order to get access to the gig. To go into the ballot to head along, you just need to hit up the Secret Sounds website and enter your details. Announced after the Hockey Dad show — but happening the day before — is Live At Last's Brisbane stopover. Last Dinosaurs and Dear Seattle will hit the stage at The Triffid on Wednesday, April 28. To head along, you'll also need to try to win tickets via the Secret Sounds website. Then, the series of gigs is set to move to other parts of the country. If you're wondering where else Live At Last will head, that's yet to be revealed. [caption id="attachment_772790" align="alignnone" width="1920"] Hockey Dad by Ian Laidlaw[/caption] Live At Last is set to kick off on Wednesday, April 28 with Last Dinosaurs and Dear Seattle at The Triffid in Brisbane — and then head to Frankie's Pizza on Thursday, April 29 with Hockey Dad. To win tickets and to keep an eye out for future events, head to the event's website. Top image: Frankie's Pizza by Katje Ford Updated April 16.
While Yarra River pop-up bar Arbory Afloat kicked off its summer season a couple of months ago, the moment we've all been waiting for has finally arrived. Dig out those bathers, because the floating boozer's onsite pool is officially open for business. And with today's temperatures set to hit a hefty 38 degrees, this is one debut Melbourne's very much ready for. Sticking with the bar's breezy Miami theme, the eight-metre-long pool has made its home on Arbory Afloat's roomy upper deck, flanked by its own bar, sun lounges and five private cabanas, which can be booked out for your next poolside sojourn. Towels, hats and sunscreen are all available to purchase from the bar, and there'll be a lifeguard on patrol whenever the pool's open. The opening hours are set to vary depending on the weather, but you can jump over to Arbory Afloat's Instagram to keep an eye on the schedule and plot your visit. [caption id="attachment_754392" align="alignnone" width="1920"] Simon Shiff[/caption] Of course, the bar's new season lineup of eats and drinks offers some ideal accompaniments to that sun-drenched pool session. Settle in with some tacos, pizzas, empanadas and loaded seafood platters, alongside cocktails like the watermelon sangria — blending curacao, grenache, fresh fruit, white rum and lemonade. There's also a fittingly strong lineup of rum and gin, and a lineup of DJs — both homegrown heroes and international names — to get you in the zone. Find Arbory Afloat at 1 Flinders Walk, Melbourne. Images: Simon Shiff
The odd dance floor session is crucial for keeping those winter blues at bay — and from this month, Kewpie has your Friday night boogie plans covered. The Fitzroy haunt is launching a new series of free-entry DJ nights to have you farewelling your work week in style, starting Friday, August 5. Roll in each week to kick-start the celebrations with a happy hour tipple (5–7pm daily), including a whole range of $6 schooners, wines and spirits. If you're there between 6–8pm (and you remembered to make a booking), you can also take advantage of Kepwie's Bottomless Pizza & Bevs deal — unlimited pizzas matched with two hours of free-flowing house sips for $59. Then come 8pm, it's time to give that d-floor a workout, as some leading Aussie talent hits the decks. August's DJ lineup is already locked in, with Boogs playing August 5, Casey Leaver and WA's Casual Connection joining the party on August 12, and Luke Vecchio and Anyo playing five hours back-to-back the following Friday. August 26 promises Spacey Space head-to-head with Sunshine. Stay tuned because there'll be plenty more to follow as well. [caption id="attachment_863760" align="alignnone" width="1920"] Luke Vecchio & Anyo[/caption]
When a clown ponders its final farewell, what does it see? Cirque du Soleil's Corteo has the answer. When this production first hit the stage in Montreal in 2005, it won over audiences by setting its acrobatic feats within a funeral procession imagined by a jester — a carnival-like parade that muses on humanity's strengths and vulnerabilities — in a space between heaven and earth. Two decades later, it's one of the troupe's most-beloved shows. Celebrating that milestone, Corteo is heading Down Under for a six-city tour in the second half of 2025 — including a visit to John Cain Arena in Melbourne from Friday, August 22–Sunday, August 31. One of the tricks that's helped make Corteo such a success, with over 12-million audience members in 30 countries on four continents seeing it so far, is its unique stage setup. Watching this show means also watching your fellow viewers, because the action takes place in the middle of the arena, splitting it in half and causing patrons to face each other. This is Cirque du Soleil's first production with this layout. As its clown protagonist conjures up the festive parade that ushers him from this world, attendees will witness a poetic yet playful performance — one where the acrobatics are unique, too, and where angels watch over. LUZIA was the last Cirque du Soleil production that bounded this way, kicking off in 2024 — and notching up another first as the Montreal-based company company's debut touring show to feature rain in its acrobatic and artistic scenes. Before that, 2023 saw Cirque du Soleil bring CRYSTAL, its first-ever ice production on ice, Down Under. Images: Maja Prgomet, Johan Persson and Aldo Arguello. Updated: Wednesday, May 28, 2025.
Melbourne has some amazing Italian restaurants, but the majority of them live on Lygon Street, in an exclusive clique. Across the river though, Cafe Di Stasio is the king of the green-white-red. It's a traditional, old-school kinda place, with indulgent pastas and meaty mains. We recommend the seared tuna with fennel, capers and pancetta and the oven baked salad of goat's cheese, tomato and basil for a good mix of indulgence and freshness. And if you have the stomach real estate, squeeze in the tiramisu. Once you're satiated, take a digestive stroll down the St Kilda, and enjoy the late sunset on the boardwalk — and total lack of weekend crowds and screaming kiddies. Image: Brook James.
Whether it's an elaborate escape act or a simple piece of sleight of hand, when it comes to magic audiences want two things. They want to be fooled into believing that what they're seeing is real, but they also desperately want to know how it's really done. It's the same principle behind heist films, with viewers keen to watch criminals execute high-stakes robberies, and then discover how they pulled it off. It's hardly surprising, then, that Hollywood decided to blend the two with 2013's Now You See Me – and when it proved a hit, a sequel was all but inevitable. Of course, easy and obvious isn't the same as interesting or enjoyable, a fact that the Now You See Me films seem to forget. Director Jon M. Chu spends the bulk of the movie showcasing slickly shot and quickly choreographed tricks, in the hopes that we won't notice that the script by writer Ed Solomon doesn't really make any sense. For those with short memories, the first film followed the Four Horsemen, a magic troupe that mesmerised crowds and fleeced banks at the same time. A year later, J. Daniel Atlas (Jesse Eisenberg), Merritt McKinney (Woody Harrelson) and Jack Wilder (Dave Franco) remain in the group, with newcomer Lula (Lizzy Caplan) filling the female quota. FBI agent Dylan Rhodes (Mark Ruffalo) calls the shots, throws law enforcement off of their trail and helps set up a big gig at a mobile phone product launch. Alas, when the Horsemen take to the stage, they soon find that they're caught up in someone else's game. As Lula, Caplan acts excited and mentions what the gang is up to as much as she can — and that's Now You See Me 2 in a nutshell. She doesn't ever look at the screen and say, "I'm having fun with magic, and you should be too," but she may as well. For a time the film's over-the-top eagerness to entertain is somewhat effective, especially when former boy wizard Daniel Radcliffe shows up as a villainous inventor. Over the course of 115 minutes, however, the setups get more absurd, the attempts at misdirection more laboured, the backstory more clumsy and the returning cast (particularly Morgan Freeman and Michael Caine) less enthused. In short, it all wears thin. Indeed, no matter how flashy it gets, Now You See Me 2 can't distract from a simple truth: at a certain point, seeing the same tricks over and over again is going to lose it's appeal. Eventually, people stop buying into the patter, grow tired of the parade of deceptions and explanations, and want more from a movie than a nod, a wink and a gimmick. https://www.youtube.com/watch?v=4I8rVcSQbic
From a new $1.3-million Richmond rooftop to talk of a rooftop bar at Tullamarine Airport, Melbourne's high spots have been getting more and more attention of late. One of the more recent additions is QT Melbourne's secret rooftop garden, which has just reopened for summer. Not that the space, dubbed Secret Garden, hasn't existed before now. It was established as a garden while back by an executive chef of QT's Pascale Bar and Grill, but opened to the public for the first time in 2018. Now, the 40-person bar is run in collaboration with Healesville gin experts Four Pillars. So, you can expect exceptional G&Ts, alongside two gin-spiked cocktails: the Spiced Negroni spritz and the Bloody & Lemon, the latter of which is made with Four Pillars' cult-favourite Bloody Shiraz gin. Neither of those tickle your fancy? You can also create your own cocktail, using herbs from the garden to mix with the gin of your choice. You'll be drinking these surrounded by native river mint, fruit salad sage and blue lilly pillys, while looking out across the city skyline. The bar will also be hosting masterclasses and tasting sessions throughout the summer, before it closes with the end of the season. Secret Garden Bar is open 3–9pm Thursday and 3–11pm Friday–Saturday. Images: Kate Shanasy
Since 2014, White Night has brightened up Melbourne with an all-night arts festival each February. When summer comes to an end in 2019, however, the city won't be sparkling with light and culture. Instead, the popular evening is shifting to a new winter berth. While the exact dates and program won't be revealed until closer to the event, White Night will make the move to August as part a huge new winter festival, the Victorian Government has announced. The after-dark spectacle itself will still only run over a single evening, but the broader fest will be a three-day affair, complete with music, design, film, food, performance and street art events. Part of the move is inspired by Melbourne's long mid-year nights, with the lengthier stint of darkness allowing White Night's luminous activities to kick off earlier — meaning that artists have more hours to play with, and families can enjoy an earlier start time. Aiming to become one of Victoria's signature events, the overarching multi-day festival will build upon 2018's bigger White Night program. "This reimagined event will create unique and exciting opportunities for artists, performers, cultural practitioners and institutions with a broader program and more nights to experience it," said White Night artistic director David Atkins.
When your nine-to-five plays out like a well-oiled machine, it can sometimes feel like each week is a little same-same. But Melbourne is brimming with a fine bounty of things to experience and explore each and every day. So aside from casual laziness and a little lack of inspiration, there's really nothing stopping you from squeezing some adventure and spontaneity into your schedule. We've teamed up with Mazda3 to help you celebrate the little things that bring a sense of adventure to life. Shake things up, as we give you seven different detours to take each week in Melbourne. From Monday to Sunday, enrich your everyday with one completely achievable activity that inspires you to take the scenic route as you go about your daily routine. This week, Ethiopian fare, a Moroccan banquet and lots and lots of cheese. Plus, we've got your future detours sorted for the new few weeks here. All require no more effort than a tiny break from the norm — what's your excuse for not trying them all?
It's no secret that we Aussies are champions in the water and now's your chance to see the champions themselves achieve their goals at the Swimming Australia World Championship Trials — with a prize package that includes tickets, accommodation and dinner for two. Aussie swimmers will be hitting the lanes at the Melbourne Sports and Aquatic Centre from Tuesday, June 13 till Sunday, June 18. The aquatic superstars will be battling it out to make it to the World Aquatics World Championships in Fukuoka, Japan in July — you can expect familiar faces like Ariarne Titmas, Mollie O'Callaghan and Kyle Chalmers (to name just a few). Specifically, our winner will receive day passes for themselves and a mate (or date) to the Swimming Australia World Championship Trials on Saturday, June 17 and Sunday, June 18, plus one night at Middle Park Hotel and dinner for two at Chez Bagou on Saturday, June 17. It's the perfect getaway in South Melbourne for any swimming lovers — or those that just love cheering on our athletes. Enter and be in with a chance to see our Aussie swimming heroes in action. [competition]901032[/competition]
Ora has been a hotspot for coffee and brunch lovers in Kew for quite some years now. Most days, locals fight over the few seats inside and out in the garden to score some of the best brekkie in the area — often waiting quite a while to get a spot. It's clear that Ora outgrew its small site a while ago. But instead of having to relocate, the team was given the opportunity to knock down a wall and take over the space next door. Thankfully, they took the leap and expanded the cafe, so it now holds up to 40 people inside and out. While they were at it, they also redesigned the whole cafe to have a more contemporary and high-end feel, and chose to extend the opening hours from Wednesday to Saturday. It's all change at Ora. Now instead of being kicked out after lunch service, locals can stick around for some wines and share plates late into the night. Head Chef Adam Hutchings (ex-Soho House) has dreamt up the new evening menu, cooking up a broad-reaching selection of dishes that include crispy whitebait with yuzu mayo, pea and preserved lemon arancini, 12-hour barbecue beef brisket and king prawn skewers paired with chimichurri. Manager Alex Damoulakis has curated a list of wines from local and international makers and picked a few classic Med-inspired cocktails to serve at night — or during a boozy brunch. The area's food and drink scene is truly booming right now. Recently, Studley Park Boathouse, Mister Bianco, Skinny Dog and The Clifton Hotel have all had makeovers and expansions. Ora is but the latest to join the club. You'll find the newly renovated Ora at 156 Pakington Street, Kew, operating from 7am–2pm on Tuesdays, 7am–late Wednesday–Friday, 8am–late on Saturdays and 8am–2pm on Sundays. You can find more details at the venue's website.
So, what did you get up to last night? Did you have a big one? Hey, no judgement. That's the fun of living in Melbourne — there's always something to do, and one wine can always turn into many, or quiet beers into a loud, lengthy evening. But then the not-fun bit arrives: the pounding hangover with the dry mouth and churning stomach. Thankfully, as well as an abundance of bars, Melbourne has an abundance of understanding cafes and restaurants to cure what ails you, even if what ails you is self-inflicted. What makes a good place to eat away your hangover? The food, obviously — and a good balance between grease and carb, savoury and sweet. You need food that will restore you but not put you into a food coma for the rest of the day. A hungover person has other requirements, such as a quiet atmosphere, friendly service and uncomplicated menus. And absolutely no children. Their joyful laughter and hopeful faces aren't what you need in a post-boozing state, and we wouldn't put you through that. With all of that in mind, we've teamed up with American Express to uncover the definitive list of Melbourne's best places to turn your hangover around — or at the very least, where you can tap your American Express® Card and go with the least amount of human contact as possible. Add these spots to your rotation, and you'll start to feel human again in no time. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
Following three sell-out events in Sydney, which featured MasterChef Australia champ Adam Liaw, Adelaide's Africola chef Duncan Welgemoed and dumpling master from Lotus Dining Group Chris Yan, Red Rock Deli is putting together its first Melbourne secret supper. This time it's bringing one of Melbourne's most renowned chefs to host an exclusive dinner for some very lucky Melburnians. Paul Turner (from Melbourne bar Lover) is behind the next mouth-watering feast, which will is inspired by Red Rock Deli's new Parmesan & Truffle Deluxe Crisp flavour. All the details are very much under-wraps, including what he'll be cooking up. But, despite everything being very hush-hush, here's what we can reveal: Turner will be cooking up a storm on Thursday, September 19 and his dinner will be inspired by foraged foods — so expect a healthy dose of truffle and a menu packed full of flavour. Even better? You'll be treated to matching wines throughout the feast, too. We can also tell you that this experience will involve more than just the dishes — after arriving at the collection point in Melbourne's CBD, you'll be whisked away to a mystery location where you can expect everything from the decor to the food to have a foraged theme — although the menu will remain a secret until you arrive. There are two sessions of this lavish dinner, with room for just 20 guests at each. Tickets to Paul Turner's secret supper cost $110 per person. Enter the ballot below to be given the chance to purchase tickets. The lucky winners will receive a secret link to buy tickets to the evening on Thursday, September 19. Please note, the Secret Supper menu will not cater to ANY dietary requirements or allergies. There are strictly no changes to the menu. [competition]737439[/competition] Image: Parker Blain
Gauchito Gil is Argentina's Robin Hood. As such, it seems fitting that Australia's own Malbec World Day has been borrowed from the South American country, where the majority of the world's malbec comes from. If this day is a donation from the grape god, it's one we're happy to accept. After a successful three years, Gauchito Gil is once again bringing Malbec World Day to Melbourne with a five-hour wine bonanza at North Melbourne's Meat Market on Sunday, April 17. The event comes from the organisers of the Pinot Palooza and Game of Rhones, and mirrors the free-reign tasting set up. Your $50 ticket will include a wine glass, and from there you'll be able to move around, sampling over 80 Australian and Argentine Malbec varietals. Other events have been known to get a little boozy, so to soak up all that wine there will be top-notch empanadas from Piqueos, The Mill House, El Alamo, Gertrude Street Enoteca and Sydney's Porteño — all vying for the prestigious Golden Empanada award. It really doesn't matter if you know everything there is about malbec or if you don't know much at all, because Malbec World Day is about education and celebration of the Argentine grape. And what better way to celebrate than with an bottomless glass of wine?
If there's one thing the world probably doesn't need more of, it's drive-thru fast food joints. But hey, when doughnuts are involved, anything goes. Especially when they're free. So Krispy Kreme's gearing up to open the doors to a new Victorian drive-thru doughnut store in Bulleen, in Melbourne's northeast. And to celebrate, it'll be giving out a hefty 10,000 free original glazed doughnuts to punters who visit the store on opening weekend, between February 9 and 11. You won't even need to leave your car to grab your signature glazed freebie, though if you'd rather not feel quite that lazy, you can physically head in and check out the new digs. The store's got room for 80, which seem excessive for a doughnut store that's schtick is drive-thru, as well as outdoor seating and a 'hot now' light signalling when the doughnuts are coming in fresh off the line. Obviously, Melbourne has many a doughnut shop — from Greek to artisan earl grey and rose cake rounds to the hot meat variety — that we'd recommend over Krispy Kreme, but if you're keen on novelty and free stuff, hop to it. The doughnuts will be free from 8am on Friday, February 9 until Sunday, February 11, and the story is open from 6am till 11pm daily. There's a limit of one per person.
It has finally happened, Melburnians. After two prolonged periods spent empty this year, with projectors silent, theatres bare and the smell of popcorn fading, Melbourne picture palaces are back in business. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer from this week. https://www.youtube.com/watch?v=ufBK5XheeCU THE BEE GEES: HOW CAN YOU MEND A BROKEN HEART It starts with the disco beats of 'Stayin' Alive' echoing through the cinema. Although he doesn't ever phrase it quite so bluntly, it ends with surviving Gibb brother Barry wistfully and wishfully applying that song's title to his siblings and fellow Bee Gees members Robin and Maurice. In-between, career-spanning documentary The Bee Gees: How Can You Mend a Broken Heart steps through all of the band's ups and downs — from the group's humble beginnings when its members were growing up during the British-born trio's childhood stint in Brisbane, to the rollercoaster ride that saw them top the music world several times but also endure time both apart and off the charts. As tales of fame, fortune and trying to survive go, this one has everything, including brotherly rivalries, tabloid-fodder weddings, shock splits and comebacks, and drugs and the stereotypical celebrity lifestyle. It also spans a public call for their music, and the disco genre they were virtually synonymous with in the late 70s thanks to the mega-hit Saturday Night Fever soundtrack, to be literally blasted into smithereens. Through candid recent chats with Barry, as well as the use of archival interviews with Robin and Maurice before their deaths, director Frank Marshall (Arachnophobia, Alive) details it all. From early success 'Spicks and Specks' (aka the song now used as a theme tune for the TV quiz show of the same name) through to the post-Saturday Night Fever single 'Tragedy' — and yes, featuring the track that gives the movie its title as well — How Can You Mend a Broken Heart surveys the band's enormous contribution to music, of course. Getting a Bee Gees' song stuck in your head, or several, is part of the experience of watching. So is instantly imagining how tunes such as Diana Ross' 'Chain Reaction' and Dolly Parton and Kenny Rogers' 'Islands in the Stream' would've sounded if the Gibbs had sung as well as penned them in their second life as hit songwriters for other acts. But, whether you've cut a rug to 'You Should Be Dancing' before or you've only ever paid attention to their music in passing, what resonates in this thorough documentary is its candour and its detail, especially when it is focusing on Barry, Robin and Maurice's brotherly relationship and their artistry. Less successful are the intertwined interviews with other musicians, including Noel Gallagher noting that working with family can be a blessing and a curse and Chris Martin spouting mumbo jumbo about how tracks just come to musos out of the air, which always feel like superfluous padding in a fascinating and involving doco that definitely doesn't need it. https://www.youtube.com/watch?v=VFOrGkAvjAE SOUND OF METAL When Sound of Metal begins just as its title intimates, it does so with the banging and clashing of drummer Ruben Stone (Riz Ahmed, Venom) as his arms flail above his chosen instrument. He's playing a gig with his girlfriend and bandmate Lou (Olivia Cooke, Ready Player One), and he's caught up in the rattling and clattering as her guttural voice and thrashing guitar offers the pitch-perfect accompaniment. But for viewers listening along, it doesn't quite echo the way it should. For the bleached-blonde, tattooed, shirtless and sweaty Ruben, that's the case, too. Sound of Metal's expert and exacting sound design mimics his experience, as his hearing fades rapidly and traumatically over the course of a few short days — a scenario that no one wants, let alone a musician with more that a few magazine covers to his band's name, who motors between shows in the cosy Airstream he lives in with his other half and is about to embark upon a new tour. That's not all the film is about, though. Ruben's ability to listen to the world around him begins to dip out quickly and early, leaving him struggling; however, it's how he grapples with the abrupt change, and with being forced to sit with his own company without a constant onslaught of aural interruptions distracting him from his thoughts, that the movie is most interested in. With apologies to cinema's blockbusters (which usually monopolise the sound categories come Oscars time), no other feature this year mixes its acoustics together in as stunning and stirring a fashion, and also bakes every single noise heard into its script, and its protagonist's journey, as well. As Ruben takes up residence at a rural community for addicts who are deaf, it expresses Ruben's distress at his situation as immersively as possible; 'intense' is the word for Sound of Metal, but it's also a term that doesn't completely do the movie justice. Making his feature directing debut, and co-writing another screenplay with filmmaker Derek Cianfrance as he did with 2012's The Place Beyond the Pines, Darius Marder turns his picture into a masterful exploration and skilled evocation of the kind of anxiety that's drummed deep into a person's darkest recesses. Viewers don't just hear what Ruben hears, but also feel what he feels as he rages and rallies against a twist of fate that he so vehemently doesn't want yet has to live with. While the film specifically depicts hearing loss, it's so detailed and empathetic in conveying Ruben's shock, denial, anger and hard-fought process of adjustment that it also proves an astute rendering of illness and impairment in general. That's Ahmed's recent niche, as also seen in this year's Berlinale-premiering Mogul Mowgli, and his powerfully physicalised performance shows the fight and fortitude required for Ruben to learn to cope. Sound of Metal is screening in select cinemas in Melbourne, and is also available to stream via Amazon Prime Video. Read our full review. https://www.youtube.com/watch?v=TJ0jBNa6JUQ THE PROM A word of warning to filmmakers eager to make the next big on-screen musical: cast James Corden at your peril. It may now seem like a lifetime ago that Cats proved a gobsmacking catastrophe, but that 2019 movie's horrors are impossible to shake — and while Corden's latest, The Prom, thankfully doesn't resort to repeating the word 'jellicle' over and over again to try to convince the world that it means something, it still follows in the feline-focused flick's paw prints as this year's all-singing, all-dancing misfire. The two films' common star is grating and relies upon gratuitous overacting in both features. He's hardly alone in bombing and flailing, though. In The Prom's case, a 2018 Broadway success with an important message about acceptance and being true to one's self has been transformed into an over-long star vehicle, as well as a movie that can't see past its sequin-studded pageantry and smug attitude to actually practise what it preaches. Its continually, needlessly and irritatingly circling cinematography captures its struggles perfectly, because The Prom is too caught up in shiny things, recognisable faces and disposable songs to let everything that should matter, including its main statement, have any real impact. Miscast from the get-go, Corden plays Barry, a Broadway veteran playing second fiddle to multi-Tony-winning drama diva Dee Dee (Meryl Streep, Little Women) in Eleanor!, a new production about former US First Lady Eleanor Roosevelt. Initially, the pair is on top of the world after the show's opening night — but then the reviews start piling in and piling on. Distraught from the critical savaging as they drown their sorrows with perennial chorus girl Angie (Nicole Kidman, The Undoing) and Juilliard-trained actor-turned-sitcom lead-turned bartender Trent (Andrew Rannells, The Boys in the Band), they concoct a plan to get back in the showbiz industry's good graces. Scrolling through Twitter, Angie spies a news story about Indiana teenager Emma (feature debutant Jo Ellen Pellman), whose high school has just completely cancelled the prom because she wanted to bring her girlfriend. As quick as a burst of confetti, Barry, Dee Dee, Trent and Angie are on a Godspell tour bus to America's midwest to rally against this injustice and whip themselves up some flattering publicity. In the screenplay written by Bob Martin and Chad Beguelin, both of whom worked on the original stage production, this is all meant to be a joke: that fading, has-been and never-were celebrities shallowly and calculatingly try to use one young woman's horrific plight for their own gain, that is. But The Prom likes the gag so much that it misguidedly decides that favouring stars over substance is the best approach in general. The Prom is screening in select cinemas, and will also be available to stream via Netflix from Friday, December 11. Read our full review. https://www.youtube.com/watch?v=ykWO1FhqTfo THE TROUBLE WITH BEING BORN For decades across the page and screen, science fiction has pondered just where artificial intelligence might take humanity, in ways both positive and negative. The field of science has as well, making some of those possibilities a reality already — however, as The Trouble with Being Born makes clear, we shouldn't just be wondering what AI can do for us, but also what it will and does reflect about our nature. This Berlinale-premiering feature from Austrian director Sandra Wollner asks a plethora of questions, all of them difficult and provocative, about the role of robots in our future. It explores the possibility of becoming dependent on android substitutes for human contact, including in acceptable and abhorrent situations, and examines the emotional toll for both sides of the relationship. With a steely look that's purposefully disconcerting, an opening scene that aims to assault and disrupt the audience's senses to leave them interrogating and intricately observing everything in front of them, and a willingness to pose a severe worst-case scenario (by implication, rather than gratuitous detail), The Trouble with Being Born aims to make its audience uncomfortable while probing these thorny ideas. That it initially focuses on a ten-year-old android girl called Eli who is deployed by her flesh-and-blood owner as a stand-in for his runaway daughter speaks volumes. In Australia, The Trouble with Being Born will always be marked by controversy. It's the movie that the Melbourne International Film Festival scheduled for its 2020 online-only event, then pulled from its lineup after a backlash caused by an article in The Age, which quoted concerns by forensic psychologists specialising in child abuse cases who had either not watched the film in full or at all. But Wollner's feature has taken great pains to approach its subject carefully and sensitively — its child star, Lena Watson, goes by a pseudonym, and is disguised in the movie by under a silicone face mask and via CGI — and to engage viewers in an unnerving but intelligent series of questions about its topic and scenarios. While it rarely makes for straightforward viewing, it's also one of the year's essential films. It is cinema's place to challenge, and to examine aspects of life that are tough and unpleasant; making her second full-length movie after 2016's The Impossible Picture, Wollner accepts and embraces that task. She explores identity and memory as well, and the role in the latter in shaping the former. And, she adds a film both distinctive and important to the growing list of works (see also: AI, Her, Ex Machina, Blade Runner and Blade Runner 2049) that ponder what the creation and use of AI says about humanity. https://www.youtube.com/watch?v=zi2MK9K1hxc THE GODFATHER CODA: THE DEATH OF MICHAEL CORLEONE The Godfather saga might eventually gain a new chapter. In this time of constant remakes, reimaginings and decades-later sequels, absolutely nothing can be discounted, after all. But The Godfather Coda: The Death of Michael Corleone isn't a new addition to the gangster epic. Rather, it's a recut version of 1990's The Godfather Part III, aka the least acclaimed movie in the Francis Ford Coppola-directed trilogy. As his multiple versions of Apocalypse Now have shown over the years, the filmmaker has a penchant for tinkering with his past work. We've all looked back and wished we could do something over gain, so he's doing just that (last year, he not only released another new version of his Vietnam War masterpiece, but of The Cotton Club as well). Here, by renaming the revised third Godfather movie Coda, he's repositioning as well as re-editing, though. Coppola is telling the world that he sees this feature less as a second sequel and more as an epilogue to the first two exceptional Godfather movies — a message that might seen a bit cheeky, especially given how much this new iteration has in common structurally with the first film, but encourages viewers to give The Death of Michael Corleone more distance from its two Oscar Best Picture-winning predecessors than its has otherwise been afforded. Both upon its release three decades ago and again now, Coppola's third Godfather film doesn't match his first two. It suffers from Robert Duvall's absence, after the studio wouldn't pay him what he asked for to return a third time — and also from Sofia Coppola's inexperienced presence, with the On the Rocks director co-starring as Mary Corleone, daughter to Al Pacino's titular Michael, after Winona Ryder dropped out just before shooting started. But it's still an interesting, ambitious and mostly engaging movie, endeavouring to chart the struggle its eponymous figure endures as he tries to divest himself from illicit dealings and go legit. If you've ever heard the oft-quoted line "just when I thought I was out, they pull me back in", you'll know that achieving this plan isn't easy. Also on the elder Coppola and writer Mario Puzo's minds here: how that back-and-forth struggle between the life one knows and the better future they've been striving for ripples down through later generations, as seen through the inclusion of Andy Garcia as Michael's hotheaded nephew. The changes made to turn The Godfather Part III into The Godfather Coda: The Death of Michael Corleone are minor, other than the astute moving of one pivotal scene from partway through to the film's beginnings; however, as intended, it welcomely forces a revisit and re-evaluation with fresh eyes. https://www.youtube.com/watch?v=YqEQyL8prJg&list=PL6F30AC1F68415FCE IN THE NAME OF THE LAND In We'll End Up Together, French filmmaker and actor Guillaume Canet directed a sequel to his friendship-driven drama Little White Lies, this time ruminating on his characters' choices and struggles years latter. In La Belle Époque, he played the man behind a company that lets anyone pay to recreate the place and time of their choosing, whether to enjoy a life they didn't get to live, temporarily try to correct past wrongs or revel in happier memories. His third release to reach Australian cinemas this year, In the Name of the Land is a vastly different film — but it too is about someone grappling with his chosen path and wondering what might've been. Here, Canet steps into the shoes of Pierre Jarjeau, who returns to his dad's (Rufus, Amelie) modest farm in 1979 after a stint on a vast Wyoming cattle ranch and, with a 25-year-old's hope for the future, instantly agrees to take over the family property. Fast-forward to the mid to late 90s, when the majority of the movie takes place, and Pierre is saddled with debt and trouble. He's still repaying his father, the price he earns for his produce just keeps dropping and, despite his wife Claire's (Veerle Baetens, The Broken Circle Breakdown) disapproval, he's certain that expanding and taking on bigger loans is the only way forward. Pierre's plan requires building a coop to house 20,000 chickens — livestock he doesn't currently farm — and getting into bed with a giant agriculture company to do so. First-time feature writer/director Edouard Bergeon bases In the Name of the Land on his own father's story, and it's a grim one, as every move Pierre makes seems to place the Jarjeaus in a worse situation with ever-increasing stress and higher stakes. Given that this is a personal tale and topic for the filmmaker, it's hardly surprising that he draws such nuanced and authentic performances from Canet, Batens and Rufus, and from young actor Anthony Bajon (The Prayer), who is virtually playing the director's on-screen surrogate. The prominence given to the gorgeously shot landscape, including golden and green fields that stretch as far as the eye can see, isn't the least bit astonishing either. And, neither is this solemn but passionate movie's unshakeable condemnation of the current state of French agriculture, and of the very real toll that the push towards corporations and mass production is taking on those who dedicate their life to working the land. https://www.youtube.com/watch?v=47ooNWugxRE OLIVER SACKS: HIS OWN LIFE Three decades ago, one of neurologist and writer Oliver Sacks' books was turned into a film. Drawn from his time in the late 60s treating patients with encephalitis lethargica — people catatonic thanks to a pandemic that spread around the world between 1915–26, and still hospitalised across all those intervening years — Awakenings brought an astonishing true tale to the screen, with Robin Williams playing Sacks' on-screen surrogate and Robert De Niro co-starring as one of the afflicted. The work that led to the text, and the fact that it was adapted into a movie, are both significant achievements. But Sacks' life was filled with many remarkable acts, deeds and successes. He passed away in 2015 aged 82; however, documentary Oliver Sacks: His Own Life assembles a wealth of footage shot as he was facing his end and looking back on his ups and downs. Days after he was diagnosed with terminal cancer earlier that year, he penned an article for The New York Times, called My Own Life, about learning the news — and that same year he published an autobiography, On the Move: A Life — so sharing his thoughts to camera, and stepping through the ebbs and flows of his life that brought him to that junction, was a natural extension of a reflective process he was already going through. There's much to look back on; Sacks might've dedicated his medical career to getting inside the minds of others, and to advancing the understanding of many conditions that affect the brain, but his own life could inspire a comparable wealth of material. Consequently, filmmaker Ric Burns (Made for Each Other: A History of the Bond Between Humans and Dogs) has the job of synthesising the abundance of incidents and details from his subject's eight-decade existence into a thorough and accessible 111-minute film — a considerable feat, but one he masters. Whether you're familiar with Sachs and have read his popular books, you only know him via Awakenings or you're a complete newcomer to his tale, His Own Life unfurls not just the requisite biographical data, but a true sense of spending time in Sachs' inimitable, always-curious, incessantly-thoughtful company. That, and his outlook as he was forced to face the end of his days, are the gifts this doco gives audiences. Sachs' friends and colleagues all pop up as talking heads, offering their recollections and thoughts as well, with Burns structuring his picture in a straightforward fashion — but there's nothing standard about the man at the touching movie's centre, or everything that comprised his life. https://www.youtube.com/watch?v=fv99TgifpH0 A CHRISTMAS GIFT FROM BOB The true tale behind 2016's A Street Cat Named Bob and now this year's A Christmas Gift From Bob is undeniably heartwarming, especially for anyone who has welcomed a pet — and a friendly feline at that — into their lives and been forever altered for the better. Homeless and struggling to kick a heroin habit, James Bowen finds the companionship and purpose he needs in a ginger kitty that wanders off the streets and into his flat. A firm bond is forged, and much changes for both the two-and four-legged sides of the relationship. That's the story that the first movie charted. This sequel now picks up after Bowen has become a literary success from turning his kinship with Bob into a bestselling book, although he's still busking, selling The Big Issue and working hard to get by. The struggle with both movies, however, is just how sappy and soppy everything feels at every single moment. It really shouldn't take much to be moved by Bowen and Bob's tale, but these films push the sentiment so forcefully, completely failing to trust that viewers will connect with the story without an overdose of mawkishness. It was true of A Street Cat Named Bob, and it still rings accurate in A Christmas Gift From Bob — which, as the moniker makes plain, is set during the festive season for an extra stint of heartstring-pulling. Life may have improved for Bowen (Luke Treadaway, Unbroken) thanks to Bob, but it doesn't take much to put the pair in a precarious situation. A Christmas Gift From Bob's big dramas come in the form of animal control, who threaten to take the cute cat away after they see him out with his owner in the chilly winter weather. That this happens just as Bob needs veterinary attention adds another layer, as does the easily spiral Bowen navigates due to living on a financial knife's edge. In a nicely drawn performance, Treadaway gives his role more depth than either director Charles Martin Smith or writer Garry Jenkins ask for. Alas, that the former's resume also spans Air Bud, Dolphin Tale and its sequel, and the slushy A Dog's Way Home, is telling — as is the fact that the latter returns after penning the lacklustre first Bob film. There's no point in A Christmas Gift From Bob where it isn't advising its audience how to feel via its dialogue, warm colour scheme and sugarcoating in general. There are zero moments that recognise that Bowen's plight doesn't need to be brought to the screen in such an overt and schmaltzy manner, either, and that both his experiences with Bob and in general are inherently affecting. And, even if you're the biggest feline fancier there is, not even a famous cat (playing himself no less) can patch over the movie's troubles, although its makers clearly think otherwise. https://www.youtube.com/watch?v=fla02yFATuY HOW DO YOU KNOW CHRIS? The sounds of You Am I's 'Berlin Chair' fill its opening moments. An Ivy and the Big Apples-era Spiderbait t-shirt is given by one person to another. The Sydney Olympics are mentioned, too. Accordingly, if Australian film How Do You Know Chris? didn't inform its audience that it was set in 2000, they'd be able to hazard a very firm guess anyway. Spilling out a plethora of details, then asking viewers to piece them together: that's this Melbourne-shot and -set drama's approach. Its characters are in the same situation, after the eponymous Chris (Luke Cook, Chilling Adventures of Sabrina) invites a disparate group of people to his apartment for a party. He gives them all different reasons for the shindig, including telling his boss Shane (Stephen Carracher, The Doctor Blake Mysteries) that it's costumed. He hires a waiter to serve beverages, to keep everyone socially lubricated. But, making them wait, drink, chat, get to know each other if they don't and work through long-held grudges if they're already acquainted — with commerce student Emi (Tatiana Quaresma, another The Doctor Blake Mysteries alumnus) falling into the first category, and high school classmates Justin (Jacob Machin, The Twilight Zone), Claire (Ellen Grimshaw, Bloom) and Blucker (Dan Haberfield, Wrong Kind of Black) in the second — Luke then takes his time to show up himself. Other guests are present, such as couple Ray (Lee Mason, Miss Fisher and the Crypt of Tears) and Dot (Lynn Gilmartin, The Very Excellent Mr Dundee), plus the kohl-eyed Christal (Rachel Kim Cross, Mr Inbetween) — all with different connections to the chameleonic Luke, which get teased out over the course of the film. As a result, first-time feature director Ashley Harris and screenwriter Zachary Perez (a fellow debutant) ask a considerable amount of their cast, with the party attendees' awkward chatter and the general uncertainty they feel about the event driving the majority of the movie. As for why everyone is there, that's a tense puzzle for How Do You Know Chris?'s on-screen figures, but not its viewers. While there's weightiness to the idea of someone taking stock of their existence by inviting key people who've made a mark on their life to the one gathering, and to the big reveal when Luke's guests discover the purpose of the shindig, the movie nonetheless feels overstretched. Still, for its first two-thirds, this low-budget Aussie effort makes the most of its main players, the suspense they're saddled with and the movie's apartment-set cinematography. https://www.youtube.com/watch?v=n-0bUxBs8lE THE WAR WITH GRANDPA There is very little that's impressive about The War with Grandpa, which is based on Robert Kimmel Smith's children's novel of the same name, other than its ability to repeatedly remind viewers that its adult leads have been in much, much better movies. The film not only nods to the Robert De Niro-starring Taxi Driver, but reunites him with his The Deer Hunter costar Christopher Walken. It has Uma Thurman playing the nagging mother of a black bob-wearing teenager called Mia (Decker, not Wallace, but the elbowing in Pulp Fiction's direction can't be accidental). These inclusions are meant to satiate adult audience members either watching along with their children, or just watching in general. Really, though, they just stress that this'll never rank among the standouts on De Niro, Walken or Thurman's resumes. It's unfair to compare The War with Grandpa with any of their career highlights, of course, but aside from its recognisable cast, this family-friendly comedy about a kid who overreacts when his grandfather moves in and takes over his bedroom doesn't boast anything other than overplayed and overly formulaic inanity. It's supposed to garner laughs from all ages; however, older viewers are unlikely to even crack a smile and kids 100-percent deserve more. After widower Ed (De Niro) has trouble with a supermarket self-checkout, accidentally becomes a shoplifter and causes a scene, his daughter Sally (Thurman) decides that it's time for him to live with her family instead of on his own. But her son Peter (Oakes Fegley, The Goldfinch) has to relocate to the attic to accommodate the household's new member and, really just because the movie's premise wouldn't work otherwise, he's brattishly unhappy about the change to the point of acting out. He declares war, in fact, even going as far as penning a letter announcing his plans — and soon grandpa and grandson are both engaged in a battle of escalating pranks over turf. While De Niro has plenty of forgettable features to his name (see also: this year's The Comeback Trail), he's also taken enough roles that just require him to be silly that his casting in films like this is no longer anywhere near funny. And director Tim Hill has a long history working on SpongeBob SquarePants, including helming this year's entertaining The SpongeBob Movie: Sponge on the Run, so it is easy to see why he was drawn to the project — this storyline would've likely worked well in an animated format, set under the sea, and with that zany critter facing off against a nemesis — but there's not even the slightest trace of engaging goofiness here. If you're wondering what else is currently screening around Melbourne, we've also picked the 12 best flicks that started gracing the city's silver screens when indoor cinemas were given the green light to reopen. When outdoor cinemas relaunched before that, we outlined the films showing under the stars, too. And, we've run through all the pictures that opened in the city on November 12, November 19 and November 26 as well. You can also read our full reviews of The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Les Misérables, Bill & Ted Face the Music, An American Pickle, On the Rocks, Antebellum, Kajillionaire, The Craft: Legacy, Never Rarely Sometimes Always, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon and Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour and Happiest Season, all of which have been showing in Melbourne since cinemas reopened. And, you can check out our rundowns of the new films that released in other cities over the past few months — on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5 — as a number of those movies are now showing in Melbourne as well.
The name of Melbourne’s new environmentally conscious art festival doesn’t exactly roll off the tongue. As a statement of intention, however, it could hardly be more apt. With a simple equation, the organisers of Art+Climate=Change 2015 hope to further public discussion about the potentially dire consequences of climate change. And thanks to the work of dozens of local and international artists, they just might manage to succeed. With works across a variety of mediums including sculpture, painting, photography, video art and performance, standout exhibitions in the five week, multi-gallery program include Hannah Bertram’s Global Dust Project at La Trobe University, Saving Seeds at the Centre for Contemporary Photography in Fitzroy, and an examination of post-Fukushima Japanese art at RMIT Gallery titled The Return of Godzilla. You’ll also be able to see the fruits of activist artist Amy Belkin’s ongoing Public Smog project, which includes billboards, websites and even an application to get Earth’s atmosphere on the UNESCO World Heritage List. For everything happening at Art+Climate=Change 2015, visit their website.
My my, how can you resist this? MAMMA MIA! The Musical is bringing its Greek-set onstage party back to Melbourne in 2023 — and if you're a musical fan, an ABBA devotee or perennially keen to indulge in 70s nostalgia, you'll want to be there. By now, the hit production is well-known around the world, including from previous Aussie runs. It has spawned not one but two movies, too. And, its tale of a young bride-to-be's quest to find her father before her wedding will liven up Princess Theatre from Wednesday, October 4. Here we go again with this restaging of the popular 2017 production, which is filled both with romantic chaos and 22 ABBA tracks. It's one of the biggest jukebox musical hits of the past quarter-century, in fact, as seen by over 65 million people worldwide so far. And, for this run, Elise McCann will be playing Donna Sheridan, after she played Ali in the 2009 season. Sarah Krndija (9 to 5 The Musical, Cruel Intentions: The 90s Musical and Friends! The Musical Parody) steps into Sophie's shoes, while Martin Crewes (Handa's The Phantom of the Opera on Sydney Harbour), Drew Livingston (War Horse) and Tim Wright (New Amsterdam) play her three potential dads. The story, as theatre audiences have enjoyed since 1999, follows 20-year-old Sophie, who is about to marry her fiancé Sky on the fictional Greek island of Kalokairi. It's her dream for her dad to walk her down the aisle, but courtesy of her mother Donna's old diary, she learns that her father could be one of three men: Sam Carmichael, Bill Austin or Harry Bright. Calling all dancing queens, obviously — with that track, the titular number, and everything from 'Money, Money, Money', 'Thank You for the Music', 'Super Trouper' and 'The Name of the Game' to 'SOS', 'Does Your Mother Know', 'Waterloo' and 'Knowing Me, Knowing You' featuring (and 'Take a Chance on Me', 'The Winner Takes It All' and, of course, 'I Do, I Do, I Do, I Do, I Do', too). The new Australian run hails from producers Michael Coppel, Louise Withers and Linda Bewick, plus Helpmann Award-winning director Gary Young, choreographer Tom Hodgson and musical supervisor Stephen Amos. Images: James D Morgan / David Hooley.
Openair cinema might normally be reserved for the balmy evenings of summer. But this month, The Rooftop at QT is bucking the trend. The sky-high hotel bar is taking advantage of its newly 'Melbourne-proofed' all-weather space and hosting a four-week series of free movie nights. Running each Tuesday night from August 9 to August 30, Cinema Nights on the Rooftop will be tapping into your nostalgia with a program of 90s cult classics. Smash-hit flicks Fight Club, 10 Things I Hate About You and The Matrix have already been confirmed, while the August 30 session is yours to decide, via a viewers' choice poll on social media. [caption id="attachment_862769" align="alignnone" width="1920"] Kate Shanasy[/caption] Screenings kick off at 6.30pm each week and while they're free to join, bookings are encouraged. Plus, if you've nabbed a booking, you'll score free popcorn to enjoy while you watch. A menu of cocktails and snacks will also be available to order — think, pulled pork nachos, stone-baked pizzas and 90s sips including a classic Cosmopolitan. And if you fancy keeping the midweek fun rolling, stick around for the DJ tunes that'll kick off after each flick.
UPDATE, August 16, 2020: Cold War is available to stream via SBS On Demand, Google Play, YouTube and iTunes. "I knocked, I cried; she wouldn't open up," sing violin and bagpipe-playing musicians in Cold War's very first moments. What apt and evocative words they prove. Set in a decimated Europe as the Second World War gives way to the film's titular period, Pawel Pawlikowski's sweeping, melancholic romance is steeped in a place and a time where deeds, sobs and pleas for help go unnoticed. The writer-director's native Poland might sport a facade of recovery, and charge a folk ensemble with crooning appropriated music to set the requisite tone, but the nation remains an unforgiving master for those that walk its lands. When the movie spends much of its second half in the jazz-soaked bars of the Parisian music scene, it treads through just as complicated terrain. Meeting during an audition — she sings and confirms that she can dance; he decrees that she has "energy, spirit; she's original" — Cold War's star-crossed lovers navigate a rocky path that unfurls across the 50s and 60s. Music director Wiktor (Tomasz Kot) is soon desperate to leave the country, an action that's as simple as walking across the border while touring near East Berlin. As rumours about her background demonstrate, the youthful Zula (Joanna Kulig) is not one to comfortably submit to anyone or anything. Other than the strength of their feelings, nothing is easy about Zula and Wiktor's relationship. Nothing is easy, period. The movie jumps forward in fits and spurts, and yet three things stay constant: music that adds a haunting soundtrack to both hopeful and bleak days; unease that chips away at even the happiest of times; and Zula and Wiktor, who forever orbit around each other. Cold War may be a film where the yearnings of the many go unnoticed by the cruel, harsh world, but the same never applies to the deep-seeded bond between its protagonists. Wiktor notices every sentiment and sensation that courses through Zula's veins, and vice versa. Yet their love can't penetrate the fraught, uncaring environment they're living within. There's a resigned air to the movie, one mirrored by the changing tones and moods of the song that Zula's always singing. Pawlikowski may have based the picture's narrative on the most personal of stories — that of his parents, who share the characters' names and earn the film's dedication — but his gaze is clear. The winner of the Best Director award at this year's Cannes Film Festival is resolute in depicting the oppressive turbulence of the era, and in relaying the crushing vagaries of life in general. Making his first movie since the similarly exceptional Oscar-winner Ida, Pawlikowski retains his penchant for crisp, black-and-white visuals, all constrained within tight 4:3 frames. The boxed-in shape draws the eye just as Zula and Wiktor are repeatedly drawn together, and the smaller space makes every detail count. As sumptuously shot by cinematographer Łukasz Żal, the result is imagery so dense, luminous and intoxicating that it seems as if the filmmaker is painting every possible emotion across the screen. Visions of cavernous churches and busy clubs prove pregnant with feeling, and the expressions adorning Kulig and Kot's faces even more so. Where Cold War is at its aesthetic best, however, is when the camera floats and wanders and keeps pace with the picture's main players. A fluid late dance scene where Zula moves with abandon to 'Rock Around the Clock', the lens following along with her, is filmmaking at its most enthralling. It helps that Pawlikowski and his frames clearly adore Kulig and Kot. It helps, too, that the entrancing central pair don't so much invite but demand adoration. Whenever the camera shifts away from either, their absence is instantly felt, although this masterpiece never shifts away for very long. Zula and Wiktor's knocks and cries might largely remain silent, yelled with their eyes rather than their words, however Cold War's devastating lead performances convey the impact of every internalised ache and pain. Indeed, in a bittersweet finale that sears itself into memory like few celluloid moments ever manage, Kulig and Kot unburden a world of insights about simply trying to survive. And they do so while uttering the scantest — yet still most utterly perfect — of lines. https://www.youtube.com/watch?v=kSYHHLk12x8
Sipping whisky in a plush rooftop bar perched 14 storeys up — that's a scenario that's bound to have you feeling pretty flash. And on Wednesday, August 31, it can be your reality, as Starward Whisky takes over the sky-high setting of Fable for a sophisticated booze-matched dinner. Guests will tuck into a seasonal three-course feast courtesy of Fable Head Chef Alex Xinis (Press Club, Hellenic Republic), with each dish paired with a different drop from Starward's award-winning range. Starward's Matty Follent will talk you through the evening's pours, including a couple of single malts, and a first taste of a yet-to-be-released peated number with notes of peach and tropical fruit. The feast will set you back $160, including a whisky cocktail on arrival. There are two sessions to choose from, at 5pm (buy online here) and 8pm (buy online here). Go for the former if you fancy pairing your dinner with some top-notch sunset vistas. Top Image: Nicole Cleary
Another day, another new Netflix show. This time, the streaming platform seems to be taking its cues from one of 2018's big-screen surprises. Two women met, became friends despite having very little in common, helped each other with their daily lives and then found themselves immersed in something murky in A Simple Favour — and now they're doing the same in TV series Dead to Me. Arriving in early May, the new ten-episode show stars Christina Applegate and Linda Cardellini, with the former playing a just-widowed woman trying to cope with losing her husband in a hit-and-run incident, and the latter popping up as a positive-thinking free spirit. They cross paths at a grief counselling session, and it's a definite odd-couple situation — which isn't helped by more than a few surprises. A dark comedy with plenty of twists, as based on the just-dropped first trailer, Dead to Me also features James Marsden among its cast, with the show created by 2 Broke Girls writer Liz Feldman. The series marks Applegate's first lead TV role since 2011-12 sitcom Up All Night, while it's a return to Netflix for Cardellini, who starred on the streaming platform's drama Bloodline — and also featured in A Simple Favour. Check out the first trailer below: https://www.youtube.com/watch?v=BwYBw1raC2o Dead to Me hits Netflix on May 3. Images: Saeed Adyani / Netflix.
Some things in this life are just meant to go together. Such is the way with Snowshoe to Fondue, the ultimate alpine holiday pairing for everyone who values the après in their skiing. Run by tour operators Alpine Nature Experience, Snowshoe to Fondue runs throughout the winter months in Victoria's Mount Hotham. The experience starts with a sunset hike through the snow-covered forest. Snowshoes enable you to 'float' rather than sink into the alpine landscape, so expect a breezy walk that just earns you the cheese extravaganza that is the real reason for this outing. The feasting takes place at Alpine Nature Experience's 'hidden eco-village', inside a tipi with a fireplace. Here, having enjoyed a warming glass of glühwein upon arrival, you'll be shown how to make a traditional Swiss fondue. A reminder if you haven't heard the word in a while: fondue involves melting cheese over a portable stove and dipping food into it. Why this gooey form of eating ever went out of fashion is a total mystery. Alpine Nature Experience's version is made with cheese imported from the French mountains — and it's bookended with soup and cake, making it a balanced three-course meal. The tour includes transport back to your starting point at Wire Plain, from where you can easily return to your accommodation at Mount Hotham and sleep the sleep of kings. Whatever adventures you've planned on the slopes for tomorrow, you'll be properly fuelled for them. Snowshoe to Fondue tours will run daily Wednesdays to Sundays until September 29. To make a booking, visit the website. Images: Fabio Olivera and Georgie James.
It has been more than two years since Australian fans of factual flicks were first able to head to streaming platform iWonder to get their documentary fix in a big way. It wasn't the first doco-focused service to hit Australia, and plenty of other other streamers also weave non-fiction throughout their catalogues — but it nonetheless launched with more than 500 hours of on-demand content available to Aussie viewers. Now, with more than 1000 titles in its lineup, the service is adding a new reason for Australians to drop by — for Sydneysiders at present, and for anyone who is placed under isolation orders in the near future. The platform has announced that it's offering 50 percent off its subscriptions for folks in lockdown. So, if you're a Sydney resident in need of something new to watch right now, after a couple of weeks at home and counting, this might be timely news. If you live elsewhere, you might want to bookmark this for later. Documentaries currently available on the platform cover a huge range of topics — from fast food social experiment Super Size Me through to gaming classic The King of Kong: A Fistful of Quarters. Other highlights include the exceptional Sherpa, which explores a series of tense incidents on Everest; Oscar-nominee For Sama, which was shot on the ground in Aleppo over five years; and both Whiteley and Basquiat: Rags to Riches, about the two artists. Under the lockdown deal, the $6.99 per month and $69.90 annual subscription fees will be halved to $3.50 and $35.50, respectively. New users will also receive the 14 days free as part of a trial. The service is available on iOS and Android, as well as online via its website, and on Telstra TV, Apple TV and Android TV — and can be cast to the small screen via Apple TV and Chromecast. The discounted price will remain in place for some time, too, because it's tied to Australia's vaccination rates. iWonder will offer the cheap rate until 75 percent of folks have access to the jab — but you'll have to be in an area under stay-at-home restrictions to only pay half-price. For more information about iWonder, or to sign up, head to the streaming platform's website. Top image: Sherpa.
The lull between the end of the Queen Vic Market's Summer Night Market in March and the start of the winter one in June is an annoying one — especially when you've just gotten used to spending Wednesday nights outdoors. To fill that gap, the QVM is launching an autumn European night market for the very first time this April. Get ready for Wednesday night paella, frites, barbecue, currywurst, all with a distinctly European flair, to help you celebrate the end of hump day or forget the disappearing summer. Europa is offering up a lot more than just food at its 20 food and 20 retail stalls. You can escape from the action over a beer at The Brexit Bar, join in at the silent disco or head over to the amphitheatre-style stage which will have live performances each week, all with roots in a new European region. Bringing some Spanish flamenco dancing, Ukrainian egg-dyeing, and French décor to the Queen Vic seems only fitting as the market has been a big part of the culture of Melbourne's European settlers since the 1830s. Europa Night Market runs from 5–10pm.
Throw those feathered headbands, bubble bottles and novelty gumboots in your rucksack, Splendour in the Grass is returning to North Byron Parklands for another year of festival merriment. Triggering road trippin' pilgrimages country-wide since 2001, Splendour is a locked-in date for many a festival reveller (with lineup announcements and ticket sales mornings causing widespread panic and cold sweats). So who's playing this year? Confirmed as headliners after an awkward leaked post by the duo on the Splendour website, Outkast will be taking out the top spot on the first night. After a seven-year hiatus, Big Boi and Andre 3000 made a triumphant return to the stage recently at Coachella Music and Arts Festival in California. Cailfornian festival favourites Foster The People were a 'Pumped Up Kicks'-loving Splendour crowd favourite in 2011 and will return with more material this year. British trio London Grammar will bring their ethereal trip hop to Byron after their billing last year didn't work out due to timing. Two Door Cinema Club and Lily Allen will return to Australia for their first shows here in over a year. But one of the biggest surprises is the addition of Brooklyn's beloved Interpol, who no one really saw coming. After letting tour plans slip on triple j, Sky Ferreira can now officially confirm her spot on the lineup, returning quite soon after a recent Australian tour. Others who couldn't keep away include Danny Brown, Childish Gambino, Darkside, Parquet Courts and CHVRCHES, all of whom recently played killer shows around these parts. The Australian contingent (lead by deadset legends Hoodoo Gurus) sees Angus and Julia Stone and Spiderbait return to the stage, as well as RÜFÜS, Vance Joy, The Preatures, Hilltop Hoods, Sticky Fingers, The Jezabels, Ball Park Music, Courtney Barnett, DZ Deathrays, Violent Soho and more homegrown favourites sure to prompt All The Singalongs. There's a few wildcards sure to stir significant hype closer to the date, including Icelandic melodic folkster Ásgeir, New York punk rockers Skaters and returning eclectic folk-pop queen tUnE-yArDs. Splendour in the Grass 2014 will take place from Friday July 25 through to Sunday July 27, returning to the festival's new home of North Byron Parklands, Yelgun. Full lineup: Outkast (Only Aus Show) Two Door Cinema Club (Only Aus Show) Lily Allen Interpol (Only Aus Show) Childish Gambino Foster The People Angus & Julia Stone City And Colour London Grammar Sam Smith Hilltop Hoods Vance Joy Darkside (Only Aus Show) RÜFÜS Ben Howard Kelis Metronomy Hoodoo Gurus Chvrches (Only Aus Show) Grouplove The Jezabels Tune-Yards 360 Wild Beasts Danny Brown (Only Aus Show) Illy First Aid Kit Violent Soho Ásgeir Spiderbait The 1975 Ball Park Music Art Vs Science Buraka Som Sistema (Only Aus Show) The Preatures Parquet Courts (Only Aus Show) Sticky Fingers Peking Duk Sky Ferreira Future Islands Courtney Barnett Phantogram DZ Deathrays Skaters Gossling Jungle The Strypes Hot Dub Time Machine The Kite String Tangle Ry-X Mikhael Paskalev Wave Racer The Acid Saskwatch Kingswood Circa Waves Broods Dustin Tebbutt The Head And The Heart DMA'S Darren Middleton Little May Darlia D.D Dumbo Tkay Maidza The Creases The Wild Feathers Chrome Sparks Fractures Mas Ysa Nick Mulvey Triple J Unearthed Winners Plus DJs & Producers: Nina Las Vegas Yacht Club DJs Motez Touch Sensitive Indian Summer Wordlife L D R U & Yahtzel DJs Cosmos Midnight Sable Kilter Basenji KLP Fishing DJs Paces Charles Murdoch More information over here at the Splendour website.
The month of May looks bright as another host of must-see art exhibitions take place across Melbourne and beyond. Head to MUMA to catch a rare exhibition by one of Australia's leading contemporary Indigenous artists, say goodbye to a Fitzroy art institution, and take in 31 highlights of Australian architecture by our pioneering practitioners. With twists on age-old mediums, contemporary works, photography, architecture and more, these eight exhibitions will more than satiate your art cravings this month. Drop by a gallery after work or make a day of it and visit a regional exhibition on the weekend — there's great art happening everywhere from the Mornington Peninsula to Shepparton.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=ngy7grwzFTw NOBODY As both a comedian and a dramatic actor, Bob Odenkirk has earned a lifetime's worth of well-deserved praise. Writing for Saturday Night Live and starring in Mr Show with Bob and David each sit on his resume, as does his pivotal part in Breaking Bad and lead role in the exceptional Better Call Saul. But in Nobody, Odenkirk highlights a facet of his work that's easy to overlook. Jumping into a new genre, he makes viewers realise a truth that cuts to the heart of his talents. Every actor wants to be the person that can't be replaced, and to turn in the type of performances that no one can emulate; however, only the very best, including Odenkirk, manage exactly that. A movie so forged from the John Wick mould that it's penned by the same screenwriter — and boasts the first film's co-director David Leitch (Atomic Blonde) as a producer, too — Nobody could've featured any existing action go-to. It could've been an easy knockoff of well-known hit, joining the swathe of direct-to-video and -streaming titles that use that very template. It could've given Bruce Willis his next role to sleepwalk through, added yet another Taken-style thriller to Liam Neeson's resume or proven one of Nicolas Cage's more straightforward vehicles of late. Thankfully, though, Nobody is all about the ever-watchable Odenkirk and his peerless and compelling ability to play slippery characters. When Nobody begins, Hutch Mansell's (Odenkirk) life has become such a routine that his weeks all unfurl in the same fashion. Plodding through a sexless marriage to real estate agent Becca (Connie Nielsen, Wonder Woman 1984), and barely paid any notice by his teenage son Blake (Gage Munroe, Guest of Honour) and younger daughter Abby (debutant Paisley Cadorath), he catches public transport to his manufacturing company job every weekday, always puts the bins out too late for the garbage truck on Tuesday mornings, and usually earns little more than polite smiles from his family while he's cooking them breakfast that they fail to eat. Then, the Mansells' suburban home is randomly burgled. Hutch confronts the thieves in the act, has a chance to swing a golf club their way, yet holds back. But when Abby notices that her beloved cat bracelet is missing in the aftermath, he decides to take action — a choice that leads him to an unrelated bus filled with obnoxious guys hassling a female passenger, and eventually sees unhinged Russian mobster Yulian Kuznetsov (Aleksey Serebryakov, Leviathan) threatening everything that Hutch holds dear. Read our full review. https://www.youtube.com/watch?v=g0ox9ExOA1M&feature=youtu.be THE FATHER Forgetting, fixating, flailing, fraying: that's The Father. Anthony's (Anthony Hopkins, Westworld) life is unravelling, with his daughter Anne (Olivia Colman, The Crown) springing the sudden news that she's about to move to Paris, and now insistent that he needs a new carer to replace the last home helper he's just scared off. He also can't find his watch, and time seems to jump suddenly. On some days, he has just trundled out of bed to greet the morning when Anne advises that dinner, not breakfast, is being served. When he brings up her French relocation again, she frostily and dismissively denies any knowledge. Sometimes another man (Mark Gatiss, Dracula) stalks around Anthony's London apartment, calling himself Anne's husband. Sometimes the flat isn't his own at all and, on occasion, both Anne (Olivia Williams, Victoria and Abdul) and her partner (Rufus Sewell, Judy) look completely different. Intermittently, Anthony either charms or spits cruel words at Laura (Imogen Poots, Black Christmas), the latest aide hired to oversee his days. She reminds him of another daughter, one he's sure he had — and preferred — but hasn't heard from for years. When he mentions his other offspring, however, everyone else goes silent. More than once, Anthony suspects that someone has pilfered his beloved timepiece, which just keeps disappearing. Largely, The Father remains housebound. For the bulk of its 97 minutes, it focuses on the cardigan-wearing Anthony as he roams around the space he calls home. But this is a chaotic film, despite its visual polish, and that mess, confusion and upheaval is entirely by design. All the shifting and changing — big and small details alike, and faces and places, too — speak to the reason Anne keeps telling Anthony they need another set of hands around the house. His memory isn't what it used to be. In fact, it's getting much worse than that. Anthony knows that there's something funny going on, which is how he describes it when his sense of what's happening twists and morphs without warning, and The Father's audience are being immersed in that truth. Anthony has dementia, with conveying precisely how that feels for him the main aim of this six-time Oscar-nominated stage-to-screen adaptation. As overwhelming as The Father can be as it wades through Anthony and Anne's lives, its unflinching and unsparing approach is anchored in kindness and compassion, which novelist and playwright turned first-time director Florian Zeller has brought to the screen in a stunning fashion from Le Père, his own play. Read our full review. https://www.youtube.com/watch?v=0Bb2d6DVY28 THE COURIER In 1960, in the thick of the Cold War, British businessman Greville Wynne was recruited by MI6. Chosen because he frequently travelled to Eastern Europe for work — and also because he wouldn't stand out in general — he was asked to visit Moscow numerous times, then return with information about the Soviet nuclear program as supplied by a contact within the Russian government. That's the true tale that The Courier explores, and it's an intriguinng one. Working together until around the time of the Cuban Missile Crisis in October 1962, Wynne and Oleg Penkovsky, his source, helped change the course of history. And yet, in a film that looks backwards not just for its content but also in its old-school style, director Dominic Cooke (On Chesil Beach) and screenwriter Tom O'Connor (The Hitman's Bodyguard) seem to have taken the wrong cue from the story they're telling. As everything from years of Bond flicks to Tinker Tailor Soldier Spy and Bridge of Spies have shown, Cold War spy movies have comprised their own genre for decades. The Courier knows this, and remains happy to blend in among its peers. It's solid but straightforward, always proving just engaging and rousing enough. It also boasts an excellent performance from Benedict Cumberbatch in his latest historical drama (see also: The Imitation Game and The Current War), but this espionage thriller still has less of an impact than it should. Indeed, Cumberbatch's efforts as an ordinary man in an extraordinary situation rank among The Courier's biggest highlights, alongside the real-life details it delves into. He's calm, flattered and even a little perplexed in early scenes, as Wynne is asked by the CIA's Emily Donovan (Rachel Brosnahan, I'm Your Woman) and MI6's Dickie Franks (Angus Wright, Official Secrets) to do his country and the world a favour. Soon, Cumberbatch is both confident and jumpy as Wynne travels back and forth, strikes up a genuine friendship with Penkovsky (Merab Ninidze, Homeland) and tries to keep the reality of his trips from his increasingly suspicious wife Sheila (Jessie Buckley, Misbehaviour). And, later, he's vulnerable but still determined. He takes the feature's biggest theme — loyalty — firmly to heart, and ensures that it seeps from his pores whether Wynne is in an easy, tricky or brutal scenario. It's still impossible not to notice how standard and risk-averse almost everything around Cumberbatch is, though; however, The Courier is never plodding. Still, there's a difference between skewing classic to do a narrative justice and boxing a true story into a template, with this film frequently leaning more towards the latter than the former. https://www.youtube.com/watch?v=kP9TfCWaQT4 TOM & JERRY Before Itchy and Scratchy started terrorising each other well beyond the bounds of normal cat and mouse antagonism, another feline and rodent pair got there first. Of course, The Simpsons' adversarial four-legged critters were designed to parody the characters created by William Hanna and Joseph Barbera more than 80 years ago, but they've long since supplanted Tom and Jerry as popular culture's go-to fighting animal duo. Perhaps the new Tom & Jerry movie is an attempt to push its titular creatures back to prominence. Perhaps it's just the latest effort to cash in on nostalgia while hoping that a new generation of children will be interested enough to warrant more big-screen outings, and therefore more chances to make some cash. Watching this all-ages-friendly hybrid of cartoon and live-action, it doesn't seem as if anyone involved knows quite why the film exists — not director Tom Story (Ride Along and Ride Along 2), who cares more about stressing the feature's hip hop soundtrack than paying much attention to its eponymous figures; not screenwriter Kevin Costello (Brigsby Bear), who pens a dull and derivative script about celebrity wedding chaos; and definitely not a cast that spans Chloë Grace Moretz (Shadow in the Cloud), Michael Peña (Fantasy Island), Rob Delaney (Catastrophe), Ken Jeong (Boss Level), Colin Jost (Saturday Night Live) and Pallavi Sharda (Retrograde), all of whom will forever have this misfire on their resumes. The animated animal action starts with Tom's latest vendetta against his long-time rival Jerry, after the latter destroys the former's keyboard and his music stardom dreams along with it. In his quest for revenge, the cat follows the house-hunting mouse to his newest abode at Manhattan's upmarket Royal Gate hotel, where the pair soon wreak havoc. Story and Costello prefer to focus on the resourceful and human Kayla (Moretz) at almost every turn, though. After talking her way into a job onsite, she's soon given two important tasks. The first: help ensure that the nuptials of two nondescript celebs (Jost and Sharda) go smoothly, which of course doesn't happen. The second: track down Jerry, which involves hiring Tom to assist. Somehow, Tom & Jerry is both lazy and overcomplicated. It does the bare minimum with its flesh-and-blood and pixel characters alike, all while completely forgetting that viewers have always loved Tom and Jerry for its fast, smart and entertaining slapstick antics (and definitely not because one day the duo might become bit-players in yet another flick about bland wedding dramas). When the film starts with pigeons rapping A Tribe Called Quest's 'Can I Kick It?' in its entirety, it begs an obvious question: who is this for? No one that's brought this movie to fruition seems to know the answer there, either — and they certainly haven't expended any energy on trying to make the feature funny, because laughs are absent from start to finish. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; and March 4, March 11, March 18 and March 25. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong and The Painter and the Thief.
UPDATE, July 24, 2020: Vox Lux is available to stream via Binge, Foxtel Now, Google Play, YouTube and iTunes. Fame's sharp edges have punctured the cinema screen several times of late. They cut deep in A Star Is Born's moving pop star epic, which tracked the ups and downs of celebrity with wrenching emotion and heightened drama. And they sliced superficially in Bohemian Rhapsody, as it neatly and cleanly explored Freddie Mercury's quest to remain true to himself as he stepped into the spotlight. In Vox Lux, the difficulties and complexities of success slash savagely and hack furiously, with Brady Corbet writing and directing a blunt yet brilliant onslaught of a movie. As he did in The Childhood of a Leader, the actor-turned-filmmaker relentlessly charts the ascension of an influential fictional figure who owes their rise to struggle and trauma. Perhaps unexpectedly, the difference between a troubled kid becoming a fascist ringleader in the former film and a shooting victim becoming a superstar singer in the latter is paper-thin. Celeste is that singer and, as Willem Dafoe's all-knowing, somewhat ominous narration explains, her story is significant. Initially just an ordinary American girl, she grows up to be a victim, then a symbol — and then a star and a pariah. As a teenager (Raffey Cassidy) in 1999, she escapes a Staten Island school shooting with a bullet lodged in her spine and disturbing memories embedded in her brain. Savvy even in her darkest hours, the 13-year-old parlays her distress into a heartfelt ballad with her sister Ellie (Stacy Martin), sparking global attention and a prosperous music career under the guidance of an opportunistic manager (Jude Law). As a long-established public figure (Natalie Portman) in 2017, Celeste has since endured the rollercoaster ride that is fame, and is worse for wear for the experience. She's now a largely absent mother to her own teen (also played by Cassidy), and a target for the tabloids, especially after a terrorist attack is carried out by perpetrators wearing costumes from one of her early music videos. Three acts of violence punctuate Vox Lux: the two mentioned above as well as 9/11. A classroom erupts with gunfire, ending Celeste's childhood. A plane hits the World Trade Centre, just as the rising star is farewelling her adolescence. A beach resort becomes the site of the world's latest massacre, all on the eve of Celeste's big comeback tour. Each incident proves the narrative equivalent to the sparing bursts of silence deployed by composer Scott Walker, punctuating his booming, needling orchestral score. They find further parallels in the soulful instances when cinematographer Lol Crawley peers closely at Celeste, lingers and truly sees her, rather than presenting the character as a product of her surroundings via mid and long shots. They're the moments when everything stops and changes, however Vox Lux is primarily concerned with the exact opposite. Tragedy strikes, and people are lost again and again, but life, pop music and celebrity worship all adapt, evolve and continue. A tale of multiple chapters, periods and sources of pain, all operatically building to a huge pop concert finale, Vox Lux knows that the show will go on. It also knows that everything comes at a cost, especially the type of whirlwind that transforms Celeste from a mousy slip of a girl to a strutting, spiky, leotard-clad adult with a chip on her shoulder as broad as her newly adopted accent. Penetrating insight is baked into the movie's frames, as its protagonist turns trauma into success, then sees her success defined by, reactive to and almost reliant upon the world's seemingly never-ending cycle of trauma. When tragedy and popular culture have become irreversibly intertwined, there's no alternative. There's no reprieve, either. As a result, when Portman's version of Celeste sings "I'm a private girl in a public world" during Vox Lux's third act (crooning bangers composed by Sia, who's responsible for all of the film's original pop tracks), it's the movie's most obvious observation. Still, it's also a powerful statement, recognising how hurt, despair, and humanity's darkest moments have become grist for the entertainment and escapism-driven mill that is our 21st-century existence. Corbet eschews subtlety for force, but he's smartly mirroring his subject matter. Everything that his film says about fame, celebrity, success, myth-making, trauma and public spectacle shouldn't come as a surprise. Yet there's knowing something, and then there's revelling in the crash, rush and mess that arises when a movie dissects its topic in such a provocative and piercing way. For a filmmaker whose visuals demonstrate a love of control — with every inch of Vox Lux proving as slick and stylish as a music clip, and as enamoured with its own style as well — Corbet also clearly loves chaos. He loves making a splash, engineering a reaction, then waiting for the fallout he knows will eventuate. When bullets intrude upon a classroom and later a beach resort, it's jarring. When the film flits from near-stilted scenes of violence to glossy concerts — and from staring up at New York City buildings to watching the younger Celeste grapple with her injury — it bathes in the evident contrasts. And when Cassidy's shy portrayal of Celeste gives way to Portman's larger-than-life vision, it's similarly grating by design. Indeed, the movie's two versions of its fractured protagonist, as played to perfection by its lead actors, couldn't better encapsulate Corbet's overall approach. For better and for worse, Celeste shines in the space where the fragile meets the gleefully in-your-face, and so does everything else about the exceptional, memorable Vox Lux. https://www.youtube.com/watch?v=fMCYE9hKP68
Opera on a regular stage is one thing, but opera performed on a floating openair theatre atop Sydney Harbour, under the stars? Well, that's some unforgettable stuff. Especially when it's Giuseppe Verdi's famed classic La Traviata that's being given the overwater treatment. The glamorous three-act show is the latest production announced as part of Opera Australia's Handa Opera series, supported by the folks at Destination NSW. It was set to pop up on the harbour in March 2020, but, because of COVID-19, it was postponed. Now, it has been announced that the show will (finally) go on in March 2021. Handa Opera on Sydney Harbour has pulled over 400,000 guests since debuting with La Traviata back in 2012, its mix of drinking and dining options, breathtaking views and nightly fireworks making it one of Sydney's must-try cultural offerings. It's also considered one of the world's best openair opera venues. The upcoming season will see director Constantine Costi heading up a bold new production of La Traviata based on celebrated director Francesca Zambello's original. It tells the famously heartbreaking tale of a free-spirited Parisian courtesan and her tragic love affair with a nobleman. [caption id="attachment_805194" align="alignnone" width="1920"] Prudence Upton[/caption] Expect to be wowed by a glittering nine-metre-high chandelier decked out with 10,000 crystals on stage, while world-class performers — with up to 70 on stage in ensemble scenes — deliver soaring renditions of legendary tunes like 'Sempre Libera' and 'Brindisi'. As you'll be hitting up such a world-class event, why not make a night of it? Make sure you arrive early to enjoy the Italian-themed pop-up food and drink stalls for a pre-theatre snack. And, for those looking to make the affair even more luxe, book in for a staycation by the harbour. Of course, Opera Australia's La Traviata will be a COVID-safe event, following all NSW Government health guidelines and procedures. Top image: Hamilton Lund
Mary, Queen of Scots is a film steeped in two time periods, yet firmly of the times. A historical drama set in the 16th century as two female monarchs battle for supremacy, it's also a movie that could've only been made today. The true tale itself has graced the screen before, but the angle favoured by this interpretation of the story is straight out of the #MeToo era. As much as Mary, Queen of Scots tells of its titular ruler (Saoirse Ronan) and her conflict with her cousin Queen Elizabeth I (Margot Robbie), it also explores the forces pitting them against each other and putting them in their places. When Mary returns to Scotland after a childhood spent in France, she regains her throne and sets her sights on her other birthright. The only legitimate child of King James V, she boasts a claim to England, even if Elizabeth already wears that crown. What follows is a quest for sovereignty by two relatives as different as they are alike. Mary is a teenage Catholic open to love, life and birthing a successor to both kingdoms, while Elizabeth is a Protestant who refuses to marry and isn't expected to bear an heir. But they're each headstrong, intelligent and passionate, and determined to fight for what's theirs regardless of the obstacles in their path. In a movie filled with men unhappy about serving the fairer sex, including Mary's disapproving half-brother (James McArdle), a scare-mongering religious leader (David Tennant) and Elizabeth's duplicitous chief advisor (Guy Pearce), there's no doubting how cruel the world can be to a woman in power. While political manoeuvring and machinations drive Mary, Queen of Scots' plot, confident first-time director Josie Rourke works with screenwriter Beau Willimon (House of Cards) to focus on the bigger picture. Behind both queens stands a line of wolves in sheep's clothing, complying with their rulers to the bare minimum and trying to push their own agendas. If the male posturing and plotting didn't ring so true, it might've felt like a forced, convenient modern revision designed to highlight that women still struggle to be taken seriously, even if their troubles are finally getting more attention. Sadly, men attempting to tear down female leaders hasn't gone out of fashion in the past five centuries. A veteran of the London stage before this, Rourke knows where the strength of the story lies. Although her handsomely mounted picture is based on the biography Queen of Scots: The True Life of Mary Stuart and clearly favours the Scottish monarch over her cousin, Mary's struggles are deepened by the comparison to Elizabeth. Indeed, through skilled, fluid cross-cutting, the film convincingly closes the gap between two women who only actually share one scene. Their face-to-face, when it comes, is climactic, emotional and memorable (not to mention strikingly staged by Rourke and her team), but Mary, Queen of Scots places them face-to-face from start to finish, in a manner. History branded Mary and Elizabeth competitors; this version of history sees them as kindred spirits. Still, for all of Mary, Queen of Scots' successes, it ultimately mirrors the plight of its protagonists: striving for greatness, and to make an impact, yet often weighed down. It's a fine, meaningful film that could've been stellar, but sometimes makes its minutiae feel routine and elongated. After a while, the letters back and forth, the scheming and strategies, and the fears and the threats all bleed into each other, even for those already familiar with the details. Thankfully, the same can never be said of 2018 Oscar nominees Ronan and Robbie, each worlds apart from their respective acclaimed roles in Lady Bird and I, Tonya. One is plucky and idealistic, the other fierce yet silently fraying, and both are tinged by exhaustion and frustration — not from squaring off against each other, but from simply fighting to exist. Any movie would be lucky to have them, and their equally timely and timeless vision of women holding their own. Mary, Queen of Scots is lucky to have both. https://www.youtube.com/watch?v=QEC-F8cBD9s
In the canon of Star Wars movies, there are now essentially four chapters: The Originals, The Prequels, The Sequels and The Spinoffs. The Originals (Episodes IV-VI) are, and perhaps always will be, the best of the bunch; a genre-defining, special-effects revolutionizing space saga of such epic proportions they remain, to this day, some of the most spectacular blockbusters ever made. The Prequels (Episodes I-III) are, and hopefully always will be, the worst of the bunch; a childish, CGI-heavy money spinner that played more like hastily written video games than films worthy of their iconic opening credits and characters. The Sequels (Episode VI-IX) are only one film in (with the second now in post-production), but it's safe to say The Force Awakens gave us exactly what we needed; a thrilling if rather familiar-feeling reboot with a talented, multi-dimensional and engaging new trio of stars to pick up where Luke, Han and Leia left off. That brings us to The Spinoffs, beginning with Rogue One and soon to include the untitled Han Solo origin story. In a way, while it's not given its own Roman numeral, Rogue One is a sort of Episode III-point-V – a nifty prelude to one of the most iconic please explains in cinema history: the Death Star's infamous design flaw. In Rogue One, audiences get the answer to two important questions: why the moon-size battle station had such an exploitable Achilles' heel, and how the Rebel Alliance found out about it. The former and weaker of these two revelations occupies the first two-thirds of the movie, whilst the latter gives it its much needed closing momentum. Leading the film's magnificent ensemble is Felicity Jones as Jyn Erso, the abandoned daughter of Galen Erso (Mads Mikkelsen), a famed Imperial scientist whose work proves pivotal to both the inception and design of the Empire's new super weapon. Unfortunately, Jones's dialogue does little to showcase her ability – frankly, much of Rogue One's screenplay leaves a lot to be desired. The two big exceptions are Forest Whitaker's eccentric character Saw Gerrera, and the Alan Tudyk-voiced droid K-2SO. In particular, the latter character's deadpan honesty helps cut through the film's often overwhelming sense of gloom. On the positive side, though, we again find in the Star Wars universe a film where gender holds zero stock as either an insult or a differentiator. Whenever a character's abilities are called into question, it's because of their experience or upbringing, not their reproductive organs, and Jyn is no exception. Alongside her, Diego Luna plays a conflicted assassin whose scenes repeatedly address the film's preoccupation with the hazy moralities of war, whilst the villain in Rogue One is a ruthless egotist named Director Krennic – played magnificently by Australia's Ben Mendelsohn. Though the film's various additional characters are too numerous to mention, one does command further attention – although in the interest of avoiding spoilers, we won't mention them by name. Suffice it to say, Rogue One reintroduces a key figure from the original Star Wars film, and does so by digitally recreating the deceased actor's face and voicing him with an impersonator. Sadly, the momentary joy experienced upon first seeing this familiar face quickly gives way to disappointment as the CGI falls short. An ultimately needless piece of fan service, the character's depiction pulls you out of the moment with such intensity that it takes several minutes to draw you back in each time he appears. As The Force Awakens proved, a tangible, human actor will always be preferable to a computer-generated one, and actors should sleep soundly in that knowledge. Nevertheless, Rogue One is overall an impressive and engaging exercise in nostalgia, full of delightful nods to the original trilogy. The movie's pacing, especially at the beginning, feels well off, jumping from character to character and location to location with surprising clumsiness. Fortunately, spectacular action sequences largely make up for this issue, most notably the climactic final battle and the scenes showcasing the Death Star's destructive capabilities – which even on their lowest power setting prove legitimately unsettling. Many Bothans may have died to bring us word of Death Star 2.0, but now, at long last, we can give names to those who did the same for the original – and it's definitely worth the price of admission. https://www.youtube.com/watch?v=frdj1zb9sMY
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE CONJURING: THE DEVIL MADE ME DO IT Starting in 2013 with The Conjuring, expanding with 2014's Annabelle, and also including The Conjuring 2, both terrible and much better sequels to Annabelle, the dismal The Nun and the formulaic The Curse of the Weeping Woman, The Conjuring Universe now spans eight evil-fighting flicks — and they're all as straightforward as it gets when it comes to battling the nefarious. Circling around real-life paranormal investigators Ed and Lorraine Warren, the franchise posits that the supernatural exists, darkness preys upon the innocent and its central couple usually has the tools to combat everything untoward. That template remains firmly in place in The Conjuring: The Devil Made Me Do It. With director Michael Chaves (The Curse of the Weeping Woman) and screenwriter David Leslie Johnson-McGoldrick (Aquaman) doing the honours — taking their cues from James Wan, the Australian Saw and Insidious co-creator who helmed the first two Conjuring flicks — it once again serves up the usual bumps, jumps and scares that have haunted this franchise since day one. That said, the third Conjuring flick within the broader Conjuring realm does attempt a few changes. Rather than getting creeped out by haunted houses, it gets spooked by a kid and then a teenager who are both possessed. True to form, bone-shakingly horrific things can't simply occur without some kind of excuse and entity at play. The Warrens (Patrick Wilson, Aquaman, and Vera Farmiga, Godzilla: King of the Monsters) are first tasked with saving eight-year-old David Glatzel (Julian Hilliard, WandaVision) from a demon after his family moves to stereotypically sleepy Brookfield, Connecticut. Their efforts seem successful, even if Ed has a heart attack mid-exorcism, but the evil force they're fighting has really just jumped ship. Arne Johnson (Ruairi O'Connor, The Spanish Princess), the boyfriend of David's sister Debbie (Sarah Catherine Hook, NOS4A2), is quickly besieged by strange occurrences. He's soon also covered in blood after stabbing his landlord to Blondie's 'Call Me'. The death penalty beckons; however, the Warrens convince Arne's lawyer to plead not guilty by reason of demonic possession — the first time that ever happened in the US — and then commit to unearthing whatever paranormal details they can to save his life. The trailer for The Devil Made Me Do It teases legal thrills, but in a bait-and-switch way, because this film is barely concerned with Arne's court case. The true tale, which was previously dramatised in a 1983 TV movie starring Kevin Bacon, merely provides an easy setup for souped-up demonic antics and a routine, happily by-the-numbers, never remotely terrifying threequel. Indeed, the fact that more flicks will undoubtably still follow is the scariest thing about the film. Read our full review. LAPSIS 9 to 5 and Working Girl hail from the genre. Everything from Office Space to The Assistant do, too. But films about working in offices, TPS reports and navigating the desk-based daily grind might eventually become a dying breed or a nostalgic retro curiosity. Because art always mirrors life, the gig economy may swoop in and draw the silver screen's focus instead. Sorry We Missed You already has in a resonant warts-and-all manner, and Lapsis now endeavours to do the same via a smart and searing sci-fi satire. There's much to ponder, probe and dissect about the mode of employment that's becoming the status quo, after all, and that isn't bound to change as it spreads and grows. Corporations don't just dictate workers' behaviour during office hours now, supplying a reliable wage and perks such as holiday and sick leave in return. Attempting to monopolise entire fields such as food and package delivery, transportation and caregiving, big companies (you know the ones) hire independent contractors, scrap the benefits, and keep them toiling on-demand or on-call just to earn the bare minimum. This new kind of technology-driven rat race has been normalised, and quickly — and what it means for the labour force, employment, capitalism, corporate greed, class structures and basic human rights demands to be interrogated in thousands of movies as sharp and scathing as this one. In Lapsis and its alternative vision of New York via writer/director Noah Hutton, quantum computing is the next big thing. It requires a network of giant metallic cubes connected via thick black wires, with stringing them together the gig economy's new growth area. It's such an in-demand field and so lucrative for workers, in fact, that cablers can earn thousands of dollars just for a weekend's work. They can also pay off their mortgages within months — if the advertisements spruiking the supposed new employment dream can be trusted, that is. Technology-phobic delivery driver Ray Tincelli (first-timer Dean Imperial) is sceptical, so much so that he won't even use a quantum computer himself, even though they're essential to viewing up-to-date websites and just generally existing in Lapsis' parallel world. But his unwell brother Jamie (fellow debutant Babe Howard) suffers from a pervasive form of exhaustion called omnia, and requires expensive medical treatment. After finding a way into the cabling industry via acquaintance Felix (James McDaniel, The Deuce), Ray's need to make a quick stash of hefty cash quickly overrides his misgivings. Read our full review. BREAKING NEWS IN YUBA COUNTY Celebrity worship is one of popular culture's stupidest side effects. Stars get paid well beyond the average person and live far more lavish lives, but yes, they're people too. And, even if you round up a hefty number of famous faces in the one movie — award-winners and -nominees among them — they can still make absolutely terrible career decisions. Case in point: Breaking News in Yuba County, exactly the type of film that dispels any ridiculous notion that well-known actors opt for better choices than the rest of us. No one has done themselves any favours by featuring in this equally derivative and preposterous mess. No one will by watching it either. Director Tate Taylor might have both The Help and Get On Up to his name, but this addition to his resume sinks lower than The Girl on the Train, Ma and Ava. First-time screenwriter Amanda Idoko pens a script that aims for quirky crime-comedy with a side serving of societal satire, but really just repackages every tired cliche and trope her chosen genre has ever brought to the screen, and every obvious observation about small-town life, middle-aged women and the media as well. Also, every performance seems pitched at a different type of picture to each other — and, even in the silliest cases, none of them gel with the film's perky, almost sitcom-esque aesthetic. Allison Janney (Bombshell) plays Sue Buttons, dutiful wife to local banker Karl (Matthew Modine, Operation Varsity Blues: The College Admissions Scandal). He's inattentive at the best of times, and she's too meek-mannered to say anything — but when she sneakily follows him to a hotel on her birthday, which he seems to have forgotten, their marriage takes a turn. Soon she's telling whoever will listen that Karl has gone missing. Her sister (Mila Kunis, The Spy Who Dumped Me) is a local news reporter, so TV attention follows. But Sue really just wants to be on one particular host's (Juliette Lewis, Music) show, and to elicit the kind of reaction the town has been giving the parents of a missing young girl. That's only part of Breaking News in Yuba County's narrative, though. Karl'x brother (Jimmi Simpson, Unhinged) is trying to go on the straight and narrow to please his pregnant wife (Samira Wiley, The Handmaid's Tale), but his ex-boss (Awkwafina, Raya and the Last Dragon) and her henchman (Clifton Collins Jr, Waves) would prefer otherwise. Jokingly at first, so would his new employer (Wanda Sykes, Black-ish), who is bored of just owning and running a furniture store. The more all of these characters' paths intersect — and those of a local detective (Regina Hall, Little), one of Karl's colleagues (Chris Lowell, Promising Young Woman) and his mistress (Bridget Everett, Unbelievable) as well — the more obvious three things are. Firstly, Idoko has clearly seen To Die For and Fargo more than once. Secondly, her script feels like it was written in the 90s, too, and then barely read again before filming started. And thirdly, this doesn't even approach the same league as its influences, or work as a goofier farce either. BYE BYE MORONS When Bye Bye Morons begins, it's with the kind of overdone setup that hardly screams 'Best Picture winner'. The film did indeed garner that gong at this year's César Awards — and six others as well — and, thankfully, twists its template beginnings into something far more intriguing than it initially seems set to deliver. When hairdresser Suze Trappet (Virginie Efira, Police) is told that she's afflicted with an auto-immune disease that stems from the chemicals she uses at work, and that it'll soon take her life, she's shocked and horrified. She also has unfinished business to attend to, after giving up a baby for adoption almost three decades earlier. That quest brings her into the path of civil servant Jean-Baptiste Cuchas (Albert Dupontel, also the movie's writer and director), who is being replaced by new technology at his paper-pushing job and happens to be staging a suicide attempt when Suze visits the office trying to track down her child. Soon, they're unlikely allies alongside a blind archivist (Nicolas Marié, Knock), and they're all endeavouring to thwart the multiple systems and bureaucracies that have defined and dictated so much of their lives. As its name makes plain, subtlety isn't Bye Bye Morons strong point, but when it finds its heartfelt groove, this French comedy also finds its charm. It helps that Dupontel has cast his feature superbly, including via his own involvement. The See You Up There filmmaker and star turns in a performance that's far more nuanced than the overwhelming bulk of the movie itself, as does the always-watchable Efira — with the pair playing exasperated ordinary folks who leap into outlandish territory not so much out of necessity, but in utter and gleeful defiance of the misfortune-laden cards that the world keeps dealing them. It also helps that, scripting with contributions from collaborating writers Xavier Nemo (Girafada) and Marcia Romano (Losing It), Dupontel fleshes out his characters more than his scenario. In fact, he makes his own on-screen job easier as a result. And, he gives his audience a much-needed anchor amidst all the broad, loose, chaotic and often over-the-top comedy he repeatedly swings in Suze and Jean-Baptiste's direction. Bye Bye Morons isn't short on plot, but when the feature is at its sweetest and most poignant, it's because viewers have become invested in its protagonists, their plight and their connection, rather than the ins and outs of their intertwined crusades. In fact, when the film is at its silliest — and when it attempts to wring easy comedy out of its absurdist and anarchic energy — it's a far less entertaining affair. BREAKING BREAD Food unites us all, or so the oft-spouted rhetoric tells us — and now documentary Breaking Bread does as well. On paper, it mightn't seem hard to demonstrate that every single one of us shares a need for sustenance and a love of culinary delights; however, debut writer/director Beth Elise Hawk doesn't merely explain what we already literally know in our guts. Instead, the filmmaker focuses on Dr Nof Atamna-Ismaeel. Originally a microbiologist, she became the first Arabic contestant to win Israeli's version of Masterchef back in 2014. After that pioneering feat, she set her sights on another: founding the A-Sham Arabic Food Festival in Haifa. Unity is baked into the fest's very existence, with the event bringing together chefs of both Arabic and Jewish descent to cook a range of Levantine dishes, and then share their creations with eager attendees. And, the festival's purpose is never far from view on the plate or in discussions with the participants. The common sentiment: while the conflict in Israel commands the bulk of the attention directed the country's way, that isn't the lived reality for most of the region's residents. Breaking Bread releases in Australia just as headlines again document rising tensions and increasing combat in the area, but Atamna-Ismaeel and her fellow chefs endeavour to espouse the opposite in their delicious-looking meals. The usual food documentary advice applies here, unsurprisingly, because watching on an empty stomach will only get tastebuds watering and hunger pangs grumbling. Hawk isn't above using slow-motion culinary shots that actively attempt to entice salivation, and to use them to pad out the already brief 86-minute feature. That said, every glimpse in the kitchen or at a plate is handsomely filmed, framed and staged, and is never too far away from lively conversation as well. Indeed, the movie's wide range of dishes might whet the appetite, but they're really just the entree. Alongside the engaging Atamna-Ismaeel, the festival's chefs speak through their backgrounds, cooking dreams, experiences with conflict and generational traumas in their own talking-head segments. The doco hears multiple accounts of how the simple act of eating, or of combining different types of food, can and has brought people together, and yet that kind of sentiment will never prove repetitive. Perhaps because of Atamna-Ismaeel's TV background, it's easy to see how a longer project that spent an entire episode or several with these interviewees would provide a satisfying meal — and get its audience thinking even further about the region, food and unity. MINAMATA It has been ten years since Johnny Depp starred in The Rum Diary, openly inviting comparisons to — and happily standing in the shadows of — his role in fellow Hunter S Thompson adaptation Fear and Loathing in Las Vegas 13 years earlier. Minamata boasts no ties to the gonzo journalist, but it does initially endeavour to ape Depp's past work; playing a hard-drinking member of the press will do that. This drama draws its details from reality, though, not mere impersonation. Its subject: photographer W Eugene Smith, and his late-career series of snaps in the titular Japanese town. Informed of a story worth his and the world's attention by a translator, Aileen Mioko (Miami, Tezuka's Barbara), who'll later become his wife, Smith (Depp, Waiting for the Barbarians) convinces his Life magazine editor (Bill Nighy, Emma) to dispatch him to capture the results of chemical company Chisso's dumping of mercury in the local water. It's an important story, both for the celebrated Second World War photographer at the waning end of his career and for the movie now telling the tale, although second-time director Andrew Levitas (Lullaby) stages his earnest adaptation of Aileen and Eugene's book in a blunt manner. It doesn't help that his film arrives after the far superior Dark Waters and its own story of corporate poisoning, or that Depp is once again the point focus in a story where his character is a white outsider looking in, as he also was in the woefully misguided City of Lies. As it charts Smith's quest to bring the coastal spot's plight to the world, as aided by activist Kiyoshi (Ryô Kase, To the Ends of the Earth), Minamata does boast one crucial factor — other than its grim real-life basis. Whether seen for the first time or the thousandth, Smith's photos of Minamata residents afflicted with mercury poisoning (or Minamata disease, as the severe neurological condition particular to the town has been dubbed) are nothing short of striking. Indeed, they say so much in their single frames that a movie like Minamata was always going to feel as if it's merely sketching in filler details around these unforgettable images. As a director working with first-timer David Kessler's script, Levitas clearly understands this, and obviously appreciates the weight and importance of Smith's revelatory snaps. Accordingly, the film is as much an origin story for these famous pictures as it is an explainer for the context around them. The most recognisable photo of all — Tomoko Uemura in Her Bath, which depicts mother Ryoko Uemura bathing her daughter Tomoko — understandably garners the most focus. It's here that Minamata is at its most urgent and affecting, but so much that surrounds it proves the antithesis of Smith's shots: derivative and cliched. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; and May 6, May 13, May 20 and May 27. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella and My Name Is Gulpilil.
Since Sally Rooney's Normal People first hit bookshelves in 2018, big things have followed. As well as becoming a bestseller, the Irish author's second novel was longlisted for the Man Booker Prize and won 2019's Book of the Year at the British Book Awards. The next step: bringing this tale of two teens and their complicated romance to the small screen, all courtesy of a new 12-part drama of the same name. In particularly excellent news for fans of the book, Normal People's TV adaptation is penned by Rooney herself — alongside fellow screenwriters Alice Birch (Succession) and Mark O'Rowe (Boy A). And, it boasts some other significant talent in the director's chair, too, with helming duties shared by Oscar-nominated filmmaker Lenny Abrahamson (Room) and BAFTA winner Hettie Macdonald (White Girl, Howard's End). Of course, it's the tale playing out on-screen that's the main attraction, as readers will already be aware — and as the just-dropped first teaser shows. Cold Feet's Daisy Edgar-Jones and newcomer Paul Mescal step into the shoes of the novel's Marianne and Connell, high school classmates in their west Ireland small town who weather all manner of ups and downs as they attend Dublin's Trinity College. At school, she was lonely and aloof, while he was outgoing and popular. At college a year later, their roles have reversed. That sets the scene for an intimate, complex love story — which will unravel in full when Normal People drops on Stan on Monday, April 27. Check out the teaser trailer below: https://www.youtube.com/watch?v=DDpWEA2rMB4&feature=youtu.be All 12 episodes of Normal People will be available to stream on Stan on Monday, April 27.
According to the great Aussie poet Henry Lawson, "Beer makes you feel the way you ought to feel without beer." Maybe our national penchant for a good brew began with his outback wanderings. It's hard to say. But what we do know is that nothing cuts through the heat quite like a cold, tasty drop. And with the rise and rise of more complex flavours and creative approaches across Australia, our options are only getting tastier. No longer do our 'beer events' comprise of hanging around in a muddy paddock knocking back a VB or ten. Every year, dozens of annual events pay homage to beer in all kinds of inspired ways, from epic city-consuming festivals to quirky one-offs focusing on a particular pastime (like building boats out of beer cans). Here's your handpicked guide to the most fun events and the finest froth in the next 12 months. SYDNEY CRAFT BEER WEEK Sydney Craft Beer Week entered its fourth incarnation in 2014. For a relatively new event, it's made up some serious ground in a short time, with 100 events held over nine days across 50 venues. Headline parties included all-day/all-night 'Sip and Savour' sessions, where more than 250 beers and ciders were sampled under one roof (that'd be the only roof big enough Sydney, the one belonging to Carriageworks); the James Squire Open Day, which saw beer fans pack into their beloved Malt Shovel Brewery in Camperdown; and a mega closing party hosted by The Rocks Brewery and Bar, where the brewing gets done by sixth generation descendants of convicts. MELBOURNE GOOD BEER WEEK Melbourne Good Beer Week is similarly youthful. First held in 2011, it proved so impressive that numbers doubled in 2012. That is some upward swing. And it isn't merely the punters who are into it. Visiting brewer Brendan Moylan, who hails from California's renowned Moylan's Brewery, described 2012's event as "the best, most professional and most diverse" beer festival he'd ever been to. Diverse is definitely the word. In 2014, more than 200 happenings popped up on surfboards, in vintage trains, in three-hatted restaurants and in local pubs. Melbourne Good Beer Week 2015 is set for May 16-24. WA BEER WEEK In contrast to its East Coast counterparts, WA Beer Week has the distinction of being Australia's oldest week-long beer celebration, which is rather fitting given that Australia's very first craft brewers set up in Fremantle. The event turned 13 in 2014, with more than 60 events held between October 25 and November 2. Craft beer aficionados planed, trained and automobiled their way west to partake in beer degustations, open brew days and behind-the-scenes tours and taste brand new releases. TASMANIAN BEERFEST At Tassie Beerfest, you get to do your sampling in a beer garden edged by 150 metres of water frontage. As the organisers will tell you, that's about the length of 2,500 stubbies lined up. What started as a boutique bender back in 2005 is now one of the biggest beer festivals in the nation. For one weekend in mid-November, at Hobart's Princes Wharf No. 1, Tasmania's best micro- and macro-breweries go head to head with beers from all over the planet. You can expect more than 300 brews and 12,000 people. If you're feeling a touch nostalgic for the festival's more intimate days, check out the Tasmanian Micro Brew Fest, a separate, one-day event that's all about keeping things local. QUEENSLAND BEER WEEK As of 2012, there's been yet another reason to head north while the cold is still holding on down south. Queensland Beer Week makes its presence felt all over the state, from the New South Wales border to the tropics of the Far North. So, in between spotting humpbacks, catching waves and dodging stingers, you can check out the latest in Queensland brewing, wherever you are. Events include masterclasses, new releases, degustations, talks and tastings. BITTER AND TWISTED INTERNATIONAL BOUTIQUE BEER FESTIVAL The Bitter and Twisted International Boutique Beer Festival is every bit about letting out your inner quirk as it is about the 100 or so brews on offer. It's highly likely that the setting has quite a bit to do with it. The event takes over the eerie confines of NSW's Maitland Gaol, which was a maximum security jail up until 1998. There's a foodie element too, with dishes from all four corners of the planet and a cracking live music program. Last year saw performances from The Griswolds, Jebediah, James Bennett and Morgan Joanel, among others. The Bitter and Twisted International Boutique Beer Festival happens on the first weekend in November. THE AUSTRALIAN BEER FESTIVAL Held on one weekend in October (during Oktoberfest), the Australian Beer Festival traditionally sees at least two streets in The Rocks road-blocked to make way for carousers. All the action centres around the Australian Hotel, one of craft brewing's spiritual homes in Sydney, and all the beers on offer are created right here, down under. The program includes live music, blind tastings, 'Meet the Maker' sessions and, for those who reckon their home brew has got what it takes, a chance to dominate in the Home Brewing Championships. THE GREAT AUSTRALASIAN BEER SPECTAPULAR The Great Australasian Beer Spectapular is given a bit of an edge by the fact that breweries in Australia and around the world cook up new beverages especially for the event, including James Squire and Little Creatures. That's right, you'll be testing some flavours that haven't been experienced anywhere else, ever. Plus there's a massive array of extracurricular activities. The last event included paddle art, paddle races (with five full cups on board), table tennis, giant Jenga, cornhole, roaming musicians and a gourmet food market. Spectapular 2015 will be held in two states: May 22-24, at Melbourne's Royal Exhibition Building, and May 30 at Sydney's Exhibition Hall, Australian Technology Park. GEELONG BEER FESTIVAL For the next Geelong Great Australian Beer Festival, to be held February 21, 2015, at Geelong Racecourse, you're invited to dress as none other than the elusive Where's Wally. Or as your favourite superhero. Anything a bit bold and out-of-the-ordinary. The one-day shindig matches 200+ craft beers and ciders with a good dose of local colour. There's a home brewing competition, a beertography photo contest and a bunch of live acts, including roving entertainers, stand-up comedians, cabaret performers and live bands. DARWIN BEER CAN REGATTA No event screams Australia quite like the Darwin Beer Can Regatta. Since 1974, people have been turning up at Darwin's Mindil Beach in their thousands to cheer it on. To enter, you have to create your very own water-going vessel — out of beer cans. (You can add a milk carton or two to the mix, if drinking enough tinnies to get your boat afloat proves too challenging). The only catch is that you're absolutely not allowed to test for sea-worthiness before the day. After all, the whole reason people turn up is to watch your boat slowly disintegrate with you in it. Oh, and there's also a coda, in the form of a thong-throwing competition. The next Darwin Beer Can Regatta is scheduled for July 12, 2015.
If you've ever wanted to indulge in an immersive fine-dining feast onboard a luxe yacht, here's your chance. Acclaimed chef Nelly Robinson will be plating up a six-course sensory fare for this year's Vivid Sydney. NEL's founder and chef patron will take over the kitchen of superyacht The Jackson on Saturday, May 25, for what promises to be a colourful culinary journey backed by front-row views of the iconic Sydney Harbour. Robinson is known for his avant-garde and often kooky degustation menus, so prepare for the kind unbridled creativity that's been on display in his previous degustations, which span from Disney-inspired dishes and Christmas-themed festivities to a dedicated showcase of native Aussie ingredients and even a bold take on KFC. Upon boarding the multimillion-dollar cruiser, you'll be met with free-flowing sparkling for the first hour, as well as a selection of small bites including beetroot and tuna tarts, smoked oysters and a chicken and macadamia toastie. For the sit-down portion of the evening, you'll tuck into a lemon myrtle-infused poached salmon for entree, lamb shoulder with herb risotto for main and a banana-starring dessert. To finish the cruise on a high, head on upstairs for a boogie accompanied by a rose heart canapé. Tickets cost $325 per person, but you can add an additional $65 for a Tyrrell's Wine pairing to accompany your meal. At the end of the evening, you'll disembark at King Street Wharf where you can continue partying into the night. If you love fine food, immersive creative experiences and fabulous views, you best consider adding this to your list of must-book Vivid Sydney events. Head to The Jackson's website to purchase tickets to A Night with Nelly Robinson before they sell out.
