What was once a daggy bowlo has been transformed into a lush, summertime garden bar with million-dollar Sydney skyline views. Inside The Greens, floor-to-ceiling glass doors allow sunlight to stream into a plant-filled brasserie which is fitted out with curved booths and long communal tables. If it's a sunny day, head outside to the rustic garden, where you'll find a plenitude of daybeds and picnic settings adjacent to the lawns. The bar is run by Matt Le Rade (Ex Pelicano, Palmer & Co), and you simply can't ignore the fun and frivolous cocktails that everyone is holding. The larger groups sport Watermelon Keggers — a hollowed out half-watermelon filled with vodka, juice and bitters — as well as jugs of rose sangria, Pimms cocktails and Aperol spritzes. The kitchen was set up by Lilly Fasan, the former executive chef at The Grounds of Alexandria, in partnership with her husband Nathan. There are clear similarities between the two venues, both sharing luscious green surrounds, a seasonal menu with produce grown in-house and beautifully presented food, which is making its mark on Instagram. You'll be pleased to know that the lawn bowls greens are still fully operational and available to book for social games, so you can bring your granddad along for a bowl, while you can have a bowl. They also hold yoga sessions, organic markets, live music nights, campfire smores events and film screenings on the greens, as well as DJ sets on the weekend. The Greens definitely has its game on. Appears in: The Best Pubs in Sydney
If Meghann Fahy and Brandon Sklenar get teamed up again on-screen after Drop, don't be surprised. In a film set in a swanky sky-high Chicago restaurant, the two make a dream first-date pair. The importance of that shrewd casting move shouldn't be underestimated, because this thriller relies on its stars perfecting a number of complex tasks that are crucial to the feature's vibe. Viewers should feel the sparks between them, even when things get awkward. They need to want to like them as a couple, too. A layer of suspicion also has to float over Sklenar's Henry — but when Fahy's Violet is told by anonymous airdrops to kill him or there'll be grave consequences, no one should hope for that to happen. Directed by the Happy Death Day franchise and Freaky's Christopher Landon, Drop turns the initial in-person encounter been two people who've been connecting online into a fight for survival, and a puzzle. Inspired by IRL unrecognised messages coming producer Cameron Fuller (The Astronaut) and executive producer Sam Lerner's (The Goldbergs) ways on a holiday, the flick boasts a "what would you do?" scenario as well. In actuality, no one was told to get homicidal, of course, but that's what awaits Violet in a largely one-setting mystery where almost everybody is a suspect, tech surveillance and safety are also in focus, and the relatable fears that bubble up about the difference between how we present ourselves online and reality also drive the narrative. Landon's aim: to make a film with a modern Hitchcock feel that also takes inspiration from 90s thrillers, both things that audiences don't see every day in cinemas of late. That mix, that mission, that mood that Landon was looking for — and achieves — stood out to both The Bold Type, The White Lotus and The Perfect Couple's Fahy and 1923 and It Ends with Us' Sklenar. "It had a very clear point of view, which is part of what I found so attractive about the idea of it. I think it really knew what it wanted to do and knew what it was," Fahy tells Concrete Playground. Adds Sklenar: "it's a decisive film". Drop's villain is equally resolute: if Violet doesn't do what she's told or informs anyone about the instructions that she's being sent, this nightmare will impact her young son (debutant Jacob Robinson) and sister (Violett Beane, Death and Other Details). She can see on her home security cameras that someone has already broken into her house while she's out, waiting to harm her loved ones, all as she's attempting to be charismatic with Henry and uncover who is behind her hellish ordeal. Landon is purposeful himself, especially about plunging viewers into an immersive setup. The same applied with his cast and crew: to help those on the filmmaking journey with him, the production built a fully functioning restaurant to shoot in, right down to a real chef creating the menu. [caption id="attachment_1000353" align="alignnone" width="1920"] Alex J. Berliner/ABImages.[/caption] Do real-life awkward date moments — including the highly relatable type when unease simmers, even if just to you, because small things have gone wrong but they feel huge inside your head — assist when that's what you're enlisted to navigate? "We've all had those kinds of experiences," Fahy advises. "Definitely," chimes in Sklenar, noting that he "can't do mouth noises". The duo riff about it. "Like chewing and stuff," says Fahy. "That would be a thing for me," stresses Sklenar. "Makes you twitch. I get that. Noted," responds Fahy again. As the two bounce back and forth while speaking with us, they're in the same bantering mode that Violent and Henry are early in the movie, and charmingly, before the picture's date is saddled with life-and-death stakes. Drop places Fahy in another twisty mystery, as The White Lotus and The Perfect Couple both have in the last few years. With survivors of abuse also factoring into the storyline, as was the case in It Ends with Us, Sklenar is similarly in familiar territory. Symmetry also echoes in the two talents' paths to here, after starting out as actors at around the same time — onstage in the late 00s for Fahy, and in 2011 film Cornered for Sklenar — then working their way through the likes of One Life to Live, Political Animals, Miss Sloane, Mapplethorpe, Vice and Emily the Criminal between them to their recent respective TV successes. Amid jokes from the pair about their parallels, plus also potential other genres that Drop could've taken its thriller-slash-relationship drama into, we chatted with Fahy and Sklenar about the latest standout addition to their resumes. How pivotal it was for the movie to be as invested in the date as in the unnerving airdrops, shooting in the film's very own restaurant, Violet's survival story, approaching the picture as a long play: they all came up as well. On How Crucial It Is That the Film Is Invested in the Date, and in the Relationship at Its Centre, as Much as Its Horror-Thriller Setup Brandon: "It was important." Meghann: "I think it's part of what totally is so fun about the movie, because it has a romantic component to it, it is sort of a date movie, but it is also kind of a thriller. You get both. It's very much a hybrid." Brandon: "There was a sci-fi element early on, but we took that out — we just thought it was too genre-bending." Meghann: "But I think ultimately the story is about this relationship, and these two people who really are connecting in a way that is important and new for both of them. And it would be a great date if she didn't have to kill him." Brandon: "Yeah, it would be." Meghann: "It would be great." Brandon: "And in the end, it ends up being a good thing, I think. I think that it's not all bad." Meghann: "Nope." On Shooting in a Fully Functioning Restaurant That Was Created Just for the Film, Right Down to a Real Chef Whipping Up the Menu Meghann: "It was hugely helpful. I mean, you're in the environment, and it's so real that there's not even a big weird movie light in your face. It's just the lighting on the table and in the ceiling, so you really genuinely walk onto that set and you think 'I'm in a restaurant right now'. Which is incredible. It was very realistic." Brandon: "Yeah, it was." On Fahy's Task Digging Into Violet's Survival Story, and What It Takes to for Her to Keep Enduring Meghann: "I think that the way that we meet Violet is so violent and disturbing, and it has so much to do with her journey as a woman after that — and how she interacts with him, and why she's so nervous to go on the date in the first place. And so it's hugely informative, and was something that Chris and I talked about a lot, because it was so important that we honour her journey into moving on and having a healthy relationship — and being happy and feeling brave, and getting outside of herself and trusting herself. And I think that's what feels so good about this film, is the audience really gets to see her kind of become her own superhero. And it's just so wonderful to see that happen." On How Sklenar Approached Portraying Someone That Viewers Have to Remain on Edge with and Suspicious of, But Also Still Want to Like Brandon: "I think that there's a small degree of being aware of the plot and where it's moving, and trying to mislead the audience consciously in a certain way — and how you look at somebody or how you speak a line, or maybe a moment that you do that isn't scripted necessarily to misdirect the audience. And other than that, I think that it's on the page, mostly. And then, in just finding a rhythm with Meghann, and doing these scenes — it's essentially one giant scene, because it's in real time as soon as we get to the restaurant. So it's one 70-something-page scene." Meghann: "Yeah." Brandon: "And I prepared it like that. I memorised it like a play. And then you just show up and do it, and it just requires a great deal of presence and being present, as it is really like an acting exercise. And just being as present as you possibly can be." Meghann: "I don't think he gives himself enough credit for how interesting he made that character and how many tiny, nuanced things he layered into Henry, but it was really impressive." On Whether Fahy's Run of Twisty Mysteries, Including The White Lotus and The Perfect Couple, Is an Active Choice or How Great Parts Have Come Her Way Meghann: "I guess it's a little bit of both, to be honest with you. It is a genre that I really enjoy myself when I'm watching stuff, and it's super fun to make. So yeah, I think it's kind of — it was never consciously something I was chasing. I think it's just how things worked out. But yeah, there's definitely a mixture of both of those things for sure." On Fahy and Sklenar's Similar Journeys to Drop, After Starting Acting Around the Same Time and Enjoying Recent Small-Screen Successes (Including in 1923 for Sklenar) Brandon: "I guess we kind of do have paralleled situations. Same age. Kind of hitting it at the same time." Meghann: "Same hair." Brandon: "Same hair? Yeah, both Irish. I think that it's cool. I mean, I wouldn't have it any other way." Meghann:"Yeah, me either." Brandon: "I think there's something, there's a certain appreciation you have for the journey when you're not, I think, in your early 20s and you reach a certain level of success, and you've sort of worked at it for a really long time and tried to improve yourself personally along the way — because I'm a firm believer that the external is just a reflection of the internal. And neither of us would be sitting here at this table had we not grown as human beings outside of this crazy thing we decided to do with our lives. So that's imperative. And I think they're one and the same, and it's just a testament to keeping at it." [caption id="attachment_1000366" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] Meghann: "Yeah, taking it as it comes." Brandon: "And trying to do the best you can." Meghann: "Yeah, day by day. 100 percent. I completely agree." Drop opened in cinemas Down Under on Thursday, April 17, 2025.
Just when we thought we'd done all the swimming there is to do in Sydney, we make new discoveries. After paddling under waterfalls, throwing ourselves into extraordinary swimming holes and plunging into ocean pools by the moonlight, we're now exploring rivers. It turns out that some of the best national parks near Sydney are also home to many of New South Wales' top-notch swimming spots. Think turquoise swimming holes, cascading waterfalls, calm creeks and rapid rivers — with plenty of hidden gems thrown in there. With summertime just around the corner, make like Huckleberry Finn and get yourself to one of these meandering beauties. Recommended reads: The Best Ocean Pools in Sydney The Best Beaches in Sydney The Best Natural Hot Springs in NSW BEROWRA CREEK, HAWKESBURY Berowra Creek starts around Pennant Hills and flows northwards, until it joins forces with the Hawkesbury. It's not actually a creek in the strict sense of the word, but a drowned river valley estuary. So, at many points, it runs through steep, majestic gorges. For a dip, make your way to Crosslands Reserve. If you want to stay the night, take a tent and pre-book a camping spot there. The grounds also offer free barbecue facilities, bookable picnic shelters and is an access point to the The Great North Walk via the Benowie Walking Track. [caption id="attachment_702931" align="alignnone" width="1920"] Aidan Casey via Flickr[/caption] KANGAROO CREEK, ROYAL NATIONAL PARK Just south of the Audley Boatshed in the Royal National Park (a brilliant spot for kayaking, by the way), a tributary runs into the Hacking River. Known as Kangaroo Creek, it begins in the park. To reach the best swimming spots, take the Karloo Walking Track, a five-kilometre walk which starts at Heathcote Station. Karloo Pool is the most popular — the round swimming hole offers pristine, turquoise waters fed by the cascading waterfall above. If it's busy, make tracks downstream, where you'll find more pools to explore. You can enjoy a picnic here, or mosey onward to Uloola Falls. If you have the time, continue on through the Uloola Walking Track, which finishes at Waterfall Station. MCCARRS CREEK, KU-RING-GAI CHASE NATIONAL PARK Stretching from Ku-ring-gai Chase National Park's southeastern corner and flowing into Pittwater near Church Point, McCarrs Creek has quite a few enviable spots to go for a swim. A road follows it much of the way, making it easily accessible by car. But for safe, shallow waters, head to McCarrs Creek Reserve, where a series of fun swimming options await you at The Duck Holes. Surrounded by bush, this secluded destination is located just off of West Head Road along the trail to the lookout. If you're keen to splash about under a waterfall while you're in the area, don't miss the nearby Upper Gledhill Falls. [caption id="attachment_702939" align="alignnone" width="1920"] Destination NSW[/caption] NEPEAN RIVER, BLUE MOUNTAINS This is not just a river — it's a river with rapids. To get in on the action, start off along the Nepean River Walking Track. The 1.8-kilometre loop begins in Glenbrook and takes you through rainforest, narrow canyons and steep descents before arriving down at Fairlight Gorge. After your swim, relax over a picnic, soaking in the views of the spectacular escarpment. But be sure to bring along a hearty lunch before the steep climb back out. Afterwards, continue on to the Bennets Ridge walking track or camp overnight at the Euroka campground. We like this gorge so much, we included it on our list of Sydney's ten most unusual swimming holes. [caption id="attachment_702930" align="alignnone" width="1920"] Nina Matthews via Flickr[/caption] GLENBROOK CREEK, BLUE MOUNTAINS Glenbrook Creek's 17 kilometres begin in the Blue Mountains National Park — five-kilometres southwest of Linden — and end where the creek runs into the Nepean River. Head to the lower reaches to find Glenbrook Gorge, where there are two cracking swimming holes: Blue Pool and Jellybean Pool. To reach these, you can choose your own adventure (and difficulty level). The vigorous, rock-hopping gorge track spans three kilometres and is the most difficult among the three. Then there's the challenging-yet-quick Blue Pool track (only half a kilometre) or the cruisy Jellybean track, which is an easy one-kilometre return. [caption id="attachment_702963" align="alignnone" width="1920"] Robyn Jay via Flickr[/caption] KOWMUNG RIVER, BLUE MOUNTAINS The epic 74-kilometre Kowmung River runs through both the Blue Mountains and Kanangra-Boyd National Parks, passing some of the most rugged scenery in New South Wales. It's one of only six waterways in the state to be officially known as a 'wild river', which means that it's still in near-perfect condition. It also means that you'll need to make your way to it on foot (the lack of cars has played a major role in keeping the Kowmung clean). The good news is you can expect to meet brush-tailed rock wallabies, stuttering frogs and south-eastern petal tails along the way. And of course, finish up with one of the most pristine swims our state has to offer. [caption id="attachment_702988" align="alignnone" width="1920"] Sardaka via Wikimedia Commons[/caption] WORONORA RIVER, SUTHERLAND SHIRE For a river that runs through residential areas, the Woronora is surprisingly clean. It's ideal not just for swimming but also for boating, canoeing, fishing and heaps of other water sports. To explore thoroughly, hire a kayak from the Woronora Boatshed. Otherwise, you can walk or drive in at various points, including Prince Edward Park, which is about 30 minutes on foot from Sutherland Station. Another great spot is The Needles, a freshwater swimming hole above the Woronora. To get there, drive to the northern end of Woronora Road, where a gate down to the water is waiting. [caption id="attachment_702978" align="alignnone" width="1920"] Trewkat via Wikimedia Commons[/caption] HACKING RIVER, ROYAL NATIONAL PARK Set at the start of the Royal National Park, the mighty Hacking River runs between Sydney's southernmost suburbs and Bundeena. One of the loveliest places to swim along it is off Swallow Rock Reserve, at the end of Swallow Rock Drive in Grays Point. Don't forget to pack some eats to chuck on the free barbies for a post-dip feast. East of Grays Point, the river officially turns into Port Hacking, where heaps more swimming is on the docket — including netted pools at Gymea Bay Baths Reserve and Lilli Pilli Baths, as well as four beaches at Bundeena. NAYOOK CREEK, BLUE MOUNTAINS Nayook Creek's most famous — and most swimmable — stretch is Deep Pass Canyon. Found at Newnes Plateau, right on the brink of the Wollemi National Park, it's home to several deep pools which are dotted with fairy-like ferns and cascades — they look like scenes straight out of the Lord of Rings. They're also right near some of New South Wales' most beautiful campsites. The hike in and out is around a two-kilometre circuit and the water is on the cool side, so prepare for a refreshing plunge.
In what can only be described as an odd turn of events, Top3 was founded by Terri Winter after she saw a German cabaret show featuring a woman, a walrus and a trapeze artist. As it happens, these three acts were the best in their field — and this inspired Winter to translate the 'top three' concept into a retail store. As it turned out, it was a huge success. Now with four stores around the country — two in Melbourne, one in Sydney and one in Canberra — Top3's mission is to offer customers the best products based entirely on their design merits. The store stocks well over 1000 different products — but only three of each type — across homewares, clothing and travel accessories. You're bound to find something you need and/or want here. Images: Trent Van der jagt.
Finding a wedding venue is no easy task. There's the toss-up between a city and country celebration, a luxe location versus staying in your hometown. Plus, the allure of the destination wedding is enough to make your bank account quiver in a corner. When you find the one, though, everything else about the wedding can fall into place. If you're looking for a destination that offers a Euro-summer event without needing to charter a 24-hour flight, you're in luck. St Siandra is Sydney's sun-soaked waterfront restaurant that can host intimate beachfront weddings, large receptions and even corporate events. It's set on a private beach in Middle Harbour and brings a little dose of Italian shores to Mosman. Here's what to expect when booking an event at St Siandra. [caption id="attachment_895511" align="alignleft" width="1920"] St Siandra[/caption] Unbeatable Views The Mediterranean-inspired venue offers panoramic Sydney Harbour views. Located just a short drive from the CBD, your Sydney guests won't need to worry about booking accommodation or hiring a car to get to an outer-city venue. St Siandra is situated in Sydney's quiet harbourside suburbs, so local guests can spend more time focusing on your day rather than the logistics of a destination wedding. If anyone is coming from out of town, they can admire the breathtaking Sydney views and experience an Amalfi-style event by the water. St Siandra has an indoor-outdoor layout, making it ideal for a relaxed yet luxe event. The interiors feature Mediterranean-inspired styling with a coastal heritage, anchoring the venue to Sydney. Outside, the private beach offers you the chance to share your nuptials on the sand. [caption id="attachment_1036463" align="alignleft" width="1920"] St Siandra[/caption] Your Wedding, Your Way Whether you're looking for an intimate dinner experience, a 40-person celebration or a full-scale party of 150, St Siandra offers bespoke packages that cater to different needs. The venue features a dedicated events team that provides hands-on guidance to help you plan your wedding. There's a range of curated packages and transparent pricing available as well, so the wedding budget won't be surprised after you've set your heart on a vendor or service. [caption id="attachment_1036462" align="alignleft" width="1920"] St Siandra[/caption] St Siandra features two space options. If you're looking for a venue that comfortably seats up to 50 guests or 85 people cocktail-style, the Bluebird Room is your best bet. It's a light-filled space featuring 180-degree water views and exclusive access to a private bar and beach views. From intimate sit-down meals to a luxe cocktail party, the Bluebird room and deck can be tailored to suit your wedding dreams. Is your guest list a little larger? The restaurant and deck at St Siandra can seat up to 110 guests and accommodate 160 people in a cocktail-style setting. This option features floor-to-ceiling windows with panoramic views and makes it easy to say "I do" and party the night away without needing to ferry guests from the church or gardens post-ceremony. [caption id="attachment_1014188" align="alignleft" width="1920"] St Siandra[/caption] Memorable Food and Drink Experiences While everyone's at your wedding to celebrate your love, one of the most essential parts is (undoubtedly) the food and drinks. At St Siandra, the seasonal menus have a Mediterranean focus on local produce. Head Chef Sam McCallum has crafted the menus to feature mouth-watering flavours, decadent canapés and sit-down meals to share with loved ones (no matter their dietary requirements). To complement your food selection, there's a range of beverage packages that can be tailored to suit your party. Featuring creative cocktails, wines, spirits, craft beers and mocktails, every detail is considered. [caption id="attachment_1033893" align="alignleft" width="1920"] St Siandra[/caption] More Than Weddings It's not just weddings that can be held at St Siandra. Birthdays, baby showers, bridal parties, and corporate functions can all be planned and held at the Mosman restaurant. So, whether you're looking for an Amafli-inspired wedding (without the long haul travel) or are after an intimate dining event to celebrate with your friends and family, St Siandra delivers refined dining, breathtaking beachfront views and a relaxed elegance—all without leaving the city. Learn more about hosting your wedding or event at St Siandra here.
Being a Barbie girl in a Barbie world wasn't just a 2023 trend, back when Greta Gerwig's (Little Women) Margot Robbie (Asteroid City)-starring — and Oscar-nominated — film became one of the biggest and pinkest movies to ever hit cinemas. The 2025 way to get your Barbiecore fix Down Under from late June through till summer 2026: by enjoying ice cream floats served in a pink Barbie convertible car at the Malibu Barbie Cafe, plus sipping fairy floss-topped cocktails at the Ken Kabana bar, all at The Social Quarter at Chadstone Shopping Centre in Melbourne. The Malibu Barbie Cafe has been popping up across the US, with New York, Chicago, Minneapolis, Miami, Austin and Houston all welcoming the venue. From Friday, June 27, 2025, it'll next make its first-ever appearance in Australia. This is also the cafe's debut stop beyond America — as well as Melbourne's second temporary big-name pop culture-themed addition in the same month, after Melbourne Museum's Star Wars Galactic Cafe opened its doors in early June. Pink hues? Beachy decor? Kicking it back to the 1970s, when Malibu Barbie initially debuted, at the onsite watering hole? A rollerskating rink lined by artwork of palm trees? A life-sized Barbie box? An installation that celebrates how Barbie as a brand has changed over the years? That's all on offer at the Malibu Barbie Cafe. So is merchandise that you won't find anywhere else, if you need a memento from your visit — although, with that in mind, we're sure that you'll fill your phone with plenty of photos. Ken's job isn't just beach here, given that his name adorns the cocktail-slinging upstairs bar in the two-storey site. On the drinks menu: that gin and lemonade concoction with spun sugar on top; themed takes on mojitos, margaritas, cosmopolitans, espresso martinis and old fashioneds; and more. If you're keen on a booze-free version, some of the tipples are available as mocktails. There's also a snack range, including fries with pink mayo, prawn cocktails, sushi and baked brie. Does putting your skates on appeal? You'll find that on the second level, too. Downstairs, Malibu Barbie Cafe's menu is an all-ages-friendly affair, with that ice cream float just one option. Sticking with sweets means choosing from doughnuts, pink cookies, cupcakes, ice cream sundaes, fruit and marshmallows. If you can't decide, the dessert sampler dishes up a mix of picks on a Barbie boat for between four and eight people. Savoury dishes span the same small bites as at the Ken Kabana, plus burgers, poke, garlic prawn linguine, beer-battered fish tacos, club sandwiches, grilled cheese, mac 'n' cheese and salads. Or, tuck into avocado toast, açai bowls, bacon and eggs, parfait or pancakes from the all-day brunch selection. Then, to drink, milkshakes, pink lemonade and pink lattes are among the options. If you're thinking "come on Barbie, let's go party", party packages are indeed a feature — including three-hour adults-only private-dining experiences from 6.30pm Thursday–Sunday. "We're delighted to partner with Bucket Listers and Chadstone, in collaboration with Mattel, to bring the Malibu Barbie Cafe to Melbourne," said Matt Gudinski, Chief Executive of The Mushroom Group, which is helping to share the Barbie fun with Australia. "At The Mushroom Group, we're always exploring new immersive live experiences and working with the world's biggest brands — few are as iconic as Barbie." Find Mattel's Malibu Barbie Cafe at The Social Quarter at Chadstone Shopping Centre, 1341 Dandenong Road, Malvern East, Melbourne, from Friday, June 27, 2025–summer 2026. Head to the cafe's website for more details.
In 2017, when Warwick Thornton's Sweet Country first reached cinema screens, the blistering Indigenous Australian western won awards in Venice, Toronto, Luxembourg and our own backyard. It's a sublimely shot and performed work of art that powerfully interrogates Australia's past and draws parallels with the country's present, so that's not surprising — and it joined a long list of acclaimed work by Indigenous Australian filmmakers. Thornton himself is no stranger to the spotlight, with his debut Samson & Delilah winning the Camera d'Or at Cannes in 2009. Sixteen years earlier, Australian artist Tracey Moffatt premiered BeDevil at the prestigious international festival, too, with her feature marking the first ever directed by an Australian Aboriginal woman. From Ivan Sen's Mystery Road and Goldstone to Rachel Perkins' Bran Nue Dae and Jasper Jones, the list of exceptional films by Indigenous Aussie directors goes on. Showcasing the breadth and depth of the nation's filmmaking talent — and, crucially, showcasing Indigenous Australian stories — they demonstrate Aussie cinema at its best. And if you're wondering where to start, here are 25 movies that you can stream right now. Mystery Road, Goldstone, Toomelah and Limbo When Ivan Sen and Aaron Pedersen (High Ground) teamed up for 2013 film Mystery Road, they gave Australia the ongoing gift of outback noir. Sen's writing and directing was so finessed, Pedersen's performance as Indigenous Australian police officer Jay Swan so riveting and the movie's entire concept so engaging that it's no wonder everyone wanted more. So, another followed. Across fellow big-screen effort Goldstone, Swan went to a different remote corner of the country, tried to solve a different case and became immersed in a different set of small-town politics. In both films, the franchise lays bare the state of Australia today, especially when it comes to the nation's treatment of its First Nations peoples. And if you're instantly hooked, it has also spawned its own two-season TV series also starring Pedersen — plus an exceptional prequel series as well. Also worth seeking out: Sen's 2011 drama Toomelah, as set in the titular New South Wales town, with ten-year-old Daniel (Daniel Connors, who is also in Mystery Road) at its centre. And, in 2023, Sen brought Limbo to cinemas, this time starring Simon Baker (Boy Swallows Universe) in a black-and-white Coober Pedy-shot tale about another police officer riding into a small Aussie town, and looking into a case that few people have been all that fussed about until now because the victim isn't white. Mystery Road streams via ABC iView, YouTube Movies and iTunes. Read our full review. Goldstone streams via ABC iView, Netflix, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Ivan Sen and Aaron Pedersen. Toomelah streams via Netflix. Limbo streams via ABC iView, iTunes and Prime Video. Read our full review, and our interview with Ivan Sen and Simon Baker. Samson & Delilah, Sweet Country and The New Boy Before Warwick Thornton turned his camera on himself in the personal and reflective TV documentary The Beach — which is the best piece of Australian television that hit screens in 2020 — he directed two of the great Aussie films of the 21st century. And, since then, he's also added another, The first: a love story, a tale of fighting to survive and an unflinching look at teenage life in Australia's red centre, aka 2009's equally heartwrenching and stunning Samson & Delilah. Indeed, it's little wonder the multi-award-winning movie firmly put Thornton on the international map. With Sweet Country, he then returned to the Northern Territory with a film that makes a firm statement, as becomes clear when an Indigenous stockman (Hamilton Morris) kills a white station owner in self-defence. He's forced to flee with his wife Lizzie (Natassia Gorey-Furber), but a local posse is soon on their trail. As Sweet Country decisively confronts this all-too-real situation, it also confronts the country's history of racial prejudice. In 2023's The New Boy, Thornton headed to a remote monastery with a mission for Indigenous children, where Sister Eileen (Cate Blanchett, Tár) is in charge. Her faith is tested when the titular child (newcomer Aswan Reid), a nine-year-old orphan, arrives and has his own experience with religion, which clashes with the mission's take on Christianity. Samson and Delilah streams via SBS On Demand, Stan, YouTube Movies, iTunes and Prime Video. Sweet Country streams via ABC iView, Netflix, YouTube Movies, iTunes and Prime Video. Read our full review. The New Boy streams via SBS On Demand, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Warwick Thornton. BeDevil One of Australia's most astonishing films — and yet one of the country's lesser-celebrated gems — Tracey Moffatt's BeDevil took the Queensland visual artist, photographer and filmmaker to Cannes and back. That external validation is all well and good; however it's really just the cherry on top of a potent triptych of haunting tales that demands attention on its own merits. In not only her first and only feature, but the first feature by an Australian Aboriginal woman, Moffatt takes inspiration from ghost stories told to her as a child by both her Aboriginal and Irish relatives. A thoroughly distinctive and immersive horror movie is the end result, and one that smartly and engagingly explores Australian race relations in a disarmingly unique way. Surreal, eerie and simmering with intensity, it'll also show you the Aussie landscape in a whole new light. BeDevil streams via SBS On Demand and Vimeo. Sweet As In Sweet As, the red earth of Western Australia's Pilbara region couldn't be more pivotal. For this coming-of-age drama, Jub Clerc (The Heights) deploys the patch of Aussie soil as a place where teenagers find themselves. The first-time feature director and writer draws upon her own adolescent experiences for her full-length debut, while also crafting the first WA flick that's helmed and penned by an Indigenous female filmmaker. Murra (Shantae Barnes-Cowan, Firebite) is one of Sweet As' adolescents learning to be shutterbugs; with her mother (Ngaire Pigram, also a Firebite alum) grappling with addiction, the 16-year-old's police-officer uncle Ian (Mark Coles Smith, Mystery Road: Origin) enrols her on a trip that she doesn't initially want to take — with youth workers Mitch (Tasma Walton, Scrublands) and Fernando (Carlos Sanson Jr, Bump) as guides and chaperones, plus Kylie (newcomer Mikayla Levy), Elvis (Pedrea Jackson, Robbie Hood) and Sean (fellow first-timer Andrew Wallace) as her new friends. Sweet As is available to stream via SBS On Demand, iTunes and Prime Video. Read our full review. The Drover's Wife The Legend of Molly Johnson A searing and impassioned take on a well-known Australian tale — a First Nations, feminist and anti-colonial version, too — The Drover's Wife The Legend of Molly Johnson is the film that Leah Purcell (High Country) had to make. See: her lengthy history with Henry Lawson's short story of almost the same name. In 2016, she adapted The Drover's Wife for the stage. In 2019, she moved it back to the page. Now, she's brought it to the screen — and the end result is a must-see. Only minutes in, in what marks the actor-turned-director's feature filmmaking debut, it's easy to see why Purcell keeps being drawn to retell this 19th century-set story. 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. And, ever the powerhouse, she writes, helms and stars. The Drover's Wife The Legend of Molly Johnson streams via SBS On Demand, Stan, YouTube Movies, iTunes and Prime Video. Read our full review. The Moogai First, The Moogai was a SXSW Midnight Shorts Grand Jury Award-winning short. Then, writer/director Jon Bell and his stars Shari Sebbens (The Office) and Meyne Wyatt (Strife) returned to turn this tale of Australia's past haunting its present on- and off-screen into a feature. This is an Aussie horror film born out of the Stolen Generations where the monsters of colonisation, White Australia policies and attitudes since remain inescapable, and where Indigenous children today are also snatched away by a literal monster — and it's a brilliant idea, as well as one that instantly feels as if it needed to have been made decades back. The Moogai begins on the Red River Aborigines Mission in 1969, where two sisters (debutants Aisha Alma May and Precious Ann) attempt to avoid being separated from their family by white men, only for one to be spirited away instead by the picture's namesake. When it jumps to half a century later, the film spends its time with Indigenous couple Sarah (Sebbens) and Fergus (Wyatt) as they prepare for the arrival of their second child, but find themselves dealing with malevolent forces. The Moogai via Netflix and YouTube Movies. Read our interview with Shari Sebbens, Meyne Wyatt and Jon Bell. Bran Nue Dae, Jasper Jones and Radiance When Rachel Perkins brought hit Aussie musical Bran Nue Dae to the big screen in 2010, she turned an already beloved stage musical into one of the country's cinema box office successes. The lively love story takes a road trip through 60s-era Australia, and brings plenty of famous faces along for the ride, with Jessica Mauboy (The Secret Daughter), Ernie Dingo (Squinters) and Deborah Mailman (Total Control) among the cast. Then, in 2017, she adapted another Aussie classic. This time, she set her sights on Craig Silvey's novel Jasper Jones, which examines race relations in a rural Australian town — particularly the treatment of the teenage titular character (Aaron L McGrath, Gold Diggers), who is considered an outcast due to his ethnicity. The book was already intelligent, thoughtful and engaging, and the film proves the same. Similarly worth watching is Perkins' moving 1998 filmmaking debut, Radiance, about three sisters (Wentworth's Rachael Maza, Deborah Mailman again and The Lost Flowers of Alice Hart's Trisha Morton-Thomas) working through their baggage after their mother's death. Bran Nue Dae streams via SBS On Demand, YouTube Movies, iTunes and Prime Video. Jasper Jones streams via YouTube Movies, iTunes and Prime Video. Read our full review. Radiance streams via ACMI Cinema 3. The Sapphires, Top End Wedding and Firestarter — The Story of Bangarra An actor and a filmmaker, Wayne Blair boasts an eclectic resume. You've seen him on-screen in Wish You Were Here, The Turning, Emu Runner, Seriously Red and The New Boy, and he both directed and featured in episodes of Redfern Now and the second season of the Mystery Road TV series. Behind the lens, he's also helmed episodes of Lockie Leonard, and directed the 2017 US TV remake of Dirty Dancing. But, Blair is probably best known for The Sapphires and Top End Wedding. They're both big films — and Blair has a definite feel for feel-good material. One follows a group of four Indigenous Australian female singers (Deborah Mailman, Jessica Mauboy, Preppers' Shari Sebbens and The Artful Dodger's Miranda Tapsell) sent to Vietnam to entertain the troops. As for the other, it tracks an Indigenous Australian woman's (Tapsell again) whirlwind quest to stage her perfect nuptials in her hometown of Darwin. Also on Blair's resume: documentary Firestarter — The Story of Bangarra, about Australia's acclaimed Indigenous dance theatre. Co-directed with Nel Minchin (Matilda & Me, Making Muriel), it's a powerful portrait that also steps through the nation's past and focuses on three siblings — Stephen, David and Russell Page — with dreams as big as their talents. The Sapphires streams via Prime Video. Top End Wedding streams via ABC iView, iTunes and Prime Video. Read our full review. Firestarter — The Story of Bangarra streams via ABC iView, SBS On Demand, YouTube Movies, iTunes and Prime Video. Read our full review. Here I Am Marking not one but two feature debuts — for writer/director Beck Cole (Deadloch) and star Shai Pittman (Around the Block) — Here I Am tells one of the oldest tales there is. It's also a prime of example of taking a familiar narrative and giving it a new voice; viewers have seen this story before in various guises over decades and decades, but never championing Indigenous women. When Karen (Pittman) is released from prison in South Australia, she embarks upon a quest for redemption, including reconnecting with her unimpressed mother Lois (Marcia Langton) and her young daughter Rosie (Quinaiha Scott). Unsurprisingly, that reunion doesn't go smoothly, but both Cole and Pittman are committed to riding the ups and downs. Both hit the big-screen for the first time in a striking fashion, and with a film that proves both intimate and clear-eyed in its multi-generational portrait. Here I Am streams via iTunes and Prime Video. We Are Still Here It begins with stunning animation, shimmering with the rich blue hues of the sea. From there, everything from lush greenery to dusty outback appears in its frames. The past returns to the screen, and a vision of the present finds a place as well — and crossing the ditch between Australia and New Zealand, and venturing further into the South Pacific, is baked into the movie's very concept. That film is We Are Still Here, which makes an enormous statement with its title, responding to 250 years of colonialism. Of course, filmmakers in the region have been surveying this history since the birth of the medium, because the topic is inescapable. Combining eight different takes from ten Indigenous filmmakers (including Here I Am's Beck Cole, A Chance Affair's Tracey Rigney, Carry the Flag's Danielle MacLean and A League of Her Own's Dena Curtis from Australia) instantly makes We Are Still Here stand out, however — and this Pacific First Nations collaboration isn't short on talent, or impact. We Are Still Here streams via SBS On Demand, Netflix, YouTube Movies, iTunes and Prime Video. Spear An Australian dance movie that uses its fancy footwork to step through the plight of the country's First Nations peoples, Spear is a striking cinematic achievement. First-time feature helmer, Bran Nue Dae and The Sapphires choreographer, and Bangarra Dance Theatre artistic director Stephen Page turns the company's performance work of the same name into a big-screen spectacle unlike anything crafted locally, or anywhere else for that matter. Mood, music and movement are pivotal, as a teenage boy wanders from the outback to the city to try to reconcile his ancient culture in a modern world. His journey is just as transporting for those watching as it is for everyone within the movie, as well as anchoring one of the most expressive pieces of Australian film perhaps ever made. Watch his with the aforementioned Firestarter — The Story of Bangarra for a fantastic double feature. Spear streams via ABC iView and Beamafilm. Read our full review. Satellite Boy On paper, it might seem easy to spot exactly why Satellite Boy proves so charming. Writer/director Catriona McKenzie smartly enlisted the now-late David Gulpilil (Storm Boy) as Indigenous elder Jagamarra, one of ten-year-old Pete's (first-timer Cameron Wallaby) guardians and the person teaching him about life on the land. It's a stroke of casting genius, clearly — and crucial to the film. That said, this dreamlike 2012 movie has several impressive casting touches as it traverses the Western Australian landscape, including unearthing young Wallaby as its lead and similarly finding fellow debutant Joseph Pedley to play Pete's pal Kalmain. McKenzie's feature also boasts a delightful narrative, which sees the two boys take to the bush en route to the city to save the home that Pete adores: a rundown drive-in cinema that this big-dreaming kid simply wants to get back into action. Satellite Boy streams via iTunes and Prime Video. Buckskin and Finke: There and Back The past few years have been memorable for Dylan River. The Alice Springs filmmaker directed delightful SBS web series Robbie Hood, was the cinematographer on rousing Adam Goodes documentary The Australian Dream, worked as the second unit director on the aforementioned Sweet Country, lensed The Beach (with the latter two both helmed by his father, Warwick Thornton), co-directed Mystery Road: Origin and was behind the wonderful Thou Shalt Not Steal. He also wrote, directed and shot two impressive documentaries of his own: Buckskin and Finke: There and Back. The first tells the tale of Jack Buckskin, Australia's only teacher of the near-extinct Kaurna language, while the second covers the rough, tough, two-day off-terrain trek that gives the doco its name. Both prove insightful, and showcase the astute skills of one of Australia's emerging filmmaking talents. Buckskin streams via SBS On Demand and Vimeo. Finke: There and Back streams via SBS On Demand, Netflix, DocPlay, YouTube Movies, iTunes and Prime Video. It's also one of our ten best movies of 2019 that hardly anyone saw. Servant or Slave and Looky Looky Here Comes Cooky Watching a documentary directed by Steven McGregor involves exploring Australia's complicated history. There's much for the director of Black Comedy and co-writer of Mystery Road, Redfern Now and Sweet Country to cover, of course. In 2016's Servant or Slave, he turned his attention not only to the nation's Stolen Generation, but to the Indigenous girls who were forced to work as domestic servants. The powerful film features five women recalling their experiences — and it's impossible not to be moved and horrified by their accounts. With 2020's Looky Looky Here Comes Cooky, the filmmaker takes a more irreverent approach to Australia's past, while still remaining just as probing. The charismatic Steven Oliver leads the show on-screen, as this clever and engaging movie revisits the story of Captain Cook from a First Nations perspective, including via songlines with the assistance of Indigenous performers. Servant or Slave streams via SBS On Demand, DocPlay, Brollie, Prime Video, YouTube Movies and iTunes. Looky Looky Here Comes Cooky streams via SBS On Demand.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=lZAQT0jTFuU AMMONITE Looking at an ammonite fossil is like putting your ear up to a seashell: in their ridged spirals, it feels as if a whole new world could exist. In the latter's case, each one is made from the remains of extinct molluscs from millions of years ago, and lingers now as a reminder of a different time and existence, its compact coils encasing all of its secrets. The striking specimens from the past provide the film Ammonite with its title, and with an obvious metaphor as well — but also an apt one that's brought to life with meticulous delicacy. In the second feature from God's Own Country writer/director Francis Lee, the two central characters in this patient yet always evocative 1840s-set romance are the product of centuries of convention and expectation, with society's engrained views about women both weathering away at them and solidifying their place. In a queer love story that once again arises organically in heightened circumstances, dives into a labour-intensive field with a resolute connection to the land, derives an elemental tenor from crucial locations, watches on tenderly as a new arrival upends the status quo and gifts two lonely souls a connection they wouldn't otherwise admit they yearned for, they're also as tightly wound as the historical remnants they tirelessly search for along the craggy, cliff-lined West Dorset coastline. Lee's impeccably cast, exquisitely acted, solemnly beautiful and moving film isn't just the lesbian counterpart to its predecessor, though. While the movies complement each other perfectly, Ammonite unearths its own depths and boasts its own strengths. Lee has made the concerted decision not just to focus on two women, but to fictionalise the relationship between real-life scientists who find solace in each other as they're forced to fight to be seen as anything other than housewives. Living in Lyme Regis with her ailing mother (Gemma Jones, Rocketman), Mary Anning (Kate Winslet, Wonder Wheel) is no one's wife, and doesn't want to be — but, working in the male-dominated realm of palaeontology, she's accustomed to being treated differently to her peers. As a child, she found her first ammonite fossil, which is displayed in the British Museum. Now scraping by running a shop that sells smaller specimens to rich tourists, she hasn't stopped looking for other big discoveries since. When geologist Roderick Murchison (James McArdle, Mary, Queen of Scots) visits Mary's store, however, he's after her services in a different way. In a casual reminder of just how dismissively women are regarded, she's asked to take care of his melancholic wife Charlotte (Saoirse Ronan, Little Women) while he travels abroad for work. Roderick thinks it'll be good for Charlotte to learn from Mary, to get outside daily and to have a sense of purpose, but Mary only agrees for the money. Read our full review. https://www.youtube.com/watch?v=JZQz0rkNajo THE DIG When Ralph Fiennes first trundles across the screen in The Dig, then starts speaking in a thick Suffolk accent, he's in suitably surly mode, as he needs to be. But, playing forthright and hardworking excavator Basil Brown, the adaptable Official Secrets, Hail, Caesar!, Spectre and A Bigger Splash star also flirts with overstatement in his initial scenes. Thankfully, he settles into his role quickly — and this 1939-set drama about an immense real-life archaeological discovery finds its rhythm with him. Hired by Edith Pretty (Carey Mulligan, Promising Young Woman) to burrow into what appear to be centuries-old burial mounds on her sprawling estate, Basil doesn't unearth any old find. His kindly employer has always had a feeling about the small hills on her property, she tells him in one of their friendly, leisurely chats, and her instincts prove accurate, sparking national interest. Adapting the 2007 novel of the same name by John Preston, this graceful movie explores Basil's dig, Edith's fight to retain both recognition and the items buried deep in her soil, her increasing health woes, and the keen excitement of her primary school-aged son Robert (Archie Barnes, Patrick). It also follows the circus that kicks up when the British Museum's Charles Phillips (Ken Stott, The Mercy) insists on taking over, and the love triangle that arises between his married employees Stuart (Ben Chaplin, The Children Act) and Peggy Piggott (Lily James, Rebecca) and Edith's airforce-bound cousin Rory Lomax (Johnny Flynn, Emma). Whether you already know the details or you're discovering them for the first time, The Dig tells an astonishing story — and while a mid-20th century archaeological dig mightn't sound like rich and riveting viewing, this fascinating feature proves that notion wrong. As well as its true tale, it benefits from two important decisions: the casting of Mulligan and Fiennes, and the involvement of Australian theatre director-turned-filmmaker Simon Stone. After the anger and raw energy of Promising Young Woman, Mulligan finds power in restraint here. Once Fiennes finds his knack as Basil, he's a source of stoic potency as well. Their scenes together rank among the movie's best, although, making his first movie since 2015's The Daughter, Stone ensures that even the most routine of moments is never dull. The Dig abounds with sun-dappled imagery of Suffolk fields, their green and yellow expanse being carved into one shovel at a time, but it's a gorgeously lensed film in every frame. Stone and cinematographer Mike Eley (who also worked on The White Crow, which was directed by Fiennes) rarely shoot anything within view in the expected manner, resulting in a movie that steps back into the past, chronicles an historical discovery, appears the handsome period part, yet also looks and feels fluid and lively as it ponders the reality that time comes for all things and people. Read our full review. https://www.youtube.com/watch?v=5-0w6yTt3lg MY SALINGER YEAR Cinema's recent obsession with JD Salinger continues, with My Salinger Year joining 2013 documentary Salinger, 2015 drama Coming Through the Rye and 2017 biography Rebel in the Rye. The reclusive The Catcher in the Rye author famously wouldn't permit his acclaimed novel to be adapted for the big screen, and that absence has clearly made the filmmaking world's heart grow fonder in the years since his 2010 death — although, in this case, Joanna Rakoff's 2014 memoir was always bound to get the movie treatment. In 1995, fresh from studying English literature at college and newly arrived in New York to chase her dreams, the wide-eyed aspiring scribe (Margaret Qualley, Once Upon a Time in Hollywood) takes an assistant job at one of the city's oldest and most prestigious literary agencies. Landing the role requires lying about her own ambitions, telling her new boss, Margaret (Sigourney Weaver, Ghostbusters), that she isn't trying to become a writer herself. (That's one thing the seasoned agent won't abide; another: any new technology beyond typewriters and telephones.) Joanna soon finds an outlet for her talents, however, when she's asked to reply to Salinger's fan mail. She's advised to send a generic response to the author's aficionados, as has always been the agency's policy, but she's moved to both secretly read and pen personal responses to them instead. French Canadian writer/director Philippe Falardeau's Monsieur Lazhar, from 2011, was one of that year's tender, touching and thoughtful standouts. But My Salinger Year, which opened 2020's Berlinale almost a year before reaching Australian cinemas, is far more perfunctory — making an interesting true story feel far more formulaic as it should. The filmmaker retains a gentle hand, fills his script with affection for the enthusiastic Joanna, and literally gives a voice to those who've been moved by exceptional literature, and yet the end result spins an adult coming-of-age story just pleasantly and affably enough, rather than strikes much of a lasting chord. It also feels slight while proving overstretched, making obvious statements about art and commerce, the past and the future, and the eternal struggle to maintain a personal-professional balance (with Salinger, or Jerry as Margaret calls him, weaved throughout each point). At the same vastly different junctures in their careers as the characters they play, Qualley and Weaver are the feature's obvious highlights, however. They're placed in a well-worn Devil Wears Prada-style relationship, but their back-and-forth provides the film with its spark (and, for Weaver fans, even recalls her Oscar-nominated supporting role in 1988 workplace comedy Working Girl). https://www.youtube.com/watch?v=35jJNyFuYKQ THE WHITE TIGER Adapted from Aravind Adiga's 2008 Man Booker Prize-winning debut novel, The White Tiger shares an animal metaphor in its name; however, it's another, about roosters and coops, that truly cuts to its core. Like poultry in a cage awaiting slaughter, India's poor are kept in their place as servants, explains protagonist Balram (Adarsh Gourav, Hostel Daze) in the pacy narration that drives the film. At the mercy of cruel and ruthless masters, they're well aware that they're being treated thoughtlessly at best. They watch on as others around them are stuck in compliant lives of drudgery, in fact. But, ever-dutiful, they're unwilling to break free or even defy their employers. That's the life that Balram is supposed to lead, and does for a time — after he ingratiates his way into a driver position for Ashok and Pinky (Bollywood star Rajkummar Rao and Baywatch's Priyanka Chopra Jonas), the American-educated son and New York-raised daughter-in-law of the rich landlord (Mahesh Manjrekar, Slumdog Millionaire) who owns his village and demands a third of all earnings from its residents. The White Tiger starts with a car accident outside Delhi involving Balram, Ashok and Pinky, then unfurls in flashbacks from a slick, unapologetic Balram in the future, so it's immediately apparent that he won't always be kowtowing to those considered above him in his country's strict caste system. It's also evident that his tale, as cheekily told via a letter penned to 2003–13 Chinese Premier Wen Jiabao, will take the audience on quite the wild journey. The White Tiger's framing device is a little clumsy, and its overt, blackly comic observations about the wealthy taking advantage of everyone they consider below them aren't new — but this is still a savage, compelling and entertaining film with something smart to say and an engaging way of conveying its central message. Thanks to 2005's Man Push Cart, 2007's Chop Shop and 2015's 99 Homes, Iranian American writer/director Ramin Bahrani is no stranger to street-level stories about everyday folks trying to survive and thrive under capitalism's boot, or to the twisted power dynamics that can ensue in society at large and in close quarters. Accordingly, he's a perfect fit for the material here, and brings a constantly probing eye to the narrative penned by his college classmate Adiga. Also ideal is Gourav. The actor is in excellent company, with Rao and Chopra Jonas each finding multiple layers in their characters' lives of privilege and eagerness to regard Balram as a friend while it suits. But as a bright-eyed but still calculating young man trying to work his way up in the world, and then as a cynical experienced hand who has seen much, endured more and knows how he wants the world to work, Gourav is electrifying. It's a performance that's bound to catapult him into other high-profile roles, and it's also the likeable and empathetic yet also ambitious and slippery portrayal this rollercoaster ride of a story hinges upon. Read our full review. https://www.youtube.com/watch?v=l7OVB-7gjJ0 MUSIC Sia isn't the first musician to try her hand at filmmaking. Music is barely a movie, however. As co-penned with children's author Dallas Clayton, the scantest of cliche-riddled, Rain Man-esque narratives is used to stitch together ten whimsy-dripping musical numbers — packaged as brightly coloured and costumed insights into the unique way in which the film's titular character sees the world, but really just lavish music videos to new Sia-penned songs performed by the feature's cast. And, awash in rainbow hues, surrealistic outfits and jerky, stylised dance moves, these frequent video clips are actually the most subtle parts of the movie. Sia's regular dancer and muse Maddie Ziegler jumps from the singer/songwriter's 'Chandelier' and 'Elastic Heart' videos to play Music, a nonverbal teenager on the autism spectrum, with such pronounced mannerisms that her performances feels like a caricature from her first wide-eyed stare. As the girl's just-sober, on-probation, much-older half-sister Zu (and acting in her first screen role since 2017), Kate Hudson stamps around with a shaved head that's supposed to signify the character's alternative credentials — and, as her character scowls about her new responsibilities to her sibling, drops phrases such as "people pound" and flits around town dealing drugs to fund her dream of starting a yoga commune, she's just as forceful. Music starts with its headphone-wearing namesake's daily routine, which has been carefully established by her grandmother Millie (Mary Kay Place, The Prom), and is maintained with help from the kindly local community. But then tragedy strikes, Zu is called in to look after Music, and she quickly establishes that she knows far less about what she's doing and about her sister than Millie's doting neighbours, such as boxing teacher Ebo (Leslie Odom Jr, a Tony-winner for Hamilton) and building mainstay George (Hector Elizondo, one of Hudson's co-stars in 2016's also abysmal Mother's Day). The movie might bear Music's name, but it tells Zu's story. Controversy swelled around the film when its first trailer dropped in 2020, with Sia called out for the fact that the neurotypical Ziegler isn't from the autistic community — and it shouldn't come as much of a surprise that the first-time feature director happily uses Music as a catalyst to spark Zu's growth, rather than as the movie's actual protagonist. Zu's journey involves learning not to resent her sibling or dump her on others (something that should be self-evident) and falling for Ebo, while Music becomes little more than her sidekick. By the time that Sia shows up, playing a version of herself and purchasing pills from Zu to send to Haiti as an act of charity, Music has already outstayed its welcome; however, her brief on-screen appearance hammers home not just the film's indulgence, but the fact that the movie is really just an advertisement for a concept album above all else. https://www.youtube.com/watch?v=XjLnk8YriCQ SHADOW IN THE CLOUD In Shadow in the Cloud, a passenger on a plane spies a gremlin peering at them from outside the aircraft — and science fiction fans will know that in 1963 with William Shatner, in 1983 with John Lithgow and in 2019 with Adam Scott, The Twilight Zone got there first. The second of those instances, in Twilight Zone: The Movie, was produced by filmmaker John Landis. In what's hardly a coincidence, the script for Shadow in the Cloud is co-credited to Landis' controversial son Max (Chronicle, American Ultra). Plenty of details have been changed here, with the second feature from director and co-writer Roseanne Liang (My Wedding and Other Secrets) set in 1943, primarily taking place on a B-17 bomber from Auckland to Samoa and focusing on Flight Officer Maude Garrett (Chloë Grace Moretz, Greta). From the outset, the film also endeavours to draw attention to gender politics. After its airborne scenes, it gets gleefully absurd, too. Still, after some initial intrigue, Shadow in the Cloud kicks into gear with a been-there, seen-that air that can't be shaken, even as the movie tries to fly into over-the-top B-movie territory. It doesn't help that, while endeavouring to mixing feminist sentiments with gonzo genre flourishes, it spends far too much time letting men voice their utter surprise that a woman could be caught up in this narrative. Those comments echo as Maude sits in the ball turret hanging beneath the aircraft. She's hitching a ride with an all-male crew (including The Outpost's Taylor John Smith, Hawaii Five-O's Beulah Koale, Love, Simon's Nick Robinson, Operation Buffalo's Benedict Wall and Avengers: Endgame's Callan Mulvey) for a secret mission that she isn't allowed to let them in on, and they're none too happy about the situation. So, that's the only space they're willing to give her. They're content to chatter away obnoxiously about her, though, and to dismiss her worries as hysterics when she spies a critter wreaking havoc outside. This part of the picture is enough to give viewers whiplash. In the tension-dripping creature-feature tradition, and as a Twilight Zone remake, Maude's experiences during the flight are the film's best. If her anxiety-riddled time with the gremlin had been stretched out to movie-length and packaged with example after example of how society overlooks women, they could've had real bite, too. And yet, the way the movie's sexist dialogue is used to make a girl-power point proves near-excruciatingly clunky and cliched, rather than clever or meaningful. Imbalance plagues the film over and over, actually — as evidenced in the 80s-style synth score that sounds great but doesn't quite fit, its constant tonal shifts, Moretz's performance, and the overall feeling that the movie thinks it has nailed the combination of out-there and astute. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26; and December 3, December 10, December 17, December 26; and January 1 and January 7. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky, The Furnace, Wonder Woman 1984, Ottolenghi and the Cakes of Versailles, Nomadland, Pieces of a Woman, The Dry, Promising Young Woman and Summerland.
Cheese toasties, chicken tenders and cheesy bolognese aren't dishes you'd normally expect to encounter in a buzzy, neon-lit, Tokyo-inspired CBD restaurant. But when that cheese toastie is layered with Kewpie and furikake, those golden chicken tenders are crowned with caviar, and that cheesy bolognese envelopes plump Tajima wagyu gyoza, you realise KODA isn't here to play by anyone else's rules. It's said that to break the rules, you first have to know them — and that's exactly the case at this Japanese-influenced spot by hospo veteran Matt Yazbeck (Toko). When we broke the news about KODA in October, Yazbeck promised a "no-attitude, fun-times destination" in the sun-washed corner space once home to Monopole. Judging by the opening energy — and the menu — he hasn't missed. [caption id="attachment_1052649" align="alignnone" width="1920"] Saidie Creative[/caption] At the centre of it all (and beyond those attention-grabbing snacks, which also include crumbed salmon maki, lobster-topped ramen and crinkle-cut fries with Java curry) is a glowing robata grill framed by an ice-filled display of market seafood and premium cuts. Diners point to whatever catches their eye — ponzu-glazed snapper, whole Moreton Bay bugs finished with lemon, Kurobata pork ribs with chilli miso, Tajima 9+ wagyu — and the kitchen cooks, seasons and serves it on long wooden Japanese boat paddles. Veggies get the same treatment, from yuzu kosho butter-brushed greens and a soy-dashi mushroom hot pot to teriyaki-buttered jacket potato topped with tofu sour cream. Drinks also come with a nod and a wink. Expect matcha highballs, Oreo-topped cocktails and Kylie Minogue rosé alongside a solid selection of sake, Japanese beers and Australian wines. The space itself has also been reimagine. Gone are Monopole's understated neutral tones and linen-topped tables — in their place: draped cherry blossoms, carved timber and plush velvet banquettes, all backed by a high-vibes soundtrack that swings between rock and house. [caption id="attachment_1052657" align="alignnone" width="1920"] Saidie Creative[/caption] Images: Saidie Creative.
A new rooftop bar from a beloved Sydney brewer is now open in the inner west. Philter Brewing is drawing inspiration from 80s garden bars and Palm Springs with its sun-soaked rooftop bar on top of its Marrickville brewery and taproom. Since launching a no-fuss XPA four years ago, Philter has become a mainstay in Sydney bottle shops, pubs and bars. Now, the craft beer merchant is trying its hand at facilitating summer beers and cocktails by opening this new rooftop venue, Marrickville Springs. The space is fitted out with pastel-hued tiles, white breeze blocks, a neon bin chicken and a mural from local artist Mielo. "The ibis was a given, nothing says Marrickville like a picnic pirate, but the palm trees shout out to the area, too," Philter Sales and Marketing Director Stef Constantoulas says. "We wanted Marrickville Springs to have a totally different feel to our bar and restaurant downstairs, but it's still very Philter — it's all in the retro touches," Managing Director Mick Niel says. On the rooftop you'll be able to sip Philter's range of beers both on tap and in tins, plus your choice from a reserved wine list and frozen cocktails. Enmore Road joint Jacoby's will be helping out by curating a selection of classic cocktails for the bar. While cracking a beer in the sun is the main attraction at Marrickville Springs, there will also be a selection of typical but tasty bar snacks including dinner party favourite prawn cocktails and tasting boards decked out with locally sourced cheese. The bar will be open to walk-ins, but if you're heading out with a large group you can reserve a spot at the Philter Brewing website. Appears in: The Best Rooftop Bars in Sydney
Searching for the best Sydney hair salon or barbershop is a harrowing journey. We've all had bad haircuts. Some of us have even tried (and likely failed) to do it ourselves. But once you find the perfect fit, you're life is forever changed. And you'll likely hold onto them for many years to come. But how many bad haircuts or beard shaping mishaps must we go through before we find the one? To make sure that time comes sooner rather than later, we have created this definitive list of the best places to get a haircut in Sydney. These local barbers and hair salons are staffed by total pros — no students learning to cut real human hair for the first time. So, read on to find your future hairdresser or barber who will help you look as fabulous as you feel.
The spot that was home to North Bondi Italian has to be one of Australia's most enticing restaurant venues, with million-dollar views, proximity to the waves and a ready-made crowd of surfed-out, ravenous diners. With Matt Moran, Shay Cullen, and head chef Steve Jacamos at the helm, the famed eatery continues to draw diners with a regular rotation of collaborations and takeovers (most recently with North Bondi Kepos last winter), and a sunny balcony. It's just made for people-watching with a cocktail in hand as the sun goes down over North Bondi on balmy summer nights. However, a modern seafood menu (with a focus on fresh produce and local suppliers) remains the star all year round at North Bondi Fish. The emphasis is on quality produce, transformed into light, accessible, uncomplicated meals and snacks, with fish cooked on an Inka Grill. Several Matt Moran favourites are on the list, including the NBF fish taco with cabbage, pineapple and jalapeño, swimmer crab linguini with chilli and basil, half-shell scallops with XO butter and grilled Fremantle octopus with chimichurri and capsicum. Dessert? How about a chocolate parfait with poached cherries and crème fraîche ice cream or a pineapple fritter with coconut sorbet and rum caramel? Non-winos can enjoy some tempting and very drinkable alternatives, including passionfruit, lychee or berry mocktails, while the Tulum with Patron Silver, triple sec, coconut, habanero and seaweed is a surprising glass of fun. To suit the coastal location and the salty, sandy realities of beachside wining and dining, the restaurant has donned a relaxed, casual interior evocative of what you might find in Mediterranean climes. Communal wooden benches and tables are lit with playful dashes of colour that travel outwards to the verandahs. In the words of Matt Moran, "North Bondi Fish is for the locals. It's relaxed, it's fun and it's no fuss. It is the kind of place you head to for something good to eat anytime of the day, even while still in your thongs and boardies."
A vibrant celebration of international food and culture has taken over the quaint suburb of Sefton. Spicetown — a hub of night markets dedicated to showcasing local talent — has arrived as an extension of the popular Burwood Chinatown night markets, aiming to provide go-to stomping grounds for the surrounding community from 4pm to 10pm every Thursday to Sunday. Just a short walk from Sefton Station is this vibrant market, lit up by twinkling fairy lights and enveloped with the tempting aromas of sizzling skewers, sugarcane and sweet treats. Reviving a space at 66 Clapham Road, this weekly fair boasts over 25 stalls dedicated to beloved local businesses and their decadent delights. Immerse yourself in the plethora of cuisines available, from Afghani, Indian, Chinese and Turkish street food to Sudanese dishes, Lebanese falafel wraps and Japanese sweet potato-starring desserts. During your exploration of its many offerings, you'll discover the likes of the famed Tanghulu crew — a kaak station and refreshing bubble tea among the array of food and drink selections taking up residence at Spicetown. Even local businesses like Sugar House Waffles, Dressydates and Lokmades, as well as familiar faces from the Burwood Chinatown markets like Skewer House, have secured a spot on the weekly food lineup. Following its extravagant Lunar New Year festivities, Spicetown will continue to celebrate the suburb's rich culture and enticing bites on offer — and there are still a few more exciting vendors that are yet to make an appearance. Leading the exciting additions of the upcoming food offerings that'll set up shop shortly include a stall slinging bowls of laksa and fragrant Indonesian dishes and the viral dessert brand Kurepu Crepes, which will join the food lineup at the end of February.
Head south of Sydney or north of Victoria and you're sure to find quaint towns complete with awe-inspiring national parks and world-class wineries. The NSW south coast and southern highlands provide just this, plus an idyllic mix of rolling hillsides and romantic beachside homes perfect for you and your partner's next getaway. If you're looking to get out of the big city, there is an abundance of secluded stays scattered across southern NSW ready to serve as your landing pad to unwind and explore some of the most beautiful landscapes the state has to offer. We've done the hard work for you and found these one-bedroom (or more — in case you wanted to bring your favourite couple, too) cabins, lakeside stays and bushland cottages so that you can live out all your rom-com fantasies surrounded by rustling trees and ocean breezes. Recommended reads: The Best Places to Go Glamping in NSW The Best Tiny Houses You Can Book Around NSW The Best Hotels in Sydney The Best Places to Stay in the Blue Mountains The Bower, Mount Kembla This two-story bungalow allows you to live among the trees for the period of your stay. Just fifteen minutes outside Wollongong, you can experience the slow-moving small-town lifestyle with the nearby comforts of the city. From $350 a night, sleeps five. Bawley Point Cottage, Bawley Point Combining the best of both worlds, this south coast stay is part bushy cottage, part beach house. You can use the provided kayaks and head on an action-packed trip or just sit and read among the trees. From $220 a night, sleeps four. Soul Wood, Termeil Wake up to views of the bushland from this wooden tiny house. The dreamy outdoor bathtub is surrounded by tall native trees that will have you feeling completely immersed in the natural surroundings. From $300 a night, sleeps two. Beachfront Glamping, Bawley Point To say you're going glamping is an insult to this luxury beachfront tent. Soak up the great outdoors from the tent-style bedroom while enjoying the luxuries of a private kitchen and bathroom from the attached unit. From $320 a night, sleeps two. The Lakeside Barn, Wildes Meadow An architectural gem on the south coast, this waterfront barn was created in the 90s from the wood of old Darling Harbour wharf buildings. The barn contains a modern bathroom and kitchen, spacious living areas and a top-floor bedroom that looks out onto the lake. From $333 a night, sleeps two. Creekside Tiny House, Foxground Wake to the sounds of the gurgling creek at this modern tiny house. Located just outside of Kiama and Gerringong, the quaint stay places you nearby a variety of local hiking trails and beaches. From $298 a night, sleeps two. Studio Barn, Nowra This transformed barn somehow packs in a spacious living and kitchen area, a bedroom, a newly fitted bathroom and a private garden out back. It's a cute and affordable spot for those looking to explore the natural wonders of Kangaroo Valley. From $300 a night, sleeps two. Fig Tree Cabin, Moruya This pet-friendly cabin welcomes all of your non-human friends with open arms. From the pugs to great danes and even horses, the property will save you paying any expensive kennel fees while on your romantic adventure. From $140 a night, sleeps two. Lyra, Kangaroo Valley Relax in style with this lush Kangaroo Valley house, overlooking the Barrengarry Mountain range. The house is built from locally sourced timber and rocks and is flooded with light thanks to the large front windows and glass roof panels, bringing as much of the surrounding rainforest into your stay as possible. From $690 a night, sleeps six. Buru, Pebbly Beach Buru is more of a group couples retreat than a solo getaway — so find a couple of other lovebirds and book out this stunning, secluded stay. The renovated 1960s house backs onto a idyllic white sand beach and contains both an indoor and outdoor fireplaces perfect for cosy nights after a day of swimming, surfing and exploring. From $1164 a night, sleeps eight. New Atlas, Meroo Meadow Gaze out onto Cambewarra Mountain from the back porch of this bright beachy home just outside of Berry and less than 20 minutes drive from Seven Mile Beach. From $309 a night, sleeps four. The Old Schoolhouse, Milton This sun-drenched one bedroom loft sits on farm land just a couple minutes outside of the rural town of Milton. Sip coffee from the balcony overlooking the farm or pay a little extra and take your relaxation up a notch by sending a masseuse to the loft thanks to the accommodation's Indulgence Package. From $316 a night, sleeps two. The Lazy Curl, Woodburn This minimalist cabin will provide you with a simple and serene stay in the heart of the south coast. Its eco-friendly design generates energy through solar and collects rainwater and its indoor fireplace will keep you feeling toasty even on cold winter nights. From $245 a night, sleeps four. Monga Mountain Retreat, Reidsdale Stay in Monga National Park while living out your cottage-core dreams at this lovely bushland cabin. Comfy chairs sit on a patterned rug and quaint appliances are scattered around the wood-laden kitchen. From $155 a night, sleeps two. Tawillah Luxury Retreat, Milton This countryside couples retreat has serene views of the Milton countryside and the nearby Budawang Range. Just a two minute drive from town, enjoy a seclude getaway with a beautiful deck, sun lounges and a fire pit. From $460 a night, sleeps two. All photos courtesy of Airbnb. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Here at Concrete Playground, we're big proponents of the night-time economy. Cities that keep things moving after dark often offer the best in food, beverages and culture. And while Australians are notorious morning people (who love their 8am flat whites), data from Visa has shown that we still find a lot of value in getting out in the evening. The Visa Australia Night-time Economy Index 2025 is a new in-depth analysis measuring data such as spending, vibrancy, venues open and even the number of nightworkers who are boosting the economy after dark. According to the data, Melburnians are getting off the couch the most frequently and spending their hard-earned dollars on bars, restaurants, and late-night feeds. Sydney and its surrounding metro areas also nabbed 12 of the 20 top night-time hotspots, proving that the city is slowly bouncing back from its lockout laws. Of course, it's not exactly surprising that the two most populous East Coast cities are ruling the after-dark economy. However, there are also several regional areas, such as Newcastle and Lake Macquarie, that are tapping their cards once the sun sets. Canberra is also increasing its evening spending, thanks to tourists and the opening of more eateries. To learn more about the future of the night-time economy and what's trending after dark right now, Concrete Playground's Managing Editor, Eliza Campbell and Staff Writer Alec Jones shared their insights. CP: Melbourne was named the number one night-time hotspot in Australia according to data from Visa. Does this surprise you? Eliza: It doesn't surprise me at all. This city has an inherent underground nature that invites you to always be exploring and looking beyond the surface — particularly after dark. And nightlife isn't limited to weekends, either. Between gallery exhibitions, secret music gigs and speakeasy bars, there's something to get lost in at all hours, any day of the week. CP: 12 out of 20 of the night-time hotspots were in Sydney and its metro areas. What's your favourite thing about Sydney after dark? Alec: This began to pick up in late 2023 after we all shook off the last of lockdown fever, but it's that feeling of merriment in the air. It's like static electricity. Walking past busy bars and restaurants in suburbs like Darlinghurst, Surry Hills, and Newtown, hearing the chatter and seeing people share food and drinks with their friends and family, it never fails to make me smile. CP: What's one trend you're seeing emerge in the night-time economy that excites you? Eliza: The resurgence of secret gigs and DJ sets. I love the idea of last-minute announcements to see some of the world's best artists in intimate settings — first-come, first-served. There's less of a distinction between going to a live gig and going to a bar now. We want once-in-a-lifetime cultural experiences that blend seamlessly into the fabric of our city's nightlife, and I'm so here for it. Alec: Venues in Sydney that are really performing are the ones with a loyal audience, but also a hook. Something you can't find anywhere else, whether it's on the menu or just in the space. People aren't going out just to get drunk or have a feed; they're doing it to go to these specific places. [caption id="attachment_885691" align="alignleft" width="1920"] Above Board[/caption] CP: What's your top tip for planning the perfect night out? Eliza: Have a rough outline of the kind of evening you want to have — but leave room for spontaneous adventures. There's nothing worse than not knowing where to go or what to do next, but equally, some of the best nights are all about the memories you make getting from point A to point B. CP: What's a venue or precinct that gets the night-time experience right? Alec: YCK Laneways in the Sydney CBD has actually done a great job of revitalising an area that doesn't really scream "nightlife." The bars in that area are some of the most interesting venues you'll find in the city and are all within walking distance of one another (and your bus or train home). Eliza: One of my favourite Melbourne venues that absolutely nails the night-time experience is Collingwood's Beermash — and its (somewhat secret) adjoining speakeasy bar, Above Board. Beermash spotlights independent craft beer and wine producers and lets you take-away or drink-in at bottleshop prices. Al fresco drinks on the Smith Street terrace can be followed by award-winning cocktails upstairs in what's, in my opinion, one of Melbourne's most unique hidden bars. From casual and fun to cosy and intimate — the perfect evening trajectory. View this post on Instagram A post shared by Beermash (@beermash) [caption id="attachment_1025682" align="alignleft" width="1920"] Hyde Park[/caption] CP: How is nightlife intersecting with other parts of culture (like art, fashion, live music) in interesting ways right now? Eliza: What's interesting about the intersection of nightlife and culture right now is that there's less separation than ever before. With the rise of low- and no-alcohol trends, nightlife in 2025 isn't just about partying or bar-hopping anymore. People still want to experience their city after dark — but that now spans the full spectrum of the arts: galleries and museums staying open late, fashion infiltrating the food and drink scene, and live music spilling out from bandrooms into public (and often free-entry) spaces across the city. CP: Where's your favourite after-dark venue? Eliza: An after-dark venue needs good music, good drinks and just the right amount of grunge. For me, that's Heartbreaker in the CBD. Catch me screaming post-punk revival with a negroni in hand in the early hours of the morning. View this post on Instagram A post shared by Heartbreaker Bar 💔 (@heartbreakerbar) Alec: Crows Nest on the lower North Shore has exploded since the Metro station opened, Parramatta is packed with great venues, and love it or hate it, Bondi continues to be iconic without trying very hard. Ask a local who lives in a different part of Sydney from you and follow their advice. [caption id="attachment_994726" align="alignleft" width="1920"] Carriageworks[/caption] CP: What do you hope to see more of in our after-dark spaces from both venues and councils? Eliza: I'll always scream and shout about supporting the Arts. Free entertainment like live music, performance and exhibitions not only supports our incredible local arts community but also helps people stay connected to the endlessly inspiring, exciting and thought-provoking creative industries — especially in tough political and economic climates. The more we can bring people together, the better. Alec: Regular events like night markets consistently draw big crowds from locals, but what if instead of the same old gozleme and chips-on-a-stick stands, we got famous restaurants from around Sydney to get involved? That'd help connect communities with food and drink they can't usually find on their side of whatever the closest bridge is (we don't cross any of them enough). CP: For people who say, "There's nothing to do after 9pm anymore", what would you tell them? Alec: You're not trying very hard. You can find something really cool if you just look a little bit harder. Eliza: I'd say, "Where are you? Obviously not in Melbourne." Discover the vibe near you. Lead image: FG Trade Latin / Getty
Sydney is set to double for 1920s Long Island and New York — again. When Baz Luhrmann (Elvis) decided to bring The Great Gatsby to the screen, he did so by filming in the Harbour City. Then, a decade after the Australian director's Oscar-winning movie hit cinemas, a The Great Gatsby-themed club popped up in town host a The Great Gatsby-inspired cabaret variety show. Cut to 2025 and that event, aka GATSBY at The Green Light, has a return to the New South Wales capital locked in, kicking off in December. Once more, Sydney Opera House is following in Luhrmann's footsteps, with GATSBY at The Green Light making its Harbour City comeback between between Saturday, December 13, 2025–Sunday, March 15, 2026. The production will take over the venue with an array of excuses to pretend that it's a century ago — and that you're on the other side of the globe. The GATSBY part of the big event's moniker refers to the entertainment, while The Green Light is the temporarily rebadged locale where this party-esque experience will occur. First, the show: taking its cues from F Scott Fitzgerald's book, which is marking its 100th anniversary in 2025, GATSBY gives the classic text the aerial, burlesque, dance and circus treatment. As performers show off their skills, live contemporary music accompanies their efforts. Odette will be crooning, Oscar Kaufmann is set to do hat stands, Miranda Menzies will play with fire and show off her hair-hang skills, Bayley Graham will tap dance, Florian Brooks will juggle and Bettie Bombshell is part of the fun, too. Spencer Craig is playing Gatsby, as is Jacob McPherson in the character's younger guise, while Mariia Borysiak is Daisy. Then, the club: The Green Light gleans inspiration from prohibition-era speakeasies. Yes, drinks are involved. Indeed, while you watch, you'll be able to say cheers to the entertainment with a beverage in hand. When it initially hit the stage at the Sydney Opera House — which hosted a sellout season — GATSBY at The Green Light hailed from director Craig Ilott, who added the event to his resume alongside Smoke & Mirrors, La Clique Royale at Edinburgh Festival's The Famous Spiegeltent, and also American Idiot, Amadeus and Velvet Rewired. With GATSBY co-producer Stuart Couzens, he was also involved in L'Hôtel, the dinner theatre experience which turned the exact same Sydney space into a French hotel with cabaret, circus and burlesque. "GATSBY at The Green Light is an experience we hope to be more than the sum of its parts — extraordinary aerial displays, awe-inspiring vocals, contemporary music and terrific choreography melded together into a party designed to reunite a great love story," says Ilott. "The allure of the world of GATSBY, combined with that of the Sydney Opera House, ensured its premiere season was a smash hit and we can't wait for this evocative experience to return with an even stronger version of the show." Added Sydney Opera House Head of Contemporary Performance Ebony Bott, "GATSBY at The Green Light draws you into a world of intrigue and refined decadence — and is a truly spectacular night out! The sell-out success of its premiere season proves audiences remain captivated by Gatsby's glamour, and we're delighted to once again extend the most coveted invitation of the season." GATSBY at The Green Light will take over Sydney Opera House's Studio, between Saturday, December 13, 2025–Sunday, March 15, 2026. Head to the venue's website for tickets and further details. Images: Daniel Boud / Prudence Upton / Anna Kucera.
With Groovin the Moo announcing its dates then cancelling, and Splendour in the Grass sadly doing the same, your plans for 2024 might be missing a few music festivals. News for the industry hasn't been great Down Under in recent years, especially in Australia this year. But Listen Out is aiming to buck the trend, locking in its return for spring, as well as its dates and venues — and all of the above for Listen In as well. "It's been a very tough time for the Australian music festival industry and we are thrilled to be back in 2024, welcoming returning and first-time attendees through the gates," said Listen Out's promoters, confirming that the event will get everyone dancing for the third time in the pandemic era after 2022 and 2023 runs. [caption id="attachment_957218" align="alignnone" width="1920"] Jordan Munns[/caption] Last years' fest was Listen Out's most successful in terms of ticket sales ever, and the crew behind it are hoping to continue that trajectory. Something that might help: turning the fest into a 16-plus event, age-wise, which is a first for 2024. The festival's focus is staying true to its niche, filling its stages on electronic and hip hop artists — both international and local talents, too. The lineup hasn't been revealed as yet, but watch this space to see who follows in Skrillex, Four Tet, Lil Uzi Vert, Ice Spice and company's footsteps from 2023's bill. [caption id="attachment_957232" align="alignnone" width="1920"] Anna Warr[/caption] This is Listen Out's 11th year, with four stops on the agenda: Caribbean Gardens in Melbourne, HBF Arena in Perth, RNA Showgrounds in Brisbane and Centennial Park in Sydney. Listen In, the condensed version of the fest with a smaller lineup, is headed to Go Media Stadium Mt Smart in Auckland, and also Ellis Park in Adelaide. [caption id="attachment_957226" align="alignnone" width="1920"] Jordan Munns[/caption] Listen Out and Listen In 2024 Dates: Friday, September 27 — Listen Out Melbourne, Caribbean Gardens, Wurundjeri Land / Melbourne Saturday, September 28 — Listen Out Perth, HBF Arena, Mooro Country / Joondalup Sunday, September 29 — Listen In Adelaide, Ellis Park / Tampawardli (Park 24), Kaurna Country / Adelaide Friday, October 4 — Listen In Auckland, Go Media Stadium Mt Smart, Auckland / Te Ipu Kura A Maki Saturday, October 5 — Listen Out Brisbane, Brisbane Showgrounds, Meanjin / Brisbane Sunday, October 6 — Listen Out Sydney, Centennial Park, Gadigal Country [caption id="attachment_957230" align="alignnone" width="1920"] Samm Venn[/caption] [caption id="attachment_957221" align="alignnone" width="1920"] Sam Venn[/caption] [caption id="attachment_957224" align="alignnone" width="1920"] Mitch Lowe[/caption] [caption id="attachment_957228" align="alignnone" width="1920"] Anna Warr[/caption] [caption id="attachment_957220" align="alignnone" width="1920"] Sam Venn[/caption] [caption id="attachment_957225" align="alignnone" width="1920"] Zennieshia Butts[/caption] Listen Out and Listen In's 2024 season tours Australia and New Zealand in spring 2024. For more information, head to the festival website — and we'll update you when lineup details are announced. Top image: Mitch Lowe.
Obelisk Beach has great views and not just because it's one of the only legal nude beaches in Sydney. While the walk down to this Mosman beach is not for the faint of heart — you'll have to scramble down a rocky track and down a long set of stairs — it's more than worth it for the stunning views over Sydney Harbour. Despite its cult status, Obelisk is usually rather tranquil, so it's a great spot to head for a quiet little skinny dip.
Enjoy the fireworks side-by-side with giraffes at the Taronga Zoo's New Year's Eve celebrations. Panoramic views of Sydney Harbour, live entertainment and a visit to see the animal are all on offer at the zoo's ticketed, family-friendly event. Packages range from $200–600 a head with the location and experience making up most of that cost. All price points including access to the zoo, entertainment throughout the night and harbour views during the fireworks, although the $200 Silver Reserve does note "some obstructed views." If you upgrade to the $600 Diamond Reserve, you're guaranteed unobstructed views of the fireworks, plus you'll receive a complimentary food hamper and your choice of a bottle of wine or four beers to share between two people, plus free parking and a zoo gift bag. BYO food and non-alcoholic beverages are welcome, but, sadly, no BYO alcohol. Tickets are available via Moshtix.
Summer in Australia means sandy feet, mangos, and a speaker permanently in your beach bag playing the music that will soundtrack the season. But, did you know that just 8.4 percent of the music we consume as Aussies is actually Australian? Thelma Plum, Keli Holiday, G Flip, Ben Lee, Gordi and whole host of Australian musicians are asking us to Ausify our algorithms this month. Why? Because the more we play Aussie music the more momentum it gets. More gigs, more music. More stories that represent the rich fabric of what makes up Australia being told. Whether you're watching a summer storm roll in, dipping in and out of the surf, or manning the BBQ, here's some inspiration to Ausify your playlists this AusMusic month. Prefer your music live? Aussie artists are always touring. This month, you can catch Josh Pyke, The Reubens, Thelma Plum and more across the country. A Summer Walk View this post on Instagram A post shared by K I T A (@kitaalexander) With the smell of jasmine in the air and the sun on your skin, nothing beats a headphones-in walk by the Harbour Bridge or through your local neighbourhood. Try Ausifying your walking playlist with Ocean Alley for the perfect summer soundtrack with sun-soaked guitar and hypnotic vocals. For the times your walk needs heavy-hitting lyrics and a lot of feelings, add some Kita Alexander to your walk. Or, when you need more of a strut than a walk, press play on some Jessica Mauboy. A Boogie with Friends View this post on Instagram A post shared by keli holiday (@keliholiday) There are so many Aussie artists begging to soundtrack your summer dance parties. Keli Holiday's 'Dancing2' is shaping up to be the song of the summer and is an absolute joy to dance to, especially around the people you love the most. For something new, check out Ninajirachi. She has quickly gone from triple j Unearthed High finalist to an absolute night out playlist staple with a nostalgic EDM sound. For infectious beats that feel like they are made to be played on a balmy summer night, put on some Electric Fields. Watching a Storm Roll In View this post on Instagram A post shared by Beyond Productions (@beyondproductions.tv) An Australian summer isn't complete without an afternoon or two spent watching a storm roll in as the day's humidity finally snaps away. This calls for comforting, nostalgic and somehow thrilling tunes. Take Midnight Oil for example with their classic rock vibe perfect for watching a summer storm. Or blast some King Gizzard & the Lizard Wizard for an anticipatory sound that somehow pairs perfectly with the impending approach of those telltale dark clouds. If you're looking to self-soothe and find comfort, Josh Pyke has the perfect ambient vibe to pair with claps of thunder and drops of rain. Road Trips View this post on Instagram A post shared by Thelma Plum (@thelmaplum) A road trip over summer is an Australian right of passage. Whether it's travelling to see family, chasing a waterfall on a scorching day, or driving to the coast to race through hot sand and dive into the sea, road trips feel like a summer non-negotiable. Missy Higgins 'Scar' is an essential accompaniment for watching the scenery pass by. Then, for those drives when you need poignant lyrics to scream along to, or maybe a boost of hometown nostalgia, Thelma Plum's music is road trip certified. Then, for something that will get the whole car going like a shot of espresso, hit play on Amyl and the Sniffers. Beach Day View this post on Instagram A post shared by Baker Boy (@dabakerboy) Nothing feels as good as that first beach day of the summer when the country slowly defrosts. A parmy at a surf club, sunscreen on your skin, and Aussie music playing on your speaker: the perfect day, really. For that welcome to summer feeling, Baker Boy makes the best feel-good, high-energy music to blast as the mercury rises. If you're spending a chill, surfy day by the water Xavier Rudd's music is the natural choice. But, if your beach days are more high-energy check out G Flip for big vocals and punchy beats. This summer, make it your mission to explore Aussie music. The more you explore, the more it gives back. Find out more at the Ausify website.
Literally massive news, movie lovers: IMAX is bringing its big-screen experience to Queensland. Australia's number of giant spots to catch a film is expanding to three, with the Gold Coast joining Sydney and Melbourne. Cinephiles will be able to check out the new screen before 2024 is out, with the country's latest IMAX set to open before Christmas and Boxing Day. The Sunshine State has been in this situation before, however. South Bank's Cineplex in Brisbane was previously an IMAX but, while it still has the towering screen in operation, the picture palace hasn't shown the format for more than a decade. Accordingly, Brisbanites are set for a trip down the highway — and tourists to the Gold Coast who are keen on catching a flick during their stay have somewhere huge to hit up. The movie haven to head to: Event Cinemas Pacific Fair in Broadbeach, with an existing auditorium transforming for IMAX, which is being custom-built in. Expect a 1.1:9 aspect ratio screen, with images flickering across it thanks to IMAX 4K laser projection. There's no word yet if, like its counterparts down south, the Gold Coast's IMAX will be one of the biggest cinema screens in the world. IMAX Corporation and hospitality company EVT are aiming for a Thursday, December 19 launch, which means opening with Mufasa: The Lion King — and then showing 2024's Boxing Day slate. On an ongoing basis, film fans can expect to see not just blockbusters, but also concert films, documentaries and live events make the most of IMAX. The Gold Coast will now boast two sizeable ways to get a movie fix, with surround-screen viewing experience ScreenX making its Australian debut at Event Cinemas Robina back in 2023. Three walls, three screens, a 270-degree field of view: that's the maths behind that concept, which uses multi-projection across a screen area measuring 67.7 metres. Also in 2023, after IMAX Sydney reopened at Darling Harbour following a seven-year period where it was demolished and then rebuilt, it was revealed that another IMAX was on its way to Sydney. While it's planned for an existing Event Cinemas location as well, it hasn't come to fruition as yet. "At EVT, our vision has always been to provide experiences that escape the ordinary, and IMAX embodies that ethos. Queenslanders have long desired an IMAX cinema, and we are thrilled to bring this incredible cinematic experience to the Gold Coast," said Daniel McCabe, EVT's General Manager, Cinema Operations Australia. "Australia boasts an exceptionally passionate moviegoing audience and 2024 has already become the highest-grossing year for IMAX in the country since 2016. With audience demand at an all-time high, we couldn't be more excited to bring The IMAX Experience to the Gold Coast," added IMAX Chief Sales Officer Giovanni Dolci. IMAX will open at Event Cinemas Pacific Fair, Pacific Fair Shopping Centre, Level 1/1571 Hooker Boulevard, Broadbeach, in the lead up to Christmas 2024 — expected on Thursday, December 19, 2024. Head to the cinema's website for more details. Images: IMAX Queensgate NZ and IMAX Sydney.
This year, grab the fam' or a group of mates and enjoy rockin' around Darling Harbour with a plethora of free activities including Saturday fireworks, the much-loved Christmas festival and guaranteed good vibes, as well as paid pedal boat rides. From Monday, November 18, 2024, through to Wednesday, December 25, 2025, Darling Harbour will come alive. And in true Christmas spirit – the best bit is that it's mostly free. Christmas Festival A Darling Harbour fan favourite, the Christmas Festival will take place from Saturday, December 14 – Sunday, December 15 in Tumbalong Park. You can expect live performances from Samantha Jade, Anthony Callea and, of course, Santa. There will also be kids performers, including The Beanies, The Quokkas and Jayden Rodrigues' Dance Party, as well as a choir singalong to all your favourite Christmas tunes. Christmas on the Water Head down to Darling Harbour's picturesque foreshore, where the festivities will kick off with a quintessentially Aussie arrival from Santa Claus himself on Friday, December 6, on a jet ski. Stick around and check out the towering, sparkling floating Christmas tree at Cockle Bay, or watch the Christmas firework displays over Cockle Bay on December 7, 14 and 21 at 9pm. However, the thing we're most looking forward to has to be the pedal boats, which will be running from Saturday, Novemeber 30 2024 until Monday, 27 January 2025. Perfect for a cloudless Sydney summer day, enjoy the harbour's scenic views from the water with friends and family. Christmas-themed Entertainment The festive season is the ultimate time to get out and about with friends and family, and the International Convention Centre Sydney has got the perfect thing for you to do, hosting a range of live orchestra performances that will bring everyone's most cherished holiday films to life. Yes, you will be able to witness The Holiday in Concert on Saturday, December 14, or, if you're more of the Love Actually type, head down on Saturday, December 21 to get your fix. Plus, at Darling Quarter, you will find large-scale vertical garden boxes dressed in red bows from Saturday, November 16 – Thursday, December 26. Not only are they pretty cool to look at, but they make the perfect backdrop for an insta. The Harbour Village The Darling Quarter Village Green will be the place to be from Saturday, December 21 – Sunday, December 22. You will find Christmas Storytime with children's entertainers Emily Who and Nyssa and the Outback Band. The Harbour Village also offers Santa's Workshop, a free crafting station where kids can create their own paper wreaths with a unique native floral twist. Families can also enjoy a playful break with life-size lawn games like Connect Four and Wreath Ring Toss, because there's nothing like a bit of friendly competition. Santa Fun Run It's that time of year again when all of the Santas in Sydney come together for one epic run on Saturday, November 30. In support of Vision Australia, the run kicks off at 8 am at Metcalfe Park in Darling Harbour. Plus, you don't have to dress up to be part of the fun—anyone is welcome. It's all about helping raise funds for Carols by Candlelight and its Life Ready children's fundraising program. Food and Drinks Just to top it all off, in the true spirit of indulgence, you can count on Darling Harbour's many restaurants, cafes and bars to give you the energy you need to check everything out that Darling Harbour has to offer. You will find something for every craving, whether you're longing for Asian-inspired flavours at Darling Square, al fresco dining at Darling Quarter or an Italian feast at Fratelli Fresh. Visit the Darling Harbour website to find out more. Images: Anna Kucera, supplied.
"The grid. A digital frontier. I tried to picture clusters of information as they moved through the computer. What did they look like? Ships? Motorcycles? Were the circuits like freeways? I kept dreaming of a world I thought I'd never see. And then one day, I got in." If you've watched 1982's TRON and its 28-years-later sequel TRON: Legacy in 2010, or listened to the latter's sublime Daft Punk-scored soundtrack, then you've heard those words. But what if everything that Jeff Bridges (The Old Man) describes as Kevin Flynn wasn't relegated to the virtual realm? In TRON: Ares, viewers will watch what happens when the program that shares the movie's moniker makes the jump from the digital space to the real world, giving humanity its first encounter with AI beings. Indeed, amid its heavy lashings of laser-red hues, the just-dropped first trailer for the feature has a monster-movie vibe when worlds start to collide. Flesh-and-blood folks such as Greta Lee (The Studio) stare up, then start fleeing. While things happen quickly in the digital realm, films about it clearly don't always earn the same description, given that it has now been over four decades since the first TRON film made its way to cinemas, and 15 years since its first sequel. A third movie was announced the very same year that TRON: Legacy released, in fact, but TRON: Ares has taken time to return cinemagoers to the grid. For much of the past decade and a half, it's been one of those pictures in the "I'll believe it when I'm actually sitting in a theatre watching it with my own eyes" category, until Disney not only announced that the feature had a date with picture palaces in 2025, but also dropped a first image from it. The date that you can see the next TRON on the big screen: Thursday, October 9, 2025 Down Under. Cast-wise, Jared Leto (Haunted Mansion) plays Ares, aka the threatening face of AI. Bridges is also back as the software-company employee who first found himself in the digital world in the initial flick. Evan Peters (Agatha All Along), Hasan Minhaj (It Ends with Us), Jodie Turner-Smith (The Agency), Arturo Castro (The Vince Staples Show), Cameron Monaghan (Shameless) and Gillian Anderson (Sex Education) co-star in TRON: Ares, while Joachim Rønning (Young Woman and the Sea) directs. Following on from Daft Punk's masterpiece of a score for TRON: Legacy was always going to be a tough feat, but TRON: Ares isn't skimping on musical talent. Doing the honours, as heard in the feature's first trailer: Nine Inch Nails, adding to Trent Reznor and Atticus Ross' run of film work (see also: Soul, Mank, Bones and All, Empire of Light, The Killer, Challengers, Queer and The Franchise just in the 2020s alone). Check out the first trailer for TRON: Ares below: TRON: Ares releases in cinemas Down Under on Thursday, October 9, 2025. Images: courtesy of DIsney. © 2025 Disney Enterprises, Inc. All Rights Reserved.
"Those books were around at the time and they were just incredibly funny. And they had scenes in them. It just seemed like the kind of thing that could get done," explains Andrew Dominik. "It seemed to express a particular aspect of the Australian character that everyone recognised. The books were just really funny, and it was that kind of larrikin — I mean, Chopper always had the perfect line for any occasion, and he'd make you laugh." A stack of tomes penned by Mark Brandon "Chopper" Read about his underworld life, criminal activities and incarceration. A director embarking upon his first feature. From there, an Australian classic sprung. Of course Chopper took its own path. Indeed, there's far more to the film than just bringing the eponymous figure to the screen; however, it began with filmmaker Dominik (Bono: Stories of Surrender) taking inspiration from Read's own words, then being pointed towards more detail for a deeper interrogation by the very same. "When I started working on it, I think the first draft very much just took the books verbatim — I took them as though they were real, and there was something about it, it just felt a bit thin. So I started to do a bit of research into his life," the writer/director tells Concrete Playground. "I basically went through, he had his arrest docket in the back of one of the books, so we just rang up every cop that arrested him." "There were these two cops that he accused of corruption and, as a result of that, they'd done an inquiry into these two policemen. And because of that, they had to account for Mark's life for every day for a six-month period that he was out of jail. And it was extraordinary. One of them still had the hand-up brief and it was like 4000 pages. Sitting through and reading that, a very different picture of a person emerged," Dominik advises. "So all of the stuff from the books at that point just became the fireworks, if you like — his style of presentation, how he handled dialogue, basically. But the behaviour that's in the film largely comes from that, trying to make sense of this person who would shoot someone and drive them to the hospital. Like, what's going on there?" "And that's when it got really interesting. And at that point, I don't know, you just sort of muddled through it. I had to teach myself how to write when I was writing Chopper, because I'd never really written anything before. It took a while." [caption id="attachment_1019038" align="alignnone" width="1920"] Alessandro Levati/Getty Images[/caption] There's no sign of Dominik merely getting by in the finished film. Evident in every frame of the Eric Bana (Untamed)-starring crime dramedy — its guiding force considers it a comedy — is proof that this is one of Australian cinema's very best movies. Chopper kickstarted Dominik's feature career as a result, transformed Bana's from its Full Frontal and The Castle beginnings, and set the standard for every plunge into the Aussie underbelly that's followed. Twenty-five years on, it's still as much of a must-see as it was when it initially reached cinemas. The balancing act that the now-The Assassination of Jesse James by the Coward Robert Ford, Killing Them Softly, One More Time with Feeling, This Much I Know to Be True and Blonde filmmaker had to manage — one the one hand, boasting a wealth of material from Read himself to draw upon; on the other, also knowing how much of a grain of salt to take Chopper's own words with — is one of the reasons that it is the movie it is. How do you approach attempting to unpack someone as a character when they are, very famously and prolifically, spinning their own story about themselves as a character? And when they're really performing that character themselves? While we all tell, unfurl and consume narratives to make sense of the world, how do you dig into that when someone relays tales in such a dedicated, almost larger-than-life way, as Read did? Wrestling with these questions was also Dominik's task. Casting a lead actor that Read himself suggested, the impact of meeting Chopper's central figure on both the feature and Bana's performance, embracing the comic side, exploring human nature via a film about someone who was such a bundle of contradictions: these are all baked into Chopper's story, too, on its route to becoming an Australian classic. With the film back in Australian theatres since Thursday, August 21, 2025 to mark its 25th anniversary, we also chatted with Dominik about the above, whether there was ever anyone else in mind to play Read, digging into well-known figures across the filmmaker's career since — see: Jesse James and Robert Ford, Nick Cave and Warren Ellis, Marilyn Monroe, Bono, Mindhunter's serial killers — and what you learn when you make a feature like Chopper, plus more. On Balancing Read's Fondness for Storytelling — Including About Himself — with Reality and an Outside Perspective "Well, he's presented as somebody who has a passing relationship to truth anyway, that's a fantasist, in the film. I think most of the incidents in the film have some sort of counterpart in real life. There might be different people in them, but as far as the behaviour, it's all pretty —it doesn't come from nowhere. It's not made up in the sense that you might think. Even stuff like the dialogue between him and Jimmy Loughnan [Simon Lyndon, Troppo] in the courtroom is straight out of the court transcripts. And the stabbing is straight out of all of the statements that were taken at the time. So a lot of stuff is pretty accurate." [caption id="attachment_857753" align="alignnone" width="1920"] Scanned by Oscans Imaging in July 2021 on authority of Michele Bennett[/caption] On How Crucial Meeting with Read, After He Initially Declined, Was to the Film "It was amazing. It was kind of like I'd been dealing with something that was completely theoretical. I'd seen videotape of him. I'd exchanged letters with him. But to actually see the man himself and get a sense of him, and to get a sense of his emotional forcefield, if you like, it changed everything. It became a flesh and blood thing. And that first time I met him, I think I got more out of that conversation, Michelle and I went to Risdon Prison, and I just got more out of that than — it was extraordinary. That was where it really came to life, I think." On Whether It Was Always the Intention for Chopper to Have a Sense of Humour "I think of Chopper as a comedy. It's just that sort of thing of a human being a release valve is closer to the knuckle in Chopper, maybe. But he is, he's hilarious. I had a videotape of him from when Eric and I went and met him in Tasmania just before we started shooting, and it was about four hours long. And I remember I would put it in for people. They'd say 'what was it like?'. I'd say 'I'll show you'. And I'd just put it in for them, thinking 'okay, they're going to watch a few minutes of it' — and people would just sit there riveted for four hours watching the guy. He was such a great storyteller and so fucking hilarious. The stuff he would say. So it's just who he was. He can't help it. But even when you read police reports and stuff, the cops would be writing about how it was difficult to keep a straight face, 'he was hilarious as usual', that kind of thing." On Whether Dominik Had Anyone Else in Mind to Play Read, Apart From Chopper's Own Suggestion of Eric Bana "Not really. We must have seen over 300 people for the part. And there were a lot of actors who came in that were great and they could do a good performance and all that sort of stuff, but they weren't Mark. You needed somebody who could do the sort of anthropological aspects of character, too. And it was Mark who suggested him. I don't know what it was. He must have been watching Full Frontal or something, and thought 'maybe that guy could do me?'. And it just seemed like a ridiculous idea, like suggesting casting Martin Short or something. But Eric came in. We got him to come in: 'fuck it, we'll give it a go'. And the film, you could see it now. You could see it with him. He was very still. And Eric understood that he needed to create this person. It wasn't about doing a scene well, which is what all the other actors come in and want to do — a good job acting. Eric was creating a person that we could see, that we knew. By this stage, Mark was a public figure. There were various notorious interviews and stuff that he'd done." On Whether It Felt Like a Risk Casting Bana at the Time "I remember telling people that I was casting Eric Bana in the movie and they'd just look at you and feel embarrassed for you little bit. That, I guess, conjured up a picture of what the film was going to be based on what he'd done. But I'm always surprised with the actors I end up with. I didn't think I'd make a movie with Eric Bana and Vince Colosimo [The Family Next Door]. Vince, I just knew from like Street Hero. But he walked in the door and started talking, and it was just obvious. So I try not to be too — if anything, it just taught me to forget your expectations, just to take each person as you find them." On If There's Something That Draws Dominik to Digging Into Well-Known Figures "Well, I think so. I like people who are extreme, that seem to express something about human nature. But it's hard to say. I think that the real lure of a film is its emotional underpinning. The thing with Chopper was that he did stuff and felt bad about it. He seemed to be stuck in this kind of weird cycle of explosion and remorse, like he was trying to work some internal problem out. And I think the real attraction to it was just to show somebody being violent and then all of a sudden being conciliatory — and the conciliatory part is more alarming than the violence. I remember the first time seeing Chopper with an audience, and when he tries to give Keithy George [David Field, Spit] a cigarette after he stabbed him, you could really feel the bottom drop out of the room. The audience just didn't know where they were. And that's how I felt when I read about it. And that to me was just fascinating. And it's not intellectual ‚ it's a kind of a feeling. So with everything that I've done, there's always been some kind of — it gives me a feeling that I wanted to see if I can make manifest when you watch the film." On Getting Across the Film's Juxtaposition of Emotions — and Read's Contradictions "You shoot it until you believe it. He goes through such a wide range of emotions in that sequence [the Keithy George scene]. He's furious, and then he's upset with himself, and then he's looking for some kind of absolution or forgiveness from Keithy. And then he's just cracking jokes. Then he's completely callous about it, and just puts the whole thing away. It was just fascinating to watch it, to watch somebody in that state. But there's beats. You understand 'it's got to be like this and it's got to turn into that, and it's got to turn into this' — and it's all got to happen in a way that surprises you. So you shoot it and you come up with different ways of — when you're dealing with an actor, you come up with different jobs for them to try with each take until you get the one that works. But that was the whole process of making Chopper, it was that: how to bring it to life." [caption id="attachment_963203" align="alignnone" width="1920"] Simon Aubor[/caption] On What Dominik Learned From Making Chopper "I think you always want to be dealing with something that you don't know what you're doing, you don't know how you're doing it. Once you start playing to your strengths, then all of the energy goes out of the thing. So it's not like I have a set process about how to approach something. I'm always looking to stretch, if you like, or to be dealing with something that I don't know how to do it. It seems to me that when I do something that scares me or I'm not sure how I'm going to pull it off, that something much more interesting happens than when I'm doing something where I feel like I know what I'm doing. So I used to have various methodologies about how to approach shooting something or how to approach a performance or how I think should be. It was a very interesting thing when I started doing the documentaries, with Nick. It was the first time I went to work and I had no idea what I was going to do, because it's documentary — you turn up and you've got to make something happen. And I started to really follow my instincts, because there was no choice. I had to do something. So I just did whatever seemed right at the time. And what I discovered was that those instincts actually added up to something. Even if you couldn't see where it was going at the time, if you just kept following them to their logical conclusion, they would take you somewhere. And that really changed my approach to filmmaking. I used to be somebody who would do take after take after take, and the camerawork was very controlled, and there was a definite plan as to how the thing was going to be put together. And now I prefer to work faster, and I'm less interested in doing it well. I just want to do it. And there's a certain energy that comes from that that I really like, where I feel like the thing is more its own thing, and it's less an extension of me. It sort of gives back more — the process gives to me more than me just giving to the process." Chopper reopened in Australian cinemas for its 25th anniversary on Thursday, August 21, 2025.
After a year spent behind locked doors, Neptunes — a much-loved restaurant in Brighton Le Sands that's been a local hub since 1993 — has reopened. Thanks to a multimillion dollar revamp, the eatery (formerly known as Cafe Neptune) has transformed into a light-filled space that makes the most of its waterfront position. The Neptunes team — headed by owner John Kazzi — enlisted the help of DS-17 agency, whose portfolio includes Nour, Bel & Brio and Planar. Expansive windows look over Botany Bay, foregrounded by towering pine trees, while dramatic hanging plants bring the outside world in. Mirrors, bright tiles, wicker lighting and olive green booths add to the fresh, yet sleek, feel. The menu mixes traditional Mediterranean dishes with touches of modern Australian – across share plates, pizzas and pastas. Start with buttermilk chicken bites with parmesan aioli or Black Angus meatballs with tomato sugo, basil and pecorino, then move onto a pizza, woodfired in Neptunes' new oven, or a house-made pasta. Mains include a Southern fried chicken burger with slaw and chips, and salmon with smoked baby capers, quinoa, kale, fatoush salad and sumac vinaigrette.
The City of Sydney is investing in a new, affordable innovation space in the heart of the CBD which aims to give small businesses committed to combatting climate change a boost. Named 'Greenhouse', the 3800-square-metre hub on George Street will become a cost-effective office space for emerging climate tech startups and scaleups. Greenhouse will be set up at 180 George Street within Lendlease's new 56-storey tower, following negotiations between the property group and the City of Sydney. It aims to support more than 100 businesses, all of which are helping to reduce Australia's climate emissions and create positive change to the environment. The program is expected to create 1500 new jobs over a ten-year period. The precinct at 180 George Street is set to also include a public plaza, retail laneways, bicycle hub, public art and multi-storey resurrection of hospitality venue Jacksons on George. Initially announced in 2018 following Jacksons closure, the four-level venue will feature a pub, multiple dining options and an open-air rooftop bar. [caption id="attachment_824763" align="alignnone" width="1920"] Render of 180 George Street[/caption] "Greenhouse is a wonderful opportunity for tech entrepreneurs and the scaleup economy to be located in one of the most advantageous and desirable locations in Australia, and for the City to showcase Sydney's tech startup ecosystem to the world," Sydney Lord Mayor Clover Moore said. "By supporting our fastest-growing, sustainability-focused businesses with affordable, premium office space and access to expert-run services and globally competitive talent, we hope to reaffirm Sydney's reputation as a vibrant and sustainable city and the home of smart, inclusive and green innovation." Along with the affordable office space, Moore and Greenhouse CEO Creel Price promise businesses inside Greenhouse will be offered access to talent, growth services and investment opportunities like the Climate Tech Fund — a new venture capital fund. The innovation space is expected to open next year and follows several City of Sydney initiatives to move towards a greener city. Earlier this year, the city council set a net zero carbon emission target for 2035 and announced a plan to cover more than 40 percent of Sydney's city with trees and greenery by 2050. The City of Sydney's Greenhouse innovation space is set to open at 180 George Street, Sydney in late 2022.
There are plenty of reasons to explore Sydney's CBD. From the cobbled laneways of The Rocks to the swish foreshore playground that is Barangaroo, our city streets are recognisable to — and frequented by — tourists and locals alike. And when it comes to shopping, the CBD delivers something for everyone (and every budget). But navigating past the hotspots to undercover the hidden gems isn't as easy as it might seem. Alongside the city's sparkling facade is a thriving community of independent makers, creators and providers championing offbeat designs and small-scale goods. To help you venture off the beaten track, we've curated your go-to guide for the best stores to shop small in the CBD and surrounds. Find the perfect memorable gift, nab a great bottle of vino and sharpen your look at these ten must-see Sydney shops.
If your breakfast game is in need of a little shake-up, you'll find yourself in excellent hands at Pyrmont's Quick Brown Fox. Continuing to infuse Sydney's cafe scene with some fresh ideas, the eatery is dishing up tried-and-true classics alongside a slew of crafty, contemporary creations. Many ingredients are made in-house, too, while the remainder are sourced locally. An all-day menu features dishes like sardines on toast and a Korean fried chicken waffle, as well as a congee of Koshihikari rice that's finished with a chilli fried egg, glazed speck, spring onion and XO sauce. Even the standard smashed avo has been reimagined, here with a poached egg, crispy tofu and yuzu-infused sesame. At lunch, you'll sit down to the likes of an impressive roast chicken with couscous and tabouli or a flank steak served medium with béarnaise and shaved taro crisps. The cheeseburger with fries with grass-fed beef comes with cheese, mustard, ketchup and pickles. You also have a choice of brunch cocktails at Quick Brown Fox (espresso martinis, bloody marys, mimosas, negronis and spritzes) and a compact list of Australian wines. Appears in: Where to Find the Best Breakfast in Sydney
Two years on from shutting its doors, Balmain's oldest licensed pub The Dry Dock reopened under new owners following an ambitious full-venue transformation. The heritage-listed pub was established back in 1857 and has long been a community cornerstone. In its latest iteration, under the guidance of Peninsula Hospitality's James Ingram and Mike Everett, it's received a stunning makeover — splitting the space into three distinct but equally enjoyable offerings. The 330-capacity venue includes a classic 90-person front bar complete with screened sports and tap beers; a 120-seat lounge bar full of couches and booths around a fireplace in the centre; and a super sleek 100-seat dining room with its own oyster bar and charcoal grill. And if you have a particularly special group occasion, you can also snatch up a booking in the 14-seat semi-private dining room. Leading the charge in the kitchen is Head Chef Ben Sitton, who brings with him experience at some of Sydney's top venues including Felix, Uccello and Rockpool Bar & Grill. The dining room menu traverses raw seafood, shared plates, salads, pastas, grilled delights and desserts. Do not get this confused with classic pub fare, what's on offer from The Dry Dock kitchen is well and truly a cut above. You'll be able to cover the table in prawn cocktails, cod croquettes, an exceptional duck liver parfait and roasted peach salad, or order individual mains from the standout selections like The Dry Dock cheeseburger, the excellent roast chicken with pan juices and fries, steak frites, and a superb crumbed port cutlet that will make you permanently shift your position on pork cutlets. There are also a series of set menus for groups to tackle if they're looking to go big — with the banquets ranging from $75–120 per person. At the top end, the DD Luxe degustation boasts over 15 different dishes including kingfish crudo, the aforementioned chicken, duck ragu orecchiette and an 800-gram Brooklyn Valley rib eye on the bone. If you're just popping in for a beer or a glass of wine and eschewing a lengthier stint in the dining room, there's a shortened bar menu to browse. Partner your casual drink with oysters, sherry vinegar-glazed peppers or a selection of charcuterie. While there's plenty of luxury to be found at the venue, it also remains a standard pub at heart. There's plenty of room for walk-ins if you're after a casual pint, and you can bring your four-legged friends with you. Mort Street Park is right next door so you can play fetch before or after your trip to The Dry Dock.
Sydney's about to score a world-first. Launching Thursday, October 30, Solaré is a 150-foot classic superyacht reimagined as a full-service restaurant, cocktail bar and Mediterranean-style beach club — a floating escape where long lunches, sunset spritzes and daybed lounging all live on the same vessel. "Solaré is about reimagining what's possible on Sydney Harbour," said Founder Scott Robertson. "We've created a world-first, a restaurant, cocktail bar, and beach club onboard a 150-foot superyacht designed entirely around leisure." The yacht unfolds across three distinct levels. The Dining Room is a refined, sit-down restaurant built for leisurely progressions; the Terrace Deck lifts the tempo with share plates and cocktails; and the open-air Sun Deck nails the beach-club brief with custom daybeds, a panoramic bar and uninterrupted skyline views. Designer Alex Zabotto-Bentley (AZB Creative) leans into 70s-tinged Mediterranean glamour — think sunflower yellows, burnt oranges, teak and green marble. "Every detail is designed to evoke a glamorous, sun-soaked escape," says Zabotto-Bentley. In the kitchen, Executive Chef Pablo Tordesillas (Totti's Bondi; two-hatted Ortiga in Brisbane) teams up with Head Chef Nick Mathieson (Compa, Bistecca, Otto) on a coastal Italian menu with a seafood focus. The Dining Room runs as a set journey — begin with oscietra caviar over house potato crisps and cultured cream, then roll into snacks like a vinegar-and-bottarga-dusted potato scallop with chives and caviar, plus deep-sea royal red prawns with finger lime and bisque mayo. Bigger moments include reginette with Moreton Bay bug, crustacean butter and chilli, and market fish with clams, saffron butter, fregola and spring veg. Tables can add a Bistecca alla Fiorentina as a supplement. Upstairs, the Terrace and Sun Deck are made for graze-and-gather afternoons. Expect Queensland spanner crab tartlets crowned with herbs and salmon roe, a Moreton Bay bug sando with crisp iceberg and cocktail sauce, and spaghettini tossed with spanner crab, tomato, chilli, garlic and salmon roe. Desserts keep the coastal mood: lemon and mascarpone sorbetto served in a carved lemon, or fior di latte ice cream finished with an indulgent spoon of oscietra caviar. Venue Manager Mikey Hamilton (Bistecca, The Gidley, Banksii) steers service, bringing big-league polish to the harbour. Drinks are led by Ed Loveday, who builds a harbour-ready list of crisp Mediterranean wines, lively rosés and seasonal cocktails. Expect aperitivo-leaning spritzes, martinis, margaritas, daiquiris and champagne numbers — plus a Martini Trolley in the Dining Room for bespoke, tableside ice-cold pours. Art threads through the space, too, with commissioned works by Daimon Downey, Jeremy Kay and Tiarna Herczeg adding sculptural colour and texture between decks. Solaré will operate Thursday to Sunday with two cruises daily. Book a Dining Room reservation ($185 per person), reserve VIP Tables on the Terrace Deck, secure Booths or Daybeds on the Sun Deck, or opt for a Cruise Pass ($50 per person, with access to the Terrace Deck, Dining Room Bar and Harbour Platform). Bookings are now open via the Solaré website. Images: Jonny Valiant | Jason Loucas
These viewers are in love: by the time that the first episode of Invisible Boys ends, pressing play on the next is a necessity, not a choice. Readers fell for the story of small-town Australian LGBTQIA+ teens grappling with who they really are in a remote community where everyone thinks that they know everyone courtesy of Holden Sheppard's award-winning 2019 novel. Now, thanks to an adaption created and directed by filmmaker Nicholas Verso (Boys in the Trees), streaming audiences are there with them. As a ten-part Stan series, Invisible Boys sets its action in 2017, as the same-sex marriage plebiscite is occurring, and as four young men in Geraldton in Western Australia navigate their identities, hopes, dreams and desires — and who they keep being told that they're meant to be. Consider the show's cast in love with this tale of coming of age and coming out in rural Australia, too. Chatting with Joseph Zada (Total Control), Aydan Calafiore (The Voice) and Zach Blampied (New Gold Mountain) means hearing about the genuine rapport that they formed as three of the eponymous Invisible Boys. Speaking with Pia Miranda (Windcatcher), who portrays one of the high school-aged lead characters' disapproving mothers, means discovering how significant it is for the star to again be helping to give an underrepresented community an on-screen space, as she did when fellow beloved book Looking for Alibrandi made the leap to cinemas 25 years ago. Anyone watching is already all in by the time that Invisible Boys' sixth episode arrives; however, as the local debutant ball becomes the only thing that anyone in Geraldton is talking about, impacting Zada's Charlie, Calafiore's Zeke and Blampied's Hammer in different ways, it's one of the series' standout chapters. That's equally the case for Zada, Calafiore and Blampied, in no small part due to a deeply affecting sequence where their characters, plus Joe Klocek (Territory) as farm boy Matt, get a rare moment to hang out together at the town's lookout. The bond that's evident between the quartet is genuine. "We just hung out a lot. We spent a lot of time rehearsing, and then I feel like the beautiful thing is that you get to meet these new people and we were lucky enough to get along really well with each other, and you can really see when there's real chemistry between characters on-screen. You can really tell that there's real chemistry between characters," explains Zada. "So if you're really good friends, it shines through. And there's a real connection between all of us and we really get along. It was so lovely to have that lookout scene where we were all together." "We had a lot of fun that night," adds Blampied. "We all talk about it, that lookout scene, it was a highlight for me. I think it's the only moment — I could be wrong — but I think it's the only moment where the four of us get to share the screen together, and all be talking and communicating and having a laugh, and really feeling like we are the invisible boys. We really find our people in that moment," notes Calafiore. Her character Anna, Zeke's mum, isn't a part of it, but Miranda was also moved: "it's beautiful, that scene — it brought tears to my eyes," she tells Concrete Playground. As Charlie, Zada plays a yearning and hurting soul who lives for My Chemical Romance, and for his dream of getting out of town when his punk band hits it big. When the series starts, he isn't living for himself, though, as he struggles with the death of his father when he was a kid, and hides his sexuality from his friends and family while making the most of hookup apps. Zeke and Hammer attend the same school: the former is the studious youngest son of a conservative Italian Australian family, where nothing he ever does is good enough; the latter is the resident Aussie Rules gun with his entire future as the next Indigenous AFL superstar mapped out. While Charlie has come out by the time that episode two starts, and is starting to connect with Matt and experiencing the rollercoaster that is falling in love, his peers have their own paths to chart. Heartfelt, raw, resonant, committed to rejecting the Hollywood view of the gay experience: as it swings between aching pain and amusing chaos, plus complicated decisions and life's messes and joys alike, they all apply to Invisible Boys. Zada, Calafiore, Blampied and Miranda want viewers to find hope in the series, and to see themselves in it, no matter their own personal journey. "I hope it inspires young people, young queer people, to be themselves, and let people know that if you're feeling alone, you're not alone — there's still people out there," offers Blampied, who took inspiration from Moonlight for his part and, like Hammer here, is no stranger to footy. "I think it'll obviously find its community, but I want everyone from every background and community to watch the show and give it a go," adds Zada, who is next treading where James Dean once did, playing the same character as the late, great icon in a new version of East of Eden. "There's a lot of topics that we cover — I'm sure everyone will have their own takeaways from it". In his TV acting debut after previously gracing the stage in Fangirls and Jagged Little Pill the Musical, and with an aim to continue to pursue both music and acting, Calafiore shares similar sentiments. "My takeaways from the show, from my time shooting and then even watching a couple of the episodes, was naturally the representation. We want people to see themselves in all of the characters, take what they need from everybody and feel like they can see themselves on the screen," he notes. "But I found with Zeke, my big takeaway was that you're not alone. Even though these boys are in this small town, everyone knows everyone but they feel so, so alone and so marginalised and so in their own little bubbles that they can't be themselves, and I think the show really goes through that and shows that emotion really, really strongly — then coming again to that lookout scene, it's the real moment where you're like 'wow, I'm not alone, even though it can feel like it and it feels like the entire world is against me'. There is a light out there somewhere and you just have to find that. You find your people. It's not always who, not that you get stuck with, but it's not always who you surround yourself with. And once you find that it's such a breath of fresh air. So that was a huge takeaway for me, that you're not as alone as you might feel." We also chatted with Zada, Calafiore, Blampied and Miranda about what initially excited them about being part of Invisible Boys, digging into their characters and pushing back against Hollywood's take on the gay experience — and about Zada balancing Charlie's fierce spirit and vulnerability, the complexities of Blampied's task given that there's never been an out gay or bisexual men's AFL-level player, how Calafiore approached Zeke's conflict between being his authentic self and his family, and Miranda serving up another on-screen Tomato Day. On What Initially Excited Zada, Calafiore, Blampied and Miranda About Being Part of Invisible Boys Zach: "The thing that really jumped out at me was just when I got the brief and I saw who the character was portrayed to be, and he was a narcissist and a bully and a jock, and had a big ego. I loved that, so I wanted to play that. But he also has a very sweet side, so it was nice to dive into the two." Joseph: "I really love the character of Charlie. I read the book after the first audition, and fell in love with this story and the characters. And I think it's also it was just so unique to see a story like this as an Australian TV series. It has a really important message and covers a lot of really prominent topics." Pia: "I think for me, I love being a part of something. This is definitely going to be a show where young people will see themselves reflected back for the first time. There's going to be some young people in remote parts of Australia who've never really felt represented on-screen. And so when you get to be a part of that, that's very exciting. I got my start in a film where that had that effect. There were a lot of young migrant people that saw themselves reflected back on-screen for the first time, so it's nice to sort of carry on that tradition. It was really beautiful and exciting. I don't think we've had an LGBTQI story set in — I mean, I might be wrong — but set in a rural town." Aydan: "I think you're right. I'm pretty sure it's the first, especially to come out of WA, a Western Australian-born kind of story. It's also just nice to be a part of something that you know will be a little bit of a conversation point and a conversation starter. I think it's really important for shows like this to be given the platform that Stan's given us just to encourage conversation around some of the tougher topics that shows don't usually dive into." Pia: "A great moment Nic spoke of was when he sent the first draft to Stan, to Amanda at Stan, and then she came back and said 'I thought you told me it was going to was going to be edgy' — and he went 'oh, you never hear that. You usually hear to tone things down'. And so he had this ability to go away and really just experiment and take chances, and do something risky and exciting." On the Cast's First Reads on Their Characters — and What They Wanted to Help Bring to the Screen Joseph: "For me, it was Charlie's vulnerability. I spoke about that with Nic as well. He's very defiant by nature, but he's got a big heart. He's very rebellious, except he's just looking for love — he's just scared of rejection. So that was the take I took." Zach: "The tough bravado, but what's behind that? That was where all the juicy stuff was, and I got to flesh that out. So it was a privilege — but also vulnerability. I think all the boys in the show are very vulnerable at points." Aydan: "It's tough dynamic, when you think about the fact there are people out there that experience mother-son dynamics like this, where it's not the most supportive and loving. I can't say that I experienced that at home. I had very loving, supportive parents, so it was a big shock to see Pia Miranda being so mean to me." Pia: "It's difficult. It's exciting when you get a role like that, because it's very layered and it's a big challenge to work out how to navigate a role — because you can't go into it being judgmental when you're playing a person, because you need that to just unfold naturally. So it's a nice balance to go 'okay, I need to work out how this woman ticks and what's making her feel this way'. It's nice to be able to go deeper. And I never wanted her to be a cartoon villain, because you don't want people to feel ostracised by the character, even though she is somewhat — in the book she's described as a monster, but I think a lot of that was on the page and I tried to have a little bit of, in quotation marks, fun with it, because I thought that would lighten it a little bit. I think we found it. We had a really great groove together and just working opposite Aydan was just a beautiful experience." Aydan: "The give and take was really nice." Pia: "We found something. You can do a lot of work at home, but then it's when you get on set, if you work with a great young actor, things really can unfold in a beautiful way. If you can have a laugh in-between takes, that really lightens the mood, so you can definitely go deeper and go harder. With some of the stuff, some of the stuff I say is pretty challenging and some of it was challenging for it to come out of my mouth, but I think it's important that there's a character like that in there." Aydan: "Oh, definitely. Having the connection off screen also meant for someone like myself, who doesn't necessarily have too much experience in the screen world, I felt super comfortable going there and feeling like I was being pushed by Anna. I felt really quite comfortable to dive into those darker places of being picked on by my mum." Pia: "And Nic is very caring, the director. So he would constantly check in. So when you feel like everyone's feeling safe on set, you can go deeper and go darker and push it a little harder." On Zada's Balancing Act as Charlie, Swinging Between His Fierce Spirit and His Vulnerability Joseph: "Yeah, it was really crazy. And we didn't shoot and order either, not that really would've helped anything. It's still very much topsy-turvy. But yeah, it was crazy — I think I had something nuts like two or three crying scenes, or at least very emotional scenes, a week. It was a lot to prepare for and was a lot to map out. He's a very animated character, Charlie. And so there obviously was a lot to balance, but I had fun doing it, and it definitely, definitely challenged me as an actor. I don't think I'd be half the actor today if I hadn't been given that opportunity by Nic. You just rip in, as with any other character you play. You do all your backstory and you just work hard. I did a lot about learning about punk music. That was a fun way to me. I use a lot of music in general, but just a learned a lot about My Chemical Romance, which is Charlie's favourite band, and their lead singer. And then just the emotional stuff, I didn't feel like I was too ready for it, but then as soon as you get there on the day and you've done all your backstory, it comes." On Blampied's Task Playing a Gay Aussie Rules Footballer When No IRL Men's Player at AFL Level Has Ever Come Out as Gay or Bisexual Zach: "I really love that question. You're probably one of the first people to ask that. But me and Nic had big convos about that, and how there isn't an openly gay or bisexual AFL player. You look at the dynamics of what they go through and it's crazy to think about. I think my goal with that character, specifically towards the end when we were filming some of those scenes, was to hopefully inspire some people in the future who may be playing footy or maybe really successful at that, to not be ashamed to be themselves. So hopefully my work as an actor resonates with some young folk here out there, and even older fellas that are playing footy at the moment. So hopefully there's a change soon. I've been in change rooms before. I've played footy for most of my life. I know the dynamic in in those locker rooms. I think Hammer's just scared at the end of the day. He's scared of what will happen if he actually chooses to be himself, so he has to put on this act for the people around him and his footy mates, and everything like that." On How Calafiore Navigated Zeke's Struggle to Be His Authentic Self When His Family Have Such Strict Expectations Aydan: "There's a lot of background work that went into the complexities of Zeke. He is super layered and I love that about him, because I think as humans were all pretty layered, so it was nice to dive into something that was meaty and had some substance. So I did a lot of work. I made three character journals, where I just made those little journals as 17-year-old Zeke, but in different moments, different headspaces. So if I knew that I had to dive into a scene where I maybe felt like I was under the thumb of family or friends or school bullies or whatever, I would dive into the pages of feeling trapped and feeling like I couldn't express myself and I don't know what's going on. Then there was moments where I felt like I did get to be myself and I didn't want to keep the keep the energy like I'm feeling trapped — I wanted to let Zeke flow a little bit more — so then I would flip to the pages that it's me being myself, and being unapologetically young and free, and exploring sexuality and all of that. So it was definitely a challenge, but I think there's something nice about getting a challenge as an actor. It means that you really get to dive in and do all the work. Because, I was really worried — I didn't want to be embarrassed, I didn't want to watch it on the screen and be like 'oh, dude, why didn't you go deeper?'. I didn't want to leave anything there on set. So yeah, it was a challenge, but I enjoyed getting my teeth into it." On What It Means to Miranda to Be a Key Part of Another Pioneering Aussie Coming-of-Age Tale — and If Doing Another Tomato Day On-Screen Is a Full-Circle Moment Pia: "Weirdly yes, because I've done Tomato Day twice and they've both been on-screen. I've never done one in real life. So it does a little bit. I mean, I don't — full circle makes me feel like my career is over." Aydan: "Half circle." Pia: "But definitely, when you are in a coming-of-age film and it feels like yesterday that you were the young actor on set, it does bring back memories — and definitely brought up those memories of my first job, and how wonderful the older actors were to me. And so it's very nice to hopefully pass on that tradition of caring and making sure young actors feel safe and supported, because you only really do your best work when you're relaxed and supported. So in that sense, it's really wonderful. But it is strange, because it does come quick. As you age, it comes quick — one day you're the young actor and the next day you're the older matriarch of the set. But also it's not lost on me that there's a privilege in that as well. I feel very lucky that I'm still working 25 years after that film. I feel like sometimes as women, we feel like there's a bit of an expiration date with our careers. So I'm very grateful for the opportunity to still have a meaty role, and to be able to just flex my muscles, which is really wonderful. It means a lot to me to be a part of this story. I've had such a wonderful time working on it. And I also have teenagers myself. I've grown up in an era where young actors were told to stay in the closet because people wouldn't believe them as a romantic lead. And I've lived that experience of seeing my friends go through that. And so to be able to be a part of something groundbreaking and positive and wonderful while I'm watching my young children grow up means a lot. And I think whenever you get to be a part of something that is deep and wonderful and you know is putting good into the world, that's a privilege as well." On Invisible Boys' Aim to Correct the Way That Hollywood Usually Portrays Gay Men and Gay Relationships On-Screen Joseph: "It just meant being more real and being more raw. Everything is very mapped out. Everything you see on TV when it comes to sex, especially nowadays, is thankfully very much well-rehearsed and everybody feels comfortable. But it was long conversations about just how bullshit sex is in any shows, and especially gay sex. There's a lot more to it. It's just like: no. But it makes for this this beautiful raw quality. And humour even, as well." Pia: "I have a lot of friends that I've messaged and gone 'can't wait for you to see this show, you're really going to love it' — because for me, I don't want to speak for the gay experience, but for me, a lot of my friends didn't have that experience where they were in the city and had found their tribe. It was a tricky road to find out where they belonged. I do a lot of work with Dolly's Dream, which is a charity that really deals with the mental health of young people, but especially people who are in rural communities who are feeling isolated. I'm very passionate about that. And so it was nice for me to actually tell a story that did deal with young people and mental health in rural communities who do feel isolated. And I think it'll be so great, because sometimes we just think about kids in the city when we're making art in Australia, and we forget that there's a whole country of people who are living in country towns and are very remote." Aydan: "It's also really special that the project itself is just so unbelievably authentic, being that all of the entire team of writers are all queer, plus obviously Nic Verso as well, so it was very easy to bring the story to life in an authentic way — especially in terms of the intimacy. I think that was a big one for me, was just making sure that it wasn't Hollywoodised. Because I think most young people go into their first time or some kind of intimate moment thinking that there's just going to be fireworks and candles, and there's a little bit of that that gets shown where it's candles and rose petals and quiet music and just the dream experience, but it's really never that. It's always awkward and unsure. And 'is this okay? Is it that? Is it this?'. It's awkward. It's real. It's human. So I think that that's just really an overarching theme of the entire show — that it's human, it's real, it's raw and it's not Hollywoodised. And I think that is something that was evidently really important to all of the writers and Nic, and passed on to all of us. It was important to keep it very authentic." Invisible Boys streams via Stan. Invisible Boys images: David Dare Parker, Stan.
Worimi National Park is one of the biggest drawcards to the Port Stephens region, particularly for thrillseekers. Most of the credit is given to Stockton Beach, and deservedly so. It's the longest beach in New South Wales at 32 kilometres, and the enormous mobile sand dunes are primed for quad biking and sandboarding adventures. But the journey to get there is well worth some attention, too. Worimi Forest Walk begins at the car park on the Fern Bay Access Trail. From here, it's an easy 1.4-kilometre stroll (one way) through the Worimi Conservation Lands — a forest of native greenery, including coastal sand apple blackbutt trees, swamp mahogany paperbark trees and old man banksias. Eventually, you'll pop out at the southern end of Stockton Beach, an area rich with Aboriginal history, including campsites and burial sites. Image: Destination NSW
Many people associate cycling in Sydney with dodging cars, battling road rage and navigating their way through complicated tangles of main roads and side streets. But there are oodles of dedicated (and more serene) bike paths in Sydney to explore, passing through expansive parks, around tranquil lagoons and alongside stunning beaches. It doesn't matter if you're still on your training wheels or prepping for the Tour de France, you can still enjoy at least a few of Sydney's best bike rides. Recommended reads: The Best Coastal Walks in Sydney The Best Kayaking Spots in Sydney The Best Walks (or Runs) in and Around Sydney The Best Hikes in Sydney [caption id="attachment_711719" align="alignnone" width="1920"] Martin7d2 via Flickr[/caption] FOR WATERFRONT: THE BAY RUN This seven-kilometre path, shared between cyclists and pedestrians, follows the shores of Iron Cove. It travels through nine parks, covers Lilyfield, Drummoyne and Rodd Point, and is never more than 20 metres from the waterfront. Cyclists are treated to excellent views of the bay, in the middle of which lies Rodd Island, Australia's first public recreation reserve and one-time science centre. The Sydney bike ride is a loop, so you can finish up wherever you begin. [caption id="attachment_711699" align="alignnone" width="1920"] Destination NSW[/caption] FOR WILDERNESS: NARROW NECK, KATOOMBA This heady, energising trail follows Narrow Neck Peninsula, right near Katoomba, for nine kilometres each way. The views are outrageously good. And, at one point, the land seems to disappear on either side, leaving you feeling as though you're floating. The landscape includes open forest, heath, swamplands and an abundance of wildflowers. Extend your day of cycling near Sydney by starting at Katoomba Station. [caption id="attachment_710930" align="alignnone" width="1920"] Destination NSW[/caption] FOR LEISURELY WATERFRONT VIBES: MANLY BEACH This is a good one for those not comfortable riding on the road or navigating any hills, but still wanting to feel the wind in their hair. Start your Manly bike ride at the north end of the beach at Manly lagoon and make your way south to finish up at Shelly Beach (and maybe a coffee at The Boathouse). If you don't live on the north shore, you can easily take your bike on the ferry. This is one of the very best bike rides in Sydney, well worth the journey to get to. [caption id="attachment_711737" align="alignnone" width="1920"] NSW National Parks[/caption] FOR LYREBIRDS AND ECHIDNAS: LADY CARRINGTON DRIVE, ROYAL NATIONAL PARK To make a proper escape from the city, head to Lady Carrington Drive in the Royal National Park. This 10-kilometre cycling track starts at Audley in the north and follows the Hacking River upstream, ending at Sir Bertram Stevens Drive in the south. In the late 19th century it functioned as a carriage route, but these days is only open to walkers and cyclists. Watch for lyrebirds, lace monitors and echidnas, and leave time for a picnic at one of three dedicated areas. Stop at Palona Brook for a detour to a nearby cave. [caption id="attachment_711709" align="alignnone" width="1920"] Tibor Kovacs via Flickr[/caption] FOR TREES: CENTENNIAL PARK Cycling in Sydney doesn't get easier than this. The 3.8-kilometre 'Grand Drive' that encircles Centennial Park is flat, car-free and surrounded by greenery. That's why two-wheelers have been coming here in droves since 1900. These days, they number more than 750,000 per year. If you've never ridden before, wobble your way along the dedicated 'learners cycleway', where generations of Sydney's kids have pedalled for the first time. All kinds of bicycles are available for hire, including Fred Flinstone-style pedal cars, which can carry two to four people at once. [caption id="attachment_711727" align="alignnone" width="1920"] sv1ambo vi Flickr[/caption] FOR HISTORY: PARRAMATTA HERITAGE TRAIL Add a dose of history to your workout with a cruise along the Parramatta Heritage Trail. It's an easy-to-ride loop, starting right near Parramatta Station and taking you past some of Australia's oldest buildings, including Elizabeth Farm (built in 1793) and Old Government House (built in 1799). You'll also venture into beautiful Parramatta Park and along the tranquil Parramatta River during this day of cycling in Sydney. [caption id="attachment_711738" align="alignnone" width="1920"] Martin7d2 via Flickr[/caption] FOR TRANQUILITY: COOKS RIVER The epic Cooks River cycling route is one of Sydney's oldest and most popular shared paths. Its 23 kilometres start at Settlers Park in Ryde, meander through Gough Whitlam Park and finish at peaceful Botany Bay, following the gorgeous Cooks River most of the way. Various town centres, railway stations and parks are en route, so you can make a day of it, stopping for coffee, lunch and snacks as you go along this Sydney bike ride. FOR ART AND SHIPWRECKS: OLYMPIC PARK Whether you're a newbie or a BMX king, Olympic Park has something for you. There are 35 kilometres of safe cycle paths, passing shipwrecks, outdoor art installations, lookouts, mangrove swamps and wildlife refuges. Three official bike safaris offer rides to match your ability and interests, including the 7.6-kilometre Olympic Circuit, the 11-kilometre River Heritage Circuit and the 5.5-kilometre Parklands Circuit. FOR VIEWS: PROSPECT RESERVOIR AND ORPHAN SCHOOL CREEK This 29-kilometre, entirely off-road Sydney cycle loop soars through several high points, affording cracking views of Greater Western Sydney. There are Instagram opportunities aplenty at Greystanes aqueduct — built in 1888, it's 225 metres long and constructed of 22 arches, each of which span 9.1 metres. If you're out and about on a Saturday, pause at Prairiewood to visit the 600 stalls that make up Fairfield Markets. Meanwhile, on any day of the week, you can stop by Calmsley Hill City Farm for furry cuddles and at Western Sydney Parklands for a picnic. All of this helps make Prospect Reservoir and Orphan School Creek cycle route one of the best bike rides in Sydney. [caption id="attachment_711815" align="alignnone" width="1920"] Wheres.dot via Wikimedia Commons[/caption] FOR LAPPING WATER AND SWANS: NARRABEEN LAGOON The Narrabeen Lagoon Trail was completed in February 2015. It's an 8.4-kilometre Sydney cycling adventure that follows the lagoon's shoreline, passing through several wildlife protection areas. Keep an eye and ear out for black swans, powerful owls, diamond pythons and fishing bats. There's an incredible variety of ecosystems both in and out of the water, from shallow seagrass meadows to coastal salt marsh and swamp oak floodplain forest. Top image: Destination NSW.
Pulling off a blockbuster retrospective of one of Australia's most loved landscape painters is ambitious in any year, but in 2020 it's a huge achievement. "It's the largest Streeton retrospective since 1931 — and I did try to compete with that exhibition," says the Art Gallery of New South Wales' head curator of Australian art, Wayne Tunnicliffe. The new exhibition Streeton features more than 150 works by the Australian impressionist painter (only 20 shy of the one held by the Gallery 89 years ago), and its works come from public and private collections from around the country, including ones from Victoria, coordinated during lockdown. The Gallery's exhibition follows Streeton's career from his early drawings to his latter years when the artist became a vocal environmentalist. "Streeton had a lifelong practice, but most galleries show his earlier works," says Tunnicliffe. In Streeton, you'll walk room to room seeing the progression from the revolutionary moment when Streeton and his contemporaries invent Australian impressionism to his journeys to London, Cairo, Venice and back to Australia. In partnership with Destination NSW, we asked Tunnicliffe to pick out five paintings that tell us more about the talented painter's passions, and how they retain relevance today. [caption id="attachment_789415" align="alignnone" width="1920"] Arthur Streeton, 'Still glides the stream, and shall for ever glide' (1890), oil on canvas, later mounted on hardboard, 82.6x153 cm, Art Gallery of New South Wales, Sydney, purchased 1890. Photo: Jenni Carter, AGNSW[/caption] 'STILL GLIDES THE STREAM AND SHALL FOR EVER GLIDE' (1890) The Victorian artist was only 22 years old when he painted 'Still glides the stream, and shall for ever glide', and the Art Gallery of New South Wales buys it the year it was painted — transforming Streeton's career. "It's his first acquisition by a public art gallery, and that financial support means he's able to come to Sydney and live, and paint those extraordinary Sydney harbour scenes," says Tunnicliffe. "[The acquisition] is saying Australian impressionism is important and that we need to take it seriously." The painting has been on public display ever since, and the curator tells us it was Streeton's way of implying nature's persistence. "Nature is here forever. Streeton tries to encompass this in the painting, and it suggests that we will endure with it, and by extension, the creative act of this painting will endure as well." Streeton and his Heidelberg School contemporaries were inspired by the French movement of painting en plein air (outside), and they were making it their own, here in Australia. As Tunnicliffe tells us, the Gallery's forward-looking trustees of the time were keen to support and validate this new style of painting. [caption id="attachment_789412" align="alignnone" width="1920"] Arthur Streeton, 'Circular Quay' (1892), oil on wood, 19.3x47.6cm, National Gallery of Australia, Canberra, purchased 1959. Photo: Jenni Carter, AGNSW[/caption] 'CIRCULAR QUAY' (1892) After Streeton's cash injection, he comes to Sydney and falls in love with its beaches and harbour. In Streeton, you'll find scenes of bathers at Coogee Beach, ferries picking up passengers at McMahons Point and the rocky harbour around Sirius Cove. "He paints the life around him, as impressionists do around the world," says Tunnicliffe. "When he comes to Sydney, he's transfixed by the harbour and the beaches, but the working harbour is what he gets really interested in. This bustling, modern, growing, booming city." "In this painting, 'Circular Quay', you can see the Quay at work: people strolling, ferries puffing, boats arriving on a bright, hot day. And, of course, we can see that scene now. It looks different, but we can be in that spot where Streeton is and experience that." [caption id="attachment_789414" align="alignnone" width="1920"] Arthur Streeton, 'The purple noon's transparent might' (1896), oil on canvas, 123x123 cm, National Gallery of Victoria, Melbourne, purchased 1896. Photo: National Gallery of Victoria, Melbourne[/caption] 'THE PURPLE NOON'S TRANSPARENT MIGHT' (1896) Sydney alone is not enough for Streeton. He actively travels to the Blue Mountains, Gloucester and across regional New South Wales to capture the Australian landscape. In 1896, he travels to Richmond, buys a cheap horse called Pawnbroker, and rides out to a raised area above the Hawkesbury River to paint 'The purple noon's transparent might'. "It's 44 degrees when he paints this. It's a heatwave and he's out there literally suffering for his art," says Tunnicliffe. "What he captures is the extraordinary intensity of Australian light and colour on this hot, hot day." It's an example of Streeton's tenacity, his commitment to recording what he finds before him, and Tunnicliffe says he thinks it's "one of the great landscape paintings in Australian art." "What's remarkable about this work is that it's never been varnished. It's matte paint, as Streeton painted it in 1896. It's been conserved over several months, so it looks now like it did when it left Streeton's studio. You can see the really visible brushstrokes — the way he's pushing that paint around to get that effect. But also, that shifting, shimmering light." [caption id="attachment_789413" align="alignnone" width="1920"] Arthur Streeton, 'The Grand Canal' (1908) oil on canvas, 93x169cm, Collection of Susan Clarke, Victoria. Photo: Glen Watson[/caption] 'THE GRAND CANAL' (1908) Fast forward to the 20th century. Streeton's lauded as one of Australia's greatest landscape painters all before he turns 30, and he's looking to prove himself overseas. "Streeton leaves Australia in 1897 because he feels he's done as much as he can at that point in his life. He wants to challenge himself; he goes to London and he struggles. But, going to Venice in 1908 on his honeymoon, and painting over 80 views on two visits in that year, he exhibits these in London and that's when he gets recognition. Because he takes a real risk." Venice is one of the most painted scenes by some of the most famous artists in the 19th and early 20th century, explains Tunnicliffe. "He pits himself against them and he's very well reviewed. This particular painting is one of two he did on this scale, with this ambition." This aerial view was painted from high up on the palazzo looking up the Grand Canal. Interestingly, both his large-scale Grand Canal paintings have been missing for decades. "This one was recently rediscovered in a private collection in regional Victoria," says Tunnicliffe. "And so, this is the first time it's been shown publicly for many decades. It's in completely original, untouched, unconserved, condition — this is what a painting looks like after 100 years." [caption id="attachment_789411" align="alignnone" width="1920"] Arthur Streeton, 'The vanishing forest' (1934), oil on canvas, 122.5x122.5cm, on loan to the Art Gallery of Ballarat from the Estate of Margery Pierce[/caption] 'THE VANISHING FOREST' (1934) By the 1920s, Streeton was an established artist, and somewhat of a celebrity. He's returned to Australia, painting pastoral landscapes, and living in the house he's built in the Dandenong Ranges with his wife Nora. And it's during this time that the artist uses his prestige to actively campaign to save the environment. "He was deeply concerned when he came back to Australia in the 1920s, seeing much-loved landscapes being cut down." In 'The vanishing forest', Streeton is making a statement. It's a large-scale painting, intentionally similar in size to his most famous works, and, as Tunnicliffe tells us, he's asking Australians to take the destruction seriously. "He paints mature trees that have been ring-barked, a tree that has been bulldozed and is soon to be cut up. He really wants us to think hard about this, and about what we're doing to our environment, and that message is still so important." Tickets to 'Streeton' cost $22 and you can buy timed-entry tickets online. If you've already purchased untimed and undated tickets for 'Streeton', they will be honoured for any date and time until February 14, 2021. For $35, you can upgrade to a Gallery Pass, which gives you access to 'Streeton' and the 'Archibald, Wynne and Sulman Prizes 2020'. Top images: installation views of 'Streeton' at Art Gallery of New South Wales, Sydney. Photos: Jenni Carter, AGNSW
The best breakfasts in Sydney are as diverse as the city they're served in. Sure, you'll find Vegemite on toast and every conceivable iteration of smashed avocado on the menu at these Sydney breakfast spots, but with this list we've endeavoured to look beyond the obvious and expand your culinary horizons for The Most Important Meal Of The Day. After a breakfast burrito? We have you covered. Japanese-style brunches? They're well represented here. Hungover and desperate for bacon and bloody Marys? Let us take care of you in your hour of need. We even have a few healthy options where the sugar and fat might be left out, but flavour and fun still reign supreme. And the best breakfast in Sydney isn't necessarily found in a cafe — although many are. You'll also uncover some of the best early-morning treats in bakeries, bagel shops and delis. We have all bases covered in this guide. Read on to see where you'll next be fuelling up before work or relaxing during a long, lazy Sunday morning with mates. Without further ado: here are our picks of the best breakfasts in Sydney. Recommended reads: The Best Cafes in Sydney The Best Weekday Breakfast Spots in Sydney's CBD The Best Coffee Shops in Sydney's CBD The Best Bottomless Brunches in Sydney
Not every film that wins an Oscar, earns a nomination for Hollywood's night of nights or gets selected by its country to go in the running for the coveted accolades makes it to cinemas Down Under beyond festivals. A movie can have international fests buzzing as well, yet still bypass a big-screen release in Australia. That's the fate for plenty of features; however, gone are the days when skipping a date with picture palaces was a sign of a bad movie. The streaming era means that a new flick is always dropping on one of the many platforms that are available to Aussie audiences. While they can't all be excellent, that's no different to what does make it to the silver screen. The gems that go straight to home viewing are up there with the gems that do get the movie-theatre treatment — as the highlights from January–June 2024 make clear. There are indeed Academy Award-winners on this list, as well as nominees. Films that'll compete next year, festival favourites, movies with big-name stars or from high-profile directors: they all feature as well. If you haven't caught them on the couch already alongside fellow straight-to-streaming standouts from 2024's first six months, take this as your motivation, whether you're after shattering documentaries, truth-is-stranger-than-fiction comedies, affecting dramas, gorgeous animation or plenty of horror. 20 Days in Mariupol Incompatible with life. No one should ever want to hear those three devastating words. No one who is told one of the most distressing phrases there is ever has them uttered their way in positive circumstances, either. Accordingly, when they're spoken by a doctor in 2024 Oscar-winner 20 Days in Mariupol, they're deeply shattering. So is everything in this on-the-ground portrait of the first 20 days in the Ukrainian port city as Russia began its invasion, with the bleak reality of living in a war zone documented in harrowing detail. Located less than 60 kilometres from the border, Mariupol quickly segues from ordinary life to an apocalyptic scene — and this film refuses to look away. Much of its time is spent in and around hospitals, which see an influx of patients injured and killed by the combat, and also become targets as well. Many of in 20 Days in Mariupol's faces are the afflicted, the medics tending to them in horrendous circumstances, and the loves ones that are understandably inconsolable. Too many of the carnage's victims are children and babies, with their parents crushed and heartbroken in the aftermath; sometimes, they're pregnant women. Directed by Pulitzer Prize-winning journalist Mstyslav Chernov, and narrated by him with the grimness and soberness that can be this movie's only tone, 20 Days in Mariupol even existing is an achievement. What it depicts — what it immerses viewers in with urgency, from shelled hospitals, basements-turned-bomb shelters and more of the city destroyed day after day to families torn apart, looting, struggling to find food and bodies of the dead taken to mass graves — needs to be viewed as widely as possible, and constantly. His footage has also featured in news reports, but it can and must never be forgotten. Doctors mid-surgery demand that Chernov's camera is pointed their way, and that he shows the world the travesties taking place. The Ukrainian reporter, who has also covered Donbas, flight MH17, Syria and the Battle of Mosul for the Associated Press, does exactly that. He's doing more than ensuring that everyone bears witness, though; he makes certain that there's no way to watch 20 Days in Mariupol, which shows the vast civilian impact and casualties, and see anything but ordinary people suffering, or to feel anything other than shock, anger and horror. 20 Days in Mariupol streams via DocPlay. Society of the Snow It was meant to be a fun trip to Chile with friends and family for a game. When the Old Christians Club rugby union team boarded Uruguayan Air Force Flight 571 in Montevideo on October 13, 1972, destination Santiago, no one among them knew what would happen next. The plane didn't make it to its destination, as 1976 Mexican film Survive!, 1993 American movie Alive and now Spanish-US co-production Society of the Snow each cover. All three features boast apt titles, but only the latest sums up the grim reality and existential dilemma of crashing in the Andes, being stranded for 72 days in snowy climes with little resources against the weather — or for sustenance — and attempting to endure. Taken from the memoir by Pablo Vierci, aka La sociedad de la nieve in Spanish, only this phrase adorning JA Bayona's (Jurassic World: Fallen Kingdom) picture encapsulates the tremendous effort that it took to find a way to persist, as well as the fact that trying to remain alive long enough to be rescued meant adapting everything about how the survivors approached each second, minute, hour, day, week and month — and also links in with how a catastrophe like this banded them together, doing whatever it took to find a way off the mountains, while reshaping how they contemplated what it meant to be human. Society of the Snow isn't just a disaster film detailing the specifics of the flight's failed trip, the immediate deaths and those that came afterwards, the lengthy wait to be found — including after authorities called the search off — and the crushing decisions made to get through. Bayona, who also helmed the 2004 Indian Ocean tsunami-focused The Impossible, has made a weighty feature that reckons with the emotional, psychological and spiritual toll, and doesn't think of shying away from the most difficult aspects of this real-life situation (including cannibalism). This is both gruelling and meaningful viewing, as crafted with technical mastery (especially by Don't Breathe 2 cinematographer Pedro Luque, plus Cinco lobitos' Andrés Gil and Cites' Jaume Martí as editors), built upon brutal candour, and paying tribute to resilience and then some. Its feats extend to its hauntingly acted performances from a cast that includes Enzo Vogrincic (El Presidente), Agustín Pardella (Secrets of Summer) and Matías Recalt (Planners), all contributing to an account of camaraderie and sacrifice that deserves its Best International Feature Film Oscar nomination. Society of the Snow streams via Netflix. The Devil's Bath Suspense and tension, how to cultivate such a strong atmosphere of unease that it feels as if it drips from the screen, the darker side of human nature, sheer existential exasperation: writer/directors Veronika Franz and Severin Fiala know these things. The Austrian filmmakers are just as well-aware of how to make movies that crawl under your skin as much as distress does with their characters. For that sensation at its very best, see: Goodnight Mommy, their Oscar-submitted 2014 debut (which was then remade in America in 2022). The Devil's Bath earns the same description, too. The duo's first feature since 2019's Riley Keough (Under the Bridge)-starring English-language horror flick The Lodge, it needles deep as it follows new bride Agnes (Anja Plaschg, Axolotl Overkill), who is thrilled to be starting her married life to Wolf (David Scheig, Heribet), even if that joy doesn't seem completely reciprocated. Relationship disharmony bubbles at the heart of this 18th century-set film, but that's not the only force bearing down on a woman that no longer has any agency — and, soon, little hope left simmering as well. Franz and Fiala begin The Devil's Bath with a different scene of domestic struggle. They haunt their viewers from the outset, too. First up, a woman throws a baby over a waterfall, then turns herself in for punishment, knowing that she'll meet her end via decapitation. With that scene as a prologue, it hardly appears strange that Agnes is thrilled to receive a severed finger as a wedding gift — a digit that's meant to bring luck for starting a family. But nothing in the way of good fortunes spring when she's soon away from her other loved ones, left alone in a woodland cottage as Wolf works by day, stuck navigating his disinterest in the bedroom each evening and frowned upon constantly by her new mother-in-law (Maria Hofstätter, Andrea Gets a Divorce). There's history to Franz and Fiala's screenplay, which draws upon real events, and the mood of despair that seeps from returning Goodnight Mommy cinematographer Martin Gschlacht's grey-toned frames sports a can-only-be-true bite to it. There's little sunshine shed on the imagery, or on the way that people treat each other — and there's even more terror in realising that the lines between this arresting picture's vision of the past, even as set within a deeply superstitious and puritanical community, and today are far from faint. The Devil's Bath streams via Shudder and AMC+. Hit Man The feeling that Glen Powell should star in everything didn't start with Top Gun: Maverick and Anyone But You. Writer/director Richard Linklater (Apollo 10 1/2: A Space Age Childhood) has helped the notion bubble up before as early back as 2006's Fast Food Nation, then with 2016's Everybody Wants Some!! — and now he riffs on it with Hit Man. When viewers want an actor to feature everywhere, they want to see them step into all sorts of shoes but bring their innate talents and charm each time. So, Linklater enlists Powell as Gary Johnson, a real-life University of New Orleans professor who wouldn't be earning the movie treatment if he didn't also moonlight as a undercover police operative with a specific remit: playing hitmen with folks looking to pay someone to commit murder, sting-style. Johnson doesn't just give the gig the one-size-fits-all approach, though. Once he gets confidence in the job, he's dedicated to affording every target their own personal vision of their dream assassin. So, Powell gets to be a polo shirt-wearing nice guy, a long-haired master criminal, a besuited all-business type and more, including the suave smooth-talker Ron, the persona he adopts when Madison Figueroa Masters (Adria Arjona, Andor) thinks about offing her odious husband. Hit Man is as a screwball rom-com-meets-sunlit film noir, and an excellent one, as well as a feature based on a situation so wild that it can only stem from fact. Alongside charting Gary's exploits in the position and the murkiness of falling for Madison as Ron, it's also an acceptance that the kind of darkness and desperation needed for a person to want to hire a stranger to kill to make their life better isn't a rarity — if it was, Gary's services wouldn't have been needed. Linklater has been in comparably blackly comic but also clear-eyed territory before with Bernie, the past entry on his resume that Hit Man best resembles. The also-ace 2011 Jack Black (Kung Fu Panda 4)-led picture similarly told a true tale, and also sprang from an article by journalist Skip Hollandsworth. This time, Linklater penned the script with Powell instead of Hollandsworth, but the result is another black-comedy delight brimming with insight. Hit Man is a movie about finding one's identity, too, and Powell keeps showing that he's found his: a charismatic lead who anchors one of the most-entertaining flicks of the year. Hit Man streams via Netflix. Frida For almost a century, the art-loving world has peered at Frida Kahlo. Her self-portraits have stared steadfastly back. You can glean much about a person from how they commit their own likeness to canvas; whether donning a velvet dress, reclining in a hospital bed, standing between curtains, sitting opposite herself, or accompanied by a black cat and a monkey, Kahlo was unflinching. Exhibitions have adored her work, whether she's taking centre stage in her paintings or not, for decades upon decades. Creatives in other mediums have shown the same affection, be it via books (1983's Frida: A Biography of Frida Kahlo), biopics (2002's Frida, with Black Mirror's Salma Hayek as the artist; before that, 1983's Frida Still Life), operas (as first hit the stage in 1991) or ballets (Broken Wings debuted in 2016). 2024's Frida brings Kahlo back to the screen with a new approach that she'd surely approve of: making her directorial debut with this portrait of the iconic Mexican painter, editor-turned-director Carla Gutierrez (who spliced fellow biodocs RBG and Julia) lets her subject speak for herself and her own complexity. Actor Fernanda Echevarría (Ella Camina Sola) actually does the talking, because the treasure trove of materials that Gutierrez has gained access to — illustrated diaries, essays and letters, photos and footage, plus interview transcripts by Frida: A Biography of Frida Kahlo's Hayden Herrera — doesn't include Kahlo's voice. But the impact remains: this is Kahlo as she saw herself and as she was herself, as she always fought to convey when she was living. Drawing upon Kahlo's art, Gutierrez also uses animation by Sofía Inés Cázares (Daughter From Another Mother) and Renata Galindo (A la mala) to accompany Kahlo narrating her childhood, her medical studies, her life-changing accident at the age of 18, her marriage to fellow artist Diego Rivera, her other romantic liaisons, and her thoughts about all of the above and more. It's an inspired touch, and not just in breaking up the black-and-white archival visuals with dances of colour. Seven decades since her death in 1954, Kahlo still feels alive in her work, but the latest raw, rich and deeply resonant documentary to pay tribute to her finds its own way to express and honour that sensation. Frida streams via Prime Video. American Fiction Here's Thelonious 'Monk' Ellison's (Jeffrey Wright, Rustin) predicament when American Fiction begins: on the page, his talents aren't selling books. Praise comes the Los Angeles-based professor's way for his novels, but not sales, nor attendees when he's part of writers' festival panels. And even then, publishers aren't fond of his latest manuscript. Sick of hearing that his work isn't "Black enough", and also incensed over the attention that fellow scribe Sintara Golden (Issa Rae, Barbie) is receiving for her book We's Lives in Da Ghetto, he gets a-typing, pumping out the kind of text that he vehemently hates — but 100-percent fits the stereotype of what the world keeps telling him that Black literature should be. It attracts interest, even more so when Monk takes his agent Arthur's (John Ortiz, Better Things) advice and adopts a new persona to go with it. Soon fugitive convict Stagg R Leigh and his book Fuck are a huge hit that no one can get enough of. Because of the story spun around who wrote the bestseller, too, the FBI even wants to know the author's whereabouts. Deservedly nominated for five 2024 Oscars — including for Best Picture, Best Actor for Wright and Best Supporting Actor for Sterling K Brown (Biosphere) as Monk's brother Clifford — American Fiction itself hails from the page, with filmmaker Cord Jefferson adapting Percival Everett's 2001 novel Erasure. Wright is indeed exceptional in this savvy satire of authenticity, US race relations and class chasms, and earns his awards contention for his reactions alone. Seeing how Monk adjusts himself to a world that keeps proving anything but his dream is an utter acting masterclass, in big and small moments alike. As the film dives into the character's personal chaos, that's where Brown's also-fantastic, often-tender performance comes in, plus Leslie Uggams (Extrapolations) as Monk's mother and Tracee Ellis Ross (Candy Cane Lane) as his sister, and also Erika Alexander (Run the World) as a neighbour who is a fan of his — not just Stagg R Leigh's — work. Don't discount how excellent American Fiction is beyond its literary hoax setup, in fact; as a character study, it's equally astute. American Fiction streams via Prime Video. Fancy Dance Lily Gladstone might've won the Golden Globe but not the Oscar for Killers of the Flower Moon, but her exceptional resume shows every sign of more awards coming her way. Fancy Dance, the other movie to join her filmography in 2023 — it premiered at Sundance that year, but only makes its way to streaming worldwide now — is yet another example of how the Certain Women and First Cow star is one of the very-best actors working right now. Where Gladstone's time in front of Martin Scorsese's lens showcased her mastery of restraint, playing an aunt trying to do what's best for her niece and a sister searching for her absent sibling benefits from her equal command of looseness. Jax, her character, is a pinball. When she bounces in any direction, it's with force and purpose as well as liveliness and determination, but the choice of where she's heading is rarely her own. All she wants is to find Tawi (debutant Hauli Sioux Gray) and protect 13-year-old Roki (Isabel Deroy-Olson, Three Pines), but set against the reality that law enforcement mightn't look as enthusiastically for a missing Indigenous woman — or treat one with a record attempting to do right be her family with consideration — that's far from an easy task. Writer/director Erica Tremblay hails from the Seneca–Cayuga Nation, where much of Fancy Dance is set. As Gladstone is, she's also an alum of Reservation Dogs — including helming two episodes — and so is experienced at depicting everyday reservation life with authenticity. Accordingly, her first fictional feature after documentaries Heartland: A Portrait of Survival and In the Turn takes a social-realistic approach in its details, especially when it's simply surveying the space and empathy that First Nations versus white Americans aren't given. Because Jax has a criminal history, child services deems her unfit to look after Roki, or even to take the teen to the powwow where the girl is certain her mum will attend to again steal the show in the mother-daughter dance competition; instead, Jax's white father (Shea Whigham, Lawmen: Bass Reeves) and stepmother (Audrey Wasilewski, Ted) are their choice of guardians. Fancy Dance's protagonist isn't one to simply acquiesce to that decision, and Gladstone makes both her fire and her pain palpable — and her tenderness for Roki, who is weightily portrayed by her Under the Bridge co-star Deroy-Olson, as well. Fancy Dance streams via Apple TV+. Infested For those firmly of the idea that there's no new stories in horror, just fresh takes on well-established sources of fear, Infested isn't here to change minds. Rather, the French movie is the latest poster child for what looking at a tried-and-tested concept anew can do, including while pairing it with up-to-the-moment social commentary. The genre staple here: spiders. When writer/director Sébastien Vanicek begins his feature debut — which he co-scripts with Florent Bernard (Meet the Leroys) — it's with a specific breed of the venomous eight-legged scurrying nightmares unearthed, literally, in a Middle Eastern desert. Within moments of emerging from the earth, the critters make the smugglers that are attempting to capture them pay. Horror fans should clock that Infested nods to classic ways to kickstart a scary flick from the outset, then, bringing The Exorcist's opening scene to mind. Prayer won't help the Parisian banlieue residents soon fighting arachnids for their lives, however, after Kaleb (Théo Christine, Gran Turismo: Based on a True Story) innocently purchases a new addition to his bedroom menagerie of exotic pets from a local convenience store. As he disagrees with his sister Manon (feature first-timer Lisa Nyarko) about selling the apartment that they've inherited from their mother, grapples with his grief, trades in sneakers to his neighbours to stump up a buck and is faced with small-minded prejudice just by stepping outside his door, what happens when Kaleb soon has a spider (and quickly, more than one) to track down? The critter he calls Rihanna was always going to escape, so havoc unsurprisingly eventuates. That's not to say that Infested goes through the motions. With energy and style as well as needling suspense, Vanicek makes a creature-feature equivalent of British alien-invasion gem Attack the Block, with shades of Les Misérables — the 2019 crime-thriller, not Victor Hugo-penned tale — and 2022's fellow standout Athena. He also gets his audience squirming. He filters his recognisable setup through welcome eyes. He knows how to make a heightened situation feel real to the deep distress of arachnophobics, and to get terror and tension scuttling through veins. And, he ensures that desperately rallying against forces that won't let you escape, in a setting that embodies that exact notion, proves both urgent and immediate. Infested streams via Shudder and AMC+. Stopmotion One of the most-haunting performances in Australian cinema belongs to Irish Italian actor Aisling Franciosi. She's acted in The Fall and Game of Thrones, I Know This Much Is True and Dracula: Voyage of the Demeter, and Jimmy's Hall and the upcoming Speak No Evil remake before and since, but her deservedly AACTA Award-winning work in The Nightingale — the second feature from The Babadook's Jennifer Kent, which follows a former convict's quest for revenge against a British officer in 1820s Tasmania — is stunning, searing and unforgettable. Also stellar half a decade later: Franciosi's turn in Stopmotion, which hails from the UK, has her playing the daughter of an animation genius and again tasks the immensely talented actor with confronting trauma. It's the product of a filmmaker in Robert Morgan with an uncompromising vision, too, with the English writer/director making his feature debut almost a decade after helming the D Is for Deloused segment in The ABCs of Death 2 with a movie that's never afraid to commit to its eerie chills, psychological thrills and macabre sense of wonder. Franciosi's Ella Blake has spent her entire life being told that her mother Suzanne (Stella Gonet, Breeders) is an unparalleled master at making the dead appear alive — because that's one way to see Stopmotion's eponymous art form. She's also spent much of her existence assisting rather than pursuing her own dreams, including after arthritis robs her mum of being able to use her hands to craft the exacting movements that their chosen medium requires. When the film begins, overwork has Ella fraying. Emotional cruelty has her internally raging, although she won't admit it. Suzanne has a project to finish, demanding her daughter's utmost commitment. When tragedy compounds her stress, Ella escapes into own creative vision instead, conjuring up a twisted fairy tale aided by a girl (Caoilinn Springall, The Midnight Sky) from an apartment neighbouring her new makeshift studio. Saying what Morgan unleashes from there is inventive, powerful and extraordinary — in live-action and animation alike — is an understatement. Stopmotion streams via Shudder and AMC+. Lumberjack the Monster Spanning big-screen releases, TV and straight-to-video fare, Takashi Miike has notched up 115 directorial credits in the 33 years since making his helming debut. Lumberjack the Monster isn't even the latest — it premiered at film festivals in 2023, which means that miniseries Onimusha and short Midnight have popped up since — but it is Miike back in horror mode, where 1999's Audition and 2001's Ichi the Killer famously dwelled. Here, the inimitable Japanese filmmaker and screenwriter Hiroyoshi Koiwai (Way to Find the Best Life) adapt the eponymous 2019 Mayusuke Kurai novel. Its namesake character also exists on the page in the movie itself, in a picture book. This is a serial-killer picture, though, and with more than one person taking multiple lives. A mass murderer wearing a bag over their head and swinging an axe is on a rampage, and lawyer Akira (Kazuya Kamenashi, Destiny) and surgeon Sugitani (Shôta Sometani, Sanctuary) aren't averse to dispensing death themselves. A clash is inevitable, not that the slick Akira expects it, or that his costumed attacker anticipates that their current target will survive his blade, sparking a cat-and-mouse game. Lumberjack the Monster doesn't just weave in fantasy boogeyman stories, offings upon offings, and characters with dark impulses going head to head. The police are on the case, giving the film a procedural layer, as well as Akira motivation to hunt down his assailant first. Science fiction also washes through, with brain-implanted chips and modifying human behaviour both for worse and for better part of the narrative. There's also a moral-redemption element weaved in. Consequently, it's no wonder that this tale is Miike joint. As well as being prolific, Miike loves making his resume the ultimate mashup. To name just a few examples, see: the yakuza action of Dead or Alive, superhero comedy Zebraman, titular genre of Sukiyaki Western Django, samurai efforts 13 Assassins and Blade of the Immortal, period drama Hara-Kiri: Death of a Samurai, video-game adaptation Ace Attorney, romance For Love's Sake, thriller Lesson of the Evil, vampire movie Yakuza Apocalypse and the crime-driven First Love. Unsurprisingly, Lumberjack the Monster is specifically the engrossing — and bloodily violent — Frankenstein's monster of a flick that Miike was always going to relish making when splicing together such an array of elements came his way. Lumberjack the Monster streams via Netflix. The Kitchen He has an Oscar, BAFTA and Golden Globe for Judas and the Black Messiah. He was nominated for all of the above accolades for Get Out, and should've won them all then, too. His resume spans Skins, one of Black Mirror's most-memorable episodes, plus Sicario, Widows, Black Panther, Queen & Slim and Nope as well. But The Kitchen marks a first for Daniel Kaluuya: his first movie as a director. Hopefully more will follow. Co-helming with Kibwe Tavares — who also notches up his feature debut behind the lens after shorts including Jonah and Robot & Scarecrow, which both starred Kaluuya — and co-penning the screenplay with Calm with Horses' Joe Murtagh, the actor makes a stunning arrival as a filmmaker. The Kitchen's setup: in the year 2044 in London, with class clashes so pronounced that not being rich is basically treated as a crime, a man (Top Boy's Kane Robinson, aka rapper Kano) living in the titular housing development crosses paths with a 12-year-old boy (newcomer Jedaiah Bannerman) who has just lost his mother, with the pair discovering that they have no one but each other as they endeavour to find a way to survive. Robinson's Izy has bought into the social-climbing dream when The Kitchen begins. He'll do so literally if he can come up with the cash for an apartment in a swankier tower away from everything he's ever known within 21 days, a dream that he's been working towards at his job selling funerals. It's at the latter that he meets Bannerman's Benji, who has nowhere to live after his mother's death and no one else to turn to for help. The film's scenario is pure dystopia, reflecting the inequities, oppressions and realities of today as all great sci-fi should. Its intimate emotional core hones in on people attempting to persist and connect, as the genre's best always does as well. Accordingly, this is an impassioned and infuriated portrait of society's gaps as everyone watching can recognise, a nightmarish vision of what might come and a thoughtful character study. As directors, Kaluuya and Tavares excel at world-building, at bringing such rich detail and texture to the screen that viewers feel like they could step straight into its social realist-leaning frames, and at guiding affecting performances out of both Robinson and Bannerman (who adds to the feature's impressive first efforts). The Kitchen streams via Netflix. Orion and the Dark Learning to face life's chaos, or even just recognising that life is chaos, has a particular term when Charlie Kaufman is making movies and audiences do the confronting. Describing something as Kaufmanesque sprang from the screenwriter and filmmaker's stunning run at the end of the 90s and beginning of the 00s — the Spike Jonze (Her)-helmed Being John Malkovich and Adaptation, plus the Michel Gondry (Microbe & Gasoline)-directed Human Nature and Eternal Sunshine of the Spotless Mind — and it's stuck ever since. Joining the trio of Synecdoche, New York, Anomalisa and I'm Thinking of Ending Things as well, all three of which he penned plus helmed, is new family-friendly animation Orion and the Dark. A Kaufmanesque kid-appropriate flick? It exists, and it's wonderful. Feature first-timer Sean Charmatz (TV movie Trolls Holiday in Harmony) directs, and Emma Yarlett's 2014 children's book provides the source material; however, this account of a boy afraid of the dark who then meets the literal Dark (voiced by The Afterparty's Paul Walter Hauser) is a Kaufman affair through and through. Also, iconic German filmmaker — and one-time Parks and Recreation star — Werner Herzog (The Fire Within: A Requiem for Katia and Maurice Krafft) pops up. Loaned the vocal tones of Jacob Tremblay (The Little Mermaid) as a child and Colin Hanks (The Offer) as an adult, Orion is petrified of sleeping without the lights on. And, just like the kids in Monsters, Inc that are scared of creatures in their cupboards, Orion and the Dark's protagonist is frightened of something real. Dark exists and, alongside Orion's parents (The Fall of the House of Usher's Carla Gugino and Bull's Matt Dellapina), is exasperated by the boy's response to nighttime. He can't help taking it personally, in fact, then offers to assist. For one 24-hour period, as darkness falls around the world, he gets Orion to accompany him on his travels with friends Sleep (Natasia Demetriou, What We Do in the Shadows), Insomnia (Nat Faxon, Our Flag Means Death), Quiet (Aparna Nancherla, The Great North), Unexplained Noises (Golda Rosheuvel, Bridgerton) and Sweet Dreams (Angela Bassett, Black Panther: Wakanda Forever) to demonstrate that being distressed is unfounded. It isn't just Herzog's involvement and a joke about David Foster Wallace's Infinite Jest that prove that this is a movie as much for adults as kids; amid its gorgeous animation, its understanding of existential dread is also that astute. Orion and the Dark streams via Netflix. Spaceman Should astronaut become a dictionary-certified synonym for melancholy? Cinema believes so. Its latest case in point comes via Spaceman, where life temporarily lived above and beyond the earth replaces gravity with loneliness and disconnection for Jakub Prochazka (Adam Sandler, You Are So Not Invited to My Bat Mitzvah). He's six months into a solo trip past Jupiter to investigate an eerie phenomenon in the heavens when this adaptation of Jaroslav Kalfař's 2017 sci-fi novel Spaceman of Bohemia kicks off. His quest is both time-sensitive and celebrated. South Korea is in close pursuit, he's frequently being told by Peter (Kunal Nayyar, Night Court), his contact at ground control — and Commissioner Tuma (Isabella Rossellini, Cat Person) happily keeps dialling him in for PR opportunities. As he soars through a strangely purple sky, however, endeavouring to fulfil his mission while pleading for maintenance approval on his crumbling ship, all that's really on his mind is his wife Lenka (Carey Mulligan, Maestro). Pregnant and left at home alone, she's no longer taking his fast-as-light-speed phone calls. Then Hanus (Paul Dano, Mr & Mrs Smith) scurries in beside Jakub, demanding attention — as a giant spider in space is always going to. For the best part of a decade now, seeing a live-action movie starring Sandler has meant heading to Netflix. In Australia, even Uncut Gems, his greatest-ever performance, arrived via the streaming platform. Alongside The Meyerowitz Stories (New and Selected) and Hustle, add Spaceman to the list of such features that give their star worthy parts and would've made welcome cinema releases. It isn't new news that Sandler is an excellent actor in dramatic and/or weightier roles, or that his career is more than the Billy Madison and Happy Gilmore-style comedies that he first became known for. Spaceman director Johan Renck (Chernobyl) has cast him expertly, in fact, in this tale of isolation, arrested development, otherworldly arachnids and amorous entanglements. Sending Sandler on an Ad Astra-, First Man- and Solaris-esque trip proves contemplative and empathetic — and, amid spider's-eye flashbacks to his complicated childhood in the Czech Republic, time spent with Lenka on the ground and floating around the film's claustrophobic main setting, also brimming with raw and resonant emotion. Spaceman streams via Netflix. STEVE! (martin) a documentary in 2 pieces To do justice to Steve Martin's life, career and impact requires more than just one movie. So, the engagingly and entertainingly in-depth, intimate, affectionate and informative STEVE! (martin) a documentary in 2 pieces explores the comedian and actor's existence in a pair of parts. The first is subtitled 'Then', honing in on his childhood and early stand-up days. The second, aka 'Now', jumps in when he made the leap to movies in the late 70s, which is where The Jerk, Pennies From Heaven, Planes, Trains and Automobiles, Dirty Rotten Scoundrels, Parenthood and LA Story comes in — and, of course, includes his tours with his ¡Three Amigos! co-star Martin Short, as well as their murder-mystery-comedy TV hit Only Murders in the Building. The initial half gets Martin narrating, sharing reflections personal and professional as accompanied by archival footage aplenty (and ample tapes of his stints in front of audience). The latter section treats him as an interviewee, with his wife Anne Stringfield, Short, Jerry Seinfeld (who has had Martin as a guest on Comedians in Cars Getting Coffee) and Tina Fey (who also co-starred with Martin in Baby Mama) among the talking heads. Behind it all is documentarian Morgan Neville, an Oscar-winner for 20 Feet From Stardom, as well as a filmmaker who is clearly taking his stylistic cues from his subject. That's noticeable in STEVE! (martin) a documentary in 2 pieces' moniker, for starters — it throws caution to the winds of grammar and title formats just as Martin has to comedy rules, as the two-part film makes plain again and again. No matter how well-acquainted you are with Martin, insights flow freely in this fascinating way to spend three hours surveying the ways that he's made people laugh over decades upon decades, beginning with doing magic tricks and working at Disneyland on his school holidays in the 50s. Revelations bound through about Martin as a person, too; more than once, he notes that his life has felt as if it has played out backwards, and not just because he only first became a father in his 60s. Clips of his stand-up act, and the response to it in the 60s and 70s, are gold. Hanging out with the man who originally was only going to create Only Murders in the Building, not star in it, when he's bantering with Short are as well. STEVE! (martin) a documentary in 2 pieces streams via Apple TV+. Am I OK? The question in Am I OK?'s title is indeed existential: is Lucy (Dakota Johnson, Madame Web) coping with being a thirtysomething in Los Angeles treading water emotionally, romantically and professionally? From there, more queries spring. Can she — or, more accurately, will she — shoot for more than not quite dating the smitten Ben (Whitmer Thomas, Big Mouth), right down to shaking his hand at the end of their evenings out together, and also for something beyond working as a day-spa receptionist while putting her passion and talent for art on the back burner? Is she capable of breaking free of a comfort zone padded out with spending all of her spare time with her best friend Jane (Sonoya Mizuno, House of the Dragon), including being so predictable that she always orders the same thing at their brunches at their favourite diner? Regarding the latter, she gets a push when Jane agrees to a lucrative transfer to London, splitting the pair for the first time since they were teenagers. Am I OK? is an arrested-development coming-of-age movie, then, and a film about being honest about who you are and want to be. Change comes for us all, even when we've built a cocoon to protect our happy status quo — and, at the heart of this romantic drama, change clearly comes for Lucy. She's forced to consider a path forward that doesn't involve solely being defined as half of a platonic duo. She also confronts the feelings for her coworker Brittany (Kiersey Clemons, Monarch: Legacy of Monsters) and the truth about her sexuality that she's never previously admitted. Am I OK? is a coming-out tale, too, but it treats Lucy's stuck-in-a-rut existence and at-first-tentative attempts to embrace how she truly feels holistically, seeing how life's passage inevitably shifts how we see ourselves. If the movie feels more honest than it might've been, that's because screenwriter Lauren Pomerantz (Strange Planet) spins a semi-autobiographical story. Also, the directing team of real-life couple Tig Notaro (2 Dope Queens) and Stephanie Allynne (who helmed Notaro's 2024 special Hello Again) — who met making 2015's In a World… — demonstrate the ideal light-but-delicate touch. Plus, Johnson and Mizuno exude genuine BFF chemistry, with the former again showing why fare such as this, Cha Cha Real Smooth, How to Be Single, The Peanut Butter Falcon, A Bigger Splash, Suspiria and The Lost Daughter, a diverse group of pictures, is a better fit than the Fifty Shades trilogy or a Spider-Man spinoff. Am I OK? streams via Binge. Looking for more viewing highlights? We picked the best 15 films that've reached cinemas in 2024's first half, too, plus the 15 best new TV shows of 2024 so far and the 15 best returning TV shows. We also keep a running list of must-stream TV from across the year so far, complete with full reviews. And, you can check out our list of film and TV streaming recommendations, which is updated monthly.
Japan is having a moment right now, both as a holiday destination and as a trending cuisine, with all sorts of Japanese venues appearing all over Sydney. One of the most colourful and dynamic among this new wave of arrivals is Miji Bar and Grill — a neon-lit izakaya that's bringing a taste of Tokyo's laneway culture to the North Sydney CBD. If you're one of the lucky travellers who's given Japan a visit but are still yearning for the streets of Shibuya or Shinjuku, you'll feel right at home here. Miji's interior is fully decked with imported Japanese signage, neon lights and even a replica of Shinjuku's famous red archway. Match that with concrete tables, floor-to-ceiling windows and the fact that you're on the first floor of a North Sydney office building, and it feels like a unique combination of two different worlds. The tastes are all Tokyo, though. Chef Jacob Lee has Michelin-starred experience in kitchens the world over, and it shows with an air of inventiveness across the menu. Lunch diners can enjoy set menus, donburi bowls and a mix of cooked and raw bar snacks, but dinner is all about the humble skewer. These skewers are the real deal and a must-try on your first visit. There are six variants to choose from, but the chicken thigh and enoki wagyu roll are our picks of the lot. That's just part of the picture, though, as the dinner menu also treads in the realm of small plates (like the insanely moreish deep-fried whitebait with shichimi spice mix and honey sour cream), hotpots and share plates, like gloriously grilled king prawns or rainbow trout with yuzu butter sauce and salmon roe. When it comes to drinks, one of Miji's specialties is a help-yourself drinks service that's practically unheard of in Sydney: a self-serve sake bar. Just grab a pre-paid membership card to tap, pay and pour. Alternatively, bartenders behind the counter will happily take your order. A creative cocktail menu is especially alluring, with in-house versions of slippers, daiquiris, gimlets and more. Try the Doraemon to sip apple sake and vodka mixed with blue curaçao, coconut and marshmallow. Or, dive into the many pages of highballs, shochu, umeshu, beer, wine, sake, spirits and non-alcoholic options.
Pyrmont's Quarrymans Hotel was on our radar when it had a facelift back in 2017. Now, it's had another upgrade — this time, though, the craft beer den has expanded upward, opening The Rooftop, a Palm Springs-inspired bar and lounge, on the hotel's top level. Designer Matt Woods (Bloodwood, Devon Cafe) is channeling poolside, resort feels with pastel pink walls, textured timber flooring and bright, airy spaces. The indoor section better resembles a posh beach house with multiple rooms filled with plush leather couches and chairs, coffee tables and bookshelves, along with modern globe lamps and large-scale artwork on the walls. Venture outside for a mix of bar, bench and table seating, checkered umbrellas and hanging greenery, plus a cacti garden and succulents on each table. While downstairs focuses on craft beer, The Rooftop is more of a cocktail affair. The list starts with creations like the house spritz, made with grapefruit vodka and lemon myrtle kombucha, and the Palma Rosa — a combo of tequila blanco, rosé, ruby grapefruit juice and ginger syrup. You'll also find a selection of wines by the glass, here, and a few taps dedicated to the likes of Young Henrys, Balter and Stone & Wood. In terms of food, the rooftop menu combines pub grub with a touch of Baja California — think chicken tacos with salsa fresca and guacamole, or a salmon poke salad with ginger and mentsuyu sauce. Fried chicken burgers with Old Bay fries and buffalo wings make the menu, too.
In a city where coffee reigns supreme, launching a specialty hot chocolate brand could've easily flown under the radar. But in 2012, the team behind Mörk Chocolate, husband and wife duo Kiril Shaginov and Josefin Zernell, saw a gap in the market. "Back then, Melbourne's attention was firmly on specialty coffee," Kiril tells Concrete Playground. "But specialty hot chocolate was still overlooked. We set out to change that." What began as a niche wholesale business-to-business operation supplying chocolate powder to cafés and restaurants has grown (quietly and organically) into five Melbourne venues and a strong, local business. In partnership with the business solution experts at Square, we sat down with Mörk Chocolate's co-founder and director, Kiril, to learn more about how they scaled a retail brand into a booming hospitality business. [caption id="attachment_1024588" align="alignleft" width="1920"] Mörk Chocolate Centre Place[/caption] From little things While it may be surprising to hear, Mörk Chocolate never set out to have brick-and-mortar cafés. "The core of the business has always been wholesale," says Kiril. "We sell our blends to cafés and restaurants. That's what we set out to do." Mörk Chocolate's first store opened in North Melbourne a decade ago and quickly became a destination for sweet tooths across the city. However, the ensuing venues in the CBD, Queen Victoria Market, and Chadstone weren't the result of any intentional expansion strategy. "They kind of just happened by accident," Kiril says. "We don't have investors. We don't go and borrow lots of money. All the expansion comes from cash flow, and so for us to [launch] a venue, it's a big deal, it doesn't matter how small or big. That's why it happens with time naturally and organically." The challenges Of course, organic growth doesn't equal easy. With five venues in four different suburbs (two are in the CBD), Kiril notes that anticipating what each customer needs is a big part of the work. "Each venue reflects different concepts, archetypes, and customer habits, which means anticipating customer responses and needs is always part of the journey. Each of our locations is tailored to its market; no two stores look or feel the same. Our focus remains firmly on quality and on sharing knowledge about chocolate. We've found that Mörk Chocolate customers truly value this approach," Kiril says. Across every location, the brand's focus remains clear: offer an exceptional hot chocolate experience, without overcomplicating it. "We specialise in hot chocolate — that's what we do. We just focus on that and we don't try to do lots of other things." [caption id="attachment_1024589" align="alignleft" width="1920"] Mörk Chocolate Queen Victoria Market[/caption] Advice for new business owners Kiril notes that having that "pure vision" of knowing what you believe in and excelling at the one thing is really important. "I think a lot of new businesses try to do too many things to capture a bigger part of the market, but then the concept gets diluted a little bit." When asked if good products or good service take priority, Kiril says that both are equally important. "One cannot exist without the other. The key message is maintaining consistency across both." One way that Mörk Chocolate maintains this service consistency is through Square. "Consistency and customer experience are our priorities. We're streamlining POS systems to improve reporting and create a more seamless back-end operation," Kiril says. In the end, Kiril recommends focusing on what you love and believe in. The café side was born from Kiril, and the specialty chocolate side from Josefin. As a business, Mörk Chocolate has proven that focusing your efforts on one well-made product can compound over time. And maybe, a decade later, your business-to-business brand will become a hospitality legend. Square empowers local businesses to thrive by making it easier to run, manage, and grow their operations. Find out how Square can help your business grow.
With his first feature, Samoa-born, New Zealand-based writer/director Miki Magasiva is living the filmmaking dream, all by championing what's important in his culture. Tinā, about a grieving mother who takes a job at a private school after the Christchurch earthquakes change her life forever, premiered at the Hawai'i International Film Festival late in 2024. Just over six months later, it's a homegrown hit that's earned so much affection from audiences in Aotearoa that the picture is now one of the most-successful NZ films in history. Sitting in sixth place as at mid-April 2025, Tinā is behind only Taika Waititi's Hunt for the Wilderpeople and Boy, then The World's Fastest Indian, Once Were Warriors and Whale Rider. For the year so far overall, it's second to A Minecraft Movie at the New Zealand box office. Taking on her first lead role after decades as an actor — on-screen, see: The Market, One Thousand Ropes, The Changeover, Filthy Rich, The Breaker Upperers, The Justice of Bunny King, Our Flag Means Death, The Rule of Jenny Pen and more — Anapela Polataivao wasn't envisaging this reaction, after she initially came onboard Tinā to help with the movie's development process without knowing that Magasiva had plans for to star. "Let's just say I did not anticipate this kind of response," she tells Concrete Playground. "You do the work and then you walk away and hope for the best, but this has been a continual — the response has been incredible, and mainly from our people, who are so appreciative of the work. And also a lot of the comments also are about their pride in the work, and visibility and for them being seen in our stories. So that's a great compliment." Did Magasiva foresee that Tinā, which takes its title from "mother" in Samoan, would strike such a chord? "Yes and no," he advises. "We were confident we had an initial script that people would enjoy watching. And then once we did the first round of edits, we knew we were onto something good that people would want to go and watch. However, having said that, the eventual response that we've gotten so far has been far beyond what we expected." "Touching on what Bels has just said before, you make these films and then you think 'that's it, my job's done. I'll just send it off — and if people go watch it, great. And if people don't go watch it, well, that's fine, too. We can't help that.' But having people come up to us and talk about their experiences, transformational experiences with family members and themselves, having gone through watching the film, is just way beyond what we ever expected. And so it's just been this really massive surprise for us that we're just so overwhelmed by and thankful for." Screening in Australian cinemas since Thursday, May 1, following its NZ release on Thursday, February 27, Tinā's origins mirror plenty of other movies in one regard: art imitating life. That said, Magasiva combined inspiration from IRL choir contest The Big Sing, the New Zealand choral festival for high schools that's been running for over 30 years, with not only tapping into Samoan culture but paying tribute to both the importance of connection and the leadership role of mothers. Mareta Percival, the heartwarming film's fictional protagonist, dotes on her daughter when the feature begins, encouraging her to make the most of her singing talents. Then tragedy strikes. While grappling with her loss, substitute teaching at a wealthy school becomes a necessity — and starting a choir that croons Samoan tunes proves a much-needed move for Mareta and her new pupils alike, even if some in the privileged community that's barely letting her in are vocal in their opposition. Tinā sits on Magasiva's resume after decades in the business as well, including earning acclaim for his shorts — Rites of Courage arrived in 2005, then Uso in 2006 — and working in television. The Panthers, of which he helmed two episodes, was the first-ever New Zealand TV drama series to screen at the Toronto International Film Festival. On We Are Still Here, an anthology feature directed by Indigenous filmmakers from New Zealand and Australia that opened the 2022 Sydney Film Festival, he was one of the behind-the-camera talents. His success with Tinā is far from overnight, then, but it might not have happened if he hadn't been so moved by online The Big Sing footage. With Magasiva and Polataivao, we also explored the journey from Tinā's first sparks to the tale that viewers are now being so touched by in cinemas — a story that puts the importance of moving forward collectively at its core; that is shaped by grief, and understands how mourning is so personal yet universal; and that also centres navigating cultural differences as a warm, hopeful film, while not shying away from the impact of attitudes of prejudice. And, we unpacked how Polataivo came to be its lead, what that achievement means to her, how Magasiva built Tinā's cast around its star and more. On Finding Inspiration for the Film in Online Footage of High School Choirs Miki: "It was hearing the choir performing. We grew up in churches, Samoan churches, listening to choirs, so we know it well. We have this sort nostalgic memory anytime we hear all of our old church choir songs. And so when I saw that, I was just so emotionally moved. I almost cried watching that video or that YouTube clip. I just thought that would make a great premise. I thought 'if I can just recreate some of the emotion that I'm feeling at the moment, I think we're on to something really special here' — and so I think luckily we've done a little bit of that." On the Path From Watching New Zealand's The Big Sing Competition to a Story About a Grieving Samoan Mother Getting a Job in a Private School in Post-Earthquake Christchurch Miki: "Well, it's a story process, much like you go through when you when you create stories. And what's always good is we had the end in mind, and so we wanted just to build towards that moment, that end. We were always working our way towards the end. So it's about 'who's the main character?'. And it's a drama, and so we try to create situations and journeys for her to get to that end — and put her into situations that challenge her, and put her into situations where she has relationships with others that really drives her towards the end there. And then when you're piercing these things together, you source techniques that you like yourself. There's a lot of comedy in the film, and so I wanted to infuse the storyline with a bit of comedy. And it seemed to work well, because it has this sort of mother-teacher relationship that I always find funny, and I think that that can be a really rich ground for comedy. Add into that a bit of emotion, add into that music, and then just drive the story towards the end — it's a really fun part of the process." On Polataivo's Initial Response to the Project — and Being Asked to Help Develop the Film Without Knowing That Magasiva Wanted Her to Play the Lead Anapela: "Yes, this guy — let's not go there." Miki: "I tricked her." Anapela: "He did. Because these things, I'm just so used to working as part of the team, being the assistant or coach or stuff like that. So when I come in to help, I don't have any other thoughts or any other preconceived anything. It's just like 'I'm going to help my friends'. So when these guys got the green light, and then I get the call saying 'hey, we had you in mind for it' — gosh, I was just like 'you little ...', all of the things. And then, of course, I think we did our first read — I had said yes after that, and then we did our first read where everyone was a mess and we were all in tears. And that's just when you know it's a family affair and it's going to work." On Polataivo Scoring Her First Lead Film Role After Decades as an Actor Anapela: "I think this is different. This was a different one, because it was more personal — so it wasn't like 'oh my goodness'; it was really like 'okay'. I didn't even think about being in the lead, either. I just felt like I was just part of the fabric of the story. There's so many moving parts. Yes, you may be driving the thing, but you understand, well I understand, you'll be able to play that — and to be helpful and to assist in the purpose of it. So it was not an 'oh my goodness' moment. It was an 'oh my gosh', because it's personal, it's family, and you just know. My partner would always say to me 'Bels, it's one shot, one shot for Miki, let's go' — with that tone. And I get it. It is. Any shot we get, it is a shot. And we don't take those things lightly, either. So we go and you pour all of yourself in there. And we do have a big sense of responsibility, as well, to continue." On the Importance of This Being a Movie About Community and About Moving Forward Collectively Miki: "It's everything. It is what we are to be Samoan or Pacific. It's just how we see the world. So right from the way we run our sets to the way we run our production, to the themes of our story, that's how we communicate — and that's how we see the world, and that's how we work. So it is everything to us. And so to have a film reflect those themes, it's really important and allows us to highlight our culture in a way to the world that communicates what it is like to be Samoan and what it is like to be a Pacific Islander, what it's like to live in New Zealand and Aotearoa. And I think a lot of communities around the world can resonate with that, can see something in that, that they connect with as well. So I think it's a very human condition." On Making the Specific and Personal Universal Through the Film's Story of Grief and Connection Anapela: "It's not a thing — it just is. It's only when we talk about these things and analyse, but they are just a way of being. It's like with Miki talking about in Samoan, we're talking at very young age about sharing, and also that you're not the most-important person in the line. If anything, you're the last, you're supposed to help. It's never ever about you. There's this quote that says 'I is we always in a Samoan village'. So it's that mentality. That's how we're born. We're born into religion. We're born into all these things that make us Samoan. That goes more into the nitty gritty of what it's like. But when you try to find all those nuances in her, to not only explore but to allow those things about her being Samoan to breathe on-screen, to bring life and to evoke — let's just say, some of the comments that I've read, and I know it's from non-Samoan viewers, are 'we get a window, we kind of understand now what that means to be a Samoan just through that story'." Miki: "And it is things that we think about when we're piercing it together as well, so that will be the heart of it. But we've tried to create a story that does feel universal, that everybody can connect with. So we're telling a story from a Pacific perspective, but we're telling a story that's a universal story. Those who go and watch the film will see that it's not all about just being a Pacific Islander. And we've had great success back home in New Zealand because the entire country has found something to connect with. And we've tried to build that into the story, when we pieced it all together — that it is about community and coming together, and cultural acceptance. A large part of our European community back home have connected with the film because it has those things in it, and it does deal with things that they can connect with and they find funny, and they can find some sort of connectivity back to how they grew up as well. So hopefully it is a universal story for everyone." On the Movie's Approach to Navigating Cultural Differences Miki: "I tried to put it this way: we're not trying to hide from our past, and we are saying that these things did happen — and actually continue to happen, let's face it. And we've dealt with a lot of that stuff both on the nose, both directly and a little bit more subtly in the film, too. But you have to have that backdrop to it. You have to have some sort of setup for the entire film to end up in a place that we hope everybody ends up, which is inclusiveness and working together and coming together despite our differences — that we can celebrate a culture and the richness of it, we can say that we have been through this and some of us continue to go through these, but we can work our way through it through cultural acceptance and working together as a community." On Building the Cast and the Choir Around Polataivo Miki: "It's an exciting part of it. So, all of our students had to sing in their auditions. They all sung songs to audition for it. We went through the natural casting process. But we got really lucky when we came across Antonia [Robinson, Mystic], who has a musical background herself. She's a great singer anyway. She sings in her real life. But she's also a wonderful actress. We absolutely love Antonia. She's very hard-working, she's super talented. We know she's going to go on to great stuff after this. And then we managed to also find and create students next to her, in Zac [O'Meagher, Uproar] and Talia [Pua, Happiness Is the Path] and Tania [Nolan, The Convert] who had their own unique traits that they could bring to the group as a whole. Outside of that, we also have lots of wonderful New Zealand actors in there. Beulah Koale [Next Goal Wins] is in there, and Nicole Whippy [Shortland Street] is in there. Jamie Irvine [Literally Dead] is in there." Anapela: "Alison Bruce [The Gone]." Miki: "Alison Bruce as well. So we've got all of these well-known and really experienced New Zealand actors that not only are around Bels, but also help support and stand next to Bels." Anapela: "And our guy from Perth." Miki: "And Dalip Sondhi [Better Man] as well, who I think is a wonderful Australian actor — from England originally as well, the UK. So it was just special to be able to build a cast to support that. And they were all just so wonderful and embracing the community spirit of what we were trying to create. They're all amazing in the film, so it's quite lucky — super lucky and grateful." Tinā opened in Australian cinemas on Thursday, May 1, 2025, and in New Zealand cinemas on Thursday, February 27, 2025.
Many local hospitality venues excel at one thing in particular. Whether they pour the best wine or serve a cold brew that'll have you buzzing for a week, most of these venues focus on one specialty during a particular part of the day. For the Japanese café Kahii, located on Kent Street in Sydney, however, flexibility and variety are what keep the spark alive. "Adding a night offering gave the venue a whole new life," says Kahii's director, Matthew Wong. Open from 8am until 3:30pm Monday to Friday, and re-opening from 5pm 'til 12am Tuesday to Saturday, Kahii serves freshly brewed coffee by day and cocktails by renowned mixologist Fumiaki (with a curated bar snack menu from Kuro's Executive Chef, Taka Teramoto) by night. "Flexibility isn't just a survival tactic — it's a growth mindset," Wong tells Concrete Playground. When Kahii opened in 2016, it was purely a day-trade cafe inspired by the Japanese tea room, kissaten. "Quiet, minimal, refined". After the venue survived the pandemic (and subsequent lockdowns and venue regulations that gutted the city as a whole), Kahii wanted to do something "exciting" again. "Licensing conditions had relaxed, and we saw the opportunity to introduce a tea and coffee-inspired cocktail program that reflected our identity while giving people something unique in the city," Wong adds. "It was both strategic and personal — a natural extension of who we are and what we enjoy." Pros of Flexibility According to Wong, the advantages of running a business that opens at different times of the day are plentiful. "It creates diversity—not just in revenue, but in the types of experiences we offer and the people we attract." "During the day, we serve office workers, creatives, and locals grabbing their daily coffee or matcha. At night, the crowd shifts to people seeking somewhere intimate to unwind with a drink and a bite." Wong also notes that increasingly, regulars are starting and ending their day at the cafe. "There's crossover, too." In addition to attracting a diverse range of patrons, from a business standpoint, Kahii is maximising the value of a "sunk cost"—rent. "Activating the space in the evening was a strategic way to make full use of it." Being open throughout the day also creates a buffer from trade volatility. "Things like school holidays, transport disruptions, and weather don't hit quite as hard when we have more than one audience," Wong adds. How to Adapt Your Business to Two Offerings If you want to expand your hospitality business beyond its current offerings, Wong recommends starting with what you love. Then, build systems that support flexibility. "If you're transitioning from day to night, make sure the space is designed to shift moods—lighting, music, staff training, and menus all need to adapt seamlessly." He also suggests thinking about operational flow. From bookings, orders, payments, and prep change, how will you widen your service? "The clearer your identity and the smoother your systems, the more your guests will feel like it's all part of one cohesive experience—not two separate businesses," Wong explains. Tools like Square can help build upon this flow. Kahii uses Square for POS during the day and Square for Restaurants at night. The platform handles everything from payments to open orders and integrates with booking platforms. As he explains, "[Square] makes a huge difference to our workflow, especially as we transition between different trade periods and customer expectations." Kill Your Darlings Running a hospitality business comes with a lot of decision-making. Part of this means making calls that impact your day-to-day. "There were offerings we loved but had to let go of—sometimes because they didn't resonate with guests, other times because they were operationally clunky," says Wong. One of the biggest lessons for Kahii has been knowing when to separate personal attachment from business performance, which Wong notes is never easy, but often necessary. "Looking back, every time we've made that call, it's created room for something better. Something that fits the brand, the customer, and the moment we're in." If Wong could give any advice to other adventurous business owners in the same position, it would be to be honest about what's not working. Be open to new formats, offerings, or even the times of day you operate. And most importantly, don't be afraid to pivot with purpose. "Talk to your team. Listen to your customers. Look at the data. Sometimes the smallest insights, like consistent feedback on a menu item or noticing a dip in trade at a certain time, can spark the biggest changes." Square empowers local businesses to thrive by making it easier to run, manage, and grow their operations. Find out how Square can help your business grow. Images: Kahii
What's better than Australia being home to 11 of the 101 best steak restaurants on the planet, as proved the case in 2024? Upping that number to 17 in 2025. Last year, more than a tenth of the top spots for a steak worldwide were located Down Under according to the World's 101 Best Steak Restaurants List. This year, that number gets closer to a fifth of the eateries around the globe. As in 2024, you'll find every single one of 2025's ace Aussie steak joints in Sydney and Melbourne. Most of the Australian restaurants that made the cut last year did so this year — and one, Neil Perry's Margaret, not only made the top ten for the second year running but jumped from third to second place. Yes, that means that the Double Bay venue is now the second-best steak eatery in the world. [caption id="attachment_1001992" align="alignnone" width="1920"] Petrina Tinslay.[/caption] "We're absolutely thrilled that Margaret has been named one of the best steak restaurants in the world. For our family-run restaurant to receive this recognition is an incredible honour. It's a testament to the passion we've poured into our meat program — from working with exceptional producers like Blackmore Wagyu and CopperTree Farms to ensuring every cut served is perfectly dry-aged and cooked," said Perry. "It's also fantastic to see 17 Australian restaurants featured on the list this year, a reflection of the outstanding quality of our beef producers." Which global restaurant took out the number-one spot, sitting above Margaret? Buenos Aires' Parrilla Don Julio seared itself into first place again, as it did in 2024 and in 2023 before that. After Australia's highest placement, Laia Erretegia in Hondarribia in Spain came in third, then I due Cippi in Saturnia in Italy in fourth and Singapore's Burnt Ends in fifth. Bodega El Capricho in Jiménez de Jamuz in Spain, last year's number two, ranked sixth, with Casa Julian in Spain's Tolosa, Lana in Madrid, AG in Stockholm and Cote in New York rounding out the top ten. Australia's next showing came at number 12 courtesy of Rockpool in Sydney — followed by four more spots in the top 20, giving the nation six of the 20 best steak joins in the world. Sydney's The International ranked 14th, then the Harbour City's Firedoor came 16th (after placing third back in 2022), followed by Victor Churchill in Melbourne at 18th and Porteño in Sydney in 20th position. From there, the remainder of Sydney's 11 places on the list arrive courtesy of The Gidley at 32, Aalia at 36, Shell House at 51, The Cut Bar & Grill at 62, 20 Chapel at 93 and Bistecca at 99. In Melbourne, Steer Dining Room ranked 37th, Gimlet at Cavendish House sits 45th, Matilda 159 is 57th, Meatmaiden came in at 91 and Grill Americano took out 92nd spot. 2025's selections where whittled down to 101 from 900 restaurants, each evaluated against 28 comprehensive criteria, such as the quality of the meat, its sourcing, ageing techniques and cooking precision, as well as service, wine expertise, ambiance and authenticity. Alongside Australia's huge showing, another good news story comes from Japan, which scored eight restaurants in the Top 101 for the first time ever. [caption id="attachment_1001993" align="alignnone" width="1920"] Petrina Tinslay.[/caption] [caption id="attachment_699842" align="alignnone" width="1920"] Nikki To[/caption] [caption id="attachment_844448" align="alignnone" width="1920"] Christopher Pearce[/caption] [caption id="attachment_956587" align="alignnone" width="1920"] Dominic Loneragan[/caption] [caption id="attachment_675814" align="alignnone" width="1920"] Dominic Loneragan[/caption] [caption id="attachment_860199" align="alignnone" width="1920"] Earl Carter[/caption] For the full rundown of the World's 101 Best Steak Restaurants for 2025, head to the list's website. Top image: Petrina Tinslay.
Olympus' arrival means you don't have to trek to Greece's rugged hills to experience the best of Hellenic village cuisine. Earmarked as one of Sydney's most exciting restaurant openings of the year, guests are now welcome to explore this homely dining experience where simplicity and community come first. Led by Jonathan Barthelmess, his team's credits include admired Sydney landmarks like The Apollo and Cho Cho San. Bringing a village-style taverna to Wunderlich Lane at the meeting point of Redfern and Surry Hills, Olympus offers an ideal spot for easygoing gatherings with family and friends. Pairing modern technique with enduring flavours, head chef Ozge Kalvo (Baba's Place, Ester) has shaped a menu of elevated meat and fish dishes, including grilled sardines, king prawn saganaki and milk-fed lamb. From an impressive kitchen adorned with a sizeable charcoal oven and a wood-fired section, Kalvo complements plentiful mains with a bevy of mezedes, such as dolmades, dips and pickled vegetables. With a focus on simplicity and ancient cooking techniques, most elements on the plate are treated with a light touch. Yet, as you'd expect from an authentic village feast, the cuisine is abundant and immaculately presented. The wine and cocktail list is also suitably meticulous. Sommeliers Zoe Brunton and Sam Christie cast their net far to bring beloved Greek winemakers big and small to Olympus' coffers. Meanwhile, visionary bartender Matt Whiley infuses exciting creations with a sense of theatre, breaking new ground on inventions like an Ouzo Colada and the Karpouzi slushy, combining Aperol and vodka with watermelon. With the restaurant named after Mount Olympus – the Greek gods' home and preferred feasting spot – it's easy to imagine Zeus or Aphrodite looking down with a watchful gaze from the striking oculus ceiling. This ode to the ancient amphitheatres of Greece was conceived by interior designer George Livissianis, who was tasked with capturing that age-old village atmosphere without overlooking Olympus' urban context. It's safe to say Livissianis succeeded, with rocky ruins reflected in soft limestone and travertine textures, and a stunning 50-year-old bougainvillea standing as an enchanting focal point beneath the restaurant's glass canopy. Expansive in scale, but intimate enough that loved ones never feel far away, heading to Olympus offers a polished dining experience where tradition and modernity meet in good-natured harmony. Find Olympus at 2 Baptist Street, Redfern, open Monday–Tuesday from 5pm–12am and Wednesday–Sunday from 12pm–12am. Head to the venue's website for more information.
They say home is where the heart is — that might explain the location of Ben and Emily Calabro's latest venture. The brother-sister duo grew up in Gladesville on the Lower North Shore, giving their new neighbourhood cafe, District Eatery, a sentimental edge. Serving elevated takes on Aussie-inspired favourites from breakfast to lunch, enticing dishes and warm details tie this spot to the local community. Now 14 years into their journey, the duo first established their reputation with the quality breakfast game at Pyrmont's Quick Brown Fox. Most recently, the Calabros turned their attention to Rosa, a nonna-approved pasta bar inspired by the Amalfi coastline. Now, the pair is ready to rival the city's top brunch spots with District Eatery. "There's something very special about returning back to Gladesville and bringing a concept that we wished we had growing up. Every detail of District Eatery has been carefully considered to create a comfortable space for locals to enjoy and spend time together," says co-owner Ben Calabro. Working closely with JSLJ Architecture, District Eatery's interiors balance the natural and industrial. Think floor-to-ceiling windows that invite loads of light, custom timber joinery and neutral ceramics set against a handmade concrete bar, along with terrazzo-speckled floors and high-gloss burgundy tiles. Bold but welcoming, quick takeaways or extended catch-ups are equally suited to the space. As for the menu, there's a steady hand in charge. Head Chef Daniel Grey brings years of experience from working in renowned kitchens like AALIA and The Apollo, offering fresh takes on brekkie and brunch staples. The ultimate bacon and egg roll is served as a pressed croissant, with fontina and Kasundi ketchup. Meanwhile, the hotcakes are stacked with roasted rhubarb and strawberry almond crumble, finished with strawberry syrup and house-made vanilla bean ice cream. Recalling the local community, the Calabros' connection to Gladesville isn't a tenuous one. The pair attended nearby schools and played soccer at Monash Park, just a short stroll from District Eatery's corner location. Plus, the duo's hospitality journey began a few streets away at their first coffee shop in Top Ryde City Shopping Centre. Says Ben: "To open this venue in our home suburb, for the community we grew up in, means the world to us."
Planes are not the first mode of transportation you associate with relaxation. Sure, Qantas plaster their lounges with posters about gourmet dining at 30,000 feet and if you're in first class you can settle into the flight with a warm lavender scented towel on your face (I assume). But for most of us, flying is a literal rollercoaster of anxiety and frustration. On every trip, I have the same devastating thought: Is this how I die? "She went peacefully," the eulogy will read. "The air hostess plied her with a $10 plastic cup of wine and she seemed mildly entertained by the rerun of Modern Family." Anyway. Apparently, it's not all that bad. When planes are stationary, closer to the ground and filled with handcrafted luxury items, they're okay by me. Enter Costa Rica's Costa Verde resort — the world's premier destination for finery and fuselage. Crafted from the airframe of an abandoned 1965 Boeing 727, Costa Verde's Phoenix Suite is understandably the hotel's 'most exclusive' accommodation. The two-bedroom luxury suite is entirely fitted out with Costa Rican teak panelling and hand-crafted Indonesian furniture, and it also a large deck on what was once the plane's right wing. Nestled at the edge of the Manuel Antonio National Park, this suite offers amazing access to the nation's wildlife too. Sloths, iguanas, birds and butterflies roam freely around the area, but most famously the grounds are home to a large variety of monkeys — squirrel, howler, and white-faced. As you might expect, it's somewhat exxy ($250-750 per night without taxes). Perhaps you could write it off as a medical expense — an entirely necessary measure to cure your fear of flying. Regardless, in the land where money is no object and all the animal kingdom are at one with us, we would like to be taken there immediately. Via Lost At E Minor.
In the age of streaming, DVD commentary tracks are no longer as much a part of the home-viewing process. If you're keen to hear insider details about the making of Sydney-shot 1999 sci-fi great The Matrix and 2025's Melbourne-made horror hit Together, however, SXSW Sydney has you covered. 2025's event has unveiled more details of its Screen Festival program for this year, with the return of its Screen Commentary sessions among the highlights. Costume designer Kym Barrett, who has also worked on everything from Baz Luhrmann's Romeo + Juliet, The Nice Guys, The Shallows, Aquaman and Us to Charlie's Angels, Shang-Chi and the Legend of the Ten Rings and Three Thousand Years of Longing — and on The Matrix Reloaded and The Matrix Revolutions, plus the Wachowskis' Speed Racer, Cloud Atlas and Jupiter Ascending — will talk through her efforts on The Matrix as the film plays. For Together, writer/director Michael Shanks will dig into his debut feature, which also opened 2025's Sydney Film Festival. SXSW Sydney has also announced Screen conference sessions as part of its roster of seminars, workshops and more, with Whitney Fuller, the Development Executive of Jordan Peele's Monkeypaw Productions, one of the big names. Fittingly, Fuller will be part of the festival's Women in Genre panel. Also, producer Liz Watts (The Royal Hotel) and filmmaker Tony Ayres (The Survivors) are teaming up for the What Is an Australian Story? session, while Fantastic Festival Director Lisa Dreyer, Rachel Watt from Watt Social, Yellow Veil Pictures' Joe Yanick and Oscilloscope's Alexandra Fredericks are set to get chatting as well. The panel lineup also spans Jill Kingston from Pacific Shadow Pictures, Enzo Tedeschi and Helen Tuck from Deadhouse Films, and Lake Martin Films' Kate Separovich unpacking all things indie horror from a filmmaking perspective, as well as Invention Studios' Carmen Knox and actor Remy Hii (Arcane) on deciding whether to make the leap to LA. SXSW Sydney's latest screen-centric additions join Paul Feig (Another Simple Favour) hitting the Harbour City as the Screen Festival keynote speaker and its first recipient of the new SXSW Sydney Screen Pioneer Award — and also a 14-hour Freaks and Geeks marathon, plus sessions of Bridesmaids and The Heat, to go along with his time at the fest. There's more to come; however, as similarly announced earlier, viewers will also be able to catch By Design, $POSITIONS, Dead Lover, Zodiac Killer Project, The Last Sacrifice and Bokshi. Among that group, body-swap effort By Design features Juliette Lewis (The Thicket), Mamoudou Athie (Kinds of Kindness) and Robin Tunney (Dear Edward); horror-comedy Dead Lover is a SXSW Austin award-winner; Charlie Shackleton (The Afterlight) digs into a famed serial killer; and everything from comedy to folk horror features. [caption id="attachment_967878" align="alignnone" width="1920"] Jaimi Joy[/caption] [caption id="attachment_923287" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] [caption id="attachment_923317" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] SXSW Sydney 2025, including the SXSW Sydney Screen Festival, runs from Monday, October 13–Sunday, October 19 at various Sydney venues. Head to the SXSW Sydney website for further details and tickets. The Matrix image: Ronald Siemoneit/Sygma/Sygma via Getty Images. Together image: Ben King, Neon.
Beau was afraid. In Ari Aster's third feature — another excellent and unforgettable film after Hereditary and Midsommar — Beau was anxious and unsettled and agitated and knocked off-kilter, too. Sheriff Joe Cross is all of these things also, with Joaquin Phoenix (Joker: Folie à Deux) again taking on a key role for a writer/director responsible for some of the best movies, and viewing experiences, of the 21st century. Along with the filmmaker's initial two pictures, Beau Is Afraid earns that description, as does Eddington, Aster and Phoenix's mid-2020-set, COVID-era-probing, brilliant and chilling and equally very amusing latest collaboration. Its focus: a small New Mexico spot struggling when normality as everyone knew it just months prior has vanished and seems as if it might never return. The Sevilla County official at Eddington's centre is as much a man interrupted, as his community is — but the Cross way of coping is to flout and defy anything that doesn't match his preferred status quo. His dislike of incumbent Mayor Ted Garcia's (Pedro Pascal, The Fantastic Four: First Steps) way of handling the pandemic, aka respecting social-distancing restrictions and mask mandates, inspires the Sheriff to take action, entering the race to lead the town (population: 2345) himself. Eddington is a western, as well as being an unnerving thriller and a hilarious dark comedy; Aster has Cross and Garcia headed for showdowns and standoffs more than once. With a Best Actor Oscar for Joker to prove it, Phoenix has been enjoying a recent stint of playing characters who are fixated, obsessed, unyieldingly determined and driven to act of late — since before the outstanding You Were Never Really Here, but that's firmly a recent example prior to his time as Arthur Fleck and now Joe Cross. He hasn't necessarily noticed that trend, he tells Concrete Playground, or recognised that anything particularly draws him in that direction. "I've never thought of it that way, but you say that and I go 'I don't even know what the last two movies I made are'," Phoenix advises. "But maybe you're right. I don't know why. I think I'm always just — it is an instinct. I either react to something that I'm reading it or I don't. And I don't really analyse why." Eddington is easy to spot trends and parallels in and around. Given that it peers into very recent history, to a period forever seared and scarred into memories — and has the era's paranoia and polarisation in its sights, spotting how neither have subsided since — that's by design. Another piece of mirroring comes via Aster's filmography. Chatting with Concrete Playground in 2018 when Hereditary released, he described his debut as "a family tragedy that curdles into a nightmare". Grief over a mother and grandmother begets worse in the feature that won Toni Collette (Mickey 17) a deserved Best Actress Gotham Award — in a movie, too, that cemented itself as an instant horror great. That "curdling into a nightmare" idea resides in each of his features, Eddington included. "I think that could be one way of describing this film," Aster tells us. "I would say that this is a film about a bunch of people who are all very paranoid, and who have very clear but kind of oppositional ideas of what is happening. And everybody's picture of the world is pretty sinister. Then, by the end of the film, the film itself becomes gripped by this paranoia — and so the movie too becomes paranoid." He continues: "and in that way, the film goes off the rails in a way that I like. It's got a long, sustained climax, which I like, especially in a genre film. It's easy to make this film, in an interview like this, sound like eating your vegetables — but it's supposed to be fun, even though what it's talking about is no laughing matter. But the film is about the circus of America, and the tilt-a-whirl goes faster and faster until the teacups start flying off." Cross' blatant and inescapable acrimony for Garcia, Joe's depressed wife Louise (Emma Stone, Kinds of Kindness) embracing online conspiracy theorists and becoming particularly enthralled by the charismatic Vernon Jefferson Peak (Austin Butler, The Bikeriders), local teens staging Black Lives Matter rallies to share their anger over the death of George Floyd, tech company SolidGoldMagikarp's plans to build a data centre on Eddington's outskirts, doomscrolling feeding the pervasive sense of distance between townsfolk: these all help that rotating ride spin. As the whirring of conflicting attitudes and opinions that's unbalancing its setting gains speed, Aster's film digs into America's contradictions, patently, as well as conservative-versus-liberal clashes. Internet hokum's easy spread, our immensely tech-reliant lives and AI earn attention; giving up power to the powerful without realising it, too. Anti-fascist activism, performative bandwagon-jumping, ignoring health-protection rules when folks are dying, not knowing how to cope with this chaos: they're also among the swirl. Aster doesn't see it as a horror movie; however, Eddington is as perceptive a portrait of 2020 and the times since as had reached screens so far, and as disquieting yet clear-eyed. The path to the feature started with an old idea predating the pandemic, which also came up while talking to the director, as did piecing the narrative together, living in a world where no one agrees on what's true anymore, reteaming with Phoenix and more — alongside chatting with Phoenix about that repeat collaboration and reuniting with filmmakers of late, interrogating fear and anxiety with Aster, what he recognised in the script, and bringing humanity and humour to Cross. On How Aster Following His Instincts in the Early Days of the Pandemic, and Picking Up an Old New Mexico-Set Idea, Lead to Eddington Ari: "Well, I feel like we're living in a very, very weird time. And the human capacity for adaptation is amazing, and everything becomes normal very quickly, and things that might be obvious become less so once they become ambient. And I just found that I wanted to pull back as far as I could, and try to describe this new reality that we're living in as well as I could — which is that everybody is living in a different version of reality, and we totally distrust anybody and anything that falls outside of our little bubble of certainty. And we've become unreachable to each other. So I wanted to make a film about that. And I'm from New Mexico — and that's really what the project was that had already been there waiting for me, which is that I have just been wanting to make my New Mexico movie. And I wanted to make a western. And it felt like the right framework for this." On Whether Returning Collaborations with Directors, Such as Ari Aster Here, Todd Phillips on Joker: Folie à Deux and Ridley Scott on Napoleon, Help Phoenix Challenge and Extend Himself as an Actor Joaquin: "I think that's what you would hope for, right, because it's almost like a long relationship, just the value of growing with somebody and changing — and somebody that learns to read you better after time. We all put our best foot forward when we first meet people and are working with them, and I think after some time we start really showing ourselves and there's real value in mining that. With Ari, it's weird, because I had one of those experiences where when I first met him, when I first just talked to him on the phone, I instantly knew that he was — I don't know, a friend just doesn't even sound like it's enough. I just knew that we were going to be working together closely, and I knew that he was somebody that I loved the way that he talked. And I understood him, like I felt like I really understood. And I think he understood me. And so there's real value in that — and I hope, I think, that he did and does challenge me in ways that are really beneficial to me and helpful." On When Aster Realised That He Wanted to Reteam with Phoenix on Eddington Ari: "After working with Joaquin on Beau Is Afraid, I really wanted to work with him again. Before Beau, he was one of my favourite actors and somebody that I very seriously wanted to work with. But when I was writing Eddington, at least the first pass of it, I hadn't worked with Joaquin yet, didn't know him yet, and so I didn't really have anybody in mind. But after we shot Beau, then I rewrote Eddington and spent a lot of time in New Mexico, travelling around, going to different small towns and meeting different people, public officials, Sheriffs of different counties, police chiefs, Mayors — went to different pueblos — and tried to get as broad a picture of the political climate of New Mexico as possible. And then once I had incorporated all of that and I had a script, it was clear to me that I wanted to at least try Joaquin again and see if he was interested. And happily he was, and I really think he does something really special with this character, Joe Cross, the sheriff of Eddington — or the sheriff of Sevilla County. Eddington is a town in Sevilla County. These are made-up places. But I think what he does here is really wonderful. He brings so much humour and humanity to this character. And I think part of the trick of the film — or I don't know if it's a trick, or if it's just something that is important to the film working — is that you have to kind of like this guy, whether you have his politics or not. There's something winning about him. And then, of course, as the film goes on that should get more complicated — our relationship to him should change." On Whether There's Something Unique to Digging Into Fear and Anxiety with Aster Joaquin: "I don't think he's exploring these traits because they're good for a character, for a movie, but it feels like it's a genuine curiosity for him. And maybe it's part of his experience, or maybe it's the experience of people that he knows. I don't know why he has that curiosity — or I don't know if it's an obsession — but definitely it's a curiosity to explore those feelings, and I don't know where it comes from. I've never asked him 'is that your personal experience, or ... ?'. I think oftentimes writers obviously observe things in others and become fascinated by it. So there's definitely a real drive and curiosity. And so I think when you're — there's not a standard way of playing that for Ari, right? It always has to be something very detailed and specific. And I'm struggling with trying to come up with an example, probably because there's so many and they're all running together. But I wish we could come up with an example of a scene. Like even in the scene where I'm — it's such a brief moment, you may not even remember — but I go back to the police station and somebody that was in the police station that was locked up is no longer there. It was really this very quick scene that's in the midst of the most-manic moment. And it was a long process for us that went throughout the day, as we discussed all the possibilities of what would be going through the character's mind and then how that is translated to somebody else as he speaks or whatever actions he takes. And so I think with Ari, it always feels that we are trying to find something that feels very specific and unique to that character in that moment — versus a blanket approach to anxiety or fear." On the Crucial Elements to Create a Film About Living in a World Where No One Can Agree on What's Real Anymore Ari: "For me, the most-important thing was to pull back as far as I could, because what I wanted to talk about was the environment, right — and I feel like we've become so atomised, and things have become so complicated and so intensely partisan, that it felt very important to move back and just try to get a picture of the landscape. And to see just how many of those particles were floating around not actually meeting each other. And then it's a genre film, and so it's built on conflict. And so the question then became 'well, what happens when these atoms start bumping up against each other? What comes out of that?'. And the answer is almost always violence, because there's nothing in the ether to hold anybody together anymore. And so that was, I guess, the challenge, but also the thing that felt necessary." On Phoenix Seeing Himself and Reality in Eddington When Aster First Sent the Script His Way Joaquin: "My first reaction was 'I recognise so much of myself and my family and my friends and my neighbours in all of these characters, and that makes me uncomfortable at times. But I'm laughing and I can't stop laughing'. That was my first reaction. And then I think I was like 'oh yeah, it's us'. And as ridiculous as we were, we were scared. Like, everyone was scared. Whether they should have been scared or whether we overreacted, it doesn't really matter. In that moment, it was kind of like waking up from a nightmare and they're like 'yeah, in the moment, it really felt like that monster was going to get me and I was scared. And all the things I did in that that moment, it was just how I reacted. I couldn't help it.' And I think in some ways, it made me just have a lot of forgiveness and understanding for how we behaved." On Putting the Pieces of Eddington Together — Including the Societal Landscape, America and Western Society's Pervasive Polarisation, and COVID-19 — in a Western-Meets-Thriller That's Also Darkly Humorous Ari: "First of all, the film is set in 2020. It's a period piece, set in June 2020, and so it helps to have something as specific as that, right, because then you're asking 'okay, what is happening right now? Who are the players here?'. And of course, I would have liked to have included far more characters, but I jammed as many people as I could into the film without sacrificing coherence or narrative clarity. But it all felt pretty intuitive that we begin with the arguments of the day, the most popular ones, which had a lot to do with masking and personal freedom versus public safety and health. And from there, things start unraveling and spinning out. And then you have these more fringe figures coming in. And I think what's interesting about this moment, even right now in 2025, is that this counterculture had been building up in America for a long time that the prevailing culture at the moment wasn't aware of. And that counterculture meanwhile was being fed and agitated, and was growing. And now that counterculture has kind of taken over. And it's all become very, very distorted and strange. It's so interesting that the right kind of adopted the language of 1960s–70s radicalism. Everything has become — I want to use the word farcical, but none of this is any laughing matter. It's feels pretty catastrophic, what's happening. And it's also why the western felt right, because it is about the building of America and forging new societies. And it feels like right now we're living through the collapse of something — we're on the cusp of something, something new. And I think everybody's feeling it and there's a lot of anxiety and a lot of fear. And for some people, a lot of excitement. I wrote this film in a state of anxiety and fear." On Whether Trying to Convey the Humanity of Joe and Also Bringing Humour to the Part Helped in Stepping Into His Shoes Joaquin: "Nothing ever feels easy. You just feel that — yeah, it doesn't feel easy, but it seemed like very much from the beginning, I could not create any separation between me and Joe. Like, that if I at any point stood above him in judgment, I would lose it, I would lose him. And so it just felt important to humanise him as much as possible. I wanted to surprise anybody that might have a preconceived idea of what conservative Sheriff in a small town might be like, and so that definitely felt like my directive. But what helped me, probably most of all, was meeting with real Sheriffs. Ari and I went on a trip together in New Mexico and spent some time, and there were a few people that I met that I really connected with that seemed like great examples of who Joe could be. So it felt to me that as much as there's something very humorous and absurd about so much of this film, I wanted to make sure that Joe was really grounded and that he was recognisable to people that actually know a Sheriff like Joe." On Whether Aster Considers Eddington to Be a Horror Film — and What's at the Heart of the Film That Scares Him, Be It Humanity's Embrace of Existential Risks, Including Not Just Health But Also AI, or Stopping Questioning the Powerful Ari: "No, I don't consider it a horror film. No. But, I do think it's talking about something that scares me. There's a lot that scares me. I'm scared that the people who are leading us don't seem to believe in the future. You mentioned AI, and I would say if you asked me to say in one sentence what this film was about, I might tell you it's about a data centre being built. And that's happening on the periphery of the film, but it's really pretty central. And all these stories are really just data for this giant wooden wheel — to churn into what? What is coming? The film is about people navigating a crisis, but all the while, there's this other crisis that's incubating in a lab over here. And who knows, the utopian dream of what this thing could bring might be true. It might come to pass. But we really don't know what's coming. And yeah, I think that what's happening all over the world — and it's happening in the United States, but it's happening everywhere — it's something that's already happened to us, which is that we've been fortressed off. And I think that's very scary that we're completely unable to reach each other, and we're living out an experiment that has already failed badly. And it doesn't seem like anybody at the levers has any interest in slowing this thing down. It feels like, on the contrary, it's only accelerating." Eddington released in cinemas Down Under on Thursday, August 21, 2025.
It's no secret we love a swimming hole. From Sydney to Melbourne to Brisbane and even over to Perth, we spend our spare January days driving in search of a swimmable body of water, and the other seasons eagerly awaiting the ripeness of summer. And the best part is that this country is full of swimming spots unique to our sunburnt landscape, both on rugged coast and hidden inland among bush and desert rocks. Caroline Clements and Dillion Seitchick-Reardon visited a whole heap of them as 'research' for their book, Places We Swim. While the book collates handy information about 60 pools, lakes, beaches and gorges across the country, here, they detail five of the stunning spots that you should most definitely plan a road trip around before summer ends. Recommended reads: The Best Australian Beaches The Best Australian Islands to Visit Anytime of the Year The Best Glamping Spots in Australia The Best Pet-Friendly Hotels in Australia Clarence Dam, Blue Mountains, NSW Dressed in native gumtrees, the landscape here feels like true blue Australiana. Around Christmas time, the tea tree near the waterline turns white, like it's somehow snow-covered in the middle of summer. The reserve is home to two disused railway dams (that feel like lakes) built to supply water for steam engines, and is still bordered at the north side by a functioning western railway corridor. But the Crown Land area is now used mostly for public recreation such as bushwalking, rock climbing, canyoning and swimming. Swimmers are in for a treat. Huge pieces of ironstone protrude out of the water in soft shapes of all sizes, like artful, abstract sculptures. It's not the water that makes this swimming hole great, it's the rock. Some have an architectural quality, which starts to make a lot of sense when we remember we were brought here by an architect. The water is cool and deep, and we swim from a low entry point over to a large ten-metre-high wall. The drop is sheer; it's also a rite of passage for local teenagers. We're about 20 years older than most, but we take the deep plunge into the cool freshwater below, slapping the water with our feet first. In other sections there are rope swings tied to tree branches at different heights, but this is no amateur set-up. There are various jumps that range from your standard rope swing to full-on carnival trapeze, none of which should be taken lightly. If jumping isn't your thing, floating down the river in an inflatable ring might be. How far? The dam is located in the Blue Mountains, close to Lithgow — about a two-hour drive from Sydney. Little Blue Lake, Mount Gambier, South Australia The pool sits in an unassuming paddock about 15 kilometres south of Mount Gambier, looking a little lonely and out of place. It makes more sense when you learn that Baby Blue is a sinkhole, formed by the gradual collapse of an underground cave. The pool has an average depth of about 35 metres and it isn't unusual (but it is a little creepy) to see the odd diver suddenly emerge from below. In fact, this area is one of the best inland diving destinations in the world, with a Swiss-cheese network of 500 underground caves and 50 sinkholes to explore. For our purposes, however, surface swimming is just about the right speed. Sheer 10-metre limestone walls make this an iconic South Australian jump and a rite of passage among locals. Like many places, signs forbid jumping here and there are murmurs of council-enforced fines, though nobody seems too concerned. Jump at your own discretion. Alternatively, take the steps down from the carpark side of the pool to a shiny new pontoon. This makes for a more gentle entry and is an easy introduction to the cool water. A few natural terraces extend back towards the road, providing a great vantage to sit and watch, like a swimming amphitheatre. How far? The lake is located just south of Mount Gambier — about a five-hour drive from both Melbourne and Adelaide. Josephine Falls, Wooroonooran National Park, Queensland It could only be described as lust when we laid eyes on this series of tiered granite rock pools and waterfalls just south of Cairns in Wooroonooran National Park. This lush mountainous land, right on the coast, covers 75,000 hectares of the Bellenden Ker Range and forms part of the Wet Tropics World Heritage area. The range includes Mt Bartle Frere, Queensland's highest mountain (1622 metres). Josephine Falls sits at the base, with a constant flow from streams that cascade down the mountain, creating some of the cleanest waterways in the world. There are three spots to stop along this boardwalk. The first is where you get in to swim. We find people sitting and chatting in crystal clear shallow pools, while others laze on big boulders in the dappled light. The biggest rock pool has a sandy bottom and is bordered by a giant piece of slippery granite that people are queueing up at to slide down, some wearing inflatable iced strawberry doughnuts. Scrambling further up takes you to more rocky slides into smaller pools, and families splashing about and fishing for yabbies. The second stop is a deck that looks over the rock pools onto swimmers below. Continuing along the rainforest walk takes you to the third stop, a large viewing platform looking up to a flowing waterfall with a deep plunge pool. It's probably the most impressive of them all but, unfortunately, is not open to public swimming. How far? The falls are located in Tropical North Queensland — about an hour south of Cairns. Bushrangers Bay, Mornington Peninsula, Victoria This basalt coastline is quite unlike anywhere else in the area, or even the state. Volcanic black rocks emerge from clear blue water. Deep pools are filled at high tide and slowly warm throughout the day. It has a distinct look and feel, so you can imagine how our eyes popped out of our heads when we saw this secret spot featured in the 2009 film adaptation of Where the Wild Things Are. Indeed, it seems like a natural place for a wild rumpus, and you will see lots of kangaroos if you arrive early in the morning. Don't be surprised to see waves exploding onto the beach, as it is exposed to a constant barrage of swells from the south. We prefer the safety and beauty of the nearby tidal rock pools. Follow the beach east towards the rocky headlands. The most prominent feature is Elephant Rock and the best pools are distributed around its base, on the left-hand side. Water is always clear here and often a few degrees warmer than the ocean – Victoria's version of a spa bath. Remember, this is a low-tide-only spot, so take a moment to make sure that rogue waves aren't crashing into the pools before jumping in. Otherwise you may suddenly find yourself inside a washing machine or heading out to sea. How far? The bay is located on the Mornington Peninsula — about an hour and a half from Melbourne. Emma Gorge, The Kimberley, Western Australia The dramatic Emma Gorge falls pour over a 65-metre-high cliff into a large plunge pool, punctuating the end of the 1.6-kilometre hike in. The track begins at Emma Gorge Resort, and winds past the deep Turquoise Pool (also a great spot to swim, which we take note of for later) before arriving at the falls. The water is refreshingly cool, shaded by the looming cliffs for most of the day. Tourists dribble in and out, dropping piles of clothes on rocks as they stare up at the falls in awe before shocking their hot, sweaty bodies with the water's cool, pristine touch. The plunge pool is deep and wide with a rocky bottom, but the water is so clear and fresh, you could drink it. We bliss out for a few hours before making out way back along the track past Turquoise Pool, where we take another plunge. The surface water here is lit up by the sun, giving it the turquoise colours it's named for, while people gather at the fringes to cool off. A rock jump begs us to plunge from a height rather than scramble over a slippery entry. Emma Gorge is one of the most incredible places we've been, even late in the season when the water isn't flowing at its best. How far? The gorge is located just west of Kununurra — about halfway between Broome and Darwin. This is an edited extract from Places We Swim by Caroline Clements and Dillion Seitchick-Reardon, published by Hardie Grant Travel. Images: Dillon Seitchick-Reardon.
