A decade ago, Australia's film festival circuit caught a winter chill. Thanks to both the Sydney Film Festival and Melbourne International Film Festival, the country's cooler months were already a prime time for checking out cinema's latest and greatest from around the world, but the Scandinavian Film Festival levelled up the idea. Do you feel welcomely frostier if you're watching flicks set in and hailing from icy climes while the weather is cold? At this excuse to head to the pictures, yes, yes you do. Focusing on movies from Denmark, Finland, Iceland, Norway and Sweden, the Scandinavian Film Festival has spent the past ten years highlighting both the region's big names and its emerging talents. In 2024, cinemagoers are in for the same format; however, every film fest fan knows that no two iterations of any film fest are ever exactly the same. When it tours the nation between Wednesday, July 17–Wednesday, August 14, this year's event has everything from straight-from-Cannes newcomers to a retrospective dedicated to two of the area's biggest icons on its lineup — plus a span of genres from historical dramas and romances to detective tales and sci-fi epics. Making stops in Adelaide, Brisbane, Melbourne, Sydney, Canberra, Perth, and Byron Bay and Ballina, the festival will kick off with The Riot, which relives an IRL battle by miners in the second-largest workplace in Norway against dangerous conditions at the start of 20th century. Still on period-set tales, Stormskerry Maja is the Scandinavian Film Fest's centrepiece flick, with the Finnish movie about a peasant woman married off to a fisherman bringing the book series by Anni Blomqvist to the screen. Also making the leap from the page to cinemas is Boundless, the latest in Denmark's Department Q franchise, which is no stranger to this festival thanks to past entries The Keeper of Lost Causes, The Absent One and Conspiracy of Faith. From Everest, Adrift and Beast filmmaker Baltasar Kormákur, there's also Iceland's Touch, a romantic drama that adapts the novel of the same name, and hops across continents and decades. Elsewhere, When the Light Breaks similarly hails from Iceland — hitting Australia direct from opening Cannes' Un Certain Regard, in fact — alongside thrillers Cold and Natatorium. From Sweden, 2004's King's Game gets a sequel in Kingmaker, Hammarskjöld — Fight for Peace spins a true Cold War tale and Hunters on a White Field heads off on a weekend away in a forest. And Norway's contribution also spans closing night's Songs of Earth, a documentary about the country's wilderness that boasts Wim Wenders (Perfect Days) as an executive producer. The feast of Danish cinema includes Nordic noir Sons starring Borgen's Sidse Babett Knudsen as a prison guard, the Trine Dyrholm (Mary & George)-led Birthday Girl and the World War II-set Before It Ends with Pilou Asbæk (Aquaman and the Lost Kingdom). Or, there's also sci-fi Eternal, about a climate change scientist and a singer falling in love when a fissure splits the ocean floor — and The Promise, about a woman in her car trying to save her nephew's life. 2024's Scandinavian Film Festival's retrospective spotlight is shining on the great Liv Ullmann and Ingmar Bergman, heroing their collaborations, which means screening Autumn Sonata, Persona, the OG Scenes From a Marriage (not the recent American remake) and Cries and Whispers. The fest is also looking backwards with a 35th-anniversary session of Leningrad Cowboys Go America from Finnish auteur Aki Kaurismäki (Fallen Leaves). Scandinavian Film Festival 2024 Dates: Wednesday, July 17–Wednesday, August 7 — Palace Nova Eastend Cinemas, Adelaide Thursday, July 18–Wednesday, August 7 — Palace James St and Palace Barracks, Brisbane Friday, July 19–Wednesday, August 7 — Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Palace Penny Lane, The Kino, Pentridge Cinema and The Astor Theatre, Melbourne Wednesday, July 24–Wednesday, August 14 — Palace Norton St, Palace Moore Park, Palace Central and Chauvel Cinema, Sydney Thursday, July 25–Wednesday, August 14 — Palace Electric, Canberra Thursday, July 25–Wednesday, August 14 — Luna Leederville, Luna on SX and Palace Raine Square, Perth Friday, July 26–Wednesday, August 14 — Palace Byron Bay and Ballina Fair Cinemas, Byron Bay and Ballina The Scandinavian Film Festival tours Australia in July and August 2024. For more information or to buy tickets, visit the festival's website.
Everyone loves dessert. In fact, some of us even indulge in a cheeky "second dessert" when the evening calls for it. But now you can indulge in an epic five course dessert, thanks to Syracuse head chef and all-round legend Philippa Sibley. Affectionately known as the Queen of Desserts, Philippa will host her first event at the restaurant this November. Those with a sweet tooth are invited to join what will be a breathtaking degustation, with matched drinks to boot. Guests will start with the Snow White & Rose Red (strawberry soup, coconut sorbet, rhubarb and rose) before moving on to tasting the Meyer Lemon Tart. Third course comes in the form of Hansel & Gretel (a pineapple tart satin with Speculoos ice cream) before the Teddy Bear's Picnic comes out to play (a toasted lavender ice cream sandwich with pear sorbet, blueberry jam and honey). Saving the best for last is Sibley's take on the much loved chocolate bar in the Syracuse Snickers. A selection of cocktails, wine, mocktails and soft drinks will be matched to the offerings by the restaurant's talented bar staff.
Melbourne's Holy Bombolina isn't just dishing up crowd-pleasing, award-winning, Italian-style doughnuts to the masses, it's often doing so for a good cause, using its sweet treats to throw support behind a swag of great community groups and initiatives. It has even launched Holy Bombolina's Sweet Charity event series, which kicks off on Thursday, June 28, with a doughnut-filled charity movie night at Kino Cinemas. It'll feature an exclusive screening of Greta Gerwig's 2017 drama-comedy Lady Bird, with all profits going to WIRE Women's Information — the state's only generalist support, information and referral centre for women. Grab a ticket to enjoy an evening of Holy Bombolina's fluffy bomboloni doughnuts, prosecco, guest speakers and a top flick, all for a great cause. You'll even have the chance to win some excellent raffle prizes, donated by local makers and creators. Tickets are $35 and can be bought here.
As its name suggests, Melbourne's newest Japanese-accented restaurant leans right into the contemporary. The Future Future has officially arrived — in Richmond, at least — and it's already wowing with its incredibly considered offering. Design-wise, the Swan Street eatery wholeheartedly embraces that Japanese concept of wabi-sabi — that is, exploring the beauty in imperfection — as well as the philosophy of omotenashi, which is the concept of offering primo service without expectation of a reward. Out of the kitchen comes a technique-driven menu that's high on creativity and filled with revamps of classic Japanese dishes, that are fun, yet innovative. Unsurprising, given head chef Atsushi Kawakami's resume includes stints at some of Melbourne's hottest Japanese eateries, including Kappo, Izakaya Den and Hihou. You're in for plates like raw wagyu teamed with puffed wild rice and a wasabi-infused creme fraiche, meatball katsu-sandos, and donburi rice bowls filled with combinations like sweet-soy salmon, crisp tofu skins and green tea dashi broth. The hibachi grill also gets a solid workout, turning out skewers threaded with panko-crumbed barramundi, kewpie and tobiko, or maybe Japanese chicken meatballs, matched with sweet soy and an onsen egg. The drinks offering champions quality over quantity, running to an interesting lineup of whisky, sake, wine and beer from both Australia and Japan. Right now, you'll find the likes of a friulano and a pinot noir, both on tap, from the Mornington Peninsula's legendary Quealy Winemakers, alongside selections from one of the world's only female-owned and -led sake breweries, Japan's Imada. Crafty cocktails include the likes of the Tokyo Express-o, blending vodka, cold drip coffee, umeshu and maple syrup, and the Harajuku Highball, featuring strawberry whisky and vermouth. Meanwhile, a custom line of dapper tea cups, sake sets and candle holders round out the slew of thoughtful touches, courtesy of Copenhagen's Studio Arhoj. Future Future is now open for dinner Tuesday to Saturday, and lunch on Friday and Saturday, at 191 Swan Street, Richmond. Images: Josh Robenstone
Patricia Piccinini's otherworldly pieces have popped up all across Australia, and now it's the TarraWarra Museum of Art's turn to host. The not-for-profit public art gallery has announced an almost four-month-long showcase of the artist's efforts from November this year — including the return of her unmissable installation work The Skywhale. The 34-metre-long, animal-shaped hot air balloon will float through the sky in the lead up to the exhibition's opening, so keep an eye out. Called Patricia Piccinini and Joy Hester: Through love…, the exhibition will display from November 24, 2018 to March 11, 2019. It'll not only focus on the woman with an incredibly distinctive view on all things weird and wonderful — and on the thin line between humanity and animal kind that's engrained in her creative portfolio — but on fellow Australian artist Joy Hester. If the latter's name doesn't sound familiar, she was a Melbourne artist who passed away in 1960, favoured brushwork and ink on paper, and is considered one of Piccinini's key influences. This'll be the first time anywhere in the world that a gallery has explored the connection between the pair, with more than 50 pieces on display. With the showcase broadly focused around the theme of love and intimacy as well, visitors will get to see the evolution of Aussie art through the output of the two inimitable figures, with Hester's ink and paper works considered touchstones for Piccinini's sculptures, photographs, videos and drawings. In both camps, attendees will be treated to something either rare or brand new. Much of Hester's work is rarely seen, though her famous couple-focused series Love 1949 and Lovers 1955–56 will be on display. As for Piccinini, she'll be represented by both new and existing large-scale pieces. Piccinini will also unveil a major new work, Sanctuary, at this exhibition. The work is comprised of a wall print, a graphite on paper drawing and, the focal point, a sculpture of two figures embracing. The elderly couple depict characteristics of both humans and bonobos — an endangered ape species known for its intimate relationships. Through this work, Piccinini is exploring human relationships with animals, environment and technology. Images: Rick Liston, Installation view of Patricia Piccinini, Kindred, 2018; Rick Liston, Installation view of Patricia Piccinini, The Lovers, 2011; Rick Liston, Installation view of Patricia Piccinini, The Young Family, 2002; Rick Liston, Installation view of Patricia Piccinini, Sanctuary, 2018; Rick Liston, View of artwork flying in Yarra Valley on November 24, 2018, Patricia Piccinini, Skywhale, 2013; Rick Liston, Installation view of Patricia Piccinini, The Young Family, 2002. All images courtesy of the artist, Tolarno Galleries, Melbourne and Roslyn Oxley9 Gallery, Sydney For more spring places, spaces and events to discover in regional Victoria visit Your Happy Space.
It's been a long wait in Australia if you want to rock 'n' roll with AC/DC live. 2025 marks ten years since the iconic Sydney-formed band last took to the stage Down Under. It's also the year, thankfully, that they're making their Aussie concert return. After kicking off in 2024, the group's Power Up tour has finally locked in Australian dates, with Brian Johnson, Angus Young and company hitting up five cities in November and December 2025. Getting thunderstruck: Melbourne to kick off the Aussie leg on Wednesday, November 12; Sydney on Friday, November 21; Adelaide on Sunday, November 30; Perth on Thursday, December 4; and Brisbane to wrap up the Australian shows on Sunday, December 14. As one of the biggest bands that the country has ever produced, AC/DC are putting on huge gigs at every one of their homegrown dates. Let there be rock at Melbourne Cricket Ground, Accor Stadium, the bp Adelaide Grand Final, Optus Stadium and Suncorp Stadium, then. This is the first time that the legendary Australian rockers have toured Down Under since their 2015 'Rock or Bust' world tour. For this run of dates, Amyl and The Sniffers are onboard in support to make these massive Aussie concerts even more so, and to give attendees a taste of two different generations of Aussie rockstars. Playing Sydney isn't just part of a fitting homecoming for AC/DC, but comes more than half a century since the band played their first-ever show in the Harbour City. Their 2025 gig will be just over a month and a half short of 52 years since that 1973 debut. Power Up is also the name of the group's 2020 album, their most-recent record — which debuted at number one on the Billboard 200, made multiple best-of lists for that year and scored Grammy nominations. For those about to rock, AC/DC's high-voltage current set list spans their entire career, however, including everything from 'If You Want Blood (You've Got It)', 'Back in Black' and 'Hells Bells' to 'Highway to Hell', 'Dirty Deeds Done Dirt Cheap' and 'You Shook Me All Night Long'. So far, the Power Up tour has played Europe and North America, selling more than two-million tickets across 24 shows in the former and notching up ten soldout gigs in the latter. AC/DC will be back in Europe, hitting the Czech Republic, Germany, Poland, Spain, Italy, Estonia, Sweden, Norway, France and Scotland, before their Aussie dates. AC/DC Power Up 2025 Australian Tour Wednesday, November 12 — Melbourne Cricket Ground, Melbourne Friday, November 21 — Accor Stadium, Sydney Sunday, November 30 — bp Adelaide Grand Final, Adelaide Thursday, December 4 — Optus Stadium, Perth Sunday, December 14 — Suncorp Stadium, Brisbane AC/DC are touring Australia in November and December 2025, with tickets on sale from Thursday, June 26, 2025 — at 9am AEST for Sydney, 10am ACST for Adelaide, 11am AEST for Brisbane, 1pm AEST for Melbourne and 1pm AWST for Perth. Head to the tour website for further details. Images: Christie Goodwin.
There's something unwaveringly, undeniably appealing about French cinema. Whether you're hooked on the industry's characteristically stunning cinematography, rawness of storyline, or you simply prefer watching films in a language other than English, French films continue to prove some of the world's most captivating. Haven't watched much French cinema? Lucky for you, and hardcore Francophiles, the annual Alliance Française French Film Festival is just around the corner, starting in Sydney on March 7 with a strong 45-film lineup. While you're waiting for the festival to begin, whet your appetite with a few older releases you might have missed from the last year or so. All five of these films capture stories that are often ignored in mainstream media and will make you cry, laugh, and reflect. BANDE DE FILLES (GIRLHOOD) Set in the banlieues (suburbs) of Paris, Céline Sciamma's Girlhood follows Marieme (Karidja Touré), a teenager who drops out of school and joins a badass crew of fellow young, black, female dropouts. A beautiful celebration of black femininity and female friendship, this award-winning coming-of-age story screened at Cannes in 2014, then received four nominations at the 40th César Awards, including Best Director for Sciamma and Most Promising Actress for Touré. Available to stream on Stan, to rent on Dendy Direct, Quickflix, Google Play and Microsoft. QUAND ON A 17 ANS (BEING 17) This touching story by André Téchiné and co-writer Céline Sciamma explores the sexual awakening between two French teenagers who, on the surface, couldn't be more different. The relationship between Damien (Kacey Mottet Klein) and Thomas (Corentin Fila) is intimately-observed and full of a raw electricity that you can almost feel through the screen — making its Golden Bear nomination at the Berlin International Film Festival a no-brainer. Pack your Kleenex for this one. No streaming available now, rent on iTunes, Microsoft, Google Play and Pathe. DHEEPAN This timely film by revered director Jacques Audiard tells the story of three Sri Lankan refugees who pose as a family to receive asylum in France. Its title character (played by Antonythasan Jesuthasan) is a former Tamil militant who hopes to build a new life and forget the horrors of his past. Awarded the Cannes Palme d'Or in 2015, the film is a compelling snapshot of the contemporary immigrant experience in Europe. Available to stream on Stan and Foxtel Play, to rent on Dendy Direct, Quickflix, Google Play, PlayStation and Microsoft. DIVINES The winner of the 2016 Cannes Camera d'Or, Houda Benyamina's directorial debut is an exhilarating drama that centres on the intense friendship between two young women, Dounia (Oulaya Amamra) and Maimouna (Déborah Lukumuena). Confronted by their limited prospects in the outskirts of Paris, the pair soon fall into drug dealing, attracted by the opportunity to make a quick buck. Oscillating gracefully between moments of sheer joy and pain, this powerful social commentary is packed with memorable scenes. Prepare yourself for the gut-wrenching, if somewhat over the top, ending. Available to stream on Netflix. LA BELLE SAISON (SUMMERTIME) Set in the 1970s, this stirring love story between farm girl Delphine (Izia Higelin) and radical feminist Carole (Cecile De France) is an ode to self-liberation and discovery. On a whim, 24-year old Delphine decides to leave her rural town and move to Paris, where she meets — and falls in love with — Carole, a Spanish literature professor and feminist activist. Directed by Catherine Corsini, the film skilfully captures the complexities of navigating individual desires with familial and societal expectations. If you've seen a streaming/renting option let us know, otherwise buy from Palace Cinemas' shop. Watch them all before the Alliance French Film Festival kicks off. Want to win tickets?
While summer is oh-so close, Melbourne is still drizzly and cold enough that it counts as soup season. CBD restaurant Wonder Bowl agrees and is bringing back its five-day noodle soup giveaway just for the occasion. From September 23 to 27, the Little Lonsdale Street eatery is offering the first 50 customers each night a bowl of its Chinese-style noodle soup, on the house. That's 250 bowls of free soup. For the giveaway, you can choose any noodle soup off the menu — except for dishes in the 'royal' or braised series — so, you can dive into hearty bowls of soup with meatballs, spicy soup with chicken and soup with pipis. Wonder Bowl is already en route to becoming a firm CBD favourite, thanks to a menu of signature soups that combine thick rice noodles, rich seafood broth and Chinese rice wine. Current menu hits include a seafood combination noodle soup and a version featuring drunken chicken. Be quick off the mark next week and you can probably try them both for free. The noodle soup giveaway starts at 6pm each day.
Kano — "a computer anyone can make" — will soon be a widespread reality, following a Kickstarter campaign that's raised more than US$1 million. London-based tech geniuses Alex and Jonathan came up with the concept about a year ago. They felt that, in comparison with the toys they had growing up, today’s technology is inaccessible. Alex’s seven-year-old cousin, Micah, clarified the issue — and set the challenge — when he asked why couldn’t computers be “as simple and fun as lego”? Over the following 12 months, Alex and Jonathan travelled the world, talking to children, parents, educators and artists. All the research led to the development of Kano. According to Alex, "It’s based on three principles — simple steps, storytelling, physical computing — and tying them all together, with a sense of play and exploration.” Kano arrives in the consumer’s hands as a kit. Starting from scratch, the user builds the computer, powered by Raspberry Pi, as well as a speaker, a wireless server, HD video, music, and a custom-designed case. A basic introduction to coding enables the step-by-step construction of simple games such as Pong and Snake, as well as the modification of more complex games like Minecraft. Beyond that, the possibilities are limited only by the user’s imagination. Kano is open source, so there’s access to an abundance of software. Back in May, Alex, Jonathan and their team released a run of 200 prototypes, which sold out quickly and inspired plenty of positive reviews. When it came to expanding their scope, they turned to Kickstarter. Upon going live last month, the campaign achieved its initial goal of US$100,000 within 18 hours. Since then, a stretch goal of US$1 million has been conquered. Open until December 19, the campaign is still accepting donations of $119, which buys a Kano kit.
It's one of the most recognisable spots in Melbourne — and, until December this year at least, Federation Square has been granted temporary heritage protection. If the interim move is extended, it also could thwart one of the city's most controversial new projects: Apple's plans to build its first Australian flagship store. Courtesy of an interim protection order issued on August 21, no work can take place on the site until December 21 without Heritage Victoria's approval. Given that construction on the Apple store wasn't slated to start until next year, the move won't have a significant impact at present. That said, The Age reports that the order is being taken as a sign that permanent heritage protection could be sought for the inner-city space, despite the fact that it's only 16 years old. Giving Fed Square ongoing heritage status would obviously have wider-reaching consequences — including when it comes to pulling down existing buildings. After being announced late last year, Apple's proposed Fed Square store has received considerable community backlash, with new designs revealed in July in response. The opposition to the store isn't just about how it looks, though, but the fact that it'll tear down and replace the existing Yarra Building, and also displace the Koorie Heritage Trust in the process. Contentiously, it'll also see public land sold off to a commercial retailer. Regardless of how Fed Square's permanent heritage status pans out — and if indeed it has any impact upon the Apple store — the current temporary order could slightly stall the other big change taking place in the vicinity, the Metro Tunnel. Fed Square's visitor centre is set to be demolished to build an entry to the tunnel, with work due to begin next month. To proceed according to schedule, contractor Cross Yarra Partnership will need to apply for a permit or exemption to go ahead — something it is expected to do this week, according to the Herald Sun. Via The Age / Herald Sun.
While the Sunshine Coast might be best-known for its world-class coastline and truly magnificent beaches, there's plenty to explore inland in this part of Queensland. And the charming town of Montville is the perfect base from which to set off on outdoor adventures in the subtropics. In fact, Montville might be one of the quaintest spots you'll find on the Sunshine Coast. Located on the Blackall Range, the town used to be known by the admittedly cooler name Razorback, but was changed following, of all things, a town meeting. Nevertheless, the picturesque hamlet is a superb spot for your next out-of-town escape. The town itself is home to great restaurants, cafes, boutiques and galleries, and it's on the doorstep of impressive scenic walks and swimming holes. Where to start? We've teamed up with Wild Turkey to put together a list of our favourite ways to enjoy the great outdoors in and around Montville. UPDATE: Due to damage from recent extreme weather in southeast Queensland, some places mentioned may be closed or operating differently. Check websites for the latest updates before visiting. [caption id="attachment_843812" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] EXPLORE THE KONDALILLA NATIONAL PARK Montville is perhaps best known for its close proximity to the idyllic Kondalilla National Park. One of the best ways to take in the epic scenery here is via the Kondalilla Falls Circuit. The slightly challenging but rewarding four-kilometre walking trail takes you from the eponymous waterfall through a verdant valley of lush, green rainforest to a cool rockpool at the top of the falls, before leading to the bottom of the valley where you'll get the best view of the falls. The walk back up is a little tough, but you'll be rewarded with encounters with stunning native flora like bunya pines, piccabeen palms and pink ash. [caption id="attachment_843814" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] SPEND A NIGHT IN THE SUNSHINE COAST HINTERLAND While there are plenty of cute Airbnbs and hinterland cottages in this part of the Sunshine Coast, the region is also perfect for camping. Located along the Sunshine Coast Hinterland Great Walk is the Flaxton walker's camp, which offers a series of campsites peppered through a towering eucalypt and ash forest with a ferny undergrowth. The site is only accessible via a 16-kilometre walk, but we assure you it's worth the effort — you'll be rewarded with truly majestic surroundings and be woken by birdsong as the sun rises. If you fancy bringing the 4WD, the nearby Hunchy Hills Bush Camp is situated on a former banana and pineapple plantation less than five minutes' drive from the centre of Montville. It offers a superbly secluded setting, with each of the three sites boasting a fire pit and log seats. [caption id="attachment_844583" align="alignnone" width="1920"] Elliott Kramer[/caption] SWIM, KAYAK OR PICNIC AT THE BAROON POCKET DAM The Sunshine Coast may well be an area synonymous with stunning beaches, but you'll be pleasantly surprised to know it also boasts some beautiful inland waters as well. Enter Baroon Pocket Dam, a picturesque lake located between Montville and the nearby town of Maleny that offers beautiful picnic grounds, swimming, fishing, as well as plenty of local wildlife. We'd recommend renting a kayak for a few hours to explore the lake and its many surrounding tributaries. [caption id="attachment_843815" align="alignnone" width="1920"] Garry Zhuang (Unsplash)[/caption] GO-KART ON AUSTRALIA'S LARGEST COMMERCIAL TRACK Okay, maybe you're a bit over bushwalking by this point, so you'll be stoked to know that the oh-so-nearby town of Landsborough is home to the largest commercial go-kart track in Australia. Whether you're an adrenaline junkie, looking for something to keep the moody teenager in the family distracted, or just keen for a revvin' good time, the aptly titled Big Kart Track is sure to be a hit. The 1.2-kilometre track includes a series of wide looped turns as well as some serious hairpins, which you can take on in a cart capable of reaching speeds of up to 70 kilometres per hour. The track is open seven days a week for you to live out your Formula One dreams, at much more manageable speeds. Nighttime and wet-weather sessions are also on offer for more experienced drivers. [caption id="attachment_843813" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] EXPLORE THE MARY CAIRNCROSS SCENIC RESERVE Back to walking again, but that's only because there are just so many awesome places to check out while you make those steps count. The stunning Mary Cairncross Scenic Reserve is as scenic as its name suggests and is home to 55 hectares of subtropical rainforest overlooking the beautiful landscape of the Glass House Mountains. The reserve boasts a number of leisurely walking trails and guided tours that'll get you up close with the enchanting surrounds, while the Rainforest Discovery Centre is where you can learn about the diverse life that makes up the ecosystem of this beautiful forest via a bunch of cool multisensory educational exhibits. While you're out and about, keep your eyes peeled for local birdlife — the park plays host to nearly 150 different species. GO LUXURY CAMPING AND SLEEP UNDER THE STARS You've probably heard of glamping, but Starry Nights Luxury Camping takes things to a whole other level. Situated in the bucolic hinterland by the waters of the gently flowing Petrie Creek, these lush grounds host handmade tents spanning 75 square metres, each set on a raised platform of polished recycled barn floor wood. Inside there are hand-carved stone basins, a roaring fireplace, hot running water for both showers and opulent baths in the claw-footed tub, a fully stocked kitchenette, flushing toilets and king-sized beds with organic linen. Settle in among the eucalypts and rolling hills and take in a decadent evening under the stars. Find out more about Wild Turkey's Discovery Series at the website. Top image: Tourism and Events Queensland
Getting stuck in the Upside Down mustn't be fun. Fighting demogorgons really wouldn't be either. And, neither would being imprisoned in a Russian jail, fighting secret government agents and seeing your home town rocked by a satanic panic-style witch-hunt. They're all among the grim things that Stranger Things has thrown its characters' ways over the years, including in the just-dropped first half of its long-awaited fourth season — and now waiting for the final two episodes in the season isn't that much fun as well. Obviously, spending the entire month of June listening to Kate Bush is on most Netflix viewers' agendas. But if you're after a bit more than that, the streaming platform has just released its first teaser trailer for the second volume of Stranger Things season four. Due to arrive on Friday, July 1, it'll dive back into the current tussle with Vecna — although, as this clip shows, he's decided that no one can stop his chaos now. The new sneak peek is brief, and it won't make any sense if you haven't already seen what the residents of Hawkins, Indiana have been up to lately. It still keeps the hefty slasher and horror vibes going, though, and teases another showdown between Eleven (Millie Bobby Brown, Godzilla vs Kong) and the series' new big bad. Need a refresher on where things are up to? Season four is set six months after the season three's battle of Starcourt, and sees Eleven living in Lenora Hills, California, with Will Byers (Noah Schnapp, Waiting for Anya), his brother Jonathan (Charlie Heaton, The Souvenir Part II) and their mother Joyce (Winona Ryder, The Plot Against America). But, despite her claims that things are sunny — in letters to her boyfriend Mike Wheeler (Finn Wolfhard, Ghostbusters: Afterlife), of course — they really aren't. The same proves true back in Hawkins, too. There, teens are turning up dead, and metal-loving outcast Eddie Munson (Joseph Quinn, Small Axe) — who also runs the high school Dungeons & Dragons club — is the prime suspect. Dustin Henderson (Gaten Matarazzo, The Angry Birds Movie 2), Max Mayfield (Sadie Sink, Fear Street) and Lucas Sinclair (Caleb McLaughlin, Concrete Cowboy) all know better, though, and enlist help from Steve Harrington (Joe Keery, Free Guy), Robin Buckley (Maya Hawke, Fear Street) and Nancy Wheeler (Natalia Dyer, Things Seen & Heard) to work out what's going on. That's the basic overview — with season four so far also spanning nods to 80s flicks aplenty, a wonderful horror cameo, explorations of Eleven's past and powers, road trips, and Jim Hopper's (David Harbour, Black Widow) whole situation in a Soviet gulag. As for what'll happen next, things look as eerie, tense and chilling as ever. And no, the new trailer isn't set to 'Running Up That Hill'. Check out the first sneak peek at Stranger Things season four volume two below: The first seven episodes of Stranger Things season four are available to stream now via Netflix, with the remaining two set to follow on Friday, July 1. Read our full review of Stranger Things season four volume one.
As a country girt by sea, it's easy to take Australia's sandy waterside for granted. But just like our ever-rising temperatures, ever-lingering drought conditions and increasingly widespread bushfires, our coastline isn't immune to climate change. Nor, with oceans both warming and rising, are our beaches guaranteed to withstand it. In Stockton Beach, in Newcastle's north on the NSW coast, this grim reality has been making its presence known for decades, all due to continuing coastal erosion. Since huge storms back in 2015, which cost the beach millions of tonnes of sand, it has been a particularly prominent issue; however, in the past few weeks, the spot has completely lost its coveted patch of sand. It happened quickly, too — the Newcastle Herald reports that "a section of the beach lost 2.5 metres in sand height" in just five hours. The paper estimates that around 500,000 cubic metres of sand (50,000 truck loads) would be required to replace what's been lost so far. So instead of somewhere to sit and sunbathe, beachgoers are now met with rocks, sand cliffs and a waterline much closer than it has ever been before. At the south end of the beach, the sand in front of the nearly 112-year-old Stockton Surf Life Saving Club, the adjacent car park and Lexie's Cafe have been particularly hard hit and, unsurprisingly, the City of Newcastle has closed all access points to the beach — except for the one at the Mitchell Street breakwall — until further notice. This aerial footage from The Guardian shows pretty clearly how severely the beach has been affected. [caption id="attachment_744112" align="alignnone" width="1920"] Save Stockton Beach[/caption] As Newcastle's Lord Mayor explained at a council meeting last week, the catastrophic current situation has been caused by large swells in the recent weeks. The council is now undertaking emergency works, such as sandbagging, in the hope it can get Stockton Beach to condition that's useable for the public. The "preferred option" is to bring sand back in to the beach — an option that relies on the NSW Government's Coastal Zone Management Program. In good news, according to the ABC, the State Government has just approved $250,000 in funding for the council and has declared the beach a Significant Open Coast Location, meaning that the council can apply for emergency funding at any time. Shelley Hancock, the Minister for Local Government, says that the council's applications for funding are "currently undergoing a rapid assessment so that works can be undertaken as a matter of priority". Fast-tracking a mooted gas terminal at Kooragang Island, which could see sand dredged and relocated to Stockton, has also been floated as a solution — but it would require a statewide ban on offshore dredging to be lifted. Back in June, the council discussed offshore sand extraction, noting that it was "one of the only viable methods for large-scale beach nourishment along the open coast". At the time of writing, a GoFundMe campaign to save the beach has raised over $18,000, and a the Save Stockton Beach Facebook page is trying to raise awareness around the issue. Losing a beach is a bleak prospect, but the effects far span beyond just losing somewhere to lay out a towel. As the landscape changes, the sand shifts, threatening nearby buildings. The local daycare centre has been forced to shut due to the erosion, with the structure set to be demolished. Cabins at the nearby holiday park were also vacated last week, as a precautionary measure, although they've since been re-opened. Coastal erosion is by no means limited to Stockton Beach, of course. Due to rising temperatures and wild weather, sea levels are rising and eating into coastlines around the world, from England to Tunisia. And with similarly bleak scenarios happening across Australia — from Sydney to Melbourne to Perth to Adelaide — stories like these are sadly likely to increase in frequency. If you live near, or are travelling to, Stockton Beach, check the City of Newcastle website for updates on the beach accessibility. To help, you can get in touch with the Save Stockton Beach group — or keep striking for the government to take action on climate change to prevent this happening to more of our country's epic beaches. Images: Save Stockton Beach Facebook.
It's no secret that Melbourne's dumpling game is strong. So if you're going to use the word in your restaurant name, you'd better be bringing the goods. As the latest addition to the buzzing Smith Street stretch south of the Grace Darling, Bowl Bowl Dumpling has made that very call, and passed the test. Inside, the double storefront space has a hipster-friendly, modern zen feel, with earthy tones and verdant foliage interspersed with pops of colour. The exposed brick walls, pendant lights and elegant Japanese clay tableware all show signs of effort. While it doesn't always feel cohesive, it's certainly one of the more comfortable dumpling dining experiences you can expect at this price range, with not a plastic table in sight. Those plump little pillows are, of course, the stars of the menu, but you can kick things off with a few Pan-Asian starters — perhaps some nicely battered salt and pepper calamari ($8.50), or a serve of vegetarian spring rolls ($6.50). With seven dumpling dishes on offer, there's an option to satisfy most, and all but one come with a share-friendly 10 to a serve. Take a few friends and a bit of an appetite and you can walk away having sampled the lot. Dumpling fans will know that xiao long bao are something of a technical yardstick, and Bowl Bowl's version of the soup-filled buns definitely don't disappoint. Touted here as 'Water Bomb' dumplings, they're delicate and juicy, ready to burst with fragrant, gingery pork broth ($14.50 for eight). In terms of technique, the gluten-free, Italian-style chicken dumplings ($13.50 for 10 pieces) don't quite hit the same mark, with skins a little on the thick side, but the fennel filling is tasty and fresh and the combo is a refreshing change from the norm. Then, those really in the mood for some feasting can get stuck into a handful of bigger dishes, like the Chinese broccoli with oyster sauce ($18) or fried rice ($18.50). The drinks list is a step up from the usual dumpling dinner offering — beers are basic, but there's a handful of Australian wines, all hovering around $9 for a glass and $35 for a bottle. Service, too, trumps that at the flourescent-lit set, with attentive, friendly staff showing off some practised moves. This is hardly the dumpling experience you're used to, but a meal at Bowl Bowl is sure to convert you.
The Ironmen of Cooking are here. Here. Reppin' Australia's '90s love for the glorious, glorious competitive Japanese cooking show, two of the original Iron Chefs have landed in Melbourne for an epic cooking battle, one the public can eat for a cheeky $380 per person. Could be a publicity stunt for Iron Chef Australia, which was cancelled at the end of its first season in 2010. Could be (is) a KIRIN thing. Could just be a hair-brained jaunt from the Japanese TV crew. Either way, Kitchen Stadium has been left behind for Melbourne's RACV City Club this week. Over two nights on February 14 and 15, the mighty Iron Chef Hiroyuki Sakai (reppin' all things French cuisine, winner of 70 ICs) and Iron Chef Masahiko Kobe (the Don of Italian Iron Chef cooking, but winner of only 16 ICs) will take the stage with the son of Iron Chef Kenichi Chen (the once-master of IC Chinese cooking and winner of 66 ICs), banding together to cook up one monster of an Iron Chef feast. The theme ingredient? Australian local produce. Yep, it's more vague than river eel, summer corn or Alaskan king crab, but they're keeping it geographically-themed. Held over two sittings, the Iron Chefs will be chopping, mincing and frying up seven courses. According to Good Food, the menu's main focus will be pretty seafood heavy — spanner crab, ocean trout — alongside local duck. Paired with sake and Aussie wines by executive sommelier Masahiko Iga, the seven-course dinner is already well sold out — even with that $380pp price tag. It's not clear whether the legendary commentator Yukio Hattori (or his straight-up boss Canadian dub counterpart Scott Morris) will be in attendance to point out every last heroic detail, or whether the immortal, ever-dramatic host Takeshi Kaga will be there to kick off the proceedings. If you're wondering whether your face will end up on Japanese TV, it probably will — the Iron Chefs have brought an entire Japanese media entourage with them, as the battle will be televised. While tickets for the event have indeed sold out, you can peruse this list of every last Iron Chef ingredient ever featured or watch this SEA CUCUMBER BATTLE: Via Malay Mail and Good Food.
Counting out your pennies till pay day? No problem. Even with less than $10 in your pocket, you don't have to resort to Saladas with Vegemite you found in the work cupboard. You can still get out of the office to feast on noodle soups, Turkish street snacks, pork belly bao and even meals from a Michelin-starred restaurant. So don't sit around moping about your inability to do a banquet at Chin Chin. Round up your coins and head straight to these ten eateries where you can eat a meal for less than ten bucks. $2.70 PORK BUNS AT WONDERBAO Hidden away from the hustle and bustle of Swanston Street, Wonderbao is a pocket-sized slice of bao heaven that won't stretch your lunchtime budget. Treat yourself to the barbecue pork bun for only $2.70, or if you're after a bao assortment that will keep your stomach from rumbling until dinner, the Veggie Pack of 3 bao will sort you out for a low $9.70. $6.80 CHICKEN AND RICE AT HAWKER CHAN Who would've thought that scraping together all your pennies, could get you a Michelin-starred meal? World class eateries and scraping together your lunch money pennies don't usually go hand-in-hand. Hawker Chan, however, is out to make your working week just that much better. For just $6.80, you'll be presented with the restaurants famed chicken rice dish, featuring chicken poached in chicken stock, soy sauce and ginger, the meat then blanched to give the skin a gelatinous texture, and served on a fluffy pile of jasmine rice. $8 ROTI AT MAMAK For only $8, Mamak's famed roti is an absolute steal. Served straight from the kitchen where you'll see four chefs in action flinging and grilling this doughy roti to perfection, two curry dips and a spicy sambal sauce will set you back just $8. Add cheese or onion for $1 — or both for $1.50. $10 THAI BOWLS AT SOI 38 Take a quick side-trip to the side streets of Bangkok inside a car park in Melbourne's CBD, at Soi 38. Here, $10 can get you any dish on the menu, whether it's a boat noodle soup, tom yum noodles with wontons or braised duck noodle soup you're craving. Plus, your $10 won't limit your choice, with the option to pair your choice of soup with noodles such as vermicelli, rice or egg noodles. $7 PIDE AT GOZ CITY A hunk of hot bread with toppings is good for any time of day — but especially good for lunch. Goz City doles out its generous-sized pides for just seven bucks, and it gives you a couple of options, too: sausage and egg, tomato and egg, or breakfast pide. Though the star of the show over here at Göz City is generally the gozleme, don't underestimate the power of a $7 pide filled with egg and meat. We've said it before and we'll say it again: carbs will get you through the week. [caption id="attachment_682137" align="alignnone" width="1920"] Sam Morrison via Instagram[/caption] $7.70 CURRY DON AT DON DON Don Don on Little Lonsdale is a little cramped, always has a steady flow of people in and out and there'll be a couple of "sorrys" and "excuse mes" as you make your way in, but the food is hot, incredibly quick and — most importantly — cheap. It's just $7.70 for a beef or chicken curry don (rice and pickle included) or $6.50 for the tofu version, so you need do very little else than shovel it down and be out the door, joining the constant flux that enters and exits Don Don. $9.50 ROTISSERIE CHICKEN AT BELLEVILLE Belleville is a three-birds-one-stone venue in that you can go for a meal, a drink, or some live music – or all three. Open from 11am till 11pm (and later on Thursday to Saturday), you can walk in at any time to this laneway dive bar for a quick feed, and their lunch menu is certainly willing to play along. If you're craving chicken, you're in luck — the rotisserie special is a quarter chook for $9.50. The hot bird is glazed with miso butter glazed already, but you can also add sauces of your choosing. $4.50 BAGELS AT SCHMUCKS BAGELS Don't be a fool (or, in this case, a schmuck), and head down to Schmucks Bagels between Little Bourke Street and Guests Lane for a good ol' NYC bagel, with a twist. Schmucks' bagels go way beyond your average poppyseed- or sesame-topped snack, serving adventurous bites that will take your $10 to the next level. Try the $9 Hippie Slicker, a seeded bagel with turmeric-roasted cauliflower, hummus, tomato and lemon-dressed watercress. If cauliflower isn't your thing, for 50c less try the Avo Our Way, filled with smashed avocado, pickled red onion, capers, and lemon-dressed herbs on a seedy bagel. For something a bit more on the safe side, pick up a sesame bagel with your choice of spread for just $4.50. $10 FALAFEL AT TAHINI Brought to you from the team behind Code Black Coffee, Tahini in Collins Square, gives you some serious bang for your buck. For only $10, an array of traditional Lebanese dishes awaits you — whether you're after something fresh, like the $6 fattoush salad, or meaty, such as the $8 slow cooked spiced lamb sharwarma bowl with pomegranate molasses and tahini. Although, if you can't look past some good old-fashioned falafels pick up one of Tahini's falafel wraps — they're $10, or $8 when you take away Monday and Tuesday. $8.90 CHASHU DON AT SHUJINKO Lunch at midday, 7pm or perhaps 2am? Russell Street's 24-hour ramen restaurant Shujinko has got you covered for cheap eats at all hours of the day. $7.80 will buy you five pieces of kaarage chicken and $6.90 will get youhalf a dozen dumplings at Shujinko, coming in at $1.15 a piece. But for something a bit more jam-packed, try the chashu don, with grilled pork belly, rice, red ginger, spring onion and oyster sauce for just $8.90. $9.95 CHICKEN POKE AT POKÉD For $9.95, the world's your oyster at Pokéd. Whether you're after the Hula Hula Cook bowl (chicken with pineapple teriyaki, pineapple salsa, corn, edamame, sweet potato crips and roasted sesame), or wanting to satisfy some veggie cravings (with a roasted eggplant, sesame mayo, spinach, sweet potato salad, marinated mushrooms, pickled cabbage, edamame with sweet potato crips bowl), get down to Pokéd ASAP.
The sights, the sounds and — most importantly — the flavours of a Bangkok street kitchen are on their way to Melbourne. Set to open on Crown Riverwalk on January 16, Long Chim Melbourne will be chef David Thompson's third Thai restaurant in Australia, following the super successful Long Chim Perth and new 2016 addition Long Chim Sydney. It's not often that Melbourne trails behind Perth in the world of fine dining. Still, we figure better late than never. Prepare for Thai fare just like you'd find in the streets and markets of Bangkok, including charred rice noodles with beef, basil and Sriracha sauce, plus prawn laksa, chive cakes, green papaya salads, grilled pork and banana roti. The a la carte menu also boasts curries, soups, salads and stir-fries aplenty, including a mashed prawn curry and sour orange curry of ling fish. Dessert fiends can look forward to both durian and Thai coffee ice cream. Thirsty? Long Chim — which means 'come and try' — will also serve up craft beer and wine along with a selection of Asian-inspired cocktails. The rum-based Bangkok Painkiller and gin-based 555, both created by Long Chim's head of beverages James Connolly, are highlights among the 11 boozy, five alcohol-free range, alongside the Or Tor Kor Mule (a combination of ginger beer, vodka infused with kaffir lime zest and Thai bitters), the Tropic Thunder (pineapple, passionfruit, burnt orange and rum), and the Muay Thai Mai Tai (ginger, almond, coconut and tequila). Mouthwatering, authentic morsels; unique, refreshing beverages — that's what you'd expect from one of the biggest names in modern Thai cooking. Thompson's Bangkok eatery Nahm recently ranked one of the 50 Best Restaurants in the World, while his London restaurant was the first Thai venue to be awarded a Michelin star. Long Chim Melbourne will open for dinner only at Crown Riverwalk from January 16. Visit their website for further information. By Tom Clift and Sarah Ward.
Heading to the cinema has never just been about staring at a big screen. That's one key — and glorious — part of the equation, but discovering new things while being transported to different corners of the globe is just as important. It's pivotal at Melbourne's Human Rights Arts and Film Festival, in fact, with the long-running event taking the medium's eye-opening potential as seriously as it can. On the fest's lineup each year: flicks that engage with human rights issues, alongside a lineup of art, music and talks that does the same thing. From Thursday, April 28–Saturday, May 7, HRAFF will start unfurling its 2022 program — and, spanning 21 events across seven venues during its ten-day run, it's quite the lineup. It all kicks off with opening-night pick Dear Future Children, a documentary focused on activists from Hong Kong, Uganda and Chile who are fighting to improve — and save — their futures. From there, highlights include Oscar nominees, New Zealand standouts, simmering Aussie docos and much more. Among those must-sees sits Writing with Fire, a contender for Best Documentary Feature at this year's Academy Awards, which hones in on the journalists behind India's all-female news network Khabar Lahariya; three-time Oscar nominee Flee, a stunning animated documentary about an Afghan refugee's life story; Eva Orner's searing 2021 doco Burning, which doesn't hold back in its scorching examination of Australia's 2019–20 Black Summer bushfires; and fellow homegrown effort River, a lyrical look at the planet's sprawling waterways as narrated by Willem Dafoe. There's also: NZ duo Cousins and Night Raiders, the former about the nation's history of removing Indigenous people from their land and culture, and the latter a dystopian sci-fi executive produced by Taika Waititi; the Bronx-set Queen of Glory, about a Ghanian American academic dealing with the fallout from her mother's passing; and the first Tunisian film to be nominated for the Oscar for Best International Feature, wild art-world satire The Man Who Sold His Skin. And, closing out the film program is Fanny: The Right To Rock, about one of the first all-female bands to release an album in the US. Other key parts of the festival include interactive storytelling and cooking sessions, several lineups of shorts — homegrown, feminist and flicks about interconnection — and a photography event that links in with international photography festival PHOTO 2022. Everything on the bill ties in with four themes — bodies, environment, ancestors and distance — as curated by HRAFF's new Program Director Ayesha Mehta and Festival Director Sophie Parr. The Human Rights Arts and Film Festival runs from Thursday, April 28–Saturday, May 7 at various venues around Melbourne. For more information or to buy tickets, head to the festival's website.
We all know Melbourne boasts a world-class bar scene with skilled bartenders shaking up the cocktail game at top-notch venues all across town. Granted, weeks into lockdown 2.0, that's all starting to feel like a distant memory. But, if you're thirsting hard for boozy times past, you can now give yourself a quick refresher course, by way of a new at-home cocktail pack featuring an all-star Melbourne lineup. The folks at The Everleigh Bottling Co have joined forces with some of the city's finest drinking institutions to create the liquid care package of your lockdown dreams. Aptly dubbed the Melbourne Mixtape, it's a lineup of seven bottled cocktails, each handmade in-house at their respective bar while the doors are closed to the public. In this lineup of libations, you'll find such hits as Byrdi's wattleseed negroni, the tiramisu milk punch from Capitano, Mjølner's rum-infused Battle Axe, a tequila blend known as The Proposition from Collingwood's Above Board, a Black Pearl Shower Martini, and a classic americano courtesy of Bar Americano. Of course, there's an Everleigh creation in there, too: the caffeine-spiked sip they call Coffee House. Each of the single-serve cocktails comes with specific serving instructions, ready to chill, pour and devour. What's more, you can have the pack sent directly to your home, with nationwide shipping available for $14.99. All proceeds go back to the participating bars, which will help raise some much-needed funds while restrictions continue. The Melbourne Mixtape is available to buy for $130 from The Everleigh Bottling Co website.
A quick word of warning: If you suffer from FOMO, the following images may send you on a path of unending regret. The first weekend of Coachella has come and gone and not only have you forfeited a chance to soak up the likes of Blur and Phoenix but you've also missed out on chilling with some of the coolest over-50s to ever grace the festival. (And, before you ask, the answer is yes. They've still got it.) 1. Clint Eastwood Pictured here with daughter Francesca, Clint may appear a little dazed and confused. Never fear though; once Benny Benassi dropped the bass on 'Satisfaction', no-one partied harder. 2. Pierce Brosnan Mr Bond is always keen for a mosh. If he looks apprehensive, it's because someone offered him a stirred martini while congratulating him on the success of Skyfall. 3. Danny DeVito Men of Danny DeVito's stature are in short supply at plebeian events such as the Coachella Valley Music Festival. It was no small matter to have Danny present. Because, really, who thinks little of him? Also: Melanie Griffith! 4. David Hasselhoff National hero or national embarrassment? Neither. He is a god. 5. Coachella Rave Dad While you might not recognise this gentleman right away, that doesn't mean that he wasn't born for fame. Say hello to 'Coachella Rave Dad'; the greatest discovery of the weekend. When you're ready, click on each Vine image to witness sweet, sweet moves.
Some things in this life are just meant to go together. Such is the way with Snowshoe to Fondue, the ultimate alpine holiday pairing for everyone who values the après in their skiing. Run by tour operators Alpine Nature Experience, Snowshoe to Fondue runs throughout the winter months in Victoria's Mount Hotham. The experience starts with a sunset hike through the snow-covered forest. Snowshoes enable you to 'float' rather than sink into the alpine landscape, so expect a breezy walk that just earns you the cheese extravaganza that is the real reason for this outing. The feasting takes place at Alpine Nature Experience's 'hidden eco-village', inside a tipi with a fireplace. Here, having enjoyed a warming glass of glühwein upon arrival, you'll be shown how to make a traditional Swiss fondue. A reminder if you haven't heard the word in a while: fondue involves melting cheese over a portable stove and dipping food into it. Why this gooey form of eating ever went out of fashion is a total mystery. Alpine Nature Experience's version is made with cheese imported from the French mountains — and it's bookended with soup and cake, making it a balanced three-course meal. The tour includes transport back to your starting point at Wire Plain, from where you can easily return to your accommodation at Mount Hotham and sleep the sleep of kings. Whatever adventures you've planned on the slopes for tomorrow, you'll be properly fuelled for them. Snowshoe to Fondue tours will run daily Wednesdays to Sundays until September 29. To make a booking, visit the website. Images: Fabio Olivera and Georgie James.
At the 11th hour on Wednesday, April 17, just before Moon Dog Wild West in Footscray was set to host its launch party, guests were told to turn around and head back home. According to the Moon Dog team, this was because Maribyrnong City Council sent them a last-minute notice indicating that the placement of one of the venue's fire hydrants was no longer suitable. The crew weren't able to make the necessary changes in time, so the event was cancelled. Sadly, the public opening has also been scrapped until the council's needs have been met. That means it's time to put your cowboy boots and Akubras back in the wardrobe — at least for now. Or keep them on to listen to Beyonce's Cowboy Carter album one more time. "We are so sorry to everyone that turned up last night excited to check out our amazing new venue, but instead were turned away. We always knew creating a venue of this size and scale with ambitious timelines was going to have its challenges, but it's bitterly disappointing to have been tripped up at the last hurdle after doing everything by the book," said Moon Dog Co-Founder Karl van Buuren. "We have had amazing support from the council and the Footscray community in the lead up to opening this venue, and we are very sorry to all the bookings, functions and everyone else that was planning to come down tonight," he added. "We're hopeful to have a resolution as soon as possible and, when we do, we look forward to sharing a new opening date with everyone and finally cracking an ice cold beer and jumping on the bucking bull." There's plenty of old-western fun to look forward to beyond riding the mechanical bucking bull once Moon Dog Wild West opens. There'll be a secret little Pianola Bar, an arcade, pool tables, a private dining space, a barrel-ageing room, and a stunner of a dog-friendly rooftop that's littered with cacti and fake dessert rocks. Every part of the ambitious venture has been packed out. Moon Dog Wild West will have bars on each level pouring Moon Dog beers and seltzers from over 100 taps. Three-time Australian Bartender of the Year Chris Hysted-Adams has also been brought in to design the cocktail list and shots menu. This includes an old-school pickleback shot, a regularly changing old fashioned that'll be served in a barrel for four people and a layered tequila sunrise slushie. Then you've got the food, which is all very Tex-Mex-inspired. The team is pumping out sizzling fajitas, buffalo chicken ribs, double-decker tacos, Mexican twists on prawn cocktails and a big ol' one-kilogram t-bone steak. There's so much to look forward to when the crew finally gets the green light to let punters in through the swinging saloon doors. The same can be said for the upcoming Docklands and Frankston bars, which the team plans to open later in 2024. When Moon Dog Wild West opens, you'll find it at 54 Hopkins Street, Footscray, operating from 3pm–late Monday–Tuesday and 11.30am–late Wednesday–Sunday. For more information, head to the venue's website. Images: Arianna Leggiero.
Current world events don't make the prospect of international travel seem particularly appealing at the moment. The truth is though, cinema has been taunting travellers for decades. Whatever holiday you might have planned, there's a horror movie just waiting to convince you otherwise. Heading to a cabin for a quiet weekend? The Evil Dead and The Cabin in the Woods have news for you. Venturing across the Australian outback? That's where Wolf Creek comes in. Seeking out a gorgeous beach? Whatever you do, don't watch The Shallows. Stopping at a roadside hotel? Didn't turn out so well in Psycho. Bound for Europe? Hostel made a whole trilogy about what you can expect. With a name that combines Germany's largest city with the connection that can arise between hostages and their captors, Berlin Syndrome initially appears to traverse similar terrain as the movies mentioned above. Indeed, the film starts with Brisbanite Clare (Teresa Palmer) arriving abroad, chatting to fellow backpackers and wandering the streets. An aspiring photographer, she snaps everything from famous buildings to everyday folks along the way. Then she meets Andi (Max Riemelt), a German schoolteacher who opens with a line about strawberries, takes her for a scenic walk, and intrigues Claire enough that she changes her plans to jump to her next destination. They have a fun night out together, go back to his apartment, and...things go south from there. It should all sound familiar, of course. That's Berlin Syndrome's aim, for two reasons. Based on the book of the same name, directed by Australian filmmaker Cate Shortland (Somersault), and adapted by screenwriter Shaun Grant (Jasper Jones, Snowtown), the film's entire premise relies on several elements that many movies have already covered — a dream vacation gone bad, and a romantic spark that turns sinister. But the movie also takes scenarios that have been done to death and thrusts them into unexpected territory. It's not a spoiler to say that Clare awakes the next morning to find that she's locked in Andi's flat, and that he's removed the SIM card from her phone. Nor does it give the game away to reveal that he has trapped her on purpose. After spending its setup revelling in the excitement and openness of travel, Berlin Syndrome dedicates most of its running time to the opposite extreme with an expert command of tension. At the same time, the film unpacks Clare's complicated response, as she seesaws between fighting back and slowly settling into a twisted version of domesticity. Behind the camera, Shortland crafts a film of juxtapositions, both in terms of tone, and in the sites of Andi's apartment versus the city outside. But there's no one better at getting to the heart of the film's internal conflict than Palmer. The Aussie actress has had a huge year or so, popping up in everything from the bad Point Break remake to the locally made war flick Hacksaw Ridge. But she's in career-best form here as she conveys Clare's inner turmoil. Likewise, it takes considerable skill for Riemelt to make Andi more than a straightforward villain. Welcome to Berlin Syndrome, a murky, confronting trip. Deep dive into Berlin Syndrome's core themes and read our feature examining how modern filmmakers like Cate Shortland are tackling complex issues of psychological manipulation. https://www.youtube.com/watch?v=ceVBDJNHL0k
Right at the end of 2024, Hotel Esplanade (The Espy) opened a new sun-drenched venue in the former Ichi Ni site, which closed back in February 2024. Walk into the new Espy Sunroom this summer, and you'll see how the 252-person space has been totally transformed. Gone are the bright red drapes, dark wood panelling and Japanese paintings that once adorned Ichi Ni. In their place, there's a far more open and brighter restaurant and bar with a lot less going on — simply decorated with hanging plants, lightly painted concrete walls, and a smattering of high and low tile-topped tables. The interior will certainly get packed in summer, but its openair terrace will have the most sought-after seats — boasting its own retractable roof for when Melbourne's weather isn't behaving. Here, you'll be sipping on spritzes and signature cocktails while eating crowd-pleasing eats that you'll recognise from the neighbouring pub's menu. Get around a huge seafood platter (packed with scallop ceviche, kingfish crudo, king prawns and oysters), pizzas, grilled barramundi, potato cakes with salt and vinegar and a classic chicken parma. As this is part of The Espy, you can also expect a banging live music and entertainment lineup throughout the week. Wednesdays are for trivia run by local Smarty Pints Co, Fridays nights are when live bands and DJs play late into the night, Saturdays see the house DJs accompanied by live musicians, and Sundays are all about funk, house and soul music. The Espy Sunroom isn't reinventing the wheel in any way, but it is hitting all the right spots for a popular seaside bar and restaurant — serving up summery bevs, crowd-pleasing eats and plenty of good vibes.
Atop iconic Curtin House on Swanston Street, illuminated by the moon and the lights of city skyscrapers, the screen at Rooftop Cinema & Bar is about to flicker back to life. Fresh on the heels of The Shadow Electric in Abbotsford and Ben & Jerry’s Openair Cinema in St Kilda, the folks at Melbourne’s highest-altitude outdoor picture house have just unveiled the first half of their summer program, with plenty of awesome choices to whet cinephilic appetites. The party begins on December 5 with a screening of Baz Luhrmann’s The Great Gatsby. Other recent releases on the schedule include Gravity, Francis Ha, The Counselor and, perhaps the year’s most talked about film: Sharknado. As fun as those titles might be, it’s the retro picks that show the team have really outdone themselves. Unlike Ben & Jerry’s, the program at Rooftop leans heavily on nostalgia, with titles like Pulp Fiction, Casablanca and The Blues Brothers barely scratching the surface of the film-buff favourites on offer. The latter flick is just one in a kick-ass '80s stream that also includes Labyrinth, The Goonies and Stand by Me. The following decade is similarly well represented by Reality Bites, Point Break and Dazed and Confused, amongst numerous others. This year also sees Rooftop teaming up with the gang from Speakeasy Cinema for a Tuesday sidebar that includes Lena Dunham’s breakout feature Tiny Furniture, David Lynch’s divisive Twin Peaks: Fire Walk with Me and the new film from David Gordon Green, Prince Avalanche. The week leading up to Australia Day, meanwhile, features a trio of great local flicks in the form of Muriel’s Wedding, BMX Bandits and the newly released Mystery Road. Seating at Rooftop begins at 9:00pm for a 9:30pm start. The good news is that the bar begins operations at midday, as does the All Day Burger shack. One floor down, Mesa Verde opens at 5:00pm and offers a wide selection of beer, wine, tequila and Mexican cuisine. For more information about Rooftop Cinema including the full December-January program, see here. The February-April program will be announced at the end of January.
As part of the Belfast Festival, Northern Ireland’s capital city is currently playing host to WISH, a public art project by Cuban-American artist Jorge Rodríguez-Gerada. Already nicknamed by local residents as 'The Face from Space', the portrait of an anonymous Belfast girl is so enormous at its 11-acres that it can only be viewed from an aeroplane (or from a mountaintop). It was first plotted on a grid using some very swish technology and 30,000 manually placed wooden stakes. After that volunteers spent a month helping to 'draw' the portrait using nearly 8 million pounds of soil, sand and rock. Now that's patience. Rodríguez-Gerada is known for his giant-scaled portraits in public spaces. In a statement, he says of WISH, "Working at very large scales becomes a personal challenge but it also allows me to bring attention to important social issues; the size of the piece is intrinsic to the value of its message. Creativity is always applied in order to define an intervention made only with local materials, with no environmental impact, that works in harmony with the location." Via Colossal.
Close that Netflix-riddled laptop, kick back that unwashed doona and bundle up in All The Knits, there's plenty of happenings worth leaving the house for this weekend. From chocolate sculptures to offensively talented 18-year-old crooners, we've given you a little rundown of the five best things to get out and about for. So incredbly worth it, Orange is the New Black's not going anywhere. Common Sense Art exhibitions are usually a highly visual experience. Everything is white and sterile, and if you touch anything a large middle-aged man is always nearby to tap you on the shoulder and give you a foreboding paternal gaze. But not all exhibitions are created equal these days, and the exciting folk at 1000 £ Bend don't want anything to do with the white cube. Fittingly, their latest one-day exhibition is bound to deliver a sensory overload of sights, smells, sounds and chocolate sculptures. From 1pm-6pm on June 20, this sense of play will be translated through the mediums of sculpture, film, painting, music and gelato. Yes, that's right — gelato. When: Friday, 20 June - 5:30pm Where: 1000 £ Bend , 361 Little Lonsdale Street, Melbourne How much: FREE It Cannot Be Stopped: Chunky Move Since 1995 Chunky Move has consistently been at the cutting edge of contemporary dance in Australia. It Cannot Be Stopped is a chance to see some of the country’s most exciting emerging choreographers in action, appearing as part of the company’s Next Move program. It’s the first time the program’s showcased the work of three choreographers, and Chunky Move couldn’t have found a more diverse trio. Ben Hancock was most recently seen in action in Neil Armfield’s Ring Cycle, the NGV’s Melbourne Now and Tassie's MONA FOMA, while Atlanta Eke’s work is grounded in political performance art. They’re joined by Paea Leach, whose practice centres firmly on dance. It Cannot Be Stopped will be performed from June 20-29. Book your tickets here. When: Friday, 20 June - Sunday, 29 June Where: Chunky Move Studios , 111 Sturt St, Melbourne How much: $20 - $30 Jesse Davidson Adelaide songsmith Jesse Davidson has been called prodigious and a wunderkind — and those Jeff Buckley comparisons just won't shake. This June and July, Davidson's taking his minimalist acoustics and dreamy vocals on tour, his first solo effort. The tour is set to draw a considerable loyal following who'll want seriously in-grill "I saw Jesse Davidson before anyone" bragging rights. Since being a runner-up in triple j's 2012 Unearthed High competition, the 18 year old has been signed for a Warner development deal, toured with Mac DeMarco and Ball Park Music, co-headlined with Eves, been signed to booking agency Select Music, finished school and released his debut EP Ocean — making you feel really great about having a good few years on him and feeling terribly unaccomplished in comparison. When: Saturday, 21 June - 8:30pm Where: Shebeen , 36 Manchester Lane Melbourne How much: $13 Melbourne International Animation Festival Hosted at ACMI in Federation Square, the latest edition of the 11-day festival shines a light on the world of independent animation. Feature-length efforts by Chris Sullivan and the Melbourne-born Elliot Cowan are the result of years of personal labour, and are sure to offer a very different aesthetic to the glossy productions of Hollywood. The bulk of the festival consists of short films, all of which are separated into streams. The spine of the program is the International Competition, split over seven sessions throughout the duration of the festival. There's also a showcase of South America, the Best of Next student competition, the mind-bending Late Night Bizarre, along with many, many more. For more information on the MIAF program, visit their website. When: Thursday, 19 June - Sunday, 29 June Where: ACMI , Federation Square, Melbourne How much: $7.50 - $120 West Elm and Etsy Pop-up West Elm are teaming up with Etsy this weekend to bring you an afternoon of crafty goodness from your favourite online designers. From 1pm to 6pm on June 21, you'll be able to track down and purchase unique items made by local artisans. Better yet, there's no need for postage fees or waiting periods. Etsy has curated a stellar line-up of 16 sellers, offering everything from nifty jewellery and funky stationary through to re-purposed timber homewares and hand-poured soy candles. There will be a broad range of handmade products oozing with style and personality. Plus, you'll get to chat to your local innovators over treats and tunes. When: Saturday, 21 June - 1:00pm Where: West Elm , 464 Chapel Street, South Yarra How much: FREE Photo credit: Kimberly Chau Lee. Frank There’s no one quite like Frank, the person, and there’s nothing quite like Frank, the film. The former, as played by Michael Fassbender while wearing a papier mache mask, is a soul seemingly eccentric but really just looking for the essence of creation and contentment. The latter is quirky by design but beautifully bittersweet by execution, revelling in all life’s failures and flaws. Frank leads an experimental rock band with the fittingly unpronounceable name of The Soronprfbs, and that’s exactly where Jon (Domhnall Gleeson) finds him. As the reconfigured group ventures from the Irish wilderness to the South by Southwest festival in Austin, Texas in search of musical fulfilment, the solace they find comes from internal, not external, forces. Read our full Frank review over here. When: Thursday, 19 June - Wednesday, 30 July Where: Various cinemas in Melbourne How much: $15 - $25 Northeast Party House Northeast Party House will be dominating The Corner with two shows over the weekend to launch their highly anticipated debut album. Any Given Weekend features dance floor fillers such as 'Youth Allowance' and 'Fake Friends', which are sure to stir a rambunctious crowd. Latest single off the album, 'The Haunted', is a great example of the strong songwriting chops and poppy hooks you can expect from the stellar debut record as a whole. Forming in 2010, these six Melbourne lads began by playing at warehouse parties, and their reputation for delivering high-energy live performances has stayed strong. Northeast Party House’s alternative dance rock is chaotic but never sloppy, and always wildly fun. When: Saturday, 21 June - Sunday, 22 June Where: The Corner , 57 Swan St Richmond Melbourne, VIC Australia How much: $18 Melbourne's Western Suburbs For a long time the western suburbs have been left off the grid. Cultural maps showing the best dining spots in Melbourne usually stop at North Melbourne, as if there weren't anything beyond Racecourse Road. And while these areas — think Kensington, Footscray, Yarraville, Flemington — have been traditionally frequented by those who actually live there, the western suburbs are slowly falling into the hands of our old friend and foe: gentrification. The suburbs left of the centre have been bubbling with brand new ventures lately, so we've put together the best of the west. No excuses for neglecting this side of town — Kensington is only two stops out of the city, after all. Check out our lineup of the best of the west over here. Words by the Concrete Playground team.
If there's one thing that can get a Sydneysiding burger fiend all jittery, it's a Mary's burger. Opened in an old Newtown warehouse in 2013, this humble burger joint has developed a cult-like following in Sydney over the last couple of years — they've even opened a second chapter in the CBD and made our ten best burgers in Sydney list. But now it's time for Melburnians to take a bite of the Mary's hype, putting aside our Huxtaburgers for a day and heading down to a one-day-only pop-up at fellow Americana lovers, Belle's Hot Chicken. On Sunday, May 24, Mary's will be making 200 burgers (that's right, 200 only) at BHC in Fitzroy, kicking off at around 4pm. We're guessing all focus will be on their famous Mary's burger, renowned for its mouth-wateringly tender med-rare beef patty slathered in liquefied cheese — whether the top notch veggie burger makes it down remains to be seen. But you're going to want to get there early; you can't pre-book a spot and these are seriously sought-after burgs. This marks the second Sydney/Melbourne swapsie for Belle's Hot Chicken, who took a pop-up to Bondi Icebergs earlier this year. Mary's Burgers pops up at Belle's Hot Chicken, 150 Gertrude Street, Fitzroy, Sunday, May 24 from around 4pm. Get. There. Early. Via Good Food.
Housed in a converted Brunswick warehouse space, Bhang specialises in regional Indian street food, incorporating lighter cooking styles from the southern regions with lots of coconut, red chilli, seafood and pork. As well as serving up delicious meals all round, the restaurant also plays host to a series of super affordable dinners. Called Thali Nights, they kicked off in 2018 and return every four to six weeks. Each dinner is influenced by a different region in India, showcasing the different flavours and varieties on offer throughout the south Asian nation. This month's affordable feast is inspired by Chennai, in the south of the country. Chennai is known for its street food, like dosa, biriyani, uttapam (which are like thick savoury pancakes), deep-fried vada and curries packed with chilli, coconut and tamarind. On Tuesday, September 17, diners will eat their way through generous vegetarian or meat thali platters filled with street snacks and bites, curries, salads, pickles, pappas, raitas, chutneys and Indian sweets, all for only $30. For the uninitiated — and if the above description didn't give it away — thali platters are Indian meals made up of lots of small dishes, so it's basically a dream option for the indecisive. There'll be drinks on offer, though they're not included in the price. Understandably, bookings are essential. We'll update you as more dates are announced. Image two: Kate Shanasy. Updated: July 15, 2019.
The National Gallery of Victoria has hosted some of Australia's biggest contemporary art exhibitions in recent memory. There was the Andy Warhol and Ai Weiwei blockbuster that paired the works of two of the most significant artists of the 20th and 21st centuries, the huge debut of the NGV Triennial late last year and, next week, the Melbourne gallery will unveil a collection of works from New York City's MoMA. But, in the coming years, all these exhibitions could be moved to a new location, as the Victorian Government has today announced plans for a brand new contemporary art gallery to be built nearby. This is a pretty big deal. The new gallery — dubbed NGV Contemporary (NGVC) — will be part of a major redevelopment of the Southbank arts precinct and, according to the Victorian Government, will be the biggest contemporary art gallery in the country. While it will be part of the NGV, it'll be a standalone gallery, and will be built around the corner on the site of the old Carlton & United Breweries building on Southbank Boulevard. It sounds like the NGV's permanent collection will stay at NGV International, while NGVC will focus purely on contemporary art and design. As well as the gallery itself, the redevelopment will also add 18,000 square metres of public space to the area, theatre upgrades and new facilities in an attempt to turn 1 City Road into Melbourne's arts hub. The State Government will invest $208 million for the first two years of the project — this will allow the NGV to start planning and raise philanthropic funds. Premier Daniel Andrews is calling the redevelopment a "once-in-a-generation" project, and thinks it will be a "game-changer" for the city. Once completed, we think it's safe to assume that the NGV will be able to pull even more big names for its blockbuster exhibitions.
In the mood for a Friday lunch splurge, without the pre-weekend budget blowout? This week, Neil Perry's fine dining institution Rockpool Bar & Grill has you covered, when it hops across the river for a special lunchtime pop-up in Alfred Place. The event is part of Rockpool Dining Group's June Producer Series, which heroes top local produce and suppliers. Pay a lunch visit from midday this Friday, June 22, and you'll be able to sink your teeth into a selection of primo Rockpool dishes, at around half of the usual price. That means both your wallet and your tastebuds are in for a serious treat, with entrees like oysters with mignonette clocking in at $19, and sides, including those legendary hand-cut chips a mere $6. A selection of mains from the wood-fire oven come in at just $29 a pop, including fish teamed with green olive butter, and a succulent Cape Grim scotch fillet with veal jus (which would usually be $70 at the restaurant). Make it a long lunch with one of the restaurant's famed passionfruit pavlovas ($12), and wine by the glass, bottle or carafe.
From the Box Hill Community Arts Centre and the art collection inside the historic town hall, to the bustling market and the annual Chinese New Year Festival, Box Hill has its share of suburban charm. As you may know first-hand, residents here are spoiled for choice when it comes to authentic noodles, hot pot and dumplings; a large percentage of the population has Chinese heritage, contributing to a community filled with family-run eateries and businesses and some of the best Asian food in Melbourne. We've teamed up with American Express to sift through the numerous independent local traders providing Box Hill and surrounds with the restaurants, cafes and shops that make the eastern suburbs so great. Strive to shop small, with these nine local businesses that will welcome you and your American Express Card like you're part of the family.
It's happening again: if a particular hit murder-mystery comedy is going to keep living up to its title, there's set to be another murder in the building. Viewers are currently watching what happens when someone is killed in New York's fictional Arconia complex for the fourth time, thanks to Only Murders in the Building season four — and a fifth round is now on the way as well. Everyone is already well-aware of the show's setup, too. Each season, a new murder takes place in the apartment tower that its main sleuthing trio call home. It was true in 2021's season one, 2022's season two and 2023's season three, as well as in the now-streaming season four. When season five will arrive hasn't been revealed, but the series has been dropping new episodes annually so far. Variety reports that there'll be ten episodes in the fifth season — so, ten more chances to see Selena Gomez (The Dead Don't Die), Steve Martin (It's Complicated) and Martin Short (Schmigadoon!) as neighbours and podcasters Mabel Mora, Charles-Haden Savage and Oliver Putnam. There's no word yet on guest stars, with Only Murders in the Building fond of enlisting plenty of other famous faces. Sometimes they play themselves, as Sting (The Book of Solutions) and Amy Schumer (IF) have. Sometimes the show gets Meryl Streep (Don't Look Up), Paul Rudd (Ghostbusters: Frozen Empire), Tina Fey (Mean Girls) and more into character. At present, in a season that's also taken them to Hollywood, Mabel, Charles and Oliver are looking into the death of Sazz Pataki (Jane Lynch, Velma), Charles' stunt double. They're also grappling with the fact that a Tinseltown studio wants to turn their podcast into a film. Cue Molly Shannon (The Other Two), Eugene Levy (Schitt's Creek), Eva Longoria (Tell It Like a Woman) and Zach Galifianakis (The Beanie Bubble) all popping up, with season four's new cast members also including Melissa McCarthy (Unfrosted), Kumail Nanjiani (Ghostbusters: Frozen Empire) and Richard Kind (Girls5eva). Alongside Short, Gomez and Martin, plus Lynch, fellow long-running Only Murders in the Building regulars Michael Cyril Creighton (American Fiction) and Da'Vine Joy Randolph (a newly minted Oscar-winner for The Holdovers) are also a part of season four. As always, knowing that there'll be another death in the Arconia doesn't mean knowing what's to come in season five — other than Mabel, Charles and Oliver getting sleuthing, with a heap of fellow big-name talent both helping and hindering their investigations. There's obviously no trailer yet for season five, but check out the full trailer for Only Murders in the Building season four below: Only Murders in the Building streams Down Under via Star on Disney+, with season four streaming now. Season five does not yet have a release date. Read our reviews of season one, season two and season three. Via Variety.
From atop South Yarra's Goldfields House, Beverly soars above the Chapel Street precinct from the 24th floor. Yet those hoping to soak up the 270-degree views in recent times might have been surprised to see the venue shut: unexpected water damage saw the venue close its doors in March. But putting a bad time to good use, the venue has quietly reinvented itself with new menus and experiences alongside a limited-time activation, Late Night Tales. Just in time for Beverly's second birthday, the venue's relaunch offers elevated yet easygoing lunch services, post-work DJ sessions and new function packages with unbeatable views. But it's the Late Night Tales sessions — held Thursday through Sunday from 9.30pm until the end of July — that are bound to attract attention. Here, guests choose a crafted cocktail and a handmade dessert for $45 per person. Perfect for the cold season, these cocktails go above and beyond. The indulgent Banoffee Bonfire features burnt butter-washed rum, banana liqueur and miso caramel, while the Cognac Cacao presents a luxe hot chocolate with a French twist. Adding to the cosiness, the menu also offers a winter-warming Gingerbread Amaretto and an Irish Coffee, brimming with refined espresso notes and a soft bourbon undercurrent. Each complements the venue's new dessert lineup, which includes treats like a Maya brownie with tequila-glazed pineapple, or the Mont Blanc with meringue and crumbly hazelnut streusel. "With Late Night Tales, we wanted to provide Melburnians with a luxurious respite from the cold and the opportunity to make the most of our vibrant city even as temperatures drop," says Beverly Co-Founder and Director Cameron Northway. The daytime dining menu has also received a makeover following Beverly's reopening. Head Chef David Ball's à la carte offering builds upon the venue's modern Australian cuisine, served with subtle Southern Californian flair. New dishes to sample include a prawn dog inspired by Ball's travels to Los Angeles and a bluefin tuna crudo, finished with bright winter citrus, black olives and pollen. "I see Beverly as a tree putting down roots," says Ball. "The more established she becomes, the further those roots grow. We're on an ever-expanding journey of progression, and capitalised on our temporary closure as an opportunity to really reflect and curate an approachable, produce-forward menu that's fitting for Beverly as she enters her third year." Beverly is open Monday from 4pm–late and Tuesday–Sunday from 12pm–late at Level 24, 627 Chapel Street, South Yarra. Head to the website for more information.
Australia's oldest public library is one of the many venues that has had to close again in a bid to contain COVID-19. So, you can't check out its new $88.1 million transformation, but you can still access its 4.1 million digital items, including books, music, photos, magazines and more. Part of that collection are the State Library of Victoria's 19,000 ebooks. The likes of Maxine Beneba Clarke's Growing Up African in Australia and Stranger Country by Monica Tan are available to read online or download for seven days for free — all you need to do is sign up for a free library membership over here. Once you've done this, you can also take part in the library's Instagram bookclub #SLVBookClub, where you'll find staff tips and book recommendations. Those interested in Victoria's history will find hours and hours of entertainment in the library's digital image pool. It's home to 170,000 historical pics, including some serious (such as Ned Kelly and architecture), some adorable (good dogs) and some hilarious (moustaches). Elsewhere on the library's website, you'll find online galleries, archival videos, family history research tools, music and magazines. Sign up to become a State Library of Victoria member over here and explore its digital collection. Top image: State Library Victoria Ian Potter Queens Hall by Patrick Rodriguez Updated July 9, 2020.
Never forget that the first American version of Godzilla thwarted the titular behemoth by using "an internet". That's the ridiculously awful 1998 film's legacy (well, that and fruitlessly trying to follow in Jurassic Park's footsteps more than its own Japanese predecessors). Deploying the same logic, Reddit should probably be the saviour in Godzilla: King of the Monsters. It isn't, but that might've proven more interesting. Continuing the new US-made series that began with 2014's Godzilla and will link up with Kong: Skull Island once next year's Godzilla vs Kong comes around, this 'MonsterVerse' sequel actually does take a few cues from its late-90s American counterpart — more than any movie should, and not to its benefit. Some come through in the story, including a routine finale in a sporting arena. Others are evident at the human level, corralling yet another array of dull, feuding characters scrambling all over the place. But the main similarity is something that all US Godzilla reboots have struggled with: not knowing what to do with its hulking star. It's unsurprisingly strange to watch people quaking in the famous kaiju's shadow, whether in awe, fear or both, while the film they're in focuses on their reactions instead of the towering figure. King of the Monsters ups the creature factor considerably, giving Godzilla friends (Mothra), frenemies (Rodan) and foes (King Ghidorah) amongst a 17-strong cohort of havoc-wreaking 'titans'. At a narrative level, it doesn't just lean into the idea that more of these giant, city-levelling critters exist — it makes that very notion its premise. Alas, the film prefers to explain that supersized lizards, insects, pterodactyls, mammoths and three-headed dragons are frightening via clunky dialogue and pained faces, rather than offer much monster-on-monster action. Taking over from Godzilla's Gareth Edwards, writer-director Michael Dougherty has a background in horror thanks to Trick 'r' Treat and Krampus, but misappropriates one of that genre's key elements. Watching scared folks react to mysterious bumps and jumps in the night works a treat, all thanks to the powers of suggestion and imagination, however the same isn't true when your whole movie screams "Aaaaaaah! Fucking huge monsters! And so many of them!" Five years after Godzilla emerged from the earth's depths to battle a massive unidentified terrestrial organism, humans are basically yelling the aforementioned line. The government wants to know how many titans exist so that it can exterminate them. Shadowy outfit Monarch, led by scientists Ishirō Serizawa (Ken Watanabe) and Vivienne Graham (Sally Hawkins), plead that people and Godzilla can live together, and that maybe good ol' Zilly could even save us all. Also working for Monarch in a Chinese facility, paleobiologist Emma Russell (Vera Farmiga) appears to feel the same way, creating a bioacoustics system that can communicate with the creatures. When she's kidnapped, along with her technological breakthrough and her teenage daughter Madison (Millie Bobby Brown), another group enters the fray. Overseen by British soldier turned eco-terrorist Alan Jonah (Charles Dance, because every movie has to feature someone from Game of Thrones), their aim is to let all of the titans loose, watch as they do their worst and hope that the ravaged planet is reborn in the aftermath. Thanos would be proud. Also popping up is Emma's kaiju-hating ex-husband Mark (Kyle Chandler), who once worked at Monarch, has a bone to pick with Godzilla and loves yelling about it while trying to rescue his daughter. And so everyone fights over what to do, with the shouting getting louder as Jonah keeps awakening more and more titans. Human noise isn't what anyone wants from King of the Monsters, though. And if someone does want to watch people squabble in the face of literally existence-shattering critters, the last live-action Japanese Godzilla, 2016's Shin Godzilla, delivered just that in a smart, thoughtful and engaging way. Here, the paper-thin, consistently cliched story doesn't justify so much chatter. Indeed, it feels as if it's been written to slot in beside the big beasty battles, then hurriedly padded out and over-extended when those massive monster melees didn't turn out as planned. Godzilla and Ghidorah do go head-to-head, more than once. Mothra and Rodan get to flap their wings, and brief clips of other creatures are glimpsed as well. King of the Monsters doesn't completely shy away from its prehistoric giants, but they're never the main attraction — or even much of an attraction at all. There's welcome reverence and respect directed Godzilla's way, however the movie barely acknowledges the character's metaphorical significance, preferring to show its love via a few impressive wide shots instead. And while simply pairing it with its fellow iconic figures in the same picture is inherently exciting, King of the Monsters essentially rests there. When it comes to the film's frays, they arrive packaged in dim, dark, Game of Thrones-esque lighting, blighted by ugly special effects and hardly serving up a spectacle. In fact, the battles feel rushed, busy, and never as fun and lively as you'd expect given the whole titan-versus-titan situation. Hollywood is never going to admit that it just doesn't quite get Godzilla, but perhaps it should. Or, maybe it should stop trying to style American Godzilla flicks after whatever else happens to be popular recently — Jurassic World: Fallen Kingdom is a clear influence on King of the Monsters, as is the Marvel Cinematic Universe, and it isn't a coincidence that the film taps Stranger Things' Brown for her big-screen debut. 65 years after the enormous lizard-style gargantuan made its initial appearance in the first Japanese Godzilla, it deserves better than by-the-numbers franchise-extending entries. The kaiju genre deserves better too, but at least it has Guillermo del Toro's great Pacific Rim. The fact that King of the Monsters delivers its most thrilling aspect in its credits — the sounds of the original, exceptional, still rousing Godzilla theme, not the obligatory post-reel stinger — screams louder than the movie's humans, and than Godzilla's own roars as well. https://www.youtube.com/watch?v=UW3xYYJ6NoE
When someone spots a giant spider, they take notice, even when it's simply a tall metal piece of art. Seeing one of Louise Bourgeois' towering arachnids is indeed a stunning experience; however, so is watching people clock her lofty works. Her Maman sculptures demand attention. They're the type of public art that audiences just want to sit around, soak in and commune with. They're photo favourites, too, of course — and one is coming to Australia. This will be the first time that Maman has displayed Down Under, with the world-famous work heading to Sydney as part of Sydney International Art Series returns for 2023–24. As previously announced, Bourgeois is one of three hero talents scoring a blockbuster exhibition during event, alongside Wassily Kandinsky and Tacita Dean. And, the nine-metre-high, ten-metre-wide sculpture that she's best known for will be catching Aussie art lovers in its web. [caption id="attachment_914565" align="alignnone" width="1920"] Louise Bourgeois' Maman, located outside the National Gallery of Canada. Radagast via Wikimedia Commons.[/caption] That said, there won't be any physical strings of silk — but Maman is that entrancing. The sculpture hails back to 1999, and boasts its name because it's a tribute to Bourgeois' mother. The artist described her mum as "deliberate, clever, patient, soothing... and [as] useful as a spider". If you're keen to see Maman on home soil, it'll sit on the forecourt of the Art Gallery of New South Wales' South Building from Saturday, November 25, 2023–Sunday, April 28, 2024 during Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day?'s run. And if it sounds familiar, that's because you might've seen permanent installations of the bronze, steel and marble work outside the Mori Art Museum in Tokyo — or at the Tate Modern in the UK, National Gallery of Canada in Ottawa, Guggenheim Museum Bilbao in Spain, Crystal Bridges Museum of American Art in Bentonville in Arkansas or the Qatar National Convention Center in Doha. [caption id="attachment_914560" align="alignnone" width="1920"] Louise Bourgeois 'Clouds and Caverns' 1982–89, metal, wood, 274.3 x 553.7 x 182.9 cm, Collection The Easton Foundation, New York, courtesy Kunstmuseum Den Haag © The Easton Foundation, photo: Christopher Burke.[/caption] "We are proud that the subject of our first major solo exhibition in our new SANAA-designed North Building, almost one year since opening, is the great Louise Bourgeois. We are honoured to introduce this deeply influential artist to new generations, and to have the opportunity to share the strange beauty and emotional power of her art with Sydney,' said Art Gallery of New South Wales director Michael Brand. "The scale of this exhibition, which is one of the most extensive ever dedicated to an international woman artist in Australia, demonstrates our commitment to revealing the depth and complexity of the artistic careers we explore and our commitment to celebrating the work of women artists in our collection and exhibitions." "We are proud to bring Maman, the largest spider sculpture ever made by Bourgeois, to Sydney for the very first time, and to be showcasing the extraordinary breadth of the artist's practice, which includes fabric sculpture, works on paper, bronzes, works from her series of Cells, mechanised sculpture, and more." [caption id="attachment_914563" align="alignnone" width="1920"] Louise Bourgeois 'Twosome' 1991, steel, paint, electric light, 190.5 x 193 x 1244.6 cm, Collection The Easton Foundation, New York © The Easton Foundation, photo: Elad Sarig.[/caption] A collaboration with The Easton Foundation in New York, Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day? will showcase more than 150 works. It's the largest survey of Bourgeois' work ever displayed in Australia — and, as Brand mentioned, one of the most comprehensive ever devoted to a female artist in the country. The Bourgeois exhibition will display 13 years after the Paris-born artist passed away in New York in 2010, and after she stamped her imprint upon the art of the 20th century. Visitors to will see her Personage sculptures from the 1940s, textile works of the 1990s and 2000s, and plenty in-between, with the showcase playing up the duelling themes and ideas in her work by taking over AGNSW's major exhibition gallery and 'the Tank'. Other highlights include The Destruction of the Father, which is among the pieces that've never been displayed in Australia before; Crouching Spider, and one of the biggest works ever to grace the Tank; Clouds and Caverns, which is rarely seen in general; and the mirrored piece Has the Day Invaded the Night, or Has the Night Invaded the Day?, which shares the exhibition's moniker. [caption id="attachment_889027" align="alignnone" width="1920"] Louise Bourgeois, The destruction of the father 1974-2017, archival polyurethane, resin, wood, fabric and red light, 237.8 x 362.3 x 248.6 cm. Glenstone Museum, Potomac, Maryland. Photo: Ron Amstutz. © The Easton Foundation.[/caption] Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day? runs from Saturday, November 25, 2023–Sunday, April 28, 2024 at the Art Gallery of New South Wales, Art Gallery Road, The Domain, Sydney, with tickets on sale from Wednesday, September 6. Sydney International Art Series runs from November 2023 — head to the AGNSW and MCA websites for further details. Top image: Louise Bourgeois 'Maman' 1999, installed during the exhibition 'Louise Bourgeois: To Unravel a Torment', Museu de Arte Contemporânea de Serralves, Porto, 3 December 2020 – 20 June 2021 © The Easton Foundation, photo: Filipe Braga.
Haven't seen The Last Jedi yet? Been waiting until the Boxing Day rush dies down to see the last batch of 2017 flicks? If so, and you're a Melburnian headed to a Village Cinema, you might want to keep an eye on ticket prices. During the summer holidays, the cinema chain is trialling dynamic pricing at selected sites. In other words: if you go during peak times, you'll pay more for the privilege. As first reported on Reddit, after 5pm on Fridays and Saturdays, customers can expect to spend between 50 cents and $1 more to watch whichever feature takes their fancy, and to see candy bar costs rise by between 30 cents and $1 per item. Yes, it's the same concept that Uber users hate during busy periods, now showing at multiplexes including Crown, Fountain Gate, Doncaster, Jam Factory, Southland and Werribee. The idea of variable movie ticket prices isn't new — student discounts, cheap Tuesdays and the like — but charging more during peak cinema-going slots isn't going to be well-received given that Aussie ticket costs rose 31 percent in the decade to 2016. Interestingly enough, while Village Cinemas is ramping things up in popular periods, it's not decreasing them for slow sessions and times. It might be school holidays, but we're guessing that some titles on their schedule aren't selling out to weekday morning crowds, particularly if they're not aimed at kids. In 2017, an app called Choovie proposed the same concept, calling themselves "Uber for movies" and offering up bargains in quiet spots. It currently features deals at selected times in selected locations, all for less than the regular multiplex ticket prices. Going to the cinema hasn't died out as many have predicted over the years, and isn't likely to. The thrill of seeing a new film on a big screen in a darkened room with (hopefully) no distractions is something that your huge TV and Netflix just can't beat, and nor can piracy. Still, with Aussie attendance in decline, charging viewers more for seeing a flick at times when most people like to go to the movies is up there with the rumour that Apple would introduce a 'theatre mode' option for mid-movie texting — that is, it's a downright terrible idea. Via news.com.au
Sweet treats and smooth jazz go hand in hand, with the return of Jazz High Tea to The Pavilion at the Arts Centre. On the first Sunday of every month, visitors can indulge in an afternoon of luxury, as sparkling wine, freshly brewed tea and house-made cakes and pastries are paired with some of the finest jazz acts in town. Designed to cater to both jazz fiends and newbies, the lineup features no shortage of local talent. April will welcome drummer and vocalist Rod Gilbert, followed by husband and wife duo Kimba & Ryan, along with their longtime double base collaborator Mark Elton, in May. Other performers include vocalists Chelsea Wilson and Kelsey James in June and July respectively, cabaret chanteuse Tamara Kuldin in August, gypsy swing ensemble Le Grand Soiree in September, and long time performer Vanessa Fernandez in October.
Prepare yourself for a serious dose of girl power: Janelle Monáe and Kimbra have announced they're joining forces for an Australasian tour, on sale this Thursday. The two pop heavyweights, who bonded at the Montreux Jazz Festival in Switzerland last July, are coming to Australia for The Golden Electric Tour at the end of May. Scheduled for four shows throughout Australia, the dynamic duo is also making a stop in Kimbra's native New Zealand before closing out the tour in Melbourne. The award-winning pop powerhouses will co-headline the tour, combining forces for a portion of the show while also playing individual sets. Kimbra and Monáe first made sweet music together at an impromptu bar gig when they met last year. Their taste for eccentric pop music coupled with fierce vocals proved a heavenly match, thus the idea for a joint tour was born. To (successfully) hype us all up for the endeavour, the pair released an unfathomably adorable video singing a mash-up of Aretha Franklin's 'Rock Steady' and Michael Jackson's 'Wanna Be Startin' Something', both of which are sure to be on the set list. https://youtube.com/watch?v=SyqltX5lRhQ Monáe will feature tracks from her 2013 release The Electric Lady, as well as her celebrated 2010 debut album The ArchAndroid. Kimbra is expected to release the follow-up to her 2011 album Vows later this year, so fans should expect some new gems amongst the singalongs. Tour Dates: Friday, May 16 - Challenge Stadium, Perth Monday, May 19 - Hordern Pavilion, Sydney Wednesday, May 21 - Brisbane Convention Centre, Brisbane Saturday, May 24 - Vector Arena, Auckland Monday, May 26 - The Plenary, Melbourne Tickets go on sale 10am on Thursday, April 17 via Live Nation. Pre-sale is available for My Live Nation members at 10am on Monday, April 14.
Melbourne's been under stay-at-home orders for what feels like three years, and there's still another month of stage four lockdowns stretched out before us. And by this point, you've probably got a few mates who are feeling a little glum, bummed out by that big list of things we're currently not allowed to do. You can't exactly swing past their house or hand out any real-life hugs, but you can spread some cheer by way of a nifty care package, hand-picked by you and dropped neatly on a doorstep. Whether you've got a mate who's partial to some chocolate indulgence, or know a friend who would use a few mood-boosting fresh blooms, show them you care with one of these local gifting services guaranteed to put smiles on dials. NOT-BORING HAMPERS FROM GOOD DAY PEOPLE This crew is reimagining the humble gift hamper, swapping out the standard bath soaps and boring bickies for fun, quality goodies, and finishing it all off with some bright, mood-boosting packaging in the form of funky printed cans. It's serving up a smart edit of themed gift packages you'd actually want to receive, heroing small Aussie businesses. Currently, you'll find 36 different hampers, including one for 'Gourmet Greg' — packed with Drunken Sailor relish, Maya Sunny honey, a bottle of local wine, Olsson's sea salt and some Bramble & Hedge nougat — and, for 'Perky Pam', an assembly of Bottl(ed) cocktails, Grandvewe sheep whey gin, a pack of cowhide coasters from Mr and Mrs White and Hey Tiger Fairy Wings vegan milk chocolate. Good Day People offers standard shipping, though select suburbs can also take advantage of next-business-day express delivery for a $19.95 flat-rate fee. To order, head here. INDOOR PLANTS AND CARE PACKAGES FROM HELLO BOTANICAL With all this time spent at home, your mate might as well have their space looking schmick. And Hello Botanical has a premium selection of easy-care plants to help do just that. The online store is stocked with a hefty range of greenery, that can be home-delivered in custom-made planter pouches and with handy care instructions attached. While you're shopping, check out the accompanying lineup of gifts, green thumb accessories, candles and care packages — the 'Lockdown Essentials' curation is especially well-timed. Best of all, Hello Botanical's $15 same-day delivery service is available across most Melbourne suburbs, as long as you order before 12.30pm, Monday to Friday. Hello Botanical's same-day delivery is available across Melbourne for orders placed before 9am Monday–Friday. It's a $15 flat rate, or free if you spend over $199. To order, head to the website. CHOCOLATE GIFT PACKS FROM MELBOURNE COCOA Send a friend a chocolatey smile and a sugar high, thanks to a new series of indulgent gift packs from local chocolatier Melbourne Cocoa. There are five bundles to browse and buy online, from a five-pack of the group's best-selling signature bars ($39.95), to a couples' pack featuring premium truffles, a chocolate block and some luxe drinking chocolate ($49.95). You'll even find a vegan haul, showcasing a lineup of Melbourne Cocoa's finest Victorian-made cruelty-free treats ($45). Right now, there's free shipping for all orders over $45, with deliveries running Monday to Thursday. Melbourne Cocoa is currently delivering Monday to Thursday, with free shipping for orders over $45 and a $15 flat-rate fee otherwise. Head here to order. CHEERY BOUQUETS FROM POSITIVE PARCELS This new floral delivery service is encouraging Melburnians to pass along the cheery feeling that comes with treating someone (or yourself) to a gorgeous bouquet — while also supporting the local flower industry. The Positive Parcels collection of blooms includes small and large seasonal arrangements, rose- and tulip-only displays, plus potted orchids and preserved flowers that are designed to last forever. You'll also find a series of treat-yourself care packages, stuffed with non-floral goodies like bottled Taylor & Smith cocktails and Bay of Fires cheese. What's more, $5 from every purchase is donated to Headspace Australia. Positive Parcels is also positioning itself as a pass the parcel-type service, encouraging folks who receive one of their packages to spread the cheer by purchasing another gift for someone else. Positive Parcels prices include delivery for addresses within 20km of the Melbourne CBD. Deliveries run Tuesday and Thursday, and orders must be in before 4pm the previous day. To order, head to the website. Top image: Good Day People
From global behemoth Netflix to the arthouse, indie and documentary-focused Kanopy, picking a streaming platform can take as much time as actually picking something to watch on a streaming platform. The latest to enter the market has quite the point of difference, however — and not just because it's free. If viewing the likes of Bronson, Drive, Only God Forgives and The Neon Demon has you on the same wavelength as filmmaker Nicolas Winding Refn, then you're in luck — the Danish writer/director has started his own streaming service. Called byNWR.com, it's a self-appointed "an unadulterated expressway for the arts", according to the site itself. After opening in beta in July, it's now officially up and running. A venture in conjunction with existing platform Mubi as well as the Harvard Film Archive, byNWR.com highlights a different restored cult classic each month, with the selection picked by a guest editor. Each film is supported by content themed around the chosen flick, such as essays, videos, photos and music. If you're thinking that you've probably seen the movies on offer (and that they're probably available elsewhere), think again. The site launched with three titles chosen by journalist Jimmy McDonough, and it's highly unlikely that you've watched and rewatched 1965 horror effort The Nest of the Cuckoo Birds, 1967's Hot Thrills and Warm Chills and 1967's Shanty Tramp endlessly, or even seen them on a big or small screen recently. The second volume will start rolling out from September, and will include 1961 thriller Night Tide starring Dennis Hopper, 1971's If Footmen Tire You, What Will Horses Do?, and 1967's Spring Night, Summer Night — all curated by film publication Little White Lies. "I hope my site will inspire people to see the world a different way," Refn explained The Guardian, while also touching upon something fans of the filmmaker's own work will be more than familiar with: pushing people out of their comfort zones. If Refn's choices sound like the kind of thing you would like to see in a cinema, Little White Lies also reports that the streaming site will be accompanied by special screenings around the globe.
Bridge Road Brewers likes to celebrate the Victorian hop harvest in a big way — that is, with an annual beer festival that gives punters the rare chance to taste true freshly hopped brews. High Country Hop will return to the Beechworth brewery for its tenth year on Sunday, March 22, bringing together booze, food and live tunes. The brewery's car park will host several other brewers from the region, including Billson's Beechworth, Bright Brewery, Crank Handle Brewery, King River Brewing, Mitta Brewing and Mountain Monk Brewers. This year, there will also be special guests from beyond the region — Kaiju Beer, Loveshack Brewing Co., Mountain Culture, Wildflower Brewing & Blending, and Range Brewing. Basically, you can expect an enormous amount of beer at the High Country Hop Festival this year. This'll be partly balanced out with the inclusion of a few local winemakers and distilleries. Apart from booze, there's also an all-day music festival going down. Live bands and DJs will amp up the party atmosphere, with Kaiit, The 5678s, Darren Hanlon, Benny & The Flybyniters, and Sky High Trio hitting the stage throughout the big day. There'll also be a heap of food trucks and plenty of family-friendly activities. First-release tickets to 2025's High Country Hop are going for $59 per person and include a $10 drinks token. Family bundles are also available for those coming with kids.
First, the glorious news: since Thursday, August 5, all has been right in Melbourne's cinema scene again. For the first time 2019, the Melbourne International Film Festival has been taking over the city's picture palaces, filling them with the best movies it can find and letting film lovers live their most joyous lives. Yes, it's as wonderful as it sounds. Now, the sad news for Melburnians: come Sunday, August 21, this year's in-person MIFF comes to an end. Thankfully, MIFF Play, the festival's online platform, is sticking around for another week. That's a wonderful development for cinephiles located well beyond Melbourne, too, with the digital program showing nationally. Finding something to stream is never difficult these days, but until Sunday, August 28, your usual queue can wait. It'll still be there when you're doing MIFFing on your couch — after popping your own popcorn, pouring a glass of wine, and politely asking your partner or housemate to turn their phone off, to complete the cinema-at-home experience. But when that date rolls by, MIFF Play's impressive lineup won't still be there at the touch of a button. It's the MIFF you can hit up when you can't be at MIFF, and these are our ten must-see picks. Happy watching. HIT THE ROAD How fitting it is that a film about family — about the ties that bind, and when those links are threatened not by choice but via unwanted circumstances — hails from an impressive lineage itself. How apt it is that Hit the Road explores the extent that ordinary Iranians find themselves going to escape the nation's oppressive authorities, too, given that the filmmaker behind it is Panah Panahi, son of acclaimed auteur Jafar Panahi. The latter's run-ins with the country's regime have been well-documented. The elder Panahi, director of Closed Curtain, Tehran Taxi and more, has been both imprisoned and banned from making movies over the past two decades, and was detained again in July 2022 for enquiring about the legal situation surrounding There Is No Evil helmer Mohammad Rasoulof. None of that directly comes through in Hit the Road's story, not for a moment, but the younger Panahi's directorial debut is firmly made with a clear shadow lingering over it. As penned by the fledgling filmmaker as well, Hit the Road's narrative is simple and also devastatingly layered; in its frames, two starkly different views of life in Iran are apparent. What frames they are, as lensed by Ballad of a White Cow cinematographer Amin Jafari — with every sequence a stunner, but three in particular, late in the piece and involving fraught exchanges, nighttime stories and heartbreaking goodbyes, among the most mesmerising images committed to celluloid in recent years. Those pictures tell of a mother (Pantea Panahiha, Rhino), a father (Mohammad Hassan Madjooni, Pig), their adult son (first-timer Amin Simiar) and their six-year-old boy (scene-stealer Rayan Sarlak, Gol be khodi), all unnamed, who say they're en route to take their eldest to get married. But the journey is a tense one, even as the youngest among them chatters, sings, does ordinary childhood things and finds magic in his cross-country road trip, all with zero knowledge of what eats at the rest of his family. WE WERE ONCE KIDS A wide array of movies first hit silver screens in 1995, as they have every year since the advent of the medium. It was the year of Clueless, Before Sunrise, Billy Madison, Empire Records and Casper — and of Casino, Apollo 13, Babe, Showgirls and Seven, too. But only one is the subject of excellent documentary We Were Once Kids, which sees Australian filmmaker Eddie Martin (All This Mayhem, Have You Seen the Listers?) peer back at perhaps the most controversial movie of the 90s. That's the era's judgement, as archival news clips make plain from the outset. When Larry Clark's Kids reached cinemas, the mainstream press was scandalised at its portrait of New York City, the teens who live in it, and the drugs, sex, parties and violence that's shown to be an everyday part of their lives. Even if any of that was actually shocking, it'd have nothing on the tale around the tale — one about a tight-knit group of friends growing up in poverty, meeting Clark and a then 19-year-old Harmony Korine, finding their existence turned into a movie, and getting little more than some screentime and $1000 to show for it. Hamilton Chango Harris is one such Kids alum, aka a skater who temporarily became a movie star. He and his pals enjoyed Clark and screenwriter Korine's attention, and the break from their routines — with skating and partying already a break from their troubles, including parents struggling with addiction, at home. Harris is We Were Once Kids' key subject, but Martin understandably focuses on Justin Pierce and Harold Hunter, who had the biggest hopes for post-Kids fame but tragically aren't here now to tell their own stories. This is a gripping and damning doco about filmmakers who catapulted to success on the back of exploiting the working class, and about the complete lack of care they had for the lives they co-opted and the fallout. One story, from Harris, Pierce and Hunter's friend Highlyann Krasnow, says oh-so-much. She opted out of featuring in Kids when she saw how Clark and Spring Breakers' Korine had sexualised their group. That didn't change the film at all; instead, Chloë Sevigny (Russian Doll) and Rosario Dawson (DMZ) were cast, and are now household names. YUNI Again and again in Yuni, a heartbreaking clash echoes. Its sounds stem from schoolyard gossip, superstitious tut-tutting, ultra-conservative demands and reminders that its titular character shouldn't steal anything purple that she sees. In the third feature from Indonesian filmmaker Kamila Andini (The Seen and Unseen), Yuni (Arawinda Kirana, Angkringan) is a 16-year-old in a Muslim society where agreeing to an arranged marriage is the only thing truly expected of her. When the movie begins, a proposal from construction worker Iman (Muhammad Khan, Memories of My Body) already lingers. After she declines, her classmates chatter. Then another offer comes from the much-older Mang Dodi (first-timer Toto ST Radik), who is looking for a second wife. Yuni knows the accepted myth that any woman who refuses more than two proposals will never wed, but she's also keen to make her own choices. She has a crush on teacher Mr Damar (Dimas Aditya, Satan's Slaves), and spends time with the younger and infatuated Yoga (Kevin Ardilova, Vengeance Is Mine, All Others Pay Cash). She's also the smartest student at her school, with dreams of attending university. Andini's film is full of specifics, diving into the minutiae of Yuni's life — surveying Indonesian society and its customs, the roles thrust upon women from their teenage years, and enormous gap between the path that she's supposed to follow and the yearnings of her heart. This is a movie where scenes of its protagonist hanging out with her friends, whether kicking back on the grass talking about boys or dressing up with her beautician pal Suci (Asmara Abigail, Satan's Slaves 2: Communion), could be scenes from almost any teenage girl's life. Of course, then the reality sinks in, whether in discussions about husbands, babies and virginity tests, or in the teary worries about horrific power imbalances. The ability of poetry to capture everything that can't be easily uttered otherwise also floats through Andini's deeply moving picture, so it should come as no surprise that Yuni is both naturalistic and lyrical. It's precise and universal, follows an easily foreseeable path and yet proves full of surprises, and is astutely directed as well — and Kirana is a star. MASS Two couples, one church, six years of baggage and two absent children. That's one of the equations at the heart of Mass. Here's another: four phenomenal performances, one smart and affecting script that tackles a difficult subject in a candid and thoughtful way, and one powerful directorial debut by actor-turned-filmmaker Fran Kranz. Best known for on-screen roles in Dollhouse, The Cabin in the Woods, Homecoming and Julia, the latter guides gripping portrayals out of Reed Birney (Home Before Dark), Ann Dowd (The Handmaid's Tale), Jason Isaacs (Operation Mincemeat) and Martha Plimpton (Generation) — and crafts a harrowing yet cathartic drama out of the aftermath of a far-too-familiar tragedy, too. The reason that Richard (Birney), Linda (Dowd), Jay (Isaacs) and Gail (Plimpton) are in the back room at a place of worship, discussing their kids with heartbreak etched across their faces? Richard and Linda's son Hayden was a school shooter, killing Jay and Gail's son Evan in his spree, then turning the gun on himself. What can anyone say in that situation? Kranz, who both writes and directs, keeps his screenplay simple — but as loaded with emotion as the scenario obviously requires. He keeps his filmmaking flourishes just as restrained as well; that's a craft in itself, but the cast rather than the technique is the focus here. At first, they utter loaded lines with weighty awkwardness, aka the kind that fills and silences a room. Then, each in their own way, they unleash the hurt, anger, regret, sorrow, misery and more that's festering inside their characters, and that no amount of talking can ever completely capture. Mass is a musing on that very fact, too: that even the most spirited of dialogues, slinging about both carefully chosen and heatedly spur-of-the-money words, can't fix, explain or do justice to the pain that Richard, Linda, Jay and Gail are going through. The end result would make an exceptional, albeit unshakeably distressing, double with We Need to Talk About Kevin, The Fallout or Vox Lux, or even Elephant or Polytechnique as well. LEONOR WILL NEVER DIE To create is to become immortal. Write something that's hopefully committed to print or pixels forever, or direct a film that'll ideally keep reaching eyeballs in some format year after year, and a part of you — the part you've invested in time, sweat, tears and creativity — lives on eternally. That notion haunts playful and perceptive Filipino genre-bender Leonor Will Never Die, which understands the power that making a movie has both for the talents involved and the audiences watching. The eponymous Leonor Reyes (Sheila Francisco, Gulong) is an action-film director, albeit one whose heyday is behind her. She stopped stepping behind the camera after a tragedy, and her family has suffered in the aftermath. With her husband Valentin (Alan Bautista) gone and her favourite son Ronwaldo (Rocky Salumbides and Anthony Falcon) dead, only her other offspring, the concerned, discontent and constantly critical Rudie (Bong Cabrera), remains at her side. But Leonor still types away her ideas, and fantasises about how they'd turn out — including when she's knocked unconscious in an accident, only to wake up inside one of her scripts. To create something, such as a film, its screenplay or both, is also to become a deity in a way. That concept also lingers over Leonor Will Never Die, too, because we're all gods over our own existences. When first-timer feature writer/director Martika Ramirez Escobar has her protagonist thrust into a space that should only dwell in the character's head and pages, this constantly twisting feature ponders agency, control and the power of our choices — and, often, the lack thereof. It explores escapism and wish fulfilment as well, all while proving an inventive and pulpy action flick itself, a thoughtful family melodrama, a rumination on life and regrets, a musing about grief and, frequently, an absurd comedy. Case in point re the latter: Leonor, the cinema-obsessed filmmaker, is knocked into her coma by a falling TV. Once you've seen the film, you'll realise that that sounds like something she'd dream up herself. THE HUMANS If you're the kind of cinephile who likes to theme their viewing around the relevant time of year — holiday-related, primarily — then you're clearly always spoiled for choice. Christmas movies, horror flicks at Halloween, Easter-relevant films: you can build a binge session out of all of them (several in fact, depending on the occasion). The same applies to Thanksgiving, all courtesy of the US, and The Humans is the latest addition to the November-appropriate list. But while it ticks a few easy boxes, including bringing a family together to celebrate the date, steeping their get-together in awkwardness, and having big revelations spill out over the course of the gathering, this A24-distributed release is far creepier and more haunting than your usual movie about America's turkey-eating time of year. Based on Stephen Karam's Tony-winning play, and adapted and directed for the screen by Karam himself, it's downright unsettling, in fact, and for a few reasons. There's the tension zipping back and forth between everyone in attendance, of course; the bleak, claustrophobic, rundown setting, in a New York apartment close to ground zero; and the strange sounds emanating from other units. As a result, seasonal cheer is few and far between in this corner of Manhattan, where the Blake family congregates in Brigid (Beanie Feldstein, Booksmart) and her boyfriend Richard's (Steven Yeun, Nope) new abode. Also making an appearance: parents Deirdre (Jayne Houdyshell, Only Murders in the Building) and Erik (Richard Jenkins, Nightmare Alley), Brigid's older sister Aimee (Amy Schumer, Life & Beth), and their grandmother Momo (June Squibb, Palmer), who has dementia. No one is happy, and everyone seems to have something that needs airing — but there's always the feeling that, in any other location, this might've truly been a joyful affair. Discussions about dreams and nightmares prove revealing, but The Humans points out the thin line between both, whether we're slumbering or waking, several times over in its talky frames. MILLIE LIES LOW A scene-stealer in 2018's The Breaker Upperers, Ana Scotney now leads the show in Millie Lies Low. She's just as magnetic. The New Zealand actor plays the film's eponymous Wellington university student, who has a panic attack aboard a plane bound for New York — where a prestigious architecture internship awaits — and has to disembark before her flight leaves. A new ticket costs $2000, which she doesn't have. And, trying to rustle up cash from her best friend and classmate (Jillian Nguyen, Hungry Ghosts), mother (Rachel House, Cousins) and even a quick-loan business (run by Cohen Holloway, The Power of the Dog) still leaves her empty-handed. Millie's solution: faking it till she makes it, searching for ways to stump up the funds while hiding out in her hometown, telling everyone she's actually already in the Big Apple and posting faux Instagram snaps MacGyvered out of whatever she can find (big sacks of flour standing in for snow, for instance) to sell the ruse. There's a caper vibe to Millie's efforts skulking around Wellington while endeavouring to finance her ticket to her dreams — and to the picture of her supposedly perfect existence that she's trying to push upon herself as much as her loved ones. Making her feature debut, director and co-writer Michelle Savill has imposter syndrome and the shame spiral it sparks firmly in her sights, and finds much to mine in both an insightful and darkly comedic manner. As she follows her protagonist between episodic efforts to print the legend — or post it one Insta picture at a time — her keenly observed film also treads in Frances Ha's footsteps. Both movies examine the self-destructive life choices of a twentysomething with a clear idea of what she wants everyone to think of her, but far less of a grasp on who she really is and what she genuinely needs. While some framing and music choices make that connection obvious, the astute delight that is Millie Lies Low is never a Wellington-set copy. WE ARE STILL HERE It begins with stunning animation, shimmering with the rich blue hues of the sea. From there, everything from lush greenery to dusty outback appears in its frames. The past returns to the screen, and a vision of the present finds a place as well — and crossing the ditch between Australia and New Zealand, and venturing further into the South Pacific, is baked into the movie's very concept. That film is We Are Still Here, which makes an enormous statement with its title, responding to 250 years of colonialism. Of course, filmmakers in the region have been surveying this history since the birth of the medium, because the topic is inescapable. Combining eight different takes from ten Indigenous filmmakers instantly makes We Are Still Here stand out, however — and this Pacific First Nations collaboration, which opened Sydney Film Festival before coming to MIFF, isn't short on talent, or impact. Australian filmmakers Beck Cole (Here I Am), Danielle MacLean (Carry the Flag), Tracey Rigney (A Chance Affair) and Dena Curtis (Back to Nature) add their parts, as do New Zealand directors Tim Worrall (Head High), Richard Curtis (Nanakia), Renae Maihi (Waru), Miki Magasiva (The Panthers), Chantelle Burgoyn (short Tatau) and Mario Gaoa (Teine Sa). Some of their chapters explore heated discussions about whether to fight back, others find understanding in unlikely places, and another heads into the First World War. The same passion — the same determined survey of what it means to live in countries forever changed by James Cook's landing — beats within each, whether peering at the animated stars, trying to survive in the trenches or pondering what might come is earning attention. Understandably, it makes for not just potent but sincere, weighty and moving viewing. PIGGY Hell is other people in Spanish horror film Piggy, an observation that's been made countless times on-screen. Hell is also today's always-online world, another familiar statement. Still, a movie doesn't need to trade in completely new observations to stand out — which this bullying-revenge film definitely does in a plethora of ways. Sadly, its title stems from the taunt slung in its protagonist's direction much too often. A resident of a small, sleepy Spanish village close to the Portuguese border, Sara (Laura Galán, Unknown Origins) is called other names, too, none of them kind. She's also almost drowned by her tormentors during a trip to the local pool, where they're as cruel as anyone can be about her body. That experience comes with consequences, however, when a kidnapper strikes. Sara is a witness, the three mean girls that've made her life miserable go missing, and the right next step isn't straightforward. Galán is astonishing in Piggy, reteaming with writer/director Carlota Pereda after also starring in her 2018 Goya Award-winning short of the same. This full-length expansion is a vicious marvel, too — and it isn't afraid to get brutal either thematically or physically, or to plaster gory sights across its imagery. Indeed here, seeing a murdered corpse weighted down at the bottom of a public pool isn't a pretty vision, unsurprisingly. That said, it also pales in comparison to the nastiness continually thrust Sara's way, and to everything the film sinks a knife into about being a woman today in the process. Piggy is also astonishingly stylish, using its Academy-ratio frames to ramp up the sense of claustrophobia to an immersive degree. Pereda has enjoyed stints behind the lens since 2008, spanning television, shorts and features, but this immediate must-see deserves to put her on the path to a great genre career. LOVE AND OTHER CATASTROPHES There's no doubting that MIFF loves Melbourne. In the festival's 70th year, it's celebrating that fact in a huge way, too, courtesy of a Melbourne on Film program strand. That's the part of this year's overall festival lineup that surveys the way that the Victorian capital has been seen on the big screen over the years, complete with 25 examples — spanning everything from The Story of the Kelly Gang, aka the world's first full-length film, through to the original Mad Max. One absolute must-see, in general and as part of this MIFF showcase, hails from the 90s. The tale it tells couldn't be more relatable, even if you weren't a uni student navigating all of life's chaos three decades back. Indeed, if you only watch one movie from MIFF's Melbourne love-in, Love and Other Catastrophes is that pick — as well as a stellar 1996 debut by writer/director Emma-Kate Croghan, who was only 23 when she made this micro-budget gem. The focus: two film students, Mia (Frances O'Connor, The End) and Alice (Alice Garner, Jindabyne), who've just moved into a new place. They're in need of another housemate, and — as the title makes plain — they do indeed have love and other catastrophes to weather. For starters, while Mia's girlfriend Danni (Radha Mitchell, Girl at the Window) is keen to join them, that'd take their relationship to another level. Then there's Alice's romantic woes, involving both the resident university ladies' man Ari (Matthew Dyktynski, Offspring) and the quiet, besotted Michael (Matt Day, The Unusual Suspects). Yes, as well as being an astute and amusing rom-com, Love and Other Catastrophes is also a who's who of Aussie talent — and the picture that helped put O'Connor and Mitchell on the road to everything from AI: Artificial Intelligence and The Conjuring 2 to Pitch Black and Man on Fire. MIFF Play, the 2022 Melbourne International Film Festival's digital fest, runs from Thursday, August 11–Sunday, August 29. For further details, visit the MIFF Play website.
Work has kicked off on the Regent Theatre's first makeover since the building reopened to the public back in 1996. What's more, the Melbourne heritage site's new look will be making a rather dramatic debut, having landed a blockbuster show that'll help celebrate the revamp in fittingly huge style once complete. With upgrade works slated to wrap up next year, The Regent's confirmed that in 2021, its stage will play host to the Aussie debut of Moulin Rouge! The Musical — a new production based on Baz Luhrmann's award-winning musical film, which arrives Down Under hot off the back of a much-lauded launch season on Broadway. The show brings to life the famed Belle Époque tale of young composer Christian and his heady romance with Satine, actress and star of the legendary Moulin Rouge cabaret. Set in the Montmartre Quarter of Paris, the film's known for its soundtrack, celebrating iconic tunes from across the past five decades. The stage show carries on the legacy, backing those favourites with even more hit songs that have been released in the 18 years since the movie premiered. [caption id="attachment_734113" align="alignnone" width="1920"] The Regent Theatre by Josie Withers[/caption] The musical is heading to Melbourne in the hands of production company Global Creatures, along with the Victorian Government. The Government will also be a big player behind the Regent's upgrade works, having dropped a cool $14.5 million towards the $19.4 million project. It co-owns the site, along with the City of Melbourne. Once complete, the new-look theatre will be able to be set to three different configurations, from 1500 seats, to 1700 seats, to 2300 seats for the bigger shows. As well as upgrades to its façade, the building will enjoy improvements to the theatre seating, revamped bar and foyer areas, extra women's bathroom facilities, and an extension to the existing balcony. Having survived a fire, a flood and a twenty-year closure from 1970 to the mid-90s, as well as many threats of demolition, the Regent seems pretty well deserving of its coming makeover. The Regent Theatre, at 191 Collins Street, Melbourne, is set to be completed by early 2020. It'll host Moulin Rouge! The Musical in 2021. Moulin Rouge! The Musical image: Matthew Murphy.
Zach Cregger knows how to keep audiences guessing. The films that viewers think they're sitting down to see when he's behind the lens as a solo director aren't the movies that end up unfurling across the screen — in the most-thrilling way possible. Perhaps that element of surprise is fitting, given that Cregger's career has also enjoyed its own big twist. Before he wrote and directed 2022's Barbarian and now 2025's Weapons, he started out as an actor, debuting in an episode of Homicide: Life on the Street. Next, he helped form comic troupe Whitest Kids U' Know, which took its sketches to TV for five seasons. Comedy flicks College, Miss March and The Civil War on Drugs, the latter two of which he co-helmed and co-penned with fellow WKUK founder Trevor Moore, are also on his resume, as are Love & Air Sex and Date and Switch. Ahead of making two of the 2020s' best horror movies so far, Cregger also featured in sitcoms Friends with Benefits, Guys with Kids, About a Boy and Wrecked. He doesn't necessarily agree that Weapons fits that surprise setup, however. "Is that true? I don't know," Cregger tells Concrete Playground. "Definitely, I understand that for Barbarian, but I think I take issue with that for Weapons. I think Weapons is a relatively consistent movie. It's just we don't know what the answer is, but it never really seems to change to me." He continues: "to me, it does seem like it maintains a tone throughout. We just don't know where it's going to go". The mastermind behind the enthralling Josh Brolin (Outer Range)- and Julia Garner (Fantastic Four: The First Steps)-starring film — which deserves to be one of this year's most-talked about trips to the cinema — notes that Weapons "doesn't radically shift genres or anything like that, does it?". He's spot on. But even audiences that've seen the movie's trailers, obsessed over them thanks to their Barbarian affection and know the opening premise won't predict where this wild horror ride takes its story. "Well, it's a mystery. That should be the case," says Cregger, smiling. Sending viewers on an unexpected trip is exactly his aim as a filmmaker. In both Weapons' sneak peek and the film itself, a child's voice sets the scene. "This is a true story," it starts with, although this is a fictional tale. Those youthful tones and that five-word phrase are where Cregger himself began writing — and also with the idea of a kid telling a campfire story. Initially, he too didn't know where the narrative would then venture. The rundown from that voice, as told with unnerving calm: "so this one Wednesday is like a normal day for the whole school, but the day was different. Every other class had all their kids, but Mrs Gandy's room was totally empty. And do you know why? Because the night before at 2.17 in the morning, every kid woke up, got out of bed, walked downstairs and into the dark — and they never came back". In her second horror flick of 2025 after Wolf Man, Garner plays Justine, the Maybrook Elementary teacher mentioned. When 17 children in her class disappear, blame comes her way — both fast and furiously. Brolin portrays Archer Gaff, the angry father of one of the missing kids, who is desperate for answers, quick to embrace the catharsis of pointing fingers wherever he can and also a constant presence at the local police station, because he's adamant that not enough is being done on the investigation. From there, Weapons' cast also spans Alden Ehrenreich (Ironheart) as Paul, one of the small town's cops, who has a link to Justine; Benedict Wong (Bad Genius) as Marcus, the school principal; Cary Christopher (Days of Our Lives) as Alex, the only child in the class in question who doesn't run out into the night; and Austin Abrams (Wolfs) as the looking-for-a-fix James. Each one, like Justine and Archer, earns their own chapter. As he did in Barbarian, Cregger demonstrates a strong, engaging and devilishly clever command of Weapons' disquieting tone from its first moment till its last, including through its imagery. He's astute and smart about interrogating humanity's suspicious nature as well — of anyone we can hold responsible for our misfortune, or who doesn't meet our societal standards; of strangers; of anyone who calls us out — as he also was in his debut horror movie. He's also sharp and probing about weaponising mistrust. That digging also shines through in his ensemble's excellent array of performances. And, while he's made another picture dripping with unease, that rattles nerves and unsettles — a mood that bubbles up immediately and simmers constantly from there — he also splashes in moments of humour. There's an element of the Lynchian to Weapons, too, as it takes its can't-look-away journey. We also spoke with Cregger about a number of these aspects of the movie — and chatted with him about the film's inspiration, following the death of Moore, but not just adding another grief- and trauma-fuelled entry to the horror genre. If you've spotted that Barbarian began with strangers discovering something distressing in someone else's house, while Weapons commences with 17 children fleeing their own homes, we also talked with him about that swerve, alongside scaling up from one film to the next. On Whether Veering From Sinister Events Happening in Other People's Houses in Barbarian to 17 Children Leaving Their Own Homes in Weapons was a Purposeful Move "No. No, I try not to do anything purposefully when I'm writing, honestly. It's just for me, writing is a process of discovery, and I try and be as careless as possible. And so no, I certainly don't think about what I did before or anything like that when I'm writing." On the Inspiration for Weapons, After the Writing Process Started with the First Sentence Heard in the Film and with a Child Telling Audiences a Story "Well, I was dealing with grief. A very, very dear friend of mine died. And so I was feeling the absence of someone dear to me. And so the idea of writing about a community that is reckoning with the absence of something precious felt easy for me to access. And I was able to of funnel a lot of the emotion into these characters and let them just speak authentically. And so that's where it comes in. By the way, that was not like a conscious thought — like 'oh, I miss my friend, and so I'll [do this]'. It's just that's what subconsciously wanted to come out. And so my whole job as a writer, honestly, is to try to just turn my brain off as much as I can and become an antenna to my subconscious, and let it out and try to stay out of the way. And so this is the story that came out." On Loss, Grief and Mortality Being Common in Horror — But Using Them as a Starting Point Instead "It's so boring. Genuinely — it's like I'm so tired of horror movies as a metaphor for trauma and grief. It's just like 'can we turn the page already and make a horror movie that's just fun?', you know? And hopefully, that's what Weapons is supposed to be. It's just a fun rollercoaster ride. I do not have anything new to say about grief and trauma, and I don't pretend to. That's just the jumping off point." On Making Horror Films That Are Also Mysteries — and If Taking Audiences on a Ride and Keeping Them Guessing Is Important to Cregger "I don't know. It's not if it's important to me or not. It's about — I write only for an audience of one: for me. So I'm writing, my process is 'can I entertain myself?'. Because I am so ADD, and I'm so bored all the time. Especially when I'm watching movies, I'm so frequently bored. It's hard for me to finish any movie, mostly, because I just bail. So I want to write something that's going to hold my attention. And so I never — that's why I like to write not knowing where it's going to go and what's going to happen, and I try and keep myself engaged. So that, to me, is my only kind of barometer. I think I sounded a little asshole-ish when I just said that, but I don't mean to be throwing shade on other movies." On Whether Cregger Is Particularly Interested in the Weaponisation of Suspicion and Mistrust — Especially If Someone Else Can Be Blamed for Our Misfortunes "I suppose so. That's definitely human nature, right? We other-ise so easily. And I'm sure I've been on both sides of that many, many times in my life — and it's fertile ground for conflict, misreading other people and all of the all of the sabre-rattling that we see in modern culture, especially in America. It seems like all we do is just get worked up about other people that we don't understand, so I think that's very accessible as a writer." On What Inspires Cregger's Haunting, Lingering Horror Imagery "I have no idea what inspires it. I wish I had a good answer for that because I'd be able to do it more often, but I don't know. It's a case-by-case thing. It's a circumstantial thing. I have to think of something in the moment for what the character is facing. So I don't have any catalogue of creepy shit that I'm able to access — I just kind of, as the scene requires, try to do my best to think of what would be the scariest thing there. There's the people sitting on the couch not moving, which I think it's just bizarre that they would hear the sound — then who sits on their couch in the living room with the lights off? It's just — something's wrong. So that felt fun. The kids running with their arms out — it just feels like anytime you can just do something simple that implies there's a screw loose, that's fun to do. You want to create the maximum disconnect with the least amount of effort. But yeah, I don't know — I wish understood where those things can come from better, because I think I'd be a better writer." On Layering Humour Into a Film That Is Expertly Disquieting From Start to Finish "I think the lesson I learned in Weapons is that there are a few jokes I wrote in there that I thought were really funny. I wrote them in. And they didn't work. When I let the characters have their authentic reaction to bizarre situations, sometimes the humour just naturally appears. And that's what I try to encourage. But I've learned on this never to try to be clever and write a joke, because they're all on the cutting room floor and nobody liked them. So I guess that's my only kind of philosophy, is 'let it come from a real place. Don't try and be funny'. For me, by the way — that's just for me." On Working with a Cast That Includes Julia Garner, Josh Brolin, Alden Ehrenreich, Benedict Wong and More "I feel like a kid on Christmas every day. Watching these people who are so extremely good at what they do, leaning into making this story — I can't believe how lucky I am. Honestly, once I cast them, I really don't have a whole lot of credit to take. I kind of stand back and let them just do their thing. I just try to make sure that we're all making the same movie. They're so talented, they can go anywhere, and my job is to just make sure that we all have the same parameters. But yeah, I have had an amazing stroke of luck with everyone in this movie. They're all great." On Scaling Up From Barbarian to Weapons "Well, you never feel like you're on easy street. And I think if the budget was $200 million for this movie, I still would have felt the pinch. Because 'the lizard will grow to the size of its cave' is that an expression someone said to me once that I really like — where you just never feel like you have enough time and enough money to make it the way it wants to be made. And I think that's just filmmaking. I don't think that's unique to me. So, as fun as it was to be able to take a bigger swing and shoot bigger setpieces and have more stars in the movie — and all of that's great — you're still panicked that you're not going to get the shot before the sun goes down. That's just inevitable. And I don't mean to complain. I felt the bigger scale, don't get me wrong. But you still always feel like your back is against the wall." Weapons screens in cinemas Down Under on Thursday, August 7, 2025.
Code Black Coffee knows how to cafe. Each of its six sites serve some of the city's best breakfasts and cups of joe, plus the sleek warehouse design in its larger Brunswick and North Melbourne venues is oh so Melbourne. The team is conquering the city, one cup of coffee and eggs benny at a time, with no signs to slow down. That's especially clear as it just opened its seventh outpost on Flinders Lane. Here, the team is pumping out the types of dishes that have seen Code Black assume a rightful claim to being one of the very best places for breakfast in Melbourne. On the menu, you'll find dishes like baked eggs with truffled white beans, smoked ham hock and parmigiano; milk bread mille foglie with poached rhubarb and pistachios brought together with a burnt butter mascarpone; and house-made soda bread topped with seasonal mushrooms, whipped buffalo ricotta, crispy onions and chimichurri. Of course, coffee is a also huge feature at the new Flinders Lane spot. Expect your usual milky options and on-tap batch brews as well as coffee flights and caffeine-infused cocktails — both boozy and non-alcoholic. Code Black's more unusual zero-proof bevs include an espresso martini with Vegemite syrup, as well as one featuring lemongrass, anise syrup and earl grey tea, and the Morning Bar Coco that sees cold filter coffee given a lift by rooibos tea, coconut water and cream. You've also got two vodka-based espresso martinis, an alcoholic coffee negroni and a bunch of other caffeinated sips spiked with booze. If you're keen to explore a lot of this menu, you might want to get a few with decaf. The new space, designed by We are Humble (Kaiju Cantina, No. 100 Flinders Lane, CoConspirators Brewpub, Ruby Dining and Good Measure), feels a lot more like a cocktail lounge than a cafe, which will make more sense once the team opens for nighttime trade. It's painted in the cafe's signature black all over, decked out with leather upholstery and dimly lit throughout. Melbourne's already got some stellar CBD breakfast spots, but there's always room for more — especially when they're also open on weekends like Code Black Coffee's Morning Bar. You'll find Code Black Coffee's Morning Bar at 189 Flinders Lane, Melbourne, open 7am–5pm during the week and 8am–4pm on weekends. For more details, head to the venue's website.
Melbourne has some great movie theatres, but in our opinion, there's nowhere better than The Astor Theatre. At the very end of Chapel St, The Astor is the last single-screen cinema in continuous operation in Melbourne — still standing since its grand opening right back in 1936. Two levels of seating are complete with those sorts of art deco chairs you often find in old-school cinemas or vintage stores. Despite that, there's nothing particularly old-fashioned about this cinema. It's fully air-conditioned and complete with a great sound system and a giant screen. It's famous for its double features, and regular screenings of cult classics and selected new releases. Before you arrive, visit Lucky Coq down the road for a five-dollar pizza. If it's warm enough, take it up to the rooftop — a classic Melbourne date night. Images: Charlie Kinross Photography
When Darth Vader told Luke Skywalker that they're more than just mortal enemies, it became one of the most famous lines of dialogue in movie history (and one of the most misquoted). If you've seen Star Wars: Episode V — The Empire Strikes Back, you'll know that it's a powerful, memorable moment that changes the shape of the entire space saga. Even if you haven't, you still know what we're talking about. Now, imagine just how epic it'll feel when you're watching the flick on a big screen and listening to John Williams' iconic score played by a live orchestra. Yes, The Force is strong in Melbourne once more, with Melbourne Symphony Orchestra staging the next in its series of Star Wars events: The Empire Strikes Back in Concert. This isn't the first time that the MSO has done the honours with this very film, but after returning to Star Wars: Episode IV — A New Hope already in 2023, it's clearly working its way back through the space-opera franchise. This time, there'll be four screenings and performances from Thursday, October 19–Saturday, October 21 at Hamer Hall. Jedis, wookiees and droids alike can expect tussles between the Rebels and the Empire, Luke learning his true parentage, Han flirting with Leia and getting frozen in carbon, Chewbacca being awesome, R2-D2 being adorable and C-3PO being annoying (well, he is). Plus, it's the flick that marks the first appearance of Lando Calrissian and the first time 'The Imperial March' is heard. Conductor Nicholas Buc will be leading the charge again, and expect an energetic performance — it's his favourite Star Wars score. "'As well as being a fan favourite in the series, The Empire Strikes Back introduces perhaps the greatest villain's theme in cinematic history, 'The Imperial March'. Williams' bombastic music for Darth Vader has since come to represent everything evil in the Star Wars universe and, combined with his new love theme for Han and Leia, this score improves on everything that Williams started in Episode IV,' said Buc. Star Wars: The Empire Strikes Back in Concert will screen at Hamer Hall from Thursday, October 19–Saturday, October 21. Head to the MSO website for further details, and for tickets from 10am on Tuesday, January 31.
Every film festival has its highlights, and its events that make each specific fest special. For the Melbourne International Film Festival, its Hear My Eyes gigs are one such standout. With movies such as Drive, Girlhood, Suspiria and Two Hands, MIFF has brought beloved and classic flicks back to the big screen, accompanied by a live — and all-new, completely original — score that's played while film lovers sit, watch and listen. It's as unique a movie-going experience as you can get, even if you've seen the feature in the spotlight countless times before — and for MIFF 2022, another exceptional film is getting the Hear My Eyes treatment. Get ready to revisit the role that made Eric Bana an international movie star, and to dive back into one of the most infamous crime tales in Australian history. In other words, get ready for Chopper. Twenty-two years after it first hit cinemas, the exceptional Andrew Dominik (This Much I Know to Be True)-directed flick will grace The Astor Theatre's big screen for one night only, on Wednesday, August 17, with sessions at 6.15pm and 9pm. It'll also pair its visuals with a brand-new original live score, as spearheaded by Mick Harvey, member of the Bad Seeds, and the musician who originally gave Chopper its soundtrack. As well as composing the new score, Harvey will be joined by supergroup Springtime — featuring Gareth Liddiard from Tropical Fuck Storm and The Drones, Jim White from Dirty Three and Chris Abrahams from The Necks — to play it live. That big-screen date with Uncle Chop Chop is all well, great and fantastic for Melburnians, with tickets on sale from 10am on Thursday, June 16 — but it's also excellent for Sydneysiders, too. Outside of MIFF, Hear My Eyes will bring its Chopper performance to the New South Wales capital, at City Recital Hall, at 6pm on Saturday, August 27. Tickets for the Sydney show go on sale at 9.30am on Thursday, June 16. Check out the trailer for Chopper below: HEAR MY EYES 2022: Wednesday, August 17 — 6.15pm and 9pm, The Astor Theatre as part of the Melbourne International Film Festival Saturday, August 27 — 6pm, City Recital Hall, Sydney Hear My Eyes' Chopper screenings with Springtime + Mick Harvey start touring the country in August. For more information or to buy tickets, head to the Melbourne International Film Festival and Hear My Eyes websites. The 2022 Melbourne International Film Festival runs from Thursday, August 4–Sunday, August 28 at a variety of venues around Melbourne and Victoria, and online. For further details, including the full program from Tuesday, July 12, visit the MIFF website.
