It was a time where prosperity came crashing to a halt. A period riddled with emergency, panic and political buzzwords. Where the only solution was to spend our way out of trouble. Everybody was to blame. Nobody was to blame. Here it all is, distilled in one hour of performance. Sounds like a hoot! Okay maybe not at first. But take one acclaimed Australian performance group, 60 minutes and then consider the fact that the ladies are: (a) not experts on this subject, and (b) decided not to do any research beforehand. And all of a sudden the Global Financial Crisis is an absolute scream. In a single hour, performance trio post (Zoe Coombs Marr, Mish Grigor and Natalie Rose, who are about to tour this work to the UK) attempt to explain all things GFC. Staged at the recently reopened Giant Dwarf Everything I know about the Global Financial Crisis in One Hour is a bold take on a serious reality and a guaranteed night of hilarity and education. Maybe.
It's no secret that Sydney is home to some amazing bars, breweries and pubs. There's nothing better than sitting back in your favourite spot, with your favourite drink and getting stuck in with your best mates. And there's nothing worse than getting hungry and realising you'll need to give up your table in search for a feed elsewhere. But, while most of our top bar picks don't have kitchens, it turns out some of them allow patrons to bring in any food they fancy. So, we've teamed up with DoorDash to bring you some excellent spots around the city where you can settle in with a schooner in one hand and a snack in the other.
Are you the kind of gin drinker who believes that if you want something done right, you'll have to do it yourself? Well, have we got an activity for you. The Archie Rose Distillery Company is hosting a 'Blend Your Own Gin' course with Work-Shop at their Rosebery warehouse from June 17. After a signature dry gin and bush tonic on arrival, the gin savants of Archie Rose will guide you through the distillation process and give you the means to blend two varieties to take home and guzzle straight from the bottle. The session will be led by Dave Withers, a renowned spirits authority and whisky expert, and the Archie Rose team will pop their heads in to taste how you're going. They’ll also teach you a bit about the history of gin, so you can show off to the bartender next time you order a G&T at your local. You can select the infusions that match your gin-style and choose from such whimsical flavours as native blood lime and river mint or juniper and cassia bark. Perhaps trying pushing the boat out and whip up a Vegemite-flavoured gin? No, no please don't, no one should ever ruin a good thing with Vegemite. The Archie Rose Distillery Company is the first distillery to open in Sydney for 160 long, dry years and it’s really living up to the hype. As well as the Blend Your Own Gin workshop, the crew is offering distillery tours and food events throughout winter in partnership with Black Star Pastry, and they’re even conjuring up a Tailored Spirits service available to order online and have delivered straight to your door (as if we weren’t tempted enough). Archie Rose and Work-Shop's 'Blend Your Own Gin' workshop starts on June 17 from 6.15pm – 8.30pm at 85 Dunning Ave, Rosebery. Tickets are $95pp (available here).
One of Australia's all-time great comedies, an Oscar-winner for Best Costume Design and a film that's made the leap from the screen to the stage as well, The Adventures of Priscilla, Queen of the Desert turns 30 in 2024. But that isn't the only reason to celebrate the movie right now. The Guy Pearce (The Clearing)-, Hugo Weaving (The Royal Hotel)- and Terence Stamp (Last Night in Soho)-starring flick is receiving a follow-up, with writer/director Stephan Elliott announcing a sequel. The filmmaker with Welcome to Woop Woop, A Few Best Men and Swinging Safari similarly on his resume has confirmed that a second Priscilla, Queen of the Desert picture is on the way — with Pearce, Weaving and Stamp all returning. They'll reprise their roles as Adam aka Felicia Jollygoodfellow, Tick aka Mitzi Del Bra and Bernadette Bassenger, respectively, with starting shooting in Australia this year the plan. Elliott, who is writing and directing again, revealed the news to Deadline. "I'm not repeating myself, we'll start the new film in Australia, but by god, we're going on one helluva journey," he advised the publication. "The original cast is on board, I've got a script that everybody likes, we're still working out deals... It's happening," he continued. Alongside stepping back into the lives of the three drag queens who drove a bus across the outback in the 1994 movie, the as-yet-unnamed sequel will introduce new characters. Elliott flagged that Weaving's Tick had a seven-year-old son in the OG film; "he's grown up now," he said. Soundtrack-wise, after the initial flick featured ABBA, Gloria Gaynor's 'I Will Survive' and Alicia Bridges' 'I Love the Nightlife', viewers can expect "old disco classics, but we'll be moving into contemporary as well," Elliott also noted. There's no word yet of a release date, or other cast members — or where in Australia the film will take place, after the first movie journeyed from Sydney to Alice Springs via Broken Hill and Coober Pedy. But it's certainly a big time for Aussie cinema greats with links to Broken Hill scoring new instalments right now, given that the Mad Max franchise is about to drop Furiosa. There's obviously no sneak peek at the sequel to The Adventures of Priscilla, Queen of the Desert yet, but check out the trailer for the original movie below: There's no release date yet for sequel to The Adventures of Priscilla, Queen of the Desert — we'll update you when more details are announced. Via Deadline.
Some farewell tours seem to last forever — and, thanks to the pandemic, Elton John's Farewell Yellow Brick Road tour is one of them. Since September 2018, the music star has been saying goodbye all around the globe, including making the trip Down Under already. But what was meant to be his final trip our way resulted in some rescheduled gigs, so he's back again, playing two last-ever Sydney shows. It's been a big few years for the singer, not only with the huge tour — which spans more than 300 concerts across five continents — but with his life story hitting the big screen in biopic Rocketman. He had a massive first round of his Farewell Yellow Brick Road tour in Australasia, too, with over 705,000 tickets sold to gigs a three-month period that spanned 34 Australian and six New Zealand dates from November 2019. Missed out then? Keen to go again? In Sydney, he'll light up Allianz Stadium on Tuesday, January 17 and Wednesday, January 18. Fans can expect to feel the love through all of his hits, including 'Rocket Man', 'Tiny Dancer' 'Bennie and the Jets', 'Crocodile Rock', 'I'm Still Standing' and 'Saturday Night's Alright for Fighting'. The concerts will also feature never-before-seen images and videos show from John's 50-year career — well, never seen before the tour — which'll be displayed throughout the show. When the Farewell Yellow Brick Road tour comes to an end, John will retire from touring after five decades on the road. If that all sounds rather massive, that's John's career in a nutshell. He's played more than 4000 shows across his career, sold more than 300 million records worldwide and holds the record for the biggest-selling single of all time thanks to the 1997 version of 'Candle in the Wind'. https://www.youtube.com/watch?v=DtVBCG6ThDk Image: Ben Gibson.
Australians really love prawns — and Ballina Prawn Festival knows it. They've dedicated an entire day in honour of everyone's favourite crustacean, and that day is November 11. Set in Ballina's Missingham Park on the banks of the Richmond River, the day will be marked by parades, music, rides and all the prawns you can eat. The festival stalls will be sizzling prawns of all sizes while events happen in every direction, including a prawn shelling competition and a signature dish competition. There will also be a boat parade celebrating the prawn industry, fireworks, amusement rides, live music and sand castle building. Yeah, it'll be the truest form of an Aussie-as day.
If you want to really rock mum's world this Mother's Day — and treat yourself to some very cute photo ops in the process — there's one family brunch you need to pop on your radar. On Saturday, May 8, and Sunday, May 9, Wild Life Sydney Zoo is hosting an indulgent high tea right in the heart of the animal action. Yes, you'll be eating up on its Koala Rooftop. As a guest, you'll get to tuck into a feast of sweet and savoury bites — think: chicken waldorf finger sandwiches and house-baked scones — along with one hour of bottomless mimosas. And, you'll enjoy views of the zoo's cuddly koalas munching on their own brunch of eucalyptus leaves in the adjacent enclosure. Obviously, that means you'll have plenty of opportunities to take koala selfies. Tickets to the unique feast are $95, which includes the opportunity for a self-guided zoo tour before brunch (so you can scope out some of the other adorable fauna). You've got three sessions to choose from each day, starting at 11am, 12.30pm and 2pm. And we know what you're thinking — no one said it was just for mums, right?
There were some pretty happy snow bunnies across Victoria and NSW this weekend, as many of the states' ski fields scored record-breaking snow falls, just two weeks after the official start of this year's ski season. The powder bucketed down across the weekend, with Sunday morning seeing Victoria's Mt Buller reporting its fifth deepest snow at this point in the season for the past 40 years. Fellow Victorian ski resort Mt Hotham this morning reported an extra 16cm of snow, beefing up its base to 80cm — the biggest its seen for the second week of the ski season in decades. The mountain has had 95cm of snow altogether this season, with 90cm of that falling in the last seven days. Further north, NSW's Perisher scored another 10cm of fresh snow overnight, bringing the total from the weekend's snow storms there to 82cm. And Thredbo is also covered in a hefty blanket of white, with 20cm of fresh snow in the past 24 hours, pulling its season total to 85cm. https://twitter.com/BOM_Vic/status/1007411165943730177 According to the Bureau of Meteorology, Victoria's alpine areas have only seen the start of it, with a further 25cm to 50cm expected to drop over the next three days. Meanwhile, conditions in NSW are set to clear right up, as the storm there reaches its end before the middle of the week. Top image: Thredbo
The Australian Ballet's Celebration Gala, currently playing at the Sydney Opera House's Joan Sutherland Theatre, is such an excellent showcase of talent within the company that it's impossible to resist hyperbole. If you are deeply into ballet or simply have a minor appreciation for the artform of dance in any genre, the Celebration Gala is basically a greatest hits collection of solos and pas de deuxs that inspires you to dig into the superlatives. It's stunning. It's emotional. It's amazing what the human body is capable of. Among the 2022 program highlights previewed here are evergreen blockbuster bangers like the White Swan pas de deux from Swan Lake and the iconic pas de deux from Act II of The Nutcracker, as well as contemporary pieces including the wrenchingly beautiful Clay — choreographed by brilliant Australian talent Alice Topp, and Chroma by trailblazing British choreographer, Wayne McGregor. The performances are accompanied by the Opera Australia Orchestra, flexing the Joan Sutherland Theatre's sound system and acoustics to full effect. Next year, the huge 2022 program will be brought to stages across Australia under the meticulous and artful oversight of David Hallberg in his second season as Artistic Director. In the meantime, for the dancers' long overdue return to the stage, the Celebration Gala really is just that: a celebration. [caption id="attachment_834967" align="alignnone" width="1920"] Karen Nanasca and Nathan Brook, Australian Ballet[/caption] All images: Dan Boud.
The City of Sydney has announced a plan to transform laneways and unused spaces throughout the city, with new pedestrian walkways and art installations to form part of the revitalisation proposal. The plan will form part of the inner city council's post-lockdown recovery measures which include increased al fresco dining and increased pedestrian access on George Street. The council has identified ten priority projects that they'll work on over the next ten years, kicking off in 2022, which include: Barlow Street, St Laurence Lane, Curtin Place, Hamilton Street, Little Hunter Street, Randle Lane, York Lane, Wynyard Lane, Underwood Street and Dalley Street. Barlow Street, which is currently home to artwork by local artist collective Dirt Witches, will be turned into a permanent landscape installation space in the western section of the street. The current installation incorporates a micro forest made from 30 plant species including critically endangered eastern suburbs banksia scrub, as well as sugarbag stingless native bees and their hives. [caption id="attachment_796785" align="alignnone" width="1920"] Dirt Witches' Barlow Street micro forest[/caption] Curtin Place, Hamilton Street and Little Hunter Street will all receive upgrades in order to create a network of laneways connecting George Street's new pedestrian-friendly public spaces and Pitt Street. Meanwhile, Randle Lane, York Lane and Wynyard Lane will all be revitalised to create better pedestrian access around Wynyard and Central Station. 26 laneways have been upgraded with bars, restaurants, retail outlets and art installations by the City of Sydney over the past 15 years. The program to transform laneways was first introduced back in 2007. Previous success stories of the council's push to upgrade these spaces include Angel Place, Ash Street and Tank Stream Way. "We're giving a new lease of life to forgotten spaces in the centre of Sydney to welcome people back into the city when it's safe to do so, and support local businesses that have been devastated by the ongoing pandemic," Lord Mayor Clover Moore said. "The need to accommodate physical distancing while encouraging a return to the city centre makes the latest steps in our laneways revitalisation program an ideal investment in our city's future." You can read more about the City of Sydney's laneway program at the council's website.
UPDATE: MONDAY, AUGUST 17 — Taco Tuesdays has been extended by two weeks until August 25. To celebrate its weekday reopening, award-winning cocktail bar PS40 has teamed up with much-loved Mexican eatery Chica Bonita to bring Sydneysiders an after-work treat. Taco Tuesdays will take over the CBD laneway bar from July 21–August 25, with a different regional taco and cocktail menu on offer each week. As can be expected from these two powerhouses, the menu will be elevated well above your standard taco night offering. It's also the city crowd's chance to taste some of chef Alejandro Huerta's incredible cooking, as the Chica Bonita CBD location remains closed. Kicking off on Tuesday, July 21, the menu will begin with tacos from Mexico City. Varieties will include wagyu with salsa verde and cilantro; truffle and potato with Oaxaca chilli; shredded chicken and chorizo with queso fresco and avocado leaf; and haloumi with charred avo, chicarrón and roasted salsa roja. Apart from the four tacos, punters will also receive a special margarita or themed cocktail on arrival — and it'll cost $50 all up. [caption id="attachment_654874" align="aligncenter" width="1920"] Alana Dimou[/caption] Bookings are available via email at 6pm, 7.30pm and 9pm each Tuesday. As the bar will be open for just 30 guests during each time slot, all four nights are likely to sell out, so get in quick. Top image: Chica Bonita, Kitti Gould.
It has finally happened again, Sydneysiders. The city's projectors remained silent, its theatres bare and the smell of popcorn faded during the city's almost four-month-long lockdown; however, Sydney's picture palaces are now back in business. When stay-at-home restrictions are in place, no one is ever short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over over the last year or so, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent more time than usual in the past 18 months 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 films are hitting cinemas so that you can do just that. And, after checking out the best new movies that you could only see on the big screen when picture palaces reopened, we've now rounded up, watched and reviewed the new movies that have just arrived in theatres this week. LAMB Just over a decade ago, Noomi Rapace was The Girl with the Dragon Tattoo — The Girl Who Played with Fire and The Girl Who Kicked the Hornet's Nest, too. After starring in the first film adaptations of Steig Larsson's best-selling Millennium books, the Swedish actor then brought her penchant for simmering ferocity to Alien prequel Prometheus, and to movies as varied as erotic thriller Passion, crime drama The Drop and Australian-shot thriller Angel of Mine. But Lamb might be her best role yet, and best performance. A picture that puts her silent film era-esque features to stunning use, it stares into the soul of a woman not just yearning for her own modest slice of happiness, but willing to do whatever it takes to get it. It also places Rapace opposite a flock of sheep, and has her cradle a baby that straddles both species; however, this Icelandic blend of folk-horror thrills, relationship dramas and even deadpan comedy is as human as it is ovine. At first, Lamb is all animal. Something rumbles in the movie's misty, mountainside farm setting, spooking the horses. In the sheep barn, where cinematographer Eli Arenson (Hospitality) swaps arresting landscape for a ewe's-eye view, the mood is tense and restless as well. Making his feature debut, filmmaker Valdimar Jóhannsson doesn't overplay his hand early. As entrancing as the movie's visuals prove in all their disquieting stillness, he keeps the film cautious about what's scaring the livestock. But Lamb's expert sound design offers a masterclass in evoking unease from its very first noise, and makes it plain that all that eeriness, anxiety and dripping distress has an unnerving — and tangible — source. The farm belongs to Rapace's Maria and her partner Ingvar (Hilmir Snær Guðnason, A White, White Day), who've thrown themselves into its routines after losing a child. They're a couple that let their taciturn faces do the talking, including with each other, but neither hides their delight when one ewe gives birth to a hybrid they name Ada. Doting and beaming, they take the sheep-child into their home as their own. Its woolly mother stands staring and baa-ing outside their kitchen window, but they're both content in and fiercely protective of their newfound domestic happiness. When Ingvar's ex-pop star brother Pétur (Björn Hlynur Haraldsson, Eurovision Song Contest: The Story of Fire Saga) arrives unexpectedly, they don't even dream of hiding their new family idyll — even as he's initially shocked and hardly approving. Enticing, surreal and starkly unsettling all at once, Lamb also benefits from exceptional animal performances — it won the Cannes Film Festival's Grand Jury Prize for Palm Dog, the prestigious event's awards for best canine acting — and its own savvy. It nabbed Un Certain Regard Prize of Originality at Cannes as well, but the movie's shrewdness isn't limited to its standout concept. Each patient shot that roves over the hillside, peeks through the fog, and soaks in the strain and pressure is just as astute. Each rustle, huff and jangle in the film's soundscape proves the same. Every aesthetic decision paints Lamb in unease and uncertainty, in fact, and lets its lingering gaze towards the steely Rapace, affecting Guðnason and their four-legged co-stars unleash an intense and absurdist pastoral symphony of dread and hope, bleakness and sweetness, and terror and love. Read our full review. THE ALPINIST Standing atop Yosemite National Park's El Capitan after scaling it alone and without ropes, harnesses or any other safety equipment, Alex Honnold cut a surprisingly subdued figure. As the Oscar-winning documentary Free Solo captured, he was obviously ecstatic, but he isn't the type to leap and scream with excitement. So, he smiled blissfully. He also advised the cameras that he was "so delighted". In the opening moments of new doco The Alpinist, however, he is effusive — as enthusiastic as the no-nonsense climbing superstar gets, that is. In a historical clip, he's asked who he's excited about in his very specific extreme sports world. His answer: "this kid Marc-André Leclerc." Zipping from the Canadian Rockies to Patagonia, with ample craggy pitstops in-between, The Alpinist tells Leclerc's tale, explaining why someone of Honnold's fame and acclaim sings his praises. Using the Free Solo subject as an entry point is a smart choice by filmmakers Peter Mortimer and Nick Rosen — industry veterans themselves, with 2014's Valley Uprising on their shared resume and 2017's The Dawn Wall on Mortimer's — but their climber of focus here would demand attention even without the high-profile endorsement. Indeed, dizzying early shots of him in action almost say all that's needed about his approach to great heights, and his near-preternatural skill in the field. Scaling hard, immovable rock faces is one thing, but Leclerc is seen here clambering up alpine surfaces, conquering glistening yet precarious sheets of ice and snow. Any shot that features the Canadian twenty-something mountaineering is nothing short of breathtaking. Describing it as 'clambering up' does him a disservice, actually, and downplays The Alpinist's stunning footage as well. Leclerc is just that graceful and intuitive as he reaches higher, seemingly always knowing exactly where to place his hands, feet and axe, all while heading upwards in frighteningly dangerous situations. As Mortimer notes, narrating the documentary and almost-indulgently inserting himself into the story, alpine free soloing is another level of climbing. No shortage of talking-head interviewees also stress this reality. Protective equipment is still absent, but all that ice and snow could melt or fall at any second. In fact, the routes that the obsessive Leclerc finds in his climbs will no longer exist again, and mightn't just moments after he's made his ascent. Simply charting Leclerc's impressive feats could've been The Alpinist sole remit; Mortimer and Rosen certainly wanted that and, again, the film's hypnotic, vertigo-inducing imagery is just that extraordinary. Some shots peer at the mountains in all their towering glory, letting viewers spot the tiny speck moving amid their majesty in their own time, before zooming in to get a closer look at Leclerc. Other nerve-shattering scenes intimately capture every careful choice, every movement of his limbs and every decision about what to hold on to, inescapably aware that these are sheer life-or-death moments. But The Alpinist isn't the movie its makers initially dreamed of, because Leclerc isn't Honnold or The Dawn Wall's Tommy Caldwell and Kevin Jorgeson. While affable when posed in front of the camera, he's also silently begrudging, because he'd visibly rather just be doing what he loves in total anonymity instead of talking about it, having it filmed and earning the world's eyes. Read our full review. PERFUMES Add Perfumes to the lengthy list of odd-couple comedies that bring folks with opposing personalities together, and suddenly, all so that they can learn life lessons, face much-needed realisations and ultimately live better futures. This French feature also hinges upon an only-in-the-movies setup, after a professional "nose" — someone with enhanced olfactory receptors who plies their talents in the fragrance trade — strikes up an unlikely connection with the struggling father that starts working as her chauffeur so that he can eventually win shared custody of his tween daughter. The key here: sincerity. There's sweetness in writer/director Grégory Magne's (L'air de rien) film, and whimsy, too, but this tale about two lost souls unexpectedly finding commonalities in each other never plays up its quirks. Instead, as penned with heart, helmed with patience, and performed with soul by stars Grégory Montel (Call My Agent!) and Emmanuelle Devos (Violette) as well, Perfumes is like smelling a familiar yet still enticing, comforting and surprising scent. Just as fragrance designer Anne Walberg (Devos) builds aromas out of recognisable ingredients while striving to create something that stands out, this charming movie blends its array of easy-to-spot elements into a pleasingly distinctive cinematic treat. In the latest French-made or -adjacent feature to include a custody battle of late (see also: Custody and My Zoe), all that Guillaume Favre (Montel) wants is to convince a judge that he can spend every other week with his daughter Léa (Zélie Rixhon, The Ideal Palace). To do so, he needs to radiate stability, something that he starts seeking through his driving job. When he's assigned to ferry Anne between assignments, he's far from impressed by her aloof demeanour or unusual demands. Helping her change the sheets at her hotel isn't in his job description, he notes. But he's also intrigued by her work, which currently involves recreating the specific odour of a cave, masking an unpleasant smell that's infected a leather brand's handbags, and trying to counteract the stench being pumped out by a rural factory — new gigs she's pushed into by her money-motivated agent (Pauline Moulène, Boomerang) after starting out concocting designer perfumes. Magne's film isn't about narrative surprises, but about emotions. It's also about spending time with two nicely fleshed-out characters who find friendship blossoming despite their initial misapprehensions, and bring out the best in each other as a result. Perfumes wouldn't work if it didn't unfurl with gentle but genuine warmth, if it didn't value attention to detail so highly, and if it didn't have both Devos and Montel as its anchors; however, thankfully they're all a part of this elegant Gallic effort. EIFFEL Speculating on the past, and on the creation of one of the planet's most famous monuments, Eiffel asks a question: why did Gustave Eiffel build the tower that shares his name? That mightn't be the usual query that runs through people's minds as they stare up at the iconic structure; however, competing to win the right to construct it for the Exposition Universelle of 1889 in Paris represented a significant change of opinion for the engineer, after he'd initially turned down the concept when it was suggested to him by his employees. The result of that about-face has left its mark on history, France and the travel itineraries of everyone who has enjoyed a Gallic holiday ever since. Although he'd already achieved fame and acclaim due to his help building the Statue of Liberty, his eponymous tower is the reason the world know's Eiffel's name now, too. Writer/director Martin Bourboulon (Daddy or Mommy) and his co-scribes Thomas Bidegain (The Sisters Brothers), Martin Brossollet (Détectives), Natalie Carter (Thérèse Desqueyroux) and Caroline Bongrand (Parlez-moi d'amour) posit a reason, and the fact that their film is a romantic drama spells out everything it needs to. Here, Eiffel (Romain Duris, All the Money in the World) decides to assemble the A-shaped mass of wrought-iron lattice because of the woman, Adrienne Bourgès (Emma Mackey, Sex Education), he was set to marry when he was younger, lost touch with after their nuptials were called off, and then sees again just as the Exposition Universelle project is under discussion. The idea driving Eiffel is simplistic and sentimental, given that it's a film about a man erecting something unmistakably and plainly phallic for love. A biopic, this definitely isn't. But it's to Bourboulon, Duris and Mackey's credit that everything here flickers with enough feeling, even though a behind-the-scenes look at how the Eiffel Tower was built between 1886–89 — including the actual mechanics of assembling its pieces, and also the complex reaction in France at the time — could've easily fuelled an entire movie without a romance layered on top. (Charting someone simply achieving a great feat, such as constructing what was the tallest structure in the world at the time, and what remains one of the most well-known landmarks there is, would've also proven suitably rousing without the extra tugging at heartstrings.) Turning history into amorous fiction is the path this feature has chosen, however, and Bourboulon wraps it up in handsome period staging and a passionate tone. There's also a soapiness to Eiffel, too, filled as it is with yearning looks, secret trysts and will they, won't they twists. But if it wasn't for Duris, Mackey and their convincing performances — Duris' reliably ability to convey inner conflict with charm, particularly — the film would lean further in that direction. Marrying the origin story of an iconic tower with a grand love story still makes for an awkward and overly melodramatic fit, though. WAITING FOR ANYA Great intentions and great films don't always go hand in hand, with Waiting for Anya the latest example. The World War II-set drama treads a path that everything from Lore and The Book Thief to Jojo Rabbit and When Hitler Stole Pink Rabbit already have, exploring the conflict's impact upon young hearts and minds — and jumping, as those four other movies did, from the page to the screen. It contrasts the efforts of a French boy in Vichy France with those of Jewish children trying to stay alive, the former aiding the latter in his small village in the Pyrenees. It's a feature made with the utmost earnestness and sincerity, expectedly given the scenario. And yet, it also makes every obvious and easy choice, diluting any potential emotional impact by happily wallowing in Second World War-themed movie-of-the-week territory. As adapted by writer/director Ben Cookson (Almost Married) and screenwriter Toby Torlesse (My Dad's Christmas Date) from a book by War Horse author Michael Morpurgo, Waiting for Anya doesn't waste any time in demonstrating its overt approach. In an early scene, shepherd Jo (Noah Schnapp, Stranger Things) tends to his flock when a bear comes a-lumbering. Soon, the Nazis will do the same. The bear couldn't be more heavy-handed a metaphor, especially in a movie that begins with Jewish man Benjamin (Frederick Schmidt, The Alienist) escaping the train to a concentration camp and secreting away his daughter Anya (debutant Dolma Raisson). In a movie that confronts the Holocaust from the outset, and also provides on-screen text explaining the historical situation, that initial animal attack can only play as needlessly blunt. Jo and Benjamin meet because of that bear, however. And when the teen follows the stranger afterwards, he learns his story. Staying with his mother-in-law (Anjelica Huston, John Wick: Chapter 3 — Parabellum), Benjamin is now doing exactly what the movie's moniker explains, all as other kids make their way to the same farm as a stopover before crossing the mountains to safety in Spain. Jo pledges to help, initially fetching food from the village, and hiding his actions from his mother (Elsa Zylberstein, Selfie) and grandfather (Jean Reno, Da 5 Bloods). But then the Germans arrive, making the situation far more precarious — even if one officer (Thomas Kretschmann, Penny Dreadful: City of Angels) shows uncharacteristic kindness towards Jo. Yes, Waiting for Anya includes a friendly Nazi among its cliches, which is just one of its many poor decisions. Every character is so thinly written, they could fall over if a bear even looked their way or a stiff mountain breeze swelled up. The cast, all putting in passable performances at best, can't improve the material's sore lack of depth — or its inescapably clumsy dialogue. The choice to speak in accented English proves clunky as well, unsurprisingly, making the film feel like a relic from the 70s or 80s. And although the setting should look gorgeous and scenic, visually the sappy and overstated feature resembles one of the many fictional titles that pop up in other movies and TV shows, typically as parodies (aka the flicks listed on website Nestflix). If you're wondering what else is currently screening in cinemas, check out our rundown of new films released in Sydney cinemas when they reopened on October 11. You can also read our full reviews of a heap of movies currently screening, such as In the Heights, Black Widow, Nine Days, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Pig, The Killing of Two Lovers, Nitram and A Fire Inside.
Matthew Whittet’s new play, Seventeen, is a story of teenage boozing, dreaming and bickering on the night after finishing the HSC. A group of 17-year-olds celebrate the end of childhood in the tried and true manner of downing cans of VB in a playground. The recognisable, if clichéd, story of confused crushes, nostalgia and dreams for the future could be banal if it weren’t for Whittet’s approach of casting actors over the age of 70. Director Anne-Louise Sarks elicits the vitality of youth from the cast of Sydney theatre greats (Peter Carroll, Maggie Dence, John Gaden, Barry Otto and Anna Volska), but her direction is otherwise staid. For example, there was much fanfare when Taylor Swift announced via Twitter that Belvoir Theatre was permitted to play 'Shake It Off' in full, so it was a bit disappointing to discover that the song was used for much of the play. The cast have a bit of a jive and the audience laughs at old people dancing to pop music. The entertainment provided by a 70-year-old person saying ‘totes’, pole dancing or binge drinking is uncomfortable and interesting — in a culture that values youth so highly we’re confronted with quite a few moments of ‘laughing at’ the cast. The age of the cast draws out an acute contrast between the characters’ aspirations and a future self; the actors are almost like premonitory ghosts hovering over the 17-year-old characters, which is very moving at times. When cool kid Mike (John Gaden) taunts Tom (Peter Carroll) by reading out a letter he had written to his future self at age 12, we’re immediately struck by how quickly life flies by, not only from 12 to 17, but from 17 to 70. The only cast member under 70 is the inimitable Genevieve Lemon playing Mike’s younger sister Lizzy, a loud, annoying, intelligent brat. Lemon pulls off the balance between immaturity and concern for her older brother beautifully, even if she does show up the rest of the cast with her ability to wholly embody a 14-year-old. The narrative of Seventeen is nothing special, with some especially clunky final plot twists that throw in homosexuality and homelessness from left field for some added 'spice', but the production is undeniably enjoyable and moving. Whittet has hit on a poignant contrast between the dreams of youth and the fragility of old age.
Starring Sydney Sweeney as a virginal American nun in Italy whose new life as a bride of Christ finds her in the family way, Immaculate is the kind of movie that horror fans pray for. In the realm of religious-themed frightfests, which is as packed as Catholic mass at Easter or Christmas, the nunsploitation flick is as unholy as cinema gets. It's eerie and unsettling from the outset, when a fellow sister (Simona Tabasco, giving the film not one but two The White Lotus alumni) tries to escape the My Lady of Sorrows convent, only to be chased by cloaked figures, then buried alive. It ripples with unease from the moment that Sweeney's Cecilia arrives from the US to leering comments. From there, Immaculate spans everything from controlling priests and envious nuns through to winding catacombs, secret laboratories and a crucifixion nail (yes, from that crucifixion). Then there's the unforgettable ending. Immaculate is the type of film that Michael Mohan prays for, too. Chatting with Concrete Playground about directing one of the horror movies of 2024 — and being asked to by Euphoria's Sweeney, who he previously helmed on TV series Everything Sucks! and erotic thriller The Voyeurs — he calls the feature's final two minutes the highlight of his career. "It's such a visceral experience, and the way that people sort of slowly catch on to what's happening in the audience is just so fun to discover," he advises. "Really, the last two minutes are my favourite part of the movie. My favourite thing I've ever directed is the last two minutes of this movie, and it's just something to behold." For Mohan, all hail the reaction that Immaculate is garnering as well, starting with the response when it premiered at SXSW 2024 (the US version, not the Australian fest) in March. "It's made it so that I can't watch the movie with any other crowds, because it was like a drug," he jokes. "To a filmmaker, the experience of watching the movie at SXSW was like the cinematic equivalent of heroin — just because people were screaming, people were yelling, people were making fun of each other for screaming, people were standing up and cheering. It is everything a filmmaker could ever want out of an audience reaction. It was amazing." Immaculate almost didn't happen, however. The tale behind the flick making it to the screen takes almost as wild a ride as the picture itself. It was a decade back, before she was in everything-everywhere-all-at-once mode — this is her third movie since December 2023 to reach cinemas, slotting in alongside Anyone But You and Madame Web — that Sweeney initially auditioned for the picture. Now, she's a producer on it, handpicking both the script as her ideal horror effort, plus Mohan to guide it. A text asking "interested in directing a horror film?" is how she started bringing the filmmaker onboard. Barely 18 months later, Immaculate has moviegoers worshipping. Mohan's path to here doesn't just involve getting Sweeney in front of his lens, then turning her into a helluva scream queen. Short films — both writing and directing them — began gracing his resume in 2003. 2010 coming-of-age comedy One Too Many Mornings marked his first feature, followed by Alison Brie (Apples Never Fall)- and Lizzy Caplan (Fatal Attraction)-led rom-com Save the Date. After that came the 90s-set Everything Sucks!, which he co-created, but it only lasted one season. If it wasn't for that show, though, he mightn't have crossed paths with Sweeney. Call it divine intervention? Notably, Mohan wasn't new to the picture's Catholicism, growing up in it ("I grew up super Catholic, so it was in my bones. I was the leader of the youth group. I'm since a lapsed Catholic," he tells us.) With Immaculate now in Australian and New Zealand cinemas, we chatted with Mohan about that first text message about the movie, working with Sweeney as a producer as well as a star, his initial vision for the film, taking inspiration from 70s horror and the feature's take on religion. Also part of our conversation: Sweeney's versatility, how to get the perfect movie scream — of which she contributes plenty — and the picture's unshakeable imagery, plus more. On Receiving a Text from Sydney Sweeney Asking "Interested in Directing a Horror Film?" "I was just scared because I needed to love the script. I want to make as many movies with her as I can, but I also need to feel like I can bring myself to it and that I'll elevate it. So thankfully when I read the script, I realised there's so much potential here, there are twists and turns that I did not see coming. When I pitched my ideas for where I wanted to take the story to Sydney, she was thankfully very receptive. Even though we didn't have a whole lot of time to massage the script, we just went for it. She sent me the script in August of 2022, and I was then on the ground in Rome basically three months later prepping the movie." On Working with Sydney Sweeney Not Just as an Actor, But as One of Immaculate's Producers "It's interesting. At the start, I took an approach like I was a director for hire, to some degree; however, my stipulation in doing the film is that I wanted her to buy into what my vision of the film was. So I put together a lookbook, like as if I wasn't her friend. And I was like 'here, this is what I would do if I didn't know you. This is what I would do if I were trying to win this job'. And the imagery that I sent her and the things that she responded to were exactly in line with how she saw the movie, too. So going into it, we were both on the same page. At the same time, she's the producer, I'm the director, so we had a push and pull in terms of in terms of what we were doing creatively. Anytime I came to her with a new idea, her first response was always like 'but is it scary? Because it needs to be scary'. Luckily our dynamic is such in that my approach to anything in terms of creative is that if you have the same end goal in mind, there's no right or wrong in the journey going there — there's only who feels the most passionate about something. So if you get into a creative disagreement, if it's something that really matters, I can say to her 'this matters to me more than it matters to you' and she can go 'okay' and let go. For instance, there was a scene I cut out of the movie. She was like 'I really want you to put that scene back in'. And I was like 'I really don't think it needs it'. She was like 'no, this is important. This is important to me'. I'm able to look at her and go 'this is more important to her than it is to me, I'm putting it back in the movie' — and that's how you have such a great give and take in terms of collaboration, where it doesn't feel like there's too many cooks in the kitchen." On Mohan's Initial Vision for Immaculate "The initial vision was just to make something that would hopefully traumatise people. We wanted to really go hard. But we wanted to do it smartly. When the film starts, it kind of feels like a traditional horror movie. Yeah, there are all of these horrific images, there are these great jump-scares and it's bumping along, but then it starts to get a little bit more disturbing. Then it starts to get a little bit more disturbing, until at the end of the movie you're seeing something that is actually a lot more similar to French extremist horror than The Conjuring. And so to be able to craft that arc for the audience, where they feel more and more in peril as they're watching the film, was part of the design." On the Importance of Sydney Sweeney's Versatility in Taking Audiences on the Film's Journey "I love when a movie takes a character from point A to point Z. So, to start her off as this sort of meek and quiet, mild-mannered nun, into what becomes like this insane feral creature covered in blood, screaming at the top of her lungs — that's just dramatics. That's just creating a wider arc. And it's very easy for me to conceive of such a wide arc when I know that the person playing it will be able to knock it out of the park. Sydney's ability to go to completely unhinged places is her superpower as an actor. It is incredible to see because I don't know how she does it. And so for me as a director, just my job is to make sure she stays out of her head, and to gently nudge her this way or that way to shape the performance and find the deeper levels. But it's a like driving a Rolls-Royce when you're directing her — she takes direction perfectly. And we just have this history. It's just really easy for the two of us to work together." On Making a Movie That Feels Like a Blend of Both 70s-Era Horror and Contemporary Horror "That's just what I watch. If you look at my Letterboxd, it's a balance of absolute trash and The Criterion Collection — and I think this film is perfectly in the middle. I just love the horror films of the early 70s. I think that there's something a little bit more fearless about them. If you look at The Exorcist — I mean, everybody has talked about The Exorcist until the end of time, because that scene where she has the crucifix and she's stabbing herself and she's bloody, it is so disturbing. Yet that is a mainstream film. That was a studio movie. And it's almost more scary, the fact that it's really well-photographed, than seeing the grimy independent version of that. So to me, it's bringing that level of elegance, coupled with the lurid — that's just where my voice happens to live." On Immaculate's Unholy Imagery "Similar to Sydney, my cinematographer [Elisha Christian, The Night House] and I have worked together forever. He was my roommate senior year of college. And so something that we're always trying to do is bring a sense of beauty to everything we do, whether it's a horror or whether it's an erotic thriller, or some of the earlier comedies that we were working on. I'm just a huge fan of his work. I love what Elisha has done. Here, it goes back to what I was talking about with The Exorcist — when you take something that is absolutely horrific and you film it with a formalism and a beauty, that's a type of cinema that I feel like is lacking. And so for us to be able to do that, it's really just our natural voice is how we shot this film. All of our inspiration poured into it in a way, and this is how it turned out. Also, the name of the movie is Immaculate, and so we wanted to have it immaculate — and so it could also just be as simple as that." On How to Get the Perfect Horror-Movie Scream "Every actor is different. I can tell you that for Simona, at the beginning of the film, Simona Tabasco, there's a scream that she has to let out — and she brought me aside and she was like 'I'm scared of screaming'. So I was like 'okay, come with me'. We went out into the middle of the field and I was like 'I'm just going to scream with you'. And so I just started screaming, and then she started screaming. And then I started screaming back at her, and then she started screaming back at me, and you lose your inhibitions with it. I think that's the most important part, just making sure that the actors aren't self-censoring themselves. Because when you scream, it's an unnatural thing, especially if you're not actually in pain. So it's just all about letting go, and allowing allowing them to let go. Then in the case of Sydney, she's got a set of pipes and she uses them." On Finding Inspiration in the Production's Italian Location — and in Giallo "With religion, I was trying to bring that sense of majesty to it and that sense of power, because this is a movie that doesn't have a whole lot of backstory for the characters. I wanted to keep it to a tight 88 minutes, and I needed the audience to understand from her perspective why she was so swept up in this world. So we were able to do that visually by finding these locations that were absolutely majestic. At the same time, I'm in Italy making a horror film. The responsible thing to do is to at least honour the elders that came before me. So I did watch a ton of giallo films, not to bite off the aesthetic in the way that like Edgar Wright did in Last Night in Soho, but more to have a little bit of a deeper understanding of some of the more-nuanced aspects of the genre. So, for instance, there's this great film What Have You Done to to Solange?. What I love about that film is how they visually capture the patriarchal dynamics between the men and the women. So there's a scene in ours that's an interrogation scene where Sydney's at one end of the table, and she's framed with the flames behind her, almost like she's coming from hell. Then the men are on the other side of the table, and they're all standing, looking down on her. And you see that throughout the course of the film, this playing with heights. The same with in the ceremony at the beginning, she is kneeling in front of the men who are towering above her. And then at the end of the movie, obviously those paradigms are completely shifted, when she gets the upper hand and she is the one who's the powerful one in the frame. So some of that comes from those giallos that are a little bit more naturalistic. Additionally, there's this great film called The Red Queen Kills Seven Times, and I listened to the score of that film non-stop. I loved it. It helped put me in the vibe of that type of cinema, and I loved it so much that I actually used a cue from that in a key montage about half an hour into the film as well." On Why the Combination of Religion and Horror Keeps Appealing to Audiences "I think especially in Catholicism, it's so dark. Part of the ceremony of a mass is eating the body of Jesus, and it's not a representation — it's the literal body, it's transforming when you pop it in your mouth. It's wild that that's what we believe. It's wild that we take a sip of wine and believe it to be his blood. So Catholicism is metal, and so it lends itself to horror just very, very naturally." Immaculate released in cinemas Down Under on Thursday, March 21. Read our review. Images: Fabia Lavino, courtesy of NEON.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. ELVIS Making a biopic about the king of rock 'n' roll, trust Baz Luhrmann to take his subject's words to heart: a little less conversation, a little more action. The Australian filmmaker's Elvis, his first feature since 2013's The Great Gatsby, isn't short on chatter. It's even narrated by Tom Hanks (Finch) as Colonel Tom Parker, the carnival barker who thrust Presley to fame (and, as Luhrmann likes to say, the man who was never a Colonel, never a Tom and never a Parker). But this chronology of an icon's life is at its best when it's showing rather than telling. That's when it sparkles brighter than a rhinestone on all-white attire, and gleams with more shine than all the lights in Las Vegas. That's when Elvis is electrifying, due to its treasure trove of recreated concert scenes — where Austin Butler (Once Upon a Time in Hollywood) slides into Presley's blue suede shoes and lifetime's supply of jumpsuits like he's the man himself. Butler is that hypnotic as Presley. Elvis is his biggest role to-date after starting out on Hannah Montana, sliding through other TV shows including Sex and the City prequel The Carrie Diaries, and also featuring in Yoga Hosers and The Dead Don't Die — and he's exceptional. Thanks to his blistering on-stage performance, shaken hips and all, the movie's gig sequences feel like Elvis hasn't ever left the building. Close your eyes and you'll think you were listening to the real thing. (In some cases, you are: the film's songs span Butler's vocals, Presley's and sometimes a mix of both). And yet it's how the concert footage looks, feels, lives, breathes, and places viewers in those excited and seduced crowds that's Elvis' true gem. It's meant to make movie-goers understand what it was like to be there, and why Presley became such a sensation. Aided by dazzling cinematography, editing and just all-round visual choreography, these parts of the picture — of which there's many, understandably — leave audiences as all shook up as a 1950s teenager or 1970s Vegas visitor. Around such glorious centrepieces, Luhrmann constructs exactly the kind of Elvis extravaganza he was bound to. His film is big. It's bold. It's OTT. It's sprawling at two-and-a-half hours in length. It shimmers and swirls. It boasts flawless costume and production design by Catherine Martin, as his work does. It shows again that Luhrmann typically matches his now-instantly recognisable extroverted flair with his chosen subject (Australia aside). Balancing the writer/director's own style with the legend he's surveying can't have been easy, though, and it doesn't completely play out as slickly as Presley's greased-back pompadour. Elvis is never anything but engrossing, and it's a sight to behold. The one key element that doesn't gel as convincingly: using the scheming Parker as a narrator (unreliable, obviously) and framing device. It helps the movie unpack the smiling-but-cunning manager's outré role in Presley's life, but it's often just forceful, although so was Parker's presence in the star's career. In a script by Luhrmann, Sam Bromell (The Get Down), Craig Pearce (Strictly Ballroom, Romeo + Juliet, Moulin Rouge! and The Great Gatsby) and Jeremy Doner (TV's The Killing), the requisite details are covered. That includes the singer's birth in Tupelo, Mississippi, and extends through to his late-career Vegas residency — with plenty in the middle. His discovery by Parker, the impact upon his parents (Rake co-stars Helen Thomson and Richard Roxburgh), his relationship with Priscilla (Olivia DeJonge, The Staircase), Graceland, America's puritanical reaction to his gyrating pelvis, the issues of race baked into the response to him as an artist: they're all featured. Thematically, those last two points thrum throughout the entire movie. Elvis questions why any hint of sex was such a shock, and why it was so easy for a white man who drew his songs, style and dance moves from Black culture, via his upbringing, to be dubbed a scandal. Read our full review. NUDE TUESDAY In Nude Tuesday, you can take the unhappy couple out of their daily routine — and slip them out of their clothes in the process — but escaping to a mountainside commune, ditching the dacks, palling around with a goat and gleaning relationship advice from the author a book called The Toothy Vulva just can't solve all woes. What that list of absurd plot points and experiences can do is fill out a film that's gleefully silly, often side-splittingly funny, and also just as perceptive as it is playful. The basic premise behind this New Zealand sex comedy borrows from plenty of fellow movies and TV shows about stuck-in-a-rut folks seeking bliss and renewal, plus solutions to bland marriages, with a gorgeous change of scenery. But helping make Nude Tuesday such a winner is every offbeat choice that's used to tell that tale. Getting naked is only part of it, given that not a lick of any recognisable language is spoken throughout the entire feature — although plenty of words and sounds are audibly uttered. Nude Tuesday understands one key point, as everyone watching it will: that relationships are all about communication. The film is also well aware that so much about life is, too — and storytelling. Here, though, expressing emotions, connections and narrative details all boils down to gibberish and bodies. This amusing movie from writer/director Armağan Ballantyne (The Strength of Water) and writer/star Jackie van Beek (The Breaker Upperers) does indeed strip down its performers in its last third, living up to its name, but it saddles them with conveying almost everything about their characters via body language before that. Each piece of dialogue spoken echoes in unintelligible nonsense, using completely made-up and wholly improvised terms. Even covers of 'Road to Nowhere' and 'Islands in the Stream' do as well. And while subtitled in English by British comedian Julia Davis (Camping), that text was penned after shooting, in one of the film's other purposefully farcical twists. The result is patently ridiculous, and marvellously so — and hilariously. It's such a clever touch, making a movie about marital disharmony and the communication breakdown baked within that's so reliant upon reading tone and posture, as couples on the prowl for the tiniest of micro-aggressions frequently hone in on. Initially, the feature needs a few scenes to settle into its unfamiliar vernacular, which takes cues from The Muppets' Swedish Chef in its cadence. Via an opening map, which situates the story on the fictional pacific island of Zǿbftąņ, Nude Tuesday's language also resembles an IKEA catalogue. But once Ballantyne, van Beek and the latter's co-stars find their groove — with a literally bloody attempt to make adult nappies sexy, a supermarket tantrum involving tossed cans and a tense anniversary dinner — everything, including the movie's chosen tongue, clicks into place. Van Beek and Australian The Tourist actor Damon Herriman play Nude Tuesday's central pair, Laura and Bruno. In the first but not last example of just how compellingly they use their physicality, the talented lead twosome paints a picture of relatable malaise from their introductory moments together. Laura and Bruno are bogged down in a dull cycle that revolves around working at jobs neither loves — she spruiks those mature-age diapers, he sells bathroom fixtures — then trudging home exhausted and exasperated to deal with their kids, and later crumbling into bed knowing they're going to repeat it all the next day. Sex doesn't factor in, and neither is content with that, but resolving their troubles themselves is out of reach. Then, they're gifted a getaway to ẄØnÐĘULÄ to assist. But this woodland getaway, run by charismatic and lustful sex guru Bjorg Rassmussen (Jemaine Clement, I Used to Go Here), wants its new guests to expose all in multiple ways. Read our full review. LOST ILLUSIONS Stop us when Lost Illusions no longer sounds familiar. You won't; it won't, either. Stop us when its 19th century-set and -penned narrative no longer feels so relevant to life today that you can easily spot parts of it all around you. Again, that won't happen. When the handsome and involving French drama begins, its protagonist knows what he wants to do with his days, and also who he loves. Quickly, however, he learns that taking a big leap doesn't always pan out if you don't hail from wealth. He makes another jump anyway, out of necessity. He gives a new line of work a try, finds new friends and gets immersed in a different world. Alas, appearances just keep meaning everything in his job, and in society in general. Indeed, rare is the person who doesn't get swept up, who dares to swim against the flow, or who realises they might be sinking rather than floating. The person weathering all of the above is Lucien Chardon (Benjamin Voisin, Summer of 85), who'd prefer to be known as Lucien de Rubempré — his mother's aristocratic maiden name. It's 1821, and he's a poet and printer's assistant in the province of Angoulême when the film begins. He's also having an affair with married socialite Louise de Bargeton (Cécile de France, The French Dispatch), following her to Paris, but their bliss is soon shattered. That's why he gives journalism a try after meeting the equally ambitious Etienne Lousteau (Vincent Lacoste, Irma Vep), then taking up the offer of a tabloid gig after failing to get his poetry published. Lucien climbs up the ranks quickly, both in the scathing newspaper business — where literary criticism is literally cash for comment — and in the right Parisian circles. But even when he doesn't realise it, his new life weighs him down heavily. Lost Illusions spins a giddy tale, but not a happy one. It can't do the latter; exactly why is right there in the title. As a film, it unfurls as a ravishing and intoxicating drama that's deeply funny, moving and astute — one that's clearly the product of very particular set of skills. No, Liam Neeson's recent on-screen resume doesn't factor into it, not for a second. Instead, it takes an immensely special talent to spin a story like this, where every moment is so perceptive and each piece of minutiae echoes so resoundingly. The prowess behind this seven-time César Award-winner belongs to three people: acclaimed novelist Honoré de Balzac, who wrote the three-part Illusions perdues almost 200 years ago; filmmaker Xavier Giannoli (Marguerite), who so entrancingly adapts and directs; and Jacques Fieschi (Lovers), who co-scripts with the latter. There's more to Lucien's story — pages upon pages more, where his tale began; 149 minutes in total, as his ups and downs now play out on the screen. When Louise decides that he doesn't fit in, with help from the scheming Marquise d'Espard (Jeanne Balibar, Memoria), spite rains his way. When Etienne introduces him to the realities of the media at the era, and with relish, he's brought into a dizzying whirlwind of corruption, arrogance, fame, power, money and influence. When Lucien starts buying into everything he's sold about the whys and hows of his new profession, and the spoils that come with it, Lost Illusions couldn't be more of a cautionary tale. Everything has a price: the glowing words he gleefully types, the nasty takedowns of other people's rivals and the entire act of spending his days doing such bidding for the highest fee. Read our full review. MINIONS: THE RISE OF GRU What's yellow, round, inescapably silly and also just flat-out inescapable? Since 2010, when the first Despicable Me film reached screens, Minions have been the answer. The golden-hued, nonsense-babbling critters were designed as the ultimate sidekicks. They've remained henchman to malevolent figures in all five of their movie outings so far, and in the 15 shorts that've also kept telling their tale. But, as much as super-villain Gru (Steve Carrell, Space Force) would disagree — he'd be immensely insulted at the idea, in fact — Minions have long been the true drawcards. Children haven't been spotted carrying around and obsessing over Gru toys in the same number. The saga's key evil-doer doesn't have people spouting the same gibberish, either. And his likeness hasn't become as ubiquitous as Santa, although Minions aren't considered a gift by everyone. At their best, these lemon-coloured creatures are today's equivalent of slapstick silent film stars. At their worst, they're calculatingly cute vehicles for selling merchandise and movie tickets. In Minions: The Rise of Gru, Kevin, Stuart, Bob, Otto and company (all voiced by Pierre Coffin, also the director of the three Despicable Me features so far, as well as the first Minions) fall somewhere in the middle. Their Minion mayhem is the most entertaining and well-developed part of the flick, but it's also pushed to the side. There's a reason that this isn't just called Minions 2 — and another that it hasn't been badged Despicable Me: The Rise of Gru. The Minion name gets wallets opening and young audiences excited, the Rise of Gru reflects the main focus of the story, and anyone who's older than ten can see the strings being pulled at the corporate level. Gru's offsiders are present and cause plenty of chaos, but whether he gets to live out his nefarious boyhood dreams is director Kyle Balda (Despicable Me 3), co-helmers Brad Ableson (Legends of Chamberlain Heights) and Jonathan del Val (The Secret Life of Pets 2), and screenwriter Matthew Fogel's (The Lego Movie 2) chief concern. His ultimate wish: to become one of the Vicious 6, the big supervillain team of 1976, when Gru is 11. That sinister crew happens to have an opening after some infighting and double-crossing among Belle Bottom (Taraji P Henson, Empire), Jean Clawed (Jean-Claude Van Damme, Haters), Nun-Chuck (Lucy Lawless, My Life Is Murder), Svengeance (Dolph Lundgren, Aquaman), Stronghold (Danny Trejo, The Legend of La Llarona) and Wild Knuckles (Alan Arkin, The Kominsky Method). Accordingly, when Gru receives an invite to audition, he's as thrilled as a criminal mastermind-in-training can be. The Minions are hired as Gru's assistants and, after his tryout for the big leagues ends in him stealing the Vicious 6's prized possession, quickly spark the usual Minion antics. Of course they lose the pivotal object. Of course the Vicious 6 come looking for it. Of course the Minions do everything from learning kung fu (from Master Chow, voiced by Everything Everywhere All At Once's Michelle Yeoh) to virtually destroying San Francisco. There's more calculation than inspiration behind their havoc, however; rather than Charlie Chaplin and Buster Keaton-esque heights, their slapstick hijinks feel as structured and obvious as the film's nods to a wealth of genres (martial arts, spy, road trip, blaxploitation and more) and its hefty list of blatant era-appropriate needle drops ('Funkytown', 'Fly Like an Eagle', 'Born to Be Alive' and the like). It also plays like colour and movement around Gru, rather than the central attraction viewers want it to be. Also, something can't be surreal if it's so thoroughly expected, as the bulk of Minions: The Rise of Gru is. It isn't clever enough to be gloriously ridiculous, either. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on March 3, March 10, March 17, March 24 and March 31; April 7, April 14, April 21 and April 28; and May 5, May 12, May 19 and May 26; and June 2, June 9 and June 16. You can also read our full reviews of a heap of recent movies, such as The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke, Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era, Wheel of Fortune and Fantasy, Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara, This Much I Know to Be True, The Innocents, Top Gun: Maverick, The Bob's Burgers Movie, Ablaze, Hatching, Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear and Men.
Victoria has fully reopened to the entire country, and Queensland, Tasmania and South Australia have all announced when they'll relax their border rules, too. Now, it's Western Australia's turn. Today, Friday, November 5, WA Premier Mark McGowan revealed that the state will start welcoming back travellers sometime early in 2022, once it hits the 90-percent double-vaccinated mark. That means that there's no exact reopening date right now, but McGowan said he expects it to occur sometime in late January or early February. Once WA hits the 80-percent double-dose threshold, the Premier will announce exactly when folks from other states will be able to head west again at that 90-percent mark. And, people travelling from overseas destinations, too — because the reopening will apply to both WA's domestic and international borders. There'll be different rules in place depending on where you're entering from, and other health measures such as wearing face masks in high-risk settings and requiring proof of vaccination at large events and nightclubs will also be put into effect statewide. Today we can announce Western Australia's Safe Transition Plan to ease our controlled border. It sets out an approach which will allow us to safely ease our border controls with other States and resume international travel - while limiting the impact of COVID when it reaches WA. pic.twitter.com/z8mSPlppsf — Mark McGowan (@MarkMcGowanMP) November 5, 2021 Now planning a trip to WA from elsewhere in Australia? You'll need to be double-vaccinated to enter, and also to get a negative PCR test result within 72 hours of departing. At first, there'll be tests upon arrival as well, but they will eventually be phased out. For those making the journey from an international location, there'll be no quarantine for double-vaxxed arrivals — and the same testing requirements will be in place for both domestic and overseas travellers. If you haven't had two jabs, you'll still need to go into hotel quarantine for 14 days. "The decision to target a 90-percent vaccination rate is based on extensive modelling which shows us the rates of community infections, hospitalisations and deaths are far lower if we make this change at 90-percent, when compared with an 80-percent target," said the Premier. And, while that 90-percent threshold will apply statewide, "if there are regional areas with low vaccination rates, then pending the health advice at the time, restrictions on travel within WA to protect these specific regions may need to be introduced," McGowan continued. [caption id="attachment_770353" align="alignnone" width="1920"] Tourism Western Australia[/caption] The just-announced plan will see WA reopen while having no COVID-19 in the state's community, too. "This plan sets out how WA will transition in a safe manner and provides a soft landing, with minimal impact on WA's unique way of life," said the Premier. "Transitioning with zero COVID in the community has never been done before and that's why our transition is unique and will require us to all work together." Western Australia has had a hard border and strict quarantine requirements in place for much of the pandemic, meaning that people who don't normally reside in WA have only been able to visit the state if they're classified as an exempt traveller, apply for a G2G Pass and, if approved, then self-isolate for 14 days. To find out more about the status of COVID-19 in Western Australia, and the state's corresponding restrictions, visit its online COVID-19 hub.
It's beginning to look a lot like Christmas in July, but KFC wants you to celebrate the festive season midyear not once but twice. First, it's dropping a heap of deals for the next month. Then, it's sending three groups to the Colonel's Lodge in August, where getting into the yuletide spirit with plenty of chicken while holidaying for two nights in the Blue Mountains is on the menu. The fast-food chain has previously slipped into the Christmas in July mood with ugly sweaters for humans and pets alike, which are back for another year alongside seasonal socks, hoodies, bucket hats and more. If you have some of those in your wardrobe or you buy them now, you know what to wear if you score one of the trips to the brand's latest pop-up. Whatever you don, the three winners will be heading to a wood-panelled mansion filled with red-and-white theming aplenty, a whole lot of KFC merchandise and also Christmas wares, with up to three mates. While you're there, you'll enjoy full KFC catering up to $2000 per day. Not in New South Wales but love the Colonel's finest? The prize also spans economy flights from your nearest capital city to Sydney. For people already in NSW, you might receive transport from your home to the Blue Mountains, but that's up to KFC's discretion. Three draws are taking place, each for those who hit up the KFC app to spend $30 or more on the chain's Christmas in July deals, which run from Monday, July 1–Wednesday, July 31, 2024. The first period covers purchases from Monday, July 1–Sunday, July 14, and will be drawn on Monday, July 15 for a stay between Thursday, August 1–Saturday, August 3. The second period covers eating KFC between Monday, July 15–Sunday, July 21, for a draw on Monday, July 22 and a stay between Saturday, August 3–Monday, August 5. And the third will reward those getting some finger-lickin'-good chicken between Monday, July 22–Wednesday, July 31, as then drawn on Thursday, August 1 for a stay from Monday, August 5–Wednesday, August 7. The deals that'll help you become eligible for winning a Colonel's Lodge getaway include half-price zingers on Monday, July 1, then the likes of nine pieces of original recipe for $9.95, $1 regular chips and $10 tenders. A different special will land each day. KFC fans will know that this kind of pop-up isn't a surprise for a brand that's also done 11-course fine-dining degustations, Peking Duk-led festivals, a nightclub, weddings, cocktails, a crispery that double-breaded and fried everything, and a soothing playlist of chicken frying and gravy simmering — which is genuinely relaxing — in the past. KFC's Christmas July deals run from Monday, July 1–Wednesday, July 31, 2024, with spending $30 or more via the KFC app getting you an entry to stay at the Colonel's Lodge. Winners will need to take their trips in August. Head to the brand's website for more details.
When Jacksons on George's ambitious re-build and redevelopment was first announced back in 2018, it was billed as a pub of the future. While it may have taken five years, Studio Hollenstein's forward-thinking three-storey building is almost complete and the venue has been given a rough open date: September. Alongside the open date, we've also received details on the multiple restaurants and bars that will be housed within the multi-level opening which is set to arrive at Circular Quay's Sydney Place this spring. Leading the charge at Jacksons on George will be Head Chef Steven Sinclair in collaboration with Maurice Terzini (Icebergs, Re-) and Michael Broome. Sinclair arrives at the inaugural venue for Terzini and Broome's DTL Entertainment Group with a wealth of experience in world-renowned kitchens. Alongside time spent overlooking Bondi Beach at Icebergs, he's also cut his teeth at two of Ireland's top restaurants, The Old Schoolhouse Inn and The Potte Inn, plus Simon Rogan's Michelin-starred L'Enclume in England (currently doing a five-week residence at Bathers' Pavilion). Boasting an elegant modern design across its floors and artworks from former Archibald and Sulman Prize finalists, the sleek new venue will be split into three distinct hospitality offerings — a ground-floor public bar, a luxe bistro and a breezy rooftop bar. Wander in from George Street and you'll find a classic pub sporting a fresh fitout from Sydney-based studio Richards Stanisich. Both here and up on the rooftop you can expect the tried-and-true combination of pub feeds done well, house twists on classic cocktails and perfectly poured local beers. Some of the unexpected turns you'll discover on the pub menu include slow-cooked duck sausage rolls, Moreton bay bug buns and the beloved roast chook, brined, air-dried and cooked over charcoal. Elevating the feeds here will be Bistro George, a European-inspired diner that champions local produce. Clams casino, brined Ora king salmon gravlax, salt-crusted wagyu ribeye and a signature Jacksons banoffee sundae will all grace the menu at the date night-ready first-floor restaurant. Later into the night, Bistro George will transform into a cocktail bar and live music venue with a reduced supper menu. This will be the kind of place that you can slip into for an after-dinner drink or a late-night snack. An exact open date for Jacksons on George has arrived just yet, but you can look out for updates over at the pub's Instagram page. Jacksons on George will reopen at 176 George Street, Sydney following its ambitious transformation in September. Photography: Nikki To
Before Stranger Things returns for its fifth and final season sometime in 2025, Finn Wolfhard has some slasher things to deal with. Movie lovers in Sydney and Melbourne can see how that pans out at Fantastic Film Festival Australia's 2025 run. With Hell of a Summer, the actor also turns co-director and co-writer with his Ghostbusters: Afterlife, When You Finish Saving the World and Saturday Night co-star Billy Bryk, with the pair giving the summer-camp masked-killer horror subgenre their own spin. Helping out on-screen: Gladiator II and The White Lotus' Fred Hechinger, plus Reservation Dogs' D'Pharaoh Woon-A-Tai. That's how Fantastic Film Festival Australia is opening this year, with a meta horror-comedy. From there, this celebration of boundary-pushing pictures has 26 more features on its lineup, 16 of the rest brand-new and then ten others must-see classics. Sydneysiders can get their fix from Thursday, April 24–Friday, May 16 at Ritz Cinemas, Randwick, while Melburnians have two destinations: Lido Cinemas, Hawthorn across Thursday, April 24–Thursday, May 15, plus Thornbury Picture House from Tuesday, April 29–Monday, May 5. If you haven't been to FFFA before, the event is marking its fifth iteration in 2025 — and one of its hallmarks, the nude screening, is back for the occasion. Get ready to say "yeah, baby" to watching a movie sans clothes, with Austin Powers: International Man of Mystery this year's flick to watch while wearing nix (following on from past sessions of nudist camp-set comedy Patrick, The Full Monty, Zoolander and The Naked Gun). Another highlight of 2025's program: the retrospective dedicated to Scottish writer/director Lynne Ramsay. Her filmography might only span four features since 1999, all of which are showing at FFFA, but it's a resume that any fellow helmer should envy. For audiences, getting the chance to see Ratcatcher, Morvern Callar, We Need to Talk About Kevin and You Were Never Really Here on the big screen — whether for the first time or as a revisit — is a cinephile's dream. Among the fest's new fare, The Second Act hits the lineup after opening the 2024 Cannes Film Festival, with Rubber and Deerskin's Quentin Dupieux enlisting Léa Seydoux (Dune: Part Two), Louis Garrel (Saint-Exupéry) and Vincent Lindon (The Quiet Son) for his latest absurdist satire. Or, catch Tár's Noémie Merlant in The Balconettes, which she co-wrote with her Portrait of a Lady on Fire director Céline Sciamma; see what happens when The Wild Boys and After Blue's Bertrand Mandico combines two film essays in one split-screen presentation in Dragon Dilatation; and head back to 1999 while journeying into teen antics 3000 light years away in Escape From the 21st Century. Viewers can get a dose of eerie puppetry via Monkey's Magic Merry Go Round, too, then watch Crispin Glover (Guillermo del Toro's Cabinet of Curiosities) as a magician in Mr. K and undergo a unique animated musical-comedy experience with Spermageddon. Back with FFFA's 2025 blasts from the past, John Woo's (The Killer) gun-fu great Hard Boiled is the festival's closing-night pick, including screening in 35mm in Sydney. If you're keen on a movie marathon, Umbrella-Palooza will get you watching three films about technological nightmares, all courtesy of Australian distributor Umbrella Entertainment — starting with 2002's Cypher, then heading back to 1990's vision of cyberpunk in Hardware, before the OG Japanese Pulse unleashes its presence. Supporting homegrown efforts, the fest has 1977 psychological thriller Summerfield among its retro component, alongside four newcomers: the Super 8-shot A Grand Mockery; the Pedro Almodóvar (The Room Next Door)-inspired Salt Along the Tongue; Pure Scum, which is set amid Melbourne's private-school culture; and Sword of Silence, as shot completely under a full moon. Aussie talents are also in focus in the Sydney Shorts and Melbourne Shorts screenings. "FFFA is a celebration of vibrant, boundary-pushing cinema, spotlighting unrestrained and wholly original voices from around the globe. It's an invitation to take a ride on the wild side, discover cult classics in the making and join our community of likeminded cinematic explorers," said Artistic Director Hudson Sowada, announcing 2025's flicks. 2025 Fantastic Film Festival Australia Dates Melbourne: Thursday, April 24–Thursday, May 15 — Lido Cinemas, Hawthorn Tuesday, April 29–Monday, May 5 — Thornbury Picture House, Thornbury Sydney: Thursday, April 24–Friday, May 16 — Ritz Cinemas, Randwick Fantastic Film Festival Australia runs in April and May at Ritz Cinema, Randwick in Sydney, plus Lido Cinemas, Hawthorn and Thornbury Picture House, Thornbury in Melbourne. For more information or to buy tickets, head to the FFFA website.
A coastal-chic wine bar located in Avalon, Bar Elvina is the place to go for a glass of vino and some freshly shucked oysters after a day at the beach. Opening in early 2021, the bar is the brainchild of two hospo legends, Andy Emerson (Acme) and chef Jesse McTavish (North Bondi Fish). It's safe to say that these two know what they're doing. Here, high heels and chinos are eschewed for Birkenstocks and shorts, but the laidback dress code doesn't translate to the food and drinks on offer. On the wine list, you'll only find drops that the owners love and are also inspired by the ocean, either by their terroir, varietal or style. The concise cocktail list is worth a look at, too, with a strong focus on native Aussie ingredients. Food-wise, think snacks like raw yellowfin tuna tostadas ($8 each); oysters served either natural or with an apple cider mignonette ($5 each); and salt and pepper Hawkesbury River school prawns served with sumac mayo ($16). For small and large plates, expect dishes such as seawater-brined broccoli with almond hummus, fermented chilli, almonds ($20); 0ctopus with green tomato and jalapeño ($24); whole snapper with miso lemon butter sauce and warrigal greens ($55); and hangar steak ($49). Still hungry? Order the roasted apple, liquorice and gingerbread bombe ($18) for dessert. If you've got a birthday or special celebration coming up, Bar Elvina can be hired to host your private event, too. Images: Steven Woodburn
Usually when we see a teenage romance at the heart of a film we're watching a film made for teens. Goodbye First Love is no such film. The young lovers Camille and Sullivan do not kiss under the speckled light of a disco ball at prom. Mia Hansen-Love's third film weaves neatly into her emerging lineage of intimate, slow-burn portraits of fractured relationships. Concrete Playground spoke to the very talented young filmmaker ahead of her film's Australian release. Many adults would say there is no such thing as real love between teenagers. Even if they remember the heartache they felt as a teenager, with time they come to laugh at it. For Camille there's no laughing when she looks back. One of my motivations for making this film was a fight I had with my mother when I was a teenager. She would not believe the depth of my love for my boyfriend, the hold it would have on me for the rest of my life. In a way this film is a revenge piece! No, no that's not really true. I made this film for myself. It was a cathartic process. It's interesting you say that because in an interview about your last film (Father of My Children, 2009) when asked about the autobiographical dimension of the film, you said that you made the film to understand why you came to be a filmmaker. Tell me, why did you make Goodbye First Love now? All the themes I have worked with across my previous films can be linked back to the love I felt as a teenager. And so, to continue making autobiographical films without dealing with this part of my life would have been a lie. Honestly, I could only move on, only grow as a filmmaker, if I told this part of my life. In french we have an expression mensonge par omission I guess that would translate to 'Something that you don't tell is a kind of lie'. When Camille and Sullivan see a movie together, Sullivan says, "Really, you liked it? I don't understand you. Come on, it was so French! The actors are annoying. It was talky, complacent. It was awful." What is your relationship with French cinema and how do you see your films settling into this category? I guess I am very French! But that is not something I feel ashamed of. It's so French to not like French films. I think Australians love to hate their films even more! Oh, really? Well, that scene was written not so much to criticise French films but to criticise those who criticise [laughs]. French cinephiles can be so narcissistic. Yes, I had fun writing that scene. But, of course, what it's actually meant to express is that two people might not understand each other but they can still love each other. That sounds very intensive. Directors often refer to their films as their babies. Do you think of your films as your babies? [laughs] My films were my babies until I actually did have a baby — then you realise these things have nothing in common! Like children, do you dare compare them against one another? Oh I really don't like it when people ask me to compare. So, yes, in that way films and children are similar ... I give all that I am to my films. And so the film becomes a part of who I am. At this stage into the process I am in so deep I have no perspective and I don't know if what I'm making is any good. For this reason I have so much empathy for everything I make. I guess that could be confused with defensiveness. But it's not because I am so proud of what I have done but because I know them so well. I spend two years of my life with each film thinking only of them and when the process is over, only then do I realise that the film is something outside of me. That sounds more like a love affair than a mother-child relationship. Yes, exactly. And I really do have such a hard time when the process is over. For maybe one week I am very happy, very satisfied, but then the two or three months between the finish of the editing on one film and the beginning of scripting on the next, well, that is a very painful period. I think George Lucas was paraphrasing Da Vinci when he said, "a film is never finished it is only abandoned." Ah, yes! I know this quote and it's so true. Truffaut said something like "life for me is making films", and since my first film I would say the same goes for me. If I could not make films, I could not go on. Making films is like building a house. With each film I feel I am stacking another stone and at the end there is a space where I fell well, I feel safe. Actually, that's one of the reasons Camille becomes an architect — she wants to take control of the spaces and ways in which she lives. Speaking of the domestic, your films to date seem to be concerned with intimate character portraits set within domestic relationships. Have you deliberately established yourself within this territory or do you plan, at some point, to work beyond these borders? Hmm. Well, my next film is about the electro music scene and a DJ's place in it. Okay, so it isn't domestic but it's centred around the details rather than the big, dramatic moments. Read our review of Goodbye First Love here.
Each and every year, Sydney Film Festival spends its June run doing exactly what it loves, and letting the Harbour City's movie buffs enjoy the same thing. But even the Harbour City's major annual celebration of cinema only turns 70 once, which means putting together a massive 200-plus-movie program to mark the occasion — starting with these 12 just-announced flicks. SFF's full lineup will arrive in May, ready to treat film fans of Sydney — and Australia — to Festival Director Nashen Moodley's latest selections from Wednesday, June 7–Sunday, June 18. If the first round of titles is anything to go by, and it usually is, there'll be no shortage of highlights. Penélope Cruz, Haruki Murakami, a documentary about documentaries and their impact upon the folks featured in their frames: they're all covered so far. Parallel Mothers star Cruz joins the lineup courtesy of L'immensità, playing a mum again. This time, she's in 70s-era Rome and navigating struggles in her marriage, while also supporting her 12-year-old when they begin to identify as a boy — with director Emanuele Crialese drawing upon his own experiences. Murakami fans, the animated Blind Willow, Sleeping Woman adapts the Japanese author's short story collection of the same name, complete with a quest to save Tokyo. And lovers of docos The Staircase, Capturing the Friedmans, The Wolfpack, Hoop Dreams and The Square should instantly add Subject to their must-see list — it spends time with subjects from all five works, diving into what it means to be the focus of a film, plus the duty of care that documentarians owe the people in their frames. SFF will also screen the latest features by acclaimed filmmakers Jafar Panahi and Christian Petzold, with the former winning a Venice Special Jury Prize for No Bears and the latter nabbing a Berlinale Silver Bear for Afire. Iranian great Panahi directs and stars, playing a fictionalised version of himself as he's fond of doing (see also: Tehran Taxi), and blending truth and fiction to examine how artists can too easily become scapegoats. Undine and Transit's Petzold once again puts actor Paula Beer in front of his lens, with the German director this time helming a tragicomedy about a seaside holiday surrounded by forest fires. On the local front, actor and director Rachel Ward returns to SFF after 2019 opening-night pick Palm Beach, this time with Rachel's Farm, a doco about bringing sustainable farming practices to her northern NSW beef farm. And, in The Last Daughter, Wiradjuri woman Brenda Matthews charts her experience being taken from her family as a toddler, growing up with a white foster family, then being returned to her parents. Taika Waititi graces the SFF lineup as an executive producer, with New Zealand comedy Red, White & Brass telling the true tale of Tongan rugby fans who volunteered to become a marching band for the Rugby World Cup — with no relevant background — just to attend the event. And, still with impressive cinema names, documentarian Frederick Wiseman's A Couple steps into the relationship between Leo and Sophia Tolstoy, while Filipino filmmaker Lav Diaz ruminates upon power in When the Waves Are Gone, which is about two policemen. Rounding of the initial dozen flicks: Bobi Wine: The People's President, about the Ugandan musician getting political and battling his homeland's dictatorship; and While We Watched, focusing on Indian journalist Ravish Kumar's quest to champion independent reporting. As for what else is in store, Moodley advises that 2023's full lineup will "continue a 70-year strong tradition of presenting exceptional cinema from across Australia and around the world to Sydney audiences". "Since 1954, Sydney Film Festival has brought more than 10,000 films to Australian audiences. Year after year, the Festival continues to be a pioneer in the world of cinema, screening bold and inspiring works that provoke thought and push boundaries." "The 2023 program will expand on this legacy, promising to ignite stimulating dialogues and present powerful ideas that will broaden audience perspectives." Sydney Film Festival 2023 runs from Wednesday, June 7–Sunday, June 18, with the full lineup announced on Wednesday, May 10 — check back here then for all the details, and hit up the festival website for further information in the interim.
Throwing open the doors after spending almost four months in lockdown is a rather huge deal, both for Sydneysiders keen to venture out of the house for whatever reason they like and for venues eager to welcome patrons back in. So, Ultimo's Powerhouse Museum is marking the occasion in a big way — by launching five new exhibitions. Back in February, when the site announced its plans for 2021, it unveiled a list of exhibitions to fill its walls and halls for the entire year. Of course, the pandemic changed that. Now, when it reopens on Monday, October 11 in line with New South Wales' roadmap out of stay-at-home conditions, it'll unleash everything from party photographs and electric keyboards to art about eucalypts and stunning design work. Thanks to an exhibition called Eucalyptusdom, the venue will explore stories surrounding gum trees, including their importance to Indigenous Australians. Expect to see pieces from Powerhouse's collection across a lineup of more than 400 items, as well as new works by Dean Cross, Luna Mrozik Gawler, Julie Gough, Vera Hong, Anna May Kirk, Nicholas Mangan, Yasmin Smith, Sera Waters and Damien Wright with Bonhula Yunupingu. [caption id="attachment_828027" align="alignnone" width="1920"] Zandra Rhodes, Autumn / Winter 1981-82, London. ©Robert Rosen[/caption] Australian portrait and social pages photographer Robert Rosen is also in the spotlight, all thanks to Glitterati: 20 years of Social Photography. This showcase hones in on Rosen's vivid snaps, covering more than 300 images, including from his early career in London and Paris. Here, famous faces will grace Powerhouse's walls, spanning the likes of Paul McCartney, Elle McPherson, Divine, Nina Simone, Yves Saint Laurent and Andy Warhol, plus Grace Jones, Kylie Minogue, Nicole Kidman, Luciano Pavarotti, Elton John and Michael Hutchence. With Electric Keys, the venue will also contemplate the influence of electric keyboards on soul jazz, blues, rock, progressive rock and pop. Twenty keyboards will be on display, dating back to mechanical instruments from the 17th century — including a Virginal plucked string keyboard with a compass of four octaves that was made in Italy in 1629, aka the Powerhouse's oldest instrument. A 1974 electric piano 'Wurlitzer 200A', as heard in Queen track 'You're My Best Friend' also features, as does a 1982 Roland SH-101 monophonic synthesizer that produced the baseline in Eurythmics' 'Sweet Dreams'. Powerhouse is also highlighting 20th-century designers in an exhibition called Graphic Identities, focusing on the likes of Douglas Annand, Frances Burke, Gordon Andrews, Arthur Leydin, Dahl Collings, Shirley de Vocht and more. And, in Clay Dynasty, over 400 pieces from the Powerhouse collection will be on display, highlighting different ways of working with the medium across 50 years of Australian studio ceramics — including works from 160 Aussie artists. [caption id="attachment_828029" align="alignnone" width="1920"] View of Electric Keys showing keyboard instruments from the collection. A Hammond B3organ from 1955 is in the foreground and the oldest keyboard instrument in the country, a Virginal from 1629, can be seen on the right. Photographed by Zan Wimberley.[/caption] That's what's launching now, but more is in store across the rest of the year. Come December, the Five Hundred Arhats exhibition will showcase a selection of the 300 statues found in the ruins of Changnyeongsa Temple in Yeongwol in Gangwon-do Province, South Korea, back in 2001. The stone sculptures are thought to date back 500 years, and depict arhats, aka followers of Buddha who've achieved the enlightened state of nirvana. And, Powerhouse still has a number of other delayed exhibitions in the works as well. They include The Invisible Revealed, which'll let visitors see nuclear-beam scans of objects from Powerhouse's collection; Microcars, focusing on more than 17 tiny automobiles from Europe, Japan, the UK and Australia; and the climate change-centric 100 Conversations, spanning an exhibition and talks program. Powerhouse Museum reopens on Monday, October 11 at 500 Harris Street, Ultimo. For further details, visit the venue's website. Top image: View of Eucalyptusdom showing commissioned work Pyriscence: After Fireby Anna May Kirk. Photographed by Zan Wimberley.
Everything written about the film Catfish tells you that the less you know about it the better. From what we can make out it's a documentary about a charming New York photographer-type, Nev Schulman, who meets a pretty girl on Facebook after her sister does a painting of one of his photos. We follow him as his friends start documenting the relationship and travel with him interstate to meet her. And then there is a twist. While Catfish touts itself as one of a wave of films trying to keep up with the kids by focusing on Facebook and the way it has changed how we conduct relationships, everyone still enjoys a good old fashioned twist, and it's this more than anything else that makes you really want to see it. Just try your hardest to stay away from Google. As it happens, we have 30 double passes to sneak preview screenings of Catfish this weekend to give away. The film will be officially released here on Australia Day, so if you can't stand the curiosity, taking us up on this might ease the tension a little. To win one of 30 double passes, simply subscribe to Concrete Playground (if you haven't already) then email hello@concreteplayground.com.au with your name and address. Entries close Thursday, January 20 at 5pm. https://youtube.com/watch?v=BuE98oeL-e0
Forest foraging doesn't pop up on many job descriptions, but for the people behind the pass at Biota Dining, it's an almost-weekly task. Many fine dining establishments run with the narrative of using locally sourced native ingredients but few do it as authentically as Biota. Based in the Southern Highlands, the restaurant has built a reputation for supporting and simultaneously relying on the regions' natural resources (and the people that grown them) to fuel an ever-evolving menu. And while the on-site Kitchen Garden contributes, the chefs also regularly venture further afield for ingredients and inspiration. Now, they're inviting you along. Throughout the year, Biota Dining will be holding a series of adventure experiences. You'll get to spend the day with the chefs in the wild getting your hands dirty. Following a coffee and snack at the restaurant at 9am, you will head into the Highlands. After a few hours of hunting for edible shrubs, flowers and berries, the chefs will transform the native finds into a campfire feast. With a full tummy and newfound appreciation for the flavours of nature, you will arrive back at Biota at 2.30pm, giving you the afternoon to enjoy the charms of Bowral. A spot will set you back $185, but it includes lunch and the whole adventure — the first one will be held on Friday, April 20.
Death is everywhere in The Book Thief: sometimes shown, usually implied and — every so often — speaking as its narrator. There is death in the film's opening scene, and there is death again at its end, yet early denunciations have labelled it 'Holocaust lite' or 'Holocaust kitsch', with one critic going so far as to call it "a preposterously sanitised portrait of hardship and war". If these criticisms (of which there have been many) were to be distilled into one pure, refined quibble, it would be that The Book Thief is simply too nice for a story that, at least in part, touches upon the Holocaust. Is it Schindler's List? No, but let's be clear: it's not even remotely trying to be. Directed by Brian Percival (Downton Abbey), this is a PG film, based on a young adult novel and told from the perspective of a 13-year-old German girl. Neither the bestselling book by Markus Zusak nor the film adaptation ever set out to tell the same old conventionally harrowing and affecting war narrative, because — presumably — that story has already been told so many times before. Instead, it presents the moving, imaginative and even charming tale of a child's profound love of literature and its ability to transport, enlighten, incriminate, incite and inspire its reader. That child is Liesel Meminger (Sophie Nelisse), who's put up for adoption after her communist mother is forced to flee the Nazi purge. Liesel's brother dies en route to their new home with the elderly Hubermanns (Geoffrey Rush and Emily Watson), and from the outset it's clear she has an ally in the playful Hans and a challenge in his irascible wife Rosa. She also quickly befriends her snowy-haired neighbour and champion runner Rudy (Nico Liersch), whose idolisation of African-American sprinter Jesse Owens places him at odds with local the Nazi Party officials. Most importantly, though, Liesel begins to learn how to read, and together with Hans she quickly discovers the infinite joys and rewards to be found in books. Her first is picked up on the day of her brother's funeral, the next, rescued from the ashes of a book burning event. Each book tells a story, yet also has a story of its own, and none more so than the copy of Mein Kampf possessed by Max (Ben Schnetzer), a Jewish man kept safe and hidden by the Hubermanns. Which brings us again to the accusation of 'Holocaust kitsch'. Max's torment is prolonged and palpable, drifting close to death on multiple occasions through exhaustion, malnourishment, exposure and the unremitting threat of discovery. Worst of all, he spends — quite literally — years living in the Hubermanns' basement without even a single opportunity to breathe fresh air or once see the sky. Had The Book Thief been told from his perspective, it would have been every bit the despairing and wretched tale so many apparently seek, yet it would not have been the tale told to Zusak by his grandparents and which he, in turn, wished to tell the world. If many of these critics are to be believed, the only way you're permitted to tell a Holocaust story is through bleak imagery, solemn dialogue and a complete lack of tenderness. The Book Thief, much like 1997's Life Is Beautiful, offers a different perspective. Through the extraordinarily talented Nelisse, we see a scared, confused and compassionate girl attempting to make sense of the senseless. The horrors befalling so many around her aren't explicitly shown, but our knowledge of them, matched with the meticulously recreated settings, contributes to a beautiful and largely original tale of one family's bravery, decency and humanity. https://youtube.com/watch?v=hEnLF-pCybw
A new wave of hotels offering more than just a room and a buffet breakfast has taken over Sydney in the last few years. From the beloved Paramount House Hotel to the new Ace Hotel or the northern beaches' freshly transformed Manly Pacific, these accommodations offer both tourists and Sydneysiders a range of lifestyle experiences during their stay. The latest boutique hotel to open in Sydney has arrived on Oxford Street with 56 luxury rooms and suites, an all-day restaurant and a Palm Springs-inspired pool bar. Oxford House is Paddington's first lifestyle hotel, offering guests stylish accommodation, a hotel pool with DJ sets and a bar, and plenty of extras you've come to expect from a top-notch hotel — all in the centre of one of Sydney's top dining and entertainment hubs. While the pool is exclusively for hotel guests, both the bar and the hotel's sleek, street-level restaurant are open for Paddington locals to come and enjoy oysters and a cocktail. The interior of Oxford House — or OH! as it's being branded — has been designed around ample natural light while complimenting the crisp, stylish aesthetic of Paddington with warm natural hues and rich textures. "Whilst we took design notes from the sleek lines and muted colours of Palm Springs, it was important that Oxford House effortlessly threaded into the cultural fabric of Paddington, so art and design were key," says the Principle Designer at Public Hospitality, Tom de Plater. "We collaborated with culture king, George Gorrow to showcase an incredible collection of art, paintings, photography, collage, printmaking and sculpture from artists including Lena Gustafson, Adam Turnbull and Niah McLeod throughout the property." Just some of the considered accompaniments you'll find in the rooms are custom-made bathrobes from Double Rainbouu, crockery from Marc Newson, hair care products from Grown Alchemist and speakers from Mashall. Away from the rooms, there are two hospitality spots built into the hotel. The first is the all-day dining, sitting at street level of Oxford Street for perfect people-watching. In the morning, Oxford House hotel guests and public diners can start their day on rolled bircher muesli, the OH-melette with woodside goats curd, or a lavish big breakfast featuring mixed sauteed mushrooms, crispy kale, truffle oil, pecorino, poached egg and sourdough. Later in the day, the menu switches to feature fresh oysters, kingfish sashimi, house dips, grilled market fish and roasted cauliflower. There's also a sun-soaked pool bar serving up poolside drinks, grilled king prawns, classic burgers and fish sourced from the Sydney Fish Markets. Come weekends, the bar will host DJ sets and digital art shows. "This was a unique opportunity to create an accommodation first for Paddington, provide a new hospitality experience for locals, and help energise an important part of town," continues de Plater. "Given the hotel's enviable location — famed shopping, nightlife and Allianz stadium, all within walking distance and the beach and city, a short drive away - we wanted to create a space that really felt like an unexpected escape; a hotel that was as relaxed as Oxford Street is lively." Rooms range from $229–499 and are available to book now. Oxford House is located at 21 Oxford Street, Paddington. The pool bar is open 7am–11.30am and midday–8pm.
Nanette Orly curates Transcendence, a new show opening at Firstdraft this month. Drawing together work from Talia Smith, Get to Work, Roberta Rich, Nathan Beard and Dana Davenport, the exhibition explores the premise of blurred cultural identity, investigating "how artists of mixed backgrounds utilise their practices to negotiate and deconstruct their own identities," offering viewers insight into how one can solidify multiple cultural backgrounds to arrive at a place of personal harmony and emotional reconciliation, or "transcendence". With several interdisciplinary artists featured, you can expect a multiplicity of mediums including video, sculpture and performance. Our pick for the highlight? The collective Get To Work (a trio of artists Georgia Taia, Paris Taia and Tracy Quan) who offer up a humorous, relatable and playful fusion of performance, dance, video, pop culture and Pacific Island traditions to examine social behaviour and identity – ridiculing the stereotyping they frequently experience as artists and culturally diverse women whilst aiming to relieve "the potential pressures, particularly in Australia, to be culturally categorised". Image: Dana Davenport, 흑인 (heugin) - Black Person, 2015, Image credit: Maria Baranova.
In 2006’s Night at the Museum, the exhibits and dioramas of New York City's Museum of Natural History sprang to life, surprising freshly hired evening security guard Larry Daley (Ben Stiller). In 2009’s Night at the Museum: Battle of the Smithsonian, Larry returned to save enlivened treasures being shipped off to storage in Washington, D.C., stumbling upon a power battle between magically resurrected pharaohs in the process. The films, mixing an everyman protagonist with an exaggerated situation, established an easy formula of heroics and humour, history and fantasy, and quests and chaos, as suitable for all ages. Now, once more adhering to the blueprint but transporting the action to London, the trilogy crawls towards its conclusion with Night at the Museum: Secret of the Tomb. Here, the perpetually bumbling Larry is thrust into trouble once more when an important event goes awry as a result of his animated mannequin friends. The tablet that endows the appearance of life into the museum’s trinkets is starting to corrode, courtesy of an Egyptian curse. Only specimens housed in Britain hold the answers to stopping the rot, reinstating the spell and rescuing the likenesses of famous figures from reverting to a permanent state of wax. Adding to the antics are Larry’s English counterpart, nightwatchwoman Tilly (Rebel Wilson), and an arrogant Sir Lancelot (Dan Stevens), both endeavouring to thwart the visitors’ efforts for their own reasons. Returning director Shawn Levy (This Is Where I Leave You) and new scribes David Guion and Michael Handelman (Dinner for Schmucks) aren’t concerned with offering any unexpected detours in the events that follow, repeating the beats of the earlier films with a heightened emphasis on outdated pop culture jokes. Indeed, that the feature’s biggest source of laughs — and its best surprise cameo – stems from an internet meme gives an indication of the level of comedy cultivated, as does the prominence of online cat videos to the plot. Even the usual reliance upon slapstick wavers, for worse, not for better. The odd-couple banter of Owen Wilson as an old west cowboy and Steve Coogan as a Roman soldier is similarly toned down. Elaborate staging aside (best manifested in Secret of the Tomb in an uncharacteristically excellent M.C. Escher-inspired sequence), the biggest lure of the Night of the Museum series has always been its extensive cast. Performers express enough energy to keep the movie bubbling along; however, for reasons inconsequential to the content itself, it is Robin Williams’ return as Teddy Roosevelt that stands out. His last on-screen appearance evokes both sweetness and sorrow that far exceeds the average franchise swansong he is saddled with.
Join Cake Wines and their 'uncomplicated' approach to wine as they launch their second pop-up bar in the disused Cleveland St Theatre. Cake will host a number of events beginning at 6pm on Thursday night with the brand's Archi Bottle Prize awards. A live FBi Radio broadcast will be held on Friday night, and the bar will also be open from midday to midnight on Saturday as a part of the Surry Hills Festival in Prince Albert Park. As you sit and enjoy the Archi-Bottle Prize you can sip on your choice of Shiraz, Rosé, Chardonnay, Lucky Duck cider or Little Creatures Beer and chow down on gourmet food from Jafe Jaffles. For every bottle of Cake Wine purchased, 25 cents of the sale goes back to FBi and 4ZZZ Radio stations. And thanks to Cake, two Concrete Playgrounders will win a bottle of Pinot, redeemable at the bar. To go in the running just subscribe to Concrete Playground (if you haven't already) then email hello@concreteplayground.com.au
Fans of the Portuguese tart need to make tracks to Clovelly, where Tuga Pastry is turning out arguably the tastiest pastel de nata our city has to offer. Owner Diogo Ferreira resurrected his father Agostinho's (who was a pastry chef in northern Portugal) recipe back in 2016 when he opened his first cafe, Village on Cloey. Then, when space opened up three doors down, Ferreira expanded his business and opened this bustling weekend bakery. Here, you'll catch Ferreira's mother Lucia in the kitchen, hand pressing the dough for each and every Portuguese tart that goes in the oven. You can watch the entire process in the bakery, then taste the finished product fresh from the oven. The buttery pastry shell is filled with gooey egg custard that's perfectly caramelised on top and dusted with cinnamon. If you're not hungry yet, just take a look at this: [caption id="attachment_762031" align="alignnone" width="1920"] Kitti Gould[/caption] Apart from the pastel de nata, which is available every day, the Tuga menu is constantly changing. Other favourites include tart de feijao (almond tart), pau de daus (coconut brioche) and bola de berlim (sugar coated donuts). Diogo is also whipping up non-Portuguese treats, like croissants, quiches and sausage rolls. Plus, gorgeous cakes in flavours like coffee and hazelnut, carrot and pineapple, and passion fruit and yoghurt. Tuga is looking to expand in the near future, too, so keep on eye on this space. Images Kitti Gould
Sydney's late-night dining scene just scored a flavour-packed new addition with the arrival of Master Cow Hot Pot, a lively Cantonese-style hot pot restaurant at World Square. From restaurateur Howin Chui (Kowloon Cafe, Ni Hao Bar) and 22-year-old entrepreneur Chi Zou — who comes from a hospo family — the venue puts a considered, contemporary spin on traditional hot pot, with a focus on premium hand-cut beef, a wide array of soup bases and late-night service that stretches into the small hours. The focus here is on the beef. But instead of the frozen, machine-sliced kind you might find elsewhere, at Master Cow, beef is hand-sliced to order — ensuring premium marbled cuts like prime rib, oyster blade and shin shank (as well as specialty options like M9+ wagyu and Kagoshima A5 wagyu) remain tender and flavourful even after they hit the steaming broth. As for the broth, you'll have eight to choose from. Developed in partnership with a Hong Kong-based master chef exclusively for this Sydney spot, flavours range from an umami-heavy, house-made tomato and oxtail to punchy satay and spicy seafood — and in keeping with Cantonese traditions, these bases are designed for both dunking and sipping. For a small fee, you can further customise your experience with a visit to the self-serve sauce bar, with staff on hand to guide newcomers through the best flavour combos. Beyond the beef, the menu casts a wide net. You'll find everything from abalone and Japanese scallops to handmade meatballs and a wealth of veggies, alongside noodles, rice dishes and Halal-friendly options. Drinks range from Hong Kong-style lemon tea and house-made plum juice to classic cocktails like a strawberry bellini or whisky highball, as well as beer, wine, soju and Chinese spirits. The 68-seat venue has been designed by Darren Kong Studios and takes its cues from the vibrant streets of Hong Kong. As well as the open-plan main dining area, the space also includes three 10-seat private dining rooms, each with its own TV, service buzzer and customisation options. There's even a nostalgic claw machine at the restaurant's entrance where you can score small prizes or discounts for a future visit. Master Cow Hot Pot's opening hours also nod to Hong Kong's late-night dining culture — it's open until midnight from Sunday to Thursday, and until 2am on Fridays and Saturdays. It's a move Chui and Zou hope will help breathe new life into Sydney's after-dark food culture, giving night owls one more option beyond fast food or kebabs. Master Cow Hot Pot is now open at Shop 16, World Square, 123 Liverpool Street, Sydney. It's open daily for lunch (11.30am–3pm), dinner (5.30–10pm) and late-night supper, from 10pm–12am (Sun–Thu) and 10pm–2am (Fri–Sat). For more information, head to the venue's website.
In showbusiness, nepotism is as inescapable as movies about movies. Both are accounted for in The Souvenir: Part II. But when talents as transcendent as Honor Swinton Byrne, her mother Tilda Swinton and writer/director Joanna Hogg are involved — with the latter working with the elder Swinton since her first short, her graduation piece Caprice, back in 1986 before Honor was even born — neither family ties nor filmmaking navel-gazing feel like something routine. Why this isn't a surprise with this trio is right there in the movie's name, after the initial The Souvenir proved such a devastatingly astute gem in 2019. It was also simply devastating, following an aspiring director's romance with a charismatic older man through to its traumatic end. Both in its masterful narrative and its profound impact, Part II firmly picks up where its predecessor left off. In just her third film role — first working with her mum in 2009's I Am Love before The Souvenir and now this — Swinton Byrne again plays 80s-era filmmaking student Julie Harte. But there's now a numbness to the wannabe helmer after her boyfriend Anthony's (Tom Burke, Mank) death, plus soul-wearying shock after discovering the double life he'd been living that her comfortable and cosy worldview hadn't conditioned her to ever expect. Decamping to the Norfolk countryside, to her family home and to the warm but entirely upper-middle-class, stiff-upper-lip embrace of her well-to-do parents Rosalind (Swinton, The French Dispatch) and William (James Spencer Ashworth) is only a short-term solution, however. Julie's thesis film still needs to be made — yearns to pour onto celluloid, in fact — but that's hardly a straightforward task. As the initial movie was, The Souvenir: Part II is another semi-autobiographical affair from Hogg, with Swinton Byrne slipping back into her on-screen shoes. This time, the director doesn't just dive into her formative years four decades back, but also excavates what it means to mine your own life for cinematic inspiration — aka the very thing she's been doing with this superb duo of features. That's what Julie does as well as she works on the film's film-within-a-film, sections of which play out during The Souvenir: Part II's running time and are basically The Souvenir. Accordingly, viewers have now spent two pictures watching Hogg's protagonist lives the experiences she'll then find a way to face through her art, all while Hogg moulds her two exceptional — and exceptionally intimate and thoughtful — movies out of that exact process. Julie's graduation project is also an escape, given it's patently obvious that the kindly, well-meaning but somehow both doting and reserved Rosalind and William have been pushed out of their comfort zone by her current crisis. Helping their daughter cope with her heroin-addicted lover's passing isn't something either would've considered might occur, so they natter away about Rosalind's new penchant for crafting Etruscan-style pottery instead — using small talk to connect without addressing the obvious, as all families lean on at some point or another. They provide financing for Julie's film, too, in what proves the easiest part of her concerted efforts to hop back behind the lens and lose herself in her work. Elsewhere, an array of doubt and questions spring from her all-male film-school professors, and the assistance she receives from her classmates is quickly steeped in rivalries, envy and second-guessing. More than once, queries arise about why Julie makes particular choices — and seeing how Swinton Byrne responds under Hogg's meticulous direction is one of the key reasons that The Souvenir: Part II is as powerful and compelling as it is. Like everything in the film, it's a revelation in layers, which unpeel far deeper than merely asking Swinton Byrne to be her director's on-screen surrogate. An introvert, Julie is visibly unaccustomed to the scrutiny that comes with her ambitious project, and with needing to handle her inner hurt under a spotlight. Swinton Byrne makes that plain quietly but repeatedly, all while conveying how Julie's self-hesitation slowly dissipates the longer she goes on, the more she struggles with, and the more mistakes she makes and solves. How this process echoes through her work, shaping both it and Julie herself, ripples through to a disarmingly intense degree — and with crucial aid from cinematographer David Raedeker (Swimming with Men) and production designer Stéphane Collonge (God's Own Country). There's no shaking the grief of it all, of course. As a musing on mourning, plus a perceptive glimpse at how the bereaved are expected to soldier on despite placating words offered otherwise, The Souvenir: Part II is shattering. Amid movie-within-movie sequences that'd owe thanks to David Lynch and Charlie Kaufman if they weren't so clearly diffused through Hogg's own lens — and after the other glimpse at the industry that comes via Richard Ayoade's (The Electrical Life of Louis Wain) returning Patrick, now successful, pompous AF, helming a huge movie musical and an enormous scene-stealer — the all-encompassing chaos that loss begets is laid bare. It's what drives Julie into bed with one of Patrick's stars (Charlie Heaton, Stranger Things), and sees her place perhaps too much on her own film's leading man (Harris Dickinson, The King's Man). In another of the feature's standout moments, it's also what causes her to misunderstand the sympathies of her editor (Joe Alwyn, Mary Queen of Scots) when support becomes hard to find. The Souvenir was a fated romantic tragedy. It was a vehicle for its director to work through her memories, too, and immortalise what she's now decided to keep; yes, that title is oh-so-telling. The Souvenir: Part II is a meditation upon loss, heartbreak and life's worst existential and inevitable woes, and also a way for Hogg to sift through her memories about all those memories, not to mention the new ones she conjured up when she first turned them into a movie a few years back. It's as smart, sensitive and stacked as an immensely personal piece of cinema can be, and it's also thrillingly savvy about how subjective everything it shows and interrogates needs to be by necessity. Cinema isn't short on memoirs, many of them wonderful — recent Oscar-winners Roma and Belfast, for example — but The Souvenir and its just-as-phenomenal sequel are in a bold and brilliant realm all of their own.
Neil Perry did it, so Luke Mangan's going to try. Fine dining chefs have been trying their hand at the more casual fast food game, with new chains like Burger Project testing the takeaway waters for top tier hospitality figures. Now, lauded Mojo chef Mangan will launch his first foray into the ever-expanding burger bubble, opening a chain of burger joints dubbed (somewhat cringingly) Chicken Confidential in January. Announced this week, the new venture will focus exclusively on chicken (obviously), will be part of an expansive movement of chains that Mangan is looking to install across Australia and into Asia over the next couple of years. An exclusive preview of the menu is available for lunch at Mangan's CBD restaurant, Glass Brasserie, from December 7 until December 22. Mangan opened his first restaurant in 1999, and his entrepreneurial antics have proved to be as unstoppable as a Pringles can. Since 1999, he's opened joints all around Asia and Australia, crafted menus for P&O Cruises, cooked in the sky with Virgin Australia, written books, opened a providore and a whole host of other enterprises. Now he's got his eye set on Sydney's growing fascination with food that can't be good for you but who cares, it's delicious, where the two towering tyrants of this fascination are burgers and damn good fried chicken. The aim of Chicken Confidential is to blend the two, focusing on crafting incredible chicken burgers for a readily waiting public. At least, this is the niche that Mangan is hoping to exploit, but with so many excellent dedicated chicken joints already with deep roots all over the city, it's hard to predict if punters will flock (puts Box of Shame on self) to this new kid on the block. Only time can tell if the venture will be less secretive than the name would imply.
What happens when you take the Australian teen series of the 90s and update it to the 2020s, all while riding a huge wave of nostalgia for all things stemming from three decades back? Even thanks to just the first part of that equation, every fan of beloved 1994–99 hit Heartbreak High could've told you that the end result would be a smash. And, streaming on Netflix since September, that's exactly how the ace new Heartbreak High revival has turned out — so much so that there's going to be a second season. No one has been saying "rack off" to the Sydney-set show's latest run, or its new batch of Hartley High teens, or their fresh dose of teen chaos. Not Aussie audiences, with the series sitting in Netflix's top ten TV shows in the country for the five weeks since its release. Not global viewers either, with Heartbreak High 2.0 also reaching the top ten in more than 43 countries, including in the US and across Europe, Africa and Asia — and spending three weeks in the global top ten, too. The streaming platform also advises that its subscribers clocked up 42.6 million hours watching Heartbreak High in three weeks. That's not bad for the latest high school-focused revival, doing what Beverly Hills, 90210 did, plus Saved by the Bell and Gossip Girl as well, but with a firmly Aussie spin. Unsurprisingly, Netflix has greenlit Heartbreak High for a second season, although exactly when it'll drop hasn't been revealed. Still, if you're keen to spend more time with Amerie (Ayesha Madon, The Moth Effect), Harper (Asher Yasbincek, How to Please a Woman), Darren (screen first-timer James Majoos), Quinni (Chloe Hayden, Jeremy the Dud), Dusty (Josh Heuston, Thor: Love and Thunder), Ca$h (Will McDonald, Home and Away), Malakai (Thomas, Troppo), Spider (Bryn Chapman Parish, Mr Inbetween), Ant (debutant Brodie Townsend), Sasha (Gemma Chua-Tran, Mustangs FC) and Missy (fellow newcomer Sherry-Lee Watson), start getting excited now. Season one started with Amerie becoming a pariah at Hartley after a big revelation — an "incest map" plotting out who's hooked up with who throughout the school — and also struggling with a sudden rift in her friendship with bestie Harper. Attempting to repair her reputation, she calls on help from her new pals Quinni and Darren, all while working through her crush on Dusty and developing feelings for Malakai. And that's just the start of Heartbreak High's 2022-set story so far. It was back in 2020 that Netflix initially announced that it was bringing the series back — and yes, it sure is a 2020s-era take on the Aussie classic. Adolescent chaos is still the main focus, including everything from friendship fights, yelling about vaginas from the top of a building and throwing dildos at walls through to consent, crime, drugs and police brutality. The original Heartbreak High was a massive deal, and was filled with now-familiar faces, including Alex Dimitriades, a pre-Home and Away Ada Nicodemou, and Avengers: Endgame and Mystery Road's Callan Mulvey as Drazic. It painted a multicultural picture of Australia that was unlike anything else on TV at the time. And, for its six-year run across two Aussie networks, the Sydney-shot show was must-see television — not bad for a series that started as a spinoff to the Claudia Karvan and Alex Dimitriades-starring 1993 movie The Heartbreak Kid, too. Check out the trailer for the new Heartbreak High below: Heartbreak High season two doesn't yet have a release date — we'll update you when one is announced. The show's first season is available to stream now via Netflix. Read our full review.
Did you know Australia is the world's seventh-largest market for champagne? And, because we never do anything by halves, we're also the largest consumers of champagne per person outside Europe. We also seek quality over quantity, with drinkers choosing sparkling and champagne from vineyards with high quality vines. Avid champagne drinkers may have noticed an increasing number of rosé champagnes in their favourite bars and bottle shops, too. This is thanks to a rosé revolution — a surge in popularity for not only still pink wines but also for sparkling and champagne rosé — which is why we've partnered with Moët & Chandon to bring you a quick guide to the complex drink that can range from amber to hibiscus pink in colour, and from red currant to strawberry in flavour, and pair surprisingly well with sashimi and roast chicken. Read on to find out why your next glass of champagne should be pink. [caption id="attachment_760242" align="alignnone" width="1920"] Pinot meunier grapes; Fred Laures[/caption] PINK CHAMPAGNE IS MORE COMPLEX THAN YOU THINK It's also drier and has layers of flavour. Winemakers use red wine grapes pinot noir and pinot meunier as the basis for rosé champagne; they take the intensity and structure of the pinot noir and combine it with the opulent flavours of meunier — think wild strawberry and cranberry characters — which creates a champagne that has freshness as well as layers of flavour. [caption id="attachment_758615" align="alignnone" width="1920"] Lasseter Winery[/caption] IT'S THE ONLY TIME WINEMAKERS ARE PERMITTED TO BLEND RED AND WHITE WINES No, really. Making rosé champagne is the only time when it is permitted to blend still red wine and still white wine together to make rosé. The process is called rosé d'assemblage and winemakers combine a percentage of red wine (usually pinot noir or meunier) with the cuvée. Taking it a step further, Moët & Chandon trains its winemakers to master the specific techniques necessary to make red wines, giving them a devoted space, amenities and resources to allow them to focus on the nuances of crafting red wine. No other rosé champagne producer in the Champagne region has taken comparable steps. ROSÉ CHAMPAGNE DATES BACK TO THE 1700s The first documentation of rosé champagne was on March 14, 1764. It was discovered in entries from historic champagne house Ruinart's accounts book, which detailed a shipment of "a basket of 120 bottles", 60 bottles of which were Oeil de Perdrix ("Eye of the Partridge"), refers to "a delicate pink coppery colour." Some champagne houses like Moët & Chandon are celebrating their 43rd vintage of rosé champagne. IT PAIRS WITH MORE THAN JUST OYSTERS Rosé champagne comes alive with food. There's a common misconception that both champagne and rosé champagne should only be drunk at the beginning of a meal (with oysters or as an aperitif), but ask any sommelier or champagne lover and they will tell you that the vibrancy and delicate lines of acid are perfect for freshening the palate after foods like roasted pork, cured meats, or even after devouring a delicious burger. It makes the ideal brunch wine alongside fruit platters, which highlight the wine's natural fruit characters, and its minerality and acidity pairs well with a smoked salmon blini. Get creative and come up with a few unusual pairings at home. [caption id="attachment_762305" align="alignnone" width="1920"] Anna Kucera[/caption] THE POP PRESSURE IS INTENSE The pressure in a bottle of rosé champagne (or any champagne for that matter) is equivalent to three times the pressure in your average car tyre (around 96psi) — which is why you should never take your hand off the cork when opening a bottle. This pressure is created through the process of fermentation within the bottle; when the yeast eats all the natural sugar in the grapes to produce alcohol, carbon dioxide is the by-product of this process and it gets trapped within the bottles of champagne. In rosé champagne the result is delicate pink bubbles that dance on your tongue. TWENTY PERCENT OF MOËT & CHANDON CHAMPAGNES ARE PINK One in five bottles (or around 20 percent of champagne production) from Moët & Chandon House is rosé. It takes the crafting and production of the blend very seriously. Its focus on higher quality champagnes shines through in the wine, which shows various vinous characters in different vintages with each new release. The non-vintage (NV) styles are made to a 'house style' and are consistent from year to year. [caption id="attachment_760219" align="alignnone" width="1920"] Moet and Chandon Vineyards at the Loge Mont Aigu[/caption] IT'S (SURPRISINGLY) EXCEPTIONAL VALUE FOR MONEY Truly. Hear us out. Only the most outstanding pinot noir grapes, harvested from the House's own highly rated premier crus and grands crus vineyards (read: highly rated in French classification terms), are made into the red wines to be blended into Moët & Chandon's Grand Vintage Rosé Champagne. So you're always guaranteed incomparable quality every time you pop a bottle open. Moët & Chandon's Rosé Impérial is a fruity and elegant champagne with gooseberry, raspberry and wild strawberry notes. Find out more here. Top image: Boudewijn Boer.
Borders are finally open, interstate travel is firmly back on the cards and holiday-planning feels a whole lot less sketchy than it has for the past two years. And, in a show of fitting timing, you've just scored an extra excuse to cross the Bass Strait for that long-dreamt-of Tassie getaway. Namely, the sprawling new-look cellar door expansion unveiled at Devil's Corner. The renowned winery sits on around 180 rolling green hectares in Apslawn on the Great Eastern Drive, around one hour and 45 minutes southeast of Launceston. A major seven-month expansion to the site's award-winning cellar door has recently upped the ante, cementing its status as one of the region's must-visit wine-sipping destinations. The cellar door has more than doubled in size and scored a refreshed look by celebrated Tasmanian architects Cumulus Studio. Visit and you'll discover an assortment of indoor-outdoor spaces that pay homage to the property's rugged, natural surrounds; all offering sweeping views across the vines and down to the Moulting Lagoon wetlands. It's been designed and built using a similar approach to that of the winemaking here, embracing the natural elements this pocket of the world's been gifted with. On the upper level, the new Hazards Tasting Room is your spot for sipping, swirling and immersing yourself in Devil's Corner's vast catalogue of cool-climate drops. It's named after the mountain range that towers over the region; the vistas of which you can admire while partaking in one of the guided tastings, happening from 10am daily. Onsite eateries The Fishers and Tombolo both have new and improved homes within the cellar door precinct. What's more, punters can choose from various indoor and openair dining areas to enjoy their woodfired pizzas, fresh local oysters and loaded bowls of chilli mussels. Matched with a few glasses of Devil's finest pinot noir or a self-guided tasting paddle, of course. Downstairs, set into the hill, sits the Devil's Den — a cellar, events space and bar, where private functions, and food and wine masterclasses will take place overlooking the neat rows of vineyard. And for some of the site's most breathtaking vistas, head to the top of the lookout tower, where you can experience the winery's grand scale like nowhere else. Time for an interstate wine-sipping adventure? Yes, we think so. Find Devil's Corner Cellar Door at 1 Sherbourne Road, Apslawn, Tasmania. It's open daily from 10am to 5pm.
There aren't a whole bunch of things that can beat a day in the sun with a drink in your hand. Recognising the need to slake that thirst, Canadian Club is bringing their Racquet Club back for the summer, dosing out refreshing Canadian Club, dry and lime by the water with a screen showing the tennis. The Racquet Club celebrates Australia's biggest annual summer sporting fixture, the Australian Open. After keeping punters hydrated in Melbourne last year, the pop-up will this year extend to Sydney and Brisbane as well. The club will set up at The Bucket List on Bondi Beach for a whole month, from December 29 to January 30, and overlooking Sydney Harbour at Cruise Bar from January 3 to January 30. The pop-up bar will carry Canadian Club on tap and a whole slew of Canadian Club cocktails (the grapefruit Summer Spritz is our favourite), and will be decked out in all the tennis memorabilia that they can find. Plus, when the Open starts on January 16, there'll be a big screen showing every game, loud and live. Sports, beach and Canadian Club? See you there.
While an airport's not usually the kind of place you scramble to spend time in, Singapore's Changi Airport has a knack for making the whole transit thing a little more fun. And right now, the major transport hub — which welcomes a cool 65 million visitors each year — is embracing the festive season, unveiling a new immersive Frozen-inspired winter wonderland pop-up. Running until January 5 in celebration of Disney's soon-to-be-released Frozen 2, the installation will see various parts of the airport transformed into snow-dusted fantasy worlds, evoking all those white Christmas feelings. The airport's new nature-themed retail and entertainment precinct Jewel will play host to a program of dazzling themed light and sound shows, splashed across its Rain Vortex: the world's tallest indoor waterfall. There'll also be a festive market selling a wide array of handmade goodies for last-minute Christmas present shopping, as well as an offering of workshops covering crafty endeavours like terrarium-making and ukulele-painting. Meanwhile, the T3 Departure Hall will feature an immersive enchanted forest pop-up, with four challenge zones inspired by the four elements of nature. Sure, it's a total kids' paradise, but there's also plenty to charm the young at heart, from jolly stilt-walkers to larger-than-life installations and roving carollers. The faux snow will be a-flying at regular intervals and Changi will even be graced by its biggest Christmas tree ever – a 16-metre-tall stunner, decked out head-to-toe in full festive finery and lit-up dramatically at 6.30pm each evening. Keep an eye out for it at the Jewel entrance near Terminal 1. Changi Airport sure knows how to keep a travel-weary person entertained between flights. During last year's Christmas period, it hosted an immersive Harry Potter-themed world, while earlier this year, it unveiled its new 14,000-square-metre Canopy Park, complete with mirror and hedge maze, topiary walk (which is currently filled with snow) and slide-filled sculptural playground. A Frozen Wonderland at Changi is located in Terminal 1-3 at Changi Airport until January 5, 2020.
Put down that after-work wine, and get your hands dirty at The Pottery Shed. Across three two-hour lessons, the experts at this Surry Hills workshop will teach you the foundations of pottery; throwing, trimming, glazing. It might not be the sexy Patrick Swayze and Demi Moore Ghost situation you're imagining, but it is surprisingly cathartic and a good way to switch off. The work is messy and tricky to master, but the hard slog will be worth it when you have a beautiful bowl or two to show off to your mates. Once you've nailed the basic techniques, you can return to The Pottery Shed and create more masterpieces at your own pace.
For much of the six years that a new Hayao Miyazaki movie has been on the way, little was known except that the legendary Japanese animator was breaking his retirement after 2013's The Wind Rises. But there was a tentative title: How Do You Live?. While that isn't the name that the film's English-language release sports, both the moniker — which remains in Japan — and the nebulousness otherwise help sum up the gorgeous and staggering The Boy and the Heron. They also apply to the Studio Ghibli's co-founder's filmography overall. When a director and screenwriter escapes into imaginative realms as much as Miyazaki does, thrusting young characters still defining who they are away from everything they know into strange and surreal worlds, they ask how people exist, weather the chaos and trauma that's whisked their way, and bounce between whatever normality they're lucky to cling to and life's relentless uncertainties and heartbreaks. Miyazaki has long pondered how to navigate the fact that so little while we breathe proves a constant, and gets The Boy and the Heron spirited away by the same train of thought while climbing a tower of deeply resonant feelings. How Do You Live? is also a 1937 book by Genzaburo Yoshino, which Miyazaki was given by his mother as a child, and also earns a mention in his 12th feature. The Boy and the Heron isn't an adaptation; rather, it's a musing on that query that's the product of a great artist looking back at his life and achievements, plus his losses. The official blurb uses the term "semi-autobiographical fantasy", an elegant way to describe a movie that feels so authentic, and so tied to its creator, even though he can't have charted his current protagonist's exact path. Parts of the story are drawn from his youth, but it wouldn't likely surprise any Studio Ghibli fan if Miyazaki had magically had his Chihiro, Mei and Satsuki, or Howl moment, somehow living an adventure from Spirited Away, My Neighbour Totoro or Howl's Moving Castle. What definitely won't astonish anyone is that grappling with conjuring up these rich worlds and processing reality is far from simple, even for someone of Miyazaki's indisputable creative genius. Brilliance fills The Boy and the Heron visually, with its lush and entrancing hand-drawn animation both earthy and dreamlike, and its colour palette an emotional mood ring. Being trapped between two states, domains, zones and orbits recurs here in as many ways as Miyazaki can layer in. This is a film with a raging wartime fire that haunts with its flames, plus a traditional countryside home rendered with such detail that viewers can be forgiven for thinking they could step right into it — and of a tunnel where floating bubbles called warawara wait to be born, pelicans lament the circle of life and masses of people-eating oversized parakeets demand to enforce order. It's also a movie where the titular bird looks as a grey heron should, then flips its beak back like a hoodie to show something less standard loitering. Said fish-eating wader and the eponymous boy frequently make a pair, but the former is also the latter's white rabbit: following the feathered figure does indeed make everything curiouser and curiouser. Voiced by The Days' Soma Santoki in the Japanese original and No Hard Feelings' Luca Padovan in the English-language dub that's needless for adults but helpful for young children, Mahito Maki starts The Boy and the Heron in Tokyo in 1943 during World War II. And so it is that 2023 delivers two Japanese icons, Studio Ghibli and Godzilla, each harking back eight decades to spin stories steeped in loss and pain that never stops whispering in hearts and minds. As heralded by air-raid sirens, bombings leave 11-year-old Mahito without his mother. For viewers, the tragedy sees Miyazaki nodding to his own mourning for Isao Takahata, his Ghibli co-founder, who died in 2018. Grave of the Fireflies, the studio's greatest film — amid fierce competition and many fellow masterpieces — is not only set during the same conflict but is mirrored by The Boy and the Heron's early moments. How do you live? By knowing what to grasp to, Takahata's old friend posits. The Boy and the Heron plays like a mix of reverie and memory, as it is, albeit with the second beaming through in emotional truths more than narrative facts. Miyazaki evacuated Tokyo in the war as a boy, however, as Mahito does when his father Shoichi (The Swarm's Takuya Kimura and Amsterdam's Christian Bale) has a new bride in his wife's younger sister Natsuko (Avalanche's Yoshino Kimura and The Creator's Gemma Chan). The change doesn't usher in a reprieve from the quiet and lonely kid's longing for his mum. Instead, it brings the talking heron (Don't Call It Mystery: The Movie's Masaki Suda and The Batman's Robert Pattinson) and everywhere that the creature leads. In a feature with more thoughtful touches than a seemingly endless flock of parrots has feathers, that Mahito's mother and aunt's family estate springs from a great uncle said to have gone mad from reading too many books is quite the inclusion. Stories defined that relative's world, then, which Miyazaki makes literal. After beginning patiently, Miyazaki also makes following Mahito a tumble down the rabbit hole for his audience. Always inventive as a storyteller and a visionary, the Laputa: Castle in the Sky, Kiki's Delivery Service, Princess Mononoke and Ponyo helmer and scribe's return to cinema keeps besting its spectacle while giving Studio Ghibli some of its most breathtaking images (as set to a score by Joe Hisaishi, who's been doing the honours for the director for four decades, of course). There's no such thing as merely a pretty, dazzling or radiant picture for the great animation house, though. As meticulously controlled as its work is during its creation, with animators sketching in every single thing that's seen, Ghibli is unparalleled in understanding the expressive nature of its chosen medium. In conveying how war, growing up, death, love, fear, isolation, sadness, yearning, belonging, standing out, connecting and just life is a whirlwind of confusion, Miyazaki not only lets his imagination take flight, but his flair. The Boy and the Heron can be as trippy as his company's output gets — and as emotionally raw. Since 1984's Nausicaä of the Valley of the Wind, no one has made movies like Miyazaki, other than Takahata. As The Boy and the Heron sails through light and darkness, hope and horror, serendipity and choice, and alienation and acceptance, it also bobs and weaves through many of its filmmaker's trademarks, gleaning that the elements that can unite people and features alike can manifest in as many different ways as an ocean has waves. The pull to retreat then return is the same, whether for a director saying that he's retiring several times (including in 1997 and 2001, after Princess Mononoke and Spirited Away, respectively) or a lost child desperate to flee his hurt and bewilderment. An extraordinary return, and a personal one, The Boy and the Heron isn't expected to be Miyazaki's latest movie now that he's back behind the camera, but it's also the awe-inspiring piece of alchemy that it is because of that history.
When Australia's international borders reopen to the world in November — and when Aussies are permitted to fly overseas for holidays again from Monday, November 1 — that'll only fix one problem when it comes to travelling the globe. Obviously, being allowed to leave the country for a getaway is a big step, especially after more than 18 months of doing exactly that being banned. But being permitted to enter whichever destination you're heading to is obviously just as important. Different countries have different rules about who can visit — and, crucially, the requirements also vary regarding vaccination status. Also, once you've made it into your destination, the conditions might also vary regarding showing you're vaxxed to step inside venues and attend events. Accordingly, proving that you've been double-jabbed isn't something you'll only need to do at home — in New South Wales and Victoria under their reopening roadmaps, for example. So, the Australian Government is launching an international travel certificate that shows if you've been double-vaccinated. It'll become available for use from Tuesday, October 19. As announced on Sunday, October 17, the 'International COVID-19 proof of vaccination' certificate will be provided to Aussies and Aussie visa holders — as long as you have a valid passport, and also your COVID-19 vaccination has been recorded on the Australian Immunisation Register (AIR). You will still need to request one, though, which you can do either by accessing your Medicare account through My Gov or using the Medicare Express app. If you're wondering how it'll work when you're travelling, the new certificate includes a secure QR code that border authorities around the world can access, letting them confirm your COVID-19 vax status. It'll also be marked with a visible digital seal for security purposes, and has been designed to meet the new global standard for these types of passes — as specified by the International Civil Aviation Organization and conforms with World Health Organization guidance. For more information about showing your vaccination status for international travel, visit the Services Australia website.
It could potentially be the final film for Studio Ghibli. And by gum, it looks like our hearts will be firmly in our hands. Set for limited release across Australia on May 14 for two weeks only, When Marnie Was There could be the last Ghibli feature film ever; after the Japanese animation legends announced the possibly permanent closure of their film division last year. Spirited Away creator and Ghibli co-founder Hayao Miyazaki retired from filmmaking before the 2013 release of The Wind Rises, and fellow Ghibli head Isao Takahata's Academy Award-nominated film The Tale of the Princess Kaguya didn't fare too well at the box office outside Japan. So we've got big hopes for the studio's last wild feature-length ride, directed by Hiromasa Yonebayashi (The Secret World of Arrietty). When Marnie Was There following the life of a lonely girl, Anne, whose foster parents decide to send her to the country to stay with distant family. After stumbling across a strangely familar old mansion, she meets Marnie, the mysterious girl who lives there. Ghibli magic ensues. Check out the trailer here: When Marnie Was There is set for limited release across Australia on May 14 for two weeks only, screening in both original Japanese language and English dubbed versions. Check your local cinema listings.
When clouds start gathering in the sky, rain keeps pouring and storms hit, ever wonder what life would be like if something other than water streamed down from above? Everyone has — and now that idea has become a reality. Meet the world's first tequila-dripping rain cloud. Yes, this visible mass of minute droplets really is made of tequila, unleashing its boozy goodness first as a mist and spray that condenses inside a plastic container, and then as rain that drips down from the whispy structure. All anyone keen for a drink needs to do is stand by with a shot glass in hand. Bring your own lemon and salt. https://www.instagram.com/p/BRa17gCjyiW/?taken-by=visitmexico Unsurprisingly, you won't find the tequila cloud in sky — instead, it's located in a Berlin gallery as part of a promotional campaign devised by creative agency LAPIZ to entice German tourists to Mexico. Sure, it sounds like something out of Parks and Recreation; however it doesn't come with vodka in the form of a flash of light or whisky turned into lotion. Synchronised with the weather outside, the cloud actually starts raining showers of tequila when its natural counterparts in Berlin do the same with good old fashioned H20. The project follows in the footsteps of the agency's melting billboard, which turned ice into snow with the simulated power of the Mexican sun to show Berliners what they were missing (and to try to convince them to book a holiday). Via Food & Wine / The Huffington Post.
Lightning Ridge might be best known for its enduring opal mining history, but the community's collection of bizarre museums is definitely a close second. Beer Can House is one such structure, which does what it says on the proverbial tinnie. Others not to miss are the Bottle House Museum, the Astronomers Monument, Amigo's Castle and the Kangaroo Hill Complex. Image: John, Flickr
On the big screen, Beetlejuice has already made a comeback, with a sequel hitting cinemas in 2024. The original 1988 film is rarely far from cinemas anyway, proving a staple at retrospective screenings. But watching the ghost with the most sing and dance onstage? That's a brand-new experience for Australian theatre audiences. Start chanting three times: seeing the Beetlejuice musical Down Under is a reality in 2025. Penned by the nation's own Eddie Perfect and debuting on Broadway in 2019, this take on Beetlejuice still focuses on the character from Tim Burton's beloved 80s flick, of course — just with songs and dance routines. Cinema's famous 'bio-exorcist' haunts Melbourne's Regent Theatre from Saturday, May 17, 2025 for its Aussie-premiere run, with Perfect starring. You don't need a Handbook for the Recently Deceased in your ghostly hands to head along, but you will spend time with a couple with one: Barbara and Adam Maitland. And, you'll see what happens when they start to suspect that they're no longer alive, a new family moves into their house and they decide they need that bio-exorcist. In the Beetlejuice musical's Aussie debut, audiences are also in for an acclaimed production directed by two-time Tony Award-winner Alex Timbers (Moulin Rouge! The Musical), and with a book by Emmy-nominee Anthony King (Broad City) and Scott Brown (Sharp Objects) — plus Perfect's Tony-nominated original score, of course. The show picked up a whopping eight Tony nominations in 2019, and won Timbers a Drama League Award for Excellence in Directing, plus both Outer Critics Circle and Drama Desk nods for set design. Images: Matthew Murphy, 2022.
Since 1989, Sweden's Icehotel has given travellers a decidedly cool place to stay each winter. December hits, and the site reveals its new frosty rooms — the kind that are carved out of ice and only around for a short time, as they'll melt once the weather gets warmer. They're not just any old slabs of ice and snow in the village of Jukkasjärvi, 200 kilometres north of the Arctic Circle, however. As part of their annual tradition, the accommodation provider calls for designers and artists to unleash their chilly ideas — then unveils their wondrous creations to travellers. In this year's crop? A snail world made out of cold, cold substances, a hanging installation that you can sleep in, a bed you can only reach by navigating a 34-meter ice labyrinth and another than requires walking over a bridge — and some thin ice — before you can bunk down for the night. Other highlights include a frozen jungle of Monstera-plants, an icy Fabergé egg, a space-inspired space, and a dream-like, cloud-esque piece that UK artist Lisa Lindqvist has dubbed "an art installation who also happens to be a bedroom." Now open until April 15, 2018, the fresh blend of ice and creativity features 35 one-of-a-kind rooms in total, as crafted by 36 artists from 17 countries. They're made from more than 30,000 cubic metres of snice — that's a mix of snow and ice — from the local Torne River. As well as places to sleep, the new iteration also includes an ice bar, ice ceremony hall and ice gallery. If you're a fan of the kind of coldness the southern hemisphere doesn't see at this time of the year, but you can't make it to Icehotel's cold climes during the northern winter, don't worry — in addition to their annual slate of artistic suites, Icehotel has been open all year round for the past year. It inclludes 20 permanent suites, an ice bar, plus private saunas and spas for an added touch of warmth in such cold surroundings. For more information about Icehotel, visit www.icehotel.com. Images: Asaf Kliger.
Take a moment to appreciate life and reflect on important relationships at HIDDEN — a series of sculptures and artworks displayed throughout the expansive Rookwood Cemetery. Now in its 13th year, the unique annual event will feature multidisciplinary works by over 40 artists at one of the country's oldest cemeteries. Alongside established and emerging artists, HIDDEN will showcase five works from schools and seven stonemasons in a new category this year. The sculptures tie in with the setting at Rookwood and explore stirring themes such as remembrance, spirituality, time, cultural practices and loss. [caption id="attachment_921129" align="alignnone" width="1920"] 'Your one wild and precious life' (2022) by Karen Golland[/caption] Visitors can explore the grounds on their own with the option to follow an audio guide or delve deeper with a curator tour or artist talk. There is also a d/Deaf-led tour available. HIDDEN is open from sunrise to sunset with free entry from Saturday, October 21, until Sunday, November 19. Make a day trip of it with the family (furry friends included). You'll find plenty of free parking along Hawthorne Avenue, Necropolis Drive and opposite All Souls Chapel and Rookwood Village Cafe serves coffee, snacks and lunch until 3.30pm daily. Find out more at the HIDDEN in Rookwood website. Entry is free, but you can reserve a slot at the event website. Top image: 'The Red Shoes Vanitas' by Cybele Cox
We don't mean to alarm you but it's already mid-November, which means it's time to start thinking about your festive plans — including where you want to be toasting the arrival of 2023 on the biggest night of the year. If you're sick of battling crowded bars and booked-out eateries on New Year's Eve, we completely get it — and we've got you covered. This year, nab a NYE ticket to North Sydney hotel View Sydney where you can ring in the new year with top-notch views of the city and a prime position for the fireworks. And after a tough couple of years sans celebrations, View Sydney is making up for it by throwing not one, but two (!) New Year's Eve bashes so you can choose your own adventure: celebrate over a civilised multi-course dining experience, or party until your feet fall off. For revellers looking for a relaxed but elegant atmosphere, View Dine is a bougie banquet taking over the hotel's restaurant, serving a degustation menu to be enjoyed alongside sweeping harbour views. Costing $350 per person, you'll get five courses of fresh Australian produce — and local wines to match, of course. Start 2023 the way you mean to carry on — over good food, drink and conversation. For those revellers looking to dance the night away, View Soiree is the hotel's open air event ready to bring all the celebratory vibes. DJs will be playing all night and free-flowing wine, beer and signature cocktails will be on offer. Live cooking stations will be firing up all evening to provide a selection of international cuisine – think Brazilian BBQ, Mexican food, sashimi and fresh seafood. And the best part? All of your food and drink is included in the $400 ticket price so all you need to do is turn up ready to party. Both events will offer front-row seats to Sydney's spectacular fireworks displays at 9pm and 12am, so gather your group and book your spots now — and rest easy through December knowing NYE is all taken care of.
Balgowlah North Grocer may be relatively small, but it covers all the basics. Open daily until 6.30pm, it's perfectly situated in a small strip of shops on Woodbine Street, so Balgowlah and Seaforth residents can pop in on their way home from work to pick up essentials for dinner. Alongside its moderate range of fresh fruit and veggies, Balgowlah North Grocer also has bread, snacks and drinks. Oh, and good news: if you've realised on the way home that you forgot your partner or housemate's birthday, it sells fresh flowers and indoor plants, too. Images: Leigh Griffiths
