Melbourne Fashion Week is back, and this year's instalment promises a week brimming with style, flair and a pinch of the unexpected. From Monday, October 23 to Sunday, October 29, the heart of Melbourne is set to pulse with the vibrant rhythm of 300 designers and retailers. There will be 100 events in both classic venues as well as some rather interesting settings, including the rooftop pool deck at Le Méridien and some abandoned industrial garages. This year's MFW theme, For Curious Hearts, is all about giving a nod to the unsung heroes backstage. The mavericks, the designers, the people who make the industry tick — both emerging and established. This year is for championing sustainability, inclusivity, and everything that makes Australia's fashion scene so vivaciously diverse. Speaking of sustainability, MFW is carbon neutral certified, with $1 from each ticket going to carbon offset efforts. So, while you enjoy the city's fashion fiesta, you're also doing your part to stave off the climate apocalypse. Fun! The MFW runway spectacle is set to grace various venues across the city, from transformed industrial locales to the majestic Regent Theatre. Spotlighting the event are names like Jason Grech, Bec + Bridge, Ngali, Blanca Studios, Leo Lin, Aje, J'Aton, Oroton, Mariam Seddiq, and Arnsdorf, among others. The crowd-favourite fashion capsules are back in full swing, revealing the craftsmanship of over 70 local creators. To add to the fun, there will be complimentary runway pop-ups, including at the newly launched MFW spots at Emporium and QV. For those keen on learning more about the industry, Creative Victoria is hosting the MFW Conversations program. The series, graced by iconic fashion editor Janice Breen Burns, delves into topics like circular fashion and the role of tech in the industry. Students will also get their moment in the limelight with the Student Collections Runway, crowning the MFW Student Award winner on October 27. So, if you're a fashion lover (or just keen on soaking up the vibes), grab your tickets, and we'll see you on the runway. Head to Visit Melbourne for the full rundown and to check out what else is happening in Melbourne this spring.
This July, Sydney's Taylor Square will be transformed with an explosion of colour, as it plays host to a vibrant inflatable art installation celebrating four decades of Mardi Gras. Titled 40 Years Of Love, the work was announced in February by Lord Mayor Clover Moore as the winner of the City of Sydney-supported Taylor Square Public Art Project. The eye-catching piece is the work of local artists Matthew Aberline and Maurice Goldberg, who've described it as a "big, bold and sassy artwork based on concepts of public protest, joyous celebration, community activation and engagement". The pair's colourful installation will be draped around a big aluminium truss, creating a light-filled pavilion for the public to enjoy. Mardi Gras CEO Terese Casu said the artwork would celebrate an important part of Sydney's ongoing story. "With the work's vibrant energy and complexity, we share that Mardi Gras isn't a singular thing but a cacophony of diverse ideas, people, histories, politics and expressions," she said. 40 Years Of Love will grace the square for three months, after it's unveiled on Sunday, July 1. It was initially meant to be launched on Sunday, June 24 — the anniversary of the first Mardi Gras — but was pushed back.
in·cu·ba·tor? ?[in-kyuh-bey-ter, ing-] –noun 1. an apparatus in which eggs are hatched artificially. 2. an enclosed apparatus in which prematurely born infants are kept in controlled conditions, as of temperature, for protection and care. 3. an apparatus in which media inoculated with microorganisms are cultivated at a constant temperature. Oxford Art, you technologically cultivatory hut, you. As the first trade event of its kind for the creative industries, the inaugural Incubator seeks to provide a playground for innovative artists and industry professionals to demonstrate that 'right place, right time' is as easily constructed as envisioned. With the shadowy undergarments of Sydney's industry hotspot divided into a marketplace of film, music, media, fashion and creative services for what organisers call a 'who's doing what in the creative industries' kind of showcase, the evening seeks to throw directors, producers, distributors, buyers, sales agents, licensees, cinematographers, editors, graphic and web designers, art directors, animators, illustrators, writers, photographers, stylists, singers, musicians, dancers, actors and other creative folk in a Tupperware colander to spin a little sum'sumthin' and encourage a mixing, networking, creative Waldorf. Run by not-for-profit charity PIIP, this professional evening is a promising sign that Sydneysiders take their creatives damn seriously, as talk of 'syncing deals', 'distribution networks' and 'licensing negotiations', at least promises to raise the amount of pro-fesh lingo bandied about. With special music performances from KillaQueenz, Nathan Kaye, Cameras, Act Yo Age, Stephanie Brownlee, Mojada, We Are Fans, The Sculptures, Paper Moon (solo acoustic), Mickl Sayers, Skii Harvey, Kempsey, Charmaine Bingwa and showreel screenings to boot, all proceeds of this nurturing little hub of incubation will profit muso2muso and The Filmmakers Fund only to add extra ribbons and twigs to this savvy and snugly-clad nest. Hatch, pretties, hatch! https://youtube.com/watch?v=Ix95SLgBUQA
Straight up: MOLO is turning out some of the best Italian fare we've had in Sydney. Located on the wharf at Woolloomooloo, the new aperitivo wine bar is part of fine diner Manta — it's technically a pop-up, but one that's meant to stick around long-term. The small bar is set outdoors, but with heaters to keep guests cosy on the impending winter nights. The entire operation is gloriously simple, from the tables and chairs to the stemless wine glasses and the food on offer. The cicchetti are a great example of this — think next-level provolone and spicy pimento peppers with thin slices of Australian-produced prosciutto that bests any co-owner Riccardo Bernabei found in Italy. He's looking to continue to source more and more produce from Australia; their bread is already specially made for the restaurant by Tramsheds' Dust Bakery. Though MOLO shares Manta's executive chef Daniel Hughes and head chef Steve Hetherington, the menu is a distinct departure from the restaurant next door in that it is not only a seasonal one but is also very specifically dictated by available produce. On our visit, we are lucky enough to be two of three people to try some extremely rare wild-grown porcini mushrooms that have been foraged in Adelaide that same morning. The chef serves these delicate, soft mushrooms on crostini with parmigiana and just-pressed, still-cloudy olive oil. This simple combo is a prime example of how MOLO's dishes let the produce speak for itself; along with the central element, they tend to only contain three to four other ingredients, with the requisite salt, pepper and olive oil making regular appearances. Though the idea is to drop by for a bite and a drink, the menu is certainly substantial enough to serve as a full meal, especially for those who like to pick from a variety of dishes. Order the impossibly creamy buffalo burrata topped with Swedish caviar ($32) and Cantabrian sardines served with Italian butter and extra olive oil for drizzle ($18). The ricotta with zucchini and Sicilian anchovy ($17) is a truly balanced dish — the incredibly fresh cheese is punched up by the salty anchovy, then finished off with a spicy-sweet hit of paper-thin zucchini that's then topped with house-made chilli flakes. The current menu also features a dish of shaved Venetian white asparagus ($19) that's only in season until June — it's worth rushing to MOLO just to try this. But this is a bar, after all, and the wine list is expertly curated by Mario Mondo, who really knows how to pair the list with the ever-changing food menu. Specialty wines include a Franciacorta — similar to Champagne in that it is certified to only be produced in a specific region — and an extremely exclusive wine from Salina. This tiny Aeolian Island wine region produces volcanic wine that has a dry, mineral characteristic on the nose and palate and pairs beautifully with the sardines. The mentality at MOLO is that "the produce will write the menu" and — much like their food — this simple concept says a lot with little. We just hope this pop-up turns into something permanent.
"Space movie mashup" isn't the best name for a film, but in Passengers' case, it would've fit. So would've the much too wordy "intergalactic love story with a predictable twist". Let's try a third one on for size: "attractive actors find a way to pair up…as they're hurtling towards another galaxy". The formula is simple, with Chris Pratt and Jennifer Lawrence the good-looking talent in question, a spaceship heading to a new planet their setting, and both sparks and conflict flying. Here's how Passengers starts out: mechanical engineer Jim Preston (Pratt) wakes up on board the starship Avalon, only to discover that he hasn't quite reached his destination yet. Thanks to a hibernation pod malfunction, he's up and moving 90 years too early — and, among the 5000 folks snoozing on board, he's the only living soul wandering the vessel's many decks, rooms, basketball court, dance floor and pool with an intergalactic view. Android bartender Arthur (Michael Sheen) pours a mean drink but is no substitute for real human company, and soon loneliness and despair begin to set in. Much to Jim's relief, pretty young writer Aurora Lane (Lawrence) eventually joins him; however their romantic bliss isn't exactly what it seems. With The Imitation Game's Morten Tyldum directing a script that was actually written a decade ago by Doctor Strange scribe Jon Spaihts, what follows is as standard as it sounds, even with the aforementioned twist. Indeed, while Passengers' big plot development isn't divulged in the film's trailers, it's not at all difficult to guess. Moreover, while the eventual revelation drives much of the movie's drama, it's really just a way to bring the two characters together, tear them apart, and leave the audience waiting for a reunion. The end result is an interstellar effort that veers into creepy territory; a film that recognises the moral dilemma at its core, but doesn't take more than a cursory moment or two to really explore it. The same can be said for its broader existential leanings, both when Jim is alone and when Aurora awakens. You won't find Moon's musings on isolation, Solaris' pondering of love and loss, or Sunshine's psychological complexity here. Still, it's hard not to make the comparison – and before long you may find yourself wishing you were watching one of those films instead. Passengers does its best to coast through the cinematic realm fuelled by star power and shiny surfaces, boasting enough of both to keep your eyes engaged, but not your heart or mind. Pratt and Lawrence are in fine, charismatic form, even if they never particularly sell their rapport. Sheen, meanwhile, is sadly underused as the only other actor with a significant speaking role. All in all, the movie may look the space-bound part, but it ends up feeling far too generic.
The UK city of Kingston upon Hull (better known as Hull) made big news this weekend as over 3000 locals and visitors walked the streets naked, painted in four different shades of blue. While this sounds like something Tobias Fünke would inadvertently find himself in the middle of, the nudity was all in the name of art — specifically, for New York-based artist, Spencer Tunick's latest installation. The artwork, appropriately titled Sea of Hull, is a celebration of the seaside town and its relationship with the sea. The 3200 blue participants, which came from 20 countries, traipsed across many of the city's most historic sites for installation and photographing. They even posed on the Scale Lane Bridge, an award-winning swing bridge that crosses the River Hull. The installation is the largest of its kind to be staged in the UK, beating Tunick's previous installations in Gateshead (2005) and Salford (2010). A photo posted by The Best Picture of the Day (@zumapress) on Jul 10, 2016 at 12:09pm PDT A photo posted by La Vanguardia (@lavanguardia) on Jul 9, 2016 at 9:53am PDT Tunick's newest piece was commissioned by Hull's Ferens Art Gallery, who will highlight this piece in their 2017 program. Next year will be a big one for the city, as Hull has once again secured the bid for UK City of Culture, which they also hosted in 2013. The award is given every four years to a city that demonstrates the belief in the power of culture, and Hull City Council is promising to deliver a 365-day program of transformative cultural activity in 2017. Having staged over 90 installations, Tunick's art has encouraged mass nakedness worldwide, including his nude shoot for diversity in front of the Sydney Opera House back in 2010. Other such locations — apart from New York, of course — include the Dead Sea, Mexico City and Cleveland, Ohio. Via SMH.
Maybe you're always on the hunt for new experiences. Perhaps you can't go past a meal with a view. You could be keen to indulge your adrenaline-junkie side any way that you can. Or, you just might want to see Brisbane from a different perspective. All of the above is on the menu at Vertigo, as is dinner. Sure, a great bite to eat should satisfy your tastebuds and your stomach; however, this one will also get your blood pumping and pulse racing. Initially announced in August and now serving sky-high diners Thursday–Sunday weekly, Vertigo is a brand-new addition to the River City's iconic Brisbane Powerhouse. The twist: it isn't just located on top of the riverside New Farm venue, but hangs off of the site's industrial facade. Forget just living on the edge — this is dining on the edge, and literally. Obviously, the views are spectacular. Given that patrons climb out to their seats while donning a safety harness, then eat four stories (and 17 metres) up, so are the thrills. An Australian-first vertical dining experience, Vertigo's levelled-up dinners welcome in tables of two to peer out over Brisbane. It comes with a big caveat, however, with the restaurant at the mercy of the weather. That'll certainly play a factor over Brissie's stormy summers, but the night's sitting will still go ahead if it's only lightly raining. Once you're seated, Brisbane Powerhouse's Bar Alto downstairs provides Vertigo's food across its eight tables — and each reservation's two-hour sitting — with the two-course menu featuring local ingredients to go with what's certain to become a local attraction. Unsurprisingly, a visit here doesn't come cheap, costing $250 per person. Another caveat: you can't head up if you've been drinking, with everyone breathalysed first and required to return a 0.00-percent blood alcohol reading. That said, while you need to be sober to climb over the edge, a matched glass of wine will be served with dinner. You'll also get a post-descent champagne, beer or soft drink. If you're not fond of heights, this won't be for you. But if you're fine with towering not just atop but over the side of an old power station-turned-arts precinct that dates back to the 1920s — whether you're a Brisbane local or a tourist — you'll be in for quite the unique experience. To make the evening even more dramatic, diners can also choose to come back to earth post-meal via dropline down the facade. Or, if that's too much adventure for you — especially after eating — you can just head back to the ground through the venue. If star chef Luke Mangan achieves his dream of setting up a restaurant on the Story Bridge, too, Brisbane might need to rename itself the Sky-High City. "Vertigo is unlike anything else in the world, it is an unexpected combination of adventure tourism and fine-dining on a heritage site," said Brisbane Powerhouse CEO/Artistic Director Kate Gould when the restaurant was first announced. "Stepping off the roof of Brisbane Powerhouse to take a seat suspended at your table, four stories above the ground, will be the ultimate thrill. Experience silver service dining — albeit one with unbreakable crockery and cutlery attached to the table!" "We are creating a uniquely Brisbane dining experience, at height. You will be on the edge of your seat in the open air before descending via an unforgettable exit," added Riverlife creator and co-founder John Sharpe, with the outdoor tour operator partnering with Powerhouse on the venture. "Vertigo will inspire fear but with the knowledge that safety is the priority of our experienced team of adventure tourism guides." Find Vertigo at Brisbane Powerhouse, 119 Lamington Street, New Farm, Brisbane, operating from 5pm Thursday–Sunday — head to the venue's website for further details and bookings. Images: Markus Ravik.
Tuesdays mean different things to different people. Another day closer to the weekend, almost hump day, the day you wish you could sleep through — they're all on the list. But, at The Bavarian each week, the day after Monday also means tucking into $9.95 schnitzels. It's one of the tastiest ways to celebrate any day, and to also save your pennies while doing so. There's no occasion, other than just because — but cheap schnitties for the sake of it is what any Schnitzel Tuesday should be about. For a bargain price, The Bavarian will serve you up a chicken schnitzel with fries and lemon, but you do have to also buy a full-priced drink to get the deal. Fancy another schnitty? That's completely fine — just get another drink. Available all day every Tuesday, this is some good schnitz. To get your fix, you can head to The Bavarian venues around town — there are 16 in New South Wales, including everywhere from Entertainment Quarter and Green Hills to York Street and Chatswood, so you've got options. You can also level-up your schnits for an extra $10, getting a 'Godfather' (a giant schnitzel, ham, cheese, kielbasa, napoli sauce and cheese) or a 'Matterhorn' (a schnitzel mountain, cheese spätzle, three layers of Alpen cheese and bacon).
UPDATE: SEPTEMBER 17, 2020 — Due to public gathering restrictions related to COVID-19, Surry Hills Library is temporarily closed for general access. However, you can reserve books online and collect via a contactless service between 11am–3pm, Monday to Friday. Surry Hills Library has quite a few things going for it. First: the collection, of course. Surry Hills Library has a huge selection of books, magazines, DVDs and CDs, with a special focus on fashion and design and LGBTQI titles. Second: the events. Owing to its broader role as a community centre, the library has a constant roster of workshops from cooking to coding. Its Late Night Library series — a program that includes evening debates, film screenings and readings of the more risque persuasion — has had popular growth over the years, inspiring a number of spin-offs. Third: the design. Whether architecture is your bag or not, the building is undoubtedly impressive. Following its construction in 2009, the site has won a slew of design awards particularly in relation to sustainability. The iconic timber panelling controls internal lighting, while the glass atrium draws in outside air to be filtered, cooled and distributed throughout the building. It makes for a welcoming space for many tasks: studying, reading, relaxing. Image: Leticia Almeida.
If you've already worked your way through all the jigsaw puzzles, cryptic crosswords and Sudoku you have at home, then get ready for a new kind of problem-solving game. Australia's iconic cultural institution the Sydney Opera House has just launched a virtual escape room, The Trials of Wisdom, which — as the name suggests — is sure to put your brain to the test. Inspired by Mozart's opera The Magic Flute, the online experience is a collaboration between the SOH and Dani Siller of Escape this Podcast — and is unlike the vampire-slaying, tomb-raiding and treasure-hunting escape rooms you're used to. Instead of being immersed in a world unknown, you'll be entering a place people frequent all the time: the Opera House. Yep, you'll be locked inside the Sydney Opera House overnight — virtually, of course — and you'll have to use some serious brain power to get out. You'll be navigating your way through backstage and off-limit areas of the Opera House, such as the orchestra pit, props room, theatre and costume department. On your journey, you'll be hunting for four clues, from decoding ballerinas' dance positions and unscrambling the ramblings of an orchestra player. Ultimately, the aim is to get out, naturally, so you'll need some lateral thinking up your sleeve, plus a little music knowledge wouldn't go astray. To check out The Trials of Wisdom, head to the Sydney Opera House website. Top image: Hamilton Lund
Watsons Bay Boutique Hotel, Woollahra Council and Bard On The Beach are collaborating for two weeks in April to bring you Shakespeare By The Bay — two weeks of stunning outdoor stage performances in Robertson Park, Watsons Bay. An annual event, this year you can see the classic love story Tragedy of Romeo & Juliet and the Shakespearean comedy The Merry Wives of Windsor underneath the stars, overlooking Sydney's sparkling harbour. You can grab a takeaway picnic from Watsons Bay Boutique Hotel (featuring roast chicken salads, artisan stuffed baguettes and spinach and feta frittatas among other menu items) and chow down on it while Bard On The Beach (a national outdoor performance company) bring Shakespeare to life. Performances will run over two weeks in April — from Thursday, April 13 to Sunday, April 16, and again from Thursday, April 20 to Sunday, April 23. Whether you're trying to impress a date or just looking for a way to fill an evening, we think this is the best way to make the most of the warmer nights that are about to leave. Visit the website for tickets and performance times.
Just in time to celebrate the brand's 20th anniversary, Sydney Brewery Alexandria is up and running in a sprawling, industry-chic space. Having acquired the former home of Rocks Brewing Company — a casualty of Australia's struggling craft beer scene — Sydney Brewery now enjoys vastly improved brewing capacity, not to mention a sweet location with enough room for 300 guests. Leading the acquisition was Dr Jerry Schwartz of the Schwartz Family Company, owners of Sydney Brewery. Following the announcement, the tap house was renamed Sydney Brewery Alexandria, building upon the brand's existing operations, which include Sydney Brewery Surry Hills and the Sydney Brewery production facility in the Hunter Valley. With the brand's craft beers and ciders in hot demand, the extra brewing capability is more than welcome. Besides a good-quality brew, food will be a major focus at Sydney Brewery Alexandria. In the kitchen, Head Chef Chris Reynolds and his team have shaped a bold menu brimming with fresh, shareable options. Elevating your usual pub feed, expect house-made pasta like gnocchi alla vodka and garlic prawn linguine, alongside premium burgers and staples like chicken schnitzel and steak frites. Also on offer are Nepalese dumplings, chicken wings, or salt and pepper calamari to share with your pals. From its central Alexandria spot, guests will have plenty of space to spread out, with covered and al fresco seating primed for casual catch-ups and group gatherings. Decked out with exposed brick, steel accents and striking street art, the venue offers an inviting ambience whether you're hanging out with a few drinks or seeking a fully-fledged feed. "The milestone is important not just for Sydney Brewery, but for the whole industry," said Dr Schwartz about the brand's 20th anniversary. "When I established Sydney Brewery, the craft brewing sector was in its infancy, and we have managed to grow our capacity and range progressively ever since then." Founded in the basement of the Macquarie Hotel under the Schwartz Brewery name, Sydney Brewery was born in 2012, aspiring to champion the city's emerging craft scene. Before long, a major production facility launched in Lovedale, then a Surry Hills venue followed in 2018. Now, the Alexandria site offers an additional 20hL brewing capacity, ensuring the brand has just what it needs to meet demand for the foreseeable future. Sydney Brewery Alexandria is open at Sydney Corporate Park, 160 Bourke Road, Alexandria. Head to the website for more information.
11 years after the release of An Inconvenient Truth, Al Gore is back and more powerful than we could have possibly imagined. Well, no actually. The content of An Inconvenient Sequel: Truth to Power still packs a punch, and as far as composition goes it's a stunner. At the same time, we can't help but feel that after a decade of discussion surrounding climate change, the potency of Gore's central message has been somewhat diluted. Think of it this way: if An Inconvenient Truth was a diagnosis, An Inconvenient Sequel is a check-up. The outlook is still grim, as Gore illustrates with evidence from around the world – melting ice sheets in Greenland, devastating weather events across South-East Asia, flooding in the streets of Miami. But the effect isn't quite as shocking as in the original, although this may be a comment on society's apathy rather than the content of the documentary itself. Naturally, this follow-up has a decidedly political bent. Shot and edited in 2016, the film captures a snapshot of the international atmosphere in the lead up the US election, and there's an extra layer of tragedy that comes watching from the other side. While the original movie battled against the widespread ignorance of climate change, the antagonist in the sequel is the political machinations that prevent a real and widespread response to the threat. And the looming spectre of Donald Trump is the perfect embodiment of this theme. The most compelling part of the doco is the intimate glimpse it gives at the workings at the UNFCCC Paris Climate Change Conference. It was a tumultuous time politically, with a terrorist attack in the French capital having claimed the lives of more than 130 people just days before. But the most interesting element is the negotiations between signatories. Gore, it would seem, played an integral role in helping the united countries reach a voluntary agreement, and the behind-the-scenes look at the negotiations are fascinating – if rather heavily edited. Admittedly, the film does feel a bit heavy on Gore – there are some rambling asides about his political come-up and education programs that stretch a little too long. Viewers may also feel a little worn down by the grim subject matter, although at least the movie finishes on a somewhat positive note. The call to action in the dying minutes of An Inconvenient Sequel – to speak up, to protest, and to be heard to enable change – is a vitally important one. That's true now more than ever before. https://www.youtube.com/watch?v=huX1bmfdkyA
No doubt you've heard about, seen and/or eaten gooey raclette smothering potatoes, meats and pickles at a few places around town. It's probably one of the best excuses for a meal the French have given us. And The Stinking Bishops sees your raclette, Sydney, and raises it — popping it into a bread roll so you can eat it with two hands and get all those flavours in yer mouth in one fell swoop. You won't find this creation at their Enmore cheese parlour though. Rather, they're taking these babies up the road to Young Henrys each Friday afternoon from 4pm. The roll ($13) is filled with prosciutto, pickles, potato and mustard and then topped with the cheese, which is melted under a raclette grill and scraped all over the situation. They'll also be serving up their much-loved Mr Crispy sandwiches (with wagyu or mushroom), which are drawcards in themselves ($12) — eating them is one of our favourite cheese experiences in Sydney. If you can't make it this week, don't worry — the cheese extravaganza will happen each and every Friday from 4pm.
Whoever said bouncy castles were just for kids clearly never encountered The Beast. Clocking in at over 300 metres and boasting 40 different obstacles, this thing is calling itself the world's largest inflatable theme park. Oh, and it's casually touring Australia next summer, hitting up Sydney, Melbourne, Brisbane and Perth. Setting up in yet-to-be-announced locations in the hot months of 2020, The Beast is the bouncy castle experience of your wildest kidult dreams. Punters are invited to run, jump, dance and scramble their way through the course, which is opening predominantly for adults (with a limited number of sessions for littluns in each city). The obstacles you'll conquer in the bouncy theme park include a 20-metre Mega Slide and the ominously named Bouncy Cage of Doom. There's also something called the House of Hell, which, while suitably vague, we think may make you fear bouncy castles for life. Attempting to run from clowns, ghosts and ghouls in an unpredictably bouncy corridor is what nightmares are made of. Dates are not yet announced and details are slim, but we do know that the pop-up will be heading to each of the above cities for at least a few days. You can sign up for pre-release tickets here, which you best do because space will surely be limited.
The inaugural Australian Cider Festival is expected to draw guests from all walks. A cider extravaganza with stalls offering local and international cider paired with seasonal cider-matched gourmet food, the festival is founded on an ethos of educating and entertaining en masse. One thousand festival-goers will be treated to a selection of Australian ciders such as those out of the Australian Brewery, James Squire, Little Creatures, Magners, Batlow Cider, Monteiths and Redoak Brewing, to name but a few. “A key objective of the festival is to increase consumer awarness and education of cider in Australia, so hopefully people get a lot out of it, as well as have a tonne of fun,” says Cider Australia. So for all those cider fanatics out there looking for a tasting bonanza, the Australian Cider Festival's the ticket. Concrete Playground is giving away a double pass to the Australian Cider Festival. For a chance to win, make sure you're subscribed to Concrete Playground then email your name and postal address to hello@concreteplayground.com.au by 5pm Wednesday 10th October. What you’re getting: One double pass to the Australian Cider Festival (valid for either Saturday or Sunday), including: entry, tasting glass, 10 complimentary tastings, program and live entertainment.
107 Projects is a community-funded, community-driven space run by a collective of artists. 107 was born (or rather, reborn) from City of Sydney's Accommodation Grant Program in 2011. It inhabits a warehouse space in Redfern. In addition to a donation-led co-working space (with free wifi), café, bar and garden rooftop, the space includes a gallery and performance area that host an ongoing roster of performances, exhibitions, markets and workshops. The vision of the space is simply to cultivate creativity in its vast and varied forms, supporting emerging and established artists. Image: Rhiannon Hopley.
Get ready to embark on a culinary adventure through the towns of Wyong and Toukley over two Saturdays this June. This family-friendly event series is the perfect opportunity to sample the diverse and delicious offerings of some of the region's favourite local restaurants. Indulge in exclusive tasting boxes featuring seasonal menu highlights from the curated selection of participating eateries. For just $5 per box, and a free second box when you buy one, you'll have the chance to sample a wide array of flavours from around the world. Whether you're craving hearty comfort food, cafe-style fare or a sweet treat, this tasting tour has something for every palate. Beyond the eats, the days will also feature family-friendly fun and entertainment. Stroll through the park, get up close with friendly animals at the petting zoo and let the little ones enjoy face painting. It's the perfect way to celebrate the vibrant communities of Wyong and Toukley. Taste of Wyong is taking place on Saturday, June 8 and Taste of Toukley on Saturday, June 22. For more information, visit the website.
Take one of popular culture's biggest supervillains, throw in one of today's very best actors and add the director of The Hangover trilogy. Only a few years ago, the above sentence might've seemed like a joke. Today, it's the reality we're living in — the reality that sees a standalone Joker movie cackling its way towards cinema screens, starring Joaquin Phoenix in the titular role. Move over Cesar Romero, Jack Nicholson, Heath Ledger and Jared Leto — it's Phoenix's time to don exaggerated clown makeup, wield a killer smile and wreak havoc on Gotham City. The just-released final trailer for Joker promises plenty of all three, as failed standup comedian Arthur Fleck turns to a life of facepaint-wearing crime (and eventually obsessing over Batman, we're guessing). As directed and co-written by Todd Phillips (Old School, Starsky & Hutch, Due Date), Joker also comes with a suitably unhinged vibe, as if Phoenix's You Were Never Really Here character stumbled into Martin Scorsese's The King of Comedy. (Fittingly, the latter film plus Taxi Driver and Raging Bull have been cited as inspirations for the new DC Comics flick, and Scorsese is one of Joker's executive producers.) It also looks certain to help everyone forget that the last take on the famous villain only arrived three years ago, because who wants to remember Leto's green-haired turn in Suicide Squad? If the first and second trailers are anything to go by, it looks like Phoenix will — thankfully — follow in the footsteps of Nicholson and Oscar-winner Ledger instead, as he plays alongside his nemesis (and talk show host) Robert De Niro, his love interest Atlanta's Zazie Beetz and his mother Frances Conroy, as well as Marc Maron and Brett Cullen. But we'll have to wait till October to know for sure. If you'd like a dose of terrifying clown cinema before then, IT: Chapter Two drops next week. In the meantime, check out the final trailer below: https://www.youtube.com/watch?v=zAGVQLHvwOY Joker releases in Australian cinemas on October 3, 2019.
For the second year in a row, North Byron Bay Parkland won't be welcoming in bands and music lovers this July, with Splendour in the Grass' 2021 festival already rescheduled to November. But if enjoying a jam-packed lineup of tunes is a cherished part of your winter routine, that's still on the cards, thanks to a new virtual Splendour event taking place in its usual midyear time slot. Called Splendour XR, the mud-free two-stage event will pop up across the weekend of Saturday, July 24 and Sunday, July 25 — but you'll be watching along from home. Or, from wherever you choose to tune in via your mobile, tablet, browser, desktop or VR headset, all to watch more than 50 acts take to the virtual stage over two days. Leading the charge are headliners Khalid and The Killers. The former will do the honours on Saturday, while the latter will take over on Sunday. They'll be joined by a hefty list of talent, including Chvrches, Denzel Curry, Duke Dumont, Tash Sultana, Violent Soho, Phoebe Bridgers and Band of Horses on the first day, plus Charlie XCX, Vance Joy, The Avalanches, Of Monsters and Men, The Jungle Giants and Ocean Alley on the second. If you're wondering how Splendour XR will work, that's understandable — and no, you won't just be watching old gig footage or clips from past Splendours. Instead, the fest will feature new, never-before-seen live sets that have been created especially for the virtual event. And, while they'll be available to watch worldwide, the fest will operate on Australian time — running from 12pm–2am AEST each day, with tunes starting from 2pm. You'll also be able to view the performances for seven days afterwards. Splendour organisers are also aiming to take as much of the IRL festival experience with them into the virtual realm, too, with attendees set to access "an imaginatively embellished but faithful recreation of Splendour's Byron Bay venue", according to the festival announcement. You'll also create your own schedule so that you can hop between stages to see whoever you like, and you'll be able to virtually meet up with your mates in the process as well. Also part of the fest: raising funds for live music industry workers, mental health and wellbeing, and sustainability. There'll also be an online medical centre designed to help anyone that's struggling with their mental health after the chaos of the past 15 months or so. SPLENDOUR XR LINEUP: DAY 1 Khalid Chvrches Denzel Curry Duke Dumont Tash Sultana Masked Wolf Russ Millions Band Of Horses Little Simz Violent Soho Aurora Phoebe Bridgers Vera Blue Pink Sweat$ Client Liaison Griff Pond Tayla Parx Dune Rats Methyl Ethel The Chats Triple One Cat & Calmell King Stingray The Southern River Band DAY 2 The Killers Charli XCX Vance Joy Grimes Metaverse (Super Beta) The Avalanches Of Monsters and Men Kaytranada Black Pumas Hot Dub Time Machine Millennium Parade The Jungle Giants Ocean Alley Jungle What So Not King Gizzard & The Lizard Wizard Sinéad Harnett Holly Humberstone Spacey Jane Crooked Colours Amyl and The Sniffers Wafia Aviva The Snuts Band-Maid Ziggy Ramo Gretta Ray Top image: Mitch Lowe.
This weekend, the country's best First Nations musicians will come together for the 2020 National Indigenous Music Awards. Taking over TV screens, mobiles and social feeds, the annual music awards will be live-broadcast across NITV, Double J, Facebook, Twitter and YouTube from 7pm AEST on Saturday, August 8. And there'll be quite a few special guests making an appearance, too. For the awards part of the evening, the country's best musicians will be battling out across seven categories: song of the year, album of the year, film clip of the year, community clip of the year, new talent of the year, Indigenous language awards and, the big 'un, artist of the year. Electric Fields, Emily Wurramara, Jessica Mauboy, Mau Power, Thelma Plum and Baker Boy (who's back to potentially snag the prize two years running) are up for artist, while film clip contenders include 'House Fyre' by Briggs featuring Tim Minchin, Dallas Woods' 'If It Glitters It's Gold' and 'Drowning' by Miiesha. In between announcing winners, there'll be shows from the likes of Archie Roach, Thelma Plum and Mau Power, as well as a special performance of 'My Island Home' by songwriter Neil Murray and Christine Anu, in tribute to the song's original performers, the Warumpi Band. The one and only Midnight Oil will also be making an appearance. The Aussie rockers are back — with new music, no less. They'll be performing 'Gadigal Land' — their first new song in almost two decades — off their new mini album The Makarrata Project. The band is donating its share of profits from the project to organisations raising awareness about The Uluru Statement from The Heart. While you're waiting for the awards on Saturday, you can listen to NIMAs 2020 Spotify playlist over here. [caption id="attachment_778722" align="alignnone" width="1920"] Electric Fields[/caption] NIMA will be live-broadcast across NITV, Double J, Facebook, Twitter and YouTube from 7pm AEST on Saturday, August 8. Images: David Hancock
Stanley Kubrick is renowned for pioneering the use of found classical music in his films. There’s perhaps no Kubrick scene more memorable than Alex being bound with a straightjacket and specula as Ludwig van plays to scenes of concentration camp ultra-violence in A Clockwork Orange, and if there’s one thing in The Shining more harrowing than Jack Nicholson’s eyebrows it’s the haunting score. But no Kubrick film is more lauded for its dramatic marriage of sight and sound than 2001: A Space Odyssey. Ligeti’s spectral "Requiem" plays to a mysterious black monolith and Strauss’ 1986 "Also Sprach Zarathusa" strains to the fabrication of a hominid’s first weapon, while the soundless moments paint the chilling void of the infinite beyond clearer than any music could. At this year's Sydney Festival the soundtrack of Kubrick’s sci-fi masterpiece will be played live by the Sydney Symphony and Sydney Philharmonic Choirs as the film plays on a gargantuan screen. You’ll have trouble looking away even without any surgical lid-clamps. Read our list of the 12 best things to see at the Sydney Festival in 2013.
Yass, a small NSW town near Canberra received the signature Queer Eye makeover when the Fab Five descended on the town this week. Well, the whole town didn't, but George — a cattle farmer and former rodeo cowboy — did. As did the local pub. A rundown of the show, for the uninitiated, the original Queer Eye for the Straight Guy show hit screens a whopping 15 years ago — running from 2003 to 2007 — and the reboot Queer Eye returned to Netflix this year. The general premise is that the Fab Five give less-fashion-savvy men (and it seems, establishments) much-needed makeovers. In Yass, while three of the Fab Five, Jonathan Van Ness, Tan France and Karamo Brown, were looking after George the cattle farmer, the remaining two — Antoni Porowsi and Bobby Berk — renovated the local pub's bistro and introduced a new signature dish to the menu. Fittingly, the five were also crowned — by Yass Mayor Rowena Abbey — Yass Queens. Yas, queen. If this reference is lost on you, it's a term said to have originated in the 80s ballroom community, but recently surged to popularity thanks to this YouTube video. The Australian mini-episode of Queer Eye will hit social channels on June 22, a week after Season Two premieres on Netflix on June 15.
For this year's Art Month Sydney, Collectors’ Space has teamed with BresicWhitney to explore a new format. For the first time, four private collections will be exhibited within one unoccupied house in the inner west. The first collection belongs to Sally Dan-Cuthbert, who has spent the past 28 years in art land, having worked at The Blaxland Gallery and Christie’s auctioneers, as well as running an independent fine art consultancy. Her accumulated works include those by Janet Laurence, Susan Norrie, Bronwyn Oliver and John Firth-Smith. The second is that of Courtney Gibson, Screen NSW CEO, and owner of pieces by Joan Ross, John A. Douglas, Rosaleen Norton, Rosie Deacon and Jane Tipuamantumiri, among others. The third is being kindly lent by Danny Goldberg and the fourth is that of Jasper Knight, artist and operator of both Sydney’s Chalk Horse gallery and Singapore’s Future Perfect. Collectors' Space will be showing at 27 Australia Street, Camperdown, between 11am and 5pm, Thursday to Sunday on March 3-20.
Hanami and Japan go hand in hand, but what if you could indulge in the art of flower viewing (yes, that's what the term translates to in English) a bit closer to home? Well, that's where the Sydney Cherry Blossom Festival comes in. It's a celebration of everyone's favourite pink flora in Sydney's west. Between Saturday, August 17 and Sunday, August 25, the Auburn Botanic Gardens will transform its Japanese Gardens into a beautiful, blooming wonderland. You'll be able to ramp up your appreciation of the fleeting natural phenomena that is cherry blossom season by attending a massive viewing party in the lead up to spring. Tis the season, after all. And taking in the spectacular scenery isn't the only thing you'll be doing. Over the two weekends of the festival (that is August 17-18 and 24-25), you'll be able to get your fill of Japanese entertainment. There'll be guided shinrin-yoku or 'forest bathing' therapy in the gardens, live Japanese blues music and ikebana (the Japanese art of flower arrangement) workshops. For the kidults, you can also expect a cinema dedicated to one of Japan's most popular characters Gudetama (Lazy Egg), laser tag in an anime-themed arena and Hello Kitty makeovers and stage shows. This year, the festival is ramping up its food offering, too. As well as eating your way through an array of Japanese food trucks, you'll also be able to try a heap of cherry blossom-inspired eats. Former Masterchef Australia winner (and national treasure) Adam Liaw has even created a Cherry Blossom Festival Bento Box for the occasion. A pop-up izakaya will serve up sake and Japanese craft beer, too, and Sydney's Sakeshop will be selling limited cups of Hanamikura Aya sake — which is made from a yeast extracted from the cherry blossom flower. If you've got a day off and want to skip the crowds, it'll also be opening during the week (August 19–23), with Costa from ABC's show Gardening Australia hosting a jam-packed, hands-on gardening day on the Tuesday and an educational day on the Friday. Tickets cost $7.50 for early birds, $10 for general admission and is free for Cumberland residents. Early bird tickets are now on sale for the Sydney Cherry Blossom Festival and can be purchased here. Images: Destination NSW.
Welcome to the joys of major film festivals in spring, Sydney. Getting holed up in a cinema for a week or so is usually a winter activity in the Harbour City, because that's when Sydney Film Festival takes place; however, the first-ever SXSW Down Under is arriving in 2023 with its very own celebration of peering at screens. So, for eight October days, movie lovers can wander in and out of darkened rooms while the weather is pleasant outside, not frosty — and see everything from Saltburn, the new Jacob Elordi (Euphoria)-starring thriller from Promising Young Woman director Emerald Fennell, to the freshly remastered 4K version of iconic Talking Heads concert flick Stop Making Sense. SXSW Sydney's debut Screen Festival will boast 75-plus sessions that'll get projectors a-flickering from Sunday, October 15–Sunday, October 22. It all starts with opening night's Australian thriller The Royal Hotel from Casting JonBenet and The Assistant director Kitty Green (and starring the latter's Julia Garner), then features the world premiere of documentary Hot Potato: The Story of The Wiggles and everything from features starring Indonesian rappers and docos about Tokyo Uber Eats riders. Saltburn will enjoy its Australian premiere at SXSW Sydney, while Stop Making Sense will get The ICC's Darling Harbour Theatre echoing in glorious 7.1 surround sound. The venue will be home to the fest's biggest titles, which also includes opening night and The Wiggles doco; ONEFOUR: Against All Odds about the eponymous drill rap band; and Ryuichi Sakamoto|Opus, which covers the recorded concert by the late, great The Revenant composer, who passed away in March 2023. Also on the bill: supervillain parody The People's Joker, which gives the caped-crusader realm a queer coming-of-age spin; TLC documentary TLC Forever; Sleep, a Korean horror-comedy by Bong Joon-ho's former assistant; the Hugo Weaving (Love Me)-starring The Rooster, which follows a hermit and a cop who form a bond during a crisis; and a retro session of Aussie classic Lake Mungo. Or, SXSW Sydney's film fans can see Black Barbie, a Barbie flick that isn't filled affection; the Indian Australian Sahela, which tells a queer tale set in Western Sydney; Satranic Panic, a homegrown road movie and a creature feature; Milli Vanilli, another of the event's music docos; and Uproar, as starring Hunt for the Wilderpeople's Julian Dennison, Our Flag Means Death's Rhys Darby and Starstruck's Minnie Driver. Among a feast of screen content that also encompasses 40 shorts, plus 20 music videos and 13 XR projects, TV will get some love — that's why the event is called a Screen Festival, not a film fest. Standouts span Night Bloomers, a horror anthology from both Korea and Australia; Erotic Stories, another anthology that'll deliver exactly what it sounds like; and Doona!, a Korean rom-com led by Suzy Bae. Alongside indoor sessions at Darling Harbour Theatre and Palace Cinemas Central, free outdoor screenings are also on the bill at the SXSW Sydney 2023 hub in Tumbalong Park. The complete lineup there is still to come, but the program will survey the OG fest's best and brightest, starting with Taika Waititi and Jemaine Clement's What We Do in the Shadows — the movie, not the also-ace TV show — as well as classic anime masterpiece Ghost in the Shell and Richard Linklater's Dazed & Confused. As well as viewing movies and TV shows aplenty, the 2023 SXSW Sydney Screen Festival also features an array of speakers. Black Mirror's Charlie Brooker is one of the headliners — not just of the screen component, but of SXSW Sydney overall. Similarly getting chatting: Indigenous filmmakers Leah Purcell (The Drover's Wife The Legend of Molly Johnson), Kodie Bedford (Mystery Road: Origin) and Jub Clerc (Sweet As); Osher Günsberg recording an episode of his podcast Better Than Yesterday with a yet-to-be-announced special guest; and Gone Girl, The Nightingale, The Dry, Big Little Lies and Nine Perfect Strangers producer Bruna Papandrea and Binge's Executive Director Alison Hurbert-Burns. [caption id="attachment_917938" align="alignnone" width="1920"] Netflix[/caption] If you're keen to make the most of Australia's first SXSW, take advantage of our special reader offer. Purchase your SXSW Sydney 2023 Official Badge via Concrete Playground Trips and you'll score a $150 credit to use on your choice of Sydney accommodation. Book now via the website.
National Reconciliation Week is here for 2022, running from Friday, May 27–Friday, June 3 — and The Australian Literacy and Numeracy Foundation and Australian clothing label Deus Ex Machina have just the threads for the occasion. Collaborating to raise awareness about the ALNF's efforts to transform and empower First Nations communities around the country via literacy, language and education, the two organisations have teamed up on a new range of 'Literacy Is Freedom' t-shirts. And, as well as adding to your wardrobe, they'll help you support Indigenous Aussies as well. On sale from today, Friday, May 27, the limited-edition shirts come in black and white, both featuring the same 'Literacy Is Freedom' logo on the front. Printed upon 100% cotton, that design emulates the colours and format of the Aboriginal Flag. But, it's the fact that 100% of the profits from the tees are going to the ALNF's work with First Nations communities that's even more exciting. To launch the shirts, the ALNF and Deus Ex Machina have launched a campaign featuring a heap of familiar faces — including ALNF ambassadors — all decked out in the new gear. Doing the honours: everyone from AFL legends Adam Goodes and Lance Franklin through to ex-footballer and ABC News Breakfast sports reporter Tony Armstrong, plus Baker Boy, Casey Donovan, Brooke Blurton, Isaiah Firebrace and Hugo Weaving. The list goes on, with Michala Banas, Isaiah Firebrace, Benjamin Law, and Chloe Zuel and the cast of Hamilton all involved, too. And, so are Miriam Margolyes, Tim Minchin, Asher Keddie, Vincent Fantauzzo, Virginia Gay, Jesinta Franklin, Nathan McGuire, Luke Carroll, Clare Bowditch, Eddie Perfect, Zoe Norton Lodge, Alan Brough, Narelda Jacobs and Zindzi Okenyo. If you're now keen to slip on a tee and help a fantastic cause, you'll find them on sale for $59.99 from David Jones online, in-store at select David Jones locations, and in-store at Deus Ex Machina Camperdown and Good Ways Deli Redfern. "We need collaboration, bravery and commitment if we want to pave the way for a brighter future for Aboriginal and Torres Strait Islander children, families and communities," said ALNF Co-Founder and Executive Director Kim Kelly, launching the shirts — and the campaign. "We are excited to be partnering with an iconic Australian brand, standing with us and supporting our goal to give every single Australian a voice through literacy, language and education. Reconciliation is everybody's responsibility, and it's an important time for us all to reflect on what we can do to be part of the change. The simple act of buying and wearing this powerful t-shirt contributes to the creation of a fairer and more just Australia," Kelly continued. Deus Ex Machina and The Australian Literacy and Numeracy Foundation's 'Literacy Is Freedom' shirts cost $59.99, and can be purchased at David Jones online, in-store at select David Jones locations, and in-store at Deus Ex Machina Camperdown and Good Ways Deli Redfern. For more information about the ALNF, head to its website.
In the opening monologue of The Glass Menagerie, Tom Wingfield (Luke Mullins), a thinly veiled portrait of Tennessee Williams, informs the audience that he intends to give them "truth in the pleasant disguise of illusion". Soon after, he casually remarks that "The play is memory … it is sentimental, it is not realistic." So which is it to be? Truth or sentiment? Belvoir’s latest production grapples not only with Williams’ text but also his disdain for the theatrical conventions of his time. The Glass Menagerie was Williams’ first commercially successful work and a very personal one; the story of a struggling writer abandoning his volatile mother and fragile sister reflected, to a greater or lesser degree, his own experiences as a younger man. Adamant that it should not be performed naturalistically, however, Williams located the play in the uneasy space between memory and theatrical contrivance, a fact that director Eamon Flack and his cast have exploited to great effect. The stage has more than a whiff of the film set about it. The kitchen and sitting room of the Wingfield residence take up the majority of the space, flanked by two big screens and a huge bank of lights which, at the appropriate time, bathe these rooms in dazzling artificial sunlight. Several cameras dotted about the place complete the effect. In addition to the action on stage, Tom periodically crosses the boundaries of the house into the theatre and commandeers a camera, recording these bastardised memories or perhaps scrutinising them for any signs of the original. The black-and-white live feed footage Hollywood-ises the scene it has captured, pinning its subject and romanticising it relentlessly before finally letting it go. A slight (though deliberate) lag in the footage continually confounds the lip-synch, a message from Tennessee Williams himself — "Doesn’t matter how good it looks. It can never be like it was." Of course, none of this would matter if you didn’t have a cast who could carry the text. Pamela Rabe is excellent as Amanda, a force of nature in a lacy pink dress, flattening anything she comes into contact with. Rose Riley brings a great charm and tenderness to Laura and her latter scenes are riveting. Mullins is impressive as Tom, a man yet to find himself, and Harry Greenwood’s perpetually surprised Jim is funny, but also wonderfully gentle when he needs to be. Belvoir’s The Glass Menagerie is not only compelling theatre, it is proof that you needn’t take a hatchet to the classics if you want to make them say something new.
From The Muppet Christmas Carol to The Santa Clause to The Nutcracker and the Four Realms, Disney has long been fond of Christmas films. And now that the huge entertainment company is about to launch its own streaming platform, we can foresee plenty more festive Mouse House flicks in movie-lovers' futures — starting this November with Noelle. Vying to become your next seasonal favourite, Noelle stars Anna Kendrick as the titular character, who also happens to be the daughter of Kris Kringle. When her dad retires, her brother Nick (Bill Hader) is supposed to take over the reins (and reindeer). But, after he gets even colder feet than usual at the North Pole and heads south to become a yoga instructor, it's up to the perennially perky Noelle to save the day. Festive film fans can look forward to Kendrick being oh-so-bubbly, Hader in the slacker mode he plays so well and Billy Eichner as the Kringle siblings' sarcastic IT worker cousin Gabriel. Based on the trailer, this streaming flick is firmly aiming for feel-good territory — not just because it tasks one of Hollywood's most likeable actors with salvaging Christmas, but because it's directed by rom-com veteran Marc Lawrence (the filmmaker behind Two Weeks Notice and Music and Lyrics, and the writer of Miss Congeniality and its sequel). Get festive watching the trailer below: https://www.youtube.com/watch?v=DBDnQkQUTGU Noelle will be available to stream on Disney+ when it launches Down Under on November 19.
When you can't venture to an art gallery, let the exhibition come to you. It's been a challenging year for artists and art institutions across the nation, but one of the good things to come out of this global pandemic has been the number of ways Australians have been able to access art without leaving their homes. Whether it's through online talks, tours or filmed performances, galleries have found alternative ways to share art with us. One of the institutions leading the way is the Museum and Art Gallery of the Northern Territory (MAGNT), which is the host of 2020's Telstra National Aboriginal & Torres Strait Islander Art Awards exhibition. For the first time this year, the gallery in Darwin is accessible no matter where you live, as you can explore all 65 artworks on display via its virtual gallery. To give you a taste of what you can expect, we've picked out five artworks that drew our attention — and some of the stories behind them. [caption id="attachment_782787" align="alignnone" width="1920"] Charlie Bliss[/caption] 'NGALYOD AND KOLNG (PALM TREE)' BY PAUL NAMARINJMAK NABULUMO One of the first works you'll see when you enter the virtual gallery is a hollow log burial pole painted with the image of a serpent. That's Ngalyod, the Rainbow Serpent, who is an important ancestral being for the Kuninjku people. Northern Territory painter and sculptor Paul Namarinjmak Nabulumo, who lives and works in Yikkarrakkal Outstation, created 'Ngalyod and kolng (palm tree)' in 2020. He only paints depictions of his ancestral country, as, he says if he painted other people's "it would kill us". The 49 year old is the son of acclaimed artist Mick Kubarrku (who passed away in 2008), and Nabulumo says his father's art practice had a huge influence on his work. In this artwork, you can see Nabulumo's fine, elegant rarrk (cross-hatching) work and the Rainbow Serpent emerging from a palm tree (kolng) at an important site called Dilebang. It's believed that Ngalyod supports the growth of water lilies, vines and palms that grow around freshwater sources. 'MUM BETTY' BY BESSIE DAYLIGHT In the same gallery space, point your cursor to a picture on the wall of a woman with angel wings. Western Australian artist Bessie Daylight has adorned a digital print of her mother Betty Carrington (also an artist) with a halo and wings to show just how precious our mothers are. "She worked all her life supporting us children," says the 53-year-old artist from Warmun Aboriginal Community. "Mothers are angels in disguise and we don't appreciate what our mothers do." Daylight says she painted Joonba dots on her mother's face as when Bessie was growing up, Betty was always singing and speaking in language. She grew up with traditional lore and culture and, along with other senior women, taught Daylight how to collect, grind and paint with natural ochre. "She is a mother, a grandmother, a friend. She is a councillor, a support person to many who come in contact with her, and she's an artist in her own right," says Daylight. [caption id="attachment_782271" align="alignnone" width="1920"] Lynnette Griffiths & Erub Arts[/caption] 'EUM NORR (DYING REEF)' BY JIMMY K THAIDAY Digital metres away from 'Mum Betty' is a display unit, on top of which is Torres Strait Islander artist Jimmy K Thaiday's work 'Eum Noor (Dying reef)'. Thaiday has used clay and reclaimed ocean rope to make a statement about our ongoing environmental impact on the Great Barrier Reef. The 32-year-old artist says the balls represent the isolated bleaching incidents on the coral reef as the sea temperatures rise. They "bloom like flowers". The artwork is a timely reminder of the importance to care for our planet, and especially our waters. For the artist, whose clan is Peiudu, one of four tribes on Erub (Darnley Island), the waterways and the reef play a vital part in his daily life and culture. "We do not want to see our reefs suffer the fate of other coral reefs," he says. The netting used in his art has drifted into the water where he lives. "I feel that by combining clay with reclaimed rope, I can highlight an important message: look after the sea and the sea will look after you." 'BATJBARRA' BY MARY DHAPALANY Click through to the second exhibition room to find Mary Dhapalany's 'Batjbarra' (2019), seemingly suspended from the gallery ceiling. The Northern Territory artist and Mandhalpuy woman has been a practicing artist for four decades, and her weaving artwork is representative of traditional craft passed down through generations of women weavers in her family. The 70-year-old artist uses natural dyes, extracted from earth pigment or plant roots, to colour the pandanus leaf (gunga) used in her work. Batjbarra is the name of a scooping object that's used to gather water chestnuts (rarrgi/rakayi), and the artist has honoured the traditional object with her choices of colour, size and perspective. You can take a 360-degree view of the work in the virtual gallery. 'MY STORIES FROM ERNABELLA MISSION' BY NYURPAYA KAIKA BURTON Found in the far exhibition room, to the right of 'Batjbarra', is a photographic work by South Australian multidisciplinary artist Nyurpaya Kaika Burton. Three black and white photos printed on Belgium linen are covered in writing, in Pitjantjatjara language. Burton, who is a longstanding director of Tjala Arts in Amata Community and chairwoman of the APY Art Centre Collective, wants to share the stories of her time growing up at Ernabella Mission. The now published author, singer, weaver and former teacher, says she started going to school there without any clothes. The 71 year old says, "We lived the traditional way, in a wiltja (shelter), no house with no clothes, a long way from the mission." Burton says she walked to school every day, hungry to learn. "We'd get water from the hose to shower, and after the shower we'd wait for the bell to ring and we'd line up ready to go in." Burton's images are of her and her brother on a donkey's back looking for wild figs, of children and teachers playing games, and of teenagers sitting in front of a teacher's house. "I loved learning to read and write and still do today." Discover more artworks in the Telstra NATSIAA exhibition, here. Top image: Charlie Bliss
It seems Sydneysiders can't get enough of making what's old new again. With the wave of gentrification hitting pubs, hotels and long forgotten spaces across the city, once lifeless urban spots have now been given a second chance. Hidden among the high-rises of the CBD's bleak concrete jungle, an oasis from the daily grind awaits. Wearier office dwellers delight, we've found just the place for you to escape. Tucked away behind King Street, Skittle Lane Coffee is a welcome breath of fresh air for inner city locals. Featuring New York-inspired interiors, the cafe's high ceilings and large steel windows demand attention from the casual passer by. Yet once you push through those sleek glass doors, this striking light-filled store makes you feel right at home. Behind the machines, the friendly Skittle Lane crew is ready to serve Sydney up some seriously killer brews. Owners Jodie Foster and Dean Wooding wanted to create the same laidback ambiance of Melbourne's iconic laneway cafes in this inner city location. "When we first viewed the space we instantly fell in love," says Jodie. "The building is grand and elegant and the Skittle Lane is being restored to its former glory. We couldn't pass up the opportunity to create something unique in the Sydney CBD." The laneway itself has been given a major revamp by The Crown Group over the past few years, seeing the thoroughfare dotted with boutique shops, eateries and most recently apartments. Keeping things sleek with a monochromic colour scheme, Skittle Lane Coffee is cool and contemporary. From the black marble block counter to the modern light fittings hanging overhead, they know how to nail the finishing touches. Aside from its aesthetic charm, these guys deliver first and foremost as a top-notch coffee shop. Serving up their own roasted coffee, Skittle Lane's seasonal blend offers a punchy full-bodied cup while their rotating selection of single origins keeps coffee geeks on their toes. With guest appearances from Marvell Street, plus specialty made ceramic mugs, plates and bowls courtesy of Melbourne designer Takeawei, diners can take these gorgeous goodies home thanks to Skittle Lane's stellar retail section. Pop in on your way to the office for a quick Brewtown Brewnut or pastry from Penny Fours, or stop by for a tasty grab-and-go Sonoma toastie to curb that lunchtime rumble. With everything from cold brew to espresso on the menu, Skittle Lane brings a slice of Melbourne's coffee scene to Sydney's burgeoning new alleyway. Images: Daniel Kukec.
Throughout history, art and politics have been connected in so many ways. At times their relationship is hostile and tumultuous, at other times, it is unexpectedly fruitful. Curated by Macushla Robinson, this show draws on a vast array of artists who have something to say. Featuring the likes of the Guerilla Girls and Redback Graphix, See You at the Barricades also exhibits work from 19th-century artists and activists. One of the main goals of this exhibition is to track historical patterns of protest. Do we fall back on nostalgic and romantic ideals? How do past events inform contemporary realities? What is the “dissident aesthetic” gaining momentum in today’s art world? In addition to this show, check out Saatchi artist Jitish Kallat’s whopping installation in the gallery foyer, Public Notice 2. This work spells out the speech delivered by Ghandi in 1930 before the infamous ‘salt march’, commemorating a nation-forming act of civil disobedience.
While Vivid's annual celebrations will be taking over Circular Quay and Tumbalong Park in May, Western Sydney residents who don't want to battle the public transport and huge crowds can rejoice — Sydney Zoo's festival of lights is returning for its third annual instalment — and its set to be the biggest iteration yet. Glow will take over the Eastern Creek zoo between Friday, May 10 and Saturday, June 15 with a plethora of light installations and activations. Each night between 5.30–10pm, patrons can wander the zoo and discover its revamped Light Walk, which stars a safari of luminous animals and a huge range of interactive installations. Immerse yourself in the dazzling Water Walk, catch the huge lion lantern and keep an eye out for the event's centrepiece, a fiery installation called Ignite. Accompanying the iridescent art will be a KIIS.FM ferris wheel, a vortex tunnel, a maze, carnival rides and glow-in-the-dark golf. Plus, you'll even be able to explore the zoo's aquarium and reptile house after dark. Food trucks will be on-site, as well as a pop-up bar slinging beer, mulled wine and the event's signature cocktail. There's also be eats including deep-fried doughnuts, paella and treats from Enzo's Pizza. The activations have been designed to be mobility-friendly and wheelchair-accessible, with no hills or steps throughout. General admission tickets to the event start at $30 for adults and $25 for children, with infants scoring free entry.
Deciding on a birthday dinner destination isn't easy — you need somewhere that's well priced, has an excellent atmosphere and, of course, delicious food. When you or people in your group are vegetarian, this can make the parameters even tighter. Luckily, Sydney has a host of vegetarian-friendly venues ready to host you for a tasty celebratory lunch or dinner. We've selected some top-notch options for your next birthday bash, whether you're totally plant-based or an omnivore who can really appreciate the beauty of a wholly vegetarian meal. Bonus: they are all BYO, meaning your pals can save a few bucks and bring a bottle of bubbles to celebrate your existence.
Wonder Woman. Ghostbusters. Annihilation. Hollywood has come a long way since the film days of yore, when female characters were under-represented and over-sexualised. Hasn't it? Well, maybe not quite. The costuming in this year's Tomb Raider reboot isn't quite as pervy as in the 2001 original, but outside of that there isn't much improvement. Certainly, things aren't different enough to really warrant a remake – or to catch the franchise up with the momentum of progressive feminism. This new film sees a young, broke Lara Croft (Alicia Vikander, replacing Angelina Jolie) follow in the footsteps of her mysteriously deceased adventurer father, crossing land and sea to find out what happened to him. Vikander does her best as the butt-kicking, braid-flicking protagonist – her guts and grizzle were enough to make me ponder my own laughable levels of fitness. That said, the fact I found myself thinking "grrrl you are ripped" about a zillion times gives you an indication of how little else there is to latch onto. Turns out a kick-ass heroine isn't enough to counteract crap writing. The dialogue in Tomb Raider is horribly stilted, so much so that the film's villain sounds like a parody of himself. If you had a dollar for every cliché out of his mouth – or for every time someone says something along the lines of "that's not the type of Croft I am – you'd easily have enough to cover the cost of your ticket. Despite what the writers might think, you can't just take a sub-par line of dialogue and repeat it until it becomes a zinger. The film's plotting, meanwhile, plays like a lazy mix of tropes from Raiders of The Lost Ark and The Hunger Games, with the moody origin story vibes of Batman Begins thrown in. Director Roar Uthaug doesn't manage any of it particularly well, although there are – spoiler alert – a lot of scenes where Vikander struggles in bodies of water, and they're all convincingly shot (I wrote the word "STRESSFUL" several times in my notes). The film also fails to take advantage of its strong supporting cast. Kristin Scott Thomas is chronically underused, while Nick Frost shows up all too briefly to deliver one of the movie's only genuinely funny moments (as opposed to its many unintentionally funny ones). At least the producers thought to cast someone other than a generic Hollywood white guy as Lara's partner in crime. Sadly, Daniel Wu's Lu Ren is relegated to the background in no time, and only pops up when required by the plot. The best bit of the entire Tomb Raider ordeal? To be honest, it was the very attractive promo men swinging around ropes in the foyer before the media screening. When that's the case you know you've got a dud on your hands. Our advice: give this flick a miss. https://www.youtube.com/watch?v=8ndhidEmUbI
As if the shorter days and cooler evenings weren't already reasons enough to turn to comfort foods, these strange times are causing us to do so now more than ever. And up there with the ultimate belly-warming bites are those from Taco Bell. The Tex-Mex giant now boasts one Sydney store in Blacktown, so if you're a big fan of Mexican-inspired food, chances are you've already started to make your way through its extensive menu. And, in some very good news, you can keep the flavour fiesta going while stuck at home in isolation. Yep, Taco Bell has teamed up with Menulog to offer free delivery for a limited time from its western Sydney outpost. That means you and your housemates can get stuck into its signature tacos, cheesy quesadillas and the fan favourite Crunchwrap Supreme, which is stuffed with your choice of meat, nacho cheese, sour cream, lettuce, tomato and crunchy tostada shell, without being stung with delivery fees. And don't worry if you live alone or nobody else is hungry as there's no minimum spend — not that we'd judge you for ordering all of those tasty items mentioned above solo anyway. So, if you're all tucked up in your blanket burrito and suddenly get a craving for an actual burrito, you can stay cosy and warm inside your home while the food comes to you. All you need to do is head to Menulog to place your order. Taco Bell is offering free delivery across western Sydney via Menulog with no minimum spend for a limited time only. To place your order, head here.
Winner of Concrete Playground's Best New Pub of 2015. Standing proud in Millers Point, the Hotel Palisade forms a unique and improbable part of Sydney's foreshore history; when it was built a century ago, it was the city's highest building. Having sat sadly vacant for years, it's now been revived with a smart new maritime design by Sibella Court which nods to the area's industrial and nautical heritage. There are diagrams of seafaring knots on the distressed walls and the inscription 'Think Like a Pirate' on one arched doorway, as well as a painting of a ship battling treacherous seas. Old school pub tiling, vintage lamps and some priceless old signage round out the olde world feel. A rooftop cocktail bar is due to open soon and will offer extensive views of the bright lights of the Barangaroo complex. But for now there's the downstairs pub, which pumps out food that avoids the familiar schnitzels and steak sandwiches and opts instead for snacks like creamy chicken liver pate with a sweet Young Henrys cider jelly ($12). There's also a salmon tartare with plenty of freshness and flavour from crunchy cress, roe, thin sliced radish and citrus creme fraiche. A beef brisket sanga ($18) is filled with meat soft enough to fall apart at the touch of a butter knife and comes with a mug of salt and vinegar chips. Once a popular drinking hole for workers building the Sydney Harbour Bridge, the Palisade now offers a diverse drinks list which includes top-notch craft beers like Little Creatures Pale Ale ($6.50) as well as wines from across the nation. Go for the fruity Cooter & Cooter Shiraz ($9/$42) or one of the thematically fitting rums, like a Pirate's Grog ($13) or Sailor Jerry ($8.50). The cocktail list by Mikey Enright (of The Barber Shop) is also on point. It includes a refreshing Governors Gimlet ($16) with house-made celery liqueur and dehydrated lime, and a Spiced Negroni ($17), which is heavy on cinnamon, cloves and star anise. A Larrikin Old Fashioned ($17) adds IIegal mezcal for a cheeky twist on the evergreen cocktail. Heartbreak Hotel ($17) is probably the pick though, and not just for jilted lovers. Combining Chivas whisky, Pierre Ferrand cognac, rockmelon, fennel seed honey and bitters, it's floral, smoky and sweet all at once — an ideal drink to raise in celebration to this reborn gem of Sydney harbour history. Images: Destination NSW
More than two decades ago, Australian coffee roastery Single O took its first steps right here at home. Soon, the Sydney-based brand will boast more locations to its name in Japan than Down Under. A decade since heading overseas, four years after opening its first international cafe in the country's capital back in 2021 and just a year since its last Tokyo expansion, Single O is launching a new concept in the must-visit city: its first-ever day-to-night venue. Located near Akihabara, the neighbourhood of Kanda Awajicho is your next destination for one of the chain's cuppas in Tokyo — and for cocktails, wine and beers as well. Opening on Thursday, April 24, 2025, this will be Single O's largest venue in the city, as well as its new Japanese flagship. "We're excited to open our newest Single O location in Kanda. We've been in Japan for over ten years now, and it's unreal to be part of specialty coffee's growth here and support a thriving independent cafe scene," said Single O CEO Mike Brabant. "It's a sister to our Surry Hills site in Sydney, seating a community of coffee lovers, locals and travellers alike," he continued. "We're calling it the mothership and we hope people will come in, discover something new and feel at home — whether they're here for our signature Reservoir St flat white, [to] experience the latest single origin on tap from our producer partners around the world or grab an after-work drink." For the new 50-seater venue's look, Single O have gone with a space-age theme. "Mixing futuristic, industrial aesthetics found us celebrating the brand's DNA, Australian roots and celebrating Japan's vibrant culture," advised Stuart Krelle, with Sydney-based design firm Luchetti Krelle behind the aesthetic. The brand's commitment to sustainability remains in place, however, including in the Kanda cafe's recycled plastic countertops, upcycled plywood chairs and reused central communal table. Among the sips, coffee on tap is a feature, of course, with six free-pour options available. The lineup of drinks running through them will rotate between origins, blends and seasonal choices. Or, order something else caffeinated and get the cafe's staff to put the espresso machine to good use. When it comes time to say cheers to a boozy beverage, expect coffee cocktails, naturally. Single O has even whipped up its own piña colada featuring a pineapple and coconut coffee clarification that's created with spent coffee grounds, plus washed coconut rum and soda water. Australian craft beers and wines are also on offer. Yes, the banana bread with espresso butter is on the food menu. So is The Avo Show, aka rye, achiote cashew cheese, pickled fennel, seasoned crumb, chilli oil and sweet lemon aspen. You can also tuck into the Mothership Bowl (made with brown rice, caramelised mushrooms, seasonal vegetables, pickles and a soft boiled egg) and the Yuzu Benny (which features a poached egg, sourdough, smoked salmon, yuzu hollandaise, cucumber, mint, coriander, pickled apple, lemongrass sate, chilli oil, crispy rice and shallot crumb). In another first for Single O, the Kanda outpost also sports its debut range of pastries baked onsite thanks to Head Chef Yoko Kobayashi (an alum of Bills in Australia) and Pastry Chef Johnny Pisanelli. Single O's Kanda location joins its Hamacho spot, plus Ryogoku Roastworks — which initially started as a roastery and tasting bar before its initial Japanese cafe, then moved into bigger digs and added its second space for aficionados to grab a brew — and its Shibuya coffee bar. In Australia, the chain has venues in Surry Hills and at Carriageworks in Sydney, and in Newstead in Brisbane. Find Single O's new Kanda cafe at at 〒101-0063 3F Waterras Tower 101, 2-chome Kanda Awajicho, Chiyoda-ku, Tokyo, from Thursday, April 24, 2025 — open from 8am–9pm weekdays and 9am–6pm on weekends. Head to the brand's website for more details.
On the Gold Coast, sun, surf and sand go hand-in-hand with high-rise buildings, busy bars and plenty of theme parks; however one patch of the city still keeps things relatively low-key. While The Spit at Southport is home to Sea World and the Palazzo Versace, it's also filled with parkland, naturally vegetated sand dunes, a huge expanse of beach and the sand spit that gives the area its name — and soon it'll all be part of Australia's biggest ocean park. Announced by Queensland Premier Annastacia Palaszczuk and expected to take up to a decade to come to fruition, the Gold Coast Ocean Park will span 201 hectares, with 140 hectares earmarked for park activities. The green space north of Sea World is set to retain its current natural splendour while adding other attractions, from a restored 4000-square-metre rainforest by the water to an underwater sculpture garden. Crucially, existing favourites and features will remain as part of the just-released draft master plan, including the kiosk, marine rescue and boat ramps. As for the extensive sand dunes, they'll benefit from improved cycle and walkways. Splitting the area into seven precincts — the top of The Spit, Wave Break Island, the Federation Walk coastal reserve, Muriel Henchman Park, a village centre, Philip Park and a southern gateway — The Spit is also set to boast light rail through to Sea World, a super yacht marina, a seaside promenade as well as a broadwater boardwalk, an island viewing platform, a waterslide park and a selfie tower. The list of features continues, complete with picnic and event spaces, bird lookouts, an Aboriginal cultural centre, a new resort and a public beach club, with the latter concept floating around in different guises for a while. If that sounds like a lot to fit into one place, that's because the entire space will eclipse Brisbane's South Bank eight times over, the city's Mt Coot-tha Botanic Gardens by two-and-half times, and also prove 12 times bigger than the public areas at Sydney's Barangaroo. On the world front, the Qld Government has its sights set on ranking among global landmarks — with New York's Central Park coming in at 340 hectares and Hyde Park London spanning 142 hectares. Parts of The Spit — specifically areas around Fisherman's Wharf and Sea — have been earmarked for commercial development, and a cruise ship facility is still a possibility for Philip Park. The potential terminal been long been one of the contentious aspects of The Spit's proposed redevelopment over the years, with the controversial project earning a hefty outcry of opposition. While the current blueprint is the result of more than 21,100 pieces of feedback and over 2500 folks dropping by consultation sessions according to the government, interested parties can still have their say until 5pm on Sunday, March 31. For more information about the Gold Coast Ocean Park and the Southport Spit draft master plan can be viewed online.
When it comes to decking out your home with impressive but affordable homewares, Kmart has been giving IKEA a run for its money in recent years. Indeed, if you're already a convert, you probably know just how popular the Aussie department store gets whenever it drops a new range — or, you've likely seen everyone else's Instagram snaps that prove it. Spent too much timing staring at your same old furniture this winter, thanks to the cold and the pandemic? Wish you were somewhere beachy? Always wanted to kit out your place with a bohemian vibe? Today, Thursday, July 28, Kmart has just unveiled its latest home-focused lineup, and it takes care of all of the above. Expect it to fly off the shelves as always. With prices starting at $1.75 — for bowls, should your kitchenware need a revamp — the August Living range goes heavy on pastel hues, natural materials and coloured glass. There are two main themes: timeless and urban. The former skews soft, delicate and homely, with curvy shapes, chambray fabrics and pops of block colour. The latter, which is still designed to mix-and-match with the rest of the range, is where bold silhouettes and gleaming surfaces come in. Covering items for the dining room, bathroom, bedroom and living room as well, Kmart's current drop spans everything from fringed cushions and swivelling single-seater couches through to coastal pics, palm tree-adorned bed linen and cane bathroom furniture. Yes, it's all very 70s chic, too, especially the pink, brown, mustard and other earthy colours. Among the standout pieces: two-packs of cute sea shell-shaped candles for $5, shaggy cushions for $14, cane chairs to pop them on for $149 each, and wicker lampshades and bases ranging from $39–59. If you'd like to throw in some marble, there's three different tables, all with metal bases, including a $49 side table, $69 hallway table and $89 coffee table. And white-panelled bathroom storage starts at $69. You know how they say that change is as good as a holiday? It isn't, obviously, but swapping your home decor to the kinds of items that you might find in a Byron Bay beachhouse should help lift the vibe at least. The August living range is on sale online and in-store from Thursday, July 28–Wednesday, August 17, and also includes wallpaper, flooring, curtains and blinds, as well as a new DIY line. Kmart's August Living range is on sale online and in-store from Thursday, July 28–Wednesday, August 17.
Last night, the best chefs in the world descended on Spain's Bilbao for the annual World's 50 Best celebrations. Among them, was Australia's Ben Shewry. Shewry is no stranger to the awards, his Ripponlea restaurant Attica has appeared on the list every year since 2013, but this is the first year he's cracked the top 20. Attica was the only Australian restaurant in the top 50 — which jumped 12 spots from No. 32 to No. 20 this year — with Victoria's Brae falling to No. 58, compared to a ranking of No. 44 last year. Attica also took out the coveted Best Restaurant in Australasia award. The top five restaurant for 2018 aren't dramatically different from past years, with Massimo Bottura's Osteria Francescana rising from second place to once again take out the top gong. Spain's El Celler de Can Roca rose from No.3 to No.2, while Southern France's Mirazur rose from No. 4 to No.3, and New York's Eleven Madison Park dropped from No.1 to No. 4 — it was closed for renovations for a portion of last year. Rounding out the top five was Bangkok's Gaggan, a restaurant known, among other things, for its emoji-only menu. It was a bittersweet awards for Australia, which has oft had up to four restaurants on the list — the award's debut year, in 2002, saw Melbourne's Flower Drum, Sydney's Tetsuya's and Neil Perry's Rockpool (which has now closed) all in the top 50. This year, only one made the cut. The award's often-criticised gender imbalance was once again evident, with only five women making the list (an increase from last year's three). You can check out the full list at the World's 50 Best website.
Travel is a salve to all of life's problems. There's something truly healing about that first dip into a faraway sea, a bite of a food you've never heard of before, or the background hum of a language you can't understand. But sometimes, all it takes is a hotel to have you packing your bags and buckling into your plane seat. There's no better place to find that holiday feeling than in Asia. From the patchwork blue seas of the Komodo Islands to the tranquil jungles of Ubud and into the hawker centres of Singapore, Asia is dotted with spectacular hotels that are worth making the trip for. As a Marriott Bonvoy member, you can access exclusive rates immediately on stays at participating properties (700 of them in Asia alone). Membership is free, so once you've signed up, book with the app and earn points for future stays worldwide. [caption id="attachment_1045361" align="alignnone" width="1920"] TA'AKTANA, a Luxury Collection Resort & Spa[/caption] TA'AKTANA, a Luxury Collection Resort & Spa, Labuan Bajo, Indonesia Depending on who you ask, there are anywhere from 16,000 to 18,000 islands in Indonesia. Flores, Bali's quiet neighbour, may just be the most underrated of them all. The town of Labuan Bajo on Flores is the gateway to the Komodo Islands—a patchwork of sparkling blue water, technicolour coral reefs and sacred Komodo dragons. It's quickly becoming Indonesia's best-kept treasure and is only a one-hour flight from Bali. When in town, TA'AKATANA, a Luxury Collection Resort & Spa is the place to stay. The resort's over-water villas draw inspiration from Flores' distinctive spider-web style rice paddies, offering epic views that look out over the Komodo Islands. Here, your villa also includes a luxurious butler service. Inspired by the mystical caves of Rangko and Batu Cermin, Di'a Spa is where hot tubs and cold plunge pools overlook the turquoise Flores Sea, offering not just relaxation but also renewal. It's your chance for a soulful pause in one of Indonesia's most captivating settings. [caption id="attachment_1045362" align="alignnone" width="1920"] The Athenee Hotel, A Luxury Collection Hotel[/caption] The Athenee Hotel, A Luxury Collection Hotel, Bangkok, Thailand Bangkok is a direct flight away from most Australian capitals, but the second your feet hit the buzzing streets, you feel a world away. You arrive to tropical warmth, towering, gilded temples, and fragrant, heaped bowls of street food passing by on vendors' carts. Not to mention, Bangkok is quickly earning a reputation as one of South East Asia's creative hotspots with galleries, bars, endless vintage shopping and local fashion labels popping up across the city. When in town, our editors check into The Athenee Hotel. Here, you're staying on the grounds of Kandhavas, the palace of Princess Valaya Alongkorn, the daughter of King Rama V. The five-star, luxury hotel is also located right in the heart of Bangkok—perfect for a trip spent hitting the city's exceptional shopping malls like Siam Paragon. After a day exploring Bangkok, head back to your hotel to de-stress with a holistic treatment at the Athenee Spa. W Singapore - Sentosa Cove, Singapore Sentosa Island is Singapore's island getaway—yet, you're still connected to the mainland. Singapore's hawker centres, futuristic skyline and unrivalled shopping make it one of the best city breaks going. W Singapore - Sentosa Cove is one of the coolest places to stay when you're in town. The hotel's sleek design and freshly-renovated rooms were born from blending city and sanctuary. The result is a space that channels the tropical microcosm that is Singapore: abundant energy, buzzing atmosphere, and an element of surrealism. While on Sentosa Island, check out Universal Studios, laze your day away at Siloso Beach or Palawan Beach (the southernmost point of continental Asia) or simply unwind in W Singapore's free-form outdoor pools. Mandapa, a Ritz-Carlton Reserve, Ubud, Indonesia Found deep inside the Balinese jungle, on the shores of the Ayung River, sits Mandapa, a Ritz-Carlton Reserve property. Ubud, a green, spiritual enclave in Bali, is often overlooked in favour of beach clubs. But, check into Mandapa — within an Indigenous village — and you'll soon realise that this is the best way to experience Bali. You'll find 35 suites, 25 pool villas and four unique dining concepts dotted across the resort's lush grounds. The best part, though, is their restorative spa and Disconnect to Reconnect Wellness Journey Program. You'll receive a personalised wellbeing and health program tailored just for you. The experience is guided by three pillars: wellness, gastronomy, and sustainability. For those seeking a stay that truly renews, this is your sanctuary. [caption id="attachment_1043648" align="alignnone" width="1920"] Juliana Barquero[/caption] Aloft Osaka Dojima, Japan If you're anything like us, your social feeds are currently filled with friends living it up in Japan. And, with ski season approaching, your jealousy is about to get worse. If you've always wanted to go, let this be your sign to book that trip now. The vibrant, technicoloured streetscapes of Osaka's litter social feeds everywhere — especially with the city's vintage designer shopping. But they're really just the backdrop of Aloft Osaka Dojima. The sleek, design-focused hotel is for the traveller who likes being in the heart of the city. Stay here, and you're never more than a short walk from Osaka's viral food spots and expansive train network. Take a day trip to Kyoto or Nara, stop into Universal Studios or try the world-famous Kobe beef before heading back to base. [caption id="attachment_1051746" align="alignnone" width="1920"] Perhentian Marriott Resort & Spa, Malaysia[/caption] Perhentian Marriott Resort & Spa, Malaysia Think of Malaysia, and chances are your mind rushes to steaming bowls of fragrant laksa, a buzzing Kuala Lumpur and its Petronas Towers at night (or that scene from Entrapment). But, did you know its coastline is dotted with tropical islands and pristine beaches? One of our editors' favourites is the Perhentian Islands on the east coast of Terengganu. It's here, on Perhentian Kecil, that you'll find Perhentian Marriott Resort & Spa. Their private villas are perched on the cliffside with panoramic views out onto the azure shores of the Perhentians, and even come complete with a private pool and luxurious baths. Outside the resort grounds, island hop the day away, swim with turtles and snorkel through pristine coral reefs, then watch the sun slip below the horizon on a sunset cruise. Become a Marriott Bonvoy member (for free) for access to the best rates on the website. Then, download the app to discover a world of unparalleled rewards and earn and redeem points for your next trip with Marriott International's award-winning travel program and marketplace. And, to celebrate the end of 2025, you can even earn 2,025 bonus points when you book if you register at Marriott's website.
No matter what our television screens told us about the 21st century, it looks like we probably won't gain access to hoverboards, robot maids or teleporting stargates any time soon. Sorry guys. However, recent news from the US may offset every other sci-fi-based hope that has been dashed by the underwhelming reality of 2013. NASA has just announced that it is dropping US$125,000 on the development of a 3D food printer. Yes, you heard right, a sort of inkjet for pizza. And they're actually starting with pizza. The 'universal food synthesiser' will be designed by mechanical engineer Anjan Contractor (who has already constructed a chocolate printer, the likes of which you can play with at the Sydney Powerhouse Museum event Eat the Collection) and turn powder into a three-tiered space-age Italian snack. While it may not exactly rival your local woodfired joint, the advantages of this technology could have galactic consequences. First, because powder has a longer shelf-life than organic food (it can last for decades), astronauts will be able to survive epic interplanetary voyages. The 15-year journey to Mars, for example, would be much more bearable with some powder and a printer than it would be with stale Weet-Bix and rock-hard peanut butter. But the designer of the universal food synthesiser has even higher hopes for his machine that could have an impact right here on Earth. Contractor imagines a world where every kitchen contains a 3D food printer stocked with nutritious meals bought cheaply from the local grocery store. A future where powder enables the full flourishing of human life. Indeed, he believes that the synthesiser could end world hunger. It's crazy that TV never told us about that. Via Quartz.
If you're just a hunk, a hunk of burning love for the one and only Elvis Presley, and you live in Australia, you've been having quite the few years. A massive exhibition dedicated to the king of rock 'n' roll came our way, Baz Luhrmann's AACTA-winning and Oscar-nominated biopic Elvis wowed fans, and Sofia Coppola's Cailee Spaeny-starring Priscilla has also hit the big screen. Also on offer: a new Presley-focused stage musical that debuted in Sydney last year — and is coming back from Sunday, February 4. Called Elvis: A Musical Revolution, this production features more than 40 of the singer's hits, because there's just that many songs to include. All of the expected favourites are worked into the biographical musical, which means everything from 'Jailhouse Rock', 'Hound Dog', 'That's All Right' and 'All Shook Up' through to 'Suspicious Minds', 'Heartbreak Hotel', 'Burning Love' and 'Blue Suede Shoes'. 'Good Rockin' Tonight', 'Earth Angel', 'Don't Be Cruel' and 'Are You Lonesome' get a whirl as well, as do 'Blue Moon of Kentucky', 'See See Rider', 'Can't Help Falling in Love' and 'A Little Less Conversation'. That's what the show's audience hears. As for what everyone sees — what makes the musical one for the money, naturally — the production's story tells Elvis' tale from his childhood in Tupelo, Mississippi through to his triumphant '68 Comeback Special. If you've seen the aforementioned Elvis, none of it will be new news, but Elvis: A Musical Revolution works its hip-swinging magic anyway. In Sydney, Elvis will be in the building at the State Theatre again. Starring Rob Mallett (House Husbands, Singin' in the Rain), Elvis: A Musical Revolution hails from David Venn Enterprises, which has also been behind Cruel Intentions: The '90s Musical, The Wedding Singer and Bring It On: The Musical — and arrives via a partnership with Authentic Brands Group, the owner of Elvis Presley Enterprises. Also behind the scenes, the musical's book comes courtesy of David Abbinanti and Sean Cercone — who have Saturday Night Fever: The Musical and Ghost: The Musical on their resumes — with Abbinanti also composing the orchestrations, arrangements, and additional musical and lyrics. Images: Ken Leanfore / Daniel Boud.
Whether you know that little spot behind the El Alamein Fountain as Potts Point or Elizabeth Bay, likelihood is you know Gazebo. You may also know that this Sunday drinks staple, tucked underneath apartments of the same name, has had quite the extensive refurb. The result: a sophisticated hotel-style restaurant and bar that locals of both suburbs will find it hard not to fall for. Owned by the large lifestyle group Keystone, the new and improved Gazebo has well and truly shaken its garishly colourful and quirky character other ‘stone establishments like the Winery in Surry Hills are renowned for. It’s now a chic and elegant, two-part venue divided into a casual outside bar and dining space channelling a touch of West Coast LA, and a curving, low-lit restaurant sporting a water-droplet inspired chandelier and a grand piano, to name just a couple of art deco vibes this once hotel for the ‘60s international in-crowd would be proud of. Manager Michael Gavaghan tells us Gazebo was “long overdue” some love, especially with the likes of The Apollo and Monopole upping the ante mere moments away, and with a menu designed to share created by ex-Est. head chef Jason Dean on offer, long gone are the days of oversized sausage rolls and double dipping. We began by crunching through some carrot crisps with Chantilly goat's curd and a delicious blast of balsamic ($6) before flipping textures with kingfish in smoked oyster dressing, cured with cucumber and freshened further with apple and lime ($19). For mains, we devoured the tiger prawns in green chilli, daikon and coconut ($21) before moving onto the spiced lamb ($27) — both cooked by wood oven, by the way — and the duck ($28). The lamb accompanied by butternut, roasted lettuce, black quinoa and parmesan was very nice, especially the black quinoa with its amazing nutty, almost popcorn flavour. The duck, however, clinched the title as best dish, cooked perfectly and dripping with all the flavours — including beetroot, smoked almond and salted honeycomb. As wine goes, there isn’t a huge selection, but the staff will still happily suggest something to complement your meal, so certainly shout for their recommendations if you want/need. When our bottle of Some Young Punks' Double Love Trouble Nebbiolo arrived ($53), we were glad we did. Cocktails-wise, pre-meal we tried the house special Chilcano de Pisco of lime, honey, ginger, soda, bitters and Campo de Encanto pisco ($13 and on tap), and the tequila-based Tommy’s Gazebo of Don Julio Blanco with pomegranate, coconut nectar, bitters and lime. Both are sweet and refreshing and just what you fancy if you’re looking to soak up some outside and feel a little fabulous. And to be honest, while personally I’m a little biased as a pianist myself, if you manage to score yourself a table on a Wednesday or Friday when the grand piano is being played (beautifully, may I add), it’s kinda tricky not to feel a little fabulous in here. The transformation is a success, the food is excellent and the service is genuinely friendly and knowledgeable. Nicely done, indeed.
One of the most acclaimed singer-songwriters of the 21st century, Chan Marshall — aka Cat Power — is no stranger to a cover. She's been transforming other people's work into something entirely Power-esque across her entire career, including honing the art on her 2000 album The Covers Record and 2008's Jukebox. In 2022, she again dropped a project devoted to reshaping songs originally sung by others with the aptly titled album Covers, unveiling versions of tracks by Frank Ocean, Nick Cave, Lana Del Rey and Iggy Pop. Now, Power has embarked on her most ambitious cover-based project yet, covering Bob Dylan's legendary 1996 Royal Albert Hall set in full in 2022 at the titular venue in London. Receiving rapturous praise, the show is a track-by-track recreation of a legendary set that Dylan performed on his first tour after polarising attendees at the Newport Folk Festival with his new electric sound. Sydney is lucky enough to be the second-ever city to see Power perform this set, with Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert coming to the Sydney Opera House as part of the Vivid Live program. Concrete Playground chatted with Marshall before she headed to Australia to discuss why this set is so important to her, the reaction to its debut in London and the new music she has on the way. ON WHY SHE CHOSE THIS PARTICULAR BOB DYLAN SET "I got an offer to play the Royal Albert Hall in London on Bonfire Night, Guy Fawkes Night... and I was like 'well if I play there, I only want to do Dylan's songs'. And that was just a no-brainer of which songs I would do. I felt pretty alone when I was young — when he was running around being a rockstar and stuff. I wasn't a rockstar, but just knowing that someone was kind of scuzzy, and writing his own shit and saying what he wanted to say and doing his own thing, that was that peer thing he gave people. He narrated and was able to articulate people's points of view during a time of mass confusion and that confusion is the thread of our social constructs." ON HEARING THE SET FOR THE FIRST TIME "It was the film, so it might have been [in] 91 — it was the film Don't Look Back... I just felt transported to this place that reminded me of just floating and thoughts and poetry and the absurd." ON THE TEAM SHE PULLED TOGETHER FOR THE SHOW "We had a rehearsal and I tried to figure out who would be best. Because it's really specific, the style of playing — the heartbeat of that is Bob's style — and on top of that, The Band and that movement of playing. Because I could say that it's a style but there was a certain feeling, I think, that was happening at the time. I asked my friend Henry Munson, he's playing with me. He's in Arsun's band, he has his own bands, too. But he was, no-brainer, going to be the Bob guitar. I had never heard the drummer play before or seen him play or met him, but I said 'well, tell me what kind of band he's in before I go jam with him' and [my friend] said 'oh, he's in a Grateful Dead cover band'. And I said 'okay perfect, he sounds great'. " ONE DEBUTING THE SET AT ROYAL ALBERT HALL "Oh my god. So, for me, I'm secondary to the nature of what's happening when I'm doing it — I feel secondary. My major concern is for the song itself. It's not psychological, it's like I have to do it justice. I don't know. I'm secondary, my physical being is secondary but the song is always the point of me doing what I'm doing. And, I can be very hard on myself but it's the only way that I can be. In the back of my mind, you know, my consciousness, my awake mind was like 'oh yeah, I'm fucking terrified'. I've never been inside that place. I used to walk around it. I used to stay at the Hotel Columbia across the park from there, you know, the rock 'n' roll hotel or whatever. And I'd always walk around that place. I'd never been inside, and to be able to play there, it was some kind of a magic gift or something. That's how it felt. It means something individually to me to do those songs in that venue 'cause of how much I loved Bob growing up." ON THURSTON MOORE'S REACTION TO THE LONDON SET "One thing was that, at the end, there were a bunch of friends there and Thurston Moore was in town and he said — he's gonna kill me — but he said 'Mr Tambourine Man' made him cry. Isn't that sweet?" ON THE MAGIC OF COVERING OTHER ARTISTS' WORK "I knew those songs already, as a little kid, so it was like — I don't want to say second nature because, as someone who's loved all kinds of music my whole life and different things besides music, it wasn't second nature to me — it was just familiar and just easy, because it was like being a kid and singing along. If I play Michael Jackson's song or something, play me the Thriller record, I'm going to sing backup on the whole fucking record with my own harmonies, because I've been singing that shit forever. And different singers bring different shade or colour, or smell or taste, to the same old song. And that's what speaks to a new generation or a new group of people, just different emulations of one song." ON HER CONNECTION TO THE SYDNEY OPERA HOUSE "I did a record of mine called Moon Pix. I think it was the 25th anniversary. [Editor's note: it was the 20th.] I did another Vivid fest, actually... I have the poster for all two of them. And I hope to get the poster for the third. The Moon Pix thing was really moving because I was alive, you know. I wasn't dead. I never thought I'd live this much and I was there and it was great and it was beautiful. I was with Mick [Turner, from Dirty Three] and Jim [White, also from Dirty Three] and we were, all three, alive. And it was beautiful, and it was real, and it was really nice." ON WHAT'S NEXT FOR CAT POWER "I'm going right back into the studio and doing my new record. There's a song called 'Brave Liar', I think it's the good one. Another home recording." Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert is coming to the Sydney Opera House for Vivid Live on Wednesday, May 31. Head to Sydney Opera House website for tickets and further details.
Most families have road-trip stories and vacation tales embedded not only in their memories, but in their lore. Cherished holiday moments, whether joyous, chaotic or everything in-between, help cement the picture of who a brood is beyond the bonds of blood. So too does recalling those getaways in frequently wheeled-out anecdotes. This is all true for the Hammar family, which spent every summer during now-journalist, TV presenter and writer Filip's childhood heading from Sweden to France. With patriarch Lars behind the wheel, they'd venture for a stint of fun and sun — plus Lars whipping up ratatouille in the kitchen — at Beaulieu-sur-Mar in the French Riviera. Plenty of families talk about recapturing that magic years later. Some make the same pilgrimage again. For Filip, taking Lars back to the spot between Nice and Monaco, driving there in the same type of orange Renault 4, staying in the apartment they always did, and re-orchestrating some of treasured incidents and instances, wasn't just about nostalgia, however. That's an undeniable aspect of the trip captured in documentary The Last Journey, but so is rekindling the now-octogenarian Lars' lust for life — which was flagging after retiring from his beloved job as a teacher after 40 years and biding most of his time in an armchair at home, with his energy, physical and emotional alike, waning. Co-directed with Fredrik Wikingsson, who Filip has collaborated with professionally for a quarter of a century, the film that chronicles the Hammars' new south-of-France jaunt is now Sweden's highest-grossing doco in history. "We didn't expect this," Filip tells Concrete Playground about the reaction to the movie, which premiered in March 2024 in Swedish cinemas, was selected as the Scandinavian country's submission for the 2025 Oscars' Best International Feature category, and opens in Australia on Thursday, February 27, 2025 and in New Zealand on Thursday, March 6, 2025. Included in that sentiment: the response to the film as it has played well beyond Filip, Lars and Fredrik's homeland. "This was just a small, small project that we thought would be very domestic in a way," Filip continues. "Yeah, this is incredible for us," adds Fredrik. With Fredrik also travelling to Beaulieu-sur-Mar with Filip and his father, this is a deeply personal picture. A son trying to help his dad reclaim his zest for living was always going to be — even if the travelling party hadn't had to navigate setbacks such as Lars' hotel-room fall, which results in a broken bone, a hospital stay and almost calling the whole thing off. But as specific to the Hammars as the whole endeavour is, as filled with recreated moments for Lars and Filip, and as layered with minutiae from their family's experiences, The Last Journey also achieves the holy grail of personal filmmaking: ensuring that such an individual quest is always movingly universal. Again, road trips and fondly remembered holidays, tales about them, nostalgia and wanting to recapture family glory days are familiar to almost everyone; however, The Last Journey resonates well beyond the obvious, and long past the broad strokes. While they mightn't have when they were starting work on the movie, Filip and Fredrik — as they're known in Sweden, including via TV shows such as Sunday Party with Filip and Fredrik and Breaking News with Filip and Fredrik — understand this as filmmakers. Their documentary charts their French trip, plus Filip's journey to accept his dad's ageing and his grappling with mortality, through Filip's eyes, but its guiding forces now know that their viewers will see themselves in every Hammar family-centric detail. [caption id="attachment_991498" align="alignnone" width="1920"] Margareta Bloom Sandebäck[/caption] There's a moment in the film in France, in the apartment that he visited yearly when he was a boy, where Filip comments that being there now feels like being in a museum — and that the memories of his dad from past holidays are everywhere you look. There's so much in that statement about the way that we adore and look back on memories and experiences with our loved ones, as there is in the film. Indeed, amid The Last Journey's efforts to recreate key memories for Lars, and its commitment to not shying away from tough moments, Filip's words and the sensation they describe — a feeling that viewers will be able to recognise instantly in their own lives — perfectly sums up the entire documentary. That's an immense achievement for a movie that its directors were "very nervous about this being a very personal, small story that maybe nobody would give a shit" about, as Fredrik advises — even if they did come to realise that for audiences, "when you watch the film, you probably sit and think about the stuff you did with your parents when you grew up and the places you stayed at," Filip notes. Digging into the reaction to the doco, exploring why it's so relatable, unpacking that museum-like sensation, stepping through Lars' seemingly reluctance at various stages, examining why it was so crucial to include difficult moments, uncovering what Filip learned along the way: that's all a part of our chat with Filip and Fredrik as well. On Filip and Fredrik's Journey with the Film So Far, Including Notching Up the Highest-Grossing Swedish Documentary in History Fredrik: "First and foremost, we were very nervous about this being a very personal, small story that maybe nobody would give a shit, because it was just like maybe people will think 'good for you, good for your dad, you made a trip, why should we care?'. And especially abroad, that's even crazier. But the reactions from so many people, we got emails and text messages and stuff of people having seen the film and made their own versions of this journey. Like going to Italy with their 97-year-old grandfather, having one last beer at his favourite restaurant, or a smaller, more reasonable version — 'I just went to a museum with my mother' — and that whole almost-movement has been incredibly rewarding." Filip: "I think that when you start out, when we had this idea — this started out as just me and my dad going on a trip without cameras, when me and Fredrik started talking, 'maybe we should document this somehow'. And we decided to do that. I'm not sure it's a good idea if you start thinking about 'will this resonate?'. Of course you ask yourself those questions, like 'what's the story here?', but I don't think we understood how well it would resonate with people. Because this was my sort of issue — I felt like 'this is me, this is my dad, I want to reverse time, I want him to be the guy he used to be'. I think we underestimated how common that is in a way, how people could truly relate to this. And first off, we discovered that 'hey, they can relate to this in Sweden' — and then we started slowly to screen it outside of Sweden, and then you realise that 'hey, this is a very universal thing'. I mean, it's not that we're stupid. We knew that some people would relate. But I think it's really common now where you don't want your parents to get old, because it also makes you aware of your own mortality. And you also love your parents. So it's a very universal story, I think." On the Movie's Museum Comment, How It Sums Up the Film and How We All See Our Memories in Spaces That Are Important to Us Filip: "Thank you, first of all — that was just something I improvised. It just came." Fredrik: "Yeah, yeah." Filip: "I think people could relate to that as well. I remember, just a while ago, I went down to an apartment, my grandad's apartment — that's not in France, that's in Sweden — and I opened the door and immediately the smell was the same, and I immediately see my granddad was sitting there in his oversized bathrobe in the mornings, whatever. So there are several museums, because you associate places with certain things and memories. And I think that for everyone, like Fredrik talks about — I mean, in the beginning of the film, I talked about that last bend. We drive down to France and my dad always said 'kids, this is the last band. Then we arrive in our paradise'. But Fredrik had his own paradise. You probably had your own paradise. And those are museums, I guess, for all of us. So that's also one of the reason I think you can relate, because when you watch the film, you probably sit and think about the stuff you did with your parents when you grew up and the places you stayed at." On the Quest to Help Lars Recapture His Lust for Life — Even with His Seeming Reluctance About the Journey at Times Fredrik: "I've known Filip since the mid-90s and I've known Lars for as long. And he knows me well, and we love each other. We had a very, very small crew — and I think there is a part of him being a teacher for 40 years, a very beloved teacher. And he was he was beloved because he was also a performer. He was one of those like Robin Williams in Dead Poets Society-type teachers. So I think in a way, I think the camera for him was like a return to performing again." Filip: "That's true. You never said that before." Fredrik: "So even though it could be strange to be on-camera for a person who's not used to it, he was such a natural, if you want to call it that. Also, I think the camera made Lars listen better, because he has all kinds of diagnoses, so he is not the greatest of listeners. But everything, because of the camera, because we filmed everything, the tempo was really slow, and I think he just loved being seen and heard because he hadn't been that for a while sitting at home." Filip: "Some people perceive it as him being reluctant, and that's true at times, but also everything, I try to with my mum, I want her to greenlight everything first. She really approved of this idea. She felt he has to do this. She's there with him every day, and if you're depressed, like my dad is, you rather say 'no' than 'yes' — because you are worried, that's just part of it. We wouldn't, of course, have pushed him if he said 'no, no, no, no, no'. We wouldn't have done it. Or if a doctor would say 'this is not possible'. But I know my dad good enough, my mum knows her husband good enough, to understand that, well, you need to convince him — and sometimes you just need to tell him 'Lars, this is what you've got to do', because we knew that he would enjoy this. There were times when he's worried, of course, because he's lost a lot of self-confidence maybe. But he also enjoyed it. Even Fredrik knows this, because he'd seen my dad throughout the years. You can see when he suddenly tells the story about the parrot, when he starts remembering stuff that happened during the heydays of his life on the French Riviera, he smiles. He loves this. He forgets that he's depressed." On the Importance of Recreating Pivotal Moments From Lars and Filip's Family Holidays — and Managing to Pull Them Off Fredrik: "I think this trip could have been only sunsets and beautiful dinners, and having a good lunch with some great French food, but for us that would not do justice to who Filip's dad is. He is original, and the way he looks at France is not like the typical Eat, Pray, Love bullshit, which is all like the good food and stuff." Filip: "Fredrik sometimes calls this film 'an Eat, Pray, Love for smart people'." Fredrik: "Occasionally. But we wanted this to be a fun trip for him, and we wanted it to be like a reverse bucket list, if you will. Instead of doing things he never did before, let's make him — and for god's sake also let Filip, because he wanted this as well — experience the greatest moments of their lives together, and maybe that could reignite his zest for life. It didn't really work out that way, but I think it made the movie better. And also I think that it made the journey more memorable for him." Filip: "Instead of having him experience new things, like 'oh, my dad wants to swim with dolphins' — for some reason that's always on top of a lot of people's lists. It's hanging in there for decades. It's still there — for him, I think we knew that it's better. It's like you get a ticket to your own museum. Let's do this. And I think that was the key to why it felt, for us, relevant to make this film. And also, this is a film about a good human being — but like Fredrik said, then if it could be only like sunset sand great talks, what's good? There's an edge to this film as well that we're both proud of, and I think it's a funny film, and I think those moments we want him to re-experience are obviously not your average moments. It's like having him retell a pretty shitty story about Harry Belafonte, but he loves that story, and it was part of our summers when he tells this story about Harry Belafonte. And I think that's important for the film. Otherwise film could have become quite ... " Fredrik: "Predictable, I guess." Filip: "Yeah, I guess — and bland, like nothing. There is an oddness to it. But still a relatability. Because you probably have that story in your family when your dad is about to — and 'okay, here we go again, he's going to tell this story'. So we all have our Harry Belafonte stories in our families." On Knowing How Crucial It Was to Share the Tough Turns Along the Film's Journey Fredrik: "You never plan for those. When Lars claims, Filip's dad claims, that he makes the best ratatouille in Europe — and every summer, he made that once every summer, and that was the highlight of his summer, spending hours in the kitchen — so of course we wanted that to happen again. And when you plan that as a co-traveller and also filmmakers, you have an idea, 'this is going to be a beautiful scene, one last ratatouille'. And then when you realise quickly that 'oh my god, he can't even cut through the vegetables anymore because he's too frail', your first instinct is panic, to feel like 'oh whoa, this is not what we planned'. But after a while, if you embrace the truth of the moment, which is 'okay, this is a different Lars now, and maybe this means something for this whole experience' — then, if you include that in the film, which we of course did, it becomes more true, and I think even more relatable. Filip: "This film plays a bit, I think, like a feature. It's a doc, but it could just as well almost been a film based on some book or a script or whatever. But what we love is, talking about whatever plot points, that scene, we didn't see it coming. It was just like 'hey, have dinner'. But we realised that, wow, me being desperate — I can't, I don't remember this hardly — how desperate I am trying to find a sharper knife because I really want my dad to be able to cut through that eggplant. That's a very surprising plot point, but that is probably the scene where I give up, or where I come to terms with my dad's age. 'Hey, he's not going to be the same again'. It's hard to write that. That's why I love making documentaries. It's a scene that would have been hard to come up with if you just fantasise. On What Filip Learned on His Trip with His Dad and Fredrik — and From Making a Documentary About It Filip: "It sounds like it's a film about my dad, like his last journey, but I think the person that makes the biggest journey is definitely me. Because I think I really come to terms, or I finally just come to terms, with 'okay, my dad is not going to be who he once was. This is who he is now. But please, Filip, enjoy this'." Fredrik: "Embrace it." Filip: "And embrace it. This chapter in his life and in our lives together also has a silver lining. So I think that has really, truly changed me. And I think maybe people can relate to that as well. Or if you haven't really come to terms with that, maybe people will. And now me and my dad's relationship is better. Before this, every time I called him, I really pushed him. I told him 'come on, stop being depressed, show some fighting spirit' or whatever. Now I feel like 'okay, it's fine. Let's complain, if you want to do that. Then we can talk about other things'. Because I think he felt the pressure before to sort of perform to make me happy, by saying 'no, I'm really trying, Filip'. So that is good. There's a moment in the film where he says 'I hope you're not disappointed with me', and that sort of reveals a lot how, I guess, a lot of parents feel — how they feel like 'oh, I want to be someone else because my kids want me to be who I once was'. I think that's sad. When I think about that line, I think that changed me in a way. 'Of course, I'm not disappointed in you, dad. You can be whoever you want.'" The Last Journey opens in Australian cinemas on Thursday, February 27, 2025 and in New Zealand on Thursday, March 6, 2025. Filip Hammar and Fredrik Wikingsson are in Australia for preview screening with Q&As on Sunday, 16 February at Sydney's Hayden Orpheum Cremorne, and on Tuesday, February 18 at Cinema Nova and The Astor Theatre in Melbourne.
Dust off your petticoat and get your doublets out of the attic — because London's historic Globe Theatre is heading online. You can't currently visit the site itself, which was originally built by Shakespeare's playing company and housed his greatest works; however you can watch six of the Bard's plays performed on its stages thanks to Shakespeare's Globe On Screen. History buffs and Shakespeare enthusiasts alike now have the opportunity to soak in productions on the venue's YouTube channel, with a different pre-recorded performance made available every fortnight. And, checking out these acclaimed works won't cost you a cent, with the six plays streaming for free. https://www.youtube.com/watch?v=8TuR24xhtYg Until Sunday, April 19, ponder whether to be or not to be with a 2018 production of Hamlet. Then, between Monday, April 20–Sunday, May 3, revisit the star-cross'd romance of Romeo and Juliet, as performed in 2009. The fortnight spanning Monday, May 4–Sunday, May 17 will be all about a 2013 version of A Midsummer Night's Dream, with The Two Noble Kinsmen (from 2018; streaming from Monday, May 18–Sunday May 31), The Winter's Tale (from 2018; streaming from Monday, June 1–Sunday, June 14) and The Merry Wives of Windsor (from 2019; streaming from Monday, June 15–Sunday, June 28) all following. Top images: John Wildgoose / Shakespeare's Globe.
