Video games and drinking have long been buddies. Drinking and art have a healthy relationship. Now, thanks to Sydney based pop-up art gallery, fiftyone, these three tasty aspects of culture can now buy a house in the 'burbs, raise kids and happily grow old together. Bring on GAME OVER. Taking place at Cremorne's art-loving Bread and Butter cafe on June 12, GAME OVER is one night of video game-themed fun, with art and drinks thrown in for good measure. Local artists Robby Williams (no relation, but will indeed entertain you), Phil Marsden and Rohan Cain will be exhibiting and selling their latest pieces and prints. Then there’s the epic Mario Kart tournament on the big screen, bound to separate the Bowsers from the Toads. The whole idea behind fiftyone is to provide young artists a platform to exhibit, as well as bringing art to the after-hours crowd. Proudly continuing the philosophy, GAME OVER promises to do just that. With free entry, live music, art, booze and video games all thrown under one roof, it’ll be nothing short of a KO. Nothing left but to finish him.
Half house, half sculpture, this blazing white abode juts out dramatically from the escarpment overlooking Belanglo State Forest. The award-winning, open-plan casa is from the mind of celebrated architect Harry Seidler and was completed in 2000. Breathe in the panoramic vista through floor-to-ceiling windows or from the viewing deck that thrusts even further towards the Wingecarribee River gorge, before taking a dip in the pool hidden in the rocky gardens. Up to eight guests can while away a holiday at Seidler House, flitting lazily between the open fireplaces and entertaining areas while spying on wombat, kangaroo and koala neighbours. Or, venture into the nearby townships of Joadja, Mittagong and Bowral to seek out wineries, gourmet dining, boutiques and antique stores. Bowral's emporium of vintage wares, Dirty Janes, and its neighbouring clutch of garden shops, cafes and restaurants provide a fabulous taste of Southern Highlands charm. Want more Southern Highlands tips? Check out our weekender's guide to the region.
Insert Coins combines club tunes, retro gaming, graffiti art and geek culture at Oxford Art Factory starting Thursday, January 19 with The Darkness II. Thanks to 2K Games Australia, this comic book horror shooter will be fully playable on ten different screens across two rooms, way ahead of its release on February 10. You’ll also get access to a custom ‘80s style milk bar (mmm… alcoholic milkshakes), contemplate foot-long dogs at a New York-style hot dog vendor (wow… so many condiments), and rediscover your skills at pinball, arcade and tabletop units, including Pacman, Addams Family, Donkey Kong, Frogger, Shinobi, Back to the Future, Fish Tales and World Cup Soccer. DJs will spin classic tracks from the ‘80s and ‘90s all night long and the Insert Coin(s) team have even got some graffiti artists coming to create live art inspired by the video games of yesteryear. Since the launch event last September, this event series has become a hit with gamers, geeks and social gypsies everywhere, so take a boozy trip down memory lane and revisit the all-time classics from the 8-bit era. What the heck happened to my pinball machine points anyway? Game on!
Dating back to 1870, Silos Estate is hidden among converted farm silos in rural Berry. Located within an original dairy shed, the cellar door offers free wine tastings, plus an art gallery and an impressive array of locally made smallgoods. Those include jams, honey, tapenade, relishes and cheese from 13 different providores. The vineyard is growing a wide array of grape varieties for your tasting pleasure, and showcases the full range of the cool Shoalhaven climate — from chardonnay, semillon and sauvignon blanc to shiraz, merlot, cabernet sauvignon and malbec. You can also grab a glass or bottle alongside a meal in the adjoining Silos Restaurant. Open for lunch and dinner, Thursday through Sunday, it's serving up a farm-fresh seasonal menu that uses native Aussie produce — and rolling views of the vineyard beyond.
Over a year ago, a new Asian food hub began to unfold on the third floor of Haymarket's Market City. Australia's second (and Sydney's first) Mr Meng Chongqing Gourmet outpost was the first venue to open in the 1909 Dining Precinct. The noodle franchise is known for its particularly spicy bowls and is run by the host of Chinese dating show If You Are the One, Meng Fei. A large chunk of the other venues opening in mid-April last year, with the second bout of openings including Korean barbecue joint Kogi, Chinese eatery The Eight, Yayoi Japanese Teishoku Restaurant, a CBD outpost of Ashfield's famed Beijing Impression, sushi train Fugetsu and popular Macau hot pot chain The Dolar Shop. Now, the precinct is finally complete, and is home to nine restaurants ranging from casual takeaway joints to theatrically designed dining rooms with custom-made rickshaw installations.. The latest spots to join the hub are sushi burger venture Gojima (by award-winning Sokyo chef Chase Kojima) and Nanyang Tea Club – a traditional Singaporean and Malay restaurant spearheaded by Kaisern Ching (Chef's Gallery) and Billy Chong (Ipoh Town). [caption id="attachment_715423" align="alignnone" width="1920"] Sushi burger from Gojima.[/caption] Nanyang Tea Club's 88-seater fit-out is reminiscent of colonial-era Singapore, featuring rattan furniture, antique finishings and a bespoke rickshaw installation. Food wise, the restaurants draws from both Chef's Gallery and Ipoh Town's culinary styles, boasting a menu of traditional dishes such as chilli crab, coconut chicken soup and the signature bak kut teh (pork rib broth). On the more casual end of the spectrum, Gojima's American-Japanese fusion menu is more compact, with nine sushi burgers — made with a sushi rice and nori bun — and a selection of sides, such as Japanese-style southern fried chicken. For dessert, frozen custards and chocolate miso, green tea or strawberries and cream thickshakes are also available. 1909 Dining Precinct is located on Market City's third floor. It's open seven days a week until late.
If you're contemplating a trip to the Top End this year, May's the time to do it. For ten delicious days, Taste of Kakadu will take over the heritage-listed Kakadu National Park with cook-ups, safari camps, masterclasses, bush tucker tours and more. The festival is an immersive celebration of the traditional food, culture and customs of the region — and is marking the national park's 40th anniversary this year. First up, the festival will give you plenty of opportunities to up-skill. There are stacks of workshops, from cooking with celebrity chef Mark Olive, bush tucker walks with Indigenous rangers and traditional basket weaving (all free) to x-ray art painting and bush dyeing (both $5). And, you'll need to keep up your energy, so don't miss the mammoth cook-ups, including a family cooking camp ($10) with students from Jabiru Area School, a riverside stone banquet ($20–40) soundtracked by live storytellers and canapes and cocktails inspired by local ingredients on the Cooinda Airstrip, paired with stories of Aboriginal nighttime mythology ($106). You can also get on the water on an incredible Yellow Water cruise ($125), which involves snacking on canapes made with native ingredients and looking out for saltwater crocodiles. Taste of Kakadu will take place from Friday, May 10 to Sunday, May 19 in Kakadu National Park. You can check out the rest of the program over here.
El Primo Sanchez made waves when it was launched in early 2023 by The Maybe Group, bringing free karaoke, a sprawling tequila collection and authentic Mexican bites to the table. Now, the bustling Paddington eatery is switching the latter up, exchanging its sit-down cantina cuisine for a taqueria-style menu. Newly appointed Head Chef Diego Sotelo (Rico's Tacos) has drawn on his Guadalajaran roots to design a lively agenda that pairs with the venue's famously upbeat cocktails. Named Primo's Taco Corner, expect a food offering centred on a build-your-own fiesta, where guests have plenty of choice to shape their perfect bite, from the style of dish to the protein inside. You might opt for a classic taco, quesadilla or burrito, or step things up with a cheese-crusted costra or even a California-style burrito jam-packed with fries. Then, it's up to you to select a meat (or plant-based) filling. Sotelo has come up with several tantalising options, with the low- and slow-cooked al pastor pork belly marinated in spiced citrus flavours, before being finished on the flame to add smoke-fuelled heat. You've also got beer-battered Baja fish with jalapeño mayo; beef barbacoa featuring a sharp salsa roja; or the vegan alternative, loaded with tomato, spice and dried chilli goodness. Another addition is the quesabirria — a birria-style beef and melted cheese one-two punch. Here, beef cheek and brisket have been braised for hours on end, then folded into a tortilla with melted cheese and served with a glossy consommé to dip and dunk. If you can't make up your mind, Primo's Taco Corner also presents a new set menu for $69 per person, stacked with guac, nachos, tacos, quesadillas, loaded fries and churros. "We wanted to create something that felt more like a classic taqueria — casual, lively, and all about flavour," says Sotelo. "The cocktails at El Primo Sanchez have always been playful and fun, and we wanted the food to match that same energy. It's food made for groups, for late nights, for that moment when you want something easy, satisfying, and made to go hand-in-hand with a great drink." Speaking of drinks, the cocktail menu remains unchanged since it launched in late 2024. Developed by General Manager Eduardo Conde, a Mexico City local and the 2023 Diageo World Class Australian Bartender of the Year, big and bold flavours are still the focus. Highlights include the Viva la Vida, which delivers a mango-spiked riff on a Tommy's margarita, alongside tequila twists on espresso martinis, mezcal-driven negronis and boozy slushies. Head along to see how they pair with El Primo Sanchez's revamped food offering. El Primo Sanchez is open Wednesday from 5pm–11pm, Thursday from 5pm–12am and Friday–Saturday from 5pm–2am. Head to the website for more information.
Tucked away down a laneway, Allan Grammar is the bar and restaurant from the Henri Marc team born out of love for Penrith. With rich-green scalloped tiles, sage velvet booths and a concise menu, this elegant place is here to welcome in locals and blow-ins alike. Thursday to Sunday, from 5pm until late, intriguing little numbers are served up. On the menu, you'll find a plate of capocollo — the cured pork dressed up with the delight of spicy margarita compressed pineapple — alongside fiery skewered chicken enlivened with a herbaceous edge courtesy of a fresh shiso chimichurri. Simple classics are elevated, like the dish of broccolini, grilled quickly and topped with sugary plum and crème fraîche, or everyone's favourite: fries with house-fermented chilli sauce and oregano salt. There are fun twists on brasserie-style items — like a potato rosti with the sharpness of cheddar and a charcuterie aioli, or grilled pork belly with black garlic glaze. The sweet end of your meal could be heralded by a decadent chocolate parfait decked out with hazelnut soil and banana. In our opinion, you're best placed to take all the tricky choices out of your dining with the $80pp feed-me menu. It's Allan's Hour from 5–6pm from Thursday to Sunday, with $10 'cocktail minis' and a varied and very delicious snack menu — think $5 crumbed pork sandos, $4 oysters and mini serves of the capocollo. It's time you made a date to head to this laneway, sink into the green velvet booths and savour a delightful repast.
The producers of Serial and This American Life have teaming up on a brand new true crime podcast hitting the digital airwaves next month. Better yet, they're taking a page out of Netflix's book and dropping every single episode at the exact same time. Today. The non-fiction S-Town is set in rural Alabama and will investigate "the son of a wealthy family who's allegedly been bragging that he got away with murder. But then someone else ends up dead, sparking a nasty feud, a hunt for hidden treasure, and an unearthing of the mysteries of one man's life", according to the website. We're in. "This story takes so many unexpected turns," said This American Life presenter Ira Glass in a statement. "Every episode is a new surprise. And the story has this feeling and mood that's different from anything else we've done. I don't think people have heard a show like this." S-Town is one of three new podcasts being launched under the 'Serial Productions' banner. It will be hosted by long-time This American Life producer Brian Reed, and all seven episodes are available from the S-Town website. Image: Peabody Awards, CC.
The first day of the year, The Domain and Sydneysiders flocking to see live tunes: that's one helluva New Year's tradition. It's also what Field Day serves up every year, and will again to start off 2024. Leading the just-announced bill: RÜFÜS DU SOL and Central Cee. The 2023–24 crossover period will be busy for the Sydney fest's two headliners. They're both hitting the Harbour City on Monday, January 1 after also playing Victoria's Beyond The Valley over the Christmas break. On their New South Wales stop, they'll have G Flip and Genesis Owusu for company, plus Romy, Sub Focus, Ross From Friends, Claptone and COBRAH. Yes, it's going to be quite the massive party. For RÜFÜS DU SOL, this is a huge hometown gig. For British rapper Central Cee, everything from 'Doja' and 'Let Go' to 'Sprinter' and 'Obsessed with You' will get a whirl. Combining both local and international names again in 2024 — as was the standard pre-pandemic, and returned in 2023 after an all-Aussie lineup in 2022 — Field Day will also feature Destroy Lonely, LUUDE, Logic1000, Kinder, Dameeeela, Mell Hall and JessB as part of its packed roster. A triple j Unearthed winner is still to join the lineup as well. [caption id="attachment_811734" align="alignnone" width="1920"] Anna Warr[/caption] Over the years, Field Day has hosted the likes of Calvin Harris, Tyler, the Creator, Cardi B, Chance the Rapper, Childish Gambino and Disclosure. In 2023, Diplo, Denzel Curry, Kaytranada and Yung Lean did the honours. Tickets always prove popular for the NYD festival, with registrations for pre-sale — which kicks off from 1pm AEST on Monday, August 21 — open now. FIELD DAY 2024 LINEUP: RÜFÜS DU SOL Central Cee Cassian Claptone Cobrah Conducta Destroy Lonely G Flip Genesis Owusu Isoxo Knock2 Logic1000 Luude Mall Grab Notion Riton Romy Ross From Friends (DJ set) Sub Focus (DJ set and ID) Dameeeela Fukhed J-Milla Jessb Kinder Mell Hall Swim Willo Field Day will hit The Domain on Monday, January 1, 2024. Pre-sale registrations are available now until 2pm AEST on Sunday, August 20, with pre-sale tickets on offer from 1pm AEST on Monday, August 21 — and general sales from 12pm AEST on Thursday, August 24. Top image: Fifth Legend via Wikimedia Commons
A grim historical drama that recreates France's final instance of trial by combat, The Last Duel can't be described as fun. It hinges upon the rape of Marguerite (Jodie Comer, Free Guy), wife of knight Jean de Carrouges (Matt Damon, Ford v Ferrari), by his ex-friend Jacques Le Gris (Adam Driver, Annette) — aka the event that sparked the joust — so that term will obviously never apply. Instead, the movie is exquisite in its 14th-century period staging. After a slightly slow start, it's as involving and affecting as it is weighty and savage, too. When the titular battle takes place, it's ferocious and vivid. And with a #MeToo spirit, the film heartbreakingly hammers home how poorly women were regarded — the rape is considered a crime against Carrouges' property rather than against Marguerite herself — making it an expectedly sombre affair from start to finish. The Last Duel must've been fun to make from a creative standpoint, however. Damon sports a shocking mullet, and Ben Affleck (The Way Back) dons a ridiculous blonde mop while hamming up every scene he's in (and demanding that Driver drop his pants), although that isn't why. Again, the brutal events seen don't earn that term, but teasing out Marguerite, Carrouges and Le Gris' varying perspectives is fascinating. Director Ridley Scott (All the Money in the World) and his screenwriters — Good Will Hunting Oscar-winners Damon and Affleck, plus acclaimed filmmaker Nicole Holofcener (Enough Said) — have clearly seen Rashomon, the on-screen benchmark in using clashing viewpoints. In their "he said, he said, she said" tale, journeying in the iconic Japanese film's footsteps proves captivating. It must've been an enjoyable challenge for its cast, too, terrible hairstyles and all; as moments repeat, so much of the movie's potency stems from minuscule differences in tone, angle, emphasis and physicality. "The truth according to Jean de Carrouges" proclaims The Last Duel's first chapter, adapting Eric Jager's 2004 book of the same name in the process. (Le Gris and Marguerite's segments, following in that order, receive the same introduction.) Even in his own instalment, Damon plays Carrouges as a scowling and serious soldier, and as petulant and entitled. He's also a victim in his own head. That attitude only grows as Le Gris finds favour with Count Pierre d'Alençon (Affleck), cousin to teenage King Charles VI (Alex Lawther, The Translators), and starts collecting his debts — including Carrouges' own. And when the knight marries the beautiful and well-educated Marguerite, it's purely a transaction. It also deepens his acrimony towards Le Gris long before the rape, after land promised in the dowry ends up in his former pal's hands via the smarmy Pierre. Still, Carrouges is instantly willing to fight when he hears about the sexual assault. That said, it's also just another battle against Le Gris and the Count, after taking them to court and the King over their property squabble. In Le Gris' chapter, where Driver broods with an intensity that's fierce even for him, Carrouges' joylessness and pettiness is given even more flesh. Also explored here: the Count's hedonism, the ambition and greed driving the opportunistic Le Gris, and the fixation he develops with Marguerite. Scott ensures that the rape lands like the horror it is, too, leaving no doubt of its force and coercion despite Le Gris' claims otherwise. When Marguerite's turn comes, the words "the truth" linger for a few seconds longer; what follows is the most nuanced and best third of the film, with immense thanks to Holofcener and Comer. The Last Duel is often blunt movie, but there's a wealth of subtlety to this chapter — and a world of nuance in Marguerite's struggles in general and after her attack at Le Gris' hands. Holofcener doesn't rely upon big speeches, and Comer doesn't trade in big feelings. In fact, they're both economical and poignant, conveying exactly what they need to in as precise a way as possible. Both recognise that the situation, and all that Marguerite endures, is inherently abhorrent and distressing, and let those emotions radiate organically rather than with overstressed compulsion. The film's structure helps enormously, of course. After showing Carrouges glower and pout, and Le Gris pair charm with manipulation, The Last Duel makes its allegiance to Marguerite plain. That happens from the outset, actually, with the film knowingly arriving in a world where gender equality is still far from the status quo. That's why all those tiny tweaks over the three chapters couldn't be savvier or more engaging. Everyone is always the hero of their own story, but The Last Duel commits that idea to film by showing what it means in such horrendous circumstances — a life-and-death matter for Marguerite, Carrouges and Le Gris alike. This is a movie about power that examines how it manifests in broad, societal and overarching ways as well as on an everyday and intimate basis, all through its trio of perspectives. The Last Duel releases 44 years after Scott debuted with 1977's The Duellists. That nice bit of lexical symmetry is also a reminder that history and conflict have long been in his wheelhouse. As his second movie illustrated — that'd be Alien — he's similarly no stranger to tales of female survival in unforgiving conditions. Plus in Blade Runner, his third film, Scott showed his talent for getting contemplative via spectacular imagery. Both opening and closing The Last Duel, the eponymous joust is firmly a spectacle here. Visceral, exciting, tense and thrilling, it's shot and staged with rhythm, flair, grit, gore and an edge-of-your-seat level of anxiety. But this Gladiator-topping scene would ring empty if almost everything around it — not just within it — wasn't so piercing. Come for vain and selfish men brawling on horseback, stay for a compelling interrogation of the kind of world that sees them as its leaders while constantly casting women aside. Image: Patrick Redmond. © 2021 20th Century Studios. All Rights Reserved.
What do board shorts, obnoxiously colourful Hawaiian shirts, Reg Mombassa (of Mental As Anything fame) and surrealist art all have in common? They have all participated in the evolution of Mambo, one of Australia's iconic clothing brands. Famed for injecting humour and artistic expression into a surfing apparel industry more preoccupied with the branding of products than creating memorable designs. This year marks the 30th year of the Australian surf brand, which was dreamt up by Dare Jennings by the pool of a Redfern motel, over a slab of beer and some Jatz crackers. Not limited to clothing, Mambo has slapped their designs onto surfboards, posters and ads. Over the years the brand has churned out some pretty iconic designs. From the contentious Aussie Jesus at the football, to the oddly enduring farting dog – the designs have continued to shock and delight Aussie audiences throughout time. Dancing on the line between political incorrectness and social awareness, Mambo frequently used their designs to grapple with issues such as religious intolerance, racism and commercialism. In 1995, they protested French nuclear weapon testing in the Pacific with the 'Chirac' t-shirt, donating $40,000 of the profits to Greenpeace. In 1998, they released the 'redneck' design, to protest the racist tenets of the One Nation Party — with proceeds going to National Aboriginal and Islander State Development Association, an organisation that would have been threatened by a victorious One Nation Party. Celebrating this is the Mambo: 30 years of shelf-indulgence exhibition. Curated by T-shirt devotee Eddie Zammit, original art director Wayne Golding and the current owner of the brand, Angus Kingsmill, the exhibition will feature the largest collection of Mambo works to date, incorporating all the unique Australianisms that defines the brand.
J-horror devotees, rejoice: Australia's Japanese Film Festival is back for 2023, and it boasts a couple of highlights for lovers of scary cinema. If you're a fan of Japan's contribution to frightening flicks, then The Forbidden Play is your first must-see. Behind the lens is Hideo Nakata, the director of 1998's iconic Ringu, aka the movie that helped spark a global obsession (and the American spinoffs, too). This time, the filmmaker tells of a son wanting to bring his mother back to life, so much so that he keeps chanting a resurrection spell that awakens something evil. This year's JFF isn't just about unsettling titles, but it does also feature Immersion, which hails from Ju-On: The Grudge director Takashi Shimizu (who also helmed the first US remake starring Sarah Michelle Gellar). In his latest effort, he's playing with grudges again, as well as traditional Japanese superstitions, virtual reality and a secluded island — which is never a good setting for a horror film. That's the unnerving contingent for JFF 2023, which is focusing on films that explore connections between the past and the present when it tours the country across spring. Of course, it will also serve another function: letting audiences head to Japan from their cinema seats. Everyone has a favourite place in the world to visit. If you love travelling vicariously through movies when you can't do the real thing — in-between trips, or when your budget or just life in general doesn't have room for big holidays — then you likely have a favourite country-focused cinema event as well. JFF is one such event, surveying the latest and greatest in the nation's filmography. 2023 marks its 27th year, in fact, complete with a packed program. Among the delightful aspects of this film festival is its two-pronged approach in most cities, giving both recent and retrospective titles their own time to shine. One part of the event heroes latest releases, the other goes big on classics, and each has their own run of dates. You'll find that setup in Canberra, Brisbane, Melbourne and Sydney from September–November, with Perth the only location solely focusing on new movies. Officially opening the fest for 2023: We're Broke, My Lord!, a character-driven story about an unexpected inheritance from director Tetsu Maeda (And So the Baton Is Passed). From there, audiences can also look forward to the aforementioned to J-horror pictures; the animated Gold Kingdom and Water Kingdom; Citizen Kitano's tribute to actor, comedian and filmmaker Takeshi Kitano (Outrage Coda); and Yokaipedia, which is about three boys on a monster-filled quest. Fellow standouts include Yudo: The Way of the Bath, a comedy about bathhouse rituals; romance We Made a Beautiful Bouquet; Natchan's Little Secret, where three drag queens head to a funeral; and Single8, with director Kazuya Konaka's paying tribute to filmmaking before the digital era. And, in the special series — aka the fest's retrospective thread — post-war Japanese cinema figure Kо̄ Nakahira is in the spotlight. JFF will screen 1956's Juvenile Jungle and Milkman Frankie, 1957's Temptation, 1962's Danger's Where The Money Is!, and 1963's Mud Spattered Purity, as well as Flora on the Sand, Only on Mondays and The Hunter's Diary from 1964, plus 1965's The Black Gambler. JAPANESE FILM FESTIVAL 2023 DATES: Canberra: Special series: Saturday, September 30–Monday, October 2 at NFSA Latest releases: Wednesday, October 11–Sunday, October 15 at Palace Electric Perth: Latest releases: Monday, October 16–Sunday, October 22 at Palace Raine Square Brisbane: Special series: Friday, October 6–Sunday, October 8 and Wednesday, October 11 at QAGOMA Latest releases: Wednesday, October 18–Sunday, October 22 at Palace Barracks Melbourne: Latest releases: Monday, October 23–Sunday, October 29 at The Kino and Palace Balwyn Special series: Thursday, November 2–Sunday, November 5 at ACMI Sydney: Special series: Monday, October 23–Wednesday, October 25 at The Chauvel Latest releases: Thursday, October 26–Tuesday, October 31 at Palace Central, Palace Norton Street and Palace Verona The 2023 Japanese Film Festival tours Australia from September–November. For more information and to buy tickets, visit the festival website. Top images: ©2023 The Forbidden Play Film Partners, © 2023 IMMERSION Production Committee.
This epic, never-before-seen work asks one important question: how much of our true selves do we really share with the world? Created by Force Majeure in partnership with Dance Integrated Australia, it brings together artists with and without disability. And it's semi-autobiographical, sharing some of the performers' real life experiences on stage. Prepare to be moved, confronted, warmed and carried towards deeper empathy. The cracking cast includes contemporary dancers Marnie Palomares and Jana Castillo, actor Gerard O'Dwyer, actor and disability advocate Alex Jones and Auslan interpreter Neil Phipps. "Off The Record is such a unique work," says Jones. "It's about shaking the discomfort out of people's skin and learning how to really understand people with disability." "We've found five extraordinary, talented artists who are prepared to share deeply personal stories and to give a voice to things that are rarely discussed," says Force Majeure artistic director Danielle Micich. Off The Record is the second piece to have been commissioned under New Normal, Carriageworks' national arts and disability strategy, which is supported by the NSW Government. Another eight works, covering performance, music, dance and visual arts, will be developed over the next three years. In addition to the shows, an all-day masterclass will be held on Saturday, August 13. Open to artists and those who work within the arts, attendees will gain insights into the creative process that went into the work's creation. Image: Gregory Lorenzutti.
2019 will mark the last-ever edition of the beloved community event Newtown Festival, with organisers Newtown Neighbourhood Centre (NNC) pulling the plug on the festival after 40 years. According to a statement on NNC's website, the festival had grown too large over its final few iterations and is no longer financially viable for the not-for-profit to continue running. "Over the last 40 years, Newtown Festival has experienced significant growth, with many more businesses, sponsors and people attending the event. While this has been exciting to witness, this large-scale financial endeavour has eclipsed the resources, capabilities and purpose of NNC," the statement reads. "After years of careful consideration, which involved reviewing a number of possible funding scenarios and business cases, as well as community consultation, NNC's board has made the decision to discontinue the festival. The board did not come to this conclusion lightly and acknowledges how much the festival will be missed by residents, and NNC itself. We will instead participate in three key events led by Inner West Council to drive awareness of the services we provide." [caption id="attachment_746600" align="alignnone" width="1920"] James Simpson[/caption] From humble beginnings, the festival grew to the point where it hosted hundreds of stallholders and musicians in 2019, as well as more than 40,000 punters, boasting a lineup featuring The Delta Riggs, The Buoys and a Heaps Gay karaoke closet. Over the years, up-and-coming bands cut their teeth on the free festival's stage and beloved musicians brought crowds to Camperdown Memorial Park, with the likes of The Kid LAROI, All Our Exes Live in Texas, L-FRESH the Lion, Jinja Safari, Gordi, Palms and Nooky all performing over the years. NNC will continue to push for inclusivity and the arts within the Inner West, while the spirit of Newtown Festival won't be lost, with other community events like SummerFest, Marrickville Music Festival, St.Anmoré, Fair Day, Yabun and the Beer Footy and Food Festival all going strong. [caption id="attachment_746602" align="alignnone" width="1920"] James Simpson[/caption] Head to the Newtown Community Centre website for more information on the not-for-profit and to read the statement about Newtown Festival. Top image: Kirsten Muller.
We've all got that one friend whose media diet exists solely of documentaries. They're usually, to be honest, the most interesting of us all wielding their accumulated eccentric knowledge. However, documentaries and doco-style films have long become mainstream and the capitalist marketplace has heard our hungry cries for more. Introducing DocPlay, the new Netflix for docos. It's an Australian and New Zealand-based service that lets you stream documentaries directly. Their libraries are stuffed full of all the big names — Blackfish, Exit Through the Gift Shop, Advanced Style — complemented by some niche Aussie and international titles with a big emphasis on music. A premium member fee of $6.95 a month (or $69.95 a year) will grant you access to their ever-growing library. And if sign up to a free account, you'll get access to their rotating selection of docos. This week features Annie Leibovitz: Life Through A Lens, Academy Award winner The Cove, Ai Wewei: Never Sorry, and A Complete History Of My Sexual Failures amongst others. Not bad, not bad at all. If you don't want to cough up though, you can expect ads aplenty. It's still a pretty fresh service and can only get better with time. But anything that enables us to while away a Sunday watching back-to-back docos can only be good thing.
There’s an interesting trend in today's disaster movies. Yes, they all feature disaster, but less obvious (though almost always present) is the Estranged Family Subplot. If you don’t think you’ve seen it, you have, because just in recent years it’s been in Twister, 2012, The Day After Tomorrow, Deep Impact, Volcano, War of the Worlds, Independence Day and, now, San Andreas. What is it? A separated couple — usually with divorce papers freshly drafted — sees one of the pair now involved with a wealthier, more glamorous partner, while the other tries to reconnect with their angsty teenage child/children. Disaster then strikes, the new partner proves to be a vacuous douche who satisfyingly bites it and a series of deadly trials and tribulations ultimately brings the original family unit back into line. Point is: if you’re currently estranged from your ex but desire reconciliation, get yourself over to a tectonic hot-zone ASAP, because as they say: ‘nothing rekindles the flame better than literally everyone else around you dying in a horrible painful disaster’. As far as disaster movies go, San Andreas doesn’t break the mould; it just settles for breaking everything else per the catastrophe movie social contract. Our hero, a rescue helicopter pilot named Ray Gaines (Dwayne Johnson, aka ’The Rock’), is called into work after a giant earthquake lays waste to both San Francisco and his plans for a bonding weekend with his daughter Blake (True Detective's Alexandra Daddario). For the record, yes, Ray’s estranged wife (Carla Gugino) is also moving in with her wealthy new boyfriend (Ioan Gruffudd), and divorce papers have been dispatched. Estranged Family Subplot checklist: complete. Despite being a rescue pilot for the State, Ray opts to rescue only those people who feature in his family photo, meaning the bulk of the film involves him driving, boating or flying past hundreds of thousands of dying people in the hope of finding his own daughter. Disaster movies, of course, are all about the special effects, and in San Andreas they are genuinely spectacular, with giant quakes rippling through entire cities like waves beneath sawdust. Skyscrapers topple, boulevards buckle and a tsunami stares down the Golden Gate Bridge like it’s some sort of Godzilla. In what marks a major departure for the genre, scientists are again the ones who predict it all (chief amongst them, Paul Giamatti), but this time there’s no 'this is mankind’s own fault’ lecture. It’s pure and simple Mother Nature vs People, and Mama’s well pissed. San Andreas is a film where big muscles and big chests (both male and female) dominate the screen, which in the 3D format is almost comical at times. Performances are rarely noteworthy in disaster movies, but in this case Game of Thrones’s Art Parkinson deserves a mention as the romantic interest’s younger brother Ollie. Beyond that, though, San Andreas’s star is the disaster itself, and, thankfully, an earthquake can’t mutter incomprehensibly corny lines like its victims so often do. ‘Big, Dumb and Fun’ should almost be its own genre by now, and San Andreas is nothing but.
When Splendour in the Grass made a comeback in 2022 after two pandemic-affected years, it was hugely anticipated. Due to wet weather and flooding, however, the event's big return sadly turned into Splendour in the Mud — Splendour in the Pool, too. That didn't work out well for the festival's 20th birthday, but organisers are hoping its 21st will be better, locking in July dates for its 2023 run. Pop Friday, July 21–Sunday, July 23 in your calendar, and start searching for your gumboots now — while hopefully this year's fest won't be as boggy, sturdy footwear is always a Splendour must. As usual, the fest is returning to North Byron Bay Parklands for its latest big birthday party. If you're wondering who'll be on the bill, though, that hasn't yet been revealed. [caption id="attachment_891058" align="alignnone" width="1920"] Dave Kan[/caption] Pre-COVID-19, Splendour's lineups would start dropping between February and April, so expect further details soon. So far, the fest crew has advised that 2023's event will feature "the world's most prolific artists and national music treasures" if you want to start speculating. Splendour's confirmed 2023 dates arrive a week after the festival crew issued an apology for 2022's event, stating that "Splendour in the Grass 2022 was, without a doubt the most challenging and difficult year ever... it was not what any of us wanted". [caption id="attachment_891057" align="alignnone" width="1920"] Claudia Ciapocha[/caption] "While we can't control the weather, we can manage how we respond and for that we are deeply sorry. We thank all of you who took the time to complete our survey and share your experience at Splendour 2022," the festival team continued. "We want you to know we have listened to your feedback and we have acted from all that we learned. We continue to work furiously behind the scenes to make #SITG23 the sweetest, most comfortable and exciting music festival to date with the best experience possible for you, the local community and all who participate in the event." [caption id="attachment_891055" align="alignnone" width="1920"] Charlie Hardy[/caption] Ahead of the 2023 lineup announcement, Splendour Member applications are now open for guaranteed tickets in a dedicated presale. To qualify, you need to have purchased tickets and attended Splendour five times or more. And, if approved, you can buy up to four tickets. If that's you, you've got until 5pm AEDT on Friday, March 10 to register. [caption id="attachment_891054" align="alignnone" width="1920"] Ian Laidlaw[/caption] Splendour in the Grass will take over North Byron Bay Parklands from Friday, July 21–Sunday, July 23, 2023. We'll update you with the lineup details when they're announced. For more information in the interim, head to the festival website. Top image: Jess Gleeson.
Fancy stepping into the mind of iconic artist Salvador Dali? For a one-month period early next year, you'll simply need to head to Perth's Fringe World festival. Between January 18 and February 17, 2019, the annual event will play host to a world-first exhibition dedicated to the great surrealist master — complete with more than 200 of Dali's works on display. Timed to mark the 30th anniversary of the artist's passing and taking place over four levels, Dali Land will boast his drawings, sculptures, photography, films, installations, graphics and more as part of a program that both highlights his work and pays tribute to Dali in a broader sense. The virtual reality experience Dreams of Dali will also make the trip, taking viewers into the painting Archaeological Reminiscence of Millet's "Angelus" in an immersive piece that's usually on display at the Salvador Dali museum in Florida in the US. Other highlights include a second exhibition called Unconscious Contemporary, which showcases works from both early surrealist artists and their contemporary counterparts, as well as Dada Cinema, which'll screen surrealist films. The list of names featured across both is hefty, with Jean Cocteau, Andre Breton, Marcel Duchamp, Max Ernst, Man Ray, The Crow filmmaker Alex Proyas and photographer Thor Engelstad all included. A lineup of live events and performances will also tip their hat to Dali, such as a surrealist-themed ball, a gig by Lily Allen, theatrical show Dali After Dark by Briefs and degustations dubbed 'Dali Dinners'. And, there'll also be 'surreal cocktails' at the late-night rooftop salon bar — which sounds a bit like a case of attaching the word 'surreal' to everything in the exhibition, but in a space that'll also feature live music, magic, burlesque and comedy. Dali Land comes to Perth as part of Fringe World, exhibiting at the former Metro City site at 146 Roe Street, Northbridge from January 18–February 17, 2019. For more information, visit www.dali-land.com.
Donut Papi is no stranger to new and inventive flavours. The Sydney favourite has been creating doughnuts packed with flavours like pandan, matcha, milo and bittersweet calamansi since its pre-Redfern days as a mainstay at Sydney markets. Since opening a brick-and-mortar store, the doughnut haven has been able to push its creations into even more experimental territory. The latest new flavour combo from Donut Papi is a collaboration with Cointreau that's given your typical circular treat a boozy makeover. The limited-edition range includes two unique flavours — both centred around the humble margarita. The first is orange Cointreau margarita flavoured, which takes a plain doughnut and adds orange glazed icing, plus a pipette of Cointreau to inject into the doughnut. Flavour number two combines a ginger glaze with coconut flakes and its own pipette of Cointreau, of course. The easiest way to get your hands on these limited-time desserts is to head in-store to Donut Papi's Redfern Street home where you can pick up an individual margarita doughnut for $8 a pop or $63 for a nine-pack. While you're there you can also nab a signature pandan and coconut-glaze doughnut, a blueberry bear claw or a sticky cinnamon scroll. Donut Papi also delivers to postcodes within 15 kilometres of its Refern digs. You can check out the full list of postcodes the store delivers to at the FAQ page. The margarita doughnuts will be available until Saturday, September 10, meaning you can purchase a cheeky nine-pack of these boozy treats to bring along to any Father's Day celebrations you have lined up, or send some to the father figure in your life if they live in the inner-city or the Inner West. Donut Papi is located at 34A Redfern Street, Redfern. Its Cointreau margarita doughnuts are available until Saturday, September 10.
My Friend Dahmer isn't joking about its title. Exploring Jeffrey Dahmer's high school years during the 1970s, the film adapts the graphic novel of the same name, which was written by one of the serial killer's classmates and acquaintances. That said, based on the events depicted on-screen, it doesn't feel quite accurate to call John 'Derf' Backderf one of Dahmer's pals. Describing anyone as a friend of the teen who'll ultimately rape, murder and dismember 17 men doesn't feel quite right, for that matter, as the movie makes clear. "I like to pick up roadkill, but I'm trying to quit," Dahmer (Ross Lynch) tells one of his classmates. Every time the town doctor (Vincent Kartheiser) jogs past his house, he pays more attention than he should. In his garden shed at home, he likes to dissolve dead cats in acid. At school, when he's not keeping to himself, he's making odd noises and causing scenes in the hallways. It's the latter behaviour that piques the interest of aspiring artist Derf (Alex Wolff) and a few other students, inspiring them to form the 'Dahmer Fan Club' and to recruit its namesake as a member. The group encourages Dahmer's over-the-top performances, sneaks him into club yearbook photos as a prank, and even talks their way into meeting with the US Vice President. But behind the seeming camaraderie, Derf and the gang are still laughing at the new pal even when they're also laughing with him. Eventually they push the joke too far, before abandoning the guy they've been calling their mascot. There's nothing simple about Dahmer's adolescent years, as My Friend Dahmer shows. In addition to being repeatedly humiliated by the people he thinks are his friends, he struggles to cope with his sexuality, his mother's (Anne Heche) mental illness and his father's (Dallas Roberts) eventual absence. Still, there's something much too familiar about writer-director Marc Meyers' approach to this story. While the film doesn't ever try to justify or excuse the heinous deeds Dahmer would go on to commit not that much later in his life, it does draw a very short line between the treatment Dahmer is subjected to and his inner turmoil. The details might stem from reality, but the position the picture seems to take — that Dahmer was odd, but essentially an average guy until he was bullied — feels both superficial and uncomfortable, particularly given how often the same kind of sentiment is splashed across newspaper headlines to explain killings, attacks and mass shootings. Of course, watching a film about a notorious murderer's formative years shouldn't be an easy experience. Nor should empathising with a confused, tormented kid who'll go on to commit brutal crimes, including cannibalising some of his victims. The guilt and regret that the real-life Derf has obviously tussled with over the past four decades are infused into the movie, albeit in skin-deep fashion. Clumsy foreshadowing certainly doesn't help, especially since everyone knows how Dahmer's tale pans out. Whether it's someone remarking that Dahmer isn't going to bite, his mother declaring that their family eats their feelings, or an angry teacher furiously attempting to remove him from school photos, all these incidents just convey the obvious, showing absolutely no signs of depth. Segueing from Disney star to serial killer, a well-cast Lynch adds nuance where it's needed. Crucially, his performance pits Dahmer in the middle of two extremes — ostensibly normal but misunderstood and mistreated at one end, fated for horrific deeds at the other. In fact, the young actor captures a mood of ambiguity that the film around him can't completely master, offering up a portrayal that's never sympathetic but never filled with overt judgement either. Wolff is also impressive as Derf, although the character is sometimes painted in the same overly neat manner as much of the rest of the movie. Indeed, from a visual perspective, My Friend Dahmer looks like a picture-perfect portrait of '70s high school angst, as often laid out in wide shots that mimic Derf's graphic novel. But demonstrating that something darker lurks beneath the surface isn't as profound as the film seems to think. https://www.youtube.com/watch?v=LP4yqd90BT0
When TRANCE was added to Dark Mofo's 2023 lineup, it didn't just gift the festival a three-day theatre-meets-rave performance from Berlin-based Chinese artist Tianzhuo Chen. It did that, of course, but it also distilled the essence of the Tasmanian winter fest down into one must-see event. At this show, you don't just buy a ticket, take a seat and get 90 minutes of entertainment. Rather, you wander in and out, enjoying a true experience — and, in the ultimate act of fest surrender, you let yourself go along for the ride. That really is Dark Mofo in a nutshell. Each year, its June lineup features much that you need to plan ahead to attend; hot tickets sell out, and fast. But if there's ever been an arts festival that lends itself to seeing where the moment takes you, embracing the unexpected and revelling in the moment, it's this one. And, gloriously, that makes it a delight for last-minute planners. Haven't locked in your Dark Mofo schedule yet? We understand — and we're here to help. Now that the festival is underway until Thursday, June 22, the CP Team has put together a guide to our top picks for a stunning time if you're the kind of person who only decides what they're doing on the day. Obviously, TRANCE is on the list, but so are nine other standouts. [caption id="attachment_904503" align="alignnone" width="1920"] Image courtesy of the artist and Dark Mofo.[/caption] DEAFHEAVEN PERFORMING SUNBATHER Ten years ago, almost to the day, Sunbather changed metal music. Its transcendent mix of glistening guitars, hellish black metal vocals and impassioned drums were divisive at the time, but would go on to influence musicians both inside and beyond heavy metal spheres for the next decade. A festival exclusive, Deafheaven Performing Sunbather is a must-see for fans of any kind of rock music. The seasoned performers will be hitting the Odeon stage on Thursday, June 15 for an hour-long tour through their beloved album. You'll hear the epic first rising note of 'Dream House', then everything through to the grand fadeout of 'The Pecan Tree' — and you'll hear something astonishing. Ben Hansen, Junior Editor [caption id="attachment_886260" align="alignnone" width="1920"] Nicole Marianna Wytyczak[/caption] A DIVINE COMEDY If you're heading south to Dark Mofo's fortnight-long dedication to hedonism, you probably already know that you're in for all-day debauchery, boundary-pushing displays of creativity and a bloody great time. But if you haven't locked in your itinerary, A Divine Comedy is a stellar choice to add to your lineup. This two-hour Australian-exclusive movement piece comes from choreographer Florentina Holzinger, whose work is characterised by a fusion of dance, stunts and pushing her audience's comfort levels to the max. In this piece, we join Dante on her travels through "hell, purgatory and paradise". Through a red haze, an all-female-identifying cast brings to life the journey of horror, joy and everything in between — with motocross, hypnosis and plenty of bodily fluids thrown in, too. There are tickets available for Friday, June 16–Sunday, June 18, with the Sunday show Auslan interpreted for those with accessibility needs. Grace MacKenzie, Branded Content Manager [caption id="attachment_904505" align="alignnone" width="1920"] Image courtesy of the artist and Dark Mofo.[/caption] SILENT SYMPHONY Sound and vision. It's such a simple combination, and it hums at the heart of all festival experiences. We see. We listen. We're engaged, entertained and maybe even transformed — including (or perhaps especially) when we're in darkness, hearing kinetic light and sound instruments, all thanks to Silent Symphony by London-based arts collective United Visual Artists. Part of Dark Mofo's free program, and letting attendees drop in from 4–10pm Thursday, June 8–Sunday, June 11 and Wednesday, June 14–Thursday, June 15, this City Hall work has a clear purpose: to send its audience into the cosmos. Everything seen and heard is inspired by the belief that the universe has its own inaudible music, with UVA creating a piece that mimics planetary orbit. If stepping into a haze and being enveloped by what follows is your kind of release, prepare to be transported. Sarah Ward, Associate Editor SEX + DEATH DAYCLUB So many of Dark Mofo's events are scheduled in the evenings, but I'm keen to explore even more during the day. That's why the Sex + Death Dayclub is on my agenda. This nightclub is only open during the afternoon, and is hidden within the Mona museum itself, running from Friday, June 9–Monday, June 12 and again from Friday, June 16–Monday, June 19. Simply purchase entry into the museum and find the club at the IMPORT EXPORT lounge. Inside, you'll grab some drinks, hide (or dance) in some dark corners of the installation, and listen to DJs and live music chosen by Hobart-based artist Ben Salter. Either start your day here or kick on to this joint in the morning, after a big night out at some of Dark Mofo's other wild events. Andrew Zuccala, SEO Editor [caption id="attachment_904563" align="alignnone" width="1920"] Zuriaake, Grywnn via Wikimedia Commons[/caption] HYMNS TO THE DEAD I'm no longer in my moshing prime (in fact I'm years past it), but I still believe that thrashing in a circle pit is a pastime that's truly ageless. Putting the 'dark' in Dark Mofo is Hymns to the Dead — a black metal extravaganza featuring a triumvirate of acts traversing three continents for a night of metal carnage and axe-crunching musical brutality. On the lineup: Haunter from the USA, Zuriaake from China (yes there's a ripe metal scene in China worth investigating) and Dødheimsgard, the legendary Norwegian visionaries of the genre. If spiritual enlightenment is what you seek at Dark Mofo and extreme loud noise is your pathway to achieving it, you just might find the divine here. Suz Tucker, Editorial Director [caption id="attachment_898571" align="alignnone" width="1920"] Photo credit: Dark Mofo/Jesse Hunniford. Image courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] WINTER FEAST If you're in Hobart for Dark Mofo, a visit to the Winter Feast across Thursday, June 8–Sunday, June 11 and Thursday, June 15–Sunday, June 18 is a must. Arrive hungry and dive headfirst into 85-plus different culinary stallholders ranging from tender barbecue and local wines to sustainable cheeses and next-level s'mores. Chef's Table alum Ana Roš is flying in for the occasion to headline the food fest with a four-course exploration of Slovenian and Tasmanian eats. Some other choice suggestions for stallholders to hit up include Bruny Island Oysters (a must when in Tassie); Moo Brew, which has created a limited-edition Winter IPA; Formosa Bites, serving up chargrilled satay squid on a stick; Baked Snow, for deep-fried Taiwanese chicken or scallop sandwiches; and Eden Pantry, for a homely serving of apple pie and vanilla ice cream to round out your night. Ben Hansen, Junior Editor [caption id="attachment_904568" align="alignnone" width="1920"] Ogoh Ogoh: The Burning, Dark Mofo, 2022. Photo credit: Rémi Chauvin, 2022. Image courtesy of Dark Mofo 2022.[/caption] BLUE VELVET LOUNGE Didn't make it to Dark Mofo in time for the David Lynch-inspired masquerade ball, which kicked off the already weird and wild fest in the most fitting manner possible? Don't worry, there's more where that came from. You don't need to don a mask to hit the Blue Velvet Lounge, but you will be in a place most wonderful and strange. Here's hoping that cherry pie will be on the menu. Open nightly from Thursday, June 8–Sunday, June 11 and Wednesday, June 14–Sunday, June 18, and free to enter, this Dark Park spot is all about hanging out over tunes, performances, bites and beverages — Dark Mofo-style, of course, which means that anything can and will happen. It's also home to this year's ogoh-ogoh, the sculpture that invites attendees to write down their fears, which will be burnt at the end of this year's run. Sarah Ward, Associate Editor [caption id="attachment_897774" align="alignnone" width="1920"] Camille Blake. Image courtesy of the artist and Dark Mofo.[/caption] TRANCE Drop-in drop-out 12-hour performance TRANCE from Tianzhuo Chen plunges you into an immersive otherworldly space filled with cartoonish larger-than-life creatures. Here, from Thursday, June 8–Saturday, June 10, you'll find a group of multi-talented performers flexing their range of talents across the mammoth day-to-night show. Depending when you arrive, you might find yourself among a bassy DJ set, a crunk dance-off, a concert from a metal band or a ambient wave of electronic music. Whichever awaits, they'll be accompanied by the movement of the troupe, with the goal of making you truly connect with the moment and your experience, and — as the name says — putting you into a state of trance. Ben Hansen, Junior Editor [caption id="attachment_895366" align="alignnone" width="1920"] Courtesy of the artist and Dark Mofo.[/caption] TRENTEMØLLER If you're like me, aka a poor planner through and through, then you might not be organised to head down to Dark Mofo until the closing days of the festival. That's fine, because events like Trentemøller's Tasmanian stop are on the schedule to keep us latecomers occupied — I'll see you there. The Danish electronic music composer hits MAC2, a large waterfront space, on Sunday, June 18. And for this show, he's taking cues from an environment that has a lot in common with Dark Mofo: Scandinavia. Kicking off at 9pm, the concert will flit between a state of frenetic and the serene, fuelled by electronic shoegaze tunes. Will we feel a viking spirit? Fingers crossed. Alec Jones, Junior Writer [caption id="attachment_898330" align="alignnone" width="1920"] Photo credit: Dark Mofo/Jesse Hunniford. Image courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] NIGHT MASS: EXSTASIA You haven't done Dark Mofo right if you haven't added Night Mass: Exstasia to your itinerary. Here, you can let all of your worries fade away as the music captivates your senses. This must-attend event will take you on an intoxicating journey across genres, from techno and synth-pop to manic garage and baile funk, as you tear up the dance floor — and there's still tickets on offer for Friday, June 9 and Friday, June 16. Whichever evening you pick, expect a lineup of memorable tunes featuring influences around the world, and likely discovering your new favourite artists. And, of course, dancing well into the early hours of the next morning. Nishika Sharma, Editorial Assistant Dark Mofo 2023 runs from Thursday, June 8–Thursday, June 22 in Hobart, Tasmania, with tickets on sale now. Still looking for Dark Mofo inspiration? Check out our wholesome-to-hedonistic guide, which'll help you stack your festival itinerary based on the level of chaos you're after. Top image: TRANCE by Tianzhuo Chen | Dark Mofo 2023. Photo credit: Camille Blake. Image courtesy of the artist and Dark Mofo. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Water. It covers a whopping 71% of Earth and makes up roughly 60% of the human body. After three days, we'd perish without it. It's the universal, life-giving resource that our globe depends on. But as we speak, it's drying up. It's being overused, and due to poor sanitation and pollution, too many people around the world are without access to clean water. This precious resource is under serious threat. The UN estimates that two-thirds of the globe will face serious water shortages by 2025. However, in Australia it's all too easy for us to take water for granted. World Wildlife Fund (WWF) Australia CEO Dermont O'Gorman explains, "Australians understand water challenges due to the droughts and floods that affect our cities and rural communities alike, but might be missing how these challenges are interconnected to these very pressing geo-political issues as well." Photographer Mustafah Abdulaziz has witnessed the people and places already being seriously impacted. Camera in-hand, the 31-year-old documented the crisis across four continents to produce his latest exhibition, Water Stories: The Global Water Crisis in Images. Part of a larger project with the HSBC Water Programme, and in partnership with WWF, Earthwatch and WaterAid, the exhibition aims to approach the world water crisis via images of the people, landscapes and nature affected. "Water Stories shows how people in other countries deal with similar water challenges as us, but also with issues we are lucky enough not to have to face, like access to safe drinking water and sanitation," says O'Gorman. For the exhibition's Australian premiere, we spoke with Mustafah Abdulaziz to learn about five of the images whose stories have left a lasting impression on him. Here, we take you through the powerful scenes captured by Abdulaziz and the meaning behind these global snapshots. BENUE RIVER, NIGERIA. (2015) Sometimes, the significance of a photograph takes time to be revealed. As such, it requires moments of stillness to be fully understood. Captured back in 2015 on Nigeria's Benue River, a man strides across a shallow stream. Abdulaziz sees this shot as the culmination of his project, a simple image encompassing "the painful beauty of lacking". Nigeria's landscape speaks to feelings of absence. The terrain, a vague blur bleeding into the horizon. Consequently the lone figure in the image "is us, pushing through time and our environment, perhaps to get somewhere better or to escape from something worse," says Abdulaziz. Its a complex and provocative shot. Two forces meet, revealing "man and nature... together in this scene, beautiful and contrasting in scale between each other, but nevertheless entwined." CLAUDIO, PARAGUAY RIVER, MATO GROSSO, BRAZIL. (2015) Getting to the guts of a problem means getting your hands dirty. Sometimes, literally. During this shoot in Brazil's Mato Grosso along the Paraguay River, Abdulaziz studied the community of families living alongside this heavily polluted waterway. And for this image, the photographer had to follow the locals right into the depths of the dirty waters. The boy in question here is Claudio, one of the many village kids that swim and play in the murky canal, where initial pollution took place mere metres downstream — a testament to the proximity of the global water crisis to various communities. Portraits like this offer a window into the living, breathing humans implicated by this mess. Most of all, this photograph looks back at us, "staring up at the viewer, our faces and fate half in the water, surrounded by the reality we've manifested: a surface of dull, oily water we cannot escape from," explains Abdulaziz. CHILDREN JOURNEY TO COLLECT WATER, SINDH, PAKISTAN. (2013) It's hard to picture something you've never experienced. For us, running water, the ability to wash daily, drinking from the tap or from chic, minimalistic glass bottles, are all things we can so easily take for granted. For children in Sindh, Pakistan, however, water is the reason they miss school. Instead, they're forced to trek through the desert to find fresh water. These hours lashed by wind and heat are a daily ritual, one which struck Abdulaziz on a deeply personal level. Recalling William Golding's dystopian tale Lord of the Flies, this practice of water collection presented a humbling display of necessity and endurance. These children, like Golding's group of British schoolboys, are forced to fight for survival. Abdulaziz explains, "their personality, dreams and desires are irrelevant in the face of their greater need for water. This is the power that water holds over many." A FISH FARMER CUTS GRASS TO FEED CARP, HUBEI PROVINCE, CHINA. (2015) Undoubtedly one of the world's most vibrant countries, China, its spirit and its rich history are not so easy to capture. Bursting with over 1.3 billion residents, its a place difficult to keep still. However, Abdulaziz managed to do just that, and the result is a photograph that reads almost as an inconsequential moment — an arm covering the face of an anonymous man in an undisclosed location, hardly worth our attention. Such ambiguity is deliberate, Abdulaziz reveals. "I wished to photograph it all as though it was a silent film, where scenes of intensity or drama were muted." And the effect proves to jar and engage the observer. Void of clarity or explanation, the bewildered spectator is forced to decipher meaning and significance for themselves. Abdulaziz sees the image as "a moment between moments, meaningless in itself, but a reminder of something beautiful within the complexity of larger things." This stillness captured is nondescript, an everyday moment in time, but it also reminds how the water crisis is just that, an everyday status for many. DRIED RIVER BED, KANPUR, INDIA. (2014) Humans exist at the heart of the global water crisis. The factors at play vary, but one thing that remains constant is how we'll all be the ones to bear the consequences. The concern for life is fundamentally in question. During Abdulaziz's 2014 trip to Kanpur, this image was taken near the heavily polluted Ganges River, India's largest river and the world's fifth most polluted. What resulted proves to be an exercise in documentation and creative expression, delivered in equal measure. Abdulaziz explains, "there's something post-apocalyptic about the scene, where huge man-made structures rise up from a barren landscape and man himself, small in comparison, clusters together to repair a broken net." An image such as this leaves a mark. It inspired a new tact for Abdulaziz's photography, hoping to capture "a unifying perspective on the intertwining story of water and mankind." Notably for us, it demands conversation and, most of all, a drive towards change. Mustafah Abdulaziz's exhibition Water Stories: The Global Water Crisis in Images showed at Sydney's Royal Botanic Garden from Tuesday, August 15 to Tuesday, September 5. Now, the exhibition moves to Brisbane, opening on Friday, September 15. See Water Stories until Tuesday, September 26 on the South Bank Lower Boardwalk below the Clem Jones Promenade. The exhibition will be illuminated at night.
'Poison Tree' inspired by William Blake While many a great writer have been inspired by the clothes on our back, few have attested to the efficacy and functionality of our second skin with such style and grace as that most eminently quotable of authors, Mark Twain, who famously (and accurately) stated that: "Clothes make the man. Naked people have little or no influence on society." It seems however, that the shoe (if you'll excuse just one more clothing-related pun) is on the other foot as pioneering fashionistas The Affair have transformed their love and passion for literature into a unique and compelling range of men's T-shirts. From cult favourites to undisputed classics, from Macbeth to cyberpunk, and from Wilde to Animal Farm, these UK-based Australians have combined the language and imagery from the litany of literary greats with their own captivating designs to create an awesome range of clothing that is "fashioned by literature". The boys have just arrived back in Sydney for the Australian launch of The Affair, and in celebration Concrete Playground is offering you the chance to get your hands on one of three free T-shirts that not only is sure to turn heads but also evokes all the passion and beauty of the written word. To be in the running, subscribe to our newsletter (if you're not already) and then email hello@concreteplayground.com.au with your name and address. 'Mountains of Madness' inspired by H.P. Lovecraft and 'Crime and Punishment' inspired by Fyodor Dostoyevsky
Visiting Europe sadly isn't on Australians' agendas in the near future. Heading to New York to wander through The Metropolitan Museum of Art isn't at the moment either. But, for four months this year, a heap of European art masterpieces from The Met are making the journey to our shores — so you'll be able to feast your eyes on some of the greatest paintings ever committed to canvas at Brisbane's Gallery of Modern Art. From Friday, June 12–Sunday, October 17, 65 works that almost never leave The Met's galleries will grace GOMA's walls, in what'll be the venue's biggest-ever survey of the history of European art — and, it's a Brissie exclusive, too. If you're wondering why these paintings are so treasured, well, that's because they're by everyone from Monet, van Gogh and Vermeer to Renoir, Rembrandt and Degas. The list of artists featuring in the exhibition, which covers a whopping 500 years of European art and is fittingly called European Masterpieces from The Metropolitan Museum of Art, New York, just keeps going — with Rubens, Poussin, Gauguin, Raphael, Boucher and Velazquez all included as well. Also impressive: the different types of artworks that'll be on display, spanning everything from portraits and still-life pieces to landscape paintings and figure studies. From the full lineup, the earliest work will date back to 1445, courtesy of an altarpiece panel depicting the Crucifixion of Christ by the Florentine artist Fra Angelico. Also among the centuries-old highlights are Titian's Venus and Adonis from the 1550s, Caravaggio's The Musicians from 1597, Rembrandt's Flora from around 1654, and Vermeer's Allegory of the Catholic Faith. And, for works from the 19th-century impressionist and post-impressionist period, the likes of Monet, Renoir and van Gogh have things wrapped up — complete with Monet's 1919 piece Water Lilies. GOMA's program will also feature hands-on digital and analogue activities to accompany the masterworks, plus — as is always the case with its major exhibitions — a lineup of yet-to-be-announced Up Late events that'll let you check out these art wonders after dark and over a few drinks. [caption id="attachment_781830" align="alignnone" width="1920"] 'The Flowering Orchard' (1888) by Vincent van Gogh. The Mr and Mrs Henry Ittleson jr Purchase Fund 1956/56.13. Collection: The Metropolitan Museum of Art.[/caption] Top images: Water Lilies (1916-19) by Claude Monet. Gift of Louise Reinhardt Smith 1983/1983.532.; Still Life with Apples and Pears (1891-92) Bequest of Stephen C Clark 1960/61.101.3. Both collection of The Metropolitan Museum of Art.
As summer kicks off in Victoria, the Victorian music industry is gearing up for its biggest event for the year: ALWAYS LIVE. This festival celebrates the diversity of music in Victoria, with a mix of international headliners and local musicians alike taking to stages statewide from Friday, November 22, to Sunday, December 8. When the festival nears its conclusion on the final weekend, some of the most anticipated events will be taking place. One of those is Garage Band, or rather the culmination of Garage Band since it's a longer-term initiative running as a part of ALWAYS LIVE, coming together for a free concert at Bunjil Place and Federation Square on Saturday, December 7 and Sunday, December 8. Since its inception in 2021, the program has run yearly to find and elevate young musicians from across Victoria with professional coaching. The 2024 class of Garage Band includes 30 artists and bands, and as usual, every musician is between 16 and 21. The artists will refine their skills through workshops and mentorship during the festival. Ten artists will perform at Bunjil Place on Saturday, December 7, while twenty artists will be found on multiple stages in Fed Square on Sunday, December 8. With individual artists and after-school indie bands in equal amounts, it's the perfect chance to get up close with the next generation of Aussie musicians, and it's free, so really, there's no reason to miss it. Garage Band will take over Fed Square on Sunday, December 8. For more information, visit the ALWAYS LIVE website.
You will rue the day that you balded your Barbie's golden locks and 'dyed' the remaining tufts rainbow with highlighters. You will regret dismembering her in the imagined fire that plagued her doll house in the summer of '96. One day she'll be crawling her way up and out of the rubbish bin that you tossed her in a la The Ring’s Samara and seek the vengeance that is rightfully hers. Ew. But seriously, how creepy are dolls? The answer is very, and if you're like me, many a horror film has seen you stare with terror through fingers as a doll turns its head 360 degrees. Yep, Sydney's famous 100-year-old Doll Hospital is a horror writer's dream, and in Sean Izzard's case, a photographer’s inspiration. Izzard, who has been working as a professional photographer for 25 years, initially expected his series, entitled 'Doll House', to consist of portraits of the owner and staff. But once he’d stepped foot into the Bexley hospital, which recently celebrated its 100th year, he-was-never-the-same-again. Not really, but his approach to the photographic series certainly wasn’t. The dolls had the artist question whether they're alive or dead (dead, plz dead), because they aren't just inanimate: they are personified, clothed, the embodiment of their owner. But it’s all kinds of enchanting, really. Most of the images are portraits and seem to give each and every one of those (predominantly maimed) dolls a personality and a backstory. View the full Doll House series in the fourth issue of The Pool Collective app, out now. The Pool Collective app is a free quarterly publication created exclusively for the iPad featuring photography, short film, interviews, music and more. See more photos in the The Pool Collective app.
Josh and Julie Niland are proud pioneers. The pair's low-waste, often experimental approach to seafood — most notably the innovation of dry-aging fish — once raised eyebrows, but today, not only are these techniques a hit with Sydney diners, they've also earned the Nilands international acclaim and an impressive haul of awards, including three coveted Good Food Hats. Now, the pair are trailblazing once again, launching a boutique stay attached to a restaurant. The Grand National Hotel by Saint Peter will feature 14 luxury suites located above the dining space of the Niland's flagship fine diner, which moved last August from its original digs on Paddington's Oxford Street to Underwood Street, just around the corner. The former pub, which dates back to 1890, is entering its latest era as a multi-faceted hospitality destination following six years of renovations. During that time, an invitation to the Nilands from the pub's owner, George Penklis, to launch a new fine diner evolved into a bold plan to create a hotel-restaurant hybrid where top-of-class cuisine and plush accommodations go hand in glove. With input at every level from the Nilands, Studio Aquilo has designed the interiors to blend existing heritage features like marble fireplaces with vibrant, modern textures and luxe details. The rooms, featuring custom velvet headboards and Australian-made artworks including black and white sketches by Ken Done, also underline the Niland's low-impact, eco-minded philosophy with fish-fat candles, down duvets ethically sourced by Melbourne-based company Bonny and ceramics created using fish bones. The Nilands aim to offer a complete hospitality experience, with breakfast by the Saint Peter team, handmade chocolates, and a non-alcoholic minibar included with every booking. "When approaching the hotel, we paid as much attention to detail to the design and furnishing as we did with the restaurant. This is our first venture into being hoteliers, and we knew that we wanted to apply the same level of care to the rooms so that they weren't just an addition to Saint Peter but a destination in their own right," says Julie Niland. "We want the restaurant and the rooms to complement each other as much as possible.," comments Josh Niland. "Opening the hotel allows us the opportunity to fulfil our vision of hospitality beyond dining into a thoughtful 360-degree hotel experience, from handmade chocolates on your pillow to the breakfast cooked by our team." The Grand National Hotel by Saint Peter, located at 161 Underwood Street, Paddington, is set to open on January 31. Reservations are now open — go to the Grand National Hotel by Saint Peter website for more details. Images: Christopher Pearce
Surry Hills cafe Meet Mica is turning two this week, and it's celebrating with free coffee for all. This isn't your 'one-and-done' type offer, either — you can order three complimentary coffees at a time, and come back as many times as you'd like. It's all going down this Wednesday, July 17, from 7am–3pm. While pour overs aren't included, all other caffeinated and hot drinks are up for grabs — including any sizes, milks and add-ons. Flat white with macadamia milk? You got it. Double macchiato with mocha? Absolutely. Ginger latte or hot chocolate with soy? Those too. To keep the line moving, each person can order three at a time, but multiple visits and orders are allowed throughout the day. The freebie applies for dine-in, takeaway and advanced orders on the Heyyou app, too. And the coffee is courtesy of another Surry Hills favourite, Reuben Hills, so you know you're getting top-notch cuppas to boot. Whether you need to earn some brownie points at the office or its your shout with the mates, you've really lucked out this week.
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. BROS Buy this for a dollar: a history-making gay rom-com that's smart, sweet, self-aware and funny, and also deep knows the genre it slips into, including the heteronormative tropes and cliches that viewers have seen ad nauseam. Actually, Billy Eichner would clearly prefer that audiences purchase tickets for Bros for more that that sum of money, even if he spent five seasons offering it to New Yorkers in Billy on the Street while sprinting along the sidewalk and yelling about pop culture. Thinking about that comedy series comes with the territory here, however, and not just because Eichner brought it back to promote this very movie. Starring and co-written by the Parks and Recreation and The Lion King actor — with Forgetting Sarah Marshall and the Bad Neighbours franchise's Nicholas Stoller directing and co-scripting — Bros both presents and unpacks the public persona that helped make Billy on the Street such a hit: opinionated, forceful and wry, as well as acidic and cranky. No one person, be it the version of himself that Eichner plays in the series that helped push him to fame or the fictional character he brings to the screen in Bros — or, in-between, his struggling comedian and actor part in three-season sitcom Difficult People, too — is just those five traits, of course. One of Bros' strengths is how it examines why it's easy to lean into that personality, where the sheen of caustic irritability comes from, the neuroses it's covering up and what all that means when it comes to relationships. The movie does so knowingly as well. It's well aware that Eichner's fans are familiar with his on-screen type, and that even newcomers likely are also. Accordingly, when Bros begins, Eichner's in-film alter ego is shouting about pop culture and being adamant, grumpy and cutting about it. In fact, he's on a podcast, where he's relaying his failed attempt to pen a script for exactly the kind of flick he's in. A mainstream, studio-produced gay romantic comedy that starts out riffing on the difficulties of making a mainstream, studio-produced gay romantic comedy? Yes, that's Bros. ("Am I going to be in the middle of some high-speed chase and all of a sudden fall in love with Ice Cube?", Eichner asks as the feature's protagonist Bobby Lieber.) A film about a gay man known for a biting and droll disposition, starring a gay man similarly known for that type of biting and droll disposition? Yes, that's Bros as well. It's also a movie that makes fun of Hallmark rom-com schmaltz while featuring one of the US network's go-tos — that'd be Sense, Sensibility and Snowmen, A Shoe Addict's Christmas, Christmas in My Heart and The Mistletoe Promise's Luke Macfarlane — and a flick blasting Schitt's Creek some scorn while charting a comparable queer storyline. So, it's a feature that wears its obviousness and its contradictions in tandem, purposefully and proudly. Eichner's Bobby is 40, just received an LGBTQIA+-community Best Cis Male Gay Man award and has a dream gig setting up America's first national queer history museum. Rom-com logic, which Bros heartily subscribes to, means he has to discover his seeming opposite in a memorable way: a gay dance party where he complains to shirtless probate lawyer Aaron Shepard (Macfarlane) and finds sparks flying. How Stoller and Eichner handle this scene says plenty about the film, and the authentic view of gay romance, dating and sex it's committed to. Neither man — Grindr-swiping, emotionally unavailable, hardly content as they both are — is anything but himself. For Bobby, that means awkwardly flirting, getting furious when Aaron disappears mid-conversation, tracking him down and telling him about it, but also being non-committal and even angry for being attracted to him. For Aaron, it involves continuing to breeze around the party like nothing out of the ordinary has happened; "I'm supposed to fuck him and his husband later," he tells Bobby about two other buff, sweaty guys on the dancefloor as they're chatting. Read our full review. THE WOMAN KING Since 2016's Suicide Squad, the DC Extended Universe has tasked Viola Davis with corralling super-powered folks, including villains forced to do the state's bidding (as also seen in The Suicide Squad and Peacemaker) and regular world-saving superheroes (the just-released Black Adam). In The Woman King, however, she's more formidable, powerful and magnificent than any spandex-wearing character she's ever shared a frame with — or ever will in that comic-to-screen realm. Here, she plays the dedicated and determined General Nanisca, leader of the Agojie circa 1823. This is an "inspired by true events" tale, and the all-female warrior troupe was very much real, protecting the now-defunct west African kingdom of Dahomey during its existence in what's now modern-day Benin. Suddenly thinking about a different superhero domain and its own redoubtable women-only army, aka the Marvel Cinematic Universe's Dora Milaje in Wakanda? Yes, Black Panther took inspiration from the Agojie. If you're thinking about Wonder Woman's Amazons, too, the Agojie obviously pre-dates them as well. Links to two huge franchises in various fashions aren't anywhere near The Woman King's main attraction, of course. Davis and her fellow exceptional cast members, such as Lashana Lynch (No Time to Die), Thuso Mbedu and Sheila Atim (both co-stars in The Underground Railroad); The Old Guard filmmaker Gina Prince-Bythewood and her grand and kinetic direction, especially in fight scenes; stunningly detailed costumes and production design that's both vibrant and textured; a story that still boasts humour and heart: they all rank far higher among this feature's drawcards. So does the fact that this is a lavish historical epic in the Braveheart and Gladiator mould, but about ass-kicking Black women badged "the bloodiest bitches in Africa". Also, while serving up an empowering vision, The Woman King also openly grapples with many difficulties inherent in Dahomey's IRL history (albeit in a mass consumption-friendly, picking-and-choosing manner). It's under the cover of night that Nanisca and the stealthy, feline-quick Agojie first show The Woman King's audience exactly what they're capable of, as camped-out male slavers from the rival Oyo Empire are swiftly and brutally dispensed with during a mission to free abducted Dahomean women. From that vivid opening, the female-led The Woman King on- and off-screen lets viewers know what it, Davis, Prince-Bythewood and their collaborators are capable of, too. Potent, ferocious, mighty: they all fit. When it comes to the film's protagonist, she's fierceness personified, yet also always nuanced. In a role that'll likely garner her award nominations at the very least, to go along with past Oscar nods for Doubt, The Help and Ma Rainey's Black Bottom — and her win for Fences — Davis is tremendous in the part, in battle and otherwise, exuding world-weariness, raw strength, and the kind of resilience that's only forged by navigating deep horrors. After the film's initial rescue gambit, the Agojie are down in number. Abandoned to Dahomey's King Ghezo (John Boyega, Small Axe) because she won't marry men who beat her, headstrong Nawi (Mbedu) becomes a new recruit. As the teen trains to become permanently accepted among them, including by the resolute and mischievous Izogie (Lynch) and Amenza (Atim), Nanisca endeavours to bend the ruler's ear about future battles and policies. The Oyo will keep attacking, and keep trying to trade Dahomey's populace into slavery. A Portuguese-Brazilian aristocrat (Hero Fiennes Tiffin, After Ever Happy) knows that he can profit off the Dahomey-Oyo tensions, and gain slaves to hawk along the way. Also, Dahomey itself isn't above selling Africans into subservience themselves. Nanisca has other concerns, too: getting revenge over a heartbreaking chapter of her past, the pain and sacrifice she still bears as a result, and instilling the Agojie's brand of sisterhood in Nawi. 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, October 13 and October 20. 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, The Stranger, Halloween Ends, The Night of the 12th, Muru, Mona Lisa and the Blood Moon, Black Adam, Barbarian, Decision to Leave and The Good Nurse.
This article is part of our series on the 17 most unique things to have come out of Japan. Check out the other 16. It’s common knowledge that the fresher the sushi, the better it tastes. A restaurant in Tokyo by the name of Zauo takes this information to new extremes by giving diners the chance to catch their own dinner. Entering the restaurant, you’re handed a fishing line and rod and invited to sit in a 'boat', which is actually a series of tables cobbled together to look like a seaworthy vessel. It’s surrounded by a moat, filled with various fish species. You choose your victim and throw in your line. A successful baiting usually inspires a loud cheer from your fellow diners. The only catch? Whichever creature you lure is the one you have to eat; there’s no killing three or four fish before making your decision. The seafood is delivered to the kitchen, where it’s cooked according to your fancy — be that super fresh sashimi or grilled with salt or lemon, to bring out the natural flavours. If you're not up for a Rex Hunt Fishing Adventure, you can order straight from the menu instead, but the incentive of a cheaper lunch is pretty enticing. Zauo is so popular that it’s now opened in 14 branches around Japan, including in four locations in Tokyo. According to Vice, there are hopes to expand to San Francisco. Find Zauo's Shinjuku restaurant on the first floor of the Washington Hotel, 3-2-9 Nishishinjuku, Shinjuku, Tokyo. For other locations, check the website. Via Vice.
They're the masters of immersive thrills, such as smash-hit shipping container installations Seance, Coma and Flight. But, as we learned last year, not even the folks at Realscape Productions are immune to the realities of pandemic life. When they were locked down with the rest of Melbourne the first time around, they put their nerve-jangling real-life projects on hiatus — and teamed up with UK creators Darkfield on three brand-new audio experiences that fans could enjoy from the comfort of home. With Melbourne currently experiencing a case of stay-at-home deja vu, Realscape and Darkfield are bringing their trio of audio shows back — just for the duration of the current lockdown. Sick of looking at the TV and checking the exposure sites list? Already had your two hours of exercise for the day? Now you've got something else to put on your to-do list: getting creeped out just by listening. You can also nab a ticket if you're located elsewhere around the country. While Double, Visitors and Eternal are all designed to be delivered remotely, they're also geared to be every bit as eerie and unsettling as their IRL predecessors. With Double, for instance, you'll be plunged into an immersive experience that's meant to perplex the senses — this time, with the use of a 360-degree binaural sound that's played through your own headphones. Inspired by the Capgras delusion, a condition which sees a sufferer convinced that a loved one has been replaced by an imposter (sometimes an evil-intentioned one), it requires a two-person set-up, with players seated across a table from each other. The pair of you will then tune into a special 20-minute broadcast, at the exact time as hundreds of other players across the country. And there's just one rule to follow: everyone has to be who they say they are. Visitors uses the same sound setup, and is also designed for two people to listen to at once. It starts with another two folks as well: a dead couple who invite themselves into the your home. They're eager to escape their current state, even if only temporarily. "We didn't know where else to go," they'll tell you — and then you'll each hear two different sides of the story. Only Eternal is designed to be heard on your lonesome. It's inspired by Bram Stoker's Dracula, aka one of the best horror novels ever written (and certainly the best vampire novel), and you're meant to play it while you're alone in bed. Originally commissioned by Ireland's Bram Stoker Festival, the 20-minute-long experience explores the allure of living forever — and will get you pondering what you'd willingly do to avoid death. The uneasiness everyone feels when they hear something go bump in the night also plays a part, because that's just the kind of sensation the production aims to conjure up. At the time of writing, all three productions will be available to listen to until Thursday, June 3 — with lockdown currently set to end at 11.59pm that evening. And, if you want to make a night of it, you can get access to the trio with one $40 ticket. Double, Visitors and Eternal are available to listen to until Thursday, June 3. For more information and to buy tickets, head to the Darkfield website. Images: Alex Purcell
Childish Gambino (real name: Donald Glover) is no ordinary artist. The American do-it-all, who took his stage name from a Wu-Tang Clan name generator, has a stacked resumé which includes Golden Globe winner, Grammy winner and Star Wars character. It should be no surprise then that his live show is not your average stand-behind-a-microphone experience. Glover announced via Twitter this morning that he is bringing his concert experience PHAROS to New Zealand this year. Described as an immersive virtual reality, multi-sensory concert experience, the event will be held over three days from November 23–25 at an undisclosed location near Auckland Airport — Concrete Playground Auckland's calling the vines and rolling pastures of Villa Maria Estate. The festival was first held in Joshua Tree, California, where Glover debuted material from Awaken, My Love inside a VR dome with collaborators. Episodes of his award-winning series Atlanta screened inside an amphitheater and an "Illumination Forest" projected art from inside the dome. Mystery is a big part of the experience; the first edition saw attendees seal their phones in lock bags for the duration of the concert. Glover told Vanity Fair that PHAROS is "meant to be a communal space—a place that evolves and reacts to the culture". "We aren't tied to a format and that lets us adapt in a way that others can't. We're selling real intimacy. We protect the experience and it becomes something you genuinely share with the people around you and you take away something special. We're looking at expanding the world in 2018—there will be more artists involved." Tickets are on sale now via the PHAROS app. Source: Vanity Fair.
In the name of its protagonist, and the pain and fury that threatens to parch her 12-year-old existence, Del Kathryn Barton's first feature scorches and sears. It burns in its own moniker, too, and in the blistering alarm it sounds against an appalling status quo: that experiencing, witnessing and living with the aftermath of violence against women is all too common, heartbreakingly so, including in Australia where one woman a week on average is killed by her current or former partner. Blaze has a perfect title, with the two-time Archibald Prize-winning artist behind it crafting a movie that's alight with anger, that flares with sorrow, and that's so astutely and empathetically observed, styled and acted that it chars. Indeed, it's frequently hard to pick which aspect of the film singes more: the story about surviving what should be unknown horrors for a girl who isn't even yet a teen, the wondrously tactile and immersive way in which Blaze brings its namesake's inner world to the screen, or the stunning performance by young actor Julia Savage (Mr Inbetween) in its central part. Savage also has a fitting moniker, impeccably capturing how ferociously she takes on her starring role. Blaze, the Sydney schoolgirl that she plays, isn't always fierce. She's curious and imaginative, happy dwelling in her own dreamy universe long before she flees there after witnessing a rape and murder, and then frightened and fraying while also fuming. In how she's portrayed by Savage, and penned by Barton with co-screenwriter Huna Amweero (also a feature first-timer), she's intricately fleshed out, too, with every reaction she has to the assault proving instantly relatable — especially to anyone whose life has been touched by trauma. We don't all see dragons made out of fabric, felt, feathers, papier-mâché and glitter, helping us through times good and bad, but everyone can understand the feelings behind that dragon, which swelter like the creature's fiery breath. Game of Thrones or House of the Dragon, Blaze isn't — although Jake (Josh Lawson, Mortal Kombat), who Blaze spots in an alleyway with Hannah (Yael Stone, Blacklight), has his lawyer (Heather Mitchell, Bosch & Rockit) claim that his accuser knows nothing. With the attack occurring mere minutes into the movie, Barton dedicates the feature's bulk to how her lead character copes, or doesn't. Being questioned about what she saw in court is just one way that the world tries to reduce her to ashes, but the embers of her hurt and determination don't and won't die. Blaze's father Luke (Simon Baker, High Ground), a single parent, understandably worries about the impact of everything blasting his daughter's way. As she retreats then acts out, cycling between both and bobbing in-between, those fears are well-founded. Blaze is a coming-age-film — a robbing-of-innocence movie as well — but it's also a firm message that there's no easy or ideal response to something as awful as its titular figure observes. The pivotal sequence, lensed by cinematographer Jeremy Rouse (The Turning) and spliced together by editor Dany Cooper (The Drover's Wife The Legend of Molly Johnson) to be as jarring and unflinching for Blaze's audience as it is for Blaze, is nightmarish. Avoiding agony and anguish isn't Barton's way — and it can't be with this subject matter. While never as harrowing in the same manner again, Blaze is styled by its artist-turned-writer/director in the same expressive, impressionistic way from start to finish, so that watching its frames flicker feels like diving inside its lead character's heart and mind. That internal realm is a place where a pre-trial proceeding erupts into flames spat from Blaze herself, via a tiny white dragon figurine she places between her teeth. Unsurprisingly, that's a spectacular and gloriously cathartic sight. Barton isn't afraid of symbolism, but she's also allergic to emptiness; not a single image in her kaleidoscopic trip through her protagonist's imaginings is ever wasted. As set to a soundtrack that's soulfully moody and brooding as only Nick Cave can be one minute, then psychedelic and soaring with The Flaming Lips a short time afterwards, the contents of Blaze's brain and soul is where cogs turn — not literally, not once, but in processing everything that the pre-teen has seen and felt. It's where she glimpses a corpse turned mesh and material, then spies a tiny girl climb a ladder out of its mouth, in one of the movie's many mixed-media moments. It's where tiny kissing ceramic animal figurines morph into something more, fleshy tongues waggling, and where putting her feet in a sandbox transports her to the beach. And, it's where thoughts and emotions can better be distilled through surreal stop-motion animation and puppetry, and via that towering pink-hued dragon that any child would want as their pal and confidant, and with hallucinogenic collages that everyone who has seen Barton's other art will immediately recognise as springing from her head. If Barton took on Where the Wild Things Are, Pete's Dragon or A Monster Calls, all of which deal with sadness and tragedy through fantasy as well, it'd look like this — well, as a starting point. As brilliant and deeply affecting as all three of those films are, Blaze is always bolder and darker. It's more enraged, audacious, unsettling and astounding. It stresses that hardship is what shapes us but not what solely makes us, but it's a gut-punch rather than a heartstring-tug of a feature (by design; facts and figures about femicide are purposefully worked in). Barton emphasises that surviving is both a battle and a feat, that coping through art is a balm, and that seeing and speaking are pivotal acts. In other hands, though, Blaze might've resembled another recent feature that plunged into distress, and a headphone-wearing adolescent feeling it, that's also helmed by a big-name Aussie debuting as a director after coming to fame in a different medium. Thankfully, however, similarities with Sia's Music end are superficial. Big things deserve to await Savage, who never lets Blaze forget that it's about a living, breathing, hurting, loving person, and about the screaming, receding, dreaming, needing and steaming that characterises her response to such an ordeal. In support, Baker offers a sublimely judged mix of care, stress and uncertainty, playing a dad who knows he doesn't have all the answers, because no one can — and Stone, in her crucial and devastating part, is phenomenal. Big things have already come Barton's way in the art world, but they deserve to shower over her for this also, which comes after short films The Nightingale and the Rose and Red. Blaze is brutal and beautiful, blunt and labyrinthine, and a trip, a heartache, an escape and a release. When its namesake asks why she ends up temporarily institutionalised but Jake hasn't been, the movie makes one of its points as loudly as it can, but every inch of every frame already says everything.
A spectacular showcase of ballet arrives at West HQ's Sydney Coliseum Theatre this July with the debut of the Sydney International Ballet Gala. The performance will be a dazzling display of artistry, elegance and technical precision that promises to move ballet lovers and newbies alike. With a repertoire choreographed by some of the world's most acclaimed creatives, the powerhouse performance presents hundreds of years of ballet history on the one stage. You'll see excerpts from some of the greatest works of classical ballet, as well as highlights from the contemporary canon, performed by principal dancers and soloists from celebrated companies including The Australian Ballet, Royal New Zealand Ballet, San Francisco Ballet, Berlin State Ballet, Dutch National Ballet and more. The genuinely global company of dancers taking to the stage will include The Australian Ballet's Grace Carroll and Bryce Latham, Julian MacKay, Principal Dancer with the San Francisco Ballet and Mayu Tanigaito, Principal Dancer with the Royal New Zealand Ballet. The gala also features three world premieres and three Australian premieres, each created by internationally acclaimed choreographers. The Sydney International Ballet Gala is a celebration of dance taking place at the fantastic Sydney Coliseum Theatre, a state-of-the-art auditorium that is as aesthetically beautiful as it is technically brilliant. The 2000-person multi-mode theatre is the first of its kind in Greater Western Sydney and is a landmark cultural destination for the area. For more information on the Sydney International Ballet Gala and to book tickets, head to the website. Want to win your way in? We're giving away four tickets to the showcase and dinner at Chu Restaurant by China Doll — head to our competition page to enter.
"We don't lock them down, it will be too late." They're wise words when you're dealing with aliens — and xenomorphs at that — roaming the earth, as the just-dropped new trailer for Alien: Earth teases. That's a particularly pertinent sentiment when, as the last full sneak peek also made clear, there's more than just one type of extra-terrestrial to deal with. On streaming, you'll soon be able to hear humanity's screams in response, with this spinoff from the iconic Alien films promising "five different life forms from the darkest corners of the universe" wreaking havoc. Not once, not twice, but nine times now across 46 years, cinema audiences have stepped into the world of xenomorphs, facehuggers and chestbursters — and of cats onboard spaceships, androids resembling people and shouts not heard in the universe's vast expanse. When Ridley Scott (Gladiator II) directed the initial Alien film, he helped start a sci-fi phenomenon. 2025's Alien: Earth is a first, however, given that it's the franchise's debut TV series. One of the show's twists is right there in its title, with the pale blue dot that humanity calls home giving Alien: Earth its setting. All of those different critters is another fresh element to the series' setup. In the works for a few years now, executive produced by Scott and due to debut via Disney+ on Wednesday, August 13, 2025 Down Under, this is Noah Hawley's addition to the saga — and another of his projects, after Fargo, where he's expanding upon the realm of a beloved film on the small screen. Set in 2120, his Alien entry follows the fallout of deep-space research vessel USCSS Maginot crashing onto earth, then the discoveries made as a result by a crew of soldiers that includes human-robot hybrid Wendy (Sydney Chandler, Sugar). As it peers just under a century into the future, Alien: Earth sees its namesake planet under the control of five companies: Weyland-Yutani, of course, because this is the Alien franchise, plus Prodigy, Lynch, Dynamic and Threshold. It also witnesses a society where hybrids like Wendy — the first of her kind, with human consciousness inside a robot body — live side by side with humans, cyborgs and AI-driven synthetics. Hawley's cast not only includes Chandler, but also Fargo alums Timothy Olyphant (Havoc) and David Rysdahl (The Luckiest Man in America), plus Alex Lawther (Andor), Essie Davis (The Narrow Road to the Deep North), Adrian Edmondson (Kidnapped), Samuel Blenkin (Mickey 17), Babou Ceesay (Killer Heat), Lily Newmark (A Gentleman in Moscow) and more. Alien: Earth expands a saga that began with one of the best sci-fi/horror movies ever back in 1979, and has since spanned 1986's Aliens, 1992's Alien 3, 1997's Alien Resurrection, 2012's Prometheus, 2017's Alien: Covenant and 2024's Alien: Romulus — as well as the 2004 Alien vs Predator and 2007 Aliens vs Predator: Requiem crossover flicks with the Predator franchise. The Predator world is also expanding in 2025 courtesy of the already-released animated Predator: Killer of Killers and upcoming live-action Predator: Badlands, both directed by Dan Trachtenberg, who helmed 2022's excellent Prey. Check out the new trailer for Alien: Earth below: Alien: Earth starts streaming Down Under via Disney+ from Wednesday, August 13, 2025. Images: Patrick Brown/FX.
Every five years, Australia undertakes a national census to collect information about everyone in the country. It focuses on people, obviously. But a similar annual initiative takes a snapshot of the nation's birdlife — and, in the perfect event for a year that's seen us all literally spending plenty of time in our own backyards, you can take part. It's called the Aussie Backyard Bird Count, a descriptive moniker that tells you exactly what you'll be doing. From Monday, October 19–Sunday, October 25, all you need to do is head outside — into your yard, out on your street, at your local park, at the beach or wherever else you're likely to spy some birds — and spend 20 minutes counting all the winged creatures you can see. You'l need to note not only the number of birds, but also the types of each species. By spotting everything from magpies, rainbow lorikeets and kookaburras to whatever that bird is that sits outside your window and trills noisily to wake you up each morning (we've all been there), you'll be helping out BirdLife Australia, the country's largest bird conservation organisation. In its effort to stop bird extinctions and protect birdlife in general, the charity is committed to better understanding which flapping critters are found where throughout the nation. So, with that in mind, it has been running the Aussie Backyard Bird Count since 2014. To participate in the countrywide bird survey, you can either submit your count online via the event's website, or download the free Aussie Bird Count app and provide your data that way. BirdLife Australia asks that you only count birds that you can identify, rather than guessing what type of bird is fluttering around your yard — but both the website and the app include a field guide to help. [caption id="attachment_786211" align="aligncenter" width="1920"] Sydney Park Wetlands, City of Sydney[/caption] The Aussie Backyard Bird Count runs from Monday, October 19–Sunday, October 26. For more information, visit the event's website.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures and plenty of people staying home in iso will do that — that's no longer always the case. Maybe you've had a close-contact run-in. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are 14 that you can watch right now at home. 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 is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. C'MON C'MON The last time that Joaquin Phoenix appeared in cinemas, he played an overlooked and unheard man. "You don't listen, do you?" Arthur Fleck asked his social worker, and the entirety of Joker — and of Phoenix's magnetic Oscar-winning performance as the Batman foe in the 2019 film, too — provided the obvious answer. Returning to the big screen in a feature that couldn't be more different to his last, Phoenix now plays a professional listener. A radio journalist and podcaster who'd slide in seamlessly alongside Ira Glass on America's NPR, Johnny's niche is chatting with children. Travelling around the country from his New York base, C'mon C'mon's protagonist seeks thoughts about life, hopes, dreams, the future and the world in general, but never in a Kids Say the Darndest Things-type fashion. As Phoenix's sensitive, pensive gaze conveys under the tender guidance of Beginners and 20th Century Women filmmaker Mike Mills, Johnny truly and gratefully hears what his young interviewees utter. Phoenix is all gentle care, quiet understanding and rippling melancholy as Johnny. All naturalism and attentiveness as well, he's also firmly at his best, no matter what's inscribed on his Academy Award. Here, Phoenix is as phenomenal as he was in his career highlight to-date, aka the exceptional You Were Never Really Here, in a part that again has his character pushed out of his comfort zone by a child. C'mon C'mon's Johnny spends his days talking with kids, but that doesn't mean he's equipped to look after his nine-year-old nephew Jesse (Woody Norman, The War of the Worlds) in Los Angeles when his sister Viv (Gaby Hoffmann, Transparent) needs to assist her husband Paul (Scoot McNairy, A Quiet Place Part II) with his mental health. Johnny and Viv haven't spoken since their mother died a year earlier, and Johnny has previously overstepped when it comes to Paul — with the siblings' relationship so precarious that he barely knows Jesse — but volunteering to help is his immediate reflex. C'mon C'mon is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE BATMAN When The Batman begins (not to be confused with Batman Begins), it's with the slaying of a powerful Gotham figure. A shocking crime that scandalises the city, it leaves a traumatised boy behind, and couldn't be more influential in the detective-style tale of blood and vengeance that follows. But viewers haven't seen this story before, despite appearances. It isn't the start of pop culture's lonesome billionaire orphan's usual plight, although he's there, all dressed in black, and has an instant affinity for the sorrowful kid. Behold the first standout feat achieved by this excellent latest take on the Dark Knight (not to be confused with The Dark Knight): realising that no one needs to see Bruce Wayne's parents meet their end for what'd feel like the millionth time. The elder Waynes are still dead, and have been for two decades. Bruce (Robert Pattinson, Tenet) still festers with pain over their loss. And the prince of Gotham still turns vigilante by night, cleaning up the lawless streets one no-good punk at a time with only trusty butler Alfred Pennyworth (Andy Serkis, Long Shot) in on his secret. As directed by Dawn of the Planet of the Apes and War for the Planet of the Apes' Matt Reeves, and co-scripted with The Unforgivable's Peter Craig, The Batman clocks something crucial about its namesake and the audiences that watch him, however. The caped crusader's every move stems from his inescapable grief as always, but no one has to witness its origins yet again to glean why he's become the conflicted protector of his anarchic city. Instead, here he's overtly anguished, upset, broken, broiling with hurt and working his way through those feelings in each affray — a suave, smooth and slick one-percenter playboy in his downtime, he isn't — and it's a more absorbing version of the character than seen in many of the past Bat flicks that've fluttered through cinemas. The Batman is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. DRIVE MY CAR Inspired by Haruki Murakami's short story of the same name, Drive My Car's setup couldn't be simpler. Still recovering from a personal tragedy, actor and director Yusuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to helm a stage version of Chekhov's Uncle Vanya in Hiroshima — but the company behind it insists on giving him a chauffeur for the duration of his stay. He declines, yet they contend it is mandatory for insurance and liability reasons, so Misaki (Toko Miura, Spaghetti Code Love) becomes a regular part of his working stint in the city. Friendship springs, slowly and gradually, but Murakami's name is one of the first signs that this won't follow a standard road. The other: Japanese filmmaker Ryûsuke Hamaguchi, who makes layered, thoughtful and probing reflections upon connection, as seen in his other efforts Happy Hour, Asako I & II and Wheel of Fortune and Fantasy. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours, but it's a patient, engrossing and rewarding trip. It's a gorgeously shot and affectingly performed one, too, whether taking to the road, spending time with its central pair, or chronicling Yusuke's involving auditions and rehearsals. Another thing that Hamaguchi does disarmingly well: ponder possibilities and acceptance, two notions that echo through both Yusuke and Misaki's tales, and resonate with that always-winning combination of specificity and universality. Drive My Car is intimate and detailed about every element of its on-screen voyage and its character studies, and also a road map to soulful, relatable truths. Drive My Car is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. DOG Like pouring kibble into a bowl for a hungry pooch each morning, Dog is dutiful with the basics: a man, a mutt, an odd-couple arrangement between seeming opposites with more in common than the human among them first thinks, and an emotional journey. Turner & Hooch-esque comedic hijinks ensue along the way, naturally, although that Tom Hanks-starring 80s flick didn't involve anyone getting cock-blocked from having a threesome with two tantric sex gurus by its four-legged scamp. Given that Channing Tatum's (Free Guy) Jackson Briggs needs to take Belgian Malinois Lulu 1500 miles from Montana to Arizona by car — she won't fly — Dog is also a road-trip film, complete with episodic antics involving weed farmers and fancy hotels at its pitstops. That's all so standard that it may as well be cinema's best friend, but this flick also reckons with combat-induced post-traumatic stress disorder of both the human and animal kind, and ideas of masculinity and strength attached to military service. When Briggs is introduced by co-director Tatum and his fellow helmer/screenwriter Reid Carolin (who penned Magic Mike and Magic Mike XXL), he's working in fast food by necessity — think Breaking Bad's fate for Saul Goodman, with Tatum even channelling the same stoic demeanour — as he waits to get redeployed. All he wants is to head back on active duty, but his higher-ups need convincing after the brain injury he received on his last tour. Still, his direct superior (Luke Forbes, SWAT) throws him a bone: if Briggs escorts Lulu to their former squad member's funeral, after he drove himself into a tree at 120 miles per hour, he'll sign off on his re-enlistment. Lulu has also been changed by her service, so much so that this'll be her last hurrah. Afterwards, Briggs is to return her to the nearest base where she'll be euthanised; however, the bond that springs between the two throws a bone into that distressing plan. Dog is available to stream via Google Play, YouTube Movies and iTunes. Read our full review. BERGMAN ISLAND Each filmmaker walks in the shadows of all who came before them — and as the cinema's history lengthens, so will those penumbras. With Bergman Island, French director Mia Hansen-Løve doesn't merely ponder that idea; she makes it the foundation of her narrative, as well a launching pad for a playful and resonant look at love, work and creativity. Her central couple, both filmmakers, literally tread in the footsteps of the great Ingmar Bergman. Visiting Fårö, the island off Sweden's southeastern coast that he called home and his base, Chris (Vicky Krieps, Old) and Tony Sanders (Tim Roth, The Misfits) couldn't escape his imprint if they wanted to. They don't, of course, as they're searching for as much inspiration as they can find; however, the idea of being haunted by people and their creations soon spills over to Chris' work. These Fårö escapades only fill half of the movie, because Bergman Island also brings Chris' budding screenplay to life. There, fellow filmmaker Amy (Mia Wasikowska, Blackbird) visits an island, too — dancing to ABBA and crossing paths with her ex Joseph (The Worst Person in the World's Anders Danielsen Lie). That tumultuous relationship is as bedevilled by other art and the past as Chris' quest to put pen to paper. And, via the film-within-a-film concept, there's a sense of mirroring that couldn't spring any firmer from Bergman himself. That said, the end result is as savvy and soulful as anything on Hansen-Løve's resume (including the stellar Eden and Things to Come) — and, due to Krieps and Wasikowska, as exceptionally acted. Bergman Island is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. FLEE When Flee won the World Cinema Documentary Grand Jury Prize at the 2021 Sundance Film Festival, it collected its first accolade. The wrenchingly affecting animated documentary hasn't stopped notching up deserving acclaim since. A spate of other gongs have come its way, in fact, including a history-making trifecta of nominations for Best International Feature, Best Documentary and Best Animated Feature at this year's Oscars, becoming the first picture to ever earn nods in all three categories at once. Mere minutes into watching, it's easy to glean why this moving and compassionate movie keeps garnering awards and attention. Pairing animation with factual storytelling is still rare enough that it stands out, but that blend alone isn't what makes Flee special. Writer/director Jonas Poher Rasmussen (What He Did) has created one of the best instances of the combination yet — a feature that could only have the impact it does by spilling its contents in such a way, like Ari Folman's Waltz with Bashir before it — however, it's the tale he shares and the care with which he tells it that makes this something unshakeably exceptional. Rasmussen's subject is Amin Nawabi, an Afghan refugee using a pseudonym. As his story fills Flee's frames, it's also plain to see why it can only be told through animation. Indeed, the film doesn't cover an easy plight — or a unique one, sadly — but Rasmussen renders every detail not just with eye-catching imagery, but with visuals that flow with empathy at every moment. The filmmaker's protagonist is a friend of his and has been for decades, and yet no one, not even the director himself, had ever previously heard him step through the events that the movie chronicles. Amin is now in his 40s, but he was once a kid in war-torn Kabul, then a teenager seeking asylum in Copenhagen. His life to-date has cast him in other roles in other countries, too, on his journey to house-hunting with his boyfriend as he chats through the ups and downs for his pal. Flee is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. CYRANO Love can spring quickly, igniting sparks instantly. Or, it can build gradually and gracefully, including over a lifetime. It can be swift and bold like a lightning strike, too, or it can linger, evolve and swell like a gentle breeze. In the sumptuous confines of Cyrano, the newest period piece from Joe Wright (Pride & Prejudice, Atonement and Anna Karenina), all of the above happens. The latest adaptation of Edmond Rostand's 1897 play Cyrano de Bergerac, this time as a musical via playwright Erica Schmidt's own song-filled on-stage version, lends its attention to two men who've fallen for the plucky Roxanne (Haley Bennett, Hillbilly Elegy) in opposite ways. Charming soldier Christian de Neuvillette (Kelvin Harrison Jr, The Trial of the Chicago 7) gets the fast-and-infatuated experience, while the movie's namesake (Peter Dinklage, I Care a Lot), a poet also handy in battle, has ached for his childhood pal for as long as he can remember. Roxanne's two suitors make a chalk-and-cheese pair, with their contrasting approaches to matters of the heart — specifically, to winning her heart and helping ensure that she doesn't have to marry the rich and ruthless De Guiche (Ben Mendelsohn, The Outsider) to secure her future — driving much of Cyrano's drama. Also present and accounted for, as all takes on the tale have included (see also: 80s rom-com Roxanne with Steve Martin, the Gérard Depardieu-starring Cyrano de Bergerac, 90s rom-com The Truth About Cats & Dogs with Uma Thurman and Janeane Garofalo, plus recent Netflix teen flicks Sierra Burgess Is a Loser and The Half of It): insecurities about appearance, a way with words and a ghostwriting gambit. Short in stature given Dinklage's casting, Cyrano can't even dream that Roxanne could love him. But he wants her to be happy above all else and knows that she's smitten with Christian, so he secretly lends his romantic rival his letter-penning abilities to help woo her by lyrical prose. Cyrano is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. STUDIO 666 As the drummer for Nirvana and the frontman for Foo Fighters, Dave Grohl doesn't have many mixed bags on his resume. The music superstar has been in the spotlight for three-plus decades now, and boasts success after success to his name, complete with a list of awards and hits bound to make almost everyone else in the industry envious. But all their lives, Grohl and his fellow Foos must've dreamt of being horror movie stars — and the result, the pandemic-shot Studio 666, shouldn't entice any of them to quit their day jobs. A haunted-house horror-comedy, this rockstar lark is gonzo, gory and extremely goofy. It's a clear bit of fun for everyone involved, and it's made with overflowing love for the genre it slips into and parodies. But it's an indulgent and stretched exercise in famous folks following their whims at times like these, too. Achievement unlocked: there's Grohl's mixed bag. Studio 666's setup revolves around Grohl, now-late drummer Taylor Hawkins, guitarists Chris Shiflett and Pat Smear, bassist Nate Mendel and keyboardist Rami Jaffee packing their bags for a live-in recording session at an Encino mansion. As the movie's 1993-set prologue shows, their temporary new home has a dark past, after the last group that inhabited the spot met bloody ends; however, ignorance is bliss for the Foo Fighters. Actually, an obligation to deliver their tenth album to their overbearing manager (Jeff Garlin, Curb Your Enthusiasm) inspires the move, as does the band's creative lull in conjuring up the record otherwise. Grohl instantly falls for the sound of the space as well, to an unhinged degree, and his bandmates begrudgingly agree to the month-long stay to make musical magic happen. Recording an album doesn't usually spark The Evil Dead-style murderous mayhem, cursed book and all, but that's Studio 666's gambit. Studio 666 is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. UNCHARTED 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. 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. Uncharted is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MARRY ME Releasing a rom-com starring Jennifer Lopez and Owen Wilson in 2022 toys with time a little. Its source material doesn't date back 25 years, to when its stars were both in Anaconda, but its broad strokes could've still fuelled a late-90s addition to the romantic-comedy genre. That's how creaky it feels; of course, that timing would've meant spinning a story without livestreamed concerts — and livestreamed lives, outside of films such as The Truman Show and EdTV — but it also would've rid the movie of one of its biggest crutches. Directed by Kat Coiro (A Case of You), Marry Me finds it too easy to blame too many character choices on the always-online, always-performing, always-oversharing mentality that's now the status quo. It too lazily uses the divide between constantly broadcasting one's every move via social media and happily living life offline to fuel its opposites-attract setup as well. It's no wonder that the movie always feels shallow, even for an obvious fairytale, and even as the script attempts to layer in knowing nods to how women like its central pop star are treated by the world whether or not they record and share every moment they're awake. That singing celebrity is Kat Valdez, aka Lopez playing a part that could've easily been originally penned with her in mind. Kat is a global superstar who, to her dismay, is known as much for her hits as for her personal life. That said, she also willingly combines the two in the track 'Marry Me', a duet with her fiancé Bastian (Colombian singer Maluma) that the pair plan to get married to during a show livestreamed to 20 million people. But moments before Kat ascends to the on-stage altar, news that Bastian has been unfaithful spreads across the internet. Sick of being unlucky in love — and just as fed up with being publicly ridiculed for her romantic misfortunes — she picks out Owen's middle-school maths teacher Charlie Gilbert from the crowd and weds him instead. He's just holding a banner with the movie's title on it for his pal and fellow educator Parker Debbs (Sarah Silverman, Don't Look Up), and he's accompanied by his daughter Lou (Claudia Coleman, Gunpowder Milkshake), but he still says yes. Marry Me is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MISS MARX Daughter of Karl Marx, a socialist activist in her own right, a translator of Henrik Ibsen's The Wild Duck and Gustave Flaubert's Madame Bovary, and first seen in Miss Marx giving her father's eulogy in 1883, Eleanor Marx was many things — but she wasn't a fan of punk music. She simply couldn't have been, thanks to the gap between the timing of her life and the genre's arrival, with seven decades separating them. Still, that doesn't stop filmmaker Susanna Nicchiarelli (Nico, 1988) from soundtracking her biopic about the youngest Marx with rollicking punk tracks courtesy of current rockers by Downtown Boys, including a cover of Bruce Springsteen's 'Dancing in the Dark'. Such a decision is anachronistic in fact but not in spirit, Miss Marx contends, and it's a savvy observation. In much about her life — her willingness to break free of her father's and society's expectations, her anti-establishment activism, and her rejection of mainstream norms among them — Eleanor fits the tunes. If only Miss Marx moshed into cinemas with more than that smart idea layered over an otherwise by-the-numbers period drama — one that, despite its namesake's progressive quest for women's wrights, better working conditions for the masses and education across both genders, focuses on her ties to men, too. It boasts two particularly marvellous and playful scenes, one involving that punk soundtrack and an opium-fuelled dance by star Romola Garai (Suffragette) for the ages, the other toying with the dynamic between Eleanor and her paramour Edward Aveling (Patrick Kennedy, The Queen's Gambit), but a willingness to break the mould, thrash outside the lines and upset the status quo is rarely part of the movie. Eleanor's existence was defined by her dad since birth, of course. It was then linked to the already-married Edward when she decided to live with him as wife in all but the paperwork. But bringing her tale to the screen with such a focus feels not only much too straightforward, but also reductive. Miss Marx is available to stream via Google Play, YouTube Movies and Prime Video. Read our full review. WYRMWOOD: APOCALYPSE Add The Castle to the list of influences flavouring Australian zombie franchise Wyrmwood: here, as in the beloved homegrown comedy, it's the vibe of the thing. Starting with 2014's low-budget labour of love Wyrmwood: Road of the Dead and now continuing with Wyrmwood: Apocalypse, this bushland-set saga has atmosphere to spare. Free-flowing gore, a crash-and-bash urgency and a can-do attitude splatter across the screen in abundance, too. They're key factors in all movies about a dystopian future ravaged by the undead, but filmmaking siblings Kiah and Tristan Roache-Turner ask that mood and tone to do much of their series' heavy lifting. The Wyrmwood films blast away with affection for all of the zombie flicks that've preceded them, and all of the outback thrillers, Ozploitation fare and mad scientist-fuelled tales as well — and they couldn't be more blatant about it — but, even with that teeming passion and prominent energy, they still prove less than the sum of their evident sources of inspiration. Writer/director/editor Kiah and writer/producer Tristan stick with the most obvious protagonist the second time around: Rhys (Luke McKenzie, Wentworth), a special forces soldier who also happens to be the twin of a crucial figure from the prior film. He weathers dystopian life by holing up in a fenced-in compound where he uses a pen full of zombies to his advantage — aided by various contraptions, plenty of chains and shackles, plus blood-dripping carcasses as incentives — and by driving a Mad Max-style vehicle to round up undead test subjects for The Surgeon (Nicholas Boshier, The Moth Effect). In fact, after crossing paths with Tasia Zalar's (Streamline) Grace, he delivers her for military-approved experiments, but Shantae Barnes-Cowan's (Firebite) Maxi soon demands that he help set her free. Rhys has been operating under the assumption that The Surgeon and his armed pals had humanity's best interests in mind, despite all glaring appearances otherwise, a misguided belief that Maxi quickly vanquishes. Wyrmwood: Apocalypse is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BOOK OF LOVE In 2018's The Nightingale, Sam Claflin gave the performance of his career so far while playing thoroughly against type. As a British lieutenant in colonial-era Tasmania, he terrorised the film's female protagonist to a nerve-rattlingly distressing degree — and his work, just like the phenomenal feature he's in, isn't easy to watch. Book of Love, his latest movie, couldn't be more different; however, Claflin's portrayal could use even a sliver of the commitment he demonstrated four years back. The film around him could, too. Here, he plays a floundering novelist who doesn't want to do a very long list of things, so it makes sense that he takes to the part with a dissatisfied attitude that drips with not only unhappiness, but pouting petulance. He's meant to be one of this dire rom-com's romantic leads, however, and he constantly looks like he'd rather be doing anything else. Author of The Sensible Heart, Claflin's Henry Copper is instantly as dour as his book sounds. It too is a romance, but he's proud of its sexlessness — to the point of boasting about it to bored would-be readers who definitely don't make a purchase afterwards. He's also seen using his novel as a pick-up line early in the movie, and that goes just as badly. In fact, his whole career seems to be a shambles, and the prim-and-proper Brit can't understand why. But he's also surprised when he's told that his latest has become a bestseller in Mexico, and he's hardly thrilled about the whirlwind promotional tour his brassy agent (Lucy Punch, The Prince) swiftly books him on. Upon arrival, where his local translator Maria Rodríguez (My Heart Goes Boom!) doubles as his minder, he's visibly displeased about everything he's asked to do — more so when he discovers that she's taken the liberty to spice up his work. Sparks somehow fly between them, otherwise there wouldn't be a movie, but nothing can ignite this cliched slog for audiences. Book of Love is available to stream via iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows, or check out the movies that were fast-tracked to digital in January, February, March and April.
Throttle Roll is an annual celebration of all things custom motorbike culture. And apparently when you're rocking around the clock, time speeds by pretty fast, because it's that time again. In the best rockabilly getup they can muster, bike enthusiasts will head to The Vic in Enmore on Saturday, May 10, for Throttle Roll. And with a family- and pet-friendly vibe, this event is firmly on the cuddlier side of motorbike culture. It'll be kicking off first thing on Saturday for the riders, who can meet at 8.30am along Princess Highway, Tempe for a ride south to Stanwell Tops and back in time for The Vic's festivities at noon. With roots and rockabilly music provided by Pat Capocci, The Drey Rollan Band, Papa Pilko & The Bin Rats, The Tequila Twins, Big Blind Ray Trio and a handful more — and with more than 70 bikes on display — Throttle Roll is the largest festival of its kind in the country. Sunday will see the Australian film premiere of Why We Ride and the latest from Stories of Bike from 7pm, while the bikes stay on display all weekend. A spit roast will keep everyone's engines running high over the two days.
Getting out of bed on a chilly morning is no mean feat (and getting to work is a whole other challenge), so Mary's VX wants to give you a helping hand. For one week only — from Monday, June 16–Sunday, June 22 — they're hosting an all-day breakfast pop-up. You'll be feasting on a bunch of OTT, winter-friendly eats, made in collaboration with Coffee Supreme and Grumpy's Donuts. Start with a loaded brekkie sanga or burger. Or, if you need a sweet hit to get you going, go for a hotcake stack packed with bacon, fried chicken and honeycomb butter. Then, grab a coffee and doughnut (both for just $5) to take with you. If you're one of the first 50 visitors each day, yours will be free. The coffee is Supreme's signature blend, and they're also doing a Coffee Supreme Crunch with coffee icing and mocha crumbs. On Saturday and Sunday, when commuters can take their time, there'll be weekend-only specials. These include cinnamon doughnut french toast with soft serve ice cream, alongside cereal-inspired milkshakes (think Coco Pops, Fruit Loops and Milo) or bottomless mimosas and bloody marys. Images: Tom Wilkinson
Beach. Music. Movies. Bar. Ice-cream. If any of these appeal to you, Ben & Jerry's Openair Cinema in Bondi will tick all of your boxes. Yup, it's an openair cinema, with live music, a bar, nibbles, games, and, of course, ice-cream. Just bring a picnic blanket (or book a beanbag) and settle in for the night. Opening night is a screening of Wes Anderson's Moonrise Kingdom, with tunes on the night by Jack Carty. Australia Day is all about Mad Max, beer, and lamb burgers, whereas Valentine's Day is the perfect night for a Pretty Woman, or you can make The Impossible happen for closing night. Every Sunday (or, in ice-cream land, Sundae) there's live music sessions, some kind of games on the lawn, goodie bags (who doesn’t love a goodie bag?), and movie screenings. And with proceeds from the Sundae Session launch going to Mission Australia, you don't need to feel guilty about eating all of that ice-cream. Oh, and did we mention there’s ice-cream?
When Sydney Film Festival arrives each June to fill the Harbour City's cinemas with the latest and greatest movies, it does so mere weeks after its prestigious counterpart in Cannes. That's always excellent news for local film lovers, with plenty of the French fest's flicks making their way swiftly Down Under. And, it can make an impact with the Sydney Film Prize — Bong Joon-ho's Parasite scored both the Palme d'Or and SFF's gong in 2019, Lukas Dhont's Close earned the Grand Prix at Cannes and then Sydney's top accolade in 2022, and now Asmae El Moudir's The Mother of All Lies has collected the Un Certain Regard Best Director award and SFF's shiny Sydney Film Festival Prize trophy. Sydney Film Festival's 2023 jury, which featured director Anurag Kashyap (Gangs of Wasseypur), actor Mia Wasikowska (Blueback), writer/director Larissa Behrendt (You Can Go Now), filmmaker Visakesa Chandrasekaram (Earth), and film curator and journalist Dorothee Wenner, picked El Moudir's documentary as the best movie in this year's Official Competition. The Sydney Film Festival Prize winner was announced at SFF's closing-night festivities, before the Australian premiere of Indiana Jones and the Dial of Destiny, with The Mother of All Lies emerging victorious for its inventive exploration of Morocco's 1981 Bread Riots using doll-like figures. "Commending the courage of choosing a theme perhaps wilfully obliterated from public memory, appreciating the storytelling methods of playful yet calculated visual narration, the jury hails the winning film of SFF which fictionalises the interplay between facts and memories," announced Kashyap and company in a joint statement. "Juxtaposing evidence from barely existent public materials with private family memory, this film reconstructs the history of the state, the family and the individual in three distinct levels." In winning the Sydney Film Prize, The Mother of All Lies joins not only Close and Parasite, but fellow past winners There Is No Evil (2021), The Heiresses (2018), On Body and Soul (2017), Aquarius (2016), Arabian Nights (2015), Two Days, One Night (2014), Only God Forgives (2013), Alps (2012), A Separation (2011), Heartbeats (2010), Bronson (2009) and Hunger (2008). It's also just one of this year's Sydney Film Festival award recipients, with the fest also handing out annual prizes for Australian documentaries, films focused on sustainability and shorts. Marungka Tjalatjunu (Dipped in Black) won the $20,000 Documentary Australia Foundation Award for Australian Documentary, with the 24-minute-long film following Yankunytjatjara artist Derik Lynch on a road trip back to Country, and adding the accolade to its Silver Bear Jury Prize (Short Film) and Teddy Award for best queer short film at this year's Berlinale. Documentary jury members Christoffer Guldbrandsen (A Storm Foretold), Sascha Ettinger Epstein (The Pink House) and Laurrie Brannigan-Onato praised the film for being "an incredibly evocative, precise and raw film" that's "exploratory and playful in its form" and "tests the line of fact and fiction, and in turn unearths something that sits at the root of the human experience". "The film has a highly accomplished and distinct aesthetic that allows for a powerful contemplation of culture, Country, identity and belonging. Derik Lynch is utterly mesmerising in the way he shares his life experiences, on his country, and in his Yankunytjara language. This is a film that is both deeply affecting and matter of fact in its approach, and although it is short in its duration, the film is so concisely exacted, it only leaves you wanting more," they continued. The documentary jury also gave Kindred, a feature doco about two Indigenous Australian friends who were both adopted into white families, an honourable mention. With SFF's third-ever $10,000 Sustainable Future Award, Against the Tide from Indian filmmaker Sarvnik Kaur did the honours, while the jury also called out Rachel's Farm and Power to Country. "Savnik Kaur's beautiful film Against the Tide is an audacious documentary that spans six years. A thoughtful, nuanced documentary in which the director has clearly earned the deep trust of the subjects as they navigate a rapidly changing world," said the jury featuring Amanda Maple-Brown (June Again), Steven McGregor (Looky Looky Here Comes Cooky) and War on Waste presenter Craig Reucassel. "We appreciated the dedicated undertaking of showing the difficulties of traditional fishing practices in these communities as they are overrun by more modern, unsustainable, and illegal fishing practices, all in an effort to feed their own families and look forward to future films by this director." And, in the Dendy Short Film Awards, The Dancing Girl and the Balloon Man won Best Australian Live Action, and nabbed star Robyn Liu the Rising Talent Award. Teacups earned the Yoram Gross Animation Award for Best Australian Animation, while Linda 4 Eva's Sophie Somerville received the Rouben Mamoulian Award for Best Director. Also, the AFTRS Craft Award for Best Practitioner went to Kalu Oji, Faro Musodza and Makwaya Masudi, the screenwriters of What's in a Name?. The 2023 Sydney Film Festival ran from Wednesday, June 7–Sunday, June 18, with the festival screening four days of encores until Thursday, June 22.
The party people at Frankie's are looking to add some rock 'n' roll to your after-work routine. The venue's popular TNT Trivia is back in action, running every Tuesday from October 6. True to form, this will not be your average weeknight trivia. Expect hard rock-themed questions, a live band and some seriously cool prizes to boot. Those prizes are courtesy of music companies BMG and Maric Media, who will be shouting rare collectibles for hard rock music fans. Those include the 50th anniversary box set of Black Sabbath's 1970 album Paranoid and the 40th anniversary deluxe collectors box set of Motorhead's 1980 album Ace Of Spades. Alongside the music prizes, Newtown's Young Henrys will be offering up heaps of free beer, gift boxes, brewery tours and beer tastings at its inner west bar. New prizes will be on the docket each week, with trivia on each and every Tuesday from 8pm. Images: Katje Ford
For 13 years, Message Sticks has been bringing the best of Indigenous film to the Sydney Opera House. Now, buoyed by its successes — including premiering Warwick Thornton's much-lauded Samson and Delilah and winning Best Australian Film Festival at the IF Awards in 2009 — it's expanding to include an exciting array of music, talks, dance, storytelling and art. The fusion of contemporary arts practices gives festivalgoers a unique brush with Indigenous culture and traditions. Each day at dusk you can gather for Dancestry, which brings the ritual and communion of traditional corroboree into the present day with dance, song and ceremony. An Icons concert will unite the legendary Shane Howard, Neil Murray and Archie Roach on one stage, while Tri Nations brings together amazing female performers from three first nations, and Casey Donovan leads her band in a tribute to Mama Cass (from the Mamas and the Papas). On the talks front, you can see Gary Foley and Larissa Behrendt discuss the tent embassy, Margaret and David being Margaret and David as they talk about Indigenous cinema, and plenty more. But oh, the films. They're still there, grouped into two free blocks of weekend viewing, and with an emphasis on crosscultural stories of Indigenous plights. On Sunday, you can catch two features: Toomelah, Ivan Sen's story of mission life that made the grade at Cannes, and, out of Canada, Kanehsatake: 270 Years of Resistance, which shares the lessons of another Indigenous struggle, capturing a 78-day armed standoff between the Mohawks, the Quebec police and the Canadian army. On Saturday it's more an onslaught of shorts, including the likes of Nalingu (Yours and Mine), based on writer/director Billy McPherson's real experience picking up a hitchhiker with an eerie connection to his family, and The Russians Are Coming, the quirky story of how, for 10 days in 1820, a group of wayward Russian sailors and local Maoris became mates. The latest project from the Black Arm Band, dirtsong — a collaboration through music, language and image — will close the festival on Sunday, April 1. Image from Toomelah by Ivan Sen. https://youtube.com/watch?v=BNqJEsdZmJU
If you're a culture vulture that's looking to up the party at your next museum trip, listen up. Together with Vivid Sydney, the Australian Museum is answering your calls with Jurassic Lounge: Heroes. Once again, the Sydney venue's grand halls and hidden corners are being transformed into a stage set for thrilling live performances, disco dancing and after-dark antics. On Saturday, June 18, a stellar lineup of DJs, drag queens, dancers and dinosaurs await. Partygoers can boogie down to Soul of Sydney DJs or get their groove on with Sydney drag royalty at a silent disco. There'll be drop-in art classes with scientific illustrator Celia Curtis (where you'll get the chance to artistically discover nocturnal beasts) and the opportunity to get gory at the autopsy of a T-rex (from the talents at Improv Theatre Sydney). Gramophone Man will be joining his unique musicalities with The Space Cowboy's Mutant Barnyard (which is, yes, a curious collection of taxidermy animals including a two-headed calf) and critters from Deep Sea Astronauts will be roving the museum's halls. [caption id="attachment_856643" align="alignnone" width="1920"] Diabolique Photography[/caption] All that the Australian Museum asks is that you dress up as your hero. Whether that means your don a cape or a lab coat, grab Ash Barty's racket or a health worker's scrubs — pay tribute to the champion in your eyes and get yourself ready for a night of out-there excitement. Sip a cocktail mixed by the gin-lords at Archie Rose and enjoy entry to all permanent collections, too — the museum will be all yours for after-hours wandering. With face-painting, sideshows and the people-pleasing Jurassic World by Brickman, it's gearing up to be the party of the season. Still have a Discover NSW voucher handy? Head to the museum in person to redeem and grab your (free) ticket — then get ready to party on the Government's dime. Jurassic Lounge: Heroes will take place from 6.30–10pm on Saturday, June 18. For more information and to book tickets, head to the website. Please note, it's an 18+ event and all weapons (real or fake) are strictly prohibited. Top images: Sarah Wilson (first); Diabolique Photography
Maybe you loved her on Saturday Night Live. Perhaps you adore Parks and Recreation like it's a member of your family. Or, you could've watched and rewatched Baby Mama and Sisters over and over again — or binged your way through Making It, her competitive crafting show. However you became an Amy Poehler fan, 2021 is shaping up to be a great year. The talented comedian and actor is co-hosting the Golden Globes again with Tina Fey, Parks and Recreation has just hit Netflix and, come early March, Poehler's latest movie will also make its way to the streaming platform. That flick is called Moxie, and it both co-stars Poehler and marks her second stint as a feature filmmaker. It also heads back to high school — because popping up in Mean Girls, which Tina Fey wrote the screenplay for, clearly wasn't enough of a blast from the past. Poehler obviously isn't packing her school bag. Instead, she plays the mother to a teenager, Vivian (Hadley Robinson, I'm Thinking of Ending Things). The 16-year-old has always been quiet and studious, and tried to to avoid attracting any unwanted attention from her classmates. But, after finally realising that she's had enough of the toxic behaviour that runs rampant at her school, she takes a few cues from her mum's past, starts an underground zine and starts fighting for change. From the just-dropped first trailer, Moxie slides easily into the high-school genre; however, it also gives it a riot grrrl spin. Plus, as well as Poehler and Robinson, the film's cast includes Alycia Pascual-Peña (Saved By the Bell), Lauren Tsai (Legion), Patrick Schwarzenegger (Daniel Isn't Real), Josephine Langford (After We Collided), Clark Gregg (Agents of SHIELD), Ike Barinholtz (The Hunt) and Marcia Gay Harden (The Morning Show) — and it's based on the he novel by Jennifer Mathieu. Check out the trailer below: https://www.youtube.com/watch?v=Sf34qI1hjKU Moxie will be available to stream via Netflix from Wednesday, March 3. Top image: Colleen Hayes/Netflix © 2020
Over the past year or so, many Australians have been working from home either during lockdowns or in general, which means many of us are have been leaning on our bar carts a little more than usual. This has lead to a level of experimentation — whether that's ordering in cocktails, trying our hand at making our own fancy drinks or getting some fun wines delivered. Another way you can get creative: by ordering a bottle of Unico Zelo's yuzu vermouth. The tasty child of Adelaide Hills winery Unico Zelo and sister distillery Applewood, this third batch of untraditional (but ever-so-tasty) vermouth is made from a combination of Adelaide Hills merlot grapes, some native Australian botanicals (usually used to make Applewood's Okar bitter amaro) and yuzu from Mountain Yuzu — a 20-acre farm located in northeast Victoria, on the foothills of the Australian Alps. As you can see, its an all-Australian affair — unlike a lot of traditional vermouths, which are made in Italy and France. Eco-minded founders and winemakers Laura and Brendan Carter are committed to using native botanicals and sustainably produced grapes in their entire range of wines and spirits, aiming to create products that truly taste Aussie as. View this post on Instagram A post shared by Unico Zelo | Australian Wine (@unicozelo) As it's not a traditional sweet vermouth — it's really quite far from it — we forgive you for not knowing exactly how to drink it. But, thankfully, we've done some testing for you. On the rocks? Yep. Instead of sweet vermouth in a negroni? Do it. With a splash of soda? Definitely. If you want something a little fancier, the Unico team has a couple of cocktail suggestions for you. Try your hand at the Natty-Cano, a spin on an americano, but with pét-nat instead of soda water. To make it, mix 45-millilitres of Unico Yuzu, 15-millilitres of Økar Island Bitter (or Campari) and 120-millilitres of pét-nat in a highball glass and garnish with an orange twist. All of Unico's limited releases only available in very small batches, so if you want it, don't wait on it. Unico's Yuzu Vermouth is now available to purchase via the brand's website for $35 per bottle.
Before the pandemic, it was one of the annual highlights of Sydney's art calendar. If you don't live in the Harbour City, it has long been reason enough to book in a weekend spent walking around Bondi. And, in 2022, for the first time since 2019 — for obvious reasons — super-popular free outdoor exhibition Sculpture by the Sea is finally making a comeback. The dates to lock into your calendar: Friday, October 21–Monday, November 7. That's when Sculpture by the Sea will unveil more than 100 large-scale artworks by Australian and international sculptors, all along Sydney's two-kilometre Bondi to Tamarama coastal walk. While the full lineup of artists hasn't been revealed for 2022's event as yet, keen Sculpture by the Sea attendees can start looking forward to the return of a few exhibition favourites. On the lineup: Marina DeBris and Stephen King, recipients of the Helen Lempriere Scholarship; and Danish artist Naja Utzon Popov, the first person to nab the new $15,000 Friendship Society of Denmark, Australia and New Zealand Danish Artist Award. [caption id="attachment_860366" align="alignnone" width="1920"] Katja Grinling[/caption] 2022 will mark the exhibition's 24th year and, as always, it's set to draw a crowd. In 2019, Sculpture by the Sea attracted approximately 450,000 visitors over three weeks, with the same number of art lovers expected this time around. "It is great to be planning to stage the exhibition without the spectre of almost certain cancellation hanging over our heads," said David Handley, Sculpture by the Sea's founding CEO and Artistic Director. "The excitement is building as the artists, our staff and everyone who supports us financially believe the exhibition will go ahead." Indeed, the event's return won't just unleash a heap of eye-catching sights upon Sydney, and give locals and tourists alike an excuse to soak in the scenery as well — it'll cap off an understandably tumultuous few years for the exhibition. Sculpture by the Sea tried to make a comeback in October 2021, but had to scrap those plans due to the pandemic, marking the second year it went through that process. In 2020, the event initially planned to go ahead as normal in October, then aimed for an early 2021 berth. It did successfully stage a CBD spinoff, Sculpture Rocks, in autumn 2021, however. [caption id="attachment_860364" align="alignnone" width="1920"] David Jensz[/caption] That said, even before the current global health situation interrupted its annual plans, it had been already been an eventful period for Sculpture by the Sea. To rewind a little, in mid-2019, organisers were at loggerheads with the Council over the construction of a new path, and were scoping out alternative locations for the long-running art exhibition. In fact, it was only early in 2021 that the parties came to an agreement to remain in Bondi until 2030, with the organisers and Council agreeing to a ten-year deal. Amid all of the above, the Sculpture by the Sea team also branched out this year, opening the Snowy Valleys Sculpture Trail. It's a permanent 100-kilometre collection of outdoor art along the Snowy Valleys Way, passing through the towns of Adelong, Batlow and Tumbarumba, the hamlet of Tooma, plus the Tumbarumba wine region's cellar doors. So, as well as checking out what dazzling delights this year's array of sculptures in Bondi has to offer come spring, you can add even more huge art to your must-see list — and your travel list, too — in the Snowies whenever you like. [caption id="attachment_860363" align="alignnone" width="1920"] Danai Kotsaki[/caption] Sculpture by the Sea is will return to the Bondi–Tamarama coastal walk from Friday, October 21–Monday, November 7. For more information, head to sculpturebythesea.com. Images: Henrique Fanti / Clyde Yee / Charlotte Curd.
UPDATE, APRIL 4: Due to concerns around the coronavirus, Disney has announced that Jungle Cruise will no longer release on its initially scheduled date of Thursday, July 23, 2020, with the film now hitting cinemas on July 29, 2021. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. When Disney isn't turning its beloved movie franchises into new theme park zones, as it's currently doing with both Star Wars and Marvel, the enormous entertainment company has been known to take the opposite approach. Plenty of its rides and attractions have inspired films, such as the entire Pirates of the Caribbean series, as well as Tomorrowland, The Haunted Mansion, The Country Bears and Mission to Mars. Now, Jungle Cruise is the latest to join the fold. As the Mouse House did with Pirates, it has enlisted some serious star power, with Emily Blunt and Dwayne Johnson taking the watery journey in the first movie based on Disney's popular river boat ride. She plays an explorer and scientist on a mission, while he captains the vessel she hires to transport her along the Amazon River. From there, as seen in the just-dropped first trailer, it seems that typical action-adventure hijinks ensue. The film's initial sneak peek also sets up a vibe that's part The Mummy, part Indiana Jones, part every other flick about someone scrambling through vast landscapes searching for something precious — in this case, a tree in the Amazon that possesses unparalleled healing powers. When Jungle Cruise floats into cinemas, it'll also feature Edgar Ramirez, Jack Whitehall, Jesse Plemons and Paul Giamatti. Behind the camera, Jaume Collet-Serra is in the director's chair, marking a change of pace after the Liam Neeson-starring Unknown, Non-Stop, Run All Night and The Commuter (and Blake Lively shark flick The Shallows, too). Script-wise, the film is penned by Bad Santa writers (and Crazy, Stupid, Love. filmmakers) Glenn Ficarra and John Requa, as well as Logan, Alien: Covenant, Blade Runner 2049 and Murder on the Orient Express' Michael Green. Check out the trailer below: https://www.youtube.com/watch?v=ydnzilTiBcY After being delayed from its original release date of July 23, 2020, Jungle Cruise will now open in Australian cinemas on July 29, 2021.
It's that time of year again — the City of Sydney is putting 1000 trees up for grabs. For free. Over 12,000 trees have been planted since 2005, with the inner city area home to over 44,000 trees across its streets, parks and city properties. The City of Sydney is inviting locals down to Sydney Park this Saturday, April 7 as a way to encourage residents to help reach the government target to increase the urban canopy by 50 percent by 2030. There will be small species like hibiscus right through to 15-metre-tall jacaranda trees, and food-bearing types like lemon, lime and pistachio trees. Enjoy a sausage sizzle while you peruse the freebies, chat to clued-up staff and choose which ones to adopt. To prep, check out the website for the tree species that will be available on the day, along with caring instructions. If you're an inner city slicker and don't have a backyard, no wukkas — balcony horticulturists can use this tip sheet for growing trees in pots.
