The spot that was home to North Bondi Italian has to be one of Australia's most enticing restaurant venues: million-dollar views, proximity to the waves and a ready-made crowd of surfed-out, ravenous diners. Ever since Robert Marchetti and Maurice Terzini handed over the keys to Matt Moran and Peter Sullivan in late September, locals have had to be content with salivating from afar, wondering what culinary adventures the unstoppable team would take on next. Today they can finally find out for themselves. And the name pretty much says it all: North Bondi Fish. From here on in, beach-loving foodies will be able to cruise their last wave and, within minutes, be sitting in front of simple, freshly cooked seafood, accompanied by their choice(s) from a Matt Dunne-curated, 20-strong wine list. The emphasis is on quality produce, transformed into light, accessible, tasty meals and snacks, with fish cooked on an Inka Grill. Several Matt Moran favourites are on the list, including his very own fish fingers; grilled snapper with asparagus, pea shoots and avocado; prawn roll; sweet potato scallops; and yellow-fin tuna ceviche. Dessert? A selection of utterly decadent ice-cream sundaes has that covered. Non-winos can enjoy some tempting and very drinkable alternatives, including North Bondi Fish specials, the North Bondi Crush (Campari and fresh watermelon in a jar) and the North Bondi Colada (Havana Club, pineapple juice, passionfruit pulp, coconut syrup and fresh lime). The classic gin and tonic is given an array of treatments, and there’s also an ultimate summer tipple, in the way of the Aperol Spritz (Aperol, prosecco, soda and fresh orange). To suit the coastal location, and the salty, sandy realities of beachside wining and dining, the restaurant has donned a relaxed, casual interior, evocative of what you might find in Mediterranean climes. Communal wooden benches and tables are lit with playful dashes of colour that travel outwards to the verandahs. In the words of Matt Moran, "North Bondi Fish is for the locals. It's relaxed, it's fun and it's no fuss. It is the kind of place you head to for something good to eat anytime of the day, even while still in your thongs and boardies." North Bondi Fish is at 120 Ramsgate Avenue, North Bondi. It's open Tuesday to Sunday, from midday till late, with the full menu available all day. Bookings are available on (02) 9130 2155.
If you can't make it to London's dine-in-the-dark naked restaurant — or you got in at the tail-end of the 28,000-strong waitlist — you might be interested in an after-dark dinner of a different kind. For Vivid Sydney, Sydney Tower (aka the ever-present Westfield spire that looms over the city) will be dimming the lights for dinner with a ripper of a view. On Saturday, June 4, Sydney's tallest structure will be switching the overheads for candles for a one-off dinner in their STUDIO event space. With the lights down low, you'll be able to cop an eyeful of the all the ridiculously beautiful Vivid lights down below. But your sight won't be the only sense in total overload. 360 Bar and Dining's head chef Elton Inglis has designed a special five-course menu with matching wines to stimulate your taste, touch, smell and hearing. Not sure how that last one will be integrated, but we're pretty into the taste side of things. Dinner in the Dark is a one-night-only deal, and it will kick off after-dark at 7pm on Saturday, June 4. Tickets cost $199 and include five course with matched wines, a glass of sparkling and potentially the best (and least crowded) view of Vivid in Sydney.
Tao Lin is one of those writers who has been described — occasionally with a weary rolling of the eyes — as a "voice of his generation". He is a writer whose style is Facebook-honed, irony-rich and heavy with pop culture references, a kind of writing in constant flux between a Ritalin-fuelled mania and an OxyContin slur. He is the product of an internet-shaped psyche. And he is also very, very good. Sometimes I buy books because of their titles alone. That's how I first came across Tao Lin. A young American writer born to Taiwanese parents, Lin is the author of the novella Shoplifting from American Apparel, the short story collection Bed, poetry collections cognitive-behavioural therapy and you are a little bit happier than i am, and the novels Richard Yates and Eeeee Eee Eeee. He is maddeningly prolific, having also founded the literary press Muumuu House and co-founded the film company MDMAfilms, and his writing gets published in all the right places — Vice, The Believer, Thought Catalog, The New York Observer, Gawker. As a lead-in event to the National Young Writers' Festival (held in Newcastle from 3-6 October), Lin will be speaking to Wilfred Brandt at Alaska Projects about his novel Taipei, with a slideshow of his photos from Taiwan. Taipei was published earlier this year and represents, by all accounts, a great leap forward for Lin. Not simply a catalogue of the various existential crises of Brooklyn's hipster class, Taipei is Lin at his peak. Earlier this year in an interview with Lin on KCRW's Bookworm, Michael Silverblatt called Taipei, "The most moving depiction of the way we live now," describing the book as "unbearably moving". And if that doesn't inspire you to head out to King's Cross on a late-winter evening, then I'm not sure we're going to be friends.
Vivid is not something you should do on an empty stomach. If you're at could-eat stage before you embark on your citywide tour of Sydney's biggest light installation, then you're sure to surpass cranky-starving-sore feet stage by the time you're done. Luckily, the good folks at Westfield Sydney are staying open late Thursday to Saturday during the festival with a food court full of food and seats to let you rest your weary legs. So in between catching a gig at the Opera House, completing the Light Walk or partying with Björk, you can pop into the Pitt Street shopping centre for some dumplings at Din Tai Fung or New Shanghai, smash a bowl of ramen at Ippudo, snack on pork buns at Tim Ho Wan or grab a rice bowl to go from Rice Workshop. On levels five and six, Westfield Sydney will also have an enchanted forest light installation set up. Out in Pitt Street Mall, they'll also have a 3D sculpture in the shape of a sodium chloride crystal. Named True Life, the installation will be lit up with images of larvae and coral cells as seen under a lens in real time, giving you an insight into what true life consists of. From a practical standpoint, Westfield Sydney is also offering valet parking throughout the festival. Something to keep in mind when you're circling the city trying to find a park. You can access it via 135 King Street, Sydney.
The latest pop up venture from chef Jared Ingersoll and self-professed "wine pimp" Jason Hoy sounds like an excellent addition to the summer culinary scene. Bottle and Beast opened in late January and will be filling the bellies of Pyrmont until March 31, serving up a different beast each night along with a selection of Rieslings from around the world. Presenting food that is ethically sourced (think fresh, foraged, seasonal and sustainable), Ingersoll is roasting everything from chicken to goat to pig over coals and thinking up delicious sides to accompany them. Recently, he served up pork seasoned with fennel seeds, salt and lemon accompanied by onions in buttermilk jam. Jason Hoy serves as a kind of one-grape sommelier, with his aim being to "bring Riesling back to the masses". Prices are pretty reasonable. The prix fixe lunch menu is $35 and in the evenings $55 will get you the 'Feast of the Beast' menu of starters, the daily meat, sides and dessert. Check out the menus from the past couple of weeks at the pop up's Facebook page to get an idea of what you're in for. You can make a reservation by calling 0449 107 036. Opening Hours: Mon & Thurs 5.30pm – 11.30pm, Fri – Sat 11.30am – 3pm & 5.30pm – 11.30pm, Sun 10am – 5pm
It doesn't matter what the weather holds for Suzie Sakamoto: with her husband and son missing when Apple TV+'s Sunny begins, the series' titular term can't apply to her days. An American in Kyoto (Rashida Jones, Silo), she's filled with grief over the potential loss of her Japanese family, anxiously awaiting any news that her spouse Masa (Hidetoshi Nishijima, Drive My Car) and their boy Zen (debutant Fares Belkheir) might've survived a plane crash. She'd prefer to do nothing except sit at home in case word comes; however, that's not considered to be mourning in the right way according to custom and also isn't appeasing her mother-in-law (Judy Ongg, Kaseifu no Mitazono). When Suzie soon has a robot for company, an unexpected gift from Masa, dwelling in her sorrow doesn't appear to be what he'd want in his absence, either. In this ten-part series, which adapts Colin O'Sullivan's 2018 novel The Dark Manual for the small screen and starts streaming from Wednesday, July 10, 2024, the technology that's quickly immersed in Suzie's existence is a homebot. The artificial-intelligence domestic helpers are everywhere in this near-future vision of Japan, aiding their humans with chores, organising tasks and plenty more — everywhere other than the Sakamoto house with its firmly anti-robot perspective, that is. Amid asking why her husband has not only sent the eponymous Sunny her way, but also why it's customised specifically to her, questions unsurprisingly spring about his true line of work. Has Suzie been married to a secret roboticist, rather than someone who designs refrigerators? What link does his job have with his disappearance? How does someone cope in such an already-traumatic situation when the person that they're possibly grieving mightn't be who they've said they are? Often with a science fiction twist, Apple TV+ can't get enough of mysteries. Approaching five years since the platform launched in late 2019, that truth is as engrained as the service's fondness for big-name talent, including across Severance, The Big Door Prize, Hello Tomorrow!, Silo, Monarch: Legacy of Monsters, Constellation, Sugar and Dark Matter. Thankfully, there's no content-factory feel to this lineup of shows, or to the streamer's catalogue in general, which is one of the best on offer in the online fight for eyeballs. Sunny's closest equivalent hails from beyond the brand, bringing Charlie Brooker's Channel 4-started, now Netflix-made Black Mirror to mind, but even then it's far more interested in its characters than their relationship to technology. That said, that people and how they use tech remain the real enemy, not gadgets and advancements themselves, hums at the core of both series. Indeed, Sunny proposes a radical path forward for Suzie, especially at a time IRL when generative AI has been making its presence known, and rarely for the better. Creator, showrunner and executive producer Katie Robbins (The Affair) takes her human protagonist down a route where the program's namesake, which matches a WALL-E vibe and emoji-leaning face with the cheerful voice of Barry, I Love That for You, Quarantine and Emma Approved's Joanna Sotomura, is perhaps the only thing that can be trusted. There's no shortage of other flesh-and-blood characters around Suzie, with some kindly and others patently nefarious. Bartender Mixxy (singer/songwriter Annie the Clumsy, Miss Osaka) falls into the first category. The platinum-blonde Hime (You, 9 Border), who seems to have a history with Masa, sits in the second camp. But with her world constantly being turned upside down and her usual confidante in Masa gone, technophobe Suzie might only be able to put her faith in the machine that's now ceaselessly by her side. A show such as Sunny, which is a comedy, drama, thriller and slice of dystopia all in one — alongside an odd-couple buddy pairing, plus a series with multiple puzzles, a stack of technology-driven and existential questions, and a probing of the human condition — needs two things beyond its compelling narrative. If viewers couldn't feel the confidence infused in this delicate mix of components, the show would crumble like circuitry haphazardly jammed together. If audiences couldn't sense the ambition to do far more than join dots as well, Sunny would similarly fail to compute. Not just thanks to its penchant for cliffhangers, this is a mystery with more always on the way, and one that adores teasing out its intricacies in a lived-in world that no other series can call home. That's assurance. That's initiative. Diving in is like strolling through Tokyo: there's always a new lane to mosey down, whether in the pursuit of solving the storyline or unpacking Suzie. The Dark Manual of O'Sullivan's moniker pops up as a hacker guide to customising homebots. Here, the plot also thickens. Still, as the yakuza feature, flashbacks tease out Suzie and Masa's meet-cute, the latter's time as a hikikomori — the portion of the Japanese population who choose to actively withdraw from society — is weaved in and surveillance is ever-present, Sunny never lets the avalanche of developments and threads that keep fuelling its tale become its sole or even main attraction. As penned by a seven-strong writing team led by Robbins with backgrounds on Bunheads, The Staircase, Apples Never Fall, Hit-Monkey, Tiny Beautiful Things and more, this is gripping and addictive viewing. It's a show to sleuth along with. Its retrofuturistic look and Saul Bass-esque opening credits are worth returning for again and again. Nonetheless, Sunny wouldn't connect if didn't value the personal and the human angle of being cast adrift from everything that you relied upon with no certainty about where to turn. Aided by being played by Jones, who so expertly married optimism and cynicism as Parks and Recreation's Ann Perkins — as she had to as the midpoint between Leslie Knope and Chris Traeger versus Ron Swanson and April Ludgate — Suzie is a character of unflagging determination crashing against mourning and anguish. She yearns with hope, as everyone does, for a lost loved one to re-emerge. She couches everything, including that longing, in sarcasm. That she journeyed to Japan to escape past woes, her lack of friends beyond her family and her alienation by refusing to learn the language all help construct a complex portrait. Also assisting: even simple moments, like swigging wine on the toilet. It isn't a secret that bounding through chaos is more relatable when the external tangle that greets a character reflects their inner jumble, as Jones anchors at the heart of her performance. The Boston Public, The Office, Celeste & Jesse Forever, Angie Tribeca and On the Rocks star in never-better territory, in fact, as she must've spotted the potential for; she's also among Sunny's executive producers. New TV arrivals of mid-2024 are now two for two when robot companions are involved. Fantasmas is the other. They're also two for two in world-building and production design that plunges viewers into screen spaces that resemble nothing else, which is no small feat for Sunny with Japan as its setting. Another commonality: not merely making audiences grateful that the non-stop flow of new streaming series can keep delivering programs this unique, but sparking a hunger for more to come. That's the sunny side of more TV begetting more TV and then more still, because a heaving crowd is always made up of individuals. Few new streaming arrivals of late are as distinctive as Fantasmas and Sunny, though. Check out the trailer for Sunny below: Sunny streams via Apple TV+ from Wednesday, July 10, 2024.
UPDATE: APRIL 21, 2020 — Wholegreen's CBD bakery is currently closed, but the original Waverley outpost is still open for takeaway and delivery. You can place an order for its gluten free bread, croissants, muffins and sausage rolls via the website. When you're used to having only one option on a menu, it's easy to be flawed with indecision when you actually have to make a choice. So be patient if the queue sometimes stalls at Wholegreen Bakery — everything here is 100 percent gluten-free, and the options for coeliac and gluten intolerant Sydneysiders are delightfully extensive. Owner Cherie Lyden got into gluten-free when her daughter was diagnosed as coeliac and needed to eliminate gluten from her diet. She quickly found she was "disappointed with what was available on the market" and, in an effort to lift the — sometime dismal — standards of gluten-free products, she started doing what no one else was doing at the time: making actually good gluten-free bread. She's operated the wholesale side of the business for five years now, and the Waverley cafe for three. The bakery is particularly exciting for coeliacs because the kitchen is completely gluten-free, so nothing at Wholegreen has the chance to be cross contaminated. Coeliacs have a sensitive reaction to even a small trace of gluten, so much so, that baking 'gluten-free' loaves in the same oven as regular bread (or even putting them in the same toaster) essentially strips it of its gluten-free credentials. To that end, Lyden says that Wholegreen "provides a space where people can eat with confidence". It took Lyden and her team of bakers around six months of testing and tweaking to get the sourdough recipe right — that is, crusty on the outside, chewy on the inside, and without the use of preservatives and gums. At the shop, she sells straight-up loaves alongside seeded, fruit and olive ones for $8.50 each, as well as baguettes and rolls. Everything is baked in-house each morning, meaning that baguettes on the front counter (filled with ham, cheese and salad) can be eaten fresh — a rare occurrence in gluten-free sandwich eating. And, yes, there are pastries. Pastries! But only on Fridays and Saturdays. On those days, the kitchen team rolls out mounds of flaky, glossy croissants (plain and almond), pain au chocolats, pain aux raisins, fruit danishes and caramel twists. They're denser and more cakey than regular croissants — and they're usually all sold out by mid-morning. Other, week-round treats, may include muffins, lemon tarts, chocolate eclairs and fruit-filled brioche rolls. Savoury pastries abound, too, with sausage rolls, chicken and mushroom pies, and spinach and feta pasties served hot. There are a few spots in the cafe and some tables out the front to sit down with your gluten-free goods and a coffee. It's largely used as a takeaway spot, and you'll see lots of people taking a haul home. We recommend driving around the corner to Clovelly to eat by the beach. If, despite your best efforts, you can't get to Waverley on a Saturday, you can find Wholegreen (and its croissants) at Carriageworks Farmers Market and the North Sydney Produce Market each week. Plus, you can also place an order through local food delivery platform Food by Us. Images: Kitti Gould. Updated: January 15, 2020.
Clear your calendar - Darlo After Dark is taking over Darlinghurst from June 19-29, serving up winter nights packed with live music, street performances, solstice rituals and all the good things that happen after dark. Curated by the team at Arts Matter, this ten-day festival spans ten venues between the Coke Sign and Green Park, encompassing Victoria, Burton and Liverpool Streets, as well as Darlinghurst Road. The neighbourhood will transform into a kind of cultural crawl - part pop-up, part performance, part party. This one's for the night owls, the curious, and the creatively inclined. Expect a sultry solstice performance from Malaika Mflame at The Darbury (yes, there'll be mulled wine). Over at Gino's Trattoria, you can catch live opera while tucking into Southern Italian eats. And if you wander into Ouzo, you'll find James Domeyko on sax, soundtracking your night with ambient jazz while you snack on Greek small plates. There's also limited-edition solstice ice cream from Messina, sake tastings at Nomidokoro Indigo, and tarot readings tucked away inside Dust Antiques. Need something hands-on? Head to Rainbow Studios for lantern-making workshops or craft your own whimsical flower crown at the twilight markets. Cap it off with an intimate screening of The Witches of Eastwick at Govindas Cinema - a dark fantasy comedy that hits that perfect sweet spot between witchy and wicked. This isn't your average winter festival — it's layered, hyper-local and full of surprises. Start early, stay late, or just wander. The fun is in the in-between. For more information, visit DarloVillage and be sure to follow us on socials @darlovillagesydney. Images: Supplied
Kickass fish and chips will no longer be out of reach for inner city dwellers. North Bondi's celebrated fish and chippery, Bondi's Best, is set to join the Barangaroo lineup. One of North Bondi's local gems, a beloved alternative to the half-hearted seafood takeaway joints of Campbell Parade, Bondi's Best is close to locking in a contract with the CBD waterfront development, according to Good Food. BB will join already confirmed Barangaresident Matt Moran, amongst the epic food and drink precinct planned for the area. Barangaroo marks the third chapter for Bondi's Best, after owner-chef Joel Best opened a second eatery on Bondi foodie strip Hall Street. Snuggled beside Maurice Terzini's Da Orazio Pizza + Porchetta, A Tavola and China Diner, Bondi's Best opened its TomMarkHenry-designed doors just one month ago to lazy, lazy cheers from the South Bondi community. While the Barangaroo/BB residency has not been signed on the dotted line, we can expect confirmation pretty soon. We're predicting the menu will stem from the existing Bondi's Best slam dunks — nothing about beer battered hoki and chips with tartare needs improving. Via Good Food.
Everybody's favourite spiced rum, Sailor Jerry, and the music legends at Yours and Owls are teaming up this August and September for Jerry Can & A Van—the no-rules, all-heart live music tour—to celebrate the return of WAAX and their new single "Ur A Rat". After a three-year hiatus, WAAX lead vocalist, Maz De Vita, will be making a fierce comeback, taking their raw and energetic new music to the masses on this short but heady string of East Coast gigs. As a long-time supporter of live Aussie music and tattoo culture, Sailor Jerry will unite the two by rolling out celebrity tattoo artist Lauren Winzer exclusively for the Sydney event to give WAAX fans the chance to wear the tour on their sleeve. "This tour is about reclaiming WAAX in the most raw, honest way possible, and teaming up with Lauren felt like the perfect fit — we're both driven by creativity, connection, and strong female energy," Maz De Vita explained. Kicking off in WAAX's hometown of Brisbane at The Brightside on Friday, August 29, the Jerry Can & A Van tour will make its way down to the University of Canberra (Friday, September 5) and UTS Underground in Sydney (Saturday, September 6), before finishing up at Howler in Melbourne (Thursday, September 11) and Pelly Bar in Frankston (Friday, September 12). Expect an unapologetic night of new WAAX energy, flash tattoos, and signature Sailor Jerry serves. Tickets for Jerry Can & A Van featuring WAAX and Lauren Winzer are available here. For more information and tour updates, visit the Sailor Jerry Website. By Elise Cullen
So far in December 2020, Australia has experienced heat, snow and a patch of wet weather that has caused a Byron Bay beach to erode. That's an erratic set of conditions — so if you're wondering what Friday, December 25 has in store, that's understandable. Is a sweltering hot Christmas on the cards, or is it literally set to rain on everyone's festive parade? According to the Bureau of Meteorology, most of the country's capital cities will fall in the middle of those extremes. On the east coast, it'll be warm, but not sweltering, and either cloudy or mostly sunny. If you're still making barbecuing, beach-going and festive-feasting plans, take note. In Sydney, a maximum of 28 degrees is currently forecast, with a medium (30–40 percent) chance of showers and rain possible across the partly cloudy day. It'll also be a little windy, with northeasterly gusts getting up to 15–25 kilometres per hour. Conditions are expected to be mostly the same on Wednesday, December 23 and Thursday, December 24, too. For Melburnians, prepare for a mild Christmas — with the mercury only set to reach 21 degrees maximum (and with a minimum of 12 degrees predicted). Like Sydney, the Victorian capital will be partly cloudy and experience winds up to 15–25 kilometres per hour. There's only a 20-percent chance of rain or a shower, though. In Brisbane, it'll also be cooler than usual. Yes, we know that 25 degrees isn't exactly cold, but it's much, much milder than usual Brissie summer weather. It's also cooler than the temps leading up to December 25, which'll range from 27–33 across the week prior. The temperature isn't forecast to fluctuate much on Christmas day, with a minimum of 21 degrees expected. Also, it'll be cloudy, with light winds and a 50-percent likelihood of showers interrupting your game of backyard cricket. https://twitter.com/BOM_au/status/1339866903884513282 Over in the west, Perth will be hot, getting up to 31 degrees — although, given that temps of 38 and 39 degrees are forecast between Tuesday, December 22–Thursday, December 24, it's likely to feel like a cooler reprieve. There is little expected chance of rain, at just five percent, but winds up to 15–20 kilometres per hour are possible on what's predicted to be a mostly sunny day. Folks in Adelaide can expect sun, warmth and wind. It'll be mostly sunny, like Perth, while the mercury will hit 29 degrees and gusts will get up to 25–35 kilometres per hour. Meanwhile, Darwin looks set to be the hottest state capital for Christmas, getting to 32 degrees with showers, light winds and a possible thunderstorm — and Hobart will be the coldest, at just 16 degrees, with a 40-percent chance of morning rain and winds of up to 15–20 kilometres per hour. And in Canberra, it's expected to hit 28, with a medium (30–40 percent) chance of showers and rain possible and gusts getting up to 15–25 kilometres per hour. Of course, while these are BOM's forecasts just under a week out from December 25, conditions may change — so keep an eye on the Bureau's website for the most up-to-date information. For further details about the Bureau of Meteorology's Christmas forecasts, head to the BOM website.
Finally, here's a place to direct your writing skills, firsthand research on Sydney's small bar scene and excessive feelpinions on that latest play or movie. Concrete Playground is looking for interns. You'll be able to put your knowledge to use while learning the real ins and outs of producing arts, culture, food and lifestyle editorial in a fun and fast-paced online environment. Interns will work within our Redfern office one day per week for a set period of time. Working with the editorial team, you will be exposed to tasks such as writing, subediting, content production, photography and using social media. To apply for the role, you will need to demonstrate excellent writing skills as well as a love of and engagement with Sydney's cultural life. Expressions of interest should be addressed to editor Rima Sabina Aouf at contribute@concreteplayground.com.au. Include a short bio, CV and 2-3 samples of your written work. Image from Girls. Does not resemble real life, where you won't be kept in limbo for two years but will probably go on to a life of freelancing for us and radness.
If Justin Gignac's success in selling garbage as art is anything to go by, doing something (and doing it well) because others thought you couldn't, actually works. Gignac's New York City Garbage is just that, except packaged nicely in transparent cubes and sold as art. Selling between $50 online and $100 at selected stores in the U.S, the handpicked NYC Garbage has owners in 29 countries, according to Gignac's website. The New York City-based artist and entrepreneur has been selling garbage since 2001 and has said he wanted to prove packaging could sell anything. Gignac has also sold commemorative editions of NYC Garbage cubes including St. Patrick's Day in Ireland and President Obama's inauguration. It sounds ridiculous but you’ve got to love a guy who can make a profit out of garbage at a time where newspaper sales are declining. Image: nycgarbage.com
When the ABC announced that Spicks and Specks would return in 2024 after sitting 2023 out, it was big news, as anything to do with the hit Australian take on the UK's Never Mind the Buzzcocks always is. IRL, here's something just as exciting: the Brisbane-born and -based Not On Your Rider is also back for this year, although it didn't take a year off. On the agenda: playing a music quiz show filled with well-known faces live — and yes, the audience gets to play, too, including in Sydney in May. You'll be peering at a stage, rather than a screen. You'll be answering questions, of course. And if it has you thinking about pub trivia nights, they don't include The Creases' Aimon Clark — who is also behind Isolation Trivia — hosting, or Patience Hodgson from The Grates and Jeremy Neale from Velociraptor captaining the two teams, let alone a heap of entertainment-industry guests. At past events, guests have included Murray Cook from The Wiggles, Broden Kelly and Mark Samual Bonanno from Aunty Donna, Boy Swallows Universe author Trent Dalton, Agro, Cal Wilson, Ben Lee, Steven Bradbury, Kate Miller-Heidke, Robert Irwin, Ranger Stacey, Craig Lowndes and Tim Rogers. Among the other musicians who've featured, Powderfinger, Dune Rats, DZ Deathrays, Ruby Fields, Ball Park Music, The Jungle Giants and The Go-Betweens have all had members take to the stage. Sydneysiders can join in on one 2024 date: Sunday, May 5 at Factory Theatre. The event is coming to town for the Sydney Comedy Festival. Here's how it works: Not On Your Rider takes something that everyone loves — showing off their music trivia knowledge — and dials it up a few notches. While the two on-stage teams are always filled with musos, comedians, drag queens and other guests, anyone can buy a ticket, sit at a table and answer questions along with them. The quiz element is accompanied by chats about the music industry, plus other mini games involving attendees. Images: Dave Kan / Bianca Holderness.
It has been nearly two years since streaming platform Shudder — and AMC Networks, the American company behind it — told scary movie fans in Australian and New Zealand exactly what they wanted to hear. Back in October 2018, it was announced that the dedicated horror service would make its way Down Under; however, as anyone who likes unsettling flicks and spine-tingling TV shows will have noticed, that hasn't actually occurred — until now. In a case of better late than never, Shudder has finally launched to Aussie and New Zealand viewers — joining an ever-growing streaming landscape, but also providing a very specific lineup. Forget anything that doesn't cause goosebumps, chills, thrills or a generally unnerving, suspenseful feeling, as it doesn't belong here. Instead, you can watch your way through new and classic horror movies, as well as horror-focused television programs. Yes, Shudder takes its chosen genre very seriously. Film-wise, that includes retro favourites such as Hellraiser, several Halloween movies and Maniac Cop; newer releases like It Follows, New Zealand horror-comedy Housebound and creative Japanese zombie film One Cut of the Dead; and fresh platform exclusives such as The Beach House and Host. On the TV front, expect to binge your way through the TV adaptation of The Dead Lands, a new anthology series based on 1982 film Creepshow and a self-explanatory five-part documentary series called Cursed Films. https://www.youtube.com/watch?v=X4LZBEVlSXA If you already have a Netflix, Disney+ and/or Apple TV+ subscription and you're wondering whether you really need to add another, rest assured that Shudder's selection continues — so whether you want to revisit Swedish great Let the Right One In, check out Aussie slasher The Furies, or hear from George Lucas, Christopher Nolan and Ridley Scott in James Cameron's Story of Science Fiction, you'll be covered. Shudder's curated collections also handily compile films on certain topics or themes, should you really love monster movies, tales of possession or haunted house flicks, or want to watch more horror features by female filmmakers. In terms of price, Shudder is offering a seven-day free trial for new subscribers. After that, you'll pay either $6.99 if you opt for a month-by-month account or $69.99 if you sign up for a year. For more information about Shudder — and to sign up — visit the streaming platform's website.
How many times can James Cameron break his own record? How many shades of blue can shimmer across the screen in one movie? Will Avatar's 13-years-later first sequel also dazzle the Oscars, as its predecessor did? Will Avatar: The Way of Water influence everything that comes after it, special effects-wise, also as the initial flick did, too? They're just some of the questions that the mere existence of this Avatar follow-up sparks. Here's another: will you get Eiffel 65's 1998 hit 'Blue (Da Ba Dee)' stuck in your head, even though it surely isn't in the film? Audiences will start finding out the answers to these queries in mid-December, when Avatar: The Way of Water hits cinemas worldwide — and Cameron has dropped a full trailer for the movie in the interim. This is Avatar: The Way of Water's second sneak peek, following an earlier look back in May — but this is one of those films that you might only truly believe exists once you're sat in a theatre watching it, because it has been in the works for that long. If you saw Cameron's initial entry in this sci-fi franchise back in 2009, you'll undoubtedly be buying a ticket. Indeed, given that the original Avatar quickly became the highest-grossing picture of all time — a record this one will try to break — it's highly likely that you did and will. Amid blue-hued CGI-filled waters and skies, and surrounded by the franchise's blue-toned Na'vi people, Avatar: The Way of Water steps back into the story of the Sully family, aka Jake (Sam Worthington, Fires), Neytiri (Zoe Saldana, The Adam Project) and their children, on the habitable moon Pandora. This time around, staying safe and alive remains a focus, as trouble keeps finding the Sullys, battles mount and striving to keep together also requires their focus. Also set to feature: Sigourney Weaver (Ghostbusters: Afterlife), Stephen Lang (Don't Breathe 2), Cliff Curtis (Reminiscence), Joel David Moore (Bones), CCH Pounder (Godzilla: King of the Monsters), Edie Falco (Nurse Jackie), Kate Winslet (Mare of Easttown) and Flight of the Conchords' Jemaine Clement. If the two sneak peeks so far have you excited about re-entering Avatar's blue-heavy world, get ready for more where that came from. A third movie is due in 2024, a fourth in 2026 and a fifth in 2028. Check out the latest Avatar: The Way of Water trailer below: Avatar: The Way of Water releases in cinemas Down Under on December 15. Images: Photos courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.
Feeling a fraction frazzled? A bit bamboozled? A touch touchy? Every now and again, you've got to step out of the action and into some downtime. And here to give you a helping hand are the good folk at independent Australian company The Downtime Agenda. Started by entrepreneur Julie Haslam, The Downtime Agenda aims to help everyday folks actually take time for themselves — when was the last time you did? Really did? By enabling Aussies to maximise their valuable downtime and actively relaxing, Haslam intends to boost mindfulness and wellbeing with a range of deliverable products, gifts and services — "a place dedicated to the things we do when we're not doing things". To get you started on your high quality R&R quest, in partnership with TDA, we're giving away a whole lot of free time. The big prize up for grabs is a weekend camping experience for two people. Another great independent Australian startup, CampNow is a local service made for people who dream about camping, but never seem to find the time or the gear. To make it easy, the team turns up on your doorstep with everything you need — from air mattresses and pillows to head torches and first aid kits. So, you end up with a weekend of camping delivered, without the hassles of storage and cleaning. You can also ask CampNow to show you the way to secret camp spots. Two runners up will score $100 vouchers to spend at The Downtime Agenda. These can be used to enjoy one of TDA's relaxing experiences, including massages, meditation classes, yoga sessions, men's grooming, pizza-making master classes, stays in Thredbo and more. [competition]613765[/competition]
Travelling from Bengal to Iraq, to the Kimberley, Temporary Certainty explores the tensions between certainty and permanence and doubt and ephemerality through new works by Bangladesh-born Sarker Protick, and Kununarra artist Alana Hunt, and Kurdistan-born, Melbourne-based Rushdi Anwar. All three investigate interactions between identity, geography, political interventions and the passing of time. Protick, in his work-in-progress Exodus (2015–ongoing), takes us to the decaying buildings and overgrown grounds of East Bengal's abandoned feudal estates, which once belonged to rich, powerful Hindu jamindars (landlords). Also occupied with built environments are two works by Anwar. His video and sound installation Facing Living: The Past in the Present (2015) delves into Saddam Hussein's dictatorship over Iraq, while We have found in the ashes what we have lost in the fire (2018) is his response to visiting a church in Bashiqa, Mosul, which lies in territory disputed over by the Kurdistan Regional Government and Iraqi government. Meanwhile, Hunt's Faith in a pile of stones (2018), visits Lake Argyle, a freshwater reservoir 18 times the volume of Sydney Harbour, in Kununurra in the Kimberley. Built in 1971 for irrigation, the structure caused major changes to country belonging to Miriwoong, Gija and Malgnin people, including the drowning of places of significance. If you're willing to get up early on Saturday, September 22, you can join the gallery for a breakfast tour — you'll go for congee in Chinatown, followed by a guided tour of the exhibition. It costs $25 and you can book here. Image: Sarker Protick, Disintegration, from the series Exodus (2015—ongoing). Photographic installation, variable dimensions. Courtesy the artist.
Lightsabers, caped crusaders, fast cars and fairy tales — if you went to the cinema this year, we're betting that you saw at least one of the above. And, if you caught more than a couple of flicks, you probably roamed your eyes over creepy clowns, cheeky spies, immersive accounts of war and an acclaimed Aussie drama as well. From Star Wars, Wonder Woman, The Fate of the Furious and Beauty and the Beast, to It, Kingsman: The Golden Circle, Dunkirk and Lion, they're the movies that Australians flocked to in 2017. Of course, they had company. Nearly 400 films were released onto Aussie screens over the past 12 months, and even the biggest cinephiles among probably skipped a couple. Based on box office figures, here's ten we think you might've missed, and should make the effort to catch up with. https://www.youtube.com/watch?v=rDiVGDmgsFY RAW One of the year's best films, under-seen or otherwise, is also one that arrived with a bloody splash. When Raw premiered at the Toronto International Film Festival in 2016, audience members reportedly fainted during its tale of a vegan teenager turned cannibalistic college student — and while they might've been overreacting, the French film isn't for the gore-averse. What it is, rather, is an unforgettable and visceral take on the savagery of growing up from first-time writer/director Julia Ducournau. She's matched in talent by her leading lady Garance Marillier, who makes viewers understand both the reluctance and excitement that comes with going to university, breaking free from her usual personality and casually snacking on severed limbs. Read our full review. https://www.youtube.com/watch?v=5J5jcPqfYss PROFESSOR MARSTON AND THE WONDER WOMEN 2017 was a wonderful year — for films with 'wonder' in the title, at least. While Wonder Wheel is completely missable, and Wonderstruck only played select festivals, Wonder Woman kicked superhero ass. And, it wasn't the only movie about the famous comic book character to make it to cinemas, or the best. In Professor Marston and the Wonder Women, movie-goers received the origin movie they didn't know they needed, following the story of Diana Prince's creation by William Moulton Marston. The psychologist turned comic book author (Luke Evans) took inspiration from his own life with his wife (Rebecca Hall) and live-in girlfriend (Bella Heathcoate), as relayed with passion and personality by writer/director Angela Robinson. https://www.youtube.com/watch?v=CLdhN4oMxCQ BAD GENIUS Mark our words: in the next couple of years, an English-language version of this Thai thriller will reach our screens. A high-stakes high-school exam flick, it's smart and slick, funny and fast-paced, tautly made and tension-filled — and it turns a situation we can all relate to into a nail-biting heist caper. Straight-A student Lynn (Chutimon Chuengcharoensukying) is the misbehaving high-achiever of the title, who first hatches a plan to make money by feeding her classmates test answers, and then bands together with her customers to cheat the biggest test there is. The premise was taken from reality, and part of the movie was shot in Sydney, but the real highlight is Bad Genius' lively style and thoroughly entertaining narrative. https://www.youtube.com/watch?v=_2RYbGgBQeM THE LOST CITY OF Z Because these things always come in pairs, The Lost City of Z is one of two 2017 features that send former film franchise heartthrobs into the jungle. It's the only one you won't want to end, however. Robert Pattinson plays second fiddle to Charlie Hunnam in this account of geographer and explorer Percy Fawcett's life, and to James Gray's astutely measured direction, as well as cinematographer Darius Khondji's lush and striking images. Indeed, Hunnam does some of his best work as the man determined to find the fabled locale, while Gray shows that his skills apply not only in urban settings, but to vast Amazonian wilds too. A visually precise and painterly effort result, one that's an existential adventure, a lush-looking portrait of feverish obsession and an engaging biopic all in the same mesmerising package. Read our full review. https://www.youtube.com/watch?v=_SMmn5fu2oI WINTER AT WESTBETH This Australian-directed, New York-shot documentary only received a tiny cinema run earlier this year, so you can be forgiven for missing it. That said, if you were a fan of Bill Cunningham New York or Iris, or like factual looks at real-life creative types doing what they love — and wearing their eccentricity on their sleeves — you'll want to redress that oversight as soon as possible. A small film that leaves a big imprint, it focuses on three elderly residents of Manhattan's Far West Village for retired artists, each coping with their advanced years by immersing themselves in their chosen fields. Guided by their tales, Aussie filmmaker Rohan Spong crafts an insightful and empathetic doco that's never anything less than revelatory. https://www.youtube.com/watch?v=ih9P0QCCrUw IN THIS CORNER OF THE WORLD With gorgeous watercolour animation and a bittersweet but graceful approach, In This Corner of the World turns a dark chapter of the past into a thing of beauty. That applies both emotionally and visually, in a film that enchants even as it delves into life in World War II-era Hiroshima. Teenager Suzu Urano (Non) finds things forever change when she weds a naval clerk in 1943 and moves to city where he's based; however, history dictates that more is still to come. It's the type of multi-layered wonder that Studio Ghibli would usually make, so it shouldn't come as a surprise that writer/director Sunao Katabuchi worked as an assistant director on Kiki's Delivery Service. His work here is certainly worthy of the comparison. https://www.youtube.com/watch?v=eByhbavkA6E HEAL THE LIVING In her third film, French writer/director Katell Quillévéré wades into tricky waters, but never forgets to admire life's beauty. Given that organ donation is her main topic, that's a simply stunning feat. Based on the book of the same name, Heal the Living follows the many people affected when a 17-year-old surfer's existence is cut short: his grief-stricken parents and girlfriend, the medical professionals charged with his care and the ailing woman in another city who might get a second chance through this tragedy. As well as the sensitive handling of the subject matter, the detailed depiction of hospital routines and the spot-on charting of intricate, intimate emotional terrain, the feature boasts movingly lyrical sensibilities, and a mastery of both poetic and clinical imagery. A word of warning: if you've ever been through something similar, you may find the experience especially devastating. https://www.youtube.com/watch?v=3Zzw4Lmej9s THE VILLAINESS John Wick: Chapter 2 and Atomic Blonde aren't 2017's only ace assassin films. From South Korea, say hello to The Villainess. The latest in a long line of kinetic, frenetic action flicks from the country's shores, it follows a woman trained to kill, forced to lend the government her skills and sporting one heck of a backstory. If it sounds familiar because you've seen plenty of similar fare — Luc Besson's La femme Nikita and Quentin Tarantino's Kill Bill included — don't worry; this isn't a mere walk down a well-worn path or an easy clone. Understandably, it's the fast and furious displays of carnage that particularly stand out thanks to director Jung Byung-gil's high-octane approach, as well as a memorable score. https://www.youtube.com/watch?v=Nl_eP39tXW0 SCHOOL LIFE Did a teacher change your life? Did you discover your true passion at school? Even if you answered no to both of those questions, there's no doubting the influence that education has on our identities — not just in the things we learn, but the people we encounter and the experiences we go through. Still not convinced? Let Irish documentary School Life show you. Set at a boarding school, it's a movie about many things: bright minds facing the future, dedicated teachers determined to do their best at their important task at hand, and two specific veterans still shaping the next generation as their own days fade. As they step through all of the above, documentarians Neasa Ní Chianáin and David Rane find the right balance between observation and emotion, and between affection and insight. https://www.youtube.com/watch?v=7cTenw8uVSw SONG TO SONG Love him or hate him, no one makes movies like Terrence Malick. As a result, when it comes to his dream-like explorations of human existence, you're either on his whisper-soundtracked, roaming camera-shot, attractive actor-starring wavelength, or you're not. Song to Song won't change anyone's minds, but those eager to go along for the ride will find the iconic filmmaker in top form in this particularly prolific phase of his career. Partially set and shot at SXSW, and featuring Michael Fassbender, Ryan Gosling, Rooney Mara, Natalie Portman, Cate Blanchett, Iggy Pop and Patti Smith (among others), Song to Song proves an intoxicating dance-filled picture with oh-so-pretty folks coping with the complexities of love and life. Read our full review.
If we had kept going with the stone age, bronze age, iron age system, we would be probably be somewhere in the plastic one, so it is little wonder that so many artists are passing over paintbrushes and kilns to experiment with the possibilities of inflation. In a case of perfect irony, plastic might just be the most digestible of contemporary art ingredients. At home and abroad artists are taking full advantage of your inner child that knows all good parties need a jumping castle and dreams of seeing Woody Woodpecker at the Thanksgiving Parade in NYC (remember Mr Pitt?). Or, if you were a serious eight-year-old, the arguments for making art with a human-made material that is choking the planet practically write themselves. Inspired by the current Mobile M+: Inflation! exhibition in Hong Kong, here is a mini-retrospective of our favourite inflatables. Inflatable Guantanamo Bay prison cell, 2008 Starting at the serious end of the scale, let's go back to 2008 when Bush and Cheney were still kicking around the White House and Phillip Toledano released his online installation, America the Giftstop. "We buy souvenirs at the end of a trip, to remind ourselves of the experience. What do we have to remind ourselves of the events of the last eight years?" Toledano said. An artist and photographer, Toledano's satirical selection of souvenirs from the War on Terror included this life-sized inflatable Guantanamo bay bouncy prison cell. You can imagine his satisfaction in creating a hard-hitting piece of art that is ostensibly a bouncing castle, but then again, that is probably the point. Complex Pile, 2007 Statement on art? A screw-you to exhibition organisers? Paul McCarthy's idea of a gag? Or, a case of beauty where you least expect it? The house-sized inflatable dog turd that caught everyone's attention in Hong Kong is testament to the permission new materials give the artist. This work is currently showing as 'Complex Pile', but certain corners of the internet remember when it had a four letter name. This is not a one-off for McCarthy, whose other inflatable works include a disembodied head of George W. Bush and pigs mid-coitus. Jumping Castle War Memorial, 2010 Aussie artists have also been dragging out the old air-pump. Remember Brook Andrews' Biennale offering a few years ago? Paying tribute to the humble jumping castle, this highly politicised artwork broke the hearts of Sydney’s children by reversing the age restriction to 16+ and popping in a sneaky nod to the old habits of the British Museum — Aboriginal heads — in the turrets. Jumping Castle War Memorial poses some harrowing questions: who would jump on a war memorial? Who can resist a jumping castle? And, where should the memorial end? Baby Ruth, 1966 Forget your definition of art, or decent human beings; Andy Warhol had a knack for picking trends. So, here is our nod to the father of Pop Art and his inflatable Baby Ruth bars. These bad boys also served as his wedding present to the bride and groom of Mod Wedding, part of his 1966 multimedia event Exploding Plastic Inevitable. Subway Sea Monster (The Lochness), 2008 Gorilla art and inflatables seem like a natural match, but the logistics must be alluding some of the smaller-scale art makers out there. NYC street artist Joshua Allen Harris has come up with his own solution: building sculptures with everyday plastics, like garbage bags, and then taping them to subway vents. Like Marilyn before them, Harris's pieces blow up as trains pass below them. Cool, huh? In an added bonus Harris also has a conscience and has used the attention payed to his Polar Bear piece to raise support for the fight against global warming. Rubber Duck, 2007 This international bath time adventurer had its first outing in 2007 and shows no signs of stopping, unless you count this pancake performance in Hong Kong's Victoria Harbour. Artist Florentijn Hofman describes his Rubber Duck as an exercise in ice breaking, a destroyer of barriers that knows no discrimination. He could be right: it is extremely accessible, and how much hate mongering could you do with a six-storey, bright yellow duck bobbing behind you? Hofman's Rubber Duck in happier times.
First, it was a 1990 John Waters-directed film starring Johnny Depp in the titular role. Since 2007, it's been the second of the iconic director's movies to get the stage musical treatment — after Hairspray, of course. We're talking about Cry-Baby, which has already picked up four Sydney Theatre Awards, and is now heading to the Sydney Opera House. From Thursday, July 22–Sunday, August 15, songs such as 'I'm Infected' and 'Girl, Can I Kiss You With Tongue?' will echo throughout the famed venue, all thanks to Cry-Baby The Musical. Sure, you've seen plenty of takes on the teen rebel genre before — it's a cinema staple, after all, and has been since the 50s — but only Waters could've dreamed up this Baltimore-set tale. The musical follows Wade 'Cry-Baby' Walker, leader of the 'Drapes'. He falls for Allison, a 'Square' rich girl — and yes, if you're thinking about West Side Story or Grease, that's understandable. But, again, the key is Waters. His tongue-in-cheek film has been adapted by the same team that first brought Hairspray to the stage, too. For the Opera House shows, the folks behind the musical's aforementioned award-winning run at the Hayes Theatre Co are returning, too — including Hayes Theatre Co is director Alexander Berlage (American Psycho — The Musical), Christian Charisiou (The Wedding Singer) as Cry-Baby and Ashleigh Rubenach (Sound of Music, Muriel's Wedding) as Allison. Tickets go on sale at 9am on Tuesday, April 27 for Sydney Opera House Insiders, 9am on Wednesday, April 28 for What's On pre-sales and 9am, Friday, April 30 for the general public. Images: Hayes Theatre Co, Robert Catto.
If you’re in the mood to dance why not take your gyrations on a perambulatory tour of Sydney while you’re at it? discoDtours, as the capitalisation of the ‘D’ might suggest, transform the streets of Sydney into your very own dancefloor. Running tours during Fair Day, and through The Rocks and Surry Hills, discoDtours will provide you with your own headphones, some Hawaiian leis for good measure, and then, after a brief warm up, you will be unleashed on the unsuspecting city. The Mardi Gras Parade eve dress up drag queen tour sounds like a particular highlight. Saturday, Feb 21, 2pm — Victoria Park, Camperdown (Fair Day) Sunday, Feb 28, 6.30pm — Cadmans Cottage, George Street, The Rocks Wednesday, Mar 2 and Friday, Mar 4, 6.30pm — The Beresford Hotel, Surry Hills
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=ufBK5XheeCU THE BEE GEES: HOW CAN YOU MEND A BROKEN HEART It starts with the disco beats of 'Stayin' Alive' echoing through the cinema. Although he doesn't ever phrase it quite so bluntly, it ends with surviving Gibb brother Barry wistfully and wishfully applying that song's title to his siblings and fellow Bee Gees members Robin and Maurice. In-between, career-spanning documentary The Bee Gees: How Can You Mend a Broken Heart steps through all of the band's ups and downs — from the group's humble beginnings when its members were growing up during the British-born trio's childhood stint in Brisbane, to the rollercoaster ride that saw them top the music world several times but also endure time both apart and off the charts. As tales of fame, fortune and trying to survive go, this one has everything, including brotherly rivalries, tabloid-fodder weddings, shock splits and comebacks, and drugs and the stereotypical celebrity lifestyle. It also spans a public call for their music, and the disco genre they were virtually synonymous with in the late 70s thanks to the mega-hit Saturday Night Fever soundtrack, to be literally blasted into smithereens. Through candid recent chats with Barry, as well as the use of archival interviews with Robin and Maurice before their deaths, director Frank Marshall (Arachnophobia, Alive) details it all. From early success 'Spicks and Specks' (aka the song now used as a theme tune for the TV quiz show of the same name) through to the post-Saturday Night Fever single 'Tragedy' — and yes, featuring the track that gives the movie its title as well — How Can You Mend a Broken Heart surveys the band's enormous contribution to music, of course. Getting a Bee Gees' song stuck in your head, or several, is part of the experience of watching. So is instantly imagining how tunes such as Diana Ross' 'Chain Reaction' and Dolly Parton and Kenny Rogers' 'Islands in the Stream' would've sounded if the Gibbs had sung as well as penned them in their second life as hit songwriters for other acts. But, whether you've cut a rug to 'You Should Be Dancing' before or you've only ever paid attention to their music in passing, what resonates in this thorough documentary is its candour and its detail, especially when it is focusing on Barry, Robin and Maurice's brotherly relationship and their artistry. Less successful are the intertwined interviews with other musicians, including Noel Gallagher noting that working with family can be a blessing and a curse and Chris Martin spouting mumbo jumbo about how tracks just come to musos out of the air, which always feel like superfluous padding in a fascinating and involving doco that definitely doesn't need it. https://www.youtube.com/watch?v=VFOrGkAvjAE SOUND OF METAL When Sound of Metal begins just as its title intimates, it does so with the banging and clashing of drummer Ruben Stone (Riz Ahmed, Venom) as his arms flail above his chosen instrument. He's playing a gig with his girlfriend and bandmate Lou (Olivia Cooke, Ready Player One), and he's caught up in the rattling and clattering as her guttural voice and thrashing guitar offers the pitch-perfect accompaniment. But for viewers listening along, it doesn't quite echo the way it should. For the bleached-blonde, tattooed, shirtless and sweaty Ruben, that's the case, too. Sound of Metal's expert and exacting sound design mimics his experience, as his hearing fades rapidly and traumatically over the course of a few short days — a scenario that no one wants, let alone a musician with more that a few magazine covers to his band's name, who motors between shows in the cosy Airstream he lives in with his other half and is about to embark upon a new tour. That's not all the film is about, though. Ruben's ability to listen to the world around him begins to dip out quickly and early, leaving him struggling; however, it's how he grapples with the abrupt change, and with being forced to sit with his own company without a constant onslaught of aural interruptions distracting him from his thoughts, that the movie is most interested in. With apologies to cinema's blockbusters (which usually monopolise the sound categories come Oscars time), no other feature this year mixes its acoustics together in as stunning and stirring a fashion, and also bakes every single noise heard into its script, and its protagonist's journey, as well. As Ruben takes up residence at a rural community for addicts who are deaf, it expresses Ruben's distress at his situation as immersively as possible; 'intense' is the word for Sound of Metal, but it's also a term that doesn't completely do the movie justice. Making his feature directing debut, and co-writing another screenplay with filmmaker Derek Cianfrance as he did with 2012's The Place Beyond the Pines, Darius Marder turns his picture into a masterful exploration and skilled evocation of the kind of anxiety that's drummed deep into a person's darkest recesses. Viewers don't just hear what Ruben hears, but also feel what he feels as he rages and rallies against a twist of fate that he so vehemently doesn't want yet has to live with. While the film specifically depicts hearing loss, it's so detailed and empathetic in conveying Ruben's shock, denial, anger and hard-fought process of adjustment that it also proves an astute rendering of illness and impairment in general. That's Ahmed's recent niche, as also seen in this year's Berlinale-premiering Mogul Mowgli, and his powerfully physicalised performance shows the fight and fortitude required for Ruben to learn to cope. Sound of Metal is screening in select cinemas in Sydney, and is also available to stream via Amazon Prime Video. Read our full review. https://www.youtube.com/watch?v=TJ0jBNa6JUQ THE PROM A word of warning to filmmakers eager to make the next big on-screen musical: cast James Corden at your peril. It may now seem like a lifetime ago that Cats proved a gobsmacking catastrophe, but that 2019 movie's horrors are impossible to shake — and while Corden's latest, The Prom, thankfully doesn't resort to repeating the word 'jellicle' over and over again to try to convince the world that it means something, it still follows in the feline-focused flick's paw prints as this year's all-singing, all-dancing misfire. The two films' common star is grating and relies upon gratuitous overacting in both features. He's hardly alone in bombing and flailing, though. In The Prom's case, a 2018 Broadway success with an important message about acceptance and being true to one's self has been transformed into an over-long star vehicle, as well as a movie that can't see past its sequin-studded pageantry and smug attitude to actually practise what it preaches. Its continually, needlessly and irritatingly circling cinematography captures its struggles perfectly, because The Prom is too caught up in shiny things, recognisable faces and disposable songs to let everything that should matter, including its main statement, have any real impact. Miscast from the get-go, Corden plays Barry, a Broadway veteran playing second fiddle to multi-Tony-winning drama diva Dee Dee (Meryl Streep, Little Women) in Eleanor!, a new production about former US First Lady Eleanor Roosevelt. Initially, the pair is on top of the world after the show's opening night — but then the reviews start piling in and piling on. Distraught from the critical savaging as they drown their sorrows with perennial chorus girl Angie (Nicole Kidman, The Undoing) and Juilliard-trained actor-turned-sitcom lead-turned bartender Trent (Andrew Rannells, The Boys in the Band), they concoct a plan to get back in the showbiz industry's good graces. Scrolling through Twitter, Angie spies a news story about Indiana teenager Emma (feature debutant Jo Ellen Pellman), whose high school has just completely cancelled the prom because she wanted to bring her girlfriend. As quick as a burst of confetti, Barry, Dee Dee, Trent and Angie are on a Godspell tour bus to America's midwest to rally against this injustice and whip themselves up some flattering publicity. In the screenplay written by Bob Martin and Chad Beguelin, both of whom worked on the original stage production, this is all meant to be a joke: that fading, has-been and never-were celebrities shallowly and calculatingly try to use one young woman's horrific plight for their own gain, that is. But The Prom likes the gag so much that it misguidedly decides that favouring stars over substance is the best approach in general. The Prom is screening in select cinemas, and will also be available to stream via Netflix from Friday, December 11. Read our full review. https://www.youtube.com/watch?v=ykWO1FhqTfo THE TROUBLE WITH BEING BORN For decades across the page and screen, science fiction has pondered just where artificial intelligence might take humanity, in ways both positive and negative. The field of science has as well, making some of those possibilities a reality already — however, as The Trouble with Being Born makes clear, we shouldn't just be wondering what AI can do for us, but also what it will and does reflect about our nature. This Berlinale-premiering feature from Austrian director Sandra Wollner asks a plethora of questions, all of them difficult and provocative, about the role of robots in our future. It explores the possibility of becoming dependent on android substitutes for human contact, including in acceptable and abhorrent situations, and examines the emotional toll for both sides of the relationship. With a steely look that's purposefully disconcerting, an opening scene that aims to assault and disrupt the audience's senses to leave them interrogating and intricately observing everything in front of them, and a willingness to pose a severe worst-case scenario (by implication, rather than gratuitous detail), The Trouble with Being Born aims to make its audience uncomfortable while probing these thorny ideas. That it initially focuses on a ten-year-old android girl called Eli who is deployed by her flesh-and-blood owner as a stand-in for his runaway daughter speaks volumes. In Australia, The Trouble with Being Born will always be marked by controversy. It's the movie that the Melbourne International Film Festival scheduled for its 2020 online-only event, then pulled from its lineup after a backlash caused by an article in The Age, which quoted concerns by forensic psychologists specialising in child abuse cases who had either not watched the film in full or at all. But Wollner's feature has taken great pains to approach its subject carefully and sensitively — its child star, Lena Watson, goes by a pseudonym, and is disguised in the movie by under a silicone face mask and via CGI — and to engage viewers in an unnerving but intelligent series of questions about its topic and scenarios. While it rarely makes for straightforward viewing, it's also one of the year's essential films. It is cinema's place to challenge, and to examine aspects of life that are tough and unpleasant; making her second full-length movie after 2016's The Impossible Picture, Wollner accepts and embraces that task. She explores identity and memory as well, and the role in the latter in shaping the former. And, she adds a film both distinctive and important to the growing list of works (see also: AI, Her, Ex Machina, Blade Runner and Blade Runner 2049) that ponder what the creation and use of AI says about humanity. https://www.youtube.com/watch?v=zi2MK9K1hxc THE GODFATHER CODA: THE DEATH OF MICHAEL CORLEONE The Godfather saga might eventually gain a new chapter. In this time of constant remakes, reimaginings and decades-later sequels, absolutely nothing can be discounted, after all. But The Godfather Coda: The Death of Michael Corleone isn't a new addition to the gangster epic. Rather, it's a recut version of 1990's The Godfather Part III, aka the least acclaimed movie in the Francis Ford Coppola-directed trilogy. As his multiple versions of Apocalypse Now have shown over the years, the filmmaker has a penchant for tinkering with his past work. We've all looked back and wished we could do something over gain, so he's doing just that (last year, he not only released another new version of his Vietnam War masterpiece, but of The Cotton Club as well). Here, by renaming the revised third Godfather movie Coda, he's repositioning as well as re-editing, though. Coppola is telling the world that he sees this feature less as a second sequel and more as an epilogue to the first two exceptional Godfather movies — a message that might seen a bit cheeky, especially given how much this new iteration has in common structurally with the first film, but encourages viewers to give The Death of Michael Corleone more distance from its two Oscar Best Picture-winning predecessors than its has otherwise been afforded. Both upon its release three decades ago and again now, Coppola's third Godfather film doesn't match his first two. It suffers from Robert Duvall's absence, after the studio wouldn't pay him what he asked for to return a third time — and also from Sofia Coppola's inexperienced presence, with the On the Rocks director co-starring as Mary Corleone, daughter to Al Pacino's titular Michael, after Winona Ryder dropped out just before shooting started. But it's still an interesting, ambitious and mostly engaging movie, endeavouring to chart the struggle its eponymous figure endures as he tries to divest himself from illicit dealings and go legit. If you've ever heard the oft-quoted line "just when I thought I was out, they pull me back in", you'll know that achieving this plan isn't easy. Also on the elder Coppola and writer Mario Puzo's minds here: how that back-and-forth struggle between the life one knows and the better future they've been striving for ripples down through later generations, as seen through the inclusion of Andy Garcia as Michael's hotheaded nephew. The changes made to turn The Godfather Part III into The Godfather Coda: The Death of Michael Corleone are minor, other than the astute moving of one pivotal scene from partway through to the film's beginnings; however, as intended, it welcomely forces a revisit and re-evaluation with fresh eyes. https://www.youtube.com/watch?v=47ooNWugxRE OLIVER SACKS: HIS OWN LIFE Three decades ago, one of neurologist and writer Oliver Sacks' books was turned into a film. Drawn from his time in the late 60s treating patients with encephalitis lethargica — people catatonic thanks to a pandemic that spread around the world between 1915–26, and still hospitalised across all those intervening years — Awakenings brought an astonishing true tale to the screen, with Robin Williams playing Sacks' on-screen surrogate and Robert De Niro co-starring as one of the afflicted. The work that led to the text, and the fact that it was adapted into a movie, are both significant achievements. But Sacks' life was filled with many remarkable acts, deeds and successes. He passed away in 2015 aged 82; however, documentary Oliver Sacks: His Own Life assembles a wealth of footage shot as he was facing his end and looking back on his ups and downs. Days after he was diagnosed with terminal cancer earlier that year, he penned an article for The New York Times, called My Own Life, about learning the news — and that same year he published an autobiography, On the Move: A Life — so sharing his thoughts to camera, and stepping through the ebbs and flows of his life that brought him to that junction, was a natural extension of a reflective process he was already going through. There's much to look back on; Sacks might've dedicated his medical career to getting inside the minds of others, and to advancing the understanding of many conditions that affect the brain, but his own life could inspire a comparable wealth of material. Consequently, filmmaker Ric Burns (Made for Each Other: A History of the Bond Between Humans and Dogs) has the job of synthesising the abundance of incidents and details from his subject's eight-decade existence into a thorough and accessible 111-minute film — a considerable feat, but one he masters. Whether you're familiar with Sachs and have read his popular books, you only know him via Awakenings or you're a complete newcomer to his tale, His Own Life unfurls not just the requisite biographical data, but a true sense of spending time in Sachs' inimitable, always-curious, incessantly-thoughtful company. That, and his outlook as he was forced to face the end of his days, are the gifts this doco gives audiences. Sachs' friends and colleagues all pop up as talking heads, offering their recollections and thoughts as well, with Burns structuring his picture in a straightforward fashion — but there's nothing standard about the man at the touching movie's centre, or everything that comprised his life. https://www.youtube.com/watch?v=fv99TgifpH0 A CHRISTMAS GIFT FROM BOB The true tale behind 2016's A Street Cat Named Bob and now this year's A Christmas Gift From Bob is undeniably heartwarming, especially for anyone who has welcomed a pet — and a friendly feline at that — into their lives and been forever altered for the better. Homeless and struggling to kick a heroin habit, James Bowen finds the companionship and purpose he needs in a ginger kitty that wanders off the streets and into his flat. A firm bond is forged, and much changes for both the two-and four-legged sides of the relationship. That's the story that the first movie charted. This sequel now picks up after Bowen has become a literary success from turning his kinship with Bob into a bestselling book, although he's still busking, selling The Big Issue and working hard to get by. The struggle with both movies, however, is just how sappy and soppy everything feels at every single moment. It really shouldn't take much to be moved by Bowen and Bob's tale, but these films push the sentiment so forcefully, completely failing to trust that viewers will connect with the story without an overdose of mawkishness. It was true of A Street Cat Named Bob, and it still rings accurate in A Christmas Gift From Bob — which, as the moniker makes plain, is set during the festive season for an extra stint of heartstring-pulling. Life may have improved for Bowen (Luke Treadaway, Unbroken) thanks to Bob, but it doesn't take much to put the pair in a precarious situation. A Christmas Gift From Bob's big dramas come in the form of animal control, who threaten to take the cute cat away after they see him out with his owner in the chilly winter weather. That this happens just as Bob needs veterinary attention adds another layer, as does the easily spiral Bowen navigates due to living on a financial knife's edge. In a nicely drawn performance, Treadaway gives his role more depth than either director Charles Martin Smith or writer Garry Jenkins ask for. Alas, that the former's resume also spans Air Bud, Dolphin Tale and its sequel, and the slushy A Dog's Way Home, is telling — as is the fact that the latter returns after penning the lacklustre first Bob film. There's no point in A Christmas Gift From Bob where it isn't advising its audience how to feel via its dialogue, warm colour scheme and sugarcoating in general. There are zero moments that recognise that Bowen's plight doesn't need to be brought to the screen in such an overt and schmaltzy manner, either, and that both his experiences with Bob and in general are inherently affecting. And, even if you're the biggest feline fancier there is, not even a famous cat (playing himself no less) can patch over the movie's troubles, although its makers clearly think otherwise. https://www.youtube.com/watch?v=fla02yFATuY HOW DO YOU KNOW CHRIS? The sounds of You Am I's 'Berlin Chair' fill its opening moments. An Ivy and the Big Apples-era Spiderbait t-shirt is given by one person to another. The Sydney Olympics are mentioned, too. Accordingly, if Australian film How Do You Know Chris? didn't inform its audience that it was set in 2000, they'd be able to hazard a very firm guess anyway. Spilling out a plethora of details, then asking viewers to piece them together: that's this Melbourne-shot and -set drama's approach. Its characters are in the same situation, after the eponymous Chris (Luke Cook, Chilling Adventures of Sabrina) invites a disparate group of people to his apartment for a party. He gives them all different reasons for the shindig, including telling his boss Shane (Stephen Carracher, The Doctor Blake Mysteries) that it's costumed. He hires a waiter to serve beverages, to keep everyone socially lubricated. But, making them wait, drink, chat, get to know each other if they don't and work through long-held grudges if they're already acquainted — with commerce student Emi (Tatiana Quaresma, another The Doctor Blake Mysteries alumnus) falling into the first category, and high school classmates Justin (Jacob Machin, The Twilight Zone), Claire (Ellen Grimshaw, Bloom) and Blucker (Dan Haberfield, Wrong Kind of Black) in the second — Luke then takes his time to show up himself. Other guests are present, such as couple Ray (Lee Mason, Miss Fisher and the Crypt of Tears) and Dot (Lynn Gilmartin, The Very Excellent Mr Dundee), plus the kohl-eyed Christal (Rachel Kim Cross, Mr Inbetween) — all with different connections to the chameleonic Luke, which get teased out over the course of the film. As a result, first-time feature director Ashley Harris and screenwriter Zachary Perez (a fellow debutant) ask a considerable amount of their cast, with the party attendees' awkward chatter and the general uncertainty they feel about the event driving the majority of the movie. As for why everyone is there, that's a tense puzzle for How Do You Know Chris?'s on-screen figures, but not its viewers. While there's weightiness to the idea of someone taking stock of their existence by inviting key people who've made a mark on their life to the one gathering, and to the big reveal when Luke's guests discover the purpose of the shindig, the movie nonetheless feels overstretched. Still, for its first two-thirds, this low-budget Aussie effort makes the most of its main players, the suspense they're saddled with and the movie's apartment-set cinematography. https://www.youtube.com/watch?v=n-0bUxBs8lE THE WAR WITH GRANDPA There is very little that's impressive about The War with Grandpa, which is based on Robert Kimmel Smith's children's novel of the same name, other than its ability to repeatedly remind viewers that its adult leads have been in much, much better movies. The film not only nods to the Robert De Niro-starring Taxi Driver, but reunites him with his The Deer Hunter costar Christopher Walken. It has Uma Thurman playing the nagging mother of a black bob-wearing teenager called Mia (Decker, not Wallace, but the elbowing in Pulp Fiction's direction can't be accidental). These inclusions are meant to satiate adult audience members either watching along with their children, or just watching in general. Really, though, they just stress that this'll never rank among the standouts on De Niro, Walken or Thurman's resumes. It's unfair to compare The War with Grandpa with any of their career highlights, of course, but aside from its recognisable cast, this family-friendly comedy about a kid who overreacts when his grandfather moves in and takes over his bedroom doesn't boast anything other than overplayed and overly formulaic inanity. It's supposed to garner laughs from all ages; however, older viewers are unlikely to even crack a smile and kids 100-percent deserve more. After widower Ed (De Niro) has trouble with a supermarket self-checkout, accidentally becomes a shoplifter and causes a scene, his daughter Sally (Thurman) decides that it's time for him to live with her family instead of on his own. But her son Peter (Oakes Fegley, The Goldfinch) has to relocate to the attic to accommodate the household's new member and, really just because the movie's premise wouldn't work otherwise, he's brattishly unhappy about the change to the point of acting out. He declares war, in fact, even going as far as penning a letter announcing his plans — and soon grandpa and grandson are both engaged in a battle of escalating pranks over turf. While De Niro has plenty of forgettable features to his name (see also: this year's The Comeback Trail), he's also taken enough roles that just require him to be silly that his casting in films like this is no longer anywhere near funny. And director Tim Hill has a long history working on SpongeBob SquarePants, including helming this year's entertaining The SpongeBob Movie: Sponge on the Run, so it is easy to see why he was drawn to the project — this storyline would've likely worked well in an animated format, set under the sea, and with that zany critter facing off against a nemesis — but there's not even the slightest trace of engaging goofiness here. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour and Happiest Season. Images: The Bee Gees: How Can You Mend a Broken Heart courtesy of Ed Caraeff/Getty Images/HBO; The Prom via Melinda Sue Gordon/Netflix.
The winter chill is enough to make anyone head for the airport. That idea is even more tempting now that Qantas has just discounted 350,000 seats across its international network for a huge one-week sale. With economy fares starting at $499 return, perhaps an overseas adventure is the perfect way to cure the winter blues. Featuring discounted flights on more than 30 routes across Asia, the Americas, the United Kingdom, Africa and the Pacific, now is your chance to soak up fascinating (and warmer) destinations. Think the bright lights of Los Angeles, a Tokyo shopping spree or some much-needed beachside bliss in Bali. For those who can't just get up and go, the sale features travel dates from July 2025 to May 2026, offering plenty of time to carve out some space in your calendar. Meanwhile, the sale coincides with the school holidays alongside must-see international events, like the Hong Kong Wine & Dine Festival and Disneyland's 70th anniversary celebrations in LA. Ready to depart? There's no shortage of options. Melburnians can book return flights to Bali from $599, while Sydneysiders can soak up the island scenery of Nadi for the same price. There's also discounted return departures from Sydney, Melbourne and Brisbane to Vanuatu from $549, Tokyo from $949 and Los Angeles from $1099. Plus, holiday-seekers in Perth and Darwin can journey to Singapore from $519, while those in Perth can kick-start a European adventure in London with return flights from $1749. There are heaps more routes on the list too, with premium economy and business fares also discounted for those with a little more room in their travel budgets. "What makes this sale special is the availability during school holidays, which is something we know families really value," says Qantas International CEO, Cam Wallace. "Whether you're looking for a tropical escape to Bali, exploring Los Angeles and Dallas or experiencing the culture in Hong Kong, there's something here for everyone." Qantas' international sale is on now and ends at 11.59 AEST on Monday, August 4. Head to the website for more information.
Under a crisp blue sky, a black Ferrari careens in circles around a dusty track. It circles, and circles, and circles. If you're bored already, then chances are you won't fancy taking a trip to Sofia Coppola's Somewhere. Shot in long takes, this languorous, intimate and shamelessly introspective film is in many ways created as a companion piece to Lost in Translation; another story that could easily be lumped under the title 'first world whinge,' were it not so beautifully crafted. Ensconced in the plush purgatory of the Chateau Marmont, listless and lost celebrity Johnny Marco (Stephen Dorff) whiles his time away in semi-drunken stupor, his only company being whomever he can lure into his bedroom, and the occasional phone call from his agent. Then one day Johnny wakes up to find his 11-year-old daughter Cleo (Elle Fanning) sitting on his bed, and in her company Johnny starts to notice, and then to question, the gilded cage he has crafted for himself. Somewhere is time-image cinema in the vein of Michelangelo Antonioni. This essentially means: don't expect much to happen, it's all about sinking into the atmosphere that Coppola quietly, expertly conjures. Coppola, with her remarkable cinematographer Harris Savides (Elephant) and accompanied by original music from her partner Thomas Mars of Phoenix, together have crafted a piece of contemplation as cinema. It won't work for everybody, particularly those who can't quite dig up some empathy for a character tantamount to a poor little rich boy. But here Coppola is both aware and unapologetic — the jets, the glamorous hotel suites, the press junkets — it's her world and she's recreating it intricately and self-reflexively. Dorff benefits from similarly reflexive casting, where his own faded celebrity almost becomes a cautionary tale for Johnny. Drunk, bewildered, and eventually yearning, Dorff brings Johnny to life with compassion and pathos. He is however routinely upstaged by the glorious Elle Fanning, whose fresh-faced performance delights, and who manages to hit her emotional mark with much more conviction than her costar. But their chemistry is wonderfully understated and in a testament to Coppola's assured direction. For all its restraint, slice-of-life naturalism and superb soundtrack, Somewhere is a film and a mood that you can sink into like a deep, comfy sofa. This languid ambiance is threatened by the film's comparatively overstated ending, for in crafting the conclusion to the opening metaphor, Coppola unfortunately goes for the glaringly obvious. It feels like a disappointing misstep, but even this is not quite enough to spoil the reverie. *Advance screenings at select cinemas on Christmas day https://youtube.com/watch?v=uVQtL8GQPFA
When discount airlines started soaring into business, they made air travel both easier and much more affordable, drastically shaking up the aviation game. Now that you can routinely fly from Sydney to Melbourne for less than the cost of a degustation dinner, conquering longer flights, reducing the environmental impact and offering niche services have become the industry's new sources of inspiration. Think direct Australia-to-London journeys, trips fuelled by mustard seeds, and now an airline dedicated to art events. Launched by Chinese-American performer Qinmin Liu, Angelhaha Airline "promises to only fly to art," as its website explains. Its first flight will take off on December 6, travelling from New York to Miami for the latter's Art Basel event; however the artist and choreographer has further one-way trips planned for jaunts between Beijing and Hong Kong in March, London and Venice in May, and Berlin and Paris in October, among others. Each coincides with an exhibition, art month, art fair or something similar. In total, 25 flights are currently listed on the airline's website, though The Guardian reports that they don't come cheap. Tickets aren't available at present — although you can sign up to be notified when the next flight opens for bookings — but the maiden voyage, on a private plane taking nine passengers, is setting back travellers between $2,700-$3,500. https://www.instagram.com/p/BbmyuFdHKeH/?taken-by=qinmin_liu In addition to its specific destinations, Angelhaha also aims to turn flying through the sky into a happier experience. "Angelhaha will do everything to provide the happiest moment and environment to human beings," the website states. Just how it will achieve that task is yet to be revealed, but if France can start an airline for millennials, and Europe a service that only heads to ski fields, then the world can have a joy-spreading, art-loving carrier as well. Via The Guardian.
At two of the world's most-prestigious film festivals, prizes are awarded to the best queer movies on the lineup. Not all cinephiles can attend Cannes and Berlinale, so Australia's Mardi Gras Film Festival is bringing LGBTQIA+ flicks from both 2024 fests Down Under in 2025. Romania's Three Kilometres to the End of the World won the Queer Palm. The Istanbul-set Crossing took home the Teddy Jury Prize in Berlin. They're both highlights of the just-announced MGFF program, which has a date with Sydney cinemas in February — and boasts a roster of almost 150 flicks. The movie-loving component of the Sydney Gay and Lesbian Mardi Gras, MGFF wants audiences to enjoy its feast of LGBTQIA+ films on the big screen if they can. The bulk of the lineup will hit picture palaces across Thursday, February 13–Thursday, February 27, at venues including Event Cinemas George Street and Hurstville, Dendy Newtown, Ritz Cinemas Randwick, the State Library of NSW and The Rocks Laneway Cinema. For those who can't make it in-person, there's also a small-screen component, streaming a selection of titles on-demand nationwide from Friday, February 28–Monday, March 10. If you're hitting up movie theatres, award-winners aren't Mardi Gras Film Festival's only drawcards. On opening night, coming-of-age tale Young Hearts will start the proceedings with a story of romance in rural Belgium, while French standout Somewhere in Love is doing the honours to close out the physical event. In-between, viewers have 72 sessions to choose from, complete with the world premiere of In Ashes from Denmark-based filmmaker Ludvig C Poulsen; South Korea's Love in the Big City; the Alan Cumming (Schmigadoon!)-starring Drive Back Home; and Ponyboi, which features Australian actor and The White Lotus favourite Murray Bartlett (The Last of Us). Or, catch Any Other Way: The Jackie Shane Story, which tells of its namesake's tale from her 50s Nashville success through to disappearing from the public for four decades; Aussie effort Heart of a Man, about a closeted Indigenous boxer; period drama Lilies Not for Me with Fionn O'Shea (Masters of the Air) and Robert Aramayo (The Lord of the Rings: The Rings of Power; Duino, a semi-autobiographical effort about an Argentinian filmmaker working on a movie about his first love; and the Venus Xtravaganza-focused I'm Your Venus, which is a must for fans of Paris Is Burning. That's just a taste of the program, which spans Aussie festive slasher Carnage for Christmas, Nina Hoss (Tár) in Foreign Language, a documentary about Ani De Franco, Brazilian drama Streets of Gloria and more, too. Blasts from the past come courtesy of a free screening of The Birdcage, plus a 20th-anniversary session of Imagine Me & You (featuring Lena Headey long before Game of Thrones), with both showing under the stars. If you'd like to don a habit, croon tunes in a cinema or both, Sister Act is getting the sing-along treatment. And from the 70s, Scarecrow in a Garden of Cucumbers — which is one of the first-ever trans-led feature films — is making its Sydney premiere. Cabaret is also on the bill, a fitting choice given that documentary Liza: A Truly Terrific Absolutely True Story is on the lineup as well — gifting Liza Minnelli obsessives a double feature. Movie buffs eager to check out the online program from their couch can look forward to the aforementioned Drive Back Home and Heart of the Man; a doco about activist Sally Gearhart; Unusually Normal's factual portrait of a family that includes two lesbian grandmothers, four lesbian mothers and one lesbian granddaughter; and a blend of fiction and reality with 2024 Sundance Special Jury Award-winner Desire Lines, among other titles. A number of shorts programs will be available to stream, too, with packages devoted to Asia Pacific, transgender and gender diverse, queer horror, queer documentaries, sapphic and more. Black Doves' Ben Whishaw pops up in one of the gay shorts, while Hacks' Megan Stalter appears in one of the films in the comedy lineup. 2025's MGFF marks Festival Director Lisa Rose's last at the helm. "The film industry has changed dramatically throughout my time with Queer Screen. The volume of LGBTQIA+ content we see, as well as how and where we see it, continues to evolve," she notes. "Yet the sense of belonging that comes when the lights dim and a room full of queer people experience a queer story together remains a constant. Even when a film has the audience divided, the feeling of community that envelops us is unifying." Queer Screen's 32nd Mardi Gras Film Festival 2025 runs from Thursday, February 13–Thursday, February 27 at venues around Sydney — and online nationally from Friday, February 28–Monday, March 10. For more information, visit the festival's website.
About a 25-minute drive out of Nelson Bay is Oakvale Wildlife Park, a farm and park filled with native Australian animals that you can interact with. The park was first established in November 1979 and remains a family owned and operated business to this day. You'll need to reserve a good few hours to explore this 25-acre animal wonderland, which is filled with native species including kangaroos, dingos, koalas, quokkas and Tasmanian devils. There are exotic animals like llamas, highland cows, water buffalo and camels to see, too. If you'd like to get up close and personal with some of them, there are a few wildlife encounter packages available on top of the $29.50 entry fee (family passes available, too). You could have a ring-tailed lemur sit on your shoulder, feed a koala or meerkat or hold a reptile. Various shows and talks occur throughout the day, too, so you can go home having fed some baby farm animals and armed with facts on koala conservation and the cassowary. Images: Destination NSW
The Pillowman by Irish playwright Martin McDonagh (also the screenwriter of Seven Psychopaths and In Bruges) is a well-made play. Such plays can often be squeaky clean, with every theatrical nook and cranny exposed, each laugh well-placed and plot points expertly positioned, making for a tidy night in the theatre. But well-structured as The Pillowman is, its ambiguity and horror save it from being one of those plays. In a nondescript totalitarian regime, short story writer Katurian (Oliver Wenn) has found himself a marked man, labelled a dissident writer despite his claim that his writing is apolitical and any 'messages' are purely incidental. His accusers admit that they like executing writers, because it 'sends a message'. His macabre short stories such as The Little Jesus and The Little Apple Men seem uncannily similar to two child murders that have occurred in the town. Katurian's inspiration for his well-written horror tales is a childhood spent listening to his brother, Michal, being tortured in the room next door by his parents. His cathartic stories are all well and good until Michal feels inspired to re-enact them. It turns out these stories are not as innocent as Katurian thought. The play is a defence of artistic expression, but an absurd one. The initial evidence that his art is directly responsible for two murders seems to support the argument that violence in art is incitement. But the ensuing violence and farce turn that argument on its head as Katurian chooses his stories over his own life. Even bad cop Ariel (Jeremy Waters) decides the tales are worth saving. The play has a lot of meat to it and requires equal measures of heightened comedic and tragic energy from the cast. Waters offers an appropriately high level of energy that is not matched by other members of the cast. Wenn is at his best when reciting stories to the audience, but during the guts of the drama we're never sure how high the stakes are. He slips into noble resignation of his fate a bit too easily and the tragedy of his story doesn't find its full expression in his performance. Peter McAllum playing good cop Tupolski strikes an appropriate laconic chord but doesn't deviate from this even in the climactic moments. Overall the piece lacks rhythmic variation and the pace lags in the second half. The cast is so close to the level of raging, hysterical farce that the piece calls for. Maybe they just need a loud, hooting audience to encourage them. Get to it .
Dream musical double alert: this winter in Australia, you can make a theatre date to see both Hamilton and In the Heights. Sydney is hosting the only Aussie return season for Lin-Manuel Miranda's second big Tony Award-winning show from late July — and now it's also welcoming his debut smash, too. Sydney Opera House will turn into New York City's Washington Heights for a six-week season of In the Heights, also kicking off the same month. Initially staged in 2005, then leaping to off-Broadway in 2007, then playing Broadway from 2008–11 (which is where it nabbed those 13 Tony nominations and four wins), Miranda's first stage sensation spends its time with Usnavi, a bodega owner from the Dominican Republic who dreams of going back — and who also sports a crush on Vanessa, who aspires to move out of the neighbourhood. Miranda himself originated the role of Usnavi, scoring a Tony nomination for his efforts. In Australia this winter, Ryan Gonzalez (Moulin Rouge! The Musical) will step into the part. When the show's Sydney Opera House run spans Saturday, July 20–Sunday, August 25, fellow Moulin Rouge! The Musical alum Olivia Vásquez will play Vanessa. Alongside Gonzalez, she'll be joined by Richard Valdez (All Together Now — The 100) as the Piragua Guy — another character that Miranda has brought to life personally, this time in the 2021 film version of In the Heights. On the stage and on-screen, the production not only follows Usnavi and Vanessa's connection, and their respective hopes for the future, but also the residents of Washington Heights, their family ties across multiple generations and their friendships. And the soundtrack — which helped In the Heights win Best Musical and Best Original Score Tonys — as well as the vibe and mood bring together salsa, soul, rap, hip hip, merengue and street dance. "In the Heights is an uplifting musical that celebrates collective joy in a truly genuine and spirited way. Community, culture, connection and colour explode on-stage in a vibrant setting, as we are enveloped into the lives of characters holding fast to their history and creating new traditions," said Sydney Opera House Head of Contemporary Performance Ebony Bott, announcing the season. If you're keen to watch the movie — or rewatch — in the interim, it stars Anthony Ramos (Dumb Money) as Usnavi and Melissa Barrera (Abigail) as Vanessa, as well as Leslie Grace (In the Summers), Corey Hawkins (The Color Purple), Jimmy Smits (Obi-Wan Kenobi), Stephanie Beatriz (Twisted Metal) and Olga Merediz (Somebody I Used to Know). Check out the trailer for the film below: In the Heights will play Sydney Opera House's Drama Theatre from Saturday, July 20–Sunday, August 25, 2024, with ticket presales from 9am on Tuesday, May 7 and general sales from 9am on Friday, May 10 — head to the venue's website for more details. Images: Daniel Boud.
After introducing its cookie pies to the world last month, followed by serving up an OTT red velvet one, Gelato Messina is bringing the decadent dessert back for a third round with the OG chocolate chip flavour. Hang on, a cookie pie? Yes, it's a pie, but a pie made of cookie dough. And it serves two–six people — or just you. You bake it yourself, too, so you get to enjoy that oh-so-amazing smell of freshly baked cookies wafting through your kitchen. These pies are now available for preorder — so if you missed out last time, here's your chance to get yourself a piece of the pie. On its own, the indulgent choc chip pie will cost $20. But to sweeten the deal, the cult ice creamery has created a few bundle options, should you want some of its famed gelato atop it. For $28, you'll get the pie and a 500-millilitre tub, while with a one-litre tub or a 1.5-litre tub, it'll cost $34 and $39 respectively. The catch? You'll have to peel yourself off the couch and head to your local Messina store to get one. You can place your preorder now via Bopple, with pick up times available between Thursday, May 14 and Sunday, May 17. You can preorder a Messina cookie pie via Bopple to pick up from all NSW, Vic and Queensland Gelato Messina stores (except The Star) from May 14–17.
There's something rather cool about being ahead of the curve when it comes to cinema, watching the latest and greatest flicks on the silver screen well before anyone else. And at Australia's biggest short film festival, you can do just that. The internationally acclaimed Flickerfest is celebrating its 31st year come January 2022, too, so you can expect an A-class lineup of cinematic delights. The annual short film festival is Australia's leading Academy Award-qualifying short film fest, and is backed with BAFTA recognition, too. In January, you can catch screenings under the stars at the festival's beachside home in the northern end of Bondi Beach Park. The outdoor deckchair cinema, supported by Waverley Council, will be set in a glam garden and feature an indoor cinema in the mirrored, circus-style tent The Famous Spiegeltent, which is a spectacle to behold in itself. You can choose from a program of over 200 short flicks from Australia and around the world, handpicked as the most inspiring, provocative and entertaining among the whopping 3100 submissions this year. The program is divided into 29 sessions, so you can catch all the flicks in the genres that interest you most — like comedy, romance, LGBTQIA+ and documentary films. Want to make a night of it? Drop by the festival's new beachside pop-up garden bar for a pre- or post-show drink and snack. Plus, there'll be an ultra-swish opening night gala and closing night event which, for a few extra bucks, you can attend to be part of the action. After wrapping its ten-day stint in Sydney, Flickerfest will share the short-film love, popping up at over 45 venues across the country between February and October. To see the full Flickerfest 2022 program and grab tickets, head to the website. Flickerfest will run in Sydney from January 21–30, before touring nationally from February–October 2022.
Attention seafood lovers. Get ready to get your mitts on some of the freshest oysters in the country at the Narooma Oyster Festival. The annual event is back with a mouth-watering selection of NSW-native rock oysters, seafood, and other gourmet treats from the Eurobodalla Coast region. On Friday, May 3 and Saturday, May 4, visit the Narooma quay for a day of live music, cooking demonstrations, wine tasting, and, of course, plenty of oysters (almost 70,000 will make it from tide to table). Meet local oyster farmers and learn about the art of oyster shucking, or simply sit back and enjoy the beautiful coastal scenery. This year, the Narooma Oyster Festival is offering tastings from oyster farms from all over southern NSW in Oyster Farmers Alley, oyster-tasting masterclasses with a leading Aussie seafood authority, cooking demonstrations from top chefs, a twilight social, a lazy champagne and oyster cruise, and much more. Tickets start from $25 and are as plentiful as the oysters — but are selling fast, so head to the website to get yours. Pro tip: the festival is a four-and-a-half-hour drive from Sydney, so local accommodation is popular and should be booked in advance. Shuttle buses are bookable to and from Bateman's Bay and Bermagui. Images: Destination NSW
Master blender Dr Rachel Barrie has been in the whisky game for over 30 years, but she originally trained as a chemist. This scientific background paved the way for her to become a leader in the delicious field of whisky blending, requiring her to use those stoichiometry skills on the daily. Before she embarked on a professional career that saw her mix drops for several world-renowned whisky brands, she learned her trade from legendary industry figure Dr Jim Swan. In 2017, Dr Barrie became the Master Blender for The GlenDronach, Benriach, and Glenglassaugh distilleries. She was then inducted into Whisky's Hall of Fame in 2018, becoming the first woman in the scotch industry to be awarded that honour, earning her the title of the World's First Lady of Scotch. And nowadays? She continues to run the master blending arm at these three distilleries where she artfully crafts premium single malt whiskies. We could think of no other expert to sit down with and talk about whisky with. Read on to find her thoughts on crafting the perfect dram, gather tips on how to become a true whisky connoisseur (even if you're new to the delicious amber liquid) and learn of the best advice she's ever received. Let's say I'm new to whisky and I'd like to develop my taste for and understanding of it, what advice would you have for me on how to start? "It's best to start with a neat dram, a teaspoon and water — first tasting neat, then adding water to experiment and unlock different tastes. Always remember to smell with your mouth slightly open. If you nose with your mouth closed, you will smell the alcohol instead of the aromas within the glass. Keep your lips open slightly and inhale a few times. Take your time to access the aroma and uncover the different flavours within. A great introductory whisky to try is the Benriach's The Original Ten. The best way to describe it is like having a pastry with fruit, toasted almonds and vanilla custard in it. Tasting with canapés or small nibbles helps showcase each whisky's flavour, giving you the opportunity to discover the richness of complementary or contrasting combinations. The Benriach 10-year-old goes perfectly with heavily roasted nuts such as peanuts, cashews and walnuts." How about if I'm someone who thinks they don't like whisky, what would you advise then? Is there a style of whisky or approach to drinking the spirit for me? "I always encourage people to be adventurous and open to trying new things. When it comes to whisky, I encourage people to enjoy it however they choose — whether that's neat, over ice or mixed in a cocktail. Every person is different. It is important to take your time, nose the whisky and explore the different aromas and flavours with each sip. The first sip is there to get your palate ready, the second sip is when it's time to explore the different flavours in the glass. If you are finding it too strong, just have a teaspoon of water, it will make it more comfortable." What are your golden rules for how to serve whisky? "First, bring your chosen bottle of whisky to room temperature. Next up, glassware: it is important that there is a slight funnelling to the top of the glass, this helps to concentrate the aromas in the right direction. It also allows you to view or nose the whisky. Once you have the right glass, pour it and let it breathe. A good rule to follow is to let it breathe for one minute per year. So for The GlenDronach's Grandeur 28-Year-Old, I like to pour it and leave it out for at least 28 minutes before enjoying. Enjoy your whisky with a friend or loved one and make sure to take your time to appreciate the flavours and aromas coming from the glass. Stop and ask yourself: what fruit does this remind me of? Is it cherry? Raisins, dates, plums? As you dig deeper you will find notes that remind you of other things or trigger memories. Experience the whisky you are drinking with one another." Whisky cocktails — yay or nay? "Yay! Although I am partial to a neat whisky, we're finding consumers are increasingly looking for more experiential, 'fun' serves with a twist that play on flavours, colours, textures, aromas and interactivity. One of our most popular cocktails is the Benriach Penicillin, which perfectly mixes smoke, lemon and ginger." Smoke Season Penicillin Recipe 25ml Benriach The Original Ten 25ml Benriach Smoke Season 20ml ginger and honey syrup 20ml fresh lemon juice Shake all ingredients, then strain over ice in a rocks glass. Garnish with candied ginger and lemon. [caption id="attachment_891265" align="alignnone" width="1920"] Benriach[/caption] People think of single-malt whiskies as being the opposite of blended whiskies, but crafting a single malt still involves blending. What is it that you're trying to achieve when you blend a single malt? "The difference is a blended whisky is a mix of barrel-aged malt and grain whiskies, a single-malt whisky is a blend of whiskies from a single distillery. When I blend a single malt I'm trying to achieve a combination of flavours from one distillery. For example, at Benriach I have artistically crafted a range of single malt whiskies that perfectly marries tradition and innovation. We seek out an eclectic mix of casks from around the world, so chosen for the exceptional character and flavour notes they lend our whisky. Once brought back to Speyside, we fill them with one of our three styles of distilled spirit: classic, peated or triple distilled. And then we wait. Our spirit matures — flavours collide, combine and intertwine. And only when we are satisfied our whisky is ready, can you enjoy a dram that is richly multi-layered and full of character." What makes a good master blender, and what has your job taught you about flavour? "Exploring flavour is a huge part of my job. Whisky making is much more than an art or a science; for me, whisky is looking deep into nature and understanding it much better. The best way to understand it is if you moved a distillery a mile down the road, and used the exact same techniques, it won't be the same. It is all the things we cannot see that go into the whisky-making process. My approach is to 'nurture the best nature' of each distillery, fully understanding how each environment influences them. As the master blender for The GlenDronach, Benriach and Glenglassaugh distilleries in Speyside and the Highlands of Scotland, I often describe them as taking you from the glen to the 'ben' to the sea. I feel uniquely connected to all three distilleries." How did you forge your career in whisky and what has kept you in the field? What do you love most about whisky and your job? "My love for whisky started when I entered the industry through the Scotch Whisky Research Institute. I researched the flavours and the impact different oak wood casks have on spirit flavour development over time and quickly began to think about a future as a master blender. I had a passion for the science and technology of distillery production, maturation, flavour and sensory science. Loving what I do has motivated me and kept me in the field. My biggest challenge is that I can't sample enough whisky! I have sampled in excess of 150,000 casks across dozens of distilleries, and to this day can say each distillery and single cask teaches me something new each day. The opportunity to keep learning and creating excites me." Whisky related or not, what is the best advice you've ever received? Who gave it to you and what was the context? "My parents were my biggest mentors. Growing up in rural Aberdeenshire, my family was grounded and taught me the power of a strong work ethic. I learned early on that never giving up will always create the best future. The three sayings that have remained with me most on my journey and led me to where I am today are: do your best and forget the rest; seek balance in every day; and success is the sum of small efforts, repeated day-in and day-out. My biggest mantra is 'Love what you do and do what you love'. I take this approach with everything I do." To start your whisky journey, or continue it, shop Benriach and The GlenDronach whiskies at Dan Murphy's, Nick's Wine Merchants, Vintage Cellars and BWS.
With its Cheap Trick-sung opening theme tune, 90s and 00s sitcom favourite That '70s Show described its setup perfectly: hangin' out down the street, the same old thing we did last week. The decade clearly changes in sequel series That '90s Show, and viewers don't yet know if the introductory track does as well, but the same idea will still ring true in the new Netflix sitcom — based on its just-dropped full trailer, at least. Prepare for nostalgia on plenty of levels — including for the OG series itself, and for the 90s era that this follow-up is set in. Helping the former: the fact that the bulk of the initial comedy series' cast is back this time around, although they're not the focus. Instead, teenager Leia Forman (Callie Haverda, The Lost Husband) is. So, while Topher Grace (Home Economics), Laura Prepon (Orange Is the New Black), Mila Kunis (Luckiest Girl Alive), Ashton Kutcher (Vengeance) and Wilmer Valderrama (NCIS) all pop up, returning to the characters of Eric Forman, Donna Forman, Jackie Burkhart, Michael Kelso and Fez — and Debra Jo Rupp (WandaVision) and Kurtwood Smith (The Dropout) are also back as Eric's parents Kitty and Red — a new group of high schoolers will be hanging out both down the street and in the Forman family basement. In his typical cantankerous manner, Red is hardly thrilled about it. Kitty, though, revels having more kids to look after. If you're keen on That '90s Show for the returning old faves, take note: the new crew is firmly in the spotlight in this sneak peek. But all of those aforementioned original characters do indeed make an appearance in the trailer, and make it feel like no time has passed at all. That '90s Show hits Netflix on Thursday, January 19, with the 1995-set series revisiting Point Place, Wisconsin during Leia's summer trip to see her grandparents. Hardly popular at school, she finally feels like she belongs with Kitty and Red's rebellious teen neighbour Gwen (Ashley Aufderheide, Four Kids and It), her brother Nate (Maxwell Acee Donovan, Gabby Duran & The Unsittables), his girlfriend Nikki (Sam Morelos, Forgetting Nobody), and their pals Ozzie (Reyn Doi, Barb and Star Go to Vista Del Mar) and Jay (Mace Coronel, Colin in Black & White). As well as nostalgia, expect déjà vu to strike amid the familiar sets — clearly by design. Behind the scenes, creators Bonnie and Terry Turner are back, also with their daughter Lindsey Turner. Yes, the multi-generational vibe flows on- and off-screen. In fact, in front of the camera, that even includes Tommy Chong (Color Out of Space) returning as Leo. Check out the trailer for That '90s Show below: That '90s Show will hit Netflix on Thursday, January 19, 2022. Images: Patrick Wymore/Netflix © 2022.
Step inside White Rabbit Gallery for their 10th milestone exhibition, Reformation, and you'll undoubtedly spend a good slab of time staring up at the spectacular Salon Hang in the foyer. From Bingyi's I Watch Myself Dying, throbbing with Frida Kahlo-esque torment, to Chen Chun Hao's meticulous landscape of glittering nails, it's a glorious quilt of past favourites, stretching from floor to ceiling. Although, do make sure you tear yourself away eventually, because the upper floors are crammed with more marvellous acquisitions. Reformation is a meditation on the cultural explosion that has burst forth from the ‘opening up’ of China. These works are full of wild experimentation and daring new directions. However, there is also an emphasis on painterly craft, which is perhaps residual of the rigour of Soviet art training. In this way, it’s interesting to see how traditional techniques and subversive ideologies coalesce to produce dramatic results. There is a current of optical trickery that courses through this exhibition. Take for example, Zhou Xiaohu’s silicon business men frozen in mid-conversation. These arrestingly realistic sculptures are partnered with ‘mirrors’ that reflect animated paintings of their facial expressions. I have to say, this illusion achieved its full effect on opening night amid swarms of people. There's also Dong Yuan’s scrupulous reproductions of domestic interiors by European masters. However, the twist is that she divides the painted subjects from their backgrounds, pegging them up like freshly laundered canvas clothing. It is as if she is cleansing and cataloguing the content according to her personal preference. However, if these works delve into double takes, He Yunchang's epic of self-torture is frighteningly real. According to the artist, physical torment generates the ‘intensity’ needed to transform ordinary experiences into art. In One Metre of Democracy, a group votes on whether a surgeon will make a one metre cut from He Yuchang’s shoulder to his knee without anaesthetic. As you can imagine, the gruesome result is squeamish and deeply guilt-inducing. It seems everyone associated with the process carries some level of responsibility for the artist's agony. There are also notions of sin and seduction running throughout Reformation. On level two, you’ll be struck by the fetishistic centrepiece of the exhibition. Play 201301 by Madeln Company is a cathedral of genuine and artificial leather. Adorned with BDSM accessories, this castle of kink is embedded with both contemporary and medieval understandings of ‘gothic.’ Also, the conspicuous overlap of sex and religion provokes some pretty interesting questions regarding lust, pleasure and guilt. Neighbouring this work is Zhao Bo's Circulation which has a similar theme of excess. Reminiscent of Goya and Daumier, the lushness of Bo's painterly style is disturbed by the depiction of a giant, godly toad, whilst slaves toil tirelessly in the foreground. It comes across as a kind of dystopian fairytale with an element of shock eroticism. You don't whether to laugh or cringe. I would also add the sinister soundtrack bleeding into the gallery space from Yi Lian’s video work,Undercurrent instils an ominous atmosphere that compliments the sadistic potential of the other works quite nicely. Whether you're absorbed by the hypnotic rotations of Shyu Ruey-Shiann's Eight Drunken Immortals or Tu Wei Cheng's antiquated image-makers, there’s just so much to see at Reformation. Another wonderful work that deserves a mention is Hu Weiyi's poignant photography series, documenting the temporary tattoos of clothing marks on skin. Whilst there’s obviously a strong Chinese core, there’s an increasingly global tenor to many of these works. Delivering the blockbuster exhibition that we all expected, White Rabbit Gallery remains a remarkably well-run and accessible treasure trove, offering up art that is visually and conceptually enthralling. Follow You (2013) by Wang Qingsong.
What do women really want? Sydney is about to find out — with All About Women returning in 2014. Entering into its second year, this is a whole-day festival, presented by Ideas at the House and Daily Life and devoted, solely, to the ladies. Roping in international names and local personalities, the festival speaks to a diverse range of ideas important to women of the millennial, from modern parenting and workplace issues to illuminating perspectives on the goings on in Egypt and Somalia. Featuring talks with the likes of Alison Bechdel (inventor of the 'Bechdel test' for movies and writer of comic Dykes to Watch Out For) and British environmentalist Lucy Siegle, All About Women will also feature panel discussions and a clothes swap, while home-grown heroes Annabel Crabb, Cassandra Kelly and Kaz Cooke conduct 'how to' sessions. In a year where we've been led to reflect women's experience in public life, All About Women provides a safe, dynamic and inclusive platform to get roaring (think Helen Reddy circa 1970 and not that terrible karaoke scene in Sex and the City 2). Tickets are on sale from February 3.
This article is sponsored by our partners, Wotif.com. If you’ve been thinking that tropical island holidays are all lazing on the sand and drinking cocktails by the pool, think again. Sure, you can make them an excuse to read every book in the Game of Thrones series or catch up on the 200 hours of sleep deprivation that you’ve clocked up over the past year, but it doesn’t have to be that way. Even if you’ve been to the Whitsundays before, there’s never a shortage of adventures to be had: from taking to the skies on a scenic flight to sailing on an old-school ship to spending a night sleeping under the stars on the Great Barrier Reef. Choose your own adventure. HIGH FLYER: SCENIC SEAPLANE FLIGHT Once you’ve seen the Great Barrier Reef from underwater, from the deck of a boat and from the land, there’s only one way left to the see it, really — from the sky. A scenic seaplane flight carries you soaring into the air, treating you to 60 solid minutes of bird’s eye views. Sights that will make you ‘ooh’ and ‘aah’ like it’s New Year’s Eve all over again include the swirling sands of Hill Inlet, which look a bit like Impressionist artworks created by some enormous Druidic paintbrush; Bait Reef’s magical stepping stones; and Hardy Lagoon, the most photographed spot in the entire Great Barrier Reef National Park (and there’s some mean competition!). But they’re just the starting gun; the itinerary includes a sizeable list of other gobsmacking spots: Shute Harbour, Daydream Island, Hayman Island, Hook Island, the Molle Group of Islands, Whitsunday Island and the Whitsunday Passage. What’s more, it’s not all macroscopic panoramas. At various points, the seaplane descends to 500 feet, giving you the chance to partake in some turtle and ray spotting. Between June and October, you’re highly likely to see humpbacks, too. And for some added excitement, the pilot makes a touch-and-go water landing at the reef. Scenic flights carry between four and ten people each and depart from Airlie Beach. ALL-ROUND ADVENTURER: 3-DAY SAIL, SCUBA DIVE AND KAYAK Here’s the choose your own adventure option for indecisive types and commitment-phobes: the all-rounder. Why settle for one activity when you can take on the whole kit and caboodle? During this three-day extravaganza, you get to sail, snorkel, scuba dive, kayak and bush walk. Here’s how it works: for 72 hours or so, you live aboard the Summertime, a beautiful, traditional-style sailing vessel built in 1947, complete with rustic timber square rigging. But the good news is you don’t have to do any traditional living — if you don’t want to. You can get as olde worlde and Sailor Jerry-ish as you like, but you’ll still have the option of jumping into a freshwater hot Jacuzzi, turning on the air conditioning and dissolving in front of a DVD whenever you feel to. Nine luxurious berths make up the accommodation. The same goes for the action-packed itinerary. As the Summertime carries you from one secluded cove or silky-sanded beach to another, you can get involved in as many or as few activities as you like. Some travellers jump at every chance while others opt to spend every ounce of their precious energy moving between the Jacuzzi and the deck. It’s up to you. OUTDOOR NATURE LOVER: OVERNIGHT SLEEP ON THE GREAT BARRIER REEF If you still haven’t recovered from reading Treasure Island, Robinson Crusoe or perhaps Life of Pi, this one's for you. Pack your list of ‘top-five-items-I’d-take-with-me-to-a-desert-island’ and turn your long-cherished childhood survival fantasy into a reality. Given that the Great Barrier Reef is heritage listed, not to mention one of the world’s natural wonders, you can’t just go around sleeping on any old coral bed of your choosing; in fact, there’s only one place on the reef where you’re able to catch some shut-eye, and this adventure — dubbed Reefsleep — is it. A high-speed luxury vessel transports you for an 11am arrival. You spend the day doing as you please — be it swimming, grabbing a massage, snorkelling, diving, catching a heli-scenic flight or checking out the local underwater viewing chamber. Then, at 3pm, the ship splits the scene, leaving you, your fellow adventurers and the crew all on your lonesome. The only guests you can expect are some turtles who drop by at dusk for a seaweed feast. A maximum of 12 overnighters is permitted at any one time and accommodation is in the form of good ol’ Aussie swag — available in single or double sizes. Food is included in the deal. ISLAND EXPLORER: WHITSUNDAY ISLAND HOPPER PASS Do you have an aversion to strict timetables and pre-planned activities? Island hopping is the way to go. With this pass, you can travel The Whitsundays at your own pace and according to your own itinerary. It gives you access to high-speed vessels that spend all day travelling between Daydream Island and Long Island, dropping off and picking up guests at their whim. Between the two islands, pretty much any tropical activity is on the cards. While the time away sunbaking and swimming or get deep with a dose of snorkelling or scuba diving. Alternatively, stay terrestrial with long beach strolls, rainforest walks or a round or two on Daydream Island’s 19-hole mini golf course. There’s also a variety of restaurants, cafes and cocktail bars. The Whitsunday Island Hopper boats leave from Abel Point Marina throughout the day. You’re advised to take your toothbrush and credit card with you, just in case you miss the last ride back and wind up island-bound for the night. Book your Whitsundays escape now via Wotif.com.
Twilight at Taronga — the after-hours live music series that boasts arguably the best view of Sydney Harbour as well as lots of adorable animals — has proven it's got some real cred when it comes to hosting outdoor gigs. Past lineups have featured the likes of The Jezabels, Courtney Barnett and Kurt Vile, and, from the looks of things, its 25th anniversary series will be just as epic. Held in Taronga Zoo's natural amphitheatre, the concert series will run from Friday, January 31 to Saturday, March 7, 2020. And we've got some real humdingers to look forward to including Aussie rockers Wolfmother, US gospel queen Mavis Staples, NZ synth-pop duo Broods and the Gravy King himself Paul Kelly (who'll be performing with composer James Ledger, singer Alice Keith and the Seraphim Trio). Band member from You Am I, Powderfinger, Jet and Spiderbait will also come together as the Australian Rock Collective to perform hits off The Beatles' Abbey Road album with Linda Bull. And, as always, the ABBA tribute act Bjorn Again will be back by popular demand. You can BYO a picnic, but there'll also be gourmet hampers available onsite alongside a handful of food trucks. Tickets include discounted same-day entry into the zoo (so you can sneak in a visit to your favourite mammal, bird or reptile beforehand) and, if you want to make a weekend of it, you can add on a night at Taronga's luxe new eco-retreat. As always, all proceeds will go back into Taronga's ongoing conservation work, including its campaign to protect our marine life. So, you can see a gig and feel good about helping the zoo. Get excited and check out the full lineup: [caption id="attachment_745448" align="alignnone" width="1920"] Taronga Zoo Wildlife Retreat[/caption] TWILIGHT AT TARONGA 2020 SUMMER CONCERT SERIES LINEUP Friday, January 31: Broods Saturday, February 1: Wolfmother Friday, February 7: Pete Murray Saturday, February 8: ARC perform 'Abbey Road' Live Friday, February 14: Bernard Fanning Saturday, February 15: Sunnyboys Friday, February 21: Kasey Chambers Saturday, February 22: James Morrison Big Band Friday, February 28: Paul Kelly in 'Thirteen Ways to Look at Birds' with James Ledger, Alice Keith and Seraphim Trio Saturday, February 29: Bjorn Again Thursday, March 5: Mavis Staples Friday, March 6: Meg Mac Saturday, March 7: Comedy Gala Tickets for Twilight at Taronga 2020 Summer Concert Series go on sale at midday on Thursday, October 31 via twilightattaronga.org.au.
Harvest is back for its second year and the official lineup has now been announced. International favourites on the lineup include Beck, Sigur Ros, Grizzly Bear and Santigold. At Harvest's debut last year, festivalgoers witnessed performances from Portishead, The Flaming Lips, The National and TV On The Radio at what most hoped would be the first of many festivals to come. With rumours about the 2012 installation circulating for weeks, it was hard not to be excited when the full lineup for the November events came through at last. Tickets go on sale to the public on Thursday, June 28 at 9am from Harvest Festival, Oztix & Ticketek. Harvest Festival 2012 lineup: Beck Sigur Ros Grizzly Bear Mike Patton's Mondo Cane Santigold Beirut Cake The Dandy Warhols The Black Angels Chromatics Ozomatli Liars Ben Folds Five F**K Buttons The War on Drugs Dark Dark Dark Plus many more to be announced... Harvest 2012 dates: Sunday, November 11 at Melbourne's Werribee Park Saturday, November 17 at Sydney's Paramatta Park Sunday, November 18 at Brisbane's Botanic Gardens
Sydney's CBD has landed a major dose of the Tokyo-esque practical and compact, with the former Bar Century space reopening in May as The Capsule Hotel, a three-storey, luxury boutique stay. The George Street cheap drinks den, which closed in 2016, was taken over by developer Walter Guo, who invested a massive $5 million on a full interior refurb, carried out by interior design consultants Giant Design. The heritage building has somewhat retained its vintage fit-out but with more of a nod to the futuristic space-like capsules of The Fifth Element. The bar and hotel are running as separate entities, with the first two levels acting as The Century Bar, while the top three floors of the building are dedicated to the capsules. Each of the 70 capsules contains a large flatscreen TV and entertainment system, Wi-Fi, and a climate control panel. Guests can choose from single or deluxe beds with entry from either the side or the end of the capsule. The communal facilities include a kitchen space, breakfast bar, lounge area, rooftop terrace and individual bathrooms. If you're worried about security, don't be — each capsule is fitted with a secure lock and the security desk runs 24-hours. But let's set the record straight — The Century is not a hostel, and it's not aimed at overindulgent locals that can't seem to make it back home. "The accommodation, which is not quite hotel nor hostel, is aimed at solo travellers looking for something more private than a typical backpackers and those who want the designer hotel experience on a budget," says Christopher Wilks, an associate at Giant Design. It's set to sit well within your budget, with prices ranging from $50-90 a night. Which, depending on how far from the CBD you live, could be a lot cheaper than a cab home at 1am.
Given the Fast and Furious franchise's title, you'd think that driving speedily and passionately is what this big-budget film series is all about. Chaotic and OTT car antics play a hefty part, as the 2001 original, its seven sequels to-date and its 2019 spin-off have all shown via a constant onslaught of hectic stunts. But if there's one thing that this Vin Diesel-starring and -produced saga loves just as much as vehicular mayhem, it's family. Over the years, Diesel's Dominic Toretto has extended the term 'family' to include not only his girlfriend-turned-wife Letty (Michelle Rodriguez), his sister Mia (Jordana Brewster), her husband Brian (the late Paul Walker) and their various offspring, but their extended motley crew of fast-driving pals as well. Dom talks about family rather often, usually over a few Coronas with said friends and family. The gang has even faced off against a family of adversaries, courtesy of brothers Owen and Deckard Shaw (Luke Evans and Jason Statham), and their mother Magdalene (Helen Mirren). So, when it comes to Fast and Furious 9, it's unsurprising that the franchise is leaning heavily on one of its favourite concepts. Obviously eye-catching, jaw-dropping stunts also feature — complete with a rocket car (yes, really) — but somehow, the saga hasn't expended all family-related options just yet. As both the initial trailer back in early 2020 and the long-awaited, just-dropped second trailer for the delayed flick reveals, the villain this time is John Cena, who joins the series as Dom's younger brother Jakob. When the film hits cinemas in June after being postponed for more than a year due to the pandemic, don't expect a happy sibling reunion. This flick's outlandish set pieces will pit Dom and the crew against Jakob, who has teamed up with returning criminal mastermind Cypher (Charlize Theron). Basically, they could've called this film Fast and Furious: More Stunts and More Family, which is exactly what both trailers so far serve up. Of course, that's what's made this franchise a huge box-office success for two decades now — and those action scenes, while typically defying logic, physics and gravity, are always expertly, astonishingly and entertainingly choreographed. As well as Diesel, Rodriguez, Brewster, Cena, Theron and Mirren, Fast and Furious 9 also stars franchise mainstays Tyrese Gibson and Ludacris, plus Game of Thrones' Nathalie Emmanuel (who joined the series back in 2015's Furious 7 and is now considered part of Dom's family). And, it features the highly anticipated return of Sung Kang as Han, which is quite the narrative development if you've been following every quarter mile this series has ever sped across. After a two-film absence, the movie also marks the return of The Fast and the Furious: Tokyo Drift, Fast & Furious, Fast Five and Fast & Furious 6 director Justin Lin. Check out the new trailer for F9 below: https://www.youtube.com/watch?v=xzVw9QTBKJk Fast and Furious 9 releases in Australian cinemas on Thursday, June 17. Image: 2021 Universal Studios. All Rights Reserved.
Wearing a pair of R.M. Williams says 'I'm ready for anything'. You could be going to the pub, walking into a work meeting or heading out to the farm to milk the cows. Sparkly footwear doesn't quite conjure up the same feelings of practicality. Well, until R.M. Williams released a special run of boots in gold metallic. For the past two years, the Aussie bootmaker has released a limited run of metallic gold boots to much fanfare — the shoes sold out quicker than most of us could transfer all our money into one bank account to pay for them. So we're sure more than a few people will be happy to hear that R.M.s will release a new limited edition metallic boot, this time in silver. This time it's the women's Millicent boot that has received the sparkly treatment. As with each R.M. boot, these have been crafted out of a single piece of leather and feature the same slim shape, elegant stitching and tapered heel cuban heel of the regular Millicent range. Each pair will be made to order, so expect a two-week delivery timeframe. R.M.s are arguably Australia's most iconic shoe. From a modest start in the Adelaide outback servicing the stockmen and women of the heartland, 85 years later, a diverse range of people still wear the boots — from farmers in the outback, to corporate businessmen, to the style set at fashion week. Australian designer Dion Lee has used R.M.s regularly in campaign shoots and runway shows, even creating his own for New York Fashion Week in 2014. Continuing to embrace contemporary styles and adapting to modern fashion without sacrificing their DNA has surely guaranteed the longevity of this historic label. This latest addition to the women's range is only available online. At $545 a pair, they're not exactly cheap — but if you're looking for an investment piece, a pair of R.M.s is the very definition of the phrase. If you ask nicely, maybe someone will chip in for them for Christmas. R.M. Williams' silver Millicent boots are available to order now at rmwilliams.com.au.
When it comes to movies, we sometimes use 'Hollywood' as a pejorative. We might employ it to mean schmaltzy, unrealistic, vapid and other similar unpleasantries. But when I say The Secret Life of Walter Mitty is the ultimate Hollywood movie, I mean it's the good side of Hollywood, all packaged and wrapped up in time for Christmas. Funny, optimistic, life-affirming and full of pretty pictures and massive special effects, the film is something of a passion project for Ben Stiller, who directed, produced and stars in it. It's adapted from a 1939 short story by Jamie Thurber that's been reshaped entirely beyond its basic premise. The film follows a quiet Life magazine staffer as he learns to seize the day. As the head of the negative assets department, Walter is responsible for selecting and processing the works of their world-roving star photographers, chief among them the shamanistic Sean O'Connell (Sean Penn). But Walter has never experienced this wide world for himself, after the blows of life turned him timid. Instead, he imagines epic adventures for himself — diving into exploding buildings to save a dog, hiking the Arctic and, in a high point of the film, living a backwards Benjamin Button-like life with the woman he loves. That he 'zones out' while engaged in these daydreams does not help his social standing in cutthroat New York. Life doesn't exist any more, and The Secret Life of Walter Mitty is set in the dying days of the monthly magazine. Ted Hendricks (a disconcertingly bearded Adam Scott) is brought in to oversee the move from print to online and the accompanying rafts of redundancies, and Walter is firmly in his sights. Unfortunately, Walter can't find Sean's 'negative 25', which the photographer has described as capturing the "quintessence of life" and which is wanted for the final cover. Given new courage by love — in the form of colleague Cheryl (Kristen Wiig) — he sets off to track down Sean and the missing negative, using the few clues he has. Iceland is his starting point for a very big adventure that sees his latent resourcefulness and cool coming to the surface. For a mainstream, very feelgood film, it's the weird quirks that make The Secret Life of Walter Mitty loveable. Aside from the interjecting daydream worlds, Walter is shadowed by an over-caring eHarmony customer service representative, Todd (Patton Oswalt), who's determined to help him succeed in love. Their phone chats, coming at inevitably odd times throughout the film, are always funny and welcome. The Secret Life of Walter Mitty is really ideal New Year's rather than Boxing Day fodder, egging you into living fully and booking that adventure holiday you've been putting off. There's so much focus on travel as a means to self-realisation, in fact, that it's ultimately to the film's detriment. It's simplistic; skateboarding down the valley of an active volcano might make you a more open person, or it could make you a twat. All outcomes are possible for the intrepid traveller. But that shouldn't ruin the journey of The Secret Life of Walter Mitty. It's a charmer with a good heart and a healthy dose of unrealism. https://youtube.com/watch?v=7ve8mc6UNSk
Classic flicks just keep making the leap to the stage, turning their big-screen tales into song-filled musical adaptations in the process. From 9 to 5 and Muriel's Wedding to Moulin Rouge! and Shrek, a hefty number of beloved movies have done just that — and now Adam Sandler's smash-hit film The Wedding Singer is joining them. The Wedding Singer: The Musical Comedy was originally due to hit Melbourne in June this year but, as we all know, the pandemic hit. Now it'll head to the city in April 2021, before hitting up the Gold Coast in June and Sydney in July. When it does finally arrive on our shores, The Wedding Singer: The Musical Comedy will deliver an all-singing, all-dancing stage show based on its hilarious namesake 90s flick. And it's from the same crew that propelled it to sell-out success on Broadway and across the UK, including the writer of the original movie, Tim Herlihy. This one promises to yank you right into The Wedding Singer's 80s world of big hair and classic wedding bangers, thanks to a toe-tapping score that's sure to prompt a few hearty crowd singalongs. It retells the story of party-loving wedding singer and wannabe rock star Robbie Hart, who's left stranded at the altar at his own nuptials. Heartbroken, he sets out to destroy every other wedding he's a part of, until a chance encounter with a waitress: Drew Barrymore's character Julia. Now, he just has to win over the girl... and somehow put a stop to her own upcoming marriage along the way. If you need a refresher, you can watch the OG nostalgic film trailer below: https://www.youtube.com/watch?v=8yjOXMTa6vA THE WEDDING SINGER: THE MUSICAL COMEDY AUSTRALIA 2021 TOUR Melbourne: from Friday, April 30 at The Athenaeum Theatre, with tickets via Ticketek Gold Coast: Wednesday, June 16–Saturday, June 26 at HOTA, Home Of The Arts, with tickets via the venue Sydney: from Thursday, July 1 at the State Theatre, with tickets via Ticketmaster The Wedding Singer: The Musical Comedy starts touring Australia from Friday, April 30, 2021, with seasons in Melbourne, on the Gold Coast and in Sydney. Tickets go on sale on Tuesday, December 1 — for more details, and to join the waitlist, head over to the show's website.
During lockdown, Tacos Muchachos transformed a Surry Hills cafe into a pop-up Mexican restaurant, serving up exciting Mexican street food dishes to anyone within five-kilometres of the shop. It proved a hit with locals — people flocked to their quesabirria tacos, takeaway margaritas and al pastor nights. Following lockdown, the cafe took back custodianship of the Surry Hills space, so Tacos Muchachos went looking for a new home. Now, they've settled on the ground level of Chippendale's new Mexican-inspired boutique accommodation, Hotel Hacienda. The menu has stayed consistent with the pop-up: nachos ($18), consommé ($4), street-style burritos ($18) and quesabirria tacos ($18). These tacos are what will keep you coming back. The rich and cheesy showstopper are a must-try. And, Sydneysiders are sure to be excited by the unique flat and crispy burrito packed filled with refried beans, sautéed onions, jalapenos, cheese and your choice of fillings. An exciting rotation of weekly specials are continually popping up, with tortas and al pastor to be added to the menu soon. The Tacos Muchachos crew sourced their al pastor machine from Mexico and marinate their pork shoulder in achiote, pineapple juices and citrus. As for the drinks, a classic margarita ($10 during happy hour) or agua fresca ($5) spiked with tequila are currently on offer as well as a selection of beers and Jarrito sodas ($6). Head in between 5–6pm and you'll be treated to a happy hour special on drinks, with more cocktails soon to be offered. Tacos Muchachos is located at 179 Cleveland Street, Redfern. It's currently open 5.30pm until late Thursday–Saturday.
Founded in the late 80s, the Boomalli Aboriginal Artists Co-operative exists to celebrate, promote and support Aboriginal artists from all over NSW. The Leichhardt space showcases an original collection of works from artists both experienced and emerging. Each exhibition shares a special part of Aboriginal history and connection to Country, through multidisciplinary art forms including painting, ceramics and screen printing. We suggest visiting Boomalli for one of its regular openings, which you'll find details of on its Facebook page. Enjoy a glass of wine, check out the art at your own pace, connect with the artists and learn more from the passionate team who run the space. Images: Sharon Hickey
Actors are sometimes accused of narcissism, attention-seeking behaviour and daftness. The Lunch Hour by Chris Aronsten at Darlinghurst Theatre, directed by Kate Gaul, is not helping. The play is a self-referential, singing, dancing farce about actors employed at a theatre box office, where they surreptitiously work on grant applications and project ideas whilst being hounded by their ineffectual washed-up boss, Martin, a playwright. Theatre about theatre can be plagued by in-jokes and narrowness, but it doesn't have to be a sentence to irrelevance. The Sydney Theatre Company's The Histrionic was about theatre as well as (among other things) the xenophobia of Austria and, by extension, Australia. The Lunch Hour, by comparison, is theatre about only theatre. It reveals some extreme narcissism on the part of Aronsten and a poor programming decision by Darlinghurst Theatre. What seems to have been intended as a cathartic group hug for struggling artists is more like an embarrassing 'overshare', to use an ugly word. These details of actors' lives are neither interesting nor dramatic. Often when plot is missing there are at least some remarkable relationships to hone in on, which in this case are also not forthcoming. Some of the cast have moments of triumph over the text. For example, Branden Christine playing a grouchy Fran has some smooth dance moves and very funny rapping. Similarly, Briallen Clarke playing a dopey Felicity and Bali Padda playing the cleaner, Ali, were comic standouts. The problem with this play is not so much its tiny scope but its complete lack of breadth. David Williamson and Joanna Murray-Smith may be prime examples of Australian parochialism, but they at least attempt to tell relevant stories, after a fashion. The Lunch Hour is not only provincial; it is also about absolutely nothing. Thankfully, this sort of infantile storytelling is an exception to Sydney's otherwise stimulating theatre community.
Thomas M. Wright, director of Doku Rai (you, dead man, I don't believe you), prefaces our interview with a disclaimer. "The difficult thing to begin, with talking about Doku Rai, is to acknowledge that we can only ever scrape the surface," he asserts, caffeine-eyed after "seven hours' sleep over the past four days". "Talking to me about this production is like talking to one angle of a cut stone. You're only going to see it through my prism. Every time I talk with others involved, the number of refractions is just infinite. You'll hear every event from a different perspective. The stories are limitless." Doku Rai is a collaboration between Melbourne's Black Lung Theatre and Whaling Firm and "East Timorese rock gods" Liurai Fo'er and Galaxy. It opened last year at Darwin Festival, Melbourne Arts House and Adelaide Festival. Having appeared at Brisbane Festival last week, it will come to Carriageworks on 25-28 September. As well as being a co-founder of the Black Lung and renowned theatre actor, you might remember Wright for his role as Johnno Mitcham in Jane Campion's Top of the Lake, for which he received a Best Supporting Actor nomination at the 2013 US Critics' Choice Awards. AN ABANDONED HOTEL, A REMOTE ISLAND Doku Rai is the first ever international theatre production to emerge from Timor-Leste. Conceived in 1999 when Wright met East Timorese actor, rock star and ex-guerrilla fighter Osme Gonsalves on the set of Balibo, it came to fruition 18 months ago. For 60 days, 30 Australian and East Timorese creatives holed themselves up in an abandoned colonial motel on the volcanic island of Atauro. Their mission: to create an epic work of cross-cultural collaboration; their method: undecided. "The word confronting doesn't even begin to describe the process of making this work," Wright says. "The writing was very complex. It took a lot of different forms — slabs of text from anecdotes, personal conversations, improvisation, individuals' writing, writing that already existed — interwoven in a way that an audience can only sense, and not really know, because there are so many circumstances, histories, myths and real events. But that's what gives it its sense of depth." TWO BROTHERS, A CURSE AND A DEATHLESS MURDER At Doku Rai's core is the "mythical structure" of two brothers, a curse and a man who is killed but cannot die. "A doku is a curse — a weapon — that has been used through the past twelve generations or more of occupied Timorese," Wright explains. "It's a tool by which, in a ceremony, you take all the coherence from a person, you rob them of their faculties, and that makes them vulnerable for you to do what you will with them. "Literally, the act of doku is 'turning over'. So, you set a table for a meal, with a place set for the absent person. You all share in the food, and at the end, you perform a ceremony. You cut open the liver of a chicken to get an augury and then turn the absent guest's plate, bowl and glass upside down. That is the acting of the curse. 'Rai' means earth, soil, so Doku Rai means 'to curse the earth', or 'the turning of the earth'." SHATTERING PATERNAL ASSUMPTIONS With this imagery at its dark heart, Doku Rai is driven by the personal, rather than the political. Unconfined by a linear narrative or governing aesthetic, it combines rock music, multimedia, unexpected dashes of black humour and a surprise guest, in the form of a live rooster, in an indefinite setting. "It has moorings in the world of East Timor and echoes of the Portuguese colonial past, but it's a fictional reality," Wright explains. "It has, certainly not aesthetic echoes of the Australian engagement, but thematic ties ... In Australia, we do have a very condescending, very paternal relationship with a lot of our neighbours. And we wanted to shatter that — to make something on purely personal terms. We know that the political implications and political realities are all there; we don't need to foreground them. They take care of themselves, just by dealing with personal stories. Beyond [Doku Rai] is a three-dimensional, constantly evolving life, with a past that goes back a long way and a future that also extends outward. There is certainly a responsibility with the audience to invest - to place themselves into scenarios and to consider the real people and the circumstances behind the making of the work. No matter how interesting and taut and strong a work we make, it's only ever going to be as interesting as the process of making it, at best." REHEARSING THROUGH BLACK OUTS AND GUN BATTLES That process was about as "interesting" as it gets. Wright and his team battled black outs, water shortages and gun battles. "When we did the show in Dili," he recalls, "we had to do it in very reduced circumstances, because there was a total 'no movement' order issued by the Department of Foreign Affairs and Trade. Violence had broken out following an election, which was very, very frightening. Half of us were stranded on the island and half of us were in lockdown in a house which was isolated down a corridor of gangs in Dili. Our producer, Alex Ben-Mayor, had to drive through a gun fight. Two of the students of our production members were shot in the head and killed by police." That's but a microcosm of what daily life in East Timor can entail. "To be honest, and to be clear, their stories are screaming to be told," Wright asserts. "We've told our stories for years and years and years." Doku Rai (you, dead man, i don't believe you) will show at Carriageworks between Wednesday September 25 and Saturday September 28, 2013. Shows start at 8pm, plus there's an additional 2pm matinee on Saturday September 28. Tickets, $35, are available online.
