Whether she's blowing up brightly coloured pumpkins to larger-than-life size, creating mirrored infinity rooms or asking art lovers to put dots on everything, Yayoi Kusama's work has always had an immersive quality. That feels especially true when you attend one of the Japanese artist's shows around the globe, or visit her dedicated Tokyo museum; however her next huge project will take the notion to another level. In a site-specific exhibition exclusive to the New York Botanical Garden, Kusama's art will feature across The Bronx site's entire 250-acre location — both inside and out. Attendees won't just walk through multiple halls filled with her work, or mosey around an entire gallery. Rather, in a multi-sensory experience, they'll wander around the whole grounds, spying her pieces not only placed on walls and floors everywhere, but mixed among the natural wonders outside. When the showcase kicks off in 2020, running from May 2 to November 1, visitors can expect a host of Kusama's beloved works, plus brand-new items created specifically for the venue. That includes her famous mirrored environments, her polka-dotted sculptures and her giant floral pieces, as well as her nature-based paintings, botanical sketches, collages and soft sculptures. A horticultural showcase is also on the agenda — it is happening at a botanical garden after all — which'll be based on one of her massive paintings. Much to the joy of long-term Kusama fans, a new site-specific pumpkin will pop up, too. [caption id="attachment_732283" align="aligncenter" width="1920"] New York Botanical Garden, Robert Benson[/caption] As well as marking the first-ever large-scale exploration of the acclaimed artist's overflowing fondness for the natural world, the New York Botanical Garden exhibition will feature Kusama's first-ever participatory greenhouse installation. In the kind of news that aims to tempt folks along more than once or twice, it'll transform over the course of the exhibition based on audience interaction. The show's length is designed with the same goal in mind, with the seasons changing from spring to summer to autumn during its duration, each adding a new tone to Kusama's work. If you've been pondering making New York travel plans for next year, you now have some new motivation. Yayoi Kusama's exhibition at the New York Botanical Garden will run from May 2, 2020 to November 1, 2020. Keep an eye on the site's website for ticketing and further details once they're announced.
Let's admit it: us coffee lovers have always had that ambitious plan of becoming a skilled barista in our own homes every morning just like the pros. Ain't nothing wrong with that either. For many, however, the desire to tamp, extract and pour before the work commute becomes all but a distant reality when that fancy coffee machine bought in a flurry of caffeine-fuelled enthusiasm becomes but a dust collector on the kitchen bench. Contrary to the general misconception that your local barista actually cares about your hangover, office politics, how beautiful your cat is and your dramatic love life, it's more than likely they've got better and more relevant things to think about. It's time to give these guys a break from the earful we give them every morning, and we've just the plan. The gastrodome of the inner west, The Grounds of the Alexandria, has launched barista training workshops that will run throughout 2013. Jack Hanna, master roaster and 2007 National Latte Art champion, is interested in pinning down some barista basics at home without any complicated scientific prerequisites necessary. The classes run for two hours and are held at The Grounds' 'research facility' — just a fancy name for the venue's cafe space. Hanna's approach is straightforward and honest with no coffee-geek dictionary necessary. "There are many factors that contribute to a good cup of coffee; however, it's very simple and anyone can do it," says Hanna. "Everything takes practice and you need to play around with a few things before you get it right." Hanna demonstrates the process step-by-step on the machine, starting from the grind right up to steaming the milk to achieve that silky consistency. He emphasises that a warm, clean machine and glasses are key aspects to good coffee. "The coffee will lose flavour instantly if it hits a cold cup!" he says. Apparently, another essential component is dosage. Too much coffee or a grind that's too fine can result in over-extraction and bitter coffee. Hanna suggests tasting as you go, "This way, you know what you’re doing right and wrong." Once you've mastered the dosage and crema, it's time for some milk steaming and latte art. "What you're basically doing is stretching the milk, putting foam in it and bringing it to a temperature of about 65-68 degrees," says Hanna. What about the latte art part? Well, let's just say there's bound to be plenty of laughs at some of the shapes students come up with. All part of the experience, we say. And lest we forget to mention that students may even be lucky enough to witness Jack's flawless technique as he pours some R-rated latte art. We're pretty sure there'd be a couple of shocked pram pushers if he sent these out of a Saturday morning service. Most importantly, Hanna's classes are nurturing; he doesn't use convoluted idioms and you can count on him to ensure everyone can see and understand what's happening. As Hanna says, quite simply, "Coffee is fun!" *Classes cost $80 and run for approximately 1.5-2 hours. *Private, corporate and more advanced classes are available, as well as Roasting and Cupping Workshops. *All workshops held at The Grounds of Alexandria; Building 7A, 2 Huntley Street, Alexandria; 02 (02) 9699 2225; www.groundsroasters.com.
Rounding out Boxing Day with an unforgettable clash, the Sydney Sixers take on the Melbourne Stars in one of the Big Bash League's most heated rivalries. Dubbed 'The Biggest Bash', world-renowned cricket stars Moises Henriques and Glenn Maxwell will duke it out with the bat and ball to see who comes out on top. Held at the Sydney Cricket Ground, a packed house will scream their hearts out as all the high-octane event unfolds under the lights. If that's not enough drama for you, Aussie rap legend Baker Boy will be performing live at the match, serving up straight fire with his cultural beats.
Sydney has just added to its collection of stunning pools with the opening of Gunyama Aquatic and Recreation Centre today, Monday, February 1, which is home to not one, but three bodies of water, as well as a fitness training centre and a 4950-square-metre sports field. Located in Zetland, just ten minutes from the Sydney CBD, the new $106.5-million-dollar aquatic centre has been in the pipeline for more than five years, with the City of Sydney accepting designs from architects back in 2014. Work on the centre then begun in 2018. It's now the city's biggest aquatic centre since the 2000 Olympics Games. Gunyama, which means "wind from the southwest" in the local Dharug language, is fitted out with a 50-metre heated outdoor pool surrounded by a 'beach' area inspired by Sydney's ocean pools. Inside the centre, you'll find a 25-metre lap pool with adjustable depth — to allow for everything from water polo to kids' swimming classes — and a hydrotherapy pool. [caption id="attachment_798656" align="alignnone" width="1920"] Brett Boardman[/caption] An indoor and an outdoor gym, an openair yoga deck, a cafe, a multi-purpose sports field and meeting rooms all make up the remainder of the complex. Rooftop solar panels and cogeneration systems have also been installed in order to create an environmentally sustainable complex. Surplus energy from the building will help power surrounding buildings in the community. The centre sits in Green Square, one of Sydney's most densely populated and fastest-growing neighbourhoods. The city area, which encompasses Beaconsfield and Zetland, and parts of Alexandria, Rosebery and Waterloo, is expected to grow by 30,000 residents over the next ten years. Gunyama is the sixth pool and fitness centre operated by the City of Sydney, alongside locations in The Domain, Ultimo, Camperdown, Surry Hills and the CBD. For access to all six you can purchase a membership for $17.90 a week to swim only or $28.45 for access to the pools and gyms. Gunyama Park Aquatic and Recreation Centre is now open at 17 Zetland Road, Zetland from 6am–8pm daily. Images: Brett Boardman
Mona Foma, MONA's wild and weird summer music and arts festival, is back for 2018. And it's set to eclipse all previous incarnations, with the festival adding a series of Launceston events to the usual Hobart lineup. The supercharged twin-city program will feature 11 days of thought-provoking performances, celebrating creativity in forms that defy categorisation. The expansion to Launceston offers a little taste of the festival's future — in 2019, Mofo will relocate to Launnie entirely. If you've never visited Launceston, Mofo is the perfect excuse to make a weekend trip to this gem of a town. While the festival will obviously keep your schedule pretty packed, you should definitely make some time to explore Mofo's future home. To guide you in the right direction, we've teamed up with Mazda3 to round-up the best places to eat, drink and lay your weary head. Go on, take a detour from the humdrum of daily existence and inject a little adventure into your life. [caption id="attachment_642025" align="alignnone" width="1920"] Harvest Market.[/caption] EAT AND DRINK Launceston is steadily gaining a reputation as a food destination. Visit some of the city's cafes and restaurants and you'll soon understand why. No visit to Launnie would be complete without a Saturday morning trip to the Harvest Market. This outdoor market, which blossoms in the summer months, features stall upon stall of fresh produce, baked goods and coffee. Get there early to nab a pastry from Sandy's Sourdough before they sell out and keep an eye out for the retro caravan, Wanderlust, which dishes up innovative vego meals. In need of a caffeine hit? Make your way to nearby Sweetbrew, a quaint cafe serving up some of the city's best coffee. If you're looking for a more substantial morning meal (you'll need the energy for all the Mofo craziness), Cuccina has you covered. And you'll fall hard for its legendary sweet chilli eggs. Cafe Mondello, with its all-day brekkie menu, is another great choice. In the evenings, the food trucks lined up along High Street are the perfect place for no-fuss dining — and you can take full advantage of the warm summer nights. Track down Turkish Tukka, for incredible kofte and gozleme, and The Crepe Caravan for its moreish Nutella pancakes. If you're after casual eats but prefer sitting at a table, make a beeline for Burger Got Soul. This insanely popular burger joint is famous for its veggie and chicken burgers — for very good reason. If you have a bigger budget, book in for a meal at Stillwater, one of Tassie's most lauded restaurants. Set in a historic mill, this Launceston stalwart dishes up impeccable fare year in, year out. Meat fanatic? Try Stillwater's sister restaurant, Black Cow Bistro, a local favourite known for its great steaks. DO Running from January 12 to 14, Mofo's first Launceston program features cutting-edge performances that are bound to set your mind on fire. Watch as Gotye join forces with the Ondioline Orchestra to pay homage to renowned French electronic composer, Jean-Jacques Perrey. This vibrant performance will be presented in a double bill with Skin Migration by Tannery, the Tasmanian Taiko and Leather Orchestra that makes mind-blowing sounds out of Japanese drums and leather instruments. Also hitting town is Monumental, a riotous dance performance by Canadian dance company, The Holy Body Tattoo, accompanied by music from post-rockers, Godspeed You! Black Emperor. Expect a raucous score, light sculptures and eclectic film projections. Rounding out the Launceston events is a massive free Block Party on January 14 (you'll just need to register on the website). There'll be music, art, drinks and wood-fired meats by MONA's Heavy Metal Kitchen. [caption id="attachment_642027" align="alignnone" width="1920"] Peppers Seaport Hotel.[/caption] STAY If you're in Launnie for Mofo, you'll probably want your accommodation to be right in the thick of things — to maximise the festive and adventurous atmosphere. For a comfortable stay that won't break the bank, the centrally-located Batman Fawkner Inn is a winner. The historic building was converted into a 40-room hotel with all the trimmings — air conditioning, free Wi-Fi and ensuite bathrooms. Prefer something fancier? Try the Areca Boutique Hotel. It has spacious rooms, comfy beds, stunning views over the city and Tamar Valley and it's still fairly affordable. If you're looking to splurge, book into the heritage Auldington Hotel. A convent in its previous life, this charming hotel boasts spacious rooms with contemporary furnishings and local art on the walls. Peppers Seaport Hotel, located on the waterfront, is another good choice. The rooms here have sweeping river views and are decorated — fittingly — with a nautical theme. Mona Foma 2018 will take place at venues across Launceston from January 12 to 14, at MONA from January 19 to 21 and across Hobart from January 15 to 22. Personalise your next adventure via The Playmaker, driven by Mazda3.
Sydney Harbour is definitely getting a workout this season. We've already introduced you to the world's first Cellar Door at Sea, a bottomless Champagne brunch and a dance party aboard a human-made island. Now, it's time to gear up for a floating cinema. Said floating cinema will be located on the top deck of a boat on the harbour. You'll cruise around the harbour for three leisurely hours, watching a classic flick, all while feasting on canapés and sipping on drinks. The cinema will continue into 2019 with a season of cult favourite movies. See Mean Girls on or Anchorman on the weekend of January 16–17, or The Hangover or Pulp Fiction over January 23–24. Tickets are $62 each.
That's it. December. It's summer now and there's no excuses for staying curled up inside, rain or no rain. Aside from that, Sydney's foodies and mixologists have been working hard: experimenting with ingredients, concocting new combinations and opening up a whole swathe of new places for you to visit. So get scampering around this town! Concrete Playground has your checklist ready to go. Here it is, Sydney's top new bars and restaurants for the summer season. Neild Avenue Where: 10 Neild Avenue, Rushcutters Bay Ahhh, Sydney, you can officially exhale. For all those who are desperately seeking an unpretentious dining/drinking experience that doesn’t involve having to choose between a wine bar the size of a studio apartment (in New York) with a shave of glorified ham and a lick of pâté masquerading as a meal, or a pub with sticky carpet and $10 steak: your search has ended. The duo that could turn battery acid into Beaujolais, Maurice Terzini and chef Robert Marchetti, recently unveiled their brand new slice of the Mediterranean-meets-Brooklyn, Neild Avenue. For full review and details, click here. Freda's Where: 107-109 Regent Street, Chippendale Finding Freda’s is like stepping through the back of a magic wardrobe. Walk down an unassuming, dingy alley behind Central, past the sashaying salsa dancers and through a black door with a small, hand-drawn placard and suddenly you’re in a softly lit room, easy music playing and a kindly man at your side ready to whisk you to a table. Once settled in, peruse the cocktail list, which is a pleasing mix of classics and reinventions. Of the former they do a perfectly balanced Midnight Negroni ($16) and I can imagine the Fresh Fruit Cocktail will be a sell-out this summer. The wine list has a good selection of up-and-comers, with a super smooth Pinot called Giant Steps from the Yarra and a full-bodied tempranillo/grenache called La Vendima ($10). I’m a big fan of the beer choices, which includes one of my favourites, Murrays, as well as two amber ales that are caramel flavoured and quite hoppy – choose the Sierra Nevada ($9.5) to have with food or Atomic ($9.5) for sipping solo. For full review and details, click here. Jester Seeds Where: 127 King St, Newtown 2024 Jester Seeds has only recently opened, and marks the last drinking establishment on King Street before you hit the no-man’s land of City Road and the University of Sydney campus. So a lot of people haven’t stumbled across Jester Seeds yet. It’s not especially noticeable from the street – just a collection of curious couches framing a doorway and the shadow of a bar behind. In fact, a man had to yell at me from the pavement to get my attention, but I’m very grateful that he did. The bar is a haven of recycled furniture, dark wood and shabby student chic. A room at the back is filled with sofas and intimate tables, and the couches at the front could easily keep you sitting there for hours. Essentially, it looks like they’ve transported the contents of a ramshackle vintage shop from the lower end of King Street then artfully rearranged it, and prettied it up with some lampshades and mood lighting. The staff are lovely, with many recommendations and plenty of chat, and were infinitely tolerant of my inability to make a decision. For full review and details, click here. Honeycomb Where: 354 Liverpool Street Darlinghurst 2010 Perched on a corner in Darlinghurst, Honeycomb has wide windows running down the length of one side so that from almost any seat you can see the street. It makes it feel as if you could lift the roof off and you’d have a little Italian piazza. However, it isn’t the best place for a date (eating at the 6.30pm, family-time sitting probably doesn’t help either) as the small tables are very close - it’s a little hard to be romantic while speaking to your dining partner as if they were hard of hearing. Saying that, when the sun sets and the lights dim, it definitely becomes more atmospheric. If you follow food news, you’ll know this is Andy Bunn’s (former chef at Café Sopra) project, and if you’re a regular at one of the Fratelli restaurants, don’t expect any surprises. This is far from being a criticism though: the Fratelli restaurants do some of the best relaxed, Italian food this side of Leichhardt. For full review and details, click here. Hemingway's Where: 48 North Steyne, Manly 2095 The atmosphere of a writer's den, insanely long opening hours, fun and flavorsome food, a drinks menu that will keep even the most inspired drinker guessing, and not even the slightest degree of pretension. In short, Hemingway's must be one of the best spots in town right now. And it's perhaps not where you would expect it to be. A far cry from the back lanes of Darlinghurst or even the fame of King Street, this bar is firmly situated on Manly's main strip, right across from the beach. Despite this, it's about as dissimilar from a tourist trap as you can imagine. For full review and details, click here. Dry Land Bar Where: 92 Redfern Street, Redfern 2016 The thing about Redfern is, although it has a reputation as being the ‘next big suburb’, there’s also not a lot there yet. Enter Dry Land Bar, the first small bar to open in Redfern. It possesses the kind of local, relaxed atmosphere that would make you seriously consider moving (unless of course you already live close by, in which case accept my jealous commendations). The lovely thing about Dry Land Bar is that they really know what they’re doing, bringing together folk who’ve done stints in Love, Tilly Devine and Grasshopper. On top of this, they serve the kind of drinks that cause me to do a kind of happy-wiggle dance in my chair and the best food I’ve had at any small bar in Sydney. It’s technically bar food, but I’d be quite happy to come here for dinner once a week: try the Mushroom, Jerusalem Artichoke and Fennel Tart or the Gruyere Cheeseburger. And if you’re in any way fond of after-dinner treats, the Chocolate Mousse with Poached Pear is enough to cause a very indelicate scramble for spoons. For full review and details, click here. Cantinero Where: 18 Sydney Road, Manly 2095 Something about Cantinero feels a little bit... illegal. It could be the fact that this is a coffee house by day, occupied by this underground crowd only in the late hours. Or it might be the makeshift film projector, which shows Mexican gangsters flickering across the back wall. Either way, we like it. The bunker atmosphere and a relaxed courtyard combine into something that feels like an Alice in Wonderland-style rabbit hole in the Manly landscape. That said, there's no chance of wandering in by accident. While Cantinero lies on the main strip, you need to know what you're looking for to find this dimly lit restaurant slash bar. And once you do, there's no going back. For full review and details, click here. Nourishing Quarter Where: 315 Cleveland Street, Redfern 2016 It all started with a group of friends, a handful of nutrition books and a collective desire to heal through food. Now Nourishing Quarter - barely in its second year - has attracted a serious cult following. NQ is a vegetarian and vegan-friendly restaurant dedicated to the wheat, gluten and dairy intolerant among us. But it’s also much more than that. The affable owner Lam Dinh (banker turned restaurateur, following his own health scare) describes his team’s work as contributing to the growing awareness about the importance of diet for general health and well-being. ‘We’re not about preaching’ he explains, ‘we’re about producing consistently high-quality, healthy and tasty food that’s accessible to all.’ For full review and details, click here. The Island Bar Where: Cockatoo Island, Port Jackson 2090 Key Largo, Montego, baby why don’t we go… When the Beach Boys penned those lyrics, they probably weren’t thinking of an industrial island smack-bang in the middle of an antipodean metropolis. Cockatoo Island may not have sandy beaches and swaying palm trees, but its newest resident, The Island Bar, is adding a touch of beach to Sydney Harbour. This brand new bar by renowned Sydney mixologist Marco Faraone surprises with its striped deckchairs and sunbrellas alongside the site’s antique shipbuilding machinery, a reminder of the island’s heritage past – over the years, it was an imperial prison, a shipbuilding yard, reformatory, Commonwealth naval base and industrial school. The design of the bar – it’s constructed from recycled shipping containers – picks up on this theme. For full review and details, click here. Former Glory Where: Corner of Liverpool and Palmer Streets, Darlinghurst 2010 Prostitutes and razor gangs seem to be all the rage in Darlinghurst right now. References to Tilly Devine abound. But Former Glory has a little something the other bars don't: a real dark and dirty history. Situated right across the road from what was once Devine's main brothel, this pub, formerly known as the Tradesman's Arms Hotel, was dubbed the Bloodhouse in honour of its violent scenes. Sounds like the kind of place I'd like to visit. You're likely to find that you're already familiar with the location of this pop-up bar. The East Village Hotel is, after all, a familiar marker on the Darlo drinking landscape. Duck inside and take the stairs, winding up two levels past the fading conviction notices on the walls. You'll emerge into a resuscitated space, filled with round wooden tables and white tablecloths, leather chesterfield armchairs and a tastefully subtle assortment of vintage paraphernalia. For full review and details, click here. Caffe Sicilia Where: 628 Crown Street, Surry Hills 2010 While Crown Street certainly has its attractions, it's a pleasure to duck into this slice of 1940s Sicily, take a deep breath and sip a coffee as you watch the crowds pass you by. The theme is clearly stated in the marble, tiles, polished wood and mirrors of the interior, as well as in the numerous references to Italian film icons. Relaxed Italian glamour is the order of the day. The menus are expansive, with breakfast, lunch and dinner - as well as drinks, desserts and takeaway - on offer. Opening hours are surprisingly long, stretching from 7 in the morning until midnight most days. We popped in for a lazy Sunday lunch, which is a great time to make the most of the outdoors seating. For full review and details, click here.
A resident who lives near Melbourne's iconic Cherry Bar has recently been labelled "fuckwit of the year" for complaining about the venue's noise levels. Opening themselves up to unrelenting criticism from music lovers citywide, this neighbour wrote a small letter to the live music venue which has now been mocked and shared everywhere over the weekend. In the age of social media, it's almost always a bad idea, but in principle — do neighbours likes this really have a right to complain? In Melbourne in particular, this has been a huge problem. Earlier this year, many of the city's major venues were in dire financial straits as a result of noise complaints made by surrounding residents. Just one complaint could have seen the council stepping in and enforcing major renovations to soundproof the venue. For many smaller sites, this would put them at risk of bankruptcy. There were even concerns about this affecting the music scene at large — if this kept happening, surely the best venues would just move away? As a loud and proud bastion of hard rock in Melbourne's CBD, Cherry Bar is very familiar with this kind of trouble. As plans were going ahead to erect a 12-storey apartment building next door, the small venue was under pressure from the council to comply with noise regulations. Turning to crowdfunding from their loyal clientele, they raised over $50,000 in under 24 hours to go towards soundproofing the venue. This has now changed. And, as most venues aren't as blessed as Cherry, it's a very good thing. After years of arduous legal battles, Victorian parliament passed new Agent of Change laws last month which put the onus of soundproofing on the developers of residential complexes rather than inner-city venues. It was a momentous win for live music that guaranteed the future of many bandrooms on the brink. The City of Yarra then jumped on the back of this and offered $25,000 worth of funding to these venues in the name of good will. Go Melbourne! With all this in mind, it's a wonder this person bothered to get in touch. Shit's already getting done, right? "The noise made by your bar is affecting my sleep and work, especially since it lasts beyond midnight," the complaint read. "May i suggest u guys to reduce the noise made by at least a half ? [sic] There are many working adults and students living in this apartment, so the noise produced by your bar made it very difficult for us to rest at home after a long day of work." Then they get serious. "I have read about the noise restrictions in the CBD, and will consider reporting to the City of Melbourne or the Victoria Police if this matter is not solved within the next week." And that's where it all began: Fuckwit moves next door to Cherry Bar and complains about noise: http://t.co/2bYQZ3TBCq — Wil Anderson (@Wil_Anderson) October 18, 2014 Cherry Bar owners have since got back to the neighbour expressing their side of the story. "Cherry has been successfully operating for 14 years as a late night live music venue. We have never had a noise complaint," their letter read. "The good news for you is that we are proactively investing in $100,000 worth of soundproofing presently. We are approximately 3 weeks into the 4 week process." The moral of this story: you probably shouldn't move onto a street named after AC/DC if you don't like loud music. But in general, even if you live and breathe live music, it's easy to see the points these kind of neighbours are making. How many drunk trespassers and sleepless nights would it make to turn you into a fuckwit too? Via Tone Deaf and Music Feeds. Photo credit: Scootie via photopin cc.
You may affiliate the industrial suburb of Rosebery with oversized storage warehouses and designer outlet stores; however, the area is becoming quite the dining precinct, abuzz with delicious eateries. And now that our favourite bakery/cafe Black Star Pastry has set up shop in the neighbourhood, it makes the detour through these concrete 'burbs even more worth it. Set in the Cannery alongside Kitchen By Mike, the cafe is sticking to the streamlined theme of Rosebery; exposed raw brick matched with high ceilings enhance the spacious warehouse feel. The sleek interior makes for a sophisticated space — a stark contrast to the cosy Newtown parent. But it also seems that eclectic vibe we know and love about Black Star is somewhat amiss here. The staff are slightly detached and not as engaged as those behind the counter in Australia Street. Nonetheless, there are some fluencies that we recognise, from the chalkboard menu to the DIY toast station, the Little Marionette coffee and trendy tattooed staff — even the little black description cards with silver handwriting in front of the treats are the same. Perhaps Christopher Thé and his team are at odds over what to do with all this excess room? We doubt it. The location may have changed, but the heavenly treats remain and we're loyal to the core. More space just means that we diners now have ample elbow room to throw our arms around in ecstasy over the incredible strawberry watermelon cake ($7.50). Our fellow patrons needn't fear anymore that their orange cake with Persian fig ($4.50 piece) or chocolate eclair ($5.20) will meet its fate with the floor. Elbows can stretch out here — jump for delicious joy all you like. Whereas the Newtown store is driven by cakes, here it's more about lunch and bread, courtesy of the woodfired oven. It's getting put to good use by roasting chicken for the pita pockets ($10) and daily salads (from $5); they've even experimented with beetroot bread. The goat's cheese and roast tomato sandwich ($10) is lacking a real punch, however — maybe they're attempting to lay the focus on how great the sourdough is. Take home a loaf for only $8. But who comes to Black Star for a sandwich anyway? Lest we forget what we really love about Black Star: the signature flaky pastries such as the boozy almond knot ($4.80); quiches like the mushroom and feta that have that well-balanced eggy wobble ($6.50); and the pies ($8) that give you a good excuse to never make your own. As always, the lamb shank and red wine pie ($8) is a hot-seller. Best be quick. And butter me up and call me a cake, there's nothing like the sweet favourites: bread and butter pudding ($6.80) with dreamy Anglaise, the wonderfully rich chocolate hazelnut torte ($6.80), the coconut covered lemon myrtle chiffon cake ($4.80 piece) that is so ridiculously light and spongy it feels like you're eating velvet, and a zen garden ($7.50) — a pistachio, lemon and white chocolate layered cake is a Zen garden, in your gob. To wash down all the glorious sweet and savoury delights, the house-brewed iced tea ($4) or cold drip coffees ($4) are ideal accompaniments. Need we say more? Despite the the Rosebery branch being somewhat stark in comparison to the familiar Black Star that we have fallen head over heels with, don't let that deter you. The famed patisserie is still knocking us over with its exquisiteness. So warm your arms up in anticipation for that elbow-extending frenzied delight.
Gauchito Gil is Argentina's Robin Hood. As such, it seems fitting that Australia's own Malbec World Day has been borrowed from the South American country, where the majority of the world's malbec comes from. If this day is a donation from the grape god, it's one we're happy to accept. After a successful three years in Melbourne, Gauchito Gil is bringing Malbec World Day to Sydney with a five-hour wine bonanza at the National Art School's Cell Block Theatre on Saturday, April 23. The event comes from the organisers of the Pinot Palooza and Game of Rhones, and mirrors the free-reign tasting set up. Your $50 ticket will include a wine glass, and from there you'll be able to move around, sampling over 80 Australian and Argentine Malbec varietals. Other events have been known to get a little boozy, so to soak up all that wine, Porteño will be cooking up an epic Argentinian feast. Think empanadas, think asado, think yum. It really doesn't matter if you know everything there is about malbec or if you don't know much at all, because Malbec World Day is about education and celebration of the Argentine grape. And what better way to celebrate than with an bottomless glass of wine?
"I find that it takes a while for people to return to themselves after the film." For anyone who's seen The Stranger, writer/director Thomas M Wright's observations might sound like an understatement. For those who haven't yet watched the actor-turned-filmmaker's second feature behind the lens, after 2018's Adam Cullen biopic Acute Misfortune, it may come across the same way. In Australia in particular, the fact that the Joel Edgerton- (Thirteen Lives) and Sean Harris (Spencer)-starring crime-thriller is based on the 2003 abduction and murder of Queensland schoolboy Daniel Morcombe has garnered attention. The Stranger takes its cues from that monstrous real-life case, adapting Kate Kyriacou's non-fiction book The Sting: The Undercover Operation That Caught Daniel Morcombe's Killer; however, it doesn't recreate the crime. It also doesn't depict the victim, or refer to him by name. Everyone has been fictionalised, and there's no violence in the film. Instead, it tracks the enormous police effort to capture a culprit using a criminal gang as a ruse, in what's known as the 'Mr Big' technique. Edgerton plays the incognito cop tasked with befriending the suspect, while Harris is relentlessly perturbing in the latter part. It was Edgerton, also The Stranger's producer, who optioned Kyriacou's text, saw Acute Misfortune and proposed the feature to Wright. The director was initially reluctant, but sticking to the above stipulations was the only way that he could approach the picture, and was willing to. "Those decisions about a complete unwillingness to represent any violence, to represent the victim, to represent those that cared for them — and to centre the film on a fictionalised version of a police operation like the one used in that particular case — those aren't thin acknowledgements," Wright explains. "They're deeply layered considerations that've been placed at the centre of the entire film." In every second, The Stranger feels as carefully and meticulously constructed as Wright's framework suggests — and, by design, dictates. It also feels not just tense but tough, as it should given the story it's interrogating. Debuting at the 2022 Cannes Film Festival, the feature received a seven-minute standing ovation. Now, it plays Aussie cinemas from October 6 before reaching audiences globally via Netflix on October 19. "It's an undeniably different experience," Wright notes of watching The Stranger at home versus on the big screen. "It's an intensely discomforting and very powerful film to invite into your home. For the two hours that the film lasts, I think it will take people into a completely different mindset, into a different psychological realm," he continues, while chatting us through making a movie that's both unshakeably potent and personal. ON WORKING OUT THE BEST APPROACH TO A HORRIFIC REAL-LIFE CASE "Kate Kyriacou's book The Sting, which Joel had optioned, is a non-fiction work of investigative journalism about that specific case. It goes into personal details about the victim, those affected, the other suspects — and I felt that I had no right to represent the victim, that any attempt to represent them would only diminish them and all of their infinite possibilities, and that I couldn't presume to know anything about what that family and those who cared for him went through. So early on, the initial terms for me were: there'll be no representation of the victim of any sort, there'll be no representation of the people who cared for them, there'll be no violence whatsoever in this film. There's an unconscionable way of making this film. There's a morally unforgivable way of making this film. It would not be difficult to create tension in a film about the physical vulnerability of a child, and I wasn't interested to use that space, which is sacred to those real people, for the ease of making a film. So I began to think about these strangers, and that stranger of the title could refer to the perpetrator and that archetypal fear of the stranger in our society — but actually we are a society of strangers. It could also refer to the victim, to their family. Or, to that central figure and all those undercover operatives in the film whose real names we never learn. Or, to all those nameless people, the detectives and searchers at the end of the film who provide resolution for those strangers for them, that family and the victims who've they've never met. It clearly became to me this idea of connection as a society, and of empathy, as the gravity that is going to bind film together. At the time that I was writing it, I live in the inner north in Melbourne, it's where I grew up, it's where my family lives, and there were a whole series of murders of women by strangers, by people they've never met. And it shook the entire foundation of the society — and every state and territory has their own version of these cases that totally shift our perception of safety and of the social contract. They make it feel like a lie or something weak, and it had such an effect on the community down there. It was an outpouring of empathy. And these are just the cases also that have created headlines and achieved large police commitments, and where there has been public recognition. There are so many people out there, and so many crimes that take place, where there is none of that. We still have a woman a week dying of incidences of domestic violence in Australia, and many of those victims go unacknowledged. Of course, I'm not setting out to make a public service announcement in this film, but there are individuals who have to be the first person there, and who give years of their lives, and their mental and physical health, to trying to resolve those incidences of violence." ON FINDING PERSONAL REASONS TO MAKE THE FILM "When we began work on the film, I told everybody that I worked with that I wanted them to find their own reason for making this film — and I wanted them to find a personal reason to make this film. I do think it was a very personal film for all of us who worked on it. Joel said the other day that it was the quietest set he has ever worked on. It was a very tense set because of the seriousness of the material that we're dealing with, and the moral responsibility we felt, and the focus it required of us. For me, it absorbed every waking and dreaming moment of my life for three years, and I felt a tremendous moral responsibility to get it right and make something that we could all stand behind — and that didn't let any of my collaborators down. I'm not talking about the Academy Award-winning producers. I'm talking about the sound recordist and production designer and assistant editors, and everyone with whom you make a film. And also because of the presence my son in the film, because I wrote it for my son to portray Joel's son in the film. In the process of filming, Joel found out that he was going to be a father. That made it intensely personal and emotional for him also, and I watched it change him and shift his entire being. Both Joel and Sean were transformed by the process of making this film. Sean's wife actually saw the film after we'd finished and said that there was nothing of him left in that character, that he was completely absent. She didn't recognise him, and I think she found that really overwhelming and very powerful. I can attest to that as the person that was there beside them the entire time — this was a tense, difficult film to make that just took those central cast, and I include here Jada Alberts in particular, into a place where they really weren't their selves anymore." ON MAKING THE FILM PERSONAL FOR AUDIENCES "Cinema has always been a collective experience, and when films really work, we're simultaneously aware that they're a shared experience but they're also deeply personal. This film, for people who respond to it — obviously not for everybody — gets itself into a very personal place. I think it does that by making itself physical and physically felt. That's why breath was such a key part of the film to me. I wanted to begin with something that made an audience active, even in the most subtle, underlying way, because every part of the film asks that the audience be active in that physical, subjective experience of what Mark [Joel Edgerton's character] is going through. You're trying to tune people to the frequency of the film, to the psyche of the people working on this kind of case. There's a hyper-alertness. It's a film partly about trauma more generally — a film about the fact that those of us who reach adulthood, we come into the world and at some point in time we become aware of the darkness and the unknowable things within it. We have to find a way to be able to reconcile that and continue to move forward and find meaning, because the thing about violence is that it threatens to strip things of their meaning. It renders things meaningless. So you're dealing with a hyper-alert psychology. It's certainly something that we were actively trying to encourage in the audience. When you set out to make a film, you are trying to show people something they haven't seen before, to get them to feel something they haven't seen before — and, to relate to the film in a different way while understanding it's part of an impossibly deep lineage of stories, and these kinds of modalities of storytelling that are well-established now in cinema." ON AUSTRALIA'S OBSESSION WITH CRIME STORIES — AND STANDING OUT "Even though the film is part of a strong lineage of Australian crime cinema, I just think it sits outside a lot of that work in its intentions. A lot of these kind of films are more realist depictions of people, and head toward a kind of final emphatic act of violence, which often takes place off-screen. That's certainly the case in Snowtown. It's the case in Nitram. It's the case in a film like The Boys. Even though the reason for The Stranger is violence, it's not its subject… It begins in the aftermath of that violence. It's an attempt to make meaning and to reconcile the after-effects of violence on individuals and by extension on society. I think there's a reason that that this genre and these ideas are so prevalent in Australian thinking. It's certainly not limited to Australian film. When you look at our most prominent authors — Richard Flanagan, Chloe Hooper, Helen Garner, Tim Winton, Patrick White — this is a subject that has been grappled with. And in our visual art, and in our music. We return to it over and over again. I think that has to do with an unreconciled relationship to violence in this country, a landscape that has been marked by violence, and that we know that. We can intuit it, but for the main, we don't have a way to unpack that — and it remains there, unresolved." The Stranger releases in Australian cinemas on October 6, then streams via Netflix from October 19. Read our full review.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including 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, 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. HALLOWEEN ENDS Whenever a kitchen knife gleams, a warped mask slips over a killer's face or a piano score tinkles in a horror movie — whenever a jack-o'-lantern burns bright, a babysitter is alone in someone else's home with only kids for company or October 31 hits, too — one film comes to mind. It has for four-plus decades now and always will, because Halloween's influence over an entire genre, slasher flicks within it and final girls filling such frames is that immense. That seminal first altercation between then 17-year-old Laurie Strode and psychiatric institution escapee Michael Myers, as brought to the screen so unnervingly by now-legendary director John Carpenter, also valued a concept that couldn't be more pivotal, however. Halloween was never just a movie about an unhinged murderer in stolen mechanic's overalls stalking Haddonfield, Illinois when most of the town was trick-or-treating. In Laurie's determination to survive Michael's relentless stabbing, it was a film about trauma and fighting back. As played by Jamie Lee Curtis (Everything Everywhere All At Once) for 44 years — her big-screen debut made her an OG scream queen, and she's returned six times since, including now in Halloween Ends — Laurie has never been anyone's mere victim. In the choose-your-own-adventure antics that've filled the franchise's ever-branching narrative over 13 entries, her tale has twisted and turned. The saga's has in general, including chapters sans Laurie and Michael, films that've killed one or both off, and remakes. But mustering up the strength to persist, refusing to let Michael win and attacking back has remained a constant of Laurie's story. That's all kept pushing to the fore in the current trilogy within the series, which started with 2018's Halloween, continued with 2021's Halloween Kills and now wraps up with an instalment that flashes its finality in its moniker. Laurie keeps fighting, no matter the odds, because that's coping with trauma. This time, though, is a weary Haddonfield ready to battle with her? First, a just-as-pressing question: is this David Gordon Green-directed and co-written, Jason Blum-produced movie ready to fight back itself? Green (Stronger, The Righteous Gemstones) has been the mastermind behind the franchise's revival with co-scribe Danny McBride (The Legacy of a Whitetail Deer Hunter) — and while their first dance with the boogeyman (James Jude Courtney and Nick Castle), and the woman pursued by him, gave the Halloween series its best sequel yet, their second lurked in lacklustre been-there, done-that territory. Despite a title that's bound to be proven wrong down the line because that's just the way Hollywood goes, Halloween Ends leaps forward after its average-at-best most-recent predecessor, thankfully. It does so weightily, eerily and gorily, in fact, albeit sometimes clumsily as well, in a mostly fitting swan song for Curtis that understands what it means to spend half a lifetime shrouded in tragedy. Halloween circa 2018 and Halloween Kills sliced into the same night, 40 years after Michael initially attacked Laurie, but Halloween Ends covers two other October 31s. In the first, a year later, a babysitter, a child and Haddonfield's understandably on-edge vibe are all present — as is Carpenter's 1982's masterpiece The Thing, playing on a TV — and a bloody end results. Jumping forward three more years, Laurie is penning a memoir about moving on from her ordeals, and has begun to re-embrace life while living with her granddaughter Allyson (Andi Matichak, Foxhole). Still, around them, their home town is uncertain in Michael's absence. Accustomed to having a big bad responsible for their woes, fears and misery, its residents now point fingers at twentysomething Corey Cunningham (Rohan Campbell, The Hardy Boys), who's already escaped a murder accusation but is forever branded in the community's eyes. Read our full review. ALL QUIET ON THE WESTERN FRONT War makes meat, disposable labour and easy sacrifices of us all. In battles for power, as they always are, bodies are used to take territory, threaten enemies and shed blood to legitimise a cause. On the ground, whether in muddy trenches or streaming across mine-strewn fields, war sees the masses rather than the individuals, too — but All Quiet on the Western Front has always been a heartbreaking retort to and clear-eyed reality check for that horrific truth. Penned in 1928 by German World War I veteran Erich Maria Remarque, initially adapted for the screen by Hollywood in 1930 and then turned into a US TV movie in 1979, the staunchly anti-war story now gets its first adaptation in its native tongue. Combat's agonies echo no matter the language giving them voice, but Edward Berger's new film is a stunning, gripping and moving piece of cinema. Helming and scripting — the latter with feature first-timers Lesley Paterson and Ian Stokell — All My Loving director Berger starts All Quiet on the Western Front with a remarkable sequence. The film will come to settle on 17-year-old Paul Bäumer (astonishing debutant Felix Kammerer) and his ordeal after naively enlisting in 1917, thinking with his mates that they'd be marching on Paris within weeks, but it begins with a different young soldier, Heinrich Gerber (Jakob Schmidt, Babylon Berlin), in the eponymous region. He's thrust into the action in no man's land and the inevitable happens. Then, stained with blood and pierced by bullets, his uniform is stripped from his body, sent to a military laundry, mended and passed on. The recipient: the eager Paul, who notices the past wearer's name on the label and buys the excuse that it just didn't fit him. No one dares waste a scrap of clothing — only the flesh that dons it, and the existences its owners don't want to lose. Paul's parents are against him signing up with the Imperial German Army, but his pals Albert Kropp (Aaron Hilmer, The Island), Franz Müller (Moritz Klaus, Die Chefin) and Ludwig Behm (Adrian Grünewald, also The Island) are doing it, so he's soon forging a signature and receiving his pre-used uniform. You could say that the high schooler and his friends get the shock of their lives once they make it to the front, because they do; however, as the Germans and the French keep tussling over a ridiculously small stretch, making zero impact upon the greater war in the process, Paul and company's lives — shocks and all — couldn't be more expendable. In the unit's first big push, the teenagers' numbers already diminish. Building upon the movie's potent opening, Berger ensures that nothing about war remains romanticised in their gaze. Call it hell, call it a nightmare, call it a senseless throwing away of innocent life and a needless robbing of the future: they all fit. Eighteen months later in November 1918, All Quiet on the Western Front moves to Paul and his compatriots behind the trenches. Trying to survive is still their only aim, and any sense of excitement, passion, enthusiasm and patriotism for their service has long dissipated. Sometimes, with the older and brotherly Stanislaus "Kat" Katczinsky (Albrecht Schuch, Berlin Alexanderplatz), making it through the day involves attempting to steal food from French farms. Sometimes, it means looking for new recruits who haven't shown up. When orders come as they unavoidably do, though, the front is inescapable. Alongside 1917, All Quiet on the Western Front proves a masterclass in conveying armed conflict's relentlessness, terror and futility — from a first-person perspective, and also via lengthy, unbroken, like-you're-there shots steeped in gut- and heart-wrenching wartime brutality. Read our full review. THE NIGHT OF THE 12TH On the night of the 12th, the incident that makes that date worthy of a movie's moniker happens quickly, heartbreakingly and horrifyingly so. It's October 2016, in the French Alps-region city of Grenoble, and Clara Royer (Lula Cotton-Frapier, Mixte) is walking home alone after an evening at her best friend Nanie's (Pauline Serieys, Grown Ups). It's 3am, the streets are quiet, and she's giddy with affection, sending a video message telling her pal how much she loves her. All it takes is a hooded figure emerging from the dark, whispering her name, dousing her with liquid and sparking a lighter, and Clara will never arrive home. Before this occurs in The Night of the 12th's opening scenes, director and co-writer Dominik Moll (Only the Animals) shares details just has distressing and dismaying: the French police are tasked with solving 800 murders a year, 20 percent of them never can be and, sadly, the case in this feature is among the latter. It might seem a strange decision, giving away the film's ending before it even begins; however, while The Night of the 12th is about the search for Clara's killer, it's never about the murderer. Instead, as it adapts 30 pages from Pauline Guéna's non-fiction book 18.3 — A Year With the Crime Squad, takes a Zodiac-style procedural approach and opts for a Mindhunter-esque survey of interrogations as well, it makes clear how easy and common it is for situations like this come about, especially in a world where women are slain at men's whims with frequency (then typically blamed if any of their own actions can be wrongly perceived to have put themselves in danger). Alongside David Fincher's serial killer fare, Bong Joon-ho's Memories of Murder casts a shadow, too, as detective Yohan Vivès (Bastien Bouillon, Jumbo) and his partner Marceau (Bouli Lanners, Nobody Has to Know) scour the area for suspects and answers. "The problem is that any one of them could have done it," Yohan observes after potential culprit after potential culprit fields their queries and flouts their engrained misogyny. Was it the bartender boyfriend (Baptiste Perais, The Companions), who saw Clara as nothing more than a fling on the side? The gym buddy (Jules Porier, Simone Veil, a Woman of the Century) that's guffawing seconds after the cops bring up the killing, all while bragging about a friends-wth-benefits setup? A rapper (Nathanaël Beausivoir, Runaway) knew the police would come calling because he wrote a song about setting Clara alight, while an awkward local squatter (Benjamin Blanchy, Spiral) welcomes the attention. By the time that her dalliance with an older man (Pierre Lottin, Les Harkis) with a violent past and convictions for domestic abuse comes up, one of Yohan and Marceau's colleagues is joking about Clara's taste in men. Judgemental views about women don't just fester among the interviewees; how many cases have been hindered by such prejudiced perspectives, The Night of the 12th silently gives viewers cause to wonder. Played as meticulous and passionate by Bouillon, the newly promoted Yohan isn't one of those chauvinist officers. More prone to splashing his feelings around in Lanners' hands, neither is Marceau. The film's central duo is dutiful and dedicated, and their efforts turn The Night of the 12th into a chronicle of devoted and hard-working people doing what they're supposed to — and well, and with care — even if viewers instantly know they won't achieve their desired outcome. In the script by Moll and his regular co-scribe Gilles Marchand (Eastern Boys), both men find the case impacting them in different ways, though, including the fact that their obsessive endeavours don't and won't wrap up the case. Amid chasing leads, making enquiries and sitting down with the men in Clara's life, Yohan lives a spartan existence in his spick-and-span apartment and in his relationships. Marceau is navigating a marriage breakdown, and his emotions run high personally and professionally. Read our full review. MURU Defiant, powerful and passionate at every turn, Muru depicts a relentless police raid on New Zealand's Rūātoki community. Equally alive with anger, the Aotearoan action-thriller and drama shows law enforcement storming into the district to apprehend what's incorrectly deemed a terrorist cell, but is actually activist and artist Tāme Iti — playing himself — and his fellow Tūhoe people. If October 2007 springs to mind while watching, it's meant to. Written and directed by Poi E: The Story of Our Song and Mt Zion filmmaker Tearepa Kahi, this isn't a mere dramatisation of well-known events, however. There's a reason that Muru begins by stamping its purpose on the screen, and its whole rationale for existing: "this film is not a recreation… it is a response". That the feature's name is also taken from a Māori process of redressing transgressions is both telling and fitting as well. Kahi's film is indeed a reaction, a reply, a counter — and a way of processing past wrongs. In a fashion, it's Sir Isaac Newton's third law of motion turned into cinema, because a spate of instances across New Zealand over a century-plus has sparked this on-screen answer. Muru's script draws from 15 years back; also from the police shooting of Steven Wallace in Waitara in 2000 before that; and from the arrest of Rua Kēnana in Maungapōhatu even further ago, in 1916. While the movie finds inspiration in the screenplay Toa by Jason Nathan beyond those real-life events, it's always in dialogue with things that truly happened, and not just once, and not only recently. If every action causes an opposite reaction, Muru is Kahi's way of sifting through, rallying against and fighting back after too many occasions where the long arm of the NZ law, and of colonialism, has overreached. Played by Cliff Curtis (Reminiscence) with the brand of command that he's long been known for — and with the unshakeable presence that's served him through everything from The Piano, Once Were Warriors and Whale Rider through to The Dark Horse, Fear the Walking Dead and Doctor Sleep — Police Sergeant 'Taffy' Tawhara sits at the heart of Rūātoki's us-and-them divide. A local cop, he has the nation's laws to uphold, but he's also beholden to the community he hails from. His homecoming is recent, with his father (Tipene Ohlson) ailing and undergoing dialysis. So far, it has also been quiet. On the day that Muru begins, Taffy drives the school bus, takes the Aunties for medical checkups at the local mobile clinic and does what everyone in the valley does in their own manners: watches out for and tries to support 16-year-old Rusty (Poroaki Merritt-McDonald, Savage), the nephew of fellow officer Blake (Ria Te Uira Paki, The Dead Lands), who has the role of Rūātoki's resident wayward teen down pat. When Rusty smashes up shop windows that night, Taffy takes the call, then makes Iti's Camp Rama his second stop. A gathering of locals that champions survival skills and Tūhoe culture, it's designed to foster and reinforce the area's identity, which Taffy thinks Rusty can benefit from — even if that evening marks the sergeant's first attendance himself. But Camp Rama has also been under surveillance by the NZ police's special tactics group, with haughty leader Gallagher (Jay Ryan, The Furnace) and his quick-tempered second-in-command Kimiora (Manu Bennett, The Hobbit) deciding that Iti and his friends are a threat to national security. The highly armed tactical unit descends upon the community the next day, aided behind the scenes by colleagues Maria (Simone Kessell, Obi-Wan Kenobi) and Jarrod (Byron Coll, Nude Tuesday), overseen by an MP (Colin Moy, Guns Akimbo) determined to make a statement, and ignoring Taffy's pleas that their mission is mistaken. Read our full review. MONA LISA AND THE BLOOD MOON When Ana Lily Amirpour made her spectacular feature filmmaking debut in 2014, and made one of the best movies of that year in the process, she did so with a flick with a killer title: A Girl Walks Home Alone at Night. That moniker also summed up the picture's plot perfectly, even if the Persian-language horror western vampire film couldn't be easily categorised. Take note of that seven-word name, and that genre-bending approach. When Amirpour next made wrote and directed The Bad Batch, the 2016 dystopian cannibal romance started with a woman meandering solo, albeit in the Texan desert in daylight, and also heartily embraced a throw-it-all-in philosophy. Now arrives her third stint behind the lens, the hyper-saturated, gleefully sleazy, New Orleans-set blend of superheroes, scams and strippers that is Mona Lisa and the Blood Moon — which, yes, features a female protagonist (Jeon Jong-seo, Burning) strolling unescorted again, back under the cover of darkness this time. Mona initially walks out of a home instead of towards one, however. And Amirpour isn't really repeating herself; rather, she has a penchant for stories about the exploited fighting back. Here, Mona has been stuck in an institution for "mentally insane adolescents" for at least a decade — longer than its receptionist (Rosha Washington, Interview with the Vampire) can remember — and breaks out during the titular lunar event after gruesomely tussling with an uncaring nurse (Lauren Bowles, How to Get Away with Murder). The Big Easy's nocturnal chaos then awaits, and Bourbon Street's specifically, as does instantly intrigued drug dealer Fuzz (Ed Skrein, Maleficent: Mistress of Evil) and a determined but decent cop (Craig Robinson, Killing It). With opportunistic pole-dancer Bonnie Belle (Kate Hudson, Music), Mona thinks she finds an ally. With her new pal's kind-hearted latchkey kid Charlie (Evan Whitten, Words on Bathroom Walls), she finds a genuine friend as well. Amirpour's movies sport a kinetic feel that's as natural to them as breathing is to watching audiences. Her love of movement shines through as brightly as moonlight, too — and Mona Lisa and the Blood Moon is another glowing example. Directed with style and boldness to spare, this is a garish, on-the-go, howling-at-the-sky kind of southern Gothic horror flick, purposefully and strikingly so. Slinking along with it is inescapable, whether Mona is unleashing her supernatural skills, navigating the French Quarter's hustle-and-bustle nighttime vibe, or wholesomely dreaming of a safer future. First, though, Mona has to break out of the bayou-adjacent facility she's been forced to call home, which happens in a grim, revenge-seeking, attention-grabbing fashion. The aforementioned nurse usually spits insults the straightjacketed, catatonic Korean detainee's way, including while clipping her toenails. Then the inmate snaps back into focus — maybe the moon that's stirred her? — and uses her gifts to wreak havoc. Without touching the nurse, or anyone else she imposes her will upon throughout the movie, Mona can take control of their bodies. There's no flesh-swapping (another spin on Freaky Friday, this isn't); here, via voodoo-esque physical manipulation, Mona Lisa and the Blood Moon's main figure waves her hands or nods her head, then whoever's in her gaze does as she directs. That's a skill that comes in handy once she's out on her lonesome, meandering the city barefoot with threats lurking. It's also a talent that Bonnie observes during a fast-food store car park catfight, with Mona saving her bacon. Deciding that those telekinetic capabilities can be put to cunning, canny and profitable use — look out, strip-club patrons — Bonnie is swiftly offering up her companionship, and her home, although the metal-loving Charlie warns their new houseguest to be wary. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; September 1, September 8, September 15, September 22 and September 29; and October 6. You can also read our full reviews of a heap of recent movies, such as Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise, Clean, You Won't Be Alone, See How They Run, Smile, On the Count of Three, The Humans, Don't Worry Darling, Amsterdam and The Stranger.
Despite taking its name from a raucous, rundown pub in the Patrick Swayze-starring 80s flick Road House, Double Deuce Lounge isn't a dive bar. Instead, the newest CBD drinking hole from the Ramblin' Rascal team is a refined cocktail lounge with a touch of '70s porn chic'. "What is 70s porn chic?", we hear you say. Well, don't expect to find Ron Jeremy lounging in one of the burgundy leather booths — but do expect loud geometric 70s wallpaper, a two-person booth with a furry wall and a cocktail list that arrives in a Deep Throat-esque VHS cover. You'll also find the bar's owners, Charlie Lehmann, Sebastian Soto and Dardan Shervashidze, suitably on theme, decked out in safari suits and furry vests. [caption id="attachment_730465" align="alignnone" width="1920"] Kimberley Low[/caption] For the trio's latest venture, the team is shaking and stirring ten signature cocktails (all $20), which travel from the tangy and refreshing yuzu margarita and minty Stinger (with lots of Fernet and Cognac) to the cold brew-spiked Discretionary, the Jungle Boogie — with cacao, rhubarb and Campari — and a super-fancy take on a gin and soda dubbed Trouble Man. As you may've noticed, these cocktail names reference a heap of 70s films and soundtracks, which are also reflected in the posters on the walls — Jackie Brown, Coffy, Prince and Mick Jagger — and the music. Expect to hear the likes of Marvin Gaye, James Brown, Curtis Mayfield and Bobby Womack on heavy rotation. [caption id="attachment_730473" align="alignnone" width="1920"] Kimberley Low[/caption] While the cocktails are proverbially stuck in the 70s, the wines and beers are very much 2019. Co-owner of Newtown's P&V Wine and Liquor Mike Bennie has pulled together an extended list of fun and funky drops. You can throw back a couple of Garage Project's Salted White Peach Sour numbers (they're only 2.9 percent ABV and super tasty), order a bottle of Blind Unicorn pét-nat for a very reasonable $60 or go big with a milk stout from Marrickville's Batch and a shot of 'Deuce Juice' (Jim Beam). At the moment, food is mostly limited to complimentary bowls of Goldfish (fish-shaped cheese crackers), but the lease on the two-storey Bridge Street venue has been split, leaving space for a full restaurant upstairs. No one's locked in yet, but we'll let you know when they are. Find Double Deuce Lounge at 6 Bridge Street, Sydney. It's open from Monday–Wednesday 4pm–midnight and Thursday–Saturday 4pm–2am. Images: Kimberley Low
They topped Triple J's Hottest 100 in 2002. They've featured Dave Grohl on drums. Their third studio album Songs for the Death is one of the all-time-great 00s records. They're Queens of the Stone Age, of course, and now they're bringing their latest tour Down Under in 2024, with the band heading our way for the first time in six years. The Josh Homme-fronted group's The End Is Nero tour is their first trip to Australasia since 2018, and comes after their eighth album In Times New Roman... released in June 2023. Homme, Troy Van Leeuwen, Michael Shuman, Dean Fertita and Jon Theodore are giving their latest shows an apocalyptic theme, which fans can look forward to seeing in Sydney from Wednesday, February 21–Thursday, February 22. [caption id="attachment_923130" align="alignnone" width="1920"] Andreas Neumann[/caption] Concertgoers can look forward to a setlist that steps through QOTSA's 27-year history, including their Hottest 100 winner 'No One Knows', plus everything from 'Go with the Flow' and 'Make It Wit Chu' to 'Emotion Sickness' and 'The Lost Art of Keeping a Secret'. In support at the Hordern Pavilion: Pond and Gut Health. Queens of the Stone Age formed in Seattle in 1996 after Homme's prior band Kyuss split up, is linked to the Palm Desert music scene and have seven Grammy nominations to their name. Despite the long gap since their last trip Down Under, they're no strangers to playing Australia, including a joint tour with Nine Inch Nails back in 2014. Top image: Wünderbrot via Wikimedia Commons
Paying homage to the art of Japanese cuisine, ŌRA blends traditional techniques with contemporary influences. ŌRA is a collection of venues inside one retrofitted industrial warehouse in Waterloo. Three experiences are on offer here. The central bar with chic velvet booths is where guests can enjoy a fusion of Western and Eastern tastes from a sushi menu that draws elements from across the Japanese spectrum — expect classic street food, steamed and braised dishes, charcoal-grilled veggies, seafood and meats. Then there's the So She Me cocktail lounge and event space where guests can enjoy Japanese-inspired beverages. At the heart of every dish is Executive Chef Nobuyuki Ura. Every dish tells his story. "The most important thing is to execute each dish without compromise," he says. Chef Ura has worked in kitchens across Japan and Australia, from cooking for the Japanese royal family to serving dishes to a former Japanese Prime Minister — you can read our full interview with Chef Ura about his journey to ŌRA. Omakase is enjoyed at the Chef's Counter, an intimate setting with only ten seats at the rich marble bar. Omakase translates to 'I'll leave it up to you' — it's a culinary performance where diners can witness the chef's skills as each dish is carefully created and presented to the trusting guests. Each month, a new menu is created by Chef Ura, showcasing the freshness and seasonality of the produce. Highlighting the very best Australian produce, the menu at ŌRA sits alongside a beverage offering that includes seasonal cocktails, artisanal sake from new-generation makers and a wine list with Japanese wines. Images: Yusuke Oba
After chronicling the day-to-day chaos at a company that sells paper, what comes next for The Office — in the US, that is? Documenting the daily reality of life working at a newspaper. As announced in 2024, the beloved American version of the hit sitcom is getting a spinoff. In The Paper, which is led by Domhnall Gleeson (Echo Valley) and Sabrina Impacciatore (G20 and also The White Lotus season two), a midwestern newspaper publisher is in the spotlight. The series debuts on Thursday, September 4, 2025 in the US and in Australia, streaming in the latter via Binge. If you're keen for a sneak peek, The Paper has also just dropped its first trailer. A new boss arriving to shake things up, staff ranging from apathetic to overenthusiastic, office-set awkwardness aplenty, a familiar face: they're all featured in the initial glimpse at the show. As its predecessor was, this is a mockumentary series. The setup: the same documentary crew that turned their cameras towards Dunder Mifflin's Scranton branch have found a new workplace to explore. Their time pointing their lens the Toledo Truth Teller's way coincides with Ned Sampson (Gleeson) joining the publication as editor-in-chief, with the paper's newest employee underwhelmed with the status quo and brimming with ideas about how to change things. Chelsea Frei (The Life List), Melvin Gregg (Fight Night), Gbemisola Ikumelo (Black Ops), Alex Edelman (Unfrosted), Ramona Young (You're Cordially Invited) and Tim Key (Mickey 17) also star in The Paper, as does Oscar Nuñez (The School Duel), reprising his role as Oscar Martinez. Accordingly, the new series is set in the same universe as the Steve Carell (Mountainhead)-led hit dwelled in from 2005–13 and sports multiple ties to it, but definitely isn't simply walking back into Dunder Mifflin with new staff. Also, Gleeson starred with Carell on 2022's The Patient, giving the two series another connection. Greg Daniels — who created the US version of The Office to begin with, and has also been behind Space Force and Upload — is steering The Paper behind the camera with Nathan for You co-creator Michael Koman. And yes, the franchise that initially kicked off in the UK version in 2001 just keeps expanding, after the Australian version dropped in 2024. Cringeworthy bosses, annoying co-workers and soul-crushing office jobs show no signs of fading away, of course, which all things The Office has understood for nearly a quarter of a century now. Check out the trailer for The Paper below: The Paper debuts in Australia on Thursday, September 4, 2025, streaming via Binge. Images: Aaron Epstein and John P Fleenor/PEACOCK.
After joining Sydney's events calendar last year, Output Festival is returning for a second year. Music lovers, it's time to indulge your love of house, disco and techno once more — on Goat Island on Saturday, November 24. The boutique festival's second effort sees the private island transformed into a one-day, bass-driven dance party, complete with multiple outdoor stages set up throughout the island. You'll be dancing your heart out on a private island, sipping craft beers and cocktails, and catching that sun set majestically over the harbour. As far as festival settings go, this one's downright epic. Organisers have dropped a cracker of a lineup too, featuring local legend Mall Grab for the second year running, plus international acts DJ Seinfeld, HAAi, Nicola Cruz, Amotik and Von Party — and a heap of local talent as well. 2018's event is also adding a rooftop silent disco and a pre-fest harbour cruise, and will be operating a cashless RFID system for food and drinks. And, although it won't be included in the initial $115–119 + booking fee ticket price, details of an after party are set to be announced too.
It's a common perception that the northern beaches is always on a health kick. And while it's largely true, that doesn't mean you should write off the peninsula completely — it's not all doom and gloom (or kale and quinoa, for that matter). What the beautiful people on the beaches have discovered is that health food doesn't have to be boring. While you might be worried at the mere suggestion of trading in your beloved bacon and egg hangover cure, you'll be missing out if you don't read on. Come the weekend, the folk on the beaches will be set up at cafes overlooking the beach, a specialty brew in one hand and a healthy breakfast burrito in the other — and you should be too. So regardless of whether you live in the area or just visit on weekends, here's ten cafes you should tick off your list — from Manly to Palm Beach, and all the beaches in between.
The Kook is a short film made on a small budget that's taking the US independent film festivals by storm (and walking away with all the awards too). Already given the Official Selection title at a number of festivals, including Austin, New Orleans, Riverrun and Slamdance, the film is set to screen at several others in the US and Europe too. The film's story follows Fa, a gentle and unassuming member of an eccentric religious sect, as she inadvertently discovers an unsettling truth about the cult's leader. It's a dark comedy that plays with the realisation that everything Fa has ever believed in is fake, but it's not just The Kook's universal themes of truth and deception that has won audiences over. Although the cult's yellow jogging suits and dark bowl-cut hairdos probably make a lasting impression for many of the film's audiences, it's an 18-minute film that feels like nod to '80s soft-focus cinematography and the creation of a kooky world that's, worryingly, not too unlike our own. Actress T. Sahara Meer, who plays the naive Fa, recently received an award for best actress at a comedy festival in LA and, just a few days ago, the film's directors - New Yorkers Gregory Mitnick and Nat Livingston Johnson - took home the Audience Award at LES Film Festival in Manhattan. It looks like it'll be a big year for this little film. Now we just need to convince them to show it off down under. https://youtube.com/watch?v=t8u284szuk4
The eco-friendly craze has spread like wildfire in the past several years, and now the movement is even targeting the minds of young kids. Designer Leo Corrales and Precidio Design Inc. have developed Juice in a Box, a reusable juice box for children as an alternative to drinking the typical one-time-use juice boxes. The Juice in a Box containers are made of reusable plastic and come equipped with both a lid and straw, and are the perfect size to fit in packed lunches to bring to school. The outside of the containers cater to young children, featuring cartoon characters and colourful designs. Recently proposed at the International Home and Housewares Show, the design is aimed at making kids conscious of their impact on the environment from a young age so they continue eco-friendly practices throughout their entire lives. Getting the 'go green' initiative instilled in young minds may be what it takes to make a significant impact in long-term sustainable living.
Although it’s been a long time since we farewelled the god of grunge, this year marks the 20th anniversary of the death of Kurt Cobain. Photographer Jesse Frohman was behind the lens of the last ever formal shoot Nirvana did. Taken in November 1993, mere months before Cobain’s suicide, the photographs were published for an article in the London Observer. In their larger and more vivid glory, they are currently on display at Paddington’s Blender Gallery. With those iconic sunnies, the photographs show Cobain swaggering around in patched-up denim jeans, a fake-fur coat, and an inseparable ciggy — epitomising the Seattle sound and style. Both goofy and gritty, there is a poignancy to these portraits which seem to reveal not only the vibrant and crashing descent of Cobain but also of grunge. In conjunction with the exhibition, Frohman’s book, titled The Last Session, is for sale. If you’re a fan or just craving a little '90s nostalgia, you won’t want to miss this tribute to one of the most beloved and enigmatic frontmen of alternative rock.
Move over frozen boozy beverages — Sydney's latest alcohol trend involves pouring your own drinks from a tap. First Surry Hills' The Winery welcomed free-flowing prosecco from an antique-looking stone faucet, and now Bea at Barangaroo House is serving up martinis in tabletop fountains. Marking the Australian launch of Grey Goose's La Fontaine, which debuted in the UK in late 2019, the martini fountains hold up to six martinis, sit in front of eager drinkers and let you dispense as you like. In the interests of responsible drinking and the applicable liquor laws, Bea is only making them available to groups — so round up at least three of your closest pals and get pouring. 'Why get someone else to twist a tap when you can do it yourself?' is the basic idea, and while it's a gimmicky one, the shiny stainless steel and glass fountains do look rather fetching. They measure 30 centimetres tall, and were initially inspired by vintage absinthe dispensers, as Grey Goose's North American Vice President Martin de Dreuille told art magazine Whitewall. While La Fontaine is only on Bea's menu as part of Barangaroo House's first birthday celebrations, and will only be available until Sunday, March 31 as a result, it does come for the highly affordable price of $18 per person. Multiple flavours are on offer, with the venue slinging classic and espresso martinis, as well as one variety dubbed 'Dean Martin's Flame of Love' across the season. The Grey Goose La Fontaine Martini Fountain costs $18 per person for groups of four-to-ten people, and is available until Sunday, March 31. Bookings are essential and can be made through the website. CORRECTION: FEBRUARY 28, 2019 — The original article incorrectly stated that the Grey Goose La Fontaine Martini was available for groups of two–six, but it is only available for groups of four–ten.
Grab your woollies and get ready to celebrate all things chilly at the Bathurst Winter Festival. The two-week event celebrates the magic of the colder months — just because it's winter doesn't mean you can't get out and have a fun time. Located three hours' drive northwest of Sydney, the city of Bathurst will light up in a blaze of colour as interactive light installations project onto the town's historic architecture. Rug up and head along to the Winter Playground, where you can get your Nancy Kerrigan on at the ice-skating rink for $12. Kids and adults alike will enjoy riding the giant ferris wheel, too, and that's only five dollars a pop. Held on the first and second Saturday, there will also be two all-day festival highlights. The first, Ignite the Night, will kick off the festival with local tunes, brews and light shows scattered around the village. The second, Brew and Bite, features heaps of food trucks offering gourmet food, along with lots of warm drinks, including the all-essential mulled wine and cider. Spread across the town, much of the festival is free — making it a good excuse to get out of town for a weekend this winter.
Torakina Beach should be your number-one choice for stand-up paddleboarding. Set at the mouth of the Brunswick River, this sheltered paradise sees barely a ripple for waves, so pushing yourself along the crystal-clear waters is relatively hassle-free. You're also well within touching distance of Brunswick Heads, with the community's thriving cafe scene just a five-minute walk away if you're in need of a post-paddle refuel. Want to keep it a bit more rustic? With picnic areas, barbecues and showers spread throughout the surrounding bushland, Torakina Beach is a truly dreamy spot for a day in the sun. Image: Sam Forson, Pexels
Woolloomooloo's Manta is offering up a mid-week seafood feast featuring some of the best produce pulled from the sea that morning. The menu will not be revealed until the event, since it's designed around the catch of the day with one promise: lobster will feature throughout. Diners will enjoy a five-course set meal while overlooking Sydney Harbour from the picturesque Woolloomooloo Wharf. All the seafood included in the feast will be caught fresh by Manta's sister business Fishermen's Wharf in Port Stephens town Nelson Bay. The dinner kicks off at 7pm on Wednesday, May 19 and will set you back $125, a steal when you consider Manta's standard set menu for group bookings will set you back anywhere between $75 and $280. Drinks from the restaurants' extensive wine and cocktail menu are not included in that price and will have to be purchased separately. Images: Leigh Griffiths
Sometimes, you just need to get away from it all. And what better way to do that, than by escaping to your own private luxury villa, floating offshore from Sydney's famed Palm Beach? Lilypad, the northern beaches' lavish floating accommodation is reopening from February to the public, following a series of upgrades and refurbishments. The villa, which first opened in 2019, has been fitted out with a whole new design that pulls from Spanish and Mediterranean coastal villas. The spot has also scored some exciting new additions, including a completely solar-powered, on-board sauna. The new design is a pretty vast change from the previous look of the floating home, according to owner and designer Chuck Anderson. "We've made better use of the space to create a whole new feeling when onboard and I know returning guests, along with new guests will absolutely love it," Anderson says. The floating paradise has been built with respect for its natural environment, running entirely off solar power. And, it's been cleverly engineered to remain stable, while still embracing the natural movements and rhythms of the water below. After all, a bout of seasickness doesn't exactly scream 'luxury'. Inside you'll find all the comforts of a luxe home-stay from a full modern kitchen and king bedroom, to a wine cellar with access to a collection of Las Vino and Veuve Clicquot wines. The living space opens onto a deck on which you can sit and look out over the surrounding ocean while you eat or with a drink in hand. Topping off your time at the Lilypad is added resort-style luxuries like included meals with a private chef on request, champagne on arrival, a private boat for use to and from the villa, paddle boards and access to onboard massages. Bookings are available for one to five nights stay, with accommodation packages starting at $1800. Bookings are now open for Lilypad from February 2022 via the accommodation's website.
If you're familiar with the Chatimes, Gong Chas and ShareTeas of the world, chances are you've probably heard of HEYTEA, too — and if you haven't, you're about to be informed. This innovative tea brand is brewing its Chinese-style drinks in Sydney for the first time ever, following the success of its recently opened Melbourne site, as well as its international outposts in cities including Singapore, New York and London. HEYTEA Sydney will open on George Street from Friday, July 26. Neo Nie, the self-titled creator of cheese tea — a brew topped with cheese foam that's made with real dairy — is behind the beverage-centred brand that curates creative, high-quality bevs for the tea lovers of the world. To celebrate its launch, HEYTEA will be offering an array of deals at its new CBD spot. These include a buy one, get one free special from Friday, July 26 to Sunday, July 28 and a buy one, get 50% off deal from Monday, July 29 to Thursday, August 1. Unlike many other bubble tea brands, HEYTEA's ethos is centred around the utilisation of real, fresh ingredients, with no artificial ingredients or flavouring. You'll also find a vegan oat milk option, as well as free upgrades to zero-sugar sweeteners. At HEYTEA's sleek George Street store, you'll find the premium teas the brand is known for, including the coveted cheese tea, and refreshing fruit teas made with real fruit. Plus, the venue has in-store and al fresco seating for whether you want to slowly sip your drink inside, or enjoy some sunshine with your brew. As for future Aussie endeavours, there are more Sydney-based locales in the works, so keep your eyes peeled for a HEYTEA store near you. You'll find HEYTEA's Sydney store at 569 George Street, open from 11am–10pm daily.
You spent 17 hours watching one of Australia's most famous trains as it travelled across the country, all as part of the slow TV trend. Now, you can splash out and spend seven-to-nine days leisurely riding the rails through the outback yourself. And while you're lapping up the scenery at a very relaxed pace, you'll be doing so on another historic vehicle — one of the nation's oldest passenger locomotives. The Spirit of Progress first went into operation back in 1937, travelling from Melbourne to Albury. Then, from 1962–1986, it made nightly journeys between Melbourne and Sydney. But it has been largely out of action since, other than commemorative trips to mark its 50th, 60th and 70th anniversaries. This year, however, it's powering up its engines again — first retracing its familiar Melbourne–Sydney leg overnight at the end of March; then heading from Melbourne to Sydney, on to Broken Hill, then back to Sydney, all in early- to mid-July. Tickets for the first one-night trip have all been snapped up, but you can still hop onboard the second, lengthier journey, which has been dubbed the Far West Express. Feeling like treating yo'self and seeing the countryside? If so, you'll travel 4100 kilometres if you depart from Melbourne, and 2300 kilometres if you jump on in Sydney. Run by tour operator Cruise Express, the trip includes an overnight stop in Orange on the way there and two nights in the same spot on the way back. In Broken Hill, you'll hang around for three nights — touring sights that include filming locations for both Mad Max 2 and Priscilla, Queen of the Desert. Passengers won't just be riding on a famed 83-year-old train, either, or simply exploring the country at a slow pace — they'll be part of the Spirit of Progress' longest-ever trip. That said, this isn't a cheap venture. Prices start at $5890 per person twin-share and $6490 for solo travellers out of Sydney, and cost $6390 per person twin-share and $7190 for solo travellers out of Melbourne. The Spirit of Progress' Far West Express trip departs Melbourne on Wednesday, July 8 and Sydney on Thursday, July 9 — visit the tour operator's website for bookings and further details.
Kick off the weekend right with a Saturday morning trip to the Sydney Sustainable Markets, run weekly from 8am to 1pm. Inner-city dwellers have a rare opportunity to speak directly with the growers of their produce, as at this market there isn't a single reseller in sight. Every retailer is directly involved with the production of what they are selling in a hands-on way, and they are all certified organic. Embracing the slow food philosophy of good, clean and fair, every piece of fresh fruit or veg you get your hands on is free from the bad stuff — nothing genetically engineered and nothing covered in heavy chemicals — and has been grown, farmed, pickled, preserved, baked or smoked by the person you are handing your money to. This means you are minimising your environmental footprint, gaining access to real product knowledge and directly supporting local farmers. As well as selling everything you need to stock up for the week, there are also communal tables to sit, sip on a fresh OJ and read up on sustainable living. There are also regular mini-seminars and talks from those in the know aimed at helping increase urban sustainability. Hear from local chefs, foodies and farmers about how you can make your everyday life more sustainable. Don't forget your reusable bags and cups — it goes without saying that this market is a plastic-free zone. Unless you want to bring down your old plastic bags to be repurposed.
Many books are regarded as unfilmable because there's just too much going on. Man Booker Prize winner Life of Pi was regarded as unfilmable because the extent of the drama is a boy floating on the open ocean alone but for the company of a tiger. Tenacious director Ang Lee (Brokeback Mountain, Crouching Tiger Hidden Dragon) has put paid to that question with his mesmerising adaptation that's also one of the most spectacular applications of 3D in contemporary cinema. Pi (assured newcomer Suraj Sharma) is a boy of 16 for the main events of the story, his name short for Piscine Molitor Patel and inspired by a swimming pool. It's 1977 and his parents operate a zoo in French-influenced Pondicherry, India. But they decide to emigrate to Canada and sell the animals, some of which accompany them on the ocean journey to their new home. A storm sinks the ship, along with all on board besides Pi — and some of the animals. He finds himself sharing his lifeboat with a hyena, an orangutan, a zebra, and a tiger (called Richard Parker), and it's a long 227 days before he finds inhabited land. It's also 211 of 354 pages of the novel — 211 pages for which he doesn't speak to another human. And yet it's never hard to read, nor, importantly, hard to watch. The framing of the narrative is done through an interview the adult Pi (Irrfan Khan) gives to the writer (Rafe Spall), but it's very cool that Lee and screenwriter David Magee tell the guts of the story without narration. It allows all the tension, uncertainty, and enigma of living in close quarters with a tiger to rule and lets both the acting and CGI shine. The slipperiness of a magic realist world has also been beautifully translated. Pi's 227 days at sea include encounters with flying fish, luminous phenomena, and an island far from paradise as well as negotiating with his tiger friend, and each of these moments is stunning. Some see Life of Pi as a 'proof of God' argument, which may put a few people off. It's not that; it's a graceful proof of why people believe in God, which is a different and welcome thing in a world where cross-spiritual understanding is not always abundant. No wonder distributors have chosen to release it in the flurry of self-improvement that comes with New Year.
Toastiesmith is the most recent addition to the Maker's Dozen food court within The Exchange building. It's a sanga-themed cafe offering up 12 different varieties, including roast beef, pork katsu and grilled fish, all topped with an egg omelette. Drinks include coffees, smoothies and house-made sodas. [caption id="attachment_782079" align="alignnone" width="1920"] Kera Wong[/caption] Images: Kera Wong
On the cusp of a sun-filled scorcher of a summer, it’s hard to imagine going as long as three months without seeing the sun. But it’s precisely this seasonal phenomenon that Norwegian designers Christine Istad and Lisa Pacini have responded to, creating a travelling circular sculpture whose warm-coloured LED light mimics the absent sun. Three metres in diameter, the glowing core of SUN changes in hue, moving from sunrise to sunset tones. The design is portable and adaptable, capable of being freestanding on a base or hung on a wall as an installation. The sculpture was transported by cruise ship and pick-up truck around Norway, bringing illumination to darkened cities starting from Tromsø in the country's north and ending in Bergen. The project most recently journeyed as far as London, where it made an appearance at London Design Festival as part of the 10th anniversary of the annual 100% Norway exhibition run by the Norwegian Embassy, Norwegian Design Council and Norwegian Ministry of Foreign Affairs. Each year the exhibition showcases the best and brightest from Norway’s art and design world, with this year’s special focus being light. Via DesignBoom
Just because the sun has officially gone down on summer, doesn't mean you have to crawl into bed with a hot water bottle for four months. Though the heady days of wearing freshly pressed linens and sipping rosé in the park are officially over, winter has its perks. For one, everyone looks considerably chicer when they're not sweating constantly. For two, restaurants go hard serving up the good stuff — meats of the slow-cooked variety, hearty soups with crusty bread, vegetables roasted in duck fat, and warm buttery desserts. We've partnered with Samsung to scout out some of the best winter dishes you can get your mitts on in Sydney right now. And since everyone loves a good food photo, the new Galaxy S9 and S9+ has superior low-light capability, to capture your tasty meal in all its glory. So get stuck in. Like those arctic explorers always say, your body needs fat to survive the cold. SUNDAY ROAST AT THE DUKE OF CLARENCE Those looking for a cosy nook to hold winter at bay need go no further than the Duke of Clarence. This reimagining of a British tavern from the 1800s is the sort of place Charles Dickens might have sunk a few pints with mates. On Sundays, the pub offers four particularly extravagant roasts: a sirloin beef, a free-range roast chicken, a blue eye cod and a field mushroom. They're served with a generous side of trimmings: stuffing, Dutch carrots, peas, broccolini, potatoes roasted in beef fat and Yorkshire pudding. The place has proper Victorian manor library vibes, which is great, but bring a camera that can handle the moody light. BAKED CAMEMBERT AT KITTYHAWK Kittyhawk knows a thing or two about burrowing its way into your heart through your tastebuds — we tend to think if it only had its baked camembert en papillote on the menu, the bar would still be doing just fine. One of the truest delights of this dish is the way its gooey goodness runs at the first slice of your knife. And if you're someone who thinks that all cheese is improved by a spread of quince, wait until truffle is added and it's warmed by the creamy concoction. Served with a side of toasted sourdough and topped with a sprig of lemon thyme, this is pure French joy wrapped in a fragrant little parcel. BURNT RAMEN AT GOGYO Though Gogyo is fairly new in the Sydney eating world, it has significant chops back home in Japan. If you're looking to beat the winter chill, there's no going past their house speciality — ramen kogashi, or "burnt ramen". The toasty ramen is prepared by cooking fat at over 300 degrees until it bursts into flames. A special concoction of miso, soy and other umami flavours are added to the mix, followed by slow-cooked pork broth, a generous slice of melt-in-your-mouth pork belly, a silky egg, and perfect ribbons of freshly made noodles. The ramen arrives at your table flecked with blackened oil at the very manageable temperature of 80 degrees. The broth is intense and rich — perfect for those cooler days. FONDUE AT GPO CHEESE AND WINE ROOM How lucky are we that somehow putting little cubes of bread and meat on a stick and dipping them into pots of melted cheese is considered fancy? And the fondue platter at GPO Cheese and Wine Room is particularly fancy. Boasting a selection of almost 100 cheeses, this cosy little nook tucked away in the depths of Martin Place is the perfect spot for all your liquid cheese needs. The fondue comes in three flavours — goat's cheese, truffle cheese and blue cheese — and is served with an entire platter of dipping delights, including cured meats, prawns, roasted chat potatoes, honey pepper figs and multiple types of bread. You'll want this in slow-motion action shots. CACIO E PEPE AT BUFFALO DINING CLUB If you've ever thought, "why have I wasted my whole life eating meals out of bowls like a peasant when I could be eating out of a wheel of Parmesan like a cheese god?", then Buffalo Dining Club is the place for you. The cacio e pepe is the most simple combination of quality pasta, salt, pepper, oil and parsley served in a wheel of sharp pecorino cheese. The silky pasta is swirled around the parmesan wheel until the cheese gets all melty and delicious. It's then heaped onto your plate and cloaked with additional shaved parmesan because there is literally no such thing as too much cheese. Instead of spending your winter nights on the couch, discover all the after-dark happenings in your city here — and don't forget to document it all on the new Samsung Galaxy S9 and S9+, designed especially for low light so you can capture your best moments no matter what. Images: Cole Bennetts.
Moroccan hospitality has arrived to charm the pants off the north shore set with opening of Afous at The Spit, an area better known for its skiffs and sail boats. Stepping through Afous's azure doors flanking a terracotta-tiled staircase and coloured glass lantern feels like a world away from Middle Harbour. But inside it's more modern and pared back than expected. Floor to ceiling windows showcase stunning views of Middle Head offset by dark wood tables and contemporary Moroccan touches. No hookahs here. But the hospitality is straight out of the 'kasbah'. "It's an honour to have you as our guest," says proprietor Omar Majdi, of Surry Hills' Souk in the City, as he pours orange blossom water onto guests' palms to welcome them. It's a fragrant start to an evening of discovery and Omar is the perfect host for a magic carpet ride. He is the master of your evening's enjoyment, appearing discreetly to top up wine glasses, suggest a dish, and, when requested, share a tale or two about his Moroccan roots. Meaning 'hand' in Berber, the dialect indigenous to North Africa, Afous has cuisine Moroccan in orientation. But there's no heavy-handed spicing; flavours are rich without being overpowering and are delicate in the right places. Chicken croquettes with caramelised leek ($7) are crispy on the outside and creamy inside. Served with a dollop of spicy ras el hanout mayo and offset by a sticky, sweet date jam, this is modern Moorish food made for sharing. Die-hard tapas fans won't be disappointed either. Spiced brava potatoes ($5.90) are a delight; their crispness if offset by a tangy tomato sauce and spiced aioli. And garlic prawns ($13.90) arrive plump and juicy, swimming in a cast iron pot of unctuous garlicky goodness with Turkish bread to mop up the tasty dregs. The slow-cooked beef cheeks ($24.90) deserve a look-in, at least Omar says so. And he's not wrong. Braised for five hours, they arrive so tender that a look alone might melt them. Paired with a refreshing zesty mint and coriander couscous and rich red wine juice, the flavours are so perfectly balanced they linger in your mind long after the meal. Fancy something more Spanish? The paella a banda ($27.90), a white seafood paella, is a salty, sticky saffrony rice concoction infused with baked prawn shells ground to a fine powder. A definite must. If there's room left for dessert, don't hesitate to let Omar talk you into the deep-fried rose water milk ($10.90) or the dark chocolate souffle ($14.90). Just like Afous, they're sure to be charmers.
Yesterday triple j breakfast hosts and all-round legends Matt and Alex broke morning commuters hearts by announcing they'll be leaving the station at the end of the year. And while we're super saddened by the news, as with every teary professional departure comes the silver lining: a blowout leaving party. And Matt and Alex's is going to be a big one. Not content with a Woolies cake and a case of beer in the ABC offices, the pair are taking their sayonara soiree around the country for 5 Raves in 5 Days. They'll visit Melbourne, Sydney, Brisbane, Adelaide and Perth, bringing with them a slew of Aussie artists for DJ sets. Among the guest DJs are Client Liaison, The Preatures, Gang of Youths, Montaigne, Lisa Mitchell, Ball Park Music and more. The whole thing kicks off next week (so soon!) on Monday, November 28 in Perth before wrapping up on the Friday in Brissie. The best part? They're all free. It's gonna be a big week. Here's the lineup. MATT AND ALEX'S 5 RAVES IN 5 DAYS Monday, November 28 — Amplifier Capitol, Perth DJ sets by: Drapht, Mosquito Coast, San Cisco and Tired Lion Tuesday, November 29 — Fat Controller, Adelaide DJ sets by: Bad//Dreems, Jess Kent, Luke Million, Tigerilla and Trials Wednesday, November 30 — 170 Russell, Melbourne DJ sets by: Bec Sandridge, Client Liaison, Gretta Ray, Illy, Japanese Wallpaper and Olympia Thursday, December 1 — Beach Road Hotel, Sydney DJ sets by: Gang of Youths, Lisa Mitchell, Montaigne, One Day DJs, The Preatures and triple j presenters Friday, December 2 — Oh Hello Car Park, Brisbane DJ sets by: Amy Shark, Ball Park Music, Confidence Man, Feki feat. Gill Bates, The Jungle Giants
Here's an excellent way to spend Halloween: watching the exceptional slasher flick that is the OG Halloween, aka one of iconic filmmaker John Carpenter's masterpieces, as well as the movie that helped make Jamie Lee Curtis a star. But when October 31 rolls around — or the month of October in general — you might want to expand your viewing. Sure, the Halloween franchise has plenty of entries, including a brand-new one in cinemas right now (and some excellent, some terrible and some average ones). It isn't the only worthy of your eyeballs while you're carving pumpkins, eating candy and dressing up in the most frightening costume you can conjure up, however. Every year, a whole heap of unsettling and unnerving flicks reach screens big and small. Every year, they spook us out all year round. But this is the time to binge them — and we've come up with a killer streaming marathon solely based on 2022 horror movies on the various platforms now. If your idea of a perfect Halloween this year involves getting reacquainted with that groove on your sofa and binging your way through the latest and greatest eerie flicks that are currently offer, here's ten that'll do the trick. You'll need to supply the treats, obviously. X In new slasher standout X, the eponymous letter doesn't simply mark a spot; it isn't by accident that the film takes its moniker from the classification given to the most violent and pornographic movies made. This is a horror flick set amid a porn shoot, after all, and it heartily embraces the fact that people like to watch from the get-go. Swaggering producer Wayne (Martin Henderson, The Gloaming), aspiring starlet Maxine Minx (Mia Goth, Emma), old-pro fellow actors Bobby-Lynne (Brittany Snow, Pitch Perfect 3) and Jackson Hole (Scott Mescudi, Don't Look Up), and arty director RJ (Owen Campbell, The Miseducation of Cameron Post) and his girlfriend/sound recorder Lorraine (Jenna Ortega, doing triple horror duty in 2022 so far in Scream, Studio 666 and now this) are counting on that truth to catapult themselves to fame. Hailing from Houston and aroused at the idea of repeating Debbie Does Dallas' success, they're heading out on the road to quieter climes to make the skin flick they're staking their futures on, and they desperately hope there's an audience. X is set in the 70s, as both the home-entertainment pornography market and big-screen slashers were beginning to blossom. As a result, it's similarly well aware that sex and death are cinema's traditional taboos, and that they'll always be linked. That's art imitating life, because sex begets life and life begets death, but rare is the recent horror movie that stresses the connection so explicitly yet playfully. Making those links is Ti West, the writer/director responsible for several indie horror gems over the past decade or so — see: cult favourites The House of the Devil and The Innkeepers — and thrusting a smart, savage and salacious delight towards his viewers here. Yes, he could've gone with The Texas Porn-Shoot Massacre for the feature's title, but he isn't remaking the obvious seminal piece of genre inspiration. X streams via Prime Video, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. WEREWOLF BY NIGHT Running for 53 minutes, Werewolf by Night is more a standalone Marvel Cinematic Universe special than a movie. It's the first release of its type for the sprawling comic book-to-screen behemoth, and it makes the case for more like it. In fact, if you've been feeling fatigued by average big-screen MCU releases lately, it also makes the case for more variety and experimentation in the Marvel blockbuster realm in general — because when the usual mould gets tinkered with in a significant way, and not just with a goofy vibe like Thor: Love and Thunder, something special like this can result. The mood is all horror, in a glorious throwback way, complete with gorgeous black-and-white cinematography. The focus: hunting for monsters, which does, yes, involve bringing together a crew of new characters with special traits. Thankfully, that concept never feels formulaic because of how much creepy fun that Werewolf by Night is having, and how much love it splashes towards classic creature features. That monochrome look, and the shadowy lighting that comes with it, clearly nods to the ace monster flicks of the 1930s and 1940s; composer-turned-director Michael Giacchino (who provided Thor: Love and Thunder's score, in fact), must be a fan, as we all should be. His filmmaking contribution to the MCU takes its name from comic-book character Werewolf by Night, which dates back to the 70s on the page — but if you don't know that story, let the same-titled flick surprise you. The plot begins with five experienced monster hunters being summoned to Bloodstone Manor following the death of Ulysses Bloodstone, and told to get a-hunting around the grounds to work out who'll be the new leader (and also gain control of a powerful gem called the Bloodstone). That includes Jack Russell (Gael Garcia Bernal, Station Eleven), plus Ulysses' estranged daughter Elsa (Laura Donnelly, The Nevers). Everything that happens from there — and before that — instantly makes for pulpy and entertaining viewing. Werewolf by Night streams via Disney+. HELLBENDER Meet the Adams family — no, not the creepy, kooky, mysterious and spooky characters that've featured on pages and screens for decades (including in two terrible recent animated flicks), but the filmmaking collective comprised of couple Toby Poser and John Adams, plus their daughters Zelda and Lulu Adams. The quartet might be missing a letter from their well-known counterparts' names, but they're just as fond of all things horror. Case in point: their second feature Hellbender, a self-financed gem that's both a spellbinding tale of witchcraft and a clever coming-of-age story. It starts in a house in the woods, and also spends most of its time there. It includes the arrival of an unexpected stranger, shattering the status quo. But formulaic and by-the-numbers, this must-see isn't. In making exceptional use of its setting, and of a cast that's primarily comprised of Adams family members, it's also a masterclass in lockdown filmmaking. In the most expected aspect of Hellbender, the film's name does indeed refer to a punk-metal band, with 16-year-old Izzy (Zelda Adams, The Deeper You Dig) and her mother (Toby Poser) its sole members. No one else has ever heard them play, either, given that Izzy is both homeschooled and confined to the family's sprawling mountainside property, as she has been since she was five. Her mum tells her that she can't venture into town or around other people due to a contagious autoimmune disease; however, when a lost man (John Adams) wanders their way and mentions that his teenage niece Amber (Lulu Adams) lives nearby, Izzy gets the confidence to go exploring. As both written and directed by three out of four Adams family members — all except Lulu — Hellbender proves an impressive supernatural affair from its opening occult-heavy prologue through to its astute take on teen rebellion. Here's hoping this Adams family spirits up more DIY horror delights soon, too. Hellbender streams via Shudder and iTunes. FRESH Finally, a film about dating in the 21st century with real bite — and that's unafraid to sink its teeth into the topic. In this hit Sundance horror-comedy, Normal People's Daisy Edgar-Jones plays Noa, and once again gets entangled in a romance that'll leave a mark; here, however, the scars aren't merely emotional. Swiping right hasn't been doing it for Fresh's protagonist, as a comically terrible date with the appropriately named Chad (Brett Dier, Jane the Virgin) demonstrates early. Then sparks fly the old-fashioned way, in-person at the supermarket, with the curiously offline doctor Steve (Sebastian Stan, Pam & Tommy). Soon, he's whisking her away to a secluded spot for the weekend — a little too swiftly for Noa's protective best friend Mollie's (Jojo T Gibbs, Twenties) liking, especially given that no one can virtually stalk his socials to scope him out — and that getaway takes a savage and nightmare-fuelling twist. If Raw met Ex Machina, then crossed paths with American Psycho and Hostel, and finally made the acquaintance of any old rom-com, Fresh still wouldn't be the end result — but its tone stems from those parts, as do some plot points and performances, and even a few scenes as well. First-time feature director Mimi Cave doesn't butcher these limbs, though, and screenwriter Lauryn Kahn (Ibiza) doesn't stitch them together like Frankenstein's monster. As anchored by the excellent Edgar-Jones and Stan, there's care, savvy, smarts and style in this splatter-filled, satirical, brutal, funny, empowered and sweet film. Its twists, and its cutting take on predatory dating, are best discovered by watching, but being turned off apps, men and meat in tandem is an instant gut reaction. Fresh streams via Disney+. PREY No stranger to voicing iconic lines, Arnold Schwarzenegger uttered one of his best-known phrases yet 35 years ago, in a franchise that's still going today. "If it bleeds, we can kill it" has been quoted frequently ever since — even by champion AFL coaches — and it's no spoiler to mention that it pops up again in the latest Predator film Prey. Trotting out that piece of dialogue won't surprise anyone, but this fine-tuned action-thriller should. It's one of the saga's best entries, serving up a lean, taut and thoughtful kill-or-be-killed battle set in the Comanche Nation 300 years ago. The Predator series hasn't been big on highlights over the years — Predator 2 is forgettable to put it nicely, 2010's Predators is effective, 2018's The Predator favoured its throwback vibes above all else, and the two terrible Alien vs Predator cross-over films are best left forgotten — however Prey not only breathes new life into it, but paves a welcome path for more. (Bring on a Prey sequel ASAP.) The overall premise remains the same, with the franchise's ruthless, brutal and technologically advanced alien species using earth as its hunting ground as the series has already established — and showing zero concern about leaving a body count. Trained healer Naru (Amber Midthunder, The Ice Road) is the first to notice that something is awry this time, spotting the predator's spaceship in the sky and taking it as a sign to follow her dream to become a hunter herself. Alas, that isn't the done thing. In fact, she's spent her entire life being told that she can't be like her brother Taabe (first-timer Dakota Beavers), and should focus on her assigned role instead. Now, even with an extra-terrestrial foe wreaking havoc, she's still dismissed at every turn. Midthunder plays Naru as a fierce, determined, persistent and resourceful force to be reckoned with, while writer/director Dan Trachtenberg — co-scripting with Jack Ryan's Patrick Aison — gives all things Predator the taut focus, canny shift and fresh feel he also gave the Cloverfield saga with 10 Cloverfield Lane. Prey streams via Disney+. WE'RE ALL GOING TO THE WORLD'S FAIR "Hey guys, Casey here. Welcome to my channel. Today I'm going to be taking the World's Fair Challenge." So says We're All Going to the World's Fair's protagonist (feature newcomer Anna Cobb) twice to start this absorbing horror film, to camera, in what makes a spectacular opening sequence. Next, an eerie wave of multicoloured light flashes across her face. Watching her response brings the also-excellent She Dies Tomorrow to mind, but Casey has her own viral phenomenon to deal with. She's doing what she says she will, aka viewing a strobing video, uttering a pivotal phrase and then smearing blood across her laptop screen — and she promises to document anything that changes afterwards, because others have made those kinds of reports. Written, directed and edited by fellow feature debutant Jane Schoenbrun, the instantly eerie and intriguing We're All Going to the World's Fair is that record. Schoenbrun's film is more than that, however. It also charts the connections that spring and splinter around Casey just by joining the online trend, where her videos spark others in return — and the spirals she goes down as she watches, which then sparks a response in her own way, too. A portrait of isolation and alienation as well, while chronicling the after effects of playing a virtual horror game, We're All Going to the World's Fair is also a picture of an always-recorded world. Take your lockdown mindset, your social-media scrolling, all that Zooming that defined the beginning of the pandemic and a gamer vibe, roll them all together, and that's still not quite this arresting movie — which keeps shifting and evolving just like Cobb's enigmatic and evocative performance. The entire flick earns that description and, not that it needs an established name's tick of approval, the fact that The Green Knight and A Ghost Story director David Lowery is an executive producer speaks volumes. We're All Going to the World's Fair streams via Shudder, Google Play, YouTube Movies and iTunes. HELLRAISER Horror remakes and sequels are a bit like Halloween itself: even if you're not a fan, they always keep coming. First, a key rule about giving beloved old flicks a do-over or a years-later followup: the originals always still exist, no matter how the new movies turn out. Now, a crucial point about Hellraiser circa 2022: it's never going to be the OG picture, but it's still visually impressive, eager to get gory in bold and inventive ways, well cast and also happy to muse thoughtfully on addiction. And yes, there's a note of warning included in that above assessment of a film that arrives 35 years after Clive Barker's first stab at the series, and following nine other sequels. Directed by The Night House helmer David Bruckner, the new Hellraiser is stylish with its violent, bloody imagery, but it also still loves ripping flesh apart — and serving up a grisly nightmare. For newcomers to the Hellraiser fold, beware of puzzles. The moving box here is oh-so-enticing — that's how it gets its victims — but it's also a portal to a hellish realm. That's where demonic, frightening-looking beings called Cenobites dwell, and they're eager to haunt and terrorise the living. (Yes, that includes the ghoulish Pinhead, whose aesthetic really is all there in the name.) Accordingly, this Hellraiser movie kicks off with millionaire Roland Voight (Goran Visnjic, The Boys) obsessed with the box, and his lawyer Menaker (Hiam Abbass, Ramy) luring in new people to get torn to pieces. Then, six years later, recovering drug addict Riley (Odessa A'zion, Good Girl Jane) and her boyfriend Trevor (Drew Starkey, The Terminal List) find the cube in their possession. When it claims the former's brother Matt (Brandon Flynn, Ratched), she's determined to work out what's going on — and, while never full of narrative surprises, the brutal imagery sears itself into viewers' memories. Hellraiser streams via Binge. MASTER Taking cues from Jordan Peele's Get Out and Donald Glover's Atlanta, as well as from old-school horror classics such as Rosemary's Baby and The Shining, college-set horror-thriller Master isn't lacking in well-known influences. It also isn't afraid to let the imprint left by its obvious predecessors visibly ripple through its frames. But being overly ambitious in stitching together a story that so clearly owes a debt backwards is one of this film's few missteps — that and being so brimming with ideas that not everything gets its due. Excavating the institutionalised racism that festers in the American university system is a big task, though, and first-time feature writer/director Mariama Diallo doesn't hold back. There's a slow-burn eeriness to this intense Ivy League-steeped affair, but also a go-for-broke mentality behind its dissection of deeply engrained prejudice and weaponised identity politics. Regina Hall (Nine Perfect Strangers), Zoe Renee (Black Lightning) and Amber Gray (The Underground Railroad) play Gail Bishop, Jasmine Moore and Liv Beckman, respectively — three women of colour at a New England uni, Ancaster, with a long history. The school's past is almost exclusively tied to white administrators and students, of course, so much so that Gail is the first Black head of the college, or master. Her appointment comes as Jasmine arrives and gets allocated to a dorm once inhabited by the college's first-ever Black pupil, whose tale ended in tragedy, and as popular professor Liv tries to earn tenure. Diallo balances racial politics and the supernatural with skill; yes, the former, and the way that 'diversity' is paid lip-service to boost the university's prestige, is far more chilling than the otherworldly bumps and jumps, but both play a key part in making this a smart and haunting feature. Master streams via Prime Video. GLORIOUS During his seven seasons on HBO's slinky supernatural drama True Blood, and in his 223 episodes on Home and Away before that, Ryan Kwanten navigated any actor's fair share of wild scenarios — and soapy and melodramatic, obviously. In Glorious, he's firmly in out-there territory, but as a troubled man conversing about life, love, loss, loyalty, the universe, gods, men, women and plenty more in a dank and grimy rest-stop bathroom. So far, so straightforward. Unexpected connections and cathartic chats can happen in all manner of places with all manner of people, after all. But Wes, Kwanten's character, is conversing with a glory hole. There's a powerful deity behind it, but all that Glorious' protagonist and the audience see is glowing neon light emanating from the circle between cubicles, and a pulsating orb of flesh hanging below the stall walls. Filmmaker Rebekah McKendry (Psycho Granny), plus screenwriters David Ian McKendry (All the Creatures Were Stirring), Joshua Hull (Chopping Block) and Todd Rigney (Headless), aren't shy about their Lovecraftian nods; not thinking about the sci-fi author's brand of cosmic horror and its focus on unfathomable terrors is impossible. Indeed, this'd make a fine double with Color Out of Space — a sincere compliment given that phantasmagorical delight is adapted from the author's words, while this feels like it should've been. Aided by cinematographer David Matthews (Jakob's Wife), McKendry cements the film's clear tribute via its aesthetic and atmosphere, with vibrant pink hues contrasting with the grotty bathroom, and the claustrophobic setting doing the same with the vastness emanating from Ghat, Wes' talkative new acquaintance. That JK Simmons (Spider-Man: No Way Home) lends his distinctive tones to the movie's pivotal voice does much to set the mood, understandably, but Kwanten's layered performance, a twisty narrative and an inspiredly OTT premise executed with flair also make Glorious memorable. Glorious streams via Shudder. SCREAM Twenty-six years ago, "do you like scary movies?" stopped being just an ordinary question. Posed by a wrong-number caller who happened to be a ghostface-masked killer with a fondness for kitchen knives, it was the snappiest and savviest line in one of the 90s' biggest horror films, and it's now one of cinema's iconic pieces of dialogue. It gets another whirl in the Scream franchise's fifth movie, which is also called Scream — and you'd really best answer it now with the heartiest yes possible. Taking over from the late, great Wes Craven, who also directed 1997's Scream 2, 2000's Scream 3 and 2011's Scream 4 but died in 2015, Ready or Not's Matt Bettinelli-Olpin and Tyler Gillett task their next generation of slasher fodder with showing their devotion to horror with all the subtlety of a masked murderer who can't stop taunting their prey. That'd be a new Ghostface, who terrorises today's Woodsboro high schoolers, because the fictional spot is up there with Sunnydale and Twin Peaks on the list of places that are flat-out hellish for teens. The same happened in Scream 4, but the first new attack by the saga's killer is designed to lure home someone who's left town. Sam Carpenter (Melissa Barrera, In the Heights) hightailed it the moment she was old enough, fleeing a family secret, but is beckoned back when her sister Tara (Jenna Ortega, You) receives the feature's opening "do you like scary movies?" call. Soon, bodies are piling up, Ghostface gives Woodsboro that grim sense of deja vu again, and Tara's friends — including the horror film-obsessed Mindy (Jasmin Savoy Brown, Yellowjackets), her twin Chad (Mason Gooding, Love, Victor), his girlfriend Liv (Sonia Ammar, Jappeloup), and other pals Wes (Dylan Minnette, 13 Reasons Why) and Amber (Mikey Madison, Better Things) — are trying to both survive while basically cycling through the OG feature again, complete with a crucial location, and sleuth out the culprit using their scary movie knowledge. Everyone's a suspect, including Sam herself and her out-of-towner boyfriend Richie (Jack Quaid, The Boys), and also the begrudging resident expert on this exact situation: ex-sheriff Dewey Riley (David Arquette, Spree). The latter is the reason that morning show host Gale Weathers (Courteney Cox, Cougar Town) and initial Ghostface target Sidney Prescott (Skyscraper) make the trip back to Woodsboro again as well. Scream streams via Binge, Paramount+, Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. Looking for more things to watch? Check out our monthly streaming roundup, as well as our rundown of recent cinema releases that've been fast-tracked to digital home entertainment of late.
World-renowned masterpieces such as Michaelangelo's David have established the blank human canvas as an artwork. However, a recent series of Naturist tours has artist Stuart Ringholt taking this to the next level by not only appearing naked himself - but requiring all tour participants to also turn up in the flesh. This tour has already taken place at Tasmania's Museum of Old and New Art and Melbourne's Australian Centre for Contemporary Art. At such tours, Ringholt has allowed guests to gain a new perspective on existing works by viewing them in a new context where getting kitless is mandatory. Importantly, these tours have taken place outside of the standard venue opening hours, so there is no fear of outsiders or general creepers peeking in. Hypochondriacs will be relieved to know that you can keep your sneakers on, but it might be hard to choose a pair that will match the rest of your outfit. Ringholt's art has long been equally confrontational and controversial. In one of his performance pieces, the aptly-titled Embarassment, Ringholt placed himself in some red-faced situations. These included one instance where he walked in public with toilet paper hanging from his pants. Other pieces have documented a period of his life in the mid-nineties where he suffered from a drug addiction and subsequent psychotic episodes. Sydneysiders will now have a chance to experience Stuart Ringholt in all his naked glory when he conducts these tours at the Museum of Contemporary Art on 27-29 April, 2012. Bookings for these sessions open on 1 March, and enthusiasts would be wise to get in early after the high demand in other Australian cities. These will be open to adults only. Birthday suit up.
Fine dining institution Nel is known for its next-level set menus, with its always-popular Disney degustations taking beloved animated films and turning them into mind-blowing dishes. As the year comes to an end, the CBD venue is bringing some festive delight to its menu, this time, with an 11-course Christmas degustation. Available from Tuesday, November 16–Thursday, December 23, the cheery Christmas menu features dishes like Buddy the Elf's candy spaghetti, made with spinach linguini and Murray cod instead of marshmallows and chocolate syrup; plus Christmas crab; a turkey stuffing brioche; a coconut, black sesame and puffed rice dessert (inspired by the coal naughty children get); and Chrissy pudding. And if all that isn't enough, you can also opt for a drinks package, which includes paired cocktails and wines for $105. Though the menu is inspired by the childhood whimsy of this time of year, you'll need that adult salary to enjoy it, with the food menu setting you back $145 per person. The Christmas degustation menu is available for dinner Tuesday–Saturday, plus lunch on Saturdays in November and both Fridays and Saturdays in December.
June in Sydney is all about the Winter Solstice, Vivid lights and an epic all-day sandwich menu where bread is boss. To avoid confusion allow us a moment to clarify. While the first two examples obviously allude to the kind of mid-year milestones you mark on your calendar, the latter refers to June's Shoppe — a cute cafe located within Sydney's Wynyard Precinct which happens to share its name with the sixth month of the year. However, in contrast to the chilly weather typically expected at this time, June's is a sunny, bright yellow hole-in-the-wall that serves up morning coffees, tasty pastries and takeaway lunch items, such as salads, soups and sandwiches. Speaking of the aforementioned sambos, June's is committed to the carb-cause with its all-day sandwich menu curated by Culinary Director of Applejack Hospitality Group Patrick Friesen. With a menu inspired by Tokyo's iconic King George deli, loaf-lovers can expect thick doorstep sandwiches packed to the brim with fresh fillings and even fresher made-on-site sauces. Our picks include the fennel pork ($18) with pesto, pickled chillies, provolone and crunchy rapini, the spicy fried chicken sandwich ($20) drenched in comeback sauce and the tuna salad ($18) option which swaps out the canned variety for chunky tartare, paired with cucumber, radish and rocket. Plant-based peeps will also be pretty pleased with the options on offer, which include the mushroom melt ($18) made with mixed mushies, spinach and a triple-threat cheese combo of provolone, vintage cheddar and mozzarella; the kick-heavy spiced sweet potato salad ($18); and the classic salad sambo ($18) crammed with cucumber, tomato, beetroot, carrots, alfalfa, monster mayo and vintage cheddar. While the sandwiches are the star of the show here, spare a moment for the supporting acts including top-notch coffee ($4.20–5.70) made with Gabriel beans, flaky almond croissants and turmeric lattes ($5–6).
Like many events, Vivid Live had its 2020 edition axed due to the pandemic. But you'll find a pretty sweet consolation prize among the Sydney Opera House's digital program — a stream of Amon Tobin's audiovisual spectacular ISAM, hitting screens this Friday, August 14. The Brazilian-born producer's immersive show wowed audiences the first time around for Vivid Live 2012 and now it's headed to a device near you, available on demand from this week. Revisit the ever-innovative artist's stand-out performance, featuring a multi-sensory fusion of technology and electronic art. Performing within a 25-foot, three-tonne cubic installation he built himself, Tobin moves in and out of focus behind a constantly shifting multidimensional screen. The artist's high-voltage soundtrack of sonic explosions and rippling waves is backed by striking visuals playing out a mesmerising story of colour and light draped across the whole scene. The streamed performance is just one show featured in the Sydney Opera House's digital season, From Our House to Yours. To check out the rest of the performances, keep an eye on the SOH website. [caption id="attachment_773326" align="alignnone" width="1920"] Hamilton Lund[/caption] Top image: Prudence Upton
Has every famous actor ever popped up in a Marvel movie at one point or another? With Captain America: Brave New World marking the saga's 35th film — and with entry 36 on its way via Thunderbolts*, then flick 37 courtesy of The Fantastic Four: First Steps, all before July 2025 is out — it can feel that way. So when the comic-book company-turned-cinema powerhouse announces the cast for one of its Avengers movies, there's plenty of talent to call upon. The ensemble for Avengers: Doomsday has just been revealed, and it's a stacked bunch. Set to be the 38th Marvel Cinematic Universe entry, Avengers: Doomsday will hit the big screen in autumn 2026 — Thursday, April 30 Down Under — which means that it's still over a year away. But expect Robert Downey Jr (The Sympathizer) rejoining the franchise, a few folks who've been in past Avengers films, recent additions to the fold and familiar X-Men faces, and more. [caption id="attachment_866265" align="alignnone" width="1920"] Photo by Jasin Boland. ©Marvel Studios 2022. All Rights Reserved.[/caption] At San Diego Comic-Con 2024, Marvel advised Downey Jr's return, fresh from him becoming an Oscar-winner thanks to Oppenheimer. Although the last time that he was in an Avengers picture, he played Tony Stark aka Iron Man — a role he portrayed in ten MCU movies — this time he's stepping into Victor von Doom's shoes. That, fans already knew before the rest of the Avengers: Doomsday cast was unveiled. It's a big list from there, starting with Chris Hemsworth (Furiosa: A Mad Max Saga) and Tom Hiddleston (Loki), alongside Anthony Mackie (Twisted Metal), Sebastian Stan (The Apprentice), Paul Rudd (Only Murders in the Building), Letitia Wright (Black Panther: Wakanda Forever) and Winston Duke (The Fall Guy) among those with Avengers experience. [caption id="attachment_877485" align="alignnone" width="1920"] Photo courtesy of Marvel Studios. © 2022 MARVEL.[/caption] Get ready to see a number of faces a couple of times over the next year, given that Wyatt Russell (Monarch: Legacy of Monsters), Florence Pugh (We Live in Time), David Harbour (A Working Man), Hannah John-Kamen (Breaking Point) and Lewis Pullman (Salem's Lot) will hop from Thunderbolts* to Doomsday. Pedro Pascal (Gladiator II), Vanessa Kirby (Napoleon), Joseph Quinn (A Quiet Place: Day One) and Ebon Moss-Bachrach (The Bear) will do the same from The Fantastic Four: First Steps. Simu Liu (Last Breath) returns from Shang-Chi and the Legend of the Ten Rings, Danny Ramirez from Captain America: Brave New World and Tenoch Huerta Mejia from Black Panther: Wakanda Forever. Channing Tatum (Blink Twice) was in Deadpool and Wolverine, and will keep adding to his MCU resume. As Beast from the X-Men movies, Kelsey Grammer (Paper Empire) joined the Marvel Cinematic Universe in The Marvels, while Patrick Stewart (Star Trek: Picard) brought Professor Charles Xavier to Doctor Strange in the Multiverse of Madness — and they're back again now. [caption id="attachment_973924" align="alignnone" width="1920"] Photo courtesy of Marvel Studios. © 2024 MARVEL.[/caption] Ian McKellen (The Critic), Alan Cumming (Drive Back Home), Rebecca Romijn (Star Trek: Strange New Worlds), James Marsden (Paradise): they're on the list of X-Men stars — actors bring Marvel comics to the screen before the MCU even existed, but in films that were their own franchise until now — that are also part of Doomsday. Now that Disney owns Fox, which previously was behind the Deadpool, X-Men and Fantastic Four flicks, it's bringing characters from all of the above into its ever-sprawling screen saga. So, that's Thor, Loki, Captain America, Bucky Barnes, Ant-Man, Shuri, M'Baku, John Walker, Yelena Belova, Red Guardian, Ghost, Robert Reynolds, Reed Richards, Sue Storm, Johnny Storm, Ben Grimm, Shang-Chi, Joaquin Torres, Namor, Gambit, Beast, Professor X, Magneto, Nightcrawler, Mystique and Cyclops covered. After helming Captain America: The Winter Soldier, Captain America: Civil War, Avengers: Infinity War and Avengers: Endgame, filmmakers Anthony and Joe Russo (The Electric State) are back as well, directing not just Avengers: Doomsday but also 2027's Avengers: Secret Wars. Check out the Avengers: Doomsday cast announcement video below: Avengers: Doomsday releases in cinemas Down Under on Thursday, April 30, 2026. Top images: photo by Jesse Grant/Getty Images for Disney // Photo courtesy of 20th Century Studios/Marvel Studios. © 2025 20th Century Studios / © 2025 MARVEL. // Photo courtesy of Marvel Studios. © 2023 MARVEL.
What if The Boys took its superhero satirising to college? That's one of the ideas behind Gen V, which helped expand streaming's Vought Cinematic Universe in 2023. When the spinoff series quickly proved a hit, a second season was locked in. What if dealing with having superpowers turned higher learning into utter chaos? Expect to dive into that concept again from September 2025. Just because The Boys loves parodying pop culture's caped-crusader obsession, that doesn't mean that it can't spark its own franchise. After the OG series, first came the animated The Boys Presents: Diabolical. Then, Gen V arrived to take on the 'We Gotta Go Now' storyline. Viewers can enrol in the later's sophomore season on Prime Video from Wednesday, September 17, 2025, with a new Dean setting the agenda for the university's students — and the impacts of Homelander's (Antony Starr, G20) actions in The Boys being felt. That's what the just-dropped first trailer for Gen V season two teases, beginning with its new uni head Cipher (Hamish Linklater, Nickel Boys) letting the blood-bending Marie Moreau (Jaz Sinclair, Please Baby Please) re-enrol. With its controlling necklaces, the Elmira Adult Rehabilitation Centre has been her home since the events of season one — and for some of her friends, too. But going back to class isn't the same as it was the first time around, including in a "Make America Super Again" world. "It is time that humans learn that what runs through our veins is true Vought blue," Cipher tells the amassed students — and a war between humans and supes is indeed part of the storyline. If you missed Gen V 's initial season, Godolkin University is the college for superheroes that's meant to help prepare the best of the best for caped-crusader life — until exploding classmates, creepy secret facilities and untrustworthy professors complicate matters, that is. Season one spent its time with Marie, who knows that attending God U is a pivotal opportunity. After a traumatic experience when her powers kicked in, this is her chance to completely change her life, as well as achieve her dream of becoming the first Black woman in The Seven. Then, nothing turns out as planned. Also, things on campus (and underneath it) get shady, fast. Starring in season one as well: Lizze Broadway (Kinda Pregnant) as Marie's roomate Emma Meyer, who can change her size; Maddie Phillips (Overcompensating) as the persuasive Cate Dunlap; London Thor (Never Have I Ever) and Derek Luh (Shining Vale) as the gender-shifting Jordan Li; Asa Germann (Monsters) as the super-strong Sam Riordan; and Sean Patrick Thomas (High Potential) as superhero Polarity. All six also return for season two. The first look at the new season also dives into how the show is addressing an off-screen tragedy, after season-one talent Chance Perdomo (After Everything), who portrayed the magnetic Andre Anderson, passed away in 2024. Check out the teaser trailer for Gen V season two below: Gen V streams via Prime Video, with season two releasing from Wednesday, September 17, 2025. Read our review of season one.
Start planning your costumes: when Halloween hits in 2024, Sydney will welcome a brand-new festival celebrating the horror-themed occasion that'll be filled with spooky treats. Scary movies? Tick. A haunted house? Tick again. A murder-mystery party? Keep ticking. A zombie disco? That earns a big tick, too. Ghost in The Rocks Festival will debut on the absolute right day for it, Thursday, October 31, 2024, then run across four days until Sunday, November 3. The full program won't drop until September, but the idea is to turn The Rocks into a feast of frights and fright-inspired fun, including via tentacles taking over buildings, lights flickering around the place and creatures of the night — well, people dressed up, clearly — roaming the streets. The event is the brainchild of the team behind Mov'in Cinemas, Sydney's Bastille Festival and Canberra's Xmas in July Festival, which knows a thing or two about sprawling fests, theming around a beloved date on the calendar and adding a big-screen component. The plan: not just to put on the festival as a once-off, but to make it an annual happening. For now, until more details arrive, get excited about the fact that the House of Horror won't just be about eeriness, but will also be a party spot. Also, the Ghost Cinema will be dedicated to horror movies and thrillers, and feature an atmosphere to match; the Murder Bar will get you sleuthing; and the Zombie Disco will be where you make shapes. [caption id="attachment_937709" align="alignnone" width="1920"] Mov'In Bed Cinema[/caption] There'll be a parade as well, where costumed characters and Halloween floats take to the streets. Some aspects will be free, such as the disco, parade and entry to the bar. Others will be ticketed, like the haunted house and the cinema. There's no word yet on trick-or-treating, themed food and drink options, and if venues around The Rocks will also be getting into spirit of the occasion — but cross your fingers and broomsticks that all of the above is part of Ghost in The Rocks Festival, too. Ghost in The Rocks Festival will run from Thursday, October 31–Sunday, November 3, 2024 around The Rocks, Sydney, with the full program revealed in September. Head to the event's website for further details in the interim. Top image: BBR Group.
Mistaken for Strangers has been swiftly branded as 'that movie about The National'. In actuality, it revolves more closely around frontman Matt Berninger's younger brother and the film's director, Tom. A metalhead, slacker/partier and horror movie enthusiast, he tagged along with the band on what was their biggest tour to date in 2010. Since its release, this original rockumentary has reeled in some hot reviews, praised for its hilarity and heart-warming sincerity. It has been a steady climb to fame for indie-rock outfit, The National, who were considered underdogs for years. Now on the brink of 40, the overripe rockers are adjusting to fame and fortune. This film paints the band, and specifically Berninger, through the eyes of a younger, slightly wannabe sibling, depicting an envious older brother that is good at everything he does. The result is a funny and oddly moving portrait of two very different brothers. On February 8, Dendy Opera Quays are hosting a couple of special preview screenings, followed by an exclusive live audience Q&A with Matt Berninger, right before the band takes to the stage for their sold-out performance at the Sydney Opera House. https://youtube.com/watch?v=FNmprL3SOlM
Another year, another buzz-worthy Adam Driver movie, another Sydney Film Festival. It's becoming quite the trend. With 307 titles on its 2019 program, this year's SFF boasts plenty of other movies to look forward to, hailing from more than 55 countries — but you'll also definitely want to see Adam Driver and Bill Murray battling zombies in Jim Jarmusch's The Dead Don't Die. Like 2018's BlacKkKlansman, The Dead Don't Die heads to SFF straight from the Cannes Film Festival in May, and it has company. While the festival typically announces a whole swag of Cannes titles closer to the fest, it has already bagged a few, including Pedro Almodóvar's Pain and Glory, starring Antonio Banderas and Penelope Cruz; Parasite, the latest satire by Okja filmmaker Bong Joon-ho; and Kleber Mendonça Filho's fiercely political Bacurau, his first film since 2016 Sydney Film Prize winner Aquarius. Running from Wednesday, June 5 to Sunday, June 16 at a plethora of Sydney venues including the State Theatre, Event Cinemas George Street, Dendy Opera Quays and Newtown, the Hayden Orpheum and the Randwick Ritz, SFF will also feature 23 world premieres. In fact, it's starting with one, opening with the Bryan Brown, Sam Neill, Richard E Grant, Greta Scacchi and Jacqueline McKenzie-starring Palm Beach. Other local flicks making their debut at the fest range from Hearts and Bones, featuring Hugo Weaving as a war photographer; the Sydney-shot Standing Up for Sunny, with Breaking Bad's RJ Mitte; and Indigenous Australian horror anthology Dark Place. https://www.youtube.com/watch?v=VJcnsg4FHEA The homegrown highlights keep coming, with Michael Hutchence doco Mystify, the Mia Wasikowska-starring Judy & Punch, Vietnam War era-flick Danger Close: The Battle of Long Tan, dystopian sci-fi I Am Mother and Jennifer Kent's exceptional The Nightingale also on the bill. They sit alongside the previously announced Animals, with Alia Shawkat; The Final Quarter, a documentary about Adam Goodes' battle against racism; and David Stratton's retrospective of films by pioneering female Aussie filmmakers. The overall highlights just keep coming, too, so prepare to spend plenty of time in a darkened room. Sundance standout The Souvenir (starring Tilda Swinton and her daughter Honor Byrne Swinton) and Berlinale Golden Bear winner Synonyms are among the 12 titles competing for SFF's $60,000 prize, as are German Oscar contender Never Look Away and Macedonian satire God Exists, Her Name Is Petrunya. https://www.youtube.com/watch?v=PMlHDNdLGU8 Elsewhere, Blinded by the Light spins a coming-of-age tale around Bruce Springsteen's music, High Life sends Robert Pattinson into space, documentary Apollo 11 follows the real moon landing, and Skin sees Jamie Bell try to shake off white supremacy. There's also Her Smell, featuring Elisabeth Moss as a Courtney Love-style alt-rock singer; Kursk, a submarine disaster drama with Matthias Schoenaerts and Colin Firth; dance drama The White Crow, which is directed by Ralph Fiennes and follows Rudolf Nureyev's defection; and Come to Daddy, taking Elijah Wood worlds away from the Lord of the Rings. If that's not enough, SFF's usual program strands return — including a wealth of Aussie docos, a huge international documentary slate, a lineup of music flicks (such as long-awaited Aretha Franklin concert flick Amazing Grace and Martin Scorsese's Bob Dylan doco Rolling Thunder Revue), a showcase of female European directors, a feast of genre flicks and a focus on accessibility. Plus, Kevin Hart and Tiffany Haddish will join SFF's family slate, for a screening of The Secret Life of Pets 2; New Zealand filmmaking is thrust into the spotlight; and SFF pays tribute to Agnes Varda with a retrospective, complete with her final feature, Agnes by Varda. And if you're wondering how the fest will wrap up, that's being left a surprise for now. In a change from previous years, closing night's flick is set to be announced at a later date. Of course, there are plenty of SFF 2019 films to obsess over until then. The 2019 Sydney Film Festival runs from June 5 to 16. To check out the full program and to buy tickets, head to the festival website.
Since 1885, carousers on the North Shore have been gathering at the Woolwich Pier Hotel to sink a bev or two and catch some glistening harbour views. But, after a huge reno in October 2018, the pub looks a fair bit different. The Pier, as it's known around town, has scored slick new design and a modern new menu inspired by French and Japanese cuisine. If you're a longstanding Pier drinker, you're in for a surprise. While the building has lost none of its heritage elements, the place is now a whole lot fancier. Alexander & Co., the firm responsible for venues like Watsons Bay Boutique Hotel, the East Village and Stanton & Co, has looked after the interiors, giving them a Sydney seaside stamp. Everywhere you go, you'll notice splashes of marble, leather and velvet. What was the unassuming dining room is now a European brasserie called The Eatery, and the bar has been transformed into The Parlour. For those looking to lay their eyes on the water, the wraparound balcony overlooking Cockatoo Island still has plenty of room among its 70 seats. Alternatively, you can follow the spiral staircase up to The Social, an indoor dining room that also boasts harbour panoramas. In keeping with these dramatic changes, head chef Glenn Tabudlo has launched a new menu. Start with small plates, such as tuna tartare with wasabi-ponzu dressing and rice crackers, before moving onto decadent mains, like Yamba prawns with braised kale, pont-neuf potatoes and lobster sauce Americaine, or crispy skin miso salmon with squid ink risotto, salmon roe, sesame mayo, togarashi, edamame and enoki with ponzu. Lovers of the chicken pot pie — don't panic. The much-adored staple is still available, as is a bunch of The Pier's tried-and-tested classics. Even though it has some fancy new furnishings, it is still a local pub, after all. Images: Jessie Harris.
There is a clear marking of time in Penrith — BHSD (Before High Street Depot) and AHSD (After High Street Depot). When these guys set up shop it was a sign Penrith had reached maturity. Operated by husband-and-wife team Tim and Noreen Bryan, who met while working at Matt Moran's Aria, High Street Depot was the cafe we'd all been waiting for and desperately needed, serving up perfected classics like eggs benny and smashed avo, made a little more adult with a sprinkle of nuts and creamy feta. The food is as consistent as the service, which is excellent, and you'll never be disappointed with your Single Origin coffee.
The 2012 Sydney Fringe Festival encompasses the full mix of commercial, community and creative output bubbling up from around the edges of the city's arts scene. This year's incarnation even sees Fringe artists staking out the airport to lure arriving tourists into explore the scattershot geography of this year's spread: laid out from Marrickville, Newtown, across the CBD, east Sydney, Chatswood, Rookwood and Parramatta. This swathe of so much emerging and newly-established talent can be tough to sort through. As it happens, Concrete Playground has put together this guide to help you come to grips with this year's program of alternative arts. 1. Fringe on the Streets The Fringe is getting out on the streets this year. It kicks off on the streets of Newtown with an opening night Free for All in Newtown Square (in front of the Hub Theatre), featuring headliners Itch-E & Scratch-E from 5pm on September 7. Bookending the month's activities is a closing night fiesta in the form of a suburb wide progressive party suggesting you test your celebratory stamina, taking you from Five Eliza, through the Sly Fox to the Factory Theatre closing party and on to the late night antics at Marrickville Bowling Club. This is far from the only attempt to get you to hit the pavement: Guided Fringe by Bicycle gets you around the best of the arts scene on Thursday nights, while the Pop Up Festival gives you some performance on the move and Decoration Wars gives you a whirl around made-over Enmore businesses. 2. Life in Minature It's the year for culture in close confines, with Brook Andrews' Travelling Colony at the Sydney Festival this year, and former Australia Council digital maven Fee Plumley funding her ambitious plan to bring arts to the country at large by kickstarting a bus. With this already in the works, Serena Chalker and Quindell Orton have brought their show and its caravan across to Sydney from the Perth Fringe. For dance act Life in Miniature, Chalker and Orton’s invites an audience of five to shuffle into said caravan’s interior while the two players dance around them. Not small enough? Umbrella Theatre’s show Captain My Captain also brings an even tinier puppetry space to the some of the Fringe’s outdoor venues. 3. In the Night Garden Last year's night garden at the back of St Peters' Tortuga Studios was one of the surprise finds of the 2011 Fringe. Returning after last year’s inaugural luminescent growth, In the Night Garden will make this back lane (roughly settled between Penguin Plays Rough and Mays Lane) into a low-key, glowing avenue of art. You can also wander down an iridescent May’s Lane to check out the Off the Wall light projections near St Peter’s station for most of the festival, curated by nearby I Heart Gallery. 4. Sydney Underground Film Festival The Sydney Underground Film Festival is an honest-to-God fringe festivity — an intelligently curated counter-culture weekend of weird, wack and unearthed cinephilia. The SUFF team pitches itself as "the purveyors of provocation, dissent and civil disobedience". And rightly so. They've pulled off some crazy-as-hell nights in the past, and this year's program looks just as great. Festival opening night is always excellent — not just great new films but a big party with delicious food and drinks. Francophenia (Or: Don't Kill Me, I Know Where the Baby is) is a hybrid doco/fiction which chronicles James Franco's work in General Hospital and the absurdity of celebrity culture. For politics junkies, there's Wikileaks: Secrets and Lies by UK director Patrick Forbes. And Mr Doodleburger, the murderous, redubbed alter-ego of Home and Away's Alf Stewart, will be unveiling his latest Summer Bay slaughter and doing a live Q&A. 5. Le Gateau Chocolat This Fringe Festival Sydney will be treated to a generous slice of Gateau when the operatic star of La Soiree returns to Sydney for his solo debut. Delivering moving renditions of songs branching everything from pop-rock and jazz to classical opera and fusing them with his own story, Le Gateau Chocolat manages to make the fact that he is a big Nigerian dude (one with a law degree, no less) dressed as a woman seem almost beside the point.It’s rare that a performer dressed in 160 pounds of false eyelashes and ostentatiously frothy tulle will be remembered primarily for mesmerising human stories rendered in an exquisite baritone voice, but Le Gateau Chocolat isn’t your average larger-than-life operatic diva with a penchant for glittery lycra. 6. Fringe Comedy The Festival is making it easier to pick your way through its packed comedy schedule by offering a series of compendium nights where you can get a parade of comedians at each others' elbows to try to lure you to their other shows. Jennifer Wong and Michael Hing headline A Series of Young Asian Comedians Not Doing Asian Jokes, the Fringe Comedy Showcase crams 8 acts into its four weekly nights of laughs, and Barely Legal showcases the comic talents of young stand-ups, former finalists in the Class Clowns competition down in Melbourne. 7. Fringe Music This year's musical line-up runs the gamut from silent film soundtrack with Stu Hunter's closing compositions to 1927 film Berlin, Marrickville Bowling Club's evening of underground electronic, Brouhaha!, and an Eastside FM takeover of former underground venue 505. Also on the cards, New Weird Australia takes a night of experimental tunes at Five Eliza, a little Tim Freedman and the Sonic Mayhem Orchestra perform Miles Davis performing Gershwin. 8. Fringe Theatre If the cramped theatre of Life in Miniature is a little too intimate, this year’s fringe is also running theatre across less crowded stages. 1980+ watches the lives of Chinese students in Australia bifurcate as some stay here and some return home in this english-subtitled, Mandarin production. Eclective Productions restage Philip Ridley's Pitchfork Disney, Erskineville performance space PACT program dance, luminescence and blood disorders, Gandhari offers up the Mahabharata in an hour and story teller Candy Royale helps take over the Rattler. In the Fringe's burlesque sideline, Esque will dress the form up in pretty words, while Bogan-Ville Burlesque does its level best to dress it down. 9. Mystery Bus The bicycle-free fringe tour on wheels returns for another year of busman's holidays around Sydney's grand festival of alternative arts. Mystery Bus invites you to board their omnibus at the Enmore Theatre before they whisk you away into a night of mystery and, inevitably, arts. The bus lays out (mostly) cryptic clues about its final destination on their fringe page, inviting you to guess about the evening's terminus. The adventures are listed as XXX (8 September), Editor's Choice (14 and 15 September), Cinematic Slap (20 September), Carnie Delight (22 September), Roll Em Girls (23 September), Dirty Diva (27 September) and Blind Tiger (September 29). Sharp-eyed attendees who know their local arts can probably work their cross-referencing magic against programs and listings to guess the destination. But really, wouldn't you rather be surprised? 10. Surprises When you land at the Fringe, you never knows how stunning, embarrassing or enigmatic its acts will be. Half the fun of turning up is finding gems in strange places: discovery is all. Will the Bard be better reinterpreted by Bard to the Bone or a steampunk Tempest? Will sometime radio star Anna Salleh lure you successfully to Brazil, or will understanding art finally leave you laughing? Perhaps you'll find an artistic match touring the Fringe's fringes in exotic Double Bay for Blue Beat Jazz, Chatswood for Urban Screen Shorts, Fringe Arts at the Forum in Leichhardt or another dose of dance in Annandale at Platform Shorts. There's only one way to find out, really. Leading image by Newtown Graffiti. Sydney Underground Film Festival by Lauren Carroll Harris. Le Gateau Chocolat by Hannah Ongley.
Beloved Redfern pub The Woolpack has been given a revamp, led by an all-star team of Sydney hospitality mainstays. With The Good Atelier's Aaron Crinis at the helm, The Woolpack will boast a new menu of pub classics created by taco king Toby Wilson (Ricos Tacos, ex-Bad Hombres, ex-The George). Rounding out the team of experienced hospo names is Jamie Wirth (The George, The Duke, The Old Fitz) who will work with Crinis and The Good Atelier to shape the future of the venue. Wilson has given your typical array of nostalgic pub classics a reserved, but fun, makeover. There are classics served straight down the middle like schnitzel with gravy, but a lot of the items bring a unique twist to the selection of eats. The potato wedges are served with labne and fermented chilli, the chips are accompanied by French onion dip and a charred cauliflower steak is available with a black pepper tahini sauce. There are also two exciting sambos on the menu. One packs beetroot jam and caramelised onion into a rissole sandwich, while the other is a potato scallop butty spruced up with a curry sauce. "A great pub is an essential part of Australian culture, and the marker of a great neighbourhood," says Crinis. "While growing up working in pubs around Sydney, I have always looked on at The Woolpack as a true community pub." The new custodians have been wary to change too much about the pub outside of the menu, giving it a fresh coat of paint and a spring clean, but not a full renovation. "We wanted the vibe to feel like a nod to the great Aussie and English pubs of yester-year," Wirth continues. "The decor brings in some history from the Redfern area, with some vintage odd-ball pieces too — some bits were found throughout the upper levels of the hotel, and some we created especially for the pub." The al fresco dining has been expanded and a series of events including Tuesday trivia nights and weekend DJs have been introduced, with a Sunday roast and live jazz set to become a weekly end-of-week occurrence from next month. The Woolpack is located at 229 Chalmers Street, Redfern. It's open from 12pm until late seven days a week. Images: Jessica Nash
Dance music hits. An orchestra. Combine the two and Ministry of Sound Classical is one end result. For a few years now, this event has been giving Australia what no one probably knew they wanted when Ministry of Sound first started as a London club night back in 1991: tunes that usually fill dance floors performed by classical musicians. If you're a fan of making shapes and you're fond of getting nostalgic, then Ministry of Sound keeps indulging — sometimes by throwing huge 90s and 00s parties that nod back to raves three decades back and club nights at the turn of the century, and sometimes via this orchestral tour that gives bangers from the past 30 years a new live spin. In Australia, the latter is returning before 2025 is out, seeing out spring in Brisbane and Melbourne, then welcoming summer in Sydney and Perth. This year's run kicks off at Victoria Park in the Sunshine State capital on Saturday, November 1, with Sneaky Sound System headlining. Conducted by Vanessa Perica and with DJ Groove Terminator on backing duties, the Ministry of Sound Orchestra takes pride of place, of course. Then, Cassius is heading Down Under from France to front the fun on Saturday, November 29 at the Sidney Myer Music Bowl in Melbourne — as well as on Saturday, December 6 at The Entertainment Quarter in Sydney, plus on Friday, December 12 at Kings Park & Botanic Garden in Perth. Other than the orchestra, the lineup varies per city, spanning both international and Australian names. Judge Jules is on the bill in Melbourne and Sydney, for instance, while Tall Paul is also joining in in Sydney — and so is A.Skillz, who has a date with Perth as well. Dirty South is another talent with a date with Brisbane. John Course, Kid Kenobi, Mell Hall and Minx are on the roster, too, plus local names at each of Ministry of Sound Classical's 2025 stops. As for vocalists, expect Reigan, Karina Chavez, Rudy, Lady Lyric and Luke Antony. Ministry of Sound Classical is calling 2025's run a summer dance music festival — even if half of its dates are the month prior — which means that a curated food and bar lineup is also on offer. Sydney will score three stages, while Brisbane, Melbourne and Perth will also feature a silent disco. As for the soundtrack, the event surveys tunes that've packed dance floors over Ministry of Sound's existence — so you just might hear classical renditions of Basement Jaxx, Darude, Röyksopp, Robin, Underworld, Moby, Fisher and more played by its orchestra. Ministry of Sound Classical 2025 Dates Saturday, November 1 — Victoria Park, Brisbane Saturday, November 29 — Sidney Myer Music Bowl, Melbourne Saturday, December 6 — The Entertainment Quarter, Sydney Friday, December 12 — Kings Park & Botanic Garden, Perth Ministry of Sound Classical 2025 Lineup (varies per city) Cassius Judge Jules Sneaky Sound System Tall Paul A.Skillz Dirty South John Course Kid Kenobi Mell Hall Minx 2025's Ministry of Sound Classical tour will pop up across Australia in November and December. For further details and tickets — with presales from Tuesday, June 17 at 12pm AEST, then general sales from Wednesday, June 18 at the same time — head to the tour website. Images: Ruby Boland, Ashlea Caygill and Jack Dullard.
