When you've already mined the funny side of Irish law enforcement and contemplated the impact of religion, what comes next? If you're John Michael McDonagh, director of The Guard, Calvary and now War on Everyone, you take aim at crooked cops in the United States. Specifically, you focus your third feature on a duo who enjoy their rule-breaking ways, venture into bigger, badder territory than they're used to, and subsequently — surprisingly — start to feel a little conflicted about it. Terry Monroe (Alexander Skarsgard) and Bob Bolano (Michael Pena) are the pair in question: one quick to violence and happily single, the other somewhat contemplative and married with kids. They both like each other, cracking wise, the corrupt niche they've carved out for themselves, and little else ("you can shoot people for no reason," Terry explains when asked why he joined the force). First introduced running down a cocaine-dealing mime, they're soon trying to shake off scrutiny from their boss (Paul Reiser) while attempting to steal cash from a new group of criminals. Alas, as they beat and blackmail their way around Albuquerque — and to Iceland and back as well — their plan unwittingly places them in the path of a far-from-forgiving British aristocrat turned kingpin (Theo James). Spouting dialogue that eagerly, indiscriminately insults any group you can think of, Terry and Bob's war really is on everyone — including, in an extension of their self-destructive ways, themselves. Cue a film that combines irreverent misanthropy, a raft of cop clichés, and a partial journey of self-discovery. Thanks to McDonagh's dripping satire and cynicism, plenty of laughs spring from their antics, but the end result remains hit-and-miss. Think Starsky and Hutch remade for the post-True Detective age, complete with the back-and-forth banter and philosophising the blend suggests, and a dash of awkwardness too. When War on Everyone is good, though, it's very good. It's strikingly shot, energetically paced and extraordinarily well cast as far as its leads are concerned. Indeed, while co-stars such as Caleb Landry Jones and Tessa Thompson are asked to either rely upon caricature or given too little to work with, Skarsgard and Pena enliven every scene they're in, and even make their unsympathetic-on-paper characters somehow likeable. Viewed simply as a collection of buddy cop scenes written and directed by someone who has obviously watched a sizeable serving of '70s American cinema, and starring two actors with a clear feel for the material and a rapport with each other, War on Everyone entertains more often than it doesn't. Where the film struggles, however, is in piecing together anything substantial or cohesive beyond its stylish sights, spiky lines and impressive leads. At times, it plays like the kind of wannabe Quentin Tarantino flick that might have dropped in the mid-'90s. Fun, funny, but nothing to write home about.
Already home to the annual Midsumma Festival and Pride March, and soon to welcome Australia's First Pride Centre, Melbourne could also host a huge one-off pride celebration in 2021. If Victoria's Labor government is re-elected next weekend, it has pledged to host an event on par with pride celebrations in London, New York and Berlin. Dubbed Melbourne Pride 2021, the festival would take place on and around Fitzroy's Smith Street and Gertrude Street — with the area's pubs, bars and restaurants all involved in a street party held both indoors and outdoors. To be organised by tourism body Visit Victoria in consultation with LGBTQIA+ community leaders, just what else the festival will entail is yet to be revealed — although the timing is designed to mark 40 years since Victoria's state parliament decriminalised homosexuality. "By backing Melbourne's very own pride event, we're sending a clear message: here in Victoria, equality is not negotiable," said Victorian Premiere Daniel Andrews. Regional Victoria could also be set to host more LGBTQIA+ festivities, with $200,000 in funding also promised for rural pride events. Image: Midsumma Carnival, Jackson Grant.
It's Australia's annual slice of Italian cinema, and it's back for 2018 in its usual jam-packed fashion. That'd be the Italian Film Festival, which not only returns for its 19th year, but does so with a hefty touring lineup of 37 features and two short films, including 33 Australian premieres. Bookending the festival are two movies that couldn't be more timely, one delving into a media tycoon who becomes a world leader (no, not that one), and the other a stone cold horror classic that has just been remade by one of today's best Italian filmmakers. Exploring the scandals surrounding former Italian Prime Minister Silvio Berlusconi, Loro kicks off this year's fest with an epic, nearly two-and-a-half hour drama from The Great Beauty and The Young Pope's Paolo Sorrentino. Then, at the other end of the event comes Dario Argento's original 1977 giallo masterpiece Suspiria — just weeks before the new Tilda Swinton and Dakota Johnson-starring version from Call Me By Your Name's Luca Guadagnino hits cinemas. Elsewhere, IFF also boasts three of the biggest Italian flicks doing the rounds of this year's international festival circuit, courtesy of Dogman, Happy as Lazzaro and Daughter of Mine. A diverse trio from a diverse range of Italian talents, the first sees Gomorrah's Matteo Garrone spin a story about a criminal who loves dogs (winning this year's Palm Dog Award at Cannes for its canine cast), the second unravels a time-bending fable from The Wonders' Alice Rohrwacher, and the third offers a devastating look at two mothers and the daughter they share courtesy of Sworn Virgin's Laura Bispuri. Other highlights range across the entire spectrum of Italian offerings — think comedies based on off-Broadway plays, such as My Big Gay Italian Wedding; underworld dramas like Boys Cry; and an amusing mystery about an inspector investigating the death of a local prosecco wine maker, as aptly called The Last Prosecco. Or, there's also detective thriller The Girl in the Fog, based on the best-selling novel and starring Italian veteran (and Loro actor) Toni Servillo; plus Italian box-office hit Couples Therapy for Cheaters, which focuses on exactly the narrative you think it does. And, looking back at cinema history as film festivals crucially do, this year's IFF retrospective will showcase the work of Italian-Turkish filmmaker Ferzan Özpetek. If his name sounds familiar, that's because he had a hand in movies such as Naples in Veils, Facing Windows and Ignorant Fairies — and if his name doesn't ring any bells, here's your chance to discover his celebrated filmography. The 2018 Italian Film Festival tours Australia between September 11 and October 24, screening at Sydney's Palace Norton Street, Palace Verona, Palace Central and Chauvel Cinemas from September 11 to October 7; Melbourne's Palace Cinema Como, Palace Westgarth, Palace Balwyn, Palace Brighton Bay, Kino Cinemas and The Astor Theatre from September 13 to October 7; and Brisbane's Palace Barracks and Palace Centro from September 19 to October 14. For more information and to buy tickets, visit the festival website.
Alright, you've done your partying and built your snowmen. Now it's time to ski. Racers, get ready. It's time for the annual Thredbo Top 2 Bottom, one of the nation's renowned downhill skiing races. Last year saw 262 competitors go head-to-head, facing gruelling 120 kilometre-per-hour winds to race down the Supertrail, and this year will be no different. The race takes place on the morning of Saturday, August 11, and word on the street is that there are going to be new race categories this year, so keep your eye on Thredbo's website for announcements (maybe there'll even be a category for beginners...). When you're in the snow, it's never too early for bubbly, so you'll be celebrating in style at the bottom of the mountain with some delicious G.H Mumm at the end of the race — or even if you're not racing. And if you don't think you have the skills to take part in the race, take part in the supporting and join the throngs people watching — who knows, maybe it'll inspire you before you head off for your day on the slopes. To find out more about Thredbo's exciting winter program, head to thredbo.com.au.
If heading out for a romantic dinner is part of your Valentine's Day plans this year, you might a bit more company than you were expecting. No one will be crashing your date but, if COVID-19 case numbers in Greater Sydney remain low for the next week and a half, the region's current venue restrictions are set to relax again on Friday, February 12 — so restaurants, bars, cafes and eateries will be able to welcome in more people. Premier Gladys Berejiklian revealed the news today, Wednesday, February 3 — with her press conference following on from last week's announcement about the most recent set of loosened changes, which all came into effect on Friday, January 29. Speaking a week ago, the Premier said that if there was no further community transmission related to the recent outbreak in Sydney's southwest, more rules will be relaxed in a fortnight. Today, she confirmed that's still the plan. So, come February 12, the one person per two-square-metres rule is slated to come into effect. At present, venues are operating under the one person per four-square-metres requirement. The change will apply to anywhere under the four-square-metre rule at the moment, so that means not only hospitality venues, but also houses of worship. Don't expect to go dancing, however, as Premier Berejiklian noted that the rules about making shapes won't be changing. Singing in public will still be off limits, too, with both activities "still considered too high-risk in the current environment". [caption id="attachment_781018" align="aligncenter" width="1920"] Cassandra Hannigan[/caption] It's possible that more restrictions will be eased from February 12, but just what they could be hasn't be revealed as yet. So, whether you'll be able to have more than 30 people over at your house, or gather outdoors in public with more than 50 folks, hasn't been advised. On the subject of masks, however, Premier Berejiklian advised that changes might be coming. "If there's no evidence of community transmission, we could recommend to revert back to previous mask-wearing policy," the Premier said. You'll still need to cover your faces in some situations, though, even if the rules do loosen. "I can say that, moving forward, mandatory masks on public transport will continue. We think this gives people assurance to get around their daily business and to also, given the fact that you're in an enclosed space for a long period of time, just to maintain that level of assurance," the Premier noted. The announcement comes as NSW recorded no new locally acquired COVID-19 cases in the 24 hours to 8pm on Tuesday, February 2 — a pattern that has remained for the past 17 days. As always, NSW residents are asked to continue to get tested immediately if you experience even the mildest of COVID-19 symptoms. For more information about the status of COVID-19 in NSW, head to the NSW Health website. Top image: Cassandra Hannagan.
It was a groaning, grimacing Timothy Spall who won the Best Actor Award at the 2014 Cannes Film Festival, for a role in which his face is frequently scrunched, his posture is constantly hunched, and his voice is guttural when heard. His applauded performance leaves a lasting imprint, yet as primal as it proves, it only scratches the surface of a character and a film both called Mr Turner. Beneath the physicality sits a portrayal and a biopic that finds underlying beauty in brutality, while never equating both traits as opposite extremes. Such an approach matches the 19th-century subject, the titular J.M.W. Turner, who made his name painting vistas of land and sea. Some of his oil and watercolour pieces showed pastoral elegance, but for all his praised use of light, increasingly his pictures were tinted with the destruction and violence of nature. His command of technique remained untouched; however, the tone of his canvases evolved over the course of his career. This professional progression, venerated now, wasn’t well received during his lifetime. In Mr Turner, Spall inhabits the hulking figure of a reclusive and eccentric man in what amounts to slices of his existence over his final quarter-century. In his personal affairs, his ailing father (Paul Jesson), his dutiful housekeeper (Dorothy Atkinson), and his secret landlady turned companion and confidant (Marion Bailey) all influence this last difficult chapter, one also marked by the former mistress (Ruth Sheen) and daughters (Sandy Foster and Amy Dawson) he refuses to publicly acknowledge. Writer/director Mike Leigh is known for his fondness for and feeding off of the improvisation of his cast. His films — recently, Happy-Go-Lucky and Another Year – are a cooperative act between the auteur and his actors. Accordingly, his overarching narratives can be driven by the whims of individual scenes, as is strongly the case here. In Mr Turner, Leigh has crafted a pieced-together story that showcases the very best of everyone involved. Spall’s every action may monopolise the frame, but in this feature as in all of the filmmaker’s offerings, there isn’t a bad performance to be found amongst the sprawling yet subtly brushed tale. Indeed, it is with a painter’s touch that Leigh guides his cast, and that his actors enliven their characters, constructing the film layer by layer. The exquisite visuals by Cannes award-winning cinematographer Dick Pope perform the same creative task, further perfecting the feature’s evocation of its central vocation. From sequences following Turner traversing the countryside, to quiet conversations stolen indoors, every image tumbles from artistry – whether glimpsed alone or considered as a whole. As Mr Turner finds the humanity within the harshness of a life of winding down and of an extraordinary talent housed within a complex man, Leigh and his collaborators on-screen and off turn the corresponding account into its own masterly work.
For the next three months, the Sydney Opera House will not be home to any operas, Vivid Live performances, thought-provoking talks or podcast recordings, with all public performances suspended until at least June 17. But you will be able to relive many of the highlights from its 47-year history on the Sydney icon's new digital program, 'From our House to yours'. The program will see full-length performances, talks, long-form articles, podcasts and behind-the-scenes content brought to your screens. As well as a heap of footage that's never been seen by the public before. You'll also be able to access a bunch of free content on demand, plus new videos, recordings and articles will be released daily every Wednesday through Sunday, with each week's schedule announced on Tuesday. Kicking things off was award-winning Aussie musician Missy Higgins, followed by a conversation from this year's All About Women with writer Chanel Miller about her new memoir Know My Name on Thursday; footage of last year's Dance Rites; Sydney Symphony Orchestra performing Beethoven's Symphony No. 9; and a recording of The Writers Room with Celia Pacqoula (Rosehaven), Josh Thomas (Please Like Me), Luke McGregor (Rosehaven) and Dan Harmon (Rick and Morty, Community). Other highlights include the premiere screening of All About Women's panel discussion with fierce journalist Clementine Ford and DJ Flex Mami; world-renowned philosopher and author Alain De Botton discussing love; culinary legend Nigella Lawson talking about the joys of home cooking;Bangarra Dance Theatre's Bennelong; and Yotam Ottolenghi discussing simple cooking with Adam Liaw. For its fifth weekly season, the Opera House is streaming a recording of WikiLeaks whistleblower and trans activist Chelsea Manning at 8pm AEST on Thursday, April 30. Part of ANTIDOTE 2018, the recording features Manning in conversation with award-winning journalist Peter Greste via satellite, direct from LA. [caption id="attachment_768842" align="alignnone" width="1920"] Prudence Upton[/caption] Then, you can catch a recording of Bach's Golberg Variations on Friday, May 1 at 8pm AEST; a never-before-seen edit featuring musicians Glen Hansard, José González, Poliç, Conor Oberst and Nai Palm at 8pm AEST on Saturday, May 2; and celebrated author Fran Lebowitz on cultural nostalgia and leading a panel on women in the age of Trump, and Tarana Burke, the US-based founder of the #MeToo movement at 3pm AEST on Sunday, May 3. Its on demand content includes an interview with British comedian, actor and musician Noel Fielding, a video on first-wave feminism, a podcast featuring intimate interviews with First Nations artists and leaders, and an article on the Opera House staff's most memorable moments. From our House to yours will run from Wednesday, April 1 till at least mid-June, 2020. Each week's schedule will be announced on Tuesday.
After introducing its cookie pies to the world earlier this year, followed by serving up an OTT red velvet one, Gelato Messina is bringing the decadent dessert back again. This time, though, it's filled with a peanut butter and jelly. Yes, it's peanut butter jelly time. Hang on, a cookie pie? Yes, it's a pie, but a pie made of cookie dough. And it serves two-to-six people — or just you. You bake it yourself, too, so you get to enjoy that oh-so-amazing smell of freshly baked cookies wafting through your kitchen. On its own, the indulgent PB&J pie will cost $20. But to sweeten the deal, the cult ice creamery has created a few bundle options, should you want some of its famed gelato atop it. You can add on a 500-millilitre tub for $28, a one-litre tub for $36 or a 1.5-litre tub for $39. If you're in NSW or Queensland, these pies are available to preorder from today, Monday, July 13 — so if you missed out last time, here's your chance to get yourself a piece of the pie — with pick up between Friday, July 17 and Sunday, July 19 from your chosen Messina store. Victorians can get their pie from Messina's Fitzroy store (no preordering necessary) or via Deliveroo right now (while stocks last). The same bundle packs are also available. Once you've got the pie safely home, you just need to whack it in the oven for 20 minutes at 170 degrees and voila. Messina's peanut butter and jelly cookie pies are available to pick up from now from the Fitzroy store (or via Deliveroo). NSW and Queensland can preorder now with pick up available from July 17–19.
In Her's almost certainly near future, Joaquin Phoenix plays Theodore Twombly — a gentle, retiring man who works at BeautifulHandwrittenLetters.com penning heartfelt correspondence between people he's never met. In his personal life, his wife (Rooney Mara) has left him and now communicates exclusively via their lawyers. In short, nobody really talks anymore. Then one day he buys and installs a new operating system called 'OS1' — an artificially intelligent construct that names herself, or rather itself, 'Samantha' (voiced to perfection by Scarlett Johansson). At first Samantha simply streamlines Theodore's life, triaging his emails and encouraging him to get out more, but gradually, as she evolves and learns more from their interactions, they begin to fall in love. It seems ridiculous, yes, but thanks to Spike Jonze's masterful script and direction, it never really feels it, and that's what makes HER the first must-see film of 2014. it is a beautiful, imaginative and provocative offering by Jonze that asks some fascinating questions about the direction love is taking in the technological age. Her is in cinemas on January 16, and thanks to Sony Pictures, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Read our full review here. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=1awGTPsEmiU
It's a tradition well-known to many Australians: wake up on the weekend, make a beeline for your closest Bunnings, down a snag in bread. It's also a tradition that's been around since the 90s, and one we've been missing for four very, very long months since Bunnings postponed its sausage sizzles back in mid-March because of rising concerns around COVID-19. In good news for many (except for Victorians, sorry Victoria), the weekend ritual is about to make its long-awaited return this month. First relaunching in Tasmania and the NT this weekend, Saturday, July 11, at select stores, the charity sizzles are then set to roll out across Queensland, NSW, the ACT, SA and WA towards the end of this month. In a statement released by the Australian hardware chain, the company confirmed the sausage sizzles' return and acknowledged their importance as a fundraising tool for many Aussie charities. "We know our customers have missed being able to show their support for local community groups by stopping by the sausage sizzle and we know the important fundraising role they play for thousands of community groups across Australia," Bunnings' Chief Operating Office Deb Poole said in a statement. "So, we're really excited to be starting the process of bringing them back in places where restrictions have eased." Each year around 40,000 sausage sizzles are hosted at Bunnings stores, help raising much-needed funds for local charity groups and sporting teams. When the sausage sizzles do return, there will be social distancing and hygiene measures in place — measures we're all very used to at this point — including spaced queues, increased cleaning and separate ordering and pick-up points. Bunnings sausage sizzles are set to return in NSW, Queensland, SA, WA and the ACT later this month. We'll let you know when exact dates are announced.
In the film festival space, it's one of 2020 big trends: forgoing a physical event this year and hosting online screenings instead. It's also a move that comes with an added benefit, opening up local events to a broader national audience. Sydney Film Festival has already done all of the above, and the Melbourne International Film Festival will do so come August —and, in the middle, it's Revelation Perth International Film Festival's turn. Without investing in a plane ticket and taking a trip across the country, east coast dwellers don't normally get to enjoy the west coast festival's distinctive lineup and vibe; however, thanks to its new Couched Online Film Festival, that's changing this year. Running virtually until Sunday, July 19, Couched is jam-packed with the types of titles that always make Revelation, in its in-person guise, stand out — aka the types of movies that don't often pop up elsewhere. Featuring more than 25 features, documentaries and shorts collections, the online fest's program is streaming on demand, on a pay-per-view basis, so you can pick and choose what you'd like to catch. You can also nab a pass and watch your way through everything. On the bill: Willem Dafoe grappling with existence at a the snowy bar in the out-there (and divisive at Berlinale) Siberia, the VHS-shot 80s-set throwback comedy VHYes, and magical-realist adventure Precarious. If you like films about films, look out for documentaries about Russian director Andrei Tarkovsky, Czech filmmaker Milos Forman and the camp status held by 1985 horror sequel Nightmare on Elm Street 2: Freddy's Revenge. Or you can watch a housewife step into making her own erotic movies in Aussie doco Morgana, explore the wild true tale of Cold Case Hammarskjöld, revel in the sounds of The Rise of the Synths, check out a few new local features and work your way through a four-film 'Black Voices that Matter' retrospective. https://www.youtube.com/watch?v=rCYAjkwZcd0 And, if you like what Couched serves up and you're eager for a WA holiday (and the border situation around the country changes in the next few months), Revelation is actually still planning to run as normal later in the year, from December 2–13. Couched Online Film Festival runs until Sunday, July 19, with films available to view online.
Three seriously dramatic acts are joining forces for French Baroque, a show that promises to turn your preconceived notions of circus and baroque music inside-out, upside-down and back-to-front. The first is acclaimed acrobatic troupe Circa, who have been travelling the world with their take on circus as stunning, mobile contemporary art. The second is French soprano Claire Lefilliâtre, who has been starring on stages all over Europe. And the third is the five-time ARIA Award-winning Australian Brandenburg Orchestra, home to some of our nation’s best interpreters of 16th- and 17th-century music. With the music of French composers Rameau, Lully and Marais as inspiration, Circa’s artistic director, Yaron Lifschitz, describes the pasticcio of selected music as combining “the longing of the night with the playful side of French baroque”. He's choreographed a performance to meet this mood. “I have responded by creating a river of moonlight that divides the stage, reflecting singer and acrobat, musician and vocalist,” he says. “In the interplay between delight and desire, between pleasure and abandonment, we see a world created where bodies seamlessly meld into song, where lives and loves intermingle and where the simple magic of singing speaks clearly to the heart.”
Studios thrive on mystery. Walt Disney's famous studio was defined by Disney the man, who strutted the public stage with a persona drawn as deliberately as his animated stars. There's no doubt that his work had character, passion and flair. There's also no doubt that the real-life Disney was more troubling than the public figure, which begs the question: should the artist have the stature of their work? The Object Gallery is giving you the chance to find out, as a select few enter elusive design studios across Sydney to get a closer look at the designers behind the designs. The Object Gallery already got you a peek into smaller workshops in its August exhibition Big: Inside Sydney’s Small Studios. This time, they’re going to get you into some of the larger spaces. Studios across the inner-city will throw open their doors on Friday afternoon — just a crack, just for a day. Sixteen studios, including Object renovators Architect Marshall, eco-furniture designers Schamburg + Alvisse and more-than-jewelry-makers Dinosaur Designs, will take guests inside their space and process. So book in quick before these studios are full to their mysterious brims.
When HBO managed to get the cast of Friends back on the same couch and chatting to camera about their time on the hit sitcom, the US cable network clearly found itself a new niche. That'd be big reunion specials that reteam the stars of beloved pop culture favourites to talk about their experiences — so it's going down the same route with the Harry Potter franchise. If you've been chanting "accio more Harry Potter" to yourself for the past decade since the eight-film series wrapped up, it seems that your wishes have finally come true. Like the Friends special, Harry Potter 20th Anniversary: Return to Hogwarts won't feature anyone in-character — but, if you're a fan, spending more time with the movies' stars still promises to be magical. There'd be no point going ahead if Daniel Radcliffe, Rupert Grint and Emma Watson weren't all involved, so they're definitely on the lineup. So is filmmaker Chris Columbus, who directed the franchise's first two movies. Joining them is a huge list of other actors from across the movie series' history, including Helena Bonham Carter, Robbie Coltrane, Ralph Fiennes, Jason Isaacs, Gary Oldman and Tom Felton, plus James Phelps, Oliver Phelps, Mark Williams, Bonnie Wright, Alfred Enoch, Matthew Lewis, Evanna Lynch and Ian Hart. You'll spot some missing names — Maggie Smith and Robert Pattinson, for instance, to name just two — but clearly there'll be a whole lot of HP cast members reminiscing about their time in the wizarding world. As the special's name makes plain, Harry Potter 20th Anniversary: Return to Hogwarts is popping up to celebrate 20 years since Harry Potter and the Philosopher's Stone first reached cinemas back in 2001. That said, whether you're a muggle, a wannabe wizard and witch, or someone who spent far too much of their childhood reading the books and watching the flicks, you'll actually be checking out the new special in 2022. In the US, it'll stream on January 1 on HBO Max. Viewing options Down Under haven't yet been revealed, so there's something to start trying to summon sooner rather than later. Check out the teaser trailer for the Harry Potter 20th Anniversary: Return to Hogwarts special below: HBO's Harry Potter 20th Anniversary: Return to Hogwarts special will be available to stream in the US on January 1, 2022 — we'll update you with viewing details Down Under when they're announced.
When A Quiet Place hit cinemas in 2018, did stellar things with its mostly dialogue-free premise and gave alien invasion films a creative spin, it quickly proved a big box office hit. That's hardly surprising; Emily Blunt (Wild Mountain Thyme) added another formidable role to her resume, John Krasinski (Detroit) did great work both in front of and behind the camera, both Millicent Simmonds (Wonderstruck) and Noah Jupe (The Undoing) turned in excellent performances, and the entire movie made the absolute most of its silence-heavy approach and its niche in the horror genre. So, a sequel was always likely. That follow up was delayed by more than a year due to the pandemic, but A Quiet Place Part II is now finally screening in cinemas. Don't think that the story will end there, though, because a third flick is now coming. At the moment, the next film in the series doesn't have a title — but it does have a release date. Come March 30, 2023, you'll be spending more time in the franchise's eerie dystopian world, and also learning more about the folks who've been learning to survive by keeping their lips zipped as tightly as possible. And, make no mistake, this is definitely a franchise now. The next movie is a spinoff rather than a direct sequel, although exactly what its story will tell is yet to be announced. Still, our time with the Abbott family could very well be up, and the flick could find another corner of its post-apocalyptic realm to explore. One big change is definitely locked in: instead of Krasinski sitting in the director's chair, fellow filmmaker Jeff Nichols will be doing the honours. That's a great fit, at least based on much of his work to date. With 2011's Take Shelter, he followed a father struggling with apocalyptic visions and uncertain of what to do to protect his family. In 2012's Mud, he told a coming-of-age tale about two young boys and a fugitive, while 2016's Midnight Special spent time with a dad and his son as they tried to evade a cult and the government. All three are excellent, and it's easy to see how Nichols can jump from that trio — via 2016 drama Loving — to the next A Quiet Place movie. Casting details haven't yet been revealed; however, Nichols has reportedly just handed in the script for the new film. And yes, everything seems to be a franchise these days, with The Conjuring movies up to their eighth flick, Marvel still doing its thing, and everything from Bond and Fast and Furious to Star Wars and Harry Potter still unfurling new chapters — but given how well both A Quiet Place features have done at the box office so far, more films in the series were always likely to follow. Until further details about the upcoming third A Quiet Place movie are announced, check out the trailer for A Quiet Place Part II below: The currently untitled third A Quiet Place film is set to release in movie theatres Down Under on March 30, 2023. A Quiet Place Part II is screening in cinemas now — read our full review. Via Variety.
Brightening up winter has always been Vivid Sydney's mission. Turning as much of the city as possible into a glowing sight has also been the festival's remit since its beginnings. Returning for 2024, Dark Spectrum isn't the only example of how those aims come to fruition, but it's still a dazzling case in point. The luminous event heads into the Harbour City's depths, unleashes lasers and lights, adds electronic dance music as a soundtrack and gets attendees exploring a lit-up subterranean labyrinth. Dark Spectrum debuted in 2023, as a world-premiere installation in Wynyard's unused railway tunnels, which was the first time ever that the spot had been opened to the public. The light show beneath the streets is also part of the 2024 program, again in the same location, but this time as Dark Spectrum: A New Journey. Just like last year, we hope that you like lasers, secret passageways and bright colours, which are all on offer from Friday, May 24–Saturday, June 15. As the name makes plain, this is an all-new version of Dark Spectrum, but the basic setup, of course, remains the same. A collaboration between Vivid Sydney, Sony Music, Mandylights and Culture Creative, this underground spectacle again features eight rooms, all heroing a different hue, with the entire concept initially inspired by raves and their dance floors. Across a one-kilometre trail — up from 2023's 900 metres — 300 lasers and strobe lights, 500 lanterns, 250 search lights and 700 illuminated arrows are sure to make a shining impression. Wondering which tunes accompany this maze-like experience, which tasks everyone that enters with wandering through its expanse from start to finish as lights flash and flicker, and smoke and haze effects add to the mood? Dark Spectrum: A New Journey is drawing upon club-favourite tracks from the past 30 years. And yes, if you want to dance your way through the chambers and tunnels, that's allowed (and understandable). Images: Dianne Brooks.
If the meaning of life exists in the sweaty, jam-packed confines of a music festival, then Terrence Malick wants to find it. Partially filmed at Austin's SXSW, Song to Song features the filmmaker's trademark swirling imagery as he searches for substance among the crowds, takes us backstage with the likes of Iggy Pop and the Red Hot Chili Peppers, and serves up glimpses of several live performances. The writer-director's ninth feature roves through the city's music scene more generally, but its use of the fest couldn't sum up Malick's central question better. Amidst chaotic circumstances, how does one find beauty and love? Through whispered words (another typical Malick flourish), various characters speak of ebbs and flows, of dream-like experiences, and of emotions that don't always feel quite right. In one of the voiceover's most overt moments, Rooney Mara's Faye discusses her relationship with Ryan Gosling's BV, explaining, "we thought we could just roll and tumble, live from song to song, kiss to kiss." Yes, she's saddled with clumsily making use of the movie's title, but she's also describing its quest to understand the ups and downs of human existence. So it is that Faye falls for musician BV, with all the joy that romance can bring. Complicating matters, however, she also falls for her arrogant but well-connected producer boss Cook (Michael Fassbender), who starts working with BV. Cook also has an affair with a waitress, Rhonda (Natalie Portman), while BV becomes involved with Amanda (Cate Blanchett). As snippets of their lives fill the film, a number of other characters filter in and out – including Zoey (Bérénice Marlohe), with whom Faye has a dalliance; BV's flirtatious mother Judy (Linda Emond); and Rhonda's mum Miranda (Holly Hunter), among others. Accordingly, we watch as a bunch of rather attractive people live, love, fight, sing, play, dance and more. They go on holidays, attend parties, see gigs and roam around mansions — sometimes acting as though they belong, sometimes contemplating how lavish their surroundings and exploits are. Depicting their intermingling relationships is as much of a narrative as Malick is interested in providing. Instead, as he did with the thematically and visually similar To the Wonder and Knight of Cups (and The Tree of Life before that), he prefers to immerse audiences in his familiar style, encouraging them to get caught up in individual moments while pondering the bigger picture. The end product is intoxicating and heartfelt, with Malick's desire to convey the complexity of being alive evident in every frame. That said, it also proves his most indulgent film, as he lets his directorial tics and traits run rampant. The movie couldn't look more gorgeous thanks to cinematographer Emmanuel Lubezki's floating, sun-dappled lensing, but it also couldn't lean more heavily on Malick's fondness for hushed voices and random shots of nature — motifs that will entrance some viewers and enrage others. His insistence on improvisation also results in inconsistent performances, with each actor shining at times while coming off stilted at others. Perhaps it's best to think of Song to Song in the same way you would an actual song; a track on Malick's broader cinematic album. Within the tune itself, some parts engage and others lag, but there's always a clear melody making its presence known. Some viewers may prefer his older stuff, and that's fine. If you're on the film's wavelength though, plenty of its beats and rhythms will strike a chord. https://www.youtube.com/watch?v=7cTenw8uVSw
Come Monday, February 25, Australian and New Zealand time, Hollywood will crown this year's Academy Award winners; however they're not the only gongs being handed out at this time of year. On the weekend before the Oscars, it's always time for cinema's worst and dullest to earn some recognition, all thanks to the Golden Raspberry Awards. Now in their 39th year, the Razzies have unveiled their latest slate of recipients — aka the films from 2018 that you've hopefully avoided. On the list: a comic take on a couple of literary greats, an actor who's also in contention for the best actress Oscar and the current US President. Taking out worst picture is Holmes & Watson, the Will Ferrell and John C. Reilly-starring supposed comedy based on Sir Arthur Conan Doyle's famous sleuthing pair. Reilly also nabbed the awards' worst supporting actor prize for his troubles, while the movie earned Etan Cohen the worst director trophy, too. And, it was further recognised as the worst remake, rip-off or sequel of 2018. https://www.youtube.com/watch?v=VLuFxzUC5UI In the worst actor field, Ferrell lost out to Donald Trump, who was recognised for his work, as himself, in documentaries Death of a Nation and Fahrenheit 11/9. The American leader also took out the worst screen combo category for the same two flicks, with the award noting his pairing with "his self-perpetuating pettiness". While Melissa McCarthy won worst actress for her two low points of 2018, aka The Happytime Murders and Life of the Party, she also received the Razzies' redeemer award for going "from a multi-Razzie darling to a critically acclaimed Oscar Nominee for her out-of-caricature role in Can You Ever Forgive Me?". And, bringing the franchise's Razzie total to eight trophies across three movies, Fifty Shades Freed was anointed the worst screenplay of the last 12 months. GOLDEN RASPBERRY NOMINEES AND WINNERS 2019 WORST PICTURE Holmes & Watson Gotti The Happytime Murders Robin Hood Winchester WORST ACTOR Donald J. Trump (as himself) in Death of a Nation and Fahrenheit 11/9 Johnny Depp (voice only) in Sherlock Gnomes Will Ferrell in Holmes & Watson John Travolta in Gotti Bruce Willis in Death Wish WORST ACTRESS Melissa McCarthy in The Happytime Murders and Life of the Party Jennifer Garner in Peppermint Amber Heard in London Fields Helen Mirren in Winchester Amanda Seyfried in The Clapper WORST SUPPORTING ACTOR John C. Reilly in Holmes & Watson Jamie Foxx in Robin Hood Ludacris (voice only) in Show Dogs Joel McHale in The Happytime Murders Justice Smith in Jurassic World: Fallen Kingdom WORST SUPPORTING ACTRESS Kellyanne Conway (as herself) in Fahrenheit 11/9 Marcia Gay Harden in Fifty Shades Freed Kelly Preston in Gotti Jaz Sinclair in Slender Man Melania Trump (as herself) in Fahrenheit 11/9 WORST SCREEN COMBO Donald J. Trump and his self-perpetuating pettiness in Death of a Nation and Fahrenheit 11/9 Any two actors or puppets (especially in those creepy sex scenes) in The Happytime Murders Johnny Depp and his fast-fading film career (he's doing voices for cartoons, fer kripesakes!) in Sherlock Gnomes Will Ferrell and John C. Reilly (trashing two of literature's most beloved characters) in Holmes & Watson Kelly Preston and John Travolta (getting Battlefield Earth-type reviews) in Gotti WORST DIRECTOR Etan Cohen for Holmes & Watson Kevin Connolly for Gotti James Foley for Fifty Shades Freed Brian Henson for The Happytime Murders The Spierig Brothers (Michael and Peter) for Winchester WORST PREQUEL, REMAKE, RIP-OFF or SEQUEL Holmes & Watson Death of a Nation (remake of Hillary's America...) Death Wish The Meg (rip-off of Jaws) Robin Hood WORST SCREENPLAY Fifty Shades Freed, screenplay by Niall Leonard, from the novel by E.L. James Death of a Nation, written by Dinesh D'Souza and Bruce Schooley Gotti, screenplay by Leo Rossi and Lem Dobbs The Happytime Murders, screenplay by Todd Berger, story by Berger and Dee Austin Robinson Winchester, written by Tom Vaughan and The Spierig Brothers RAZZIE REDEEMER AWARD Actress: Melissa McCarthy, who went from a multi-Razzie darling to a critically acclaimed Oscar Nominee for her out-of-caricature role in Can You Ever Forgive Me?. Actor: Tyler Perry, from a multi-Razzie nominee and winner for his self-imposed Madea trap to his role as Colin Powell in the Oscar and Golden Globe favourite Vice. Director: Peter Farrelly from Razzie Winner for Movie 43 and more shallow choices like Dumb and Dumber 2 etc… to director/co-writer of the deeply heartfelt Green Book. Franchise: From the Razzie-targeted heap of metal Transformers to the more innocent and endearing three-dimensional approach taken with Bumblebee. Sony Animation Studio from crass multi-Razzie winner Emoji Movie to the highly acclaimed Spider Man Into The Spider-Verse, which was loved by critics and audiences alike.
Vivid LIVE, the 10-day musical extravaganza that sits under the Vivid Sydney umbrella, is back from from May 25 to June 11 in 2012. Beginning in 2009, each successive instalment of Vivid has seen the sails of the Opera House lit up like a psychadelic rainbow and one super-special person or two curating the festival's musical component. Past curators have included Brian Eno, Lou Reed and Laurie Anderson, and Stephen Pavlovic. This year, however, the idea of musical curator has been done away with, and in 2012 Vivid LIVE will be overseen by Fergus Linehan, head of contemporary music at the Sydney Opera House for the past two years. This year's Vivid LIVE will showcase a specially commissioned new work from Sufjan Stevens (pictured), Bryce Denner of The National and Nico Muhly, a composer who's worked with the likes of Bjork, Grizzly Bear and Anthony & The Johnsons. Karen O of the Yeah Yeah Yeahs will perform her 'psycho opera' Stop the Virgens with Yeah Yeah Yeahs bandmates, while Florence and the Machine, The Temper Trap, Janelle Monae and Amon Tobin also grace the House. There'll be a special night for the pop and progressive Modular people and a screening of the LCD Soundsystem doco, Shut Up and Play the Hits, in conjunction with the Sydney Film Festival. See our picks for Vivid Light and Vivid Ideas. https://youtube.com/watch?v=miCbEZt5-18
Only an egg-suckin’, yellow-belly coward would miss a Back to the Future charity event featuring two-thirds of the timeless time-travelling trilogy and the DeLorean that made it all possible. It's the movie series that launched Michael J Fox into stardom and made science seem cool. It gave us hoverboards, flux-capacitors and even scary Libyans (though how could Spielberg have known that back in '85 unless he somehow travelled forward in … oh my god!!). Most important of all, it showed us that the greatest danger of irresponsible time travel was the possibility of hooking up with your own mother. Now fans of the movies will have a rare chance to be photographed in and alongside the iconic DeLorean as part of a special charity event in support of people living with Parkinson's disease. The mini movie-marathon will feature a screening of the digitally re-mastered Parts II and III, as well as offering ticket holders some delicious Back to the Future-themed cocktails (surely to be nicknamed the 'Great Scott', 'Lighting Strike' and ‘1.21 Gigawatts’), an exclusive photo-op with the original DeLorean and even a karaoke sing off to the strains of Huey Lewis' ‘The Power of Love’. There'll also be prizes for the best Back to the Future-themed costumes and a huge collection of memorabilia on show, including many props and costumes used in the actual films. It's the perfect opportunity to bust out your best “Mag Dog” Tannen, Doc Brown or Marty McFly outfits and show your support for the 80,000 or so people living with Parkinson’s disease in Australia. The Future is Back event will commence 6pm this Sunday (April 3) at the Event Cinemas on George Street, with tickets now available here or at the Event Cinemas George Street box office.
The southern hemisphere's biggest (and only) multi-city inclusive festival is almost here. Summer Camp is finally taking place in November after it was postponed last summer. Luckily it's going to be with the wait, with the stacked bill of performers including a jaw-dropping lineup of queer icons and experiences. Get ready to murder the dancefloor, and no, you'd better not kill the groove. And if ain't love you're feeling about Sophie Ellis-Bextor headling the fest, then why does it feel so good? The UK pop star — aka the reason that you now have her hit 'Murder on the Dancefloor' and Spiller's 'Groovejet (If This Ain't Love)' stuck in your head — is set to headline the celebrations, and she has company. Also making their way to the festival's debut shows in Sydney and Melbourne in November: DJ Kiddy Smile, DJ Jodie Harsh and Coucou Chloe. Ellis-Bextor and company join Years & Years, aka British singer and actor Olly Alexander (It's a Sin), as well as New Orleans' Big Freedia, Australia's own The Veronicas, plus Cub Sport, New Zealand's Ladyhawke and JessB, Kinder and more. DJ, gonna burn this goddamn house right down indeed. After first kicking off at Sydney's Centennial Parklands on Saturday, November 5, it'll then head to the Velodrome in Melbourne on Saturday, November 12. If the latter venue sounds new, that's because the fest is moving to a bigger site since its first announcement. In addition to live tunes from all of the above across two stages, the festival will feature dance, performance art and art installations, as well as food and beverage offerings. More than 200 artists will be involved all up, including over 150 DJs, drag queens, dancers and performance artists in each city. Given the name, it's clear what kind of vibe that festival founders Kat Dopper (creator of Heaps Gay) and Grant Gillies and David Gillett (creators of Red Mgmt, and former Sydney Mardi Gras marketing and international talent managers) are going for. So, expect a cruisy summer camp-meets-arts and music playground-type atmosphere that's also all about inclusivity and supporting young diverse artists – and some big-name ones.
Remember the name Deniz Gamze Ergüven. The Turkish-French filmmaker may have only directed one feature to date, but it's a movie audiences won't forget in a hurry. In focusing on the troubled plight of five sisters confined to their home, Mustang might bring The Virgin Suicides to mind. Yet there's much more to the film than the comparison might indicate. Setting her film in a conservative seaside village in northern Turkey, Ergüven probes the complicated reality that siblings Lale (Günes Sensoy), Nur (Doga Zeynep Doguslu), Ece (Elit Iscan), Selma (Tugba Sunguroglu) and Sonay (Ilayda Akdogan) face on a daily basis. Stuck in a patriarchal society — and in a house overseen by a strict uncle (Ayberk Pekcan) and dutiful grandmother (Nihal G. Koldas) — their teenage lives are not their own. They're not allowed to just be girls who want to have fun; they're future wives, mothers and caregivers, destined to be defined by their husbands rather than themselves. Indeed, when Lale characterises their existence as "a wife factory", her choice of words couldn't be more fitting. As the youngest child as well as the film's narrator, it's through her eyes that viewers experience both the harsh limitations that dictate the sisters' days, and the need they feel to break free. It all starts when school winds up for the summer, with the quintet heading to the beach to splash around with a group of boys. By the time they get home, news of their apparently inappropriate behaviour has already reached their relatives' ears, inspiring a regime of virginity tests, locked doors, barred windows, cooking lessons and desperate attempts to marry them off. Being trapped in such a restrictive situation is as devastating as it sounds. And yet, thanks to the sisters' different personalities and Lale's undying defiant streak, the narrative is also laced with amusing moments and ample tenderness, as well as the spirit of female empowerment and camaraderie. As co-written by Ergüven with Augustine filmmaker Alice Winocour, the Academy Award-nominated effort proves as much a celebration of young women refusing to simply do what they're told as it is an indictment of the male-controlled status quo. It's also a film that's immersed in blossoming femininity from start to finish. While Sensoy steals every scene she's in with her naturalistic charm, her four main co-stars are no less effective. Cinematographers David Chizallet and Ersin Gok shoot the movie to stress intimacy even amidst rampant oppression, while the score by Warren Ellis evokes both tension and yearning. Accordingly, though Mustang is undoubtedly concerned with domination and escape, it's not a tale of victims, but rather a testament to resilience.
The martini faithful will insist this cocktail classic never went away — and they'd be right. James Bond's favourite tipple is hardly an obscure concoction, but ubiquitous as it may be, this stalwart sip is nevertheless having a moment in Sydney right now. One of the nation's most revered chefs and restaurateurs, Neil Perry, added Bobbie's, a basement martini lounge, to his Double Bay empire this week, tapping a New York bar legend to bring the project to life. Linden Pride, who alongside Nathalie Hudson launched Big Apple hotspot Dante, is not merely overseeing the cocktail list. Bobbie's is so named in honour of Pride's grandfather, Australian DJ Bob Rogers OAM, the nation's longest-serving radio announcer who is credited with introducing Top 40 radio programming on 2UE in the late 1950s. In a further nod to Pride's illustrious grandfather, Bobbie's will also be a live music venue. Chippendale also scored a new martini bar this week from veteran barkeep Grant Collins. Dry Martini, as the name suggests, is dedicated to celebrating the evolution of its namesake beverage as well as its caffeinated cousin, the espresso martini. Meanwhile, over by Darling Harbour, Barangaroo House is putting on a month-long martini festival, with $10 mini 'tinis and martini-inspired specials on offer across all three levels throughout September. The rising popularity of the martini has not gone unnoticed in Potts Point either. Following the runaway success of its limited-time $5 martini happy hour in August, upmarket brasserie Franca is extending its Five @ 5 offer indefinitely. But why is the martini so damn popular? "Drinks, like fashion, are cyclical," Collins (pictured above) explains to Concrete Playground. "They were big in the 50s and 60s and then made a comeback in 90s." During their last renaissance 30 years ago, innovative mixologists gifted us fruit-laced neo-martinis like the infamous passionfruit-powered Porn Star martini, as well as the now wildly popular espresso martini, creating playful alter-egos for an otherwise rather serious cocktail. By contrast, the most recent uptick in the martini's popularity is getting back to basics, according to Collins. "Consumers are looking for healthier drinking options, sans sugar, and a martini is about as clean as you can get with regards to mixing a cocktail — neat liquor stirred well over ice, no sugar sugar syrups, sweet juices or liqueurs," Collins explains. [caption id="attachment_971268" align="alignnone" width="1920"] Dexter Kim[/caption] While that simplicity is certainly true of the gin and vermouth OG, the martini has been a powerful muse for bartenders, with countless variants now gracing the menus of bars all over the world. "Its a drink with such a rich history and legacy," Collins says of the martini's power to inspire. "It's always had such romance on the silver screen, in movies like Casablanca, All About Eve and Some Like It Hot, where Hollywood stars like Clarke Gable, Marilyn Monroe, Frank Sinatra and Sammy Davis Jnr all promoted and drank martinis in their movies. And of course, there's also the popularity created by Ian Fleming and his Bond novels in the 50s and 60s, which is also where we get the Vesper martini from. World leaders like Churchill and Franklin D Roosevelt also swore by them. I think all of this cemented the martini as a drink that was never going to go away." [caption id="attachment_751374" align="alignnone" width="1920"] The Gidley, Dominic Loneragan[/caption] So, where are the Harbour City's best martinis? While you should certainly check out both Bobbie's and Dry Martini, CBD steakhouse The Gidley should also be top of your hit list. It has one of the savviest martini offerings in town, served with a silver platter of accoutrements including pipettes with brine and vermouth as well as olives, citrus skins and pickled onions so guests can pimp their dirty, dry, wet or Gibson martini any way they like. And because a single martini is never enough, every order automatically comes with a second serve, kept in a small bottle on ice so it remains perfectly chilled when you come to pour. At Alfie's, also owned by Liquid and Larder who operate The Gidley, the city's "iciest martini" awaits. Chilled to -10 Celsius, it's poured from a sub-zero thermos and made with Four Pillars olive leaf gin or Mother of Pearl vodka, vermouth, and a splash tarragon vinegar. While you can choose your preferred garnish, the pink onion is our recommendation, for a pop of colour and some extra zing on the palette. [caption id="attachment_937586" align="alignnone" width="1920"] Bar Planet[/caption] The Cantina OK! team perfected the margarita at their tiny laneway outpost in the CBD, so it's little wonder they've done the same for the martini at their Newtown cocktail joint, Bar Planet. Featuring a specially distilled small-batch gin from Marrickville's Poor Toms, the house signature is a great gateway sip for martini newcomers. The Continental Deli trailblazed its innovative canned cocktail line with the mar-tinny. The OG was a silky smooth number with a twist already included in the can, but the recipe has leaned dirty in recent times, including a limited-edition truffled version that, we'll be honest, was something of an acquired taste. Not only can you order these perfectly preprepared cocktails chilled and ready to drink while dining at The Continental, you can also stock up and take a supply home with you. [caption id="attachment_696573" align="alignnone" width="1920"] The Continental Deli, Kitti Smallbone[/caption]
Can't be stuffed hitting the kitchen on Christmas Day? Or maybe you're hunting a spot to enjoy some post-lunch cocktails with the crew? Luckily Sydney's got no shortage of cafes, restaurants and bars that are dishing up the goods, even on December 25. Here are a few spots that are open and ready to whet your whistle and fill your belly on Christmas Day, 2022. [caption id="attachment_700692" align="alignnone" width="1920"] Neptunes[/caption] EATS Anason, CBD: midday–10pm Bake Bar, Randwick: 6am–1pm Bathers' Pavilion, Balmoral: 8am–5.30pm — currently fully booked Black Bar and Grill, Pyrmont: midday–3pm and 5.30–10.30pm Botswana Butchery, CBD: midday–5pm Cucino Porto, Pyrmont: 5-9.30pm El Camino, Manly: midday–5pm El Jannah, Various Sydney Locations: 11am–11pm Fratelli Fresh, Manly, Entertainment Quarter and Darling Harbour: 11am–3pm — currently fully booked Flying Fish, Pyrmont: 5-10.15pm Harbourside Seafood Restaurant, The Rocks: 11.30am–5.30pm Il Pontile, Woolloomooloo: midday–6.30pm Infinity at Sydney Tower, Sydney: midday–11pm Neptunes, Brighton-Le-Sands: 7am-11pm Otto Sydney, Woolloomooloo: 11.30am–2pm Quay Restaurant, The Rocks: midday–1.30pm Sokyo, Pyrmont: midday–2.30pm and 5.30–9.45pm Tayim, The Rocks: midday–3pm [caption id="attachment_780053" align="alignnone" width="1920"] Esteban La Tessa[/caption] DRINKS Bar Tikram, Pyrmont: 4pm–late Continental Deli Bar Bistro, Newtown: midday–4pm Customs House Bar, Circular Quay: midday–8pm Munich Brauhaus, The Rocks: midday–4pm Willie the Boatman, St Peters: midday-6pm The Winery, Surry Hills: midday–3pm
"He is the most accomplished man in Europe in riding, running, shooting, fencing, dancing, music." Writing in his diary in 1779 about Joseph Bologne, Chevalier de Saint-Georges, American Founding Father and future second US President John Adams didn't hold back with his praise. But the world has barely taken his cue in the nearly two-and-a-half centuries since, letting the tale of this gifted French Creole violinist, conductor and composer slip from wider attention. Within a sumptuous period drama that's charmingly, confidently and commandingly led by Kelvin Harrison Jr — with the Waves, The High Note, The Trial of the Chicago 7 and Cyrano star full of mesmerising swagger, and also endlessly compelling as a talent forced to struggle as a person of colour in a white aristocratic world — Chevalier endeavours to redress this failing of history. Veteran television director Stephen Williams (Watchmen, Westworld, Lost) and screenwriter Stefani Robinson (Atlanta, What We Do in the Shadows) begin their Bologne biopic boldly, playfully and with a front-on confrontation of the "Black Mozart" label that's surrounded their subject when he has been remembered — even if they also commence Chevalier with likely fiction. In pre-revolution Paris in the late 18th century, Wolfgang Amadeus Mozart (Joseph Prowen, Father Brown) has an enraptured crowd in his thrall as he both plays and conducts. He pauses, then prompts his audience for requests. The response comes as a surprise: Bologne striding down the aisle, asking if he too can pick up a violin, then getting duelling with the musical instrument against the acclaimed maestro. Williams and Robinson start their film with a statement, announcing that they're celebrating a life that's been left not only ignored and erased — especially in a realm that's so often considered old, stuffy and definitely not culturally diverse — but also been stuck lingering in someone else's shadow. Chevalier's opening scene is well-staged, instantly rousing and a clever kickoff that speaks volumes — also cheer-worthy, as its on-screen viewers heartily deem it — and, most crucially, it sets the tone for Bologne's continual battle. He won't go mano a mano with Mozart again, but he'll never stop fighting in various fashions. Being underestimated, undervalued and worse due to his race is sadly his life story, which Chevalier places front and centre. As 2013's Belle did in focusing on Dido Elizabeth Belle, the film makes plain the prejudices and politics of the era in a genre that too rarely genuinely interrogates either. The world of Bridgerton may now peer backwards with romantic fantasy and colourblind casting, but that isn't the same as stepping through the experiences of someone who should be far better known, and undoubtedly would be if not for the reaction to their heritage. When he's still a boy (debutant Reuben Anderson) being installed in the only boarding school that will take him, far away from the French colony of Guadeloupe that has always been his home, Joseph is told by his father (Jim High, Foundation) that he must always be excellent in order to be accepted. From that exchange onwards, Bologne chases greatness in all matters — with a foil in his hand, and both performing and writing music, most notably. But even as he impresses Marie Antoinette (Lucy Boynton, Barbie) as an adult, is bestowed the knightly chevalier title and gets a chance to compete to lead the Paris Opera, French society remains quick to drip scorn whenever he exceeds the parts that they'll let him play. Whatever heights he's allowed to reach, he's still viewed as the illegitimate son of white plantation owner and an enslaved Senegalese teen. Williams and Robinson unpack the complexities of Bologne's friendship with the queen, whose progressive ideals are pushed to the fore purely when she's confident in her popularity, and his, among the court. Over both of their futures, the French Revolution looms inescapably — although Chevalier stops before depicting Bologne's time leading an all-Black regiment. Instead, it hones in on two interconnected plot points: that attempt to obtain France's top music post and a romance. For the coveted job, he vies for glory against the snooty and dismissive Christoph Gluck (Henry Lloyd-Hughes, Marriage). In affairs of the heart, he falls for Marie-Joséphine de Comarieu (Samara Weaving, Scream VI), wife of the stern military figure Marquise de Montalembert (Marton Csokas, The Last Duel), after convincing her to sing in the opera that's meant to secure his dream gig. Chevalier repeatedly anchors Bologne's journey in a blatant truth, albeit one that he doesn't see: that the more entrenched he thinks he is within France's upper echelons, the more he's immersed in a discriminatory system that'll never truly welcome him. When his mother Nanon (Ronke Adékoluẹjo, Rain Dogs) re-enters his life, finally free after his father's death, she instantly spots what her son can't — "you are a tourist in their world," she advises — and he isn't thrilled. Whether Joseph is contentedly believing that he's close to carving out his niche or eventually angry at the grim reality, he's feverishly working or dashingly courting, or he's demonstrating his prowess with a rapier or a bow, Harrison Jr is consistently exceptional. He's excellent at conveying Bologne's certainty in his skills and worth, too, including when diva Marie-Madeleine Guimard (Minnie Driver, Starstruck) thinks that he'll bed her because she demands it, and at working through the fiery heartbreak when his society dream is broken. This biopic is an act of rectification. It's a dive into the forgotten past, sometimes taking liberties as it depicts its subject's pursuit of liberté, égalité, fraternité, with a clear purpose and point. The film benefits immensely from enlisting Harrison Jr as its lead. It also boasts fine performances by Adékoluẹjo, Boynton and Weaving, with the former playing plucky and proud, and the latter two each exploring the difficulties of your heart and mind being at odds with the role that you inhabit. Chevalier is gleefully happy to relish its genre's aesthetic and conventions as well, be it at lavish champagne-filled parties or behind opera's scenes, complete with sniping among the well-to-do. While it's the tale, reclamation and portrayals that shine brightest — even if detailing significant parts of Bologne's later story in the text-on-screen post-script is a curious move — reaching ample high notes comes easily.
Sydney style lovers are in for a treat, as the city is hosting the world's biggest exhibition of men's fashion. Running exclusively at the Powerhouse Museum from May 2 until October 14, the Reigning Men collection trips back through history, shining the spotlight on male style from 1715 through 2015. Co-presented by the Los Angeles County Museum of Art (LACMA) and the MAAS Centre for Fashion, the exhibition pulls together over 130 outfits, from 18th century aristocratic get-ups to more recent high-end creations from the world's most famed fashion houses. Get up close and personal with designs from the likes of Burberry, Alexander McQueen, Jean Paul Gaultier, Louis Vuitton and Tom Ford. Alongside the exhibition, there'll be a program of talks and special events, including May 2's panel conversation, Reigning Men: Pomp & Pragmatism. This one will dive deep into the background of LACMA's mind-blowing fashion collection and explore the curation of this landmark style exhibition. Image: Jeremy Scott for Adidas, 'Boots', spring/summer 2013, © Museum Associates/Los Angeles County Museum of Art.
Fervent fans of The Roots, listen up! Don't worry if you don't have the cash for Falls or you can't make Southbound Festival — they’ve just announced they'll be playing two sideshows in Sydney and Melbourne with Australian MC Urthboy as a special guest. So that's two more chances to see The Roots jam out their first Australian gig since 2007. You will no longer have to resort to watching episodes of Late Night with Jimmy Fallon to get your fill of Questlove's magic. Expect to hear a lot from their most recent album, Undun (2011), whose reverse narrative arc followed the short life of Redford Stephens and featured play-it-compulsively songs like 'Kool On', 'Make My' and 'The OtherSide'. Even if you don't know much about The Roots, if you’re remotely fond of hip hop or neo-soul then this is a rare opportunity to see one of the most influential, visionary, long-loved groups to ever emerge from Philly (in 1987 and still kicking!) up close and personal.
UPDATE: September 23 2020: A Beautiful Day in the Neighbourhood is available to stream via Amazon Prime Video, Google Play, YouTube and iTunes. Fred Rogers never made a splash in Australia. But watching A Beautiful Day in the Neighbourhood, it's easy to see why the ordained Presbyterian minister turned children's television host is so beloved in the US, even 17 years after his death — and why adults who grew up watching Mister Rogers' Neighbourhood still hold him in such high regard. This thoughtful, full-hearted film doesn't merely tell viewers that Rogers was universally adored, or show the widespread devotion among his fans. As she proved in both The Diary of a Teenage Girl and Can You Ever Forgive Me?, Marielle Heller is far too soulful and observant a filmmaker for such a blunt approach. Rather, in a sensitive and astute manner reminiscent of Rogers himself, this delightful movie explores his appeal by examining his impact on one reluctant and cynical man. If you're a newcomer to Rogers, or you're jaded or skeptical by nature, consider Lloyd Vogel (Matthew Rhys) your on-screen surrogate. A writer for Esquire in 1998, he's the fictional stand-in for journalist Tom Junod, whose article 'Can You Say ... Hero?' inspired the film. Known for hard-hitting reporting, Vogel is taken aback when he's assigned to profile Rogers. He's also nowhere near as enamoured with his subject as everyone else, including his starstruck wife Andrea (Susan Kelechi Watson). Indeed, he's still hesitant when Rogers (Tom Hanks) engages in a generous chat on the phone and appears genuinely interested in getting to know him. Taking its cues from Rogers' puppet-filled TV show in inventive ways, A Beautiful Day in the Neighbourhood begins by recreating Mister Rogers' Neighbourhood's opening. To the sounds of a gentle theme sung by Rogers, a model town fills the screen, before cutting to the show's star arriving home, popping on his famous red cardigan, swapping his dress shoes for sneakers and addressing the camera. Purposefully affable and inviting when watched by kids on weekdays for 33 years, it remains just as cosy here. To segue into the bulk of the film, Hanks' pitch-perfect version of Rogers says that he's going to tell a story about his hurt friend Lloyd — and while that might seem like cutesy gimmickry, it works perfectly in Heller's hands. With screenwriters Micah Fitzerman-Blue and Noah Harpster (Maleficent: Mistress of Evil), she understands that Rogers left such a lasting imprint on so many people because he made kids feel like he really saw them. Accordingly, treating Vogel in the same way isn't just a creative flourish — it's essential. The same idea applies to A Beautiful Day in the Neighbourhood's audience, who the film never forgets. This movie is well aware that viewers are experiencing the famed figure through Vogel's eyes — and it wants you to feel like you're in his shoes, being seen, welcomed and accepted by the kindly host as well. A new father struggling with issues with his own long-absent dad (Chris Cooper) that stem back to childhood, Vogel's backstory assists. While somewhat generic, it's also immensely relatable. Everyone has pain from the past they haven't fully processed, which was Rogers' whole remit. His show helped kids express their emotions and personalities in healthy ways, and tackle topics as dark as death, divorce and war. Even though Vogel is much, much older, it's a role Rogers is still eager to play for his new friend. Conveying that compassion, grace and sincerity is a task only Hanks could've mastered. It's a case of getting a beloved, benevolent icon to play just that — although Hanks ensures that Rogers is a person rather than a shining picture of perfection. This isn't a warts-and-all tell-all and, as 2018 documentary Won't You Be My Neighbour? demonstrated, that film will never exist. Instead, A Beautiful Day in the Neighbourhood remembers a man who considered himself ordinary while having an extraordinary effect on others. You could say the same about Hanks, which is what makes his casting so sublime. His is a superb, deservedly Oscar-nominated performance that's never an act of simple mimicry, but that he's as revered — and has been a reliable screen presence for decades, too — is never forgotten. Amidst cardboard backdrops recreating Mister Rogers' Neighbourhood, talking puppets and scenes of Rogers making adults wait so he can spend more time with his child fans, A Beautiful Day in the Neighbourhood doesn't completely or even primarily belong to Rogers. His influence looms large, but this is really Vogel's story — and that makes the film all the better. Rhys finds his character's world-weary centre, then allows it to slowly crumble as his bond with Rogers grows. In the process, the movie mirrors the way the TV host found a place in millions of children's hearts, and cracks the cloak of cynicism hanging over some of its own viewers, too. It's easy to think that a feature like this will be too sappy, kitschy or hokey, just as Vogel thought about Rogers — but a man brimming with empathy and this charmingly made movie about his impact are both the perfect antidotes to distrust and disillusionment. https://www.youtube.com/watch?v=CELbK9q_ZeA
Head chef at Copenhagen's illustrious Noma, named the best restaurant in the world three years in a row, the extravagantly talented Redzepi is one of the most inventive food makers on the planet, infusing his visually striking creations with a real sense of playfulness and wonder. The menu at his impossible-to-get-into restaurant has included crawling ants, edible flowerpots and live shrimp in a jar of ice. At this event he discusses his work and pre-launches his new book A Work in Progress: Notes on Food, Cooking and Creativity, which combines recipes, photos and an extensive journal of a year at the pinnacle of the food world. There's also a dinner with Redzepi, which promises to be a once-in-a-lifetime dining experience. Check out the rest of our top ten picks of Good Food Month here.
Bondi convenience store-turned-brunch spot Harry's is about to expand. Owned by Harry Lambropoulos and his family for 15 years, Harry's Espresso Bar will see a complete redesign as Harry's Bar and Dining. Set to reopen on Wairoa Avenue, the newly revamped Harry's will take over the laundromat next door as well. Having operated originally as a convenience store and a cafe since 2005, this little coffee bar in the corner is becoming a fully-fledged restaurant. The brainchild of Lambropoulos and his business partner, Chris Karvelas, Harry's will now exist as an 80-seater eatery overseen by new chef Bryan O'Callaghan (former Tilbury) — the focus on using only fresh, seasonal and local produce. Breakfast at Harry's ain't going anywhere, it's just evolving. GF reports menu developments of coconut, yoghurt and chia pudding alongside quinoa balls with poached eggs and fatoush — fingers crossed for a continuation of their open bagels. If you're a bit of a late riser, lunch looks like stinging nettle and gnocchi, and the team will likely continue on their love for all things green juice, mango mint smoothie, housemade nut milk and fresh coffee-related. The good news for local Harry's enthusiasts is the team are opening for dinner service from February 12, Thursday to Saturday. O'Callaghan's menu is yet to be revealed. Harry's Bar and Dining will open by the end of February, fully licensed with a selection of imported varietal wines and house made cocktails. But if you're not a fan of complete and utter change, they're keeping the beachside kiosk open — even now you can grab Five Senses coffee and pastries. They'll be slowly adding smoothies, housemade nut milks, organic sodas, sandwiches and more from this week onwards. Find Harry's at Shop 2, 136 Wairoa Avenue, Bondi Beach. Via Good Food.
Butter — Sydney's palace of fried chicken, sneakers, Champagne and ramen — is adding yet another layer to its already over-the-top offering. Butter Brunch Club launches this Saturday, December 1 and will continue every Saturday and Sunday thereafter. On offer are souped-up versions of the venue's beloved fried chicken and doughnut, along with 90 minutes of bottomless booze. As is, the dish ($16) comes with two fried chicken tenders, salted butter and a heaping pour of maple syrup, all atop a hot cinnamon doughnut. Then there's the three 'upgraded' varieties — smoked beef pastrami, miso butter and manchego cheese ($24); strawberry preserve, fresh strawberries and dark chocolate ($23); or blueberry preserve, fresh blueberries and chantilly cream ($22). Known to go all out, the restaurant is also offering bottomless booze for $38 per person. Choose from Chandon S (sparkling wine and orange bitters) over ice, Hennessy Green Tea or Pabst Blue Ribbon. Apart from bottomless, there is also a classic bloody mary ($15) on the menu, with an optional chicken tender addition ($19). And, in true Butter style, a limited edition t-shirt ($60) is also available for the occasion, which will be available in-store and online starting Friday, November 30. As always, there are no reservations at Butter, so be prepared to wait. Butter Brunch Club is happening every Saturday from 11.30am–4pm and Sunday from 12–4pm at Butter in Surry Hills and Parramatta.
He was a (just-out-of-prison, testosterone-fuelled, newly sober ex-con) boy, she was a (cocaine-addicted, fiercely loving) girl. Jackie and Veronica have been in love since high school, and she's waited for him to serve his time. Now he's back, full of good intentions and ready to start afresh. Everything's set for a happily-ever-after — until he finds the hat. Tony Award-winning Broadway hit The Motherf**ker with the Hat is a romantic comedy of the foul-mouthed kind, following antihero Jackie's stumbling misadventures through love, infidelity, revenge and redemption. Director Adam Cook promises that his production will be "fast-paced, full-blooded and very, very funny." He's returning to the play, following a sell-out season at the TAP Gallery last year — and if that one's anything to go by, this is a production full of tough exteriors, real yet unsentimental emotion, and wash-your-mouth-out uproariousness. The Motherf**ker with the Hat is on from September 19 to October 19 at the Eternity Playhouse. Thanks to the Darlinghurst Theatre Company, we have two double passes to give away to the preview performance on Friday, September 19, at 8pm. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email win.sydney@concreteplayground.com.au with your name and address.
Stay tuned. More info on its way.
Remo curates Japanese street art for western readers. His first book, called simply Graffiti Japan, was followed with a surprisingly appealing lexicon of Japanese Manhole Covers. And he does art in sanguine red, black and white. He can tell you about it. Marsha Meredith — working as 2026 — gets her art up worldwide as part of the excellent Street Art Without Borders project. She also pastes things closer to her home, in and around the Bondi postcode. Meggs mixes innocent things — like children, or super-heroes — with blood, bile and spray. And just like Banksy snuck his work into the British Museum, Adam Mclevey snuck his into a monkey cage at Banksy's Bristol Museum show. The museum rehung it as part of the exhibition. If you looked at the news in 2008, you've already seen the movement called lowbrow art, or pop surrealism. Friday evening, the Red Bull gallery will be full of it to launch M.A.R.s Attacks. All four artists will be represented — and as well as the work on the walls, Remo will be there in person to talk about his work. If you can't make the launch, the exhibition runs on until the 13th of November. Image by Toots Fontaine.
Even if you don't regularly buy your groceries at Aldi, you'll have heard about the supermarket chain's sales. As well as selling bread, milk and all the usual pantry staples, it drops twice-weekly specials that cover the types of items you'd usually find at a department store — at a discount price. Its annual snow gear sale attracts huge crowds, and you honestly can never quite guess what other kinds of things might turn up each week. You probably know someone who bought their outdoor furniture at Aldi, or nabbed a cheap TV. You might've even found a hammock or a rotisserie while you were browsing the company's aisles yourself. The one big caveat that has always applied to these sales, which Aldi calls 'special buys'? They're only available in-store, because that's how the retailer operates. Until now, that is — because it has just announced plans to start trialling online shopping with its thocoveted specials. To start with, the test run will be limited to the greater metropolitan regions of New South Wales, Victoria and Queensland — which is great news for Sydneysiders, Melburnians and Brisbanites. Aldi isn't dropping its entire specials range online each Wednesday and Saturday morning, though, but will start out by making select items available. First up, from 8.30am on Wednesday, May 26, is a queen-size latex mattress in a box for $499. After that, at the same time on Saturday, May 29, you'll be able to score a 545-litre French door refrigerator for $879. And yes, Aldi is sticking with the days and timing that it uses IRL, so you won't get a jump on the specials by staying home. The aforementioned two items will be available in the brand's supermarkets at the same time, as will whichever future specials it pops online. The company is planning to test a range of products over the next few months, including other bulky items and everyday offerings. "We are constantly looking for ways to improve the experience for our customers and are very excited to be taking our first steps into eCommerce. Our limited initial online offer allows us to set the foundations for our future program," said Simon Padovani, ALDI Australia's Group Director Customer Interactions. The company doesn't intend to offer grocery shopping online, but it is looking to expand the digital specials trial to other parts of the country in the future. To check out Aldi's online store — with its first sales happening at 8.30am on Wednesday, May 26 and Saturday, May 29 — head to its website.
With an olive (or preferrably three) or a twist of lemon, the martini has remained a tippler's favourite for over 100 years, taking many variations. The classic martini alone can come dry, wet, perfect and dirty; made with gin or vodka; shaken or stirred; and garnished with olives, lemon or even cocktail onions. But one thing remains the same for the classic — it's one of the most recognisable and classiest cocktails out there. And that isn't said without giving thanks to a certain Bond, James Bond. Beyond the classic, the martini has taken several forms, but for a real twist, we enlisted ex-This Must Be The Place bartender and Dan Murphy's Spirit Ambassador Charlie Ainsbury to give us a new take on the well-loved cocktail. And while it's always nice having someone behind the bar shaking and stirring your drinks for you, it's even better when you can be that person at home and really impress your guests.In the video above, Charlie Ainsbury teaches you the tips and tricks to making the classic martini and something a bit different. Study these recipes, stock up on the boozy drops and garnishes of your choice, and start wowing your friends with your newly learned martini know-how. And if having your cocktails made for you is more your thing, head to Dan Murphy's House of Discovery, direction 1950s Martini Room, to immerse yourself further in the world of the martini. THE CLASSIC — 50 ml gin — 10 ml dry vermouth like Noilly Prat — Three olives or a lemon twist Stir the gin and vermouth over ice, then strain into a chilled martini glass. Garnish with olives or a twist of lemon. Charlie's tip: Martini's are best served bracingly cold, so if you have the room, keep your spirits and glassware in the freezer. There's nothing worse than a watery and warm martini. THE FLAME OF LOVE — 50 ml vodka — 10 ml sherry like Tio Pepe Fino Sherry — A dash of orange bitters — Three orange peels — Matches Stir the vodka, sherry and bitters over ice, then strain into a chilled martini glass. Flame the three orange peels. Run two around the rim and add one to the drink. Charlie's tip: Keep your vermouth or sherry in the fridge. They're fortified wines and, like wines, will eventually spoil. Sip, savour and boost your cocktail savoir-faire at Dan Murphy's House of Discovery from March 8–10. Get your tickets here.
Change is on its way to Surry Hills' much-loved Hollywood Hotel, with the pub currently on the market. The venue, which sits at the corner of Forster and Hunt streets, has been listed by HTL Property. The property agency specialises in the hotel and hospitality industry, and expects the sale to be "one of Sydney's most keenly contested pub sales this year". The sale comes after Hollywood Hotel publican Doris Goddard passed away in July 2019, and marks the first time it has been sold in more than four decades. Goddard owned and operated the pub for 42 years, running the Belmore Park Hotel in Surry Hills, Balmain's West End and Newtown's Marlborough Hotel before the Hollywood. Goddard was an industry pioneer, a 50s film star, a cabaret performer and an activist, actively protesting against Sydney's lockout laws during the final years of her life. Goddard's estate appointed HTL Property in charge of the sale of the hotel following her passing. The agency describes the venue as "a veritable blank canvas for an incoming operator", featuring a 3am liquor license, gaming machines, and hotel accommodation located among high profile Sydney restaurants like Chin Chin, Nomad and Poly. Also noted: the hotel's sun-drenched rooftop, which it's suggested could become a rooftop beer garden. HTL Property also mentions significant redevelopment potential, marking the possibility that the pub's last drinks could be fast approaching. [caption id="attachment_734411" align="aligncenter" width="1920"] El Scrapeo via Flickr[/caption] The impending sale of the Hollywood Hotel comes after a string of recent hotel sales, including Merivale's purchase of The Duke of Gloucester and the $7 million sale of Paddington's Four in Hand. Over the past two years, HTL Property has overseen the sale of Darlinghurst's Courthouse Hotel, Pyrmont's Quarryman's Hotel and The Bells Hotel in Woolloomooloo. The expression of interest campaign for the Hollywood Hotel will end at 4pm on Thursday, May 20. The Hollywood Hotel has been listed for sale by property agency HTL Property. You can find out more at the agency's website. Top image: Bidgee via Wikimedia Commons.
Heated outdoor spaces are a hot commodity during the cooler months. They offer a rare occasion to enjoy some fresh air even when the warmth from the sun has vanished. Luckily, The Grounds of Alexandria has you sorted. The venue holds regular after-dark music events held in its fairy light-lit urban garden, and the next instalment is all about blues and mulled wine. Go straight from work and grab a glass from 6pm. Music will be going throughout the night — the soulful Karen Lee Andrews will be complemented by the blues-heavy harmonica tunes Kane Muir. Dancing is encouraged. The $30 ticket price includes entry and the music, with food and drinks available to purchase from the kitchen — think burgers, bowls, buttermilk fried chicken and other dishes from the barbecue. It's a top date idea or, alternatively, one for you fam — children and four-legged friends are welcome. Updated: August 23, 2019.
After over 50 years in the same location, the Sydney Fish Market is on track for a major facelift, with the NSW government releasing plans over the weekend for an insane $250 million redesign. NSW Premier Gladys Berejiklian announced the Sydney's home of fresh seafood will be relocated to a slick Danish-designed building adjacent to its existing location on Blackwattle Bay. Designed by 3XN Architects (Quay Quarter Tower), the building will be located on the south side of the bay, backing onto Wentworth Park. The futuristic-looking design includes two storey, floor-to-ceiling glass windows facing the bay, along with large, timber boardwalk and dock that juts out into the bay. Adjoining the market will be a commercial, retail and residential strip. The hope is to create a world-class dining destination that will dramatically increase fish market visitors — Sydney Fish Market Pty Ltd general manager Bryan Skepper told SMH he was aiming to create "the world's best fish market" and expects to double foot traffic from the existing three million per year to a whopping six million post-renovation. While Berejiklian has expressed hope that existing market tourism will pay the redevelopment costs (avoiding additional costs to taxpayers), competing construction costs from the Sydney light-rail and WestConnex, which are nowhere near completion, would seem to make this hope rather doubtful. As SMH points out, concrete contractors Hymix and Hanson would also be forced from the surrounding area, as the company has been criticised for high pollution levels and could not coexist with the planned redevelopment. The area's lack of new affordable housing is also a concern to opposition leaders, with the residential strip undoubtedly going to cost a pretty penny and potentially add to the housing crisis. Site ground-breaking is set for late 2018, with construction expected to take two to three years and a draft design from UrbanGrowth NSW expected to be released in late 2017. Via SMH.
UPDATE, April 27, 2021: Late Night is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube Movies and iTunes. Thank the powers that be that we live in a world where Mindy Kaling is making smart, funny, warmly subversive TV series and movies. Actually, thank American television network NBC. Over a decade ago, it gave the then-24-year-old a job in The Office's writers room as a diversity hire, which Kaling revealed while doing promotional duties for her new film, Late Night. She goes a step further in the picture itself. Playing a chemical plant quality control supervisor who dreams of joining the writing staff on an evening talk show, she puts the same idea into the movie (as well as starring, she penned the script). Molly Patel, her on-screen alter-ego, is hired because she's a woman, plain and simple. She's then saddled with being the token beacon for inclusiveness in an otherwise all-white, all-male, all-middling group of scribes, with her new colleagues all-too-happy to keep aiming for average rather than risk rocking the boat with their boss. Only Kaling, or someone who has been in her circumstances, could turn the above situation into a gag — not to mention an effective, perceptive and amusing one. More than that, she uses Late Night to point out the ridiculousness of complaints that almost everyone who isn't a white male has heard: that they've landed a gig for reasons other than their skills and talents. It's a go-to lament against the advancement of women and people of colour in many fields, and it's supremely petty. Late Night specifically calls it out in a pointedly cartoonish but undeniably scathing way. "I wish I was a woman of colour so I could get any job I wanted with zero qualifications," one of Molly's unhappy co-workers grumbles, sounding suitably inane. This is a comedy, so Late Night pokes fun at the entertainment industry status quo in the same way that Kaling's long-running, now-finished TV sitcom The Mindy Project toyed with rom-com tropes. Think light, bubbly yet also sharp. Molly doesn't have the same experience as her co-workers, but she's still great at her job, because that's a genuine possibility. She works harder, longer and puts more pressure on herself, because that's the reality. By not fitting the usual mould, Molly shines a glaring spotlight on the complacency that can come with avoiding change or challenge. Crucially, however, while she's highly motivated and determined (and usually considerably overdressed for work compared to her peers), she also sports plenty of flaws — whether she's offering unfettered criticism on her first day or bursting into tears whenever things hit even the tiniest rough patch. Late Night has another commentary-laden twist up its sleeve: the program's host of nearly three decades, Katherine Newbury (Emma Thompson), clearly doesn't fit the usual mould either. It's a big deal in the movie, which recognises that she's a trailblazer. In real life, female-fronted talk shows like Katherine's aren't just rare — they're basically non-existent. So unfurls Late Night's twin dilemmas, sparked by the host's discovery that her position is under threat thanks to a new network executive (Amy Ryan). With rising frat boy-style standup Daniel Tennant (Ike Barinholtz) waiting in the wings, fierce perfectionist Katherine endeavours to elevate her flagging series, adapt to the times and retain the values she holds dear. Arriving just as this crisis hits, and overwhelmed by working for her idol, Molly tries to demonstrate her worth and also remain true to herself. There's an obvious, endearing element of fantasy at the core of Late Night. If only viewers could watch Thompson, or the kind of intelligent and hilarious woman she plays, on late-night TV on a daily basis. If only we could all get a shot at showing that we're made for our bucket-list jobs as well. But dreaming big, satirising reality and marrying genuine insights with laughs all frequently make great bedfellows, as proves the case here. Directed with charm, spark, and a zippy look and feel by Nisha Ganatra (Dear White People, Brooklyn Nine-Nine), this is a workplace comedy that has plenty to say about media and entertainment, sexism and ageism, the treatment of women, and the way that ladies are often stereotypically expected to compete against each other. It's also willing to get gleefully blunt in exploring these matters, especially in its dialogue. The film follows a predictable narrative path, lacking the absurdity and surprises of television's 30 Rock and The Larry Sanders Show, yet that doesn't make it any less enjoyable, incisive or on-target. We've said it before, but it bears repeating: watching Late Night and wishing that Thompson's formidable Katherine really had a regular place on our screens goes hand-in-hand. Playing a multiple-Emmy winner, the real-life dual-Oscar recipient leans into the character's savage British wit and ample imperfections, while seeming like she could walk straight out of the film and onto any late-night show she'd like. And, although love interests abound for both Thompson and Kaling, the two women's seemingly chalk-and-cheese pairing sits at the heart of the film. John Lithgow pops up as the former's ailing composer husband, Veep's Reid Scott is the latter's snarkiest colleague, and Hannibal's Hugh Dancy is the office's resident ladies' man, but Late Night is at its best when it's heeding Molly's advice for Katherine: speaking from a perspective that only its protagonists (and its creative force) can. https://www.youtube.com/watch?v=o-OSUZp9pjw
Given the current state of the world, it's impossible to dismiss historical accounts of power, conflict, bureaucracy serving the wealthy and the masses fighting to be heard as mere chapters from the past. The same applies to medieval-style television fantasies about squabbling over a throne, too, but true tales bite harder than Game of Thrones ever has. Peterloo is the perfect example. Chronicling an infamous clash between ordinary workers and the government-backed militia near Manchester in 1819, the period piece harks back to 200 years ago yet remains scarily, unsettlingly relevant today. Of course, that's part of filmmaker Mike Leigh's point — there's a reason that the 76-year-old veteran British director has just now turned his attention to this bloody battle for voting rights. After spending a dozen years tussling with Napoleon's armies, the British people were tired, poor and hungry as the 19th century neared its third decade. Work was hardly reliable, food was scarce, industrialisation was taking its toll, distressed ex-soldiers were a common sight and even the pettiest of crimes could see someone shipped off to Australia. To make matters worse, few had a say in the country's path, with less than three percent of the population eligible to cast a ballot. It's this agitated climate that Peterloo explores, all to show how its brutal namesake event came about. The rich, the religious and the ruling classes wanted to retain the status quo. Charismatic reformers riled up everyday folks to fight for their rights. In the resulting physical skirmish — during a peaceful demonstration led by orator Henry Hunt (Rory Kinnear) — 18 people were killed and up to 700 injured among the 60,000-strong crowd. Writing as well as directing, Leigh emphasises the scale and impact of the Peterloo massacre in an effective fashion, stepping through the wants, needs, emotions and motivations of the various players before unravelling the climactic confrontation. But there's a fire in his belly from the outset, as is made clear when he opens the film with the Battle of Waterloo, and those flames don't subside. Spending time with characters of all stations and piecing together vignettes of their experiences, he crafts a patchwork of a picture, each scene stitching on another crucial square with palpable urgency. Some of the people within his view scoff and laugh, while others struggle to get by. However it's the atmosphere of chaos, inequity, opportunism, exploitation and duplicity that was part and parcel of life at the time that earns the filmmaker's sharpest rebukes. That, and the eventual human fallout on the path to changing British democracy. For a film based around such a violent event, more talk than action results; of course, as Leigh knows, words can cut just as deeply as weapons. Indeed, it's because Peterloo takes the time to survey the state of the nation at the time — including clear-eyed, unsentimental dissections of both camps in the government-versus-workers divide — that the massacre, when it comes, feels so punishing and relentless. There's a difference between a slog and an onslaught and, while the movie clocks in at 154 minutes, its speech-heavy and fight-fuelled portions still fall into the latter camp. Likewise, there's a difference between wallowing in misfortune (or, worse, romanticising it) and showing it like it was, and again Peterloo finds the right side. What the film also finds is a fitting way to tell such a detailed and complicated story — not only in its narrative approach, but in its visuals. While Leigh's last release, the applauded Mr Turner, explored the life of a great 19th-century British artist, the term 'painterly' equally applies here. With cinematographer Dick Pope lensing his 11th title for the director, Peterloo's frames are alive with minutiae yet remain carefully composed. Pitch-perfect but never glossy costuming and production design helps. So too do solid performances across the board, including from the ever-reliable Kinnear, as well as Maxine Peake as a weary mother doing what's needed for her family. But it's Peterloo's look and feel that truly hammers home Leigh's intentions. To understand why the movie's real-life basis is so important, and to see the parallels between then and now, requires peering as closely as possible — staring steadfastly at the whole picture, warts and all. https://www.youtube.com/watch?v=AlvLWaueD_o
Incorporating green habits into our day-to-day lives is more important now than ever. Avoiding fast fashion, recycling our kitchen waste and reducing our car mileage all work towards a happier and healthier planet. But, what happens when we go on holiday? It's easy to get overwhelmed when organising a travel itinerary and forget to prioritise eco-friendly choices. Luckily, sustainable living doesn't have to stop when your holiday starts. Tropical North Queensland is brimming with low-impact ways to explore the natural environment and tour operators that are passionate about marine and rainforest conservation. Five-star hotels are proud to detail their eco-friendly touches, with 'responsible luxury' being much more than just a buzz term. Plus, hyper-local ingredients are sourced from a network of dedicated farmers to supply a thriving food scene with the freshest produce. [caption id="attachment_845844" align="alignnone" width="1920"] Cape York, Tourism Tropical North Queensland[/caption] IT'S A NATURE LOVER'S THEME PARK If you love the outdoors, then Tropical North Queensland will have you spoiled for choice. This spectacular region is the only place in the world with two natural UNESCO World Heritage Areas side by side — namely, the Great Barrier Reef and the Wet Tropics Rainforest. You'll also find the sweeping Gulf Savannah and the unspoiled wilderness of Cape York. In Tropical North Queensland — which boasts the highest concentration of Ecotourism Australia-accredited experiences in the country — you'll have a near-endless list of ecotourism activities to choose from, including snorkelling, scuba diving and hiking tours. Impressively, more than 15 operators in Tropical North Queensland have been inducted into Ecotourism Australia's Hall of Fame. This honour is awarded to tour operators who have maintained their eco-certification for over 20 consecutive years. [caption id="attachment_829660" align="alignnone" width="1920"] Ochre, Tourism and Events Queensland[/caption] YOU CAN ENJOY A TROPICAL SPIN ON PADDOCK TO PLATE Choosing ingredients that are local and in season goes a long way in reducing our food mileage. The popularity of 'paddock to plate' eating is more than just a passing trend, and sourcing from local producers supports the wider agricultural industry. Best of all, the food requires little handling and is naturally bursting with flavour. Our favourite sustainable dining spots include Ochre Restaurant and Catering in Cairns, and Nautilus Restaurant in Port Douglas. Or, take it one step further, and try catching your own. Indigenous-owned tour companies such as Strait Experience and Kuku Yalanji Cultural Habitat Tours offer guests the opportunity to learn traditional methods for catching fish, prawns and crabs. [caption id="attachment_827693" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] THE HOTELS TAKE SUSTAINABILITY AS SERIOUSLY AS YOU DO Accomodation costs often take up the majority of your holiday budget, so it's important to direct those dollars towards a company that prioritises the environment. The Crystalbrook Collection opened its first hotel in 2018 in the region and has since saved millions of plastic bottles from ending up in landfill across its three Cairns-based properties. Its bathroom amenities are proudly 100-percent waste-free, including toothbrushes made from sugarcane and shampoo bottles that are fully biodegradable. This sustainable mindset extends throughout the rest of the resort, with recycled key cards and coat hangers, plus paperless technology practices. [caption id="attachment_844234" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] YOUR JOURNEY THERE COULD EARN YOU (LITERAL) GREEN POINTS Qantas flies direct to Cairns from most Australian capital cities, with Cairns Airport also servicing international routes. Qantas recently added a new Green tier to its Frequent Flyer program. Sitting alongside the existing levels, this Green tier membership rewards Qantas frequent flyers who make sustainable decisions both at home and on holidays. By making sustainable choices such as installing solar panels, offsetting flight emissions, or walking to work, members will be rewarded by the Green tier program. You can also score points towards Green tier status by completing sustainable activities while on holiday, including staying at eco-accredited hotels. For more information on the Green tier program, head over here. Ready to check it out for yourself? For more information and to start planning your trip, visit the website. Top image: Tourism Tropical North Queensland
Great news, budding entrepreneurs. We've found a very simple equation for immediate business success. Okay, not really. The truth is there is no such thing. In most cases, it takes a pinch of courage, a splash of creativity and a dash of good timing to make it happen. But, there's always something to be gained from hearing the stories of those who've taken the plunge and pulled it off. As far as restaurant groups go, Three Blue Ducks is becoming an Australian powerhouse. But, its success hasn't cost the guys behind it their down-to-earth attitude. Since launching the first Bronte cafe eight years ago, the team has grown to six co-owners (or 'ducks' as they're affectionately named), employing over 240 people across four venues in NSW and QLD (with a fifth slated to open in Melbourne later this year). We sat down with one of the original ducks, Mark Labrooy, to talk about (realistic) business growth, the importance of avoiding trends and why data is helping to improve resourcing and reduce waste. We've teamed up with Westpac to bring you some of Labrooy's top tips to celebrate its Presto Smart payment terminal, which seamlessly connects to a range of point-of-sales systems. Presto gives small businesses a leg up and makes payments and reconciliations a breeze so they can achieve scale — just Three Blue Ducks has done. ESTABLISH YOUR OWN VOICE What do your mum's famous lasagne recipe and your favourite pair of jeans have in common? They're classics that have stood the test of time. Every bite reminds you of childhood meals spent around the dinner table, and every wear confirms that you'll never find denim that feels as comfy as this. The same principle goes for any successful business. To stand out from the pack, it's important to create a product that's unashamedly one-of-a-kind. For the folks behind Three Blue Ducks, their shared passion for ethical and authentic food has been the foundation of the business from day one. "We thought we should do the food we like to eat at home in the venues, and that started to become the ethos around what we do," explains Labrooy. "I think that's what makes you authentic. If you just run with the pack and do what everyone else is doing, I think you lose your voice." USE POP-UP VENUES TO TEST THE WATERS Stepping outside our comfort zone is daunting, whether in work or life. Once you've hit your stride, it's tempting to sit back and let things happily tick away. But to stay relevant, businesses should be prepared to pivot and evolve so, once the Three Blue Ducks team had consolidated their Bronte outpost, they saw a chance to try something new. "The first new venue we did was a pop-up in the snow at Falls Creek, and it was sort of a nudge along," explains Labrooy. Opening a new location is always a risk. What if the market doesn't embrace your venue? Is this the right time to make a move? Are there strong competitors you'll need to contend with? But with risk comes reward. Plus, creating a temporary pop-up means you can experiment with new concepts and ideas without the commitment of a permanent store. "We opened this new venue and we did really well, and it gave us a boost of confidence," tells Labrooy. [caption id="attachment_663257" align="alignnone" width="1920"] Destination NSW[/caption] EMBRACE OPPORTUNITIES THAT ALIGN WITH YOUR ETHOS As cheesy as it sounds, sometimes things do happen for a reason. It could be spotting a 'For Lease' sign in your dream neighbourhood or meeting another like-minded entrepreneur looking to embark on their next project. When unmissable opportunities arise, jumping in can keep you ahead of the game. "We had an opportunity that presented itself with The Farm in Byron Bay, and that was a really big play for us," tells Labrooy. He reveals this venture was the business's most challenging to date. However, creating a farm-based restaurant with unlimited access to fresh local produce was always something the team wanted to pursue. "We had the opportunity to design a restaurant and kitchen completely to our specs," Labrooy explains. "We had access to all the farmers that were growing produce on the property. We used to think about ordering eggs, but now we have 500 chickens giving us fresh eggs daily." [caption id="attachment_693841" align="alignnone" width="1920"] Nikki To[/caption] BUILD RELATIONSHIPS WITH YOUR LOCAL COMMUNITY Whether you're creating a coffee bar or launching a boutique, connecting with your customers is key to success. As a bricks-and-mortar store, you become part of your local area — and you should use those community relationships to your advantage. This insight continues to inform every Three Blue Ducks venue as the team prioritise giving back to the local areas they call home. The Byron Bay location is a testament to this, as Labrooy tells, "there's no business in the Northern Rivers that even remotely comes close to what we're doing. There's around $4 million dollars of wages that go back into the local economy, plus $4.5 million of produce purchased from local suppliers… we don't use big companies, we use local people with small businesses instead." LEVERAGE DATA TO TEST, LEARN AND GROW Launching a new business is full of unknowns. When are the busiest parts of the day? How many staff should you hire? What quantities of stock do you need on hand to meet demand? In most cases, the first couple of years are about trial and error. For Three Blue Ducks, understanding customer behaviour has always been a valuable resource. By analysing data trends, the team is able to make informed business decisions to maximise profitability and reduce waste. "In Bronte, for example, in November, we know that there is the Sculptures by the Sea and we have thousands of visitors... So we know that's going to be a really busy time of year for us. We order more produce and roster on more staff so we can accommodate," tells Labrooy. "It's all about understanding when are our peaks and troughs and how we manage our restaurants in terms of staffing, food costs and ordering, so we can really reduce our waste." Now that you have some top tips, it's time to take the first steps towards scaling up your business. And when it comes time to set up your payment technology, look to Westpac's Presto Smart terminal. It's made for speedy payments, busting queues, reducing keying errors and seamlessly connecting to a range of Point of Sales systems to help you keep track of cashflow. Please note that the above information is intended to be general in nature and should not be relied upon for personal financial use. Request more info and speak to Westpac here. Top image: Nikki To.
Sydneysiders and coffee addicts can temporarily detach their caffeinated IV drips, wipe the sleep out of their eyes and sip the last of their espressos — the Aroma festival is setting up at The Rocks and it's about to wake you up to all kinds of coffee experiences, culminating with festival day on Sunday. To get you through the week, we've got five of the best coffee workshops on offer in five java-filled days. Wednesday: Pablo & Rusty's Coffee Roasters Deconstructing Espresso Get to know your beans inside and out and deconstruct your morning cuppa at this informative workshop by Pablo & Rusty. Meet the team behind Sydney's specialty coffee roasters, who'll teach you the basic characteristics of espresso and how to evaluate a good roast. You’ll get an insider's look into current coffee trends, popular regions and their flavours and what beans and blends are best suited to the way you drink your brew. Wednesday, July 17, and Thursday, July 18, 12.30pm (also Thursday); Shop 2.04 and 2.05, 140 George Street, The Rocks; tickets $10. Limited places, book to secure yours. Thursday: High Coffee We're sure even the Queen needs her daily caffeine hit. Drink your espresso like royalty and experience 'High Coffee' at Baroque Bistro Patisserie. As you sip your signature single origin espresso martini, treat yourself to coffee-infused petit-fours by Baroque's head pastry chef Jean Michel Raynaud plus savoury canapes by chef Drew Bolton. Your caffeinated treats include a coffee macaron, coffee eclair, coffee cake, coffee tartlets and coffee chocolate truffle. Don't expect to go to bed early that night. Tuesday, July 16, to Saturday, July 20, 3pm; Baroque Bistro Patisserie, 88 George Street, The Rocks; tickets $60 with espresso martini/$45 without. Limited places, book to secure yours. Friday: Coffee Cup Candle Workshops There's nothing better than the aroma of a coffee shop. But besides kidnapping your favourite barista and his precious espresso machine, it can be hard to replicate the same smells in your living room. Get the next best scent at this Coffee Cup Candle workshop. Bring along a coffee mug, tea-cup or glass and fill it with a coffee, mocha, hot chocolate or chai latte scented candle. The Candle Factory are Sydney's favourite candle company and will show you how to measure, blend, colour and fragrance the soy wax into a day's worth of delicious coffee smells. Thursday, July 18, to Sunday, July 21, 10am and 11am; The Candle Factory, Shop 5 Metcalfe Arcade, 80-84 George Street, The Rocks; tickets $5. Limited places, book to secure yours. Saturday: Delano - The Pour Over at Home Coffee snobs take note, 'pour over coffee' is gaining popularity among caffeine fiends all over the world, and here's your chance to see what all the fuss is about. Learn to brew your own filter-roasted single origin coffee and get advice to perfect the method at home. You'll get all the tips from the award-winning coffee connoisseurs Delano and have the chance to purchase brew equipment packs to make sure you've got all the right tools to brew your perfect cup yourself. Saturday, July 20, 3pm; Shop 2.04 and 2.05, 140 George Street, The Rocks; tickets $10. Limited places, book to secure yours. Sunday: Reuben Hills - Comparative Regional and Cultivar Cupping Ever tasted notes of wood, nuts or fruit in your cappuccino? Maybe there were wafts of caramel, smoke or flowers in your last latte. Hopefully there were no signs of leather, sweat or fur in your espresso this morning, but all these aromas can be found in your coffee during a coffee cupping. The team from Surry Hills' favourite brekkie spot, Reuben Hills, will help you measure the flavours, aromas, body and characteristics of your coffee and discover the influence region and climates play in the overall taste of your brew. Saturday and Sunday, July 20 and 21, 11am; Shop 2.04 and 2.05, 140 George Street, The Rocks; tickets $10. Limited places, book to secure yours. Check out the full program of Aroma workshops and special events at their website.
You're successful in your career, but your personal life suddenly takes an unwanted turn. Then, your childhood best friend-slash-crush and Keanu Reeves both turn up. That's the premise of Netflix new rom-com Always Be My Maybe, which follows celebrity chef Sasha (Ali Wong), who reluctantly reconnects with her dependable old buddy Marcus (Randall Park) after falling out with him 15 years earlier — only for a slick newcomer (Reeves) to threaten their reunion. If that sounds like your idea of a good night in, that's what the streaming platform is counting on. As well as serving up highly binge-able TV shows and plenty of viewing options with a strong female lead, Netflix loves flicks of the romantic and comedic persuasion, especially among its original content. Clearly audiences love a rom-com too, which is why the service keeps making them. Always Be My Maybe arrives with an impressive pedigree, with director Nahnatchka Khan known for Fresh Off the Boat and Don't Trust the B____ in Apt. 23, and stars Wong and Park co-writing (with Grimm's Michael Golamco) and co-producing as well. Cast-wise, the stacked lineup also includes Lost's Daniel Dae Kim, Broad City's Michelle Buteau, Miracle Workers' Karan Soni and Paper Heart's Charlyne Yi, plus Lyrics Born and Keanu, of course. Check out the trailer below and then watch the film on Netflix immediately. https://www.youtube.com/watch?v=iHBcWHY9lN4&feature=youtu.be You can now stream Always Be My Maybe on Netflix. Updated: June 28, 2019. Image: Ed Araquel / Netflix.
Get read for sensory overload — Chinese New Year is here. Time to fill the streets with fireworks and dancing lions while you alternate between inhaling incredible Asian cuisine and watching feats of strength at the Darling Harbour dragon boat races. For the Year of the Sheep (a sign of creativity and wisdom), the festival will be connecting you with the best of the Chinese creative world, including large-scale performance art pieces with the Yangjiang art collective and fire-breathing puppet troupes, as well giving you the chance to put yourself in the mix, whether walking through an army of glowing terracotta warriors or doing Tai Chi in the sunshine. With so much to do and see, here are a few highlights from Sydney's Chinese New Year Festival you shouldn't miss.
The 2018 Sydney Film Festival has reached its official halfway point, but you won't have to say goodbye to the event quite when you might expect. In what's now become a yearly tradition, SFF is keeping its movie onslaught going past the stated end date of June 17, hosting three days of encores across June 18-20 at Dendy Newtown and Dendy Opera Quays. Twelve titles comprise the fest's By Popular Demand and, as the name suggests, they're all films that have been filling cinemas and/or selling out sessions so far. Actually, four of the flicks on the list haven't even played yet, but have sold out at least one screening — and will definitely sell out their initially-scheduled two. And they're all super-hyped Cannes titles, such as Palme d'Or winner Shoplifters from Japanese auteur Hirokazu Kore-eda; the highly acclaimed Burning, helmed by South Korea's Lee Chang-dong and based on a Haruki Murakami short story; Gaspar Noe's dance party-set Climax, a directing prize recipient; and Spike Lee's race-relations satire BlacKkKlansman, which won this year's Grand Prix. Other films getting another run include opening night's hilarious New Zealand comedy The Breaker Upperers, Soda_Jerk's stellar Aussie cinema mashup Terror Nullius and fellow local effort Jirga, which was shot in Afghanistan. Or, you can catch Jon Hamm in 70s spy thriller Beirut, or watch Pig's darkly comedic story of a blacklisted Iranian filmmaker who thinks he's being overlooked by a serial killer that's been murdering his colleagues. On the documentary front, fashion is in fashion, with McQueen and Westwood: Punk, Icon, Activist strutting their stuff once more. And if you need a dose of cuteness after nearly two weeks spend in cinemas, Pick of the Litter follows a group of adorable puppies as they train to become guide dogs. Sydney Film Festival's By Popular Demand bonus screenings hit Dendy Newtown and Dendy Opera Quays between June 18 and 20. The 2018 Sydney Film Festival runs from June 6 to 17 at various cinemas around the city. To view the complete program and book tickets, visit the festival website.
Acclaimed contemporary French artist Daniel Buren is bringing his captivating large-scale installation to Sydney's Carriageworks. The fourth work in the Schwartz Carriageworks series, a five-year collaboration between veteran Melbourne art collector Anna Schwartz and the contemporary art space, Buren is coming to Sydney to present the Australian premier of his Like Child's Play (Comme Un Jeu d'Enfant) artwork. Running from July 7 to August 12, Like Child's Play is inspired by the German theorist Friedrich Fröbel, who laid the modern-day foundations for the education of children – perhaps most famously through the use of wooden block toys. Using more than 100 blocks, arches, triangles and pediments that have been amplified in size, Buren upends Fröbel's work by shifting the focus from toys we towered over as children, to structures that loom over us as adults. First presented at France's Strasbourg Museum of Modern and Contemporary Art in 2014, Buren carefully arranges the varied installations to produce differing sight lines throughout the space. These large cavities are made up of multiple blocks each featuring Buren's iconic striped designs, and while one half of the installation is an explosion of colour, the opposing half takes on a minimalist appeal with white floors and white structures. Like Child's Play carries on Buren's long exploration of the relationship between art and its shapes, considering how we perceive, borrow and use space. Buren has exhibited numerous times at the Venice Biennale – winning the prestigious Golden Lion award for his French Pavilion in 1986 – and has held solo exhibitions at Paris' Centre Pompidou and New York's Guggenheim Museum. Throughout a career spanning more than 50 years, Buren has been an agitator creating controversial texts, provocative public artworks and forging inventive collaborations with emerging and established artists.
