A couple embraces. A man thrusts. The next shot shows, from above, a car driving directly up a straight road. Viewers everywhere can put two and two together. The cut from one to the other is actually meant to be subtle, segueing from an adulterous duo to the man they've cuckolded — but it's also meant to complete a tastefully sensual picture. That's The Aftermath in a nutshell: prim, proper and discreet; brandishing plenty of emotions underneath; and obvious even though it's trying desperately to remain restrained. You could say the same about many period dramas starring Keira Knightley, and you'd be right, however this one particularly sticks to the familiar template. Dressing up in her 20th-century finest as she did in Atonement, A Dangerous Method and The Imitation Game, Knightley plays British military wife Rachael Morgan. After spending most of the Second World War alone, even when bombs were dropping on London, she now joins her colonel husband Lewis (Jason Clarke) in Hamburg. He's been tasked with overseeing the city's enormous rebuilding project, and she's once again left in their acquired home while he works. This time, she has the grand building's original owner, brooding German widower Stefan Lubert (Alexander Skarsgård), for company. Whether you've read Rhidian Brook's 2013 novel of the same name or you're coming to The Aftermath with fresh eyes, guessing what comes next couldn't be easier. No film is going to let Knightley and Skarsgård roam around a sprawling, stately mansion without taking the blatant next step, not even when the story is set immediately after such widespread devastation. Accordingly, while Knightley starts out staring daggers and Skarsgård smoulders sorrowfully in knitted jumpers, it doesn't take long for director James Kent to connect the dots. But in making its post-war romance so straightforward, the movie lacks the one thing every torrid affair thrives on: passion. An absence of passion isn't the same as an absence of emotion, and lacking one particular quality isn't the same as purposefully holding back in general. The Aftermath doesn't skimp on histrionics, or on creating an elegant mood, but the end result is just so dutiful and formulaic. Indeed, it's hard to feel for characters caught in a love triangle, let alone get swept away by their amorous entanglements, when every plot development is as glaring and forceful as the many bombed-out buildings lining Hamburg's streets. And the less said about the movie's unconvincing attempts to dig into deeper territory — courtesy of Stefan's Nazi-sympathising teenage daughter (Flora Thiemann), as well as his own thorny past — the better. Kent previously combined matters of the heart with the horrors of combat in 2014's First World War romance Testament of War, which proved both handsome and heartfelt. While The Aftermath isn't helped by its script, the filmmaker has only managed to tick one of those boxes here. There's no denying the film's rich imagery, which recreates the time with stellar detail. That said, there's also no denying that cinematography, costuming and production design rank among the movie's best traits. Pretty pictures are part and parcel of any period drama, but when they steal the show above all else, it's never a good sign. They mightn't always succeed, however Knightley and Skarsgård endeavour to stand out — against the eye-catching scenery and routine narrative, and despite their star-crossed lovers barely being given any depth. Although neither actor is asked to rise to any challenges, when sparks fly between them, it's easy to wish they were carrying a better film. In a way, that's The Aftermath's big problem. So certain of its stars' power, it thinks that the two can simply carry the entire movie. In fact, it largely squanders Clarke in the process. But, even with gorgeous visuals and a striving cast, the heart still wants what the heart wants: in this case, a story that doesn't feel finished before it starts. https://www.youtube.com/watch?v=FPv3e2FZOgo
Vivid festival is about to kick off, which means the city is about to fill with live music and light shows for three fun-filled weeks. And what better place to soak up these lights than a deck with 360-degree views located 250 metres above the ground. We are, of course, talking about the Sydney Tower Eye's Observation Deck. This year, it'll play host to four sky-high adults-only silent discos, organised by Silent Sounds, happening every Friday throughout Vivid. Treat yourself to stunning views of Sydney and the lights as you boogie to tunes from some of the city's best DJs. You can party from 9pm to midnight, switching between the likes of hip hop, throwback, and house party on three different channels. Cocktails, beers and wines will be available to purchase on the night, too. If you head up to the deck before the party, you can get a your face decorated for free with 'bio' glitter and glow-in-the-dark paint from 5–7pm and step inside a pop-up light box and installation, called Endless Lights, Eye Love Vivid runs from 9pm–midnight.
You might not realise it, but fungi are pretty central to life on earth. Not only have mushrooms and mould been credited with bringing life back to the planet after the last mass extinction, but fungi are also key to how species will survive in a warmer (and more depleted) future. The documentary, The Kingdom: How Fungi Made the World, delves into the world of these underappreciated organisms and explains the endless ways that fungi play a vital role in our day-to-day lives. Following the 52-minute screening at the MCA on Saturday, June 1, artist and naturalist Diego Bonetto will host a Q&A where he'll explore the ideas presented in the film and how individuals can help their communities in a time of climate crisis. It's one of four free films about the environment screening over the weekend. The screening of The Kingdom: How Fungi Made the World will take place on Saturday, June 1 from 12–1.30pm. Booking is required. This event forms part of the Museum of Contemporary Art's Conversation Starters 2019: Temperature Rising program. To see the full lineup, head this way. Image: Art Film 'The Kingdom'.
The world as we know it could do with some improvement. That's a bit of an understatement; however it's also the idea behind Sydney's returning Transitions Film Festival. This showcase of cinema aims to explore ways in which our future could be brightened, covering a huge range of topics such as food, climate change, animal welfare and renewable energy. Transitions doesn't just have an environmental focus, however. Refugees, social justice and artificial intelligence all rate a mention on the fest's seven-doco lineup. It screens for four days at Dendy Newtown, between Monday, April 1 and Thursday, April 4. Highlights include It Will Be Chaos, which charts an Eritrean refugee's attempt to navigate Italy's immigration system, as well as More Human Than Human, which ponders AI. A program of shorts also features, on subjects such as regenerative agriculture, tiny homes and the effects of plastics on marine life.
Talented pooches have been barking their way to big screen stardom since the birth of the medium, and Cannes Film Festival even gives out awards for ace pupper performances. Now, Australia has a dog-themed cinema showcase. At the Top Dog Film Festival, doggos and puppers cement their status as humanity's favourite movie stars in a touring program of pooch-centric shorts. For two hours, dogs will leap across screens in a curated selection of heartwarming flicks about humanity's best friend. Over the last two years, the lineup has included films about dog-powered sports, dogs in space, dogs hiking through the desert, senior dogs and more. The festival hits Sydney's Hayden Orpheum Picture Palace on Sunday, August 4 as part of its 2019 run, and rushing after tickets the way your best four-legged friend rushes after a frisbee is recommended. Given how much we all love watching dog videos online, not to mention attending pupper-centric shindigs in general, this one-night-only event is certain to be popular.
When Rocketman first hit the big screen a couple of months back, it immersed viewers in the glitz and glamour of Elton John's 70s-era rise to fame, while also delving into the darkness, drinking, drugs and depression that came with it. Starring an exceptional Taron Egerton and directed by Eddie the Eagle's Dexter Fletcher, the vibrant biopic also leaned into its genre — never stepping through Sir Elton's early years in a straightforward way, but instead turning his life into an expressive, fantastical blend of song, dance and spectacular musical numbers. A couple of things were always going to happen afterwards. We still predict that Rocketman will end up reaching the stage as a live production; however, until that eventuates, fans can now sing along with the movie in a cinema. Given the film's huge soundtrack, spanning everything from the titular track, 'Tiny Dancer' and 'Honky Cat' through to 'Don't Go Breaking My Heart', 'Your Song' and 'I'm Still Standing', there's plenty to croon along to. Sure, Elton might think that Saturday night's alright for fighting, but Friday, August 9 is also mighty fine for heading to a Rocketman Sing-Along session. Tickets cost $20 and include a glass of bubbles on arrival — and wearing sequins, glitter and the most over-the-top glasses you can find is obviously recommended.
Belles Hot Chicken has flirted with all sorts of chook-centric creations over the years, but there's one classic Aussie chicken dish that it's left untouched. Until now. Head chef and co-founder Morgan McGlone has just gone and dropped the group's first ever chicken parma sandwich, as part of Belles' new limited-edition Italian menu, Parma di Bella. This star sanga ($13) teams a garlic-brushed Italian bun with crumbed chicken tenders, rich napoli sauce, melted pecorino and a shaved fennel and rocket slaw. And it's got a worthy accompaniment in the new chicken skin mac 'n' cheese ($6), featuring McGlone's classic macaroni side topped with crispy fried chicken skin, smoked paprika and a dusting of Italian seasoning. On offer at all Belles outposts from May 29 to June 19, the pop-up menu also showcases a couple of fittingly Italian booze matches. You'll find crisp tinnies of Peroni Red ($6), along with a special pull from the cellar: the unique Sicilian red, Frank Cornelissen Contadino ($16 a glass). Parma di Bella is available at Belles Hot Chicken Barangaroo, Darling Square and Tramsheds.
If you're into an early morning workout, this week offers an opportunity to do things a little differently. Instead of heading to the gym or out for a jog, make your way into the CBD where Daybreaker is popping up. This part-yoga class, part-morning dance party will take over the Sydney Tower Eye (located 250-metres above the city) on Thursday, May 9 from 5.30–8.30am. The sunrise workout will begin with either a one-hour yoga class — that's accompanied by panoramic views of the city — or one hour of barre under a shower of flower petals in the sky-high 4D cinema. At 6.30am, DJ Veda and MC Mirrah will turn the party vibes up on a high energy dance floor. Apart from all of the exercise, expect healthy morning snacks to get you going — including kombucha, bliss balls and hot cuppas of mocha, cacao, espresso and chai. BYO yoga mats.
The MCA's after-dark, adults-only art party is back this February. While last year saw the gallery transform into an underworld of pagan mystery and a steamy tropical forest, the first ARTBAR of the year is all about love. Happening a week before Valentine's Day, this party is more about non-traditional ideas of romance than it is about over-priced roses and cheesy cards. Curated by Eveleigh-based Performance Space, the night will look beyond the Hallmark idea of love and, instead, celebrate everything from friendships and pets to queer relationships, dendrophilia, self-love and biological bonds. Expect lots of dancing to breakup bangers, love potions and art that challenges conventional love. Highlights include artist, writer and sex worker Queenie Bon Bon performing a spoken word piece about the sex industry and a series of tarot card projections that pays homage to love in different places around the world by artists Jermaine Dean and Jaimie Waititi. Plus, a video by EO Gill centering on 'feelings of incompleteness, ambiguity and multiplicity with relation to trans identities' — and mask-making workshops by Pony Express, the folks behind Ecosexual Bathhouse. After getting your art fix, head up to the rooftop, grab a drink and boogie to the beat of your heart, with Sidehustle DJs spinning a bunch of anti-love songs, from the soulful pain of Ne-Yo to the triumph of Cher's 'Strong Enough'. Plus, you'll be able to check out the retrospective exhibition of British female artist Cornelia Parker, which wraps up on February 16. While usually ticketed, the exhibition will be open after dark for ARTBAR attendees, so you can check out her powerful, haunting and often violent works for free. ARTBAR usually sells out, so be sure to grab your tickets sooner rather than later. Love will take over the MCA on Friday, February 7, from 7–11pm. [caption id="attachment_758375" align="alignnone" width="1920"] Queenie Bon Bon, image courtesy of the artist, photograph Micah Couell.[/caption] Top images (in order): Liam Cameron; Kate Beynon; Jermaine Dean and Jaimie Waititi; and Jacqui Manning.
One massive art auction is headed to Sydney this February — and it's all for a good cause. Taking over the National Art School's main gallery and courtyard on Wednesday, February 12 from 7–10pm, The Home Bushfire Relief Art Auction will see over 50 of Australia's leading artists donating their works to help raise funds for the bushfire recovery effort and Australia's climate future. Top name artists include Rebecca Baumann and Kate Mitchell — who are both currently exhibiting at Carriageworks as part of Sydney Festival 2020 — along with environmentalist Janet Laurence, sculptor Callum Morton, Indigenous Australian artist Tony Albert, Japanese installation and performance artist Hiromi Tango and Archibald Prize-winning artist Fiona Lowry. And that's to name a very few. Organised in the wake of Australia's devastating bushfires, the fundraiser is hoping to help with the recovery efforts by donating all profits to three charities: Climate Council, Firesticks Alliance and WWF Australia. [caption id="attachment_759323" align="alignnone" width="1920"] 'Glam Spam' by Caroline Garcia[/caption] Both new and existing works will be up for grabs, including paintings, photography, sculptures and even the above diamantéd Spam can by artist Caroline Garcia. On the night, both a silent and invite-only live auction will take place, but if you can't make it, you can bid on some of the artworks on the website, and have a look at what's available on the fundraiser's Instagram. Online bidding runs is now open until Wednesday, February 12 via homebushfirerelief.com. Alongside the auction will be DJ performances by Client Liaison, Gemma (Club Kooky), Marcus King and Tyson Koh. And you can expect food and drinks by the likes of Cake Wines, Young Henrys and Love Can, too. While the event is open to the public, a suggested $20 (or more) donation is required for entry — and so is pre-registration over here. But 100 percent of the profits from entry and sale of the artworks will go directly to the charities. If you have the extra cash to splash, this is your (rare) chance to make one serious art investment while helping those in need. Home Bushfire Relief Art Auction Fundraiser runs from 7–10pm. Online bidding is now open at homebushfirerelief.com. Top images: 'Home' (2020) by Tony Albert and 'Insanity Magnet' (2009) by Hiromi Tango. Both photos by Hannah Sharpe.
Clubs are, generally, great fun. You get to hang out with your mates and bond over something you all love. In this case, the object of your mutual affection is cheese. Yes, smelly, gooey, melty, tasty cheese. A semi-regular event, this Cheese Club is held at Oxford Street's home of cheese, wine and hip hop: Big Poppa's. Running from 6.30–8.30pm on Sunday, February 16, the first club meetup for 2020 will see you pairing three different French cheeses with three different French bubbles from one of the world's oldest champagne houses, Ruinart. You'll start the night with a triple-cream brillat savarin from Normandy, served with spiced apricot and toasted breadcrumb, paired with a Ruinart blanc de blanc: a light delicate champagne made from 100 percent chardonnay grapes. Next up is a brie de meaux — a soft cow's milk cheese, served here with roasted pear, pecans and honey — and a rosé champagne. Then, you'll finish with a cendré de champagne, a smoky brie-like cheese with an ashen rind, and a Ruinart NV. Big Poppa's resident cheese nerd (and Restaurant Manager) Minna Hanson and Ruinart's National Ambassador Dan O'Riley will be on hand to chat you through the nitty gritty of each dish and drink, and tickets will set you back $75. That might sound a little steep, but these cheese and champagnes aren't cheap — with all bottles nudging $100 (retail). Images: Kitti Gould
Storytelling is as old as time. It's how we share experiences, knowledge and memories. Non-profit organisation The Moth is dedicated to sharing personal stories and celebrating the art of telling them. The New York-based initiative hosts over 500 live open-mic events across the globe each year, with people — from notable literary and cultural personalities to your average Joe — getting up on stage to tell their stories. In 2008, The Moth brought its communal open mic events Down Under and this year, on Tuesday, August 20, Sydney will hear some of the best stories of the city about animals — from ridiculous stories about road kill to warm and fuzzy anecdotes on man's best friend to thrilling tales of run-ins with scaly, furry or feathered creatures in the wild. Brandishing their weapons of word and wit, the storytellers will compete for the top gong at the Giant Dwarf in Redfern. You'll hear five-minute stories on the animal kingdom that are both tightly crafted and masterfully told. Come for stories that inspire, provoke, sadden and enlighten, told by some of Sydney's best. Or, if you consider yourself a wordsmith, you can drop your name in the bag to be selected at random, then grab the mic, hit the stage and tell your five-minute tale. The Moth StorySLAM: Animals will take place at Giant Dwarf on Tuesday, August 20. Doors open at 7pm, with stories beginning at 7.30pm. Tickets for this event are available on Thursday, July 18 at 3pm and can be purchased here.
Think watching a movie under the stars is a summer activity? Think again. Braving the elements to catch a film in winter comes with its own rewards: snuggling up next to your nearest and dearest, enjoying the brisk night air and sipping hot mulled wine, for example. As part of the broader Bastille Festival, the Tallowoladah Lawn outside of the MCA will become a pop-up openair movie theatre. That means settling in for a flick with a view not just of the screen, but vantages out over the Opera House and Sydney Harbour as well. Screening seven sessions over four days between July 11 to 14, Mulled Wine Cinema lets attendees get cosy in 100 chairs (with blankets, of course), and offers up a glass of mulled wine and popcorn to complete the outdoor film-watching experience. Movies include the Audrey Tautou-starring Coco Before Chanel, the animated Disney delight that is The Aristocats and musical French drama Les Misérables (the 2012 version, with Australia's own Hugh Jackman and Russell Crowe). Mulled Wine Cinema has nightly screenings at 5.30pm and 8pm.
It may never snow in Sydney, but that's not stopping North Sydney's Greenwood Hotel from throwing a week of parties in honour of Snow Week. As is only fitting for this wintry celebration, one hundred tonnes of snow will be dumped on the venue every day from July 2–6. But, the festivities will all kick off on Saturday, June 29 with a Canada Day party, complete with poutine, hockey tournaments, Canadian trivia, caesar cocktails (like a bloody mary, but with clam juice) and Canadian brews. Next up is the Snow Week official launch party on Tuesday, July 2, with a ski lift simulation and free drinks and canapés from 5–7pm. Then, on Thursday and Friday (July 4–5), there'll be free hot chocolates and live bands on at lunchtime. Also on Thursday: two-for-one pizzas (for dinner) and inflatable snowmen. To round out the week, the North Shore Snow Festival will take place outside the pub from noon–10pm on Saturday, July 6. Expect snow rail competitions all day, with Australian Olympic snowboarder Jarryd Hughes showing off his skills on the ramp, too. DJ sets and giveaways are also on the docket — those include Thredbo lift passes and brand-new snowboards.
If you've been making plans to revamp your style, but haven't been able to rustle up the coin, here's your chance. For five days, Hugo Boss will be hosting a mega sale at its outlet stores. You'll be able to score 50 percent off a massive range of premium clothing — from comfy t-shirts and soft sweaters to suave suits and women's dresses. Hello, EOFY cash splash. Whether you're after a suit for a special occasion or looking to prep your spring wardrobe early, Hugo Boss's mid-year outlet sale will have you sorted for a fraction of the fashion label's usual prices. You'll have to get in quick to score though, with the sale only running from Wednesday, June 26 to Sunday, June 30. In Sydney, you can head to Birkenhead Point Outlet Centre and DFO Homebush to get these quality threads for such a steal. Opening hours at Birkenhead Point are Wednesday, 10am–5.30pm; Thursday, 10am–7.30pm; Friday, 10am–5.30pm; Saturday, 9am–6pm; and Sunday, 10am–6pm. At Homebush, the Hugo Boss outlet is open from 10am–6pm daily, with the exception of Thursday, when you can shop until 8pm. Hugo Boss mid-year outlet sale will run from Wednesday, June 26 to Sunday, June 30. To find your closest outlet, visit the website.
As its eponymous heroine (Daisy Ridley) lays prone in a pond, eyes closed, her hands clutching a wilting bouquet of flowers, Ophelia opens with a potential mic-drop moment. "You may think you know my story; many have told it," the film's narration accurately advises, which usually signals that a swift change of style, approach or pace will soon follow. Thankfully, while slick, over-amped, action-packed modernisations of classic tales have become common on cinema screens of late, this take on Hamlet instead opts to switch its perspective. Exploring the tragedies surrounding the famed, fictional, medieval-era Danish prince (George McKay), the movie doesn't ponder whether to be or not to be. Rather, it views its narrative through his paramour's eyes — with the gorgeously staged and shot feature brandishing noticeable differences as a result, but still looking and feeling as if William Shakespeare wouldn't be rolling in his grave. One of the playwright's most acclaimed and influential works (Star Wars, The Lion King and TV's Sons of Anarchy have all taken their cues from it), Hamlet has always proven a fascinating account of power, politics, love, lust, loyalty and vengeance. In Australian filmmaker Claire McCarthy's (The Waiting City) hands, that's also true, however its new feminist thrust is as intriguing as it is welcome. Adapting the novel by Lisa Klein, screenwriter Semi Chellas (Mad Men) contemplates not only the fate of feuding men, but of women forced to live with the consequences of male-dominated decisions. A delicate balancing act is at play; befitting today's times, Ophelia emerges from Hamlet's sidelines, tries to steer her own course and doesn't simply descend into jilted madness — although, as the Bard intended, her path remains forever tied to her beloved. Uttered firmly and passionately by Ridley, whose Star Wars pedigree ensures she knows a few things about those traits, Ophelia's scene-setting introductory narration characterises its protagonist as "a wilful girl". They're her own words, worn as a badge of honour, which the film then spends its time unpacking. As a slip of a pre-teen (Mia Quiney) who's a little too wily for her widower father Polonius (Dominic Mafham), yet isn't allowed to receive the same education as her brother Laertes (Tom Felton), Ophelia attracts the attention of Queen Gertrude (Naomi Watts). While Hamlet (played as a child by Jack Cunningham-Nuttall) is schooled abroad, Ophelia joins the court's ladies-in-waiting. When the prince returns home as a man, finding Ophelia similarly all grown up, sparks fly — but so does betrayal, death and something rotten in the state of Denmark, especially after the king is slain, leaving his brother Claudius (Clive Owen) to claim Hamlet's throne as well as his mother. McCarthy may buck the current stylistic trend when it comes to re-envisaging well-known, period-set stories (Robin Hood or King Arthur, this isn't, thankfully), but her interpretation still bears signs of its influences. With a focus on star-cross'd lovers, elements of Shakespeare's own Romeo and Juliet sneak in. Rosencrantz and Guildenstern earn a mention in the movie's dialogue, naturally, with the duo's own reimagined filmic excursion — comedy Rosencrantz & Guildenstern Are Dead — casting a small shadow. So too do a few of the Bard's recurrent motifs from his broader canon, including potions, twins and plays-within-plays. And yet, Ophelia is steadfastly its own piece, thanks to its evocative mood, sumptuous staging and intricate costuming in no small part. The tale's Elsinore castle setting appears both earthy and ethereal, continuing the lush aesthetics heralded in the movie's opening shot, which nods to Sir John Everett Millais's famed 1850s painting that's also named Ophelia. One particularly horrendous wig aside — a long, drab, floppy mess that does the otherwise adequate Owen no favours — this version of Ophelia also makes the most of many of its stars, as any iteration of this narrative by any name needs to. Playfulness permeates Chellas' reworked prose, alongside the source material's trademark wit, which rolls off of the actors' respective tongues. A sense of inner steeliness reverberates through the film's performances too, not only guiding Ridley's work, but evident in Watts' efforts in multiple roles. Indeed, when a new take on Shakespeare inspires the audience to luxuriate in its characters, their dialogue and the emotions they're conveying, it's nobly doing its job. https://www.youtube.com/watch?v=bmelYOAFv20
It has been a couple of years since The Jungle Collective first started taking over Australian warehouses and slinging plenty of plants, all thanks to its huge sales in Melbourne, Brisbane and Sydney. These leafy excuses to fill your home with greenery always have a bit of a celebratory vibe, and they just keep coming, with the outfit's next New South Wales outing happening across the weekend of Saturday, November 16 and Sunday, November 17. Gorgeous green babies are the main attraction — and more than 170 varieties of them, too. You'll pick up everything from fiddle leafs and monsteras to giant birds of paradise and rubber trees, as well as oh-so-many ferns and hanging plants. You'll also be able to shop for designer pots, get expert advice from the horticulturalists onsite and receive $5 off your purchase if you wear a jungle print. It's all happening at Precinct 75, at 75 Mary Street, St Peters, with sessions held at 8am, 10am, 12pm and 2pm on Saturday, plus 10am and 12pm on Sunday.
One of this year's big Sundance hits is making its way to Australian cinemas next month, and the Ritz is marking the occasion in the appropriate fashion. Starring Awkwafina, The Farewell tells the tale of a family who gather around their beloved matriarch when she's diagnosed with terminal cancer, but decide not to tell her so that she can enjoy what time she has left. If that instantly makes you want to spend more time with your own nanna, the Sydney venue not only wants you to bring her along to see the movie — it'll let you do so for free. That's what this BYO grandma advanced screening is all about. Buy a single $17 adult ticket, and nab another one for your nan without spending a cent. You do need to select the appropriate package on the cinema's online ticketing page — and your gran will need to present a valid seniors card, or equivalent, when you collect your tickets — but that's all there is to it. Make a date in your diary for Saturday, August 24, with a free afternoon tea on offer from 1.30pm and the film kicking off at 2pm.
Mexican food and margaritas share a specific quality. No matter how many tacos you eat and salt-rimmed drinks you sip, you always want more. Given that El Camino Cantina specialises in both, it's easy to indulge your hankering at the lively bar — and even easier at its new Tex-Mex Fiesta. For $50, you'll tuck into a share-style feast of food. You'll start with buffalo wings with blue cheese mayo and mango chilli sauce, then move onto loaded nachos — with the latter coming topped with melted cheese, black beans, chilli con carne, smoked barbecue brisket, pico de gallo, sour cream and guacamole. Then, it's time for chargrilled chicken fajitas (which feature house-made tortillas, pico de gallo, sour cream, cheese, seasonal veggies, melted butter and sauteed onions), before wrapping things up with hot churros drizzled with chocolate and caramel sauce. That's the food side of the deal. If you're feeling thirsty, you can get drinking for an extra $29. That'll nab you two hours of bottomless margaritas, with the cocktails served in four flavours, and either frozen or on the rocks. You'll also get free-flowing house beer and wine as well. El Camino Cantina's Tex-Mex Fiesta is available all-day Fridays, Saturdays and Sundays weekly at all of the chain's stores — in Manly, The Rocks and Westfield Miranda.
Australia's touring celebration of genre cinema, Monster Fest loves all things weird and wonderful on the big screen. From outback-set horror flicks to eye-popping remakes to strange Lovecraftian tales, this festival fills its program with horror, sci-fi, and anything else that's dark and twisted — and likely destined for a cult following. Bringing its 2019 lineup to Sydney, this excuse to spend plenty of time in a darkened room boasts quite the program. From opening night's 3 From Hell, aka Rob Zombie's latest ultra-gory crime effort, to the mind-bending wonders of Vivarium, starring Jesse Eisenberg and Imogen Poots, you'd best prepare for plenty offbeat treats. Other standouts include Deerskin, in which The Artist's Jean Dujardin is creepily obsessed with a fringed jacket; Color Out of Space, complete with Nicholas Cage going crazy; and a restoration of 2000 Australian slasher flick Cut, which stars Kylie Minogue. Or, you can delve into the history of martial arts cinema with documentary Iron Fists and Kung Fu Kicks. A word of warning: if you like your movies happy and chirpy, this isn't your kind of festival. If you're eager for the exact opposite, Monster Fest takes over Event Cinemas George Street from Thursday, October 31 to Sunday, November 3.
You've probably been to Sydney's Urban Winery to drink rosé. But have you been there to drink bottomless glasses of the stuff and eat endless oysters? Maybe not. Well, that's exactly what's happening when the Moore Park spot brings back its unlimited oyster and rosé day for the second year on Sunday, December 1 — and you won't want to miss it. Held outside on the Heritage Lawn, the picnic sees the winery pouring A.Retief rosé and shucking oysters without limit between 1–4pm. There'll be free live music, too. And how much with all this al fresco revelry set you back? A very reasonable $65 a head. Not bad for 180 minutes of non-stop eating and drinking. As is the case with good deals, it's suggested you book in fast before it sells out. So, round up your mates, shake off your picnic rug and get ready for a day of eating and drinking in the sun. The unlimited oyster and bottomless rosé day runs from 1–4pm.
Wiseman's Ferry is a teeny, tiny village perched on the banks of the mighty Hawkesbury River, surrounded by national park and with a population of just 220. The settlement gets its name from one Solomon Wiseman, an ex-convict who, in 1827, organised the first river crossing by ferry. And his service still runs today. A weekend at Wiseman's usually involves hours lolling by, on and in the river; pretty walks through nearby Dharug and Yengo National Parks; a beer or two at Wiseman's Inn and perusing paintings by local artists. On top of that, the annual Return To Rio rolls into town in November for three days to add even more reason to make your way to the idyllic village. This year, revered house duo The Martinez Brothers will be taking the stage alongside Hernán Cattáneo and Nick Warren (reunited), and Acid Pauli, who is known for his Burning Man sets. In the mood for soul? Be sure to check out Nightmares on Wax as they create a sun-drenched dance town by the pool. Plus, when you're not furiously making shapes, you can take a break with crazy golf, cool down at the water park and hang out with kangaroos. Camping costs an extra $75, but you can turn things up a notch — both glamping houseboats are available for the weekend.
When October hits, things get a little spooky in cinemas. New horror movies start making their way to the big screen, and old favourites return as well. But you don't have to confine your scary viewing to just one month, or even just to Halloween. At the Ritz in Randwick, all those creepy flicks are playing right through until mid-December, in fact. Gather your coven, because this film series is all about folks wielding wands, standing around cauldrons and working their magic. It is called All of Them Witches, after a line from Rosemary's Baby, after all. And yes, that absolute classic is on the lineup, as is everything from The Wizard of Oz and the original Suspiria to Hocus Pocus and Practical Magic. Or, you can check out Häxan: Witchcraft Through the Ages from 1922, Bell, Book and Candle from 1958, The Witches of Eastwick from 1987 and 2016's The Love Witch. The Craft is on the bill, too — the original, that is. Its 24-years-later sequel The Craft: Legacy also features, because it's playing in general release at the cinema. And, come December 10 when it opens in general release as well, you can add the new version of The Witches to your must-watch list. Retro sessions run on Friday nights at 7pm until December 18, and on select Mondays as well. As for new releases, they'll be screening daily — head to the cinema's website for details. https://www.youtube.com/watch?v=SxEqB--5ToI
If you're craving live music and have always wanted to see your favourite Sydney bands perform in Halloween costumes, you're in luck. Marrickville's Factory Theatre and booking agent Collective Artists are hosting An Inner West Halloween, a night of live music and fancy dress featuring some of Sydney's best upcoming musicians. On Saturday October 31, rising indie-rock star Annie Hamilton, punk rockers The Buoys, country singer Andy Golledge, and bedroom-pop singer-songwriter Solo Career will take the Factory stage. This isn't Golledge's first rodeo, either — he performed at last Halloween's Young Henrys Rock & Roll Circus. Fellow Sydney musicians Body Type will be handling DJ duties on the night, so be prepared for a seated boogie. The five-act lineup will provide music throughout the evening, a change of pace from the tight set times many venues have had to adhere to as bands try to squeeze in two shows per night to accommodate for restricted capacity venues. Attendees will receive a complimentary drink on entry and costumes are encouraged, with awards courtesy of Young Henrys being presented to the best-dressed patrons throughout the night. To get you in the mood, you can check out The Buoys just-released film clip 'Already Gone' here: https://www.youtube.com/watch?v=z8-HfQoyDBA&feature=emb_title&fbclid=IwAR3VJyWHoKsMOhCL_KcjaF3sa7Py8lMfhxoNL1nwyceKXMZajJIMHlJzARA
After months of closed curtains, Sydney's Griffin Theatre Company has turned the lights back on. After its first post-lockdown production Superheroes back in October, the Company is forging ahead with its final mainstage production of 2020, Wicked Sisters, taking over the Seymour Centre's Reginald Theatre. Written by awarded playwright Alma De Groen in the late 1990s, revenge tragicomedy Wicked Sisters is De Groen's response to the lack of women aged over 50 on stage (let alone as leading roles), offering a looking glass that sees the world, in all its humour and horror, through the lens of four divergent, middle-aged women. Following the death of Meridee's (Vanessa Downing) artificial intelligence researcher husband, her friends Judith (Hannah Waterman) and Lydia (Deborah Galanos) come over to cheer her up — and to get her to stop tiptoeing around her late husband's AI computer much like she did around him throughout their marriage. However, comedy soon turns to tragedy when Hester (Di Adams) arrives, bringing with her some unsavoury truths that nag at the four's (so-called) friendship. Sure, it is a feminist play in a sense, but it'd be remiss to think it was just a bunch of greying gals chatting away about ambition and men on stage; Wicked Sisters tosses up ideas such as the ever-growing presence of artificial intelligence, Darwinian-like competition and, more simply, growing old and the struggle to stay relevant — all with explosive force. In the play's latest iteration, director Nadia Tass has wrangled such conceptional grenades to ensure Wicked Sisters is as relevant, if not more so, in 2020 as it was when it premiered at Griffin's Stables Theatre back in 2002. Catch 'Wicked Sisters' at the Seymour Centre till December 12. To buy tickets, head here.
It's festival time in Sydney's inner west; however Summer Hill's latest excuse to listen to live tunes, drink craft brews and eat plenty of food stands out. From 11am–6pm on Saturday, December 14, the Hose Down Festival will serve up all of the above as part of a benefit gig — and it'll donate all of the proceeds to the folks currently fighting New South Wales' catastrophic bushfires. Volunteers at the NSW Rural Fire Service and NSW Wildlife Information, Rescue and Education Service (WIRES) will be the beneficiaries, with the family-friendly event giving the community a chance to support those doing crucial work. So, as well as a day of summery entertainment, your $25 ticket will make a difference to efforts to combat the widespread natural disaster. Taking place at the historic Mungo Scott building at the Flour Mill of Summer Hill, Hose Down will feature music by Andy Golledge, Australia, The Morrisons, Monkey Spanner and Tenderfoot, as well as Easy Street, Honeydrip and more. Food-wise, Brickfields Bakery, Inbocca, Moulin Café and Whip Van Sprinkle will have everything from sandwiches and cakes to coffee and ice cream covered. And, to quench your thirst, Willie the Boatman and Capital Brewing Co will be donating brews to help raise funds. You'll still have to buy your beers, but your booze money will go to a good cause, too.
Point yourself at dance floor and throw yourself in as Melbourne-based musician Kira Puru (of 'Tension' and 'Molotov' fame) is performing a free gig at Public House Petersham car park next month. The afternoon set on Saturday, December 7 is the final 2019 event in a series of female-led concerts called She Sessions. Also performing on the outdoor stage will be Triple J Unearthed artist Moody Beach with her indie-electronic tracks like 'Slave', and Sydney's Erthlings, who recently supported Amy Shark on tour, with their bright and poppy 'Bridges'. You can RSVP on the website if you want to tell all your friends about it. And you should — it's a chance to catch three of Australia's best female-led acts without paying a cent. As always, Public House chef James Elliott fires up the spit and there are Wild Yak beers for sale (Wild Yak are the main supporters of this event, helping make it all possible).
Belles Hot Chicken has flirted with all sorts of chook-centric creations over the years, but, this time round, it's teaming up with Shin Ramyun for a spicy limited-edition menu. And, yes, it includes fried chicken ramen. For the collab with the Korean instant noodle brand, Belles Head Chef and Co-Founder Morgan McGlone has created two ramen dishes and Korean-style chicken wings. Available for one day only on Saturday, January 18 at the Belles Darling Square store, the limited-edition menu features a fried chicken ramen with egg and fried spam, a ramen with Cloudy Bay clams and shiitake mushrooms, and wings with Korean fried chicken sauce and green onion. To drink, there are two soju cocktails — one with watermelon and Yakult, and another with nashi pear and pineapple — Kloud beer and Momento Mori wine. We expect this is going to get very busy, so get there early if you want to snag yourself a bowl. Belles x Shin Ramyun menu is from 12–4pm then 5pm till sold out.
The working year is coming to an end (or it has already for some lucky folk) and if you're itching to kick off Christmas festivities a little early, Darlinghurst bar Big Poppa's has you covered. On Monday, December 22, the Oxford Street home of hip hop, wine and cheese is throwing The Notorious Xmas party. Running from 5pm all the way through till 3am, the festivities will feature $6 glasses of rosé, $10 negronis and DJs spinning, we're sure, lots of The Notorious B.I.G. from 10pm. So, get ready to boogie to 'Juicy' and 'Sky's the Limit' without worrying about work the next day. If you do have to head to the office, though — or have family commitments — maybe get some Berocca ready. https://www.facebook.com/bigpoppassyd/photos/a.1041999895887973/2558366734251274/?type=3&theater The festivities don't stop with cheap drinks either, there'll also be free grazing tables from 5pm (think lots of cheese and cured meat) and half-price bowls of cacio e pepe all night. The cheesy, peppery bowls of pasta usually go for $23, so you'll be able to snag them for just $11.50 on Monday. The Notorious Xmas runs from 5pm–3am.
Have your weekday lunches been lacking in lustre a bit recently? Are you ready to retire the soggy sandwich, or underdressed salad, and make your meals a little more exciting? Thanks to the Rockpool Dining Group you can — without breaking the budget. A heap of the group's fancy Sydney restaurants, which are overseen by chef Neil Perry, are serving up tasty dishes — and a glass of wine or beer — for a mere $25 at lunch throughout January. Head out for a weekday meal before the end of the month and you can pick from the likes of a David Blackmore wagyu burger at Rockpool Bar & Grill, pizza at Rosetta, a prime rib french dip sandwich at The Cut Bar & Grill, a bowl of noodles at regional Chinese fine-diner Spice Temple or sushi and sashimi at Saké in The Rocks. And all of them will set you back just $25. It doesn't stop there, either. Included in the $25 price is a beer or a glass of red or white wine. To snag the deal head in to any of the below restaurants for lunch from Monday–Friday — the only catch is you'll have to sit at the bar. [caption id="attachment_757802" align="alignnone" width="1920"] Rockpool's David Blackmore wagyu burger[/caption] ROCKPOOL DINING GROUP'S $25 BAR LUNCH LOCATIONS Rockpool Bar & Grill Spice Temple Rosetta Trattoria The Cut Bar & Grill Saké The Rocks
The annual Orange Wine Festival is back for its 16th run this spring. This time, however, it's going for a whole month rather than its usual ten-day stint. Running from Thursday, October 1 right through to Saturday, October 31, the program celebrates the region's winemakers, unique altitude and diverse culinary culture. Adapting out of necessity (ahem, global pandemic), this year's festival has been reimagined with a bunch of small-scale, intimate events hosted at independent wineries and restaurants. Overall, the program includes over 80 events, which are open to all wine lovers, from the connoisseurs to those still getting to know their palate. There'll be everything from wine tastings to pop-up cellar doors, vineyard tours, food and wine-pairing masterclasses, insights on organic and sustainable winemaking, long lunches and vino-fuelled picnics with croquet. Other highlights include yoga classes among the vines, local artist studio sessions and a movie night, complete with a three-course dinner. Even with all the events, you won't have much time to sit still when you visit — Orange and its surrounds is home to more than 60 vineyards and over 40 cellar doors. The Orange region is known for its cool climate, which creates wines with bright fruit and deep, balanced flavours, making them some of the best drops in the country. We recommend organising a driver so you can taste it all. Can't make the journey? In true COVID-19 fashion, the program also features virtual wine tours, tastings and masterclasses, so you can explore the stunning region — and sample its top-notch vino — from your couch. Orange Wine Festival 2020 is a month-long celebration of the region's local wine and food industries, running from October 1–31.
One day, in the not-so-distant future, perhaps Sydneysiders will take their pet puppers with them everywhere. For now, we'll all just have to grab our four-legged best friends and head to an International Dog Day-themed photo shoot — and take part in other celebratory shenanigans. The occasion itself falls on Wednesday, August 26; however at Darling Harbour, the fun is running across the weekend of Saturday, August 22–Sunday, August 23 as well. And, there's more than a few elements on offer each day. First, there's the pics. Head to the new Hachi Dog Boutique and Spa from 11am–4pm and your woofer can get snapped for free. And, your furry four-legged bestie can even sip some dog wine (shardognay or pupnoir) while they're getting the glamorous treatment, with a glass costing $5. Unsurprisingly, bookings are recommended as the photo sessions are expected to be popular. While you're in the vicinity, you can also drop by Iiko Mazesoba, too, which is serving up more than its usual range of food for humans. Here, you can grab a dog bandana, which'll also cost you $5 — or you can get one for free if you spend more than $50. Hachi's International Dog Day celebrations take place from 11am–4pm on Saturday, August 22–Sunday, August 23, and again on Wednesday, August 26.
Dendy Newtown's big screens are back in action and, throughout the month of August, the inner west venue is screening a particularly vibrant array of features. Get ready for a lineup of top-notch anime — and yes, that means there are plenty of gems. Screening until Wednesday, August 26, this Anime Festival will let you feast your eyes on an array of creative delights. On offer: huge Japanese hit Weathering With You, the gorgeous and charming film from director Makoto Shinkai; the moving Mirai from filmmaker Mamoru Hosoda, as well as his The Boy and The Beast; and the all-round classic that is Akira. Also on the bill are One Piece: Stampede and Dragon Ball Super: Broly — and yes, that's your next few cinema outings taken care of. https://www.youtube.com/watch?v=6d-lsJZgmJs Dendy Newtown's Anime Festival runs at various times until Wednesday, August 26 — check the cinema website for specific session details.
UPDATE, March 8, 2021: Brazen Hussies is available to stream via ABC iView. Chatting to activists involved in Australia's women's liberation movement during the 60s and 70s, Brazen Hussies doesn't lack in witty and wise ladies making pivotal points. But it's filmmaker Margot Nash (The Silences) who offers one of this documentary's most telling observations, and the one that crystallises exactly why this movie had to be made. "History has to be told over and over again," she advises. She's a talking head in the film, rather than the writer or director behind it — those roles fall to first-timer Catherine Dwyer — but she couldn't encapsulate Brazen Hussies' purpose any better if she was the doco's driving force. As the feature explains, it's easy for people to overlook this chapter of history, and the fact that it all happened so recently. It's easy to forget that women's lives were drastically different, as was the way they were regarded by the world around them. It'd also be easy to keep using Nash's words, and those of her fellow activists, to demonstrate why Brazen Hussies is vital, too — as a record and a reminder, and as viewing in general. Dwyer has amassed a formidable array of ladies, all of which could fuel their own documentaries. In fact, many of her subjects could make them. Cinematographer and filmmaker Martha Ansara (Changing the Needle) explains how she realised as a teen that her future was supposed to involve finding the right man. Author and journalist Anne Summers recalls how, when she became the first woman in her family to go to university, it dawned on her that she'd still be paid less than her male counterparts when she graduated. And filmmaker and writer Jeni Thornley (For Love or Money) describes her experiences as a pregnant woman after the death of the man she would've likely married, and how she was treated as if the situation was her fault. The list goes on. Academic and critic Barbara Creed notes that the word 'lesbian' just wasn't something that was uttered in Australia at the time, for instance. The first Aboriginal Australian to earn a law degree, Pat O'Shane talks about the impact of race, and the gulf between the white women's movement and the plight of Indigenous women. Elizabeth Reid shares memories from her stint as the first Advisor on Women's Affairs to a head of government anywhere in the world — to Prime Minister Gough Whitlam in the 70s — and steps through the way that the media responded to her position. Dwyer counts more than 25 women among her eponymous group, and their tales cover everything from tackling domestic violence and the victim-blaming that can go along with it, to the simple struggle to survive that single mothers faced. Indeed, Brazen Hussies packs not only a wealth of women into its frames, but a plethora of topics. There's a noticeable focus on Sydney and Melbourne over the rest of the country, and not every interviewee or issue is covered in-depth, but the film isn't short on breadth. Brazen Hussies' survey of all of the aforementioned matters — plus legal abortion, funding for childcare and society's abhorrence of female sexuality as well — happens in tandem with a historical recounting of Australia's actual fight for women's liberation. Inspired after working on 2014 documentary She's Beautiful When She's Angry, which did the same from a US perspective, Dwyer examines what drove these women to act and what they achieved, of course. At every moment, however, she's just as interested in how they battled for that change. Having access to a treasure trove of materials helps considerably. If the doco's talking-head lineup is impressive, it's bested only by the immense range of archival images and footage that Dwyer and editor Rosie Jones (director of The Family) splice together. With the rest of the filmmaking team, the pair sifted through more than 4000 photographs, journals, artworks and posters, and 800-plus news clips, documentaries and dramatic movies — and, unsurprisingly, Brazen Hussies is all the more detailed for it. All those pictures and and all that footage allows the film to show, not just tell. It also lets audiences witness key moments as they happened. Brisbanites should already know that the Regatta Hotel was once the site of an infamous 1965 protest by Merle Thornton and Rosalie Bogner, who chained themselves to the public bar to draw attention to the fact that women weren't legally allowed in. Still, seeing it occur is something else entirely. That also applies in Melbourne, with Zelda D'Aprano chaining herself to the city's Commonwealth building in 1971 to rally for equal pay. And the same feeling emanates from clips of author Kate Jennings addressing the crowd on the front lawn of Sydney University in 1970, too, which marked the first time that the male left had allowed a woman to speak at a public event. The impact of these specific actions, and of efforts big, small, headline-grabbing and routine by all the ladies seen in Brazen Hussies, is still being felt today. Paying tribute to these pioneering women is clearly another of the film's aims but, again, recognising and remembering what they did and how it echoes now couldn't be more crucial. Dwyer also serves up clips that contrast the present situation with the scenario a half-century ago, to put the bulk of the film in context for viewers. As everyone watching should already be well aware, much has changed for women since the documentary's subjects first started marching, protesting and pinching men's bums in the streets to show them how it feels; however, striving for progress remains an ongoing job. Not that any further motivation is needed, but Brazen Hussies is it: an engaging, informative and impassioned snapshot of a reality that's still so recent, and of the hard work that was required to even reach the current imperfect status quo. https://vimeo.com/451401547
Showcasing Latin American culture, Inner West Fiesta brings the sights, sounds and tastes of the region to Sydney. First held back in 2018, the annual event is returning for a third year — so get ready for a whole day of food, music, dance, arts and crafts in Marrickville. Sunday, January 19 is the date to pencil into your calendar, with the fun kicking off at the Sydney Portugal Community Club from 11am. That's when you'll watch samba, salsa, tango and flamenco performances, then listen to Latino bands, musicians and DJs across two stages. You'll also browse markets and — if you're feeling like picking up a new skill — maybe even take part in a dance class. Food-wise, prepare to snack on Brazilian barbecue, Argentine empanadas, Spanish paella and Venezuelan arepas. Hankering for something sweet? Gelato, cakes and other desserts will also be on offer. Tickets are on sale online in advance for $10, available until Friday, January 17. Or, you can pay $15 entry on the day.
It has been a couple of years since The Jungle Collective first started taking over Australian warehouses and slinging plenty of plants, all thanks to its huge sales in Melbourne, Brisbane and Sydney. These leafy excuses to fill your home with greenery always have a bit of a celebratory vibe, and they just keep coming, with the outfit's next Sydney outing happening across the weekend of Saturday, February 29 and Sunday, March 1. Gorgeous green babies are the main attraction — and more than 170 varieties of them, too. You'll pick up everything from fiddle leafs and monsteras to giant birds of paradise and rubber trees, as well as oh-so-many ferns and hanging plants. You'll also be able to shop for designer pots and get expert advice from the horticulturalists onsite. Oh, and if you wear a Hawaiian shirt — this is a tropicana party, after all — you'll receive $5 off your purchase. It's all happening at Precinct 75, at 75 Mary Street, St Peters, with sessions held at 8am, 10am, 12pm and 2pm on Saturday, plus 10am and 12pm on Sunday. Entry is free, but you'll need to register for a ticket — which you can do from 12pm on Monday, February 24.
One of the most influential artists on the Australian hip hop scene of the last five years, BLESSED is taking to the Sydney Opera House as part of Vivid Sydney for a night of genre-blending performance that he's titled Aussie Blackstar. The Ghanaian-born Sydney-based artist has worked with the likes of Milan Ring, Manu Crooks, Amaarae and Maina Doe. He even produced now-global superstar The Kid Laroi's breakout EP 14 With a Dream when Laroi was still in his early teen years. Along with performing cuts from his debut album Aussie Blackstar — which is set to be released via Matt Corby's Rainbow Valley Records on Friday, June 3 — BLESSED has pulled together an all-star roster of hip hop and RnB favourites. He'll be joined on the night by Baby Prince, Chirine, Maina Doe, Manu Crooks, Matt Black and the mysterious hip hop collective BBGB who will be making their Australian debut at the show. https://www.youtube.com/watch?v=dGHfiZIu8y0
Already this year, Sydney movie lovers have been able to journey to France from their cinema seats. Hitting up Spain just by heading to your local picture palace has also been on the itinerary. Your next stop: Germany. Kicking off just as the weather gets colder to remind you of frosty European climes, Australia's touring German Film Festival is back for 2022 with a 26-movie program. From Tuesday, May 24–Sunday, June 19, GFF will hit Palace Norton Street, Chauvel Cinema and Palace Central — letting you see in winter with quite the lineup of new and classic movies. There's typically a couple of clear recurring themes in this annual cinema showcase, as there tends to be in German films in general. So, the fact that this year's GFF will open with A Stasi Comedy, about life a Stasi agent's double life as both an underground poet and a spy in 80s-era East Berlin, is hardly surprising. Nor are two of the fest's other big-name titles: The Last Execution, starring Babylon Berlin's Lars Eidinger and also set in East Berlin in the 80s; and The Forger, led by Dark's Louis Hofmann, who plays a young Jewish man in Berlin in 1942. They're just some of the 21 movies that'll enjoy their Australian premieres at the event — alongside drama My Son, about a teenager's relationship with his mother; crime comedy The Black Square, starring Toni Erdmann's Sandra Hüller; the post-WWII-set The German Lesson, which leaps from the page to the screen; and political thriller The House, which takes place in the near future. GFF is also showcasing new films from just beyond German's borders in Austria and Switzerland. So, you can check out films such as downhill skiing drama Chasing the Line, an Austrian biopic about Winter Olympian Franz Klammer — and Swiss effort Caged Birds, about a lawyer in the 80s battling the prison system. The festival's final five titles hail from its impressive retrospective for 2022, which takes a look back at German cinema over the past five decades. Cannes Palm d'Or-winner The Tin Drum gets the 70s slot, while the East German-set Sunny Side represents the 80s. Doing the honours for the 90s is the exceptional Run Lola Run, aka one of the best thrillers ever made. The movie that helped push The Falcon and the Winter Soldier's Daniel Brühl to stardom, Good Bye Lenin!, has the 00s covered, and kinetic one-take gem Victoria returns to the big screen to showcase cinema from the past decade.
You can never have too many occasions to eat cheese, but this returning Australian cheese festival isn't just keen to shower cheese fiends with creamy goodness. A collaboration between Bruny Island Cheese Co cheesemaker Nick Haddow and the organisers of Pinot Palooza, Mould wants dairy lovers to explore and devour the mild, hard and soft bites that Australia's best cheese wizards have to offer. Returning for a fourth time in 2022 — after a chaotic couple of years, as all fests have endured — the cheesy event will paint Sydney's Carriageworks yellow from Friday, August 12–Saturday, August 13. And there won't just be a few cheeses on the menu. More than 75 artisan cheeses from around the country will be ready and waiting for you to devour, spanning dairy from 27-plus producers. That lineup includes Bruny Island Cheese Co, naturally, plus Grandvewe, Milawa Cheese, Yarra Valley Dairy and Stone & Crow. There'll also be wares from Section 28, Red Cow Organics, Nimbin Valley Cheese, and newcomers such as Dreaming Goat, Long Paddock Cheese and Second Mouse Cheese. Alongside unlimited tastings of Australia's best cheeses, Mould will also feature flavoursome fare from cheese specialists that've been created just for the fest, too. Think of it as a cheese tasting trip around Australia without leaving the city. Of course, snacking on samples and purchasing slices and slabs to take home with you are just two ways to enjoy cheese. The fest will have cooking demonstrations, masterclasses and talks so you can stretch your cheese knowledge as well as your cheese stomach. And it wouldn't be a cheese festival without beverages to wash it all down with, so expect a bar serving Aussie wines, whisky, vodka, gin, beer, cider, cocktails and sake — all of which match nicely to a bit of cheese. Unsurprisingly, Mould is rather popular. Last year, attendees tucked into a one million samples across the fest's three cities, and also took home over 3.5 tonnes of Aussie dairy products. So, if this the kind of event that your cheese dreams are made of, you'll want to nab a $45 ticket ASAP. Sessions run from 4.30pm–8.30pm on the Friday, and 11am–3pm and 4–8pm on the Saturday.
Last year, Jim Beam once again proved its love and support for live music via its hit series Welcome Sessions. The online event series was aimed at bringing people together, albeit virtually, by connecting music lovers and artists when they needed it most. It's returning for 2022, only this time it'll be stepping outside of the digital realm. Sydney music fans, listen up. You have the opportunity to score a free ticket to an exclusive and intimate Flight Facilities set on Saturday, June 11, at CBD spot The Rooftop Sydney. As far as we're concerned, electronic beats on a long weekend — with a Jim Beam in hand — is a recipe for a great Saturday arvo. Want to head along to this money-can't-buy experience? You'll need to enter the ballot. Simply enter the competition and you'll go in the running to win one of 50 double passes up for grabs. All you have to do is tell Jim Beam what your most memorable live music moment is and why. But be quick, entries close June 3. Want to find out what's happening at the Brisbane and Melbourne Welcome Sessions? Visit the website.
Fond of Betty's Burgers and its Shake Shack-style burgs? Keen to share the love with someone you love? On Thursday, May 5, the chain of eateries wants Sydneysiders to come in for a bite — and to bring their besties in as well. To mark the 2022 return of Betty's Bestie Day, the brand's Sydney joints will be serving up two-for-one burgers all day long. Pay $11.50 for a Betty's Classic — which stacks angus beef, lettuce, tomato, onion, cheese and Betty's special sauce on a soft bun — and you'll score a pair of them. The offer also applies to Betty's Crispy Chicken Supreme burgers ($15.50) and the Betty's Classic Vegan burg ($14); however, whichever you pick, you both have to get the same one. If you're already salivating, make plans to head to one of Betty's Sydney stores — including at Market Street, Chatswood and Darling Harbour. Again, the two-for-one deal is available all day. It's also on offer via dining in and takeaway, too. So, if you and your favourite fellow burger fiend are especially eager, you could always hit up one for lunch and another for dinner.
UPDATE: June 06, 2022 — Theatre Royal Sydney is running a special offer on tickets for An American in Paris. For performances between Tuesday and Thursday, you can save up to $279 by purchasing a four-ticket bundle. For more info, check out the website.* In April, Broadway and West End smash An American in Paris sung and danced its way into Sydney. The four-time Tony-winner is currently running at the Theatre Royal Sydney for a limited season, ending July 2. The big budget Broadway extravaganza wows with exorbitant sets and Tony Award-nominated stars Robbie Fairchild and Leanne Cope centre stage, with a stellar Aussie cast and orchestra rounding out the brilliant production. The show is based on the 1951 film of the same name, so yes, if you're a fan of classic movies — and classic big-screen musicals starring none other than the inimitable Gene Kelly at that — its name will definitely sound familiar. Story-wise, the musical follows the Parisian exploits of ex-US GI Jerry Mulligan (because its moniker is that straightforward). Set at the end of the Second World War, it charts the budding romance between the newly-free American and a French woman, Lise Bouvier. Your classic boy-meets-girl, with old-world charm, the beauty of Paris and Broadway class. Bringing the Oscar-winning film to the stage, this version of An American in Paris is directed by acclaimed contemporary ballet choreographer Christopher Wheeldon. (You can also expect to see dancers from The Australian Ballet bring the musical to life.) George and Ira Gershwin's songs make the leap to the theatre as well, including 'I Got Rhythm', 'S Wonderful', 'But Not For Me' and 'They Can't Take That Away From Me'. An American in Paris debuted in Paris — where else? — in 2014, before racking up an impressive catalogue of 5-star reviews and award nominations on Broadway, as well as Boston and West End. If you are after a night of spectacular dance and the joy of new romance, with all the Broadway dazzle, this is the show for you. To book your tickets, head to the website. Images: Darren Thomas *Subject to availability. Full T&Cs apply. First published on April 14, 2o22. Updated on June 6, 2022.
What happens outside an upstate New York strip club at 10am on an ordinary weekday? Nothing — nothing good, or that anyone pays attention to, at least — deduces the unhappy Val (Jerrod Carmichael, Rothaniel) in On the Count of Three. So, he's hatched a plan: with his lifelong best friend Kevin (Christopher Abbott, The Forgiven), they'll carry out a suicide pact, with that empty car park as their final earthly destination. Under the harsh morning light and against a drably grey sky, Carmichael's feature directorial debut initially meets its central duo standing in that exact spot, guns pointed at each other's heads and pulling the trigger mere moments away. Yes, they start counting. Yes, exhaustion and desperation beam from their eyes. No, this thorny yet soulful film isn't over and done with then and there. There are many ways to experience weariness, frustration, malaise and despair, and to convey them — and On the Count of Three surveys plenty, as an unflinchingly black comedy about two lifelong best friends deciding to end it all should. Those dispiriting feelings can weigh you down, making every second of every day an effort. They can fester, agitate, linger and percolate, simmering behind every word and deed before spewing out as fury. They can spark drastic actions, including the type that Val and Kevin have picked as their only option after the latter breaks the former out of a mental health hospital mere days after his last self-harming incident. Or, they can inspire a wholesale rejection of the milestones, such as the promotion that Val is offered hours earlier, that everyone is told they're supposed to covet, embrace and celebrate. On the Count of Three covers all of the above, not just with purpose but with confidence, as well as a much-needed willingness to get messy. It knows it's traversing tricky terrain, and is also well-aware of the obvious: that nothing about considering taking one's own life is simple or easy, let alone a laughing matter. Working with a script by Ramy co-creators Ari Katcher (also a co-creator of The Carmichael Show) and Ryan Welch, Carmichael doesn't make a movie that salutes, excuses or justifies Val and Kevin's exit plan. His film doesn't abhor the emotions and pain behind their choices either, though. Instead, this is a complicated portrait of coping, and not, with the necessities, vagaries and inevitabilities of life — and a raw and thoughtful piece of recognition that the biggest standoff we all have is with ourselves. Rocking a shock of dishevelled bleached-blonde hair, and looking like he hasn't even dreamed of changing his wardrobe since the early 00s, Abbott could've wandered out of Good Time as Kevin — he and Robert Pattinson could/should play brothers some day — including when he's staring down Val with a gun. First, On the Count of Three jumps from there to the events leading up to it, including an earlier attempt by landscaping supply store worker Val in the work bathrooms, his response to hearing about that aforementioned climb up the corporate ladder. In hospital, Kevin is angry; "if any of you knew how to help me by now, you would have fucking done it!" he shouts. But when the time to shoot comes, it's him who suggests a reprieve to take care of a few last items — revenge being his. Calling On the Count of Three a bucket-list movie isn't quite right, because there's a difference between checking off your wildest dreams and working through the essentials that gnaw at you. Accordingly, and in its nervy, restless, go-go-go energy, too, the film is in day-in-the-life territory — focusing on Kevin's score to settle with a child psychologist, Dr Brenner (Henry Winkler, Barry), from his past, and Val getting his issues with his slippery dad Lyndell (JB Smoove, Curb Your Enthusiasm) and Natasha, the woman he thought he was going to marry (Tiffany Haddish, The Unbearable Weight of Massive Talent), off his chest. In-between, its main twosome relive minor past glories, whether it's breakfast at a favourite diner or returning to the dirt-bike park job they loved as teens. Those guns have to go off in one way or another, though; Chekov demands it. If On the Count of Three wasn't so deeply felt — so bitterly, unapologetically dark as well — and anchored by such compelling performances, it could've easily gone astray. Tragicomedy isn't straightforward, or simple to pull off. But Carmichael shows his skills as a director (he has TV documentary Sermon on the Mount and a Lil Rel Howery comedy special among his past helming credits otherwise) by skewing both intimate and wide. The film's one-on-one exchanges are candid and revelatory, while pivoting to tensely staged car chases and shootouts still feels natural. The crime-thriller sheen of Marshall Adams' cinematography helps, as does Owen Pallett's evocative score (especially during a climactic pursuit). And, that bickering, bantering, ride-or-die dynamic between the exceptional Abbott and the devastatingly understated Carmichael is captivating to watch. It's a great time for seeing two well-paired actors bouncing off of each other and wanting more — see also: Sam Rockwell and Saoirse Ronan in the vastly dissimilar See How They Run — but On the Count of Three's on-screen chemistry is hardly surprising. Abbott keeps going from strength to strength in complex parts, such as James White, Black Bear and Possessor, while Carmichael knows how to match vulnerability with truth, as his comedy special Rothaniel made plain. Such a key factor here is balance, the elusive concept that Val and Kevin are searching for even if they don't necessarily know it. It bubbles through in the movie's comic moments, too; when On the Count of Three chuckles, it directs is humour at Val cathartically screaming along to Papa Roach's 'Last Resort' in such on-the-nose circumstances, Papa Roach in general, the way that minutiae always gets in everyone's way — whether they're planning to see another day or not — and only starting to live when you want to die.
Some movies sport monikers so out of sync with their contents that someone really should've had a rethink before they reached screens. Uncharted is one of them, but it was never going to switch its name. The action-adventure flick comes to cinemas following a decade and a half of trying, after the first Uncharted video game reached consoles in 2007 and the journey to turning it into a movie began the year after. Accordingly, this Tom Holland (Spider-Man: No Way Home)- and Mark Wahlberg (Joe Bell)-starring film was fated to keep its franchise's title, which references its globe-trotting, treasure hunting, dark passageway-crawling, dusty map-coveting storyline. But unexplored, unfamiliar and undiscovered, this terrain definitely isn't — as four Indiana Jones films to-date, two National Treasure flicks, three Tomb Raider movies, 80s duo Romancing the Stone and The Jewel of the Nile, and theme park ride-to-screen adaptation Jungle Cruise have already demonstrated. Uncharted mightn't live up to its label, but it is something perhaps unanticipated given its lengthy production history — a past that's seen six other filmmakers set to direct it before the Zombieland movies' Ruben Fleischer actually did the honours, plenty of screenwriters come and go, and Wahlberg once floated to play the saga's hero Nathan Drake rather than the mentor role of Victor Sullivan he has now. That surprise? Uncharted is fine enough, which might be the best likely possible outcome that anyone involved could've hoped for. It's almost ridiculously generic, and it sails in the Pirates of the Caribbean flicks' slipstream as well, while also cribbing from The Mummy, Jumanji and even the Ocean's films. Indeed, it borrows from other movies as liberally as most of its characters pilfer in their daily lives, even nodding towards all things Fast and Furious. It's no worse than the most generic of its predecessors, though — which isn't the same as striking big-screen gold, but is still passable. The reasons that Uncharted just hits the barest of marks it needs to are simple and straightforward: it benefits from Holland's charms, its climax is a glorious action-film spectacle, and it doesn't ever attempt to be anything it's not (although reading a statement of intent into the latter would be being too generous). It also zips through its 116-minute running time, knowing that lingering too long in any one spot wouldn't serve it well — and it's as good as it was going to be given the evident lack of effort to be something more. While you can't make a great movie out of these very minor wins, they're all still noticeable pointers in an okay-enough direction. Getting audiences puzzling along with it, delivering narrative surprises even to viewers wholly unfamiliar with the games, asking Wahlberg to do anything more than his familiar tough-guy schtick, making the most of the bulk of its setpieces, providing the product of more than just-competent direction: alas, none of these turn out. In a film that acts as a prequel to its button-mashing counterparts, Holland plays Drake as a 20-something with brother issues, a vast knowledge of cocktail histories that's handy for his bartending gig, an obsession with 16th-century Portuguese explorer Ferdinand Magellan and the gold he might've hidden, and very light fingers. Nate's elder sibling dipped out of his life after the pair were caught trying to steal a Magellan map as orphanage-dwelling kids, in fact, which Sully uses to his advantage when he first crosses his path in a New York bar — and, after some convincing, Nate has soon signed up to finish the quest he's been dreaming about since childhood. Naturally, this newly formed duo aren't the only ones on the Magellan treasure's trail. The wealthy Santiago Moncada (Antonio Banderas, The Hitman's Wife's Bodyguard) is descended from the explorer's original financiers and boasts a hefty sense of entitlement, while knife-wielding mercenary Jo Braddock (Tati Gabrielle, You) and enterprising fortune-hunter Chloe Frazer (Sophia Ali, India Sweets and Spices) are each chasing a windfall. It's telling — and farcically blatant — that Uncharted begins with Nate hanging upside down. He's suspended from a train of freight trailing out of a plane, but the visual message is instant and obvious: yes, Holland also plays Spider-Man. Actually, the film doesn't ever ask him to stretch his talents beyond everything he's already immensely famous for, going for a 'Peter Parker, but make him a thief with a heart of gold' setup. Still, he's as entertaining and charismatic as the part demands, and lifts the routine script by The Wheel of Time's Rafe Lee Judkins and Men in Black: International duo Art Marcum and Matt Holloway purely by his presence. Holland hasn't had a great time of late beyond the Marvel web, with the also long-troubled Chaos Walking proving flat-out awful, and Cherry failing to set streaming alight; however, if Uncharted leaves a lasting imprint, it's wondering how much better its star could fare with if he had more than a by-the-numbers screenplay to work with. A worthy lead, underperforming material, a general unwillingness to take any risks: that's a problem that's plagued too many movies about too many connect-the-dots treasure hunts well before now. Thankfully, Uncharted's eagerness to just get on with its story helps significantly — breezing by rather than loitering on its chest of illogical twists and turns, and, Wahlberg aside, never giving its one-note supporting characters too much of the spotlight. Also, when that aforementioned eye-catching finale arrives and puts the whole archaeology-meets-swashbuckling idea to nice use, the picture almost justifies its existence. X doesn't ever quite mark the spot with Uncharted, and the history of bringing video games to the movies still sinks more often than it swims, but there's just enough that gleams here to be watchable. It's a film with a few shiny coins in its bag, rather than a whole bar, cavern or ship of riches.
Camperdown mainstay Deus Cafe is hosting a one-night-only seafood takeover on Saturday, February 12 with chef Manny Paraiso (Mr. Wong, Automata, Spice Temple). Paraiso's menu brings together an eclectic range of dishes all designed to champion the seafood. You'll start off with an albacore tuna crudo, Port Lincoln sardines served on fried bread, peking squid pancake and a prawn san choi bow. The main course is a monkfish shish served with toum, tabouli, flat bread pickled radish and a sides like fried cauliflower and chips. Closing out the meal is a sweet and citrusy dessert to balance out the flavours you've just indulged in. This mango cheesecake is made with white chocolate cream cheese ouse, ginger crumble, lime leaf and mango sorbet from Art of Gelato. This three-course delight will set you back $80 a head, however if you're one to really let loose on the weekend, you can add on a half-a-dozen Pacific oysters for an addition $27 or WA rock lobster in a kobu butter bechamel for $160.
Thanks to the name of its latest film series, Golden Age Cinema and Bar will get an excellent song stuck in your head — but the Surry Hills spot isn't dedicating the next month and a half to movies about the Beastie Boys. Instead, the venue's Intergalactic, Planetary program is looking into space, telling tales about otherworldly visitors and also throwing some love towards another music icon: David Bowie, who plays an alien in the phenomenal The Man Who Fell to Earth. The lineup's ten-title selection celebrates out-of-this-world movies in a big way — xenomorphs, close encounters and body snatchers all included. It all starts with Alien and Aliens, as every sci-fi film program should, before featuring everything from the animated gem that is Fantastic Planet and the original version of The Day the Earth Stood Still through to John Carpenter's eerily prescient They Live. You'll also want to grab your multi-pass for The Fifth Element, and remember back when Bruce Willis wasn't getting his own Razzies category for starring in so many terrible flicks in a single year. Intergalactic, Planetary kicks off on Friday, March 4, then screens twice a week — on Fridays and Sundays — from Friday, March 11–Sunday, April 10.
Describing a dance and a state of uncertainty alike, limbo is one of those always-intriguing words. Many terms boast multiple meanings, but this one skirts two ends of the spectrum — the party-fuelled joy of a parade of people trying to pass under a bar while bending over backwards, and the malaise of being stuck waiting and not knowing. Both require a degree of flexibility, though, to either complete physical feats or weather the fickleness of life (or, in limbo's religious usage, of being caught in an oblivion between heaven and hell). It's no wonder then that British writer/director Ben Sharrock chose the word for his second feature, following 2015's Pikadero. His Limbo lingers in a realm where men are made to contort themselves, biding one's time anticipating a decision is the status quo and feeling like you've been left in a void is inescapable. The fancy footsteps here are of the jumping-through-hoops kind, as Limbo ponders a revelatory question: what happens when refugees are sent to a Scottish island to await the results of their asylum applications? There's zero doubting how telling the movie's moniker is; for Syrian musician Omar (Amir El-Masry, Star Wars: Episode IX — The Rise of Skywalker) and his fellow new arrivals to Scotland, there's little to do in this emptiness between the past and the future but wait, sit at the bus stop, check out the children's playground and loiter near the pay phone. That, and navigate the wide range of reactions from the locals, which veer from offensive to thoughtful. Everything about the situation demands that Omar and his companions make all the expected moves, but it also forces them to potter around in purgatory and stomach whatever is thrown at them to do so. In Omar's case, he's made the trip with an actual case — physically, that is, thanks to his prized possession. He's brought his grandfather's oud with him, which he rarely lets slip from his grasp, and so he feels its weight where he goes. It's a canny part of Limbo's script in two ways. Whatever they're fleeing in search of a better life, every refugee has a case to be welcomed into safer lands that they carry around with them, but Sharrock manifests the idea in a tangible sense. With Omar's musical dreams, which the beloved oud also represents, in limbo as well, the ever-present instrument additionally acts as a constant reminder of the sacrifices that asylum seekers make in leaving their homes, even when there's no other option, and the costs they pay when they're met with less-than-open arms, then left waiting for their new existence to begin. Just as the term limbo means so much, so does that oud — and so does the feature it's in. A film can be heartbreaking, tender, insightful and amusing all at once, and Limbo is indeed all of those things. It's both dreamlike and lived-in, too, a blend that suits its title and story — and also the mental and emotional state shared by Omar and his other asylum seekers as they eke out their hope and resilience day after unchanging day, all while roaming and roving around an island that may as well be another world. The Scottish landscape around them looks like it could grace a postcard, and Sharrock has cinematographer Nick Cooke (Make Up) box it into an almost-square frame to make it resemble vacation snaps. That choice of 1.33:1 aspect ratio also confines the movie's characters in another fashion, of course, offering a blatant visual flipside to the holiday-perfect splendour; being trapped anywhere is bleak, even if it appears picturesque. Omar has company in his misery: in the run-down house he's installed into, Afghani Farhad (Vikash Bhai, Hanna) is more optimistic, while Abedi (Kwabena Ansah, Enterprice) from Ghana and Wasef (Ola Orebiyi, Cherry) from Nigeria wait the wait with them. The biggest events in their routines come via talks by Helga (Sidse Babett Knudsen, The Translators) and Boris (Kenneth Collard, Fanny Lye Deliver'd), government officials, about appropriate behaviour and 'cultural awareness' in the fresh lives they haven't get been given permission to start. If hell is other people, as Jean-Paul Sartre coined, limbo is being told what to do by other people while lacking the means and opportunity to do it. A film can be both heavy and light simultaneously as well, which is another of Limbo's strengths, with every dose of biting truth counterbalanced by a wry streak. Sharrock sees both seriousness and levity in his narrative, his characters and their plights, and recognises the nightmarish and the beautiful in tandem. Obviously, the latter especially applies to the feature's aforementioned haunting cinematography, which lenses a place that keeps Omar pals physically in limbo with a probing eye, but it also ruminates on the small delights. Limbo is a film about people first and foremost, and also spies the solace they bring each other — and the catharsis they find when they need to, including when they're so far from home, not really by choice, and endeavour to find themselves a new one. In a movie that's witty and perceptive, affectionate and poignant, and unwavering and clear-eyed, the tonal seesaw that Sharrock rides and perfects is just that: perfection. Trauma, racism and punishment by bureaucracy sit beside friendship, Freddie Mercury obsessions and binge-watching Friends; yes, whether Ross and Rachel were on a break comes up. Limbo's casting is perfection also, because so much hangs upon El-Masry's ability to convey the whirlwind of emotions torturing Omar inside. He's trying to reconcile where he's stuck now with what he's left, and watching him fight that battle — in scenes where he's calling home to talk to his mother especially — epitomises the film at its most moving. That's the movie overall, too, lingering as it is between knowing what's right, best, smart and safe, and wanting what the heart wants when blighted by pain and dreariness. Limbo is a feature about coping with that dance, and it's something to willingly dwell on.
Over-the-top food and drink mashups might be popping up on seemingly every menu these days, but one has been around for much, much longer. That'd be the humble shandy, which mixes beer with something that's definitely not beer — something lemon-flavoured, usually — and makes for perfect summer sipping. Why just knock back a brew when you can also be drinking mango juice, ginger beer and squash? That's the thinking behind The Bavarian's summer shandy series — although no, you won't be downing all of the above ingredients at the same time. Instead, those tipples and a heap of others are featured in nine different shandies, which'll set you back between $10–15 each, come in 500-millilitre steins and are available all summer long. On the menu: the Summer Mango, which combines Franziskaner Hefe Weissbier with mango juice; the Michelada, a blend of 4 Pines Kolsch, bloody mary spiced juice and lime juice (with a chilli-salt rim); the Nightcap, which pairs Hofbrau Dunkel with coffee liqueur; and the Snake Bite, a mix of Bulmers apple cider, 4 Pines Kolsch and Chambord. Butterscotch, apple rye spice, whiskey and ginger, and a tequila concoction are also available — the latter called the Largarita — because these shandies can also include liqueurs and spirits. You'll find The Bavarian at Charlestown, Rouse Hill, Castle Hill, Shellharbour, Tuggerah, Manly, Penrith, Miranda, Macarthur, Green Hills, Entertainment Quarter, York Street, World Square, Wetherill Park and Chatswood in New South Wales.
Were you on your best behaviour to ensure Santa paid you a visit in December? Well now that's all over, it's time to let your hair down a little at the Imperial Hotel's X-rated Drag 'N' Dine event, Rood Food. Across Friday and Saturday nights from January 14 till February 26, you and your friends can enjoy an unforgettable dinner alongside incredible drag performances at this popular inner west pub. Tickets start at $89 and include a cocktail on arrival, a delicious three-course meal and a high-octane drag production. If you're feeling extra thirsty, you can nab a drinks package for an additional $45 to ensure the drinks are flowing and your thirst is quenched throughout the night. Shows will run twice at night at 6pm and 8.30pm. Plus, if you want the fun to continue after dinner, you can head downstairs to the basement for the venue's late night show — Rood Food After Hours. Ready for a night of shimmering performances and irresistible food? Book yourself a table at The Imperial Hotel's Rood Food this summer. For more information and to book, visit the website.
As the saying goes, actions speak louder than words, and this year's theme for Reconciliation Week echoes that same sentiment. To take action yourself this year during Reconciliation Week, join First Nations experts and community leaders for the panel discussion Yuin Byalla in Burramatta (Truth Talking in Parramatta) at Parramatta's Riverside Theatre. On Thursday, June 3, join award-winning writer Bruce Pascoe (Dark Emu), astronomer Karlie Noon First Nations youth-led climate network Seed, Aboriginal rights advocate Monica Morgan and Kamilaroi water scientist Brad Moggridge as they discuss the theme 'More Than A Word. Reconciliation Takes Action' for Reconciliation Week 2021, as well as NAIDOC Week (July 4–11) theme 'Heal Country'. Arrive at 6pm for the smoking ceremony at Riverside Loggia, then head inside for the panel discussion. The talk is recommended for audiences ages 15 years and over and will cover topics from deaths in custody, the stolen generation to climate change. Tickets are $10 for adults and can be purchased online. For more information and to book, visit the website.
