For all of you who've been obsessing over the case of Steven Avery, you might now have the chance to get the answers you crave. Laura Ricciardi and Moira Demos, the filmmakers behind the addictive and highly frustrating Netflix true crime series Making a Murderer, have just been announced as a last minute addition to the Spectrum Now Festival talks program. The pair, whose ten-part series has become a cultural phenomenon since premiering on Netflix in December, will travel to Sydney for an hour-long interview and audience Q&A session with festival ambassador and The Weekly host Charlie Pickering. Set to take place at 7pm on Thursday, March 10, tickets for the event will cost $49.90 and go on sale on Wednesday, February 24 (or you can sign up to their newsletter to access the pre-sale one day earlier). If you've been living a nomadic lifestyle out in the bush for the past few months and thus haven't heard, Making a Murderer follows the infuriating case of Wisconsin native Steven Avery, who served 18 years in prison for a crime he did not commit, only to be arrested and tried for murder shortly after he was released. If you've got a spare ten hours, you can binge watch it on Netflix right now. Just don't expect to finish with your faith in humanity intact. "We always wanted Making a Murderer to start a dialogue around important issues in our criminal justice system," say directors Ricciardi and Demos. "We are thrilled that so many people all over the world are responding to the concept of fairness and equality, and we can’t wait to come to Australia to continue this discussion." Making a Murderer: In Conversation with Charlie Pickering will take place at 7pm on Thursday, March 10 at The Star Event Centre as part of Spectrum Now Festival 2016. For more information and to buy tickets, visit their website.
It was the decade that gave us Magic Eye pictures, the Macarena, Pokemon and Tamagotchi, too. We're talking, of course, about the 90s. The decade might've come to an end exactly 20 years ago now, but it's easy to get nostalgic about — especially in a hectic year where we're all thinking about how simple life once was. The easiest way to indulge that nostalgia? You can pop on a flannelette shirt or some Hypercolour if you like, or you can head back in time via your viewing choices. Press play on one of the big hits of the decade, and you'll be transported back to a period when a group of mates sat on an orange coffee shop couch, and when the Dude also abided. To help plan out your ultimate retro watch list, we've teamed up with streaming service Binge to highlight five beloved TV shows and movies that'll take you back to the 90s faster than a DeLorean — including via a 14-day free trial for new customers.
Surfing and gig-going have always been two of Australia's best-loved pastimes, and now we've scored a festival celebrating the best of both worlds. Debuting this autumn, The Drop festival will cruise around the country as it follows the Aussie leg of the World Surf League Championship Tour and it's bringing a banging little lineup of musical gold along for the ride. Surfing the festival wave for 2018 are Canberra favourites Safia, Indie pop darlings San Cisco and Brisbane rockers Dune Rats, along with other local legends Holy Holy and Ruby Fields. Held on the first weekend of each area's surfing event, The Drop's set to grace some of the Australia's most iconic surf spots, each outing featuring a locally-focused offering of food, drink and culture, to match the tunes. Catch it at Tweed Heads' Ebenezer Park on March 17, Torquay Common in Torquay on March 31 and then on April 14 at Margaret River's Three Oceans Winery. First release tickets for The Drop are $75, available here for Tweed Heads and Torquay, and here for Margaret River. For more info, visit thedropfestival.com.au.
From November to March each year, the turtle nesting and hatching period kicks into gear along Queensland's coastline. First, the shell-wearing critters lay their eggs. Then, they wait for their young to emerge. If you're a fan of the animals, it's prime turtle-spotting season. Located within the Mon Repos Conservation Park and home to the largest population of nesting marine loggerhead turtles in the South Pacific, the Mon Repos Turtle Centre has long hosted tours during breeding season, letting turtle lovers watch nature in action. When the 2019 period commences, visitors will not only be able to see the sea-dwelling creatures come home to lay their eggs, watch their babies hatch and witness the cute infants make their first journey out to sea — they'll also be able to roam around a revamped facility. Launching in November along with this year's tours, Mon Repos Turtle Centre will unveil its $22 million renovation, with $17 million of that funding provided by the Queensland Government. While it'll get plenty of traffic during peak turtle-viewing season, the aim is to entice visitors all-year-round. To help, the refreshed centre will boast an immersive theatre room that recreates the turtle nesting experience. Attendees will take off their shoes, step onto sand and watch the process, regardless of whether they're heading on a nightly tour or just stopping by in the off-season. Other new additions include a cafe, touch screen TVs and new displays. The revamped facility will also be decked out with new interpretive signage, welcoming visitors to the region by its First Nation tribes — the Gooreng Gooreng, Gurang, Tarebilang and Byellee peoples. Find the Mon Repos Turtle Centre at 141 Mon Repos Road, Mon Repos from Saturday, November 9. For further details or to book tickets, visit the centre's website.
Fancy a Tassie wine-tasting extravaganza, but can't find the time (or cash) to make the trip? How about a quick hop over to North Melbourne instead? If you can get there with 50 bucks to spare this Sunday, August 21, you'll be living the Apple Isle dream. That's because one-day wine festival Vin Diemen is coming back to Melbourne for a second year. Your ticket will get you a take-home wine glass and access to the creations of a whole slew of Tasmanian winemakers, who are crossing the strait to show us what their island is made of. Expect to sample some of the best Pinot Noir in the nation, alongside top-shelf Chardonnay, Riesling and sparkling — cold climate varieties get a better go in Tassie than nearly anywhere else in Oz. And giving the wines the respect they deserve will be a bunch of tasty Tasmanian morsels, including fresh salmon from Huon and cheesy noms from Bruny Island Cheese.
UPDATE: SEPTEMBER 23, 2020 — Black Widow has moved its release date again, and will now hit cinemas on Thursday, April 29, 2021. This article has been updated to reflect that change. UPDATE, APRIL 4: Disney has announced a new release date for Black Widow, with the film now hitting cinemas on November 5, 2020. UPDATE, MARCH 18: Due to concerns around COVID-19, Disney has announced that Black Widow will no longer release on its initially scheduled date of Thursday, April 30, 2020. At present, a new release date has not been announced — we'll update you when one has been revealed. 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. Over the course of 23 films in 12 years, the Marvel Cinematic Universe has grown into a big-screen behemoth. Just this year, Avengers: Endgame became the biggest worldwide box office hit of all time — and all three other Avengers films also sit in the global top ten, with Black Panther coming in at number 11. Basically, the MCU has become the Thanos of the cinema world, decimating its competition with ease. But, over all that time, all those movies and all that success, it has taken nearly a decade to give Black Widow her own standalone film. When it comes to pushing women to the front, the MCU's track record isn't great. As everyone knows, Captain Marvel, the Disney-owned company's first movie solely focused on a female character, only came out this year. Now Marvel is following that up with a film that really should've eventuated years ago — Natasha Romanoff, the highly trained ex-KGB assassin known as Black Widow and played in the MCU by Scarlett Johansson, first debuted on-screen in 2010's Iron Man 2 after all. Perhaps it's a case of better late than never. Perhaps, if Black Widow had been made earlier, it mightn't have attracted the extra scrutiny that's certain to follow given Johansson's track record when it comes to misguided public comments of late. Either way, thanks to Endgame, the film is obviously a prequel — as the just-dropped first teaser trailer makes plain. Also starring Florence Pugh (Midsommar, Fighting with My Family), Rachel Weisz and Stranger Things' favourite David Harbour, Black Widow jumps back a few years, setting the bulk of its story just after the events of 2016's Captain America: Civil War. On the run, Romanoff is forced to face her complicated (and violent) past, as well as a new masked opponent. We're sure a few familiar MCU faces will also show up. When it hits cinemas Down Under at the end of April 2021 — after a year delay due to COVID-19 — Black Widow will close a considerable gap for the MCU in more ways than one — not only will it finally give one the Avengers figure a solo moment to shine, but it'll mark the first Marvel film since mid-2019's Spider-Man: Far From Home. Behind the scenes, the movie boasts another reason to get excited, with Australian filmmaker Cate Shortland (Berlin Syndrome, Lore, Somersault) in the director's chair. And, she's actually the first female filmmaker to helm a Marvel flick solo (after Anna Boden and Ryan Fleck co-helmed Captain Marvel). Check out the Black Widow trailer below: https://www.youtube.com/watch?v=RxAtuMu_ph4 After being delayed from its original release date of April 30, 2020, Black Widow will now open in Australian cinemas on April 29, 2021.
You may have 'going to the snow' on your list of winter things to do (and for obvious reasons why) but despite the name, the Snowy Mountains also has plenty to do outside of the chilly season. There are many adventures to take and some highly picturesque hikes to discover, plus there's a heap of regional epicurean delights to try. A five hours' road trip from Sydney, the Snowy Mountains is home to some of Australia's best snowfields, sure. But there's so much more to discover in the region when the days are warmer and the region flourishes. There are excellent hikes and plenty of itineraries to suit your interests. Here, we've got some top ways to eat and drink your way through the area all year round. [caption id="attachment_659674" align="alignnone" width="1920"] Destination NSW.[/caption] WINES IN COOL CLIMES Tumbarumba, located in the foothills of the Snowy Mountains, is one of Australia's premium, though lesser-known, cool climate wine regions. It supplies grapes to some of the award-winning and recognisable wine brands in Australia. Want to try the wine that was awarded New South Wales' best sparkling in 2017? Then head to Courabyra Wines cellar door for a vineyard tour and wine tasting. Open Thursday to Monday, the cellar door's restaurant focuses on seasonal, local produce paired with sparkling, chardonnay and pinot noir from the vines a few paces away. For those wanting to really immerse themselves in a vinous adventure, private vineyard tours can be organised in advance with owner Cathy who will guide you through the history of the region — with a full glass of wine in your hand. SCHNAPPS FROM THE AUSSIE ALPS To have a real taste of the Australian Alps, head to Wildbrumby on the Alpine Way towards Thredbo to try its range of Snowy Mountains spirits. Australia's only schnapps distillery uses pure mountain water and homegrown organic fruit and botanicals. Combining traditional European methods with its organic Australian produce, the distillery is consistently innovating and pushing the boundaries with its flavours. It's also created a high-proof vodka, the Spirit of Chardonnay varietal and an award-winning gin. But the true heart of the operation lies in the schnapps, where Wildbrumby founders Brad and Monika Spalding use Monika's grandfather's original Austrian distilling recipe. Sourcing organic fruit from their neighbouring farm, they crush apples, pears, berries, stone fruit and the like into a pulp and ferment it in temperature-controlled vats for four weeks. The fermented pulp is then distilled, leaving a spirit roughly 80- to 90-percent in alcohol. This is then blended down with pristine alpine water and bottled onsite. Wildbrumby has daily al fresco tastings of the entire range at their lovely country restaurant in the warmer months, which has outdoor dining as well. There's also an onsite shop where you can buy your favourite flavours of schnapps to bring home. PALE ALE AT HIGH ALTITUDES Visit Australia's first mountain brewpub Kosciuszko Brewery at the Banjo Paterson Inn in Jindabyne. With the 600-litre brewing tanks directly underneath the bar, it's here where you'll get the freshest pour of the pub standard. As an added bonus, there is staff on hand to take you on a tour of the brewery so you can see the whole process of how their iconic brew is made. Made from pale and Munich malts, and brewed with Tassie Galaxy hops, the beer's malty flavours and fruity hop finish make it a good drop for any season. After a long day of exploring, it's an excellent spot to wind up your day with a couple of brews before tucking yourself in for the night down the hallway in the Banjo Paterson Inn. COOKIES 1020 METRES UP If eating at high altitudes is more your thing, grab a snack at 1020 meters above sea level at Snowy Mountains Cookies in Jindabyne. These cookie experts make all kinds of treats, from your favourites like ANZACs and triple chocolate to more unique flavours like spiced caramel and date, coconut and even savoury flavours. If you prefer salty over sweet, opt for their bite-sized rosemary and parmesan, crispy corn and chilli, cheese and native nigella seed cookies. Stock up the car with goodies to take home, but don't be surprised if you eat all your snacks on the trip home. APPLES FRESH FROM THE ORCHARD Every autumn, the annual Batlow Ciderfest fetes the harvest of one of Australia's most celebrated apple-growing towns. At the big street party, you'll be able to try an array of Batlow's boutique ciders alongside other regional ciders, craft beers and wines. You can also visit the various orchards to pick your own produce as well as try apples in every conceivable way — crumble, pie, toffee, chutney. Not visiting during May? That's okay, a lot of the growers and producers hold daily apple hunts for visitors to come and pick their own produce and learn more about the history of Batlow and the apple production in the region. Discover all that the Snowy Mountains has to offer outside of winter months, from jam-packed adventures to the most picturesque hikes and so much more.
"It isn't the prettiest spectacle...seeing a couple of middle aged types hacking away at each other..." Too right. Winterfall Theatre is inviting audiences to step through the marital shredder as it resurrects Edward Albee's classic, Who's Afraid of Virginia Woolf? this June and July. When George (the orator of the above quote) and Martha invite Nick and Honey over for an impromptu party, they're expecting a relaxed tipple and maybe some sly bookshelf judgement. Instead, they become embroiled in the carnage of their hosts' marriage, as George and Martha spit, kick and scratch their way through an evening of mutually assured destruction. Directed by Denis Moore, this production is Winterfall Theatre's first in their new headquarters, Blackbox Theatre in Kew. Expect more than one vital organ to be left on the stage after curtain.
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.
Travel junkies, get planning, booking and packing: Black Friday is here, and Jetstar is serving up a heap of discounted flights to make your cheap getaway dreams come true. If you're keen on a holiday to Cairns, Byron Bay, Hobart, Uluru, Hamilton Island or more, you'll find sale fares here to help. And if you'd like to cross the ditch for a Queenstown jaunt, that's on the list as well. How cheap is cheap? Jetstar's Black Friday Fare Frenzy sale has fares starting at $39 one way, covering the Sydney to Byron Bay/Ballina route (aka always the cheapest leg when these kinds of discounts hit). But that's just the start of the sale offering, which runs for four days — until 11.59pm AEDT on Monday, November 28, unless sold out earlier. For folks travelling from Sydney, you can also make the trip to the Sunshine Coast for $59, Hervey Bay for $79, and either Hamilton Island or Cairns for $109. Given that summer is almost upon us, flights to Queensland feature heavily, although a fare to Darwin will cost $149. Melburnians can also head to the Sunshine Coast for $99, the Gold Coast for $69, Byron Bay for $79 and Hamilton Island for $129. Or, that Queenstown leg costs $209. Brisbanites, your choices include Newcastle/Port Stephens from $59, Mackay for $69 and Launceston for $99 — or, if you're happy to depart from the Gold Coast, Melbourne for $69, Cairns for $79 and Hobart for $109. Other cheap legs include Adelaide to Cairns from $159 and Perth to Cairns from $169. Wondering when to block out in your calendar? Dates vary depending on the departure and destination points, but the sale covers flights from mid-December 2o22 through till the end of March 2023. Also, don't forget that you'll either be travelling light, given that the sale fares don't include checked baggage, or paying extra for a suitcase on top. Jetstar's Black Friday Fare Frenzy sale runs until 11.59pm AEDT on Monday, November 28 — or until sold out. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
The creator of No One Likes Me, Darren Vizer, is best known for his extensive experience as a choreographer for companies like Sydney Dance Company and Opera Australia. But this play at the iconic La Mama Theatre — where it emerged from its Explorations Season last year — sees Vizer flex his theatrical muscles, creating a tightly interwoven piece that explores the interconnected impact of bullying upon our identity. This show was one of our top picks for Midsumma 2014, see our full list here.
NGV International will again play host to a series of Sunday afternoon parties, as the appropriately named Summer Sunday series returns to the gallery in 2017. Spanning four consecutive weekends in February, the free summer shindigs in the NGV Garden will feature performances from the likes of CAMP COPE and Ali Barter, along with sets by an array of local DJs. Throw in tasty treats and ice cold bevos, and your Sundays are well and truly sorted. The sessions run 1pm to 6pm every Sunday, beginning on February 5. That first date will see Gabriella Cohen take the stage, followed by Ali Barter on February 12, Emma Russack of February 19, and CAMP COPE on February 26. "The National Gallery of Victoria is pleased to once again invite visitors to experience some of Melbourne's most talented emerging performers in the unique setting of the NGV Garden," said NGV director Tony Ellwood in a statement announcing the lineup. But it won't just be musicians taking over the NGV Gardens. The space will also feature an Asahi pop-up bar, along with food vendors such as Gelato Messina, who'll serve up a new sweet creation every Sunday.
Excellent movie, apt title. Since premiering at the 2022 South by Southwest Film Festival, Everything Everywhere All At Once has lived up to its name. The Michelle Yeoh-starring action-comedy was a global hit in cinemas. It was a well-deserved audience favourite, too. And, it's utterly beloved by awards bodies. The latest accolades showering it with affection? The 2023 Oscars, which has just given the film a year-best haul of 11 nominations. Everything Everywhere All At Once scored Academy Award nods for almost everything it could, in fact, in a year that broke the record for the most Asian acting nominees ever. Yeoh pops up for Best Actress and made history doing so, as the first nominee in the category who identifies as Asian. Her co-stars Ke Huy Quan and Stephanie Hsu were also recognised, in the Best Supporting Actor and Best Supporting Actress fields respectively. And, for the Brendan Fraser-led drama The Whale, Hong Chau also received a nomination in the latter category. Similarly making history: the infectious song 'Naatu Naatu' from explosive action-musical RRR, which became the first tune from an Indian feature to get recognition in the field. Yes, that's a baffling statistic given India's prolific film industry. While Everything Everywhere All At Once leads the contenders overall, it has plenty of company. German war drama All Quiet on the Western Front and Irish comedy The Banshees of Inisherin each picked up nine nominations, while the Australian-made Elvis nabbed eight, Steven Spielberg's The Fabelmans scored seven, the Cate Blanchett-led Tár and high-flying Tom Cruise vehicle Top Gun: Maverick received six each, and Marvel sequel Black Panther: Wakanda Forever collected five. Naturally, Blanchett received her eighth Oscar nomination for Tár. No, fellow Australian Baz Luhrmann wasn't nominated for Best Director for Elvis. But many of the Elvis Presley biopic's nods were for behind-the-scenes categories, which means nominations for the likes of cinematographer Mandy Walker, plus costume and production designer Catherine Martin. Among the other highlights, Normal People favourite Paul Mescal received his first Oscar nomination for father-daughter drama Aftersun; the always-excellent Brian Tyree Henry earned some love for his thoughtful turn in Causeway; Andrea Riseborough capitalised upon celebrity support to score a look-in for To Leslie; and movies with scene-stealing donkeys had the Academy braying with love, thanks to The Banshees of Inisherin's nominations and a Best International Feature Film nod for EO. Also, gorgeous Irish drama The Quiet Girl was recognised in the same field, and wonderful documentary Fire of Love is among the doco contenders. And, the new Oscar-nominee with the best name? It's Best Animated Short competitor My Year of Dicks. That said, the Academy couldn't find room for far too many other exceptional films — and the people behind them — in 2023's batch of nominees. That includes completely leaving out phenomenal South Korean thriller Decision to Leave in all fields, deciding that female filmmakers weren't worthy of any Best Director nominations this year, ignoring Viola Davis for The Woman King and Danielle Deadwyler for Till (and Black actors in the lead acting categories overall), overlooking Moonage Daydream for Best Documentary, and only giving RRR that one nod for Best Song. The Oscars will announce this year's winners on Monday, March 13, Australian and New Zealand time, with Jimmy Kimmel hosting. Here's the full list of nominations: OSCAR NOMINEES 2023 BEST MOTION PICTURE All Quiet on the Western Front Avatar: The Way of Water The Banshees of Inisherin Elvis Everything Everywhere All At Once The Fabelmans Tár Top Gun: Maverick Triangle of Sadness Women Talking BEST DIRECTOR Martin McDonagh, The Banshees of Inisherin Daniel Kwan and Daniel Scheinert, Everything Everywhere All At Once Steven Spielberg, The Fabelmans Todd Field, Tár Ruben Östlund, Triangle of Sadness PERFORMANCE BY AN ACTRESS IN A LEADING ROLE Cate Blanchett, Tár Ana de Armas, Blonde Andrea Riseborough, To Leslie Michelle Williams, The Fabelmans Michelle Yeoh, Everything Everywhere All At Once PERFORMANCE BY AN ACTOR IN A LEADING ROLE Austin Butler, Elvis Colin Farrell, The Banshees of Inisherin Brendan Fraser, The Whale Paul Mescal, Aftersun Bill Nighy, Living PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE Angela Bassett, Black Panther: Wakanda Forever Hong Chau, The Whale Kerry Condon, The Banshees of Inisherin Jamie Lee Curtis, Everything Everywhere All At Once Stephanie Hsu, Everything Everywhere All At Once PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE Brendan Gleeson, The Banshees of Inisherin Brian Tyree Henry, Causeway Judd Hirsch, The Fabelmans Barry Keoghan, The Banshees of Inisherin Ke Huy Quan, Everything Everywhere All At Once BEST ORIGINAL SCREENPLAY The Banshees of Inisherin, Martin McDonagh Everything Everywhere All At Once, Daniel Kwan and Daniel Scheinert The Fabelmans, Steven Spielberg and Tony Kushner Tár, Todd Field Triangle of Sadness, Ruben Östlund BEST ADAPTED SCREENPLAY All Quiet on the Western Front, Edward Berger, Lesley Paterson and Ian Stokell Glass Onion: A Knives Out Mystery, Rian Johnson Living — Written by Kazuo Ishiguro Top Gun: Maverick, screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; story by Peter Craig and Justin Marks Women Talking, Sarah Polley BEST INTERNATIONAL FEATURE FILM All Quiet on the Western Front Argentina, 1985 Close EO The Quiet Girl BEST ANIMATED FEATURE Guillermo del Toro's Pinocchio Marcel the Shell With Shoes On Puss in Boots: The Last Wish The Sea Beast Turning Red BEST DOCUMENTARY FEATURE All That Breathes All the Beauty and the Bloodshed Fire of Love A House Made of Splinters Navalny BEST ORIGINAL SCORE All Quiet on the Western Front, Volker Bertelmann Babylon, Justin Hurwitz The Banshees of Inisherin, Carter Burwell Everything Everywhere All At Once, Son Lux The Fabelmans, John Williams BEST ORIGINAL SONG 'Applause', Tell It Like a Woman (Diane Warren) 'Hold My Hand', Top Gun: Maverick (Lady Gaga and BloodPop) 'Lift Me Up', Black Panther: Wakanda Forever (music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; lyrics by Tems and Ryan Coogler) 'Naatu Naatu', RRR (music by MM Keeravaani, lyrics by Chandrabose) 'This Is a Life', Everything Everywhere All At Once (music by Ryan Lott, David Byrne and Mitski, lyrics by Ryan Lott and David Byrne) BEST CINEMATOGRAPHY All Quiet on the Western Front, James Friend Bardo, False Chronicle of a Handful of Truths, Darius Khondji Elvis, Mandy Walker Empire of Light, Roger Deakins Tár, Florian Hoffmeister BEST FILM EDITING The Banshees of Inisherin, Mikkel EG Nielsen Elvis, Matt Villa and Jonathan Redmond Everything Everywhere All At Once, Paul Rogers Tár, Monika Willi Top Gun: Maverick, Eddie Hamilton BEST PRODUCTION DESIGN All Quiet on the Western Front, Christian M. Goldbeck and Ernestine Hipper Avatar: The Way of Water, Dylan Cole, Ben Procter and Vanessa Cole Babylon, Florencia Martin and Anthony Carlino Elvis, Catherine Martin, Karen Murphy and Bev Dunn The Fabelmans, Rick Carter and Karen O'Hara BEST VISUAL EFFECTS All Quiet on the Western Front, Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar Avatar: The Way of Water, Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett The Batman, Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy Black Panther: Wakanda Forever, Geoffrey Baumann, Craig Hammack, R Christopher White and Dan Sudick Top Gun: Maverick, Ryan Tudhope, Seth Hill, Bryan Litson and Scott R Fisher BEST COSTUME DESIGN Babylon, Mary Zophres Black Panther: Wakanda Forever, Ruth Carter Elvis, Catherine Martin Everything Everywhere All At Once, Shirley Kurata Mrs Harris Goes to Paris, Jenny Beavan BEST MAKEUP AND HAIRSTYLING All Quiet on the Western Front, Heike Merker and Linda Eisenhamerová The Batman, Naomi Donne, Mike Marino and Mike Fontaine Black Panther: Wakanda Forever, Camille Friend and Joel Harlow Elvis, Mark Coulier, Jason Baird and Aldo Signoretti The Whale, Adrien Morot, Judy Chin and Anne Marie Bradley BEST SOUND All Quiet on the Western Front, Viktor Prásil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte Avatar: The Way of Water, Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges The Batman, Stuart Wilson, William Files, Douglas Murray and Andy Nelson Elvis, David Lee, Wayne Pashley, Andy Nelson and Michael Keller Top Gun: Maverick, Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor BEST DOCUMENTARY SHORT SUBJECT The Elephant Whisperers Haulout How Do You Measure a Year? The Martha Mitchell Effect Stranger at the Gate BEST ANIMATED SHORT FILM The Boy, the Mole, the Fox and the Horse The Flying Sailor Ice Merchants My Year of Dicks An Ostrich Told Me the World Is Fake and I Think I Believe It BEST LIVE ACTION SHORT FILM An Irish Goodbye Ivalu Le Pupille Night Ride The Red Suitcase
Under normal circumstances, when a new-release movie starts playing in cinemas, audiences can't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the pandemic forcing film industry to make quite a few changes over the past year — widespread movie theatre closures will do that — that's no longer always the case. Maybe you're in lockdown. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here's 12 you can watch right now at home. IN THE HEIGHTS Lin-Manuel Miranda isn't the first lyricist to pen tunes so catchy that they get stuck in your head for years (yes, years), but his rhythmic tracks and thoughtful lines always stand out. Miranda's songs are melodic and snappy, as anyone who has seen Hamilton onstage or via streaming definitely knows. The multi-talented songwriter's lyrics also pinball around your brain because they resonate with such feeling — and because they're usually about something substantial. The musical that made his name before his date with US history, In the Heights echoes with affection for its eponymous Latinx New York neighbourhood. Now that it's reverberating through cinemas, its sentiments about community, culture, facing change and fighting prejudice all seem stronger, too. To watch the film's characters sing about their daily lives and deepest dreams in Washington Heights is to understand what it's like to feel as if you truly belong in your patch of the city, to navigate your everyday routine with high hopes shining in your heart, and to weather every blow that tries to take that turf and those wishes away. That's what great show tunes do, whisking the audience off on both a narrative and an emotional journey. Miranda sets his words to hip hop beats, but make no mistake: he writes barnstorming songs that are just as rousing and moving, and that've earned their place among the very best stage and screen ditties as a result. Watching In the Heights, it's hard not to think about all those stirring tracks that've graced previous musicals. That isn't a sign of derivation here, though. Directing with dazzling flair and a joyous mood, Crazy Rich Asians filmmaker Jon M Chu nods to cinema's lengthy love affair with musicals in all the right ways. His song-and-dance numbers are clearly influenced by fellow filmic fare, and yet they recall their predecessors only because they slide in so seamlessly alongside them. Take his staging of the tune '96000', for instance. It's about winning the lottery, after word filters around that bodega owner Usnavi (Anthony Ramos, a Hamilton alum) has sold a lucky ticket. Due to the sweltering summer heat, the whole neighbourhood is at the public pool, which is where Chu captures a colourful sea of performers expressing their feelings through exuberantly shot, staged and choreographed music and movement — and it's as touching and glorious as anything that's ever graced celluloid. Of course, $96,000 won't set anyone up for life, but it'd make an enormous difference to Usnavi, In the Heights' protagonist and narrator. It'd also help absolutely everyone he loves. As he explains long before anyone even hears about the winning ticket, or buys it, every Heights local has their own sueñitos — little dreams they're chasing, such as his determination to relocate to the Dominican Republic. And that's what this intoxicating, invigorating, impassioned and infectious captures with vibrant aplomb. In the Heights is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. A QUIET PLACE PART II When every noise you make could send savage aliens stalking, slashing and slaughtering your way, it's the waiting that gets you. When you're watching a nerve-rattling horror film about that exact scenario, the same sentiment remains relevant. In A Quiet Place, the Abbott family went into survival mode after vicious creatures invaded, hunted down every sound and dispensed with anyone that crossed their path. For the characters in and viewers of the 2018 hit alike, the experience couldn't have screamed louder with anxiety and anticipation. Evelyn and Lee (Wild Mountain Thyme's Emily Blunt and Detroit's John Krasinski) and their children Regan (Millicent Simmonds, Wonderstruck), Marcus (Noah Jupe, The Undoing) and Beau (Cade Woodward, Avengers: Endgame) all silently bided their time simply trying to stay safe and alive, but their continued existence lingered under a gut-wrenching shadow. The critters were still out there, listening for even a whisper. It was a matter of when, not if, they'd discern the slightest of noises and strike again. That type of waiting drips with tension and suspense, and also with the kind of inevitability that hovers over everyone alive. A certain bleak end awaits us all, a truth we routinely attempt to ignore; however, neither the Abbotts nor A Quiet Place's audience were allowed to forget that grim fact for even a moment. Initially slated to arrive in cinemas two years later, then delayed by the pandemic for 14 months, sequel A Quiet Place Part II isn't done with waiting. Written and directed once again by Krasinski, the film doesn't shy away from the stress and existential distress that marking time can bring, but it also tasks its characters with actively confronting life's inevitabilities. After an intense and impressive tone-setting opening flashback to the first day of the alien attack, when the Abbotts' sleepy hometown learns of humanity's new threat in the cruellest fashion, the storyline picks up where its predecessor left off. It's day 474 — the earlier film spent most of its duration around day 472 — and Evelyn, Regan, Marcus and the family's newborn are grappling with their losses. That said, they're also keenly aware that they can't stay in their Appalachian farmhouse any longer. After spotting smoke on the horizon and setting off in that direction, they reconnect with Emmett (Cillian Murphy, Peaky Blinders), an old friend who has been through his own traumas. Evelyn sees safety in numbers, but he's reluctant to help. Then Regan hears a looping radio transmission playing 'Beyond the Sea' and decides to track down its source — and a film that's less thrilling, potent and unsettling than its predecessor eventuates. A Quiet Place Part II is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. BLACK WIDOW Closure is a beautiful thing. It's also not something that a 24-film-and-growing franchise tends to serve up often. Since 2008, the Marvel Cinematic Universe has operated with the opposite aim — extending and expanding the series at every turn, delivering episodic instalments that keep viewers hanging for the next flick, and endeavouring to ensure that the superhero saga blasts onwards forever. But it's hard to tick those boxes when you're making a movie about a character whose fate is already known. Audiences have seen where Natasha Romanoff's (Scarlett Johansson, Marriage Story) story finishes thanks to Avengers: Endgame, so Black Widow doesn't need to lay the groundwork for more films to follow. It's inexcusable that it has taken so long for the assassin-turned-Avenger to get her own solo outing. It's indefensible that this is just the second Marvel feature to solely focus on a female figure, too. But, unlike the missed opportunity that was Captain Marvel, Black Widow gives its namesake a thrilling big-screen outing, in no small part because it needn't waste time setting up a Black Widow sequel. Instead, the pandemic-delayed movie spends its 143 minutes doing what more MCU flicks should: building character, focusing on relationships, fleshing out its chosen world and making every inch of its narrative feel lived-in. The end result feels like a self-contained film, rather than just one chapter in a never-ending tale — which gives it the space to confidently blend family dramas with espionage antics, and to do justice to both parts of that equation. Sporting an impressive cast that also includes Florence Pugh (Little Women), David Harbour (Stranger Things) and Rachel Weisz (The Favourite), Black Widow begins in 1995, in small-town Ohio. Here, Harbour and Weisz play Alexei and Melina, parents to young Natasha (Ever Anderson, Resident Evil: The Final Chapter) and Yelena (Violet McGraw, Doctor Sleep), and the portrait of all-American domesticity — or that's the ruse, at least. The film doesn't revel in small-town life, neighbourhood playtimes, 'American Pie' sing-alongs and an existence that could've been ripped from The Americans for too long, however, with the quartet soon en route back to Russia via Cuba at shady puppetmaster Dreykov's (Ray Winstone, Cats) beckoning. When the action then jumps forward to 2016, and to the aftermath of that year's Captain America: Civil War, Natasha hasn't seen her faux family for decades. On the run from the authorities, she isn't palling around with the Avengers, either, with the superheroes all going their separate ways. Then the adult Yelena (Pugh) reaches out, because she too has fled her own powers-that-be: Dreykov, the fellow all-female hit squad she's been part of for the last 21 years, and the mind-control techniques that've kept her compliant and killing. There's an unmistakable air of Bourne and Bond to Black Widow from there, but this deftly satisfying flick doesn't trade the MCU's blueprints for other franchises' templates. With Australian filmmaker Cate Shortland (Somersault, Lore and Berlin Syndrome) in the director's chair, this welcome addition to the franchise spins a thoughtfully weighty story about women trapped at the mercy of others and fighting to regain their agency. Black Widow is available to stream via Disney+ with Premium Access. Read our full review. MY NAME IS GULPILIL Lengthy is the list of Australian actors who've started their careers on home soil, then boosted their fame, acclaim and fortunes by heading abroad. Some have won Oscars. Others are global household names. One plays a pigtailed comic book villain in a big film franchise, while another dons a cape and wields a hammer in a competing blockbuster saga. David Gulpilil doesn't earn any of the above descriptions, and he isn't destined to. It wouldn't interest him, anyway. His is the face of Australian cinema, though, and has been for half a century. Since first gracing the silver screen in Nicolas Roeg's Walkabout, the Yolŋu man has gifted his infectious smile and the irrepressible glint in his eye to many of the nation's most important movies. Indeed, to peruse his filmography is to revel in Aussie cinema history. On his resume, 70s classics such as Mad Dog Morgan and The Last Wave sit alongside everything from Crocodile Dundee and Rabbit-Proof Fence to Australia, Goldstone and Cargo — as well as parts in both the first 1976 film adaptation of Storm Boy and its 2019 remake. The latest film to benefit from the Indigenous talent's presence: My Name Is Gulpilil. It might just be the last do to so, however. That sad truth has been baked into the documentary ever since its subject asked director Molly Reynolds and producer Rolf de Heer — two filmmakers that Gulpilil has collaborated with before, including on Another Country, Charlie's Country, Ten Canoes and The Tracker — to make something with him after he was diagnosed with stage-four lung cancer. That was back in 2017, when he was given just six months to live. Gulpilil has been proving that diagnosis wrong ever since. Cue this heartfelt portrait of an Australian icon like no other, which celebrates a star who'll never be matched, reminds viewers exactly why that's the case, but is never a mere easy, glossy tribute. Anyone could've combined snippets of Gulpilil's movies with talking heads singing his praises. In the future, someone probably will. But Reynolds is interested in truly spending time with Gulpilil, hearing his tale in his own words, and painting as complete a portrait of his life, work, dreams, regrets, spirit, culture and impact as possible. My Name Is Gulpilil is available to stream via ABC iView. Read our full review. VALERIE TAYLOR: PLAYING WITH SHARKS Steven Spielberg directed Jaws, the 1975 horror film that had everyone wondering if it was safe to go back into the water — and the movie that became Hollywood's first blockbuster, too — but he didn't shoot its underwater shark sequences. That task fell to Australian spearfisher and diver-turned-oceanographer and filmmaker Valerie Taylor and her husband Ron, who did so off the coast of Port Lincoln in South Australia. If it weren't for their efforts, the film mightn't have become the popular culture behemoth it is. When one of the animals the Taylors were filming lashed out at a metal cage that had held a stuntman mere moments before, the pair captured one of the picture's most nerve-rattling scenes by accident, in fact. And, before Peter Benchley's novel of the same name was even published, the duo was sent a copy of the book and asked if it would make a good feature (the answer: yes). Helping to make Jaws the phenomenon it is ranks among Valerie's many achievements, alongside surviving polio as a child, her scuba and spearfishing prowess, breaking boundaries by excelling in male-dominated fields in 60s, and the conservation activism that has drawn much of her focus in her later years. Linked to the latter, and also a feat that many can't manage: her willingness to confront her missteps and then do better. The apprehension that many folks feel when they're about to splash in the ocean? The deep-seated fear and even hatred of sharks, too? That's what Valerie regrets. Thanks to Jaws, being afraid of sharks is as natural to most people as breathing, and Valerie has spent decades wishing otherwise. That's the tale that Valerie Taylor: Playing with Sharks tells as it steps through her life and career. Taking a standard birth-to-now approach, the documentary has ample time for many of the aforementioned highlights, with Valerie herself either offering her memories via narration or popping up to talk viewers through her exploits. But two things linger above all else in this entertaining, engaging and insightful doco. Firstly, filmmaker Sally Aitken (David Stratton: A Cinematic Life) fills her feature with stunning archival footage that makes for astonishing and affecting viewing (Ron Taylor is credited first among the feature's five cinematographers). Secondly, this powerful film dives into the work that Valerie has spearheaded to try to redress the world's fright-driven perception of sharks. Like last year's David Attenborough: A Life on Our Planet, 2017's Jane Goodall documentary Jane and underwhelming 2021 Oscar-winner My Octopus Teacher, this is a movie about being profoundly changed by the natural world and all of its splendour. Valerie Taylor: Playing with Sharks is available to stream via Disney+. Read our full review. CRUELLA A killer dress, a statement jacket, a devastating head-to-toe ensemble: if they truly match their descriptions, they stand the test of time. Set in 70s London as punk takes over the aesthetic, live-action 101 Dalmatians prequel Cruella is full of such outfits — plus a white-and-black fur coat that's suspected of being made from slaughtered dogs. If the film itself was a fashion item, though, it'd be a knockoff. It'd be a piece that appears fabulous from afar, but can't hide its seams. That's hardly surprising given this origin tale stitches together pieces from The Devil Wears Prada, The Favourite, Superman, Star Wars and Dickens, and doesn't give two yaps if anyone notices. The Emmas — Stone, playing the dalmatian-hating future villain; Thompson, doing her best Miranda Priestly impression as a ruthless designer — have a ball. Oscar-winning Mad Max: Fury Road costume designer Jenny Beavan is chief among the movie's MVPs. But for a film placed amid the punk-rock revolution, it's happy to merely look the part, not live and breathe it. And, in aiming to explain away its anti-heroine's wicked ways, it's really not sure what it wants to say about her. Before she becomes the puppy-skinning fashionista that remains among Glenn Close's best-known roles, and before she's both a wannabe designer and the revenge-seeking talk of the town played by Stone (Zombieland: Double Tap), Cruella is actually 12-year-old girl Estella (Tipper Seifert-Cleveland, Game of Thrones). In this intellectual property-extending exercise from I, Tonya director Craig Gillespie, she sports two-toned hair and a cruel that streak her mother (Emily Beecham, Little Joe) tries to tame with kindness — and she's also a target for bullies, but has the gumption to handle them. Then tragedy strikes, an orphan is born, loss haunts her every move and, after falling in with a couple of likeable London thieves, those black-and-white locks get a scarlet dye job. By the time that Estella is in her twenties, she's well-versed in pulling quick heists with Jasper (Joel Fry, Yesterday) and Horace (Paul Walter Hauser, Songbird). She loves sewing the costumes required more than anything else, however. After years spent dreaming of knockout gowns, upmarket department stores and threads made by the Baroness (Thompson, Last Christmas), she eventually gets her chance — for fashion domination, as well as vengeance. Cruella is available to stream via Disney+ with Premium Access, Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. MARTIN EDEN The last time that one of Jack London's books made the leap to cinema screens — just last year, in fact — it wasn't a pleasant viewing experience. Starring Harrison Ford and a CGI dog, The Call of the Wild forced viewers to watch its flesh-and-blood lead pal around with a needlessly anthropomorphised canine, to groan-inducingly cheesy results. Martin Eden is a much different book, so it could never get the same treatment. With his radiant imagery, masterful casting and bold alterations to the source material, writer/director Pietro Marcello (Lost and Beautiful) makes certain that no one will confuse this new London adaption for the last, however. The Italian filmmaker helms a compelling, complicated, ambitious and unforgettable film, and one that makes smart and even sensuous choices with a novel that first hit shelves 112 years ago. The titular character is still a struggling sailor who falls in love with a woman from a far more comfortable background than his. He still strives to overcome his working-class upbringing by teaching himself to become a writer. And, he still finds both success and scuffles springing from his new profession, with the joy of discovering his calling, reading everything he can and putting his fingers to the typewriter himself soon overshadowed by the trappings of fame, a festering disillusionment with the well-to-do and their snobbery, and a belief that ascribing worth by wealth is at the core of society's many problems. As a book, Martin Eden might've initially reached readers back in 1909, but Marcello sees it as a timeless piece of literature. He bakes that perception into his stylistic choices, weaving in details from various different time periods — so viewers can't help but glean that this tale just keeps proving relevant, no matter the year or the state of the world. Working with cinematographers Alessandro Abate (Born in Casal Di Principe) and Francesco Di Giacomo (Stay Still), he helms an overwhelmingly and inescapably gorgeous-looking film, too. When Martin Eden is at its most heated thematically and ideologically, it almost feels disquieting that such blistering ideas are surrounded by such aesthetic splendour, although that juxtaposition is wholly by design. And, in his best flourish, he enlists the magnetic Luca Marinelli (The Old Guard) as his central character. In a performance that won him the Best Actor award at the 2019 Venice Film Festival, Marinelli shoulders the eponymous figure's hopes, dreams and burdens like he's lived them himself. He lends them his soulful stare as well. That expression bores its way off the screen, and eventually sees right through all of the temptations, treats and treasures that come Eden's way. Any movie would blossom in its presence; Martin Eden positively dazzles, all while sinking daggers into the lifetime of tumult weathered by its titular everyman. Martin Eden is available to stream via Google Play, YouTube Movies and iTunes. I BLAME SOCIETY She's fired by her manager after he finally reads one of her scripts, then deems the topic of Israel "too political". When his assistant wrangles her a meeting with a couple of indie film producers in the aftermath, she's asked to lend her perspective to stories about strong female voices, breastfeeding in public, and either intersexuality or intersectionality — when it comes to the latter two, they aren't quite sure which. So, as I Blame Society gleefully posits in its savage takedown of the film industry today, it's little wonder that Gillian (writer/director Gillian Wallace Horvat) decides to follow up a leftfield idea. Three years earlier, some of her friends told her that she'd make a great murderer, a notion that she took as a compliment and has been fascinated with to an unhealthy degree ever since. Indeed, at the time, she went as far asking her pal Chase (co-writer Chase Williamson) if she could hypothetically walk through the process of killing his girlfriend. The request put a long-lasting pause on their friendship, to no one else's surprise. Now, as she resurrects the project, her editor boyfriend Keith (Keith Poulson, Her Smell) keeps reiterating that it's a terrible idea; however, with no other avenues forward, Gillian is committed to doing whatever she thinks she needs to to kickstart her career. During a mid-film conversation, an increasingly exasperated Keith reminds Gillian that no "there is no movie that is worth hurting someone for". He's endeavouring to get her to agree, but "if it's a very bad person for a very good movie…" is her quick and firm reply. I Blame Society is equally direct. While Horvat plays a fictional character — and, the audience presumes, hasn't ever flirted with or committed murder in real life — she absolutely slaughters her chosen concept. Not every line or moment lands as intended, but this biting satire sticks a knife into every expectation saddled upon women in general and female filmmakers especially, then keeps twisting. The film's recurrent gags about likeability cleave so close to the truth, they virtually draw blood. Its aforementioned parody of supposed allyship among powerbrokers and gatekeepers is similarly cutting and astute. In their canny script, Horvat and Williamson find ample time to poke fun of a plethora of industry cliches and microaggressions, the treatment of marginalised voices both within filmmaking and in broader society, and even the current true-crime obsession, all without ever overloading the 84-minute movie. And, on-screen as well, Horvat is a savvy delight. She wants viewers to both cringe and nod, and everything about her performance and her feature directorial debut earns that response. I Blame Society is available to stream via Google Play, YouTube Movies and iTunes. A FAMILY Just five letters are needed to turn A Family's title into the name of one of popular culture's most famous clans. The Addams crew aren't the subject of this Australian-produced, Ukraine-shot blend of comedy and drama, but it does delve into the creepy, kooky and mysterious anyway. The feature debut of director Jayden Stevens — who co-wrote the script with his cinematographer Tom Swinburn (Free of Thought) — the absurdist gem spends time with the stern-faced Emerson (first-timer Pavlo Lehenkyi). With none of his family around for unexplained reasons, he pays other Kiev locals to play their parts, staging dinners, Christmas parties and everyday occasions. They eat, chat and do normal family things, all for Emerson's camera. His actors (including Maksym Derbenyov as his brother and Larysa Hraminska as his mother) all need to stick to his script, though, or he'll offer them a surly reprimand. Olga (Liudmyla Zamidra), who has been cast as his sister, struggles the most with her role. She's also the member of this little faux family that Emerson is particularly drawn to. Her own home life with her mother Christina (Tetiana Kosianchuk) is far from rosy, with the pair suffering from her dad's absence, so eventually Olga decides that Emerson's role-play game might work there as well. A Family is a film of patient and precise frames, awkwardly amusing moments, and bitingly accurate insights into the ties that bind — whether of blood or otherwise. It's a movie that recognises the transactional and performative nature of many of life's exchanges, too, and ponders how much is real and fake in both big and seemingly inconsequential instances. To perfect all of the above, Stevens walks in Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer, The Favourite), Aki Kaurismäki (Le Havre, The Other Side of Hope) and even the usually inimitable David Lynch's shoes. His feature is austere, deadpan and surreal all at once, and smart, amusing and savage at the same time as well. Indeed, if a bigger-name filmmaker had made this purposefully and probingly off-kilter picture, it would've likely proven a film festival darling around the globe. A Family did start its big-screen run at a fest, at the Melbourne International Film Festival back in 2019. Now reaching Australian cinemas after a year that's seen everyone either spend more time with or feel more physical distance from their nearest and dearest, it feels doubly potent. Every lingering image shot by Swinburn — and all of the pitch-perfect performances that he captures — speak loudly to the cycle of yearning and disconnection that comes with being alive, and that never stops being put under a microscope. A Family is available to stream via iTunes. THE CONJURING: THE DEVIL MADE ME DO IT Starting in 2013 with The Conjuring, expanding with 2014's Annabelle, and also including The Conjuring 2, both terrible and much better sequels to Annabelle, the dismal The Nun and the formulaic The Curse of the Weeping Woman, The Conjuring Universe now spans eight evil-fighting flicks — and they're all as straightforward as it gets when it comes to battling the nefarious. Circling around real-life paranormal investigators Ed and Lorraine Warren, the franchise posits that the supernatural exists, darkness preys upon the innocent and its central couple usually has the tools to combat everything untoward. That template remains firmly in place in The Conjuring: The Devil Made Me Do It. With director Michael Chaves (The Curse of the Weeping Woman) and screenwriter David Leslie Johnson-McGoldrick (Aquaman) doing the honours — taking their cues from James Wan, the Australian Saw and Insidious co-creator who helmed the first two Conjuring flicks — it once again serves up the usual bumps, jumps and scares that have haunted this franchise since day one. That said, the third Conjuring flick within the broader Conjuring realm does attempt a few changes. Rather than getting creeped out by haunted houses, it gets spooked by a kid and then a teenager who are both possessed. True to form, bone-shakingly horrific things can't simply occur without some kind of excuse and entity at play. The Warrens (Patrick Wilson, Aquaman, and Vera Farmiga, Godzilla: King of the Monsters) are first tasked with saving eight-year-old David Glatzel (Julian Hilliard, WandaVision) from a demon after his family moves to stereotypically sleepy Brookfield, Connecticut. Their efforts seem successful, even if Ed has a heart attack mid-exorcism, but the evil force they're fighting has really just jumped ship. Arne Johnson (Ruairi O'Connor, The Spanish Princess), the boyfriend of David's sister Debbie (Sarah Catherine Hook, NOS4A2), is quickly besieged by strange occurrences. He's soon also covered in blood after stabbing his landlord to Blondie's 'Call Me'. The death penalty beckons; however, the Warrens convince Arne's lawyer to plead not guilty by reason of demonic possession — the first time that ever happened in the US — and then commit to unearthing whatever paranormal details they can to save his life. The trailer for The Devil Made Me Do It teases legal thrills, but in a bait-and-switch way, because this film is barely concerned with Arne's court case. The true tale, which was previously dramatised in a 1983 TV movie starring Kevin Bacon, merely provides an easy setup for souped-up demonic antics and a routine, happily by-the-numbers, never remotely terrifying threequel. Indeed, the fact that more flicks will undoubtably still follow is the scariest thing about the film. The Conjuring: The Devil Made Me Do It is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. THE HITMAN'S WIFE'S BODYGUARD Someone involved with The Hitman's Wife's Bodyguard must really love paperwork; that's the only reason anyone could've given its script the go-ahead. Perhaps Australian filmmaker Patrick Hughes, who also directed 2017's The Hitman's Bodyguard, likes nothing more than keeping his documents in order. Maybe returning screenwriter Tom O'Connor (The Courier) falls into that category, or his debuting co-scribes Phillip and Brandon Murphy — they all made the subject the focus of their screenplay, after all. Whoever fits the bill, their attempt to force audiences to care about bodyguard licensing falls flat. So does the misguided idea that the certification someone might need to unleash their inner Kevin Costner would ever fuel an entire movie. Instead, what was already a needless sequel to a terrible action-comedy becomes even more of a dull and pointless slog, with this by-the-numbers follow-up showing zero signs that anyone spent more than a few seconds contemplating the story. A significant plot point here: that Michael Bryce (Ryan Reynolds, The Croods: A New Age) has lost his official tick of approval. He's no longer triple A-rated after a mishap in the line of duty, and he isn't coping well. To be fair, no one watching The Hitman's Wife's Bodyguard will handle that news swimmingly either, but only because they're made to hear about it over and over, all as Bryce rekindles his begrudging association with assassin Darius Kincaid (Samuel L Jackson, Spiral: From the Book of Saw) and the latter's con artist wife Sonia (Salma Hayek, Bliss). When Darius gets snatched up by nefarious folks during his belated honeymoon with Sonia, only Bryce can help — or so says the angry Mrs Kincaid. She interrupts the latter's vacation with swearing, shouting and shootouts, because that's the kind of feisty Mexican wife that Hayek plays. From there, Reynolds primarily complains, Hayek sticks with stereotypes and Jackson attempts to exude his usual brand of couldn't-care-less cool; however, even more than in Spiral: From the Book of Saw, he's on autopilot. As also seen in Jackson's last big-screen appearance, The Hitman's Wife's Bodyguard insists on reminding its audience about its stars' better movies. You don't cast both Hayek and Antonio Banderas (who plays a European tycoon plotting the world's demise) if you don't want to bring Desperado and Once Upon a Time in Mexico to mind (and Frida and even Spy Kids 3, too). Thinking about the pair's shared past highlights is far more enjoyable than enduring their current collaboration, unsurprisingly. Making fun of accents is considered the height of comedy here, women can only be hot-headed nags and manchild daddy issues get almost as much love as paperwork. The jokes aren't just scattershot; they're non-existent. The messy, incoherent and over-edited action scenes fare just as badly. None of the above is likely to save us from a third movie, though, which'll probably be called The Hitman's Wife's Baby's Bodyguard's Lost Birth Certificate. The Hitman's Wife's Bodyguard is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. FATALE Only 14 women have ever won more than one Academy Award for Best Actress, and Hilary Swank is one of them. When she earned the Oscars double for 1999's Boys Don't Cry and 2004's Million Dollar Baby, she beat both Meryl Streep and now three-time recipient Frances McDormand to the feat — but her career hasn't brought the coveted accolade her way again since. Fatale isn't going to change that recent trend. It hasn't earned Swank a Razzie either, but she could've easily been in the running. Playing a Los Angeles cop who has a one-night stand in Las Vegas with an ex-college basketball star turned high-profile player manager, then starts stalking her way through his life while also trying to intimidate her politician ex-husband into giving her back access to her young daughter, she has one mode here: stern-faced yet unbalanced. Even when her character, Detective Valerie Quinlan, is first seen flirting, Swank plays her as if something isn't quite right. That's accurate, plot-wise, but it robs Fatale of any semblance of tension it might've possessed. The film is meant to be an adultery-focused thriller in the Fatal Attraction mould — with even its title blatantly nodding that way — but it just ends up recycling tired, simplistic, overused cliches about unhinged women into a monotonous and unnecessarily convoluted package. Valerie and Derrick (Michael Ealy, Westworld) hit it off at a Vegas bar, then get physical; however, the next morning, he heads home to his wife Tracie (Damaris Lewis, BlacKkKlansman), who he actually suspects of being unfaithful herself. Before Derrick can meaningfully process either his infidelity or his fears about his crumbling marriage, his swanky home is broken into one night — and, because director Deon Taylor (Black and Blue) and screenwriter David Loughery (The Intruder) are content to hit every expected beat there is (and because they've seen every 80s and 90s erotic thriller ever made, too), Valerie is the investigating officer. Despite being woefully predictable from the outset, Fatale doesn't dare have fun with its cookie-cutter narrative. It doesn't evoke thrills, bring anything more than surface style or prove particularly sexy, and it never gets its audience invested in its obvious twists, one-note characters or rote dialogue. And, although having its badge-toting stalker use excessive force and exploit her power to target a person of colour could've been a choice that said something about America's current reckoning with law enforcement, race and police brutality, Fatale doesn't even contemplate anything other than clunky formula. Fatale is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Looking for more at-home viewing options? Check out our lists of movies fast-tracked from cinemas to streaming back in May and June. You can also take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows.
Just ten short months ago, seeing a new high-profile movie was a rather straightforward affair. When a big-screen release date was announced for a film, that's generally when it would hit theatres, perhaps with a few minor shifts here and there. But then, as we all know, the pandemic hit. Film release dates started being postponed and have kept up that trend, with big-name flicks pushing their openings back by around a year in some cases. And, recognising that the cinema industry mightn't return to normal worldwide while COVID-19 is still spreading, a few of those eagerly anticipated movies have been making the jump to streaming instead. Add Soul, Pixar's latest film, to the latter category. Instead of releasing in cinemas, it'll now head straight to Disney+ in December. If your Christmas plans usually involve lots of food and then some couch time, you'll be able to feast your eyeballs on the animation studio's new all-ages effort, as it'll hit the Mouse House's streaming platform on Friday, December 25. This isn't the first time that Disney, or even the Disney-owned Pixar, have taken this leap. Earlier in 2020, Pixar's Onward was moved to Disney+ once cinemas started closing down worldwide. Disney also sent terrible fantasy flick Artemis Fowl straight to streaming mid-year, as well as the phenomenal live recording of hit musical Hamilton. The same happened with its big-budget live-action version of Mulan, too, albeit with an added cost involved on top of the normal Disney+ subscription price. With Soul, viewers won't have to fork out anything extra, with the film available as a regular part of the streaming platform's catalogue. And if you're a big fan of Pixar's fondness for layering eye-catching imagery over a shared existential question — what it means to be alive and to feel, regardless of whether you're a toy, bug, monster, fish, superhero, car, rat, robot, dinosaur or emotion — this is clearly great news. As viewers can't help noticing, the animation powerhouse has been leaning into its favourite idea with plenty of force of late. Inside Out focused its attention on the emotions warring inside the heart and mind of a young girl, guiding her every thought, feeling and decision, while Coco drew upon the Mexican Day of the Dead, following a young boy as he wandered through the world beyond the mortal coil. Now, with Soul, Pixar looks to be borrowing from and combining parts of those two movies. It hones in on a school teacher who dreams of becoming a jazz musician, then falls down an open manhole and into a dark realm that looks rather like the afterlife. His titular essence is detached from his body, comes across a far more cynical counterpart and, in the process, starts wondering what it really means to have a soul. Jamie Foxx voices jazz-lover Joe Gardner, who is already musing on life's important questions — why is he here, what is he meant to be doing and what existence is all about — before his accident. Once he has tumbled down the manhole, he spends his time bantering with 22, voiced by Tina Fey. As well as whipping out a nifty cowboy dance, 22 doesn't think that life on earth is all that great. Audiences can expect to tag along on Joe's metaphysical journey, and to enjoy Foxx and Fey's comedic double act. The film also features the vocal talents of Questlove, Phylicia Rashad and Hamilton's Daveed Diggs, and boasts a score by Trent Reznor and Atticus Ross. And if you're wondering where the movie's central idea comes from (other than Pixar's back catalogue), writer/director Pete Docter started thinking about the origin of our personalities when his son was born more than two decades ago. Docter also helmed two of Pixar's big hits — and big emotional heavy hitters — in Up and Inside Out, nabbing Oscars for Best Animated Feature for both. Check out the trailer for Soul below: https://www.youtube.com/watch?v=xOsLIiBStEs Soul will start streaming on Disney+ on Friday, December 25, as part of the streaming service's regular subscription offering.
The Lamb Council of Australia (otherwise known as Meat & Livestock Australia/We Love our Lamb) is back on our screens — and this time, it's political. Their 2017 campaign has just launched and, whether you're a lamb fan or not, it's already spreading warm fuzzies across the country. The ad opens on a trio of First Nation peoples picking a spot for a primo beach barbie, but it's not long before the First Fleet and other nations arrive, all by boat (accurate historical fact). While everything's underway, the most recent 'boat people' are seen coming towards the shore, at which point ex-MasterChef contestant Poh Ling Yeow asks, "Aren't we all boat people?" Damn right. It's an inclusive, anti-racism message that's sure to win the lamb lovers and creative agency The Monkeys a spate of awards despite trotting out a few well-worn stereotypes. And although it is an obvious comment on Australia Day — the way we celebrate it and the day we celebrate it on — the ad doesn't actually make any overt references to it. Nonetheless, it's a huge shift away from their regular Australia Day campaign and a move towards something much more inclusive. Plus, it's got a diverse group of Aussie celebrities to help out, including olympian Cathy Freeman, rugby legend Wendell Sailor, cricketer Adam Gilchrist, comedian Rhys Nicholson and, of course, a small cameo from Sam "Sam Sam the lamb man" Kekovich. The result is one ultimate Australian beachside barbie.
The former PM most closely associated with the love of a cold one has today launched his own brewery, Hawke's Brewing. Yes, Bob Hawke has taken the only logical step post-the SCG skulling session of 2012, launching his maiden beverage this afternoon in Sydney. Hawke's Brewing has been established in conjunction with Hawke and David Gibson and Nathan Lennon. As well as producing a brew or two, the brand is also committed to furthering free market solutions to environmental issues, with a cut of all the profits going towards Landcare, a non-profit organisation that Hawke helped establish during his time as Prime Minister. "Mr. Hawke played an important role in the establishment of Landcare nationally almost 30 years ago," Tessa Jakszewicz, Landcare Australia's CEO said. "And it's really great to see his continued support of the movement today." The first drop out of the brewery, Hawke's Lager, is also crafted from 100 percent Australian ingredients, and Mr. Hawke won't take a penny from the profits — every cent of his share is going straight to Landcare. It will be available at 11 select venues, including Surry Hills' The Clock, Petersham Public House, Manly's New Brighton Hotel and The Courthouse in Newtown, across Sydney as of April 20. Cans of the lager will be available to buy from Camperdown Cellars from April 25, before rolling out across other bottle shops, restaurants and bars across the country. Gibson and Lennon came up with the idea for the brew during a frosty Australia Day in New York. They floated the proposal to Mr. Hawke, who took to it like a polly to a yard glass. Just over two and a half years later, the brew is set to hit our shelves. When asked how it felt to have his own beer, he said it felt "bloody good".
Twenty-four year-old interaction designer Joanna Montgomery, from the UK, has come up with a futuristic invention that is getting long-distance lovers very excited. 'Pillow Talk', which is being launched by Montgomery's company Little Riot, is an invention that lets you hear the real time heartbeat of your lover when you’re apart. Taken from Montgomery’s blog, the promotion video shows how each partner can wear a ring which transmits the soothing sounds of your lover’s heartbeat to your pillow, all through the wonders of wireless technology. The pillow lights up to show that your loved one is also lying down in bed. From the company’s Facebook page, it’s certainly piqued the interest of those in military jobs, and couples who regularly work overseas. For the skeptics out there, yes, we did say real time - so we assume time zones may be a problem, as well as (dare we say it) any unexpected raised pulses.
Melbourne's fashion fiends are in for a serious treat, with the NGV International kicking off its dazzling new exhibition — The Krystyna Campbell-Pretty Fashion Gift. A treasure trove of sartorial delights, the free showcase features over 150 haute couture pieces from some of the world's most iconic fashion houses. Prepare for wardrobe envy to hit hard as you take in this intriguing collection, which has been gifted to the NGV by leading philanthropist Krystyna Campbell-Pretty. There are a swag of legendary designs on show, from Le Smoking Suit — the avant-garde Yves Saint Laurent women's tuxedo, circa 1967 — to that tartan Alexander McQueen creation made famous by Sarah Jessica Parker at the 2006 Met Gala. Taking a style trip through the ages, the exhibition also showcases Madame Grès gowns, a rare collection of little black dresses from the one and only Chanel, and Dior designs from as far back as the label's 1947 debut. On display daily until Sunday, July 14, the threads are backed by a curation of original sketches and workbooks, rarely seen early-edition fashion magazines, embroidered samples and a suite of fashion photography. And for those keen to dive in further, The Krystyna Campbell-Pretty Fashion Gift is accompanied by a program of talks, including an International Women's Day chat about women's fashion in the 20th century. Images: Tom Ross.
Until now, you mightn't have heard of Laramie in Wyoming. It's the US state's third-largest city, however, and it's about to receive a whole heap of attention. On Thursday, February 23, what just might become your new true-crime obsession will drop, with The Coldest Case in Laramie focusing on a dark recent chapter in the locale's history: the unsolved murder of a college student in 1985. Sometimes, it feels like every day brings a new true-crime show or podcast, but this one has the pedigree of Serial behind it. The Coldest Case in Laramie hails from Serial Productions, the company behind Sarah Koenig's grimly addictive podcast, which has been owned by The New York Times since 2020 — and this is the first Serial Productions show hosted by a New York Times reporter. A long-unsolved murder. An unexpected arrest. A slam-dunk case that mysteriously fell apart. Our new podcast "The Coldest Case in Laramie" debuts on Feb. 23. https://t.co/VHhJehV6uI — Serial (@serial) February 19, 2023 Pulitzer Prize-winning investigative reporter Kim Barker — who also penned the book The Taliban Shuffle: Strange Days in Afghanistan and Pakistan back in 2011, which was adapted into the Tina Fey-starring movie Whiskey Tango Foxtrot — steps behind the microphone on the new podcast, which will release all eight episodes at once. More than just hosting and investigating, Barker harks back to her own home town, where 22 year-old college student Shelli Wiley was murdered by being stabbed repeatedly, then dragged into her apartment which was subsequently set alight. Barker was a sophomore in high school at the time, and now revisits the case after a career that's taken her to ProPublica, The Seattle Times, The Spokesman-Review, the Chicago Tribune and more. While audiences will want to learn the full details while listening, The Coldest Case in Laramie sifts through a crime that saw two arrests that didn't stick, plus a suspect that many residents of Laramie said they knew was responsible when Barker started digging in January 2021. [caption id="attachment_889890" align="alignnone" width="1920"] Casey Fiesler via Wikimedia Commons[/caption] Accordingly, this story not only tells of a shocking loss of life — a homicide that Barker was unable to forget — and the quest to find the culprit, but of the procedural roadblocks that've followed. "What's cool about this show is that it really highlights not only Kim Barker's extraordinary investigative skills, but also her talent as an interviewer," said Serial's executive editor Julie Snyder, announcing The Coldest Case in Laramie. "In an almost fly-on-the-wall type of storytelling, we get to follow Kim while she works, and we come to discover that this is a story with many unreliable narrators." The Coldest Case in Laramie arrives after Serial Productions and The New York Times have previously launched podcasts such as Nice White Parents, The Trojan Horse Affair and We Were Three. And, it drops after a big 2022 for the OG Serial, after Adnan Syed's murder conviction was vacated by the Baltimore City Circuit Court, sparking a new Serial episode. The first season of Serial gave rise to HBO documentary series The Case Against Adnan Syed, too — and, from the basic details alone, The Coldest Case in Laramie sounds like just the kind of tale that could do the same. The Coldest Case in Laramie will be available to listen to via Apple Podcasts, Spotify and more from Thursday, February 23. Top image: Nyttend via Wikimedia Commons.
UPDATE, MARCH 13: Due to concerns around the coronavirus, Disney has announced that The New Mutants will no longer release on its initially scheduled date of Thursday, April 9, 2020. At present, a new release date has not been announced — we'll update you when one has been revealed. When it comes to superhero cinema, quantity doesn't equal variety. A new caped crusader flick hits screens every month, or so it seems, but many of them follow the same formula. You know the drill, because you've seen it in everything from Captain America to Wonder Woman and several different iterations of Spider-Man: someone with special abilities grapples with their powers, learns how to put them to best use, then faces off against an evil nemesis — saving the world from destruction and devastation in the process. Accordingly, when something dares to break the mould in even the slightest way, it stands out. That's one of the reasons that Marvel's The New Mutants has gathered quite a bit of attention in recent years. Set within the X-Men universe and based on the comics of the same name, it follows a group of young mutants being held against their will in a secret psychiatric hospital, basically plonking them in horror movie territory. There's still plenty that's familiar about the premise, with the titular super-enhanced folks all learning to use their powers while trying to escape captivity — but the tone and approach of the film is definitely a welcome change. The darker, scarier mood is on full display in the just-dropped latest trailer, which also confirms an important piece of information: five years after it was first announced, four years since it was cast and three years after it was shot, The New Mutants finally looks set to hit cinema screens. That hasn't always been a given, with the long-delayed film originally due to release in April 2018, only to be pushed back to February 2019, then August 2019, and now April 2020. Along the way, it has been through cast member changes, script rewrites, reshoots and the Disney acquisition of Fox — aka the company behind the MCU flicks snapping up the company behind the X-Men movies — so if you were skeptical about it actually seeing the light of day, let this new sneak peek allay your fears. As well as its ominous tone and plenty of horror imagery, The New Mutants boasts an impressive cast — including Game of Thrones' Maisie Williams, Stranger Things' Charlie Heaton, and Glass and The Witch's Anya Taylor-Joy. Obviously, given how long ago the film was first shot, they all look quite a bit younger than their most recent screen appearances. And, behind the camera sits director/co-writer Josh Boone, who last helmed teen weepie The Fault in Our Stars. Check out the trailer below: https://www.youtube.com/watch?v=otomJ2gKHfQ The New Mutants was due to open in Australian cinemas on April 9, 2020; however it'll now release on a yet-to-be-revealed date — we'll update you when one is announced.
Hold onto your hats, because things are about to get fizzy. On Saturday, March 26, The Prosecco Festival returns for its fifth annual edition, transforming Abbotsford Convent into an oasis of effervescence. Bubbles are set to be the order of the day, as leading prosecco producers from Australia and Italy show off their finest fizz, across two sessions (11am–3pm, 4.30–8.30pm). Your $65 ticket will get you entry, a tote bag and a reusable glass, plus four hours of tastings. You'll sample over 50 different proseccos from locals like Pizzini, Dal Zotto and Brown Brothers; and Italian labels including Conti d'Arco, Rigoni and Calneggia. Even Kylie Minogue's signature prosecco rosé will be pouring. Other fizzy delights will include local craft brews, Italian cider and a range of sparkling vino, as well as a bubble-filled menu from the Van Di Vino prosecco van. And an Italian-accented food offering is set to feature bites like arrosticini, Ganzo pizza, Zsa's Bar Bistro & Deli's kingfish crudo and tiramisu, and goodies both sweet and savoury from That's Amore. Feeling festive? Nab a $120 VIP ticket and you'll also enjoy an additional snack-matched tasting masterclass with The Prosecco Queen.
In The Guest Edit we hand the reins over to some of the most interesting, tasteful and (or) entertaining people in Australia and New Zealand. For this instalment, we've enlisted the elegant taste of Aotearoa-based fashion designer Juliette Hogan amid the launch of her super soft — and super kind to the planet — JHL loungewear range. Hogan has handpicked her five favourite sustainable brands that show caring for the planet does not mean compromising on style or quality. After all, who knows style better than one of the country's most celebrated designers? JULIETTE HOGAN: Sustainability is no longer a 'nice-to-have' when making purchasing decisions — it is an absolute essential. As a whole, the fashion industry has a long way to come, but it's encouraging to see change. I'm excited by the continued evolution to a more transparent sharing of knowledge within our industry — both from our suppliers and to our consumers. At JHL, we believe we owe it to our customers to be constantly improving and evolving in the sustainability space in order to create genuine, honest and enduring connections with them. At the end of the day, the power is in the consumer's hands. When you make a more sustainable choice, you are sending a message about what is valuable to you. Every decision adds up, and collectively that begins to have real impact. SANS CEUTICALS Founded by Kiwi Lucy Vincent and made with the intention of taking chemicals and preservatives out of our most soothing daily rituals, Sans Ceuticals is one of my favourite skincare companies. I particularly love the Activator 7 Body, Hair and Face Oil. Find it now: On Sans Ceuticals' website or at Mecca, with shipping available around both Australia and NZ. AMISFIELD WINE I really enjoy Amisfield wine and love everything they do, including the restaurant and cellar door. I was pleased to see that they recently received recognition of Riedel Organic Winery of the year in 2020. My favourites would have to be the Pinot Noir and the Pinot Noir Rose. Find it now: At Amisfield Winery in Queenstown or on the Amisfield website, with shipping available around both Australia and NZ. JH LOUNGE For obvious reasons, JHL is of course on my go-to list of sustainable labels. There was a gap in my wardrobe, so we looked to fill it with JHL, which are considered basics designed to elevate the everyday. Everything in the collection is developed from sustainable and responsible materials, which we love and are really proud of. Find it now: The JHL website or through The Iconic, with shipping available around both Australia and NZ. GOODFOR I love GoodFor's refinery. I've recently started making homemade crackers for cheeseboards and get all of the ingredients here, as I know they're the best out there. Find it now: The GoodFor website with shipping available around NZ only. HABITUAL GOODS This brand was founded in Christchurch and has been built from the ground up, by the best local crafts people, from the best possible materials. The brassware range is incredible. Find it now: The Habitual Goods website, with shipping available around both Australia and NZ.
One of Sydney Festival 2017's most Instagrammed events was The Beach, an enormous ball pit inside a human-made cave, as created by Brooklyn-based design studio Snarkitecture. Tonnes of the city's residents spent at least some part of January diving, cannonballing and floating about in a sea of plastic bliss. Understandably. Thankfully, Melbourne got its own pop-up ball pit earlier this year — this behemoth, one-million ball, ball pit party. It sold out, and now it's returning just in time for Halloween. Like last time, it will be divided up into several spaces creating a kind of playground. There'll also be an on-site cocktail bar, to let you rest and refuel in between dips and dives. The ball pit will pop up in North Melbourne on Saturday, October 27 from 1pm till 1am. Entry will be via ticket, which will entitle you to two hours of playtime. The ball pit folk have gotten into the festival spirit this time round, too, and will be hiding $1000 throughout the ball pit. If you're keen to find it, we suggest booking into one of the earlier sessions. Anyone keen to attend between 1pm and 3pm can add some extra fun to their ball pit experience: a two-long bottomless prosecco and pizza session. Tickets including food and drinks cost $55, with only 200 available. A tip: you might want to go easy on the jumping around after getting your fill of eats and bubbles.
When Jetstar launched a big domestic flight sale in mid-June, it sold 70,000 seats in just five hours, with Australians keen to travel when and where they can in this pandemic-afflicted year. Today, Tuesday, November 17, the airline is kicking off another one — so get your clickers ready. The Return for Free sale kicks off at 3pm AEDT today and runs until 11.59pm AEDT on Thursday, November 19 — if it doesn't sell out prior. In the sale, you'll find cheap flights across 51 routes from destinations right across the country. And, as the name suggests, it's doing return flights for free. So, you buy your ticket to your destination and then Jetstar will cover your trip home. Of course, before you book one of the 400,000 return trips available, we suggest you check on the status of interstate borders wherever you'd like to visit. As everyone should know by know, border restrictions are still changing quite frequently depending on COVID-19 cases around the country. The NSW and ACT borders are currently open to everyone except those from Victoria, for instance, although that'll change come 12.01am on November 23 when the two regions reopen in full. As for Victoria itself, it is currently open — as it didn't shut its border, even during the state's recent lockdown. Queensland is still shut to Victorian and Greater Sydney residents, and will close to folks from Adelaide at 4pm on Tuesday, November 17. The Northern Territory, Tasmania and Western Australia are all open to parts of the country — with restrictions in the NT on folks arriving from metropolitan Melbourne and South Australia; in Tasmania on people from Victoria and SA; and in WA on those heading in from Victoria, NSW and SA. And in SA, it's open to everywhere except Victoria, with inhabitants of the latter allowed to visit from December 1. [caption id="attachment_773285" align="aligncenter" width="1920"] Tourism and Events Queensland[/caption] Now you know where you can and can't go, here are some of the deals — because, again, 51 routes are include in the sale. Sydneysiders can snag return tickets to Victoria for $65, Launceston for $89, Brisbane from $92, the Sunshine Coast for $96 and Hamilton Island for $151. Melburnians can book trips to Uluru for $165 and Darwin for $205. And Brisbanites can head to the Whitsundays for $89 and Hobart for $159. Yes, the list goes on. Tickets in the sale are for trips from February–August 2021, with exact dates varying in each region. So, if you're keen to get away, book some now and start planning. Jetstar's Return for Free sale runs from 3pm AEDT on Tuesday, November 17 until 11.59pm AEDT on Thursday, November 19, or until sold out.
A Docklands landmark is the latest casualty of the COVID-19 pandemic, with news the Melbourne Star Observation Wheel has gone for its final spin. At almost 13 years old, the waterfront attraction is now permanently grounded, according to a Facebook post published on Monday, September 6. "It is with a heavy heart that we have to announce that our beloved wheel has closed," the post revealed. "We thank Victorians, our staff, partners, suppliers, and supporters for enabling the Melbourne Star to provide a world-class experience for millions of people from around Australia and the world." Another statement posted to the website revealed the reason behind the shutdown, with operator MB Star Properties Pty Ltd announcing the wheel would be closing permanently with the company placed into liquidation. "Unfortunately, the global COVID-19 pandemic and subsequent travel restrictions and sustained shutdowns, adding to pre-existing challenges of operating amid increased high-rise development and changes in the Docklands area, has made it impossible to sustain the business," the statement reads. [caption id="attachment_766323" align="alignnone" width="1920"] The Melbourne Star turns out its lights for Earth Hour 2018.[/caption] Considered one of the largest observation wheels in the world, the Melbourne Star featured 21 revolving cabins offering sweeping 360-degree views across the city and its surroundings. It was first opened in late 2008, though its launch wasn't all smooth sailing — just over a month after opening, the 120-metre-tall landmark had its operations temporarily halted by WorkSafe after sizeable cracks were found in the structure. Once that hiccup was sorted, the wheel would go on to become a mainstay of Melbourne's skyline, spinning 300,000 visitors through the air each year and regularly changing the colour of its lights in support of different causes such as Autistic Pride Day and Fight MND. The Melbourne Star's cabins have also hosted various themed pop-ups and events over the years, including a sky-high stretch session for International Yoga Day and a unique revolving gig as part of Melbourne Music Week 2018. For more details on the Melbourne Star Observation Wheel's closure, see the website.
After a fairly long stretch of time in which twee monarchs Belle and Sebastian haven't graced our shores, the prolific Glaswegian darlings of indie pop, and facilitators of bedroom dancing everywhere since 1996 are returning to Australia. Even though our arty-side-of-weird inner teenage selves are squeeing with excitement, no one's begrudging them the long absence; frontman Stuart Murdoch has been keeping well busy writing and directing his 2014 movie musical, God Help the Girl. This tour comes in the immediate wake of the release of their ninth studio album in two decades, Girls in Peacetime Want to Dance. We spoke to Murdoch about stylistic changes, having cocktails created in one's honour, putting politics in pop, and how — once — you may have just been his unwitting muse. You’re heading to Australia very soon, and you’re doing a show at Taronga Zoo — pretty cool. Have you ever played anywhere else kind of unusual? Well, we played at the American ambassador’s house in London last month at a party, because his wife was a big fan. That was interesting. They made a special cocktail in our honour and served them, and people got really drunk. It was pretty red, so I think there was raspberry in it somewhere, but I think that was the only thing that was non-alcoholic. Do you think it summed you up as a band in a cocktail? I didn’t taste it, because I don’t really drink. But it went down pretty sweet, so maybe it did sum us up. [embed]https://www.youtube.com/watch?v=3vS1Hf3CVGs[/embed] I was reading this interview you did with Meredith Graves and you're talking about the new record and whether it's a political record or a radical record. Some of the tracks — like 'Allie' and 'The Party Line' — do seem overtly current and like commentary on the state of the world. Were you consciously making something more political with this album? No, not consciously. I think it crept in there. When you say overtly, I think it's probably more covertly. I don't think I could ever put the politics first and foremost. I think if I was in The Clash, or if I was Billy Bragg... They have a flair for that kind of stuff. They're telling it how it is, whereas I don’t feel quite so polarised. I'm not quite sure what I think about certain subjects, so it's nice to have the characters in the songs think about the politics. You see the story of Allie who seems to be pretty messed up with all the pressures on her personally and politically. In 'The Cat with the Cream' it's almost like a similar character who's musing about the disappointments of the politics of the day, wishing she could get behind a true leader. I love the line about her making a list of her heroes and thinking about what they went through and how "it's much darker, much harder than anything that happened to you." I feel like everyone who lives privileged, safe lives must have that thought. I agree with that. I'm always looking back. You can't avoid all that. I watch so many history shows on the BBC. Growing up in the '70s in Scotland, I felt that we were living in the shadow of the Second World War. It wasn't really too much after that. Most of the teachers at our schools fought in the war. You didn't have a choice. You went off and did your bit for your country and you went through all this hardship, and it does put into perspective the troubles in our own lives. What about your song 'Enter Sylvia Plath'? Everyone seems to be saying how big of a change it is for you, that it's super dancey and it doesn’t really sound like the Belle and Sebastian that we're used to. Tell me about making that and what went into it and how it came to be as it is. I'll tell you — that one was super easy. I don't mean to sound like I'm being arrogant. Okay, maybe on the surface there's a little bit of a stylistic change but there's nothing unnatural about it; it was super easy for us to do. I just woke up and I heard that sound in my head, it couldn't sound any other way. Once we got the bass going and we got a few synths on it — that's definitely the way it's supposed to be. I love so much of the music from the early '80s, and I guess I'm channeling some of that into this new record, which is fun to do. But I think the theme of the story, the words, they're consistent with what Belle and Sebastian has written about for years and years. You've talked about muses in the past, and there's a song on the album called 'The Everlasting Muse'. Back around the time of your diary-series-cum-book The Celestial Cafe you said your muse was the Belle and Sebastian fan. You've also talked about Glasgow being your muse before. What about now — do you have a muse or muses? I do change my mind from year to year. You change and you grow up and you think. But that's a life, isn't it? I do remember specifically when I was writing the diary all the time. I was a single guy, I was living on my own, so every night I would be addressing who I thought was the Belle and Sebastian fan, because they were reading the diaries. I knew who I was writing for. But the idea of the muse is almost like a two-way street. Sometimes I can't decide whether you're writing for the muse, or whether the muse is writing for you. In that song on the new record, it's a two-way thing. I'm acknowledging that the muse exists — that somebody is sending me this music, that it's coming from somewhere else. But I'm beseeching her to send me some pop songs because I need to write a whole album. That was the first song that I wrote for this album. I just thought it would be kind of funny, kind of cheeky to actually address the muse directly. I love that line, at the end, what is it? "Be popular, play pop—" "Be popular, play pop, and you will win my love." It's a bit tongue-in-cheek. I like that idea. I like that idea that if we ever somehow cut through to the general public, that at last the muse will return her love. [embed]https://www.youtube.com/watch?v=T4-ozvWipFE[/embed] One thing that seems to be carried through all the music you've made with Belle and Sebastian — which spans about two decades now — is that it's full of characters and stories. Not all pop music has that. Why do you think there is that storytelling pattern in your music? I'm not saying that’s an ideal thing, I'm not saying it's better than other music. It's a trick, to an extent. Sometimes the best pop music comes from a person’s experience. But the trouble was I didn't have so much experience, especially when the group started, because I was sort of waylaid with this illness, and it stopped me from doing so many things. I was really stuck inside a room a lot of the time, so I used to dream. I used to fantasise about everyday living. To me, the idea of people going off to their nine-to-five job was tremendously glamorous. The idea that they would be around other people all day, that they would tell jokes at the photocopier... All that stuff seemed glamorous to me. So I ended up writing about characters rather than my own life. Have you got any glamorous plans for while you're here in Australia? Not too much. I just want to feel the sun on my bones. I want to lie out on a park bench and just feel the warmth. See Belle and Sebastian at the Tivoli on January 28, at the Enmore Theatre on January 29, at Twilight at Taronga on January 31, or at the Palais Theatre on February 1. Girls in Peacetime Want to Dance is out now via Matador.
Playing host to all-night, pizza-slinging sports bar Holy Moly, legendary party destination Untz Untz and a nifty 24-hour licence, the space at 660A Glenferrie Road is a hotbed of activity at the best of times. So just imagine the buzz it'll see when The Holy Weekender takes over on Saturday, July 22 and Sunday, July 23, delivering a two-day celebration of street art, fashion, food and tunes. A vibrant mingling of the local art and design communities, the free event will feature live art installations from a collection of local graffiti artists and illustrators, a soundtrack courtesy of some of your favourite Melbourne tune-makers, and eats and drinks from the Holy Moly team. Plus, there will be a curation of market stalls, with a focus on local and international streetwear. It will run from 10 till 5pm on the Saturday and 10am till 4pm on the Sunday. Of course, this weekend of creative celebration will be wrapping up in style, too, with a thumping after-party kicking off upstairs at Untz Untz from 5pm on the Sunday.
Come October, there'll be more than a splash of colour added to your daily commute, when eight of the city's trams are transformed into giant, moving artworks, for the seventh annual edition of Melbourne Art Trams. Announced this week, the lineup of seven new artworks that'll cover the trams have been created by a crew of both emerging and established artists. An eighth tram will be decked out with a recreation of Lesley Dumbrell's 1986 design for Transporting Art – Melbourne's original tram art program, which ran from 1978 to 1993. A collaboration between Melbourne International Arts Festival, Creative Victoria, Yarra Trams and Public Transport Victoria, the project sees local artists submit their own original tram-inspired designs, with a selection of these chosen to grace vehicles across the network for the next ten months. This year, keep an eye out for the vibrant Marbaamarbaa garingali (multi-coloured native dog) by stencil artist Vandal, a photograph-inspired piece from Barkindji man Kent Morris, and Nyein Chan Aung's play on The Last Supper (below) featuring diners at Melbourne's legendary Supper Inn Chinese restaurant. [caption id="attachment_735891" align="alignnone" width="1920"] Nyein Chan Aung's design[/caption] The Beaconhills Year 3 Collective has created a Keith Haring-style tribute to friendship, Gene Bawden's work Yours, mine, ours celebrates moves towards diversity, Sophie Westerman's colourful design embraces both connection and isolation, and an intricate piece by Nusra Latif Qureshi nods to Melbourne's culture. Lesley Dumbrell's original design features a bold, geometric style, inspired by a long-ago trip to Italy. The first of Melbourne's vibrant art trams will hit the tracks from October 8, with the fleet running until August 2020. Images: Lesley Dumbrell's 1986 tram courtesy of the Public Record Office Victoria; designs by Vandal, Sophie Westerman, Nusra Latif Qureshi, Kent Morris, Gene Bawden and the Beaconhills Year 3 Collective.
Take an intimate walk alongside the mind and brushstrokes of David Hockney, who has been touted as one of the world's most influential living artists. David Hockney: Current has been curated by the National Gallery of Victoria in collaboration with Hockney and his studio. The exhibition features over 700 works and amalgamates a variety of different mediums, including painting, digital drawings, photography and video. Hockney has been known to work on iPhones and iPads as well as canvas, making him an incredibly intriguing and versatile artist. The exhibition will also display his largest artwork, Bigger Trees Near Water, which is comprised of 50 oil on canvas panels. If the treat of an expansive gallery exhibition doesn't excite you, rest assured there's still more on offer — the NGV will also be holding a range of programs that delve into the themes of the works and Hockney's artistic career throughout the duration of the exhibition, which runs from November until March 2017. Image: Wayne Taylor.
Reaching its 93rd year in 2021, the Academy Awards has now spent almost a century handing out shiny trophies for filmmaking excellence. But, over that time, it has routinely nominated and awarded its gongs to male filmmakers, to white creatives across all categories, and to folks and films from English-speaking nations. In 2015, the #OscarsSoWhite campaign drew attention to the awards' lack of diversity, in a year where all 20 acting nominees were white. The fact that so few women have been nominated for Best Director — five up until 2020, with only one winning — has rightfully always stood out. And last year's big wins for Parasite, the first film in a language other than English to pick up Best Picture, underscored the fact that the accolades normally barely pay attention to the movies made across much of the globe. This year's Oscar nominees have just been announced overnight, and they've made history — with diversity championed in multiple ways. For the first time ever, two women have been nominated for Best Director, with Nomadland's Chloé Zhao and Promising Young Woman's Emerald Fennell earning recognition. The four acting categories also represent the Academy's most diverse lineup of nominations to-date, including nods for Riz Ahmed (Sound of Metal), Chadwick Boseman (Ma Rainey's Black Bottom) and Steven Yeun (Minari) for Best Actor, and for Viola Davis (Ma Rainey's Black Bottom) and Andra Day (The United States vs Billie Holiday) for Best Actress. Yuh-Jung Youn (Minari) was also nominated for Best Supporting Actress, while Leslie Odom Jr (One Night in Miami), Daniel Kaluuya and LaKeith Stanfield (both for Judas and the Black Messiah) received nods for Best Supporting Actor. Film-wise, it was actually David Fincher's Mank that topped the list, picking up ten nominations — including for Best Picture, Best Director, Best Actor (Gary Oldman) and Best Supporting Actress (Amanda Seyfried). Next came The Father, Judas and the Black Messiah, Minari, Nomadland, Sound of Metal and The Trial of the Chicago 7, all with six nods apiece, while Promising Young Woman scored five. https://www.youtube.com/watch?v=DSFpK34lfv0 Other standout nods: Thomas Vinterberg's Best Director nomination for his Danish day-drinking flick Another Round, Borat Subsequent Moviefilm's Maria Bakalova getting recognised in the Best Supporting Actress category, Sound of Metal's Paul Raci doing the same for Best Supporting Actor, and Trent Reznor and Atticus Ross picking up two Best Original Score nods for the vastly dissimilar Mank and Soul. Boseman's nomination for Best Actor — his first ever — was always going to be a highlight, of course. It wouldn't be the Oscars without a few oddities and omissions, though. Kaluuya and Stanfield's supporting nods for Judas and the Black Messiah means that the Academy considered neither to be the film's lead, for instance. And, while two female filmmakers were recognised, One Night in Miami's Regina King — a Best Supporting Actress winner in 2019 for If Beale Street Could Talk — was overlooked, as was her film for Best Picture. Da 5 Bloods' phenomenal Delroy Lindo missed out on a Best Actor nomination, too. As for who'll end up actually clasping a trophy this year, that'll be revealed on Monday, April 26, Australian and New Zealand time. Yes, that's later than usual. Yes, by mid-February last year, not only were the nominees out, but the awards themselves had been held. But, as we all know, the past 12 months have been unlike any other in recent memory. The 93rd Academy Awards will take place on Monday, April 26, Australian and New Zealand time. Here's the full list of nominations: OSCAR NOMINEES 2021 BEST MOTION PICTURE The Father Judas and the Black Messiah Mank Minari Nomadland Promising Young Woman Sound of Metal The Trial of the Chicago 7 BEST DIRECTOR Another Round, Thomas Vinterberg Mank, David Fincher Minari, Lee Isaac Chung Nomadland, Chloé Zhao Promising Young Woman, Emerald Fennell PERFORMANCE BY AN ACTRESS IN A LEADING ROLE Viola Davis, Ma Rainey's Black Bottom Andra Day, The United States vs Billie Holiday Vanessa Kirby, Pieces of a Woman Frances McDormand, Nomadland Carey Mulligan, Promising Young Woman PERFORMANCE BY AN ACTOR IN A LEADING ROLE Riz Ahmed, Sound of Metal Chadwick Boseman, Ma Rainey's Black Bottom Anthony Hopkins, The Father Gary Oldman, Mank Steven Yeun, Minari PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE Maria Bakalova, Borat Subsequent Moviefilm Glenn Close, Hillbilly Elegy Olivia Colman, The Father Amanda Seyfried, Mank Yuh-Jung Youn, Minari PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE Sacha Baron Cohen, The Trial of the Chicago 7 Daniel Kaluuya, Judas and the Black Messiah Leslie Odom Jr, One Night in Miami Paul Raci, Sound of Metal LaKeith Stanfield, Judas and the Black Messiah BEST ORIGINAL SCREENPLAY Judas and the Black Messiah, Will Berson, Shaka King, Will Berson, Kenny Lucas and Keith Lucas Minari, Lee Isaac Chung Promising Young Woman, Emerald Fennell Sound of Metal, Darius Marder, Abraham Marder and Derek Cianfrance The Trial of the Chicago 7, Aaron Sorkin BEST ADAPTED SCREENPLAY Borat Subsequent Moviefilm, Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman and Lee Kern The Father, Christopher Hampton and Florian Zeller The Mauritanian, Rory Haines, Sohrab Noshirvani and MB Traven Nomadland, Chloé Zhao The White Tiger, Ramin Bahrani BEST ORIGINAL SCORE Da 5 Bloods, Terence Blanchard Mank, Trent Reznor and Atticus Ross Minari, Emile Mosseri News of the World, James Newton Howard Soul, Trent Reznor, Atticus Ross and Jon Batiste BEST ORIGINAL SONG 'Fight For You', Judas and the Black Messiah (HER, Dernst Emile II and Tiara Thomas) 'Hear my Voice', The Trial of the Chicago 7 (Daniel Pemberton and Celeste Waite) 'Husavik', Eurovision Song Contest: The Story of Fire Saga (Savan Kotecha, Fat Max Gsus and Rickard Göransson) 'Io Si (Seen)', The Life Ahead (Diane Warren and Laura Pausini) 'Speak Now', One Night in Miami (Leslie Odom, Jr and Sam Ashworth) BEST FILM EDITING The Father, Yorgos Lamprinos Nomadland, Chloé Zhao Promising Young Woman, Frédéric Thoraval Sound of Metal, Mikkel EG Nielsen The Trial of the Chicago 7, Alan Baumgarten BEST INTERNATIONAL FEATURE FILM Another Round Better Days Collective The Man Who Sold His Skin Quo Vadis, Aida? BEST ANIMATED FEATURE Onward Over the Moon A Shaun the Sheep Movie: Farmageddon Soul Wolfwalkers BEST DOCUMENTARY FEATURE Collective Crip Camp: A Disability Revolution The Mole Agent My Octopus Teacher Time BEST CINEMATOGRAPHY Judas and the Black Messiah, Sean Bobbitt Mank, Erik Messerschmidt News of the World, Dariusz Wolski Nomadland, Joshua James Richards The Trial of the Chicago 7, Phedon Papamichael BEST PRODUCTION DESIGN The Father, Peter Francis and Cathy Featherstone Ma Rainey's Black Bottom, Mark Ricker, Karen O'Hara and Diana Stoughton Mank, Donald Graham Burt and Jan Pascale News of the World, David Crank and Elizabeth Keenan Tenet, Nathan Crowley and Kathy Lucas BEST VISUAL EFFECTS Love and Monsters, Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox The Midnight Sky, Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins Mulan, Sean Faden, Anders Langlands, Seth Maury and Steve Ingram The One and Only Ivan, Santiago Colomo Martinez, Nick Davis, Greg Fisher Tenet, Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher BEST COSTUME DESIGN Emma, Alexandra Byrne Ma Rainey's Black Bottom, Ann Roth Mank, Trish Summerville Mulan, Bina Daigeler Pinocchio, Massimo Cantini Parrini BEST MAKEUP AND HAIRSTYLING Emma, Marese Langan, Laura Allen and Claudia Stolze Hillbilly Elegy, Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney Ma Rainey's Black Bottom, Sergio Lopez-Rivera, Mia Neal and Jamika Wilson Mank, Gigi Williams, Kimberley Spiteri and Colleen LaBaff Pinocchio, Mark Coulier, Dalia Colli and Francesco Pegoretti BEST SOUND Greyhound, Warren Shaw, Michael Minkler, Beau Borders and David Wyman Mank, Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin News of the World, Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett Soul, Ren Klyce, Coya Elliott and David Parker Sound of Metal, Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh BEST DOCUMENTARY SHORT SUBJECT Colette A Concerto is a Conversation Do Not Split Hunger Ward A Love Song for Latasha BEST ANIMATED SHORT FILM Burrow Genius Loci If Anything Happens I Love You Opera Yes-People BEST LIVE ACTION SHORT FILM Feeling Through The Letter Room The Present Two Distant Strangers White Eye
Before 2020 rolled around, the Victoria–New South Wales border hadn't closed for more than 100 years. So when it shut last July, it was a rather big deal. In the months since, however, residents of both states have seen the situation change back and forth multiple times. After a COVID-19 outbreak hit Sydney's northern beaches over the Christmas and NYE period, the border closed again, with Victoria starting 2021 by shutting off to all of NSW. Since then, the latter state reopened to regional NSW, then to all but ten Greater Sydney local government areas and finally to all but one LGA. From 6pm tonight, Friday, January 29, it's reopening to that last LGA, Cumberland — which means that no one in NSW will be forbidden from entering. Victoria implemented a traffic light-style system earlier in January, which colour-codes different regions of the country depending on their COVID-19 cases — so, as part of this new change, Cumberland will move from a red zone to an orange zone. That'll mean that folks who've been in the LGA in the past 14 days can enter Victoria, but they'll need to isolate on arrival and get tested within 72 hours. And, they'll need to receive a negative result before they're free to leave isolation. They also have to apply for a permit before entry, too — like all Australians, because compulsory permits are now part of Victoria's process for anyone who wants to enter the state. If you try and enter Victoria without a valid permit, you risk being fined $4957. You can apply for one online. Cumberland isn't the only part of NSW that has been downgraded, either. Victoria is also moving all parts of the state that were previously classified as orange zones to green zones. On the list: the Greater Sydney LGAs of Blacktown City, Burwood, Canada Bay City, Canterbury-Bankstown, Fairfield City, Inner West, Parramatta City and Strathfield Municipality and Liverpool, plus Wollongong and the Blue Mountains. Travellers entering Victoria from a green zone still need to apply for a permit, but do not need to get tested or isolate on arrival, unless they develop symptoms. https://twitter.com/VicGovDHHS/status/1354985485140185093 The loosened border restrictions come as Victoria records its 23rd consecutive day of zero new cases of community transmission. Overnight, the state did record one new case in hotel quarantine. Announcing the change in a statement, Premier Daniel Andrews said that he is "extremely happy to see the last red zone in New South Wales be downgraded. We're reminding people to get tested if they're returning from an orange zone, so we can continue to enjoy an open and COVID-safe summer." For more information on Victoria's new permit system — or to apply for one — head to the Department of Health and Human Services website.
This year's bushfire season is particularly dangerous. Before you head on an out-of-town adventure, check the CFA and Parks Victoria websites and heed any alerts and warnings. Whether you're planning a winter getaway surrounded by natural splendour or waiting until the weather warms up to venture back outdoors, the Victorian Government has delivered an extra incentive — all camping fees at state and national parks have been cut in half. The price drop came into effect on July 1, affecting 35 parks across the state. Sites include Budj Bim National Park, which now sits on UNESCO's World Heritage List; both the Grampians and Great Otaway national parks, should you been keen on visiting one of Victoria's high-profile beauties; and locations as varied as the Brisbane Ranges National Park just an hour out of Melbourne, as well as the Murray-Sunset National Park in the state's northwest. [caption id="attachment_650212" align="alignnone" width="1920"] Grampians National Park by Visit Victoria[/caption] Campers will now pay as little as $2.70 per person at some spots, although the average lingers between the $10-15 mark. The reduced fees only apply to campsites — if you're eager to stay in a cabin, lodge, hut, cottage, or other form of accommodation with a hard or fixed roof that falls within Parks Victoria's remit, you'll still pay the regular charge. The move comes four years after the government completely scrapped camping costs at a heap of parks in regional Victoria, eradicating fees at 500 basic sites throughout 70 campgrounds in 19 parks. As part of the 2019/20 budget, the state will also gain 30 new campgrounds at yet-to-be-disclosed sites, while 30 existing spots will receive upgrades — such as the Greater Bendigo National Park, Lake Eildon's Fraser campground and the Princess Margaret Rose Cave. You can learn more about camping in and around Melbourne here, and check out our favourite free camping spots (if you'd rather not spend a cent). For a full list of Victorian State and National Parks now offering half-price camping fees, or to book a campsite, visit the Parks Victoria website. Images: Camping at Wilsons Promontory National Park
If Four Weddings and a Funeral can come back as a television series, then it appears that another beloved rom-com from the past few decades can too. Continuing a trend that's never going to end — aka building pop culture's future out of its past — How to Lose a Guy In 10 Days is the latest flick getting the small-screen remake treatment. And we do mean small, given that streaming platform Quibi is behind the series. Founded by ex-Disney and Dreamworks bigwig Jeffrey Katzenberg, the newcomer won't launch until next year, but it's being designed as a short-form, smartphone-only service. That means content broken down into eight–to–ten minute chunks for ease of viewing when you're somewhere other than the couch. So, How to Lose a Guy In 10 Days isn't just getting a modernised do-over, but one that'll unfurl in bite-sized pieces. Few details about the rom-com remake have been announced as yet, although it'll be penned by The Mindy Project writer Guy Branum. The underlying premise has been given a bit of a makeover, focusing on an online columnist and an advertising executive who need to prove that they can be monogamous, as TVLine reports. Who'll be stepping into Matthew McConaughey and Kate Hudson's circa 2003 shoes, and whether either will pop up, will be revealed down the line. A release date hasn't been set as yet either, although Quibi is set to drop in April 2020. If and when it'll be available Down Under also hasn't been announced. Until more details hit, check out the trailer for the original How to Lose a Guy In 10 Days below: https://www.youtube.com/watch?v=EFGr2_cOOTk
You've filled your house with their minimalist designs and homewares, and dreamed of living in their flat-pack homes and tiny pre-fab huts. MUJI fans, your love affair with the Japanese home goods giant isn't over yet. Next on the retailer's agenda is their own range of hotels, with sites slated for Shenzhen in China and Tokyo in Japan. Construction on a retail and hotel complex in Tokyo's Ginza began in June, working towards a 2019 completion for the 13-floor building. It'll be comprised of three levels below ground, and ten — including a two-floor penthouse — above. Seven storeys will feature shops, including MUJI's global flagship store, while five will boast their first Japanese hotel. Concept and interior design managed by MUJI-owning company Ryohin Keikaku. The Tokyo digs will join a previously announced location in Shenzhen, which is reported to include 79 rooms spanning five different types of accommodation. A store and cafe are also planned for the Chinese hotel, as are recycled wooden interiors and spaces filled with plenty of MUJI furniture. Yes, your travel bucket list just notched up two more entries. Via Dezeen. Images: Mitsui Fudosan Co Ltd
While we love watching our mates' attempt to grow facial hair (with varying degrees of success) for Movember every year, we especially love that's it's for a good cause: raising funds for mental health, suicide prevention, prostate cancer and testicular cancer. And if your inability to grow a mo has stopped you from getting involved yourself, we've got news for you. Move for Movember is a Movember challenge, supported by major partner Lululemon, and there's still time to get involved. Move encourages participants to cover 60 kilometres across the course of a month by either walking or running. That distance was chosen to represent the 60 men that are lost to suicide every single hour across the world. Let's not beat around the bush(-y moustache) — 60 kilometres is some ground to cover in a month. So, if bushwalks bore you or you don't have the time (or the inclination) to smash out a few multi-day hikes, we've come up with a list of more creative ways to hit you that step count goal this month. And it's super easy to get started. Just register to Move via the Movember website or download the app, start collecting donations from your friends and family, pop your comfiest pair of shoes on and get moving. Oh, and make sure you have a smartwatch or your phone on you to make sure every step is counted. DO A BREWERY CRAWL The glorious spring weather already makes a brewery crawl an excellent way to spend a Saturday, but when the crawl counts towards your monthly goal? Even better. The obvious location for your beer hop is the inner north, which has about ten breweries to hit up, including Moon Dog and Stomping Ground. To get you started, we've mapped out a route of some of our favourites, which will total five kilometres of stomping. Just remember the two golden rules. First: pace yourself. This is a marathon, not a sprint. You want to get to the end so those kilometres count towards your goal. And second: despite what your mates at uni used to chant, eating is not cheating. PLAY A FEW ROUNDS OF GOLF Some may say golf is a good walk spoiled. But if what you're looking for is a way to break up the monotony of a long walk with short bursts of action and some friendly banter with your mates, then a session on the green is the answer. Across a standard 18-hole course, players will walk an average of nine kilometres, which is a pretty sizeable chunk of your target — and you could clock up even more if your ability to stay on the fairway is, ahem, lacking. Encourage your friends to walk the course with you and donate the money they would've spent on cart hire to your Movember Move challenge instead. And don't worry if you don't know anyone with a club membership. Melbourne has plenty of public courses that you can access, stretching from Sandringham in the southeast to Albert Park near the CBD. [caption id="attachment_788439" align="alignnone" width="1920"] Royal Botanic Gardens, Melbourne, Visit Victoria[/caption] TURN WORKING INTO WALKING You probably already spend way too much time sitting down or certainly have over the last few months. And, if you're still working from home, it's even more likely since all the incidental walking you'd normally do throughout the day — commuting, popping out for lunch and heading to meetings — isn't happening as much. Whatever your situation, it can't hurt to inject a little more movement into your working day, so use this month's goal as an excuse. This could mean using what used to be your commuting time to complete a run — we suggest using the app Runhunters, founded by running coach and Lululemon ambassador Matty Abel, to explore suitable run routes within your 25-kilometre radius, so you're not covering the same ground every day. Another popular option is to implement walking meetings if the conversation doesn't require a laptop, or it could be a simple as standing up and pacing around the room every time you take a phone call. CHALLENGE YOUR MATE TO A TENNIS MATCH While many sports facilities are still closed due to COVID-19 restrictions, tennis courts were given the green light to reopen a few weeks ago. Whether you play tennis all the time or you haven't picked up a racquet since school, a couple of heated matches with a mate are sure to get those kilometres ticking over. It may be hard to believe, but all that zigzagging on the court really does add up — according to IBM data analysts who tracked player performance at the 2019 Wimbledon tournament, Novak Djokovic (who is currently the top-ranked men's tennis player) ran 2.24 kilometres during his winning grand final match against Philipp Kohlschreiber. So, you may not be focused on running in a straight line for a long time, but those kilometres will tick over without you noticing. TAKE THE STAIRS Not only has incidental exercise disappeared from your routine in the past few months, but more intense workouts probably have as well with gyms still closed. But you can still work up a sweat outdoors by using some of Melbourne's existing infrastructure to your advantage. And that includes stair climbs. It is important to know where you have the option to do them as many building stairwells are understandably only accessible for emergencies. Luckily the website Stair Climbing Australia has curated some of the stair climbing spots around the city, from train stations to parklands, to help you take your cardio workout to the next level. There's still time to sign up to Move for Movember, and change the face of men's health. To learn more or register to complete 60 kilometres, visit the website. Top image: Visit Victoria
New year, new murder in the building — in the fictional Arconia in New York, that is. That's what's in store for fans of Only Murders in the Building, the true-crime comedy that proved one of 2021's surprises and delights. Knowing they're onto a good thing, Hulu in the US quickly renewed the hit series, and now it's coming back in June with another killing to solve. If you missed the first season in 2021, it takes a great idea and turns it into an amusing murder-mystery gem. If you've ever listened to a true-crime podcast, decided that you'd make a great Serial host yourself and started wondering how you'd ever follow in Sarah Koenig's footsteps, then Only Murders in the Building is definitely the series for you. The show focuses three New Yorkers who basically follow that same process. Here, actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die) are all obsessed with a podcast hosted by the fictional Cinda Canning (Tina Fey, Girls5eva). They find themselves unexpectedly bonding over it, in fact. And, when someone turns up dead in their building, they decide that they can sleuth their way through the case by getting talking themselves. [caption id="attachment_824354" align="alignnone" width="1920"] Craig Blankenhorn/Hulu[/caption] That's how the first season panned out. Think Knives Out, but a sitcom and also a little goofier. Now, as the just-dropped first trailer for the show's second season shows, Charles-Haden, Oliver and Mabel are weathering the fallout from the last batch of episodes — namely, season one's big finale — and they have another murder to investigate (and another podcast season to chat about it on, obviously). Complicating their efforts this time around are a trio of factors: their public implication in the death in question; the fact that there's now a competing podcast about them and this new murder; the suspicions of their neighbours, who think they're guilty. Exactly how that'll play out won't be known until Tuesday, June 28, when Only Murders in the Building returns — but, whatever happens, both Cara Delevingne and Amy Schumer will be involved, with the pair joining the cast as guest stars. Check out the trailer for Only Murders in the Building season two below: Only Murders in the Building's second season will start streaming Down Under via Star on Disney+ on Tuesday, June 28. Read our full review of the show's first season. Images: Craig Blankenhorn/Hulu.
It was only a matter of time before Australia's penchant for themed brunches spawned an all-out fairytale-inspired breakfast feast. And you'll have the chance to partake — and channel your inner Ariel, Mulan or, even, Simba — when a huge (unofficial) Disney-themed bottomless dinner and sing-along party rocks into town. The Magical Soirée will go down on Saturday, January 19 at Hawthorn Arts Centre. Prince, princesses and singing candelabras will sit down to an evening feast served "fairytale-style", along with four hours of unlimited beer and wine for an extra $45. We're hoping for something similar to Belle's 'Be Our Guest' feast in Beauty and the Beast. Word is there'll be themed entertainment and a Cinderella-worthy dance floor for post-brunch twirling, too. Best dust off the DVD collection and start practising — costumes are definitely encouraged, so you'd best start hunting for your best Elsa gown or Cruella de Vil two-tone wig — tickets to the original Sunday brunch sold out incredibly quick.
The Office is reopening — in America, and in the same universe as the Steve Carell (Asteroid City)-led series dwelled in from 2005–13. It was back in 2023 that news dropped of a potential US reboot of the beloved sitcom, and now the project has been given the green light; however, the as-yet-untitled show isn't simply walking into Dunder Mifflin with new staff. Instead, US streaming service Peacock is staying in the same world as the Scranton-set show that itself was a remake — of the original UK version that arrived in 2001 — by moving the mockumentary format to a new workplace. This time, the same documentary crew who spent time with Michael Scott and company will focus on a dying newspaper office in America's midwest, where the publisher is trying to keep the business going with help from volunteer reporters. [caption id="attachment_765735" align="alignnone" width="1920"] Run, HBO[/caption] Leading the cast: Domhnall Gleeson, who co-starred with Carell on 2022's The Patient, plus Sabrina Impacciatore from The White Lotus season two. Who they're playing hasn't been revealed as yet. There's no character details at all so far, or anything more on the plot or fellow actors, but Greg Daniels — who created the US version of The Office to begin with, and has also been behind Space Force and Upload — is steering the project behind the camera with Nathan for You co-creator Michael Koman. "It's been more than ten years since the final episode of The Office aired on NBC, and the acclaimed comedy series continues to gain popularity and build new generations of fans on Peacock," said NBCUniversal Entertainment President Lisa Katz about the new series. "In partnership with Universal Television and led by the creative team of Greg Daniels and Michael Koman, this new series set in the universe of Dunder Mifflin introduces a new cast of characters in a fresh setting ripe for comedic storytelling: a daily newspaper." [caption id="attachment_870908" align="alignnone" width="1920"] The White Lotus, HBO[/caption] For everyone who has ever had a cringeworthy boss, annoying co-worker or soul-crushing office job, a truth remains apparent, then: this situation, which The Office franchise has understood for more than two decades now, shows no signs of fading away. As well as the UK and US versions so far, other international takes on the show have followed, including an in-the-works Australian series that'll mark the 13th iteration beyond Britain to-date. On its first go-around, the American The Office proved one of the rare instances where a TV remake is better than the original. It was also immensely easy to just keep rewatching, as fans have known for over a decade. Of course, that's what you get when you round up Carell, John Krasinski (Tom Clancy's Jack Ryan), Jenna Fischer (Splitting Up Together), Rainn Wilson (Weird: The Al Yankovic Story), Mindy Kaling (Velma), Ed Helms (Rutherford Falls), Ellie Kemper (Happiness for Beginners), Craig Robinson (Killing It) and more in the same show, and let all of them break out their comedic best. There's no sneak peek at the new The Office spinoff so far — it doesn't start production until July — but, in the interim, you can check out a couple clips from the US version below: The new spinoff of the US version of The Office doesn't have a release date yet — we'll update you with more information when it is announced. The Office Australia will stream via Prime Video sometime in 2024 — we'll update you with an exact launch date when one is announced.
Melbourne is getting a gin festival. Or should we say: Melbourne is getting another gin festival. In a turn of events that could only be a problem in our fine city, Melbourne is all of the sudden faced with the happy problem of having not one, but two gin festivals on the cards for this year. You might remember the hugely successful Juniperlooza, a locally-organised festival which was held in November last year. Well, this new festival — confusingly called Junipalooza (yes, that's an 'a' instead of an 'er') — is coming to Melbourne by way of the UK, and will unsurprisingly be dedicated entirely to gin. The Melbourne version of the festival (the first to be held outside of the UK) will be a twin event to Junipalooza London, which started back in 2013. The event will be held over two days this October at North Melbourne's Meat Market. It'll be hosted by founders of the UK's Gin Foundry, Olivier and Emile Ward — so you know you're in good gin-pouring hands. The award-winning brothers live, breathe and drink gin, compiling all their knowledge onto their comprehensive online gin directory. It makes sense then that the pair have teamed up with local gin expert, The Gin Queen (aka Caroline Childerley) and gin makers Four Pillars, Archie Rose and Poor Toms Gin (just to name just a few) to celebrate the noble spirit in Melbourne. Junipalooza will feature sampling stations, cocktails and gin masterclasses with some of the world's best distillers. Over 26 distillers from around the globe will be in attendance, giving punters the chance to take a bottle or two of their favourite gin home. Tonic water specialists Capi will be on-hand as well to bring the T to your G&T. The festival will take place over the weekend of October 22-23, while Juniperlooza has locked in dates for November 19-20. We see a lot of gin drinking in your future. Junipalooza Melbourne will be held on October 22-23 at Meat Market, North Melbourne between 12-6pm. Early bird tickets are on sale now from ginfoundry.com.
Australians, you won't be holidaying in New Zealand for the next two months. NZ residents, the same applies to you regarding going across the ditch. After the two countries started a trans-Tasman bubble back in April that let Aussies take a getaway in NZ and vice versa, all without having to go through quarantine upon arrival, the arrangement has been on pause since July. And today, Friday, September 17, the NZ Government announced that it'll remain that way for another eight weeks. "When quarantine-free travel (QFT) was established with Australia, both our countries had very few recent cases of COVID-19 community transmission, and a very similar elimination strategy. This has changed significantly leading to our decision to suspend QFT for a further eight weeks," said COVID-19 Response Minister Chris Hipkins in a statement. "Uncontrolled community transmission is still occurring in Australia, with case numbers continuing to steadily increase in New South Wales, Victoria and the Australian Capital Territory. A small number of cases also continue to appear intermittently in other states and territories. In New Zealand as well, we're getting on top of an outbreak in Auckland," the Minister continued. "Protecting New Zealand from any possible further spread of the Delta variant of COVID-19 is our absolute priority. We have made great progress to contain our current outbreak and are working hard to ease restrictions next week. Reopening quarantine-free travel with Australia at this point could put those gains at risk." At present, both Greater Sydney and metropolitan Melbourne are in ongoing lockdowns, while New Zealand reported 16 new cases in the past 24 hours and has 457 community-acquired cases at present. Back in April, when NZ Prime Minister Jacinda Ardern first announced the two-way bubble between Australia and New Zealand back, she noted that it could and would be paused if and when outbreaks occur. And, when NZ first started this current suspension back in July, stopping quarantine-free travel to and from all Aussie states and territories, it wasn't the first time that the bubble had been put on hold — including with all of Australia, with the same thing happening at the end of June. The arrangement has been paused with individual Aussie states before, too, on multiple occasions. But this suspension was already the longest pause yet, and that's set to remain the case given that the bubble won't be considered again by NZ for two more months. "We will review this decision in mid to late November to give more time for our vaccination rates to climb higher," advised Hipkins. "This recognises that the QFT was established on the basis that there was little to no community transmission in Australia, and that future settings are likely to change." To find out more about the status of COVID-19 in Australia, head to the Australian Government Department of Health's website. To find out more about the virus and travel restrictions in New Zealand, head over to the NZ Government's COVID-19 hub.
After filming two of his last four movies in Australia (Lion and Hotel Mumbai), and also stepping into a Dickens classic set in Victorian England (The Personal History of David Copperfield), Dev Patel is heading somewhere completely different. Jumping back to medieval times, he's delving into the fantasy genre, messing with Arthurian legend, and swinging around a mighty sword and a giant axe, all thanks to the dark and ominous The Green Knight. Based on the 14th-century poem Sir Gawain and the Green Knight, the film casts Patel as Sir Gawain. Nephew to King Arthur (Sean Harris, Mission: Impossible — Fallout), he's a knight of the Round Table and fearsome warrior. The character has popped up in plenty of tales, but here, he's forced to confront the giant green-skinned titular figure in an eerie showdown. As the poem explains, the Green Knight dares any other knight to strike him with an axe, but only if they'll then receive a return blow exactly one year and one day later. Based on the new, just-dropped trailer, this film adaptation looks to be sticking to that story rather closely — and the end result also looks more than a little moody, brooding and creepy. Patel is in great company, too, with The Green Knight also starring Alicia Vikander (Earthquake Bird), Joel Edgerton (Boy Erased) and Barry Keoghan (Calm with Horses). Games of Thrones' Kate Dickie pops up as Guinevere, while her co-star Ralph Ineson — who is also known from the Harry Potter flicks, The Witch and the UK version of The Office — plays the Green Knight. Originally set to release in 2020 until the pandemic hit, The Green Knight is the latest movie by impressive and always eclectic writer/director David Lowery. His filmography spans everything from Ain't Them Bodies Saints and Pete's Dragon to A Ghost Story and The Old Man and the Gun — and, based on both the initial teaser and the new sneak peek, The Green Knight won't be like anything on his resume so far. Check out the new trailer below: https://www.youtube.com/watch?v=sS6ksY8xWCY The Green Knight will release in the US on July 30, but it doesn't yet have a release date Down Under — we'll update you when it does.
Great news, movie buffs: when the Melbourne International Film Festival rolls around each year, it doesn't just let Melburnians who can dedicate their spare hours to the full fest experience join in the fun. MIFF Play, the event's digital offshoot, broadens the event's audience nationally — and, to the delight of cinephiles who can't hop between the Victoria capital's cinemas across August, the digital leg is returning for another spin in 2023. For the fourth year running, that's fabulous news both for Melburnians who still have normal life to attend to, and for film buffs interstate — a move sparked by the fact that in 2020, when MIFF first made the leap to streaming the fest in a big way, it enjoyed its biggest audience ever. In 2023, MIFF Play will be available from Friday, August 18–Sunday, August 27, and with a diverse array of titles. Price-wise, you can either pay as you watch or grab a MIFF Play flexipass. Either way, your couch awaits. The lineup includes the animated Blind Willow, Sleeping Woman, which adapts Haruki Murakami's short stories; Keeping Hope, a documentary about Sweet As' Mark Coles Smith confronting an event from his past with a view to helping other young First Nations men in the Kimberley; Autobiography, about a housekeeper with a sinister boss; All the Colours of the World Are Between Black and White, which received the Berlinale's Teddy Award; and 20,000 Species of Bees, another prize-recipient in Germany, this time for lead performance. Or, the highlights also span Frederick Wiseman's A Couple, one of the master documentarian's rare dramatic features, focusing on the Tolstoys; Riddle of Fire, which has been garnering The Goonies and Stand by Me comparisons; witchcraft and revenge in 19th-century Chile in Sorcery; and Béla Tarr's 2000 drama Werckmeister Harmonies, a slow-cinema great, will has just scored a new 4K restoration. Your usual streaming queue can wait for these ten days, obviously.
Whether the folks in charge like it or not, Melbourne's myki system has been associated with more headaches and grumbles than it has with positive reviews. Now, probably for the first time, it's inspired something fun, with local design duo Dyl & Oscar launching a card game based on our public transport network. The tabletop game Touched On sees players attempt to fare evade their way around Melbourne's tram, train, and bus systems, while avoiding the cards marked as undercover ticket inspectors. Basically, it's the perfect way to indulge your inner law-breaker, without getting caught (and having to pay an on-the-spot fine) IRL. Dyl & Oscar have started a Kickstarter campaign to fund and sell Touched On, which can be snapped up for the Kris Kringle-friendly price of just $22. The pair has even created a few fun extras, including unisex socks inspired by that oh-so-familiar tram seat print. Pledges for the project are open until Monday, December 19, and the finished game is expected to ship in March next year. UPDATE: More than a week before the end of Touched On's funding period, the project has met its goal, ensuring that public transport-themed card game antics really will become a reality. For more information on Touched on or to make a pledge, visit their Kickstarter page.
While working with one of the first female master gin distillers in the world, Joanne Moore of Greenall's Gin, to develop a bluffer's guide to the botanical drop and to get the lowdown on some top gin drinks to make at home, we were inspired by Joanne's story. She's helped pave the way for female distillers and within a heritage company like Greenall's. So, we thought we'd have a look at some other ladies who are also shaking things up, making things happen and pioneering some pretty excellent projects. We've sourced the creme de la femme from a wide range of careers and corners of the globe and asked them, well, pretty much everything from where French mademoiselles hide their croissant crumbs (though, spoiler alert, we still don't know) to how to actually master the barbecue to what it takes to go head-to-head with Tommy Shelby of Peaky Blinders. Here we present some inspiring women to put on your radars — if they're not there already, that is. JOANNE MOORE — MASTER DISTILLER, GREENALL'S GIN Joanne Moore is one of the world's first female master gin distillers, and seventh master distiller for Greenall's, which has been in operation since 1761 — making it Britain's oldest gin distillery. Knowing that she wanted to work with one of the oldest and most revered gin distilleries in the world, Joanne started her way in quality control, where she learned about the production process. Raw ingredients, distilling and bottling eventually led her into the wonderful world of botanicals and creating gins. Around the same time as the Peaky Blinders were creating their fictional gins, Greenall's was creating a single powerful enterprise: they were distillers, rectifiers, wine and spirit merchants, importers, brewers, maltsters and ale, beer and porter merchants. And as much as we'd like to believe it's all sipping and nattering for a master distiller — though, we're not necessarily saying it's not, either — it does take years of expertise. A typical day for Joanne can involve approving samples on the Greenall's tasting panel (raw ingredients or finished products), taking customer visits, doing house tours or hosting masterclasses. Joanne's advice for anyone getting into distilling is "do it for the right reasons…You won't be an expert immediately, but have fun, and don't be afraid to make mistakes. That's how we evolve and learn." [caption id="attachment_668102" align="alignnone" width="1920"] Peter Tarasiuk.[/caption] KATE REID — FOUNDER, LUNE CROISSANTERIE Kate Reid can't remember her first ever croissant, but estimates that "it sure as hell wouldn't exactly have been an artisan one!" She's come a long way since to prove what one innovative woman unbound to traditional methods can truly achieve. Slung in the back streets of Fitzroy, Lune is notorious for selling out of its creations (think cruffins with lemon curd and twice-baked black forest beauties) plus it's been said with authority that the croissanterie is serving up quite probably the best croissants in the world. Yet, when Kate started Lune, she realised her stint in France (where she trained at top Parisian boulangerie Du Pain et des Idees) saw her learning only 15 to 20 percent of the entire artisan craft. "My background in engineering played a big part in the development of techniques. I would change one variable at a time and analyse the differences it made to the final baked product. If it was an improvement, it would become the new baseline technique. "This has the bonus knock-on effect of not being tied to a century-old classic French technique; all of our processes are always up for improvement and development," she says. And when it comes to any advice for us antipodeans oneating a pastry like a French mademoiselle, the whole 'no crumb left behind' sort of deal is still a mystery to her, too. But if anyone were to work it out, it'll surely be Kate. [caption id="attachment_668103" align="alignnone" width="1920"] Izzy Gramp.[/caption] LISY KANE — CO-FOUNDER, GIRL GEEK ACADEMY AND LEAGUE OF GEEKS To those thinking the only roles for women in STEM involve being the social bridge (here's looking at you IT Crowd's Jen Barber), then think again. In a global movement aimed at encouraging women to learn technology and build more of the internet, the Girl Geek Academy (GGA) squad has more arms and intelligence than an octopus. Co-founder Lisy Kane has also curated the first ever Australian all-female game-making day #SheMakesGames and was recognised by Forbes in the prestigious top 30 list, Forbes 30 Under 30 2017: Games. "Whether directly or indirectly, I'm now on the map and I get invited to provide keynotes at really prestigious industry events in Australia, the US and the UK. Through these opportunities, I get to hold myself up as a young woman in the game dev industry and show other young women that it's normal to be a girl in games. That's exactly the image we need to project out there to help bridge the gender gap in the industry." [caption id="attachment_668101" align="alignnone" width="1920"] Madeline Kate Photography.[/caption] JESS PRYLES — PITMASTER AND CO-FOUNDER, AUSTRALASIAN BBQ ALLIANCE Having co-founded the Australasian BBQ Alliance, Jess Pryles is an internationally respected authority on live fire cooking and barbecue and has been breaking the outdated barbecue code (see: male-dominated) for the past ten years. She explains how there's so much more to the title of pitmaster than one may realise. "Generally, the term is bandied about and there's no regulation for it. But there's a consensus that it should be reserved for someone who has reached the top of their art and not just somebody who happens to be a barbecuer," says Jess. Jess was lured into the craft when she had her first taste of intensely smoked meat in Texas. "It's such a different experience for the palate that it became this 'aha' moment." She's now whipping up everything from beef tongue that perfectly falls apart for tacos to whole deer neck that she makes into smoked venison stock. Her advice on smoking meats and firing through to the top? "You've got to have a tremendous amount of patience. It's expensive and laborious, and the reality is, you [need to] cook and fail, and do it again and again and understand how to troubleshoot. That's what it takes." [caption id="attachment_668104" align="alignnone" width="1920"] Greg Holland.[/caption] SIOBHAN MCGINNITY — MUSICIAN AND AUDIOLOGIST, MUSICIANS FOR HEARING The most sensory gigs happening in Australia right now could rightly be the Musicians for Hearing events. Established by Siobhan McGinnity, the company presents live music translated into Auslan and performed in tandem by interpreters. Her quest involves helping raise awareness and creating connections — plus, bridging an ironically unheard of gap in healthcare: hearing. Siobhan found her way into audiology by stumbling into a clinic and quizzing the doctor. She's now on the path to specialise in rehabilitating hearing loss and balance disorders. "I want to work in a niche area: protecting musicians and their hearing," she says. And with one in six Australians being affected by some sort of hearing loss — 74 percent of musicians with a form of hearing injury — it makes sense we should care about how we appreciate music. The gigs according to Siobhan are "a music fruit salad" — rock, pop, contemporary, hip hop, you name it — and funds raised from events being donated overseas toward hearing care in countries like Cambodia. "It's the most beautiful thing seeing people who are deaf and hearing standing side-by-side and being able to communicate through music," says Siobhan.
Making a winter date with Dark Mofo always feels like crawling into another world — and, based on the Tasmanian festival's programs over the years, that's the active aim. The Apple Isle's moody and brooding music and arts event takes its cues from its host and organisers, the Museum of Old and New Art, of course, which results in a lineup filled with the surreal, strange, sublime and surprising. In a 2022 bill that includes everything from rainbows to the Chernobyl score played live in an immersive industrial setting, that trend is naturally set to continue. After announcing the first highlights for this year's fest back in March — and revealing that it'll run over two weeks as well — Dark Mofo has dropped its full 2022 program. If a trip south between Wednesday, June 8–Wednesday, June 22 wasn't already on your agenda, it should be now. All up, Dark Mofo 2022 will feature more than 100 artists from 30 countries, and span everything from acclaimed local names hitting the stage to a life-sized doll house that attendees can wander through, all to celebrate the theme 'resurrection'. [caption id="attachment_849626" align="alignnone" width="1920"] Lingua Ignota video still, courtesy of the artist and Dark Mofo, Tasmania, Australia.[/caption] First, the tunes. The Kid LAROI, Japanese cult-favourites Boris and English indie muso Baxter Dury will be doing their thing on the fest's first weekend — with the latter intriguingly described as "comedown disco". Then, the following week, Chelsea Wolfe and Emma Ruth Rundle join the bill, as do the return of Hymns to the Dead, Swiss metal band Triptykon doing an Aussie exclusive show, Perfume Genius, and four-day experimental and electronic music microfestival Borderlands. Yes, there's truly something here for everyone. Two big music highlights spring from the realm of film and television: live performances of the scores to 2021's excellent new Candyman and 2019's haunting HBO miniseries Chernobyl. With the first, Robert Aiki Aubrey Lowe will be playing the sounds that helped make the movie so unnerving. At the second, Emmy-winner Hildur Guðnadóttir (also an Oscar-winner for her Joker score) will team up with Chris Watson and Sam Slater, and all proceeds from the show will be donated to Voices of Children to help Ukrainian children and families. All of the above joins the previously announced Kim Gordon, who'll bust out songs from her 2019 solo release No Home Record, plus Berlin-based composer and producer Nils Frahm playing Music For Hobart. And, Spiritualized, Deafheaven and American multi-instrumentalist Lingua Ignota are already on the lineup, too. [caption id="attachment_849627" align="alignnone" width="1920"] Sabio / Dark Mofo. Image courtesy of the artist and Dark Mofo, Tasmania, Australia.[/caption] That's your ears well and truly taken care of — but Dark Mofo's visual lineup is just as impressive. Lovers of engaging art will want to check out Japanese Australian artist Hiromi Tango's Rainbow Dream: Moon Rainbow, which will feature a healing colour palette to put viewers in a joyous mood. Also a must-see is Hobart-based Sabio's Holy Mother of God: Emergency Doll House, which'll use projection mapping, sculpture and animation to turn a three-storey building into a carnival-style trip through the subconscious. Jónsi from Sigur Rós is on the bill as well, thanks to a multi-channel immersive experience inspired by the recent eruption of Iceland's Fagradalsfjall volcano. And, so is Anger, a performance dedicated to Kenneth Anger's life and work in occult cinema. And, as revealed last month, there'll be pieces by new video media artist Bill Viola and multi-channel video artist Doug Aitken — plus exhibitions focusing on Jeremy Shaw, Fiona Hall and AJ King, and Robert Andrew, which'll all launch at a music, fire and art-filled Mona Up Late shindig. [caption id="attachment_849628" align="alignnone" width="1920"] The Blue Rose Ball. Photo Credit: Dark Mofo/Jesse Hunniford, 2018. Image of Société Anonyme Costume Ball Hadley's Orient Hotel. Image courtesy: Dark Mofo, Hobart, Tasmania, Australia.[/caption] Throw in a heap of Dark Mofo's signature festivities — such as the return of The Blue Rose Ball and its costumed debauchery, the Nude Solstice Swim (because it wouldn't be Dark Mofo without it), the City of Hobart Winter Feast on the waterfront, Night Mass: Transcendence in the In The Hanging Garden precinct and the Reclamation Walk — and yes, this is a huge program. Also popping up again is Memorial, too, which sees people provide the ashes of their loved ones to be placed inside a handcrafted firework that then explodes for everyone to watch. Dark Mofo will run from Wednesday, June 8–Wednesday, June 22 in Hobart, Tasmania. For more information or to buy tickets — with subscriber tix on-sale at 10am on Monday, April 11 and general tix at 12pm on Monday, April 11 — head to the festival website. Top images: Winter Feast, Dark Mofo 2021. Dark Mofo/Jesse Hunniford, 2021. // 3.2, 404.zero, Dark Downtown, Dark Mofo 2021. Dark Mofo/Remi Chauvin, 2021 // Courtesy: Dark Mofo, Hobart, Tasmania, Australia.
Apart from some amazing authentic Middle Eastern and Turkish restaurants that serve great food but lack presentation and ambience (that won't stop us going, mind you), Coburg is a veritable dining wasteland. And while the options may be limited, there are one or two that shine. The Post Office Hotel, for one, is a well-rounded gastro-pub experience, complete with bandroom and regular music gigs. The dining hall to one side is expansive and offers elegant, tasty food at a price only justified by sitting squarely in the 'gastro' category. Exposed brick walls and an open fireplace are matched by large terrariums that adorn the recycled timber tables, many surrounded by large booths, and an open kitchen that gives this space a contemporary restaurant feel with a menu to match. Share plates include charcuterie ($25), pickles and breads ($20) and pork hock and gruyere croquettes ($15), while entree and main menus are brief but well-rounded. The dill-crumbed smoked eel with spiced beetroot, aioli, capers and white anchovy ($15) is an interesting starter and the pan-fried Blue Eye with prawn ravioli, brandy and ginger bisque, celery and leek ($32) a hero of the mains. If that all sounds a little too upmarket for you (and we wouldn't judge), the bar next door offers a more humble experience. Here, the new lounge features Chersterfields and an open fire, with a front bar for gigs and a leafy beer garden for summer nights. The bar menu echoes the dining hall next door in a few of the prices — a chicken parma will set you back $25 — but offers some more down-to-earth options such as a burger with shoestring fries for $17 and a beef and bean chilli with corn relish and rice for $20. While this review may sound a little price-obsessed, it's important you know what you're in for. In search of some good ol' pub grub at the local? This is not the joint for you. Seeking a cosy place to sit with a glass of wine and well-considered bar food? The Post Office bar and lounge has what you need. And if you're wanting a sophisticated dining experience with good food, great service and the atmosphere to match, head into the dining hall and forget that this is supposed to be a pub. The reality here is a little bit different — not very 'Coburg' in any sense of the suburb — and the results more refined.
Never Mind the Bollocks, Here's the Sex Pistols should never be far from anyone's ears — but there's listening to the iconic 1977 punk album, the only studio record from Sex Pistols, and then there's hearing it played live in full. Down Under in 2025, Australian music lovers will be treated to that very experience, with the group locking in a tour. Band members Paul Cook, Steve Jones and Glen Matlock are heading this way in April, as part of a project dubbed Sex Pistols Featuring Frank Carter. As the band's moniker makes plain, this is a case of punk figures joining punk figures, as first happened back in August 2024 for fundraiser gigs in London. Clearly the setup worked. This will be Sex Pistols' first trip this way in almost 30 years, since 1996 — this time pairing drummer Cook, guitarist Jones and bassist Matlock with Gallows, Pure Love and Frank Carter and the Rattlesnakes alum Carter on vocals. The group have announced seven stops, including at Melbourne's Festival Hall on Saturday, April 5. John Lydon, aka Johnny Rotten, the band's well-known former lead vocalist, was last part of their lineup in 2008 — which is when Sex Pistols last toured before 2024. Hearing Never Mind the Bollocks live and in full almost five decades since its original release means hearing 'Anarchy in the UK', 'God Save the Queen', 'Pretty Vacant', 'Bodies', 'Holidays in the Sun' and more. If this feels like an incredibly rare chance to experience a slice of music greatness, that's because it is — and if you need any more motivation, Sex Pistols Featuring Frank Carter's UK gigs earned rave reviews. Top image: Henry Ruggeri.
Last month felt particular steamy and uncomfortable (even for Australian summer) and it was — January was Australia's hottest month ever recorded. The Bureau of Meteorology this morning released its monthly climate summary, reporting that, for the first time ever in Australia, the mean temperature for a month exceeded 30 degrees. NSW, ACT, Victoria and the NT all had their hottest Januarys ever recorded, while other states had unusually hot weather and very little rain. If you're currently sitting at your desk — after running through rain in Sydney, waking up to 14 degrees in Melbourne or commuting in low-20s in Brisbane — and thinking, it didn't seem that bad, here's a quick summary of some of the weather we endured last month. The year kicked off with a country-wide heatwave, with the mercury hitting the 30s in every capital city and Canberra sweltering through four days of 40-degrees. By mid-January, the heatwave was causing record-breaking high temperatures across the country — including 48.9 in SA and high-40s across Victoria's North — with Sydney's west copping dangerously high levels of ozone gas. And, just last week, Melbourne survived its hottest day in ten years. Here's how hot our country looked at one point: https://twitter.com/BOM_au/status/1084218154782478337 Phew. We're sure you're happy to see the back of January. According to the BOM's senior climatologist Dr Andrew Watkins, the unprecedented heat was due to a "a persistent high pressure system in the Tasman sea which was blocking any cold fronts and cooler air from impacting the south of the country." Dr Watkins also said in a statement that Australia looks to continue getting hotter, too. "The warming trend which has seen Australian temperatures increase by more than 1 degree in the last 100 years also contributed to the unusually warm conditions." Unfortunately for our farmers, last month was also extremely dry. In NSW, where 100 percent of the state has been in drought, the northeast experienced one of the driest Januarys on record, while most of Victoria and Brisbane received less than 20 percent of their average January rainfall. Tasmania had its driest Jan on record and SA, which experienced some of the highest temperatures, also had very little-to-no rain — the Bureau's Adelaide city site recorded no rainfall for the month for the first time since 1957. So far, it looks like February is going to be less spicy. But if you'd rather not risk it, it might be time to book a trip to the northern hemisphere. Image: Visit Victoria.
