Golf courses have always tried to mimic the natural: undulating hills, thick forests, deep water and unforgiving sand. It's been a trend of recent years to flip this, instead opting for the unusual: whether that be the lush greens and rolling sand dunes of Dubai's desert golf, the foreboding doom presented by a recently dormant volcano at Lanzarote or the thrill (chill?) of ice golf in Uummannaq in Greenland. So we really shouldn't be surprised to discover a recent venture from Troon Golf and Dutch Docklands to create an 18-hole floating golf course in the Maldives, should we? A series of man-made floating platforms containing a number of holes each will be linked together by underwater tunnels. Although seemingly an exercise in extravagance, it is not without conscience. The project will be entirely carbon neutral, using solar energy, sustainable desalination and water cooling technology. The Maldives approval of the project is more than just a cash grab. With rising sea levels, precipitated by climate change, predicted to submerge a series of the Maldives islands, the government is looking offshore for solutions. President Mahamed Nasheed is even looking to purchase new land in other countries to house his people. The verdict is still out on the project, drawing out such loaded terms as 'obscene' and 'indulgent' but also 'responsible' and 'socially inclusive'.
If you're a fan of Australian music festivals, a feeling of déjà vu might be sinking in right now. In 2024, both Groovin the Moo and Splendour in the Grass announced dates and big lineups, then scrapped their festivals mere weeks afterwards. In 2025, one week after another, both fests have now cancelled their 2025 plans as well. After Splendour confirmed that it wouldn't be back this year, Groovin the Moo has done the same. The latter hasn't advised that it will definitely will return in 2026, either — but the team behind it are asking for lineup suggestions for future fests. View this post on Instagram A post shared by Groovin the Moo (@groovinthemoo) "Groovin the Moo won't be happening in 2025, while we work on finding the most-sustainable model for Australia's most-loved regional touring festival," the event's organisers said via social media. "We will really miss seeing the smiling faces of all our beloved Moo crew — and that means you! In the meantime, which artist would you most like to see on a GTM lineup?" In 2024, the long-running regional music event was due to play six stops: Adelaide, Canberra, Bendigo, the Sunshine Coast, Bunbury and Newcastle, with the latter marking its debut in the New South Wales city. Wu-Tang Clan's GZA, Spice Girl Melanie C doing a DJ set, The Kooks, The Beaches and Alison Wonderland were among the talents on the bill, alongside Stephen Sanchez, Armani White, Kenya Grace, King Stingray, DMA's, Jet, The Jungle Giants, Mallrat and San Cisco, plus Hot Dub Time Machine, Mura Masa, Claire Rosinkranz, Jessie Reyez, Meduza and The Rions — and others. When Groovin the Moo pulled the plug last year, it named poor ticket sales as the reason. "We are extremely disappointed to announce that the Groovin the Moo 2024 tour has been forced to cancel," advised the statement at the time. "Ticket sales have not been sufficient to deliver a regional festival of this kind." "We hope to be able to bring Groovin the Moo back to regional communities in the future." Groovin the Moo won't be taking place in 2025. For more information, head to the festival's Instagram. Images: Jordan Munns.
If there's ever a range of films that proves that every movie deserves to be seen in a cinema, it's Studio Ghibli's output. If you had your first experience with Spirited Away or My Neighbour Totoro at home, then felt compelled to catch a retrospective showing at your local picture palace, you'll understand. Indeed, Australian theatres get it, too, given how often the Japanese animation house's movies return to the silver screen. The Imaginary isn't a Studio Ghibli release, but it has a Ghibli pedigree. The second feature from Studio Ponoc after 2017's Mary and the Witch's Flower, it's both directed and penned by Ghibli alumni — the latter of which founded Ponoc. It made its Aussie debut on streaming this year, but is now getting a well-deserved big-screen outing at the 2024 Japanese Film Festival as one of its must-see titles. The just-dropped lineup for this year's JFF will give audiences the chance to see this enchanting tale about imaginary friends — 2024's third such film after Blumhouse horror movie Imaginary and the John Krasinski (A Quiet Place Part II)-directed IF, and the best of them — as well as nine other new Japanese features. The latest flicks out of its country of choice are just one part of the JFF setup, however. In four of its five cities, audiences will also enjoy a retrospective season that focuses on classics by Shohei Imamura, a two-time Palme d'Or winner courtesy of The Ballad of Narayama and The Eel. Canberra, Brisbane, Melbourne and Sydney will receive the full festival treatment, while just the new releases will play Perth. The festival kicks off with its retro sessions in the nation's capital in late September, before making its way around the country throughout October and into November. [caption id="attachment_971203" align="alignnone" width="1920"] Let's Go Karaoke! Film Partners[/caption] Opening the fest: Mom, Is That You?! , a mix of heartwarming comedy and workplace commentary from prolific director Yoji Yamada (Kinema no Kamisama). Other highlights include chaotic karaoke antics in Let's Go Karaoke!, with a choir boy and a yakuza striking up a friendship over singing lessons; fellow manga adaptation Sand Land; World War II-set historical drama Shadow of Fire; and rom-com Our Secret Diary. Or, there's more laughs via A Samurai in Time and The Dancing Okami, with the first paying tribute to samurai stuntman Seizo Fukumoto and the second inspired by an IRL tourism campaign — and also thrills via Matched and Out, following a wedding planner who connects with a suspected serial killer without knowing via online dating, plus a former juvenile gang leader's quest for redemption. [caption id="attachment_971204" align="alignnone" width="1920"] MIRAIEIGASHA[/caption] 2024 marks the Japanese Film Festival's 28th year in Australia — and the event's in-person lineup comes after its online program screened in the middle of the year. "Australia has always been a second home to Japanese film, with an exponentially growing audience captivated by Japanese cinema every year," said Manisay Oudomvilay from The Japan Foundation, Sydney, announcing the 2024 JFF bill. "Each of the featured films this year dissects the common human experience from a uniquely Japanese perspective, which will resonate with everyone regardless of their familiarity with Japanese culture." [caption id="attachment_971205" align="alignnone" width="1920"] Sand Land Film Partners[/caption] Japanese Film Festival 2024 Dates: Canberra: Latest releases: Wednesday, October 9–Tuesday, October 15 at Palace Electric Special series: Tuesday, September 24–Wednesday, September 25 and Saturday, September 28–Sunday, September 29 at NFSA Perth: Latest releases: Monday, October 14–Tuesday, October 22 at Palace Raine Square Brisbane: Latest releases: Thursday, October 17–Tuesday, October 22 at Palace Barracks Special series: Monday, October 7–Wednesday, October 16 at QAGOMA Melbourne: Latest releases: Monday, October 21–Tuesday, October 29 at The Kino Special series: Thursday, October 31–Sunday, November 3 at ACMI Sydney: Latest releases: Thursday, October 24–Monday, October 28 at Palace Norton Street and Palace Moore Park Special series: Wednesday, October 9–Sunday, November 10 at AGNSW [caption id="attachment_971206" align="alignnone" width="1920"] The Dancing Okami Film Partners[/caption] The 2024 Japanese Film Festival tours Australia from September–November. For more information and to buy tickets, visit the festival website. Top image: Studio Ponoc.
What's better than one IMAX in Sydney? Two, obviously, which is a big-screen dream that's about to become a reality. A second IMAX experience is on its way to the Harbour City, setting up shop in an Event Cinemas location. The where and when haven't yet been revealed — but this is still literally massive news. Between 2016 and spring 2023, movie lovers in the New South Wales capital would've been content with just one IMAX, of course, after Sydney's IMAX at Darling Harbour closed down to get demolished and then rebuilt. The venue was originally meant to get its projectors running again in 2019, then in 2021; however, that didn't happen. Thankfully, giant flicks have been back on the agenda since October on one of the biggest cinema screens in the world, which measures 692 square metres. The news of a second Sydney IMAX comes via EVT and IMAX Corporation. The former is the hospitality company behind IMAX Sydney, Event Cinemas, Moonlight Cinema, the Skyline Drive-In and the State Theatre; the arrival of surround-screen viewing Down Under; a heap of bars and restaurants; QT Hotels, Rydges and other hotel chains; plus IMAX venues in Auckland and Queensgate in New Zealand, as well as IMAX Karlsruhe in Germany. The latter is self-explanatory. Together, the duo announced a deal for five new state-of-the-art IMAX setups, but only one in coming to Australia. To check out the other four, you'll need to head to Germany. "Expanding our collaboration with IMAX aligns to our strategy of providing customers with choice on how they want to watch a movie. The right combination of our proprietary cinema experiences such as gold class, boutique and V-Max alongside global premium formats like IMAX is proving to be successful," said EVT CEO Jane Hastings, announcing the news. "IMAX performs exceptionally well at our current locations in Sydney, New Zealand and Germany, and we are thrilled to bring state-of-the-art IMAX with Laser systems to more locations in Australia and Germany in the near future," Hastings continued. "On the heels of the wildly successful debut of IMAX Sydney, we are excited to expand our collaboration with EVT, a partner that transcends exhibition in creating premium experiences that span cinema, hospitality, leisure and more," added IMAX CEO Rich Gelfond. "Australia and Germany are two markets where consumer demand for IMAX vastly outstrips our footprint, and this deal is great for our fans in both countries and our continued network growth worldwide." That Sydney success that Gelfond mentioned? Within mere weeks of opening, the new IMAX Sydney has become IMAX's highest-grossing location outside of the United States and United Kingdom. Wherever the second Sydney IMAX experience pops up, it'll combine Laser by IMAX technology, which means 4K laser projection showing the flicks, plus EVT's range of seating. At Darling Harbour, choices to get comfortable include standard places to sit, as well as getting comfortable in a full recliner, cosying up with your plus one in a couples' recliner and going with a private box for up to four people on an elevated platform. Film fans outside of Sydney, you'll have a second spot to add to your must-visit list when you visit the Harbour City — especially if you're in a city like Brisbane, Adelaide or Perth that doesn't have its own IMAX. IMAX Sydney is now open at Darling Harbour, 1/35 Wheat Road, Sydney, from Wednesday, October 11. Details of the city's second IMAX experience, including where it'll be located and when it will open, are yet to be announced — we'll update you when more information is revealed. Images: IMAX Sydney.
The first of Red Rock Deli's Secret Suppers has been and gone, with MasterChef Australia 2010 winner Adam Liaw kicking things off in May. The exclusive supper series — running until September at secret locations across Sydney and Melbourne — sees some of Australia's most talented chefs whipping up mouth-watering, three-course feasts inspired by Red Rock Deli's new limited-edition range. And when we say exclusive, we mean it — only 20 lucky guests get to tuck into each lavish dinner. On Wednesday, May 15, Malaysian Australian chef Adam Liaw put up an Asian-fusion feast. After guests were picked up from Central Station's Grand Concourse entrance and whisked away to a mystery location, Liaw dished up plates inspired by Red Rock Deli's Thai red chilli and creamy coconut chips. In the first course, Liaw made chilli the hero with a Korean bo ssam of pork, prawns and herb kimchi, while his dessert of coconut and lychee pavlova with mango sauce incorporated the creamy texture of coconut. But it was the melt-in-your-mouth braised ox cheeks in red chilli and coconut curry that was the real winner — to recreate it at home, check out the recipe here. If Liaw's dinner is anything to go by, the upcoming suppers will be quite something. Duncan Welgemoed of Adelaide's famed African-inspired wood fire joint, Africola, is up next. The dinner will take place on Thursday, June 20 and will be inspired by Red Rock Deli's flame grilled steak and chimichurri flavour. To nab tickets for Sydney's upcoming Red Rock Deli supper, enter the ballot here to be given the chance to purchase tickets. Images: Conrad Coleby and Kitti Gould.
A great meal should satisfy your tastebuds and your stomach. When Vertigo opens in Brisbane, it'll also get your blood pumping and pulse racing. A brand-new addition to the River City's iconic Brisbane Powerhouse, this soon-to-launch eatery is joining the sky-high ranks, but with a difference: it isn't just located on top of the riverside New Farm venue, but hangs off of the site's industrial facade. Forget just living on the edge — this is dining on the edge, and literally. Obviously, the views will be spectacular. Given that you'll be climbing out to your seat while donning a safety harness, then eating four stories (and 17 metres) up, so will the thrills. An Australian-first vertical dining experience, Vertigo will start serving up — and levelling up — dinner with a view from October, with bookings now being taken for dates from Thursday, October 12 onwards. Once open, it'll operate four nights a week, from Thursday–Sunday, welcoming in tables of two. The one caveat: naturally, this adrenaline-pumping restaurant will be at the mercy of the weather, which will certainly play a factor over Brisbane's stormy summers. If it's only lightly raining, however, the night's sitting will still go ahead. The other key point: if you're not fond of heights, this won't be for you. But if you're fine with towering not just atop but over the side of an old power station-turned-arts precinct that dates back to the 1920s — whether you're a Brisbane local or a tourists — you'll be in for quite the unique experience. A third caveat: you can't head up if you've been drinking, with everyone breathalysed first and required to return a 0.00-percent blood alcohol reading. Brisbane Powerhouse's Bar Alto downstairs will be providing Vertigo's food across its eight tables — and each reservation's two-hour sitting — with the two-course menu featuring local ingredients to go with what's certain to become a local attraction. Unsurprisingly, a visit here won't come cheap, costing $250 per person. While you need to be sober to climb over the edge, a matched glass of wine will be served with dinner. You'll also get a post-descent champagne, beer or soft drink. To make the evening even more dramatic, diners can also choose to come back to earth post-meal via dropline down the facade. Or, if that's too much adventure for you — especially after eating — you can just head back to the ground through the venue. "Vertigo is unlike anything else in the world, it is an unexpected combination of adventure tourism and fine-dining on a heritage site," said Brisbane Powerhouse CEO/Artistic Director Kate Gould, announcing the restaurant. "Stepping off the roof of Brisbane Powerhouse to take a seat suspended at your table, four stories above the ground, will be the ultimate thrill. Experience silver service dining — albeit one with unbreakable crockery and cutlery attached to the table!" [caption id="attachment_850754" align="alignnone" width="1920"] Atmosphere Photography[/caption] "We are creating a uniquely Brisbane dining experience, at height. You will be on the edge of your seat in the open air before descending via an unforgettable exit," added Riverlife creator and co-founder John Sharpe, with the outdoor tour operator partnering with Powerhouse on the venture. "Vertigo will inspire fear but with the knowledge that safety is the priority of our experienced team of adventure tourism guides." If star chef Luke Mangan achieves his dream of setting up a restaurant on the Story Bridge, too, Brisbane might need to rename itself the Sky-High City. [caption id="attachment_776880" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] Vertigo is set to open at Brisbane Powerhouse, 119 Lamington Street, New Farm, Brisbane from Thursday, October 12 — head to the venue's website for further details and bookings.
Surfing has been a part of the Australian vernacular for generations now, with the likes of Bondi, Byron Bay and the Gold Coast all contributing to a stellar international reputation that draws millions to our shores. But when it comes to getting out of town with your own board to enjoy a well-earned (surf) break, you know you'll want to find a classic Aussie surf spot where you and your mates don't have to fight a bobbing crowd of strangers to catch a wave. Nothing brings Aussies together like a bloody good surf break, so we've teamed up with Jim Beam to do the leg work and track down six of the top lesser-travelled surf spots around Australia, perfect for bringing together your fellow lovers of surf and spray for an adventure. From remote reefs to spectacular peninsulas, these local spots are often kept close to the chest, but we've highlighted just a few that will have you plunging right into Aussie surf culture in no time. And as always, make sure you respect the locals, wherever you go. [caption id="attachment_720257" align="alignnone" width="1920"] Dee Kramer.[/caption] Aussie Pipe AKA Black Rock, NSW Depending on who you ask, this section of the New South Wales coastline has a few different names. Whether you call it Aussie Pipe, Black Rock, Summercloud Bay or South Coast Pipe, the waves here are so very special regardless and some of Australia's most photogenic breaks. You'll often find locals paddling out during mid-tide to catch the ideal wave as the swell begins to pick up. Located in the Aboriginal community of Wreck Bay Village, the surf spot is said to be the 'unofficial home of Indigenous surfing'. And be aware — this spot is most suited to those who already have some surfing experience under their belt. [caption id="attachment_720293" align="alignnone" width="1920"] Waitpinga Beach by Jesse Ehlers.[/caption] Fleurieu Peninsula, SA Situated just a 45-minute drive from Adelaide, the Fleurieu Peninsula provides some of the finest waves in South Australia. Along this picturesque stretch of rugged coastline, the surf breaks vary greatly with everyone from beginners to pro surfers having no problem finding a spot that suits their skill level. Goolwa Beach and Middleton Beach are where you want to head for some relatively mellow waves, while Waitpinga Beach and Parsons Beach have large swells more often. One of the best parts about the Fleurieu Peninsula is that even when the crowds arrive in high summer, there's still plenty of space for everyone. [caption id="attachment_720269" align="alignnone" width="1920"] Destination NSW.[/caption] Angourie Point, NSW Set amid the Yuraygir National Park, Angourie Point was one of the first sections of the Australian coastline to be recognised as a protected surfing reserve. It's been a popular surf break for locals since the 1950s when the Yamba Life Saving Club would cruise the many nearby beaches looking for waves to catch. Jutting out into the ocean, Angourie Point's somewhat odd shape means it's exposed to the occasional storm clouds that roll in over the water. But there are also some consistently majestic barrels, which is what the locals look to catch pretty much all day, every day. When you've finished surfing, head to the Blue and Green Pools for a dip in the striking rock pool formed in old quarrying sites. [caption id="attachment_984691" align="aligncenter" width="1920"] OZBEACHES via iStock[/caption] Burleigh Headland, QLD The Gold Coast is home to some of the most famous beaches in the country, many with half-decent surf breaks, but you're going to have to battle a horde of tourists to get through to them. Burleigh Headland is close to the beaten track, but in the narrow stretch of surf along its rocky shoreline lies a surf break that, when on its game, is one of the best in the state. It's not the lava headland that makes these barrels roll but the outpour of current and fine river sand from the mouth of Tallebudgera Creek just to the south. It's not exactly beginner-friendly, and you'll be board-to-board with experienced locals, but time it right, and you'll have a real treat here. [caption id="attachment_720280" align="alignnone" width="1920"] Tourism WA.[/caption] Red Bluff AKA Quobba Station, WA By far the most remote surf spot on this list, Red Bluff is about a thousand kilometres north of Perth, on the southernmost tip of Ningaloo Reef. But if you're willing to make the journey to this idyllic coast, you can be certain that the surf won't let you down. Known for its powerful waves that experienced surfies can't get enough of, Red Bluff gets busy throughout winter when those in the know make their way here. There aren't too many towns within reach ('nearby' Carnavon is 125 kilometres south), so be prepared to be self-sufficient. However, you'll be rewarded with great fishing, native wildlife, humpback whale sightings, panoramic views of the Indian Ocean and some of the country's top breaks. [caption id="attachment_720275" align="alignnone" width="1920"] Visit Victoria.[/caption] Winkipop, VIC Winkipop might not be the unknown surf break that it once was, but if you manage to avoid the crowds, there are some world-class waves on offer. Forming part of Victoria's famous Bells Beach with its spectacular limestone cliffs, the two main take-offs are named Uppers and Lowers. The latter tends to stay a little quieter, but that's probably because the waves here are quick and hollow, making for a challenging experience. Winki is great for surfing in just about any tide. Take a trip here and discover why it remains a favourite for many of the world's most talented surfers. Like Jim Beam, surfing and other outdoor adventures are all about bringing people together, so get out there this summer and find your tribe in the great outdoors. Top image: Red Bluff, courtesy of Tourism Western Australia.
Before our always-on devices and the internet meant that everyone could discover almost anything in seconds, how did anyone know about spectacular surfing spots that weren't in their own backyard, or near enough — and about what people were doing on those waves? When the sport was just becoming popular in Australia in the 50s, taking advantage of the fact that this is indeed a nation girt by sea, how did word of where the best breaks are spread, and the latest techniques? The answer to these questions sits at the heart of Australian documentary You Should Have Been Here Yesterday. To be exact, the solution to sharing tips on where and how to hit the waves provides the bulk of the film. By rustling up 16mm cameras however they could, the era's surfers shot their own footage, then screened the results far and wide to eager crowds. Filmmaker Jolyon Hoff — also a surfer — now splices his latest feature together from such material. First, he made another surfing-related film — and if it wasn't for 2009's Searching for Michael Petersen, about one of the country's legends of 70s surfing, You Should Have Been Here Yesterday wouldn't exist, either. "It all started with that film. I was a film student when I first started making that film — and Michael Peterson was the ultimate iconic mythological character of 1970s Australian surfing. But when I went to make the film, he was also schizophrenic and whenever he saw a camera or an interview, he couldn't talk to people, he couldn't be around people, he found that very difficult," Hoff tells Concrete Playground. [caption id="attachment_981744" align="alignnone" width="1920"] Steve Otton[/caption] "When you're setting out to make a film about someone like that, you've got to find some footage — and you've got to find some surfing footage. You can't show the rubbish stuff because it's the icon, he's this mythological character. So that journey took me to Dick Hoole's garage up behind Byron Bay," Hoff continues. Inside, he went into one of the surf photographer and fellow filmmaker's rooms, which was filled with 16mm films and surfing paraphernalia. "And we found some footage of Michael, but that whole time — and this is what, 2007, maybe 2008? — I was looking around at all these other film reels and thinking 'wow, I wonder what other gold is hidden in those?'. So that's where the kernel of the idea began." More than a decade and a half later, You Should Have Been Here Yesterday weaves that rediscovered gold into a cinematic poem that takes inspiration from non-surfing docos Moonage Daydream and Mountain. As Bret Morgen's stunning David Bowie tribute and Australian director Jennifer Peedom's ode to towering peaks both are, it's also designed to be as immersive as a movie can be. The best surfing films can't replace the real-life experience, of course, but they can make you yearn to catch waves yourself — or to see them ebb and flow in front of you with the naked eye. They also give non-surfers and surfers alike a close-up look at one of the planet's great joys, and ensure that a quote from Point Break always rings true: "surfing's the source, it'll change your life". [caption id="attachment_981743" align="alignnone" width="1920"] Hamish Ludbrook[/caption] Australian lives were changed by surfing, and Australia was as well, as You Should Have Been Here Yesterday explores via its gorgeous restored footage. As clip after clip of waves rolling across the Aussie coastline fills the screen, scratches and other markers of the material's heritage still visible, voices give the imagery context. Morning of the Earth director Albe Falzon, surfer and surfboard shaper Wayne Lynch, 1993 Women's World Champion Pauline Menczer, author Tim Winton and others get talking. The documentary covers how jumping on a board became the nation's new youth culture, the response to the filmed material at the time, how surfing connected the land Down Under to the world, the sport's local commercialisation, the reaction to women riding the waves and more. You can also see You Should Have Been Here Yesterday as compiling examples of behaviour that's oh-so-familiar today: people taking the art of capturing their experiences, and of sharing stories as well, into their own hands. They filmed waves; today, anyone with a phone can record anything. We chatted to Hoff about that, too, and about making movies about surfing, why surfing has such big-screen appeal, his inspirations, retaining the imperfections in the imagery and what surfing culture means to Australia. [caption id="attachment_981747" align="alignnone" width="1920"] Andrew McAlpine[/caption] On Getting Into Making Documentaries About Surfing and Australian Surf Culture "I'm a lifelong surfer, and then by trade I'm more of a filmmaker — I'm a filmmaker who surfs rather than a surfer that makes films. With Searching for Michael Peterson, I was fascinated by the idea of heroes and legends, and what it is about these people that captures our imagination, that we just become so enamoured about this person and somehow project all of our ideas onto that person. So that film was really about heroes and myths, and why we're drawn to these kind of people, troubled people in particular. This film, You Should Have Been Here Yesterday, it was a little bit different. It was a bit of a response to something that I feel. Well, it's a few things. I feel that surfing undersells itself in a whole lot of ways. So back in the 60s and 70s, surfing was the leading youth culture, and youth culture was part of this movement within Australia where everything was changing. Everything was shifting as a country — modern Australia, I'm talking about — we were becoming more confident, we're starting to do things for ourselves, making our own films, our own art movement, the Australian film industry began. And surfing was right there at that moment. [caption id="attachment_981746" align="alignnone" width="1920"] Bob Evans[/caption] We were a leader in so many things that are now deeply part of the Australian cultural DNA — when we headed up the coast and experimented with not working for the man, and healthy living and connecting to country, connecting to nature. Beginning to explore Eastern philosophies and different ways of living, all of this was part of surfing. And surfing was there, because the young people were so desperate to go catch waves, it was there before the hippies and before a lot of those other more well-known movements. So in one way, I wanted to remind surfers who we are and how important that was as part of a shift in modern Australia — and maybe remind the rest of the world to look back at that time in Australia, a beautiful time in Australia. It feels to me like an adolescent period of Australia. There was this freedom, but also this naivety, like an adolescent — full of energy and going everywhere, but we made some mistakes. At the same time, there were beautiful things about that period. I'd like maybe as Australia moves forward to look back and go 'what was brilliant, what was fantastic about that that period in Australia?'. So that was the motivation behind this film." [caption id="attachment_981750" align="alignnone" width="1920"] Steve Otton[/caption] On the "I Need to Make This Movie" Moment with You Should Have Been Here Yesterday "I think it gestated a long time. I must have thought about that moment when I was in Dick Hoole's garage in 2007 and 2008, thinking what other gold is on those film reels. Film technology became better, so you could go back and rescan that old 16mm film. I became a father, I've got teenage children, my interest in that generational change and how information is transferred across generations became stronger. I think these ideas are just always kicking around in the brain and little pieces pop together. The first moment would be would be Dick Hoole's garage, and the idea that maybe there's some gold, some really important pieces of Australian history, in those film real scattered around his garage. [caption id="attachment_981754" align="alignnone" width="1920"] Andrew McAlpine[/caption] And it is important. It was important. Those surf filmmakers that went out and started filming their mates, their friends, that was the first time kids started filming themselves, ever. Before that you would have seen ABC, channel networks, Channel 9 or whatever it was, government propaganda — that was the only film footage you saw. And this was kids going 'we're not interested in that bullshit. This is what we think is important. This is what we think is invaluable'. Then they got their hands on cameras, and at great expense and great lengths, to film those moments, whether it's surfing or life or what their friends were doing. And that's the process that's gone through until now. You see now that kids everywhere, whatever they're doing, they're filming their friends and they're sharing it with each other. And that whole conversation is taking place. So they really changed the landscape, and it was part of this process of change in that mediascape that's just continuing at at a rapid rate now." [caption id="attachment_981748" align="alignnone" width="1920"] Alan Rich[/caption] On the Appeal of Surf Films as a Genre — Especially on the Big Screen "It's just beautiful. It's just incredible shots. There are a whole lot of things within those early surf films that, to me, are everything that film is about. So in those days, you couldn't see surfing anywhere else. So if you're a surfer and you're in New South Wales, you want to know what the Queenslanders were doing or what was happening in Hawaii, you had to go to the surf film — you couldn't see it anywhere else. So in that way, it became the way that we shared stories and transferred information. [caption id="attachment_981751" align="alignnone" width="1920"] Esta Handfield[/caption] Then those kids from New South Wales would see what somebody's doing in Hawaii, and then they try and copy it, and then they'd come out with a new way, and then that film would go back. And so, along with the conversation, it became really important as a community-building exercise — and cinema as a community-building and information-, knowledge-sharing kind of place. To me, that's what storytelling and filmmaking is all about: bringing us together around these stories. But surfing specifically, you've got giant waves, you've got water, everything's moving all the time. It's like one huge, giant special effect. If you can have a giant wave 50-foot high on the screen in front of you and it comes crashing over you, it's still just an amazing, visceral feeling. [caption id="attachment_981760" align="alignnone" width="1920"] Andrew McAlpine[/caption] Surf films are a genre. This film is more of an experimental form than your standard surf adventure film. But surf films as adventure films do have a genre. They're about escapism. Surfers left the cities in Australia in our film in the 50s and 60s to go and explore new ways to live, and I think that still there's a yearning to be out there in nature, and to be enveloped by nature and to be free. So much of our lives is driven by work and consumerism, and we're always constantly being put in a box, that you have to behave like this and that, and follow this rule and follow that rule. And surfing and catching waves, and other adventure sports as well that have grown from this, just provide this opportunity to feel free of all of that, and to be connected to nature and connected to the world in those place, rather than stuck in these regimented boxes that so many of us find ourselves in." [caption id="attachment_981753" align="alignnone" width="1920"] Dennis MacDonald[/caption] On You Should Have Been Here Yesterday Taking Inspiration From Moonage Daydream and Mountain "Because we had all of this archive footage — we had 150 hours of archive footage, and it was all beautiful. And so we wanted to, like Moonage Daydream and Mountain, we wanted to get at an idea. Mountain is using absolutely stunning footage to get at an idea of why are we drawn to the mountain. Why are you drawn to climb a mountain? It's a madness in many ways. Why would you do that? It's dangerous. You could die. It's cold. I don't climb mountains, but it was trying to get at the idea of what it is that draws us to these places. And so in that way, Mountain by the incredible Jen Peedom, an amazing Australian filmmaker, inspired us. And then Moonage Daydream, just the form, that was just so radical — that form of 'hey, you don't need to have talking heads. You don't need somebody to come up and tell you what to think at any one moment. You can just sit back and absorb a film'. Moonage Daydream is an experience. It was a cinematic experience. You come out of that and you're jingly jangly — you're like 'what did I just see?'. [caption id="attachment_981761" align="alignnone" width="1920"] Bob Evans[/caption] I was really hoping to get that feeling of surfing across, and that idea of being in nature and being connected to the world. So Moonage Daydream really gave us the confidence that we could do this film. For the first 90 percent, 95 percent of the film, there's no talking heads. It's just footage and voice. And I love that everybody in the audience takes their own journey through the film. It evokes something in them. They're not told 'this is what you should be thinking now. This is the moment'. Usually the talking head comes up and tells you 'well, that was a really great moment, we were all amazed'. I don't want to be derogatory, it's a really great filmmaking technique, but I wanted people to take their own journey through it and experience it. I tried make an experiential film." [caption id="attachment_981755" align="alignnone" width="1920"] Bob Evans[/caption] On Retaining the Imperfections in the Restored Footage So That It Really Does Look Like a Treasure Trove of Material On-Screen "We love it. It was too much to fix it all up, and then why would you? It would have cost a fortune and taken years. And I love that idea of everything not being perfect. Some of the most-imperfect footage is some of my favourite, actually — some of the scratchy stuff that you can just barely see. I think those imperfections speak to where it's come from — that it was lost and it was made by essentially amateur filmmakers, and it was made by kids. And they went out there and they gave it a good shot. It wasn't polished. It was innocent and naive, the films. It was innocent and naive times. And then the footage, this is what we've managed to capture. [caption id="attachment_981757" align="alignnone" width="1920"] Dick Hoole[/caption] So I really just adore those imperfections. Maybe it's getting older or something, and I go 'oh well' — and I look around at all the older people around me, and I think we're all, once we've been through things, once we've been on journeys, we all collect all these imperfections along the way. The footage is like that. We love it, and we couldn't do anything different. So we cleaned it up. Kade [Bucheli, who also worked on Hoff's 2022 documentary Watandar, My Countryman, about former Afghan Refugee and photographer Muzafar Ali] spent 14 months scanning. And literally the process, it's a physical process — like white gloves and cleaning it, and fixing splices, and then maybe a little bit of a certain solvent. But that was it. And then when we got it as good as we could physically, then we scanned it, and went 'well, we've given it love and care'. [caption id="attachment_981758" align="alignnone" width="1920"] Bob Evans[/caption] It feels as it should to me. I've seen some films that have been restored. What they do with surfboards now, the analogy is maybe surfboards — they fix up the old surfboards, and then sometimes they fix up the old surfboards to the point that they look brand new. And then everyone goes 'oh, it just looks brand new. I loved that little ding or that little bit of discolouration or that mark that it had'. So I think it's like that. And I've seen that in some restorations as well, that it just ends up looking like any old digital kind of modern-affected piece, and you're losing something that's now a part of that artefact. Those blemishes now belong to that footage. They are what that footage is now." [caption id="attachment_981759" align="alignnone" width="1920"] Alan Rich[/caption] On What Surfing Culture Both Means to Australia and Says About Australia "I don't know what it means to Australia, but what I think about is that — I'm talking modern Australia, we came over here and then really post-Second World War, we started to get more confident, and that's when the kids decided they were going to head out of the cities. And they found these beautiful places up and down the coast, and around Australia. And then they came to them to surf, to ride waves. But I have begun to think — I'm really interested in this idea of connection to Country. And I see that surfers are getting more and more connected to these places. They revere these places. We go on pilgrimages to these places. We love these places. And I sometimes question whether it's the land, this ancient land that we find ourselves on, calling us to come — and to come to us. Because surfers, we don't go there to farm it or to make money or anything. We go there to have joy, to meet friends, to have beautiful times together. Or maybe for solace, to dive into the water and wash away our difficulties. [caption id="attachment_981752" align="alignnone" width="1920"] Andrew McAlpine[/caption] So I think it's a part of the process of this country beginning to speak to us as a people, as a modern Australian people, and draw us away from that really big British empire or imperialist force that keeps us really locked into these very regimented lives. Surfing's been a leader culture in a lot of different ways, and I feel that maybe in this way, maybe in the most humblest of senses, maybe it's the beginning of a connection to Country that Indigenous people have had for 40,000, 60,000 years. And maybe it's the beginning of us being able to understand what maybe a sacred site means, or what maybe it means to be connected to Country. So I think it's a little window into that. But it could be a whole lot more, a whole lot of other things as well." You Should Have Been Here Yesterday opened in Australian cinemas on Thursday, November 21, 2024. Top image: Dick Hoole.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures and plenty of people staying home in iso will do that — that's no longer always the case. Maybe you've had a close-contact run-in. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are 20 that you can watch right now at home. THE NORTHMAN Satanic goats don't talk in The Northman. Heartthrobs don't masturbate while fondling mermaid figurines, either. Still, within ten minutes, pre-teen Viking prince Amleth (Oscar Novak, The Batman), his glory-seeking warrior father King Aurvandil War-Raven (Ethan Hawke, Moon Knight) and jester-meets-shaman Heimir (Willem Dafoe, Nightmare Alley) descend into a fire-lit cave to take hallucinogens, growl, grunt, bark like wolves and fart like it's a god-given superpower. If viewers didn't know who's behind this bold, brutal, brilliant, and blood- and guts-strewn Scandinavian opus before then, there's no doubt from this trippy scene onwards: after The Witch and The Lighthouse, writer/director Robert Eggers' touch, approach and style have become that distinctive just three remarkable features into his helming career. In Eggers' new untamed and laid-bare portrait of the past, something is rotten in the state of Iceland — as it was in Denmark via William Shakespeare, and in the Pride Lands of Africa in both versions of The Lion King. "I will avenge you, father. I will save you, mother. I will kill you, Fjölnir," says Amleth as a boy on a north Atlantic island in 895, when he witnesses the latter's (Claes Bang, Locked Down) treachery. He flees after hearing his uncle bay for his head, too, and seeing him carry off Queen Gudrún (Nicole Kidman, Being the Ricardos) as a spoil of his victory. Two decades later, Amleth (Alexander Skarsgård, Succession) is a hulking, wolfskin-clad Viking berserker, living life flinging whatever weaponry he can find while viciously pillaging through the lands of the Rus. But amid the bloodlust, gore and piling-up body count, the intense marauder is thrust back onto his vengeance-seeking path. A Slavic seeress (Björk, in her first film role since 2005) whispers stark truths about his current savagery and lapsed mission against Fjölnir, reigniting his yearning for that promised slaughter — and the single-minded behemoth learns that his uncle is now sheep-farming in Iceland, having lost the kingdom in another coup. The Northman is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE GRAY MAN It's been four years since Ryan Gosling last graced screens, rocketing to the moon in First Man. No, Barbie set photos pored over on every internet-connected device don't count. Since he played Neil Armstrong, much has happened. There's the obvious off-screen, of course — but then there's Chris Evans farewelling Captain America, and also appearing in Knives Out with the scene-stealing Ana de Armas. After co-starring in Blade Runner 2049 with Gosling back in 2017, she leapt from that Evans-featuring whodunnit to palling around with 007 in No Time to Die. Also during that time, Bridgerton pushed Regé-Jean Page to fame, and Once Upon a Time in Hollywood earmarked Julia Butters as a young talent to watch. This isn't just a history lesson on The Gray Man's cast — well, some of them, given that Billy Bob Thornton (Goliath), Jessica Henwick (The Matrix Resurrections), Dhanush (Maaran), Wagner Moura (Shining Girls) and Alfre Woodard (The Lion King) also pop up, plus Australia's own Callan Mulvey (Firebite) — for the hell of it, though. Back in 2018, before all of the above played out, it's unlikely that this exact film with this exact cast would've eventuated. Making an action-thriller about attempting to snuff out hyper-competent assassins isn't new — both John Wick and Atomic Blonde have already been there and done that, and the Bourne and Bond movies — but the combination of this collection of current actors and that familiar setup isn't without its charms. Gosling plays Court Gentry, aka Sierra Six; "007 was taken," he jokes. Before he's given his codename and paid to do the CIA's dirty work, he's in prison for murder, then recruited by Donald Fitzroy (Thornton). Fast-forward 18 years and Six is a huge hit at two things: being a ghost, because he no longer officially exists; and covertly wreaking whatever havoc the government tells him to, including knocking off whichever nefarious figure they need gone. But one stint of the latter leaves him in possession of a USB drive that his arrogant new direct superior Carmichael (Page) will ruthlessly kill to destroy. Actually, to be precise, he'll pay Lloyd Hansen (Evans) of Hansen Government Services to do just that, and to do the dirty work that's too dirty for the criminals-turned-government hitmen in the Sierra program, with Six the number-one target. The Gray Man is available to stream via Netflix. Read our full review. PETITE MAMAN Forget the "find someone who looks at you like…" meme. That's great advice in general, and absolutely mandatory if you've ever seen a Céline Sciamma film. No one peers at on-screen characters with as much affection, attention, emotion and empathy as the French director. Few filmmakers even come close, and most don't ever even try. That's been bewitchingly on display in her past features Water Lillies, Tomboy, Girlhood and Portrait of a Lady on Fire, any of which another helmer would kill to have on their resume. It's just as apparent in Petite Maman, her entrancing latest release, as well. Now 15 years into her directorial career, Sciamma's talent for truly seeing into hearts and minds is unshakeable, unparalleled and such a lovely wonder to watch — especially when it shines as sublimely and touchingly as it does here. In Sciamma's new delicate and exquisite masterpiece, the filmmaker follows eight-year-old Nelly (debutant Joséphine Sanz) on a trip to her mother's (Nina Meurisse, Camille) childhood home. The girl's maternal grandmother (Margot Abascal, The Sower) has died, the house needs packing up, and the trip is loaded with feelings on all sides. Her mum wades between sorrow and attending to the task. With melancholy, she pushes back against her daughter's attempts to help, too. Nelly's laidback father (Stéphane Varupenne, Monsieur Chocolat) assists as well, but with a sense of distance; going through the lifelong belongings of someone else's mother, even your spouse's, isn't the same as sifting through your own mum's items for the last time. While her parents work, the curious Nelly roves around the surrounding woods — picture-perfect and oh-so-enticing as they are — and discovers Marion (fellow newcomer Gabrielle Sanz), a girl who could be her twin. Petite Maman is available to stream via Google Play, YouTube Movies and iTunes. Read our full review. THIS MUCH I KNOW TO BE TRUE How do you make a concert film when no concerts can be held to film? Australian director Andrew Dominik (Chopper, Killing Them Softly) and his now two-time subjects Nick Cave and Warren Ellis have the answer. How do you create a personal documentary that cuts to the heart of these Aussie music icons when, whether stated or implied in their vibe, both are hardly enamoured with having their lives recorded? Again, see: Dominik's new Cave and Ellis-focused This Much I Know to Be True. Performances in cavernous empty British spaces fill the movie's frames but, via stunning lighting, staging and lensing, they're as dazzling as any IRL gig. The interludes between tunes are brief, and also intimate and revealing. The result: a phenomenal doco that's a portrait of expression, a musing on an exceptional collaboration and a rumination upon existence, as well as a piece of haunting cinematic heaven whether you're an existing Cave and Ellis devotee, a newcomer or something in-between. Dominik, Cave and Ellis initially teamed up when the latter duo scored the former's The Assassination of Jesse James by the Coward Robert Ford. Later this year, when upcoming Marilyn Monroe biopic Blonde hits screens, the same arrangement will provide its soundtrack. But in the middle sits 2016 doco One More Time with Feeling and now This Much I Know to Be True, as entrancing a pair as the music documentary genre has gifted viewers. The first factual flick found Cave and Ellis recording the Nick Cave and the Bad Seeds album Skeleton Tree, as Cave also grappled with the death of one of his sons. Here, its follow-up is shaped by the first performances of Cave and Ellis' latest albums — the Bad Seeds 2019 release Ghosteen, and Cave and Ellis' 2021 record Carnage — plus the pandemic and the lingering effects of grief. This Much I Know to Be True is available to stream via Mubi. Read our full review. DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS Somewhere in the multiverse, Doctor Strange in the Multiverse of Madness is terrific. In a different realm, it's terrible. Here in our dimension, the 28th film in the Marvel Cinematic Universe teeters and twirls in the middle. The second movie to focus on surgeon-turned-sorcerer Dr Stephen Strange (Benedict Cumberbatch, The Power of the Dog), it's at its best when it embraces everything its director is known for. That said, it's also at its worst when it seems that harnessing Sam Raimi's trademarks — his visual style, bombast, comic tone and Evil Dead background, for instance — is merely another Marvel ploy. Multiverse of Madness is trippy, dark, sports a bleak sense of humour and is as close as the MCU has gotten to horror, all immensely appreciated traits in this sprawling, box office-courting, never-ending franchise. But it stands out for the wrong reasons, too, especially how brazenly it tries to appear as if it's twisting and fracturing the typical MCU template when it definitely isn't. Welcomely weirder than the average superhero flick (although not by too much), but also bluntly calculating: that's Multiverse of Madness, and that's a messy combination. It's apt given its eponymous caped crusader has always hailed from Marvel's looser, goofier and, yes, stranger side since his MCU debut in 2016's plainly titled Doctor Strange; however, it's hard to believe that such formulaic chaos was truly the plan for this follow-up. The last time that audiences saw Stephen Strange, he reluctantly tinkered with things he shouldn't to help Peter Parker in Spider-Man: No Way Home. Those actions had consequences, and recalling Raimi's time with Spidey came with the territory. Strange's reality-bending trickery has repercussions here as well, because Wanda Maximoff (Elizabeth Olsen, Sorry for Your Loss) isn't thrilled about her fellow super-powered pal's exploits. Yes, Multiverse of Madness assumes viewers have not only watched all 27 past MCU movies, but also its small-screen offshoots — or WandaVision at least, where the enchantress that's also Scarlet Witch broke rules herself and wasn't still deemed a hero. Doctor Strange in the Multiverse of Madness is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MEN Since popping up over the last decade, the term 'elevated horror' has always been unnecessary. Used to describe The Babadook, It Follows, The Witch, Get Out, Hereditary, Us, Midsommar and more, it pointlessly claims that such unsettling flicks have risen above their genre. Each of these movies is excellent. They all boast weight and depth, trade in metaphors with smarts and savvy, and have style to go with their creeps and thrills. But thinking that's new in horror — that pairing unease with topical woes or societal fears is as well — is as misguided as dubbing Michael Myers a hero. With a name that makes its #MeToo-era point plain, Men has been badged 'elevated', too, yet it also does what horror has at its best and worst cases for decades. That the world can be a nightmare for women at the hands of men isn't a fresh observation, and it's long been a scary movie go-to. Still, Men stresses that fact in an inescapably blunt but also unforgettable manner. Hailing from Ex Machina, Annihilation and Devs' Alex Garland, Men's setting is an English manor, where Harper Marlowe (Jessie Buckley, The Lost Daughter) hopes for a solo stint of rest, relaxation and recuperation. Processing a tragedy, shattering memories of which haunt the movie as much as its protagonist, she's seeking an escape and a way to start anew. The initial hint that she won't find bliss comes swiftly and obviously, and with a sledgehammer's subtlety. Arriving at an idyllic-looking British countryside estate, Harper is greeted by an apple tree. She plucks one from the abundant branches, then takes a bite. Soon, she's told by her host Geoffrey (Rory Kinnear, Our Flag Means Death) that it's forbidden fruit. He also says he's joking — but in this garden, a woman will again shoulder a society's blame and burdens. Men is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. NUDE TUESDAY Relationships are all about communication. So much about life is, too. And, so is storytelling. With absurdist comedy Nude Tuesday, expressing emotions, connections and narrative details all boils down to two things, though: gibberish and bodies. This extremely amusing New Zealand film from writer/director Armagan Ballantyne (The Strength of Water) and writer/star Jackie van Beek (The Breaker Upperers) does indeed strip its performers bare, as its name makes plain — but it saddles them with conveying almost everything about their characters via body language long before that. The reason: every piece of dialogue spoken in the movie is uttered in gibberish, with completely made-up and wholly improvised words that take a few cues from The Muppets' Swedish Chef in cadence. While they're subtitled in English by British comedian and writer Julia Davis (Camping), that text was penned after shooting, in one of the film's other gleefully silly twists. The result is patently ridiculous, and marvellously so — and hilariously, too. It's such a clever touch, making a movie about marital disharmony and the communication breakdown baked within that's so reliant upon reading tone and posture, as couples on the prowl for the tiniest of micro-aggressions hone in on. Van Beek and Australian The Tourist actor Damon Herriman play that pair, Laura and Bruno. Living on the fictional pacific island of Zǿbftąņ, they're as stuck in a rut as any married, middle-class duo can be, and they're gifted a getaway to ẄØnÐĘULÄ to help. But this mountainside commune, run by the charismatic and lustful sex guru Bjorg Rassmussen (Jemaine Clement, I Used to Go Here), wants them to bare all in multiple ways. The film doesn't live up to its moniker until its last third, but its perceptive and side-splittingly funny from the get-go. Nude Tuesday is available to stream via Stan. Read our full review. THE DROVER'S WIFE THE LEGEND OF MOLLY JOHNSON Leah Purcell's resume isn't short on highlights — think: Black Comedy, Wentworth and Redfern Now, plus Lantana, Somersault and Last Cab to Darwin (to name just a few projects) — but the Goa-Gunggari-Wakka Wakka Murri actor, director and writer clearly has a passion project. In 2016, she adapted Henry Lawson's short story The Drover's Wife for the stage. In 2019, she moved it back to the page. Now, she brings it to the big screen via The Drover's Wife The Legend of Molly Johnson. Only minutes into her searing feature filmmaking debut, why Purcell keeps needing to tell this 19th century-set tale is patently apparent. In her hands, it's a story of anger, power, prejudice and revenge, and also a portrait of a history that's treated both women and Indigenous Australians abhorrently. Aussie cinema hasn't shied away from the nation's problematic past in recent times (see also: Sweet Country, The Nightingale, The Furnace and High Ground); however, this is an unforgettably potent and piercing movie. In a fiery performance that bristles with steeliness, Purcell plays the eponymous and heavily pregnant Molly. In the process, she gives flesh, blood and a name to a character who wasn't ever afforded the latter in Lawson's version: a 19th-century Indigenous Australian woman left alone with her children on a remote property for lengthy stretches while her husband works. During his latest absence, new sergeant Nate Clintoff (Sam Reid, The Newsreader) and Aboriginal fugitive Yadaka (Rob Collins, Firebite) separately venture Molly's way. From there, this sometimes-stagey but always blistering western digs sharply into issues of race, gender and identity — and eagerly, shrewdly and ferociously draws cinematic blood. The Drover's Wife The Legend of Molly Johnson is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE BOB'S BURGERS MOVIE Across its 12-season order to-date, the best episodes of Bob's Burgers have always resembled exactly what they should: a delicious serving of the meat-and-bread combination that shares the hit sitcom's name. There's a knack to a great burg — to a tastebud-thrilling, so-appetising-I-need-more-now example of this extremely accessible culinary art — and it's all about perfecting the absolute basics. No matter what else gets slotted in (and plenty of other ingredients can), every burger's staples should be the stars of the show. Indeed, a top-notch burg needn't be flashy. It definitely mustn't be overcomplicated, either. And, crucially, it should taste as comforting as wrapping your hands around its buns feels. On the small screen since 2011, Bob's Burgers has kept its version of that very recipe close to its animated, irreverent, gleefully offbeat heart. Unsurprisingly, the show's creators whip up the same kind of dish for The Bob's Burgers Movie, too. It's a winning formula, and creator Loren Bouchard knows not to mess with it while taking his beloved characters to the big screen. As always, the action centres on the film's namesake — the diner where patriarch Bob (H Jon Benjamin, Archer) sizzles up punningly named burgs to both make a living and live out his dream. And, as the show has covered frequently, financial woes mean that Bob and his wife Linda (John Roberts, Gravity Falls) have more to worry about than cooking, serving customers, and their kids Tina (Dan Mintz, Veep), Gene (Eugene Mirman, Flight of the Conchords) and Louise (Kristen Schaal, What We Do in the Shadows). Their solution: a burger, of course. But their bank manager isn't munching when they try to use food to grease their pleas for an extension on their loan. That mortgage also involves their restaurant equipment, leaving them out of business if they can't pay up. As their seven-day time limit to stump up the cash ticks by, Bob sweats over the grill and Linda oozes her usual optimism — only for a sinkhole to form literally at their door. The Bob's Burgers Movie is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. HATCHING With a savvily sinister-meets-satirical blend, Hatching begins by unpacking a fallacy as fractured as Humpty Dumpty after the nursery-rhyme character's fall — and that still keeps being lapped up anyway. In suburban Finland, among homes so identical that the song 'Little Boxes' instantly pops into your head, 12-year-old gymnast Tinja (debutant Siiri Solalinna), her younger brother Matias (fellow first-timer Oiva Ollila), and their mother (Sophia Heikkilä, Dual) and father Jani Volanen, Dogs Don't Wear Pants) are living their best lives. More than that, as the soft lensing and music that helps open the movie establishes, they're also beaming that picture of pink, white and pastel-hued domestic perfection to the world. Tinja's unnamed mum is a vlogger, and these scenes are being captured for her cloyingly named blog Lovely Everyday Life. Naturally, showing that this family of four's daily existence is anything but enchanting is one of Bergholm's first aims. In Finnish writer/director Hanna Bergholm's bold and memorable body-horror, twisted fairy tale and dark coming-of-age thriller, the initial crack comes from outside, crashing through the window to ruin a posed shot alight with fake smiles and, of course, being filmed with a selfie stick. Soon, broken glass, vases and lamps are strewn throughout a lounge room so immaculately arranged that it looks straight out of a supermarket-shelf home-and-garden magazine — and the crowning glory, the chandelier, has descended from a luminous pièce de résistance to a shattered mess. A garden-variety crow is the culprit, which Tinja carefully captures. She hands it to her mother, thinking that they'll then release it outside. But her mum, placid but seething that anything could disrupt her manufactured picture of bliss, ignores that idea with a cruel snap and instructions to dispose of the animal in the organic waste. When Tinja disobeys that order, taking the egg into her care, nurturing it tenderly and placing it inside a teddy bear for safe keeping, she gains her own little universe to dote over. Then the egg keeps growing, and a human-sized chick emerges. Hatching is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE INNOCENTS Thanks to his Oscar-nominated work co-penning The Worst Person in the World's screenplay, Eskil Vogt has already helped give the world one devastatingly accurate slice-of-life portrait in the past year. That applauded film is so insightful and relatable about being in your twenties, and also about weathering quarter-life malaise, uncertainty and crisis, that it feels inescapably lifted from reality — and it's sublime. The Innocents, the Norwegian filmmaker's latest movie, couldn't be more different in tone and narrative; however, it too bears the fingerprints of achingly perceptive and deep-seated truth. Perhaps that should be mindprints, though. Making his second feature as a director after 2014's exceptional Blind, Vogt hones in on childhood, and on the way that kids behave with each other when adults are absent or oblivious — and on tykes and preteens who can wreak havoc solely using their mental faculties. Another riff on Firestarter, this thankfully isn't. The Innocents hasn't simply jumped on the Stranger Things bandwagon, either. Thanks to the latter, on-screen tales about young 'uns battling with the supernatural are one of Hollywood's current favourite trends — see also: the awful Ghostbusters: Afterlife — but all that this Nordic horror movie's group of kids are tussling with is themselves. Their fight starts when nine-year-old Ida (debutant Rakel Lenora Fløttum) and her 11-year-old sister Anna (fellow first-timer Alva Brynsmo Ramstad), who is on the autism spectrum, move to an apartment block in Romsås, Oslo with their mother (Blind's Ellen Dorrit Petersen) and father (Morten Svartveit, Ninjababy). It's summer, the days are long, and the two girls are largely left to their own devices outside in the complex's communal spaces. That's where Ida befriends Aisha (Mina Yasmin Bremseth Asheim) and Ben (Sam Ashraf), albeit not together, and starts to learn about their abilities. The Innocents to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. ITHAKA To look at John Shipton is to see the obvious, even if you've never laid eyes upon him before. The family resemblance is immediately clear, and the traits that've likely been passed down from father to son — determination and persistence, blatantly — become apparent within minutes. Shipton needs to be resolute for the battle that documentary Ithaka captures. It's a fight that's been waged for a decade now, publicly, and not just in embassies and courtrooms but across news headlines worldwide. He's visibly Julian Assange's dad, and he's been helping spearhead the campaign for the WikiLeaks founder's release. Assange fell afoul of US authorities in 2010, when his non-profit whistleblower organisation published documents about the American military's war crimes leaked by army intelligence analyst Chelsea Manning. As Ithaka makes plain, The Guardian, The New York Times and Der Spiegel revealed the same information at the same time; however, only Assange now sits in London's Belmarsh prison. Plenty about the past 12 years since Manning's leaks were exposed to the world is filled with numbers. Plenty about the ten years this June since Assange first took refuge in the Embassy of Ecuador in London is as well. The Australian editor and publisher spent almost seven years in that diplomatic space, seeking political asylum from sexual misconduct allegations in Sweden that he contended would be used to extradite him to America. If the US succeeds in its efforts, and in its espionage charges against him, he faces up to 175 years in incarceration. The list of figures goes on, but filmmaker Ben Lawrence (Hearts and Bones) makes two pivotal choices. Firstly, he surveys Assange's current struggle not through the Aussie himself, but through both Shipton and Stella Moris, his South African-born lawyer and now wife. Secondly, although those aforementioned numbers are inescapable, the riveting and affecting Ithaka brings humanity to this well-publicised plight. Ithaka is available to stream via ABC iview. Read our full review. ABLAZE A documentary that's deeply personal for one of its directors, intensely powerful in surveying Australia's treatment of its First Peoples and crucial in celebrating perhaps the country's first-ever Aboriginal filmmaker, Ablaze makes for astonishing viewing. But while watching, two ideas jostle for attention. Both remain unspoken, yet each is unshakeable. Firstly, if the history of Australia had been different, Wiradjuri and Yorta Yorta man William 'Bill' Onus would be a household name. If that was the case, not only his work behind the camera, but his activism for Indigenous Aussies at a time when voting and even being included in the census wasn't permitted — plus his devotion to ensuring that white Australians were aware of the nation's colonial violence — would be as well-known as Captain Cook. That said, if history had been better still, Bill wouldn't have needed to fight so vehemently, or at all. Alas, neither of those possibilities came to a fruition. Ablaze can't change the past, but it can and does document it with a hope to influencing how the world sees and appreciates Bill's part in it. Indeed, shining the spotlight on its subject, everything his life stood for, and all that he battled for and against is firmly and proudly the feature's aim. First-time filmmaker Tiriki Onus looks back on his own grandfather, narrating his story as well — and, as aided by co-helmer Alec Morgan (Hunt Angels, Lousy Little Sixpence), the result is a movie brimming with feeling, meaning and importance. While Aussie cinema keeps reckoning with the nation's history regarding race relations, as it should and absolutely must, Ablaze is as potent and essential as everything from Sweet Country, The Nightingale and The Australian Dream to The Furnace, High Ground and The Drover's Wife The Legend of Molly Johnson. Ablaze is available to stream via ABC iview, iTunes and Prime Video. Read our full review. DOWNTON ABBEY: A NEW ERA The movies have come to Downton Abbey and Violet Crawley, the acid-tongued Dowager Countess of Grantham so delightfully played by Maggie Smith (The Lady in the Van) since 2010, is none too fussed about it. "Hard same," all but the most devoted fans of the upstairs-downstairs TV drama may find themselves thinking as she expresses that sentiment — at least where Downton Abbey: A New Era, an exercise in extending the series/raking in more box-office cash, is concerned. Violet, as only she can, declares she'd "rather eat pebbles" than watch a film crew at work within the extravagant walls of her family's home. The rest of us mightn't be quite so venomous, but that's not the same as being entertained. The storyline involving said film crew is actually one of the most engaging parts of A New Era; however, the fact that much of it is clearly ripped off from cinematic classic Singin' in the Rain speaks volumes, and gratingly. A New Era begins with a wedding, picking up where its predecessor left off as former chauffeur Tom Branson (Allen Leech, Bohemian Rhapsody) marries Lucy Smith (Tuppence Middleton, Mank) with everyone expected — the well-to-do Crawleys and their relatives, plus their maids, butlers, cooks, footmen and other servants — in attendance. But the film really starts with two revelations that disrupt the Downton status quo. Firstly, Violet receives word that she's inherited a villa in the south of France from an ex-paramour, who has recently passed away. His surviving wife (Nathalie Baye, Call My Agent!) is displeased with the arrangement, threatening lawsuits, but his son (Jonathan Zaccaï, The White Crow) invites the Crawleys to visit to hash out the details. Secondly, a movie production wants to use Downton for a shoot, which the pragmatic Lady Mary Talbot (Michelle Dockery, Anatomy of a Scandal) talks the family into because — paralleling the powers-that-be behind A New Era itself — the aristocratic brood would like the money. Downton Abbey: A New Era is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. FIRESTARTER Would the latest big-screen adaptation of Stephen King's Firestarter have been better or worse if it had included The Prodigy's hit of the same name, aka the most obvious needle-drop that could've been chosen? Although we'll never know, it's hard to imagine a film with less personality than this page-to-screen remake. Using the 1996 dance-floor filler would've been a choice and a vibe — and a cliched one, whether gleefully or lazily — but it might've been preferable to the dull ashes of by-the-numbers genre filmmaking from director Keith Thomas (The Vigil) that's hit screens instead. Zac Efron looking so bored that blood drips from his eyes, dressing up King's 1980 story as a superhero tale (because of course) and having its pyrokinetic protagonist say "liar liar, pants on fire" when she's torching someone aren't a recipe for igniting movie magic, or for even occasionally just lighting a spark. As the first version of Firestarter in 1984 did, and King's book as well, Firestarter follows the McGee family, whose lives would blaze brighter if they didn't have abilities most folks don't. After volunteering for a clinical trial in college, Andy (Efron, Gold) and his wife Vicky (Sydney Lemmon, Fear the Walking Dead) have telepathic and telekinetic powers; being experimented on with mind-altering chemical compounds will do that. And, from birth, their now 11-year-old daughter Charlie (Ryan Kiera Armstrong, It: Chapter Two) has been able to start fires with her mind. Unsurprisingly, the McGees have spent years attempting to blend in, hiding their powers and fleeing the shady government department, The Shop, that's responsible for their situation — and now sports a keen interest in using Charlie as a weapon. Then she literally explodes at school, The Shop head honcho Captain Hollister (Gloria Reuben, City on a Hill) puts bounty hunter John Rainbird (Michael Greyeyes, Rutherford Falls) on their trail and the heat is on. (No, that track from Beverly Hills Cop, which reached cinemas the same year that the OG Firestarter did, doesn't feature here either.) Firestarter is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. HOW TO PLEASE A WOMAN When Magic Mike stripped its way into cinemas a decade ago, it didn't just turn Channing Tatum's IRL background into a movie and give his chiselled torso oh-so-much attention; it understood that women like sex, boast libidos and have desires, too. Its sequel, Magic Mike XXL, doubled down on that idea, and winningly so — even if the saga dances with a notion so blatant that it definitely shouldn't feel revelatory to see it thrust front and centre in a big-budget Hollywood film. There's no trace of Tatum in How to Please a Woman, and it has nothing to do with the saucy franchise that has a third flick on the way, but this Aussie comedy nonetheless follows in Magic Mike's footsteps. Here, women also like sex, boast libidos and have desires, and that's something that the stuck-in-a-rut Gina (Sally Phillips, Off the Rails) turns into a lucrative business. When first-time feature writer/director Renée Webster begins her sunnily shot, eagerly crowd-pleasing leap to the big screen — following helming gigs on TV's The Heights and Aftertaste — Gina's relationship with sex is non-existent. She has long been wed to lawyer Adrian (Cameron Daddo, Home and Away), but he still thinks that having a tumble on their last holiday years ago is enough bedroom action to keep their marriage going. Gina's resigned to that fact, too, until her ocean swimming club pals book her a stripping surprise for her birthday. Tom (Alexander England, Little Monsters) shows up at her door, starts gyrating and undressing, and says he'll do whatever she wants. Although her friends are later horrified, Gina asks him to clean her house instead — and its their eagerness to truly take Tom up on his offer that inspires a plan to turn a removalist company she thinks she can save into a male escort service, covering scrubbing and shagging alike. How to Please a Woman is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. HELMUT NEWTON: THE BAD AND THE BEAUTIFUL One of the great treats in Helmut Newton: The Bad and the Beautiful stems from perhaps the film's simplest move: letting viewers peer at the often-provocative photographer's works in such a large format. Being able to do just that is the reason why the Exhibition On Screen series of movies exists, surveying showcases dedicated to artists such as Vincent van Gogh, David Hockney and Frida Kahlo over the years — and this documentary isn't part of that, but it understands the same idea. There's nothing like staring at an artist's work to understand what makes them tick. Writer/director Gero von Boehm (Henry Miller: Prophet of Desire) fills The Bad and the Beautiful with plenty more, from archival footage to recent interviews, but it'd all ring empty without seeing the imagery captured by Newton's lens firsthand. Every word that's said about the German photographer, or by him, is deepened by roving your eyes across the frequently contentious snaps that he sent Vogue, Harper's Bazaar, Playboy and other magazines' ways. Those photos aren't run-of-the-mill fashion pics. Largely, the highly stylised images are of naked women — naked famous women, if not then then now, such as Isabella Rossellini, Charlotte Rampling, Grace Jones and Claudia Schiffer — and they're as fetishistic as the artform gets. They're the kinds of snaps that saw Susan Sontag call Newton out for being a misogynist to his face, as seen in a French TV clip featured in the film. The Bad and the Beautiful is an affectionate doco, but it also dives headfirst into the trains of thought that his work has sparked for decades. Anna Wintour explains that when someone books Newton, "you're not going to get a pretty girl on a beach". Women who posed for him, including the aforementioned stars, plus Marianne Faithfull, Arja Toyryla, Nadja Auermann and Hanna Schygulla, all talk through their differing experiences as well — and the portrait painted is varied. Helmut Newton: The Bad and the Beautiful is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. LAST SEEN ALIVE Perhaps the most positive thing that can be said about Last Seen Alive is this: it's definitely a Gerard Butler-starring kidnapping thriller. That isn't meant as praise, though; rather, the film simply manages to be exactly what viewers would expect given its star and premise. There's clearly far less cash behind it than the also-terrible trio of Olympus Has Fallen, London Has Fallen and Angel Has Fallen — or Geostorm, Den of Thieves, Hunter Killer and Greenland among the Scottish actor's career lowlights over the past decade, either. There's visibly less effort, too, and more of a phoning-it-in vibe. The second collaboration between actor-turned-filmmaker Brian Goodman (What Doesn't Kill You) and producer/writer Marc Frydman after 2017's Black Butterfly, it plays like something that a streaming platform's algorithm might spit out in an AI-driven future where new movies are swiftly spliced together from pieces of past flicks. Yes, among Butler's output and with its abduction storyline, it's that derivative. Butler plays Will Spann, a real estate developer who already isn't having a great day when the film begins — but it's about to get worse. He's driving his unhappy wife Lisa (Jaimie Alexander, Loki) to her parents' home, where she's keen to decamp to find herself and take a break from their marriage, and Will is desperate to convince her to change her plans en route. His charm offensive isn't working when they stop at a petrol station mere minutes away from their destination, and he has zero charisma for anyone when Lisa unexpectedly disappears while he's filling the tank. Fuming that local police detective Paterson (Russell Hornsby, Lost in Space) hasn't just dropped everything immediately, and that he also has questions about their relationship, Will decides to chase down any lead he can himself. Meanwhile, Lisa's unsurprisingly wary parents (Queen Bees' Cindy Hogan and Master's Bruce Altman) direct their suspicions his way. Last Seen Alive is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INTERCEPTOR Four decades back, Interceptor would've happily sat on a crowded video-store shelf alongside a wealth of other mindless, machismo-fuelled action thrillers. It would've been the epitome of one of the genre's straight-to-VHS flicks, in fact. Don't just call it a throwback, though; instead of testosterone oozing from every actor within sight, except perhaps a token wife worrying at home, this nuclear attack movie from Australian author Matthew Reilly focuses on a woman making waves in a male-dominated world. That's firmly a 2022 move, reflecting today's gender politics. So too is the fact that said protagonist, US Army Captain JJ Collins (Elsa Pataky, Tidelands), has just been reassigned after putting in a sexual harassment complaint against one of her past superiors. Don't go thinking that Interceptor doesn't tick every other box its 80s counterparts did, however. It couldn't lean harder on all of the cliches that've ever been involved with world-in-peril, military-driven movies, and with action fare at its most inane in general. A global success for his airport novels, writer Reilly doesn't just turn screenwriter here — with assistance from Collateral, Tomorrow, When the War Began and Obi-Wan Kenobi's Stuart Beattie — but also jumps behind the lens for the first time. Alas, his directorial instincts prove as flat and by-the-numbers as Interceptor's wanly boilerplate plot, as well as its clunky-as-clunky dialogue. And, that storyline really couldn't be more formulaic. In her new post on a remote platform in the Pacific Ocean, Collins soon finds herself under attack by terrorists led by the grating Alexander Kessel (Luke Bracey, Danger Close: The Battle of Long Tan). Her sea-surrounded station is one of two sites, alongside Alaska's Fort Greely, that can intercept a nuclear warhead launch on the US. Naturally, Kessel and his men have already taken out the other one, and have also pilfered nukes from the Russians in their possession. Interceptor is available to stream via Netflix. Read our full review. FATHER STU The last time that Mark Wahlberg played a real-life boxer, The Fighter was the end result. The last time that Mel Gibson played the burger-chain owner's father, the world was forced to suffer through Daddy's Home 2. Combine this mismatched pair and you don't quite get Father Stu, the former Marky Mark's first step into faith-based films — but even watching the latter, the second instalment in his woeful comedy franchise with Will Ferrell, is preferable to this mawkish true tale. Drawn from the IRL Stuart Long's life, it's meant to be an inspirational affair, covering the familiar religious-favourite beats about sinners being redeemed, wayward souls seizing second chances and learning to accept physical suffering as a chance to get closer to the divine. First-time feature writer/director Rosalind Ross is earnest about those messages, and her film visibly looks more competent than most sermon-delivering recent cinema releases, but what preaching-to-the-choir sentiments they are. How ableist they are as well. When Wahlberg (Uncharted) first graces the screen as Long, he could've stepped in from plenty of his other movies. In his younger days, the titular future priest is a foul-mouthed amateur boxer from Montana, but he has big dreams — and when he hits Los Angeles with acting stars in his eyes, viewers can be forgiven for thinking of Boogie Nights. Porn isn't Long's calling, of course, although salacious propositions do come his way in the City of Angels, in one of the film's hardly subtle efforts to equate the secular and the sordid. It's actually lust that pushes the feature's protagonist on the path to the priesthood, however, after he spies volunteer Sunday school teacher Carmen (Teresa Ruiz, The Marksman) while he's working in a grocery store. To have a chance with her, he even gets baptised. Then, a drink-driving accident brings a vision of the Virgin Mary, sparking Long's determination to make Catholicism his calling. Next, a shock health diagnosis both tests and cements his faith. Father Stu is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and our best new TV shows, returning TV shows and straight-to-streaming movies from the first half of 2022. Or, check out the movies that were fast-tracked to digital in January, February, March, April, May and June.
International sportswear label Adidas continues its efforts to save the world's oceans, announcing it will contribute $1.5 million USD to the Parley Ocean School Program. The catch? It will donate $1 for every kilometre run, so grab your joggers and pound the pavement for a good cause. Runners can clock their kilometres by joining the Run for the Oceans group within the app Runtastic, which is free to download on iPhone and android. There are also a slew of Adidas and Parley running events happening across Sydney, Melbourne, Auckland, New York, Paris, Berlin, London, Barcelona, Milan and Shanghai, which you can also partake in. The initiative is running globally from June 8–16, 2019, and is capped at $1.5 million USD. Last year, 12 million kilometres were run and $1 million USD were raised for the same initiative. https://www.facebook.com/adidasAU/photos/a.614311325637497/779507399117888/?type=3&theater Parley Ocean School Program is a branch of environmental charity Parley for the Oceans that educates and empowers the next generation about the importance of the ocean, the dangers of plastic waste and what we can do to protect the ocean and its marine live. Together with Parley, this is just Adidas' latest campaign to help save the ocean and reach its 2024 goal of eliminating the use of virgin polyester from all products. The 2019 Parley apparel range will also see the the company produce 11 million pairs of shoes made from recycled plastic pulled from the beach. The planet-friendly range features the new slick Alphabounce+ running shoes, water bottles, training tights and backpacks. Adidas' Run for the Oceans initiative runs from June 8–16, 2019. To find out more info and to signup head to adidas.com.au/runfortheoceans.
The humble hotel restaurant-and-bar combo is levelling up with each new opening. And Melbourne's latest, housed within the newly launched Next Hotel Melbourne, is an absolute doozy. La Madonna opens its doors on Thursday, April 1, showing off a warmly chic space that spreads across the hotel's entire third floor — and cementing its status as one of the most hyped new additions to the ever-growing 80 Collins Street precinct. At once swanky and understated, the venue is decked out in a mix of old-world and mid-century modern features, with a healthy dose of marble, sumptuous textures and rich leather lounges. You'll spy a soaring glass cabinet brimming with cheese and charcuterie, while a striking ceramics installation crafted by artist Jodie Gray hangs from the ceiling. Heading up the kitchen is the dynamic duo of Daniel Natoli and Adrian Li — two renowned Melbourne chefs who've previously worked together at the likes of Donovan's, Saigon Sally and Tokyo Tina. Here, the pair is joining forces to deliver a creatively charged seasonal offering that pays homage to their respective Sicilian and Hong Kong heritages. For the snackers, there are crafty bites like salt and vinegar zucchini fritto, a smoked eel dip finished with Yarra Valley roe, and grilled ox tongue skewers with a bonito glaze and salsa verde. Pasta options might include pappardelle dressed in a rich ragu of pork, beef and fennel, while larger plates run to the likes of baked John Dory matched with Sichuan flavours and a warm tomato vinaigrette. You might remember hearing that Next Melbourne is the first Australian hotel to barrel age its own spirits. And up here on level three is where the magic happens. At the heart of La Madonna is The Barrel Room — a cosy chamber lined with barrels where Spirits Master Phil Smithers is helming an innovative barrel maturation program, featuring an array of different spirits, cocktails and herbal liquors. You can wrangle one of the eight Barrel Room seats for a close-up tasting experience, or see the program's results at play throughout the rest of La Madonna's offering. The drinks list showcases plenty of these barrel-matured creations, across sips like a rhubarb and tonka bean soda, a gimlet starring river mint cordial, and a daiquiri that blends aged rum with mango and a chamomile grappa. Soon, you'll be able to sit down to a special tasting pairing cheese with variously aged spirits, and you'll likely spy the results of some barrel-aged condiment experimentation hitting the food menu — and sip barrel-aged wine, too. On the vino front, the diverse curation largely heroes sustainable winemakers and small-scale local labels. Find La Madonna on Level 3 of Next Hotel Melbourne, from Thursday, April 1 — open daily from 7am till late. Entry is via 103 Little Collins Street, Melbourne.
In life and onstage, singer-songwriters Archie Roach and Ruby Hunter shared plenty. On-screen over the past year, they shared frames in exceptional documentary Wash My Soul in the Rivers Flow, too. And, come 2023, the pair will share a sculpture celebrating and commemorating their work and legacies, which is set to become a permanent fixture in Fitzroy. The Melbourne suburb will welcome a piece that hasn't yet been commissioned and designed, but will be overseen by the Wurundjeri Woi-wurrung Cultural Heritage Aboriginal Corporation and Yarra City Council, as well as Roach and Hunter's family members. That process will start now, in preparation for unveiling next year, with the Victorian Government putting $287,000 towards the statue. [caption id="attachment_859315" align="alignnone" width="1920"] Jacinta Keefe[/caption] "I remember good times with my dear baby brother Archie in Fitzroy and with Ruby right beside him," said Roach's sister Myrtle Evans in a statement announcing the news. "We shared many good times here together as a family. Being back here reminds me of those times. I miss those times now. May the spirit of dear Archie and Ruby always be here." Both Roach and Hunter, who passed away earlier in 2022 and in 2010 respectively, enjoyed careers worthy of the heartiest of tributes. It's aimed for the statue to become a landmark for fans to visit, including from within Melbourne, across Victoria, interstate and beyond. The pair's individual achievements are immense, with Ruby's 1994 record Thoughts Within the first solo album released by a First Nations female artist — and Roach's 'Took the Children Away' a powerful anthem for the stolen generations since 1990. Ruby was inducted into the National Indigenous Music Awards Hall of Fame in 2020, and Archie was named Victorian of the Year the same year. The statue will also recognise Roach and Hunter's work with Melbourne's First Peoples communities, including via the Archie Roach Foundation since 2014. "Uncle Archie's and Aunty Ruby's passion for their people inspired these gifted songwriters. They produced lyrics that not only touched the hearts of millions but educated a nation on the Stolen Generations," said Wurundjeri Elder Uncle Colin Hunter. Fitzroy's new sculpture celebrating Archie Roach and Ruby Hunter will be installed and unveiled sometime in 2023. We'll update you when further details are announced — and keep an eye on the City of Yarra website in the interim. Top image: Wash My Soul in the Rivers Flow, Sandy Scheltem.
We're still slightly mourning the early-2017 closure of Fitzroy stalwart Hammer & Tong, so the arrival of Light Years — from the former Fitzroy cafe's executive chef and the owners of Chapel Street's Journeyman — is a welcome one. Given the experience of the people behind it, we're unsurprised that the cafe has shone a beam of light across the developing grey suburban stretch of Camberwell Road. Everything about it is beautiful. The way the light filters through the yellow glass door and the windows that reach from floor to ceiling. The giant circular light fitting that hangs above the heads of diners. The coffee made using the balanced blend from Dukes Coffee Roasters. And the food is no exception. The avocado is not smashed, but 'pixelated' (read: diced into tiny squares) and laced with tangy Japanese flavours of pickled radish, nori and lime ($18). The dish also features a poached egg and chilli air-dried kale standing magnificently on a tasty bed of edamame hummus. Asian flavours feature prominently on the menu with the inclusion of miso scrambled eggs ($18) and matcha waffles with dark chocolate sauce and popping candy ($21). A vego ramen ($19) also makes the cut, a welcome reprise of Hammer & Tong's much-loved bacon breakfast ramen. For something a bit meatier, there's the barbecue duck croquettes with charred broccolini, crunchy snow peas, compressed radicchio, and pickled onions and cucumber are drizzled with five spice jus ($20). If you're really hungry, go for the sweet and sour pork burger with slaw, kewpie mayo, coriander, spring onion and lime ($19) and a side of crispy sweet potato waffle fries ($6). Importantly, it isn't another of those big, noisy, intimidating cafes; the space is generous with high, industrial ceilings, but the rows of plants and carefully-placed booths create pockets of quiet. The fare is reliable but intriguing enough that you'll return to try something else on the menu. While we're always sad to see cafes close, Light Years proves that good things can come from closure — and Hawthorn East is lucky to reap the rewards of this shake-up. Images: Kristoffer Paulsen.
There's nothing overtly amusing about Daniel Day-Lewis' performance in Phantom Thread. As '50s-era London dressmaker Reynolds Woodcock, he's tenacious in his attitude but delicate in his approach, inhabiting the demanding, obsessive and fastidious figure to absolute perfection. And yet, there's a joke behind his character that says much about this meticulous, mesmerising melodrama. In trying to find a name for the protagonist in their second big screen collaboration, Day-Lewis and There Will Be Blood writer-director Paul Thomas Anderson were simply trying to make each other chuckle. Mission: accomplished. Similarly, Phantom Thread isn't a film that drips with laugh-out-loud humour, but the comic origins of Woodcock's moniker — and their contrast with the movie's tense and refined air — really couldn't be more appropriate. Far removed from his last wander through the ups and downs of romance in Punch-Drunk Love, here Anderson plunges into the depths of a dark, difficult and devious love story. That said, given the story concerns a volatile couple who turn power plays and tussles for control into an intense form of foreplay, it's only fitting that he imbues proceedings with a sly, mischievous streak. When Woodcock first encounters Alma (Vicky Krieps) in a countryside restaurant, it seems a simple case of sophisticated man meets shy young woman; of opposites attracting in familiar circumstances. While he usually only has room in his life for his work, his no-nonsense sister Cyril (Lesley Manville) and his dead but never forgotten mother, Woodcock is drawn to the clumsy waitress, as she is to him. But it soon becomes clear that his designs on their relationship aren't the same as hers. Though he's fond of having a live-in muse, dress model and sometime lover, despite appearances she's not the type to meekly bend to his moody whims. With Cyril ever-present, the House of Woodcock soon starts to unravel — something that'd never happen to one of the high-end frocks his ceaselessly fusses over, obviously. Every textile metaphor you can think of applies to Phantom Thread. It's a film that's carefully woven from the fabric of human urges, teeming with hidden layers and positively bursting at the seams with emotional detail. It's also one made by the finest possible craftspeople, with Anderson and his three stars fashioning the cinematic equivalent of haute couture. In a role he says will be his last, three-time Oscar-winner Day-Lewis shows just why that's such utterly devastating news for audiences and the acting profession alike. Matching him immaculately are Krieps and Manville. Think of the former as the intricate beading that attracts the eye on an already breathtaking gown, and the latter as the painstaking stitching attentively holding everything together. As for Anderson, the filmmaker behind Boogie Nights, Magnolia and The Master sews another unique patch into his filmography. Making a movie about a perfectionist dressmaker, he's as exacting as Reynolds — and possesses the same eye for exquisite beauty in a film he shot on 35mm himself. Marvel at the way he infuses the household's breakfast routine with palpable tension over something as routine as buttering toast, and try to tear your gaze away from his stunningly framed images and the exceptional frocks within them. Even the ornate wallpaper manages to captivate. Anderson again finds his musical match in Radiohead's Jonny Greenwood, who provides the equally effective, darkly seductive score. Sensuous, evocative and completely entrancing, if the end result was a garment, you wouldn't want to take it off. https://www.youtube.com/watch?v=wCYB28iknIM
It's a question that film festivals face each and every year: how do you kick off? For the Melbourne International Film Festival in 2025, the answer comes courtesy of an award-winner with Australian ties that'll enjoy its Aussie premiere in the Victorian capital. The movie opening the fest on Thursday, August 7: If I Had Legs I'd Kick You starring Rose Byrne (Physical). The dramedy initially debuted at Sundance to significant acclaim, then made its way to the Berlin International Film Festival — and saw Byrne take home that fest's Silver Bear for Best Leading Performance. Scoring the opening-night slot at MIFF is no small feat, either, with attendees set to watch its lead portraying Linda, a psychologist struggling with balancing her clients, an ill child and an abyss on her building's roof. [caption id="attachment_1011660" align="alignnone" width="1920"] Nick Robertson[/caption] Fellow Aussie Danielle Macdonald (The Last Anniversary) co-stars, as does Conan O'Brien (Curb Your Enthusiasm), Christian Slater (Dexter: Original Sin) and A$AP Rocky (Highest 2 Lowest). Also among the cast: If I Had Legs I'd Kick You's writer/director Mary Bronstein (Yeast). "I am beyond thrilled to be bringing If I Had Legs I'd Kick You to MIFF. That would have been enough, but I am further honoured and gobsmacked to have been selected to open the festival," said the filmmaker. "My film is built around an unprecedented performance by one of the most-talented actors that has ever come out of Australia: Rose Byrne. It is all the more meaningful for me to be able to personally share Rose's soul-shattering work, along with the stunningly raw co-starring performance of fellow Australian Danielle MacDonald, with such celebration and reverence in their home country." "This New Yorker has never been to the other side of the globe before and I can't think of a better way to first experience beautiful Melbourne than through such deep appreciation for not just my film, but cinema in general, as MIFF is known around the world for." [caption id="attachment_1011661" align="alignnone" width="1920"] Nick Robertson[/caption] Added MIFF Artistic Director Al Cossar, "I'm so thrilled the electrifying If I Had Legs I'd Kick You opens this year's MIFF with some of the most intensely accomplished filmmaking you'll see this year. Urgent, funny, and audacious, we couldn't be prouder that Bronstein's singular vision will set the start to MIFF's 18-day immensity of cinema-going, as we welcome Melbourne audiences back once more to our 300-plus film adventure through the world's imagination." Melbourne International Film Festival runs from Thursday, August 7–Sunday, August 24 in 2025, and began announcing this year's lineup back in June, ahead of the full program dropping on Thursday, July 10. Other highlights so far include Parasite composer Jung Jae-il coming to Australia to conduct the movie's score live in an Aussie exclusive, Jafar Panahi's Cannes Palme d'Or-winning It Was Just an Accident, almost-100-year-old masterpiece The Passion of Joan of Arc with a new score by Julia Holter performed live, an Australian time-loop comedy involving tequila, a Baker Boy- and Hugh Jackman (Deadpool & Wolverine)-narrated tribute to David Gulpilil, Eternal Sunshine of the Spotless Mind filmmaker Michel Gondry's latest and the world-premiere of natural disaster-focused virtual-reality documentary When the World Came Flooding In. The 2025 Melbourne International Film Festival runs from Thursday, August 7–Sunday, August 24 at a variety of venues around Melbourne; from Friday, August 15–Sunday, August 17 and Friday, August 22–Sunday, August 24 in regional Victoria; and online nationwide from Friday, August 15–Sunday, August 31. For further details, including the full program from Thursday, July 10, visit the MIFF website.
It's impossible to think about Mythic Quest without the fellow television show that helped it come to fruition also springing to mind. If there was no It's Always Sunny in Philadelphia, this Apple TV+ series about a video-game studio wouldn't exist. 2025 marks two decades since the world first met the Paddy's Pub gang in Rob McElhenney's initial small-screen hit. Midyear, TV's longest-running live-action sitcom will drop its 17th season. With his It's Always Sunny co-star Charlie Day and Megan Ganz, one of the show's writers, he also created Mythic Quest in 2020 — and five years later, it's been streaming its fourth season since late in January, will be accompanied by a companion anthology series Side Quest in March and has cemented itself as another beloved workplace-set favourite. One of the reasons that Mythic Quest has returned not once, not twice, but three times now since its debut run: its stellar cast. McElhenney (Deadpool & Wolverine) plays Ian Grimm, the man behind both the studio that shares the show's name and the hugely successful game that it makes; however, this is an ensemble effort. As crucial at MQ as its original architect is Australian Poppy Li, the lead engineer who has joined Ian as co-creative director over the years. On the business side of the company, high-strung executive producer David Brittlesbee endeavours to keep everything running smoothly. Charlotte Nicdao (The Strange Chores) and David Hornsby (Merry Little Batman) are among the show's standouts — but when the roster of talent also includes Community alum Danny Pudi as a ruthless money man, Ashly Burch (Chibiverse) and Imani Hakim (Will Trent) starting out as testers, and Jessie Ennis (Better Call Saul) as a determined personal assistant, there's no weak links. With Mythic Quest, Nicdao continues a mini trend across her career: tales with media ties. For Australian comedy queens Kate McLennan and Kate McCartney (Deadloch), she was part of breakfast TV-skewering delight Get Krack!n. Then came the also-excellent Content, the short-form web series that enlisted Nicdao as a wannabe influencer willing to do pretty much anything for fame. Building on a resume that also spans A gURLs wURLd, The Slap, Please Like Me, Top of the Lake and Bluey, her path to Poppy hasn't always stuck to the topic, but she's happily at home portraying a successful woman in the gaming world — a well-rounded character with ups and downs, as Concrete Playground describes the role to her; "really flawed and kind of an arsehole" is Nicdao's take, she tells us. And, she's also eagerly expanding the world's view of Australians on-screen. Nicdao's Filipino Australian dad Alfred Nicdao was one of the first Asian actors on Aussie television. Although she initially auditioned for Mythic Quest with an American accent, getting to bring her Asian Australian heritage — keeping her natural voice in the process — to international TV is a rare feat, as she's well aware. "Honestly, it's an honour for me. I don't think that that's overstating it," she advises. When he joined Mythic Quest at the outset, Hornsby came onboard not just as a star but also as an executive producer. Thanks to It's Always Sunny, it's a balancing act that he knows well — and it was "working with friends" that got him excited about being part of the MQ cast alongside playing Sunny's Rickety Cricket, plus his off-camera roles on both, he notes. On the two shows, the Pearl Harbour, Minority Report, Six Feet Under, Flags of Our Fathers, Jake in Progress, How to Be a Gentleman, Idiotsitter and Good Girls actor is also among the writers. Mythic Quest's second-ever episode was penned by him, in fact. Plenty has indeed changed for both Poppy and David over the course of the show so far — and evolves again in the fourth season, too, through romances, pregnancies, friendships and the like. They're both far more sure of who they are and what they want, and willing to fight for it. They're both much more comfortable beyond MQ. This is a workplace comedy, but it's also a series about dreams and fulfilment, and the mental and emotional toll of chasing both. Increasingly, it's as interested in not forgetting to put yourself first, even when you might be working on your dream. Indeed, one of the key themes of its latest batch of episodes is knowing when to make space for something beyond your job or an obsession — and that working on, creating, overseeing or loving something doesn't need to be anyone's defining trait. As a series, Mythic Quest keeps levelling up and broadening its focus, including among MQ team members, their loved ones and players within the narrative. That all-embracing approach equally applies off-screen. Hornsby and Nicdao have both made their directorial debuts with the show — the former in season three, the latter this season on an episode that Hornsby wrote. Burch, Pudi and Hakim have stepped behind the lens as well. Hornsby sees Mythic Quest as facilitating its key players reaching new stages together. "It moves the marker forward and makes you feel like you're growing in your life, and in your in your profession," he advises. Our chat with him and Nicdao also covered the initial appeal of being in a workplace sitcom set in a video-game studio, stepping into the shoes of layered characters as David and Poppy, potential Aussie It's Always Sunny episodes and more. On What Interested Nicdao and Hornsby About Starring in a Workplace Sitcom Set in a Video-Game Studio When Mythic Quest First Came Their Ways David: "It was a job." David to Charlotte: "Is that what your answer's going to be?" Charlotte: "Well, definitely — I mean, at the time, I was very much an unemployed actor. So yeah, it was a job. But also, I say this all the time, I feel like I manifested this show into existence. Because I feel like if you had've asked me to write down my absolute dream gig before I was cast in Mythic Quest, it would have been a heartwarming workplace comedy that was really funny, where I got to stretch my dramatic chops sometimes. And one of my favourite shows ever was Community, and I think Always Sunny is one of the greatest shows on TV. So the fact that now I get to be on this show that I feel like I dreamed up with these people who have already created some of the greatest shows of our time, I'm like 'how did I land this?'." David: "I think a workplace comedy is really great, just because it's really relatable. You can set the tone from the beginning — and I'm really, really happy with the tone that we've forged over these four seasons, of being able to be ridiculous and absurd sometimes, but always hopefully tethered to reality. And then being able to break away and explore some different episodes that really pay tribute to the complexities of stories related to video games. It felt like it was surprising, I think, when it came across my desk of sorts, that there was not already a show that truly lived in the video-game world that was an office-based comedy." On the Number of Projects, From Get Krack!n and Content in Australia to Mythic Quest, with a Media Angle on Nicdao's Resume Charlotte: "That's so funny. I hadn't thought about that before, but you're right, there is kind of a media bent to a lot of my work. I don't know what that is, and sometimes I wonder if it's — I mean, all of those things are fairly contemporary or modern themes to get into, and so sometimes I wonder that's something that I'm particularly comfortable in, for whatever reason. Those projects that you mentioned — Kate McCartney and Kate McLennan, who created Get Krak!n, are the some of the funniest people working in Australian television, and everything that they do is brilliant. So the fact that they wrote that role in for me was really exciting. And then with Content, Daley Pearson brought me that project. I'd worked with Ludo Studios before on an animated show, and when he brought me Content I was like 'I've never seen anything like this before and I have no idea how we're even going to shoot it, but I definitely want to be part of that'. So I'm glad that it lives on." On What Excited Hornsby About Taking His Collaboration with the It's Always Sunny Team Into a New Series David: "Working with friends, initially — it usually starts with Rob and Charlie calling me up and asking 'hey, we've got a part for you. We were thinking of a new show. We were thinking of you. Would you want to act on it and write on it?'. What more can you want except to do the thing that you love with your friends, who make you laugh and raise your bar? That in itself is a door I'm willing to walk through and then see what adventure it leads to." On What Nicdao Draws Upon to Play a Smart, Successful Woman in the Gaming World — But Also a Very Well-Round Character with Flaws and Struggles Charlotte: "I love that you're calling it well-rounded, when really what we all mean is that she's really flawed and kind of an arsehole. Yeah, that's a great question. Coming into the role without that gaming background — and I certainly didn't know anything about programming, that's definitely not how my brain works — I did speak to some game developers about what drew them to their particular jobs. And I loved hearing about this idea of programming being very much about solving puzzles, like being able to take something apart and put it back together in new ways that you wouldn't expect. So I feel like that was my way into understanding a little bit about how Poppy's mind works. It's like she doesn't really have control over most of her life, but this is a space that she fully understands and she can do anything in this world of programming. And that's kind of what makes her so good at her job, is that confidence that she has in this area and maybe no other area. I feel like I relate to that a little bit in terms of — I don't think, I would never think, that I am as good at acting as Poppy is at coding, but I definitely know that feeling of when you lock into something that you love doing and the rest of the world fades away, and you finish shooting a scene and you're like 'whoa, where am I?'. I don't really do that, but that's the feeling." On Hornsby's Task Playing the Most Sensitive and Vulnerable Character in the Series — and One Who Is Steering the Ship, But Is Also Often the Butt of the Office's Jokes David: "It involves me taking my ring off and walking in front of a camera, and then when I'm done, I put my ring on and I go home. No, it's really fun. I enjoy pushing the stories forward and serving the crazier egos in the show, but also having, when I was able to be the wolf back in a previous season, something like that. The specificity of this character and being able to then have earned that storyline is, is super fun. The wins taste sweeter, the victories taste sweeter, for this character when he gets them. So whether he's being a pawn in Brad's game or being overlooked by Poppy or Ian, it's always fun for me, for this character, to get a little victory here and there, and just to see what he does with it." On Knowing When to Make Space Beyond Work or an Obsession Being a Key Theme in Season Four — But Not a Sign That the Show Is Winding Down Charlotte: "I also hope that it's not leading to the end of the show. I don't think that's the intention. I actually think it opens up a whole lot of new story actually. And specifically with Poppy, this season is very much about her trying to discover who she could be outside of work. We see that right in the very first episode, with her having a boyfriend, which is something you never — I never, certainly — expected for the character. But I also think that it's something that we continue to explore and realise, that her whole life, since she was a child, has been about work. And in episode six we get introduced to her sister, who's played by another Asian Australian actress, Natasha Liu Bordizzo [Ahsoka], who I'm sure you know is fantastic — and a close friend. And we had so much fun on set. And this character comes in and reveals a little bit to the audience about who Poppy has always been — and I think that makes it all the more poignant that Poppy is now trying to break outside of that way of being. And I would be really interested to see, with the progress that Poppy makes this season, what that would mean for her in seasons to come in terms of her relationship with Ian and with the game." On the Parallels Between Mythic Quest Broadening Its Focus Among Its Characters and the Show's Cast, Such as Nicdao and Hornsby, Expanding Their Involvement by Writing and Directing David: "When a show's cast well, I think sometimes it's a fine line between who we are and who the characters are — certainly with my character in some ways — but we've all grown into our characters more. We've grown into ourselves more over time. A lot has happened since we started the show. We went through COVID and the pandemic. We made a show during it. That brings us together. That shows us what we're capable of. We've got to do our own makeup. We've got to shoot our own thing. We grow to appreciate the other person's job, especially when you have to do your own makeup. So at the end of the day, at five years later, I think we all have grown and feel, having gone through all this together — from professional firsts, like directing when I did it or when she did it, to doing a new episode or going to a new place with your character — it does make you, it moves the marker forward and makes you feel like you're growing in your life, and in your in your profession." On What It Means for Nicdao to Help Expand the World's View of Australians — and Initially Auditioning for Mythic Quest with an American Accent Charlotte: "Yeah, it's honestly, it's an honour for me. I don't think that that's overstating it. I feel like the world has a very particular idea of what an Australian looks like, and the fact that I get to show a different kind of Australian on an international level is, yeah, I'm really proud of that. And I'm so grateful that during that audition process, I think it was Rob, that was like 'wait, wait, stop'." Charlotte to David: "Well, maybe it was even you. I definitely remember you being in some of my early auditions and this conversation starting around 'well, but what if you just did your natural accent?'. I was so used to auditioning in my American accent at that time." David: "I wanted us to all become Australian." Charlotte: "He wanted everyone to do an Australian accent." David: "But then it just came like 'no, what if she just does it?'." Charlotte: "Yeah, it was like 'maybe just the Australian should do it'. But yeah, I was particularly proud of the episode 'Sarian' in season three that portrays Poppy with her young Filipino Australian family. Filipinos are the fifth-largest migrant group in Australia, there's a big community of us there. And since that episode has come out, I've spoken to people who have stopped me on the street in Australia, in Melbourne, who were like 'I loved that episode because that's what my family looked like growing up — like we spoke Tagalog at home and we had Australian accents at school'. I'm so grateful to the show for helping to tell that story." Concrete Playground: "Everyone becoming Australian sounds like it's going to be a future episode of It's Always Sunny." Charlotte: "Yes! 'The Gang Goes Australian'." David: "Yeah — yeah, that's fun." Mythic Quest streams via Apple TV+. Read our reviews of season one, season two and season three.
Another streaming service is about to boost your viewing options, focusing on Australian movies and television while letting you watch for free. We might live in peak online-viewing times, with no shortage of platforms vying for eyeballs, but Brollie is launching with a couple of clear points of difference. Firstly, there's the lack of price tag. Secondly, there's the homegrown love. When Brollie arrives on Thursday, November 23, it will hail from independent Australian and New Zealand distributor Umbrella Entertainment — hence the name — and draw upon the company's catalogue. Open debut, that'll mean 300-plus titles ready to view. While the Aussie contingent is a big drawcard, there'll also be overseas releases among the range. So, get ready to watch local-made gems such as The Babadook and Two Hands; classics like Walkabout and Storm Boy that feature the late, great David Gulpilil; the Kylie Minogue-starring Cut; Hugh Jackman (The Son) in Erskineville Kings; and the Nicole Kidman (Special Ops: Lioness)-led BMX Bandits. Documentaries such as Servant or Slave and Ablaze will also be available. Or, get excited about Joaquin Phoenix (Beau Is Afraid)-led masterpiece You Were Never Really Here, the live-action OG Super Mario Bros, and mind-bender Vivarium with Jesse Eisenberg (Fleishman Is in Trouble) and Imogen Poots (Outer Range) among the international titles. You'll be watching along via Apple TV, Google TV, Android TV, Chromecast with Google TV and on your browser. Because Brollie is free, however, the caveat is that you'll also be watching ads. To help viewers sort through the Brollie collection, the service's team will highlight its best-of picks twice monthly, and also hero Aussie horror via an Australian Nightmares collection. "We know these iconic films and TV shows can find new and old audiences instead of gathering dust on the shelf. Brollie is about helping Aussies to access this world-class storytelling easily and, most importantly, for free so everyone can enjoy our epic screen legacy," said Ari Harrison, General Manager and Head of Sales & Acquisitions, announcing Brollie's arrival. Brollie will launch on Thursday, November 23 — head to the streaming platform's website to subscribe and for further details.
Bright lights, fame and the chance to become something special all beckon in The Neon Demon. For small-town teen and aspiring model Jesse (Elle Fanning), they're intoxicating — and to the others she meets in her quest for success, so is her innocence and youth. Still, there's a reason that, when Drive director Nicolas Winding Refn first introduces his wide-eyed protagonist, she's splattered in blood and looking not long for this world. She's posing for a photo, but it's immediately apparent that she has wandered into an oh-so-vicious realm. Refn isn't known for being the subtlest of filmmakers, as the manic intensity of Bronson and the detached violence of Only God Forgives both show. He's also a man fond of ensuring that everything audiences see and hear — every colour choice, camera angle, throbbing beat, telling line and moment of silence — is both powerful and entrancing. Combine that with his fondness for dallying with dark tales of human behaviour, and his output tends to be quite polarising. The Neon Demon certainly fits that mould. In fact, it feels like the movie he's been building towards his entire career. Take that as cause for celebration, or a word of warning, depending on how you've felt about his work so far. It's with a parade of suitably neon-saturated images — and with opening credits emblazoned with his own initials — that Refn recounts Jesse's twisted, violent fairytale excursion to Los Angeles. When she meets makeup artist Ruby (Jena Malone), she's plunged deeper into an industry and a city that seems gorgeous and glamorous on the outside, yet remains shallow, false and all-consuming underneath. More experienced, older, surgically enhanced models Gigi (Bella Heathcote) and Sarah (Abbey Lee) don't quite befriend the fresh-faced wannabe, but they do take an envious interest. The competitive edge to their interactions only grows the more that the eager Jesse attracts attention. Skewering the superficiality of society's obsession with appearances is hardly new or novel. But it's not what Refn is saying in The Neon Demon that makes it so seductive. Rather, it's how he says it. In turning a stars-in-their-eyes story into a moody, psychological horror film, his scathing satirical edge is always evident. Every stylistic choice draws audiences in, then slowly reveals that they should have kept their distance. He's aided by a pulsating score from regular collaborator Cliff Martinez that's both melodic and just the slightest bit unnerving. Likewise the film's images, which could have been ripped from the front page of a fashion mag, yet retain an insidious air. Everything looks pretty, even when the movie's true nature proves otherwise. To put it simply, Refn wants to both lure people in while threatening all the while to spit them out — and he does so in eye-popping fashion, as does his entire cast. Fanning plays the seeming ingenue with pinpoint precision, and, though there's a stilted air to Aussies Heathcote and Lee, that's clearly by design. Keanu Reeves and Christina Hendricks are both memorable in small, well-used parts as a seedy landlord and a no-nonsense agent, but if there's a supporting player that the film belongs to, it's Malone. In The Neon Demon's most subtle performance, she's caught in the middle of the many extremes swirling around her, and she knows it. Viewers will relate, even if they're too busy either loving or hating Refn's latest big-screen effort to appreciate it. For the record, we're well and truly in the former camp.
Some shows commence with a dead girl wrapped in plastic. Others begin with a plane crash on a spooky island. With Outer Range, it all kicks off with a void. On the Abbott family ranch in Wyoming, in the western reach that gives the show its name, a chasm suddenly appears. A perfect circle swirling with otherworldly mist and resembling an oversized golf hole, it's just one of several troubles plaguing patriarch Royal (Josh Brolin, Dune), however. There is indeed a touch of Twin Peaks and Lost to Outer Range. A dash of Yellowstone, The Twilight Zone, The X-Files and whichever family-focused prime-time soap opera takes your fancy, too. As a result, while Royal is visibly disconcerted by the unexpected opening staring at him in an otherwise ordinary field, he has other worries. His rich, ostentatious and increasingly madcap neighbour Wayne Tillerson (Will Patton, Halloween Kills) suddenly wants a parcel of the Abbotts' turf, claiming mapping inaccuracies. One of Tillerson's mouthy and entitled sons, Trevor (Matt Lauria, CSI: Vegas), ends up in a bar spat with Royal's sons Rhett (Lewis Pullman, Them That Follow) and Perry (Tom Pelphrey, Mank). And there's also the matter of Perry's missing wife, who disappeared nine months back, leaving both her husband and their young daughter Amy (Olive Abercrombie, The Haunting of Hill House) searching since. Into this sea of faith-testing chaos amid such serene and dreamlike scenery, a stranger arrives as well: "hippie chick" backpacker Autumn Rivers (Imogen Poots, The Father). She just wants to camp for a few days on the Abbotts' stunning and sprawling land, she says. She just happened this way, she claims in the process. But the always-guarded, fiercely protective Royal is immediately suspicious — and while he still takes the fat wad of cash she waves around as payment to stay on the outskirts of the property that's been owned by his wife Cecilia's (Lili Taylor, Perry Mason) ancestors for generations, he remains openly and grimly wary. That's Outer Range's setup, although it's also just where the genre-bending new addition to Prime Video launches into its many mysteries. Across its eight-episode first season, it's a ranch-dwelling western, complete with a family battling secrets and struggles of both the internal and external kind, and left grappling with existential doubts when they keep being stripped of everything they believe in. It's an offbeat enigma, too, where bottomless gaps in the centre of the earth aren't the only things that can't be easily explained. Thanks to said hole and surrounding supernatural occurrences, it dives into eerie sci-fi as well. And with Indigenous acting sheriff Joy (Tamara Podemski, Run) trying to work out what's going on on several levels, all while campaigning to be elected to her job outright, it's also a detective quest and a thriller. In other words, it's a puzzle box of a program — and the weirder that Outer Range gets, and moodier as well, the more it intrigues and engrosses. Its giant twists are obviously best discovered by watching, but its small quirks are quickly compelling. This is a series where an ethereal feeling permeates the land, even when Royal is nowhere near the void he's desperate to keep hidden. It's a show where one of the other neighbour sons, the quiet yet perturbing Billy (Noah Reid, Schitt's Creek), loves breaking out into song, crooning 80s and 90s pop and rock hits at odd moments. At a funeral, he even sings Peter Gabriel and Kate Bush duet 'Don't Give Up', covering both parts himself and leaving mourners utterly bewildered. Reid is unnervingly difficult to peel your eyes away from in Outer Range, but the series is well-cast in every part — starting with Brolin as Royal, naturally. While the Milk Oscar-nominee has been happily dallying with sci-fi of late, including getting villainous in Avengers: Infinity War, Avengers: Endgame and Deadpool 2, his is a grounded performance here. He sidles in as a stern-and-silent western archetype, unfurling more of Royal's layers — and unpacking what it means to embody that portrait of western masculinity in the process — with each grimace and glare. Taylor does phenomenal work in support, and although Poots sometimes suffers from the thinner writing establishing Autumn's moves and motivations, she still commands the frame. Family, faith, fate, the land, legacies, the ties of love, the disappointments of life, the inexplicable elements inherent in all of the above: they're all baked into Outer Range, providing plenty of puzzle pieces for its actors to play with. That said, as created and co-written by TV first-timer Brian Watkins, the series turns those familiar components into something shadowy and surreal. Its narrative path isn't always tricky to predict — one huge late revelation especially — however, it constantly surprises in how it tackles its moments and dynamics on a scene-by-scene basis. That's what lingers in Billy's songs, overtly so. It's there in Cecilia's response to every trying development that's sent the Abbotts' way, usually with her at home, on the sidelines, yet no less impacted. And it blazes through in the choice of shots, which bask in the glory of nature's vast expanse but also see far more than just postcard-perfect wonders. The latter stem from a strong roster of contributors, spanning filmmakers such as She Dies Tomorrow's Amy Seimetz and A Cop Movie's Alonso Ruizpalacios in the director's chair, as well as cinematographers such as Waves and Red Rocket's Drew Daniels, The Last Black Man in San Francisco's Adam Newport-Berra, and Seimetz regular Jay Keitel. Helping ramp up the tension, composers Danny Bensi and Saunder Jurriaans' (Windfall, Becoming Cousteau, The White Tiger) anxiety-inducing score drips with tension, too. Pondering big ideas with heaving style and hefty ambition, Outer Range frequently looks and sounds cinematic — and, from the moment it first spies its gaping chasm, swiftly makes for beguiling viewing. With Jordan Peele's latest horror epic Nope also on its way in the coming months, 2022 seems set to be a big year for disquieting screen stories set amid vast American ranches and springing from stellar talent. What that film will bring is currently yet to be seen, of course, but Outer Range gives this entrancing trend an impressive start. Check out the trailer for Outer Range below: Outer Range's first two episodes are available to stream via Prime Video from Friday, April 15, with two new episodes dropping weekly until Friday, May 6.
A year after Queensland finally introduced a container refund scheme, and 16 months after scrapping disposable plastic bags, the Sunshine State is set to ramp up its war on waste once again. As part of the just-released Plastic Pollution Reduction Plan, the government is proposing a ban on single-use plastics — and while it's just an idea at this stage, legislation could be introduced as early as next year. In the crosshairs are plastic straws, cutlery, plates and stirrers, with the Qld Government also committing to investigate banning coffee cups, plastic cups and heavy-weight plastic shopping bags as well. Crucial to the plan is the existence of already-available alternatives — whether they're reusable, in the case of cutlery and plates, or 100-percent compostable, as seen with paper straws and stirrers. Before anything official is put in place, the state will undertake consultation with the community and various stakeholders, including people with disability. For the latter group, some alternative products to plastic — such as bamboo, paper and metal straws — aren't always a viable option. From 2020, the Qld Government will start by banning the products from their own events; however an exact timeline from there hasn't been revealed. Also on the state's agenda: developing facilities to process and repurpose plastic, mandating the use of recycled plastics, and expanding the Plastic Free Places program, which works with retailers, events and markets at the community level to wipe out single-use water bottles, straws, coffee cups and lids, takeaway containers, food ware (such as cutlery, plates and cups) and bags. In Noosa, more than 200 businesses have signed up to the scheme. While Qld's powers-that-be are calling their proposal an Australian first, they're not the only authority figures looking to tackle the growing waste problem. Similar laws are being drafted in South Australia, Hobart is progressing down the same track and, as a nation, Australia is working towards banning all non-recyclable packaging by 2025. That's on top of plenty of smaller-scale initiatives, not only including bag bans and container schemes, but the phasing out of single-use plastics in various guises at the company level, with McDonald's, IKEA, Coca-Cola Amatil and Qantas among those making steps in the plastic-free direction. You can read more about the Queensland Government's Plastic Reduction Plan over here.
Wave your hand, see a massive roster of musicians behind the microphone across the Harbour City: that's the SXSW Sydney Music Festival setup. The live tunes part of the event lets you wander between more than 200 performances on 25 stages over seven days if you have a wristband, and the 2024 lineup just keeps expanding. After a successful Australian debut in 2023, SXSW Sydney is back for a second year from Monday, October 14–Sunday, October 20 — and the program announcements continue to drop. This time, the festival's music strand has added over 25 acts, plus a heap of speakers. When you're not dancing to China's Berlin Psycho Nurses, Indonesia's KATHMANDU and mindfreakk, YONLAPA from Thailand and Sydney's own 2touch making their live debut — and also the likes of Touch Sensitive, Heno., dogworld, GIMMY and Kurilpa Reach — you'll be hearing from Academy Award-winning composer AR Rahman as the man behind the Slumdog Millionaire score gets chatting. SXSW Sydney 2024 started revealing its lineup details back in May, and has kept growing it since. A further announcement arrived in June, then not one, not two, but three more in July — and also another, focusing on the free hub at Tumbalong Park, at the beginning of August. Accordingly, no one can say that they don't have anything to see when the fest makes its comeback this year, especially if the music bill gets your toes tapping. Other fresh additions span Arky Waters, Bakers Eddy, Big Sand, Charm of Finches, Dave Kent, Elizabeth M Drummond, Holiday Sidewinder, Hydra Fashion Week, Ivoris, Kinder Bloomen, Majak Door, Nao Yoshioka, overpass, Rub Of Rub, Tim Hicks, YAHYAH and Yawdoesitall among the folks taking to the stage. Joining the speakers: Priyanka Khimani, who was named one of the top music lawyers by Billboard; veteran bookers Marty Diamond and Larry Webman; A&R Island Records head Marihuzka Cornelius; and plenty more. In one of those aforementioned July drops, 2024's SXSW Sydney Music Festival also added 40-plus talents, such as the UK's Jorja Smith on the 'Be Honest' musician's Australian tour — and also Canada's Aysanabee, Thailand's PYRA, New Zealand's Brandn Shiraz and XUZZ, and the UK's Submerse. Aussies Brazen Barbie, Jamahl Yami, Kitschen Boy and Special Feelings scored a spot as well. And prior to that, the 2024 program already confirmed human rights lawyer Jennifer Robinson, author Johann Hari, Australian race car driver Molly Taylor, pianist Chad Lawson, Westworld's Luke Hemsworth hosting a session about the Tasmanian tiger, Aussie astronaut Katherine Bennell-Pegg, TikTok marketing head Sofia Hernandez, Heartbreak High star Ayesha Madon, cricketer David Warner, Mortal Kombat director Simon McQuoid and documentary Slice of Life: The American Dream. In Former Pizza Huts, about the new uses of former Pizza Hut buildings across America — and that's barely scratching the surface of the lineup specifics announced so far. SXSW Sydney 2024 will run from Monday, October 14–Sunday, October 20 at various Sydney venues. Head to the SXSW Sydney website for further details. Images: Peter McMillan, Jordan Kirk, Jess Gleeson and Ian Laidlaw.
Much to every Wes Anderson fan's delight, 2023 delivered not one, not two, and not even just three or four new films by the acclaimed director — it treated audiences to five. In cinemas, Asteroid City brought the filmmaker's symmetry- and pastel-heavy style to the big screen again. On streaming, the rest of his efforts for the year arrived as shorts The Wonderful Story of Henry Sugar, The Swan, The Ratcatcher and Poison. When Netflix dropped Anderson's quartet of Roald Dahl-inspired shorts in September 2023, each arriving a day after the last, it inspired a question: why not package them all together and give the world another full-length Wes Anderson movie? Perhaps it was waiting for the director to win his first-ever Oscar for The Wonderful Story of Henry Sugar — for Best Live-Action Short, in fact — to make that happen, but it is indeed now happening. Accordingly, The Wonderful Story of Henry Sugar and Three More hits the streaming platform on Friday, March 15. Benedict Cumberbatch (Doctor Strange in the Multiverse of Madness) talking directly to the camera. Symmetrical shots after symmetrical shots. Dazzlingly gorgeous patterns as far as the eye can see. Yes, they're all in The Wonderful Story of Henry Sugar. That part of what's now an anthology film tells of a wealthy man who is so fond of wagering that he comes up with a crafty plan — after discovering a guru who can see without using his eyes, he decides to learn to the same to cheat while having a bet. The Wonderful Story of Henry Sugar itself springs from one of the seven tales in Dahl's 1977 book The Wonderful Story of Henry Sugar and Six More. Soon on Netflix, it'll be packaged with Anderson's other three shorts from Dahl's work. The whole anthology cycles through a few core cast members, all of which play multiple roles. Stepping in front of the camera for Anderson: Cumberbatch, Dev Patel (The Green Knight), Ben Kingsley (Shang-Chi and the Legend of the Ten Rings), Richard Ayoade (The Souvenir: Part II) and Rupert Friend (High Desert). And in glorious news for The Grand Budapest Hotel fans, Ralph Fiennes (The Menu) also reteams with the director. The Swan also takes inspiration from a tale from the same book, this time about a small and smart boy being bullied. As for The Ratcatcher, it adapts a lesser-known story of the same name — not from the same text this time — which is unsurprisingly about a rodent exterminator. Then, Poison dates back to 1950, focusing on a man finding a venomous snake. In 1958, the same tale was adapted for TV by none other than Alfred Hitchcock, in an episode of Alfred Hitchcock Presents. All up, that's 90 minutes of new Anderson work. So, as we said multiple times in 2023, watching them all together turns them into an anthology feature. With Netflix's new release, you'll no longer have to press any buttons to get from one film to the next. Check out the trailer for The Wonderful Story of Henry Sugar and Three More below: The Wonderful Story of Henry Sugar and Three More will be available to stream via Netflix from Friday, March 15. Read our review. Images: courtesy of Netflix.
When you're sitting at a bar, sipping a cocktail and enjoying its delicious flavours, you're usually just thinking about how great it tastes. Something you're probably not pondering is what happens to the fruit that makes your beverage so zesty. Once you're done drinking, what's next for those slices of lemon, wedges of orange and other edible cocktail ingredients and garnishes? Wonder no more, cocktail lovers — New Zealand-based vodka company 42BELOW can not only answer that question, but they're helping make your favourite concoctions more sustainable. Rounding up many a lemon, piece of fruit and even a few olives, they're turning yesterday's cocktail waste into today's hand washing liquid. Prepare to lather up with 42BELOW Recycled Cocktail Lemons Eco Soap, aka the world's first hand soap made from recycled cocktail fruit. The initiative first launched in December last year, with 13 venues in Sydney, two places in Melbourne and a further two on the Gold Coast jumping on board. Fast forward two months and drinkers at the likes of Darlinghurst's This Must be The Place, Melbourne CBD's The Carlton, Surfer's Paradise's elsewhere and Auckland's Mea Culpa, your cocktail habit is now environmentally friendly. To date, they've already collected 400 kilograms of fruit waste, then transformed those discarded morsels then into soap. In just a few weeks, 20,000 sachets and 400 bottles of liquid soap have been created — or 3200 cocktails, because that's everyone's preferred method of measurement. 42BELOW is in the process of signing up more bars around Australia and New Zealand, with those that join the fold then receiving their soapy goodness for free. Yes, pubs, watering holes and boozy hangouts can recycle their fruit wastage and keep patrons' hands lemony-fresh for zilch, while everyone downing cocktails can feel extra great about ordering their next fruity beverage.
Diaries out: if you want to see out 2025 and ring in 2026 at Lost Paradise, the annual end-of-year music festival in Glenworth Valley on the New South Wales Central Coast, you now have dates for your calendar. From Sunday, December 28, 2025–Thursday, January 1, 2026, the fest will return. Lost Paradise has confirmed its 2025 fest — and that's all that's been announced for now. It's worth noting, however, that the roster of acts taking to the stage in both 2023 and 2024 was revealed in August each year. Some people love last-minute New Year's Eve plans, going wherever the mood takes them. Others can't start planning early enough. If you fall into the latter category, this end-of-year staple is for you. For Lost Paradise newcomers, the multi-day event turns a slice of its setting — which is located an hour out of Sydney — into one helluva shindig, complete with live music and DJ sets spanning both international and Australian talents. This year, organisers are promising newly reimagined versions of the festival's Arcadia, Lost Disco and Paradise Club stages. Tunes are just one part of the Lost Paradise experience, though. Here, art, culture, wellness, and food and drink also get a look in — although how that'll be the case in 2025 also hasn't yet been unveiled. Lineups from recent years will give you an idea of the usual mix of musicians, with 2024's fest featuring Fisher, Tinashe, Royel Otis and Flight Facilities, as well as Marlon Hoffstadt, Sammy Virji, SG Lewis, Confidence Man, DJ Boring, Kita Alexander and more. 2023 ended with help from headliners Flume, Dom Dolla and Foals, alongside Basement Jaxx, Bicep and Carl Cox on the decks, among other acts. Since first unleashing its specific flavour of festival fun back in 2014, Lost Paradise has become a go-to way to wrap up one year and welcome in the next — including if you're keen to camp for its duration. [caption id="attachment_965687" align="alignnone" width="1917"] Byravyna[/caption] [caption id="attachment_965686" align="alignnone" width="1917"] Amar Gera[/caption] [caption id="attachment_965688" align="alignnone" width="1917"] Byravyna[/caption] [caption id="attachment_965685" align="alignnone" width="1917"] Jordan K Munns[/caption] Lost Paradise returns to Glenworth Valley, New South Wales from Sunday, December 28, 2025–Thursday, January 1, 2026. To sign up for presale tickets, head to the festival's website. We'll update you when the lineup is announced. Images: Jess Bowen, Jordan K Munns, Byravyna and Amar Gera.
When Roxane Gay released Opinions: A Decade of Arguments, Criticism, and Minding Other People's Business in 2023, the American author and academic gave readers a tome that stepped through ten years of her non-fiction efforts. With that milestone in mind, it feels apt that Gay's 2024 trip to Australia will also mark a decade since 2014's Bad Feminist first had everyone reading the commentator's books. Expect both texts to earn more than a small mention in Sydney and Melbourne come August. Gay will make just two stops Down Under this winter, both at festivals: at Sydney's Festival of Dangerous Ideas and Melbourne's Now or Never. The Harbour City will welcome Gay first — she's the first speaker announced for FODI 2024, in fact, ahead of the event's full program being released on Tuesday, June 25 — before the Victorian capital beckons. "Roxane Gay is one of the world's most-brilliant social commentators. Ten years on since her book Bad Feminist caught the world's attention, she is still unafraid to call out privilege, hypocrisy, and entrenched social injustice. But today, speaking up can come at a huge cost. I can't think of anyone else more credentialed than Roxane to talk to FODI audiences about the importance of rocking the boat and facing criticism head on," said FODI Director Danielle Harvey, announcing the news. Gay will appear as a keynote speaker, discussing the topic of being a dissenter in the age of tribal warfare, at the 12th Festival of Dangerous Ideas. The event was established in 2009 to discuss difficult issues, push boundaries and inspire debate, putting both its initial guest and her topic right in its usual remit. 2024's FODI runs from Saturday, August 24–Sunday, August 25 at Carriageworks, focusing on the theme 'sanctuary'. As well as getting Gay chatting about her work live and in person, the fest will enlist the New York Times-bestselling author on panels, too. In Melbourne, the writer that's also behind Hunger: A Memoir of (My) Body and Not That Bad: Dispatches from Rape Culture — and also Ayiti, An Untamed State, Difficult Women and The Banks in fiction — will get talking about having complicated views in complicated times with Jan Fran at Melbourne Town Hall on Tuesday, August 27, in a session also presented by The Wheeler Centre. "The Wheeler Centre is thrilled to present Roxane Gay in Melbourne and celebrate this incredible compilation of her work. Roxane communicates complex ideas with honesty and power, and this is a rare opportunity to hear her in conversation," said The Wheeler Centre CEO Erin Vincent. Roxane Gay will appear at Carriageworks in Sydney as part of the Festival of Dangerous Ideas from Saturday, August 24–Sunday, August 25 — and at Melbourne Town Hall on Tuesday, August 27 presented by The Wheeler Centre and Now or Never. Presale tickets for the Festival of Dangerous Ideas go on sale on Tuesday, June 25, with general sales from Wednesday, June 26. Tickets for The Wheeler Centre are on sale now. Top image: Reginald Cunningham.
If you're out for a fancy brunch, a very late lunch or are just waking up from the night before with a hankering for coffee, this is the place to do it. Porgie + Mr Jones is bustling regardless of the day of the week and, come the weekend, it is positively bursting with excitement. A very small wait for your table is hardly a blip on the radar when cheery staff accommodate all your needs as soon as you walk in. Having expanded considerably since its opening a few years ago, the aesthetic of Porgie + Mr Jones has developed with immense thought. The cafe is split into a variety of areas that all offer a different mood — from the quirky front room featuring a takeaway counter for coffee and baked goods, to the more formal dining rooms (the 'fancy rooms'), a private room for events and the expansive outside garden terrace (the 'secret garden'). Wherever seated you'll be entirely comfortable, with the outside garden particularly sublime in the summer months. The menu doesn't differ too far from other names in the Porgie + Mr Jones empire, which also include Snow Pony (Balwyn), Friends of Mine (Richmond) and recently opened The Stables at Como House (Prahran). Offering something for everyone, it's a big achievement when any cafe manages to achieve the perfect balance of interesting flavours, collective favourites and hearty serves. Whatever your selection, you'll be assured a faultless choice, with food envy possibly the only repercussion. For those craving savoury, salty goodness, the fabulous herb and cheesy toast with eggplant kasundi ($11.90) as well as the McPorgie, an English muffin stuffed with ham off the bone, Emmental cheese and creamy dreamy scrambles ($5.50) will hit the sides absolutely perfectly. For the health conscious, the bircher muesli with stewed rhubarb, honey yogurt and toasted pistachio ($10.90) is the perfect balance of sweetness. Aptly presented in a gorgeous glass jar, it's just one of the endearing touches Porgie + Mr Jones will leave you with. Things take a step up come lunchtime, with offerings including the crispy skinned pork belly with Jerusalem artichoke cream, prunes and pear ($22.90) assured to impress. With this expansive, highly-capable daytime menu, Porgie + Mr Jones' recent foray into nighttime dining has proved to be nothing but successful. Open for dinner on Friday and Saturday nights, the set menu run with the choice of two ($55pp) or three courses ($70pp) is a definite highlight in this part of town. Bookings are, of course, essential. Compared to its nearby sister Snow Pony, Porgie + Mr Jones delivers the goods in a dining experience that is almost flawless. Come back over and over again to explore the expansive menu and delight in the different spaces. It's a reliable choice when desiring a hearty meal, a cheeky sweet treat or somewhere to take a group. Just remember to take cash with you (cards are not accepted, but there is an ATM next door for convenience), and the buzzing atmosphere will have you out the door with a very happy spring in your step.
Great movies live on forever, garnering acclaim and accolades, earning eager rewatches and retrospective screenings, and getting discovered afresh by new audiences. Terrible flicks can also keep drawing in fans, becoming cult hits and having spoons thrown at them — and films don't get much worse-but-glorious than the one and only The Room. In the near future, Tommy Wiseau's disasterpiece won't be a one-off, however. Twenty years after it first hit screens, it's being remade. No, Wiseau isn't behind the do-over, although that does sound like a very Wiseau thing to do. Instead, the new The Room stars Breaking Bad and Better Call Saul favourite Bob Odenkirk. This is a greenscreen remake, which Slashfilm first reported — and then Odenkirk confirmed. "This is real. This is true. And let me tell you, I tried my best to SELL every line, as honestly as I could... and I had a BLAST," the actor tweeted. If this news is tearing you apart, that's understandable. This is real. This is true. And let me tell you, I tried my best to SELL every line, as honestly as I could...and I had a BLAST https://t.co/v261E1DKnG — Mr. Bob Odenkirk (@mrbobodenkirk) March 9, 2023 If you're wondering why — and you want more than the obvious answer: why not? — The Room 2.0 is coming to life for Acting for a Cause, which raises money for charity. And if you're wondering about The Room's storyline because you've missed this whole film phenomenon over the past two decades, it tells the tale of a banker, his adulterous fiancée, his conflicted best friend, a local teen caught up in a drug deal, a mother with cancer, a particularly tense party, a bunch of guys playing football in tuxedos and the worst apartment decorating scheme you've ever seen. View this post on Instagram A post shared by B̸R̸A̸N̸D̸O̸ ̸C̸R̸A̸W̸F̸O̸R̸D̸ (@professorbrando) The Room truly is the vampire of bad movies. It's been living on via event screenings, Greg Sestero's memoir The Disaster Artist, the the star-studded film that book spawned and Sestero's frequent tours. For a while, Wiseau even put it online for free in high-definition. There's no word yet as to when it'll be time to say "oh hi Bob", or where. There's also no sneak peek at the end result, either. But, to tide you over, you can check out the OG film's trailer below: The Bob Odenkirk-starring remake of The Room doesn't yet have a release date — we'll update you when further details are announced. Via Slashfilm. Top image: Better Call Saul.
Things just got a whole lot easier for cyclists. At long last, you can now carry your two-wheelers on peak hour trains and long-haul flights without enraging fellow commuters, paying excess baggage fees and (most importantly) compromising on dimensions. A 30-year-old Italian designer by the name of Gianluca Sada has come up with a bicycle that folds down to the size of an umbrella yet boasts full-size 26-inch hubless, spokeless wheels. So, not only does it go faster than your average foldable, it’s also more stable. And it looks significantly sexier. Sada has been cooking up the eponymous bike for six years. He registered the patent on March 5, 2010 and by December 2011 had developed an aluminum alloy prototype with the help of precision engineering company Palmec SNC. Right now, he’s looking for investors. "The project may pave the way for a new system of mobility outside the classical schemes, widely accessible and easily transportable," he says. "Personal style and extreme versatility give dynamism to the traditional bicycle... increasingly required in this environmentally friendly age." Sada studied at the Politecnico di Torino, completing a degree in Automotive Engineering in 2010. His thesis, which focused on the development of the foldable bicycle, was awarded First Prize in IDEA-TO’s “most innovative thesis of 2010”, conducted by the Order of Engineers of Turin. In November 2010, Italian Minister for Youth, Giorgia Meloni, listed Sada among the "200 Top Talents of Italy". Via Gizmag.
Not all travel has to include wild adventuring. Sometimes, we want to go an easy holiday that doesn't include hours behind the wheel of a car or pushing our bodies to their limits. Instead, we can explore a new city (or our own) at whatever speed we like — staying in a luxurious hotel, taking things at a stroll and taking in the best of local culture. This is what a city break is all about. To help you find the perfect one, our team of editors has curated these travel packages. Whether you're on the lookout for a city staycation or vacation, find your favourite option and book it through Concrete Playground Trips now. [caption id="attachment_683983" align="alignnone" width="1920"] Tourism Western Australia[/caption] STAYCATION IN PERTH AND ITS SURROUNDS Perth, glorious Perth. It's hard not to fall in love with this city when visiting. In fact, the whole state is a treasure trove of bewitching riches. Head to Western Australia's capital to find a thriving city full of great food and culture, surrounded by gorgeous natural landscapes that every Australian must see. And our Perth travel deal will take you to the best bits. We'll put you up in the Adina Apartment Hotel at Perth Barrack Plaza — in the heart of the city — and let you explore the local area at your own pace. We've also organised a day trip to Rottnest Island (friendly quokkas, pristine white sand beaches and clear blue water await) and a tour around The Pinnacles. BOOK IT NOW. [caption id="attachment_890077" align="alignnone" width="1920"] Devang Sahani (Unsplash)[/caption] A LUXE BEACHSIDE BREAK IN ADELAIDE Adelaide's beachside burb of Glenelg is seriously underrated. Found just a 20-minute drive from the city centre, this area is home to long beaches lined with great restaurants and boutique stores. It's so close to the city but boasts the laid-back culture and energy of the best Aussie coastal towns. Our Adelaide city break takes you to this part of South Australia, with the Stamford Grand Adelaide hosting you for three nights. During this time, guests can explore Glenelg at their own leisure — potentially catching a tram into the CBD, too. The highlight of this trip that takes it from great getaway to something seriously special is the four-hour wild dolphin swimming tour run by a team of marine biologists. Jump in the waters — they'll have wetsuits for you — and get right up and close with these ultra-curious ocean mammals. It's an unforgettable experience. BOOK IT NOW. THE ULTIMATE HOBART FOOD, WINE AND ADVENTURE HOLIDAY There is so much to see and do when visiting Hobart, but we have somehow managed to pack a heap of its top experiences into one exclusive five-day holiday. Our trip will have you gliding over Wineglass Bay in a scenic flight that drops you off on Maria Island where you'll go on a guided wildlife tour, then feast on a gourmet lunch. On another day, you'll visit the one and only MONA. Slowly explore the museum, get a private tour (with tastings) at the onsite winery and have a lazy long lunch with even more vino included. It's a truly epic way to see the iconic museum and its grounds. You'll also get a couple days to wander around Hobart, checking out galleries, boutique stores and a heap of the city's brilliant restaurants and bars. BOOK IT NOW. A LUXURIOUS SYDNEY STAY You can easily do Sydney on a budget and have a wicked time. But sometimes you really want to treat yourself. That's when you book our opulent Sydney getaway. For two nights, two guests will stay at the five-star Crown Towers Sydney. Enjoy unbeatable views across the bay, taking in all the sites from day to night — either from your room, the rooftop pool or one of the seriously impressive on-site restaurants. With this deal, you'll also get $100 credit to spend however you like within the Crown Towers Sydney. Did someone say, 'massage time'? BOOK IT NOW. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world. Top image: Steven Groeneveld (Unsplash)
If you’re the forgetful type and your keys often go rogue then this new technology may be the solution for you. KeyMe is a cloud-based key management platform where you can now store your keys digitally so you no longer need a physical key in order to make a copy. KeyMe’s newly launched free mobile app which scans a copy of your key and generates a set of instructions that you can give to any locksmith to create a new key from scratch instead of bringing in a physical key to make the copy, very handy when you’ve misplaced the original. KeyMe can even mail you a key within two to three weeks if you’re not in a rush. The app also allows you to share your digital keys and create digital key chains to share with flatmates or overnight guests, but be wary of you who trust with your digital keys, once shared you can’t revoke them. Currently only available in the USA, this technology will be a saving grace for the almost 90 million forgetful folks who get locked out of their homes each year. Now just makes sure you don’t lose your mobile phone with your keys. [via mashable]
Before it was a ten-part Prime Video series, Daisy Jones & The Six was a book. And before Taylor Jenkins Reid's 2019 novel jumped back to the 70s rock scene, Fleetwood Mac lived through, stunned and shaped the era. No matter where or when an adaptation popped up, or who took to the microphone and guitar in it, bringing Daisy Jones & The Six to the screen was always going to involve leaning into Mick Fleetwood, Stevie Nicks, John McVie, Christine McVie and company's story. Reid has said that she took loose inspiration from the band; "it's a Fleetwood Mac vibe," she's also noted. Those parallels are as obvious as a killer lyric in Daisy Jones & The Six. Creators Scott Neustadter and Michael H Weber have a recent history of riffing on true and classic tales, too — their last two projects were The Disaster Artist, which they co-scripted based on Greg Sestero's memoir about making Tommy Wiseau's The Room; and Rosaline, a retelling of William Shakespeare's Romeo and Juliet from the titular Romeo-spurned character's perspective. With directors James Ponsoldt (The End of the Tour), Nzingha Stewart (Inventing Anna) and Will Graham (A League of Their Own), the duo approach Daisy Jones & The Six exactly as that pedigree brings to mind: it's heightened, impressively cast, and well-versed in what it's tinkering with and recreating; it also isn't afraid of romance and tragedy, or of characters going all-in for what and who they're passionate about. On the page, this melodramatic tale of sex, drugs and rock 'n' roll unspools as an oral history. On streaming, it's framed by two-decades-later documentary interviews where key figures — Daisy Jones (Riley Keough, Zola), members of The Six and other pivotal folks in their careers — share memories to-camera. The eponymous musicians burned bright but flamed out fast together, opening text on-screen informs the audience before anyone gets talking. A huge stadium gig at Chicago's Soldier Field late in 1977 was their last, coming at the height of their popularity after releasing hit Rumours-esque record Aurora. Viewers immediately know the ending, then, but not what leads to that fate. Introduced in the show's flashbacks as the ignored child of wealthy parents, Daisy couldn't be more obsessed with music. A childhood spent internalising her mother's cruel comments that she doesn't have the voice or talent to follow her dreams holds her back in Daisy Jones & The Six's first episode, however, even as she couldn't spend more time hopping between Sunset Strip's venues. Cue another piece of IRL rock history, of course, thanks to Keough's pitch-perfect casting. She doesn't play her part like she's playing Elvis Presley's granddaughter — aka herself — but she makes fantastic use of her rockstar genes, including in her energy, swagger, stare, volatile temperament, and all the ferocious singing that the American Honey, The Girlfriend Experience and The Lodge star does herself. Daisy Jones & The Six takes its time putting the two parts of its moniker together, but follows The Six's origins from the outset as well, when Billy Dunne (Sam Claflin, Book of Love) agrees to front his younger brother Graham's (Will Harrison, Madam Secretary) high-school band. The full group initially spans guitarist Eddie Roundtree (Josh Whitehouse, Valley Girl), drummer Warren Rojas (Sebastian Chacon, Emergency) and bassist Chuck Loving (Jack Romano, Mank). But when dental school and the security it represents beckons the latter, and British keyboardist Karen Sirko (Suki Waterhouse, The Broken Hearts Gallery) joins their number, there's still just five band members moving from Pittsburgh to Los Angeles to make a proper go of it after tour manager Rod Reyes (Timothy Olyphant, Amsterdam) tells them that's where the serious action is at. Aspiring photographer Camila (Camila Morrone, also a Valley Girl alum) is the sixth person with The Six; she's Eddie's crush but Billy's girlfriend, then his wife and the mother of his child. She's also one of the reasons that the love-hate pull he feels towards Daisy earns two oft-used words: it's complicated. As much as Daisy Jones & The Six is a portrait of a band and a snapshot of an era, it's firmly a love triangle, too. Does great art only spring from deep feelings? Does faking it till you make it apply to discovering your artistic groove with someone and selling a bond that'll sell albums? What's the difference between finding a soulmate and seeing your own reflection peering back in another's eyes, struggles and life? They're all queries the series ponders. Fleetwood Mac's tumultuous relationships and breakups are a matter of history, which no one needs to know when sitting down to Daisy Jones & The Six. As Keough twirls onstage, adores shawls and lengthy sleeves, glares pure determination and fire, and self-medicates heavily, though, consider this a condensed fictionalisation. The Buckingham to her Nicks is Claflin, obviously, as duelling lead singer-songwriters Daisy and Billy keep circling around each other from the moment that ace record producer Teddy Price (Tom Wright, True Story) puts them together. She's desperate to make it big and not just be her lyric-stealing ex-boyfriend's, or anyone's, muse, but seeks solace all day with pills and booze. He's sober and trying to get his band another shot after a tussle with drink and drugs derails their first tour, almost ruins his marriage and sees him miss his daughter's birth. No one needs to have seen Almost Famous, either, to know where Daisy Jones & The Six heads. Still, this quickly engrossing series engages in the moment like a catchy refrain. Spinning a familiar but nonetheless involving story of chasing dreams, fame's excesses and troubles, and learning whether someone is a mirror or a kindred spirit, it looks the part in every wardrobe choice — including the disco attire worn by Daisy's pal Simone Jackson (Nabiyah Be, Black Panther), who gets close to her own episode about trying to make it in an industry unwelcoming to Black and queer artists, and the embrace she finds in New York with DJ Bernie (Ayesha Harris, Abbott Elementary) instead. Daisy Jones & The Six's songs are earworms as well, whether the show is giving the suite of 70s-style tunes written by Phoebe Bridgers, Marcus Mumford, Jackson Browne and more a whirl, or dropping a soundtrack of other cuts that, yes, even features Fleetwood Mac. Check out the trailer for Daisy Jones & The Six below: Daisy Jones & The Six streams via Prime Video.
Things are looking up in Brisbane, with rooftop bars popping up all around the River City in recent years, plus a new 100-metre-high Sky Deck set to follow. Sydney has the Sydney Tower Eye, Melbourne has its Skydeck and now the Queensland capital will gain its own lofty tourist attraction — complete with a restaurant, bar, glass-floor viewing platform, and 360-degree vantage out over the Brisbane CBD and Brisbane River. The Brisbane Sky Deck forms part of the city's $3.6-billion Queen's Wharf precinct, a project that's been in the works for at least eight years now. Finally slated to open by the end of 2023, and sprawling between Alice, George, Queen and William streets, the development will be crowned by the sky-high spot to grab a bite, drink and take in stunning views — which'll sit atop everything other dining options, hotels, shops, apartments and a heap of public space. While part of one of Queen's Wharf's resident resorts — it's set to feature four hotels — Sky Deck will be open to the public. Also, it isn't small, with a capacity of 1500 visitors at a time. Here, folks keen to scale great heights can also host parties, with an events space part of the setup. Brisbanites, your shindigs are looking up as well. Specific details about Sky Deck's restaurant and bar, including their menus and operators, haven't yet been revealed; however, that glass-bottomed platform will sit around the midway mark of the structure. From the just-released artists impressions of the venue, locals and tourists alike can expect ample greenery and crucial outdoor seating elsewhere, the latter giving everyone plenty of places to stop, sit and take in the panoramic vista. Expect Brisbane's Sky Deck to be popular, too. The Queensland Government certainly does, with Deputy Premier Steven Miles advising in a statement that "the Sky Deck will be a magnet for the estimated 1.4 million international, interstate and local visitors to the city each year." As for the rest of the Queen's Wharf Brisbane redevelopment area, it spans across 12 hectares in the CBD, and will include around 50 new bars, cafes and restaurant; a casino; those four aforementioned hotels; approximately 1500 apartments; and a swathe of retailers in a huge new shopping precinct. The full precinct features repurposed heritage buildings, too, plus the Neville Bonner Bridge and Brissie's first riverside bikeway cafe. For Brisbane inhabitants, Queen's Wharf has been in the making for so long — and the construction around it just seems to be taking forever, too — that it feels like it has always been coming. But "let's meet at Queen's Wharf" is something that'll soon be able to be said, including by visitors. Ahead of the 2032 Brisbane Olympics, the River City is transformation central, including tearing down and rebuilding the Gabba; renewing and reinvigorating South Bank, complete with a treetop walk, a permanent handmade goods market and new riverside lawns; making over Victoria Park; and revamping and expanding Northshore Hamilton. Also, a new seven-hectare riverside parkland is set to join South Brisbane, QPAC's fifth theatre is under construction and Kangaroo Point is set to score a new green bridge with an overwater bar and restaurant. Queen's Wharf is slated to start opening in the Brisbane CBD from late 2023. We'll update you when a specific date is announced — and you can find out further details in the interim via the development's website.
50 years might have passed, but you're still going to need a bigger boat if you're sitting down to watch Steven Spielberg's classic film JAWS. Actually, maybe a boat's a bad idea, what with all the killer sharks in the water, how about watching it on the beach? That's the thinking behind this exclusive beachside screening, The Baths x Brooksy Films Presents JAWS. Where better to watch the genre-defining thriller that made a whole generation scared to go in the water than metres from the waves? At least the sharks can't reach you there. Probably. If you've been living under a rock these last 50 years, or have somehow never heard of the first killer shark flick: JAWS is based on the 1974 novel of the same name, which tells the story of Amity Island, a coastal town beset by a series of attacks from a killer great white shark — forcing the local sherrif, a marine biologist and a grizzled shark hunter to set sail in the infamously small boat to catch and kill the animal before it can strike again. [embed]https://www.youtube.com/watch?v=U1fu_sA7XhE[/embed] Taking over The Baths Middle Brighton's private beach for one night only — Friday, November 21 — it's the perfect way to watch (or rewatch) the film in celebration of 50 years since its original release, and no matter how immersed the setting makes you, you'll be far, far away from Amity. Your $25 ticket guarantees you a spot, but it's BYO bean bag, picnic rug or blanket to save you from sitting on just the sand. Alcohol is strictly prohibited, as is entering the water. If you're a BBHC member, you can inquire about gold class tickets to the deck Downstairs at The Baths. [caption id="attachment_1043968" align="aligncenter" width="1920"] Supplied[/caption] The Baths x Brooksy Films Presents 'JAWS' - Cinema on the Beach will take place on Friday, November 21. Doors open at 6.30pm and the film commences at 7.45pm. Visit the website for more information or to get tickets.
The days of sipping a caffeinated brew and remaining blissfully unaware of its environmental impact are long gone; however, so are the days of cafes and other coffee-related businesses not doing their bit to help. From plantable coffee cups, recyclable containers and BYO mug campaigns to compostable coffee pods, mushrooms grown in discarded grounds and sheets made from repurposed coffee yarns, there's no shortage of eco-conscious coffee-related activities and products — and now, there's coffee cups made out of coffee waste as well. Meet HuskeeCup, a reusable alternative to ceramic drinkware that's made from recycled coffee husks. It's the brainchild of a group of Australian coffee industry professionals including Pablo & Rusty's Saxon Wright, and aims to reduce coffee-related discards in both growing beans and making hot cuppas. "We wanted to create a closed-loop system, so we thought if we could use waste from farming to create a cup we could solve problems both at the cafe and farm level," he told the Sydney Morning Herald. The cups are designed not only to do make a difference on an environmental level, reusing organic material that's usually thrown away, but to look good too — and keep coffee hotter for longer. They come in three sizes, with a one-size-fits-all saucer and lid. HuskeeCup has just finished a fundraising campaign to start production, exceeding its target more than five times over. The first orders are due in April 2018 — keep an eye on their website for more information. Via inhabitat. Image: HuskeeCup.
Since mid-October, New Zealanders have been able to visit some Australian states as part of a one-way travel bubble. In just a couple of months, Australians might also be able to hop across the Tasman, with New Zealand Prime Minister Jacinda Ardern announcing that the NZ Cabinet had agreed to establishing a two-way bubble from early 2021. At a post-Cabinet press conference today, Monday, December 14, the NZ Prime Minister said the Cabinet had agreed "in principle" to a travel bubble with Australia in the first quarter of 2021, pending confirmation from the Australian Government and "no significant changes in the circumstances of either country". Over the weekend, a quarantine-free travel bubble free between New Zealand and the Cook Islands was announced, which is set to come into place before the bubble with Australia. The NZ Prime Minister revealed a starting date for both would announced in the New Year "once remaining details are locked down". At present, New Zealand travellers are allowed to visit all Australian states and territories, apart from WA, without quarantining on arrival — but, because the bubble is only one way at present, they must enter 14 days of managed isolation on return to NZ and pay for it. While the details are yet to be finalised, it's great news for those who've been dreaming of overseas holidays since the pandemic began. You can start slowing planning your first international jaunt, too — we've rounded up some of our favourite glamping sites, wineries, sights and restaurants in NZ over here. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. To find out more about the virus and travel restrictions in New Zealand, head over to the NZ Government's COVID-19 hub.
Jackalope — the Mornington Peninsula's surreally luxe hotel — has declared Friday, June 13–Sunday, June 15 as Jackalope Weekend. This means three days of drinks, dishes and experiences that will transport you to some other, far-flung reality. The action kicks off at 6pm on Friday with a Starward whisky tasting beside a roaring bonfire. For a couple of hazy hours, you'll sip your way through several of the South Melbourne distillery's finest drops while watching the sun set over the neighbouring LL vineyard. Leading the adventure is Tanguy Charbonnet, Jackalope's Food and Beverage Director and top 100 World Class Bartender in 2024–25. Once you've tried all the whisky on the menu, he'll make you two bespoke cocktails. Tickets for the masterclass are $80 a pop. Keen to stay for a couple of nights and experience Jackalope Weekend in full? All-inclusive packages start at $3,099.
Melbourne's skyline is looking up, with the city set to gain another huge tower that'll become both the Victorian capital's and Australia's tallest building. Proposed by the Royal Society of Victoria and designed by Decibel Architecture, the structure is planned for the corner of La Trobe and Victoria streets in the CBD where the RSV is currently based — and as well as reaching high into the sky, it'll also catch the eye with its super skinny appearance. Named Magic, the building will feature 60 storeys soaring more than 330 metres high, with one document listing the skyscraper as 362 metres tall. While it'll primarily feature apartments, the site will also enable the RSV to upgrade its heritage-listed home, add a science engagement centre and cafe, and create a science precinct. The organisation has described its plans as "dedicated to science and the spirit of the Royal Exhibition Buildings World Heritage Precinct". Indeed, celebrating Melbourne's science prowess is at the heart of the project, which architect Dylan Brady states "will demonstrate ingenuity, cutting edge sustainable technologies and be an iconic marker to Melbourne". Magic's lofty status will join eclipse the city's current tallest building, the 297.3-metre tall Eureka Tower, as well as the in-progress 319-metre Australia 108 residential tower at Southbank and the 323-metre-tall One Queensbridge tower slated for the Crown precinct. Around the rest of the country, the Gold Coast's Q1 presently reaches 332.5 metres, with the new 328m Orion Towers in Surfers Paradise in development.
All across New South Wales, stages are being swept, setlists are being finalised, speakers are being stress tested, and crowds are gearing up—because the statewide Great Southern Nights is just about to make its 2025 return. With well over 300 gigs taking place across 17 nights in cities and districts from Byron Bay to Broken Hill and beyond, it's going to be one hell of a festival. Midway up the NSW coastline, you'll find one of Great Southern Nights' hubs in the live music-loving city of Newcastle and the Newcastle Midtown Gig Trail set to host over 40 gigs across the festival's 17-night runtime. We've teamed up with Great Southern Nights to pick out the must-see entries on the lineup and some suggestions on how to stay busy between them. The Lineup The fun starts on Friday, March 21, with multi-disciplinary Filipino/Wiradjuri artist MO'JU at The Stag and Hunter Hotel in Mayfield, the five-piece Kiwi band SIX60 at NU's Bar on the Hill and EDM duo Slumberjack at King Street Nightclub. The following night, back at Bar on the Hill, late 80s/early 90s indie rock legends The Cruel Sea will take to the stage with some throwback hits and new recordings. To end the first weekend, solo multi-instrumentalist Running Touch and Melbourne-native indie rock quartet The Belair Lip Bombs will take over the King Street Warehouse on Sunday, March 23. The following weekend, on Saturday, March 29, legendary Aussie Blues and Roots soloist Xavier Rudd will be performing a bit out of town at Dashville Campground in Lower Belford. When the festival heads into April, expect a few hot gigs in the King Street Bandroom. Namely, the multi-platinum-winning rapper Winston Surfshirt on Friday, April 4; five-piece folk-rock group The Paper Kites on Saturday, April 5; and indie rock favourites Slowly Slowly on Sunday, April 6. If you find yourself with a free night, hit up the Newcastle Midtown District Gig Trail. Every night throughout the festival you'll find free gigs, performers, actors and more at seven venues in the heart of the action. That's just the tip of the iceberg, all sorts of gigs are set to take happen around the headliners. [caption id="attachment_938853" align="aligncenter" width="1920"] Flotilla[/caption] Local Eats and Treats Newcastle is home to a buzzing blend of eateries to refuel between gigs; if anything, you'll end up pressed for time to hit all the venues around town. For a compact taster menu of what the city has to offer gastronomically, the Honeysuckle Foreshore is right in the centre of the city, close to Newcastle's premiere hotels, attractions and waterfronts. But if you're willing to go further afield, it'll pay off. Without leaving the city, you can enjoy Spanish tapas at Bocados or a sizeable yum cha feast (on Sundays) at Ginger Meg's, and if you like something a little fancier, there's sustainable seafood at Scottie's or curated cocktails and Italian feeds at Market St Basement. Should you find yourself a bit beyond the city lights, you can find an authentic Californian taqueria at Antojitos, and one of the most popular restaurants in the area is the famous Flotilla in Wickham. If you prefer to hit the streets and let the universe guide you to the eatery for you, you'll find casual options aplenty in Hamilton, eclectic, trendy small spots in Cooks Hill, while heading out west to the Hunter Valley will connect you with some of the top wineries in the country. Things to Do and Places to See Most of the GSN gigs on offer take place after dark, so what are you supposed to do beforehand? Glad you asked. One of Newcastle's most famous, accessible and affordable attractions is its ocean baths. Found along the Bather's Way, a six-kilometre walking track that traces the coast from Nobbys Beach to Merewether Beach, these pools (and the more secluded-yet-scenic Bogey Hole) are midway on the route and are recognised as some of the most scenic ocean pools in the country. If the sun is blazing and you'd rather stay indoors and dodge the steps, the Newcastle Museum is a great place to learn some local history, as is the Fort Scratchley Historic Site if military history is your jam, being the only fort in Australia to engage enemy combatants in maritime defence during WWII. For a dose of First Nations history and culture, take a guided tour through the towering sand dunes of the Worimi Conservation Lands. Where to Spend the Night The many facets of Newcastle's identity are plain to see in the accommodation options throughout the city. The QT hotel group is known for bold interiors and luxury by the pound — and QT Newcastle is no exception. A love for music and the arts and Newcastle's prominent surf culture can be felt at this dynamic stay. Set in a heritage building with waterfront views, the hotel also boasts one of Newcastle's finest rooftop bars and an on-site luxury restaurant that exclusively serves local produce. If you want to be as close to the water as possible, it's tough to get closer than Noah's On the Beach. A literal stone's throw from the surf break of Newcastle Beach, staying here means you'll be sent off to sleep by the sounds of the sea. And though you could be catered for with the onsite eatery, you'd be well within walking distance from the Newcastle CBD. If you want something further from the action (45 minutes further, to be precise) but don't want to skimp on the luxury, secure a booking at Caves Coastal Bar & Bungalows. South of Newcastle behind Caves Beach, this resort property brings a touch of the Hamptons and a pinch of the Maldives to the mid-north NSW coast. With bungalows, townhouses and villas available for booking and the luxurious restaurant Caves Coastal, this is the perfect place for larger groups looking to explore the surrounds of Newcastle. Great Southern Nights is set to take over venues across NSW between Friday, March 21 and Sunday, April 6. Check out our gig guides for Sydney, the Central Coast and Wollongong or visit the website for more information.
Any chance to see Yayoi Kusama's work in Australia is huge news, and reason to make a date — including travel plans, if needed — to get immersed in the Japanese icon's infinity rooms, and also be surrounded by pumpkins and dots. So when the National Gallery of Victoria announced that its big summer 2024–25 showcase would be dedicated to the artist, that was enough to make the resulting exhibition a firm must-see. Adding Friday-night parties to the mix, which the NGV has just locked in, is the cherry on top, then. How many ways can Melbourne go dotty for Kusama? Everyone is about to find out, although that question keeps being answered in the lead up to the exhibition's opening on Sunday, December 15, 2024. Already, Kusama's five-metre-tall dot-covered Dancing Pumpkin sculpture has made NGV International's Federation Court its home. Then came the revelation that the showcase will feature a world record-breaking number of infinity rooms and other immersive installations. And, outside the gallery on St Kilda Road right now, Kusama's Ascension of Polka Dots on the Trees has wrapped the trunks of more than 60 trees in pink-and-white polka-dotted material. NGV Friday Nights often forms part of the venue's high-profile exhibitions, so it should come as no surprise that the event series will be back for Yayoi Kusama. The after-hours parties will kick off on Friday, December 20, 2024 for some pre-Christmas fun, then run for 18 weeks until Friday, April 18, 2025. Come quittin' time for the week, Melburnians can add spots to their late-night shenanigans. If you're making a visit from interstate, you'll want to ensure you time it to hit one of the soirees on your trip. Seeing art is obviously on the NGV Friday Nights itinerary, but so is music and culinary experiences. The NGV's Great Hall will welcome live DJ sets, including from Dijok, Small FRY, Elle Shimada, Tanzer and more. In the NGV Garden Restaurant, acclaimed chefs Martin Benn is doing a residency for the exhibition's duration, serving up Asian-inspired dishes using Australian produce, Attendees can also look forward to other dining and drinking options, such as the Moët & Chandon champagne bar, Four Pillars gin bar, Yering Station wine bar and Häagen-Dazs ice cream cart — so there's sparkling, G&Ts, wine flights and frozen treats covered — plus a Japanese-inspired menu from the Great Hall and Gallery Kitchen. Gracing NGV International's walls until Monday, April 21, 2025, Yayoi Kusama will feature over 180 works, in what'll be the largest Kusama retrospective that Australia has ever seen — as well as one of the most-comprehensive retrospectives devoted to the artist to be staged globally, not to mention the closest that you'll get to experiencing her Tokyo museum without leaving the country. 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 will feature 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. Overall, Yayoi Kusama will step through the 95-year-old artist's eight decades of making art via a thematic chronology. Some pieces hail from her childhood. Some are 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'll all appear. [caption id="attachment_981011" align="alignnone" width="1920"] Yayoi Kusama, The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe 2019 at Kusama's solo exhibition Yayoi Kusama: All About Love Speaks Forever at Fosun Foundation, Shanghai. Courtesy of Ota Fine Arts © YAYOI KUSAMA.[/caption] [caption id="attachment_950473" align="alignnone" width="1920"] Yayoi Kusama, The obliteration room 2002–present. Queensland Art Gallery | Gallery of Modern Art, © YAYOI KUSAMA.[/caption] [caption id="attachment_950474" align="alignnone" width="1920"] Installation view of Yayoi Kusama's Flower Obsession 2017 on display in NGV Triennial from 15 December 2017 – 15 April 2018 at NGV International Melbourne. Image courtesy of NGV.[/caption] Yayoi Kusama displays at NGV International, St Kilda Road, Melbourne from Sunday, December 15, 2024–Monday, April 21, 2025 — and NGV Friday Nights: Yayoi Kusama runs each Friday night from 6–10pm between Friday, December 20, 2024–Friday, April 18, 2025. Head to the NGV website for more details and tickets. Top image: Installation view of Yayoi Kusama's Dots Obsession 1996/2015 at Kusama's solo exhibition YAYOI KUSAMA: IN INFINITY, Louisiana Museum of Modern Art, Humlebaek, Denmark. YAYOI KUSAMA Courtesy of Ota Fine Arts © YAYOI KUSAMA. NGV Friday Nights images: Michael Pham / Tobias Titz.
Sydney has just scored another stunning boutique hotel, in welcome news for both locals and travellers alike. 202 Elizabeth is the sleek new 38-room accommodation spot that's just joined the likes of The Ace Hotel and Paramount House Hotel in Surry Hills. Each of the guest rooms spread across this refined six-level hotel is uniquely designed, providing an elegant accommodation option in the heart of bustling Surry Hills — and just a few minutes walk from Central Station as well. Hotel owner Diana Ren and designer Lisa Madigan have created a relaxing space filled with organic hues and constructed with sustainability in mind; it's built using cross-laminated timber, a carbon-negative structural material. Each room at 202 Elizabeth is brought to life by playful wallpaper from Kingdom Home Design. On arrival, guests will find a complimentary welcome tea waiting for them in their room. From there, patrons can discover a series of simple pleasures around each room, including robes from Australian designer Piyama, toiletries from Hunter Lab, and a mini bar stocked up with complimentary organic sodas and snacks (both sweet and savoury). Shared spaces around the hotel include a rooftop hangout spot boasting views of the surrounding inner-city streets, a ground-floor courtyard, and a soon-top-open new outpost for Handpicked Wines that will allow you to head in for a wine tasting and take a bottle back to your room or up to the rooftop. The sky-high space will also welcome in locals for morning neighbourhood yoga sessions, ensuring that Surry Hills residents get the opportunity to soak in its panoramic views. Plus, a stay at 202 Elizabeth won't mean leaving Fido or Spot at home. The accommodation is dog friendly, with General Manager Adam Males' french bulldog Sochi appointed the official Director of Pet Relations at the hotel. Puppy turn-down treats will be on hand for any four-legged guests, and Soci has ensured the staff know where all of the best dog-friendly cafes and restaurants are in the area. 202 Elizabeth is now open at 202–210 Elizabeth Street, Surry Hills. 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.
Melbourne's arts calendar never fails to keep us busy, however, it's always had a bit of a lull in winter before Melbourne International Arts Festival and Melbourne Music Week take over the city in spring. But, from next year, that's all set change. The Victorian Government has this morning announced that it will launch a huge new citywide arts festival in the winter of 2020. It's a big shake-up to the Melbourne arts calendar as the new festival will merge the aforementioned Melbourne Festival and arts all-nighter White Night and move them into a winter timeslot. Since its inception, White Night has been held on a hot February night — however, in September last year, it was announced that it would move to August for 2019. Melbourne Fest, which was established in 1986, is usually held in October. [caption id="attachment_650235" align="alignnone" width="1920"] White Night Melbourne[/caption] Exact timings and details are yet to be revealed, but the new "global" festival — as it's being billed by the Andrews Government — will take over the city for several weeks, much like Melbourne Festival usually does in October. While it will no doubt combine the best bits of the two existing festivals, a new creative team will come on to develop a new program and vision. We're told the the 2020 program will feature a "diverse program of visual and performing arts" coupled with with "large-scale takeovers of precincts" after-dark. Hopefully that means more immersive installations like last year's Fire Garden at Melbourne Festival. The inaugural festival — which is yet to be named — will kick off with a 'transitional' year in the winter of 2020. It's set to support Melbourne's tourism and hospitality industries in the quieter months and, no doubt, provide a Melbourne equivalent to Sydney's popular Vivid festival, which kicks off this month. Both White Night and the Melbourne International Arts Festival will go ahead as planned this year, on the weekend of August 22–24 and October 2–20, respectively. The new winter festival will hit Melbourne in winter 2020. We'll keep you updated when new details or dates are announced. Image: Fire Garden from Melbourne International Arts Festival 2018, by Vincent Muteau.
Love dessert? Not so good at sports? Keen on using the former to help the latter? Well, it could actually happen. In the kind of culinary development that oh-so-many dreams are made of, an Italian cardiologist has invented an ice cream he claims will improve your sporting ability. So, who do you thank? Science, and Professor Valerio Sanguigni from the University of Rome Tor Vergata. He has crafted his own secret recipe for a gelato that has antioxidant properties. And, as anyone that has ever seen an ad for skin care products or trendy supermarket health foods knows, they're so good for you that television commercials won't stop shouting their praises. Sanguigni's three types of ice cream draw upon his own research into the area — into antioxidants, not ways to justify eating more frozen sweet treats (that's just an added bonus, though he is apparently a lifelong enthusiast). In tests, he gave chocolate, hazelnut and green tea-flavoured gelato to groups of volunteers, and then noticed that they subsequently pedalled faster on an exercise bike than those who ate ordinary ice cream. In short, their vascular function and physical performance improved. No word yet as to what Sanguigni's plans are for his sports-boosting dessert, though it sounds like the type of thing he'd want to start selling quick smart. So, just think: if you've ever wanted to be a little more active — and actually be good at shooting hoops, hitting balls or whatever other sport takes your fancy — gelato might help. With a Korean convenience store also selling ice cream as a hangover cure, it seems that your favourite chilled confectionery just might be the sweetest and tastiest super food of them all. Via Munchies.
"We were just saying, we love an Aussie." When you're My Old Ass writer/director Megan Park and Australia's own Margot Robbie has produced your latest film, it's easy to understand why. Gleaning why she greets Concrete Playground that way isn't hard, either. "We do," adds Maisy Stella, the movie's star. "Yeah, we really, really do," Park chimes back in. Robbie's production company LuckyChap Entertainment, which has I, Tonya, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) and Barbie to its name as well — and, among flicks that don't boast its co-founder on-screen, Promising Young Woman and Saltburn, too — is also onboard for Park's next release after this marvel of a coming-of-age tale. Viewers of My Old Ass have more from Park to look forward to, then. Right now, though, they already have a must-see to enjoy courtesy of her second feature as a filmmaker. Actually, that also applies to her debut. An actor herself, Park initially jumped behind the lens on 2021's excellent Jenna Ortega (Beetlejuice Beetlejuice)-led The Fallout, which plunged into the aftermath of a school tragedy. Now, the former The Secret Life of the American Teenager star has penned and helmed a picture set as its protagonist gets ready to leave her small-town home behind for college. [caption id="attachment_974458" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] For her second movie about teens making sense of their world, too, Park embraces a high-concept setup — and one that heads down a universal path that resonates with viewers of all ages. Have you ever wanted to get life advice from your future self? Or, conversely, to give your younger self some words of wisdom, whether about what not to worry about or who to avoid? Focusing on Nashville's Stella as the just-turned-18 Elliott — and featuring Parks and Recreation, The White Lotus and Agatha All Along favourite Aubrey Plaza as the older version — that's My Old Ass' storyline. If you're wondering how the two Elliotts come to meet, the film uses a mushroom trip to head into magical-realism territory. When they come face to face, Plaza's 39-year-old Elliott has a specific piece of advice for the girl that she once was: stay away from Chad (Wednesday's Percy Hynes White). We all know what happens when you tell someone not to do something, especially a carefree teenager, so of course Stella's Elliott doesn't heed that warning. This is a film, however, that understands the urge to want to send your former self in a certain direction, because it understands what it's like to live with the ups and downs that life takes us on just as firmly. It equally appreciates that it's those ebbs and flows — and joys and hurts as well, so our course for better and for worse — that make us who we are. [caption id="attachment_974462" align="alignnone" width="1920"] Marion Curtis / Starpix for Amazon MGM Studios[/caption] What would Stella do if the Sundance Film Festival-premiering movie's premise became an IRL possibility for her? It depends on which way the advice was flowing. Park is of the same opinion. They'd each be keen to talk to their younger selves, but not their older guises. "I've decided that I reject it. I really reject it. I've been asked this and every time I try to think of something, and I think the reason that I don't have anything is because I would not take the opportunity. I would take the opportunity to meet younger self. But the older, it just feels a little scary to me," Stella tells us. "It gets dicey. See, it goes dark quick. I mean, it really takes a turn," she continues. "Yeah, it's a it's a scary one," agrees Park. "I think I'm going to hard pass on it too, probably. I'd want to go back and meet my younger self." Thinking about these questions is unavoidable after watching My Old Ass, no matter whether you decide that you'd seize or shirk the chance that Elliott is given. Also part of the viewing experience: wishing that Plaza could pop up in your life either way. We also chatted with Park and Stella about where the idea for the film sprang from, what Park was interested in exploring with it, Stella's excitement about playing Elliott, how she approached the character, and working with both Plaza and Robbie. On What Inspired My Old Ass, and What Park Was Interested in Exploring Megan: "I think the themes that I really wanted to explore were grief and time passing, and nostalgia — and motherhood, truthfully, was a big one that I wanted. I was a new mum when I wrote this script, so it was those feelings that were really the entry point into this idea that's so universal, I think, of wanting to talk to your older or younger self. Or regrets. Regret is another big one. I think I'm such an emotionally driven writer that I'm not thinking about necessarily the structure of the story, and what's going to happen and what are people going to take from the movie — I'm just driven from that emotional place, at least I have been so far in the two movies I've written. It's all I really know how to do it. So those were the themes I wanted to explore. And then as I didn't know where it was going, as soon as Elliott came to me, and older Elliott, I just followed that lead and figured out the story as I went." On Stella's Initial Reaction to the Script, and What She Thought That She Could Bring to the Younger Elliott Maisy: "My first reaction to it was just beaming with excitement. It was funny, because I had been auditioning for so long and I really enjoy auditioning, and I really enjoy reading scripts and I read a lot of scripts at that time, and it was just my favourite thing I'd read in forever. And I was immediately met with anxiety. The second I started reading it, the thought of it being taken from me, I was like 'no!'. And it wasn't even mine at all. But the thought of not getting to be a part of this amazing project was so scary to me. So yeah, my initial reaction to it was deeply, deeply moved; really excited and inspired by it; and would have just been so grateful and lucky to have been a part of it. And it worked out for me. I'm very grateful and lucky." [caption id="attachment_974461" align="alignnone" width="1920"] Marion Curtis / Starpix for Amazon MGM Studios[/caption] On the Journey to Realising That Aubrey Plaza Was the Ideal Older Elliott Megan: "Truthfully, I'd written the role for somebody to be much older, like in their late 40s, early 50s. And we cast the film around Maisy, and so we were really stuck on who looks the most like her, who's in that age range and who's available to come to Canada to film the movie. And there just was never anybody that came up that was the right match for the tone of the movie, for energetically with Maisy, for the comedy. It wasn't until there was a list of names that somebody had suggested, and Aubrey was on there. It was like 'wait a second, I'm such a fan of hers' — and I knew Maisy was a fan of hers. She was not even 40 and doesn't look anything like Maisy really, but we were like 'wait a second', and for some reason the energy and the chemistry was just such a connection. And it just made the whole movie make sense in a whole new way for me. I'm close to age to Aubrey and I thought 'wow, I've actually never felt older than hanging out with all the 18 year olds'. And there was something so funny to me about this idea that she thinks she's so old and she's not even 40. And even the title became funnier when it was Aubrey." Maisy: "Yes!" Megan: "So then, luckily we sent it to her, and only her, and she read it and loved it and wanted to be a part of it. So once we got it to her, the stars really aligned quickly, but it was kind of me getting out of my own way and being like 'wait, instead of worrying about who looks the most like Maisy, who fits into the movie?'." Maisy: "Instead of worrying about who's blonde?" Megan: "Yeah, exactly." On Collaboration When You're Playing the Younger Version of a Character While Sharing Scenes with the Older Version Maisy: "It was quick. What happened, I was filming for like two weeks when Aubrey was officially attached. So my younger Elliott was already kind of established. On anything else, if this was any other situation, I would have been meeting Aubrey — and she kind of had to meet me because I was filming. So it was a quick thing, she came for like a week and we just went for it." [caption id="attachment_974460" align="alignnone" width="1920"] Marion Curtis / Starpix for Amazon MGM Studios[/caption] Megan: "She'd been watching dailies and studying Maisy a bit before." Maisy: "And then when we met, I felt Aubrey staring and filming me with her eyes, and getting the mannerisms and physicality. I think that was probably more what we focused on. And also just creating a friendship and a nice connection was probably the most important part, rather than mimicking each other. It felt more enjoyable." Megan: "I remember Aubrey asking me 'do you want me to mimic her? How deep do you want me to go with this?' And I was like 'I feel like that's not the most important part of it. I'd rather we just build the chemistry and the rapport'. And that was totally what I think was the main thing. We just spent the weekend together, talked through stuff." Maisy: "100 percent." Megan: "And it was just about building that chemistry — which, they're both genius actors, they can build chemistry so quickly. That's a skill that I think the best actors can do. And the two of them together were just able to connect so quickly." [caption id="attachment_974459" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] On Having Margot Robbie as a Producer, and How That Helped Shape the Film Megan: "As we were saying, we love an Aussie. Our other producer, Bronte Payne at LuckyChap, is also Australian. It happened really organically. I had a general meeting with the company, with Bronte, who had seen The Fallout — and she really loved the film, and she just wanted to sit and chat. And she was the one, honestly, who was like 'do you have any other ideas?'. And I was like 'I mean, there's this one thing I'm thinking about'. And she was like 'we'd love to hear more about that. We think that's a great idea'. Then she introduced me to the rest of people at the company, Tom [Ackerley, also one of LuckyChap's founders] and Margot and Josey [McNamara, another LuckyChap founder]. And they are just so — it's really hard to find good people in this industry who are really honest and smart and hardworking, and treat everybody, no matter if it's the star of the movie or the PA, they're just so consistent. And they're so grounded and down to earth, and there's a reason why they get so much repeat business with their directors. It's because it's genuine, and they're obviously very smart. So they were incredibly helpful, not only helping me build the script, but every step of the way — they've just been so invaluable and so easygoing. And just lovely, lovely human beings. I'm doing my next film with them, and I hope to work with them over and over again. They're incredible." On Balancing Playing a Carefree 18-Year-Old with Their Whole Life Ahead of Them with Elliott Getting to Take Stock of Her Existence Decades Before Anyone Usually Expects To Maisy: "Preparing-wise, I honestly read the script so many times. That was really my prep, just reading it. I didn't do too much, I didn't practice the deliveries." Megan: "We just talked through the scenes." Maisy: "We'd just talk it through. And on my own time, I had months before I went to film — but after I booked it, I enjoyed reading it so I would obsessively just read it and think about it a lot. I really lived with the concept and with the message. I thought about it a lot. I think was my preparation." [caption id="attachment_974457" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] Megan: "And you believed in it." Maisy: "And I believed in it and I meant it. I really meant it. Everything that Elliott says, I ended up meaning on the day. Even if I was learning from her and trying to mean it, I did end up meaning it." Megan: "Yeah." Maisy: "And with an indie, with the director like you [talks to Megan], where you really like things to feel like you press record and you're just like watching people exist, there's only so much you can do for prep to keep it feeling natural and real and sparky." My Old Ass opened in Australian cinemas on Thursday, September 26, 2024. My Old Ass images: Marni Grossman © Amazon Content Services LLC.
In the heart of Chapel Street, Imperial South Yarra is a modern and vibrant spot to enjoy a couple of drinks after a day of shopping or a long week at the office. The sleek bistro fit-out is paired with street-side tables so you can take in all the area has to offer. The menu covers contemporary global fare, from small dishes to designed share, to hearty pub meals, pizzas and burgers. A classic drinks list is bumped up with specialty cocktails and huge fishbowls to share — or not to share. The Imperial has a bunch of weekly specials and events, including bottomless brunches, leisurely lunches, Sunday recovery sessions and a $5 happy hour, Monday–Friday, 4–7pm. Image: Giulia Morlando.
Australia is just getting accustomed to life without single-use plastic bags; however Europe is set to go one step further, backing a directive to ban a number of single-use plastic items within the European Union. The European parliament's plan was drawn up to specifically combat the growing amount of plastic that's clogging up the world's oceans, specifically targeting plastic cutlery, plates, stirrers and straws, as well as cotton buds and balloon sticks. And the target date for phasing out these products is soon: 2021. The EU's highlighted items rank among the top ten products found in the sea, the directive states, with reducing the consumption of food containers and beverage cups also on the agenda. By 2025, all EU members will also be required to collect 90 percent of single-use plastic beverage bottles for recycling, while awareness campaigns will ramp up for the likes of general plastic packets and wrappings, sanitary items such as wet wipes and sanitary towels, and cigarette butts. The draft legislation received overwhelming support, passing 571 votes to 53, although it's not yet law. It is, however, the latest recognition that the war on waste is one that needs serious attention. The British parliament announced plans to go plastic-free earlier in the year, France has banned plastic plates, cups and cutlery from 2020, while the Australian government has pledged to ensure that 100 percent of the country's packaging is recyclable, compostable or reusable in the next seven years. And that's on top of the flurry of supermarkets, big name brands, well-known food chains and furniture behemoths making their own commitments to reduce, recycle or eradicate single-use plastics from their operations.
Much-loved brewery and cider producer Kaiju has opened its very own brewpub, beer hall and pizzeria, after close to a decade spent crafting award-winning drops. The lofty 445-square-metre warehouse space rocks a fun fitout by We are Humble Architects, filled with bright pops of colour and large-scale hand-painted murals by Mikey Burton — the same US-based artist responsible for much of Kaiju's distinctive can art. It includes a playful, 12-metre work depicting the Melbourne city skyline complete with landmarks like the MCG and St Kilda Beach. Kaiju Cantina's 16 taps are pouring house favourites like the Kaiju Krush tropical pale ale and Aftermath double IPA, alongside limited-edition and small-batch brews crafted on the site's own dedicated six-hectolitre brewing setup. Keep an eye out also for regular collaborations done with local emerging brew stars and brewing students. A locally-focused lineup of booze-free options, wine and spirits is also on offer, including pours from the likes of Seaford's That Spirited Lot Gin and The Gospel Whiskey out of Brunswick. Meanwhile, the food menu is all about beer's true BFF, pizza. Expect seasonal ingredients, hand-stretched bases and plenty of classic Italian flavours — think, a vegetarian combination of mushrooms, parmesan and truffle oil ($24); a classic capricciosa number topped with artichokes and olives ($26); and even a cheeseburger-inspired creation featuring American-style cheese, beef, pickles and mustard ($25). And those midweek munchies are sorted with selected $20 pizzas — and $8 schooners — every Wednesday and Thursday. [caption id="attachment_841812" align="alignnone" width="1920"] Kim Jane Photography[/caption] Images: Kim Jane Photography
During the summer months, there's often one thing at the top of our to-do lists: hitting up as many beaches as possible. Australia has a lot of them (11,761 of them, to be exact) and choosing which ones to go to can be difficult. Where won't be too busy? Too seaweed-y? Which one has the whitest sand? The bluest water? Is the best for beach cricket? There's a lot to consider. Thankfully, Tourism Australia's Beach Ambassador (how do we apply?) Brad Farmer AM has done the hard yards and pulled together a tidy list of the top 20 Australian beaches for 2020. Farmer chose the beaches based on water quality, cleanliness, capacity, facilities, safety and 'wow' factor, as well as a host of other factors. Topping the list for 2020 is Cabarita Beach on the Tweed Coast, tucked between Byron Bay and the Gold Coast. As well as being a great surfing spot that's reasonably quiet, Cabarita is filled with lauded dining destinations and a brand-new glamping retreat a thong's throw from the award-winning beach. Farmer calls it a "quintessential Aussie beachscape showcasing a truly diverse range of settings to swoon over". [caption id="attachment_754821" align="alignnone" width="1920"] Wagga Wagga Beach by Destination NSW.[/caption] Also on the list, for the first time, is an "inland beach". Wagga Wagga Beach, coming in at number nine, is located on the banks of the Murrumbidge River a five-hour drive inland from Sydney. It's far from the coast — and the seashore — but Farmer said "it's time we extend the meaning of a beach". "There are so many aquatic environments across Australia's interior," Farmer said in a statement. "These water spaces...socially connect rural and remote communities in often dusty and dry, drought conditions." At a time when so many parts of rural Australia are suffering through a two-year drought, it seems a fitting time to recognise our inland water bodies. A second non-coastal beach made the list, too: the pristine Lake McKenzie on Queensland's Fraser Island, which came in tenth. Rounding out the top five are the Gold Coast's Currumbin Beach at number two, NSW's hidden Minnamurra Beach (aka Mystics Beach) at number three, and Maria Island in Tasmania and Queensland's Cape Tribulation at number four and five respectively. Some of Australia's busiest (and, arguably, most popular) beaches — ie Bondi and Jervis Bay— didn't make the short list, but are both on Farmer's long list of 101 top Australian beaches for 2020. As did the Whitsunday's Whitehaven Beach, Australia's top-ranking beach in FlightNetwork's global list. So pack your togs (and your beach cricket set), round up some mates and start ticking these off. We see many road trips in your future. [caption id="attachment_754820" align="alignnone" width="1920"] Lake McKenzie by Ashley Dobson[/caption] THE TOP 20 BEST AUSTRALIAN BEACHES FOR 2020 1. Cabarita (NSW) 2. Currumbin (Qld) 3. Minnamurra (NSW) 4. Maria Island (Tas) 5. Cape Tribulation (Qld) 6. Brighton Beach (Vic) 7. Bettys Beach (WA) 8. South Port Beach (SA) 9. Wagga Wagga Beach (NSW) 10. Lake McKenzie (Qld) 11. The Basin, Rottnest Island (WA) 12. Fingal Bay (NSW) 13. Smiths Beach (WA) 14. Neds Beach, Lord Howe Island (NSW) 15. Quobba Station Red Bluff (WA) 16. Cossies Beach (Indian Ocean) 17. Lake Tyers Beach (Vic) 18. Diamond Head (NSW) 19. Pondalowie Bay (SA) 20. Killiecrankie Beach, Flinders Island (Tas) Top images: Cabarita Beach by Destination NSW
Everyone has one main motivating factor in the career path they choose, and if you're passionate about helping humanity and the state of the world, you've got a bunch of options available. Doctors, lawyers and politicians may take a lot of the credit for shaping our futures but they're not the only options. In fact, there are plenty of other avenues to explore. Whether you're at the beginning of your education, looking for a career change or wanting to gain some additional professional experience, knowing where to start can be hard. That's why we've tracked down a selection of degrees from leading Australian universities to study online via Open Universities Australia(OUA) if you're desperate to make a difference in the world. With the threat of climate change and limited natural resources becoming a reality in the not-too-distant future, the time for a focus on the environment, sustainability and education has never been greater. Here's our list of which degrees to study if you want to inspire or create change. BACHELOR OF EDUCATION Imparting wisdom to our younger generations is a hugely important undertaking — after all, these are the people that'll one day inherit the earth. Curtin University offers one of the best teaching degrees for primary education (years one to six). After studying the Bachelor of Education or the Master of Teaching degree via OUA, you will leave the course with advanced training for leadership roles in a teaching career. Although you'll be studying primarily online, the degree also includes hands-on experience in a range of schools and across year levels, and it culminates in a five-week professional placement. Your studies will also include lesson planning, classroom management, special education and digital literacy. BACHELOR OF ARTS: COMMUNITY DEVELOPMENT Change starts from the ground — so getting involved in community-based projects, be it services, welfare or not-for-profit organisations, is a great way to see your effort being put into action before your very eyes. A Bachelor of Arts in Community Development will hone your communication, critical thinking, ethics and social justice knowledge — and that's just the start. The program from Murdoch University (available online through OUA) focuses on a wide variety of perspectives and solutions that can benefit different communities — from Indigenous and First Nation peoples to overseas aid development. You will graduate with the ability for persuasive oral communication and a broad knowledge of research methods. DIPLOMA IN COMMUNITY WELFARE AND WELLBEING Outside of teaching, another obvious do-gooder career path is within the welfare and health sectors. Whether you're interested in nursing, community service or social work, gaining a Diploma in Community Welfare and Wellbeing from the University of New England allows you to earn credits toward many community-minded degrees — and to develop the foundational skills for employment or toward further study. The course provides students with the theoretical and academic groundwork for a career in overall social care. Within the elective subjects offered, you can opt to specialise in working with members of the community dealing with disability or ageing, or working with Aboriginal people. BACHELOR OF ARTS: SUSTAINABLE DEVELOPMENT Marching for climate action is a great start, but if you're passionate about finding more sustainable ways for you and your neighbours to live and preserve the environment, this Murdoch University program is worth exploring through OUA. Sustainable Development is a newer profession but is growing in popularity. The more prominent career paths you could take from this degree include joining the public sector, a local council or an NGO, or working within research institutes or national and international aid organisations. But the skills gained here are much more far-reaching and can also lead to careers in sustainable tourism, media, education and resource management. MASTER OF ENVIRONMENT Already got a degree in environmental science under your belt? First of all, good for you. Now, keep channelling that passion and experience into a masters degree from Griffith University. After all, it's arguably one of the most important fields of study you could enter into at the moment. Within this degree, you can choose to specialise in several different areas of expertise, including climate change adaptation, sustainable business, economics and policy, environmental planning and environmental protection. Career options hit a huge range, too, and include the likes of environmental assessment officer, consultant for government agencies and environmental and biosecurity management. Explore these degrees and hundreds more from leading Australian universities, available online through Open Universities Australia. You'll be making a world of difference before you know it.
