It premiered at Cannes, will make its Australian debut at the Melbourne International Film Festival and is shaping up to be one of this year's biggest films. We're talking about Quentin Tarantino's Once Upon a Time in Hollywood, which sees the acclaimed filmmaker step back to five decades ago to explore Tinseltown in the summer of 1969 — when the golden age of Hollywood was waning down, and when the Manson Family shocked the world with their horrific murders. Tarantino doesn't just want movie buffs to enjoy his new movie, however. He wants to steep viewers in the whole '60s vibe, including the films that inspired his own film. To help, the writer/director has curated a season of flicks all made in the era, and they'll be screening on SBS' new (and free) World Movies channel in August. The Quentin Tarantino Presents collection is a global project, airing in approximately 20 countries around the world in the lead up to Once Upon a Time in Hollywood's release. In Australia, it kicks off on Monday, August 12 with 1969 comedy Bob & Carol & Ted & Alice, about a couple who decide to become more open in their lives. From there, the season will move on to Cactus Flower with Goldie Hawn, Ingrid Bergman Walter Matthau, as well as the Dennis Hopper-directed and -starring Easy Rider. As for the rest of the bill, it all hails from the late 50s, 60s and early 70s, including Model Shop from French writer-director Jacques Demy, student politics comedy Getting Straight with Elliott Gould, crime flick Hammerhead, and westerns Gunman's Walk and Arizona Raiders. One of the films on the list, 1968's The Wrecking Crew, is a humorous spy flick that co-stars Sharon Tate — who Margot Robbie plays in Once Upon a Time in Hollywood. The whole season will set audiences up nicely for Tarantino's latest, which follows TV star Rick Dalton (Leonardo DiCaprio) and his trusty stunt double Cliff Booth (Brad Pitt). Each movie will air with an introduction from the director, who chats with film writer and historian Kim Morgan about how they influenced Once Upon a Time in Hollywood. Check out the Once Upon a Time in Hollywood trailer below: https://www.youtube.com/watch?v=ELeMaP8EPAA SBS World Movies' Quentin Tarantino Presents collection starts airing from 10.30pm on Monday, August 12. For screening times, visit the channel's online program guide. Via Deadline / SBS Movies.
Other than Christmas Day's requisite feast, no one likes cooking at the end of the year. If you're not so fond of getting in the kitchen on December 25, that's okay, too. So, as 2020 dwindles to a close, takeaway is firmly on the menu. And if you're keen to both support local eateries and keep an eye on your bank balance, Deliveroo has announced a handy special for the festive season. From Monday, December 21–Sunday, December 27, the delivery service is offering Australians free delivery from a sizeable range of local restaurants. In total across the country, more than 130 eateries and restaurants are on the list — including Gelato Messina, Mary's and Royal Stacks. With Sydney's northern beaches area currently experiencing a COVID-19 cluster — and subject to stay-at-home public health orders from 5pm, Saturday, December 19 until midnight on Wednesday — Deliveroo is also kicking things off early in the region. Free delivery is already available in the area, including from I Love Pizza, BenBry Burgers, Banana Blossom, DeVita: Tastes of Napoli, Chat Thai in Manly and Little L in Mona Vale. To ensure that all of the eateries involved aren't missing out on revenue or left out of pocket, Deliveroo is footing the bill for the free delivery — in terms of the delivery fees, that is. Obviously, you'll still need to pay for whatever you'd like to eat; however, you won't have to fork out more on top to get it brought to your door. If you're in Sydney's northern beaches and you're suddenly hungry, or you're in the rest of the country and you're thinking ahead, orders need to be placed via the Deliveroo app. Deliveroo's free delivery is on offer from Saturday, December 19–Sunday, December 27 in Sydney's northern beaches area — and from Monday, December 21–Sunday, December 27 across the rest of the country — via the Deliveroo app.
From rooftops in Hawthorn to convents in Abbotsford and the sun-kissed shores of St Kilda Beach, Melbourne is a city obsessed with outdoor cinemas. It's little wonder, then, that the organisers of this year's Chinese New Year festivities wanted to get in on the action. Popping up for one night only in Chinatown Square, Chinese cinema lovers will be able to sink into a beanbag and enjoy an evening of specially curated Asian short films. The screen flickers to life at dusk, which should translate to about 8.30pm. BYO popcorn...although dumplings would probably be more appropriate.
When Renee Bennett (Amy Schumer) glances in the mirror, her own loathing stares back. She hates what she sees. She hates how she's viewed by the world. Painstakingly trying to follow YouTube hair and makeup tutorials, she yearns to meet society's beauty standards. "I've always wondered what it's like to be undeniably pretty," Renee tells a model friend (Emily Ratajkowski) at the gym. When her dream receptionist job is advertised — at the Fifth Avenue head office of her cosmetics brand employer, a step up from her current Chinatown workplace — she's certain she won't get it due to her appearance. Wishing for a permanent makeover, Renee even throws a penny into a fountain during a storm in desperation. That doesn't work, but then she hits her head during cycling class and suddenly loves her reflection. In I Feel Pretty, the twist is right there in the title — Renee's appearance doesn't change, just her perception. Now certain that she's the total package, she oozes confidence, takes risks and enjoys the life-altering changes that come with her boosted self-esteem. She not only gets the job, but gets to work with her idol, company CEO Avery LeClaire (Michelle Williams). She assumes that the kindly Ethan (Rory Scovel) is hitting on her at the dry cleaners, asks him out and they start dating. Charting Renee's transformation, seasoned rom-com writers-turned-directors Abby Kohn and Marc Silverstein (He's Just Not That Into You, The Vow, How to be Single) craft a typical "make a wish" flick, but set their sights on body image. The film even includes a glimpse of Big, in case the Tom Hanks-starring '80s hit didn't instantly spring to mind. Helming their first feature, Kohn and Silverstein have a very specific aim: discarding society's narrow concept of hotness, showing that a little self-belief goes a long way, and fashioning an empowering comedy as a result. An important goal, it's one that Schumer has spent her stand-up and on-screen careers championing. It's there in her comic routine, in countless Inside Amy Schumer sketches and in Trainwreck as well, but I Feel Pretty doesn't belong in the same company. Here, there's an enormous gap between the film's intentions and its execution. Specifically, the view the movie celebrates doesn't quite match its contents. Trying to have its body-positive cake and eat it too, I Feel Pretty says it's what's on the inside that counts while demonstrating the opposite. The film presents a character who's only successful and happy when she thinks she's attractive, and when she thinks that the world agrees — and while viewers can see that Renee still looks the same, it invites them to laugh when she acts like she's a supermodel. You could argue that the movie chuckles with rather than at her, but she's rightly glowing with pride instead of giggling. You could also suggest that the film is making fun of Renee's over-the-top behaviour, which involves sidelining her lifelong best buds (Aidy Bryant and Busy Philipps) and generally acting like a diva. However, the number of times that another character reacts like Renee isn't physically all that paints a very different picture. Take one particularly problematic scene as an example. On her first date with Ethan, Renee decides to enter a seedy bar's bikini contest. Ethan suggests that she doesn't really fit the part, doing so with subtlety. But the MC doesn't share his tact, appearing shocked when Renee takes to the stage, and later describing her as "the kind of woman who could handle herself in a knife fight". The way the scene is staged and shot reinforces his view, encouraging the audience to guffaw heartily at the premise (because a woman who doesn't look like a conventional swimsuit model baring some flesh is apparently funny?) while also offering up plenty of incredulous reactions from the on-screen audience. Sure, everyone eventually appreciates Renee's gusto, complete with cheers and applause. But if what's on the outside doesn't matter in the film's opinion, why milk the situation for easy laughs first? That's I Feel Pretty's whole approach. Served up in bright and shiny packaging, and layered over a formulaic story, the movie's mixed messages don't end there, although it's never mean or ugly — just muddled. The idea that Schumer isn't desirable is ridiculous, but the comedian is actually at her best when she's earnestly engaging with Renee's feelings of inadequacy. It's a side she doesn't often show on-screen, and it suits her. Williams' rare foray into comic territory is similarly impressive, with the acclaimed actress playing the more exaggerated part, illustrating that everyone has insecurities and stealing every scene she's in. Indeed, as proved the case with Tilda Swinton in Trainwreck, Schumer is upstaged by her co-star. Well, that and the film's superficial nature. A flick about peering beneath the surface, I Feel Pretty ultimately ignores its own advice. https://www.youtube.com/watch?v=A-FMymitzf8
The 2011 World’s 50 Best Bars list has been published by Drinks International, curated by editor Lucy Britner and US drinks writer, Camper English (I can imagine someone with that name sipping cocktails on a daily basis). The pair asked the opinion of around 100 bar professionals, including the Playboy Club’s Salvatore Calabrese, 'King of Cocktails' Dale DeGroff, Esquire US’s David Wondrich and diamond ice-carver Hidetsugu Ueno. These votes were combined with global votes and resulted in a list with bars from 16 countries. Your local favourite may not be on the list, but rest assured that all fifty are well worth the visit next time you find yourself in one of the world's culture capitals. Here are the top ten (and you can download a guide to all of them here). 1. PDT, New YorkPDT, short for Please Don't Tell, is a sexy speakeasy with a deep-fried twist - you can order drunk snack food from the low-key joint, Crif Dogs (from where you enter via the false rear wall of a phone booth), next door. An old-fashioned with a side of frankfurt? Yes please. Where: 113 St. Marks Place, New York 2. Connaught, LondonThe height of London elegance, if you order a martini the waiter will pour gin and vermouth from a crystal tumbler at your table and let you choose an infused bitters from their many flavours. Where: The Connaught, Carlos Place, London 3. Artesian, LondonModern touches like purple mock-snakeskin leather chairs and excellent service brings this Grand Victorian-styled bar into this century and at the top of the list. Play dominos whilst you sip on a rum-based cocktail. Where: Regent Street, 1C Portland, London 4. Death & Co, New YorkSome of the best cocktails in New York can be had in this dark, shadowy speakeasy. Where: 433 East 6th Street, New York 5. Milk & Honey, LondonThis bar is tucked away so not anyone can just wander in - it's members only for most of the week. Regular people can visit at the beginning of the week to try the phenomenal cocktails. Where: 61 Poland Street, London 6. American Bar at the Savoy, LondonThe bar that bore the ultimate cocktail guide, this is London's most iconic imbibing institute. Good luck getting a seat. Where: The Savoy, 100 Strand, London 7. 69 Colebrooke Row, LondonIf you were very, very rich, this bar might feel like your lounge room, complete with bow-tied butlers to make you cocktails and pour your water in tall glasses from cocktail shakers. Where: 69 Colebrooke Row, Islington, London 8. Drink, BostonAll you have to do is a name a flavour you feel like and a personalised drink will be yours. Where: 348 Congress Street, Boston 9. Harry’s New York Bar, ParisHemingway, Sartre and Blondin were all regulars at this famous bar that invented the Bloody Mary and the White Lady. A Paris must. Where: 5 Daunou street, Paris 10. Black Pearl, MelbourneSplit over two levels, head up if you'd like to drink out of Royal Doulton glassware or downstairs for a beer. Either way, you'll have a good time. Where: 304 Brunswick St, Fitzroy, Melbourne Also... A special mention to Sydney's own Eau de Vie who finished in 13th place, and Wellington's Matterhorn who finished 33rd. For the rest of the list, click here.
This July, it's all about the moon. Saturday, July 20 marks the 50th anniversary of the Apollo 11 landing — and museums across the state are throwing parties and hosting exhibitions to celebrate — and on Wednesday, July 17, the last lunar eclipse of the year visible from Melbourne is happening. Well, it's only a partial eclipse, but you won't have to shake yourself out of your warm bed at a super-early hour to catch this one. While the partial eclipse — which occurs when the Earth moves between the Sun and the Moon, but they don't form a perfectly straight line — will start around 6am, the maximum eclipse will occur at 7.30am. From here, you'll only have a very short amount of time to catch the main event, with the moon setting at 7.38am. The eclipse will also be taking place very close to the horizon, so it's suggested you find somewhere high-up to watch for maximum chance of catching it. For the full details, timeanddate.com has put together a handy to-the-minute schedule of when the eclipse will be happening in Melbourne. Unfortunately those in Sydney and Brisbane won't be able to see it very well, as the maximum eclipse will be taking place below the horizon for them. During the eclipse, part of the moon will also turn a shade of red thanks to sunlight that's filtered and refracted by the earth's atmosphere. Have your cameras at the ready, obviously — and see if you can outdo the previous big batches of supermoon snaps and super blue blood moon pics. If you can't get a clear view, The Virtual Telescope Project will be live-streaming the partial lunar eclipse from the skyline above Rome from 6.30am AEST.
In 2017, one filmmaker had viewers around the world swooning. From the moment that Luca Guadagnino's big-screen adaptation of Andre Aciman's Call Me By Your Name premiered at the Sundance Film Festival and then the Berlinale, it wowed audiences, made a star out of Timothée Chalamet and had everyone talking about Armie Hammer's dancing skills. So the news that the acclaimed director is serving up another Italy-set coming-of-age drama is firmly — and understandably — cause for excitement. This time, Guadagnino is doing so on the small screen, courtesy of new HBO mini-series We Are Who We Are. It's set in 2016, and follows two American teenagers living on a US military base with their parents. Jack Dylan Grazer (IT: Chapter Two) stars as 14-year-old Fraser Wilson, a new arrival from New York with his mothers Sarah (Chloë Sevigny, Queen & Slim) and Maggie (Alice Braga, The New Mutants) — while first-timer Jordan Kristine Seamón plays Caitlin Poythress, a veteran of living on the base with her older brother Danny (Spence Moore II, AP Bio), father Richard (Scott Mescudi, aka Bill & Ted Face the Music's Kid Cudi) and mother Jenny (Faith Alabi, Cold Feet). Also featured in this eight-episode tale of friendship, teen angst, first love and finding one's identity are Francesca Scorsese (daughter of iconic filmmaker Martin Scorsese), Ben Taylor, Corey Knight, Tom Mercier (Synonyms) and Sebastiano Pigazzi — with the cast blending well-known names and faces with plenty of newcomers. We Are Who We Are started airing in the US on September 14, but it'll head to Aussie screens via SBS Viceland and SBS On Demand at a yet-to-be-revealed date. If you're in the need of a virtual trip to Northern Italy, as directed by the filmmaker also behind I Am Love, A Bigger Splash and the 2018 Suspiria remake — and co-written by Guadagnino with Paolo Giordano (The Solitude of Prime Numbers) and Francesca Manieri (Daughter of Mine) — then add this to your future must-watch list. Check out the trailer below: https://www.youtube.com/watch?v=u6VAQ6LdnKs&feature=emb_logo We Are Who We Are will screen on SBS Viceland and SBS On Demand at a yet-to-be-revealed date — we'll update you with further details when they come to hand. Top image: Yannis Drakoulidis/HBO.
Trump. Inequality. Charlottesville. North Korea. Taylor Swift's 'Look What You Made Me Do'. It's been a, er, testing year thus far. And if it weren't for our ability to talk about it — whether it's desperately debating asylum seeker policy in a pub corner, scrolling through Twitter for solidarity or listening to a critical analysis of covfefe on the way to work — we would probably all be hiding under makeshift bomb shelters in our kitchens by now. But when do we stop talking (and talking) about the state of the world and actually start doing something? That's what the Sydney Opera House set out to address this weekend at ANTIDOTE, a new festival that has replaced the Festival of Dangerous Ideas on their program with the intention of inspiring action. The inaugural ANTIDOTE, which ran over two days, featured a range of speakers, artists and activists whose subject matter moved, for the most part, past the visceral into the practical. They showed us that action isn't always seen through protest — that it can come through satire, by lifting yourself up with 20,000 balloons or just moaning really loudly until someone listens. While it's hard to say if the audiences at ANTIDOTE will put any of their newfound learnings into practice — except perhaps those who are bound by contract from immersive theatre game The Money — here's five things we took away from the festival. It's up to you to crawl out from your bunker and put them into action. [caption id="attachment_635687" align="alignnone" width="1920"] Prudence Upton / Sydney Opera House[/caption] IT'S ACTUALLY DIFFICULT TO SATIRISE DONALD TRUMP — THE ONION America's finest news source has been satirising US politics, everyday life and the power ranking of Mary-Kate and Ashley Olsen since 1988. They've found ways to cover presidents like George W. Bush ('Our Long National Nightmare Of Peace And Prosperity Is Finally Over') and Barack Obama ('Black Guy Asks Nation for Change') — and so, with the election of Trump last year, you'd think it would have made The Onion's job a total cakewalk. Not so. According to managing editor Marnie Shure, video director Katy Yeiser, and senior writer Dan McGraw, who appeared in conversation with The Chaser's Craig Reucassel, Trump's absurd behaviour is inherently hard to satirise because readers often can't tell the difference between satire and reality. Unlike other government figures who usually say one thing but mean another, Trump just says what he means — and there's very little you can do with that. Although they seem to have managed just fine. [caption id="attachment_635686" align="alignnone" width="1920"] Prudence Upton / Sydney Opera House[/caption] PEOPLE WANT TO HELP THE HOMELESS BUT DON'T KNOW HOW — THE MONEY This was no more apparent than at Kaleider's performance of The Money. Held in the Utzon Room — with its views that dissolve into the harbour water — the concept is this: a select number of 'players' sit around the table and decide what to do with a wad of cash. They can put it towards anything legal they can unanimously agree on, but they can't donate it to charity or split it with each other. A group of 'silent witnesses' also present; they don't have a say unless they slap some money on the table, in which case they are then embedded into the decision-making process. At a session on Sunday, discussion quickly turned to acts of non-direct charity. With only $500 on the table — unlike the jackpotted $6000 that went to the YES campaign the night before — the participants wanted to find a way to use the money that would actually make a difference in someone's life. Homelessness — unlike organisations in which members had a vested interest in — was a neutral cause that no one could find a suitable opposition to. But the main question was how. Without giving directly to a charity that would help people without a home, the players decided (after much discussion and disagreement) to put the money on a gift card, that would then be donated to a non-profit to, hopefully, provide food and goods to those who need it. [caption id="attachment_635684" align="alignnone" width="1920"] Prudence Upton / Sydney Opera House[/caption] SOMETIMES YOU HAVE TO SAY THE WORDS TO REALISE PEOPLE WERE WAITING TO SAY THE SAME THING — EVE ENSLER When Eve Ensler started first performed The Vagina Monologues in a Greenwich Village cafe in 1996, the word 'vagina' was rarely spoken out loud. Nowadays it's much less taboo. And while the playwright and activist thought her play would be redundant by now (if only), the ongoing response and shift of how society views women and their bodies is still a prime example of how art has the power to transform thinking and urge people to act. Ensler took to the stage in what can only be described as a fierce powerful takedown of the "predator-in-chief", the Australian Government's policy on asylum seekers and violence against women and girls. She urged the audience to speak out, refuse to be silenced, stop looking away and say the words that everyone's thinking — because that's how they get introduced into the conversation. She then proceeded to perform a monologue that ended in all-in audience moaning. [caption id="attachment_635721" align="alignnone" width="1920"] Letícia Almeida[/caption] TURNS OUT, HELIUM BALLOONS CAN LIFT A HUMAN — CHEROPHOBIA If you've ever watched Up, then the elation of artist Noëmi Lakmaier taking flight by way of helium balloons would not have been lost on you. Especially after the uncertainty and shared suspense of the coming-and-going audience members that visited over the nine-hour work. While her actual lift-off wasn't as dramatic as Carl and Russell's, it did offer a source of contemplation on happiness and fear for those who'd stuck around. Plus, the Concert Hall filled with 20,000 balloons was a pretty lovely sight to see. [caption id="attachment_635685" align="alignnone" width="1920"] Prudence Upton / Sydney Opera House[/caption] WE NEED TO DISMANTLE DOMINANT IDEOLOGIES — RENI EDDO-LODGE Reni Eddo-Lodge refuses to explain race to white people — which is fair enough, really. But after a blog post titled 'Why I'm No Longer Talking to White People About Race' blew up in 2014, Eddo-Lodge has become a prominent journalist and blogger on the topic of, well, just that, having recently released a book of the same name. In her conversation with Benjamin Law she spoke about whiteness as an implicit but ever-present power structure that upholds the dominant ideologies that suit white people. So how do we break the cycle of dominance? Question them. Read up on indigenous history, campaign to change the date of Australia Day — don't accept the structural systems of society just because that's the way they are. Also, read her book. Top image: Letícia Almeida.
The Singapore Grand Prix, the world's very first Formula 1 night street race, is one of the biggest events on the calendar in the Asia-Pacific region. And in recent years, the event has turned into a wider celebration of the very best of the Lion City. After a two-year hiatus, it's back and bigger than ever this September, bringing live performances from bona fide global superstars, like The Kid LAROI, Marshmello, Westlife, Green Day, Suede, TLC and the Black Eyed Peas. Want to be part of the action? Zoom down to Fortress Melbourne at Emporium for Grand Prix Season Singapore happening from August 5–7, where you can live out your F1 racing dreams and zip through a virtual lap of Singapore's Marina Bay Street Circuit on state-of-the-art racing rigs. [caption id="attachment_862680" align="alignnone" width="1920"] Supplied[/caption] There'll be more than just bragging rights on the line at this virtual racing competition — the driver who sets the fastest lap time around the circuit will score a trip to the Singapore Grand Prix. The prize includes two return economy tickets from Australia to Singapore, as well as four nights' accommodation, a guided half-day tour with one of Singapore's most beloved TikTok stars and, of course, two tickets to the Singapore Grand Prix. There are also a heap of daily prizes up for grabs, like the limited-edition Tanglin Honey Bean Coffee Gin Liqueur and more. Entry is free — all you need to do is walk in, register and drive. Want to live out your F1 racing dreams and win a trip to Singapore? Head down to Fortress Melbourne at Emporium from August 5–7 for your shot at glory. For more information, head to the website. Top images: Singapore GP.
Let's face it: nothing beats Mum's cooking. That is, unless she delivers up fresh, comforting, 'good for you' meals to your door and cleans up afterwards. In which case, give her break. There's an alternative. (And, for the record, you should always be doing the dishes anyway.) Youfoodz is a new healthy food delivery service that, quite simply, delivers yum, nourishing food to your door. Without you having to lift a finger — other than placing the order, of course. The Brisbane startup is all about fostering a healthy lifestyle by creating cleaner alternatives to Aussie favourites, such as their bacon and egg bagel and superseed-crusted fish and sweet potato chips. The 45 meal options are promised to stay fresh seven to nine days in the fridge, and the delivery turn around time is as little as 12 hours. As if healthy, prepared meals delivered fast aren't good enough, Youfoodz also makes sure you won't go broke, with most meals priced at $9.95 each. Cheap and healthy don't generally go hand-in-hand — especially for Sydneysiders who are accustomed to paying $19 for a salad — but healthy, fresh and cheap food for under a tenner? That sounds like a pretty sweet deal. From brekkie to dinner and all the snacks and drinks in-between, Youfoodz have all the bases covered. The menu may use all of the buzzwords — chia seeds and quinoa get a mention — but also means that everyone can get in on the fun. Even if you're dairy or gluten free. They're now spreading their wings beyond Brisbane to deliver to the Gold Coast, Sunshine Coast, Sydney, Melbourne and Adelaide, as well as major grocers across Australia. So go ahead and tuck into their new summer menu, which includes meals like the sesame pork summer salad and the pesto and pumpkin chicken salad. Mum would most definitely approve. Concrete Playground readers can get their first Youfoodz meal for free by entering the code YF-FreeMeal at checkout. To order your meal and view the full menu, head to youfoodz.com.
Like to walk on the wild side when it comes to food and flavour combinations? Well, so do the burger fiends at The Beast CBD. And so do the innovative minds at Thornbury ice creamery Kenny Lover. And luckily for your adventurous tastebuds, the two have come together to whip up a special summer collaboration menu that's both nostalgic and a whole lotta fun. Available from the CBD venue until the end of February, the new Summer of Love menu promises to add a dash of retro goodness to your season. First up, you've got a reworking of the classic banana split ($13), reimagined with Kenny Lover's raspberry and lemon myrtle ice cream and Comet's all-natural Raspberry & Lemon Myrtle Syrup, plus loads of whipped cream and crushed cookies. Further transporting you back to childhood, there are two ice cream spiders ($12) — pina colada, and raspberry and chocolate. But be sure to save room for the sweet-meets-savoury pièce de resistance. Beast CBD's famed maple butter-glazed fried chicken is teamed with Kenny Lover's smoky Sriracha-flavoured ice cream, served atop a buttermilk waffle, and finished with crispy bacon and a drizzle of hot sauce ($19). Images: Allegra Paolo
First, the City of Melbourne introduced free untimed CBD parking back in August 2020, during the city's stage four COVID-19 restrictions. Then, parking remained free but time limits were reinforced from last October. The free offer was next extended over the Christmas and New Year period, ending in early January. So, over the past eight months, Melburnians have become quite accustomed to heading into the city and parking their cars without paying a cent. Although free parking isn't still in place across the board, it is returning for three and a half days over the upcoming March long weekend to coincide with the Moomba Festival. Accordingly, you'll be able to park for free from 12pm on Friday, March 5–11.59pm on Monday, March 8, all in areas with green signs. The temporary move only applies within those dates and times, and you'll still need to abide by the time limit listed for your car park of choice. Also, as well as parking time limits, disabled parking restrictions, clearways and no standing zones will still be in effect — and so will residential permit restrictions. Still, given that on-street parking within the central city usually costs $7 an hour (and $4 an hour outside the central city), your wallet will thank you. Announcing the news, Councillor Roshena Campbell said "we want people from regional Victoria and across Melbourne to park in the city for free and enjoy some of the world's best bars, restaurants, shops, galleries and theatres". While Moomba and the long weekend rank among the prime motivations for the free parking, the move is designed to get folks into the city to shop, eat and drink, and to support retailers, eateries and bars that've done it tough over the past year. Free Melbourne CBD parking will run from 12pm on Friday, March 5–11.59pm on Monday, March 8 in areas with green signs. Head over to the City of Melbourne website for more information.
Crustless finger sandwiches, tiny ornate cakes, buttery scones, bottomless tea, sparkling wine: we all know and love the classic high tea experience. But the folks at Balgownie Estate in the Yarra Valley have teamed up with Mary Eats Cake to level up the whole high tea affair for two days this summer. On Saturday, January 13 and Sunday, January 14, diners can hit up the Balgownie Estate to try out a seafood-focussed high tea under a marquee by the rolling vineyards. Gorgeous. Guests will sit around a large shared table on the estate's grounds while DJs set the vibes for a summery day of indulgence. Mary Eats Cake has designed a not-your-average high tea menu featuring oysters with chimichurri and lime, a tuna sashimi tart and a mini prawn loaf alongside a series of desserts — think a fruit-laden pav and freshly baked scones. The $189 per person high tea will also include unlimited tea and two specialty cocktails made with the vineyard's wine. Get around the cuvée limoncello and rosé iced tea during the afternoon. A private bar will also be set up in the marquee for those choosing to sample more of the estate's wines.
It's become an all-too familiar sight on the streets of suburban Australia: yellow oBikes, most likely missing a seat or pedal, lying semi-submerged in a canal, slumped against a tree or even, somehow, suspended halfway up it. The dockless bike system, which launched in Sydney in August last year, has suffered setbacks with stolen bikes and council restrictions. But love it or hate it, it looks like we're not about to see them go anytime soon. And if you thought the Singaporean-based juggernaut oBike was content to stop at just bikes, think again. 'oSkate' — a skateboard sharing platform in partnership with global deck brand EMillion — was announced last night during a swanky launch party at Sydney's Ivy Ballroom, with oBike CEO Iocus Finlayson naming Sydney as its primary test city. It will then roll out the new service across Melbourne and Adelaide in the following months. "Ease of mobility lies at the heart of our company" explained Finlayson to a gathering of the city's movers, shakers and social media influencers. "But the feedback we continue to receive is that people want greater variety in the way they get from A to B, and for many the oBike is just too cumbersome or takes up too much space on sidewalks and pedestrian thoroughfares. oSkate not only introduces a smaller, streamlined dynamic to the dockless economy, but we think a cooler one, too". Cooler? The jury's still out, but oSkate does solve a major administrative nightmare for oBike courtesy of Australia's unique mandatory helmet laws. "It's true that under Australian law you do require a helmet for bikes, but not for skateboards" confirmed Allens Linklaters Senior Associate Alex Mason. "Even so, we'd recommend one all the same if you can manage it. Safety should trump convenience, always". The company plans to roll out the first of its decks by June 1 this year, each of which will be fitted with the familiar wheel blocking mechanism that can only be unlocked via the oBike app (which itself will soon be rebranded as 'oMode' to keep in-line with the soon to be expanded transportation options). Finlayson also set out the company's rollout plan for the coming 12 months, some of which was met with more enthusiastic cheers than others. Chief among the popular announcements was 'oBoard' — a surf, boogie and stand-up paddle board service to begin operation next summer — as well as roller skates and rollerblades to supplement the oSkate program. Finally, 'oKick' will be phased in early 2019, offering unlockable running shoes to those eager to burn off a heavy night's drinking without ruining their beloved Louboutins.
Vegetarians craving the bloody mess that is a medium-rare beef burger, you're no longer in danger of caving. Biochemist and Impossible Foods startup founder Patrick Brown is leading the charge for veggie burgers that not only taste like meat, but legitimately simulate the characteristics — let's plainly call it 'meatiness' — of meat. The secret? 'Plant blood'. Making vego-friendly meat isn't a new idea by any means, with epic tofurkeys, fakon (fake bacon) and Suzy Spoon's sausages dotting the plates of yearning vegos for years. But Brown's scientific approach to medium-rareness suffuses the patties with bioengineered substance from a molecule called heme, found in hemoglobin — the thing that makes blood red and makes it taste all metal-like. So the particular type of vegetarian who leaves meat out for ethical reasons but yearns for a medium-rare shindig can have their burger and eat it too. Brown's not doing too shabbily either, a 60-year-old Stanford University professor turned first-time entrepreneur with a cheeky $75 million in venture capital under his belt — including cashola from Bill Gates, who's gotten right into meatless meat of late backing startup Beyond Meat, "the first plant protein that looks, feels, tastes, and acts like meat." Google Ventures are even on board with Impossible, starting production on the $20-a-pop patties now. With Silicon Valley companies seriously getting behind projects like Impossible Foods, Beyond Meat and Modern Meadow ($10 million funded, 3D-printed meat), the world's obsession with meat could be one step closer to being sustainable and death-free. "Livestock is an antiquated technology," Brown told the Wall Street Journal. A small win for cowies. Via WSJ, Gigaom and Grub Street.
Take the rocky road down to the Yarra Valley and get ready to stuff your face. Yes, the fiends behind the annual month-long sugar extravaganza are taking your tastebuds on a trip all over again, with sweet, nutty, marshmallowy rocky road in the spotlight. By the way, to any dentists who are reading, go ahead and put down a deposit on that beach house you were looking at. We have a feeling your financial situation is going to be juuuuuuuuust fine. The Rocky Road Festival of Flavours will run through the entire month of May. That's 31 days, which means 31 different flavours. And it doesn't just stop at blocks and bars, either. There'll also be rocky road hot chocolate, rocky road ice cream, rocky road waffles and rocky road croissants too. The Yarra Valley Chocolaterie & Ice Creamery will also be hosting Rock Around the Block tasting sessions three times a day, which can be booked via their website.
From Monet to Basquiat, and from Chanel to Picasso, The NGV has spotlighted plenty of huge international art names in recent years. But now it's set to turn its attention to some artistic legends located a little closer to home. Next autumn, The Ian Potter Centre will kick off the second instalment of its Melbourne Now exhibition, showcasing works from more than 200 Victorian-based artists, designers and studios. Running from Friday, March 24–Sunday, August 20, the exhibition is set to feature hundreds of artworks, including 60 world-premiere pieces commissioned especially by the NGV. The major collection ranges from fashion, photography and sculpture, to ceramics, virtual reality and performance. In the lineup, expect to see a diverse spread of emerging and established talent, including names like Atong Atem, Christian Thompson, Nicholas Mangan, Anu Kumar, Lisa Reid, Meagan Streader, Esther Stewart, Pitcha Makin Fellas and more. [caption id="attachment_874505" align="alignnone" width="1920"] Meagan Streader. Photo by Anne Moffat.[/caption] The exhibition's scope is huge, speaking to all kinds of themes and inspirations. You'll encounter a giant sculpture featuring a pile of inflatable walking frames, Rel Pham's enormous neon-lit 'temple' made from thousands of computer fans, and a multi-artist photography installation dedicated to challenging the usual conventions of the practice. A work by Larrakia/Wardaman/Karajarri artist Jenna Lee features luminous hand-painted paper lanterns in the shape of traditional First Nations Gulumerridjin dilly bags, while a 10-metre-long installation by Lee Darroch is made up of collected driftwood representing men and women from Victoria's 38 Indigenous language groups. Also in the mix: a diverse collection of fashion designs, a photobooth installation, an AI chatbot that's programmed to fall in love and a Design Wall showcasing a bunch of consumer products designed right here in Melbourne over the past 10 years. [caption id="attachment_874506" align="alignnone" width="1920"] Installation view of Design Wall, on display for 'Melbourne Now' 2013 at the NGV. Photo courtesy of the NGV.[/caption] 'Melbourne Now' will show at The Ian Potter Centre from March 24–August 20, 2023. Top Image: Atong Atem, photo by Eugene Hyland
Last year's The Old Man and the Gun and Clint Eastwood's new film The Mule share three things in common. First, they both star Hollywood octogenarian greats Robert Redford (82) and Eastwood (88). Second, they're both based on real life stories of unlikely elderly criminals and the men who pursued them. Thirdly, they share a pronounced nostalgia for civility; a yearning for a bygone era where nothing, not even law-breaking, should come at the cost of common decency. But where Redford's film maintained a light and tender tone throughout, Eastwood's latest lacks consistency, veering from awkward cynicism to thin familial sentimentality. As a vehicle for Eastwood's first on-screen role in six years, The Mule seems perfect. Written by Nick Schenk, who previously worked alongside Eastwood on Gran Torino, the film tells the fascinating true tale of Leo Sharp (named Earl Stone here), a 90 year-old WWII veteran and award-winning horticulturalist who became a big-time drug runner for a Mexican cartel after his own business ran into financial trouble. Stone is grizzled, bitter, grumpy and a little bit racist. In short, Eastwood embodies the look and feel of the man immediately. When Stone agrees to run a package across the country, no questions asked, he reveals himself to be the perfect mule for Andy Garcia's cartel, and as his illicit load increases with each new run, so too does his reward. Accompanied throughout by cartel minders, the setup is perfect for a black comedy. But whilst there are a few terrific moments (a carpool karaoke version of 'Ain't That A Kick In The Head' being the best), too much of the film falls flat, lacking the full lighthearted touch but at the same time failing to follow the darker path it also could have taken. In supporting roles, Eastwood brings back some of his recent regulars, including Bradley Cooper and Michael Pêna as the DEA agents charged with tracking Stone down and bringing him to justice. As with The Old Man and the Gun, it takes some time to dawn on the authorities that they're pursuing a man in his 80s – which of course was precisely why the Cartel went that direction in the beginning. Eastwood has always been impressive in his embracing of ageing, even tabling Unforgiven for over a decade until he felt he was old enough to do the role justice. Here in The Mule, though, the age card offers so many tantalising possibilities for the story, yet is used far too sparingly and too easily, resorting to mostly tired tropes like technological dyslexia (wait, how do you text again?). Moreover, while Stone is a remorseful man insofar as his troubled family history goes, he shows none for his part in supporting a violent and brutal cartel (at least not until the film's final stages). The end result is a film that looks great (it's Eastwood in the chair, after all), but feels like a middle child of genre; funny but not a comedy, dark but not a thriller, on the road but not a road movie and moving but not fully a drama. https://www.youtube.com/watch?v=N_QksSzK7sI
Since True Blood came to an end, Anna Paquin has kept busy; however, if you're only going to watch one of her recent projects, make it the acerbically amusing Flack. She plays Robyn, an American publicist now living and working in London. There's much to laugh about in the field of public relations, and ample drama, too — so Flack mines the industry for both as Robyn tries to navigate a seemingly never-ending array of professional chaos, and makes the most of her ever-hectic personal life as well. A couple of episodes from the show's second season are directed by her True Blood co-star Stephen Moyer, and the series' big names don't end there. Oscar nominee Sophie Okonedo pops up as Robyn's boss and the always-beloved Sam Neill features, with the latter reuniting with fellow New Zealander Paquin after they both starred in The Piano back in 1993.
Whoever said bouncy castles were just for kids clearly never encountered The Monster. Clocking in at 270-metres and boasting 30 different obstacles, this thing takes the title of the world's largest inflatable obstacle course. Oh, and it's just casually coming to Melbourne in January 2018, as part of its own three-day 18+ festival of fun. Taking over the Grand Pavilion at Melbourne Showgrounds across the Australia Day long weekend, The Monster is the bouncy castle experience of your wildest kidult dreams. Punters are invited to run, jump, dance and scramble their way through the course, with sessions running from noon–10pm each day. It'll likely take you somewhere between five and 20 minutes to complete, depending on speed, coordination and how indulgent your festive season was. What's more, the fun extends beyond the final bounce, with the festival also pulling together a program of DJs, street food vendors and pop-up bars to see you sticking around long into the night. Melbourne's just the first stop on The Monster's soon-to-launch Aussie tour, with organisers TEG Life Like Touring expected to announce more cities next year.
For the past 14 years, the seedy side of Albuquerque, New Mexico has never been far from screens, first courtesy of Breaking Bad and then via its prequel spinoff series Better Call Saul. A Breaking Bad Netflix movie, El Camino: A Breaking Bad Movie, also popped up in 2019, because viewers just haven't been able to get enough of Walter White (Bryan Cranston, Your Honor), Jesse Pinkman (Aaron Paul, Westworld), Saul Goodman (Bob Odenkirk, Nobody), Mike Ehrmantrout (Jonathan Banks, The Commuter) and Gus Fring (Giancarlo Esposito, The Boys). Soon, however, this almost decade-and-a-half run of all things Breaking Bad-related will hit an end, with Better Call Saul about to air its last episodes. Perhaps more spinoffs will come. Fingers crossed that's the case. American network AMC, which airs both shows, has said it is open to it. But unlike when the OG series ended, viewers don't have a confirmed new date with the Breaking Bad universe in their future. That means that a big goodbye is coming audiences' way, and soon — and the trailer for the second half of Better Call Saul's sixth and last season knows it. The just-dropped 52-second clip is filled with familiar places from Saul Goodman's life (and from his time as Jimmy McGill, when he was using his birth name, too), all given the black-and-white treatment that the series has reserved for its flashes forwards and backwards over the years. Check out the trailer below: The locations featured have all played a big part in the story so far — and the melancholy mood certainly sets the tone for the episodes to come. After the first seven instalments in season six started airing back in April, the final six will begin showing weekly from Tuesday, July 12 in Australia and New Zealand. No one should've been expecting a happy ending anyway. We already know where Saul's story takes him next, because we've seen Breaking Bad. Indeed, Better Call Saul remains television's greatest tragedy, because it makes its viewers desperately hope that things turn out better for its eponymous figure than we know they will — so we watch his dreams crumble, his ethics slide, and his full transformation from earnest and legitimate lawyer to happily getting shady. The new trailer doesn't tease much in the way of narrative, but it does also feature Saul saying "let justice be done till the heavens fall". One time only. #BetterCallSaul pic.twitter.com/QmBFBbUENS — Better Call Saul (@BetterCallSaul) June 28, 2022 If you're keen on a few more sneak peeks at the end of season six — which'll see the return of Walt and Jesse in some capacity — Better Call Saul has also been dropping teasers via social media. There's a lot to wrap up, given that former cop-turned-private investigator, fixer, cleaner and hitman Ehrmantrout, Los Pollos Hermanos owner Fring and drug kingpin Hector Salamanca (Mark Margolis, My Big Fat Greek Wedding 2) are also key parts of Better Call Saul's story — and Saul's partner and fellow lawyer Kim Wexler (Rhea Seehorn, Veep), too. Exactly how the latter's tale will end is the biggest source of tension, given that Kim wasn't ever in Breaking Bad. And after the way Better Call Saul's first seven season-six episodes played out, that stress definitely hasn't subsided. Take the oath. #BetterCallSaul pic.twitter.com/Cs2y0BLkFi — Better Call Saul (@BetterCallSaul) June 14, 2022 The second half of Better Call Saul season six starts streaming in Australia via Stan and New Zealand via Neon from Tuesday, July 12. Images: Greg Lewis/AMC/Sony Pictures Television.
Sam Simmons' comedy has always been unusual, but we honestly don't know what to make of his latest show. Titled Radical Women of Latin American Art, 1960-1985, the set promises to tackle "the feminist Latin art movement of urban Puerto Rico in the 1970s". We suspect there's more to it than that, although knowing how much the comedian likes to mess with his audience, maybe not. Still, given how funny Simmons is at his best, we're willing to take the risk.
We've all been there: you're eating something delicious and your adorable dog wants some, but it's just not good for them. Everyone who shares their life with a barking four-legged best friend has experienced this scenario, because pooches always want to do whatever their humans are doing — and eat whatever they're eating, too. Sadly, while cute pups love the sight and smell of plenty of human treats, they just can't stomach some foodstuffs. Chocolate is a culprit, as everyone remembers come Easter. Thanks to its milk and sugar content, ice cream is another. If your four-legged best friend goes yapping mad over heaped ice cream cones, here's the good news: Gelatissimo is releasing a new limited-edition flavour that's both human and canine-friendly. We're not saying that you and your fluffball should share the same cone of the frosty dessert, but you definitely could. Made fresh in-store, the new scoop is banana and strawberry flavoured. To make it suitable for dogs, it's made with oat milk, so it's also vegan. It also features cavendish bananas and strawberries, unsurprisingly. That said, puppers with a history of pancreatitis or allergies do need to steer clear. Those who can tuck into a tub will find it at Gelatissimo outlets around the country from early October, but only for a limited time. If it all sounds familiar, that's because Gelatissimo did something similar back in 2019, but with a peanut butter flavour. "Our last pup-friendly gelato was the hugely popular, limited-edition Pawesome Peanut Butter," says Filiz Kaya, Gelatissimo's Head of Product Innovation. "It is still requested to this day, so we wanted to bring back the concept, but this time with a fresh and fruity twist." View this post on Instagram A post shared by Harvey the Border Collie 🐾 (@henlo.itsharvey) Vegan banana strawberry gelato is available at all Australian Gelatissimo stores for a limited time from early October. For more information and to find your nearest store, visit Gelatissimo's website.
In Stay of the Week, we explore some of the world's best and most unique accommodations — giving you a little inspiration for your text trip. In this instalment, we take you to The Hotel Britomart, where you'll find modern eco-friendly accommodation set on Auckland's city harbour. If you're due for a VIP escape to this sensational hotel, you're in luck. Right now there's an ultra exclusive Auckland getaway, curated by our editors, that you can snap up on Concrete Playground Trips. But we only have 20 packages (for two travellers) so when we say 'ultra exclusive' we really mean it. WHAT'S SO SPECIAL? This is where luxury design and amenities are perfectly paired with sustainable practices (it is New Zealand's only 5-Green Star hotel). THE ROOMS Each of the 99 rooms is designed for tranquil escapism. Think of Hotel Britomart like a city retreat, lined in natural and sustainably sourced timber. Guest rooms all come with in-built sofas, hand-made ceramics and minibars full of locally sourced treats. Attention to detail is on point. But that's just your entry level experience of Hotel Britomart. You've then got the hyper luxe suites, each with their own unique selling point. The Poraenui Suite is one of their very best, giving a whole new meaning to rooftop living. This 74-sqm living space occupies a glassy pavilion tucked discreetly onto the rooftop of the heritage Buckland Building (blending heritage with modernity). Up here, both the living room and bedroom open onto a private 28-sqm terrace with views across neighbouring heritage rooftops to the city and Takutai Square. Pick a book from their mini library, order up some local New Zealand wine, and you have just found your new happy place. You won't regret staying up here. FOOD AND DRINK The in-house restaurant, kingi, is also a must-see. It is set within the heritage Masonic House, and showcases sustainably caught seafood paired with unique wines. Chef Tom Hishon has devised an evolving menu that's perfect for this all-day food-consuming haven (you'll usually find a mix of guests staying at the hotel as well as local foodies). Expect dishes like octopus carpaccio and pan-roasted snapper, alongside stories about the talented fishermen and women who sustainably caught the produce on your plate. It's all traceable and tasty. THE LOCAL AREA The Britomart area is located in central Auckland, right along the harbour. It's a 24-hour hub of culture, food and shopping. Boutique stores championing local designers are scattered all over. Restaurants, bars and pop-up food stalls keep the local workers and the tourists equally happy. And you can easily get all around Auckland from here. THE EXTRAS You can rest peacefully knowing you are staying in one of the most sustainable hotels in New Zealand — it is New Zealand's only 5-Green Star hotel. You can even make your stay eco-friendlier by booking a Green Package. For every day you're there, these guys plant a native tree at sister property The Landing, located in the Bay of Islands. Guests even have the option to fly there via helicopter, for an even longer and more luxurious getaway. And lastly, to add to its green credentials, Hotel Britomart rents out its own bikes so that guests can get around town without having to call cabs or use public transport. You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
He lived there. He spent his last moments there. In between, he recorded music, played small gigs, and based his studio and record label there, too. We're talking about Paisley Park, the house formerly known as Prince's private and creative sanctuary. Only a few hundred people have had the privilege of entering — but now, the compound that shares its name with one of his songs is open to the public. Six months after his tragic passing, the multi-talented musician's siblings have allowed the first tours of the massive mansion 30 minutes outside of Minneapolis, Minnesota; however not everything has gone according to plan. Until the local Chanhassen City Council meets in December to consider zoning issues and safety concerns, the midwest site is only open on a limited basis — currently on October 6 to 8, and 14. It is hoped that people will be able to celebrate his life, musical output and legacy at the 65,000-square-foot complex on a more regular basis after the council meeting. Fans that have stepped through the doors of the Prince-focused equivalent of Elvis Presley's Graceland so far have not only wandered through the main floor of the site (which was built in the mid '80s), or spied the recording and mixing studios where Prince recorded, produced and mixed many of the iconic tracks we all know and love. They also reportedly spotted an urn containing the late performer's ashes, plus his personal office, with his belongings untouched since he was last in the room. The rest of Paisley Park also boasts Prince's private NPG Music Club, as well as the massive soundstage and concert hall where he not only rehearsed for tours, but also held exclusive private events and concerts. Thousands of artifacts from Prince's personal archives are also display. If you've ever wanted to feast your eyes on his concert outfits, awards, musical instruments and artwork — or rare music and video recordings, concert memorabilia, automobiles and motorcycles — you'll find them here. According to Prince's sister Tyka Nelson, "opening Paisley Park is something that Prince always wanted to do and was actively working on." While the lyrics of his 1985 song advised that "admission is easy, just say U believe and come 2 this place in your heart", ticketing — which is still on sale now — costs either US$38.50 for a 70-minute self-guided tour, or US$100 for a longer, more extensive VIP experience within what we're hoping are purple-coloured walls.
I Know There's a Lot of Noise Outside but You Have to Close Your Eyes is a provocative nugget of a show — compact, elusive and funny. Performers Zoey Dawson and Anna McCarthy devised the piece in collaboration with writer and director Allison Wiltshire, and NIDA Independent has joined Melbourne performance collective I'm Trying to Kiss You to bring the piece to Sydney following its premier at the Melbourne Fringe in 2011. The piece is a deconstruction of standard theatre and the formulaic representations of women. Its abandon is refreshing, but the chaos, however organised, is perplexing. Two childhood friends are meeting each other for a girls' night out after a long time apart to compare their respective success in life. Like a 10-year school reunion, it's a cloak-and-dagger battle of egos presented as cattiness with a smile. McCarthy compliments her friend with a side insult, "I love your dress, it’s hilarious", whilst Dawson patronises, "You're still single? That's OK." This premise, which could easily follow the narrative of drunken admissions of childhood resentments followed by a sentimental reconciliation, unravels instead into a beat poetry dream sequence revealing their inner rage, desire and boredom. The show targets the ideal of women as having to simultaneously beautiful, polished and smart, and to this end Dawson's parody of Cate Blanchett's Oscar acceptance speech for The Aviator is hilarious and accurate. Standing in the spotlight atop a messy pile of chairs, draped in some old netting, she finishes the acceptance speech with, “Sorry, what was I saying?” This empty sentence becomes a repeated motif throughout the show, as the pair drift in and out of comprehensible thought and mindless chatter. The noise they create with their babble does make you want to close your eyes (and ears), as the show's title recommends, but the irritation is an effective way of exposing the banality of everyday conversation. The accuracy of their middle-class, twenty-something, Australian vernacular is excruciatingly good. Their dialogue shatters into mechanical units of speech and each performer flies off on tangential monologues. We quickly farewell any notion of narrative continuity and try our best to follow their thoughts. At times we're on board, at others we're squinting at the dimly lit edge of some woman's reality. The intangible nature of the show is a challenge to the audience to make head or tail of the two women's identities and motives. It's radically non-dramatic and radically non-didactic. This elusiveness means that the creative team can be equally commended for their innovation and criticised for their lack of clarity. But this isn't entertainment; it's an upright middle finger to conventional theatre and its representation of women. The show is as interesting as it is frustrating. This review was written based on the Sydney run of this production, in March 2013 at the NIDA Parade Theatres.
Fancy grabbing a drink and hitting a hole-in-one at the same time? How about working your way around two different nine-hole mini-golf courses in a venue that was once a church? If you answered yes to either of these questions and you're in Brisbane, you're in luck. Thanks to Holey Moley Golf Club, come September 29 you can do all of the above. Taking over the Fortitude Valley site that has hosted many a bar, club, gig and dance party in recent years — and many a religious ceremony before that — Holey Moley aims to get eager punters exclaiming its name several times over. That's an understandable reaction given that the leisure entertainment complex will include mini-golf, a cocktail bar and an all-round hangout hub rolled into one. Those keen on teeing off will be pleased to know that each of the 18 holes will have their own theme, with the venue hinting that a mashup of Alice in Wonderland, iconic surfing culture, puppeteers, arguably the best retro video game ever, Nirvana, Snoop Dog, Pharrell Williams and Chubby Checker, Game of Thrones and more is on the cards. And anyone eager to sample the space's other treats can look forward to cocktails such as the Tee Quila Mocking Birdie, Teeyonce Holes, Long Island Iced Tee and G & Tee, plus a food truck menu. If it all sounds like one of the most novel ideas for a new inner-city hotspot you've heard in some time, that's because it is — but hey, people probably thought that when Strike Bowling combined knocking down pins and knocking back beverages. In fact, the folks behind Holey Moley would know a thing or two about that, because they also started Strike. We can only assume that a frisbee-themed nightclub is going to be their next venture. Holey Moley Golf Club opens on September 29 at 25 Warner Street, Fortitude Valley. For more information, keep an eye on their website and Facebook page.
Remember those hastily scrawled notes of yesteryear, slipped to your friend just as the teacher's back was turned? The folks at Moleskine do. To commemorate the 20th anniversary of the text message, Moleskine has reintroduced the concept of 'shooting' your friend a message with their classic notebooks. Featuring a graduated cover, these Moleskine editions let you measure how far you can catapult a note, using the notebook's band as a makeshift slingshot. Created by Italian designer Pietro Corraini, the SMS (Shooting Method System) tribute packs also include a set of pre-written notes, including a coy 'Call me', to use as ammunition. Think of it as the grown up version of the 'I like you' note you sent your 3rd grade crush. https://youtube.com/watch?v=IxKRpjv51AI
The book-to-film adaptations of the Hunger Games have been entirely faithful to the series in that each one has been worse than the last. That's not to say that either of Catching Fire or Mockingjay Part 1 is a bad movie, it's just that neither stands up to the gritty suspense and honest emotion of the original. Then, of course, there's the issue of 'Hobbitification'. In Mockingjay Part 1 we find yet another example of a final book being split over multiple films; a plainly commercial shakedown that in recent times rendered both Twilight and Harry Potter's penultimate instalments dull and wildly inferior to the rest of each series. To this film, though, and Mockingjay Part 1 picks up where Catching Fire left off. Katniss Everdeen (Jennifer Lawrence) is now recovering in a rebel bunker surrounded by the remnants of 'District 13' — the infamous breakaway district responsible for the insurrection that ultimately led to the establishment of the Hunger Games. Katniss's defiance of President Snow (Donald Sutherland) has inspired sporadic rebellions throughout the country, but they're in danger of dissipating unless she can truly unite the people and spark an out-and-out revolution. Her new role, then, is to become an instrument of propaganda at the hands of Plutarch (Phillip Seymour Hoffman) and the exiled President Coin (Julianne Moore). It all seems straightforward enough, but you have to remember Katniss is a teenager and, as such, seems required to dial the angst up to 11 and establish herself as a petulant little shit in possession of an unbelievable level of naive selfishness. It's put to her in no uncertain terms that if she’s unable to unite the people, the people will die, yet her focus remains squarely on her captured — would-we-call-him-boyfriend? — Peeta Mellark. Never mind the loving, courageous, selfless (and, let's face it, better looking) Gale (Liam Hemsworth) right by her side; for Katniss it's Peeta or bust. Here, then, is the bulk of Mockingjay Part 1: the rebels exploit Katniss, the Capital taunts Katniss and Katniss sulks and cries. Save for one SEAL Team 6-esque raid on the Capital, very little actually happens in this movie. "It’s the worst terror in the world — waiting for something," explains President Coin, and therein lies a stinging rebuke of the entire film. Again, it’s not necessarily a bad movie, it's just that you have to wade through a lot to uncover the fine performances and sporadic, gripping scenes. Lawrence, as always, does well with the limited material, though of the younger actors it's Hemsworth's understated yet simmering turn that most impresses. Moore's performance is an intriguing one, too, presenting Alma Coin as an uncomfortably uninspiring public speaker who yet proves herself a consummate general when the stakes are raised. In a film largely engaged with a clumsy 'actions vs words' debate, it's a welcome, nuanced portrayal. The star of this film, however, is Elizabeth Banks as the unhappily exiled ex-socialite Effie Trinket. She and Hemsworth both pack enormous depth into their limited screen time, offering a genuine range of emotions. Its shortcomings notwithstanding, The Hunger Games: Mockingjay Part 1 will undoubtedly crush at the box office, though it's hard not to feel like you could miss this film entirely and wait for Part II without skipping a beat.
When The Proposition unleashed its outback western onto cinema screens, it did so with a distinctive sound, all thanks to Nick Cave and Warren Ellis. When The Assassination of Jesse James by the Coward Robert Ford explored the death of an American outlaw, The Road took viewers into a post-apocalyptic wasteland and West of Memphis pondered a potential miscarriage of justice, the Australian musicians again provided the soundtrack — as they did with Hell or High Water and Wind River's crime thrills, too. Bandmates across several projects since the 90s — including Nick Cave and the Bad Seeds and Grinderman — Cave and Ellis are Aussie icons, with careers spanning back decades before they started composing music for movies. But even if you've seen the duo play live countless times over the years, you haven't seen anything like the pair's latest show. In two world premiere performances, as part of the 2019 Melbourne International Film Festival on August 9 and 10, Cave and Ellis will take to the stage with the Melbourne Symphony Orchestra to perform pieces from all of the above film scores. Watch the talented musos work through their movie output, as paired with symphonic sound and conducted by Benjamin Northey — and prepare to witness something special. Tickets for The Film Music of Nick Cave and Warren Ellis go on sale at 10am on Thursday, April 11 on the MSO website. Images: Matthew Thorne / Kerry Brown.
Much-loved Frankston burger joint Southside Social is heading for the big smoke, set to open the doors to a second store closer to the city at the end of this month. The owners have pegged the burgeoning foodie hub of Windsor as the location for their first inner city venue. They've knocked up the 34 Chapel Street space, which will have 14 floor-to-ceiling street artworks on the wall when they open next Friday, April 28. While Southside Central borrows from its coastal counterpart in terms of styling and energy, this one's a two-level affair, with a restaurant space downstairs, a lounge area up top, and — wait for it — an openair rooftop. The plan is for a space that slips easily from daytime diner to after-dark hangout, with a relaxed vibe and DJs spinning old-school vinyl tunes each weekend. Fans of the original will be chuffed to learn they're pulling over the same menu of decadent dude food, even beefing it up with a few added extras. Meaning, for better or worse (just kidding, it's definitely for better), it'll soon be a whole lot easier to get your hands on some fancy fries and the Fatty 5-0, with its double beef, triple bacon, mac 'n' cheese, American cheddar, and sour cream mayo. There's also the Harlem Burger, which sees spicy fried chicken and maple mayo sandwiched between sugar-dusted buttermilk waffles. Of course, there'll be crisp beers, a swag of signature cocktails, and Southside's boozy shakes to wash it all down and send you out into the night. Southside Central will open at 34 Chapel Street, Windsor on Friday, April 28. Keep an eye on the Facebook page for more info.
Have you ever thought to yourself, mid-croissant and cafe au lait, that perhaps you were destined to call the City of Light home? That the sleek fashion, buttery entrées and full-bodied merlots of France are your true native roots? Well, you can save yourself the plane ticket, because from November 29 to December 1, Paris to Provence Melbourne will bring all the best bits of France to you. Put on your best Parisian pout and sashay down to the Como House and Garden to sample traditional French delicacies, sip many a wine and immerse yourself in that je ne sais quoi of French culture. This year the Francophile festival, which has been running for ten years, has new owners: Milk the Cow fromagerie. And you know what that means — more cheese. As well as hosting its regular cheese-filled stall, Milk the Cow will be running cheese and booze pairing masterclasses (with either sparkling wines, red and white wines or French cider) for $40 a pop. There'll also be live music, fancy dress parties for dogs, sabrage (opening champagne bottles with a sword) demonstrations, champagne breakfasts, French feasts and champagne masterclasses. If none of that tickles your fancy (did we mention there will be croissants?), the Paris to Provence marketplace also includes a veritable feast of over 50 stalls, covering off all the food and wine, fashion, homewares, gifts, language, books and travel tips you could ask for. Expect hot melty raclette, crêpes, lobster rolls, crème brûlée and a myriad of pastries. Paris to Provence runs from 12–9pm Friday, 10am–9pm Saturday and 10am–9pm Sunday.
The brainchild of Untitled Group (the crew behind Beyond the Valley, Pitch Music & Arts, Ability Fest), touring agency Crown Ruler, Moon Dog Craft Brewery and PBS 106.7FM, the inaugural Duke Street Block Party proved a raving hit with music-lovers back in 2019. Of course, thanks to COVID, we never got to see Round 2. Until now. Fast forward to Saturday, March 19, and the Block Party will finally make its comeback, descending on a normally quiet pocket of Abbotsford for its huge second instalment. The festivities will take over Bond Street as well as their usual home of Duke Street, promising three stages and a diverse lineup of acts. On the bill, catch high-energy sets from Floating Points, Detroit's DJ Holographic, Jamaican dancehall icon Sister Nancy and Melbourne's own Cassettes For Kids. US DJs Eris Drew and Octo Octa will take to the stage, along with homegrown legends including C.FRIM, Milo Eastwood, Crescendoll, Sophie McAlister, PET$ and Mirasia. The Moon Dog Warehouse is set to be reimagined as a giant DJ-fuelled dance floor, while the neighbouring carpark will showcase more dance-worthy tunes selected by party crew Dutty. There'll be plenty of other goodness to explore throughout the precinct, too, including culinary treats from the likes of Nico's Sandwich Deli and freshly tapped Moon Dog brews.
I'd wager it's no coincidence that this exhibition is popping up at the same time as VAMFF. At a time when our city becomes a playground for the fashionable elite, our artists are also jumping to attention with questions. Namely, what is this whole process about, and what does it say about our sense of self? Over three gallery spaces, artists such as Ariana Page Russell, Inge Jacobsen, and Alexander Batsis endeavour to answer these questions through a variety of forms. Russell in fact utilises his own hyper-sensitive skin to make visual statements about the nature of adornment. Jacobsen's work (pictured) inverts the expectation of glossy sheen we maintain of fashion magazines like Vogue by re-creating covers through the painstaking method of embroidery. All works seem to maintain a recurring relation to the nature of permanence. Is there value in an industry founded upon trends and disposability? Fashion festivals may come and go with the seasons, but some questions remain eternal.
3D printing: is there anything it can't do? Given that houses, office buildings, custom bikes, portable living pods, cupcakes, pizza, food in general, pot plants, toothbrushes, casts and prosthetic feet for ducks can all be printed these days, it doesn't seem like it. And while piling different flavours of chocolate on top of each other mightn't be the most revolutionary thing the technology has gifted us, it's certainly one of the tastiest. Two Sydney companies, design firm Universal Favourite and sweet treat wizards Bakedown Cakery, have joined forces to create Complements. They're staircase-shaped for the easiest possible stacking, and they come in flavours that give Japan's Kit Kats a run for their money. Fancy shortbread, fairy floss, watermelon, blackcurrent or matcha — or a combo of a couple? Single origin dark, vanilla, cookies and cream, cherry, strawberry, lemon and pistachio pieces are also available. Which ones go best together? Experimenting to find that out is the whole point. Universal and Bakedown said that they wanted "to create something outside the box that could be paired in endless combinations" — which sounds like a great reason to eat more choccies to us. Sadly, the bad news is the modular chocolate creations aren't actually for sale. Sorry. In better news, you can win a box of them from the Complements website — all you have to do is come up with your best new flavour pairing. Get dreaming.
Cinemas in Melbourne have been given the go-ahead to reopen, but that doesn't mean that you need to farewell that groove in your couch — or, if you're located elsewhere in Australia, that you need to miss out on one of the Victorian capital's top film festivals. After its physical event for 2020 fell victim to March's COVID-19 lockdowns, the Melbourne Queer Film Festival is returning with MQFF Interrupted, a largely online fest that's streaming nationally from Thursday, November 19–Monday, November 30. Film buffs around the country can look forward to 17 features and 40 shorts, all telling lesbian, gay, bisexual, transgender, intersex and queer stories. And it's an impressive lineup — whether you're keen on Aussie teen rom-com Ellie & Abbie (& Ellie's Dead Aunt), haunting British thriller Make Up, trans drama Lingua Franca, American vampire comedy Bit or Georgian romance And Then We Danced. Melburnians can also attend an in-person event, thanks to a Coburg Drive-In screening of Happiest Season. It stars Kristen Stewart and Mackenzie Davis as Abby and Harper, a couple who head to the latter's parent's place for Christmas dinner — but said folks don't know that Harper is gay, let alone about Abby. https://www.youtube.com/watch?v=Mxx76RnyVIo&feature=emb_logo
Victorians are being given the chance to help shape the future of inclusive and respectful public spaces and facilities in their state, with the help of a new interactive online map where they can share both positive and negative experiences with gender equality. Currently being piloted in the council areas of Darebin and Melton, the new Gender Equality Map allows users — of all ages and genders — to anonymously drop a pin where they've encountered inclusive or exclusive infrastructure. This might include flagging locations for things like pram accessibility, baby change tables in women's and men's bathrooms, access to change rooms for all genders, or sexist advertising or street art around the neighbourhood. [caption id="attachment_695499" align="alignnone" width="1920"] Gender Equality Map[/caption] Developed in conjunction with CrowdSpot and Monash University, and with the backing of the Victorian Government, the Gender Equality Map builds on Plan International Australia's Free To Be map — an app which launched earlier this year allowing young women to pinpoint locations around Sydney where they felt safe or unsafe. Once the pilot is over in mid-February, 2019, the community's mapped results will then be analysed and used to help inform necessary policy and infrastructure changes — helping councils, town planners, architects and policy-makers make more gender-inclusive decisions in their designs, hopefully leading to safer, more respectful public spaces and facilities. While it's great that the government is looking to create more gender-inclusive spaces, we'd love to see a similar program rolled out for people of all abilities and disabilities, too. It has not yet been announced whether the Gender Equality Map will be released in other Victorian councils. The Gender Equality Map pilot can be found here. You can add to it up until mid-February, 2019. Image: Josie Withers, Visit Victoria
You're in a pub, having a beverage with your best mate, and you both keep picking up your pesky smartphones. It's a problem we all know too well — and something we're all guilty of, admit it. At London's new pop-up pub, it's simply not an option. Firstly, at the Make Time For It craft bar in Greenwich, you and your BFF will be the only people there. Yep, the short-term venue in Greenwich only seats two people. That's what happens when you open up the tiniest, cosiest of bespoke pubs in a garden shed that's smaller than a pool table. Plus, to make sure you really do have a good natter, you have to hand in your phone when you enter. That's right — good things don't just come in the smallest of packages here, though, but in the quietest and most distraction-free. Make Time For It's limited operation from October 21 to 30 is designed to highlight the importance of time, and of unplugging from digital distractions. You'll get free beer for your troubles, with the entire place the brainchild of craft brewer Meantime. After fashioning a range of special tipples that stress the concept of disconnecting from the screens in your pocket, they've taken the idea to the next level. Sure, it's a gimmick, but it's also Britain's smallest bar, and probably the world's, as well as the kind of place you instantly want to visit. You can pre-book a slot, or simply turn up and enjoy your time in the teensy-weensy watering hole. And if you're heading elsewhere in the UK at a later date, you might just be in luck — Meantime is pondering taking the bar on the road. Via Meantime.
Queer film festival season is well and truly underway in Australia, but, lucky for Melburnians, the best has arguably been saved until last. Now in its 27th year, the Melbourne Queer Film Festival is serving up 135 reasons to head to the cinema from March 16 to 27, with 47 features, 15 documentaries and 73 shorts from 30 countries on the 12-day lineup. The usual festival catch-all — that is, that there's something for everyone — definitely applies. The obligatory appearance of James Franco (not once but twice) does too. So block out the bulk of the month and prepare to spend plenty of time at the Australian Centre for the Moving Image, Kino Cinemas and Cinema Nova, ideally watching our must-see picks of the program. PULSE An Australian-made queer body-swapping sci-fi fantasy parable about sexuality, youth and disability? We're calling it: Pulse is officially the most interesting-sounding film in the MQFF lineup. It also has a premise worthy of smashing all of the aforementioned words together, with a disabled teenage boy undergoing a strange procedure that places him in the body of an able-bodied woman. It's all in the name of love — what else? — which is how you might feel about the end result. Screening in the high-profile festival centrepiece slot, Pulse also marks the debut of writer/actor Daniel Monks and director Stevie Cruz-Martin, which means it promises on-screen intrigue and off-screen talent galore. I, OLGA HEPNAROVA There's plenty that can be said about I, Olga Hepnarova. It tells a chilling true tale in an immersive, engaging and stylistically interesting way, for starters. Oh, yes it does. Tackling the eponymous 22-year-old's murder spree and eventual execution, it's also far from upbeat viewing — but, even though the Czech effort delves into a stunning real-life crime, it's also perceptive and never sensationalist. Perhaps the strongest thing we can tell you is that, as lead actress Michalina Olszanska draws you into the mind of a loner turned killer in a mesmerising fashion, you won't forget your viewing experience in a hurry. THE INTERVENTION If The Intervention sounds familiar, that's okay. We've been keen for this one for a while. After screening at the 2016 Sundance Film Festival, Clea DuVall's directorial debut makes its way to Melbourne with a heap of familiar faces helping her riff on The Big Chill. With DuVall herself, Cobie Smulders, Alia Shawkat, Natasha Lyonne, Melanie Lynskey, Jason Ritter and Ben Schwartz along for the ride, that means a reunion is in the spotlight — and, as the title suggests, the kind of caring confrontation that doesn't always go down too well. If you need any more reasons to watch, and you shouldn't, Sara Quinn from Tegan and Sara provides the score. TAEKWONDO With Taekwondo, two Argentinian talents well-versed in telling screen tales of lust and longing come together. Expect the results to pack a punch. In a film directed by Marco Berger and Martín Farina, sparks fly when the shy Germán accepts an invitation from his taekwondo teammate Fernando to join him on a summer getaway. Fernando's friends make Germán feel like part of the gang, but romance lingers beneath the male bonding — as do plenty of long, yearning looks, as well as a sensitive and intimate drama. A DATE FOR MAD MARY You've seen one wedding-centric flick, you've seen them all, right? That's a line of thinking that's easy to slip into, but Irish bright light A Date for Mad Mary is here to prove otherwise. The titular Mad' Mary McArdle gets out of prison, heads home and gets bundled into being the maid-of-honour at her best friend's wedding, leaving her in need of a companion. A combination of heart and humour makes the finished product stand out, as does a star-making turn by Seána Kerslake. Keen for more MQFF recommendations? The list doesn't stop there. We were excited about King Cobra, Tomcat, Women Who Kill and Out of Iraq when they screened at Sydney's Mardi Gras Film Festival, and eager for AWOL, The Lives of Therese, The Nest, Rara and Out Run at the Brisbane Queer Film Festival. Or, check out Being 17, which is also doing the rounds at the Alliance Francaise French Film Festival. MQFF screens at the Australian Centre for the Moving Image, Kino Cinemas and Cinema Nova from March 16 to 27. For more information and to buy tickets, visit the festival website.
There is nothing quite like an international design competition to put the world's leading architecture firms into a bit of spin. And that is exactly what has happened since the Busan Metropolitian City Government in Korea sponsored a competition to find a design for Busan's new Opera House, set to begin construction in 2014. The brief was fairly straightforward - the winning design needed to completely reenvisage the Busan Opera House on the harbour of South Korea's second largest city, Busan, and create a new cultural landmark which would resonate with the residents of Busan and the surronding marine culture, yet would also put Busan firmly on the international stage. In practical terms, the brief also stipulated that the design had to include an Opera Theatre, a multi-purpose theatre, and provide areas for people to congregate and enjoy views of the city skyine and the ocean. The competition certainly has fired up the imaginations of architects worldwide The Swiss-based architecturel firm Kubota and Bachmann have put forward a design based on Korean traditions, featuring an impressive artificial body of water, while a German firm, Peter Ruge Architekten, have gained significant attention with their sustainable design. Sydney-based architects Lascoste and Stevenson have also weighed in with their pod-shaped design. The final decision on the design of the Opera House will not be known until the second stage of the competition. But whatever the result, it looks like post 2014 Sydney may not be the only harbour city with an enviable Opera House.
Anyone who's caught The Jezabels live can nod to a hoarse throat and an emotional upheaval at the close. One of Australia's best live outfits, the Sydney foursome sure pack a punch on stage, leaving festival crowds at St Jerome's Laneway Festival, Groovin the Moo and Big Day Out thoroughly uplifted and homeproud. After extensive UK touring and support slots for Depeche Mode and the Pixies, The Jezabels are back on home turf ready to blow minds at the Palais Theatre for their 2014 headliner tour. Following the release of their colossally successful debut release Prisoner, The Jezabels spent two years on a furious touring escapade; leaving fans generally euphoric at over 200 shows worldwide. Gradually refining their epic live presence, the Sydney locals are a long way from their university band comp days — rounding out 2013 by opening for Depeche Mode and the Pixies through Ireland and the UK. The crew based themselves in London, hooked up with UK Producer Dan Grech-Marguerat (Radiohead, The Kooks, Lana Del Rey) and crafted their second album, The Brink, which debuted at #2 on the ARIA chart. No biggie. For their first headline dates for 2014, The Jezabels will fill every eave of the Palais with Hayley Mary's supercharged vocals. Sydney power pop dudes Gang of Youths will warm up the Palais with their debut single 'Evangelists', fresh from recent UK support slots for Vampire Weekend and Frightened Rabbit. https://youtube.com/watch?v=pQ3fAMOz-Ic
Frontmen rarely come as charismatic as Henry Wagons. A storytelling character and a half, the Melburnian native has returned from the dark desert highways of the US to reunite with his band and bring Wagons' shiny new album to the townspeople. Seeing music as a joyous occasion rather than a moment to wallow in your sorrows, Wagons' shows are downright shindiggerous in their approach. "'Music is a public activity — the very birth of music was designed to be joined in on,'' Wagons told SMH. ''The first music was played at celebrations. The insular emo songwriter in the bedroom is this recent offshoot of what music is at its core. Music for me is for other people. I write it alone, but with the idea of playing it for other people.'' These "other people" make up the remaining five members of Wagons, one of Australia's best and most underrated live bands. Wagons have just released their latest single 'Beer Barrel Bar', taken from brand new, sixth studio album Acid Rain and Sugar Cane and nabbing a four-star rating from Rolling Stone. Landing feature album at 2ser and RTR, Wagons' new release heralds the end of a long period between drinks for the band — Henry Wagons released his own lovelorn ballad-filled solo album in 2013 and spent many months on the dusty highways of America touring his wares. With Mick Harvey (The Birthday Party/Nick Cave And The Bad Seeds) behind the mixing desk and Wagons himself bringing his US-inspired country stomping style to the plate, Acid Rain and Sugar Cane has quite the Nashville twang to it. Best enjoyed with a whiskey in hand and a soulmate far away, the LP is a natural evolution of Wagons' indie country blues into an Ameristralian tavern hootenanny. Kicking off their national tour in Adelaide on May 22, Wagons will make their way through major cities and regional centres, hopping from Fremantle to Hobart, back up to Geelong, Melbourne and Ballarat, up to the Canberran capital, east to Wollongong, Sydney and Newcastle before heading north to Brisbane and finishing up at Darwin's Railway Hotel on June 21. Warming up the stage at The Hi-Fi for Wagons is Nashville singer-songwriter Jonny Fritz, known for his wise-cracking, storytelling onstage persona and his former moniker of Jonny Corndawg. Fritz signed his contract with ATO Records in gravy at Nashville landmark Arnold's Country Kitchen. Yee-ha. https://youtube.com/watch?v=WXoiX2bFPDY
Every hotel tries to offer visitors a home away from home. At Melbourne's new luxe spot, however, that's the entire concept. Opening in June, United Places endeavours to blend the best of both — a hotel and a home — across its 12 roomy suites. And, like everyone's dream house, it also features plenty of greenery. The rampant plant life comes courtesy of United Places' location, situated opposite the Royal Botanic Gardens in South Yarra. As well as views over the parklands, the hotel's three two-bedroom suites boast city vantages from their sunken bathtubs. Nine one-bedroom suites will also be available. Further ramping up the comfort, United Places will provide personalised butler service 24 hours a day, plus curated in-room breakfasts by chef Scott Pickett (Estrelle, Saint Crispin). Daily hampers will stem from onsite restaurant Matilda, Pickett's latest venture, which'll focus on open fire and hot coals. While it'll be open to the public for lunch and dinner seven days a week, and for weekend brunch as well, the eatery will also give hotel guests priority seating. Design-wise, architects and interior designers Carr Design Group have opted for velvet drapes, hardwood floors and charcoal bathroom pods, with each suite also featuring a kitchen and terrace. And as a striking focal point upon entry, artist Laura Woodward has created a specially commissioned piece for United Places' foyer, playing with water, light and movement and interacts against the hotel's monochromatic hallways. If all of the above sounds particularly luxurious, that's the entire point. Unsurprisingly, it also comes with a hefty price tag, with rooms starting at $650 per night. Find United Places Botanic Gardens at 157-159 Domain Road, South Yarra from June. Keep an eye on the hotel's website and Instagram feed for further details. Image: Moritz Marquardt via Flickr.
Sydney's newest hotel is so keen on the whole 'choose-your-own-adventure' idea that, when it opens next month, it will let guests select their own rooms. Billed as the city's "first authentic custom designed hotel", Camperdown's soon-to-open Collectionist Hotel wants to push that concept of individualised guest experiences to a whole new level, letting them pick a favourite from the assortment of designer suites on offer. It's slated to open next month in a former warehouse space, where a team of seven designers and 13 artists have been kept busy creating 39 unique rooms. But instead of being allocated a random suite, guests at The Collectionist will suss out the available rooms at check-in and choose exactly where they want to spend their stay over a welcome drink — a concept Collectic Hotels co-founder Daniel Symonds likens to browsing works of art. No two two rooms are the same, apparently, as each will boast its own unique colours, textures and style. A great idea if you're in the mood to choose, but probably less than ideal when you're crashing hard after a long-haul flight. Or if all the rooms have already been taken by people who arrived earlier than you. Unsurprisingly, The Collectionist has also done away with the usual room number caper, in favour of eclectic names like the Queenie Fah Fah, Cloud Runner and La Chamber Noir. Just don't expect them all to be your cup of tea. "I would be surprised — and a little disappointed, to be honest — if there weren't some divided opinions on the rooms designs," said Symonds. "We have purposely set about creating rooms that will challenge the 'norms' on hotel room design." The Collectionist Hotel will open at 9–13 Marsden Street, Camperdown in May 2018. You can't book a room yet, but you can check the website for updates.
The next level of the global transport economy is fast approaching — even Down Under. First, there was news that Melbourne could be one of the first cities to test Uber's flying cars, then came the announcement of the proposed Hyperloop Transport System, which would get you from Sydney to Melbourne, or Brisbane to Sydney, in just 37 minutes. Sure, these are still a relatively distant dream, but one such technological advance is much closer than you may think — an Uber-like service with driverless electric cars, courtesy of Tesla. At a conference earlier this week, Tesla founder Elon Musk announced that the company is planning to roll out a massive fleet of one million self-driving 'robotaxis' as early as next year. These autonomous vehicles are planned to hit roads in the US by mid-2020 — regulatory approvals pending, of course. If all goes to Musk's plan, here's how it'll work: the app will function much the way all ride-sharing apps do — except the car will drive itself. The existing Tesla app will be fitted with a 'summon' option, where you'll be able to order the closest robotaxi from its stored location, and it'll drive itself over to pick you up. [caption id="attachment_718225" align="alignnone" width="1920"] Tesla ride-sharing app[/caption] Plus, some Telsa owners will be able to add their own car to the service, with the options to limit sharing to friends, co-workers or social media contacts. In areas where not enough share vehicles are available, Tesla will release a dedicated fleet to ensure short wait times. But what does this mean for Australia? According to the ABC, Australian transport ministers plan to have a regulation for commercial self-driving vehicles in place by next year — a neatly timed goal with Musk's ambitious roll out. So, depending on which way next month's election swings, we could soon be riding in cars with no-one at the wheel. If you're really interested, a four-hour livestream of the Tesla conference, in which Musk discusses the ride-sharing service, is available to watch here. Tesla is aiming to put one million self-driving 'robotaxis' on US roads by mid-next year, depending on regulatory approvals. In Australia, regulations for commercial autonomous vehicles are set to be in place by next year.
Girl Asleep, by director Rosemary Myers, has been touted as an Australian version of Napoleon Dynamite. It's an obvious comparison, but while there are many similarities, Girl Asleep will leave you feeling something much deeper than mild amusement and confusion (sorry Napoleon, but it's true). For a start, it's a coming of age film starring actual teenagers, and that awkwardness translates beautifully to the screen. Greta (Bethany Whitmore) is 14, very shy and starting life at a new school. On her first day there she meets the geeky Elliot (Harrison Feldman) and they develop an unlikely friendship. Her life and all its inherent confusion stays private until her parents (played so very well by Amber McMahon and screenwriter Matthew Whittet) throw her a massive 15th birthday party and all her internal chaos spills over. The narrative is well-paced and comfortingly predictable, until the third act when Greta is plunged into a surreal, sexy world of Abject Men, Frozen Women, vaguely sinister forest creatures and lessons about sisterhood. It's a brusque transition but not unexpected, since the whole film has a touch of the surreal about it. There's an air of awkwardness that at times that goes beyond the script, although thankfully the two young leads are supported by a fluid and confident supporting cast, who lend the whole production a professional veneer that keeps your faith intact. Myers originally developed and executed the story as a stage play, and you can see fragments of the stage in the two-dimensional composition and the all-singing, all-dancing dramatics that give the film its signature look. And what a look! Girl Asleep is worth the ticket price alone just for the attention to detail in the props, costumes and sets. It's all so glamorous, so coordinated, so excessive and so 70s – a visual smorgasbord of big hair, tight shorts, flares and loud patterned wallpaper. And yet, behind the glamour and theatrics, viewers will find a remarkably relatable protagonist. Greta deals with her questions of identity, gender, sexuality and feminism in a way that will catch you by surprise, right in the feels. The writing hits a subtle emotional frequency that offsets and works well with the zany visual antics, helping to set Girl Asleep apart from the pack. https://www.youtube.com/watch?v=9lJSjVbTvDs
June is here, so is the cold weather — and usually the Sydney Film Festival also would be in full swing right about now. But in 2021, SFF is unleashing its cinematic wonders a little later than normal. That doesn't mean that you can't spend its traditional time slot thinking about all the things that you're going to watch between Wednesday, August 18–Sunday, August 29, though. Also a bit later than usual, SFF has just announced its first program sneak peek for 2021, ahead of the full lineup drop in July. The short version: even based on the list revealed already, your eyeballs are going to be busy at this year's 12-day fest. So far, the event has named 22 movies that'll help it make its proper return to cinemas after a two-year gap. The 2020 event moved online due to the pandemic — and when a summer season brought cinephiles back to the glorious State Theatre in January, it only screened a handful of movies. If these first 2021 titles are anything to go by, film buffs are in for quite the treat come August. Leading the charge: New Zealand's The Justice of Bunny King, which stars Essie Davis (Babyteeth) and Thomasin McKenzie (Jojo Rabbit); Riders of Justice, a revenge-fuelled Danish comedy led by the inimitable Mads Mikkelsen (Another Round); 2020 Sundance hit Zola, which is based on a lengthy 148-tweet Twitter thread; 2020 Berlinale Golden Bear winner There Is No Evil, a searing Iranian drama about the death penalty; and Undine, the alluring and beguiling latest film from German auteur Christian Petzold. Festival director Nashen Moodley has also programmed documentary The Kids, which sees Australian filmmaker Eddie Martin (All This Mayhem) explore Larry Clark's 1995 film Kids; climate change doco The Magnitude of All Things, which includes Greta Thunberg chatting about the topic; Shoplifters of the World, a drama about a fan of The Smiths trying to cope with the band's breakup; and three-time Sundance 2021 winner Hive, the first film to ever win the fest's Grand Jury Prize, Audience Award and Directing Award. Or there's also the tense and engaging Night of the Kings, which takes place in a rough Côte d'Ivoire prison; The Beta Test, a Hollywood-set horror flick that's been getting comparisons to The Twilight Zone; and the Taika Waititi-executive produced sci-fi film Night Raiders. And, on the local front, Wash My Soul in the River's Flow hones its focus on Archie Roach and Ruby Hunter, following the couple as they prepare for 2004's Kura Tungar — Songs from the River — a collaboration between the First Nation artists, Paul Grabowsky and the Australian Art Orchestra. Plus, Step into Paradise explores the collaboration and friendship between Aussie fashion designers Jenny Kee and Linda Jackson. The 2021 Sydney Film Festival will run between Wednesday, August 18–Sunday, August 29. Check out the event's just-announced titles by heading to the festival website. The full program will be released on Wednesday, July 22. Top image: Zola. Anna Kooris / A24 Films.
If there’s one thing the movies of Noah Baumbach tell us — including the college exploits of Kicking and Screaming, the teenage unhappiness of The Squid and the Whale and the midlife crisis of Greenberg — it’s this: growing up doesn’t come easily. Sure, we all get older as the days, months and years pass, but that doesn’t mean we feel our age. While We're Young lives and breathes this sentiment, and its characters as well. “For the first time in my life, I've stopped thinking of myself as a child imitating an adult,” says documentarian Josh Srebnick (Ben Stiller) to his producer wife Cornelia (Naomi Watts), to which she replies, "you feel that way too?" It's an easy way of expressing the feature's theme in dialogue — a little too easy, in fact — but it rings true. They're trapped by expectations they can't fulfil and ambitions they haven’t achieved, and they're not ready for that realisation. Two events start Josh and Cornelia thinking that maybe their mid-forties life isn't what they think it is. First, friends their own age (Maria Dizzia and the Beastie Boys' Adam Horovitz) have a baby and tell them constantly that they should do the same. Then they meet wannabe filmmaker Jamie (Adam Driver) and his wife, Darby (Amanda Seyfried), twenty-somethings they can nostalgically see decades-earlier versions of themselves in. Cue a whole heap of generational contrasts, of the young-folks-like-retro-trinkets versus older-people-prefer-technological-gadgets variety. Again, it's simple shorthand for a divide that looks obvious, but the film isn't just trying to show how things are different. Focused on a couple who don't feel in synch with their age group yet soon learn that they don't really fit in with younger friends and trends either, While We're Young is trying to understand why. That's a big challenge for a 97-minute comedy; however, it is one that the ever-perceptive Baumbach accepts. As he did with the delightful Frances Ha before this, the writer/director homes in on details so specific, they might as well be ripped from many of the audience's lives. And if his last film was his attempt at combining such wry observations with a French New Wave coming-of-age tale, this is him revelling in Woody Allen, comedy-of-manners territory. Though a Bowie song is again in the mix, While We're Young doesn't quite bounce along with the same zest as its predecessor, but it does roll with the punches of a story that morphs into a contemplation of authenticity. Thankfully, the film's bright frames boast that in spades, as it juxtaposes both sides of the age divide but, crucially, never judges. Everyone — Josh, Cornelia, Jamie and Darby alike — just wants to reconcile their dreams with their reality. Performance-wise, the good stuff keeps on coming, gifting Watts her best work in years, letting Stiller show a more chilled version of his Greenberg persona and playing with Driver's natural charm. That said, if there's one thing that doesn't sit right in the whole movie and its musings on getting older, it's one piece of casting. Seriously, who wouldn't want to hang out with Ad-Rock, baby or not, at any age?
The southern end of Chapel Street often gets a little overlooked in all the flashy hustle and bustle of Prahran, South Yarra and Windsor — but there's a lot to see south of the border of Dandenong Road. And by a lot to see, we mean a lot of cheese to eat for free courtesy of charcuterie, cheese and wine bar XM4. The St Kilda venue knows how to please the people, and it's already doing it with its range of seasonal produce, good wine, cheese and a bagel menu to back things up. But it's stepping up things to "why aren't you here already?" level by slinging free cheese boards your way on Friday nights. 'Mates rates and cheese plates' is the name of the– game, so you're not going to want to go alone. Head along for a complimentary cheese grazing table and cheap drinks from 5–7pm every Friday, before heading north up Chapel Street for wherever your night might take you. Cheese counts as a proper dinner, right?
While Australia can sometimes feel a little disconnected from the rest of the world, much of the globe can relate to our ongoing refugee situation. It's these widespread geopolitical and migration crises that world-renowned artist and activist Ai Weiwei is shining a spotlight on with his New York public art exhibition, Good Fences Make Good Neighbors. After running a crowdfunding campaign to fund the project back in August and September, the Chinese creative's latest installation is up and running from today until February 2018. The powerful showcase features a series of large-scale works throughout the entire city, as Ai Weiwei highlights the role of the security fence in dividing people, the immigration and border control practices and policies that go along with these physical barriers, and the current global rise in nationalism. https://www.instagram.com/p/BaHLa7Rn9hh/?taken-by=publicartfund Spanning more than 300 sites across five boroughs, the artist's huge fence-inspired works can be found at places like Central Park and Greenwich Village's Washington Square Arch, as well as on top of and between private buildings. He has also created a collection of flagpole-mounted works, sculptures around bus shelters and two-dimensional lamppost banners. Meanwhile, traditional advertising spaces at bus shelters, LinkNYC kiosks and newsstands will display images taken during Ai Weiwei's time researching at refugee camps across the world. Good Fences Make Good Neighbors stems from his own experiences with displacement and detention, combined with his recent research surrounding the global refugee crisis. If you can't make it to New York to see the installation in person, Instagram has you covered. For more of Ai Weiwei's exploration of the topic, Human Flow, his latest documentary, is due in Australian cinemas in March 2018. Images: Ai Weiwei studio via Kickstarter.
