Standing atop Yosemite National Park's El Capitan after scaling it alone and without ropes, harnesses or any other safety equipment, Alex Honnold cut a surprisingly subdued figure. As the Oscar-winning documentary Free Solo captured, he was obviously ecstatic, but he isn't the type to leap and scream with excitement. So, he smiled blissfully. He also advised the cameras that he was "so delighted". In the opening moments of new doco The Alpinist, however, he is effusive — as enthusiastic as the no-nonsense climbing superstar gets, that is. In a historical clip, he's asked who he's excited about in his very specific extreme sports world. His answer: "this kid Marc-André Leclerc." Zipping from the Canadian Rockies to Patagonia, with ample craggy pitstops in-between, The Alpinist tells Leclerc's tale, explaining why someone of Honnold's fame and acclaim sings his praises. Using the Free Solo subject as an entry point is a smart choice by filmmakers Peter Mortimer and Nick Rosen — industry veterans themselves, with 2014's Valley Uprising on their shared resume and 2017's The Dawn Wall on Mortimer's — but their climber of focus here would demand attention even without the high-profile endorsement. Indeed, dizzying early shots of him in action almost say all that's needed about his approach to great heights, and his near-preternatural skill in the field. Scaling hard, immovable rock faces is one thing, but Leclerc is seen here clambering up alpine surfaces, conquering glistening yet precarious sheets of ice and snow. Any shot that features the Canadian twenty-something mountaineering is nothing short of breathtaking. Describing it as 'clambering up' does him a disservice, actually, and downplays The Alpinist's stunning footage as well. Leclerc is just that graceful and intuitive as he reaches higher, seemingly always knowing exactly where to place his hands, feet and axe, all while heading upwards in frighteningly dangerous situations. As Mortimer notes, narrating the documentary and almost-indulgently inserting himself into the story, alpine free soloing is another level of climbing. No shortage of talking-head interviewees also stress this reality. Protective equipment is still absent, but all that ice and snow could melt or fall at any second. In fact, the routes that the obsessive Leclerc finds in his climbs will no longer exist again, and mightn't just moments after he's made his ascent. Simply charting Leclerc's impressive feats could've been The Alpinist sole remit; Mortimer and Rosen certainly wanted that and, again, the film's hypnotic, vertigo-inducing imagery is just that extraordinary. Some shots peer at the mountains in all their towering glory, letting viewers spot the tiny speck moving amid their majesty in their own time, before zooming in to get a closer look at Leclerc. Other nerve-shattering scenes intimately capture every careful choice, every movement of his limbs and every decision about what to hold on to, inescapably aware that these are sheer life-or-death moments. But The Alpinist isn't the movie its makers initially dreamed of, because Leclerc isn't Honnold or The Dawn Wall's Tommy Caldwell and Kevin Jorgeson. While affable when posed in front of the camera, he's also silently begrudging, because he'd visibly rather just be doing what he loves in total anonymity instead of talking about it, having it filmed and earning the world's eyes. Climbing documentaries frequently unfurl in layers, pairing character studies, astonishing feats and the history of the field, as The Alpinist does. But films about this risky pastime often need to grapple with their own existence and ethics, too, and the difficulties and complexities faced when making such features. Where Free Solo mused on how the act of filming might influence Honnold as he attempted his rocky quest, either putting him in more peril or encouraging him to do that himself because he was being watched, The Alpinist ponders how recording Leclerc's climbs impacts his mental experience. As touched upon again and again, including by the man himself, Leclerc sees alpinism as a transcendent mindset. It's where he's at his most free, where his body and mind work as one, and where he's firmly in the moment. He doesn't feel that with lenses pointed his way and camera crews right there with him, unsurprisingly. So, partway through the documentary's filming, he starts ducking the directors' calls and just mountaineering for himself again. Eventually, after months of chasing — and after Mortimer and Rosen's vocal frustration at learning about Leclerc's latest alpine achievements via other climbers' social media feeds — they all agree that he'll do his thing alone first, then he'll repeat it for the cameras. The footage is no less phenomenal as a result, and the tension no less gripping. This is an affectionate movie, complete with Leclerc's mother Michelle Kuipers looking back on his childhood and free-spirited teen years, and his girlfriend and fellow climber Brette Harrington also sharing her thoughts, but it also values immersing its audience in the vivid experiences at its centre. Sweaty palms are a side effect, as they are with all the best climbing docos — which is where this film easily fits. With his mop of shaggy hair, a mountain of enthusiasm even his camera shyness can't hide, a wide grin and a complete commitment to climbing (with Harrington, he spent years living in stairwells and tents because this type of life can take you everywhere and anywhere), Leclerc is still a dream doco subject. Although that description clearly didn't apply logistically while The Alpinist was in production, his love of reaching great heights radiates across the screen. Existing fans will already know where the film has to finish, and know why it can only have a celebratory tone, but that doesn't diminish the movie's thrills, joys, goosebumps, insights and intrigue. Similarly, it doesn't temper its interrogation of alpine climbing's frozen beauty versus its inherent dangers, or its thoughtful and compelling portrait of a person eagerly embracing both extremes.
It's one of the city's best-known landmarks, so when the Sydney Opera House illuminates its sails, it stands out. You've seen the venue lit up for Vivid, to launch Mardi Gras and to support bushfire relief — and, as part of Badu Gili, the nightly showcase of First Nations artwork that was first launched in 2017. While the harbourside spot hasn't been decking out its sails with projections every night of late, that changed from Friday, April 23, with a new Badu Gili series gracing the Opera House's exterior each evening. This time around, it's called Badu Gili: Wonder Women, and focuses on the work and stories of six female First Nations artists. And, as part of Sydney Solstice, the affair will be dubbed Badu Gili: Winter Nights, which will run from June 8–20. Curated by Coby Edgar, the Art Gallery of New South Wales' Curator of Aboriginal and Torres Strait Islander Art, Badu Gili: Wonder Women is a creative collaboration between the Opera House and AGNSW to mark the latter's 150th anniversary. As the sun sets each day, the Opera House's eastern Bennelong sail will illuminate with a vibrant six-minute animated projection. The animation will repeat three more times each night — approximately every hour, but the timing changes every evening depending on the season and events at the Opera House's Forecourt. Badu Gili also ran in 2018; however, for its third go-around in 2021, it'll display its first all-female lineup. Sydneysiders will be able to peer up at work from Wathaurung elder Marlene Gilson, Yankunytjatjara woman Kaylene Whiskey and Luritja woman Sally Mulda, which'll feature alongside pieces by Western Arrernte women Judith Inkamala and Marlene Rubuntja, and the late Kamilaroi woman Elaine Russell. While you're looking up, you'll be taking in pieces inspired by the artists' life stories and shared histories, which includes the Eureka Stockade and mission days, 2019-20's bushfires, an imagined world of superheroes, family encounters and ordinary life in First Nations communities. The visual component of Badu Gili — which translates to 'water light' in the language of the site's traditional owners, the Gadigal people — will also be accompanied by a return of Badu Gili Live. The free outdoor music series will run throughout May and June, with performances from Mi-kaisha, Leah Flanagan, and Bow and Arrow. Plus, between Tuesday, June 8 and Sunday, June 20, the Sydney Opera House forecourt will feature Babu Gili Winter Nights with music, talks, poetry readings and a pop-up bar serving drinks and snacks inspired by native Australian ingredients as part of Sydney's new winter arts festival Sydney Solstice. [caption id="attachment_753266" align="alignnone" width="1920"] Ken Leanfore[/caption]
"If any one unwarily draws in too close and hears the singing of the Sirens, his wife and his children will never welcome him home again, for they sit in a green field and warble him to death with the sweetness of their song." With The Odyssey, Homer essentially created the epic. But with the above passage, he also created something much more insidious — the femme fatale, a stock female character who tempts men with the ultimate goal of destroying them. Victorian Opera's latest project, Lorelei, shoves a cabaret skewer through this idea and roasts it over an operatic blaze. Sopranos Ali McGregor and Antoinette Halloran with mezzo-soprano Dimity Shepherd have been spicing up the classics for a while as the Opera Burlesque collective. Now, they take to a cliff-top on a tricky bend in the river Rhine to explore how women are represented in literature and opera. But wouldn't you know it — just as they're getting down to business, a ship begins to approach. And it seems to be having a little trouble on those bends. Part cabaret, part opera and with a stinging libretto by Casey Bennetto (Keating! The Musical) and Gillian Cosgriff (8 Songs in 8 Weeks), Lorelei takes its cues from the sirens of German folklore. It's happy enough to toy with the trope — but it's not going to stop until it's smashed to matchsticks on a rock. Lorelei will run from November 3–10 at The Coopers Malthouse, Merlyn Theatre. For more information and to purchase tickets, visit the Victorian Opera website.
Before watching The Nest, you mightn't have imagined Jude Law playing Mad Men's Don Draper. He didn't, of course. But this new 80s-set psychological thriller about a corroding marriage brings that idea to mind, because it too follows a man who spends his days selling a dream, thinks he can talk and charm his way into anything, and may have unleashed his biggest spin upon himself. More often than not, Law's character here has used his charisma to get whatever he wants, and to evade whichever sticky personal and professional situations he's plunged himself into. Indeed, stock trader Rory O'Hara slides easily into Law's list of suave on-screen roles, alongside the likes of The Talented Mr Ripley and Alfie. But there's also a tinge of desperation to his arrogance, as the actor showcased well in miniseries The Third Day. A Brit who relocated to New York and married horse trainer Allison (Carrie Coon, Widows), Rory looks the picture of Reagan-era affluence but, when he suddenly wants to return to London to chase new work opportunities, the cracks in his facade start widening. When Rory proposes the move to Allison, she's reluctant. From the instant she first spies the centuries-old Surrey mansion he's rented for them, her teenage daughter Sam (Oona Roche, Morning Wars) and their son Ben (Charlie Shotwell, The Nightingale), she's mistrustful as well. Rory crows about how Led Zeppelin once recorded an album there as he tours her through the cavernous property, but the glassiness in Allison's eyes shows that she can't unthinkably subscribe to his glossy view of their relocated existence. That remains true even after he buys her a new horse, and brings home a fur coat for her to wear to his work get-togethers, where he brags about his prowess, success and eagerness to expand his property portfolio with a city apartment. It takes time for Allison to confront Rory's lies, and for his efforts to swindle and cajole his way out of financial strife to tear apart the O'Haras' lives; however, that Rory's posturing and pretence will crumble isn't a matter of if, but when. While it's obvious from the outset that trouble is afoot — from early images that survey the family's almost too-idyllic NY life, in fact — filmmaker Sean Durkin isn't in any rush to unleash The Nest's full nightmare. The writer/director made his feature debut with 2011's cult thriller Martha Marcy May Marlene, so his big-screen career pre-dates Hereditary and Midsommar's Ari Aster, but he's just as committed to evoking a climate of pervasive, unshakeable dread. And, he wants his viewers to linger in it, because his characters must. Allison is forced to live with the knowledge that little is right, but the way she chain-smokes hurriedly illustrates that she also knows how far her fortunes could fall. Every move Rory makes is driven by his need to paint a gleaming portrait of himself, and he's aware that it's a reverse Dorian Gray situation: the shinier and flashier he makes everything seem to anyone who'll listen, the more he rots inside. Durkin doesn't just rely upon an exacting pace and a festering mood of gloom, though. Reuniting with cinematographer Mátyás Erdély (Son of Saul) after 2013 miniseries Southcliffe, he gives every second of The Nest an eerie look — whether staying a few beats longer than normal on its opening shot, lensing vast rooms to emphasise their emptiness, repeatedly peering at the film's characters through glass or breaking out the most gradual of zooms. A sense of distance echoes through the movie, mirroring how the O'Haras can never get close enough to what they really want. Reminders of conflict are perched everywhere, especially in the way that Erdély plays with light and shadow across the family's faces. Decadence abounds, too, but in an overstressed fashion via wood-panelled walls and deep colours seething with darkness. The score by Arcade Fire's Richard Reed Parry plays up the threat and menace, while few recent films have compelled their audience to pay such attention to their unsettling sound design. All that tension and unease conveys not only Rory and Allison's domestic discontent — and, as one rebels and the other frets, Sam and Ben's as well — but also the false promises of chasing capitalism-driven fantasies. When, in a vulnerable exchange, Rory says that his job is pretending that he's rich, The Nest slices savagely into the toxic and false notion that money, belongings and status equal happiness. That should have viewers thinking about Mad Men again, but Durkin takes to the subject like he's making a biting horror movie rather the 21st century's best TV drama so far. The film is called The Nest, after all, and that luxurious abode evokes terror in a number of ways. It's the ultimate symbol of living beyond one's means and attempting to fake it till you make it. It's worlds away from the humble upbringing that Rory's trying to hide. It has more than enough space for Allison to fill with her worries, and to lose her sense of self in. And, in, every creak and suddenly open door, it reflects the paranoia that accompanies trying to be someone you're not. Law is perfectly cast, and Durkin is now two for two, but Coon is as essential to The Nest as her fellow lead and her director. As she demonstrated in Gone Girl and on TV in The Leftovers and Fargo, she's so adept at cutting to the heart of a character's complexities with minimal fuss that her performances feel like their own form of shorthand. And, that's crucial here. As Rory's bluster sees him increasingly flounder, Coon ensures that audiences know exactly how it's affecting Allison at every turn. Cue many of The Nest's most haunting scenes, because there are few things more gut-wrenching than realising that the life you don't even love is a sham, but wading through it day after day nonetheless. https://www.youtube.com/watch?v=G9OR8RC2t7Q
The annual Orange Wine Festival is back for its 11th run, with ten days of events highlighting the region's sophisticated winemaking from October 13 through October 22. Patrons can expect wine shows, tastings, dinners and educational workshops, all of which showcase the rich diversity of Orange's rich culinary culture. This year's packed-out program includes over 90 events, which are open to all wine lovers, from the connoisseurs to those still getting to know their palate. The region is known for its cool climate which creates wines with bright fruit and deep, balanced flavours, making them some of the best drops in the country. While there are events on every day of the two weeks, signature events include the Festival Night Market, the Orange Wine Show Tasting ($50-$70) and Wine in the Vines ($145).
On November 2, it was announced that beloved Sydney institution Freda's would be closing for good. Operating out of a century-old warehouse on Chippendale's Regent Street, the live music venue has survived nine turbulent years of lockout laws, gentrification and a global pandemic, while continuing to make space for up-and-coming, boundary-pushing and diverse artists from Sydney and afar. Opening in November of 2011, the club was named after founder David Abram's mother Freda, a fashion designer and painter who raised Abram alongside his father Phil. Both Phil and Freda are immigrants and Holocaust survivors who Abram credits for his creativity and passion. In his statement on Freda's closing Abram thanked his parents, saying: "they have taught me you can make creativity the centre of your life and succeed. No matter the odds." Freda's was born at a tipping point in Sydney's nightlife, with a newly elected government at the helm that was set to dramatically change the city's creative sector. In fact, according to Abram, it was already changing for the worse — and Freda's was created in opposition to this. "One of the reasons why I started Freda's is that I felt like the arts and creative communities that I'd grown up around in the inner city had fallen victim to the incessant gentrification and development that has blighted Sydney over the last 15 years," Abram told Concrete Playground. "It really bothered me that there were no places for self-expression, young people to meet and interact around their own music and ideas, nor for emerging artists to hone their craft and performance to take to bigger stages." Of course, the creative sector had worse on the horizon. In February 2014, the NSW government introduced the lockout and last-drink laws in the Sydney CBD and Kings Cross in an attempt to curb alcohol-fuelled violence. The fallout from the laws is still being felt today, with hundreds of venues closing over the five years the laws were in place and those that survived within the CBD seeing a 40 percent drop in revenue. Freda's sat just outside the lockout zone, but felt the impact of the laws regardless. The venue was initially limited to a midnight close time before it was extended to 2am on weekends in 2017 and finally 4am last year. [caption id="attachment_790506" align="alignnone" width="1920"] Image: David Abram and protesters at a Keep Sydney Open Rally in 2016, Kimberley Low[/caption] "Being closely involved in the music community for almost a decade, I have seen the drastic decline in Sydney's nightlife — from the envy of the world to a relative backwater," Abram said back in 2017. "We have lost a large part of our soul in this process." Three years on and this view remains, as Abram says: "the reality is that this lack of spaces has a direct correlation to a lack of arts and music industry prospects and results in one of two things: people give up on their dreams and some incredible talents are lost forever, or alternatively artists and musicians are forced to move overseas to more progressive societies in Europe and elsewhere. The reality is the talent is here. The ambition is here. We just need spaces, support and far less red tape." Despite the extended trading hours, Freda's continued to run into challenges. Six years on from the introduction of the lockout laws and in the throws of a global pandemic, Abram reflects on the difficulties of running a venue in Sydney. "Freda's has been a very personal project with many challenges and complications, and it has often felt like as soon as we have climbed one mountain there has been an even taller one to climb on the other side. Each time you climb one of these mountains it takes a part of you with it," Abram said. "One thing I can say from experience is that you have to be tough to have survived as a venue in Sydney because the last ten years have been brutal." But, Abram has a more positive outlook on the future of Sydney's music, culture and nightlife. When asked about the fallout from the pandemic, he says, "I think right now things appear dire, and I am sure Freda's closing won't change people's opinions about this. However, I am incredibly optimistic and motivated for the future. We have spent enough time in cultural purgatory and just like when the Berlin Wall fell, we too will have our day in the sun." Abram also says the pandemic has produced some unexpected benefits for Sydney's creative industries. "COVID-19 has obviously been devastating for everyone, particularly those in the live music and 'gig' economy, but it has also meant that some of our best artists, performers and creative minds have returned home from LA, Berlin, New York and other corners of the globe they chased their creative dreams," Abram continues. "Further to this, for the first time in decades, landlords are going to have to assess the relentless rental inflation and offer space at a fair price within the city and surrounding areas. It is also in councils, state and federal governments interests to see the live music and cultural industries thrive as we climb out of this pandemic driven recession. We have an opportunity right now to change the narrative and I believe we can." [caption id="attachment_788414" align="alignnone" width="1920"] Image: Carla Uriarte[/caption] For now, however, the city is preparing to farewell Freda's. The announcement of its impending closure was met with an outpouring of sadness and support, with the venue playing host to countless Sydney musicians, DJs, producers, artists and performers over the years. From local up-and-coming musicians like Mildlife, Memphis LK and Egoism to established members of the Sydney arts community, such as Rainbow Chan, Flexmami and former Head of Music and Programming at FBi Radio Amelia Jenner, and international superstars like Mac Demarco, the Freda's stage has housed some of the most talented and influential musicians of the last decade. When asked about how he created a space of such creativity and positivity, Abram said: "exploring how the space can be interpreted has been one of the fundamental objectives of Freda's, and allowing so many different creative expressions to occur under one roof has kept the space dynamic, open-minded and accessible for all who have inquisitive minds. With regards to the positivity of the space, the simple answer was to have a sense of humour, to realise a night out is meant to be fun even if we are sometimes exploring challenging subjects in our art and expression." Abram also has hope other Sydney venues can continue creating such spaces around the city. "The Bearded Tit in Redfern, which is unfortunately still closed (aside from takeaway) at the moment, has always been a kindred spirit in terms of its cultural output and performative programming. The Red Rattler in Marrickville and 107 Projects in Redfern are also community-driven spaces showcasing diverse artists and music. Giant Dwarf has been an incredible incubator for comedic talent these last few years. I'm also a huge fan of party institutions like Mad Racket and Club Kooky that have been part of Sydney's nightlife for over 20 years." Reflecting back on his favourite memories at Freda's, Abram says, "there are so many individual memories it would be impossible to list them all here. But a feeling that has consistently been etched into my mind happens at a certain part of a night when an incredible DJ is in full flight and the dance floor is locked in and free. There has been nothing more satisfying me than being a part of creating this experience for people." Freda's will close on Sunday, November 21, after the Festival of Freda's. Tickets to both Friday's Vibe Positive and Saturday's The End are sold out, but tickets are still available to see The Moving Stills on Thursday, November 19 and the book launch of 'Becoming' by Joel Forman and Edward Mulvihill on Friday, November 20 at Freda's art space Down Under. Top images: David Abram by Carla Uriarte and Freda's by Imogen Grist
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. DOWNTON ABBEY: A NEW ERA The movies have come to Downton Abbey and Violet Crawley, the acid-tongued Dowager Countess of Grantham so delightfully played by Maggie Smith (The Lady in the Van) since 2010, is none too fussed about it. "Hard same," all but the most devoted fans of the upstairs-downstairs TV drama may find themselves thinking as she expresses that sentiment — at least where Downton Abbey: A New Era, an exercise in extending the series/raking in more box-office cash, is concerned. Violet, as only she can, declares she'd "rather eat pebbles" than watch a film crew at work within the extravagant walls of her family's home. The rest of us mightn't be quite so venomous, but that's not the same as being entertained. The storyline involving said film crew is actually one of the most engaging parts of A New Era; however, the fact that much of it is clearly ripped off from cinematic classic Singin' in the Rain speaks volumes, and gratingly. When the first Downton Abbey flick brought its Yorkshire mansion-set shenanigans to cinemas back in 2019, it felt unnecessary, too, but also offered what appeared to be a last hurrah and a final chance to spend time with beloved characters. Now, the repeat effort feels like keeping calm and soldiering on because there's more pounds to be made. Don't believe the title: while A New Era proclaims that change is afoot, and some of its narrative dramas nod to the evolving world when the 1920s were coming to a close, the movie itself is happy doing what Downton Abbey always has — and in a weaker version. There's zero reason other than financial gain for this film to unspool its tale in theatres rather than as three TV episodes, which is what it may as well have tacked together. Well, perhaps there's one: having Lady Mary Talbot (Michelle Dockery, Anatomy of a Scandal) proclaim that "we have to be able to enter the 1930s with our heads held high" and set the expectation that more features will probably follow. A New Era begins with a wedding, picking up where its predecessor left off as former chauffeur Tom Branson (Allen Leech, Bohemian Rhapsody) marries Lucy Smith (Tuppence Middleton, Mank) with everyone expected — the well-to-do Crawleys and their relatives, plus their maids, butlers, cooks, footmen and other servants — in attendance. But the film really starts with two revelations that disrupt the Downton status quo. Firstly, Violet receives word that she's inherited a villa in the south of France from an ex-paramour, who has recently passed away. His surviving wife (Nathalie Baye, Call My Agent!) is displeased with the arrangement, threatening lawsuits, but his son (Jonathan Zaccaï, The White Crow) invites the Crawleys to visit to hash out the details. Secondly, a movie production wants to use Downton for a shoot, which the pragmatic Mary talks the family into because — paralleling the powers-that-be behind A New Era itself — the aristocratic brood would like the money. With Violet's health waning, she stays home while son Robert (Hugh Bonneville, Paddington 2) and his wife Cora (Elizabeth McGovern, The Commuter) journey to the Riviera — as part of a cohort that also includes retired butler Mr Carson (Jim Carter, Swimming with Men), who's determined to teach his French counterparts British standards. And, as the Dowager Countess remains in Yorkshire exclaiming she'd "rather earn a living down a mine" than make movies, potential family secrets are bubbling up abroad. That subplot takes a cue or two from Mamma Mia!; Downton Abbey creator and writer Julian Fellowes must've watched several musicals while scripting. Violet also notes that she "thought the best thing about films is that I couldn't hear them", because the production helmed by Jack Barber (Hugh Dancy, Late Night), and led by stars Guy Dexter (Dominic West, The Pursuit of Love) and Myrna Dalgleish (Laura Haddock, Transformers: The Last Knight), has hit a period-appropriate snag: talkies are the new hot thing, but their flick is silent. Read our full review. AFTER YANG What flickers in a robot's circuitry in its idle moments has fascinated the world for decades, famously so in Do Androids Dream of Electric Sheep?, Blade Runner and Blade Runner 2049 — and in After Yang, one machine appears to long for everything humans do. The titular Yang (Justin H Min, The Umbrella Academy) was bought to give Kyra (Jodie Turner-Smith, Queen & Slim) and Jake's (Colin Farrell, The Batman) adopted Chinese daughter Mika (Malea Emma Tjandrawidjaja, iCarly) a technosapien brother, babysitter, companion and purveyor of "fun facts" about her heritage. He dotes amid his duties, perennially calm and loving, and clearly an essential part of the family. What concerns his wiring beyond his assigned tasks doesn't interest anyone, though, until he stops operating. Mika is distressed, and Kyra and Jake merely inconvenienced initially, but the latter pledges to figure out how to fix Yang — which is where his desires factor in. Yang is unresponsive and unable to play his usual part as the household's robotic fourth member. If Jake can't get him up and running quickly, he'll also experience the "cultural techno" version of dying, his humanoid skin even decomposing. That puts a deadline on a solution, which isn't straightforward, particularly given that Yang was bought from a now-shuttered reseller secondhand, rather than from the manufacturer anew, is one roadblock. Tinkering with the android's black box is also illegal, although Jake is convinced to anyway by a repairman (Ritchie Coster, The Flight Attendant). He acquiesces not only because it's what Mika desperately wants, but because he's told that Yang might possess spyware — aka recordings of the family — that'd otherwise become corporate property. Before all that, there's a stunning dance — a synchronised contest where families around the globe bust out smooth moves in front of their televisions, competing to emerge victorious. The dazzling scene comes during After Yang's opening credits and is a marvel to watch, with writer/director/editor Kogonada (TV series Pachinko) conveying a wealth of meaning visually, thematically, philosophically and emotionally in minutes. To look at, the sequence brings to mind Ex Machina's, aka the Oscar Isaac-led scene that launched a thousand gifs. In what it says about After Yang's vision of an unspecified but not-too-distant future, it's reminiscent of Black Mirror, with engrained surveillance technology eerily tracking participants' every move. It's here, too, amid the joy of the family progressing further than they ever have before, that the fact that Yang is malfunctioning becomes apparent, turning a techno dream in more ways than one into a potential source of heartbreak. When a feature so easily recalls other films and television shows, and so emphatically, it isn't typically a positive sign. That isn't the case with After Yang. Adapting Alexander Weinstein's short story Saying Goodbye to Yang, Kogonada crafts a movie that resembles a dream for the overwhelming bulk of its running time — it's softly shot like one, and tightly to focus on interiors rather than backgrounds — and that makes it feel like a happily slumbering brain filtering through and reinterpreting its wide array of influences. Another picture that leaves an imprint: Kogonada's own Columbus, his 2017 wonder that also featured Haley Lu Richardson (The Edge of Seventeen), who pops up here as a friend of Yang's that Jake, Kyra and Mika know nothing about. It isn't the shared casting that lingers, but the look and mood and texture, plus the idea that what we see, what we choose to revel in aesthetically and what makes us tick mentally are intertwined; yes, even for androids. Read our full review. WHEEL OF FORTUNE AND FANTASY To watch films written and directed by Ryûsuke Hamaguchi is to watch people playing a part — in multiple ways. That's one of the key truths to features not only by the Japanese filmmaker, but by anyone helming a movie that relies upon actors. It's so obvious that it doesn't usually need mentioning, in fact. Nonetheless, the notion is as essential to Hamaguchi's pictures as cameras to capture the drama. He bakes the idea into his films via as many methods as he can, pondering what it means to step into all the posts that life demands: friend, lover, spouse, ex, sibling, child, employee, student, classmate and the like. Hamaguchi loves contemplating the overt act of performance, too — his Best International Feature Oscar-winning Drive My Car, which also nabbed its helmer a Best Director nomination at this year's Academy Awards, hones in on a play and the rehearsals for it in dilligent detail — but the auteur who's also behind Happy Hour and Asako I and II has long been aware that the art of portrayal isn't just limited to thespians. Shakespeare said it centuries back, of course. To be precise, he had As You Like It's Jaques utter it: "all the world's a stage, and all the men and women merely players". Hamaguchi's Wheel of Fortune and Fantasy, his second film to reach cinemas in mere months, definitely isn't a French-set comedy; however, it lives and breathes the Bard's famous words anyway. Here, three tales about romance, desire and fate get a spin. This trio of stories all muse on chance, choice, identity, regret and inescapable echoes as well, and focus on complex women reacting to the vagaries of life and everyday relationships. They're about sliding into roles in daily existence, and making choices regarding how to behave, which way to present yourself and who you decide to be depending upon the company you're in. While Wheel of Fortune and Fantasy mightn't ultimately mimic Drive My Car's Oscars success, it's equally masterful. In the first part, model Meiko (Kotone Furukawa, 21st Century Girl) discovers that her best friend Tsugumi (Hyunri, Wife of a Spy) has just started seeing her ex-boyfriend Kazuaki (Ayumu Nakajima, Saturday Fiction), and grapples with her complicated feelings while pondering what could eventuate. Next, college student Nao (Katsuki Mori, Sea Opening) is enlisted to seduce Professor Sagawa (Kiyohiko Shibukawa, Tezuka's Barbara) as part of a revenge plan by her lover Sasaki (Shouma Kai, Signal 100). Finally, in a world where the internet has been eradicated due to a virus, Natsuko (Fusako Urabe, Voices in the Wind) and Nana (Aoba Kawai, Marriage with a Large Age Gap) cross paths — thinking that they went to school together decades ago. Hamaguchi's resume is littered with other obsessions beyond the fictions people spin to get through their days — to themselves and to each other, and willingly and unthinkingly alike — many of which also pop up in Wheel of Fortune and Fantasy. Coincidence has a role in each of the movie's trio of intelligently and painstakingly plotted narratives, and destiny and fortune as well (as the name makes plain). The tangled web that romance weaves, and the sticky strands that represent alluring exes, also leave a firm imprint. So does seduction, and not always in its usual and most apparent form. All three of the picture's sections could stand alone, but each could've been fleshed out to feature length as well; as they exist, they leave viewers wanting more time with their lead characters. Commonalities ebb and flow between them, though, because this is a smart, astute and savvily layered triptych that's brought to the screen with everything that makes Hamaguchi's work so empathetic, warmly intimate and also entrancing. Read our full review. HELMUT NEWTON: THE BAD AND THE BEAUTIFUL One of the great treats in Helmut Newton: The Bad and the Beautiful stems from perhaps the film's simplest move: letting viewers peer at the often-provocative photographer's works in such a large format. Being able to do just that is the reason why the Exhibition On Screen series of movies exists, surveying showcases dedicated to artists such as Vincent van Gogh, David Hockney and Frida Kahlo over the years — and this documentary isn't part of that, but it understands the same idea. There's nothing like staring at an artist's work to understand what makes them tick. Writer/director Gero von Boehm (Henry Miller: Prophet of Desire) fills The Bad and the Beautiful with plenty more, from archival footage to recent interviews, but it'd all ring empty without seeing the imagery captured by Newton's lens firsthand. Every word that's said about the German photographer, or by him, is deepened by roving your eyes across the frequently contentious snaps that he sent Vogue, Harper's Bazaar, Playboy and other magazines' ways. Those photos aren't run-of-the-mill fashion pics. Largely, the highly stylised images are of naked women — naked famous women, if not then then now, such as Isabella Rossellini, Charlotte Rampling, Grace Jones and Claudia Schiffer — and they're as fetishistic as the artform gets. They're the kinds of snaps that saw Susan Sontag call Newton out for being a misogynist to his face, as seen in a French TV clip featured in the film. The Bad and the Beautiful is an affectionate doco, but it also dives headfirst into the trains of thought that his work has sparked for decades. Anna Wintour explains that when someone books Newton, "you're not going to get a pretty girl on a beach". Women who posed for him, including the aforementioned stars, plus Marianne Faithfull, Arja Toyryla, Nadja Auermann and Hanna Schygulla, all talk through their differing experiences as well — and the portrait painted is varied. As a result, The Bad and the Beautiful is both a biography and a conversation. It covers the birth-to-death details, such as Newton's upbringing in Berlin, fleeing the Nazis in the late 1930s, and his time in Australia, where he met his wife June. It chronicles his stint in Singapore before heading Down Under, and his jaunts in London and Paris afterwards — and the fact that Monte Carlo and Los Angeles were both considered his homes when he passed away in 2004. The film is an easy primer on his life, complete with the requisite Wikipedia-style information, but it's an engrossing watch because of how eagerly it engages with the plethora of views that his images have and continue to inspire. (Admittedly, even a documentary that's clearly an authorised exploration of its subject couldn't justify really existing if it had left all traces of anything controversial out.) Don't go expecting answers, though. That isn't The Bad and the Beautiful's remit, unsurprisingly. That isn't necessarily a criticism; von Boehm's still-fascinating film presents the debate that's raged around Newton's works — are they sexist, art, both or neither? — and unpacks perspectives on either side, although the fact that this is a fond examination of his life, career, impact and legacy is never in doubt. A doco can be candid, probing, hagiographic and happy to let its viewers make their own calls, however, as this one clearly is. It can offer insider tidbits, conflicting views, comparisons and simply the change to look on in-depth as well, as is similarly the case here. And, it can let its images keep fuelling and furthering questions, which everything that Newton shot likely always will. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3, March 10, March 17, March 24 and March 31; and April 7, April 14 and April 21. You can also read our full reviews of a heap of recent movies, such as Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke and Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman and Ithaka.
In Netflix's ongoing quest to keep our eyeballs glued to the small screen, the platform pumps out new original shows with frequency. There are now so many to choose from, you could easily watch nothing else. But, still, there are some that stand out from the crowd. Combine filmmaker David Fincher (Seven, Gone Girl), true-crime book Mindhunter: Inside the FBI's Elite Serial Crime Unit and a whole heap of real-life serial killer cases, and you get the best show the streamer has ever made. For two seasons between 2017–2019, Mindhunter has drawn on its factual source material to dramatise the origins and operations of the FBI's Behavioural Science Unit — aka the folks who interview mass murderers to understand how they think, then use the learnings to help stop other killings. The show's main characters are fictional, such as agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany) and psychologist Wendy Carr (Anna Torv), but the details they're delving into aren't. Also real: notorious figures such as Ed Kemper (played by Cameron Britton), David Berkowitz (Oliver Cooper) and Charles Manson (Damon Herriman), to name a few. It's the kind of concept that easily could span on forever — with plenty of killers and cases to cover — and still prove fascinating and gripping in this meticulously made show. Sadly, hopes for a third season now look as paltry as Holden Ford's social etiquette, with Netflix releasing the cast from its contracts, Deadline reports. The fact that Mindhunter wasn't swiftly renewed after its second season dropped last August has always been a worrying sign, which is compounded by the current news. The series hasn't been cancelled. Still, its cast is free to move onto other projects — so if Mindhunter does come back somewhere down the line, its stars mightn't be available to return because they're now working on something else. The show does boast a premise that could lend itself to an anthology format, though, so returning with a new bunch of characters taking on new cases wouldn't be the end of the world. Netflix let the cast's options expire due to Fincher's current workload, because he's quite busy making other things for them at present. As well as producing a second season of Love, Death and Robots, he's directing a Netflix film called Mank. Due to hit the platform sometime later this year, the biopic will focus on the feud between screenwriter Herman J Mankiewicz and innovative director Orson Welles over screenplay credit for a little movie called Citizen Kane, with Gary Oldman and The Souvenir's Tom Burke playing the two men. Already missing Mindhunter? Check out the trailer for its excellent second season below: https://www.youtube.com/watch?v=PHlJQCyqiaI Via Deadline.
Sammy J and his perverted purple puppet Randy are back again to bring joy to our hearts. With Avenue Q on its way to The Enmore in July, now is the perfect time to get reacquainted with smutty songs from a fluffy felt mouth. So go and bask in the glory that is this unconventional comedy duo as they serve up and hour of songs that will stay stuck in your head until next year's festival. This is one of our top picks of the Sydney Comedy Festival. Check out our full top ten.
There are plenty of ways to mark a movie milestone. Whenever one of your favourite flicks notches up five, ten, 20, 30 or more years since first hitting screens, watching it is the easiest way to celebrate, of course. That's definitely in order when the original animated version of The Lion King — not the recent live-action take — hits three decades in 2024. How to truly do justice to the Disney smash that spawned a musical, ample sequels and oh-so-much enduring affection? Seeing it show at an in-concert session with a live orchestra playing its songs and score. Yes, The Lion King in Concert is coming to Australia, with the Melbourne Symphony Orchestra doing the honours. The blockbuster movie-and-music performance was announced as part of MSO's just-unveiled 2024 season, and will take over The Plenary at Melbourne Convention and Exhibition Centre on Saturday, February 3. This is an Aussie premiere, too, featuring Hans Zimmer's score and Elton John and Tim Rice's songs performed live as the movie once again graces a silver screen. As Nicholas Buc conducts, audiences will be feeling the love that night — and day, thanks to both 1pm and 7.30pm sessions — and celebrating the circle of life as well. Just can't wait to commemorate 30 years since the film debuted, instantly becoming an all-ages favourite? Add this chance to revisit Simba's journey to your calendar. Both John and Rice's tunes, and Zimmer's music, won Oscars. The former were nominated three times in the same field, in fact, with 'Can You Feel the Love Tonight?' winning out over 'Circle of Life' and 'Hakuna Matata'. So, yes, seeing any film as its score is played live is a rousing experience, but this one will feel particularly powerful. There's no word yet whether The Lion King in Concert will be a Melbourne exclusive in addition to being an Aussie premiere, or if it'll make the rounds of other city-based symphony orchestras. Some such shows hop around the country, as Star Wars, Harry Potter and Zimmer-focused gigs have. Others have stuck to one place, as seen with past The Princess Bride, Home Alone and Toy Story performances, and the upcoming Black Panther. Sydneysiders, Brisbanites and folks elsewhere, perhaps cross your fingers while you channel a "hakuna matata" mindset. You can always stream the sing-along version while you wait for local dates. Check out the trailer for The Lion King below: The Lion King in Concert will play The Plenary, Melbourne Convention and Exhibition Centre, on Saturday, February 3, 2024. Head to the Melbourne Symphony Orchestra website for further details, and tickets from Tuesday, October 3, 2023.
NSW's strict rules surrounding social distancing and public gatherings will be assessed on a month-by-month basis and could be relaxed as early next month, Premier Gladys Berejiklian revealed in a press conference this morning, Wednesday, April 8. With the number of new COVID-19 cases levelling— there were 48 new cases in the past 24 hours, compared to 49 the 24 hours before that (the lowest since March 19) — and the total number of confirmed cases beginning to stabilise, the Premier said that "there could be a chance, if the health experts deem it appropriate for us, to look at some relaxations". While the Premier made it clear that "social distancing will be a part of our lives until there is a vaccine", she also said that restrictions could be relaxed in the next month. Responding to a question about restrictions being relaxed as early as May 1, the Premier said "If the [health] advice in a couple of weeks is that there might be a couple of aspects that we can tweak to provide relief to our citizens, well then, we'll take that advice." [caption id="attachment_750943" align="alignnone" width="1920"] Destination NSW[/caption] The Premier acknowledged that the restrictions are "hard" and are having an impact on Sydneysiders' mental health and businesses, but also said that "every time you relax a restriction, more people will get sick. More people will die." For the time being, and over the Easter long weekend, the social distancing and two-person public gathering restrictions remain in place, with maximum penalties of $11,000 and six months in jail for those who flout the rules. At the moment, you can only leave your home for one of four reasons: shopping for what you need; for medical care or compassionate reasons; to exercise, in-line with the new two-person limit; and for work or education if you cannot work or learn remotely. Fines for disobeying these regulations have already been handed out to hundreds of Sydneysiders — you can read more about some of them here. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Image: Kimberley Low
As part of her first headlining tour of Australia, Solange (also known as Solange Knowles, aka Beyoncé’s baby sister) has announced Falls Festival sideshows in Sydney and Melbourne. This will be the first time the Texan-born Knowles has ever treated fans Down Under to a live performance of her 2012 dance-friendly EP, True. This comes in the context of eager anticipation of her long-coming third studio album, on which she apparently collaborated with Aussie dudes Midnight Juggernauts. It's due for release sometime next year. Perhaps as famous for being the offspring of the fabulous Mrs. Carter as for her music, Solange has steadily been earning cred as a singer-songwriter in her own right. She certainly can churn out a catchy pop hit, as her successful single 'Losing You' proved last year. Recalling her elder sibling vocally, it managed to step away from her stylistically and embraced a much splashier, synthy '80s pop feel. The sideshows should be a fun choice for anyone craving a night of uncomplicated, playful, upbeat music.
Après-ski activities are the best recovery remedy after a long day on the slopes. But the usual hot tub dip and hot chocolate sip can get a bit repetitive so, if you're looking for something more, Thredbo Alpine Hotel has planned a poolside bash that'll warm you right up. On Saturday, July 28, Melbourne pair Client Liaison will be headlining a free après party at the venue. Hosted by Red Bull Music, the gig will feature tunes from the power-pop duo and a lineup of other performers for you to boogie to as you take in the wonderful winter view. From 2pm, you can groove to beats from Sydney DJ FlexMami, the rhythmically emotional sounds from Retiree and Silver Lining's neo-Boogie hits all in the lead up to Client Liaison. From skiing to dancing along to Australia's next music sensations, you're in for an action-packed day. There will also be $5 bus rides from Jindabyne to Thredbo (at 4.30pm and 6pm) and back (11pm to 12.30am) to ensure that no one misses out on the fun. To find out more about Thredbo's winter program, head to thredbo.com.au.
The team at Real Food Projects wants you to eat better, or to at least know how to. Over the last year, they’ve been setting up pop-up shops and cooking classes to help us get to know what goes into what we eat, and how to do it ourselves — churning butter, curing meats and pickling absolutely anything. Kind of like the 1890s in Portland. On that note, their newest soiree is the Farm to Table Dinner — a collaboration with ex-Danks Street Depot chef Jared Ingersoll and Sydney Living Museums that will create a menu inspired by the food of the 1800s, using homegrown indigenous and heirloom produce. The retrospective feast will go down in the Silhouette Gallery in the Hyde Park Barracks Museum on November 14, which is perfect considering that it was built in 1819, and boasts exactly the decor to make you really feel the part. It's time travel on a plate.
In Disney's non-stop quest to not only remake its animated hits, but to make them look as lifelike as possible, the Mouse House has already brought Dumbo, Aladdin and The Lion King back to our screens so far this year alone. But it's not done yet, with the company's new streaming platform set to welcome another high-profile do-over before the end 2019: a live-action version of Lady and the Tramp. To answer the question you've all been wondering, yes, it'll feature real spaghetti and meatballs. In all seriousness, the film does actually star real dogs — not photo-realistic canines cooked up by a special-effects team. The adorable pooches have still be given human voices, as the first trailer showed a few months back, with Tessa Thompson lending her tones to everyone's favourite pampered pupper and Justin Theroux doing the honours for her street-smart love interest. Playing an American cocker spaniel and a schnauzer, Thompson and Theroux aren't the only big-name talents going to the dogs. A Star Is Born's Sam Elliott gets gravelly as a bloodhound, Catastrophe's Ashley Jensen is a Scottish terrier, Avengers: Endgame's Benedict Wong voices a bulldog and Janelle Monae pops up as a pekingese. They're joined by a few cast members who are sticking with their two-legged forms, including Hearts Beat Loud's Kiersey Clemons, Me and Earl and the Dying Girl's Thomas Mann, and Community co-stars Yvette Nicole Brown and Ken Jeong. Story-wise, the film wags the same tale, as the upper middle-class Lady crosses paths with, eats pasta with and learns to appreciate the whole wide world with a downtown stray called Tramp. In the just-dropped second trailer, viewers can get a glimpse of more of their antics — and more of the other cute canines they interact with on their action-packed journey. Directed by The Lego Ninjago Movie's Charlie Bean and co-written by US indie filmmaker Andrew Bujalski (Computer Chess, Results, Support the Girls), Lady and the Tramp will sport a few changes when it drops on Disney+ upon the service's November launch, however. Monae is reworking 'The Siamese Cat Song' to remove the original's offensive connotations, and will also perform two new tunes for the soundtrack. Check out the latest trailer below: https://www.youtube.com/watch?v=P4NtWb4WX20 The live-action Lady and the Tramp remake will be available on Disney+ when it launches Down Under on November 19.
Martinis are having a moment in Sydney, with two new bars — Bobbie's in Double Bay and Dry Martini in Chippendale — dedicated to the cocktail classic now welcoming punters. Barangaroo House is jumping on the bandwagon this September with a month-long celebration of this beloved beverage spread across all three levels. From September 1, a menu of classic mixes and signature sips featuring Grey Goose and Bombay Sapphire will be shaking things up at Smoke, Rekodo and House Bar, including $10 mini martinis available all day, every day, at all Barangaroo House venues until September 30. Rooftop bar Smoke will be pouring classic martinis tableside including its ever-popular pornstar variety, featuring vodka, vanilla and passionfruit, served with a sidecar of prosecco. Another house highlight is the Highland Goose, a mingle of Grey Goose vodka, mango skin vermouth and salted Lagavulin, combining the briny funk of a dirty martini with a sweet, tropical finish. Downstairs at Rekodo, the first-floor restaurant and vinyl bar, the Grey Goose martini cart will be winding its way between tables, bringing perfectly crafted martinis directly to diners. Some signature riffs to look out for include the Japanese Breakfast martini, combining Bombay Sapphire gin, orange liqueur, and a sweet hit of apricot and It Takes Two to Mango, starring Grey Goose vodka, Aperol, mango, vanilla, yuzu. At House Bar on the ground floor, an incredible ice luge will be bringing a touch of spectacle to the proceedings. Every Friday from 4–8pm, guests can enjoy classic martinis or the Coral martini, combing Grey Goose vodka, strawberry vermouth, house-made rose cordial and raspberry, perfectly chilled as they gush down a frozen sculpture. "Sydney is obsessed with martinis in all its forms," explains Reece Griffiths, group bars manager, Solotel. "We've curated the menu so that each level of Barangaroo House is a different martini experience and we encourage people to try them all — it is a house of martinis after all." Images: Dexter Kim
What better way to kick off the opening weekend of snow season than with a music festival, après-ski style? The Perisher Peak Festival is back for its 10th year over the June long weekend for four days of awesome music. Over 35 local and international artists will play over 120 performances across the Perisher snowfields, from cosy fireside sets to headline acts on the Main Stage. Funk band Electrik Lemonade and 10-piece-brass band Hot Potato Band are already on the line-up, with many more to come (and we promise there'll be artists with non-food related names). Keep an eye out for the Peak Upload battle, where up-and-coming raw talents will battle it out to be crowned the Peak Upload Artist 2018. Those who are keen to carve up some powder over the weekend will be happy to know Perisher's extensive snow making facilities will be in full swing, so even if the weather gods aren't kind, the resort will be fully prepared for you ski bunnies to hit the slopes.
UPDATE, April 16, 2021: Brigbsy Bear is available to stream via iTunes and Amazon Video. In Brigsby Bear, a grown man finds himself unable to let go of his childhood obsession. No, it's not a documentary. While farewelling beloved franchises, characters and TV shows is an increasingly rare occurrence in today's remake-, revamp-, reboot- and resurrection-centric popular culture, this sweet, insightful and genuinely moving comedy doesn't simply chronicle an adult fanboy suffering from a severe bout of arrested development. Brigsby Bear's furry heart beats with more than easy nostalgia. For the shy and awkward James Pope (writer and star Kyle Mooney, best known for his work on Saturday Night Live), his love of Brigsby Bear Adventures and its eponymous animal hero isn't driven by a wistful yearning for a past long passed. The television series might look like a relic – with its cheap sets, stilted acting and kid-friendly life lessons – and yet a new episode arrives like clockwork on VHS every week. James devours each instalment with wide-eyed enthusiasm, in his room packed wall-to-wall with Brigsby merchandise. Having spent the bulk of his life in a homely underground bunker with just his parents (Mark Hamill and Jane Adams) for company, it's literally the only escape he knows. It's also his only experience of the world beyond his contained existence. Directed by Dave McCary and co-written by Kevin Costello (two of Mooney's primary school pals), Brigbsy Bear follows James' reaction when he's thrust out of his comfort zone, forced to interact with reality and confronted with the realisation that his favourite program isn't quite what he thinks. The precise nature of the revelation is best discovered by watching, though it's not a spoiler to say that his post-Brigsby life comes as quite a shock. As he endeavours to cope, the film couldn't be more earnest or astute in exploring why we become so attached to shows and movies, or the cathartic role they play in shaping how we approach the world. Sure, it might sound like the kind of quirky concept that Mooney could satirise in an SNL skit, but empathy rather than parody proves the guiding principle here. Steeped in warmth as well as melancholy, while also flirting with darker territory, Brigsby Bear is the type of film that's cute yet never cloying, heartfelt but not schmaltzy, and amusing without resorting to caricature. It's a big bear hug of a movie, but one that ultimately makes it clear that even the most eager embraces can't last forever. Thanks to McCary's DIY-esque aesthetic, Brigbsy Bear offers viewers quite a cosy visual cuddle as well, reminiscent of Be Kind Rewind and YouTube fan films. Hey, if you're going to make a film about undying '80s-style passions, you have to make it look the part. Throw in Mooney's impressively deadpan central performance, and this is a flick that excels in hitting the right notes — in its images, its themes and its emotions alike. And, like the fictional show at its centre, it also imparts a lasting message: we're more than the things we love, but we wouldn't be who we are without them. https://www.youtube.com/watch?v=1MdrGM27yQ8
Fun: it’s not just for kids. As adults, fun opens our minds to new experiences, ideas and ways of being. It gives our brains time to switch off from the pressures of work, family and obligation. It can be productive, because through play we stumble on creative solutions. And it can be wonderfully, joyously unproductive. Anyone who's ever experienced the glee of shooting their friend in the bumper with a red turtle shell can attest to that. So how much fun are you having, Australian city dwellers? Tyler Brule, speaking at Vivid Sydney last week, suggested the fun police are making Australia the "dumbest nation on earth". But some of Concrete Playground's favourite Sydney event organisers see the situation as a bit more complicated. We asked Mathieu Ravier, director of the Festivalists; Declan Lee, director and co-founder of Gelato Messina; Clare Downes, the founder of Secret Garden Festival; and Nikita Agzarian, the general manager of Giant Dwarf, about the state of fun in Australia. They'll be continuing the discussion about event trends at our panel, 'The Art and Science of Fun: Creating Memorable Events and Experiences', at REMIX Sydney on Tuesday, June 2. We all think kids should have fun and play. But why is fun important for adults? Mathieu Ravier: Kids play out of indiscriminate curiosity, and an insatiable desire to learn, to make sense of the world. Most grown ups I know think they are more or less done with learning. Or are only interested in new experiences within a narrow spectrum: what they feel they know will interest them. As a result, adults lock themselves out of a whole range of experiences. "I don't like opera." "I don't go to museums." "Film festivals are not for me." Fun can be a way to trick grown ups into trying new things, into widening the scope of their experiences ... You might come to our Hijinks for an underwater drink at the aquarium with your mates, and end up learning something about conversation and wanting to get involved. You might get down in the Jurassic Lounge silent disco at the Australian Museum, then meet a scientist who shows you how to extract DNA from a strawberry. Declan Lee: I think it's easy to forget to have fun as you get older. You can get caught up in the very serious nature of life sometimes. In the end, we 'work' to have fun, but sometimes we forget to actually ‘have’ fun and before you know it life is over! Fun keeps us creative, it reminds us what it feels like to be happy, and most importantly, it helps you smile. Clare Downes: I think play is important for adults because it opens you up to possibility, friendship, experience and fun. When you're playing, you're not embarrassed or fearful. We encourage people to play at Secret Garden because we think play brings happiness and also it shifts the behaviour of the punters. When they are playing, punters are really open and kind to each other. They aren't taking themselves too seriously or behaving in an individualistic manner. Nikita Agzarian: Being an adult in this era is pretty daunting. Everyone is always busy, constantly stimulated and accessible 24/7. Having fun and being engaged in something is more important than ever now, because the idea of switching off and immersing yourself in something that is purely in the now is becoming really foreign to us. In his recent Vivid appearance, Tyler Brule said that Australia's nanny state, with all its rules and regulations, was at risk of making us the world's dumbest nation. Do you agree? What has been your own experience with red tape? Mathieu: I agree with him, of course. Who wants a sanitised, over-regulated city that lives in fear of litigation and fun? But it's not all doom and gloom. The City of Sydney has done incredible work reducing red tape, and the mindset at council has evolved in leaps and bounds since I started The Festivalists ten years ago. I find that council is very receptive to new ideas, including one which remix or repurpose existing facilities. I also find the expression Nanny State problematic. We love to claim we don't need government protection, until those protections are taken away and we realize how much we took them for granted. The opposite of the nanny state, a deregulated Darwinian free-for-all ruled by the law of the market, is not necessarily conducive to risk-taking, shit-stirring or artistic creativity either. The biggest red tape, in my experience, isn't regulatory — it's laziness. The paradigm can change, but it requires a lot of long-term planning and hard work. Declan: I agree wholeheartedly. I don’t particularly think we are at risk of becoming the dumbest nation but perhaps the most boring! Coming from the world of music festivals and clubs, I was faced with it constantly in my previous life. It comes up less these days, but entities such as local councils can certainly make life difficult at times. There needs to be rules and regulations for safety reasons without doubt, but the people making decisions need to be nurtured and encouraged to take more creative and holistic standpoints when deciding on what makes a city ‘live' and what makes a city vibrant. Without a little risk and without a little flurry outside of the box all you get is beige. Nikita: I half agree and half don't. I think we have a lot of rules, but I also think that part of the problem with red tape is a lack of understanding of what is required, why it is even there and how to deal with it. Get your head around that and you can learn to navigate it. I spent the first half of my professional career working for the ABC and The Chaser collaboratively. I learnt so so much about the restrictions of red tape in that time and then conversely how to challenge those boundaries without getting arrested/deported/sued. When we first started Giant Dwarf, we had no idea what was required to run a venue, so we read everything. I can recite the Australian Building Code section H101 off by heart, I went to the council chambers archive and pulled up every document ever written about the building, I learnt the local government act, the live performance award, I became besties with OLGR. I wanted to know that if any regulatory body to the building, from anywhere, I knew exactly what to say. And I did, and every time I had someone check out the venue, it was a really positive experience. Festivals are something Australia does very well — Sydney has more festivals per capita than just about anywhere else in the world. Why do festivals appeal to us so much? And can we have too much of a good thing? Mathieu: There are obvious answers. We have weather that permits all kinds of large-scale outdoor events almost year-round. We have a very cosmopolitan population eager for arts that reflect its cultural diversity. We have a strong economy. But I think festivals are also popular here because we lack high-quality permanent year-round cultural infrastructure, and we lack the political willpower to fund the arts in a meaningful, sustainable, ambitious manner (one that allows experimentation, risk taking, and — occasionally — pissing people off). For example, there are over 60 annual film festivals in Sydney, versus only a handful in Paris, a city twice our size. It's not because we love film more than the French, it's because each week in Paris there are more than 300 different films screening in cinemas (at least a third of which are home-grown): the equivalent of two Sydney Film Festivals' worth of diverse, challenging feature films distributed theatrically, 52 weeks of the year. Maybe festivals are what happens when passionate individuals take it upon themselves to fill the major gaps left in the cultural fabric. Declan: I don’t think you can have too much of a good thing, but you can certainly have too much of the same thing. I don’t actually think we do festivals terribly well here actually. Certainly in the music category anyway. We have a lot of one-day festivals, but they aren’t all good. And that's why there are a lot of failures. Not because [the market is] oversaturated, but because they are just boring. In general, festivals are communal and extremely sensory and people love that. That never gets boring. But there’s only so many flashing lights and DJs that one person can take. Everyone is scrambling to nail the 'food and music’ category at the moment, and the truth is its a great combination. But no doubt, at some point this will also become tired and fatigued and things will move on. New concepts and new ideas are essential for festivals to appeal. Change and innovation are exciting. Clare: I believe festivals are so much more than what is being programmed or curated. I think festivals nurture community, where patrons feel this sense of belonging through a common interest with thousands of others, which is a wonderful feeling. I also think festivals offer a break from reality and a chance to broaden your mind, whether that be an afternoon at the writers' festival or a night marvelling at the Mardi Gras procession or disappearing into a music festival for 48 hours. And I don't think we can have too much of a good thing. The more festivals we have, the higher the standard. If the standard continues to improve, people will keep returning to festivals or start exploring other festivals. If the quality is good, the demand will continue to increase and the demographic will broaden — rather than what we see now (with music festivals in particular), which is that people tend to see it as a novelty thing to do when you're in your twenties. Nikita: I'm going to answer this question wearing my three hats. As an audience member, festivals are great when they are done well. I love the vibe of Sydney right now. Between the Writers' Fest, Vivid and Sydney Film Festival, it's a great time to be in this city. As a venue, I have had some super positive experience with festivals in recent months. We've done great stuff with Sydney Comedy Festival, Sydney Writers' Festival and Vivid that have really helped us reach a new audience due to the targeted marketing that these guys can do that we just can't. But as a producer, I worry about the growth of festivals for the performers, especially in comedy. The more festivals there are and the bigger these festivals get, you really start to see it split the audience. Unfortunately, the hardest hit are those guys you might take a chance on, the up-and-comers, the people that probably need your money most. What is your favourite kind of fun? Mathieu: It used to be fun that allowed me to escape or to lose myself. As I've gotten older, it's become fun that allows me to find myself. My idea of fun is surprise and discovery with a little bit of learning thrown in. Declan: Escapism — pretending to be someone else and stepping out of your normal world has got to be the best thing ever. Dressing up, making gelato look like a hotdog, whatever it might be. Pretending, for just a little while, is escapism at its best. Clare: So Secret Garden is the best example what I think is good fun — a festival on a farm which has a drag queen stage, a pillow fort, a tiny rave cave and a kissing booth. A place where I can dance to Total Giovanni, marry a stranger and run around in a fancy dress costume with my best friends. Nikita: I'm surrounded by fun. I run a comedy venue and while that's stressful, I get to laugh all the time. Other than that, fun to me is being with good company, eating good food, drinking good wine and dancing like an idiot. REMIX Sydney is on at Sydney Town Hall on June 2 and 3. Secret Garden images by Anna Warr.
Falls Festival might be gearing up to celebrate a quarter-century, but, with the lineup it's just dropped, it feels a bit like we're the ones getting the birthday presents instead. Helping to ring in the art and music festival's 25th year is a pretty buzzworthy gang of musical mates, headlined by Australia's own wunderkind Flume, as he returns to the Falls stage for the first time since wooing the Lorne crowds in 2012. He's joined on the bill by international names like Seattle-based Grammy nominees Fleet Foxes (who were here earlier in the year for Sydney Festival), Oxford four-piece Glass Animals (who were also just here for Laneway), Californian indie-pop darlings Foster The People and The Kooks, who'll be celebrating a milestone of their own, having clocked up ten years since their debut album. If you've had your ear to the ground, you'll already know the part about Oasis frontman Liam Gallagher dropping in for his first-ever Aussie headline shows. True to form, the Falls 2017 local lineup is equally exciting, and every bit as broad. Homegrown acts hitting the stage include the party-ready Peking Duk, Brisbane rockers Dune Rats, Melbourne natives The Smith Street Band and Total Giovanni, and indie duo Angus & Julia Stone, off the back of their soon-to-launch album Snow. And it looks like you can start limbering up those vocal chords for a gutsy rendition of 'The Horses', with the legendary Daryl Braithwaite also slated for an appearance. As always, the tunes are backed by a colourful curation of art events, performances, pop-ups, markets, wellness sessions and gourmet eats. You can, however, say goodbye to the usual drink ticket situation, which has been ditched in favour of paywave and cash-enabled bars. It's all happening over New Years at the usual spots in Tassie's Marion Bay, Lorne in Victoria, and the North Byron Parklands, with WA's 2017 Falls Festival landing itself a new home within the Fremantle Oval precinct. But here's what you're here for — the full lineup. FALLS FESTIVAL 2017 LINEUP Flume (no sideshows) Fleet Foxes Run The Jewels The Kooks Glass Animals (no sideshows) Peking Duk Angus & Julia Stone Foster The People Liam Gallagher Vince Staples Jungle Dune Rats The Smith Street Band D.R.A.M Daryl Braithwaite Everything Everything Allday The Jungle Giants Thundamentals Methyl Ethel Slumberjack D.d Dumbo Anna Lunoe Dz Deathrays Confidence Man Julia Jacklin Bad//dreems Cosmo's Midnight Winston Surfshirt Luca Brasi Alex Lahey Camp Cope Flint Eastwood Ecca Vandal Dave Total Giovanni + More to be announced FALLS FESTIVAL 2017 DATES Lorne, VIC — December 28–31 Marion Bay, TAS — December 29–31 Byron Bay, NSW — December 31 - January 2 Fremantle, WA — January 6–7 Falls Festival 2017 will take place over New Years. Friends of Falls members pre-sale tickets are available from this Thursday, August 24, with General Sales kicking off next Tuesday, August 29. FOr mro einfo and to buy tickets, visit fallsfestival.com.
Run away and join the circus (for an afternoon) these spring school holidays. The Circus Extravaganza High Tea Buffet will be in town at the Shangri-La Sydney for three weekends from Saturday, September 23 to Sunday, October 8. It'll be a delight for the senses, with a feast of carnival-inspired bites and desserts served amongst colourful models of life-size performers, carousel horses and distorting mirrors in the Grand Ballroom. Munch on mini corn dogs, tempura chicken nuggets and buttered popcorn before diving into calabrese chicken sandwiches and tomato and goat's cheese focaccia topped with grilled eggplant. To close out the show, cinnamon churros, cotton candy, double chocolate brownies with marshmallow, strawberry mousse cakes and other treats will be available, alongside a show-stopping ice cream sundae station where you can let your creativity — and sweet tooth — run free. Tickets are $79 for adults and $59 for kids aged 11 and under. Tiny tots three and under can join in on the fun for free. Book your tickets now at Shangri-La Sydney's website. If you want to extend the experience, enjoy a staycation in the city with an Ultimate Circus Getaway room package — book today at the website.
Yogis, roll out your mats, grab your granola bars and strike up your best sun salutations. Sydney's Cockatoo Island is playing host to three days of yoga, music and culture this February for the latest instalment of Wanderlust. This Californian-born celebration of health, community and mindfulness is heading down under, set to bring festivalgoers a chance to chill and unwind for one Zen-filled weekend. Set up camp on this World Heritage-listed site and gear up for a slice of the world's biggest multi-day yoga event. Complete with mass guided meditation classes, wellness lectures, sunset hikes as well as a bunch of interactive dance and performance workshops, the event is guaranteed to keep you active. The festival's music lineup isn't looking too shabby either, with sets by the likes of Yolanda Be Cool and Mighty Duke and The Lords providing the perfect soundtrack to this urban lifestyle retreat. With camping options ranging from BYO tent to cushy self-contained 'glamping' suites, you've got no excuse not to give this trip into mindfulness a go.
If you're fond of exclaiming "whoa!" to mark huge news — and you've been conditioned to do just that by a certain Keanu Reeves-starring sci-fi franchise — then the past year or so has given you more than a few opportunities to break out that word in the best possible ways. First came the confirmation that a fourth live-action film in The Matrix series was 100-percent happening. Then came trailers for that very flick, giving us all a few sneak peeks before we could watch the full thing. And, when Boxing Day rolled around in 2021, the movie itself — aka The Matrix Resurrections — finally arrived on the big screen. Here's another reason for you to channel your inner Keanu Reeves right now: just a month after reaching cinemas, and while still actually showing in cinemas, you can stream The Matrix Resurrections via video on demand at home. Fast-tracking films to digital is a trend that's been gathering steam during the pandemic — and if you've been a bit cautious about going out during Australia's current Omicron wave, you can still fall down the dystopian franchise's rabbit hole sooner rather than later. A hit for more than two decades now, this is the science-fiction epic that smartly recognises that it's Keanu's world and we're all just living in it, after all — and now, we can plug into all four live-action movies from our couches. Get ready for Neo (Reeves, Bill and Ted Face the Music) to once again grapple with the Matrix and everything it means for humanity — and also for Carrie-Anne Moss (Jessica Jones) and Jada Pinkett Smith (Girls Trip) to return, too. They're joined by Matrix newcomers Neil Patrick Harris (It's a Sin), Jessica Henwick (On the Rocks), Priyanka Chopra Jonas (The White Tiger), Christina Ricci (Yellowjackets) and Yahya Abdul-Mateen II (Candyman). And yes, Reeves and Moss once again take centre stage this time around, because casting them in the first place — and showing unwavering belief in the duo — is the greatest move that filmmakers Lana and Lilly Wachowski ever made. It was a bold decision two-and-a-bit decades ago, with Reeves a few years past sublime early-90s action hits Point Break and Speed, and Moss then known for TV bit parts (including, in a coincidence that feels like the product of computer simulation, a 1993 series called Matrix). But, as well as giving cinema their much-emulated gunfire-avoidance technique and all those other aforementioned highlights, the Wachowskis bet big on viewers caring about their central pair — and hooking into their chemistry — as leather-clad heroes saving humanity. Indeed, amid the life-is-a-lie horrors, the subjugation of flesh to mechanical overlords and the battle for autonomy, the first three Matrix films always weaved Neo and Trinity's love story through their sci-fi action. In fact, the duo's connection remained the saga's beating heart. Like any robust computer program executed over and over, The Matrix Resurrections repeats the feat — with plenty of love for what's come before, but even more for its enduring love story. Lana goes solo on The Matrix Resurrections — helming her first-ever project without her sister in their entire career — but she still goes all in on Reeves and Moss. The fifth Matrix movie overall counting The Animatrix, this new instalment doesn't initially give its key figures their familiar character names, however. Rather, it casts them as famous video game designer Thomas Anderson and motorcycle-loving mother-of-two Tiffany. One of those monikers is familiar, thanks to a surname drawled by Agent Smith back in 1999, and again in 2003 sequels The Matrix Reloaded and The Matrix Revolutions. But this version of Thomas Anderson only knows the agent from his own hit gaming trilogy (called The Matrix, naturally). And he doesn't really know Tiffany at all, instead admiring her from afar at Simulatte, their local coffee shop. Check out the trailer for The Matrix Resurrections below: The Matrix Resurrections is currently screening in Australian cinemas, and is also available to stream online via video on demand — including via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review.
UPDATE, November 16, 2020: The Peanut Butter Falcon is available to stream via Amazon Prime Video, Google Play, YouTube Movies and iTunes. Playing a fisherman grieving for his older brother, barely scraping by and unafraid to skirt the law when necessary, Shia LaBeouf is at his soulful best in The Peanut Butter Falcon. Forget Transformers-era, phoning it in LaBeouf, or even his bag-wearing phase — here, he's as dynamic and textured as he was in 2016's American Honey, his last great on-screen role. And yet, LaBeouf isn't this indie comedy's main attraction. He's one of its leads, and he's surrounded by the similarly well-known likes of Dakota Johnson, Bruce Dern, Jon Bernthal, John Hawkes and Thomas Haden Church, but this little film with a big heart actually belongs to first-time performer Zack Gottsagen. In fact, writer/directors Tyler Nilson and Michael Schwartz created their first feature especially for Gottsagen, in order to showcase his acting talents. After Gottsagen has spent mere seconds on-screen as The Peanut Butter Falcon's wrestling-obsessed Zak, it's obvious why Nilson and Schwartz were determined to make this movie around him. The trio met at a camp for actors with disability, as Gottsagen has Down syndrome — and the way that adults with the genetic disorder are typically treated by society is key to this adventure. This isn't a message-driven feature, but a picture that places a man living with the health condition at its centre, letting his hopes, wants, needs and desires lead the story. Zak's dream couldn't seem more simple, with the 22-year-old so eager to attend his idol's wrestling school that he breaks out of the nursing home he's been forced to live in. But the reality of actually getting to his destination is far more complicated than it should be. As someone with Down syndrome — and someone housed in a care facility for the elderly because there's just nowhere else that caters for him — Zak's dreams, ideas, and general ability to do anything and everything are all constantly overlooked. His primary carer Eleanor (Johnson) treats him like a friend, but it's only after his roommate Carl (Dern) helps him to escape that Zak is really able to make his own decisions. With nothing but the underpants he's wearing to his name, he bunkers down in a boat, only to find himself caught up in its owner's mishaps. That'd be Tyler (LaBeouf), who is soon on the run from local crab trappers. Heading to Florida, he agrees to escort Zak to the only place in the world the runaway wants to go: the North Carolina wrestling academy run by faded icon Salt Water Redneck (Haden Church). Cue a series of Huckleberry Finn-style escapades, as The Peanut Butter Falcon's central duo ry to evade the folks on their tail while trudging through fields, building a raft to help them float along the coast and, eventually, unleashing Zak's wrestling persona — which gives the feature its name. Plot-wise, Zak and Tyler's exploits play out exactly as expected, but there's such a wealth of earnestness, affection, tenderness and charm to this movie that no one should mind that the story follows a predictable path. There's an enormous difference between films that stick to a template lazily, because it's easy and because they have no real reason to exist otherwise, and those that mould familiar parts into their own distinctive creation. Anchored by Gottsagen's effortlessly engaging presence, as well as by a protagonist too rarely given such a spotlight, this highly likeable picture falls into the latter category. Thoughtful, meaningful, realistic and empowering representation matters, which The Peanut Butter Falcon boasts in spades. That said, movies like this shouldn't be such a noteworthy occurrence — however addressing that imbalance is far from the film's only strength. So crucial to this warm-hued, good-natured feature is its breezy attitude and approach. This is a coming-of-age buddy comedy about two adults traversing America's south in often over-the-top circumstances, but every element is treated as though it's the most common thing in the world. A blind preacher shooting at Zak and Tyler, then baptising them, is just one of many components of the pair's journey that's simply part of their adventure. So too is a drunken night by a bonfire, a spirited service station encounter between Tyler and Eleanor and, most importantly, everything about Zak. Indeed, recognising that life's chaos happens to everyone is The Peanut Butter Falcon's remit — and showing that even the most ordinary events and extraordinary developments do as well. It's noticeable that, despite Johnson's efforts, Eleanor isn't afforded as much depth as the film's male characters. Actually, it's the feature's main disappointment. But when The Peanut Butter Falcon focuses on Zak's enthusiastic pilgrimage, the sincere bond he makes with another lonely soul, and the change it inspires in both him and Tyler, it's a warm-hearted hug of a movie. https://www.youtube.com/watch?v=jkH7KUlInPg
What do you get if you cross Muriel's Wedding and Kath & Kim with a healthy dollop of Jane Austen-inspired 19th century charm? The answer to that question you probably never thought you'd ask would be Hubris & Humiliation, a joyous new comedy by award-winning Queensland comic playwright Lewis Treston. The Sydney Theatre Company timed the launch of the production to coincide with Sydney WorldPride and, like Pride, this show really is a celebration. It trades out Austen's drawing rooms and country estates for the leafy boulevards of post-plebiscite Sydney and Baz Luhrmann-hosted costume parties, and might be one of the best times you'll have in a theatre this year. This whip-smart satire of love and life in Sydney's gay scene tells the story of naive wallflower Elliott, who's unexpectedly shipped off from the suburbs of Brisbane to his wealthy uncle's Kirribilli mansion to fulfil his mother's wish of marrying a wealthy man. A series of outrageous events take our protagonist and his stowaway sister Paige from Oxford Street to Berlin and back again in this high-camp exploration of love, family and commitment. Elliott is blushed into life by Roman Delo in his Sydney Theatre Company debut. Delo beautifully anchors the play with a performance that's natural and easy, intermittently flexing between self-deprecation, doe-eyed flirtation and occasional hysteria (a consequence of drinking hard liquor). The effortlessness of Delo's Elliott is an essential foil to the supporting cast of characters who battle it out around him for the title of scene-stealer of the year. Australian theatre veteran and acting legend, Andrew McFarlane, is a hoot as queeny Uncle Roland whose mansion is equipped with a rack of Louis XVI-era 18th Century frocks and previously belonged to a vaguely-referenced now-deceased wife. Celia Ireland and Melissa Kahraman who play Elliott's self-described bogan mum Bernice and adopted sister Paige are riotous. And as overbearing Gen Z retail assistant who fluently speaks in the phraseology of RuPaul's Drag Race, Henrietta Enyonam Amevor inhales the scenery around her. The fabulously feel-good rom-com is directed by Helpmann Award-winning director Dean Bryant, who returns to the Sydney Theatre Company to oversee this lively tale of one man's search for his other half — and himself. Go see it. View this post on Instagram A post shared by Sydney Theatre Company (@sydneytheatreco) Images: Prudence Upton
If you've always had an eye on the cosmos, but can't bring yourself to splash out on a high-grade telescope (or can't even see much past the city glare), there's an opportunity coming to take a proper look at our solar neighbourhood on Friday, September 5. Stargazing Night in Glenworth Valley is an ideal opportunity for seasoned enthusiasts and astronomy newcomers alike, with a guided evening staring up above led by astrophysicist Dr. Dimitri Douchin. If the weather holds, you'll get clear glimpses at the Southern Cross, Emu in the Sky, Alpha Centauri, Tarantula Nebula and the bands of our Milky Way Galaxy. [caption id="attachment_1015727" align="aligncenter" width="1920"] Tourism Australia[/caption] It's not just a feast for the eyes, either. Your ticket includes a gourmet barbecue dinner around the firepit (steak, sausages, grilled vegetables, salad and fresh bread — what more do you need?) before the stargazing begins, as well as steady access to tea, coffee and hot chocolate to stay warm and energised throughout the evening. Glenworth Valley is only an hour's drive from the CBD, so you won't be home too late if you choose to make the drive back. That said, it's an excellent opportunity to make it a getaway and book a campground nearby, rent a campervan, or make a booking at the local glamping site to rest your head without hitting the highway. [caption id="attachment_1015728" align="aligncenter" width="1920"] Destination NSW[/caption] Top image: Liam Foster
Two Sydney institutions have come together for a collaboration that just makes sense. Black Star Pastry, creators of the world's most Instagrammed cake, and sleek CBD cocktail bar PS40 have combined forces to make a new range of bottled cocktails, each paired with one of Black Star's famous cakes. The three boozy creations all come in 250-millilitre bottles and are available for delivery throughout Sydney right now, with or without their cake counterparts. The obvious star of the show is the cocktail version of the bakery's strawberry watermelon cake. In order to create an alcoholic beverage reminiscent of this sought-after dessert, PS40's Michael Chiem combined gin with fresh strawberry, rose petal tea and clarified rose-scented cream. Chiem describes the drink as "what we imagine it would taste like if we threw Black Star Pastry's iconic strawberry watermelon cake into a gin still". The other two cocktails are inspired by Black Star's more underrated favourites — the Japanese forest cake and the pistachio lemon zen cake. The Japanese forest cocktail is a take on an old fashion adding red miso caramel, Mr Black coffee liqueur and Hojicha tea, while the zen creation is a red grapefruit and lemon version of a paloma. The cocktails are available in a sample pack with 250-millilitres of each cocktail for $80, or accompanied by Black Star Pastry's three cakes for $125. PS40 and Black Star's collab is part of the launch of the new Sydney-wide Black Star Pastry delivery service. To ensure you can indulge in cakes even if you don't live within five kilometres of a brick-and-mortar outpost, you can now order next-day delivery from Black Star Pastry's website to anywhere in Sydney. Alongside the classic cakes and PS40 cocktails, the delivery service also offers Rare Hare wine and St Ali coffee. Delivery is free on orders over $100. The Black Star Pastry x PS40 cake and cocktail pairings are available now via Black Star Pastry's new Sydney-wide delivery service.
Dial your Christmas spirit up a notch at this year's Sydney Living Museums Christmas Fare. With over 40 of Sydney's best artisan food producers, this annual Christmas Fare will host some of the state's finest edible creations and provide plenty of inspiration for the looming Christmas lunch. Pick up some edibles for Christmas Day, pretty little things to adorn your festive lunch table or put together a hamper for a special human. The artisan lineup has yet to be announced, but last year's edible stallholders included Cornersmith (pickles), Pecora Dairy (cheese), Los Lacayos (Spanish-style nougat), Chunky Dave's (peanut butter) and The Jam Bandits (preserves). There'll also be a section curated by the Australian Design Centre so you can pick up some locally made gifts. Plus, there will be stalls from restaurants and bars for all the food and drinks for you to consume on the evening. Entry is by gold coin, which will also allow access inside the Hyde Park Barracks Museum. Eat, drink and be merry — the Christmas season has spoken. Images: James Horan.
It has always been impossible to watch TV shows by Nathan Fielder, including Nathan for You and The Rehearsal, without feeling awkwardness gushing from the screen. The films of Josh and Benny Safdie, such as Good Time and Uncut Gems, are such masterclasses in anxiety and chaos — and so astute at conveying life's anything-that-can-go-wrong-will certainty — that viewers can be forgiven for thinking that their chairs are jittering along with them. From Easy A, La La Land and Maniac to The Favourite and Poor Things, Emma Stone keeps proving an inimitable acting force. Combine Fielder, the Safdies and Stone on one series, then, and whatever sprang was always going to be a must-see. Streaming in Australia via Paramount+ from Saturday, November 11, exquisite new dark satire The Curse is also as extraordinary in its brilliance as it is excruciating in its discomfort. As well as co-creating the ten-part series, Fielder and Benny Safdie co-star, co-write and co-direct. Stone joins them on-screen and as an executive producer, with Benny's brother Josh doing the latter as well. The Safdies' regular collaborator Oneohtrix Point Never, aka Daniel Lopatin, gets the show buzzing with atmospheric agitation in one of his best scores yet — even after winning the Cannes Soundtrack Award for his unforgettable work on Good Time. And yes, The Curse is everything that the sum of these parts promises. It's more, in fact, then even more again. It flows with disquiet like a burst hydrant. It fills each almost hour-long episode with a lifetime's worth of cringe. It's relentless in its unease second by second, moment by moment and scene by scene. It's also a marvellous, intense and hilarious black comedy that apes the metal Doug Aitken-esque houses that Stone and Fielder's Whitney and Asher Siegel like to build, reflecting oh-so-much about the world around it. The Curse takes the show-within-a-show route, with the Siegels eager to grace the world's screens as reality TV hosts. Their angle: environmentally sustainable passive homes that only use energy that they create, which Whitney and Asher consider their contribution to their adopted New Mexico hometown of Española. The newly married pair have American pay TV network Home & Garden Television interested in Fliplanthropy, as well as their efforts to green up the community, create jobs for locals, and revitalise a place otherwise equated with struggling and crime stats. Lurking between the couple and HGTV is producer Dougie Schecter (Safdie, Oppenheimer), Asher's slimy and manipulative childhood friend with a nose for sensationalism — particularly when he gets the scent of disharmony among his stars as they try to start a family, get their show on the air, build their gleaming houses, find ideal buyers, honour the area's Indigenous history and overcome The Curse's title. As the series dives into, parodies and interrogates unscripted television, gentrification, whitewashing, white saviour complexes, racism, appropriation, marriage, privilege, authenticity, spiritualism, inherited burdens and more, its moniker can refer to many things. A white couple sweeping into the region, trotting out altruism for fame — and, in Whitney's case, to scrub away her association with her parents (White House Plumbers's Corbin Bernsen Search Party's and Constance Shulman), who have been dubbed slumlords for treating their tenants poorly — is hardly the gift that the Siegels think. Accordingly, while their actions around Española don't just span futuristic abodes that couldn't stand out more, but also enticing new businesses to the area with free rent, supporting campaigns for land rights and celebrating local artists, it's forever plain that every move that the pair make is about getting something out of it. Fielder has long unpacked what it truly means to show reality on-screen, plus the machinations behind it — and with unsettling precision, The Curse is no different. Stress would ripple through this series as inescapably as Whitney's desperation to become TV's next big thing anyway, and Asher's onslaught of neuroses and humiliations (you'll never think about cherry tomatoes the same way again); however, The Curse's name is also literal. Being filmed for B-roll footage for the pilot at Dougie's suggestion, Asher gives primary schooler Nala (debutant Hikmah Warsame) a $100 note while she's selling soft drink in a carpark with her father Abshir (Captain Phillips Oscar-nominee Barkhad Abdi). Then, when the shot is over and his performative compassion is no longer needed, he snatches the money back. The girl's response, as accompanied by a steely gaze and the unfettered anger of a child wronged by an adult: "I curse you". As bad luck springs for the Siegels afterwards, arriving in both big and small ways, those words keep lingering. Again, Fielder ponders what is real and isn't, finding another way into his favourite topic. Whitney already oozes must-do-now urgency — served with a wide Stone smile — about anything that could stymie her quest for television domination, and Asher is a walking portrait of please-accept-me torment from the get-go; then comes the hex and the fudging of lines between what's a mess of their own making, what springs from paranoia and what may be supernatural. Aptly, when The Curse's title appears on-screen at the start of each episode, it shimmers with wavy lines looking glass-style to kick off this streaming mirror mirror, distorting and disorienting in the process. Birds sometimes fly directly into the Siegels' shiny houses, meeting their ends after not spotting what's looming right there in front of them, which also makes a fitting metaphor. Squirming and watching Fielder might go hand in hand, but the experience has rarely been better than in The Curse. Neither has Fielder. His familiar directorial instinct to let moments persist to the point of aching mortification continues here, sparking his most purposefully perturbing performance yet — because watching someone this bumbling yet authoritative, and this muddled and self-conscious in everything they do yet bolstered by their status, race and bank balance, is meant to be this incisively agonising. With the show often shot like it's spying, including through windows and doorways, Stone and Safdie are equally exceptional and difficult to look away from. The yearning to be worshipped and praised non-stop, and the fear of her carefully constructed do-gooder facade being cracked, is weaponised in Stone's portrayal. Meanwhile, Safdie plays the kind of shifty that can't be shaken devastatingly well. In a plethora of ways, The Curse ticks all the boxes that it was always going to, especially via Fielder, the Safdies and Stone's exacting involvement. Throw in the fact that A24 is behind the series, placing it on a slate alongside Beau Is Afraid, You Hurt My Feelings, smash-hit Australian horror movie Talk to Me and fellow TV series Beef from 2023 alone — each of which could pair with The Curse for different reasons — and that truth only grows. And yet, no one can pick exactly where this show is heading while watching, even when you're sure that you have and those predictions come to fruition in an exchange, plot point, theme or revelation. Consider it a funhouse hall of mirrors, then: you know that something warped will confront you wherever you look, but you can never be confident of what it'll be. Consider The Curse one of the best new TV shows of 2023, too, and the type of unique viewing that's a glittering treasure even it inspires non-stop dread and horror that threatens to swallow you whole. Check out the trailer for The Curse below: The Curse streams from Saturday, November 11 via Paramount+. Images: Beth Garrabrant and John Paul Lopez/A24/Paramount+ with SHOWTIME.
Don't let La Niña ruin your summer. Do you know where it rains all the time? England. And do you know what the Brits do well? Garden parties. We've teamed up with Whitley Neill Gin to help you transform your outdoor space into a charming, verdant oasis that, despite not featuring Keira Knightly in that green dress or Colin Firth emerging from a fountain, will have you living out your British country manor dreams in excellent taste and style. [caption id="attachment_839393" align="alignnone" width="1920"] Paul Liddle[/caption] THE SET-UP No matter what space you're working with, you'll want to include plenty of beautiful blooms. Check out your local florist for English varieties such as peonies, lavender and delphiniums. Arrange them in rustic vases — these can be easily sourced from your neighbourhood op-shop. Next up, set up a long table — a tressell will do — and cover it with a crisp linen tablecloth. Have some fun practicing your calligraphy (and playing guest matchmaker) with some old-timey seating placeholders. When it comes to napkins and tableware, opt for softer pastel shades — try using the flowers for colour palette inspo. And, if you've got the space to hang them, add some decorative bunting, which can be found at most party stores. Or if you're up for a crafternoon, make your own. [caption id="attachment_839389" align="alignnone" width="1920"] Paul Liddle[/caption] THE FOOD Start off with finger sandwiches. They're dead easy to make and can be adjusted to suit all dietary requirements — plus, they look super cute. We'd recommend keeping it simple and classic with chicken, curried egg, and, of course, cucumber. For something a little more substantial to complement the refreshing botanicals of Whitley Neill London Dry Gin, serve delicious barbecue pork buns with coleslaw or rare roast beef with horseradish potato salad. And for something sweet to finish, go old-school with a classic like eton mess, jam roly-poly or scones with jam and cream. Opted for the latter? Sit back and watch the all-important debate as to which goes first — the jam or cream — ensue. [caption id="attachment_839379" align="alignnone" width="1920"] Paul Liddle[/caption] THE DRINKS With eight generations of gin distilling to its name, and a range of 15 100-percent grain-distilled gins with a wide spectrum of flavours, it should come as no surprise that Whitley Neill has some cracking recipes when it comes to booze. Give the Johnny's Ritual Gin and Tonic a whirl and dress it with a wedge of lime or orange and sprig of rosemary. Or, make use of one of the more out-there flavours and knock up a jug of the Queen's High Tea using the Whitley Neill Rhubarb and Ginger Gin, topped up with a dash of prosecco and ginger ale. The tartness of the rhubarb mixes beautifully with the warming ginger for a full-bodied, yet refreshing, summer cocktail. THE FUN It's time to ditch the beer pong (or Goon of Fortune) for more sophisticated games. If you've got the space, why not give badminton a try? Or go full Alice in Wonderland and opt for croquet — but please refrain from using actual flamingos. Chances are you or one of your mates will have a boules or quoits set knocking about, so make good use of it. You'll be surprised how much fun you'll have. For more information on Whitley Neill's innovative gin range, head to the website. Top image: Paul Liddle
In this very galaxy, probably just a few short months away, lasers will fire up, wars will be waged, and Sydney and Melbourne's biggest Star Wars buffs will show up in force. They'll also try to use the force, obviously, at the latest pop culture-themed party heading our way. A series of wizarding brunches have been making their way around the country, and a Game of Thrones-style medieval banquet is already on Sydney's agenda — and now comes Battle Wars. If getting a new Star Wars movie every year isn't delivering enough intergalactic space opera fun for your liking, then prepare to get a very good feeling about gathering for a real-life lightsaber tournament. Or lightsaber-like weapon, more likely — but arguing about semantics would be a real C-3PO move. At yet-to-be-revealed dates and venues, groups of up to 12 people at a time will unleash their inner jedi (or rebel, or sith), with 32 groups in total competing in a knockout-style contest in each city. While everyone yells lines about being Luke Skywalker's father (we're guessing) and vies for an undisclosed grand prize, Star Wars-inspired music will play, and there'll also be 'immersive entertainment'. That sounds an awful lot like folks dressing up as Obi-Wan Kenobi, Kylo Ren, Princess Leia, Rey, Darth Maul and more to us, but let's face it — if you're going along, you'll be doing that anyway. Unsurprisingly, it's a completely unofficial event, so don't expect any actual stars, tie-ins or merchandise. You can probably expect some ironic Star Wars Kid-esque moves, though — or George Michael Bluth-style antics, if you prefer. For more information — and to sign up to hear about Melbourne and Sydney dates and venues — visit thebattlewars.com.
There are only a few pleasures quite like digging into a dessert made of potato (and discovering that it is, indeed, delicious) and Bar Brosé has been has providing that particular one since it opened in April 2016. So it's with regret that we report that the Darlinghurst bar has closed its doors indefinitely — regret because we'll never eat that dessert again, and regret that we can't even tell you to go there one last time. Co-owner Ed Loveday announced the closure in a Facebook and Instagram post this morning with "deep sadness", thanking staff and customers. It is with a deep sadness that I announce the closure of Bar Brosé. I would like to thank from the bottom of my heart all of our staff past and present and our customers for their support. We look forward to continuing to take care of you at ACME and we hope to see you all again soon. Cheers A post shared by Ed Loveday (@edloveday) on Sep 6, 2017 at 4:20pm PDT Bar Brosé was launched (and successfully run) by the ACME team last year — it was one of our favourite restaurants of 2016. Head chef Analiese Gregory left the bar earlier this year, after which Adam Wolfers took over the kitchen with Jewish eastern European food, until just recently. Loveday didn't want to comment at this stage but, needless to say, we'll update you if the team announce anything new.
The Griffin Theatre Company is stepping out from its beloved SBW Stables Theatre to kickstart its 2014 season. The Serpent's Table is a feast of food and storytelling that will take place within an installation at Carriageworks and involve the talents of popular chefs Adam Liaw and Pauline Nguyen. On in January as part of the Sydney Festival for intimate audiences of 30, the event will be a step in a more experimental, multidisciplinary direction for Griffin — here working together with Performance 4a — and knowing Sydney's colossal appetite for foodie culture, it won't fail to find an audience. The rest of season 2014 sees Griffin pursuing its established strengths in new Australian playwriting, with just one classic and one recent international work sneaking in. "Our 2014 season is a shameless celebration of the depth and breadth of Australian playwriting culture," says artistic director Lee Lewis. "Breadth in terms of the diversity of voices and stories, combined with remarkable depth of quality." The Main season starts with the winner of this year's Griffin Award for an outstanding new script, Jump for Jordan by Donna Abela, a culture-clash dramedy that speaks in particular to the experience of second-generation Australians. Next is Eight Gigabytes of Hardcore Pornography (wahey!), eye-catching for both its name and the talent involved (Declan Greene of the fantastic Sisters Grimm writing, Lewis herself directing and the loveable Steve Rodgers performing). Lewis will also direct David Williamson's hit '80s play Emerald City, while Malthouse Theatre's artistic director Marion Potts will take the reins of Ugly Mugs, a compelling look at the culture of abuse we don't usually acknowledge. Writer Peta Brady was inspired by the stories of violence against women that took hold of Melbourne last year. The parallel Independent season, meanwhile, features work from pantsguys, Stories Like These, Siren Theatre Co and White Box Theatre. Director Anthony Skuse reunites with the team from Punk Rock (winner of the Best Independent Production 2012 at the Sydney Theatre Awards) for what's sure to be another shattering Simon Stephens play, On the Shore of the Wide World. Kate Gaul (The New Electric Ballroom) will tackle Tasmanian playwright Finegan Kruckemeyer's The Violent Outburst That Drew Me To You, about a rage-prone teenager left alone in the forest, while Jane Bodie's Music brings a light touch to the subject of mental illness and Campion Decent's Unholy Ghosts goes for laughter at a funeral. Finally, there's the school holiday event The Witches, a one-man telling of the Roald Dahl classic. If what we've heard of its transfixing first run at NIDA is anything to go by, there'd better be plenty of adult-friendly show times, too. Griffin Theatre 2014 subscriptions go on sale on 3 September. There's a limited Earlybird offer, whereby subscribers can purchase the four Main Season shows for $120, or all eight Main and Independent shows for $220 until 23 September. Griffin subscribers also have exclusive access to an allocation of tickets to The Serpent’s Table before they go on sale to the public through Sydney Festival.
What better way to embrace the warmer weather than with some good old-fashioned outdoor moviegoing? This spring, Sweethearts Rooftop is bringing back its al fresco cinematic experience with another killer lineup of cult hits, presented by Fever-Tree. Taking place on Mondays and Tuesdays, from 7.30pm, the rooftop bar of Potts Point Hotel will break out the projector to show a range of classics from across the decades — think Moulin Rouge, Kill Bill (volumes one and two), The Notebook, Brokeback Mountain and more. And the best part? It's free. And the good deals don't end there. You'll be sipping on 25-percent-off Fever-Tree G&Ts — think the likes of green ant gin with elderflower tonic; Four Pillars with mediterranean tonic; and 78 Degrees Sunset gin with aromatic tonic. Plus, for $20, you can tuck into all-you-can-eat pizza. Sweethearts Rooftop Cinema runs across Monday and Tuesday nights, from Monday, September 30 until Tuesday, November 26. You can check out the full movie lineup over here. To book your spot, head here. First image: James Ambrose.
When writer Diablo Cody, filmmaker Jason Reitman and actor Charlize Theron first teamed up for 2011's Young Adult, it really couldn't have worked out better. Charting the exploits of a thirty-something ex-prom queen returning to her home town, their acerbic and amusing movie served up a perceptive portrait of arrested development. Joining forces again for Tully, the trio have another aspect of adulthood in their sights, this time exploring the ups and downs of motherhood. It's not Cody and Reitman's first stab at the subject, given that the pair initially worked together on teen pregnancy comedy Juno. But if they'd like to keep pumping out films about different life stages every couple of years, please, no one stop them. In Tully, Marlo (Theron) is a mum of two who's days away from giving birth to her third child. Unsurprisingly, she's already utterly exhausted. When her new bundle of joy arrives, she's even more stressed and tired, with her husband (Ron Livingston) hardly a hands-on dad. Enter a gift from her well-off brother (Mark Duplass), albeit one she's reluctant to accept at first. He's adamant that a night nanny will change her life, and when serene and soothing twenty-something Tully (Mackenzie Davis) arrives on her doorstep, Marlo soon discovers that he's right. Tully doesn't just take care of the baby each evening so that Marlo can sleep. From cleaning the house and cooking cupcakes for the kids to providing much-needed pep talks and sharing sangrias, Tully takes care of Marlo too. The scenario inspires rich performances from a particularly raw Theron and a suitably sparkling Davis — the former committed to conveying the hardships of maternity in all of its unglamorous glory, the latter calm and kind as Tully brings Marlo back from the brink of desperation. The pair complement each other perfectly, while fleshing out their characters with the type of detail that can only be drawn from reality. As Theron switches from weary to anxious to utterly fed up, the star couldn't offer up a more relatable picture of parenthood. As Davis embodies the caring yet carefree figure every woman has wished she could be, she helps show why such fantasies are ultimately just that. Indeed, while the film couldn't feel more authentic than when Theron is in unhappy wife and mum mode, it kicks into another gear when its two leads share the screen. Cody's script segues from relaying honest truths about being a mother to exploring the importance of female connections, and neither element should be underestimated. Few flicks lay bare the struggles of postnatal depression in such frank but funny terms, and even fewer present complicated, unconventional but unconditionally supportive bonds between women. The writer's usual cynicism is ever-present, recognisable to anyone who's seen the screenwriter's previous films; however if she actively set out to refute every mainstream depiction of idealised mums and stock-standard gal pals, she's nailed it. That said, Tully is likely to divide audiences, all thanks to one decision that this review won't spoil. A bold choice that initially seems like Cody and Reitman might be taking the easy way out, it's actually one of the movie's most astute moves, as well as a development that the director's naturalistic, roaming visual approach subtly builds up to. Tully shows that mums don't stop being people when they usher new life into the world. It firmly demonstrates that everyone needs support. It warmly depicts women looking after each other. More than all of that — and most importantly — the film probes society's willingness to believe that mothers can do it all, often single-handedly. Admitting how ridiculous that expectation is would upset the long-held status quo, but this movie happily takes aim at the idea in a smart, savage and still empathetic fashion. It shouldn't come as a surprise that Cody wrote the script after having her own third child, or that this excellent ode to self-care ranks among her finest, most mature pieces of work. https://www.youtube.com/watch?v=j9iVra2kdD4
Fancy infusing your usual Aussie Christmas with a touch of enchantment? Well, you'll find magic aplenty at The Grounds of Alexandria over the coming weeks, as it's transformed into an winter wonderland inspired by the just-released Disney flick, Frozen II. The already gorgeous setting now plays host to an other-worldly oasis, made up of a series of realms referencing those in the film. There's the wintery Crystal Lane, where you'll find dazzling white trees, and the autumnal Enchanted Forest with falling orange leaves. You'll also find plenty of snow, with flurries every day at 9am, 11am, 1pm and 3pm until December 24. Once you've finished exploring, you can head for plenty of sugary edible treats, including limited-edition Ice Queen cakes, snowflake cookies, rhubarb and plum tarts and gelato smoothies. Less sweet, but no less entertaining is the iced tea served in a pot with smoke. These treats will be available until January 29, 2020, when the Frozen II pop-up will disappear. The Grounds of Alexandria will also be functioning as normal during the pop-up, and the Garden Bar, Potting Shed and cafe will all be open.
The northern beaches has its own local shop that's selling designer homewares, herbal candles and — to put the finishing touches on your stylish abode — heaps of indoor plants to choose from. Think zanzibar, golden cane palm, umbrella plants, bird's nest ferns and fiddle leaf figs aplenty. It also sells colourful planter baskets to house your new green additions. Throw in a couch blanket, a few cushions and a healing candle and you're good to go. You'll find Electric Eyes in Narrabeen, where it's open six days a week — with plants ranging from $26–$88.
If the words "when I was 17 I had wrists like steel and I felt complete" mean anything to you, you're most likely already afflicted by Vampire-itis. This is the rare condition caused by by being a fan of none other than Vampire Weekend. It can strike at any time, and begins with sharp, pointy teeth, soon developing into a strong desire to put on Hawaiian-inspired shirts and thongs and lounge around at the beach. If you "crave that sound" of songs like 'Cousins', 'Horchata', 'White Gun', as well as some new stuff, then this one's for you. So get your boardshort-wearing, blood-hankering self off to see them live. Hopefully, they will wear the man cardis that we have all grown to love.
Greater Sydney is currently under stay at home orders so, while you can't visit these pubs in person, you can still show your support with takeaway and online orders. You can stay up to date with the developing COVID-19 situation in Sydney, as well as current restrictions, at NSW Health. With our near-perfect weather all year round and excellent pub scene, there's hardly ever a bad time to be in one of our city's impressive beer gardens. This season, we've teamed up with Guinness to put together a list of six excellent beer gardens in Sydney to enjoy any time of the year — with a pint in hand — and that we can't wait to get to once pubs reopen. Whether you're looking for a quiet evening beverage under lights or a beachside cabana fit for a warming winter feast, these leafy courtyards and pub gardens will sort you out. We'll see you at the bar soon. HOTEL STEYNE Show your true summer colours by frequenting this beachside Manly spot all through winter. Hotel Steyne maintains a sunlit, airy vibe in all weather with its palm frond-adorned dining areas and ocean views. Call dibs on one of the new courtyard cabanas to turn your winter beer garden excursion into a tropical vacay, while you order some warming snacks. On the sharing front there are cheese, charcuterie and seafood platters, as well as house-made pizzas, burgers and more. Feeling flighty? Head upstairs to the venue's rooftop bar, open from Thursday to Sunday. Here you'll find a wide selection of summer-fresh cocktails, from expertly made negronis and cosmopolitans to a wonderfully tart raspberry gin sour, perfect for washing down a classic reuben on rye, or even a metre-long pizza. Find Hotel Steyne at 75 The Corso, Manly. Hotel Steyne's bottle shop is open daily from midday, and the cafe is open daily for takeaway from 6:30am–5:30pm. THE ORIENT HOTEL While The Orient is right in the bustling heart of The Rocks, its courtyard beer garden is tucked away out back, meaning regulars can escape the throngs of tourists and harbourside sightseers. If you do prefer to be among the crowds, though, there's an al fresco area on Argyle Street that offers harbour views. Once inside, kick back with the suitably seafood-led menu featuring the likes of Sydney rock oysters, pan-seared salmon and salt and pepper squid, accompanied by a glass of something bubbly or brewed. Head up to the first floor of this heritage-listed pub and you'll discover another outdoor area in the form of Mrs Jones. Named for one of the venue's earliest licencees, Jane Jones, this sleek indoor-outdoor dining room and watering hole features a retractable roof and large sliding glass walls, so you can feel like you're outside even if the weather turns. Find The Orient at 87-89 George Street, The Rocks. [caption id="attachment_816374" align="alignnone" width="1920"] Arvin Prem Kumar[/caption] COACH AND HORSES This Randwick pub brings the outdoors inside for a perfect pretend-it's-summer excursion. The venue boasts two beer garden areas: one that's closer to being indoors with high-vaulted ceilings and giant skylights, and another one level up that's open to the winter sunshine. Both areas provide ample seating for larger groups, touches of greenery and twinkly lights. For dinner and lunch, you can tuck into daily specials like fish and chips, curries and a Sunday roast. On the regular menu, you'll find more fill-you-up classics like a hearty beef and Guinness pie topped with creamy mash and cheddar, a plus-size panko-crumbed chicken schnitzel, and an all-day Irish breakfast sizzling with sausages, bacon, eggs, back pudding, beans and soda bread. Find the Coach and Horses at 147 Avoca Street, Randwick. [caption id="attachment_816373" align="alignnone" width="1920"] Craig Greenhill, Saltwater Images[/caption] CHARING CROSS HOTEL The leafy beer garden of this buzzy eastside hangout feels like it was made for summer — but we love it just as much in winter. Here, punters are ensconced within high green fences in a cosy outdoor nook which features impressive seven-metre-high letters spelling out 'Charo' and linking the space back to the bar via a hidden-away games room. After a requisite beer or two, order a plate of hearty slow-cooked beef cheeks on a bed of creamy horseradish mash, pancetta and pearl onions. If you're with a group and feeling sharey, mix and match plates of fried haloumi with fermented chilli; prawn and avocado bruschetta with a bloody mary dressing; and arrabbiata sugo arancini with pepita pesto. Find the Charing Cross Hotel at 81 Carrington Road, Waverley. THE SALISBURY This schmick Stanmore pub has all the charm you'd expect from an inner west joint, and the pooch-friendly beer garden is no exception — think festoon lights, reclaimed wine barrel tables and a Chinese elm tree growing through a bright red 1926 brewery truck. It's all too easy to while away a lazy afternoon here, with beer taps and fridges that showcase classic and craft beers from local and international breweries. Wine lovers can pair a natural drop with spicy adobo chicken tacos or roasted sweet potato served with baba ganoush, flatbread and pickled veg. Hearty mains include nachos loaded with smoky house beans, guac and jalapeños, or a warming 12-hour beef brisket ragu with pappardelle. The pies, though, are arguably the star of the menu. The golden parcels are filled to the brim with the likes of chunky beef and Guinness, chicken and mushroom, and curry-tinged cauliflower, potato, pea and lentil. Find The Salisbury at 118 Percival Road, Stanmore. The Salisbury's bottle shop is open 12–8pm Sunday–Thursday, and 12 –9pm Friday and Saturday. Takeaway breakfast, pies and beer are also available daily. THE GLEBE HOTEL Whether you're into classic pub grub or more refined drinks and dining, the leafy beer garden shrouded in fairy lights out the back of The Glebe Hotel will tick a lot of boxes. The Victorian terrace underwent a massive renovation in 2019, so the front bar with exposed brick walls, plush chesterfields and cosy fireplace now sits alongside an elegant dining room leading into the partially covered — and dog-friendly — courtyard. The same menu runs across all areas, so your troupe can throw back schooners or summer-reminiscent bellinis and mojitos in the colourful beer garden, then move inside if the mood strikes. The all-day menu features classic counter meals like chicken parmies, pies and sandwiches, while the dinner menu features more elevated fare like house-made gnocchi with forest mushrooms, cauliflower purée and truffle oil and twice-cooked pork belly with potato and celeriac gratin, cavolo nero, dutch carrots and baby beets. Find The Glebe Hotel at 63 Bay Street, Glebe. The Glebe Hotel is offering takeaway beer from 3–6pm Thursday–Saturday and 1-4pm on Sunday. It's $10 a litre and BYO jar. Thirsty? Find your closest place for a pint over at the Guinness Pub Finder. Top image: Craig Greenhill, Saltwater Images
Sometimes eye-opening, sometimes distracting, sometimes just 'meh', cameras have become a common sight on the Australian stage. Recently, Belvoir’s production of The Glass Menagerie used them to great effect, exploring the limitations of personal memory. At key points, the cameras captured and cropped the events onstage. When this footage was projected onto two large screens above the set, the feed the audience saw was completely distorted; it was decontextualised, romanticised and bore only the slightest relation to the scene we were witnessing. This was both innovative storytelling and a means of reconciling a work which writer Tennessee Williams, through the protagonist, had claimed was simultaneously truth and sentiment. In STC’s production of Williams’ Suddenly Last Summer (directed by an unrelated Williams, Kip), a similar fusion is attempted, albeit for different reasons. Unfortunately, a more hamfisted approach means that despite strong performances, the events unfolding on stage feel like a sideshow, collateral damage of the true spectacle — a struggle between cinema and theatre. The play takes place in the lavish New Orleans estate of Violet Venable (Robyn Nevin), a wealthy older woman struggling to come to terms with the loss of her son Sebastian, who died overseas in mysterious circumstances. Mrs Venable has long contended that the account of his travelling companion and the last person to see him alive, Catharine Holly (Eryn Jean Norvill), is not only false but slanderous. Summoning a number of people, including a young psychosurgeon (Mark Leonard Winter) and Holly herself to the estate, she sets about extracting the truth. The extended and very dramatic nature of the explanation, coupled with the roomful of shocked onlookers, means that this occasionally feels like Murder on the Orient Express, but the script is unsettling and the cast emanate a tangible sense of dread. Nevin, though confined to a chair for much of the play, is simultaneously wolfish and austere as Mrs Venable. Norvill is wonderful as Catharine, a woman who can’t be certain of anything except the terrible event she witnessed, and Melita Jurisic adds to the almost Lovecraftian nature of the piece with her weird, bewildered turn as Venable’s maid, Miss Foxhill. The shortcomings of Suddenly Last Summer lie in Williams’ decision to film the play live with a camera crew who move freely about the stage, walking in and out of each scene. The text is relatively naturalistic and places a high priority on creating an unsettling, anxious atmosphere. This is achieved in the first scene, which is filmed entirely out of view. Sebastian’s overgrown greenhouse, referred to as a "well-groomed jungle", is made chaotic and threatening by the cameras. Talk of lobotomies and Mrs Venable’s remembrance that her son equated the face of God with baby turtles shredded by gulls on the Galapagos Islands establishes a creeping horror. Then the wall shifts. Where before there had only been glimpses of the camera crew, they are now in full view and the shroud of terror falls. Our reality and the reality of the play begin to butt heads and the plight of Catharine Holly fades in importance. Putting technicians next to performers is like putting live animals on stage. With no investment in the constructed reality of the stage, their honesty is inherently more interesting to watch than the assumed characters of the performers. Their presence does allow for an exploration of the cinematic nature of Williams’ work, but in doing so, they become the piece. The production is no longer a Tennessee Williams play but a play about the making of a film of a Tennessee Williams play. In this context, the fate of the characters becomes rather arbitrary and a strange new dynamic is created, whereby half of the people onstage wail and rage at each other while the other half remain uninvolved and unmoved, content to witness these events through the lens of a camera. Although the concluding scenes are an impressive marriage of cinematography and staging which work to give the ending real punch, Suddenly Last Summer’s cinematic and theatrical elements spend so much time straining against each other that by the time the ending is reached, this struggle has already done irreparable damage to the whole.
Sydneysiders who have been to two council areas in the city's southwest will no longer be able to enter Queensland, with the Sunshine State today, Tuesday, July 14, declaring both Liverpool City Council and Campbelltown City Council in NSW COVID-19 hotspots. Last week, on July 10, Queensland opened its borders to visitors from all states and territories — except Victoria, which is also declared a hotspot — but from midday today, visitors from one of the two new Sydney hotspots will be turned away at the border. Returning Queensland residents or those entering for a range of essential reasons will be required to quarantine in a hotel for 14 days. The move comes as a cluster of 21 positive COVID-19 cases are linked to the Crossroads Hotel in Sydney's southwest. Earlier this week, both the Queensland and NSW Governments sent out public health alerts urging those who had visited the pub between Friday, July 3 and Friday, July 10 to get tested and self-isolate for 14 days. Queensland currently has only four active cases of COVID-19, but 18 Brisbanites who visited the Crossroads Hotel have been tested and are in isolation awaiting results. https://twitter.com/AnnastaciaMP/status/1282814220304650246 When asked what classifies a hotspot, Queensland's Chief Health Officer Jeannette Young said, "It's when there's clearly a growing numbers of cases and there's community acquisition of cases — so we've seen that here." From midday, Tuesday, July 14, anyone who has visited Liverpool City or Campbelltown City in the past 14 days will not be allowed to enter Queensland unless they are a returning resident or are entering for one a few essential reasons. For more information, head to the Queensland Government website.
The Tate's new exhibition, New Ruins, embodies nature in a state of terminal decline. This ephemeral exhibition is the result of a residency at Melbourne’s Seventh Gallery. Enjoy paintings on rescued waste timber, with tonal shifts that are “distinctly unnatural”. New Ruins finds visual expression for anxiety, pertaining to global warming and human impacts on the planet. With the metaphorical use of storms, clouds of air, dust, smoke and landscapes in various forms of flux and destruction, the exhibition inspires whilst acting as a sobering reminder of our heavy footprints on Earth. Only open this weekend: enjoy it while you can.
Come Saturday, the Grounds of Alexandria will be filled with fresh foods and handmade crafts galore. It's your chance to wander the boutique stalls, gather ingredients for Sunday brunch, indulge in some Grounds seasonal treats, hug an IRL bunny and watch little people search for eggs. This year, the Grounds have installed a giant chocolate easter egg, said to be Australia’s biggest hollow chocolate easter egg in 2015, on the premises. It's all well and good to look at, but you'll really want to be there at 2pm on April 5, when the egg is cracked open and the pieces handed around to all present. You can also enjoy live music, while waiting for your chance to pose for a photo with The Grounds' other giant fragment of Easter paraphernalia, a moss-covered bunny going by the name of Kate, the Moss Bunny. Easter events at The Grounds: April 4 – 5 – The Grounds Easter Fair (8am – 3pm) April 4 – The Grounds Golden Egg Hunt (8.30am) April 5 – The Grounds Giant Egg Community Crack (2pm)
It has been 12 years since RuPaul's Drag Race first premiered in the US, and its mission to unearth the next drag superstars shows no signs of stopping. Currently, the original series is reaching the pointy end of its thirteenth season, while international versions also exist in the UK — also hosted by RuPaul — plus Thailand, Holland, Chile and Canada. Next, it's finally making the leap to Australia and New Zealand. RuPaul's Drag Race already airs locally, but now it's being made here as well. The eight-part RuPaul's Drag Race Down Under will focus on Aussie and NZ drag queens battling for supremacy, and will air on Stan in Australia and TVNZ OnDemand in New Zealand. That was announced back in January; however, now you can mark your calendars for the show's debut on Saturday, May 1. While not all overseas iterations of Drag Race are hosted by RuPaul, RuPaul's Drag Race Down Under definitely is. RuPaul is also taking on judging duties, alongside show veteran Michelle Visage and Australian comedian Rhys Nicholson. If you're wondering just who'll be competing, too, that was unveiled back in March during the 2021 Sydney Gay and Lesbian Mardi Gras. Ten contenders will strut their stuff for drag supremacy, spanning seven Australians and three New Zealanders. So, prepare to see plenty of Art Simone from Geelong, Melbourne's Karen from Finance, and Sydney's Coco Jumbo, Etecetera Etcetera and Maxi Shield. Newcastle's Jojo Zaho and Perth's Scarlet Adams round out the Aussie queens, while Auckland's Kita Mean, Anita Wigl'it and Elektra Shock comprise the NZ contingent. Fans already know the format, which features fashion challenges, workroom dramas and lip sync battles aplenty. If you're a newcomer to all things Drag Race, you'll watch these Australian and NZ competitors work through a series of contests to emerge victorious, and join the likes of US contenders Jinkx Monsoon, Sasha Velour and Sharon Needles in being crowned the series' winner. Until next month hits, you can check about the RuPaul's Drag Race Down Under cast reveal video below: https://www.youtube.com/watch?v=oSLPdMi0b8U&feature=youtu.be RuPaul's Drag Race Down Under will start streaming via Stan and TVNZ from Saturday, May 1, with new episodes airing weekly. Top image: RuPaul's Drag Race.
Melburnian and Sydneysiding bartenders take their craft truly seriously. Twisting limes, straining shakers and floating on spoons in their sleep, these lovers of a good muddle are a proud, dedicated hoard. But which city owns the mad skills: the salty sea dogs of Sydney or the metropolitan marauders from Melbourne? The convolutedly titled but cleverly programmed World Class World Cocktail Week has had enough of shouting over the fence. In a momentous stately exchange, Sydney and Melbourne will front up their finest three bartenders from two celebrated cocktail bars and swap venues for two evenings of pure exhibitionist swagger. Melbourne’s Black Pearl will take over Sydney bar The Rook on Tuesday, May 13, to sprinkle a little Victorian savvy on the lobster-loving CBD bar. On Saturday, June 17, The Rook will return the visit, with bartenders Cristiano Beretta, Jason Williams and Rollo Anderson venturing south to claim the Black Pearl as their own. Both carefully crafted teams will be whipping up their own concoctions from the stores of each venue, undoubtedly provoking some smuggery at where certain bits and pieces are kept behind the bar. Throwing down every last twist and roll, the grudge match forms part of the neat libation-loving event program of WCWCW. Carnivores will be able to pair their love of meat and liquor at the Newtown Hotel for ‘Meat Meets Whiskey’ (May 6 – May 13), where you can consume Bulleit Bourbon via bone luge, as well as many other meat-inflected concoctions. Vegetarians should probably avoid like the plague. Sydney's Hinky Dinks and Melbourne's Belle's Diner will both be tempting their fair share of nostalgics with 'Pimp Your Shake'. That entails Zacapa rum-spiked milkshakes paired with heady American desserts — the Plenty a Platano is served with warm banana doughnuts and the Peanut Buttered Rum Shake with a slice of pecan pie ($22 each). There's also a nationwide #garnishoff happening on Instagram, and your dinky orange slice ain't going to cut it. To brush up on your cocktail terminology and know what you’re looking for in an Old Fashioned, have a tipple with the bartenders in your city here and here. The end of Prohibition has never tasted so good. World Class World Cocktail Week runs a series of Australia-wide events from May 6-13, curated by celebrated Sydney foodie Ms Darlinghurst. Check out the website for more information.
As Sydney's temps continue to drop, venues across the city are finding ways to warm you up. Darlinghurst's East Village is following suit and has transformed its rooftop terrace into a winter wonderland. The fairy light-lit, pink-hued winter garden opens today, Thursday, June 6, offering an inner-city oasis where you can rug up, sip hot cocktails and eat European fare. The charming surrounds take inspiration from Europe's winter night markets and feature hearty eats from Germany, Switzerland and France. Expect Berlin-style currywurst (bratwurst topped with sauerkraut, fries and curried ketchup gravy); a take on the French coq au vin (wine-braised chicken pie served with mash and smoked rosemary camembert); and a four-cheese fondue, spiked with maraschino liqueur and served with assorted veg, cured meats and bread for dipping. You can also heat your insides with a spiced mulled wine, warmed mead, mulled cider by Young Henrys or a Tasmanian gin toddy. All of these specialty cocktails are available as two-for-one during daily happy hour from 5–7pm, along with select beer and wine. While entry is free, bookings are recommended. East Village's Pink Winter Garden is open from 5–11pm, Tuesday through Sunday. Images: Kitti Gould.
Anyone who's opened the doors on their own piece of coffee heaven knows, building a cafe from scratch can take months, even years. But the visionary team behind The Grounds of Alexandria threw caution and time to the wind when they were invited to build their own pop-up cafe for Sculpture by the Sea 2014 — they built the whole thing in just nine days. Sitting at Marks Park between Bondi and Tamarama for 19 days, the gorgeous temporary cafe was dubbed The Grounds by the Sea, the lifetime of which is documented in this video. Built from recycled timber, tin and materials, The Grounds by the Sea had sustainability as its first priority. Grounds stylist Therese Moussa set the tone, while Grounds co-owner and creative director Ramzey Choker put together a specially designed seed-to-plate menu; all produce was seasonal and sourced from the finest growers and producers in the local vicinity. Meanwhile, co-owner and world latte champion Jack Hanna brought his skilful team of baristas to the site, with both Synesso machines and a filter brew bar working from dawn to dusk. So how did the Grounds team make all this happen in nine days? It all comes down to planning — a whole month of planning in fact. Choker and Moussa took four weeks of concept planning (day and night), the building phase took nine days (including three stressful storm-approaching days of putting the tin roof on) and the cafe was in operation for three weeks. As with all painstakingly created art, the destruction of it happened in the blink of an eye in comparison — demolition took just three days. "It was a huge collaborative effort and involved a very dedicated, hard-working team," says Choker. "It enabled us to directly connect with the Eastern Suburbs community and engage face-to-face with residents. The positive response we received from the local community was absolutely overwhelming. We had over half a million people pass through our doors over the three-week exhibition and loved every moment of our time at Marks Park. It was also a great branding exercise for The Grounds to be aligned with a reputable national initiative like Sculpture by the Sea." Having hit it out of the park with the Sculpture pop-up, the Grounds team are keen to do more pop-ups in the future. "The fact that we were able to pull off what we did in the time we did to the success we did has left us wanting a whole lot more," says Choker. "Next time we would definitely obtain a bigger site which in turn would allow us additional space to create more interactive experiences for customers. I would also allow a little more time for both the planning and building stages. "We love pushing the envelope and thinking outside the lines. We created a memorable culinary experience, something that had never been done before. The sky is the limit for The Grounds. We have some new exciting projects happening later this year, so watch this space." Words by Shannon Connellan and Jasmine Crittenden. Images by Damian Flanagan.
If, like me, you had nightmares for six months after seeing Hitchcock's The Birds, the title of this show may be a tad unappealing. But don’t let it put you off, because it sounds like a memorable night out. This self-proclaimed “mythic late-night journey through the shadows of the human psyche” uses live music, improvised dance and large-scale photography to explore themes of distorted memory, the past and life as an outsider. Playing out in the atmospheric industrial passageways at Carriageworks, Box of Birds is directed by Tess de Quincey, artistic director of De Quincey Co and leading artist with Australian dance collective BodyWeather. Combining the unpredictable moves of BodyWeather dancers with Anne Ferran’s photographic trilogy exploring female psychiatric patients in the 1940s (Insula, 1-38 and Box of Birds), this eclectic performance involves a labyrinthine world of bodies, otherworldly fashions, immersive sound design and even a smattering of Nietzschean philosophy. And, seriously, how often do you get to journey through the shadows of the human psyche for free? Box of Birds is part of the You're History season, something of a birthday party for Performance Space, but don't worry about bringing a gift. They're actually giving you the presents: wrapped-up pieces of performance, visual art, dance, music and more, celebrating their big 3-0. Also showing is Brown Council's ode to feminist performance artist Barbara Cleveland, the bite-sized art of 30 Ways with Time and Space, a creative send-off to analog TV and plenty more. Box of Birds is on nightly at 9pm, from November 20-24.
Some photography has the power to move you; Guiseppe Santamaria's for Mercedes-Benz Fashion Week Australia just moves. The graphic designer and photographer has teamed up with Peroni Nastro Azzurro to produce a series of 'cinemagraphs' for the event under the title of An Italian in Sydney, each magical-seeming photograph capturing a still, dapper gent with the world faintly moving around him. As well as publishing a cinemagraph image each morning of MBFWA, Sydney-based Santamaria is also taking plenty of photos the regular way, sharing the street style and evocative backstage moments on his online street style journal, Men in This Town. His focus is "men with a distinct look in their natural habitat". Santamaria said that the collaboration has been a great way "to explore the art of producing cinemagraphs and telling a story through my photos". Cinemagraphs are essentially animated gifs that have moving elements, such as rippling water or riffling pages of a book. The week will be filled with Italian-inspired style beautifully photographed (or should we say, cinemagraphed) by Santamaria. Santamaria has recently returned from covering the Tokyo Mercedes-Benz Fashion Week and is a great source if you want to see the real ambience, action and characters of MBFWA. You can follow his photography at Men in This Town and the Peroni Nastro Azzurro Australia Facebook page.
Queensland-born cult burger joint Betty's Burgers is expanding its empire yet again, announcing it will launch its third and fourth Sydney outposts later this year. Since opening the Shake Shack-style burger shop back in 2014, founder David Hales has turned his humble Noosa business into an Australian-wide favourite — having opened up shop in Melbourne, Brisbane and Sydney. The chain opened its first Sydney store in Darling Harbour last year and its second Sydney store in Castle Hill only last week, as part of Castle Towers' huge new food precinct. The new northern beaches store will swing open its doors at Manly Wharf in October, as part of the wharf's $9 million makeover, opening next to the likes of Rockpool Dining Group's Fratelli Fresh and Sake. In the east, Betty's Burgers will launch at Bondi Junction the following month. You can expect the same menu of the Angus beef classic, southern fried chicken, pork belly and crispy fried mushroom burgers, along with Betty's signature 'concretes'. For the uninitiated, these are frozen custard shakes with your choice of mix-ins, including peanut butter brittle, hot fudge doughnut and lemon raspberry cheesecake. Betty's Burgers is slated to open at Manly Wharf in October and at Bondi Junction in November. Keep an eye on its website for updates.
