Poodle Bar & Bistro, founded by Zoë Rubino and Emilio Scalzo, has become a much-loved fixture on Fitzroy's Gertrude Street over the years. The interiors, designed by local firm Bergman & Co, boast leather banquettes, art-adorned walls, dark timber accents and an art deco-inspired bar. The spacious, Euro-inspired patio courtyard is also a huge drawcard, primed for any weather but especially grand on balmy, spritz-filled afternoons. Now, Poodle has welcomed a new, French-born chef with Michelin-starred pedigree to head up its Gertrude Street kitchen. While Jordan Clavaron may have been raised in Fontainebleau, France, he is no stranger to the neighbourhood, having previously led the kitchen at Cutler. Clavaron was introduced to the fine-dining world at a young age, with his father earning a Michelin star at his restaurant, which instilled within him a deep and unwavering passion for cooking. Clavaron spent time at Joel Robuchon's renowned L'Atelier in Paris and other prestigious kitchens in France before honing his skills at fine dining establishments across the world, from London to Brisbane. Since making Melbourne home, he has led the kitchens at Cutler, Lucia in South Melbourne and even earned a chef's hat at Cape Schanck. And now, he brings his wealth of experience and knowledge to Poodle. He has reinvigorated the menu with French bistro classics, reimagined through a modern Australian lens. There's burrata with tapenade, broad beans, and a sugar tuile, dry-aged beef tartare served in a bone with vinegar crisps and egg, and seaweed madeleines with roe or caviar. For something more substantial, try the duck breast with beetroot and Davidson plum, or spring lamb loin with lettuce, goat cheese and baba ganoush. Clavaron says, "My style of cooking is about creating food that feels familiar but is presented with a little surprise. It's classic at its heart, with a twist. The energy of the place really drew me in. It's a bistro at its core, but one that doesn't take itself too seriously. That balance of tradition and creativity feels very true to how I like to cook." You may have already witnessed the magic of Clavaron's meringue dessert, which has found viral fame on social media. The chocolate, bourbon and coffee dessert, which took five years to create, includes a lightly torched, spiralled meringue with perfectly piped grooves for the coffee sauce to be poured into. Clavaron cares about his team and is committed to creating a positive culture at the restaurants, something he cherished while working in a bustling kitchen in London. "I want my team to be proud of what they do, to always be learning and teaching. When someone leaves my kitchen, they should leave with something they didn't have before." Images: Supplied.
If you're looking for a real Greek feed, head to Ermou Gyros on Swan Street for the kind of meal you'd expect on the streets of Athens. Generous portions, tasty meats, fresh ingredients, and warm, welcoming service are the name of the game at Ermou. The owners, born-and-bred Athenians, grew up running gyros bars and souvlaki shops in Greece, and when they moved to Melbourne, they noticed souvlakis just didn't have the same sought-after taste as the ones they grew up eating and serving in Greece. So they set out to change that. The meats at Ermou are cooked upright on a rotating skewer, and never over charcoal, just like they make them back in Athens; hence, they are called gyros, which literally means to turn or spin. The meats are sliced thin and stuffed generously into a thick, fluffy pita. The pork gyros comes with tomatoes, onions, tzatziki and chips — don't ask for lettuce or garlic sauce, that's not the way here. The Athenian wrap is inspired by the meals the owners' grandfathers loved in Athens and Piraeus back in the 1950s. Traditional beef patties are smothered in a spicy red sauce with tzatziki, onion and chips. If you're not into meat ("What you mean he don't eat no meat?" IYKYK, and if you don't, go and watch My Big Fat Greek Wedding immediately), you can get a haloumi wrap with Ermou sauce or a pita filled to the brim with zucchini fritters, chilli feta dip and sweet potato chips. Once you've tried one Ermou gyros, we know you'll be back for more, but next time we implore you to try the chicken skepasti. This Greek version of a club sandwich is a modern favourite among Athenians. Chicken gyros is layered with bacon, lettuce, tomato, onion, cheese and sauce, and sandwiched between two thick pita breads. If you somehow still have space, go for the classic Greek orange fillo cake topped with Greek yoghurt ice cream for dessert. It's as sweet as the deals you're in for at Ermou, with the massive wraps coming in at around $16, and most of the entrees and sides available for less than $10. Images: Supplied.
Southbank has scored a bustling venue that brings a new take on 'Lebo-terranean' cuisine to Melbourne. Bar Bouni blends the comfort of traditional Lebanese hospitality with the flavours of the Mediterranean to create a bold menu and a laidback, yet welcoming venue. Bar Bouni is the latest venture from hospitality group Tommy Collins, drawing on its founder Ben Avramides' 'Lebo-terranean' heritage. With the new restaurant, he continues a legacy of hospitality in his family that dates back to the 1950s. His grandfather operated a popular pastry shop, followed by his father, who ran other beloved venues in Sydney that attracted diners from across the city for lively dinners and a taste of genuine Lebanese hospitality. Jessica Mantilla takes the lead in the kitchen, putting her own spin on the humble rotisserie, with dishes such as juicy harissa chicken, crispy crackling pork belly, and tender, charry cauliflower with almond tarator and curry leaves. The rotisserie dishes are amped-up with Bar Bouni's signature and complimentary sauces, including garlic toum, herbaceous zhoug, and rich and flavourful muhammara. Don't skip the 'sharik' ('accompaniments'), like the pickled vegetables with sumac labneh, za'atar flatbread with hot honey, eggplant skewers with green tahini, and seasonal fattoush. Drinks are in the experienced hands of Bar Manager Federico Soligno from Vue De Monde, who oversees a considered, modern wine list and selection of fresh cocktails. Jewel-toned features and inviting, rich velvet set the tone for a space that is theatrical, yet generous and approachable. Bar Bouni has introduced a stellar all-you-can-eat special, Bottomless Dayze. The generous, Lebo-terranean tasting experience distils the best of Bar Bouni's Middle Eastern-meets-Mediterranean menu into a bottomless offering for just $34.90 per person. Bottomless Dayz is available on Saturdays, during lunch or dinner sittings and over the course of 90 minutes diners will be delighted with a steady rotation of generous dishes. Expect menu highlights such as Lebanese pickles with za'atar flatbread and hot honey and plancha grilled kofta topped with zhough, as well as seasonal plates full of freshness. And that's not all. For just $49.90, add bottomless cocktails, beers and wine to the Bottomless Dayze offer to make it a real party. Images: Supplied.
Stunning art always endures, as A Streetcar Named Desire has for nearing eight decades now. Tennessee Williams' tale of Southern belle Blanche DuBois, her sister Stella and the latter's husband Stanley Kowalski first premiered via a Broadway production starring Jessica Tandy, Kim Hunter and Marlon Brando, and has repeatedly returned to stages since. Indeed, this southern-gothic heartbreaker has trodden the boards worldwide with everyone from Glenn Close (Black in Action), Cate Blanchett (Black Bag) and Frances McDormand (Women Talking) to John C Reilly (Winning Time: The Rise of the Lakers Dynasty), Joel Edgerton (Dark Matter) and Paul Mescal (Paul Mescal) in its cast. Four Oscars also came the way of Elia Kazan's 1951 film, where he adapted the play that he'd directed in theatres into a screen classic with much of its originating stage cast. Spectacular theatre can make that leap to screens — but the stage productions themselves have historically only lived on via memory and reputation. No matter how immersive and exceptional, and how urgent and unforgettable as well, theatre performances are live and therefore fleeting. They're tied to a specific place and usually solely experienced in the moment. NT Live did its part to help change that over 15 years ago, when it began filming National Theatre productions in the United Kingdom — expanding to other companies, too — then beaming everything from new Shakespearean stagings and Danny Boyle's (28 Years Later) take on Frankenstein to Fleabag and The Importance of Being Earnest into cinemas globally. In 2014 when he unleashed his Gillian Anderson (The Salt Path)-, Ben Foster (Long Day's Journey Into Night)- and Vanessa Kirby (Napoleon)-starring version of A Streetcar Named Desire at The Young Vic in London, Australian playwright, stage and opera director, and filmmaker Benedict Andrews was well-aware that he was taking on a classic, a masterpiece, and a play that ranks among the 20th century's best and has burned itself into memories. He'd done so before at the Schaubühne am Lehniner Platz in Berlin. He didn't initially know, though, that he'd be joining the NT Live ranks, that audiences worldwide would be able to catch it on the big screen, and that they'd still be watching 11 years later. In Australia, Andrews' Streetcar returned to cinemas from Thursday, June 19, 2025. "The play is very dear to my heart, but the nature of theatre is usually that it's ephemeral," he tells Concrete Playground. "Theatre's usually ephemeral and that is its beauty — that it usually just exists in this brief compact with the audience and the viewer when the play comes to life nightly. So it's weird that it's released in cinemas again. It's great though — because I found during COVID, they re-released it for free online at some point, and it found a whole new generation of viewers," the Australian continues. "Not just people who didn't live in London or New York, so couldn't see it there, but I'm having conversations with people in in really far-flung and diverse places, and maybe of a different generation who are seeing it, and discovering the play for the first time through that production." "I've had people tell me that — like a young actress tell me that seeing this production when she was in high school made her want to become an actress. So it's great it's out in the world again, and on cinema screens." [caption id="attachment_1010339" align="alignnone" width="1920"] Gareth Cattermole/Getty Images for BFI.[/caption] Complicated relationships, desire, raw emotions that can't be contained: these themes have recurred in Andrews' work. They all scorch and sear as Blanche's once well-to-do life keeps shattering, leading her to take the titular transport to Stella and Stanley's two-room New Orleans apartment, and to the toxicity — verbally, emotionally, psychologically and physically — of being in her brother-in-law's orbit. If you'd like to think of the trio's altercations, and those involving Stanley's friend and Blanche's hoped-for beau Mitch (Corey Johnson, September 5), as a traumatic merry-go-round, Andrews has taken that idea literally in this staging. Tying into Blanche's alcoholism and downward spiral, this aesthetically striking production is both in the round and revolves, the skeleton of the Kowalskis' powderkeg of a flat exposed to theatregoers as the show constantly rotates. Sculptural sets, spaces that actors are required to interact with rather than just stand upon, are equally a regular element in Andrews' stage creations. See also: his Cat on a Hot Tin Roof in 2017, another dance with a Williams great for The Young Vic that was also immortalised by NT Live. Streetcar's iteration is arresting, but that label perhaps best applies to Anderson as its Blanche — a part that she'd been wanting to step into since she was 16. While she'll always be The X-Files' Agent Dana Scully, The Fall's DSU Stella Gibson and Sex Education's Jean Milburn, among the immense range of roles before and after always relying on the kindness of strangers, Anderson's portrayal here is one that you'll always remember her for as much as the above once you've seen it. 2026 will be three decades since Andrews kicked off his career as a theatre director with Wounds to the Face and Storm From Paradise in Adelaide. From the South Australian capital, he went to Sydney Theatre Company, Belvoir and Malthouse Theatre — and to London's stages, New York's as well with both A Streetcar Named Desire and Cat on a Hot Tin Roof, and also Munich, Berlin, Reykjavik, Copenhagen, Buenos Aires, Amsterdam, Frankfurt and more. Opera beckoned. On the big screen, he was behind 2016's stage-to-screen adaptation of Blackbird as the Rooney Mara (La Cocina)- and Ben Mendelsohn (Andor)-starring Una, then 2018's Kristen Stewart (Love Lies Bleeding)-led Seberg. Alongside digging into his Streetcar journey, including whether thinking about the cinema experience is part of directing a stage production that will be filmed and then show in cinemas, Anderson's stellar work, and ensuring that the play's themes and emotions are always bubbling, we also explored his path to here with Andrews in our in-depth discussion. On Whether the Possibility of a Stage Production Being Filmed for the Big Screen Changes Anything About Andrews' Approach "No, no, no, never. In the case of Streetcar, I didn't know. I guess NT Live branching out of the National Theatre stuff, because this was a Young Vic production, was fairly uncommon at the time. I've had two productions filmed, I think, only — which have both been Tennessee Williams. They also filmed the Cat on a Hot Tin Roof. And no, I don't and probably I wouldn't at all. Well, I've had a bunch of operas films since as well — and I never think about it. When I've worked with the team on it, I talked to them about it like they're filming a boxing match or a football game. So we discussed what their setup would be, and with them having watched the production. Obviously Streetcar is very special because of the revolving stage, and what that means to try to shoot that or capture that, but I discuss it with them more like they're going in to shoot that, to capture the live experience of it. Rather than, because I'm also a filmmaker, rather than thinking about this filmmaking, I see it as much more of almost a functional recording that they happen to do very well — like if you watch boxing at the Olympics or you watch a well-filmed AFL game, you want it to capture the highlights and the moments, and give you the enhanced sense of being there. I think I'm trying to do that. So then, when I'm in the rehearsal room, no, I'm not thinking about that at all. I often, when I'm in a rehearsal room, I give myself and the actors very fundamental challenges to work with and overcome. And those challenges, I think, are about — they're like a kind of drill to drill very deeply into the core of the play. Rather than just assuming we can access that play by selling this kind of difficulty, I think then it allows you to access the raw matter of the play in a new and immediate way. So the revolve in the Streetcar production was exactly that. I felt it was the perfect metaphor for the play. It begins when she takes this schluck of alcohol. It reflects her addiction and the sense of what it means to be in her downward spiral with her. But it also is very visceral. Every single audience member gets a different perspective on what's happening in that room, as it constantly — the in-the-theatre experience of it — moves in and out of long shot and closeup, and literally every seat is seeing a different way into this cage where this encounter is going on between Blanche and Stanley. And we had that on throughout rehearsals. It's not some big decorative thing that's put on at the end. If it's going to be this drill, we have to learn to work with it. And the effect of it was so disorientating that the actors would go home and the room would be spinning. And I remember my apartment in London spinning when I went back after being it on all day. I think they would to take motion-sickness tablets, and so on. Beyond that, it's just also: how do you use it? What does it mean to be on and off it? And all that. So when you're so busy with the play and busy with helping the actors unlock it and find its raw heart, which all of them do, but particularly the four, the quartet, of Blanche and Stella and Stanley and Mitch, there's so much to be busy with in that that I'm not thinking about that. But in a similar way, I'm not really thinking about the audience, even the theatre audience, when I'm making something — until I'm in previews. I'm sort of the first audience, and the other people in the room are the tuning rod through which the players get to charge through. And then you hope you get that to such a point of intensity and feeling that then it's ready to share with a larger body of people." On How Staging a Play on a Revolving Set Gives Every Audience Member a Different Immersive Experience "I'm constantly thinking about that. And part of this is the acceptance that you cannot control that it will not be the same for everybody. To take the football analogy again, if you're sitting behind the white sticks at one end, you're seeing a different game from somebody sitting in the centre line, except then that it's moving, so you're rotating that perspective. But you have to accept that no audience member will literally ever get the same view of the show, so that even if audience member X bought exactly the same seat two nights in a row, just because of the slight variation in the motion of that thing, they're going to — maybe on a certain line, Blanche is going to be on the side angle one night, and on the next, she's going to be momentarily obscured by the shower curtain coming past. But that was part of it — that enhanced voyeurism of that, but it's like an active voyeurism, like you're aware that you're watching this fight in this cage, but also this very, very painful to watch, at-times unraveling and madness, this coming apart, of this woman and this family, and the sexual violence when that begins. But I think it meant that the audience had to really lean in and be complicit with it. So to answer your question, I'm thinking about the overall implications of that. Like if I was making a static picture from the front, that works — actually, that changes, the static picture changes from the position, the ideal centre-perspective position where the king used to sit, it actually changes as you move further away and the perspective disintegrates. So there's sort of something radical and democratic in how people watch it. That cinematic effect of the wipes, and that you would each see different perspectives — but in the end, everybody united in the same moment. That's what I think is also really interesting. I think about it in the moment, when the Cat Power song plays at the end, when she walks out — one of the most-extraordinary moments in 20th-century theatre, this speech when she talks about, she's so broken after the rape and after knowing she's being evicted and her psyche can't cope with it anymore, but to cope with that she invents this beautiful fantasy of this man feeding her a grape on a on a boat. And she, her genius is that she invents this, and Tennessee Williams' genius at this most-broken moment, she invents and becomes the perfect actor, playing this dignified role of this woman going to meet her gentleman caller. When we know, and probably she does, that it's the doctor and nurse coming to take her to the mental asylum, which is just going to be fucking hell. A woman like that does not belong in a place like that. It's completely heartbreaking. But the apotheosis when she invents this character, and walks out with such grace and dignity — and then in our production, where Gillian does that circle, that last circle to the Cat Power song, I think for the audience, having watched just this truly extraordinary thing that she goes through, the gift and self-sacrifice, nightly self-sacrifice of Gillian's performance, at that moment, the entire audience is just completely gathered and at one. So I think there's something about having fractured that perspective, then feeling them come together at that moment of apotheosis. I think you're always thinking about that, how to activate that, whatever then the device you're using is. It's a bit of a similar thing in The Cherry Orchard that I just recently staged, where there's also an audience all the way around. But the actors don't have fixed positions. They change what they're doing nightly. So again, the show is constantly evolving and changing and organic, but at the same time, directorially it's still very tightly held. Even if I'm fracturing that viewpoint in Streetcar between all these different viewpoints, I want, ideally, every viewpoint to be perfect — the perfect frame at every moment." On Casting Gillian Anderson in a Role That She'd Wanted to Play Since She Was a Teenager — and Giving Her Another Iconic Part That She'll Always Be Remembered For "This was my second time staging it. I staged it at the Schaubühne in Berlin a couple of years before, in German, and I always wanted to have another crack at it. And weirdly enough, that production of Streetcar was seen by David Lan, the then-Artistic Director of The Young Vic, where we staged Streetcar. And from that, he invited me to come and work in London — and I did first an opera for him, and then a production of Chekhov's Three Sisters, which also had Vanessa Kirby in it as Masha. And Gillian saw that, and said to David 'I want him to direct me in Streetcar'. So when we met to talk about that, she told me how she'd always been thinking about Blanche and always knew she wanted to play Blanche, and I could sense that profound hunger in her to do that. And I already had the plan in my skin. They're wildly different productions. We had a revolve in that, actually, but they're wildly different productions. But it was interesting to have that as a framework — so the first one was like sort of a rough sketch, and then the second one was much more elaborate. So it was just a beautiful kind of confluence of me feeling very close to the play — really, really hungry to do it in English — and then finding, for me, the perfect actress for it at exactly the right time in her life to want to do it. And it was a process and then a production just full of enormous trust and risk. I think from our very first meeting, we felt that we had found each other. I knew she trusted me to take her somewhere. And I knew she wanted to be taken somewhere. I think she and we are very, very, very, very faithful to the play, but even in the UK at that period, at that time, even doing a non-period production of a classic that didn't look like all the other previous productions and all that — she also clearly had an appetite to be in a contemporary production. I guess one thing I try, if I'm approaching a classical play, is to treat it as if it might be a contemporary play. And if I'm approaching a contemporary play, I treat it as if it should be a classical play and will be a classical play. And she clearly believed that there was no attempt to turn, to drag, the play or the production a safe place. She had, as I said, an enormous appetite for risk. And you can see in the performance. So I think why it's memorable, as you say, is she puts herself on the line in every single performance. She's talked about that a lot, I gather, since — what that meant. And I think particularly when we were in New York, what that was like to get under Blanche's skin every night. She's also talked about it, so I won't. But also, she's talked about a kind of confronting or accessing her own history of addiction in the role. And to really do Blanche, I think that is important, because it is the story of someone who is addicted to alcohol and addicted to sex, and trying to deal with the legacy and the brokenness of her own family and her own history through that." On Ensuring That A Streetcar Named Desire's Senses of Guilt and Sadness Is Always Bubbling, and Its Volatility as Well, Alongside Its Exploration of Compulsiveness and Addiction "I think ultimately that's about trusting the players. As such a loaded masterpiece, it is — every single moment of the play, he found such an extraordinary collision of these, of Blanche and Stanley. And I think two sides of himself, Tennessee Williams, but also two sides of his own desire, two sides of his own profound sexual hunger. And it means that everything under the play is just so volatile. And I think often, too, these great plays — whether it's from ancient Athens or Elizabethan London or this — these great plays come at moments of huge historical change, often after major wars. And this play is a of flowering of that new America. It's the same time where the great Arthur Miller plays come as well. And in post-war America is a changing society that's becoming the kind of muscular empire we now see disintegrating. And I think that everything in the play is really loaded. So it's about trusting that, encouraging the actors to access it. In this production, I guess there are a few structural things done, in that Blanche usually leaves the stage — and she does not leave the stage. She's briefly absent in the first minute, I think, before Stella runs out and then she arrives with the suitcase. And then she's very briefly gone the at the end. But even when she and Mitch go to the fairground or whatever, they're still onstage in this production. So that was, I guess, part of also the compact with Gillian, was: what is it like to expose, to put every single moment of this woman's crisis under the microscope and not give her anywhere to hide? So, even during the scene changes, the costume changes between scenes, she's exposed and literally exposing herself while doing them, and she has to stay in that. So I think it's also structurally thinking of the play as this last downward spiral of this, that's been going on for some time — maybe even generations within her family, and the legacy of slavery and corruption in her family. And then she's the last one left. She's the last queen of this ruined nation who comes into exile, into the camp of her enemy, Stanley. And I think it's also been just about what that process in the rehearsal room is, and making sure that it's understood that every night they're going out there to chase it down. And when the play is big enough, then that process never finishes. They're going out to meet each other and the play and the audience afresh every night, and to play the game to the hilt." On the Challenges of Live Theatre, and the Extended Run of Interrogating a Story and Its Emotions Night After Night That It Affords — and Andrews Once Saying That It and Film Are the Same Thing "I'm not sure in the end they are the same thing, either. I think probably what I meant when I was saying that once is that they tap into the same place. And that that someone like [Ingmar] Bergman, who spent his artistic life moving between the theatre and the cinema and not making a binary between the two of them, but that they could be a conversation in which he's exploring ongoing questions — I think that is really, really an ideal for me. But one thing that, of course, is entirely different is that cinema is made by a frame and a camera recording the world. And the shot of the poppy shaking in the garden, cut to the hand of the trembling actor, cut to something they say on their face: that creates the meaning, that creates the story, that creates your feeling. And you collect it during the shoot, but it is then cut up and reconfigured in the edit room, and that is the art and the architecture of cinematic storytelling. So the swaying poppy is just as important as their closeup on the actor's eyes. In the theatre, whatever images there might be onstage or whatever — even if there's an emptiness onstage, even if the actor is absent, it's about the absence of that actor. The actor is everything in the theatre. And it's where I come from first. It is my home and it is my emotional gymnasium. And it's this very beautiful, privileged space, like a little island where we go to reflect on the world and reflect on being human and reflect on being alive, to deal with emergencies and crisis — both political, personal, whatever — but within the permission of this safe room. So you can go into the places emotionally that would send you to the madhouse, like they do Blanche, or put you in prison like if you were to follow through with what happens in that room. But it's a room where we then have permission to think through, play through, work through, together as a collective, without the big, beautiful apparatus — that was a Trumpian sentence — without the extraordinary apparatus that cinema has. You need, even if you're reduced, stripping it right down, it needs this village of people and technical equipment to make it. The theatre needs nothing in the end. Just a circle of viewers and the players. And I guess as I then started to make — I made my first film just after Streetcar, I made Una in the months after Streetcar the first time — and as I've started to move more between the two mediums, I think it's become even more precious, this sense of the fragile, the gift of being in a room with people and exploring these things, but also the idea of this fragility and the idea that if I'm going to do theatre, I don't want to hide behind anything. So my theatre was already pretty raw, but I think since then it's become even more about — in every show I've done since COVID and since my last movie, the audience has been lit. They are to a degree in Streetcar, but in recent plays like The Cherry Orchard, they're lit by this same forensic white light. You're very aware of them sitting there. The actors sit amongst the audience and step up and play from that. So this essential liveness and this essential experiment of theatre, that it's a nightly process, an experiment, I think has become even more important to me — or, if you like, it's always there, it's always there in theatre, but it hides behind a lot of bullshit often." On Whether Taking Either A Streetcar Named Desire or Cat on a Hot Tin Roof to the Big Screen as Films Appeals, as Andrews Did with Una "Probably not with either of those. The Streetcar, the Kazan one, I'd rather film the play like this. I think it's different if it's a new play. I think things have to undergo a transposition, right, and Una undergoes a significant transposition. It's not filmed theatre. You could even say some things that are closer to filmed theatre, like the Who's Afraid of Virginia Woolf? or something, still that makes a transmutation of form. And so I think more, sometimes I think about two things. To take a story — and this is something I've talked to with some actors about; I've talked about it with Cate Blanchett, who's somebody I've worked with a few times, and also with Nina Hoss [Do Not Expect Too Much From the End of the World] separately, who, both of those who are great theatre actresses and great film actresses — this idea that if you've played a role in theatre, you've lived it so completely and you've explored it in so many different ways compared to [film]. This isn't comparative. I think they're both significant. But compared to filming for and performing for the camera, which is like you're doing these short little sprints — you're doing these little bits that are then cut up — but when you've lived it in the theatre, I think they recognise, the wealth of having done that, what it might mean to do that in another, to take all that, take the character, rewrite it for another form. Weirdly, it happened when Cate had done Streetcar herself, right, for Liv Ullmann, and then did the Woody Allen film [Blue Jasmine]. She's sort of playing Blanche in that. And that's really interesting. To rather than say you're just copying the same thing, to say you grow a new creature from it, but using the same logic and ideas. And then the other one that I'm starting to think about for a future project — and maybe this is because of the NT Lives. Like I said, they film them themselves and that's great, and they're really excellent things to have out there, and they reflect the moment of the theatremaking. But there's one where then I as a filmmaker and a theatremaker might take the production, and not make it as a film, like the Kazan version of Streetcar, but do my own cinema version of filming the production. So like the Paul Schrader Mishima or something, right, which has that artificiality in it — but do bring the camera into the theatre space that's constructed, and make this boutique object from that. So I'm very curious about that. And I think NT Live proves that there's an audience for that as well." [caption id="attachment_1010340" align="alignnone" width="1920"] David M. Benett/Getty Images.[/caption] On Andrews' Dream When He Was Starting Out as a Director Three Decades Back — and How Even Imagining NT Live Wasn't Possible "No, I didn't. I mean partly, some of those things were impossible to even conceive of then. The world has changed so much. Also, I think my ambition has always been of a different kind. I never began thinking 'oh, I would like to work in these places. I would do this'. I was always just obsessed with making work. So those first works in the Red Shed in Adelaide, they were all-consuming. At the same time then, on the nascent internet or however, I was sort of Googling different — well, it was probably pre-Google — looking for radical theatremakers in the world. And in 1999, getting to travel and go and meet them and see their work. So for me, it's always been a hunger for the work and about the work. And all of the opportunities that have come — right from, I guess, first going and working, being invited from Adelaide to become a resident at Sydney Theatre Company, then being invited to come and work at the Schaubühne in Berlin, and then going to London and so on — they have always come from the work, from somebody seeing the work, recognising the work and inviting me to build on that. I've never looked and said 'I want to be working on these stages' or be there — other people work like that, but for me, it really comes from the work. I think back then, I loved cinema very much and was very influenced by cinema, and thought that I would like to make a movie one day but was busy with theatre for a lot longer than I thought — and absolutely consumed with theatremaking, but I guess I always hoped that I would do that. And to move between those two worlds — we mentioned Bergman — that still remains a goal. And to make a movie that can have the effect on people that Streetcar has, I don't think I've quite done that yet. That can be very, very true to itself — very true to itself — and also have audiences lined around the block to see it when we did it in London, and people still wanting to see it in the cinema. I'd love to find that sweet spot in a movie, and I feel there's still a lot of work to do there — and that theatre is a place I can keep returning to for now. That's a really beautiful, safe home to explore in. So it's always about the work for me." NT Live's A Streetcar Named Desire returned to Australian cinemas from Thursday, June 19, 2025. A Streetcar Named Desire images: Johan Persson.
For nearly a century, 280 Little Collins Street has stood as a significant retail and social hub for generations of Melburnians. Designed by celebrated Melbourne interwar architect Harry Norris as the first significant Chicago-inspired gothic-style commercial building in Victoria, it opened in 1930 as the flagship store of the fast-expanding G J Coles empire — later rebadged as Coles — before David Jones took over in the 1980s, transforming the site into that brand's Melbourne menswear flagship. Now, the heritage-listed building has entered a new chapter as the home of Rodd & Gunn's new global flagship. The mega-venue showcases fashion, dining and design across its four floors, marking the New Zealand outfitter's most ambitious venture to date. It follows the recent arrival of Mecca's new Bourke Street flagship in the northern wing of the same building, marking a new era for one of Melbourne's most distinctive addresses. The crown jewel of the venue sits on level one: The Lodge Dining Room. Framed by soaring arched windows and antique mirrors, the grand yet intimate space brings together The Lodge Bar Group's Executive Chef Matt Lambert (former chef and owner of Michelin-starred New York restaurant The Musket Room) and Head Chef James Evangelinos (The Musket Room, hatted Sydney pub Hotel Centennial and James Packer's former personal chef) to deliver produce-led menus ranging from à la carte to ten-course tasting journeys. To start, dishes may include scallops with white asparagus, marron with summer bisque, smoked eel with new-season tomatoes and herb emulsion, and a sophisticated quail galantine with foie gras and whiskey jelly. Mains are along the lines of duck with beetroot and radicchio, and Bass Grouper bouillabaisse with prawns and mussels. Wines are curated by Master Sommelier Cameron Douglas, showcasing the best of New Zealand alongside standout Australian and international drops. At the same time, a reeded-glass private dining room with a striking white marble table adds a layer of exclusivity. Rodd & Gunn has worked with St Kilda-based Studio Y to reimagine the building's southern wing, weaving its art deco glamour with hospitality-led design. Arched motifs, curved joinery, stepped stone and metallic accents nod to the 1930s, while warm timbers, natural stone and marble accents echo Rodd & Gunn's contemporary aesthetic. "This building holds a special place in Melbourne's history, and we wanted our flagship to honour that legacy at every turn," says Mike Beagley, Rodd & Gunn CEO. "Every design choice was made to respect its heritage while creating something entirely new." Each of the four distinct but connected levels offers a different experience. The lower-ground Cellar Caffetteria pays homage to the famed Coles Cafeteria, combining a retail wine store with an innovative cocktail laboratory by Matt Bax (Bar Americano), an Italian-inspired menu featuring handmade pasta and all-day aperitivi. Oversized checkerboard flooring, bluestone laneway walkways, intimate booth seating and mood lighting evoke the feeling of a wine cave. The ground floor has been transformed into an elegant, immersive retail space, where cornice plasterwork and marble joinery are juxtaposed with modern display fixtures, heritage-inspired balustrades and robust timber finishes. The mezzanine, meanwhile, is now home to an exclusive Members' Bar (for Rodd & Gunn's loyal clientele), a handsomely wood-panelled, club-like space with sculptural lighting by Volker Haug, featuring Kiwi-inspired snacks and classic cocktails for loyal clientele. "This is a space built on relationships," says Josh Beagley, Director of The Lodge Group. "It's our way of giving something back to the community who continue to shape Rodd & Gunn. The Member's Bar is for them." "While New Zealand will always remain Rodd & Gunn's spiritual home, the opening of our Melbourne flagship is our way of giving back to a city that has supported Rodd & Gunn from the very beginning," says Beagley. "Every surface in this flagship tells a story — a dialogue between past and present that honours the history of the building and the fabric of our brand. Images: Supplied.
North Melbourne kind of has it all. It's right near the Queen Victoria Market, a short walk from the CBD, yet the wide verandas of Errol Street give it the laidback feeling of the suburbs. Nobody's in a rush here, and that's a good thing — because you need plenty of time to explore the many shops and cafes on offer. Neighbouring Carlton has more energy, home to Lygon Street's famous eateries and shops. We've teamed up with American Express to bring you a list of some of the best local businesses the area has to offer. Plus, they will all accept your American Express Card, so make sure to pop it in your pocket before heading out the door to shop small.
The Conferre Group — the team behind Tipo 00, Osteria Ilaria, Figlia and Grana — has unveiled Harriot, a modern European restaurant on the corner of King and Collins streets. It's arguably the group's boldest move to date, a refined offer that draws influence from the great wine bars and bistros of Europe, but lands squarely in Melbourne with a produce-forward menu and a quietly polished vibe. Head Chef James Kelly (ex-Lyle's London, Embla) oversees a menu that's both accessible and elegant. The menu is ever-evolving, but there's a through-line of seasonal ingredients sourced from quality local suppliers and cooked with respect and precision. Depending on the season, the menu might feature snack-size baby cos from Day's Walk Farm, pink fir apple potatoes from Spud Sisters fire-roasted in the kitchen's brick oven, or proteins from Sher Wagyu and Great Ocean Ducks prepared with understated flair. [caption id="attachment_1011313" align="alignnone" width="1920"] Kristoffer Paulsen[/caption] Kelly's menu complements an impressive drinks offering curated by Head Sommelier Justin Howe (Osteria Ilaria, Embla). Howe spent two years building a wine list that seamlessly moves between new-world Australian makers and boutique European producers, alongside a few big-name bottles pulled from Conferre's $1 million cellar. It all takes place in a dining room that's equally considered — yes, there are white tablecloths, but the neutral tones throughout the light-filled, 60-seat space instantly put you at ease. There's also a 14-seat private room, bar seating and a tight à la carte bar menu for those in for a quick snack and sip. [caption id="attachment_1011314" align="alignnone" width="1920"] Kristoffer Paulsen[/caption] Top images: Kristoffer Paulsen.
Australians are eating out less often as cost-of-living pressures bite, but younger diners are helping to keep the country's hospitality industry buzzing. New research released by the Foodservice Association of Australia (FSAA) and consumer insights platform Vypr shows that while three in ten people are cutting back on restaurant visits — and one in ten have stopped altogether — Millennials and older Gen Zs continue to dine out several times a week, or even daily. The 25–34 age group is one-and-a-half times more likely to head to a cafe or restaurant compared to the population average (79 percent versus 57 percent), with many weaving breakfasts, coffee breaks and light lunches into their daily routines. "Our data shows that while Australians are being more careful with their spending, they continue to see dining out as essential to their social lives," said Vypr's International Chief Revenue Officer, Sam Gilding. He noted that socialising with family and friends (60 percent) and celebrating occasions (44 percent) remain the top reasons to head out. [caption id="attachment_1023279" align="alignnone" width="1920"] Diners line up for viral burgers at Brunswick East's Charrd[/caption] Still, diners are more cost-conscious than ever. Nearly four in five spend under $60 per week on eating out, with value for money their biggest priority. More than half (52 percent) want better portion sizes, and almost two-thirds (63 percent) prefer discounts over loyalty schemes. Consistency across venues also matters, with 45 percent of respondents ranking it as a key improvement restaurants could make. Quick-service restaurants are the most frequented (62 percent), followed by casual dining venues (47 percent) and cafes (33 percent). Delivery apps are also especially popular among younger Australians, with 25–34-year-olds twice as likely as average to order via an app. Health and sustainability are increasingly influencing decisions, too — 71 percent of respondents said they seek healthier options, while 42 percent consider sustainability when choosing meals and venues. [caption id="attachment_1018380" align="alignnone" width="1920"] Sydney's popular new Enmore bar, Deadwax.[/caption] FSAA CEO Minnie Constan said the report highlights important shifts. "We're thrilled to partner on this independent report at a time of real change in our industry. We pride ourselves on delivering accurate information that helps our members understand shifting consumer expectations and adapt to ensure foodservice remains strong into the future." Read the full Consumer Preferences & Dining Habits 2025 report here. Images: Supplied | Top image: Johnny's Green Room
With people queuing for a table for a midweek dinner, you can tell there's got to be something damn good about Bar Lourinhã in Melbourne's CBD. Upon closer inspection, it is a combination of the three all-important aspects of any great venue: food, wine and service. It also helps that it feels like a tiny slice of Spain right here in Melbourne. And now, the perennially popular Little Collins Street institution marks an extraordinary achievement: 20 years in the business. With many restaurants around the CBD coming and going over the years, marking two decades of success cements Bar Lourinhã as one of Melbourne's most enduring dining rooms. "Reaching 20 years feels incredibly special and quite emotional. The restaurant industry can be challenging, so to still be here twenty years later, doing what we love, is something we feel very proud of. It represents resilience, passion and the strong relationships we have built with our team, our suppliers, and our guests," says Matt McConnell, Executive Chef and Co-owner. McConnell opened Bar Lourinhã with his wife and business partner, Jo Gamvros, in 2006, following an extended exploration of Europe. With Gamvros running the front of house and McConnell on the pans, the pair have built an inviting dining room centred around authentic hospitality, quality produce, and a thoughtful wine list. The tapas-style menu takes diners on a Mediterranean and Iberian culinary journey grounded in seasonal, locally sourced, premium produce. This is the kind of place primed for plenty of snacking and leisurely drinking. Olives, oysters, sardines and a Kingfish 'pancetta' tostada are a salivatingly salty way to start. Move on to jamon croquettes, morcilla and pork tongue pintxo, spiced chickpeas with spinach, and Portugese prawn rice. Fill up on lamb rib chanfana and roasted chook, then end sweet with pomegranate creme with pistachio praline, or moreish alfajores. The remarkable 20-year milestone is even more meaningful given the challenges faced during the COVID pandemic. "Seeing our dining room full again, hearing the energy of the room and reconnecting with our regular guests reminded us why we started. It was a powerful reminder of the role hospitality plays in bringing people together," says Gamvros. To celebrate two decades of success, Bar Lourinhã will roll out a lengthy anniversary program of long table dinners, producer collaborations, and the release of a cookbook, Lourinha: Iberian and Mediterranean Dishes to Share. Booking can be made online for events such as a Winter Classics Long Table Dinner, a Father's Day Special Croqueta e Chorizo Party, and even a Tinsel and Salsa Long Table Christmas Party. "If in another 10 or 20 years people are still celebrating their special moments with us, that will be the greatest success of all," says McConnell. Images: Supplied. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox.
After much anticipation, Melbourne's hottest new hotel offering, Hannah St, has finally opened for business. Fitting with its effortlessly cool attitude, the newest kid on the Southbank block opened quietly and unassumingly late in 2025, ready to bring a revamped approach to boutique hospitality to Melbourne. Designed by Flack Studio, the property sits under the Collection by TFE banner — a portfolio of one-of-a-kind hotels built to reflect each location's culture and creativity. Guests can choose from 188 rooms immersed in art, architecture, music and hospitality that celebrate what makes the city's southern edge special. Slotting into one of the glitzier parts of town, this $150 million hotel has spared little expense to offer guests an immersive celebration of architecture and cultural connection. Tucked into the emerging Queensbridge precinct — a new mixed-use development — this sophisticated hotel feels right at home amid the ongoing transformation of the Melbourne Arts Precinct. Inspired by grand New York City landmarks like the Flatiron Building, with its striking triangular shape, Hannah St Hotel's design fuses tradition with modern sensibilities. "We're incredibly proud to open our doors and share what's been taking shape behind the scenes for the past three years," says Hannah St Hotel General Manager, Peter Minatsis. "Hannah St Hotel was created to feel connected to its neighbourhood. A place where guests can experience the real Melbourne, not just visit it. From the design to the dining to the small, thoughtful touches in every room, everything has been considered to make people feel welcomed… and we're doing just that." Inside, guests will encounter an unexpected mix of custom-made furniture, bold colours, sought-after artwork and textured materiality. While Flack Studio has made its name in residential architecture with these same qualities — Andy Lee's 'Ravenswood' development is another of its projects — the studio is increasingly bringing this modern-nostalgia aesthetic to commercial architecture. "It's part grand hotel, part underground bar, part cultural clubhouse," said Designer David Flack, Founder and Principal of Flack Studio. "We've created a space that feels lived-in, loved, and full of stories." Every room offers skyline views, curated minibars and design features that nod to Melbourne's architectural and cultural layers. Situated within the podium of the Queensbridge Building, a 65-storey residential and lifestyle tower, Hannah St Hotel is anchored by guest facilities on level 9. Described as the hotel's social soul, the hotel features a 20-metre lap pool, a fully equipped gym, and wellness amenities, including a steam room and a sauna. And because everyone and their dog has their own podcast these days, the hotel even offers a dedicated podcast room along with co-working spaces and design-forward conference facilities. Of course, the food and drink offering at Hannah St Hotel is no afterthought. In a landmark collaboration, The Mulberry Group, which operates several restaurants in Melbourne, including Lilac Wine, Hazel, and Dessous, has opened five new venues within the hotel. Its founder, Nathan Toleman, brings a wealth of hospitality experience to this latest project, having been instrumental in defining the Melbourne cafe scene through venues such as Top Paddock, Higher Ground and The Kettle Black. With Hannah St, Toleman will realise a long-held dream of bringing hospitality, community and design together in one project. Each of the five venues will present a distinct feel and offering. A hole-in-the-wall cafe, Hannah St Coffee, serves Square One Coffee, baked goods and grab-and-go lunches. Coupette Corner Bistro & Bar is an all-day Euro-leaning restaurant, serving everything from early-morning brekkie to late-night suppers. There is no shortage of options for a nightcap: The Terrace Lounge offers rooftop views and cocktails, Bar Hannah serves as a classic lobby bar, and The Carriage Lounge is designed for an intimate and elegant pre- or post-dinner beverage. Toleman says, "With Hannah St, we wanted to capture that same sense of wonder and excitement, but with a Melbourne heartbeat. A place that feels alive, authentic, and inclusive — not just for travellers, but for locals too." Images: Supplied.
Here's news to restart Australia's city rivalries: in 2024, just like in 2021, 2022 and 2023, Melbourne is home to the country's best pizza. This year, however, so is Sydney as well. That's the word from the experts at the 2024 50 Top Pizza awards for the Asia Pacific, which keeps enjoying slices from Victorian chain 48h Pizza e Gnocchi Bar — but this time, it loved the Harbour City's Al Taglio just as much. Both pizzerias have been named in the top-five slice-slinging joints in the Asia Pacific for this year, sharing fifth spot. They're the only Australian eateries in the top ten, but New Zealand's Dante's Pizzeria Napoletana came in sixth. If sending some affection 48h Pizza e Gnocchi Bar's way sounds familiar, that's because it happens often. As well as its Top 50 Pizza successes, the Melbourne pizzeria with outposts in South Yarra and Elsternwick was also crowned #1 Pizza in Australia at the Pizza World Championships in 2019. Back at the Top 50 Pizza gongs, only 48h Pizza e Gnocchi Bar placed on 2023's global list, too, with the Melbourne chain coming in 41st. Al Taglio popped up in the next 50, at number 63. How they'll each fare worldwide in 2024 won't be announced until September. This year's best Asia Pacific pizzerias were named at a ceremony at the Italian Institute of Culture in Tokyo. Running for the last seven years, the 50 Top Pizza awards are chosen by around 1000 experts across the globe, who visit the pizzerias anonymously to judge and rank their offerings. The annual international pizzeria guide chooses its picks based not just on the merit of their slices, but on each pizzeria as a whole, rating the food, drinks, service and overall ambiance. In top spot in the Asia Pacific this year: The Pizza Bar on 38th in Tokyo, which also earned the same placing in 2023. In second came Crosta Pizzeria in Makati in The Philippines, followed by RistoPizza in Tokyo in third, Hong Kong's Fiata by Salvatore in fourth and then the Aussie double shared fifth spot. A handful of other Aussie venues were also among 2024's Asia Pacific top 50 best pizzerias, starting with Sydney's Queen Margherita of Savoy in 23rd place. Lil Franky Pizzeria, also in the New South Wales capital, ranked 27th — and Gigi's Pizza, similarly in the city, came in at 30th. From Melbourne, Il Caminetto sits in 31st spot, Shop225 in 32nd and +39 Pizzeria in 33rd. Maestro Sourdough Pizza in Perth also earned some attention, ranking 43rd — and Sydney's Pizza Madre rounded out the list by coming in at 50th. Find 48h Pizza e Gnocchi Bar at 373 Malvern Road, South Yarra and 15 Gordon Street, Elsternwick. For the full 50 Top Pizza Asia Pacific awards list, jump over to the website. Craving a slice, Melburnians? Check out our top picks for pizza in Melbourne. 48h Pizza e Gnocchi Bar images: Hi Sylvia.
Chapel Street saw a slew of fab new restaurants and bars open in 2024, including Suzie Q, Windsor Wine Room, The Chapel and Inca. And Chris Lucas (Chin Chin, Hawker Hall, Kisumé, Grill Americano, Society, Yakimono and Baby Pizza), best known for his restaurants in the CBD, decided to open Tombo Den on the Windsor end in the same year. This latest venue is inspired by Lucas' time living and working in Tokyo in the 90s, and is a celebration of Japanese street food and izakaya culture. Head Chef Dan Chan (Supernormal and Michelin-starred Yardbird in Hong Kong) is spearheading the culinary offerings at Tombo Den, serving up a heap of dumplings, rice and noodle dishes and charcoal-barbecued seafood and meats. Desserts like strawberry and sake ice cream sundaes and brûléed dark chocolate mousse with black sesame also feature. Tombo Den's menu also champions sushi, which is strongly inspired by the food's more casual beginnings as a street food staple. Kisumé's Sushi Masters Toaki Kyo and Carlos Lopez oversee the sushi lineup, crafting a selection of sashimi, nigiri and handrolls. This more casual dining style is complemented by an approachable drinks lineup curated by Society's own Tokyo-born Master Sommelier Yuki Hirose. Society is known for its encyclopedic drinks offering — often winning international wine list awards — but Tomo Den's menu won't be quite as exhaustive. This isn't meant to be a fine-diner. The aim is for it to have a more laidback izakaya feel where you don't need a sommelier to guide you through the offerings. A good mix of local and international wines will be up for grabs, with plenty offered by the glass or in a half-bottle carafe. Classic cocktails also get a Japanese twist, so you can expect to find sips like the sake martini, yuzu spritz, and macadamia and tonka espresso martini. Japanese beers and a fairly extensive collection of whiskies also feature here, while sakes are championed upstairs in the separate Sake Bar. This all sits within a totally revamped space that has a distinctly brutalist Japanese feel. DKO Architecture and Projects of Imagination have achieved this by blocking out the space with concrete, mahogany wood and marble finishes. AI-generated artwork breaks up these somewhat cold design features, adding a little colour and playfulness to the whole affair.
Stiff drinks have flowed freely on the corner of Russell and Little Collins Streets for almost 160 years, most recently as The Crafty Squire. Now, this enduring cornerstone watering hole has been reborn as the Hickens Hotel, following an extensive $12-million renovation. Transformed from top to bottom, this four-level CBD pub has two new floors to explore, including a fresh rooftop primed for sunny days and warm nights. On the ground floor, the Hickens Front Bar resonates with everything special about the Melbourne pub scene. Cosy and casual, this spot will become a go-to for post-work knock-offs and low-key meals. This level is also home to an Australian first — the Carlton Lounge. Themed around an undying love for Carlton Draught, this bar goes beyond a simple tribute, decked out with 70s-inspired decor, a pool table and the freshest pints poured from copper tanks. Upstairs, Level One is where dining takes centre stage. Featuring a menu stacked with Aussie pub classics — some playfully elevated — options include cheese and Vegemite garlic bread, a pork and duck sausage roll with HP sauce, and roasted chook rolls slathered with Melbourne Bitter gravy. For something heartier, check out the spiced goat and pale ale pie or the 300-gram scotch fillet, served with chips, salad, Diane sauce and XPA beer mustard. While there are screens on every level, Abe's Athletic Hall is the top spot to catch the game. Featuring massive wall-to-wall screens where you won't miss a moment, there's also the option of booking a booth with a private screen to keep a closer eye on the action. The level is also jam-packed with arcade games and foosball tables, so challenge your pals to NBA Jam or head to the karaoke room when your game-day sesh evolves into all-night fun. Topping off the Hickens Hotel is The Rooftop — a newly launched openair haven taken up a notch by inner-city views and an upbeat atmosphere. From here, expect cocktails in the sun, late-night debauchery and social celebrations made even better by the constant hum of the CBD in the background. "Hickens is now the spot to go to in the city! We've dialled in on what makes a pub great, leaning into a nostalgic and playful personality," says Hickens Hotel Venue Manager, Giuseppe Lacava. Despite its comprehensive makeover, the pub hasn't forgotten to acknowledge its colourful past. Previously called the Hickens Hotel in the 1870s — named so by infamous British boxer and publican Ebenezer "Abe" Hicken — the modern-day hotel won't feature the same dubious boxing bouts once organised by the namesake rebel rouser. But it might attract a similarly boisterous crowd keen to make the most of its multi-level experience, brimming with good food, high-energy sports and lively entertainment.
Every year, no matter which movies earn Oscars — regardless of what and who is nominated, the titles and talents that miss out, the fun of the ceremony and the scandals that pop up beforehand — the best way to celebrate a great 12 months in cinema is also the easiest. Films are made to be watched, be they blockbuster musicals, deeply personal documentaries, gorgeous animation, sci-fi spectacles, top-notch dramas or anything and everything in-between. If you hadn't seen 2025's newly anointed Academy Award-winners in advance, now's the time to change that. Almost every feature that picked up a gong on Monday, March 3, Down Under time is available to watch this second. Put Flow on your list for later, when it releases mid-March — but check out these other ten winners now. Need the full list of 2025's Oscar recipients? The nominees? Our pre-ceremony predictions regarding what would and should win? A rundown of where the rest of 2025's contenders are screening in Australia? Consider that pre-movie reading, then get comfy at your favourite picture palace or on your couch. Anora Along with playfulness, empathy, and an eagerness to look beyond the usual characters and pockets of America that tend to grace narrative cinema, tenderness is one Sean Baker's special skills, as splashed across the New Jersey-born talent's filmography for more than two decades now. It's in Tangerine, The Florida Project and Red Rocket, for instance, all three of which are stunning feats. It also couldn't be more evident in his Cannes Palme d'Or-recipient and now five-time Oscar-winner Anora. The writer/director's work has always been as clear-eyed as movies get, unflinchingly seeing the struggles that his protagonists go through, though — but their troubles are never the be-all and end-all for anyone in front of his lens. No one should be defined by their circumstances, their misfortunes, their unlucky lots in life, their woes, their mistakes, their missed chances, or how their existence does or doesn't measure up to anyone else's, and no one is in Baker's features. He pens, helms and edits with a wholehearted commitment to seeing people who they are. The fact that he undertakes all three roles on his films, each of which earned him an Academy Award here, means that the credit is almost all his, too; it isn't just the use of his beloved Aguafina Script Pro font that signifies a Baker flick. Spotting Cinderella elements and riffs on Pretty Woman isn't hard in Anora, as the picture's eponymous Brooklyn erotic dancer (Mikey Madison, Lady in the Lake) meets, dances for, hangs out with and is soon wed to Vanya, the son (Mark Eydelshteyn, Zhar-ptitsa) of a wealthy Russian oligarch (Aleksey Serebryakov, Lotereya). But just as Ani is always her own person, the magnificent Anora is always a Baker film. Fairytale experiences in life don't always come with a happy ending. Failures aren't always the worst options. Following your heart or whims is rarely either solely sublime or awful. Baker knows this, and so does this feature. Assured yet vulnerable, playing a woman capable of holding her own against mobsters — and standing up to almost anything else that comes her way — but not immune to sadness and disappointment, Madison is hypnotic as Ani. Eydelshteyn, Compartment No 6's Yura Borisov as one of the henchmen tasked with babysitting Vanya: they're mesmerising as well. The spirt of Anora — the vivid and audacious way that it bounds from start to finish, the grit and heart that it sports — is equally as pitch-perfect. Oscars: Won: Best Picture, Best Director (Sean Baker), Best Actress (Mikey Madison), Best Original Screenplay, Best Editing Other nominations: Best Supporting Actor (Yura Borisov) Where to watch: In Australian cinemas, and via Apple TV and Prime Video. A Real Pain He didn't feature on-screen in his first film as a writer/director, but 2022's When You Finish Saving the World couldn't have sprung from anyone but Jesse Eisenberg. Neither could've 2024's A Real Pain. In the latter, the Fleishman Is in Trouble actor plays the anxious part, and literally. He's David Kaplan, with his character a bundle of nerves about and during his trip to Poland with his cousin Benji (Kieran Culkin, Succession) — a pilgrimage that they're making in honour of their grandmother, who survived the Second World War, started a new life for their family in the US in the process and has recently passed away. David is highly strung anyway, though. One source of his woes: the ease with which Benji seems to move through his days, whether he's making new friends in their tour group within seconds of being introduced or securing a stash of weed for the journey. With A Real Pain as with When You Finish Saving the World, Eisenberg is shrewdly and committedly examining an inescapable question: what is real pain, and who feels it? Are David's always-evident neuroses more worthy of worry than the despondency that Benji shuttles behind his carefree facade, and is it okay for either to feel the way they do, with their comfortable lives otherwise, in the shadow of such horrors such as the Holocaust? As a filmmaker, Eisenberg keeps interrogating what he knows: A Real Pain's main train of thought, which was When You Finish Saving the World's as well, is one that he ponders himself. Although he's not penning and helming strictly autobiographical movies, his latest does crib some details from reality, swapping out an IRL aunt for a fictional grandmother, as well as a trip that Eisenberg took with his wife for a cousins' act of tribute. It's no wonder, then, that he keeps crafting deeply felt features that resound with raw emotion, and that leave viewers feeling like they could walk right into them. With A Real Pain, he also turns in a stellar performance of his own and directs another from Culkin, who steps into Benji's shoes like he wears them himself everyday (and takes on a part that his director originally had earmarked for himself). Thrumming at the heart of the dramedy, and in its two main players, is a notion that demands facing head-on, too: that experiencing our own pain, whether big or small, world-shattering or seemingly trivial, or personal or existential, is never a minor matter. Oscars: Won: Best Performance by an Actor in a Supporting Role (Kieran Culkin) Other nominations: Best Original Screenplay Where to watch: in Australian cinemas, and via Disney+, Apple TV and Prime Video. Read our full review and our interview with Jesse Eisenberg. The Brutalist Since switching from acting to writing and directing — in his on-screen days, Thirteen, Mysterious Skin, Funny Games, Martha Marcy May Marlene, Melancholia, Force Majeure, Clouds of Sils Maria, Eden and While We're Young were among his credits, spanning works by quite the array of excellent fellow filmmakers — Brady Corbet hasn't lacked in ambition for a second. Still, as excellent as both Childhood of a Leader and Vox Lux are, and they are, his third feature towers above them. With Adrien Brody (Winning Time: The Rise of the Lakers Dynasty) as Hungarian Jewish architect László Toth, The Brutalist is as epic as a three-and-a-half-hour drama about trying to escape life's horrors, including those of the Holocaust, by chasing the American dream can be. The buildings designed by its protagonist aren't the only things that are monumental here, career-best turns by Guy Pearce (Inside) and Felicity Jones (Dead Shot) among them. The Brutalist is a vision, too, with Corbet's ambition apparent in ever millimetre of every frame. (Shooting in VistaVision, a format used for Alfred Hitchcock's North by Northwest and Vertigo, but last deployed in the US for an entire movie with 1961's One-Eyed Jacks: yes, that's bold as well). Crossing the world is meant to bring the Toth family a new beginning. Waiting for his wife Erzsébet (Jones) to follow, and their young niece (Raffey Cassidy, a Vox Lux alum) with her, László arrives in New York and then Philadelphia solo, however — and etching out a fresh start with help from his cousin Attila (Alessandro Nivola, The Room Next Door) doesn't pan out the way he hopes. Neither does scoring a job revamping the personal library of the wealthy Harrison Lee Van Buren (Pearce), even when it seems to, then doesn't, then sparks the opportunity of László's dreams. Given everything that its protagonist needs to wade through, as does Corbet thematically, it's no wonder that The Brutalist clocks in at three-and-a-half hours with its intermission. Not a moment is wasted, that mid-movie pause included. As it muses on what it means to leave a legacy, this is a film to sit with. It's filled with performances that demand the same. Brody, Pearce, Jones: what a haunting trio. Oscars: Won: Best Actor (Adrien Brody), Best Cinematography, Best Original Score, Other nominations: Best Picture, Best Director (Brady Corbet), Best Supporting Actor (Guy Pearce), Best Supporting Actress (Felicity Jones), Best Original Screenplay, Best Film Editing, Best Production Design Where to watch: In Australian cinemas. Read our interview with Adrien Brody, Guy Pearce, Felicity Jones and Brady Corbet. Conclave Who knew that papal succession would become a film and TV trend? Fights for supremacy have driven three of the biggest television shows of the past 15 years, of course — Game of Thrones, Succession and Shogun — so repeatedly bringing the battle for the head Catholic Church job to the screen shouldn't come as a surprise. The Young Pope, The New Pope, The Two Popes, Conclave: they've all headed to the Vatican. The latter is quite the entertaining thriller, too. The idea behind this page-to-screen delight, as based on the 2016 novel by Robert Harris: cardinals, they're just like everyone else seeking power, aka bickering, gossiping, scheming, feuding and trying to find their way to the top by any means possible. Here, when the pope passes, Canadian cardinal Joseph Tremblay (John Lithgow, The Old Man), American cardinal Aldo Bellini (Stanley Tucci, Citadel), Nigerian cardinal Joshua Adeyemi (Lucian Msamati, A Gentleman in Moscow) and Mexican cardinal Vincent Benitez (feature first-timer Carlos Diehz) are among the contenders vying to step into their religion's ultimate position — all with differing views on social issues, ranging from liberal to conservative leanings. Voting for a new pope is a ceremony that lends itself to theatricality on-screen, which Conclave eagerly captures. The manoeuvring guiding the College of Cardinals' various rounds of choices is the movie's focus; trying to win support is an election campaign, and a heated one. At the heart of the drama is Britain's cardinal Thomas Lawrence (Ralph Fiennes, The Return), Dean of the College, and also responsible for ascertaining the complete circumstances surrounding the last pope's death. Aided by a stellar cast that's answering viewers' prayers (also outstanding: Spaceman's Isabella Rossellini as Head Caterer Sister Agnes), filmmaker Edward Berger swaps World War I's horrors in fellow Oscar-winner All Quiet on the Western Front for a pulpy and twisty but smart affair. He hasn't completely switched thematically, though: how tradition and modernity butt against each other also remains in the director's view amid Conclave's many secrets and scandals. Oscars: Won: Best Adapted Screenplay Other nominations: Best Picture, Best Actor (Ralph Fiennes), Best Supporting Actress (Isabella Rossellini), Best Costume Design, Best Film Editing, Best Original Score, Best Production Design Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Dune: Part Two Revenge is a dish best served sandy in Dune: Part Two. On the desert planet of Arrakis, where golden hills as far as the eye can see are shaped from the most-coveted and -psychedelic substance in author Frank Herbert's estimation, there's no other way. Vengeance is just one course on Paul Atreides' (Timothée Chalamet, Wonka) menu, however. Pop culture's supreme spice boy, heir to the stewardship of his adopted realm, has a prophecy to fulfil whether he likes it or not; propaganda to navigate, especially about him being the messiah; and an Indigenous population, the Fremen, to prove himself to. So mines Denis Villeneuve's soaring sequel to 2021's Dune, which continues exploring the costs and consequences of relentless quests for power — plus the justifications, compromises, tragedies and narratives that are inescapable in such pursuits. The filmmaker crafts his fourth contemplative and breathtaking sci-fi movie in a row, then, after Arrival and Blade Runner 2049 as well. The vast arid expanse that constantly pervades the frames in Dune: Part Two isn't solely a stunning sight. It looks spectacular, as the entire feature does, with Australian cinematographer Greig Fraser (The Creator) back after winning an Oscar for the first Dune; but as Paul, his widowed mother Lady Jessica (Rebecca Ferguson, Silo), and Fremen Stilgar (Javier Bardem, The Little Mermaid) and Chani (Zendaya, Euphoria) traverse it, it helps carve in some of this page-to-screen saga's fundamental ideas. So does the stark monochrome when the film jumps to Giedi Prime, home world to House Harkonnen, House Atreides' enemy, plus Arrakis' ruler both before and after Paul's dad Duke Leto (Oscar Isaac, Spider-Man: Across the Spider-Verse) got the gig in Villeneuve's initial Dune. People here are dwarfed not only by their mammoth surroundings, but by the bigger, broader, non-stop push for supremacy. While there's no shortage of detail in both Part One and Part Two — emotional, thematic and visual alike — there's also no avoiding that battling against being mere pawns in an intergalactic game of chess is another of its characters' complicated fights. Oscars: Won: Best Sound, Best Visual Effects Other nominations: Best Picture, Best, Cinematography, Best Production Design, Where to watch: Via Netflix, Binge, Apple TV and Prime Video. Read our full review and our interview with Greig Fraser. Emilia Pérez As it follows its namesake character's (Karla Sofía Gascón, Harina) identity-swapping journey from cartel leader to trying to live her authentic life, Emilia Pérez isn't just a musical and a crime drama rolled into one. It's also happily and devotedly a melodrama — and French filmmaker Jacques Audiard (Paris, 13th District) goes bold in leaning in, and in embracing the juxtapositions of the movie's three main genres as they jostle against each other. That audacity; that willingness to be both spectacular and messy again and again; the feature's three key performances, including from Zoe Saldaña (Special Ops: Lioness) and Selena Gomez (Only Murders in the Building): they all assist in making this vivid viewing. Also pivotal: the clear cues that A Prophet and Rust and Bone writer and helmer Audiard has taken from the work of Spanish great Pedro Almodóvar. The Room Next Door, the latter's latest, was completely overlooked by this year's Oscars, but it's easy to connect the dots between Almodóvar's immense filmography over four decades now and the look, feel and themes of Emilia Pérez. In Mexico City, defence attorney Rita Mora Castro (Saldaña) begins the film languishing in her job and its grey areas. She wins a high-profile case, but knows that she shouldn't have. Then comes a proposition delivered via an unexpected phone call, plus a secret meeting that she's whisked off to blindfolded: a job to assist a drug kingpin with transitioning from Juan 'Manitas' Del Monte to Emilia Pérez. Making that mission happen isn't simple. Everyone connected to Manitas' old life, wife (Gomez), children and colleagues alike: none of them can know. As it unfurls its story largely through exuberantly staged songs, the film is still really just kicking off when it then hops forward in time, diving into what comes next when Emilia is living her new life and Rita has been well-compensated for her efforts — and, in the process, exploring the consequences of getting what you want, or seeming to. The entire female cast won Cannes Best Actress prize but, after years spent on-screen tinted green (in the Guardians of the Galaxy films) and blue (in the Avatar flicks) in big-budget fare, this is Saldaña's moment to shine. Oscars: Won: Best Supporting Actress (Zoe Saldaña), Best Original Song — 'El Mal' by Clément Ducol, Camille and Jacques Audiard Other nominations: Best Picture, Best Director (Jacques Audiard), Best Actress (Karla Sofía Gascón), Best International Feature Film, Best Adapted Screenplay, Best Cinematography, Best Film Editing, Best Makeup and Hairstyling, Best Original Score, Best Sound, Best Original Song — 'Mi Camino' by Camille and Clément Ducol Where to watch: In Australian cinemas. I'm Still Here It came as no surprise when Fernanda Torres (Fim) won a Golden Globe for her portrayal of Eunice Paiva in Walter Salles' (On the Road) deeply moving political and personal drama. Her understated yet also expressive performance as the real-life wife of Rubens Paiva (Selton Mello, Bury Your Dead), who was taken away by Brazil's military dictatorship in 1971 and never seen again, is that powerful. I'm Still Here poignantly charts the task of endeavouring to endure under such heartbreaking circumstances — under oppressive rule, when your existence crumbles, when your family is fraying courtesy of the trauma and when fighting back is the only choice, too. The film sees the early happy times for the Paivas, even as uncertainty lingers. It watches their lives by the beach, where Eunice, Rubens and their five children fill busy days. It then looks on as the military raids their home, as more than one Paiva is imprisoned and interrogated, and as the husband and father who was previously a congressman doesn't return. Also, it stares solidly as the quest for answers and justice never fades among Rubens' loved ones. Conveying the pain, the fortitude, the grief and the despair of someone in Eunice's situation might seem easy, not that relaying those emotions ever is; who wouldn't feel that way in these circumstances, or understand how someone would? It isn't a straightforward ask, though, giving a part the complexity that every role should demand when much about a character's inner life appears obvious — because the job is to dig far deeper than that, and to unpack what that natural reaction means for this person and this person only. Torres perfects the task. As a director, working with a screenplay that Murilo Hauser and Heitor Lorega (also collaborators on Mariner of the Mountains) based on Eunice and Rubens' son Marcelo's memoir, Salles is in superb form as well. Teaming up with the filmmaker keeps turning out exceptionally for Torres and her IRL family, with her mother Fernanda Montenegro also Oscar-nominated for Salles' Central Station back in 1999, long before featuring here as the elder Eunice. Oscars: Won: Best International Feature Film Other nominations: Picture, Best Actress (Fernanda Torres) Where to watch: In Australian cinemas. No Other Land In No Other Land, Basel Adra films what he knows but wishes that he doesn't — and what he knows that the world needs to see. Co-directing with Israeli investigative journalist Yuval Abraham, plus farmer and photographer Hamdan Ballal and cinematographer Rachel Szor, the Palestinian activist chronicles the takeover of the West Bank region of Masafer Yatta, purportedly for an Israeli military base. As a result of the latter, families with generations and centuries of ties to the land are forced to dwell in caves, battle soldiers and fight to survive. Their possessions, their homes, their lives: none seem to mean anything to those displacing the area's villagers. The suffering, the deaths, the grief, the children growing up knowing nothing but a literally underground existence: that doesn't resonate with the occupation, either, or with the trigger-happy soldiers patrolling in its name. Also falling on deaf ears: the please that gives this documentary its title, from a woman understandably asking where else these communities are meant to go. The apathy and worse that's directed towards Adra's family and other Palestinians in No Other Land, as captured in footage spanning from 2019–2023, could never be shared by this film's audience. As is plain to see by everyone watching, making this doco is an act of bravery of the highest order. It's also a downright daring feat — not only to record its contents in the most difficult of circumstances, at a potentially fatal cost, but with two Palestinians and two Israelis coming together to make the movie happen. Viewing No Other Land, and bearing witness as Adra demands, couldn't be more essential. It's as distressing as cinema gets, too, especially as the campaign of destruction against Masafer Yatta's residents just keeps repeating within its frames. While the urgency of Adra, Abraham, Ballal and Szor's film is inherent, thrumming from start to finish, so too is the thought and care that's gone into its construction. As with 2024 Oscar-winner 20 Days in Mariupol , this is truly unforgettable cinema. Oscars: Won: Best Documentary Feature Other nominations: NA Where to watch: Via DocPlay. ano The Substance If you suddenly looked like society's ideal, how would it change your life? The Substance asks this. In a completely different way, so does fellow Golden Globe-winner A Different Man (see: below), too — but when Revenge's Coralie Fargeat is leading the charge on her long-awaited sophomore feature and earning Cannes' Best Screenplay Award for her troubles, the result is a new body-horror masterpiece. Pump it up: the sci-fi concept; the stunning command of sound, vision and tone; the savagery and smarts; the gonzo willingness to keep pushing and parodying; the gore (and there's gore); and the career-reviving performance from Demi Moore (Landman). The Substance's star has popped up in Feud, The Unbearable Weight of Massive Talent, Please Baby Please and Brave New World in recent years, but her work as Elisabeth Sparkle not only defines this period of her life as an actor; even with an on-screen resume dating back to 1981, and with the 80s- and 90s-era likes of St Elmo's Fire, Ghost, A Few Good Men, Indecent Proposal and Disclosure to her name, she'll always be known for this from this point onwards, regardless of whether awards keep rolling in. Turning 50 isn't cause for celebration for Elisabeth. She's already seen film roles pass her by over the years; on her birthday, she's now pushed out of her long-running gig hosting an aerobics show. Enter a solution, as well as another 'what if?' question: if you could reclaim your youth by injecting yourself with a mysterious liquid, would you? Here, The Substance's protagonist takes the curious serum. Enter Sue (Margaret Qualley, Drive-Away Dolls), who helps Elisabeth wind back time — and soon wants Elisabeth's time as her own. Just like someone seeking the glory days that she thinks are behind her via any means possible, Fargeat isn't being subtle with The Substance, not for a second. She goes big and brutal instead, and audacious and morbid as well, and this is the unforgettable picture it is because of it. No one holds back — not Elisabeth, not Sue, not Moore, not the also-fantastic Qualley, not Dennis Quaid (Lawman: Bass Reeves) eating shrimp, not Fargeat, and definitely not cinematographer Benjamin Kracun (Promising Young Woman) or composer Raffertie (99). Oscars: Won: Best Makeup and Hairstyling Other nominations: Best Picture, Best Director (Coralie Fargeat), Best Actress (Demi Moore), Best Original Screenplay, Where to watch: Via Stan, Apple TV and Prime Video. Read our full review. Wicked The colour scheme was always a given. "Pink goes good with green," Galinda (Ariana Grande, Don't Look Up) tells Elphaba (Cynthia Erivo, Luther: The Fallen Sun). "It goes well with green," the grammar-correcting reply bounces back. The songs, beloved echoing from the stage since 2003, were never in doubt, either, as both centrepieces and a soundtrack. As a theatre-kid obsession for decades, it was also long likely that the big-screen adaptation of Wicked — a movie based on an immensely popular and successful musical springing from a book that offered a prequel to a film that walked the celluloid road 85 years ago, itself jumping from the page to the screen — would have big theatre-kid energy as it attempted to ensure that its magic enchants across mediums. Enough such buzz and verve to fill every theatre on Broadway radiates from Grande alone in the two-part franchise's first instalment, beaming from someone who, as a kid, won an auction to meet the OG Wicked good witch Kristin Chenoweth (Our Little Secret) backstage. For audiences watching on, that enthusiasm is impossible not to feel. No one would ever want a muted Wicked, where the hues, in yellow bricks and emerald cities and more (rainbows of tulips and sprawling university campuses, too) weren't trying to compete with Technicolor — and where the tunes, with Chenoweth and Idina Menzel's (You Are So Not Invited to My Bat Mitzvah) voices previously behind them in such full force, weren't belted to the rafters. Jon M Chu has a knack as a filmmaker of stage hits reaching cinemas: matching the vibe of the show that he's taking on expertly. It was true of his version of In the Heights, which is no small matter given that it's a Lin-Manuel Miranda musical. It now proves the case in its own different way with Wicked. Achieving such a feat isn't always a given; sometimes, even when it does happen, and blatantly, any stage spark can be lost in translation (see: Cats). Again, movie viewers can feel that synergy with Wicked's first part, and also feel how much it means to everyone involved. Oscars: Won: Best Costume Design, Best Production Design Other nominations: Best Picture, Best Actress (Cynthia Erivo), Best Supporting Actress (Ariana Grande), Best Film Editing, Best Makeup and Hairstyling, Best Original Score, Best Sound, Best Visual Effects Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our full review and our interview with Nathan Crowley. Looking for more Oscar-nominees to watch? You can also check out our full rundown of where almost all of this year's contenders are screening or streaming in Australia.
Gone are the days of dull, bitter matcha lattes. In recent years, the game has shifted — access to premium matcha has skyrocketed, and matcha drinkers in Australia are more informed and discerning than ever. Now, you'll find dedicated matcha spots all over Melbourne serving up top-notch green tea sourced straight from Japan and, more recently, China. Whether you're a matcha purist or into its playful variations, there's a drink for you. Here are the city's best spots to get your caffeine fix without the crash. View this post on Instagram A post shared by Naau.Cafe (@naau.coffee) Naau — CBD Hidden on the northeast end of the CBD, Naau has quietly developed a cult following for its innovative matcha lattes swirled with raspberry jam or spiked with Italian pistachios. The peanut cream-topped matcha is also a fan favourite. For a dairy-free option, try the refreshing sparkling yuzu matcha. View this post on Instagram A post shared by Lunar by Hikari (@lunar_by_hikari) Hikari — CBD This Swanston Street cafe doesn't whisk matcha to order like some specialty spots, yet it still delivers that rich, smooth flavour you're after. Unsweetened by default, it's easy to customise with sugar or honey. Look out for their rotating specials like the Coconut Bloom — a layered drink of coconut water, jasmine tea and matcha cream. Nimbo — CBD If matcha's your thing, you'll love Nimbo, an all-day cafe and dessert bar created in collaboration with local brand Matcha Mate. Tea is sourced from Yame, a well-known Japanese growing region, and offered in countless variations. Find matcha lattes with ube cream, panna cotta-topped strawberry matcha and matcha milkshakes, plus matcha cookies and other sweet treats. Moment Coffee — CBD It's off the beaten path, but Moment Coffee is worth a special visit for their "China Matcha", a richer, stronger alternative to Japanese matcha (which you'll also find here). Best paired with soy milk, it offers robust tea flavour with just the right touch of sweetness. If you arrive early, you might also catch their matcha Basque cheesecake in the cabinet. Operator San — CBD Operator San is best known for its Japanese-inspired breakfast plates, but their matcha deserves the spotlight. Available in both standard and ceremonial grades, it's fresh and perfectly grassy, hand-whisked, and served with your choice of milk. For something different, try the layered matcha lattes topped with lavender or coconut and kinako (roasted soybean powder) cream. Can't get enough? You can even take home a canister. Osoi — Brunswick Long queues are a regular sight at Osoi, but loyalists agree it's worth the wait. Matcha is whisked to order, and you can sip it on the stairs beside the shop. Don't miss the Soleil Levant, a blend of green tea, matcha and muscat grape, or the Ichigo Matcha with housemade strawberry and brown sugar milk. But the classic matcha latte, made with a three-tea blend, is still the hero. View this post on Instagram A post shared by Meet Forest Cafe (@meetforest_mel) Meet Forest — South Yarra This South Yarra shop is beloved for its thick slices of matcha Basque cheesecake and layered matcha crepe cakes, but its drinks are just as strong a pull. Try the blueberry jam matcha for a fun spin on the more common strawberry version. Bonus: the cafe is halal-friendly, with no alcohol or gelatin used in any products. Kuuki Cafe — Sunshine Nestled in a Sunshine shopping arcade, Kuuki is a tiny matcha spot serving both classic and specialty drinks made with tea from Shizuoka, at the base of Mt Fuji. Their Sakura Matcha — pairing unsweetened matcha with a creamy, pink cherry blossom-flavoured cream — is a must-try. There's also a rotating array of matcha biscuits, brownies and cupcakes to pair with your drink. For more of Melbourne's best food and drink, check out the guides below. Best Cafes in Melbourne Best Coffee in Melbourne Best Breakfast in Melbourne By Quincy Malesovas Images supplied
Maverick is the new contemporary brunch venture from brother-sister duo Adam and Elisa Mariani, the same brains behind Richmond local favourite Mayday Coffee & Food. A playful space filled with deep navy accents and pale pink terrazzo, their latest venue is nestled within the sleek new 80 Collins Street precinct. Settle into a booth or perch at the central communal table to enjoy pastries from Richmond's Penny for Pound and speciality coffee by Axil. From the kitchen comes a seasonal menu of creative brunch fare, starring updated classics alongside familiar favourites. Melbourne mornings are made far more palatable with the likes of thick-cut rye topped with mushrooms, hazelnuts and smoked curd ($17), or the house-made pastrami benedict featuring lashings of bearnaise sauce atop potato hash ($19.50). A herb-roasted chicken roll comes loaded with avocado and buttermilk dressing ($17), the chilli scrambled eggs are infused with three types of cheese ($19), and the answer to that sweet tooth craving lies in the waffles, crowned with fresh strawberries and double cream ($18). [caption id="attachment_774224" align="alignnone" width="1920"] Maverick, CBD[/caption] Looking for something a little stronger than coffee with your lunch? Maverick's daytime-friendly drinks list extends to a considered handful of Aussie wines, local tinnies and classic cocktails, martini included. Dishes and drinks are available from 7am.
If you consider yourself even a little squeamish, maybe it's best to give this one a miss. For everyone else — or the bravely curious — Body Worlds: The Anatomy of Happiness is a compelling exploration of the human body and what it means to live a physically and emotionally healthy life. Touching down in Melbourne after 140,000 visitors experienced the show in Brisbane and Perth, this one-of-a-kind experience isn't for the faint-hearted. Developed by Dr Gunther von Hagens, an internationally renowned anatomist, Body Worlds relies on plastination, a highly effective method for preserving biological tissue invented by the good doctor back in the 1970s. Forming the basis for the exhibition — first presented in Tokyo in 1995 — all the displays that make up the show are, or were, real human specimens. Now, you can really see what goes on inside by heading to The District Docklands from Friday, March 28–Sunday, July 26. Curated by physician and designer Dr Angelina Whalley, Body Worlds: The Anatomy of Happiness draws a science-backed link between our physical bodies and how emotions such as joy, love, fear and stress visibly manifest within us. Illustrating the complexity and resilience of the human form, this exhibition explores diseases such as Parkinson's and Alzheimer's through plastinates, brain scans and multimedia presentations. Meanwhile, side-by-side displays of healthy and diseased organs reveal the profound impact of lifestyle and emotional wellbeing. "Through plastination, we're able to present the human body in a memorable and beautiful way so that people can learn about anatomy, disease and mental health," says Dr Whalley. "What it uncovers is truly fascinating, and we've seen visitors around the world leave with a new motivation to live more consciously."
As Mr Miyagi enters its second decade of trade on Chapel Street, it's proof that despite Melbourne's ever-rotating door of hospitality venues, the best restaurants endure. Mr Miyagi is a rarity in this sense — brushing off momentary food fads and dizzying rebranding in favour of staying loyal to the original idea that won them hearts in Windsor and across the river, over ten years ago. Modern Japanese is the focus here. The ever-popular Salmon Nori Taco — with Huon Valley salmon belly, sushi rice, spicy napa cabbage and Japanese mayo — continues to be the photographed favourite, but there are highlights to be found throughout the menu. Margaret River MB9+ wagyu beef is prepared tataki style, lifted with sesame ponzu, persimmon, red wine shallots, capers and watercress. The Tempura Broccoli reimagines the oft-maligned brassica with ramen seasoning and salted buffalo ricotta, while a hearty carbonara-inspired udon bowl pairs crispy pork belly with miso butter beurre blanc, garlic, chilli oil, pancetta crumbs and chives. If you're with a group, banquet options starting from $49 for four courses deliver bang for your buck at both lunch and dinner. Turning to the short but sharp drinks menu, the vodka-based Hello Kitty Sour features lychee liqueur from Rosebud distiller Stache House, lemon and aquafaba. Another 'naughty but nice' cocktail with gin, blood orange, passionfruit, white chocolate and aquafaba is dubbed Yukie Makes a Porno (a nod to Mr Miyagi's former snack bar next door). The bartending team are clearly having fun with the menu and it's paying off — drinks are beautifully balanced; spicy, sour and sweet without verging into sickliness. Beyond what's written on paper, it's clear that a lot of investment has been put into training the staff, who operate like a slick machine. The bustling ambience and thoughtful fluidity from the front door to the carriage booths out the back creates a fast, fun atmosphere that's perfect for its location. It's this focus on quality fun — from the menus through to the service, neon-pink interiors and cheeky details — that has made Mr Miyagi a staple on Chapel Street's highly competitive restaurant scene.
Tucked away in Flinders Lane is one of the most striking dining rooms in all of Melbourne. Think black granite, dim lighting, sleek leather furniture and a dazzling, illuminated red ribbon streaking through the room from the ceiling. The thread has significance in Japanese mythology around the idea of two people meeting — and we'd agree there's probably nowhere better in the city to bring a cute date. They'll be thoroughly impressed. Akaiito offers an a la carte menu as well as the option for omakase. Omakase translates to "I'll leave it to you," with the idea being you trust the chef to decide and prepare your multi-course meal. With that in mind, it isn't possible to guide you through what you will be having, as it changes on a whim with whatever is freshest at the moment. But that being said, we can speak to some past creations at Akaiito. Its omakase dishes may include something like smoked Spanish mackerel with wasabi, daikon and truffle ponzu; spanner crab chawanmushi with aged pork dashi, foie gras and truffle and appellation oysters with watermelon and native sea herbs. Heavier options might include seven-day dry-aged duck with caramelised fig, oyster mushrooms and smoked butter or MB9+ wagyu striploin with baked turnip and truffle jus. For dessert, imagine something like a guava sorbet with lacto-fermented strawberry, quince, native liquor, honey palm and raspberry meringue. If you're vegetarian, don't fret. Akaiito also offers an entirely vegetarian omakase menu with plenty of tempura on offer. Compared to some of the more elaborate omakase experiences in Melbourne, Akaiito's is on the smaller end. You can choose from either a five or a seven-course experience rather than the 20-plus courses found elsewhere. This makes it a cheaper and more approachable experience for those of us on a budget. But if you book the private dining room, you can go full decadence. The Tsukiyo Dining Room is equipped with projectors that shine down scenes of nature onto the table and surrounding walls. The visuals are made to work with the dishes served, so you can start off by eating under the moonlight and end in a field of flowers. It is one of the most unique private dining rooms in Melbourne and fits from six to 12 people. Do consider this space in Akaiito if you want to pair your Japanese eats with some theatrics.
While so many hospo businesses have been playing it safe in 2024, Mamas Dining Group (Hochi Mama, Straight Outta Saigon, Kiss and Tell) has been executing its growth plans at a rapid rate. In June, the crew opened Windsor Wine Room on Chapel Street, bringing a contemporary sip and snack wine bar to the strip. And then one month later, Mamas opened two-storey Chinese restaurant Suzie Q on the Prahran stretch of Chapel Street. The 150-seat site is the team's biggest venture to date, and it includes not only an enormous main dining room and bar with double vaulted ceilings, but also a private mezzanine level and karaoke room. Suzie Q takes its cues from an underground Chinese restaurant in San Francisco in the 1980s that went by the same name — and everything here is inspired by that very diner. Mitchell and Eades (Beverly, Grill Americano, Hawker Hall) was tasked with designing the space, which the team says embodies "the hedonism and rebellion of the underground nightlife scene in the 80s, re-imagined through a modern lens". Expect plenty of red accents, exposed brickwork, plush booths, laza susan-topped tables, retro furniture, and a striking black marble-topped bar with green leather stools that you can park yourself on for a long boozy feed. Within these retro surrounds, punters will dine on nostalgic Chinese eats inspired by the food served at the original Suzie Q. Head Chef Michael Stolley (ex-Ish Restaurant, Eazy Peazy) is executing this all with playful contemporary flair, just as he has done with Windsor Wine Room's new menu. At Suzie Q, this kicks off with a bunch of yum cha bites, including its huge candied pork buns, a fun twist on prawn toast and a selection of dumplings — be sure to get a round of the xiaolongbao. With 12 options available on this side of the menu, you can easily build a sharing feast just out of these. But it would be a shame to miss larger dishes like Suzie Q's mapo tofu, roast duck, crispy egg noodles with mixed seafood, and fried rice packed with sausages, prawns and spring onions. A few different banquets are also up for grabs, which we've got to say easily make our list of the best set menus in Melbourne. For a very reasonable $49 per person, you get two yum cha dishes, two larger dishes and a side to share between two people. The portions in the set menu are super generous, and you'll be glad to know the crew will give you plastic containers for the inevitable leftovers. On the drinks side, you'll find signature cocktails (that are also really reasonably priced), beers on tap, an Australian-leaning wine program and a sizeable back bar that includes a solid selection of sake. It's clear that the Mamas crew is having plenty of fun with Suzie Q, bringing the San Francisco diner back to life, but this time on Melbourne's own Chapel Street. If you haven't been already, add it to your Melbourne restaurant hit list.
It seems that 2026 is already shaping up to be a significant one for the hospitality world. Towards the end of 2025, many important industry players announced plans for their next venues — whether it's their second, third, fourth, or even in some cases, their tenth venture. In the coming months, we'll be treated to new openings that span the likes of European grills channelling the flavours and vibes of the Basque coast, casual eateries inspired by the pizzerias of Naples, late-night diners influenced by New York steak houses, and Japanese venues that have already found fame interstate. So if you need something to look forward to this year, read on with great anticipation of all the incredible food you'll be treated to in 2026. Recommended reads: The Best Restaurants in Melbourne The Best Wine Bars in Melbourne The Best Restaurants in Melbourne CBD The Best Private Dining Rooms in Melbourne Bar Carnation Carnation Canteen, the pink-pastel-hued, petite and charming neighbourhood bistro owned by Head Chef Audrey Shaw and her husband, Alexander Di Stefano, was met with an immediate warm welcome upon opening, owing to the team's hands-on hard work, perseverance, and an unwavering dedication to quality — both in terms of food and service. In 2026, Shaw is taking her strictly seasonal, intuitive and produce-led ethos to a second location, and one with a lot of legacy at that. Bar Carnation is set to open in the original Gerald's Bar venue, set to bring a refreshed energy and new focus to the space while paying due respect to what came before. While we don't know much yet about the plans yet, you can expect aperitivo-style snacks, pastas, and of course, ever-changing seasonal specials. Garfield King & Godfree, the historical Carlton grocery shop, is to enter a new era with three fresh, new venues to make their home in the iconic corner building site in 2026. The first of the three venues will see the space previously occupied by Agostino transformed into a casual and fun pizzeria. That casual pizzeria, Garfield, set to open soon, is inspired by the pizzerias of Naples, Rome, and even Tokyo, which, if you haven't heard, is producing some of the best pizzas in the world. Named for an orange cat that wandered into the building site and helped himself to leftover pizza, Garfield is slated to be just as playful, reimagining classic techniques with bold flavour pairings. With celebrated chef Karen Martini leading the charge, inventive offerings are set to include blended Italian staples (such as a Margherita x Marinara number) and modern takes on old favourites, such as Garfield's Hawaiian, featuring house-roasted leg ham, fermented pineapple, and barbecue sauce on a white base. And with Pidapipo next door, it's no surprise that dessert will feature rotating Pidapipo soft serve. Côte Basque In late 2025, legendary restaurateur and chef Andrew McConnell and partner Jo McGann set tongues wagging when they announced plans to open their next restaurant in Melbourne in mid-2026. Côte Basque, located on Crossley Street, will offer a European grill that channels the flavours and vibes of the Basque coast. "The name references our love of Basque culture and the coastline that bridges the northern Basque region of Spain and the southwest of France. The raw beauty of the region and a bounty of benchmark produce have long been an inspiration for us," says McConnell. In collaboration with Vince Alafaci and Caroline Choker of ACME, McConnell has designed the interiors to respect the legacy of the Becco venue (previously home to Pellegrini's) and to reflect the building's mid-century features. New additions will include outdoor dining and a private room on the first floor, designed for leisurely lunches, lively dinners, and intimate gatherings. McConnell says, "We don't have many heritage restaurant spaces in Melbourne, and to have the opportunity to restore the original features in this room is a dream. To continue its lineage as a restaurant will contribute to the wonderful energy on Crossley Street, re-emerging as one of the great walk-through laneways in Melbourne's top end." Yamagen Already a popular Japanese dining destination at the QT Hotel on the Gold Coast, Yamagen will make its Melbourne debut in early 2026, with a stellar team leading the charge. Adam Lane, Culinary Director, has created a menu that is precise, refined, and dialled into the senses. His menu draws on traditional techniques, rich flavours and fresh ingredients to produce premium dishes such as scallop sashimi with citrus, tender wagyu, and spanner crab cooked over flame. "We are thrilled to bring the Yamagen experience to Melbourne after its incredible success on the Gold Coast. Yamagen has become synonymous with award-winning, modern Japanese Izakaya dining, providing the ultimate immersive experience. With its inventive cuisine, superior craftsmanship and quality local produce, Yamagen Melbourne will deliver new generation Japanese for the discerning diner," says Dominic Rose of EVT Group. Frenchie Melbourne is set to land a rebellious take on French dining in early 2026. Frenchie will bring classic French flavours, techniques and dishes, with one obvious difference — the price tag. Frenchie's big draw card is that everything on the menu will be priced at $14. Yes, you read that correctly. All the plates, as well as all cocktails, bubbles and beers, are all $14. Those plates will play into classic bistro dishes reimagined for a new generation. Share plates will be bold and flavourful, and tableside service and roaming trolleys will add a dramatic flair to the dining experience. The pair behind the new venue, Julian Diprose and Lucas Boucly, with many years of experience in the hospitality industry, were fed up with the dining experience often being overshadowed by formality. About Frenchie, Diprose says, "It's loud, social and a little chaotic. We wanted to create a space that takes the 'joie de vivre' of Paris without the price tag. A place where you can sip champagne in sneakers, maybe lose track of time and enjoy the night without having to worry too much about the rules." The Frog Club The team behind Melbourne perennial hotspot, the Gilson, is adding to the list of alluring hospo venues coming in 2026. James McBride and Marc Gurman are well-versed in the art of Melbourne drinking and dining. Their Domain Road cafe by day, restaurant by night, the Gilson, draws crowds from all hours, serving not only energetic vibes, but consistently high-quality food. Now, they are taking their many years of experience and channelling it into The Frog Club. Slated to open in August 2026, the new venue is set to be a hot new grill and late-night spot, taking up the former Morris Jones Site on Chapel Street in Windsor. "At The Frog Club, we are creating a venue we have really missed in Melbourne," says co-owner Jamie McBride, "where it is not just the food that is culturally exciting, but it is also the atmosphere, a place you don't really want to leave."The venue will take influence from New York City grills, while also focusing strongly on music with a high-flying vinyl collection. There will be burgers and dry-aged steaks, classic cocktails, and if the Gilson is anything to go by, it's likely the guest list will be as notable as the wine list. Feature image: Cote Basque, James Geer.
Enter one of Yayoi Kusama's infinity rooms, including the Japanese icon's brand-new Infinity Mirrored Room–My Heart is Filled to the Brim with Sparkling Light at the National Gallery of Victoria, and it appears as if the artist's work goes on forever. A great exhibition dedicated to Kusama evokes the same sensation. Accordingly, when you're not staring at a seemingly endless celestial universe while enjoying a world-premiere piece from the talent that's been unveiled for the first time ever in Melbourne, you'll still feel as if Kusama's touches are everywhere around you. Simply titled Yayoi Kusama, NGV International's big summer 2024–25 showcase features 200 works, so there really is enough Kusama art to envelop attendees in dots, mirrors, balls, tentacles, pumpkins, flowers, rainbow hues and her other beloved flourishes. With ten immersive installations, the exhibition breaks the world record for the number of such pieces by the artist assembled in one spot. The showcase is also the largest-ever Kusama retrospective that Australia has ever seen. Open since Sunday, December 15, 2024 and running until Monday, April 21, 2025, Yayoi Kusama has taken over the St Kilda Road gallery's entire ground floor with a childhood-to-now survey of its subject's creative output. With the artist reaching 95 years of age in March 2024, there's eight decades of art on display. Some pieces have never been seen Down Under until now. Some are sourced from private collections, and others from Kusama's own personal stash. In advance of the exhibition's launch, Melbourne welcomed Kusama's five-metre-tall dot-covered Dancing Pumpkin sculpture in NGV International's Federation Court. Outside the gallery, Kusama's Ascension of Polka Dots on the Trees wrapped the trunks of more than 60 trees in pink-and-white polka-dotted material before Yayoi Kusama opened its doors, too. Now comes the chance to explore the complete showcase, which is also one of the most-comprehensive retrospectives devoted to the artist to be staged globally. Forget booking in a trip to Kusama's Tokyo museum for the next few months, then — all that Melburnians need to do is stay local, and Australians elsewhere just need to head to the Victorian capital. Other highlights include NGV International's glass waterwall going pink, but with black rather than white dots; Kusama's new version of Narcissus Garden, which dates back to 1966 and features 1400 30-centimetre-diameter silver balls this time around, sitting in front of the waterwall and in parts of Federation Court; and the yellow-and-black spheres of Dots Obsession hanging over the Great Hall. Then there's the artist's sticker-fuelled, all-ages-friendly The Obliteration Room, where audiences young and old pop coloured dots everywhere — 'obliterating', as Kusama calls it — to cover an apartment interior that's completely white otherwise. Flower Obsession is another participatory piece, returning from the 2017 NGV Triennial. Again, you're asked to add to the work. Here, red flowers are applied to a domestic space — and again, obliterating it is the mission. If you adore the artist's way with mirrors, you'll want to see 2016's Chandelier of Grief, which features baroque-style chandelier spinning within a hexagon of mirrors; 2013's Love Is Calling, where tentacles in different colours spring from both the floor and the ceiling; and 2017's The Spirits of the Pumpkins Descended into the Heavens, which gets viewers peering at glowing pumpkins as far as the eye can see through a small peephole. In Invisible Life, convex mirrors line a twisting and multi-hued corridor. With its six-metre-tall tendrils — which are covered in polka dots, naturally — the yellow-and-black The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe from 2019 is striking without using a looking glass (or several), and makes its Australian premiere. Prefer flowers instead? Set within a dotted space, All My Love for the Tulips, I Pray Forever from 2013 sees a trio of giant tulips loom over audiences. Overall, Yayoi Kusama steps through the artist's 80-plus years of making art via a thematic chronology. While a number of pieces hail from her childhood, others are far more recent. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s; plenty from the past four decades: they all appear. Any chance to see Yayoi Kusama's work in Australia is huge news, and reason to make a date — including travel plans, if needed. Here's another drawcard: the NGV has also added Friday-night parties to the mix, kicking off on Friday, December 20, 2024 for some pre-Christmas fun, then running for 18 weeks until Friday, April 18, 2025. Images: Visitors and artworks in the Yayoi Kusama exhibition at NGV International, Melbourne until 21 April 2025. © YAYOI KUSAMA. Photos: Danielle Castano, Sean Fennessy, Tobias Titz and Kate Shannassy. Updated: December 16, 2024.
The best part of a trip to the hair salon is often the wash. For ten glorious minutes, the hairdresser works the shampoo and other potions into your scalp as the week's worries (and clogged follicles) melt away. And if you're lucky, they'll throw in a head-and-neck massage, too. Imagine that stretching out over a full hour — no wonder Japanese head spas are having a moment. Scalp treatments abound at salons and day spas in Melbourne, but head spas dedicated to the relaxing Japanese ritual are few and far between. With a full suite of scalp-focused treatments that incorporate traditional techniques, Sydney-born Tokyo Headspa is one of them. It was founded by Nozomi Oshima, who first opened shop at Salon Lane, a warehouse-turned-co-working-hub for hair and beauty professionals. From there, she teamed up with Salon Lane founders Lance Kalish and Jared Keen to grow the brand. Today, it's got five outposts across Sydney and Brisbane — and recently opened Yokyo Head Spa's flagship in Armadale last week. Think of Tokyo Headspa as the closest thing to a head spa in Japan, where Oshima lived in her teenage years. Having reaped the benefits herself she knew that they would appeal to Aussies chasing wellness experiences. "After every session, my hair felt impossibly soft and my mind deeply relaxed," she says. On High Street, the shop's zen-inspired interior of natural timbers and earthy textures begins to calm the mind before any treatment begins. Guests slip into their pick of traditional Japanese yukatas before being guided into treatment rooms named after well-loved suburbs in Tokyo, where even the treatment beds are imported directly from Nippon. Treatments incorporate products from cult Japanese haircare label Beets, which are available for purchase. At the end of your self-care sesh, there's no rush. Slowly sip herbal tea in the lounge areas or at a DIY hairstyling bar equipped with all the tools you need for a blowout. The idea is that your scalp leaves in better spirits than when it came in, so all seven treatments start with a scalp health check. Each treatment is defined by its combo of techniques. Facial reflexology and upper-body massages unknot tension, while the trending waterfall-like head baths lull your mind into tranquillity (or even a nap) as gentle streams of warm water crown your forehead. There's something designed for lusher and healthier locks — and if you really want to treat yourself, the 2.5-hour Amaterasu combines all of the above, plus a detoxifying kombucha treatment and sea salt scrub to reset the scalp. Images: Dan Castano
This 50-seater wine bar has taken residence in a former light fitting store on Swan Street, and prides itself on a minimal intervention wine list that spotlights French, Italian and, to a lesser extent, Australian producers — courtesy of wine aficionado Lyndon Kubis who operated Collingwood's The Moon and The Alps in Prahran. A long communal table occupies centrestage at Clover, with soothing brown tones and wine bottle-lined walls accentuating the cosy feel. 'Food cooked solely over fire' is the drawcard at Clover, with a menu designed by owner and chef Charley Snadden-Wilson of Etta and Embla fame. What that means in practice? The highly vaunted housemade honey bread – described as part-sourdough, part-Shokupan – slathered with cultured butter. A bacon sandwich. Raw fish with smoked orange and chilli. Pork chop served alongside smoked pear and mustard. Smoked potato with savoury butter. The word 'smoked' appears plenty on the menu, testament to the brick woodfired oven and grill that's the centrepiece of the open kitchen. Warmer months are for settling into Clover's brick-paved courtyard and enjoying some of the meticulously curated cocktail selections.
Melbourne CBD might be chock-full of skyscrapers and international powerhouses, but what really keeps the city buzzing is the plethora of small and independent businesses that are hidden away in the alleyways and backstreets. From the labyrinth of Flinders Lane to the Paris end of town, Melbourne CBD features a wealth of incredible stores that are well worth celebrating. That's why we've created a list of the local CBD businesses that are the the lifeblood of the city. These ten local businesses represent the best of what Melbourne has to offer — and should be one everyone's must-visit shopping list.
The racing event of the year is nearly here. To celebrate, Jack Daniel's is bringing the hype (and noise) off-track with a bunch of live music and racing experiences across the city. Here's where to join the party. Jack's Street Party at Middle Park Hotel Middle Park Hotel is the destination for catching all of the race week action, no track pass required. From Thursday, March 5, through to Sunday, March 8, Jack Daniel's is bringing four days of racing, food, drinks, and entertainment to Middle Park Hotel. Located just minutes from the track, you and your friends can soak up the atmosphere (and engine sounds). Watch the races on mega screens and TVs, enjoy the pop-up bar and delicious food menu, and dance to live music and DJs every day. As a tribute to the McLaren Mastercard Formula 1 Team, Jack Daniel's, one of McLaren's official partners, is taking over the entire venue, with replica uniforms and helmets on display throughout the hotel, along with games, competitions, and prizes. From 5–6pm each day, Jack's Hour will take place, complete with drink specials and exclusive merch giveaways. Jack Daniel's has also collaborated with artist Glen Downey to produce a bespoke McLaren-Jack Daniel's-Melbourne-inspired piece of artwork. One lucky punter will win a driver-signed copy of the artwork by entering the competition during Jack's Hour each day. The weekend is free to attend and unticketed. Simply show up (first-come, first-served) and enjoy the atmosphere of race week at Middle Park Hotel. Jack's Bus Jack's Bus (yes, a literal bus) will be parked at Middle Park Hotel during the day. From 12–3pm each day, attendees will receive a bespoke cocktail on arrival, an expert insight into the history of Jack Daniel's and the McLaren racing team, as well as a tasting of a limited edition Jack Daniel's beverage and exclusive merchandise giveaways. Once the racing action is over, the bus will shuttle punters between Middle Park Hotel and The Espy to keep the party going. Jack's Karaoke at The Espy The Espy's Engine Room is set to transform into a high-energy karaoke arena for the long weekend. Step up, grab the mic, and you may end up the lead singer of Jack Daniel's House Band. Practice sessions are taking place on Thursday, March 5 and Friday, March 6. Saturday, March 7, is the qualifying heat to narrow the singers down to the final four. On Sunday, March 8, the finalists will take to the stage for the Loudest Lap, the ultimate karaoke showdown. The top prize (aside from your 15 minutes of fame) is $5K in cash, with all participants receiving a Jack Daniel's prize pack. Get ready for a weekend of belters and fun at The Espy's Engine Room. Jack's Garage at The Espy Ready to party the night away? Jack's Garage in The Espy's Gershwin Room is taking over with an electrifying lineup of Australian artists across four nights. On Thursday, March 5, electronic duo The Presets will set the tone for the exciting weekend. Friday, March 6 sees Slowly Slowly take to the stage with their local indie rock, while Saturday, March 7 brings DJ Anna Lunoe and her infectious house and electronic beats to The Espy. Finally, on Sunday, March 8, Keli Holiday wraps up Melbourne's race week with a high-energy gig that's sure to get you dancing. All performances are live and free, so RSVP here and arrive early to avoid capacity limits in the Gershwin Room. Even if you miss out on tickets, all gigs will be live-streamed on screens across the venue. This means you can still enjoy the tunes and have a dance at The Espy to some legendary acts. Jack's Pit Stop at Crown Casino Throughout race weekend, Crown Melbourne will become Jack's Pit Stop. By heading to The Pub, Sports Bar and Jackpot, you could win a free trip to Las Vegas with the purchase of any Jack Daniel's product, as well as a Jack Daniel's Pit Crew customisable t-shirt. Make it one of your pit stops across the racing-obsessed week. McLaren will bring speed to the Albert Park racing track, but Jack Daniel's is making sure Melbourne feels the energy. Between parties and fan hubs, live music and karaoke, there's no better way to enjoy the March weekend. Image Credit: Supplied
Death and destruction are no strangers to our screens at the moment. When Avengers: Endgame isn't pondering the decimation of half of humanity, then Game of Thrones is getting kill-happy with dragons — and then there's John Wick: Chapter 3 — Parabellum's astonishingly staged action and ample body count, plus Godzilla: King of the Monsters' world-destroying mayhem as well. But when it comes to sheer horror of the bone-chilling kind, not to mention the kind of soul-crushing dismay that can only stem from the bleakest of tales, they all pale in comparison to HBO's hit new mini-series Chernobyl. Currently streaming on Foxtel Now in Australia and Soho in New Zealand, the five-part show explores the aftermath of the 1986 nuclear disaster, which saw the reactor inside the Ukrainian facility explode. The fallout, unsurprisingly, was catastrophic, with the incident considered the worst nuclear power plant accident in history as well one of the worst man-made events ever. Releasing approximately 400 times more radioactive material than the atomic bombings of Hiroshima and Nagasaki will do that, as will the disaster's significant environmental and human toll. While the dramatisation begins with the fiery explosion, it's what happens next that earns the show's focus — the initial salvage attempts by workers condemned to suffer and die just for doing their jobs; the arrogant cover-ups, including by stubborn plant supervisors who refuse to believe what's happened; the clean-up and rescue missions, sacrificing more lives to the incident; and the inevitable investigation. Every aspect of the series is detailed, thorough, and even more relentless and unnerving than you'd expect given the real-life situation, with creator and writer Craig Mazin drawing upon meticulous research, interviews with nuclear scientists, chats with former Soviet residents and first-person accounts from those who were there. Expect a grim tone, grey imagery, the galvanising feeling that comes from watching such an enormous disaster unfold, and a slew of great performances as well. Mad Men's Jared Harris leads the cast as the Soviet nuclear physicist who first grasps the full scope of the accident, Stellan Skarsgård pops up as the Soviet Deputy Prime Minister assigned by the Kremlin to lead the government commission into the incident, and Emily Watson plays another physicist determined to work out what caused the disaster. Other familiar faces among the hefty cast include Beast's Jessie Buckley, Harry Potter and the Deathly Hallows' Adrian Rawlins and American Animals' Barry Keoghan. A word of warning: Chernobyl isn't easy viewing. If you're not fond of constantly feeling tense, terrified and panicked, don't fare well with body horror, and have no time for cruel and clueless political machinations from inept folks cowering in the face of catastrophe, this isn't for you. But the US-UK series, a co-production between HBO and British broadcaster Sky, is as masterful as it is haunting and shocking — which is exactly what a show about such a dark chapter of recent history should be. Check out the trailer below: https://www.youtube.com/watch?v=s9APLXM9Ei8 Chernobyl's first four episodes are currently available to stream via Foxtel Now and Soho, with the fifth and final episode arriving on Monday, June 3. It'll also air weekly on Foxtel Showcase from Wednesday, June 12. Images: Liam Daniel/HBO.
This guide to the best dog-friendly hotels in Australia is made for those fur parents out there who can't bare the thought of travelling without their pooch — and let's not to mention the pain of finding a dog-sitter. For you dog owners, the best holiday is one where both your two-legged and four-legged mates are there. There's no denying it. Luckily, there are heaps of accommodation options all over Australia where you don't need to choose between the two. Each spot catering to your pup in its own way — think special beds, treats, beaches and walks, all for your furry pal. Looking for a spot where your dog is welcomed as much as your human friends? These dog-friendly hotels and B&Bs in Australia are here for you. CRYSTALBROOK ALBION, NEW SOUTH WALES The Crystalbrook Albion (formerly, Little Albion) team believe that our little fur babies deserve to enjoy life's luxuries just as much as we do. That's why they've designed their Urban rooms (located down on the ground floor with direct access to outside) to be pet-friendly. They mostly cater to cats and dogs with their special beds and pet treats but are open to other creatures – just make sure to call them up and enquire. We're assuming it's a no to your pet snake…? How much? From $370 per night. YONDAH BEACH HOUSE, SOUTH AUSTRALIA At Yondah Beach House (a 3.5-hour drive from Adelaide), owners Michele Bain and Nick Cureton take the term 'pet-friendly' to a whole new level. They know animals are part of the family — so, they let your dog on every inch of the expansive 150-acre property, including inside the award-winning house, where a special gift will be awaiting your pooch. The beachside home is also fenced on three sides and is one-kilometre from the road, so it's safe for your pup to roam around the Yorke Peninsula coastline on your doorstep. The place isn't just for dogs, either; in the past, Yondah has also welcomed cats, birds and even a turtle. How much? From $490 per night. FOUR SEASONS HOTEL SYDNEY, NEW SOUTH WALES The Four Seasons is the latest addition to the growing group of dog-friendly hotels in Sydney. Their Pet Paw-fection package includes putting you and your pooch up in rooms made specifically for your needs. Each fur-tunate pup gets its own plush bedding, dog toys, bath amenities, outdoor water bowls and specialty treats — Bone Appetit. The concierge is also brimming with knowledge about Sydney's best dog-friendly places and activities. They'll direct your pooch and you all around the city. You can check out the best dog-friendly parks, cafes and bars with your four-legged friend or choose to leave them behind with the dog minding team. They haven't been doing this service for long, but they're already up the top of the list for Australia's best dog-friendly hotels. How much? From $495 per night. MT COTTON RETREAT, QUEENSLAND Mt Cotton Retreat's self contained cabins are located just 30-minutes from the Brisbane CBD, yet offer a real bush retreat for you and your pup. Choose from lakeside or treetop accommodation, with select cabins specifically reserved for pets (and prior approval needed). The property spans 20 hectares and is situated within a private nature refuge — expect to see koalas aplenty, along with wallabies, possums and goannas. And Venman National Park is just a short one-kilometre walk or drive away. So you and your fur baby can't possibly run out of things to do, and will have nice warm cabins to come back to. How much? From $260 per night. ELEMENT RICHMOND MELBOURNE, VICTORIA A great city escape for fur parents is Element Richmond. It's an eco-conscious accommodation option that welcomes guests of both the human and four-legged variety. The hotel expands over 168 suites and offers a contemporary design by award-winning local architects Rothelowman. Up to two pups can share your room, which comes equipped with extra comfy dog beds. Element Richmond also boasts a dog-friendly mini-bar that has featured treats like the Quarter Hounder (pan-fried steak served with green vegetables) and The Good Dog (market fish with steamed carrot). It's safe to say your dog won't want to leave this lap of luxury. How much? From $214 per night. SHAMBHALA BYRON BAY, NEW SOUTH WALES Set along a private stretch of Belongil Beach in Byron Bay, Shambhala is a true oasis for you and your pet. The cottages are located right on the sand, and also back onto stunning rainforest. Each offers sweeping ocean views, specifically across the Coral and Tasman seas. Some of the cottages also include a separate deck that comes complete with an outdoor barbecue and an eight-person dining table, and the resort features a giant steam room and a hot rock sauna. But your doggo isn't forgotten here, either. The hotel provides food and water bowls for your pooch, as well as offers a map of the off-lead and dog exercise areas within range. So, humans and animals alike can soak up all this luxury. How much? From $395 per night. BANNISTERS PORT STEPHENS, NEW SOUTH WALES Bannisters Port Stephens is an opulent dog-friendly hotel in Australia that welcomes your pooch with open arms. It has three dog-friendly rooms, including two ocean deck rooms and the ground floor luxury suite. All three rooms open out onto the garden and are walking distance to Wanda Beach where your pup can roam free. Doggos can also enjoy the Terrace Bar deck, where humans have the added benefit of an infinity pool (not for dogs, sorry). Your four-legged friend can also accompany you for a bite in the Cheeky Dog beer garden. These rooms understandably book out quickly, so be sure to plan in advance. How much? From $320 per night. OVOLO NISHI CANBERRA, AUSTRALIAN CAPITAL TERRITORY Bush and beach retreats aren't the only options for your dog-filled holiday, either. Heaps of Australian cities are now extending accommodation to doggos as well, including Canberra's Ovolo Nishi. The city centre hotel is dedicated to luxury, nature, sustainability — and your four-legged friend. Opt for the VIP Pooch Package, which takes care of dogs just as much as humans. For starters, it includes a special doggy bed, food mat and bowl. Plus, both you and your fur baby will get goodie bags on arrival — your dog's will include toys and treats exclusive to the hotel. And to take it to the next level, the pet-loving staff will also act as dog-sitters, ready to provide assistance as needed. For those looking to venture elsewhere, Ovolo's other hotels in Sydney and Brisbane have the VIP pooch deal, too. How much? VIP Pooch Packages start at $376 per night. LILIANFELS BLUE MOUNTAINS RESORT & SPA, NEW SOUTH WALES Located in the foothills of the Blue Mountains in the small town of Katoomba, Lilianfels offers luxury and pampering for you and your pup. Here, you can book a special BYO dog package, which includes a deluxe view room that comes equipped with a bed, bowl and treats just for your fur baby. The dog-friendly room overlooks the gorgeous surrounds, which also include a tennis court, a spa, two pools — one of which is a heated outdoor infinity pool — and a fine-diner. Plus there are heaps of easily accessible bushwalks to enjoy with your pooch. How much? From $350 per night. THE LANGHAM, VICTORIA AND NEW SOUTH WALES The Langham in Sydney and Melbourne both offer up one of the most luxurious dog-friendly hotel experiences in all of Australia. They're not holding back in any capacity. Four-legged loves staying here get a dedicated Pet Room Service Menu as well as plush beds, signature Langham bowls, gourmet goodies and a pet gift bag on arrival. Reckon you might need a break from your utterly indulged friend? No problem. Pet sitting and walking services are on-hand. They also offer breakfast in bed for both you and your cat or dog (their private dining pet menu is damn impressive). They won't get pampered like this anywhere else, making this a clear front runner for the very best dog-friendly hotels in Australia. How much? From $570 per night. BRIAR ROSE COTTAGES, QUEENSLAND All aboard a dog-friendly wine tour of the Granite Belt! Set up a luxe base camp at Briar Rose Cottages, just 1km outside of Stanthorpe (which happens to be one our favourite day trip destinations from Brisbane). These three darling little cottages are straight out of a picture book. Think, 'aspirational country chic'. Crackling wood-fire heating, white wicker chairs on the verandah and heritage elegance with a welcoming, homey feel. They're self-contained, for 2, 4 or 6 people, but as there's no fence on the property, you'll just have to keep the doggo on a leash when you're outside. When you've settled in, head out to one of the numerous dog-friendly wineries, including Ridgemill Estate, Robert Cannon Wines, Summit Estate and the trendy Symphony Hill Wines. A tasting for you, some head-pats for the pup, then return to your cosy country abode. How much? From $220 per night. QT, VARIOUS AUSTRALIAN LOCATIONS At all QT Hotels & Resorts across Australia and New Zealand, your dog can come for a luxurious sleepover with you. The chain's Pup Yeah! fur-friendly stays include a night's accommodation for you and your doggo, an in-room menu specifically made for woofers and a pooch-friendly mini bar offering and designer canine bedding. The doggy food range is overseen by the brand's head of treats, Nic Wood, and includes steak tartare with raw beef, mushrooms and egg yolk; bone marrow risotto with bone broth and crispy pigs ears; and chicken livers and pork necks on wholemeal toast with chicken gravy. Fancy a pupper dessert? There's also a bacon ice cream sandwich, made from bacon ice cream, dried liver and oat biscuits. The team will also help guide you to all the best pet-friendly cafes and bars in the local area. And this isn't just one of the best dog-friendly hotels in Australia, it's also one the best hotels in Melbourne, period. How much? From $350 per night. HAWLEY HOUSE, TASMANIA A self-proclaimed 'animal paradise', Hawley House is set on a 150-hectare homestead on the northern coast of Tasmania. Your four-legged friends are welcome free of charge — and that goes not only for dogs but also for ferrets, rabbits, horses and cats. At this dog-friendly accommodation, you are surrounded by Tasmanian wildlife, as well as kilometres of private bushwalking trails and a dog-friendly beach that's set just below the property's garden. Dogs are specifically allowed to stay in the Stables Spa Rooms and the Aquarius rooms, as they are ground floor and have easy access to the outdoors. But if you want to get away with all of your best human and furry mates, book out The Hill House — the four bedroom, two bathroom home sleeps up to ten guests and also includes an outdoor deck with barbecue. How much? From $380 per night. PIER ONE, NEW SOUTH WALES Pooches checking into Pier One won't be quite as ridiculously spoiled as those at The Langham, but nonetheless, they'll be greeted with their very own bed, bowl and toy ... not to mention all the harbour views. What's more, the hotel's staff are mad dog lovers, so be prepared for enthusiastic showers of attention. Don't go getting jealous, now. Pet-friendly hotel rooms come with direct access to the pier, so, when walk-time craziness hits, you'll merely have to open the door. The Rocks and Circular Quay are a waddle away, and, should energy levels reach exploding point, there's always nearby Barangaroo. THALIA HAVEN, TASMANIA Located just an hour from Hobart airport, Thalia Haven is set on a private 130-acre peninsula that's surrounded by the Great Oyster Bay. Tassie's wild east coast is at your doorstep, and there are a whopping five kilometres of secluded coastline, plus a private beach for your entire group to enjoy. The ancient stone cottage contains four bedrooms, so it's the best option for you and your entire crew of dog-loving mates. The place is also solar and wind powered and includes an outdoor bathtub, shower and wood-fired sauna. It's safe to say that this would be an incredibly fancy getaway for you and your pup. How much? From $1500 per night. Top image: QT Hotels Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Have you ever struck gold in an op-shop? It's a high, isn't it? The thrill — akin to finding money on the ground or winning a game — comes from small victories like picking up a piece that emulates a current trend (say, anything aquamarine right now) or a trinket to fill that empty space on your shelf. Dedicated thrifters take on bigger conquests, such as finding a brand new wedding dress at a regional Salvos. Op shopping has long been a practical (and sometimes, necessary) cost-cutting measure. A recent study from Salvos and Glow Research has pulled back the curtain on the incredible highs and lows of the op shopping experience — naturally, 60% of Australians value the savings, but the data reveals that more shoppers are rummaging the racks for fun today. Almost three-quarters of respondents agree that the experience feels like a treasure hunt, and that finding the right item brings a sense of personal accomplishment. You never know what lies in your local second-hander, but you're likely to luck out. A crystal chandelier, a rare Dobro guitar — these are among the items of "exceptional value" that 68% of Aussies have purchased at op-shops. This unending potential for discovery explains why two in three Australians find op shopping more exciting than browsing boutiques or department stores. Hard-to-find items have a maverick appeal, but the unique potential and individuality of these items also raise the stakes for shoppers. Something mass-produced can be bought anytime, but who knows when you'll see those vintage leather boots again? Salvos reports shoppers are twice as likely to regret leaving something behind at the op shop than at a regular retail store. It's the opposite of buyer's remorse; 48% of shoppers have returned to the op shop for a previously abandoned item. If they're lucky, it hasn't been snapped up by another discerning eye. Interestingly, op shops backed by charities even offset the guilt of impulse spending for almost 70% of respondents. As sustainability becomes an increasingly urgent topic, you're less likely to feel guilty when you're avoiding fast fashion. Still, moderation is always wise. This data was supplied by Salvos and was based on a study of a national representative sample of 1000 Australians. Images: supplied Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox.
Royal Stacks has officially unveiled its brand-new froyo bar, serving up a nostalgic slice of classic American dessert culture with a distinctly Melbourne twist. Available now at all Royal Stacks locations, from Collins Street to Craigieburn, the new froyo menu leans hard into customisation, colour, and throwback fun. View this post on Instagram A post shared by Royal Stacks (@royalstacksau) Expect a lineup of top-tions (yes, topping options…) that spans everything from Twizzlers and Cinnamon Toast Crunch to Mini Reese's Pieces, Mini Oreos, and more sugar-coated favourites you'd find in a classic U.S. froyo shop. At the centre of it all is Blue Mango, Royal Stacks' signature flavour that's quickly building a following thanks to its bright colour, tropical tang and soft-serve creaminess. The menu also includes vanilla, chocolate, cookies and cream, salted caramel, and a vegan coconut option for dairy-free dessert lovers. But if you want to make the experience even sweeter, head to their Crown Melbourne venue — sitting right on the Yarra, it's currently the only place in the city where you can enjoy frozen yoghurt with a waterfront view Royal Stacks will be offering a two-for-one froyo deal at the Crown Casino venue — 6–7 December only. Find out more via the Royal Stacks Instagram.
The stunning beaches of New South Wales get more distinct as you get to know them better. While Bondi is buzzy and Manly is family-friendly, Coogee Beach is known for its laidback and local feel. From morning snorkels or swims in serene water to coastal walks dotted with effortlessly stylish spots, there's an easygoing charm to the seaside suburb. In December, InterContinental Coogee Beach will land right on the oceanfront. Decked out in soft whites and gentle textures, the hotel invites the surf and sand of Coogee into the interior with floor-to-ceiling windows, open-plan spaces and wavy joinery that trace the shoreline. There are 198 minimalist guestrooms with boucle furnishings for guests to settle into, or take a cheeky upgrade to one of the 22 premium suites with extensions like outdoor baths and spacious lounges. One of the best feelings on vacation is when you're fresh out of the shower, sun-kissed and ravenous for dinner. At InterContinental Coogee Beach, swanky coastal dining is a given. British chef Rick Stein is opening his third and flagship venue at Coogee Beach (his other two Aussie outposts are Bannisters Port Stephens and Bannisters Mollymook, alongside various locations around England), where local produce pairs with the freshest catches. InterContinental is also bringing Shutters back to the shoreline. Formerly in Crowne Plaza, Coogee Beach regulars might be familiar with the restaurant's playful Mediterranean-inspired Australian menu. For the uninitiated, expect dishes like spiced Black Angus beef kofta, tomatoey trottole loaded with Moreton Bay bugs and a boozy tiramisu that swaps espresso for espresso martinis. In March 2026, InterContinental will unveil the second phase of its opening: an amenities-packed leisure deck. They include an infinity pool with a poolside bar, a breezy day spa and the members-only Club InterContinental lounge where breakfast, afternoon tea, snacky suppers and premium wine service are all on the house. For now, you can start your days with sunrise yoga, a pickleball sesh. or a slow breakfast in bed overlooking at the ocean. Images supplied
Rustica Sourdough, the Melbourne institution and baker of all things sour and delicious, has opened a new bakery and cafe in Melbourne's central business district. Located on the corner of Little Collins and Queen Street and adjacent to the famous Gothic Bank building, this new 70-seat outpost of Melbourne's iconic bakery-brunch hybrid has both easy grab-and-go options for busy inner-city workers in need of a brew and a bite, as well as a dine-in menu for those wanting to leisurely take their time over lunch. Developed by head chef and long-running team member Chatelle Saba, the menu features delights like a breakfast surf-and-turf lineup of lobster and prawn eggs benedict, accompanied by crispy potatoes and salmon roe. For those who can't go past a pasta, there's a prawn, clam and mussel linguine with white wine, chilli and garlic, and if you're in desperate need of a burg, wrap your laughing gear around a buttermilk fried chicken burger, complete with Korean hot sauce, aioli, pickles and slaw — all stuffed inside a milk bun. As for the pastries, expect to see all the goodies Rustica is known for holding court in the cabinet, including almond and chocolate croissants, brioche doughnuts, cronuts, and other sweet treats. Because no pastry is complete without a good brew to accompany it, the team are serving up their signature coffee blend First Love Coffee, a roast that has become synonymous with Rustica cafes city-wide and now even has its own signature flagship cafe in Collins Arch. Rustica Little Collins and Queen Street is open seven days a week, from 7am-4pm Monday to Friday and 8am-4pm on weekends.
While we'll always have a soft spot for the lo-fi classics of youth, sometimes your booze radar is after something more high end than a longneck of Melbourne Bitter. Thankfully, Melbourne is home to a growing collection of independent bottle shops that have made it their mission to seek out the best beers, wines and spirits being crafted around Australia and the world. From neighbourhood wine stores slinging an expert curation of new-world drops, to craft beer shops crammed with the freshest tinnies, the city's got boozy retail offerings for all palates. Organic, fermented, hoppy, or just a certain je ne sais quoi — whatever you're after, these Melbourne boutique wine and beer bottle shops will fit your next park session or dinner dalliance with the right drop for a kind price. Recommended reads: The Best Sandwiches in Melbourne The Best Delis in Melbourne The Best Bakeries in Melbourne The Best Cafes in Melbourne MR WEST BAR & BOTTLE SHOP, FOOTSCRAY This fab Melbourne bottle shop and bar offers magnums of pet-nat and more beers than your gramps could squirrel away for winter. Here at Mr West, there are shelves and shelves of beers, totalling more than 500 options, along with a great selection of natural wine and some 200 rare spirits. Basically, if it's crafty, artisanal or obscure, you're likely to locate it on Mr West's roster at some point. Fresh, seasonal picks are dropping all the time, and there are regular guided tastings happening in-store. Hop upstairs and you'll find the adjoining bar celebrating the same approach to sourcing and serving top-notch booze as its sibling. BEERMASH, COLLINGWOOD Beermash is not your standard Melbourne beer shop. The industrial-style space boasts exposed brick walls, retail fridges heaving with specialty brews and an impressive 20 taps built into the wall behind the front counter. Although owner Kieran Hennessy and partner Shayne Dixon built the shop around take-home 'growlers' and 'squealers', there's never a shortage of people taking advantage of the venue's stools for a sit-in tipple. It's a go-to for hyped local releases and hard-to-find international drops alike, making it a superstar of the local craft beer scene. Not a beer connoisseur? Fear not — there's also plenty of craft wine, cider and even kombucha. SAMUEL PEPYS, NORTHCOTE Longtime Bomba business partners Jesse Gerner, Andrew Fisk and Kelly O'Loghlan laid the golden vino egg when they opened their boutique wine store a throw away from Terra Madre. Named after a fellow wine-lover, Samuel Pepys focuses on producers who practise sustainable, organic and biodynamic winemaking principals, making it an ideal swing-by while grocery shopping. The store stocks hundreds of wines on rotation (some handpicked international varieties included) and an extensive spirit list, staffed by wine-lovers who truly know their stuff. Nab the latest from local favourite Patrick Sullivan, a bottle from the Mornington Peninsula's Polperro Estate or a picnic-friendly magnum to share [caption id="attachment_810376" align="alignnone" width="1920"] Kim Jane[/caption] CARWYN CELLARS, THORNBURY A veritable candy shop for anyone who digs beer. Carwyn Cellars boasts around 10 fridges full of it, along with hundreds of wines arranged from lighter to bolder, a golden selection of American whiskey and lots of other boozy delights. Carwyn doesn't dabble in big breweries, so its shelves are reserved for top-notch local crafties, hot releases and international gems. Try a tropical sour from Bridge Road Brewers, nab the latest limited-batch creation from Hop Nation, or jet your tastebuds overseas with a big bottle of Westmalle's famed Tripel. And if you're not in a hurry, venture through the shop's rear door to spend some time in one of the north's best-loved craft beer bars. THE MOON, COLLINGWOOD A northside venture from Lyndon Kubis and Mark Nelson (Toorak Cellars, Milton Wine Shop), The Moon is a touch moodier and a little more refined than its siblings; though still slinging a wide-ranging pick of booze with minimal pretentiousness. At this beloved Melbourne bottle shop, small producers are the focus of a 300-strong bottle curation that reflects places and regions, rather than processes and technique. A solid crop of craft beers and boutique spirits is also on offer. Meanwhile, the onsite bar invites you to sit in and sample selections, either from the rotation of twenty wines by the glass or the beer taps. BLACKHEARTS & SPARROWS, MULTIPLE LOCATIONS With bottle shops scattered all over the city (the OG being in Windsor) this sibling-owned purveyor of unique wine, beer and cider has been at it since 2006. Blackhearts & Sparrows' staff spring from winemaking and hospitality backgrounds, and there's never any shame in dropping less than a twenty since their aim is to always be accessible. Try a minimal-intervention wine that lets the grapes and terroir speak for themselves, or go for some old-world European iteration steeped in tradition. You'll find a bunch of fridges dedicated to local and international craft beers, too, along with a covetable selection of spirits. SEDDON WINE STORE, SEDDON Seddon Wine Store is a treasure trove of good booze, whether your drink of choice is a Yarra Valley chardonnay, a big French Burgundy or crisp local pilsner. Doubling as an intimate wine bar, it's a comfy, laidback Melbourne bottle shop where you can settle in to sample a few wares — and maybe some freshly-shucked oysters — before deciding on which vino to take home for dinner. A weekly tasting panel ensures only top-quality fresh drops land on the shelves each week and friendly staff are always happy to share notes on their latest top picks. ATLAS VINIFERA, RICHMOND Its name is a tribute to the parent vine from which all of the world's wine grapes originated, and its shopfront is stocked with a sprawling curation of interesting bottles from across the globe. It's safe to say Richmond's Atlas Vinifera is wine obsessed — which is excellent news for anyone hunting a great drop. Here, you can pull up a seat in the bar space to enjoy a cheeseboard and a glass from the rotating pouring list, or browse and shop the ever-changing selection of goodies lining the shelves. And if you're after something extra special, raid the Pool Room collection to find a range of super rare and collectible wines. MILTON WINE SHOP, MALVERN Nestled in the heart of the city's southeast, Milton Wine Shop is this cosy Melbourne bottle shop and wine bar that slings rare drops by the glass. Here, old and new-world wines are celebrated in equal measure, with the selectors focused on showcasing quality winemaking and plenty of hard-to-find pours. Discover red, pink, white and orange wines from every corner of the globe, along with a tidy curation of boutique beers and spirits. If you need help deciding, nab a seat at the communal table and get acquainted with the bar's pouring list, which rotates through the latest and greatest selections. [caption id="attachment_752648" align="alignnone" width="1920"] Parker Blain[/caption] BOTTLE HOUSE, MULTIPLE LOCATIONS When it comes to top-notch beer, wine and spirits, not many southside spots have a more rounded offering than the OG Bottle House. Conveniently positioned just steps from South Yarra train station, it was opened in 2011 by a group of friends who decided that they could put their knowledge of a good brew to better use. You'll find fridges full of craft beer sourced from across Australia and the globe, backed by an array of vino that'll put even the worldliest of drinkers' knowledge to the test. Whether you're seeking a funky low-intervention drop, an old-world style out of Europe, or a limited-release hazy IPA, there's a very good chance you'll find it at this excellent Melbourne bottle shop. Top Image: Mr West
Escape the hustle with a jaunt out to the Yarra Ranges. Just over an hour away from the city lies Japanese Mountain Retreat in Montrose, a luxurious mineral hot springs haven boasting a series of fully private outdoor mineral pools, meaning you won't have to share your soak with any strangers. There's a variety of these romantic, secluded private spaces available to book (for one couple at a time), featuring backdrops like zen Japanese-style gardens and leafy rock pool grottos. What's more, they're open until 9pm, primed for a spot of romantic bathing under the stars. There's also an opulent Roman-style bathhouse for those who prefer an indoor dip, and a range of add-on dining experiences available to amp up any visit. You can even stay the night, with a variety of pamper-filled accommodation packages on offer. Images: supplied.
In contrast to its unassuming grey concrete facade, Amann Patisserie in Carlton North delights with its French flair, flaky pastries and seasonal fresh ingredients. With a passionate and dedicated team committed to technical excellence and quality, this pint-sized patisserie has earned its reputation as one of the best in town. Yohann and Alizée, the couple behind Amann Patisserie, first met while working at a patisserie in Brisbane. However, Yohann's journey begins in the home of pastry, France, where he trained and worked in patisseries in Brittany and Paris, which explains his devotion to the skill and craft of baking. Yohann's pastries are deeply rooted in French tradition, relying on recipes and techniques that have been developed over decades by renowned French chefs. His impeccable French technique is showcased in Amann's range of staples that are served each day — plain, almond, chocolate and ham and cheese croissants, kouign amann, pain suisse, and a signature maple bacon danish. When Alizée and Yohann opened up their tiny storefront, they had no idea just how quickly their business would grow. What started as just the two of them trading three days a week has now grown into a daily operation with a whole team, regular opening hours and outdoor seating. Amann's seasonal specials feature innovative Australian produce and influences. For example, summer specials may include kiwi berry flans, cherry pastries or mango and pandan numbers. They make an effort to listen to their customers — if they love a special, it may earn a spot on the permanent menu, if they don't, it won't make it to next week. By adhering to its ethos of keeping it simple yet doing it well, Amann Patisserie has garnered a loyal following of devoted customers. Looking forward, Alizée and Yohann are focused on continuing to grow their business by streamlining operations, expanding their offering, and building the brand beyond their little pastry window. Images: Supplied.
You'd think the frozen winters and polar nights where the sun doesn't rise might act as a buzzkill, but Finland once again ranks as the world's happiest country. Topping the United Nations' World Happiness Report 2026, it's actually the ninth consecutive time the Nordic nation has confirmed its contented status. So, what makes the average Finn so happy? According to the report, it might have something to do with how the country's people remain as close to nature as ever, not to their screens. With this in mind, Visit Finland is celebrating their latest joyful milestone by inviting six pairs from around the world to indulge in a free seven-day digital detox. Named the 'Chill Like a Finn Challenge,' selected winners will travel to Finland's Lakeland — a picture-perfect region teeming with almost 200,000 lakes, vast forests and peaceful cottage life. What's more, the itinerary is designed to help people master the art of relaxation, rather than spending their holiday plugged in and always on the move. "In Finland, we don't really chase happiness — we tend to find it in small, ordinary moments," says Heli Jimenez, Senior Director, International Marketing at Visit Finland. "When life feels overwhelming, sometimes the best way to feel better is simply to slow down, step outside and chill a little — like a Finn." That means you'll be encouraged to seek out a more balanced way of life, where spending time in nature takes precedence over staying online. Over the course of a week-long experience, you'll take refreshing lake swims, cleanse mind and body in traditional saunas and relish seasonal food and good company — all with barely a device in sight. Keen to apply? Applications for the Chill Like a Finn challenge are now open until 7.59am AEDT on Monday, March 30. Just complete Visit Finland's social media challenge, then submit your application form on the website. With participants chosen in April 2026, this summertime escape will have you appreciating what makes Finland so happy. Applications for Visit Finland's Chill Like a Finn challenge are now open until 7.59am AEDT on Monday, March 30. Head to the website for more information. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox. Images: Visit Finland.
New South Wales is dotted with seemingly endless country towns and weekend destinations. Among the best of these is Kangaroo Valley, named for the Kangaroo River along which the tiny village is situated. The town is only two hours south of Sydney but packs all of the charm that we love about rural NSW — breathtaking mountain and valley views, bushwalks aplenty and wineries galore. Kangaroo Valley is a cabin retreat that will feel decades away from the city hustle and bustle, but is still close enough for a quick weekender. Here's how to make the most of it. [caption id="attachment_581967" align="alignnone" width="1280"] @she_eats[/caption] EAT/DRINK Kangaroo Valley may not be the most talked about wine region, but it sure is a quiet contender. The region is distinguished by its rich volcanic soil which is ideal for viticulture — aka growing grapes. The winding pathway to the remote Yarrawa Estate is not an easy one to follow, but you'll be pleasantly surprised as the path opens to this lakeside vineyard. If the golden retrievers and frolicking children remind you of a visit to the family country home you either have or dream about, well, it should — the cellar door is quite literally set in the Foster family dining room, where strangers momentarily become relatives. Apart from the incredible wine, they also offer a range of nuts, jams and pickles made from homegrown produce. Be sure to taste their homemade walnut liquor wine, a combination of both passions. Possibly the best known among the region's wineries is Silos Estate. The cellar door is run by friendly, knowledgeable locals and set among the estate's sloping Shiraz vineyards. Order a local producer's cheese plate at the cellar bar while you enjoy your free wine tasting or peruse the collection of locally-made smallgoods for sale. If you're hankering for something more substantial, head over to the Silos restaurant which is set in a 100-year-old hay shed and has a relatively reasonable tasting menu ($29.95 for lunch, $95 for dinner). Head chef Nick Gardner (Tetsuya's, Quay, The French Laundry) focuses on native Australian ingredients and local produce, like the decadent red snapper topped with warrigal greens, smoked oyster cream and citrus caviar sauce. The open fireplace keeps you cosy in the winter months while outdoor seating is perfect for warm weather days. Once you're out by Silos, might as well stop over at The Famous Berry Donut Van for their notorious cinnamon-sugar doughnuts. You deserve a second dessert — you're on holiday after all. [caption id="attachment_575084" align="alignnone" width="1280"] Southern Pies.[/caption] If wineries aren't your thing, Kangaroo Valley holds plenty of small town eateries to explore. If you're looking for a quick, road trip snack, check out Southern Pies — the cheeseburger pie or the curry beef are standouts, and vegetarians will love the award-winning lentil and chickpea dhal pie or the honey-roast pumpkin and spinach. The only pub in town, The Friendly Inn, has been around since 1892 and is one of the oldest in the region. Though it's pretty standard pub fare, the real draw is the expansive beer garden which overlooks the rolling valleys and mountains beyond. On the drive down from Sydney, or on the way back home, have a stopover at Berrima's Bendooley Estate, which houses the original Berkelouw Book Barn. The architecturally-designed winery is situated within a gorgeous backdrop, while the produce-driven restaurant sits within the bookshop itself. Check out our Foodie's Guide to Kangaroo Valley for more eating destinations. [caption id="attachment_581969" align="alignnone" width="1280"] Angus L.[/caption] DO As the town lies along the Kangaroo River, one of the best ways to see the valley is via kayak or canoe. Two companies in town, Kangaroo Valley Safaris and Kangaroo Valley Kayaks are comparable in price and both offer pick-up service at the end of the five-kilometre, self-guided journey. The gentle rapids and overall calm river is easy to navigate and includes spectacular scenery and plenty of wildlife to sight. A pro tip is to go on an overcast or drizzly day when the tourist count will be at its lowest and the river will be as peaceful as ever. If bushwalks are more your speed, Mortan National Park and Kangaroo Valley Nature Reserve seem to have an endless number of hiking trails to explore. Within the park is the Fitzroy Falls walking track, which offers both forest and cliff-side views, as well as a good chance to see platypus and lyrebird in their natural habitat. The full West Rim walking track, a moderate 3.5 kilometre trip, will take you through eucalypt and lush rainforest, remarkable gorges and waterfalls before finishing at Twin Falls. Beach lovers should go for the Seven Mile Beach track, which includes stunning ocean views and beach side picnic areas. [caption id="attachment_581975" align="alignnone" width="1280"] Maarten Danial.[/caption] Once the great outdoors has you good and tired, it's time to check out the many antique shops around town. While Kangaroo Valley town itself is loaded with boutiques and craft shops, our favourite is the out-of-towner, Grandpa's Shed. Located down the road from Fitzroy Falls, this warehouse has every antique imaginable, from hand-axes and old farming equipment to antique jewellery and comic books. The shop is connected to an old-school, working gas station, which will offer a much needed cold drink if you're visiting after a trek. [caption id="attachment_581976" align="alignnone" width="1280"] The Heavens.[/caption] STAY Kangaroo Valley is ideal for a cabin getaway weekend and there are plenty of options to that end, from The Heavens to Kookaburra Hill. Twin Falls Bush Cottages is by far our favourite — family-owned and operated, the five one- or two-bedroom cottages are nicely spaced for privacy from the neighbours and include a fireplace, full kitchen and outdoor barbecue. The expansive property is set right in the bush, with private hikes and mountain bike trails, as well as a communal tennis court, pool and fire pit to boot. The location is also perfectly situated for both for Twin Falls and Fitzroy Falls treks and the remote location is a true removal from city living. If you're looking to stay closer to town, the Tall Trees Bed and Breakfast is conveniently located just one kilometre from the town centre and is walkable for those without a car. You can either choose a traditional B&B or a self contained unit here. Another, more upscale option is the villas at Kangaroo Valley Golf and Country Club, only a four-minute drive from town and offering sweeping valley views. [caption id="attachment_581974" align="alignnone" width="1280"] Flickr.[/caption] LET'S DO THIS, HOW DO I GET THERE? By car: Kangaroo Valley is two hours drive south of Sydney along Hume Highway. This is the suggested route, as it makes it much easier to travel around the valley for hikes and wineries. By public transport: Catch the Southern NSW train line from Central Station to Moss Vale Station, then transfer to the 810 bus toward Nowra, which stops in the heart of Kangaroo Valley. Top image: Rodney Campbell.
As the sun sets, the orange glow emanating from the unassuming facade of Carnation Canteen on a tucked-away corner in Fitzroy draws you in like a moth to a lantern. It's enticing and warm, and feels like an intimate and chic dinner party you're so grateful to have been invited to. Carnation Canteen is a pink-pastel-hued, petite and charming neighbourhood bistro owned by Head Chef Audrey Shaw and her husband, Alexander Di Stefano. The loosely Mediterranean menu is strictly seasonal and changes weekly. Shaw's approach to cooking is intuitive and produce-led, driven by her close relationships with suppliers and growers who share her ethos towards food. The alluring handwritten menus deliver a selection of ever-changing snacky nibbles, food that mandates another glass of wine. You'll find something intriguing sitting atop charry toast, whether it's braised leeks with pistachios, tuna crudo with prosciutto butter, or olive tapenade crostini primed for scooping fresh buffalo ricotta. There will likely be thinly sliced meats such as San Danielle Prosciutto with pear, veal girello with tuna sauce, or Jamon Iberico with hazelnuts and dates. More substantial dishes may be along the lines of pork and fennel sausages atop braised lentils with parsley and mustard sauce, charcoal grilled chicken with yoghurt and pepperonata, or roast pork with prunes and pistachio. In her former life, Shaw's creativity was channelled through her career as an architect. So of course, she lent her architect's hand to designing the space, cleverly making the most of its svelte size. Carnation Canteen is imbued with character, with layered, cracking paint on the walls juxtaposed with fresh flowers atop an enviable pink marble bar that grounds the space. Glowy lamps give off a romantic and dreamy feel and make you want to stay for another drink and something sweet — usually something rich and chocolatey, such as semifreddo with fudge sauce, or profiterole with chocolate sauce (always using Melbourne-made, organic Huntered+Gathered chocolate). The warm welcome Carnation Canteen received from the very beginning is the result of hands-on hard work, perseverance, and an unwavering dedication to quality — both in terms of food and service. Shaw's confidence in her produce and skills in creating considered dishes make this the kind of restaurant you'd feel smug showing off to an out-of-towner. Carnation Canteen exudes the essence of unpretentious yet exceptional dining, reminding Melburnians how lucky we are to have restaurants like this at our fingertips. Images: Coco and Maximillion.
This just in: coveted Melbourne bakery, Cobb Lane, is opening its first city location. The CBD outpost will be located in the new Bennetts Lane Development on Little Lonsdale Street, a site that boasts a baking history dating back to the 1800s. Owned by pastry chef Matt Forbes and his wife and business partner, Amy Newman, Cobb Lane is an artisan bakery specialising in breads, pastries and cakes, which are available at the South Melbourne Market, Richmond Traders on Bridge Road, as well as for wholesale. "We've had our eyes on the city for a while now, so when this opportunity came up, we knew it was the perfect spot…Wesley Place is such a rare gem of green space. We love the idea of our guests grabbing a pastry and a coffee and relaxing under the olive tree," says Newman. At the new location, Cobb Lane will introduce a lunch menu for the first time, serving sandwiches, sausage rolls, and pies. Find Duke's coffee alongside a rotating schedule for filter coffee. "We want to complement the already bustling stretch of Little Lonsdale, somewhere you can grab a sandwich and a coffee on your lunch break, or pick up a fresh baguette for dinner on your way home," says Forbes. The new location will continue Cobb Lane's legacy while representing the brand's evolution, featuring a more refined, contemporary interior and atmosphere. Forbes wants to revive Bennetts Lane's baking past while rethinking what a city bakery can be, because he says, "Why shouldn't people in the city have access to fresh bread, too?" Images: Ben Moynihan. Cobbs Lane is slated to open in late March 2026. If you're after fresh bread and flaky pastries, check out the best bakeries in Melbourne.
Magic Mountain Saloon. An otherworldly alliteration with a cowboy twist. Interesting. Hardly surprising that a name like this comes from the team that brought us Cookie, The Toff, Revolver and Boney — all venues with names that both intrigue and totally suit their quirky nature. Like the other members of its family, Magic Mountain is the lofty result of longtime collaborators, owner Camillo Ippoliti, chef Karen Batson and architect Philip Schemnitz. Three levels of wood, brick and Italian steel — with just a hint of a New York warehouse feel — see the space stand tall on Little Collins Street. It's a fully-fledged bar (open 'til 3am every night), and it's also an all-day eatery, open for lunch, dinner, bar snacks and, most notably, breakfast. It's the breakfast menu that really sets Magic Mountain apart from its siblings. As in her other venues, Batson's menu blends Thai flavours with a modern Australian palette. The lunch and dinner menu has a range of appetizers, dishes from the wok, salads, wings, ribs and curry pots — as well as a Thai-inspired wood-fired grill menu. But breakfast is not breakfast as you might expect it. Diners are encouraged to extend their tastes beyond eggs and bacon to a range of fairly substantial Thai options, both sweet and savoury. Enthusiastic staff are quick to demystify the menu. If you are feeling less ambitious there are omelettes, and — as the waitress explained — if you think of the black sticky rice with coconut granola and dried mango granola ($14.50) as porridge and liken the roti bread, almond butter, grilled banana and condensed milk as pancakes, then the choices aren't nearly so confronting. Coddled egg and chicken ball congee ($14.40) is a very popular and traditionally Thai choice, and the daikon hash brown, morning glory, mushrooms, eggplant and ginger blossom relish ($16.50) is a good-sized vegetarian breakfast — complete with a hint of chilli that leaves you with the feeling of goodness coursing through your veins. For something fresh and a little different, the soy milk, coconut pikelets and papaya, while being pretty much exactly what it says, somehow manages to be a whole lot more. House-made soy bean milk, warmed with palm sugar, infused with pandan leaves and served in a little bottle with a carnival straw is comforting and the perfect accompaniment to the sticky coconut pikelets and tropically fresh papaya. Quiet and mellow by day, Magic Mountain Saloon is transformed by night into a restaurant, bar and music venue. With so much to offer and something for everyone, why don't you climb the mountain and discover it for yourself. Images: Letícia Almeida.
Over recent years, the not-so humble bubble tea has made its way onto many a Melbourne street, laneway and shopping strip. Recognisable for the addition of chewy tapioca pearls (or boba) that give it its name, it's a drink that is as over-the-top as it is popular. We might have Taiwan to thank for inventing the tea-based concoction back in the 80s, but now our own streets have an abundance of boba stores — both big overseas chains and local boutique players. These days, you'll find a whole swag of different variations and riffs on the OG bubble tea drink, from the milk-driven to the fruity and the downright insane. And let's not forget the array of textural add-ins, moving well beyond a simple scoop of tapioca balls and into the good stuff like cheese foam and egg pudding. So go forth and go wild with your toppings at the nine best bubble tea shops in Melbourne, listed below. You're an adult — you make your own sugary choices. Recommended reads: The Best Coffee Shops in Melbourne's CBD The Best Cafes in Melbourne The Best Bakeries in Melbourne The Best Coffee in Melbourne
You've probably heard a thing or two about POP MART. In recent times, the Chinese toy maker has taken the world by storm with its viral figurines and plush monsters, like the all-conquering Labubu. Now the brand is ready to launch its newest Melbourne location on Bourke Street, with the ribbon being cut on Saturday, July 19. This is no ordinary POP MART store either. Themed entirely around one of the brand's most iconic characters, SKULLPANDA, motifs of this dark and whimsical symbiont will make the destination an even more immersive visit for fans and curious shoppers. This approach to store design is just one way POP MART is changing the retail game in Australia. "Bourke Street is one of Melbourne's most iconic shopping strips and the perfect place for us to grow our community," says POP MART Australia and New Zealand General Manager Yuki Wu. "This store's SKULLPANDA theme sets it apart. We're inviting fans to step inside a world they know and love, discover exclusive products, and be part of something special." Inside, visitors can expect wall-to-wall collectibles, from limited-edition releases to new arrivals that you won't find anywhere else. Plus, launch events are planned across the opening weekend, including a special guest appearance that might send fans into a tizzy. Get down from 10 am to see the ribbon cut and be among the first to explore this striking retail concept.
Quiet serenity is not what you'd usually associate with Revolver. But this late-night haunt is switching things up for the next instalment of Book Doof. This ongoing event series, created by local writer Grant Krupp, has been slowly making its way around Melbourne's bars — from Nighthawks in Collingwood to Capers in Thornbury — hosting a "congregation of the quiet" where guests are invited to socialise in silence. In reality, that means pulling up with a good book, ready to turn page after page in the company of others as they do the same. Yet this next edition of Book Doof extends the format even further, transforming Revolver into a reader's den for the night. Think comfy couches, soft lighting and low-key tunes to help keep your focus on the printed word, plus a series of community-driven experiences guided by an all-Indigenous lineup. Held on Saturday, May 30, from 4–11.30pm, the experience begins with a Welcome To Country by local Elder, Aunty Jackson. Then, Melbourne DJs Fosters and pvrtal will soundtrack reading time with ambient sets that linger in the background. What's more, a workshop from No Typewriters No Talking will help budding writers get ahead on their work-in-progress novel. And for the cost of a ticket to this book club meets social night out, you'll be raising essential funds for the Indigenous Literacy Foundation. Also on the agenda, This Is The Third Place will host a book swap session, while the Book Book Bike will roll into Revolver's front room, giving guests the chance to browse this mobile book store's collection. Plus, the night features stellar raffles and prizes, including vouchers and tickets to local spots like Classic Cinemas, Goldy's! Tavern and Avenue Book Store. Keen? Pack your reading glasses and a choice page-turner for this new breed of book club. Images: Jasmine Chalmers.
Eleni's Kitchen has one of those origin stories that are rare in hospitality these days. It takes place in Yarraville in 1971 when the family opened a Greek restaurant named Eleni's opposite the Sun Theatre. It was a huge part of the community but eventually shut down and moved around the corner — reopened by two sisters and the family matriarch, Eleni. Here, at the newer version of Eleni's Kitchen + Bar, you still get authentic and traditional Greek food made and served with plenty of love, but it has been refined somewhat. The venue has the air of a classic Greek taverna and has brought the local Greek community together, as well as anyone else who wants great food and even better company. Chef Christos Katapodis brings 35 years of experience cooking in Greek restaurants to Eleni's and is known for his mastery of the chargrill and his habit of singing while he cooks. His menu begins with mezes including grilled haloumi with lemon, fried whitebait, fire-roasted peppers with mint and feta, marinated olives and locally sourced scallops with white wine and olive oil. From the sea, you can try some calamari, chargrilled king prawns or the fish of the day (snapper, whiting or blue eye). From the field, the menu offers lamb gyros with potato, chargrilled quail with lemon potatoes, pork kalamakia with pita bread and homemade Greek meatballs served in tomato concasse with feta. Salads include a classic Greek and horiatiki — a classic village salad and a xorta, which is endives in Eleni's secret lemon vinaigrette. There are share platters and banquets aplenty, which is fortunate as this is definitely the kind of venue to come and enjoy with a big group of your favourite people. When it comes to a drink, it's got you sorted in every way imaginable. Fancy a beer? Try a stein of Zeus or a bottle of Mythos. Wine? There's a range of every colour by glass or bottle, including French Champagnes, dry whites from Greece, rosé from Provence, and Malbecs from Mendoza. There's a list of ouzos, too, because there has to be, and the cocktail list includes fun Greek twists including Eleni's Donkey, with vodka, ginger ale, mint and lime. It's always a good time at Eleni's Kitchen + Bar, and if you plan it just right, you might be there on a night when local Greek band, Aetos, is playing. On these nights, the staff even smash plates for added fun.
Lucky for us Melburnians, some of Australia's most breathtaking hiking terrain is within easy reach of the city limits. And, since hiking is a year-round activity in Oz, it's always a good time to swap the city streets for dirt roads, bush tracks and fresh air. Victoria is plentiful in coastal walking trails, inland waterfalls, hidden swimming holes and alpine terrain — so whether you want to stop for a swim, stroll for half a day or spend the weekend trekking up a mountain, these walks will cover just about any whim and time constraint. Here's our pick of the best one-day hikes near Melbourne. It's about time you ticked them off, one by one. Recommended reads: The Best Caves to Visit Near Melbourne The Best Melbourne Metro Walks The Best Bike Rides In and Around Melbourne The Best Country Towns to Visit on a Day Trip From Melbourne [caption id="attachment_614770" align="alignnone" width="1920"] Alexandra Milne[/caption] Kalimna Falls Trail, Great Otway Park Hiking to Kalimna Falls is the ideal activity for a balmy afternoon, thanks to the cooling fern-framed waters that await you. Start off with a scenic drive to Lorne along the Great Ocean Road; alternatively, the inland route is substantially quicker (though not nearly as picturesque). The hike itself is eight kilometres return from the Sheoak picnic area, with the option to back-track along the same path or via the 4WD-friendly Garvey Track. The highlight of this walk is the peaceful lower falls — during off-peak hours, it feels like your own private swimming hole. If you like a bit of rock climbing, be sure to push on and head up to the 15-metre-high upper waterfalls as well. [caption id="attachment_923789" align="alignnone" width="1920"] Mark Watson for Visit Victoria[/caption] Mount Feathertop Via Razorback Trail, Alpine National Park The Razorback Trail up to Mount Feathertop, Victoria's second highest peak, is a 22-kilometre return trek through the Alpine National Park — and it's not for the fainthearted, nor for windy days. But for all the commitment and hardship, this hike is truly worth it for the simply stunning views. Be sure to wear in your hiking boots prior to setting out and take lots of water and sunscreen. If you want to tackle the walk over two days instead, there is a campsite on the way up. That said, even if you hike it all in one go, you'll need to stay one night in the area, since the park is located over a five-hour drive northeast of Melbourne. Luckily, you won't have any trouble finding a cosy cabin to spend the night in — there are plenty of accommodation options at Mount Hotham, Dinner Plain, Harrietville and Bright. [caption id="attachment_703509" align="alignnone" width="1920"] Steve Collis via Flickr[/caption] Werribee Gorge Circuit Walk, Werribee Gorge State Park If you're looking for a hike that will get you home by lunchtime, head to Werribee Gorge State Park, located just an hour out of the CBD. Starting at the Quarry Carpark, the main circuit takes you around the top of the gorge and back down to the bottom. With the great rock faces looming on either side of you, it feels like a scene out of Jurassic Park — which makes sense, given Werribee Gorge has been forged by 500 million years of geological history. The main circuit is around eight kilometres long, takes approximately three hours to complete and is clearly signposted. You're best not to attempt this trek after heavy rainfall though, as there's plenty of rock scrambling involved. [caption id="attachment_787519" align="alignnone" width="1920"] Grampians National Park by Ain Raadik Photography via Visit Victoria[/caption] Mount Rosea Walk, Grampians National Park The Grampians are among the most spectacular mountain ranges in Victoria and are home to one of the region's most epic multi-day hikes. But if you're looking for a shorter stay, the 12-kilometre Mount Rosea Walk takes just four to five hours to complete — though that doesn't mean it's a total breeze, either. Without a clear path, you have to hunt for markers scattered along the trail and occasional rock scrambling keeps things interesting. You'll also cross a suspended bridge at great heights along the way. And a four-wheel drive is recommended to traverse the unsealed roads that lead to the walk. Given all that, this track is best tackled by those who are a little adventurous. While the national park is a three-hour drive out of the CBD, there are plenty of campgrounds and hotels in the area if you plan on staying the night. [caption id="attachment_923795" align="alignnone" width="1920"] Cameron Murray Photography for Visit Victoria[/caption] Currawong Falls Track, Great Otways National Park Aireys Inlet is a quiet town located 90 minutes from Melbourne. Close to both the beach and the Otways, the area boasts plenty of great hiking, but our pick is the trail that runs along Ironbark Gorge to Currawong Falls. Clocking in at just over 10 kilometres, this circuit starts at Distillery Picnic Area and takes around three to four hours to complete. There are a number of hikes that begin from the same spot, so make sure you pay attention to the signs to avoid getting lost. Along the way, you'll pass through spring wildflowers in the Ironbark Forest, traipse through heathlands dotted with tree ferns and maybe even spot a few wallabies in the melaleuca swamp. Ancient flowering grass trees can also be seen throughout the trail. Once you've looped all the way back, you'll enjoy some seriously stunning vistas with the Split Point Lighthouse in full view. [caption id="attachment_614775" align="alignnone" width="1920"] Tamyka Bell via Flickr[/caption] Mount Bogong via Staircase Spur Trail, Alpine National Park Mount Bogong is the tallest mountain in Victoria, and the Staircase Spur Trail — as the track is very appropriately named — will get you all the way to the summit. The 16-kilometre return walk can be completed in either one or two days as there are campsites with huts, drop toilets and water along the track. For primo views, be sure to check the weather beforehand and plan the hike on a clear day when you'll be rewarded with spectacular, panoramic vistas of the alpine area. If you go in dreary weather, well, you're likely in for some discomfort and disappointment. Needless to say, this walk is best suited to those with hiking experience and decent fitness. [caption id="attachment_923792" align="alignnone" width="1920"] Visit Victoria[/caption] Surf Coast Walk, Great Ocean Road The Surf Coast Walk is a whopping 44-kilometre track connecting the towns of Torquay, Anglesea and Aireys Inlet, though you don't have to cover the entire monster in one day. With 12 trail heads to choose from, just pick a section that suits you. The walk is one-way, but regular car shuttles and local buses run throughout the day (be sure to check the timetables ahead of time). Your best bet is to leave early in the morning so you can fully enjoy the beachside walks before high tide — one of our favourites is Bells Beach. This popular hike is great for beginners, but not for those who hike for seclusion. But these astounding ocean views are well worth battling the crowds for. Top Images: Razorback Trail by Mark Watson for Visit Victoria
