We really must stop being so surprised each time Ben Affleck does something good. Three grand directorial efforts in, and we still think of subpar rom-coms and tabloid relationships before we remember that the man actually won an Oscar for screenwriting at the age of 25. He's clearly observed each moment around the camera since Good Will Hunting, because everything he does as a director is interesting. He's a little like Clint Eastwood (minus the sting of Republicanism). After Gone Baby Gone and The Town, Affleck's third film is Argo, a nail-biter based on the 2007 Wired article 'How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran', written after the details of the far-fetched espionage story became declassified. It happened during the 1979 Iranian Hostage Crisis, in which 52 Americans were held for 444 days by militants angry about the US giving shelter to their overthrown monarch, Mohammed Reza Shah Pahavi. At the time the embassy was breached, six diplomatic staff escaped and hid secretly at the Canadian ambassador's house, until CIA agent Tony Mendez (Affleck) could organise their exfiltration (or 'exfil', as its snappily referred to throughout) — yes, using the totally improbable cover of a sci-fi film called 'Argo'. It's a fascinating study, but what's remarkable is that this largely bureaucratic process has been rendered so tense and so funny by the director and his team. It will put you closer to the edge of your seat than likely any other film this year. Most of the laughs come courtesy of John Goodman and Alan Arkin playing lauded make-up artist John Chambers and producer Lester Siegel, who come on board to make the fake film look real. Their dry, cynical banter about the ins and outs of Hollywood filmmaking are a down-to-earth intrusion into a fantastical turn of events. After an impressive two hours, what turns out to be most impressive is the end credits, which place historical images alongside stills from the film so you can see the Mad Men-like attention to detail that has gone into re-creating this period in time. You can practically feel the polyester under your eyes throughout this Oscar contender, while the softly grainy texture of the film allows archival footage to be smoothly integrated. It is a bit disappointing, then, that the historical accuracy turns out to be so patchy. The role of the CIA, as opposed to Canada, is exaggerated for effect, but what's perhaps more damning is the lengths the film goes to demonise and dehumanise the Iranian people just to heighten the feeling of threat (any one of them could attack!). Arguably, given its bank of suspense, Argo could have afforded to swap some tension for a little more understanding. https://youtube.com/watch?v=QQkdOSwz2Kw
Think you know Tropfest? On the eve of its 21st birthday, see the iconic short film festival in a whole new, more mature light with this ultimate VIP package, up for grabs in both Sydney and Melbourne. You and a friend can get off the grass and enjoy luxury pre-drinks before heading to Tropfest with VIP red carpet tickets, which let you watch the competition unfold from the comfort of the invite-only marquee. End the night sleeping in style at the Vibe Hotel Savoy Melbourne. It's Tropfest how (we imagine) the celebs do it. The film festival that began in Sydney's Tropicana Cafe has captured the world's imagination like few others. A lot of the appeal lies in the festival's 'signature item', around which all the entrants must tailor their maximum-seven-minute films. This year it's 'balloon', so whimsy suggests itself, but the unexpected will reap reward. To be in the running for this VIP experience, subscribe to our newsletter (unless you're subscribed already) and then email melbourne@concreteplayground.com.au with your name and address. Tropfest is held on Sunday, February 17, at the Sidney Myer Music Bowl. The competition is subject to these terms and conditions.
Tennis is a game of serves, shots, slices and smashes, and also of approaches, backhands, rallies and volleys. Challengers is a film of each, too, plus a movie about tennis. As it follows a love triangle that charts a path so back and forth that its ins and outs could be carved by a ball being hit around on the court, it's a picture that takes its aesthetic, thematic and emotional approach from the sport that its trio of protagonists are obsessed with as well. Tennis is everything to Tashi Duncan (Zendaya, Dune: Part Two), Art Donaldson (Mike Faist, West Side Story) and Patrick Zweig (Josh O'Connor, La Chimera), other than the threesome themselves being everything to each other. It's a stroke of genius to fashion the feature about them around the game they adore, then. Metaphors comparing life with a pastime are easy to coin. Movies that build such a juxtaposition into their fabric are far harder to craft. But it's been true of Luca Guadagnino for decades: he's a craftsman. Jumping from one Dune franchise lead to another, after doing Call Me By Your Name and Bones and All with Timothée Chalamet, Guadagnino proves something else accurate that's been his cinematic baseline: he's infatuated with the cinema of yearning. Among his features so far, only in Bones and All was the hunger for connection literal. The Italian director didn't deliver cannibalism in Call Me By Your Name and doesn't in Challengers, but longing is the strongest flavour in all three, and prominent across the filmmaker's Suspiria, A Bigger Splash and I Am Love also. So, combine the idea of styling a movie around a tennis match — one spans its entire duration, in fact — with a lusty love triangle, romantic cravings and three players at the top of their field, then this is the sublime end product. Challengers is so smartly constructed, so well thought-out down to every meticulous detail, so sensual and seductive, and so on point in conveying Tashi plus Art and Patrick's feelings, that it's instantly one of Guadagnino's grand slams. In 2019, the picture's present day — a choice that enables Challengers to avoid everything pandemic-related — Art and Patrick go racquet to racquet in New Rochelle, New York. Pinging in-between their on-the-court confrontation, after they progress through the tournament on opposite sides to clash in the final, are flashes to moments from 2006 onwards. It was in that year, as teen doubles partners known as "Fire and Ice" (and best friends, and childhood tennis academy roommates), that the pair met Tashi. She's as confident when she's not standing on a green surface as she is on it, and on it she's an undoubtable prodigy. They're both immediately attracted to her. They each ask for her number at the same party while all three are together. In Challengers' later timing, however, Art is her husband and Patrick her ex-boyfriend. Art has also enjoyed almost every success that a tennis player can hope for, other than winning the US Open. Completing his career slam is his aim, with the New Rochelle contest about getting him back into form to stop a losing streak. Patrick has to sleep in his car to make the fixture; for him, earning a wildcard to the bigger dance and a chance at the kind of glory his former pal has long been basking in is the mission. The duo hasn't talked in years. The reason: a falling out about matters of the heart. But Challengers doesn't simplistically have its two men battle it out for Tashi as a prize, even when she promises a date to whoever wins their first game against — not with — each other in the mid-00s segments. Tashi is a force to be reckoned with. She'd never let herself become a trophy. Her career is cut short due to injury, sparking a move into coaching Art, and she's as ferocious and strategic there — and in their marriage — as she was when pursuing her own tennis fame. Then there's the inescapable bond between Art and Patrick anyway; Tashi's home-wrecker comments about sliding into the middle of their relationship aren't empty in Guadagnino's hands, whether a three-way kiss or loaded words are being exchanged. The director works with the first feature script by playwright, novelist and screenwriter Justin Kuritzkes — and it's no wonder that authenticity beats at the heart of this deeply sultry, raw and evocative (and horny) movie. While this isn't a tale taken from actuality, Kuritzkes is the husband of filmmaker Celine Song, whose Oscar-nominated 2023 debut Past Lives not only leapt into another complicated love triangle but was loosely drawn from her own experiences. The two movies are playing different games, though, yet share the same richness of chemistry, lingering sexual tension, and understanding of how burning love and pining to be seen are life-shaping and -changing sensations. They're each so precisely helmed in their vastly dissimilar ways that they're works of art, and so expertly cast that their stars will always rank the respective flicks as career and performance highlights. Continuing the trend of Spider-Man love interests giving tennis films a whirl (see: Civil War's Kirsten Dunst with Wimbledon, then Poor Things' Emma Stone with Battle of the Sexes), Zendaya doesn't just make Tashi formidable and unforgettable; her portrayal, which is one of her best ever alongside Euphoria, firmly matches. Neither the movie nor its leading lady polish over the character's fierceness and ruthlessness when it comes to her passion, instead exploring what's behind her intensity from the outset: being a Black star who isn't from a comfortable background in a world that's all about whiteness and privilege. She's magnetic to viewers, and to Art and Patrick, who are brought to the screen with romanticism and vulnerability by Faist, and with spirited but comfortable charm by O'Connor. Challengers loiters at the net, where two sides are pushed together — not as any balls bounce through the bouts depicted, but in unpacking every pairing that can be made from its main trio, racial and economic divides that definte their realities, and the thin line that can become a vast chasm regarding genuinely grasping your dreams versus forever chasing them. As it hops and rushes about — including between time periods, characters, games and romances — Challengers zips and zings, and lunges and thrusts. Guadagnino's knack for immersion keeps working up the bracket film by film, to hypnotic effect here. There's no Uncle Boonmee Who Can Recall His Past Lives or Memoria dreaminess to cinematographer Sayombhu Mukdeeprom's lensing, but the same crispness, as seen in his work on Call Me By Your Name and Suspiria as well, remains. New for Challengers is the dynamism of the sports scenes, and of switching from character to ball vantages, each absorbing visual choices. Marco Costa, who returns from Bones and All, edits just as energetically. And amid songs by Donna Summer, Lily Allen and Nelly, Trent Reznor and Atticus Ross' second Guadagnino score, also after Bones and All, is an adrenaline-dripping disco and electronica whirlwind that couldn't better set and reflect the propulsive mood. Talk about an all-round ace.
Instagram looked rather fetching last week. Hoards of hovering fashion bloggers, well-dressed punters breaking out their most social media-baiting outfits and a somewhat random Gerard Butler all descended on Sydney's Carriageworks last week for Australia's premier fashion event. Mercedes-Benz Fashion Week Australia is a tossed salad of the fashion industry's heavyweights, Next Big Things and hopeful scenesters eager to catch a glimpse of the coming season's boldest and brightest looks. Fresh from a long, house music-fuelled week of drooling over impossibly high heels and disarmingly playful outfits we could never comfortably wear into the office, Concrete Playground takes a look at next year's biggest trends. Looks like next year we'll be wearing wetsuits, donning enough sparkles to blind passers-by and asking our mums for style advice. Image: Toni Maticevski, Dion Lee, Ginger & Smart Luxe sports We all know Australia is a sporting nation, but who could have predicted that a fair whack of the MBFWA designers would premiere collections referencing sportswear as a key inspiration? Prominent zips, pockets, mesh panels, racer backs, fabrics that looked totally capable of wicking moisture — sporty detailing was everywhere this year. Dion Lee went varsity track-and-field, Ginger & Smart inserted a hint of streetwise mesh into otherwise romantic pieces, and several newcomers came out looking ready to race. The style reached its zenith, however, with Toni Maticevski, who sent athletics-inflected eveningwear down the runway (and it was stunning and formidable and would be perfectly rocked by Claire Underwood on House of Cards). Style inspiration: Sochi Olympics Image: Gabriel Lee (Raffles showcase), Ciara Nolan (The Innovators), Toni Maticevski Neoprene dreams Although a pedant might say neoprene is just one subset of the sports trend, the textile (you might know it as wetsuit material) was so prevalent at MBFWA that it deserves a mention in its own right. As well as anchoring the athletic collections of Maticevski et al, it made appearances contrasting against floatier, finer fabrics in the girlier wares of Cameo, Alice McCall and Gabriel Lee (part of the Raffles International Showcase), while Ciara Nolan achieved ultimate neoprene-age with her dinosaur-inspired (yes, dinosaur inspired) pieces. Best of all, neoprene should prove surprisingly wearable, particularly in skirts, where it not only makes sculptural curlicues from your waist to your knees but has a hold-everything-in effect. Stay away from any neoprene jumpsuits though; that could well just be a wetsuit. Style inspiration: Surfers. Duh. Image: Yousef Akbar, Alice McCall, Bei Na Wei SO SHINY This season designers are infusing a little celebration in each of their pieces. Accompanying the straight-up party that is Romance Was Born's hootenanny of an exhibition, Reflected Glory, designers like Aurelio Costarella, Alex Perry and Zhivago are making a dance floor out of mere clothing. Basically, the more sequins you can pack into a pair of pants the better. Metallic, rigid tunics and playsuits shone down more than one runway, making appearances everywhere from Alice McCall to Bei Na Wei, while glass beadwork, monochrome sequins and shimmering tassels made an absolute shindig of the Yousef Akbar runway. Day to night has never been easier. Style inspiration: Vince Noir’s mirrorball suit Image: Dyspnea, Alice McCall, Haryono Setiadi OVERLAYS We could see right through this one — overlays are getting serious exposure. Romantic as ever, intricate lace is all loved up by designers like Aje, Alice McCall and Alex Perry, prettying up full-length onesies, sheer business shirts and playful cocktail dresses. Appropriately breezy for her cruise-inspired birthday collection, Alice McCall paired long hemlines with high-waisted ‘50s style undergarments, while Ae'lkemi took sheer to the next level with gowns, shirts and skirts almost whispered on. The best thing about the evolution of sheer into overlays? Odds are you can actually wear it in the street. Style inspiration: Freedom Image: Hayley Elsaesser, Alice McCall, Emma Mulholland LOUD PRINTS Oh, you're thinking of wearing that ditsy floral dress? No. Life is short and this year's designers want you to spend yours not as a wallflower but as a rare, crossbred and likely poisonous orchid. Therefore, those who are working with colour (and not strictly monochrome and structural, which is, of course, also a thing right now) are working in vivid technicolour smashed together in brash prints. We're particularly taken with Emma Mulholland's and Hayley Elsaesser's sweet spins on childhood nostalgia and Alice McCall's mystical and alluring digital pyramid print. Fortunately, mixing prints is the pinnacle of this trend, so: let's wear both. Style inspiration: Ken Done Image: Dyspnea, Aelkemi, RACHELALEX THAT '70s SHOW Hemlines are longer, prints are bolder, sleeves are bigger — the '70s are the season's chosen decade for a runway revamp. Bell bottomed pants, asymmetrical tunics and winged sleeves made appearances in the Ellery, Bianca Spender and Ae’lkemi shows, while the impossibly bright, geometric prints of Desert Designs and tie-dyed designs from Rukshani channel an early '70s post-Woodstock vibe. Zhivago brought out yellow long-sleeved gowns with plunging necklines and Jayson Brunsdon featured super feathered, luminescent collars and one-shouldered numbers, also seen in Haryono Setia's candy corn-coloured tunics. Style inspiration: Studio 54 Image: Hayley Dawson, Yousef Akbar, Dion Lee MIXED MATERIALS Sometimes you need to pair something with its opposite to truly bring out its best qualities. Alex Perry fused rough snakeskin with bejewelled silk, Dion Lee is bringing leather to denim like only the Ramones could and newcomer Hayley Dawson introduced feminine, sheer cotton to hardy industrial uniforms. Yousef Akbar's Francis Bacon-inspired collection ended with floor-length gowns of half neoprene half silver sequins, while Bei Na Wei blended industrial strength synthetic mesh textiles with shiny leather to find a futuristic femininity. Style inspiration: Neenish tarts Image: Cameo, Emma Mulholland, Ellery MORE OF WHAT YOU'VE ALREADY GOT Not everything is a flash in the fashion pan; some trends are showing staying power that's a good two seasons long. Crop tops, bustiers and sheer garments are still around in a big way (layer the two together and you have something approaching modesty), while matchy-matchy monochrome remains a strong look, particularly in statement white. Style inspiration: MBFWA 2013 Top image: Emma Mulholland. Words by Shannon Connellan and Rima Sabina Aouf.
If you need to visit the CBD to pick up essentials or for medical needs — two of the reasons that Melburnians are allowed to head out under the city's current stage four stay-at-home restrictions, but only within five kilometres of home — you have one less thing to worry about: parking fees and fines. The City of Melbourne has announced that it is easing up on parking restrictions and costs in green sign parking bays, in line with State Government advice. The move will be in effect for the duration of the city's stage-four lockdown. That said, fees and restrictions will still apply to red sign parking bays — which includes disability parking spaces, if you don't have a permit; no stopping areas; tow-away clearways and loading zones. Enforcement will also apply in any other situation where a vehicle creates a risk to public safety or access, regardless of whether the car is in a green sign or red sign parking bay. So, while you you will be able to park without paying a cent in plenty of places, you'll still cop a fine for blocking driveways, clearways and lanes, parking too close to an intersection or parking in a disability bay without the proper permit. https://twitter.com/cityofmelbourne/status/1294119991696961537 The council also said, "We ask everyone to be mindful of the importance of vehicle turnover to support people needing to access essential services and businesses." While there are now less people out and about, and fewer cars on the streets, it's certainly not a time to be a carpark hog. That said, if you're heading out, ensure that you're following the stage-four requirements — and that you're wearing a mask. For more information the City of Melbourne's stage-four parking enforcement changes, head to its website.
There's no meal that can't be improved by dessert — yes, even breakfast — and no special occasion, either. That's all in Gelato Messina's wheelhouse, and it's mighty fond of releasing specials to make holidays even tastier. The latest example: the chain's Easter offering, which brings back its popular 2021 snack pack. Even better: if you've always wanted to smash open a Messina Easter egg, that's on the menu as well. Your tastebuds might already remember Messina's hot cross bun version of the brand's sticky snails — and they can savour it again this year. Basically, it's the brand's interpretation of a Cinnabon-style scroll, then combined with an Easter favourite. It's another of Messina's limited releases, and it'll be available at all of its stores for a very short period. Wondering what exactly Messina's hot cross bun sticky snail entails? Well, that spiced sticky hot cross bun dough is filled with choc chips and vanilla custard. Crucially, raisins aren't included — but it is topped with a cinnamon malt caramel. The sweet bake-at-home bite to eat can only be ordered online on Monday, April 4. It will set you back $65, which includes a one-litre tub of the brand's triple choc gelato hot tub, too — which features milk chocolate gelato, toasted white chocolate mousse and Ecuadorian dark chocolate crack. Or, also available at the same time — and for the same price — is the Messina Easter egg. Made from 44-percent single-origin cocoa couverture chocolate, the 420-gram egg comes filled with even more sweet treats. Crack it open and you'll find white and milk chocolate chickens, white chocolate and passionfruit gel fried eggs, caramelised white chocolate and waffle cone mini eggs, and milk chocolate hot cross bun bites. Messina now opens its orders at different times for different places, so you'll want to hop online at 9am for Queensland and Australian Capital Territory stores, 9.30am for Victorian shops, and at either 10am, 10.30am or 11am depending on where you are in New South Wales. Once you've placed your preorder, pick up will be available between Thursday, April 14–Sunday, April 17 from your chosen Messina location. And, after you've got the hot cross bun sticky snail safely home, you just need to whack it in the oven for 20–25 minutes at 160 degrees and voila. Gelato Messina's Easter snack packs and Easter eggs are available to order from Monday, April 4, for pick up between Thursday, April 14–Sunday, April 17 — head to the Messina website for further details.
Do you have piercings? How about tattoos? How about incredible body modification? Whether you have already permanently decorated your body, or you're just interested in other peoples', you should swing by the Melbourne Tattoo & Body Art Expo. It will be an chance to see the amazing artworks that people have had themselves turned into, and to be immersed in a world of ink and flesh that is becoming increasingly more common. There will be a tattoo contest each day, fashion parades, and exhibitions from groups such as Trash Dolls. You'll have a chance to see Corey Miller, who recently featured on tattoo TV show LA Ink, and who is known for freehand drawing. Artists will be doing tattoos on the day but it's advised that you make appointments in advance. Image by David Davis.
We normally associate Boxing Day releases with feelgoodery, dogoodery, comedy and special effects. Which is why it seems sort of hilarious when a film like Short Term 12 pops up at that time of the holiday season, determined to make its quiet realism heard. The SXSW Film Festival winner was number one on Buzzfeed's list of 'movies you probably missed in 2013 but definitely need to see', so if you get in quick, you can make it the no.1 movie you outsmarted Buzzfeed on instead. Short Term 12 is the kind of film that feels like a well-edited version of real life — though probably not a life that is familiar to you, if you grew up in safe, loving circumstances. Compulsively watchable and super emotional, it revolves around the kids and their barely adult supervisors at a temporary foster care facility. The plot is nebulous, but the anchor is social worker Grace, played by Brie Larson, who you probably remember from United States of Tara and who puts in an incredible, name-making performance here. Excellent at her job and in an adorable, supportive relationship with fellow supervisor Mason (John Gallagher Jr), Grace has her own childhood trauma that she's overcome (or at least repressed). But when a new girl, Jayden (Kaitlyn Dever), arrives at Short Term 12, she poses fresh challenges — particularly for Grace, who sees something of herself in the girl. Whether she'll be able to help Jayden, and herself, when the fog of emotion catches up to her is not a given. Short Term 12 is deeply funny, heartbreaking and brave, exploring some taboo topics sensitively without once being sensationalist. Perhaps most impressive is the way writer and director Destin Cretton is able to leap tall towers of everyday humour and humanity and then suddenly drop you into a pit of total, gut-wrenching sadness in a single bound. It's never overwrought; his execution is swift and precise, and he lifts you right out again. Often, it's through the kids' artistic expressions that their pain is most clear; a rap that guarded Marcus (Keith Stanfield) practices with Mason is wholly shattering, and Jayden, an avid drawer, has created a picture book that is not easy reading. The supervisors' calm, understanding reactions to all the crazy things that happen at the centre every day are a fascinating lesson in themselves. Short Term 12 is ultimately hopeful and bittersweet. It's not all hobbits and light, but to watch Short Term 12 is to be exposed to repeated acts of compassion. And practice, they say, makes perfect. Perhaps that's why Short Term 12 is on the Boxing Day release list: it might help guide you into a kinder New Year. https://youtube.com/watch?v=rETaWDZ57v0
There might be an abundance of vegetarian restaurants up on Brunswick Street, but Madame K's is one of the best (and there's another branch in Williamstown for westsiders). With a menu that isn't to be trifled with, you'll have to go in accepting that you'll be beat before you even start — you simply can't try everything in one visit. All the Southeast Asian favourites make an appearance — from laksa and pad thai to massaman curry and steamed wontons. But there's a key difference between these dishes and any neighbourhood Asian restaurant — every dish is vegetarian. Madame K's uses vegetables, tempeh and wheat protein to create the 'meats' for its dishes — including BBQ duck and slow-cooked lamb. For dessert, you can tuck into roti with banana filling and homemade berry sauce, coconut mousse or black sticky rice. Madame K's Vegetarian offers BYO wine and beer. Images: Tracey Ah-kee
Julie Delpy has a particular writing style. You might call it The Hangover for the high brow. It's full of cursing and smoking weed and laughing at words that sound like 'cunnilingus', and getting caught in webs of awkwardness after you tell your uptight neighbour to stop riding you because you're dying of cancer when you're not. And yet her audience is more Dendy than Hoyts. Teen boys don't aspire to live out Delpy scenes at schoolies. 2 Days in New York finds her character, Marion, broken up with her 2 Days in Paris boyfriend, Jack, not long after the birth of their son. Because that's the kind of thing that happens under Delpy's watch: not all relationships are forever. And figuring out this commitment thing is part of the story here. Her relationship with her new de facto, Mingus (Chris Rock), is about to be tested as Marion's family comes for a visit from Paris. The couple, who met while working at the Village Voice, have their typically NY neuroses stretched beyond cute. Marion's rotund father, Jeannot (Albert Delpy, Julie Delpy's real life dad), has tried to smuggle in several sausages upon his person; her sister, Rose (Alexia Landeau), has no affinity with American puritanism; and her sister's boyfriend, Manu (Alexandre Nahon), thinks Mingus will be cool with him doing a drug deal in the flat because he's black. Delpy's mother, Marie Pillet, who was a delight as Marion's mother Anna in 2 Days in Paris, has since died, and in 2 days in New York, as in life, her daughter is still trying to accept her death. Some people find the Delpy aesthetic grating and as thin as the gross-out comedies alluded to earlier. And while it may be true that this film is 'about nothing' and sometimes blithely scrappy, it's also blinkered to think that Delpy's quirks don't matter. Quirks isn't even the right word, attached as it currently is to a whimsy and cutesiness that bear no relation to the 2 Days In universe. She somehow gets to make un-Hollywood films that reach a large-ish audience, and that's an incredibly refreshing thing to see. Because apart from bawdy and untraditional, funny and generous, the other thing Two Days in Paris is, is internationalist. In Delpy's world, main characters don't all come from the same country, speak the same language, or share the same culture. Their differences may be the engine of humour, but everyone is shown respect and understanding that goes beyond stereotype. The set-up is a reality many people live but somehow rarely see on screen. There's one very telling early scene: Mingus takes Marion's father, who speaks no English unless it's to say something inappropriate, to his regular Thai massage centre to help him loosen up after the trans-Atlantic flight. We all sink down in our seats, but the worst does not happen. Far from it. Mingus emerges after his massage to see Jeannot sharing a cup of tea with the owners, with whom he has been conversing in scraps of Vietnamese. It turns out the owners are actually from Saigon, a city in which Jeannot also spent his childhood. The man might not understand Americans, but his experience has given him a worldliness that is beautifully acknowledged. https://youtube.com/watch?v=Q1HDAOlPDzA
Good Food Month's 2021 comeback edition got a little sidetracked due to Melbourne's latest COVID-19 outbreak (thanks again, COVID). But now, with the snap lockdown done and dusted, it's kicking on to deliver a few tasty weeks of lunch feasts, chef-led dinners, wine-fuelled parties and more. The perfect post-lockdown treat for food-lovers, really, and an excellent way to give some love to Victoria's hospitality scene. Expect edible cocktails at a low-waste tiki party, indulge in a Turkish long lunch at Yagiz, or celebrate the return of Rocco's Bologna Discoteca with an evening of meatball subs and Italian wines. Here's our pick of all the Good Food Month 2021 events that promise to warm up your winter. Spots are limited, so book in now for a top-notch feed and leave the memory of lockdown cooking far behind you.
The laughs are served up a little differently at The Arbory's annual MICF series, the Silent Comedy Festival. Returning for another round of hilarious stand-up showcases from Wednesday, March 30, the fan favourite event sees some of Australia's top comics taking to the riverside stage to perform... in total silence. Or at least, that's how it appears from the outside. Rather, audience members enjoy the stand-up acts through noise-cancelling headphones; kind of like what you'd expect from a silent disco. Running Tuesday, Wednesday and Thursday nights throughout MICF (until April 21, with the exception of April 19), the Silent Comedy shows will each feature a trio of side-splitting comedians, with Fox Sports funnyman Andrew Barnett in the role of MC. Included on this year's bill are the likes of Jimeoin, Bev Killick, Luke Heggie, Lawrence Mooney and Dilruk Jayasinha. Tickets are $25, which gets you an evening full of chuckles, plus a pair of headphones to use for the night. And if you fancy some refreshments, you'll also find a $25 MICF pre-show burger and beer special, teaming your pick of Arbory burger with a schooner of Mountain Goat summer ale. [caption id="attachment_804282" align="alignnone" width="1920"] Jimeoin, photographed by Simon Shiff.[/caption] Images: Simon Shiff
It took more than 25 years for Twin Peaks to revisit its moody, otherworldly and all-round odd small-town mysteries — and if you're not done diving into the television show's wonderful and strange world just yet, don't stress. Whether there'll be any more episodes is anyone's guess, but you can spend an evening with the show's stars in the interim, with five of the series cast members heading to Australia later this year. Although David Lynch famously refuses to talk in-depth about any of his work, including Twin Peaks' three seasons to date and the film Twin Peaks: Fire Walk With Me, expect Sheryl Lee (Laura Palmer), Kimmy Robertson (Lucy Moran), Michael Horse (Deputy Hawk), Al Strobel (Philip Gerard) and Dana Ashbrook (Bobby Briggs) to be much more forthcoming as they chat about their experiences both on- and off-screen. In fact, maybe Lynch will be too — while he won't be there in person, he'll be Skyping in to answer questions live. On Saturday, August 25 at Melbourne's Palais Theatre, Lee, Robertson, Horse, Strobel, Ashbrook and the via-video Lynch will be joining forces with Twin Peaks producer Sabrina S. Sutherland for a 'Conversation with the Stars' discussions. If you've ever wondered what it was like to be wrapped in plastic, or to line up piles and piles of doughnuts, or to play the other half of the series' evil entity, here's your chance to find out. While Twin Peaks' lead Kyle MacLachlan won't be making the trip, the lineup is still a Peaks-lover's dream come true. Lee played Laura Palmer, the teen sweetheart whose murder sparked the whole series, while Ashbrook swaggered through highs-chool hallways as her boyfriend Bobby Briggs, and then turned unlikely cop in the latest season. Robertson is best known as bubbly police station receptionist Lucy, and Horse played the enigmatic Deputy Hawk — and had one of the most recent series' most moving scenes. As for Strobel's Phil Gerard, he was pals with Bob before becoming a resident of the Black Lodge. If all of the above gets you thinking about damn fine coffee and the Double R Diner's cherry pie, then you'll be keen to nab tickets to the intimate chat, which is in town for one night only. No word yet if the cast members will be sitting in front of red curtains or being interviewed by someone called Diane, but we can only hope. And if you're an absolute die-hard Peaks fan with some spare cash (around $500 in spare cash), meet-and-greet tickets are also available. Updated August 5.
Gin lovers, the start of Christmas season has officially arrived. Four Pillars is releasing its limited edition 2017 Australian Christmas gin tomorrow, Saturday, November 4. The Healesville distillery first debuted this smash-hit creation last year, with a gangbusters response demanding it become an annual occurrence. Building on a family tradition of making Christmas puddings every Derby Day, co-owner Cameron McKenzie distills some of those homemade puddings, adding a base of cinnamon, juniper, star anise, coriander and angelica. The blend's finished with a touch of Rutherglen muscat to create a luscious, spiced gin akin to Christmas in a bottle. This time around, the recipe features muscat matured in aged sherry puncheons at the distillery, stepping up the richness and adding even more complexity. Also new for 2017's gin is the striking label artwork, created by Melbourne-based artist Darren Song and inspired by Australia's own little beacon of Yuletide cheer, the Christmas beetle. A limited amount of Four Pillars Australian Christmas Gin is available online and at selected retail stores for $100 from Saturday, November 4.
Music lovers and festival fans, get excited: Spilt Milk is back for 2023, hitting up Ballarat's Victoria Park on Saturday, December 2. Post Malone leads the lineup, with Dom Dolla and Latto also topping the bill. So, expect to hear everything from 'Sunflower' and 'I Like You' to 'Rhyme Dust' and 'Big Energy'. Tkay Maidza and Aitch also rank among Spilt Milk's impressive 2023 names, with Chris Lake, Dermot Kennedy, Budjerah, Cub Sport, Lastlings, Partiboi69, Ocean Alley, Peach PRC, Royel Otis similarly set to hit the stage. Also, because this fest is also about food, there'll be bites to eat from Chebbo's Burgers, 400 Gradi, Chicken Treat, and the BBQ and Beer Roadshow. Originally only held in Canberra, then expanding to Ballarat, then the Gold Coast and now also Perth in 2023, the multi-city one-dayer has cemented its spot as a must-attend event for a heap of reasons — with this year's lineup clearly one of them. While Ballarat's general-release tickets have sold out, pre-loved and VIP tickets are available. [caption id="attachment_851187" align="alignnone" width="1920"] Jordan Munns[/caption] SPILT MILK 2023 LINEUP: Post Malone Dom Dolla Aitch Budjerah Chris Lake Cub Sport Dermot Kennedy Djanaba Grentperez Jessie Murph Lastlings Latto Lime Cordiale May-A Mincy Ocean Alley Pacific Avenue Partiboi69 Peach PRC Poolclvb Redhook Royel Otis The Buoys The Dreggs Tia Gostelow Tkay Maidza Ango Ben Gerrans Blue Vedder Reefrats Sami Srirachi Yorke Top image: Billy Zammit.
Since launching over two decades ago, the Peninsula Hot Springs have become a go-to wellness and pampering destination for locals and visitors alike. A trip down to leafy Fingal to soak in the stunning geothermal pools or indulge in a couple of spa treatments — it's a popular choice for a de-stressing day out of the city, as about 500,000 annual visitors can attest. But come this summer, you'll have yet another place to sate those pamper cravings, with the owners confirming their new regional hot springs outpost is on track to open within the year. Thanks to a final boost in funding from government grants and a partnership with local tourism operators, the Metung Hot Springs are set to launch by summer 2021–22, in the heart of East Gippsland — an area that's been impacted by bushfires, severe drought and a global pandemic in the past year alone. While the region is a favourite summer destination for many, it's hoped this new multi-faceted attraction and wellness precinct will help pull visitors all year round, what with all those steamy thermal pools and sauna options. But the choice of location is also a nod to Metung's past — the lakeside town was actually the setting of Victoria's first hot springs bathing, before it closed to the public in 1992. So, what do we have to look forward to? Well, work is set to kick off soon on the first phase of the project, which clocks in at around $6 million. This initial part will encompass various hot springs bathing facilities at the main King Cove site — sweeping views of the Gippsland Lakes, included — along with a dedicated glamping village like the one recently unveiled at the precinct's Mornington Peninsula sibling. There'll also be a spa relaxation centre and further hot springs constructed at the nearby King Cove Golf Club, for what will become the country's first golf course-hot springs situation. A second phase is set to include something called a 'bathing valley', a hotel, and a marina with various pools and saunas featuring views across Lake King. Of course, with Metung located around 3.5 hours out of Melbourne, the new hot springs is set to be less of a day trip and more of a weekend away. But hey, at least you've got a good few months to plan your visit. Metung Hot Springs is set to open within the Kings Cove Estate, Metung, in summer 2021-22. Stay tuned for more details over at the Peninsula Hot Springs website.
When the ancient Greeks dreamt up democracy many moons ago, they surely knew their labour of political love would reap plentiful rewards for humanity — barbecuable rewards. Why else would our society have evolved so deliciously to the point where Election Day is synonymous with hot snags in bread? Yep, here in Australia, voting and sausage sizzles go together like Q&A and provocative tweets. But thanks to a bit of ingenious technology, you don't have to simply cross your fingers and hope your local voting booth is one of the ones firing up the barbie on voting day. There's a nifty online map that'll tell you exactly where to find those glorious democracy snags. The Democracy Sausage website crowdsources data from social media sites, as well as from direct audience submissions, to map out the polling places that feature sausage sizzles and other food and drink offerings. While the site has offered a comprehensive sausage database for various elections since 2016, it's currently getting a run for the upcoming 2022 federal election, which takes place this Saturday, May 21. [caption id="attachment_839440" align="alignnone" width="1920"] Elliott Kramer[/caption] Jump onto the map to easily identify which polling places will be slinging sausage sizzles, cake stalls, bacon and egg rolls, and coffee. You'll even spy separate icons marking those spots that are serving vegetarian food and halal options. According to the website's own stats, there are currently 722 polling places confirmed to feature sausage sizzles for this weekend's voting, with more to come. Of course, since the map is built largely off community intel, it's not entirely exhaustive — if you've got some goss about sausage sizzle locations, you can help by sharing it with the team via a direct message or tweeting #democracysausage. If you're a diehard fan of the humble Election Day snag, you'll also find a selection of snag-related merch available on Democracy Sausage's Redbubble online store. Of course, if you're one of the many Aussies who took advantage of early voting or postal voting for this election, you might have to settle for a Woolies run and a home-cooked homage to that democracy sausage instead. To plot your sausage haul during the federal election on Saturday, May 21, head over on the Democracy Sausage website. Top image: Jonathan Taylor, via Unsplash.
Ambitious is an understatement when it comes to the infamously ongoing construction of Antoni Gaudí’s famous basilica, Sagrada Familia, in Barcelona. Eighty-seven years have passed since the death of the Catalan virtuoso. During this time, a subsequent nine architects have continued the project, striving to adhere to Gaudi's original vision. However, according to the current chief architect, Jordi Fauli, the basilica will be completed by 2026. And even more excitingly, the Sagrada Familia Foundation has released a computer-generated glimpse into what the finished product will look like. Each architect who has taken on this eccentric masterpiece has encountered a unique set of challenges. One of the central problems was the destruction of Gaudi’s workshop, containing the building plans and models, during the Spanish Civil War. This resulted in a slow process of piecing together the essential details of the project. There's also the issue of decoding Gaudi’s highly unorthodox method of design. Rarely putting pen to paper, he created 3D scale models, moulding his uncanny inventions as he conceived them. Gaudi famously stated, "my client is not in a hurry," and clearly there is no substitute for perfection. You have to admire the commitment of a man who put so much faith in engineering technologies that hadn’t been invented yet. It is only recently that the special lightweight concrete cladding has been developed to complete the uppermost spires. To comprehend the scope of this magnificent structure really demands a visit to Barcelona. It is all too easy to whittle away the daylight hours inside this basilica, admiring the kaleidoscopic effect of light filtering in through stained glass windows or Gaudi’s distinctive organic structures blossoming like flowers across an impossibly intricate ceiling. Will the endless construction come to a close by 2026? Only time will tell. Via Gizmodo and My Modern Met.
Have you ever noticed how much Brad Pitt eats in his movies? He's like some sort of human garbage disposal, slamming down burgers, cookies, chips, Twinkies and whatever else he can find into his (perfect) cakehole. He also has a knack of making whatever it is he's eating (from gruel and stale bread to cheesy nachos) look like the most delicious, sensual food in the world. Go on, look: He eats without restraint, without delicacy, as we all should sometimes, and for that reason he's the central figure in a new cookbook called (appropriately but incorrectly) Fat Brad. The team from Long Prawn have collaborated on the project with photographer Ben Clement, PractiseStudioPractise, Tristan Ceddia, Ali Currey-Voumard and Mietta Coventry. The cookbook is a tongue-in-cheek collection of recipes based on Brad's most iconic food moments on film. You'll find instructions for a knuckle sandwich (Fight Club), game bird with taters and Guinness gravy (Snatch), Bellagio Shrimp Cocktail (Ocean's 11), roast turkey drumstick and Grecian salad (Troy) and bloodied roast (Mr and Mrs Smith) amongst others. As well as being straight-up hilarious, the Fat Brad cookbook is also just a really good looking (like its namesake) addition to your cookbook shelf. It's the first in a series of pop culture cookbooks by the Long Prawn crew, so keep an eye out and grab your Fat Brad: The Cookbook here. Have a little preview:
For every roamer and traveller hoping to get off the beaten track this summer, travel website Hooroo has uncovered 40 of Australia's best-kept holiday secrets. In a nationwide search for Australia's favourite 'secret spots', the Qantas Group's new online accommodation site has called out to Australians to submit their most beloved clandestine travel destinations. What came back were hundreds of hidden gems and attractions, from spectacular waterfalls, untouched coastlines and unreal rock formations, to hip milk bars, hearty B&Bs and dozens of tucked-away travel lodges. An expert panel of travel and lifestyle writers and presenters cut the list down to the Top 40 secret destinations and now it's up to the public to decide which of these beautiful and jaw-dropping locations is Australia's favourite hidden holiday treasure. Have your say at the Hooroo Facebook page for a chance to share in over $14,500 in prizes. The Top 5 destinations will become an official Hooroo 'Secret Spot'. Voting closes at 5pm on December 17, 2012 so get in quick to have your say.
You've saved the date. You loved the lineup. If you're keen to hit up 2025's One Night Stand — and see Spacey Jane, LUUDE, Ruby Fields, 3%, Blusher and Velvet Trip while you're there — you'll now want to make plans to visit Busselton in Western Australia. That's where the Triple J initiative is heading this year, marking its first visit to the state in almost a decade, since 2016. All of the above acts, plus a yet-to-be-announced Triple J Unearthed winner, will take to the stage in Barnard Park on Saturday, May 24. Part of the reason for the long gap between trips west: this music festival does the rounds, setting up shop in a different part of the country each year. Another factor: that One Night Stand took a break from 2020–23 due to the pandemic. [caption id="attachment_996055" align="alignnone" width="1920"] Mitch Lowe[/caption] After 2019's One Night Stand, music lovers in regional Australia waited till 2024 for the event to return. Thankfully, there's no five-year delay between festivals this time. In fact, One Night Stand is returning just over eight months since 2024's festival, which took place in the Victorian town of Warrnambool in September with G Flip, Ruel, What So Not and Thelma Plum leading the lineup. Victoria hosted the most-recent One Night Stand and also the first: 21 years ago now, Triple J gave the town of Natimuk a day to remember when the spot 300 kilometres out of Melbourne welcomed its very own major music fest. When the ABC radio station put on the festival every year between 2004–2014, then again from 2016–2019, however, it hopped around states. Fellow Western Australian spots Collie and Geraldton have already welcomed the festival, for instance. [caption id="attachment_996056" align="alignnone" width="1920"] Cole Barash[/caption] Ayr, Dalby and Mt Isa in Queensland; Port Pirie, Tumby Bay and Lucindale in South Australia; Cowra and Dubbo in New South Wales; Sale and Mildura back in Victoria; Alice Springs in the Northern Territory; and St Helens in Tasmania: they've all enjoyed the One Night Stand experience as well in prior years. It was true in 2024 and it remains the case in 2025: the all-ages event is returning at time when the Australian live music scene has been suffering, and after a spate of festivals have been cancelling or saying farewell forever, including both Splendour in the Grass and Groovin the Moo sitting out 2024 and 2025. Tickets for 2025's One Night Stand will cost $15 plus booking fee, and all proceeds will be donated to charity. One Night Stand Lineup 2025 Spacey Jane LUUDE Ruby Fields 3% Blusher Velvet Trip Triple J Unearthed winner to be announced [caption id="attachment_996060" align="alignnone" width="1920"] Savitri Wendt[/caption] 2025's triple j One Night Stand will take place on Saturday, May 24, 2025 in Barnard Park in Busselton, Western Australia. Tickets go on sale from 5pm AEDT on Thursday, March 27, 2025. For more information, head to the radio station's website.
Scienceworks is probably number one on your list if you want to discover things, with it being chockablock full of cool facts and interactive displays about science, technology, health and just general stuff. The museum is also hosting its AstroLight Festival this Saturday, September 8, which is perfect for everyone from wannabe astronomers to those who just really like Star Wars. Throughout the evening, scientists, astronomers and artists will present talks, performances and hands-on activities in every nook and cranny of the museum and its grounds. Learn about how Australia's First Nations people incorporate the night sky into their storytelling traditions from Kamilaroi woman Krystal De Napoli, take an astronomy photography class for beginners or sink into one of the Planetarium's comfy seats for an immersive space show. Of course, there will also be stargazing if the weather is good. Plus, a bar, cafe and food trucks will cater your night sky discovery journey.
You probably don't need an excuse to sip down a sharp, slightly salty martini. However, the return of Four Pillars' Martini Collective to Melbourne for its second edition means you've got more reason than most to indulge until Sunday, June 22. Taking over seven of the city's most admired restaurants and bars, this special event sees each venue serve the same crisp mini martini made with Four Pillars' Olive Leaf Gin. However, the real fun comes in when you compare and contrast each spot's unique snack pairing against this time-tested drink. In Melbourne, Bar Bellamy, LUI Bar and Reine are back to wow customers with their inventive pairings, while Hazel, Society, Grill Americano and Bar Liberty join the line-up for the first time. Imagined as a pre-dinner sip and snack, there's no shortage of bites bound to impress. For instance, Bar Bellamy is complementing the mini martini with a smoked eel, bottarga and finger lime crostini, while LUI Bar offers a Sydney rock oyster with a mountain pepper mignonette. Also, don't forget that Saturday, June 21, is World Martini Day, so get your pals together for a cocktail-driven celebration. Images: Chege Mbuthi.
It gets us around the country, and the world, much faster than any other form of transport that's in widespread use; however, there's plenty about air travel that's far from fun. No one loves being crammed into the tiny amount of space that comes with each economy seat, for instance, or getting stuck having awkward mid-air conversations with strangers. Thanks to Qantas, skipping both of those frustrations is now possible. The Australian airline has just launched a new 'neighbour-free' option. It sounds like the Australian TV landscape now that a certain beloved soap opera is off the air, but it's actually an in-flight move to give you some extra room. The concept really is as self-explanatory as it sounds — aka you'll take to the air without someone sitting in the neighbouring chair. Before you go dreaming about how you'll use the added space on your next getaway, Qantas is still trialling its neighbour-free offering at present, so it isn't available on all routes or flights. The test is only running domestically, too — so cramped overseas trips still await. Unsurprisingly, you do need to pay for the added space, with prices varying depending on the route. The Australian Frequent Flyer forum advises that the cost starts at around $30 — on top of your existing fare, of course — for short flights. Here's how it works: if you're eligible to go neighbour-free, you'll get an email 48 hours before your departure, inviting you to take up the service. You're then able to make the request up to an hour before your flight, including when you reserve your seat — or by hopping into your online reservation if you've already picked where you want to sit. That's when you'll pay the neighbour-free fee, too, and receive confirmation via email. Obviously, the whole thing is subject to availability — and it also can't be cancelled after you've set it up. If Qantas has to seat someone in your extra spot, however, you'll automatically be refunded the neighbour-free cost. (The airline advises that that might happen "for operational, safety or security reasons, even after boarding the aircraft".) [caption id="attachment_823330" align="alignnone" width="1920"] Brent Winstone[/caption] Yes, you could always do this by booking two seats if you really wanted to avoid sitting next to anyone. This new option is much cheaper, though. There's no word yet as to if or when the ability to go neighbour-free might become a standard Qantas offering, or if it'll also be trialled or brought in for international trips. We can think of a few of flights where it'd be particularly handy: the 17-hour direct Perth–London route, and the planned non-stop legs from Australia's east coast to London and New York. For more information about Qantas' new neighbour-free option, head to the airline's website.
UPDATE: April 27, 2020: Annabelle Comes Home is available to stream via Netflix, Foxtel Now, Google Play, YouTube and iTunes. There's an incredibly cynical, albeit accurate, way of looking at Annabelle Comes Home, which marks the eighth film in the Conjuring Cinematic Universe in the past six years. A second sequel to a spin-off from 2013's The Conjuring, this horror flick once again draws upon the lives and work of real-life paranormal investigators Ed and Lorraine Warren (played by Patrick Wilson and Vera Farmiga). As you can tell from the film's title, it also features the creepy doll called Annabelle, which is either a possessed plaything or a beacon for other demonic spirits, depending on narrative requirements in any given picture. This time, however, the franchise delves further into the Warrens' treasure trove of cursed and occult trinkets. There are so many other spooky and unnerving items that they literally fill a heavily padlocked room. Spying everything from jinxed samurai armour to haunted board games to prowling hellhounds, it's easy to glean what the saga's producers, including Australian filmmaker James Wan, are thinking — more eerie objects, more potential movies. New films about soul-collecting ferrymen and demented bridal dresses will likely eventuate (although, if the latter does, it'll have big shoes to fill following the fantastic, completely unrelated British movie In Fabric). That's just how the entertainment business works. Thankfully, as Annabelle Comes Home unleashes a bedevilled toy box worth of terrifying forces, it livens up the franchise's familiar template, has ample fun with the haunted house concept, and even throws in some goofy teen movie-style antics as well. The Annabelle series hasn't been great so far, so this mightn't sound like the biggest compliment, but Annabelle Comes Home is its best instalment yet. In a saga that also includes the lacklustre The Nun and The Curse of the Weeping Woman, it's also the best Conjuring Universe flick since the movie that started it all. Written and directed by Gary Dauberman — who has penned four Conjuring Universe films now, as well as 2017's It and its forthcoming sequel — Annabelle Comes Home sticks to its simple premise. After being involved in a number of violent incidents, the damned dolly is brought to the Warrens' suburban Connecticut house. Not only is it locked in their artefacts room, but it's sealed in a glass case emblazoned with multiple warnings of the "do not open" kind. And there Annabelle sits, until Ed and Lorraine go away overnight on a case, leaving their quiet, pre-teen daughter Judy (McKenna Grace) at home. Friendly, sensible babysitter Mary Ellen (Madison Iseman) knows better than to snoop, touch things she shouldn't or to even invite the cute boy from across the street (Michael Cimino) over. Of course, her curious pal Daniela (Katie Sarife) doesn't share the same mindset. As a screenwriter, Dauberman's past scripts have relied heavily on formula. That doesn't substantially change in his directorial debut, however he does an impressive job of making Annabelle Comes Home seem otherwise. Two sleight-of-hand tactics drive this bump- and jump-fuelled film, and they're both effective. Firstly, viewers are aware that this is more grist for the franchise mill, and that more movies will come — at this rate, the Conjuring series will probably haunt us for so long, it'll become its own hair-raising legend. But this latest chapter has such a great time careening between its multiple spine-tingling entities that nothing ever feels overly stock-standard, other than the titular doll (and she plays a smaller part than might be expected). Secondly, audiences have experienced ominous shadows, unsettling creaks and unexpected knocks at the door before, especially in this horror saga, and yet variety is once again key. Knowing that every sinister noise and strange occurrence is caused by the same disturbing toy again and again? Tired. Being kept guessing about which demonic object will pop up at any given moment? That's not only more thrilling, but it gives the movie more range to mix up its chilling imagery. Courtesy of hazy lighting and a moody atmosphere, Annabelle Comes Home nails the creepy tone anyway, with cinematographer Michael Burgess (The Curse of the Weeping Woman) making the most of the movie's main location. If trapping a few unsupervised kids in a house while otherworldly forces wreak havoc sounds like classic 80s territory, that's the vibe the picture goes for, even though it's set in the 70s. In a welcome improvement, the teen focus also shakes up the story beats, exploring threads about bullying, grief and young love — instead of just waiting for more spooks and scares, and padding them out with an uneasy tone. The film's characters also feel less like mere narrative pawns as a result. They still make stupid decisions, including ignoring all of those locks and "keep out" signs, but they're given flesh to jump out of. Overall, it's enough to make horror buffs wish that both the broader franchise and the now three-film Annabelle series had tried a few different tricks earlier. And although this is entirely the point, it's enough to make viewers look forward to possible new spinoffs, too. As the long-running Marvel Cinematic Universe continually demonstrates, these episodic, intertwined properties can (and probably will) keep going on forever. But as long as every single chapter isn't a carbon copy of the last, just with a new figure its centre, they can still surprise and entertain. Finally, Annabelle Comes Home shows that idea can be done well, rather than routinely, in the Conjuring Universe. https://www.youtube.com/watch?v=-6M0RbShLpI
Melbourne burger joint Royal Stacks launched three years ago. Since then, it has expanded interstate — and overseas, opening outposts in both Beijing and Chongqing. To celebrate the opening of its new Chinese stores, it's inviting a Mandopop star to come say hi to fans at the original Collins Street spot. Oh, and it's giving away free burgers, too. Five-hundred free burgers, to be exact. From midday on Saturday, March 16, the good people at the CBD's Royal Stacks will give away 500 of the eatery's signature Single Stack — that's an Aussie beef patty topped with tomato, lettuce, American cheddar, secret sauce and pickles. They're limited to one per-person, however, so if you're super hungry you'll have to pay up for a second. You could, alternatively, order one of the eatery's other signature dishes: it's concrete mixers. The super-thick frozen custard is available in a slew of flavours like Ferrero Rocher, cookie dough, Nutella and the new Twix and biscotti. While you're there, scoffing burgers and concrete mixers, you'll be able to chat to Bruneian singer and actor Wu Chun. Previously a member of famed boy bond Fahrenheit, Chun has also appeared in several Taiwanese TV shows, such as Tokyo Juliet and Sunshine Angel, and movies. Royal Stacks will be giving away 500 free burgers from midday–2pm.
Last year, Jim Beam once again proved its love and support for live music via its hit series Welcome Sessions. The online event series was aimed at bringing people together, albeit virtually, by connecting music lovers and artists when they needed it most. It's returned for 2022, only this time it has stepped outside of the digital realm. Melbourne music fans, listen up. You have the opportunity to score a free ticket to an exclusive and intimate show from Brisbane's favourite twins (and bonafide pop sensations) The Veronicas on Saturday, August 20, at The Hop Bar at Beer DeLuxe in Federation Square. As far as we're concerned, getting your groove on to this iconic duo with friends — with a Jim Beam in hand — is a recipe for a great Saturday arvo. Want to head along to this money-can't-buy experience? You'll need to enter the ballot. Simply enter the competition and you'll go in the running to win one of 75 double passes up for grabs. All you have to do is tell Jim Beam what your most memorable live music moment is and why. But be quick, entries close August 12. Want to learn more? Visit the website.
There's nothing like a fresh haul of shiny new workout gear to inspire a little fitness kick. Especially when that workout gear takes the form of some high-performance threads from sustainability focused label Nimble Activewear. Well, this May, you're in for a treat, as the local brand pulls together a swag of great pieces for its huge Melbourne warehouse sale. Taking over South Yarra's Ellis Street Studio from May 10–11, the sale will be packed full of bargains, offering a hefty range of outerwear, tights, sports bras, sweats, shorts and more. Some designs will be going as cheap as $25, with savings of up to 80 percent across the racks. And nothing will cost you more than $40. You'll even catch pieces from the label's core CompressLite line, which is cleverly crafted from recycled plastic bottles. Nab one of these and you'll really have something to feel good about — Nimble's saved over 300,000 plastic bottles from heading to landfill in the past year alone. Nimble Warehouse Sale will be open from 7am–7pm Friday and 8am–3pm on Saturday.
You might think that there's not much exciting about a fridge magnet. I mean, who is really thrilled by a piece of plastic that announces "I Love NYC" or is shaped like your pet dog? The designers at Kudu saw artistic potential in the common fridge magnet, however. They pushed the design of the magnet one step (or, rather, a few metres) farther and created magnetic panels to cover your entire refrigerator. Kudu's fridge panels create a bold kitchen statement, an easy way to spice up an otherwise lack-luster space. And the best part? They're simple to remove or to switch out. Swap your fridge panels to fit a party theme, a holiday, or perhaps your mood. Choose from a collection of themes, spanning from animals, to a sexy shirtless man, to designer illustrations; then, simply measure your fridge and order online. Kudu is willing to help you measure your fridge, and will even custom design a panel for you or your business, upon request. [via Notcot]
Hex After critical accolades at the Next Wave festival in May, James Welsby's evocative dance production Hex returns for a limited six-show run at the Malthouse. The show is one of several major cultural events taking place in conjunction with the 20th International AIDS Conference. Partly inspired by a controversial HIV/AIDS awareness ad from 1987, Welsby's show uses movement, music and allegorical imagery to chronicle the gay community's relationship with the devastating disease. Saturday and Sunday (Until July 22) at the Malthouse. More info here. Vinyl Records Pop-Up Store Convinced that the world sounds just that little bit better on vinyl? Then head on down to Northcote Social Club on Saturday, July 19, and you'll find shiny new and beloved second-hand records for sale across a pretty mindblowing range of genres — some you weren't even aware were a Thing. The impromptu store, based out of the NSC bandroom, opens its doors for business at midday on the dot. Saturday, June 19, at Northcote Social Club. More info here. The Myth Project: Twin As part of this year's NEON Festival, The Myth Project: Twin by Arthur (the surrealist adventurers behind Cut Snake) is exploring the depths of the human psyche and the strength of blood ties. After the disappearance of her twin sister, Ana falls into a dark alternative reality, a world ruled by dreams and riddles. Described as a mix of opera-noir, cabaret and naturalistic drama, The Myth Project: Twin is the first instalment of Arthur's multi-play episodic exploration of the Australian psyche. Saturday and Sunday at the Southbank Theatre. More info here. Our Vinyl Weighs a Ton screening The legendary Stones Throw Records is home to a metric bucket-tonne of vinyl. The LA-based hip hop label is known for their left-of-centre artists, avant garde nature and ability to break artists well before dinner table fame. Feature length documentary Our Vinyl Weighs a Ton takes a close look at the label and its master, commander and founder Chris Manak, aka Peanut Butter Wolf — an exceptional DJ and producer in his own right. Manak is in the country for Splendour in the Grass later this month, but will be hanging at Howler for the screening and a special Q&A on the night. Sunday, July 20, at Howler. More info here. Sunday Afternoons in July As part of the City of Yarra’s annual Leaps and Bounds music festival, Ali Bird and Richard Stanley of Aarght Records are making Sundays a little more tune-filled for everyone. Kicking off at midday for three Sundays in July, a solid lineup of bands, top notch vinyl record market and smorgasbord of treats await to round off your weekend. It's Harmony, Bitch Prefect and Empat Lima on July 20. Sunday, July 20, at Copacabana International. More info here. Charlie's Country There are very few faces as synonymous with Australian cinema as that of actor David Gulpilil. His third and most recent film with Rolf de Heer marks the last part in a loose thematic trilogy — one that began with The Tracker in 2002 and continued with Ten Canoes four years later. Gulpilil looks far older than his 61 years, but as Charlie he may never have been better — he's just taken home a best actor award at Cannes for it. It's a performance loaded with understated feeling, one that's obviously informed by a wealth of personal experience. His very face tells a story, about a country, its people, and its cultural and cinematic history. What a wonderful piece of acting in a likewise remarkable film. All weekend long at Palace Verona. Full review here.
Any Questions for Ben? and House of Lies' Josh Lawson writes, directs and stars in an effort destined to be labelled a sex-fuelled Love Actually. Sex Actually? Different types of fetish, kink and between-the-sheets behaviour are explored through the relationships of four couples. Maeve (Bojana Novakovic) wants Paul (Lawson) to fulfil her rape fantasies. Rowena (Kate Box) finds herself aroused whenever husband Richard (Patrick Brammall) cries. Phil (Alan Dukes) finds Maureen (Lisa McCune) at her most attractive when she is sleeping. Dan (Damon Herriman) and Evie (Kate Mulvany) make a foray into roleplaying that backfires. There's laughs both out loud and cringey to be had as the adventurous comedy unfurls. The Little Death is in cinemas on September 25, and thanks to Entertainment One, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=BnnhesQ8Rxc
In the wacky family comedies you usually see at this time of year, everyone will come to accept the quirks and legacies of their kinfolk. They'll acknowledge that even a wacky family is better than no family, probably while laughing around a Christmas ham with all the trimmings. August: Osage County is not that movie. It started life as a play — in fact, probably the best play I have ever seen. Sydney was lucky enough to receive a visit from its original production company Steppenwolf in 2010, giving Australian audiences a chance to join the cacophony of praise already coming from the Tony Awards committee, Pulitzers, American critics and Broadway-goers. But what was amazing about the show seemed quite theatre-specific. At nearly four hours long and set across a three-storey, bisected house, Osage County feels momentous. And more than that, it relies entirely on the crackling chemistry of its taut ensemble, a feat that seems magical on stage but prosaic on screen, where you know it's the product of take after take, plus editing. Sure enough, the new film — adapted by its own playwright, Tracy Letts, and starring a cast so heavyweight as to tip the scale into ridonkulous — is good, but it's not quite great. The tone is spot on: it's dark comedy infused with the Southern Gothic. You will laugh, but you'll probably feel evil about it. The family in question is the Westons, who are all drawn back into their childhood home miles from any significant town in Oklahoma. It's not the festive season; rather, the family patriarch, Beverly (Sam Shepard), has disappeared without warning or explanation, leaving his abrasive, abusive, cancer-inflicted and pill-addicted wife, Violet (Meryl Streep), alone with only the new carer, Johnna (Misty Upham). Violet's children understandably have mixed feelings towards her, but they're also dragging their new problems into the house. Barbara (Julia Roberts) is there with her recently estranged husband, Bill (Ewan McGregor), and teenage daughter Jean (Abigail Breslin); lifelong adolescent Karen (Juliette Lewis) has pinned all her hopes on the shoulders of shifty new fiance Steve (Dermot Mulroney); and Ivy (Julianne Nicholson) feels emboldened by a clandestine romance with her timid cousin, 'Little Charles' (Benedict Cumberbatch). This all culminates in a couple of exquisite dinner table confrontations, during which a lucid and destructive Violet exercises her finest skill and favourite hobby, 'truth telling'. Streep is, of course, excellent to watch in these moments, although every one of the actors needs to be — and is — at their best in the rapid-fire, emotionally fraught verbal rallies. Even if their purpose is to poison, Letts' script is full of beautiful words, which might actually be a let down for the movie. It's lofty, alienating and artificial in a way that doesn't totally work on screen, and a fair few critics have taken the hatchet to it in return. Elsewhere, though, Letts and director John Wells have done well making a very theatrical work cinematic (and have, mercifully, cut down the length). In the absence of the 'character' played by the imposing set, plentiful landscape shots of the open yet unfriendly plains of Osage County make an impact. One of the best scenes has Violet, hit by withdrawals, run blindly, desperately into this landscape, and it's one of the few moments where you really feel for her, and for her inability to escape a prison that she has helped build. If the film doesn't quite stand on its own, it's at least a good approximation of a great play. And some kind of record for sheer quantity of acting. https://youtube.com/watch?v=4VBEZrkCT8Q
When the Animus team started out, it was waiting for its barrel-aged whisky to mature — but the four lads didn't sit idly around, twiddling thumbs and rolling each other across the plains in Kilmore. Instead, they decided to use their time wisely to create a gin. Or, as currently is the case, five vapour-pressed varieties of the stuff. The Davidsonia Gin is its take on England's traditional sloe gin, but with a distinctly Australian flavour. Using native Davidsonia Pruriens — a tropical sour plum from the temperate regions of northern NSW and Queensland — the distillery has steeped the plums in their award-winning dry gin to create an intense and unique character. The best part is that the distillery's cellar door also operates as a cocktail bar on Kyneton's main drag. It's open every night of the week — and it's only an hour away from the city on the V/Line.
The Yarra River is about to become home to some very special, albeit temporary, marine visitors. In a spectacular showcase of lights and technology, SEA LIFE Melbourne is hosting a drone display on Tuesday, January 16 at 9pm. And the best part? It's absolutely free. This one-of-a-kind event marks the launch of the aquarium's newest $9-million overhaul exhibit Night on the Reef. Imagine sharks, rays and a kaleidoscope of sea creatures, all glowing with bioluminescence as they swim through the night sky, courtesy of some skilled drone artistry. For the best views, you'll want to snag a spot along the banks of the Yarra near the aquarium. The display kicks off at 9pm, transforming the space opposite Crown Casino into an underwater realm. So, grab your mates, family or that special someone, and head down to the Yarra on a Tuesday night. After all, it's not every day that sharks swim up the Yarra — even if they are just drones.
Do you live and breathe art but feel totally fed up with not being able to afford things to adorn your sad, white walls? With the first ever Supergraph: Contemporary Graphic Art Fair coming to the Royal Melbourne Exhibition Building this Valentine's weekend — yep, we just made it an entire weekend of love — all your woes are about to disappear. A celebration of art and design in all its lovely forms, Supergraph aims to display leading artists alongside the best emerging talent, while making sure these limited edition works are available for every taste and budget. With a program that also includes drawing throwdowns and expert masterclasses, Director Mikala Tai explains how Supergraph came about and why this particular explosion of paper and cardboard might just be the most fun thing to happen to you all year. CP: So, what is Supergraph? MT: Supergraph is a three-day fiesta that celebrates design, print and illustration. It is a place to find the perfect piece of art for any budget (works start from a friendly $30) and — with a bar and endless supply of snacks from Melbourne's most loved food trucks — it is the perfect place the spend a weekend arvo. Ultimately, the idea of Supergraph developed from a want to buy art. I love art and most of my friends would love something for their walls but we don't have $3,000 to spend on a work. Supergraph is designed to ensure that anyone that attends will be able to snap up not only an affordable piece of art but an affordable piece of art they can't live without. What can we expect the three days of Supergraph to look like? It looks like an explosion of paper and cardboard has occurred in the Royal Exhibition Building. Expect master classes with The Jacky Winter Group's finest, a huge drawing table where you can try your hand at one of our hourly drawing throwdowns, 200 works hung in our salon that won't set you back more than $60, and booth after booth of design, printing and art-making before your very eyes. And, if you like a bit of party, we're getting festive for Opening Night on Friday and on Saturday, Indian Summer will be taking control of the decks. How large is the team? We are quite small. There are only three of us in the core team but we work very closely with A Friend of Mine for all our design needs and Flock Agency for making the event run like a dream. Then, if you count all of our staff that come aboard to make it actually happen there are probably about 50 people involved. What's an average day in the office for you and the team? The best thing about this job is there is no average. The work, as with anything event based, is cyclical. So during the winter we are developing concepts, pitching ideas and making a wish list of creatives we want to work with, spring is all about signing all the creatives up to be involved. In the midst of summer we are in full production mode. I hope that autumn will bring a little bit of lounging! Today has seen us ponder how many slices are in a lime, visit a press check for our newspaper SuperNews, begin to build some signage and catalogue works arriving at our collections venue. Exciting stuff! How have you gone about the task of finding artists to feature in the fair? As curator, have you found the process to be more intensive or organic? As it is our first year it has been a little different to any other project I have worked on before where the event, exhibition or gallery is more well known. We had a very lengthy list of people on our wish list and we have been lucky enough that the majority said yes. In the past few months, it has been more organic as people have started to hear about us. With artists coming in from all around Australia, as well as New Zealand, Hong Kong, Thailand and London, we are pretty rapt with the final lineup. What other projects have you worked on in the past? I have been lucky enough to have worked in the art and design field since I finished uni. Most of these roles have been in a freelance capacity so I'm currently working with the NGV on Melbourne Now, with Portable Studios on an upcoming speakers tour, and will be back lecturing in Contemporary Art at RMIT come March. Previously I worked at the Melbourne Fashion Festival, quite a few art fairs and a commercial gallery in the city. Trust me, there was a lot of volunteering and interning before that. What made you decide to venture out with Supergraph on your own? I ask myself that everyday! I think I just really believed in the concept. It was one of the persistent ideas that I talked about a lot and when a few of my friends showed some interest in making it happen there was no turning back. It really was about ensuring I could work with people that I knew, trusted and could have fun with on the way. Hardest thing about starting a business from the bottom up? Doing everything! When you are doing something for the first time you have to make it all. Make that first spreadsheet template, find the person at the bank that wants to talk to you and create all your processes. It's hard work. But it stretches your brain and keeps you on your toes. However, after saying that, I am pretty keen on year two when we can tinker with the product rather than build it from the ground up. And the best thing? The best thing is when you make something and it works. I remember clearly when our website went live and Christian (our marketing and sponsorship man) and I looked at each other and freaked out when someone was browsing. I am fully prepared for the whole Supergraph team to be in awe on Opening Night when people that aren't our friends of family walk through the doors. That will most certainly be the best thing. Where does Supergraph go from here? We will be back in 2015 as an annual event. We also hope to turn up around the traps in other forms throughout the year and our online store of prints will be packed year round. Fun! Supergraph is at the Royal Exhibition Building, 8 Nicholson Street, Carlton from February 14-16. Find out more and grab tickets here. Image credits in order of appearance: Mimi Leung, Will McKenzie, Alexandra Ethell & Oslo Davis.
Melbourne musical fans, the iconic theatre shows just keep coming — and the next production heading the city's way wants you to take a jump to the left. After already announcing an Australian comeback in 2023, starting with a Sydney premiere season, The Rocky Horror Show has locked in Melbourne dates from late autumn. For half a century now, this hit musical has been astounding. And, with the Richard O'Brien-created production lasting that long, perhaps time really is fleeting. Either way, whenever this sci-fi/horror musical hits the stage — and wherever — a glorious kind of madness takes its toll. In 2023, Melbourne audiences will be able to listen closely — and watch Jason Donovan as Frank N Furter put his hands on his hips, then bring his knees in tight, too — when the famed musical plays the Athenaeum Theatre on its huge 50th-anniversary tour. The Rocky Horror Show's brand-new Aussie run will kick off at Theatre Royal Sydney in February, then open in Melbourne on Thursday, May 18, with other stops and dates afterwards yet to be announced. On offer: the tale that theatre audiences have loved for five decades — and movie-goers as well, thanks to 1975's iconic big-screen release The Rocky Horror Picture Show. For the uninitiated, the story involves college-aged couple Brad Majors and Janet Weiss getting a flat tyre, then wandering over to an old castle to ask for help. That's where they discover an extra-terrestrial mad scientist from the galaxy of Transylvania, plus his staff and his Frankenstein-style experiments — and, yes, doing 'The Time Warp' is essential. As well as Donovan slipping on Frank N Furter's fishnets (fresh from popping back up in Ramsay Street to farewell Neighbours), the new Australian tour will star Myf Warhurst as The Narrator. Also set to feature: Ellis Dolan (School of Rock) as Eddie/Dr Scott, Darcey Eagle (Cruel Intentions: The 90s Musical) as Columbia, Ethan Jones (9 to 5 The Musical) as Brad, Deirdre Khoo (Once) as Janet, Loredo Malcolm as Rocky (Hamilton) and Henry Rollo (Jagged Little Pill the Musical) as Riff Raff. Since first premiering in London in June 1973, The Rocky Horror Show has played in more than 30 countries — and over 30 million people have seen songs like 'Science Fiction/Double Feature', 'Dammit, Janet!', 'Sweet Transvestite', 'Over at the Frankenstein Place' and 'Touch-a, Touch-a, Touch-a, Touch Me'. If you haven't been before, this is your turn to join in. The Rocky Horror Show's 2023 Australian tour will play Melbourne's Athenaeum Theatre from Thursday, May 18, with tickets on sale now via the production's website. Images: Richard Davenport, The Rocky Horror Show UK tour.
They say that you can't improve on perfection, but the folks responsible for that oft-used quote mustn't have tried rac 'n' mac. It's exactly what it sounds like, it's Smithward's once-a-week special, and it's the pasta and dairy combination that takes a delicious dish and makes it even better. That sound you're hearing? Yep, it's your hungry stomach rumbling. Every Thursday evening from 5pm, the Collingwood wine bar whips up a baked, tasty, four-cheese macaroni and cheese, grills some organic raclette and then combines the two, scraping the gooey latter over the former. If you've tried their grilled raclette with potatoes, cornichons and sourdough, which is available every night of the week, then you're going to want to try this as soon as possible. Getting in early is recommended, with the weekly special only available until it sells out. And given that cheese on cheese on pasta is the main attraction, it's bound to be popular.
Fancy prancing through fields laced with the charm of provincial France? Well, forget about booking a flight — it's just casual summer weekendery when So Frenchy So Chic is in town. The ever-popular one-day French festival is doing the can-can back to Sydney's Bicentennial Park and Melbourne's Werribee Park Mansion in January 2023, and celebrating its 12th anniversary in the process. If you haven't been before, expect an entire afternoon of French-inspired niceties, including (but not limited to) gourmet picnic hampers, très bon tartlets and terrines, and supremely good wine — all set to a blissed-out French soundtrack. So Frenchy hinges on an eclectic lineup of artists, both taking cues from the classic sonic stylings of France and showcasing top-notch French talent. Heading the 2023 bill you'll catch the 60s-accented pop sounds of Pi Ja Ma, award-winning singer-songwriter Timothée Régnier aka Rover and French festival favourite Kalika, as well as the fiery tunes and huge stage presence of globally-renowned artist Suzane. [caption id="attachment_868020" align="alignnone" width="1920"] Suzane[/caption] As always, the wine and food will be flowing just as easily as that chilled soundtrack, headlined by an abundance of bubbly courtesy of Champagne Lanson, one of France's oldest champagne houses. In Sydney, Rosebery French eatery Frenchies is packaging up luxe charcuterie hampers, and you can also tuck into fine French fare from Bellevue Cottage. In Melbourne, Frederic Bistro, Milk The Cow and L'Hôtel Gitan are doing the honours to ensure your day's picnicking is top-quality stuff. If you're more of a mix-and-match kind of picnicker, you'll also find a huge array of food stalls slinging all the chic essentials — think, oysters, lobster rolls, croque monsieurs, cassoulet, madeleines, crème brûlée, crêpes and cheese upon cheese. And of course, there'll be plenty of French beer, cocktails, and rosé, red and white wines, too. [caption id="attachment_868021" align="alignnone" width="1920"] By Tekni[/caption] If you're quick, you can snap up one of the limited Premiere Pique-Nique group tickets for crews of 10 — coming it at $205, they include a full picnic set-up, with two cheese hampers, two charcuterie hampers and two bottles of champagne. Early bird tickets are now on sale for $79.40 a pop. If you've got kids, you'll be happy to know that the whole thing is very family-friendly, with children's tickets starting from $10 (free for kids under three). [caption id="attachment_868016" align="alignnone" width="1920"] By Liz Sunshine[/caption] SO FRENCHY SO CHIC 2023 AUSTRALIAN DATES: Sunday, January 15 — Werribee Park Mansion, Melbourne Saturday, January 21 — Bicentennial Park, Glebe So Frenchy So Chic hits Sydney and Melbourne in January 2023. For more information or to buy tickets, head to the event's website. Images: Liz Sunshine and Tekni.
More of a pop-up library than an exhibition, the RMIT Design Hub is hosting a dual show of Archizines, an internationally touring collection of architecture-focused zines, and Public Offer, a similarly expansive catalogue of design magazines. The exhibit provides an alternative voice to mainstream discourse about architecture and design by showcasing a wide range of independently published material — each zine a little cultural freeze-frame, capturing a moment in the development of how we build and design our spaces. Printed media is tangible — you can pick it up, play with it, and flip through at your own pace — a beautiful element that was not overlooked in the curatorial decision making process behind Archizines/Public Offer. All zines are not just displayed but laid out to hold and engage with, making the whole experience exponentially more engaging and fun, particularly as many of the zines experiment with paper type, embossed fonts, and construction. True to its name, the Design Hub ensures an incredibly stylish exhibition by encouraging a different mode of view: two long tables are laid end-to-end with leaflets and magazines, with chairs dotted about the space, meaning that either a brief perusal or an in-depth reading can be comfortably accommodated. Not simply a series of hand-stapled and typewritten zines, the publications laid out range from your basic, old-school university photocopier stuff to hardback glossies. Archizine's Evil People in Modernist Homes in Popular Films does what it says on the tin, taking a lighthearted approach to the exploration of pop culture's representation of architecture. Meanwhile, They Shoot Homos Don't They is a gay look book with a serious side, confronting LGBT issues via fashion and design. Repeated discussion topics include the invasion of the virtual/digital into the physical world, unsurprising considering both architecture and design are increasingly digital mediums, being discussed here through a medium that is itself being supplanted by blogs and online news sites. A diverse and enormous amount of content to trawl through justifies repeated visits for thorough design and architecture enthusiasts. A series of projected video-blogs from various publishers, architects and designers round out the show, each video discussing a specific question, the most pertinent seeming to be, "what is the place of print media in the digital age?" If there's any exhibition that could convince a digital devotee how satisfying a lovingly created piece of printed text can be, Public Offer/Archizines is it. Image via Archizines at the Architectural Association, London, 2011. Photography courtesy of Sue Barr & the AA School.
There's never been a better time to get acquainted with the top-notch wineries located right here in Melbourne's own backyard. And that's especially the case given that a slew of Macedon Ranges-based cellar doors are coming together to showcase their finest drops for the next edition of the Summertime Fling Festival. From Friday, January 3–Monday, January 27, wineries right across this cool-climate wine-growing region will throw open their doors to deliver a jam-packed program of wine, food and music events for all palates. You can also expect masterclasses, tours, feasts and tastings among this broad-ranging lineup. It seems the Macedon Ranges might be just the fling you're looking for this summer.
Prime Minister Scott Morrison last week announced "Australians have earned an early mark" for the work they'd done containing COVID-19 and the announcement of some eased restrictions would take place on Friday, May 8. That day has come and we now know a little more about what Australia's road to recovery will look like. After a national cabinet meeting today, Prime Minister Scott Morrison said "we're fighting this virus and we're winning", and he then outlined a three-step roadmap to a COVIDSafe Australia, with all three steps expected to be rolled out by July, 2020. Step one will "enable greater connection with friends and family", with the following allowed: Up to five visitors in your home, ten in businesses and public places Libraries, community centres, playgrounds and boot camps open Local and regional travel Shops, restaurants and cafes allowed to open, with a maximum of ten people at a time and one person per four square metres Step two, Morrison says, "will allow larger size gatherings up to 20 people, including for venues such as cinemas and galleries", ending with: "you'll be pleased to know, barre classes open once again." Gatherings of up to 20 people Gyms, beauty therapists, cinemas, theatres, amusement parks, galleries and museums open Caravan and camping grounds open Some interstate travel Step three, which will depend on the success of the previous steps, includes: Gatherings up to 100 people Nightclubs, food courts, saunas and bathhouses open All interstate travel Consider cross-Tasman, Pacific Island travel Those dreaming of an overseas jaunt will have noticed the roadmap does not include mention of international travel, except for to New Zealand and the Pacific Islands. On travel to other countries, the Prime Minister has said, "there's nothing on our radar which would see us opening up international travel in the foreseeable future." On the other three steps, the Prime Minister said the intention is by July "we will have moved through the three steps", but movement from one step to the next will depend on three criteria: testing, tracing and trapping. If all goes to plan, it's expected the country will move to the next step every three weeks. But, he has also warned that as restrictions are eased, "there will be outbreaks, there will be more cases, there will be set-backs". As has been the case throughout the COVID-19 pandemic, the roadmap is a guideline and it's now up to the individual states and territory leaders to implement the steps — and amend the state laws — as they see fit. NSW Premier Gladys Berejiklian has already announced that no restrictions will be eased before Mother's Day and Queensland will ease some public gathering restrictions from this Sunday. Victorian Premier Daniel Andrews has said no changes will be made until Monday. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Image: Kimberley Low
Aussie truffle season is here for a good time, not a long time, so you want to really squeeze the most out of it. And from Friday, August 12 to Sunday, August 14, that means heading out to Spotswood to feast your way through Grazeland's inaugural Truffle Festival. The huge food precinct is plating up a decadent weekend of funghi appreciation with a bunch of vendors whipping up limited-edition truffle dishes just for the occasion. As always, it's a globe-trotting lineup — think shaved truffle sprinkled atop hot chip cones and inside toasties from Fat Tonys, Lucky Little Dumpling's black truffle xiao long bao, truffled raclette courtesy of Frencheese, and truffle cheese bratwurst rolls from Bratboy. 48H Pizza will be doing a sausage, truffle and wild mushroom number, while Claw & Tail gives seared scallops the truffle butter treatment. Even dessert is a truffled affair, with the likes of Doughville's dreamy custard-filled croissant collaboration with Pierrick Boyer; and ricotta cannoli stuffed with black truffle and dark chocolate chip from Cannoleria. Meanwhile, both of Grazeland's stages will be dishing up the live tunes across the weekend and you'll find a huge array of sips pouring at its many pop-up bars. [caption id="attachment_856787" align="alignnone" width="1920"] Frencheese[/caption] The Truffle Festival will run over the weekend of August 12 to August 14 at 5–10pm Friday, 12–10pm Saturday and 12–9pm Sunday. Top Image: I In The Sky Productions
Beer and yoga. An unlikely combination, but one that's gone gangbusters across the world. And after a few trials of the concept — including a class at Sydney's Wayward Brewing — Australia looks set to see the trend come out in full force with the launch of BierYoga. Having held weekly sessions across Berlin over the past 12 months, BierYoga has launched an Australian tour with a string of dates for their beer-focused yoga classes in Melbourne and Sydney. Each hour-long session will see punters getting bendy while knocking back brews, with beer-drinking incorporated into each classic yoga pose. Think sun salutations and reverse warriors, interspersed with sips of your favourite ale. BierYoga's team of qualified yoga instructors (and, we're sure, seasoned beer drinkers) will get you loose, limber, and having fun — whether you're a total yoga novice, or a well-practiced pro. Each session's priced at a budget-friendly $10 — just bring a towel or yoga mat and you're good to go. You'll need to buy a beer at the bar separately. Classes are happening over three Wednesday nights on February 8, 15 and 22 at The Village on St Kilda Road.
December 10 isn't an Australian public holiday. The nation doesn't stop to remember or celebrate it, or to look back at our past. But, thanks to a speech that took place in 1992, that date will always remain significant in the country's history. Taking to the stage in Sydney's Redfern Park, then-Prime Minister Paul Keating gave a groundbreaking address about the country's treatment of Indigenous Australians. He spoke six months after the High Court's Mabo decision, and didn't pay mere lip service to the topic. Rather, he directly discussed the negative effects of white settlement upon First Nations peoples. Keating also did all of the above after quite the opening act — with Bangarra Dance Theatre, just three years into its now 32-year existence, performing before what's been known ever since as the Redfern Park Speech. Even if your knowledge of Bangarra is limited to the many dance productions that have unleashed their beauty and potency across Australia's stages — which include Blak, Patyegarang, Lore, OUR land people stories, Bennelong and Dark Emu just in the last decade — the company's presence at Keating's famed address shouldn't come as even the slightest surprise. The Sydney-based organisation repeatedly confronts Australia's colonial history head-on in its works. As an Aboriginal and Torres Strait Islander arts outfit, it can't avoid it, the impact that the nation's past has had upon Indigenous culture, and the trauma that's rippled across generations as a result. Seeing footage from that fated day and speech has an impact, though. Such clips form just a small part of the excellent new documentary Firestarter — The Story of Bangarra, but co-directors Wayne Blair (The Sapphires, Top End Wedding) and Nel Minchin (Matilda & Me, Making Muriel) know their power. Indeed, the two filmmakers are well aware that they can't tell Bangarra's tale without placing the acclaimed dance theatre in its rightful social, political and cultural context. What audiences have seen on stage over the years is stunning, astonishing and important, of course, but all of those exceptional performances haven't ever existed in a vacuum. For those unacquainted with the details of Bangarra's origins, evolution, aims and achievements, Firestarter recounts them, starting with its leap out of the National Aboriginal Islander Skills Development Association and the Aboriginal Islander Dance Theatre. Actually, it jumps back further, not only stepping through Bangarra's predecessors, but also charting how Stephen, David and Russell Page became its most famous names. Just as it's impossible to examine the dance company's accomplishments and influence without also interrogating and chronicling Australia's history, it's simply unthinkable to do so without focusing as heavily on the Page brothers as Blair and Minchin choose to. Stephen would become Bangarra's artistic director, a role he still holds. David was its music director, while Russell was one of its best dancers — and their path from growing up in Brisbane in the 60s, 70s and 80s to helping shape and guide an Aussie arts powerhouse is a pivotal component of Bangarra's overall journey thus far. If it sounds as if Firestarter has been set a hefty task — doing triple duty as a celebration of Bangarra, a record of Australia's past and a portrait of three siblings with dreams as big as their talents — that's because it has. But this dense and yet also deft documentary is up to the immense feat, and dances through its massive array of material, topics and themes as skilfully as any of Bangarra's performers ever have. It also never loses sight of what it's about, even though it covers a range of subjects. Again and again, whether chatting through the company's formation with co-founders Carole Johnson and Cheryl Stone, hearing the Pages discuss what they learned from connecting with their culture in Arnhem Land, and inevitably facing the fact that life hasn't only brought happiness and success to Stephen, David and Russell, Firestarter demonstrates the relevance to and through the organisation's works. Attendees at Bangarra's shows have been receiving history lessons for years — some overt, some subtle — and the film makes it apparent how that applies not just in a broad fashion but, for the Pages, in a personal sense as well. Even if Blair and Minchin hadn't plunged as deeply as they do into everything that's made Bangarra what it is to this point, they were likely to make an entertaining, engaging and informative documentary. The old clips and home videos; the frank interviews from both the past and present; the glimpses at the company's stage productions; the snippets of Stephen Page's equally stellar 2015 film Spear, which adapts one of the organisation's dance works — they're a treasure trove, and Firestarter always treats them as such. It allocates just the right amount of time to approving chats with other prominent arts industry figures such as Sydney Festival's Wesley Enoch and Sydney Dance Company's Graeme Murphy, too, ensuring that their perspectives are valued but never allowed to take over. The movie doesn't merely look backwards, however. Seeing how Bangarra's history continues to mould its future, its creative decisions and the dancers that star in its productions today is just as crucial to the film. Also part and parcel of Firestarter — which should almost go without saying — is the strong feeling it leaves with viewers. Wanting to soak in and experience everything that Bangarra has to offer is a natural consequence of seeing the company's stage performances, and of watching the aforementioned Spear as well, but Firestarter doesn't let that sensation wane for a second. https://www.youtube.com/watch?v=e3REMs9I9Tg Top image: Bennelon, Sydney Coliseum Theatre, by Daniel Boud.
Anyone who has spent time in an outback Australian pub will recognise The Royal Hotel's namesake watering hole, even if they've never seen this particular bar before. The filming location itself doesn't matter. Neither do the IRL details of the actual establishment that stands in for the movie's fictional boozer. What scorches itself into memory like the blistering sun beating down on the middle-of-nowhere saloon's surroundings, then, is the look and the feel of this quintessentially Aussie beer haven. From the dim lighting inside and weather-beaten facade outside to the almost exclusively male swarm of barflies that can't wait to getting sipping come quittin' time, this feature's setting could be any tavern. It could be all of them. That fact is meant to linger as filmmaker Kitty Green crafts another masterclass in tension, microagressions and the ever-looming threats that women live with daily — swapping The Assistant's Hollywood backdrop and Harvey Weinstein shadow for a remote mining town and toxic testosterone-fuelled treatment of female bartenders. Making her second fictional feature after that 2019 standout, and her fourth film overall thanks to 2013 documentary Ukraine Is Not a Brothel and 2017's Casting JonBenet before that, Green has kept as much as she's substituted between her two most recent movies. Julia Garner stars in both, albeit without breaking out an Inventing Anna-style drawl in either — although comically parroting the Aussie accent does earn a brief workout. Green's focus remains living while female. Her preferred tone is still as unsettling as any scary movie. The Royal Hotel is another of her horror films, but an inescapable villain here, as it was in The Assistant, is a world that makes existing as a woman this innately unnerving. This taut and deeply intelligent picture's sources of anxiety and danger aren't simply society; however, what it means to weather the constant possibility of peril for nothing more than your sex chromosomes is this flick's far-as-the-eye-can-see burnt earth. Backpacking Down Under by partying their way through Sydney, Hanna (Garner, Ozark) and Liv (Jessica Henwick, Glass Onion: A Knives Out Mystery) swap boat shindigs on the harbour for a rust-hued expanse for one reason: money. With their cash drying up, the only option available to make more is a gig where the local pool is equally dusty. "Will there be kangaroos?" is their main initial question. If this pair have seen Wake in Fright, it hasn't left an imprint. They'll soon be living in their own version. Dirt, dirt and more dirt greets them fresh off the bus, then no-nonsense pub cook Carol (Ursula Yovich, Irreverent) and gruff drunk owner Billy (Hugo Weaving, Love Me), then a trial-by-fire night behind the taps to send off English tourists Jules (Alex Malone, Colin From Accounts) and Cassie (Kate Cheel, The Commons), who they're replacing. The Royal Hotel as the picture's prime locale might double for every typically Aussie watering hole, but both the setting and The Royal Hotel as a film take their cues from one specific pub. Western Australia's Denver City Hotel was immortalised in Hotel Coolgardie, the fly-on-the-wall documentary about two Finnish women who worked behind its bar and experienced the very worst of Australian drinking culture — and seeing that movie inspired writer/director Green to dive into this aggressively misogynistic world. "Fresh meat" adorns the boozer's chalkboard after Hanna and Liv arrive. Billy has barely spoken multiple sentences to them before he's dropping "cunt" with belittling force. Sexist jokes from the sozzled and arrogant customers rain down among eerie stares, brazen pick-up attempts, predatory demands and arguments between blokes over which woman they're claiming as theirs, like The Royal Hotel's latest faces have no say in it. To most of the pub's patrons, they don't. The comments, jibes and advances come from a cross-section of culprits, with Green and co-writer Oscar Redding (Van Diemen's Land) purposeful in showing that there's not only one kind of stereotypical guy whipping up discomfit. Toby Wallace's (Babyteeth) Matty knows how to charm, and how to rile up the male crowd by making women the butt of the gag. While James Frecheville (The Dry) plays the quieter, protective Teeth, those traits don't buff away his edges. With Daniel Henshall's (Mystery Road: Origin) Dolly, menace doesn't need words — and sinister entitlement drips from almost everything that he says or, to be precise, orders. There isn't just one way that women can be made to feel uneasy in male-heavy environments where they're expected to be at every guy's beck and call, and in general, as The Royal Hotel meticulously demonstrates. There definitely isn't a lone version of this gut-wrenching nightmare, nor a single way of coping when every waking minute is an exercise in monitoring your behaviour to get a job done, and just exist, without attracting the wrong attention. It's there in Hanna and Liv's varying reactions to the pub's clientele and their manners, or lack thereof; the difference between Hanna's distress and Jules and Cassie's carefree approach; and the range of factors that get Matty, Teeth, Dolly, Billy and company inciting alarm: the array of ways that Green's exceptional cast pack The Royal Hotel's powderkeg, that is. Only two things spark a straightforward read in Green's feature. The first is the eponymous everypub where nothing regal has ever graced its peeling walls and sticky floors. The second is the dread that pours out faster than visiting bartenders can pull pints. Actually, there's a third, because Kylie Minogue bopping through the soundtrack is a glorious choice. The uncertainty of this jittery environment otherwise — that someone can seem like a friend in one light and a sleaze in another, or a perturbed reaction can feel wholly justified by one of the bar's visiting women and overkill to another, for instance — only heightens the film's agitated mood. There's no one better at conveying this storm than Green, or at ripping it from reality and into her films. To watch Hanna especially is to achingly apprehend when and how often you've stood in her shoes. Green should keep Garner standing before her lens in as many movies as possible. With The Assistant and now The Royal Hotel, they're a dream team. Garner's flawless knack for conveying how life in Green's chosen scenarios is an incessant navigation and negotiation is as finely tuned as the director's; it's what made her so outstanding at playing Anna Delvey as well. As Green's now four-time cinematographer Michael Latham roves over blazing landscapes and gets claustrophobic in the tavern's dank indoors, and as composer Jed Palmer (back from Ukraine Is Not a Brothel) sets his score to faintly but still formidably jarring, that sense of steering your way through fraught terrain while trying to secure your survival proves as familiar as the outback venue at the centre of it all. With episodes of TV series Servant on her resume, Green can embrace horror traditionally, but the terrors that she digs into on the big screen aren't just frightening tales — they're piercing reflections of too much that's easy to recognise.
Wine lovers of Australia, rejoice: picking your next bottle of plonk just got a whole lot easier. In fact, you don't even need to choose — or leave the house — thanks to top Melbourne sommelier Virginia Selleck and her new, curated online wine shop. Joining the ever-growing ranks of wine delivery options, Magnum + Queens promises a rotating array of specially selected stock brought to your door Australia-wide, with each month's offerings following a different theme. To celebrate their launch, May's batch has been dubbed The New Guard. Customers can opt for small, medium or large packs of three, six or 12 bottles, then enjoy Selleck's favourites from around the globe. Individual bottles are also available, and folks that sign up for a subscription will get access to specials, rare vintages and other hard to find drops. Not your usual online bottle-o, but not a traditional wine service either, Magnum + Queens wants to expand your wine-drinking remit; expect industry stalwarts among their wares, but also expect grape-based goodness from tiny wineries, family-run outfits, new brands, innovative winemakers as well. That could include varieties from France, Germany, Italy, New Zealand and our local efforts, and even Spanish sherry and Japanese sake. "Our aim is to introduce customers to carefully selected, quality wines from all over the globe, and specifically from small, sustainable, craft producers that focus on new varietal wines that are interesting and delicious," says Selleck. A joint venture with photographer Kirsten Dickie, Magnum + Queens arrives at what's proving a busy time for the sommelier — after working at Melbourne's Cumulus, Inc, Rockpool Bar & Grill, The Stokehouse and Prince Wine Store, she's now the wine director at Wilson & Market. Find Magnum + Queens at www.magnumandqueenswine.com.
In the final act of Shakespeare’s Othello (spoiler alert for a 400-year-old play), the eponymous Venetian general kills his wife after being tricked into thinking she was unfaithful. It's a horrifying turn in one of the playwright's most affecting tragedies — and now, provides the inspiration for a new work at La Mama Theatre that addresses modern-day spousal violence head on. Developed with the assistance of the Victorian Women's Trust and the Fitzroy Legal Service, Othello: On Trial provides the original play with something of an alternate ending, with Othello being brought to trial for the murder of Desdemona. A jury of audience members will be asked to decide his fate, forced to consider whether a crime of passion is less egregious than one committed in cold blood. With an average of one Australian woman killed each week by her current or former partner, it's a question that has never been more important. Othello: On Trial runs on Sunday, March 15 at 8pm and Tuesday, March 17 at 5pm and 8pm at La Mama Courthouse Theatre.
Contemporary art featured in galleries around the world will be on display at The Hotel Windsor this week, as part of the fifth annual Spring 1883. Returning to the iconic Spring Street venue in August, the free collaborative event is spread over the hotel's four floors and is part the Melbourne Art Fair. Open to the public from noon until 7pm August 2 to 4, this year's event will boast art from more than two dozen galleries. Head in after 8pm on Friday, August 3, and join the artist party, where there'll be live music and a bar. Among the international contingent you'll find work from Dutton gallery in New York and Wellington's {Suit}, while local players include Sydney's Roslyn Oxley9 and Alaska Projects, and Melbourne's Murray White Room. The pieces on display promise to be similarly diverse, ranging from photography to ceramics to portraiture and more. In one room you may find In Bloom — Cecilia Fox's floral-themed artwork and flower installation — and in another, an inflatable installation by Cindy Sherman.
It's that time of the year: you've set your out-of-office, made the couch your new home, and only plan to leave to head to the beach, eat festive food or party. That means it's prime movie viewing time, and Google and Amazon have just the film-oriented gift for the occasion, offering up 99 cent film rentals. Need to catch up on The Jungle Book, Lights Out or Louis Theroux: My Scientology Movie? Get your Christmas mix courtesy of Love Actually, Elf or Die Hard? Revisit John Wick before the sequel arrives in cinemas next year? Or enjoy Popstar: Never Stop Never Stopping seeing that it didn't end up making it to Australian theatres? Here's your chance. The good news: Google Play's deal is available in Australia and runs until January 23, 2017, with a limit of one film per user. The discount is applied at checkout, and once you finalise the transaction you have 30 days to watch your pick. The not so good news: Amazon might've launched Prime Video on our shores just last week, but their rental service hasn't made the jump. Of course, if you're interested in renting something from their library and you're handy with a VPN, you might know how to make that happen.
At first glance, The Salvation appears to have all the elements of a classic old-school Western. A bloody tale of savagery and greed with a hardhearted villain and a hero bent on revenge, you can feel the influence of the genre’s most iconic titles, from Stagecoach to Unforgiven to Once Upon A Time in the West. Unfortunately, despite possessing all the right ingredients, director Kristian Levring stumbles in his execution, delivering a mediocre movie that will leave audiences feeling shortchanged. Hannibal star Mads Mikkelsen plays Levring’s protagonist Jon, an ex-soldier in the Danish army who has immigrated to the New World. After seven years of hard work, he and his brother Peter (Mikael Persbrandt) build a homestead near the town of Black Creek, at which point Jon sends for his wife (Nanna Oland Fabricius) and young son (Toke Lars Bjarke) back in Denmark. The family reunion is short-lived, however, when the duo are murdered by a pair of convicts on the day that they arrive. When Jon takes his revenge, he finds himself the target of the ruthless gunslinger Delarue (Jeffrey Dean Morgan), whose brother was one of the men who killed Jon’s family. Levring is best known as one of the signatories of Dogme95, a filmmaking manifesto that stressed naturalism and forbade “superficial action". With The Salvation, he (thankfully) abandons these roots and embraces the full-bodied, widescreen aesthetic of the Western genre. Kasper Winding’s score captures both the hope and the menace of the barren American landscape, and while the cinematography doesn’t quite measure up to the best contemporary Westerns such as True Grit or The Assassination of Jesse James, it’s a handsome picture all the same. So why doesn’t it work? Perhaps it’s the feeling that Levring is ticking boxes, trying to include all the typical hallmarks of a Western without ever giving them the time to properly develop. Running barely more than an hour and a half long, The Salvation is a film that consistently takes shortcuts in order to keep the story moving forward. The hasty manner in which Jon’s family is dispatched borders on the absurd, as does his own transformation from mild-mannered farmer to veritable Man With No Name. The same needlessly hurried approach is taken with almost all of the story’s supporting characters. We soon learn that the villainous Delarue works for the unscrupulous Standard Atlantic Oil Company, who hired him to intimidate the folk of Black Creek into selling off their land. It’s an ugly arrangement with roots in historical truth, yet is only really dealt with in a single scene. Likewise, it would have been great to spend more time with the town’s morally put-upon priest-turned-sheriff (Douglas Henshell), who finds himself forced to “sacrifice a single sheep in order to save the rest". However, the film's most egregious crime is wasting Eva Green. She plays Delarue’s widowed sister-in-law Madeline, mute since Native American’s cut out her tongue as child and she’s a fascinating figure played imposingly by Green. Yet like almost everyone else in this movie, she just doesn’t have all that much to do.
