Beer's great for a hot day and whisky for a cold night, but few alcoholic drinks are as versatile as the botanically complex cure-all: gin. If you have a base understanding of distilling, you know it's actually a relatively simple offshoot of vodka, but it's a spirit that has a lot of depth, both for itself and the drinks it produces. If you love a gin and tonic, martini, negroni, gin fizz or even just a dram of the base spirit, you ought to hit up this year's Botanica Gin and Spirits Journey. Hitting North Sydney from Thursday, May 8 to Sunday, May 11, this weekend celebration of gin (and spirits) is taking over a 150-metre tunnel complex inside the Coal Loader Centre for Sustainability with a tasting trail through 25 participating distilleries. Expect award-winning gins, vodkas, whiskys, rums and liqueurs from boutique distillers like Brix Distillers, Ester Spirits, Bathurst Grange Distillery, Gindu, Manly Spirits Co., Hickson House Distilling Co., Renegade Spirits and many more. The event goes beyond simply enjoying what's in the glass, though, shining a light on what these drinks all have in common: native Australian botanicals. To that end, you'll also come across more than just drinks. Throughout the corners and hallways of the Coal Loader tunnels, you'll also encounter native-inspired delicacies, including sensory stations to learn about, feel and sample the base native botanicals that help craft the liquid flavours you know and love. For $95 per ticket, you can book attendance for a two-and-a-half-hour session, either 3.30-6.00pm and 6.30-9.00pm on Thursday, May 8; 12.00-2.30pm, 3.00-5.30pm and 6.30-9.00pm on Friday, May 9; 10.00am-12.30pm, 1.00-3.30pm, 4.00-6.30pm and 7.00-9.30pm on Saturday, May 10; and 10.00am-12.30pm, 1.00-3.30pm and 4.00-6.30pm on Sunday, May 11. Each ticket includes tastings, a free tote bag, an event map, a tasting glass and other Botanica goodies. And of course, you'll be able to purchase bottles of spirits to take home.
Following the release of their debut album, Howlin', earlier in 2013, Jagwar Ma have been on some kind of rampage of touring across Europe, playing all the biggest festivals and establishing themselves as a live act that you simply have to see. Their last Australian shows were at Splendour in the Grass in July, but reports out of the northern hemisphere suggest that this band has gone to a whole other level in just a few short months. And summer in Sydney is the perfect setting for their highly danceable tunes, full of great grooves and an irresistible energy. https://youtube.com/watch?v=K8KCPw9kYpo
No one needs an excuse to visit Tasmania, especially if you're keen to enjoy the Apple Isle's splendours in winter, but Dark Mofo has been giving us all one anyway for a decade. One of two massive festivals run by the Museum of Old and New Art alongside summer event Mona Foma, it's home to a dark and sinister music and arts program befitting the frosty June weather — and it'll be back again in 2023. The next fest will see Dark Mofo officially hit ten years, in fact — and will run from Thursday, June 8–Thursday, June 22 in Hobart, if you're already thinking about how to spend the frostiest part next year. While it'll clearly be a big birthday party, with the program to be announced in autumn, the festival will also mark Creative Director Leigh Carmichael's last at the helm. [caption id="attachment_763673" align="alignnone" width="1920"] Remi Chauvin[/caption] Carmichael will step down after Dark Mofo 2023, making way for a new Artistic Director from 2024 onwards. "I feel that after ten years curating the Dark Mofo program, it's time for new energy and new ideas to move the festival forward," Carmichael said in a statement. "Dark Mofo occupies an important place in the Australian arts landscape, and I am confident that it will continue to provide opportunities for artists and audiences to experience challenging art in the darkest weeks of the year. I will be devoting more time and energy into DarkLab's other cultural projects, and pushing for better venues and more public infrastructure for Hobart so that it can cement its place as a vibrant cultural city." [caption id="attachment_849628" align="alignnone" width="1920"] The Blue Rose Ball. Photo credit: Dark Mofo/Jesse Hunniford, 2018. Image of Société Anonyme Costume Ball Hadley's Orient Hotel. Image courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] Previous years' lineups have seen a fantastical combination of musical performances, performance art and large-scale installations come together. In 2019, the program featured the likes of artists Ai Weiwei and Mike Parr, American musician Sharon Van Etten and one of the world's largest glockenspiels, for instance. In 2022, patrons were treated to performances by The Kid LAROI, and the sounds of Chernobyl and Candyman — plus rainbow installations, and signature festivities such as the Nude Solstice Swim, the City of Hobart Winter Feast, Night Mass: Transcendence in the In The Hanging Garden precinct and the Reclamation Walk. Already keen to get booking? Fancy a Tasmania trip in the interim? Our Concrete Playground Trips Hobart getaway might also be of interest. [caption id="attachment_800592" align="alignnone" width="1920"] Lusy Productions[/caption] Dark Mofo 2023 will run from Thursday, June 8–Thursday, June 22 in Hobart, Tasmania. The 2023 program will be announced in autumn. Top image: Winter Feast, Dark Mofo 2021. Dark Mofo/Jesse Hunniford, 2021. Image courtesy Dark Mofo, Hobart, Tasmania, Australia. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
A month after becoming the first commercial airline to pilot a non-stop flight from New York to Sydney, Qantas has flown direct from London to Sydney in a trial run. The ongoing research tests are part of the company's efforts to assess the feasibility of the airline's Project Sunrise scheme, which aims to implement the routes by 2022. For the past five years, Qantas has been promising to eradicate one of the worst things about international long-haul air travel to and from Australia: the dreaded stopover. First, it announced and then implemented non-stop 17-hour flights from Perth to London; however if you live on the east coast, you still have to get to Western Australia. So, the airline revealed that it was exploring direct routes from Sydney, not only to London but to New York as well. Since then, Qantas has been pursuing the idea enthusiastically, widening its plan to also include departures to and from Melbourne and Brisbane. Last month, the Aussie carrier took the next step by starting test flights, which were initially announced a couple of months prior. The huge 19.5-hour journey New York–Sydney journey was just the first trip, with Qantas then flying a brand new Boeing 787 Dreamliner from London to Sydney between Thursday, November 14 and Friday, November 15. The UK–Australia trip took 19 hours and 19 minutes from Heathrow, cutting down the current travel time for east coast-dwellers by around two hours — not including the inevitable stopover time once you get from Sydney, Melbourne or Brisbane to Perth. And, it travelled 17,800 kilometres, which is longer than the 16,200 kilometres from New York to Sydney. The two flights took around the same time, though, due to prevailing tail winds between London and Sydney. If you know your aviation history, you'll know that the London to Sydney trek has actually been made before; however the last time it happened was back in 1989, when Qantas made the journey on a Boeing 747-400 with just 23 people onboard. This time, around 50 passengers and crew made the journey, with the aircraft flying across 11 countries: England, the Netherlands, Germany, Poland, Belarus, Russia, Kazakhstan, China, Philippines, Indonesia and, obviously, Australia. Like its New York to Sydney counterpart, the aim of the journey was to gather data about inflight health and wellbeing. Passengers and crew were fitted with wearable technology devices to monitor their monitor sleep patterns, food and beverage consumption, physical movement and use of the entertainment system during the flights. The results will then be assessed by scientists and medical experts from the Charles Perkins Centre, with minimising jetlag, and helping identify optimum crew rest and work patterns part of their research. Testing the impact on pilots is also part of the research. While spending nearly a day on one single plane to get to the USA or Europe is definitely better than jumping on and off different vessels multiple times, it's still a seriously long slog. Yes, you'll avoid the sometimes long, always painful stopovers, but the lengthy journey isn't without its physical, mental and emotional toll — as anyone who has made the Perth to London trip knows — which is what makes this testing so important. A third trial flight, repeating the New York-Sydney route, is planned in December. Qantas is expected to announce whether Project Sunrise will progress to making commercial flights, rather than just trial flights, by the end of the same month. If it proceeds, it'll eclipse the current record for the world's longest direct flight — which clocks in at over 19 hours on Singapore Airlines' 15,322-kilometre Singapore to New York route. Images: Qantas.
UPDATE, September 24, 2020: On the Basis of Sex is available to stream via Binge, Foxtel Now, Google Play and YouTube Movies. For the second time in the past year, Ruth Bader Ginsburg graces the silver screen. On the Basis of Sex might come hot on the heels of 2018's Oscar-nominated documentary RBG, but this won't be the last time its subject gets the cinema treatment. The celebrated US Supreme Court Justice also pops up as a mini-figure in The Lego Movie 2: The Second Part, which sums up her current status — Ginsburg isn't just one of America's current top judges, or a pioneering legal champion, but a pop culture icon as well. As the years keep passing, filmmakers will keep telling her tale, simply because there's just that much to tell. The first dramatised version of Ginsburg's life, On the Basis of Sex focuses on her early career, but consider it merely the beginning in several senses of the word. Before achieving her current professional and popular standing, as well as her 'Notorious RBG' nickname, Ginsburg (Felicity Jones) was one of the first women accepted into Harvard Law School. But while she shared the top spot in her graduating class — a feat she managed while helping her unwell husband Martin (Armie Hammer) through his legal studies and raising the couple's children — job offers didn't follow. In 50s and 60s America, firms were openly reluctant to hire a female attorney. It's this type of engrained, everyday sexism that steels Ginsburg for the battle that she's now synonymous with. Rallying against legislation that discriminates on the basis of sex, Ginsburg made her name crusading for gender equality, as director Mimi Leder (Pay It Forward) and screenwriter Daniel Stiepleman (the Justice's nephew) chronicle. On the Basis of Sex could've drawn from decades of material, however narrowing the film's focus is a savvy choice. So is highlighting one particular 1972 case, where Charles Moritz (Chris Mulkey) was denied a tax refund for costs related to caring for his ailing mother. With Ruth largely ignored in her quest to expose the inequitable standing of women, both Ginsburgs knew they had something special when they discovered a man being overlooked and discriminated against in the same way. It was her first case of its kind, but the fact that the future judge made a splash with this matter — fighting for a man taking on a traditionally female task — makes an enormous, damning statement about US society at the time. There's much that incites anger in On the Basis of Sex, from the dismissive treatment meted out to Ginsburg time and time again, to the male-dominated domain that she's forced to navigate — an attitude that wasn't just widely accepted, but was solidified in law. There's much in the movie that inspires, too, not only including Ginsburg herself, but her marriage with Martin. Leder proves patient and poignant with her direction, displaying immense reverence for Ginsburg, all that she's faced and everything that she represents, yet never feeling the need to over-stress the importance of the future judge's achievements. The narrative's details do the talking, while the craft of the film remains restrained and respectful. It's the standard broad, celebratory biopic framework, complete with gentle pacing, warm hues and handsome imagery, but in recreating the life of someone with such quiet, commanding power, it works. This may be a prestige portrait through and through, but it's effective. The fact that the movie's central double-act thoroughly hit their marks also assists. Jones brings determination and assurance to her starring part, Hammer plays Martin as thoughtfully aware of the challenges blighting his wife's career, and together they make a winning team through the story's ups and downs. While it's infuriating that it took a man's case to spark Ginsburg's rise to prominence, the support that she receives from Martin doesn't evoke the same response. Crucially, however, this isn't a tale about a noble man standing behind a great woman, but of a partnership that helped Ruth overcome obstacles that were never even an issue for her husband. Of course, On the Basis of Sex never forgets who its paying tribute to, not even for a moment. https://www.youtube.com/watch?v=jtzesNEmVhs
Melbourne's seen its fair share of dockless bike share systems rolled out (and often axed) over the years. But things are shifting up a gear this year, with the city's first ever long-term dockless share scheme for electric bikes set to launch next month. The City of Melbourne, the City of Yarra and the City of Port Phillip have announced they'll kick-start a one-year trial with Uber's much-hyped e-bike service, Jump. Jump has already been embraced by cities across the US and Europe, and is en route to our neighbours in Auckland, but this will be its Australian launch. When it lands in Melbourne from early March, the bright red pedal-assisted bikes will be available to hire through your regular Uber app. You'll just need to switch to bike mode, where you'll be able to see available bikes and use the app to unlock one and ride away. The bikes will be available to ride within the three inner city councils, which includes the CBD and Docklands, West Melbourne (and over to Flemington), the inner north (Carlton, North Melbourne, Fitzroy and Richmond) and down to the bay (Port Melbourne, South Melbourne, Albert Park, St Kilda and Elwood). In another effort to avoid the woes of past bike share networks, the councils have signed a Memorandum of Understanding outlining the rules and regulations Jump will need to stick to in order to keep operating in Melbourne past the 12-month trial. The company using geo-fencing technologies and remote monitoring to keep track of its fleet. Hopefully that'll help curb the number of bikes ditched in trees, creeks and other questionable spots around the city, as was mostly the downfall of previous players like oBike. As well as laying down requirements for parking and maintenance, it stipulates firm resolution timeframes for damaged or discarded e-bikes. Taking care of service and maintenance will be the crew from Good Cycles, a Melbourne-based social enterprise that trains and employees disadvantaged youth. The city is set to score 400 Jump bikes as the trial launches, with more headed to Yarra and Port Phillip areas in the following months. This will somewhat replace the City of Melbourne's blue bike share scheme, which was abandoned last year. Riders will, of course, have to don a helmet and play by the usual road rules when cruising around on a Jump bike. Prices haven't yet been confirmed but, for reference, in New Zealand the bikes cost $1 (NZD) to unlock and then $0.38 per minute after that. Uber hasn't announced any plans to launch Jump in any other Australian cities yet, but if the trial goes well, we'd expect that it will in the near future. You can expect to see the Jump bike option in your Uber app from early March. We'll let you know when it launches. You can find more info on the Jump bikes here.
Since 2016's Suicide Squad, the DC Extended Universe has tasked Viola Davis with corralling super-powered folks, including villains forced to do the state's bidding (as also seen in The Suicide Squad and Peacemaker) and regular world-saving superheroes (the just-released Black Adam). In The Woman King, however, she's more formidable, powerful and magnificent than any spandex-wearing character she's ever shared a frame with — or ever will in that comic-to-screen realm. Here, she plays the dedicated and determined General Nanisca, leader of the Agojie circa 1823. This is an "inspired by true events" tale, and the all-female warrior troupe was very much real, protecting the now-defunct west African kingdom of Dahomey during its existence in what's now modern-day Benin. Suddenly thinking about a different superhero domain and its own redoubtable women-only army, aka the Marvel Cinematic Universe's Dora Milaje in Wakanda? Yes, Black Panther took inspiration from the Agojie. If you're thinking about Wonder Woman's Amazons, too, the Agojie obviously pre-dates them as well. Links to two huge franchises in various fashions aren't anywhere near The Woman King's main attraction, of course. Davis and her fellow exceptional cast members, such as Lashana Lynch (No Time to Die), Thuso Mbedu and Sheila Atim (both co-stars in The Underground Railroad); The Old Guard filmmaker Gina Prince-Bythewood and her grand and kinetic direction, especially in fight scenes; stunningly detailed costumes and production design that's both vibrant and textured; a story that still boasts humour and heart: they all rank far higher among this feature's drawcards. So does the fact that this is a lavish historical epic in the Braveheart and Gladiator mould, but about ass-kicking Black women badged "the bloodiest bitches in Africa". Also, while serving up an empowering vision, The Woman King also openly grapples with many difficulties inherent in Dahomey's IRL history (albeit in a mass consumption-friendly, picking-and-choosing manner). It's under the cover of night that Nanisca and the stealthy, feline-quick Agojie first show The Woman King's audience exactly what they're capable of, as camped-out male slavers from the rival Oyo Empire are swiftly and brutally dispensed with during a mission to free abducted Dahomean women. From that vivid opening, the female-led The Woman King on- and off-screen lets viewers know what it, Davis, Prince-Bythewood and their collaborators are capable of, too. Potent, ferocious, mighty: they all fit. When it comes to the film's protagonist, she's fierceness personified, yet also always nuanced. In a role that'll likely garner her award nominations at the very least, to go along with past Oscar nods for Doubt, The Help and Ma Rainey's Black Bottom — and her win for Fences — Davis is tremendous in the part, in battle and otherwise, exuding world-weariness, raw strength, and the kind of resilience that's only forged by navigating deep horrors. After the film's initial rescue gambit, the Agojie are down in number. Abandoned to Dahomey's King Ghezo (John Boyega, Small Axe) because she won't marry men who beat her, headstrong Nawi (Mbedu) becomes a new recruit. As the teen trains to become permanently accepted among them, including by the resolute and mischievous Izogie (Lynch) and Amenza (Atim), Nanisca endeavours to bend the ruler's ear about future battles and policies. The Oyo will keep attacking, and keep trying to trade Dahomey's populace into slavery. A Portuguese-Brazilian aristocrat (Hero Fiennes Tiffin, After Ever Happy) knows that he can profit off the Dahomey-Oyo tensions, and gain slaves to hawk along the way. Also, Dahomey itself isn't above selling Africans into subservience themselves. Nanisca has other concerns, too: getting revenge over a heartbreaking chapter of her past, the pain and sacrifice she still bears as a result, and instilling the Agojie's brand of sisterhood in Nawi. The Woman King's title isn't just another way to say 'queen'. Rather, it's a label given by Dahomey's male leader to the woman he sees as his equal in their lands. His preferred wife Shante (Jayme Lawson, The Batman) wants the designation in a firmly regal sense, but the conventions of storytelling and filmmaking mean there's zero doubt that Nanisca deserves the status. Bestowing the moniker is hardly the chief concern to her, Prince-Bythewood or screenwriter Dana Stevens (Fatherhood) — who also shares a story credit with actress Maria Bello (NCIS) — though. Nanisca is still the force to be reckoned with either way, and a compelling figure worthy of the movie's appreciation. So, in a feature about striving for freedom, fairness, parity, progress and justice, as well as countering misogyny, colonialism and greed, and also surviving trauma, consider that title a reminder about the fight for equality, and how female power is perceived and treated — two centuries ago and also now. Slavishly devoted to every single fact, Prince-Bythewood, Stevens and their film aren't. First and foremost, they're committed to their aims, themes and ideas — to being a rousing action flick about the Agojie, primarily; to delving into all that represents; to celebrating strong and skilled women; and to making a movie that truly doesn't otherwise exist — so thinking of its take on the truth as akin to Once Upon a Time in Hollywood's is wise. The Woman King doesn't hide this, given that it finds time for long-lost family connections that could've sprung straight from a soap opera, and for a romance between Nawi and the often-shirtless half-Dahomey slaver associate Malik (Jordan Bolger, Tom & Jerry). When everything else in the movie is so stirring, getting loose with reality and throwing in pure emotion-swelling Hollywood inclusions never drags The Woman King down. Indeed, not that they have to here, but the phenomenal quartet that is Davis, Lynch, Mbedu and Atim could lift any material. For all the mastery that ripples from Davis, she's in astonishing company, with all three of her key co-stars turning in weighty, resonant and career-cementing portrayals — Lynch with perceptiveness, Mbedu with volatility, and Atim with both wisdom and comfort. Not that they have to either, but Prince-Bythewood, cinematographer Polly Morgan (Where the Crawdads Sing) and the former's regular editor Terilyn A Shropshire (dating right back to 2000's Love & Basketball) could improve any fray-filled picture as well. When it's in full fight mode, with radiant lighting that adores its cast, plus sharp, visceral, muscular and balletic action choreography, The Woman King is not just electrifying but spectacular. That won't be a surprise to fans of The Old Guard, another riveting feature that saw Prince-Bythewood take on a familiar template, give it a female focus and reinvigorate it. That's a warrior's skill, too, and she's terrific at it.
Isn't it lovely to see big companies doing their bit for the social good. In Google's case, it's not just about donating huge sums of money. Rather, they make essential communications technology accessible to those who promote positive change. Google's recent launch of Google for nonprofits brings together an extensive toolkit for non-profit organisations, including AdWords, special YouTube privileges, Apps and more. Currently, the tools are only available to Google Grant recipients who receive thousands in in-kind advertising from Google. The company realised that gifting the use of AdWords and the like wasn't enough: Goolge also needed to teach non-profits how to maximise the potential of such tools. Instructional videos and the Make-A-Change section will show users how to make the most of the tools to communicate their message; while the Marketplace will connect non-profits with service providers offering free or discounted rates. Google offers grants to approved non-profits in the US only, but the marketing manager of Google for nonprofits Kirsten Olsen Cahill hopes to expand to other nations soon. [Via Mashable]
Finding what we want, when we want it, has never been easier. Whether we're scrolling through social media or doing a quick search for something we heard about on a podcast, discovering new brands and products — and getting your hands on them almost straight away — is simpler than ever before. So, what does this all mean for the future of brick-and-mortar stores? In a competitive market of tech-driven retailers and powerhouse big brands, small businesses are looking forward to the future. With so many retailers to choose from, consumers are demanding faster and more personalised service at competitive prices. For small business owners, the challenge to keep up proves complex and demanding — but also very exciting. To give you a taste of how entrepreneurs are meeting this evolving climate head-on, we've teamed up with the City of Sydney as part of its Retail Innovation Program. Learn how five Sydney entrepreneurs are responding to the changing nature of retail and their predictions for what lies ahead in the years to come. [caption id="attachment_734254" align="alignnone" width="1920"] Kimberley Low[/caption] KOA RECOVERY: ALIGNING WITH AND SUPPORTING LIKE-MINDED BUSINESSES Building a business often means forging an untrodden path. For many entrepreneurs, their big idea speaks to a gap in the market. Koa Recovery began three years ago when director Shaun Button suffered a nasty back injury and discovered a slew of innovative recovery facilities in the US. "There have been so many challenges along the way," explains Button. "Some of the biggest challenges arose because Koa Recovery was the first of its kind in Australia... we've been navigating the unknown every day." Button believes that the future of retail will revolve around partnership and collaboration. With the rising prominence of online retailers, creating hubs for similar businesses to connect and thrive together will prove essential to everyone's success. Button also raises the importance of partnering with the right businesses for the most mutually beneficial outcome. "If you're using influencers, choose ones who are going to educate your audience and see the same vision you see. Align yourself with brands who have a similar approach and support your way of doing things." [caption id="attachment_734256" align="alignnone" width="1920"] Kimberley Low[/caption] POP-UP FINDS: DESIGNING WITH ZERO WASTE IN MIND Temporary events and pop-up installations take plenty of manpower to put together, from securing a space to bringing in stock, signage and furniture. But, what happens when its time to pack everything away? Kim and Taryn Hoang saw this as a golden business opportunity, so they co-founded the pop-up experience platform Pop-Up Finds. Together, the pair has designed flat-pack furniture rentals for shopping centres in Melbourne, Sydney and Hong Kong. The duo think this concept of brands sharing and recycling resources as the future of retail spaces. "We saw a lot of waste in the pop-up and events industry, as brands were purchasing furniture to use as a one-time event and then throwing it away or storing it in their warehouse never to be used again," explains the duo. "We modelled our business so brands can use our services instead and not worry about the environmental wastage they were causing." [caption id="attachment_731474" align="alignnone" width="1920"] Trent van der Jagt[/caption] THE CRUELTY-FREE SHOP: UNDERSTANDING THE IMPORTANCE OF BEING AGILE Over the past two decades Jessica Bailey, founder of The Cruelty-Free Shop, has witnessed the everchanging landscape of Australia's retail industry. "We started as a tiny online shop just doing food," reveals Bailey. "Now, we've expanded to become a one-stop shop offering cruelty-free versions of fashion, shoes, cosmetics, wine, instant meals and groceries." Learning to adapt to emerging technologies has proved crucial to Bailey's business success. From offering click-and-collect services to keeping tabs on overseas retail trends, she believes it's all about being open to new possibilities and never being afraid to challenge the status quo. In the years to come, Bailey hopes to see the emergence of innovative technology that will streamline the shopping experience, like shops that don't have traditional point-of-sale systems, but rather "door barcode readers that automatically charge your account as you leave". [caption id="attachment_734258" align="alignnone" width="1920"] Kimberley Low[/caption] MODSIE: USING TECH TO IMPROVE SHOPPING EXPERIENCES From fakes to frauds, the world of online luxury fashion proves troubled terrain. To create a safe and secure place to buy authentic and high-quality products, Josephine de Parisot and Ashish Das co-founded Modsie. In a nutshell, it's a luxury second-hand online store where you can sell unwanted pieces and buy pre-loved products at reasonable prices. Since launching in 2016, Modsie has grown from a mere handful of items to 2000 active listings with a combined value of over $3 million. Today, the brand hosts occasional pop-ups and events but is putting its attention towards data-driven digital marketing and retail experiences. "Artificial intelligence is transforming the interaction that customers are having with their retailers. Data and AI algorithms are also revolutionising the retail space with, for example, product recommendations, QR codes to get additional information about products and even facial recognition to bypass the traditional checkout process," de Parisot says. [caption id="attachment_731483" align="alignnone" width="1920"] Trent van der Jagt[/caption] CITIZEN WOLF: LEVERAGING OFFLINE EFFORTS TO BUILD TRUST WITH CUSTOMERS Making a purchase online is a transactional experience. You see it, you like it, you buy it and a few days later the product turns up on your doorstep. But, opening the package is often a roll of the dice. For Zoltan Csaki and Eric Phu, co-founders of the ethical made-to-order basics label Citizen Wolf, giving customers access to the range in-store has always proved a priority. Despite using a 'magic fit algorithm' to help online shoppers find their perfect fit, the pair believe a large part of their success stems from educating customers about the production process offline. It's about allowing shoppers to touch their fabrics in-person and try on a range of cuts to make an informed purchase that will stay with them for years to come. "I think that's the challenge when you're doing an online-only play. It's really hard to truly understand what your customers are saying and what they want. So, the shop for us has always been about that, a space to talk to people," Csaki explains. Learn more about the City of Sydney Retail Innovation Program here. Image: Kimberley Low.
New movies always come out on Thursday. Except for one special week of the year, where they come out on Boxing Day, whatever day that might be. It's just another one of those baffling Christmas traditions of which we're terribly fond. In 2013 distributors will be releasing some of their biggest titles — as well as some oddball underdogs — to duke it out on Australia's mass movie-going day. We've seen them all and can report back that some will ease your festive hangover, indigestion and sunstroke more pleasantly than others. https://youtube.com/watch?v=rETaWDZ57v0 Short Term 12 (Sydney and Melbourne only) For when you're with: people who take an expansive view of 'Christmas cheer' It scores: five stars This SXSW Film Festival winner was number one on Buzzfeed's list of 'movies you probably missed in 2013 but definitely need to see', so if you get in quick, you can make it the no.1 movie you outsmarted Buzzfeed on instead. Short Term 12 is the kind of film that feels like a well-edited version of real life — though probably not a life that is familiar to you, if you grew up in safe, loving circumstances. Compulsively watchable and super emotional, it revolves around the kids and their barely adult supervisors at a temporary foster care facility. https://youtube.com/watch?v=ksrkKXoEJbM The Railway Man For when you're with: people with an even more expansive view of 'Christmas cheer' It scores: four stars Based on true events, The Railway Man tells the story of Eric Lomax — a WWII British signalman forced to work upon the infamous Burma line after the Japanese overran his base. Lomax (Colin Firth) was subjected to extraordinary brutality and torture by his captors, the effects of which continued to torment him decades after the war's end; one conflict over, another unceasing. Events finally came to a head in 1980 when Lomax discovered his chief tormenter was still alive and working as a tour guide in the very complex in which he had dispensed his horrors. For a film that covers some terrifically dark elements in excruciating detail, The Railway Man remains an overwhelmingly tender offering that won't feel at all out of place for the post-Christmas period. https://youtube.com/watch?v=rD8f9kn7D2U Philomena For when you're with: more than just your mum It scores: four stars Be not fooled by the marketing materials, which make the film look like an aged-up version of The Trip with Judi Dench in place of Rob Brydon. (Although, thinking about it, that would be brilliant.) Philomena is a terrifically made, entertaining work that stands head and shoulders above many of the films being forced upon us this Christmas. Based on a true story, Philomena follows ex-political spin doctor Martin Sixsmith (Steve Coogan), who, in an attempt to revive his journalism career, chases the "human interest story" of Philomena (Judi Dench) an elderly woman searching for her long-lost son, who was taken from her by Catholic nuns. As the pair investigates, the truth behind the forced adoption becomes all the more shocking. https://youtube.com/watch?v=7ve8mc6UNSk The Secret Life of Walter Mitty For when you're with: anybody who can silence their inner cynic It scores: three and a half stars Funny, optimistic, life-affirming and full of pretty pictures and massive special effects, The Secret Life of Walter Mitty is the ultimate Hollywood product and is something of a passion project for Ben Stiller, who directed, produced and stars in it. The film follows a quiet Life magazine staffer as he learns to seize the day. When Walter can't find a hyped photo negative, which the photographer has described as capturing the "quintessence of life" and which is wanted for the final magazine cover, he sets off on a worldwide hunt, using the few clues he has. https://youtube.com/watch?v=OPVWy1tFXuc The Hobbit: The Desolation of Smaug For when you're with: the same people with whom you've seen everything Peter Jackson It scores: three stars The Hobbit: The Desolation of Smaug is a marked improvement on last year's An Unexpected Journey. For one thing, it doesn't take an hour for something to happen. Instead, after a brief yet engaging flashback to the first encounter between Gandalf (Ian McKellen) and Thorin (Richard Armitage), the film explodes into life with a pursuit of the Dwarf Dozen et al, and remains — by and large — a pursuit to the end. This is a film with enough action to entertain and enough Tolkien to satisfy; however, it ultimately feels more 'distraction' than 'attraction'. https://youtube.com/watch?v=TbQm5doF_Uc Frozen For when you're with: children, animation geeks and winter-weather fanatics It scores: three stars When Disney finally bought Pixar in 2006, the deal essentially saw Pixar's creative team taking control of Disney's animated output. Given the strong quality control Pixar has over its products, this was no bad thing. Based loosely on Hans Christian Andersen's The Snow Queen — a story Disney has been trying to adapt since the 1940s — the film follows two princesses, one of whom accidentally creates a permanent winter, and the other of whom has to save them from it. It's a far cry from the insufferable toy-selling, pop-culture spewing, catchphrase-ridden films churned out during at the beginning every school holiday period, but nor does it hit the heights of Disney's best output. By Rima Sabina Aouf, Tom Glasson and Lee Zachariah.
It's possible to believe that a film needn't necessarily exist, and still be thrilled that it does. That's the case with Gloria Bell, Sebastián Lelio's English-language remake of his 2013 Chilean drama Gloria — which keeps the same plot, brings in Julianne Moore and transfers the action to Los Angeles. The first time around, Lelio's tale of a 50-something divorcee trying to reclaim her life proved a potent character study, made blisteringly real not only thanks to an empathetic, keenly observed script, but via an exceptional lead performance. That rings true here as well, yet this narrative, its honest exploration of womanhood at a mature age and its rich texture doesn't get old. If we can have oh-so-many cookie-cutter movies about slacker man-children just trying to find a girl to love them despite their obvious flaws, we can have two versions of this story. Played with a luminous air, a sense of vulnerability and a determined spirit by the always-stellar Moore, Gloria Bell has long become accustomed to her unattached existence. Her days are spent working in insurance, singing 80s hits in her car and snatching whatever time she can with her grown-up kids (Caren Pistorius and Michael Cera), while her nights usually end beneath the disco ball at a singles bar. "When the world blows up, I hope I go down dancing," she proclaims happily, and it's fancy footwork that brings her to recently divorced theme-park owner Arnold (John Turturro). Sparks fly, but life and love haven't been easy for Gloria thus far, and they won't be from this point onwards. Reworking his initial script with actor and writer Alice Johnson Boher, Lelio fills Gloria Bell with detail. That applies equally to the film and to the figure that gives the movie its name. While the plot is straightforward — a woman and a man meet, connect and try to work out if their messy lives fit together — every character, scene and moment is gloriously layered, ensuring that nothing about the picture is simplistic. It's true when Gloria commiserates with a colleague (Barbara Sukowa) about their respective retirement savings, a conversation that speaks to the uncertainty that often greets women who've spent time out of the workforce to raise a family. It's true when the film spies its protagonist attending a laughing group, allowing herself to giggle away her troubles while participating in a pastime with a very specific audience. And it's true when Lelio pushes his heroine to finally complain about her unstable upstairs neighbour, with Gloria wavering between caring for a troubled soul and looking out for herself. From wondering how a hairless cat keeps finding its way into her apartment, to lighting up on the paintball range with Arnold, to running free on a trip to Las Vegas, Gloria Bell keeps showing what makes the open-hearted Gloria tick — and why. This isn't just a slice-of-life journey of discovery for those watching, however, but for the restless yet quietly relentless woman herself. It's this, in particular, that makes the film so evocative and meaningful. On multiple occasions, Gloria is given a choice to either go with the flow or to shape her own path and, even when her actions end in chaos, she grabs hold of her future with both hands. Gloria doesn't merely navigate ups and downs, but uncovers her strengths and limits. She doesn't just tackle dramas, but learns how to cope with whatever comes her way. She's never ashamed of being a lonely divorcee, but she also won't let it define her. Unsurprisingly, Moore couldn't be more pivotal; if Lelio remade his own movie solely to work with her, it'd be justification enough for Gloria Bell. Behind large glasses, with more blonde than red in her hair, and reuniting with her Big Lebowski co-star Turturro, Moore's radiant to the point of transcendence — middle-aged malaise rarely looked so stripped-bare and so simultaneously vivid. It helps, of course, that the acclaimed Chilean filmmaker matches his visual style and overarching tone to his leading lady, as he also did so winningly in queer dramas A Fantastic Woman and Disobedience. It worked a charm for Paulina García in the original Gloria, and it works captivatingly with Moore in Gloria Bell. One happily stands beside the other, and viewers will want to lose themselves on the dance floor with both. https://www.youtube.com/watch?v=k38zjD2QVSg
Yep, that guy who use to sing with his sis and has a penchant for facial hair and not wearing shoes will be on tour in November. You'll have a chance to whistle along to Wooden Chair, or sway to End of The World, while picturing yourself and some mates having a few beers by the beach with him. Angus Stone says of his solo venture, "to play live on my own in front of those people, it's going to be a different trail of gravel and gold, but none the less very exciting." Whether there will be gravel or gold you'll have to wait and see, but what you'll definitely get is a special blend of indie folk peppered with hints of psychedelic rock, cowboy blues and country folk. The songs will be from Broken Brights, Stone's first solo album released under his own name. The influence of Angus and Julia's time spent performing together since they were kiddies can still be seen lurking beneath these songs, but the new album offers a slightly different perspective. Long term fans will be happy to find that those nostalgic sounds are as dreamy as ever, but this time Stone will be showing off new sounds and vocal styles alongside lots of new instruments. Here's to hoping there's a banjo or two. Just remember to wear shoes (pretty sure The Enmore has rules about this). https://youtube.com/watch?v=Yple4rnO8B8
First, New South Wales celebrated picnic day. Now, pool day is coming. With the weather heating up and NSW's vaccination rates increasing as well, Premier Gladys Berejiklian has announced that outdoor pools across the state will be able to open again from 12.01am on Monday, September 27. So, if your usual spring routine involves taking a dip, doing a few laps or just otherwise enjoying your closest pool, that'll finally be back on the cards in just over a week. Natural pools are already allowed to open, but this change applies to all of NSW's other outdoor pools, which'll be permitted to get splashing again — and yes, in all parts of the state. The councils behind each outdoor pool will need to have a stringent COVID-19 safety plan in place, however, and those plans will need to have been approved by NSW Health. But, as long as that is the case, outdoor pools across the state can start welcoming in swimmers again before the end of the month. If you're wondering how that'll apply to your local outdoor pool, you'll want to keep an eye on their website over the next week or so regarding reopening dates, hours and rules. Revealing the news at NSW's COVID-19 press conference today, Sunday, September 19 — alongside the announcement that Sydney's LGAs of concern will revert to the same rules in place across the rest of the city from Monday, September 20 — the Premier said the change comes after positive developments, including the state's vaccination rates hitting 81.9 percent first doses and 51.9 percent second doses based on NSW residents over the age of 16. "As a result of these positive signs, the New South Wales Government is pleased to announce that from next Monday, all public pools will be open in a COVID-safe way," said Berejiklian. "And those COVID-safe plans will be formalised and made public, making sure that we keep community safe as much as possible and prevent seeding, and that all of us appreciate the importance of enjoying the warmer weather and the positive mental health and recreation and exercise." Yes, if you're thinking ahead to NSW's next public holiday, Labour Day, on Monday, October 4, this does now mean that going for a swim in a public outdoor pool can be on your agenda — alongside picnicking with up to four other pals if you're all fully vaxxed, of course. New South Wales' public outdoor pools are allowed to reopen from 12.01am on Monday, September 27. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
Thanks to his posters promoting the work of actor Sarah Bernhardt, Czech artist and illustrator Alphonse Mucha became inextricably linked with the Parisian art nouveau movement at the beginning of the 20th century. This three-month showcase at the Art Gallery of New South Wales runs from Saturday, June 15 to Sunday, September 22 in collaboration with The Mucha Foundation in Prague. It represents the biggest Mucha exhibition ever in Australia and is exclusive to Sydney. Attendees can peruse the photographs, jewellery and his painting cycle, The Slav Epic, through an immersive, digital experience. Spirit of Art Nouveau will be the first exhibition of historical art to be held in the Art Gallery's North Building, and many of the works on display come from the Mucha family's own collection.
4:48 Psychosis is the last play penned by British playwright Sarah Kane before her suicide in 1999. That the manuscript was left in an envelope with her suicide note probably gives you a fair idea of what you're in for here. Variously described by critics as 'a deeply personal howl of pain' and 'written in the almost certain knowledge that it would be performed posthumously', Kane's final work, one imagines, is as difficult to stage as it is to watch. The script is a puzzle, with no setting, no characters and no delineations for dialogue. When the Royal Court first staged the play a year after her death, they had several different groups of actors gather for readings in an attempt to assign voices to certain segments. Regardless of how Red Line Productions choose to stage it, this is difficult material. One interpretation of the script paints a consciousness (with or without a body is unclear) in turmoil, raging against uncomprehending medical staff and itself in equal measure. But many reviews of past productions have also written of the playfulness of the text and a surprising humour. Kane never flinched from the grit and unpleasantness of existence, but almost two decades after being written, 4:48 Psychosis also burns with energy and ferocity. This one'll be hard going, but the rewards are there for those who can tough it out. Image: Marmaras Shoots.
If pale pink suits, burgundy striped blazers and shiny gold cufflinks don't sound truly fabulous, then think again, because they totally are. Double Academy Award-winning designer Catherine Martin has created an authentic 1920s style costume collection for Baz Luhrmann's film adaptation of The Great Gatsby — as well as a dapper consumer line that you can own a piece (or two or twenty) of. Martin teamed up with America's oldest clothier, Brooks Brothers, in a unique collaboration to produce the 500+ outstanding men's costumes that will surely be a highlight of the film. Writer of The Great Gatsby F. Scott Fitzgerald was a lifelong Brooks Brothers customer, so it only made sense that the filmmakers would team up with the clothing company to create an attractive and authentic line, something that Fitzgerald would approve of. On the Brooks Brothers website Martin says, "It was the most basic and fundamental connection that has made our collaboration so authentic." The main inspiration for the collection came right from the Brooks Brothers archives. Martin rummaged through the extensive archives and found incredible designs that typified classic 1920s style. Since the designs were inspired by real 1920s clothing, they do a great job of adding period-specific authenticity and really bring the film to life. The best part? Brooks Brothers has adapted the costumes into an exclusive collection, including both formalwear and daywear, that is now being sold in stores and online. Below are some of the (gorgeous) items that are being showcased and sold on the Brooks Brothers website.
Eurovision might be known for synth, synth and more synth, but Australia isn't one to bust out the usual Europop tunes. When you're a country outside of Europe that competes in the huge song contest, you want to make a splash for something other than geography. 2023 saw Perth synth-metal band Voyager bust out a pop-metal tune, for instance. In 2024, Electric Fields are representing the nation with 'One Milkali (One Blood)', which features the language Yankunytjatjara from the Anangu peoples. Yes, May is here, which means that Eurovision is here. And, so are the latest batch of earworms that'll get a spin on the Eurovision Song Contest stage in Malmö, Sweden — the host for this year after Loreen's 2023 win for 'Tattoo'. This is Christmas for pop songs belted out competitively in a glitzy ceremony filled with eye-catching outfits. The 68th Eurovision Song Contest will kick off at 5am AEST on Wednesday, May 8, which is when Electric Fields will take to the stage in the hope of making it through to the grand final on Sunday, May 12 (which is again at 5am AEST). For newcomers, Eurovision started back in 1956 as a competition between a mere seven nations. Now, almos seven decades later, it's a glitter-strewn and spandex-fuelled global musical phenomenon. Thirty-seven countries not only in Europe but from elsewhere will compete in 2024 — hello Australia — and viewers tune in en masse to watch, sing along and add new pop tunes to their queues. Australians keen to tune in will be directing their eyeballs to SBS, with the broadcaster's usual annual celebration of all things Europop returning for another round. 2024 marks 41 years of the network showing Eurovision, in fact. When Electric Fields play their track, they'll be up against performers from 14 other countries — including Silia Kapsis, who was born and raised in Sydney, has Greek and Cypriot heritage, and is representing Cyprus with the song 'Liar'. Other competitors across both the contest actor and singer Olly Alexander (It's a Sin) for the UK; Austria's Kaleen, who has been Eurovision's stage director before and now gets her shot behind the microphone; Aiko, the first Czech artist to feature on Times Square's screens; and 5MIINUST x Puuluup, teaming up pop and zombie-folk for Estonia. There's also the 90s-style Finnish sounds of Windows95man; Germany's ISAAK, who started as a street musician; Hera Björk, who represented Iceland in 2010; and Belgian singer and actor Mustii — and the list goes on. If Electric Fields makes their way through to the grand final — with only 21 acts making the cut, and France, Germany, Italy, Spain, the United Kingdom and Sweden automatically guaranteed spots — you'll also want to get up early on Sunday, May 12. Or, even if they don't, that's when this year's winner will be anointed. Of course, for those who can't tear themselves out of bed before it's light and can somehow manage to avoid the internet and social media, both semis and the grand final will also screen in primetime on the same dates. Electric Fields, aka vocalist Zaachariaha Fielding and keyboardist Michael Ross, are making history in their use of Yankunytjatjara, which will be heard at Eurovision for the first time. The pair are performing with guest vocalists Brendan Maclean, Alyson Joyce and Simi Vuata, and are accompanied by Fred Leone on the yidaki. When you're watching their performance, as well as the rest of the event, SBS' usual local hosts Myf Warhurst and Joel Creasey will once again be leading the Australian coverage. This year, Courtney Act joins in from behind the scenes at Eurovision. If you can't decide whether to beat the sun or wait and host a party at sensible hour, it's worth remembering that Australians can indeed vote for Eurovision, but only until around 15 minutes after the last song is performed in each live semi-final broadcast and about 25 minutes after the last track ends in the grand final. Voting is open to everyone in all finals — whether you're from a country participating in that final or not — and the artists who get through from the two semi finals to the grand final will be solely chosen by the audience at home. Still remaining the same: the rule that says Australians can't actually vote for Electric Fields, because no one can vote for the country they represent. Eurovision 2024 Broadcasts: LIVE BROADCASTS: Semi final one: 5am AEST on Wednesday, May 8 on SBS and SBS on Demand — featuring Electric Fields Semi final two: 5am AEST on Friday, May 10 on SBS and SBS on Demand Grand final: 5am AEST on Sunday, May 12 on SBS and SBS on Demand STREAMING REPLAYS: Semi final one: from 8.30am AEST on Wednesday, May 8 on SBS on Demand — featuring Electric Fields Semi final two: from 8.30am AEST on Friday, May 10 on SBS on Demand Grand final: from 10.30am AEST on Sunday, May 12 on SBS on Demand TV ACCESS ALL AREAS BROADCASTS: Semi final one: 7.30pm AEST on Friday, May 10 on SBS — featuring Electric Fields Semi final two: 7.30pm AEST on Saturday, May 11 on SBS Grand final: 7.30pm AEST on Sunday, May 12 on SBS SBS' Eurovision 2024 coverage runs from Wednesday, May 8–Sunday, May 12. For more information, head to the broadcaster's website — and for more information about Eurovision, head to the event's website. Images: Alma Bengtsson / Sara Louise Bennett.
Celebrating an impressive three decades of Performance Space’s work, 30 Ways with Time and Space is a free program of 30 performances spread out across the 12 days. Impressively named Australian artist Agatha Gothe-Snape is transforming the public spaces of Carriageworks into a multifaceted performance arena, comprised of ever-changing plinths and platforms ideally crafted to showcase the program’s short and durational works. "The performers will respond to these minimal plinths with minimal needs, returning their attention to their bodies," says Gothe-Snape. "As the focus shifts from one station to another, the technicians’ role will be made transparent." The series of daily performances will showcase well-known performance makers (celebrated names like Mike Parr, Lauren Brincat and Jon Rose) alongside exciting emerging artists working across dance, performance art, theatre, live art, sound and more. Celebrating the eclecticism and creativity of the last three decades at Performance Space, you can expect everything from sculptural collaborations, performances inside bubbles, deconstructed violins and acoustic storytelling. 30 Ways with Time and Space is part of the You're History season, something of a birthday party for Performance Space, but don't worry about bringing a gift. They're actually giving you the presents: wrapped-up pieces of performance, visual art, dance, music and more, celebrating their big 3-0. Also showing is Brown Council's ode to feminist performance artist Barbara Cleveland, the journey into mad methodologies in The Directors' Cuts, a creative send-off to analog TV and plenty more.
Remember Who Framed Roger Rabbit? 1988's mismatched buddy comedy about a washed-up private eye (Bob Hoskins) and an animated rabbit was (and remains) a remarkable piece of cinema: groundbreaking in its special effects, hilarious in its comedy and note-perfect as a noir pastiche. It set the standard for movies that seamlessly entertained both adults and children alike, almost as if there were two separate audio tracks where only those over a certain age could hear the gags about sex, drugs and violence. Watching the trailers for Pokémon: Detective Pikachu, it was hard not to get excited that we might be on the verge of another Roger Rabbit-esque classic. Sumptuous special effects, a murky detective story, mismatched buddies and, as the pièce de résistance, master of deadpan Ryan Reynolds providing the voice of the eponymous Pikachu. Whether as a newcomer or a die-hard fan of the Pokémon franchise (which began as a video game and collectable-card craze), it seemed there was ample room for everyone to get beside the wise-cracking chubby rodent with the eyes of an angel and the mouth of a pirate. Alas, no. A convoluted plot, countless first-draft jokes and constant exposition dumb down the film to a level that even kids will find silly. It's not without its merits, but the overwhelming feeling is one of frustration at what might have been had they either embraced the world of Pokémon in earnest, or gone all-in on the detective story. Instead, it's a bit of everything and not a whole lot of anything. And to think, it all started so well. Detective Pikachu kicks off dramatically with a secret laboratory meltdown of sorts, prompting a prisoner escape, a car chase and a spectacular crash. The action then pivots to a delightful sequence involving a young man in a field, Tim (Justice Smith), attempting to catch and bond with a grumpy little Pokémon named Cubone. If the dynamics of human/Pokémon relations mean nothing to you, however, you'll quickly find yourself floundering from this point onwards, as the film all but glances over the details of what, for the franchise, were its core principles, rules and objectives. In fact, the film almost dismisses them entirely, setting its main story in Ryme City where the traditional sport of Pokémon combat is outlawed and humans and Pokémon instead live, work and play alongside each other as equals. Tim is there to finalise the affairs of his late father, Harry, whose death from the crash at the beginning of the film raises numerous unanswered questions. It's here where he also encounters Pikachu, and, to their mutual surprise, they discover they can communicate with each other. Pikachu has amnesia, remembering nothing except that he was Harry's former partner, and that he's convinced the death was fabricated. The stage is hence set for some classic sleuthing — but instead of going down that road, or even just following the story of the video game from which the film is based, Detective Pikachu simply jumps from one half-explored plotline to the next in a narrative that feels increasingly disjointed and rushed. It's such a shame, too, because in addition to the stunning visuals, Detective Pikachu boasts a pretty solid cast. Alongside Reynolds and Smith, there's Bill Nighy, Ken Watanabe and Kathryn Newton, all of whom receive either far too little screen time, or not nearly enough character development. Being a kids movie doesn't mean its leads have to be basic or cliched (consider, for example, the complexities of some of Pixar's leading characters). Yet here only Pikachu and Smith get anything even close to resembling a back-story. From the audible gasps at various stages of the film, it's clear there's some joyous content for the true Pokémon fans out there, but for the uninitiated Detective Pikachu doesn't offer nearly enough to sink your teeth into. https://www.youtube.com/watch?v=1roy4o4tqQM
Just two weeks after announcing its 2024 lineup, long-running regional music festival Groovin the Moo has been forced to cancel all six of its dates. The beloved touring festival was set to hit Adelaide, Canberra, Bendigo, the Sunshine Coast, Bunbury and, for the first time, Newcastle throughout the end of April and beginning of May, but has now been forced to pull the plug on the national tour, citing poor ticket sales for the cancellation. "We are extremely disappointed to announce that the Groovin the Moo 2024 tour has been forced to cancel," reads the statement released by the festival. "Ticket sales have not been sufficient to deliver a regional festival of this kind." "All tickets will be refunded automatically. Thank you to everybody who has supported the festival. We hope to be able to bring Groovin the Moo back to regional communities in the future." This year's edition was set to feature Wu-Tang Clan's GZA, Spice Girl Melanie C doing a DJ set, The Kooks, The Beaches and Alison Wonderland. Stephen Sanchez, Armani White, Kenya Grace, King Stingray, DMA's, Jet, The Jungle Giants, Mallrat and San Cisco were all also set to appear on the bill, alongside Hot Dub Time Machine, Mura Masa, Claire Rosinkranz, Jessie Reyez, Meduza and The Rions — and more. 2024 was set also to be the first year when the festival moved from its longstanding NSW home in Maitland, with plans to move the festivities to Foreshore Park in Newcastle. It comes during a tough time for music festivals in Australia. Late last year, Sydney Festival was forced to pull the plug on the inaugural edition of its Summergrounds Music Festival, citing "changing consumer behaviors, cost of living pressures and mounting operational expenses". And, fellow regional favourite This That hasn't been able to go ahead with its annual events for the last two years. View this post on Instagram A post shared by Groovin the Moo (@groovinthemoo) Groovin the Moo won't be happening in 2024. You can read the festival's statment via Instagram. Images: Jordan Munns
We all know the idiom, but this art installation, in collaboration with The Empathy Museum, invites visitors to literally walk a mile in someone else's shoes. What's more, the pop-up store in which you find said footwear is shaped like a giant shoe box. These are real shoes, too, but not just anyone's; these are the shoes of people with real stories: refugees and migrants who have come to Australia, made it their home and changed the environment around them in the process. You'll learn, you'll laugh, you'll cry, but one thing's for sure — you'll never think of the famous phrase in the same way again.
Maybe you're a Sydneysider who just can't wait to be anywhere other than your own house for a night. Perhaps you're a Brisbanite in need of a staycation, or even a trip to Cairns. Whichever applies, once you've had both of your COVID-19 vaccinations, you'll score a little something extra during your next evening away — as long as you make a date with the Crystalbrook Collection hotel chain. The independent hospitality company has announced a new deal for fully vaxxed guests, with everyone that's received both jabs nabbing free room upgrades. So, your night away from your own bed will be a little bit more luxe, all without paying extra. The special is applicable until Monday, December 20, 2021, too, which will hopefully mean that Sydney will be out of lockdown and will have surpassed the 70-percent vaccination threshold — and that the New South Wales Government will have started loosening restrictions for jabbed folks. You do need to book online by Sunday, October 31, however, and be fully vaxxed when you make your reservation. Also, you'll need to show your Australian Government COVID-19 vaccination certificate when you arrive. Wondering where to start dreaming about spending an evening? In NSW, Crystalbrook Collection's hotel lineup includes Crystalbrook Albion in Sydney, Crystalbrook Byron in Byron Bay and Crystalbrook Kingsley in Newcastle. In Queensland, there's Crystalbrook Vincent in Brisbane, and Crystalbrook Riley, Crystalbrook Bailey and Crystalbrook Flynn in Cairns. "The effects of ongoing lockdowns have been devastating to hotels, restaurants and bars, and to the people that work within these industries," said Crystalbrook Collection CEO Geoff York, announcing the deal. "Vaccination is the key to saving our industry. Offering an upgrade to guests who have vaccinated themselves against COVID-19 is a small gesture of thanks so that we can revive travel and hospitality," he continued. Crystalbrook Collection joins an ever-growing list of companies offering vaxxed Aussies incentives to help encourage more folks to get their jabs — and to reward those who already have — including in the travel space. Qantas is handing out frequent flyer points and discounts to fully vaccinated Australians, for example, and Virgin Australia has announced that it'll launch its own set of initiatives, too. Crystalbrook Collection's free room upgrades for fully vaccinated guests are available for stays before Monday, December 20, with booking required by Sunday, October 31. For more information, head to the hotel chain's website.
Andy Warhol bought a 16mm camera in the '60s and thought he’d give the whole filmmaking thing a go. He ended up making quite a few between 1963 and 1968, which begun underground before becoming more widely known. If you’ve got a bit of paper on your wall that has the words BA Arts on it, you have possibly already watched some of his works. But if you haven’t or want to watch them again in a Factory-like space at Alaska Projects, this is your chance. The University of Technology Sydney in collaboration with Alaska Projects have decided to screen some of Warhol’s radical films, which play with expanded forms and have a bit of a subversive content with a minimalist style. This is a one-off happening that will show The Chelsea Girls (a work that captures the 1960s New York art crowd) and other Warhol films from the Museum of Modern Art collection, including The Velvet Underground and Nico and Poor Little Rich Girl. There will be plenty of experimental shots of Edie Sedgwick in her lingerie, wearing a rather large earring sitting around smoking, and impromptu jam sessions filmed at The Factory. All films will be projected on 16mm celluloid, with The Chelsea Girls in its original double-screen format. If you’re a 16mm film lover, a massive Warhol or Velvet Undergrond fan, or maybe you want to see what the movie Factory Girl is based on, this night will be right up your alley.
When 11-year-old Toni (Royalty Hightower) looks at the world, she does so from a specific perspective. That might sound obvious; however The Fits doesn't just follow her journey — it embraces everything that makes the shy pre-teen who she is. When the camera isn't peering from her point of view, it's showing how her body reacts to everything around her. And with movement Toni's main way of processing her thoughts and conveying her feelings, the movie's editing tries to mirror its protagonist's distinctive presence. Indeed, if most coming-of-age films champion the universal nature of growing up, then Anna Rose Holmer's feature filmmaking debut endeavours to celebrate Toni's individual experience. The first-time writer-director understands that everyone encounters similar issues and situations at a young age, including the awkward prospects of trying something different and making new friends. But with her co-scribes Saela Davis and Lisa Kjerulff, Holmer also acknowledges that it's the unique details, rather than the broader strokes, that make each story interesting. Accordingly, The Fits burrows deep into Toni's mindset as it explores her attempts to join local dance drill ensemble The Lionesses. When the film opens, she's a tomboy happily tagging along to her older brother's boxing training sessions at the local community centre — until the cheering and chatter emanating from another gymnasium in the complex attracts her attention. Soon, she's testing out their moves when no one is around, and working up the courage to audition. Alas, as Toni moves closer to the group, something strange happens: the rest of her teammates mysteriously start fainting and convulsing. Of course, it's not an accident that The Fits' title has multiple meanings. As Toni tries to fit in, her peers are literally having fits, which the jerkiness of their chosen style of dance unmistakably resembles. Such a sense of synergy is just one of the layered touches that makes the movie so simultaneously intimate and expressive. While the film brings a particular narrative to the screen, it's more concerned with the emotional voyage that eventuates, rather than the underlying plot points. As a result, even though a number of eye-catching dance numbers feature throughout its 72-minute running time, The Fits isn't a dance film in the usual sense. Instead, it's a tale that can only be told through movement and a heightened awareness of physicality, and through the stylistic and acting choices that emphasise the difference between stepping up and communicating a psychological state. Holmer displays rare confidence behind the camera, especially when it comes to the film's immersive soundtrack, symmetrical framing and rhythmic choreography. But it's the cast of non-professional actors that ensure the film hits home. Led by Hightower, they're the reason the movie doesn't just look striking, but feels like an authentic glimpse into the mind of a pre-teen girl.
UPDATE, JUNE 23: First-release tickets for LEGO® CON have sold out. More tickets will be released on Friday, July 1. The winter school holidays are fast approaching, which means parents and caregivers Sydney-wide will be looking for ways to entertain the kids, ideally with activities that the adults in attendance can also get a kick out of. Here's one option that nails the brief. Following two years of online-only events, LEGO® CON is coming to Sydney this winter for a live weekend-long edition. The two-day event comes as The LEGO® Group celebrates its 90th anniversary this year, so expect a bumper celebration of all things brick with plenty to see, do and build. On July 9 and 10, little and big kids alike can make their way to Sydney Showground for a huge lineup of activities spanning the worlds across the full range including LEGO® City, LEGO® Friends, LEGO® DOTS, LEGO® Technic and more. And it goes without saying that a little construction is on the cards, too. Guests can create and play with a range of sets and help build a top-secret large-scale LEGO® project. LEGO® CON will also host the Sydney debut of the extremely impressive life-sized LEGO Technic™ McLaren Formula 1™ Race Car, most recently on display at the Australian Grand Prix. Kids are also invited to join a session of Build the Change, an inspiring conversation where little LEGO® lovers can share their hopes and dreams for the future. LEGO® CON takes place from July 9–10 at Sydney Showground (Hall 5). Entry is free, but registration is required to enter. For more info on the event and to register, head to the website.
Lovers of Australian architecture take note, the Sydney Architecture Festival 2018 is looking inwards for its 12th edition, with a celebration of two of Australia's most iconic buildings: the Sydney Opera House and Parliament House. Running from Friday, September 28, to Monday, October 1, the festival sets out to explore 'What Makes a Building Truly Great?' with a wide-ranging program of talks, tours and exhibits. The festival also coincides with two landmark birthdays: the Sydney Opera House turns 45 and Parliament House enters its 30th year. Presenting the pair's largely unexplored intertwined history, the festival will consider how these Australian monuments — alongside many others — can be preserved for generations to come. A lineup of leading local and international architectural voices will also explores how Australia can remain at the global forefront of urban development. Highlights include a striking revision of the Opera House's history with architectural historian Dr Anne Watson; a panel discussion on what equals great design with Australian Institute of Architects Gold Medal winners Richard Leplastrier, Brit Andresen and Peter Stutchbury; and the previously untold challenges behind Parliament House with original architect Ric Thorpe AM and ABC's Annabel Crabb. For the first time, an architecture critic will deliver the 'World Architecture Day' address at the Sydney Opera House. Acclaimed New York-based writer Karen Stein will present the speech, drawing from her decade-long experience as a panel member for The Pritkzer Architecture Prize, and as a contributor to many of the world's leading architecture publications. Images: Hamilton Lund
Forget the "find someone who looks at you like…" meme. That's great advice in general, and absolutely mandatory if you've ever seen a Céline Sciamma film. No one peers at on-screen characters with as much affection, attention, emotion and empathy as the French director. Few filmmakers even come close, and most don't ever even try. That's been bewitchingly on display in her past features Water Lillies, Tomboy, Girlhood and Portrait of a Lady on Fire, any of which another helmer would kill to have on their resume. It's just as apparent in Petite Maman, her entrancing latest release, as well. Now 15 years into her directorial career, Sciamma's talent for truly seeing into hearts and minds is unshakeable, unparalleled and such a lovely wonder to watch — especially when it shines as sublimely and touchingly as it does here. In Sciamma's new delicate and exquisite masterpiece, the filmmaker follows eight-year-old Nelly (debutant Joséphine Sanz) on a trip to her mother's (Nina Meurisse, Camille) childhood home. The girl's maternal grandmother (Margot Abascal, The Sower) has died, the house needs packing up, and the trip is loaded with feelings on all sides. Her mum wades between sorrow and attending to the task. With melancholy, she pushes back against her daughter's attempts to help, too. Nelly's laidback father (Stéphane Varupenne, Monsieur Chocolat) assists as well, but with a sense of distance; going through the lifelong belongings of someone else's mother, even your spouse's, isn't the same as sifting through your own mum's items for the last time. While her parents work, the curious Nelly roves around the surrounding woods — picture-perfect and oh-so-enticing as they are — and discovers Marion (fellow newcomer Gabrielle Sanz), a girl who could be her twin. The Sanz sisters are identical twins IRL, and why they've been cast is right there in Petite Maman's name. Spelling out anything further would be saying more than is needed going in; flitting through the story's intricacies alongside Nelly is one of its many marvels. Like all kids, she's naturally inquisitive about her parents' upbringings. "You never tell me about when you were children," she complains to her dad, who counters that, actually, he and her mother do. Like all kids, she's also keenly aware of the special alchemy that comes with following in your mother and father's youthful footsteps, all just by being in the house and roaming around the woods where her mum grew up. There's nothing as immersive in helping to understand why one of the people that brought you into the world became who they are. Indeed, it's no surprise that Sciamma and her cinematographer Claire Mathon (Portrait of a Lady on Fire, Spencer) shoot the film in golden and glowing autumnal hues. Nelly has questions for Marion, too, and vice versa; however, spending time in each other's company, watching the connection that springs and embracing every emotion it evokes is Sciamma's plan for the quickly thick-as-thieves pair. Explanations about what's happening are unnecessary; only the experience itself, the mood and the resonance it all holds are what matters. So, the girls do what kids do, whether amid all that ethereal greenery or inside Marion's home, decked out in vintage decor as it is, where Nelly meets her new pal's mother. The two girls play, including in a teepee-like hut made out of branches. They write and perform their own play, costumes and all. They share secrets, talk about their dreams for the future, make pancakes, bust out boardgames, and also float through their new friendship as if they're the only people who matter — in that intimate, serious and earnest way that children do with their friends. Sciamma is exceptionally skilled at many things, creating richly detailed and textured cinematic worlds high among them. She doesn't build franchises or big fantasy realms, but surveys faces, spaces, thoughts and feelings — exploring them like the entire universes they are. The Sanz duo's pint-sized features whisper and bellow about the world whenever Mathon's lens looks in their direction, as Sciamma is well-aware. The young actors welcome Petite Maman's audience into their own insular zone, in fact, and it's a revealing place to inhabit. The landscape that surrounds them is just as laden with meaning and mood, brimming with possibilities as it is to Nelly and Marion. It's a playground, as all forests are to young hearts, minds and limbs. It's also the place that brings them together. That it never appears anything short of magical is hardly astonishing, even for a filmmaker as acutely attuned to her characters' relationship with their scenery as Sciamma has always been. That love for observing, soaking in the minutiae and letting what's seen speak louder than what's said — and doing all of the above with sensitivity and matter-of-fact naturalism — pulsates through every frame of Petite Maman like a heartbeat. The film resembles a gentle but soul-replenishing breeze in its rustic look and serene pacing, but it thrums with feeling and insight about forging one's sense of self and navigating generational angst at every moment. It's a modern-day fairy tale, too, complete with its glorious twist, musing deeply on mothers, daughters and the ties that bind in the process. It predates them on the festival circuit, but it'd make a heartfelt triple bill with Turning Red and Everything Everywhere All At Once. With Sciamma returning to the adventures and emotions of childhood again after dancing with adult longing in her breathtaking last movie, Petite Maman is as radiant, affecting, smart and perceptive a reminder there is that the links between parents and kids are their own unique realms. With French cinema's abundant array of coming-of-age tales — from François Truffaut's French New Wave masterpiece The 400 Blows through to Sciamma's pre-Portrait of a Lady on Fire films — Petite Maman springs from a rich history. It's a movie about history, in its own manner, but it also never treads in anything else's footsteps. That's one of its filmmakers many gifts, because no story she's brought to the screen yet has ever felt like it's been told this way before (and if Petite Maman had to be compared to another director's work, it'd by the enchanting and spellbinding visions of youth that Hayao Miyazaki has committed to animation). Here, Sciamma is clearly working in miniature. Her protagonists are petite, as the title makes plain. Her choice of locations is condensed, and her style and storytelling is modest. The movie itself only runs for a concise 72 minutes, not that it ever feels rushed. There's nothing tiny about a film that's as potent and wondrous as this, though, or as deeply moving.
In its very first moments, BPM (Beats Per Minute) purposefully withholds details from the audience. Adopting the perspective of the film's unseen characters, the camera waits in the wings as a man gives a speech that isn't subtitled for viewers, until the deafening blast of an airhorn interrupts his talking. It's a jarring opening, but the movie is made all the more jolting by its second scene. Sat in a classroom with the Parisian members of HIV and AIDS activism group ACT UP (AIDS Coalition to Unleash Power), BPM positively swamps the audience with information as the group analyse their last public campaign and argue about their next mission. The chatter is loud, fast and passionate, discussing medical specifics, marketing tactics and everything in-between. To provide further detail, the film intertwines glimpses of their activist actions into their heated conversation. Starting the movie in such a fashion, writer-director Robin Campillo achieves several things. BPM's initial 15 minutes are an immersive onslaught completely by design, plunging viewers into a frenzied, hectic headspace. The two scenes give an indication of how the film will progress stylistically and tonally. More than that, they also ensure the audience truly appreciates the mindset of the characters — allowing viewers to not only watch, but to experience the chaos, anger and uncertainty for themselves. Campillo doesn't stop there, adding a third component. In an ecstatic club-set dance sequence that's as pivotal as everything that precedes it, the audience sees joyous faces moving to the music. After first showing viewers what it feels like to be ignored, then demonstrating the overwhelming nature of the fight for AIDS treatment in the early 1990s, BPM provides a crucial moment of catharsis. The sidelined, the relentless, the sublime — if Campillo's film has a rhythm, that's it. The movie also has a narrative, charting ACT UP's quest to secure medication at a time before HIV drugs were affordable and easily accessible, from a French government and a pharmaceutical industry that are apathetic at best and cruel at worst. As the group storms into conferences, throws fake blood during office invasions and employs other protest tactics, BPM gets to know several figures on a deeper level. Haemophiliac Marco (Theophile Ray) comes to meetings with his mother Helene (Catherine Vinatier). Organiser Sophie (Adele Haenel) advocates for diplomatic options. Jeremie (Ariel Borenstein) deteriorates, and quickly. Leader Thibault (Antoine Reinartz) and the AIDS-inflicted Sean (Nahuel Perez Biscayart) bicker about peaceful versus aggressive tactics — and Sean also falls for newcomer Nathan (Arnaud Valois), who isn't HIV-positive. Set to a soundtrack that flits from electronic beats to sorrowful piano, to the pleading chants of ACT UP taking to the streets, what emerges is a movie that's both intimate and expansive. Just as BPM's first scenes leave a definite imprint, so does the cumulative effect of its 143 minutes, weaving personal tales into a sprawling snapshot of a real-life movement. The reverse applies too, with the picture's broader view, particularly in its documentary-like moments, giving context to each character's struggle. It's little wonder that the cast's performances feel both intricate and part of something bigger, particularly Biscayart and Valois' efforts to convey Sean and Nathan's complex romance. Finding the right actors for the job — actors who can not only deliver stellar work, but can make their roles seem so real that you half expect them to walk off the screen — was one of the hallmarks of Campillo's last film, Eastern Boys. So was an astonishing command of mood and aesthetics, with every directorial choice keeping viewers glued to every frame. BPM shares those traits, but it also boasts something that's all its own: an unwavering, devastating sense of authenticity. Both the filmmaker and his co-writer Philippe Mangeot are alumni of ACT UP, as audiences could probably guess just by watching. A movie this well observed, this drenched in naturalism, this candid and poignant, can only spring from reality. https://www.youtube.com/watch?v=z4_79dnJeNU
Waking up and not knowing who you are or where you are has become a Hollywood staple. Source Code takes the formula and flips it. Army helicopter pilot, Captain Colter Stevens (Jake Gyllenhaal) wakes up on a train bound for Chicago fully aware of who he is. Problem is, he is in the body of another man. Within minutes, a bomb goes off, destroys the train and Stevens is dead. And thus kicks off this new science fiction mystery thriller. From director Duncan Jones, son of David Bowie and director of 2009's BAFTA Award winning Moon, Source Code has received widespread critical and audience applause as well as drawing comparisons with Memento and Inception. As it happens, we have 10 double passes to screenings of Source Code to giveaway thanks to Hopscotch Films. To win, simply subscribe to Concrete Playground (if you haven't already) then email hello@concreteplayground.com.au with your name and address. Entries close Friday, April 22. https://youtube.com/watch?v=_3QkJ_a1nlw
When your last festival screened 48 films to 168,000 people around Australia, what comes next? It's a problem many events wish they had, however, in their 28th year, the Alliance Française French Film Festival is on the case. With the massive celebration of Gallic cinema continuing to draw huge crowds, the beloved annual festival is offering up more of the same. The lineup has changed, of course, but the eclectic nature audiences have come to expect of the event is back. Kicking off on March 7 in Sydney before touring to Melbourne, Canberra, Perth, Brisbane, Adelaide, Hobart, Parramatta and Casula until April 9, the 2017 program begins and ends with a bang — or, with two very different journeys. In pole position at the start of the fest sits The Odyssey, an adventure-filled biopic focused on famous oceanographer Jacques Cousteau, and co-starring Audrey Tautou as Cousteau's wife Simone. Then, after running through the bulk of its 45-film selection, the fest comes to a close with maternal comedy A Bun in the Oven, featuring The Bélier Family's Karin Viard as an unexpectedly expectant 49-year old. In between, the AFFFF delivers on two fronts: stars and a vibrant array of big screen stories. There's plenty of both. The former includes 2017 Oscar-nominees Isabelle Huppert and Natalie Portman, with Huppert showing up twice — playing a woman with a secret past in the rom-com Souvenir, and a philosophy professor in Things to Come — and Portman joining forces with Lily-Rose Depp (yes, Johnny's daughter) in Planetarium. Depp also stars with French singer-actress Soko in The Dancer, while Marion Cotillard does double duty too in romance From the Land of the Moon and the Xavier Dolan-directed family drama It's Only the End of the World. Inglourious Basterds actress Mélanie Laurent co-directs environmental doco Tomorrow, the great Gérard Depardieu takes a road trip in Saint Amour, and one of the last roles played by Amour's Emmanuelle Riva, as an elderly aunt in Lost in Paris, also features. Elsewhere, the 2017 fest tells the tale of the first popular Afro-Cuban artist of the French stage in Monsieur Chocolate starring The Intouchables' Omar Sy opposite James Thierrée (aka Charlie Chaplin's grandson), examines the real-life circumstances surrounding a pregnant nun in The Innocents, dives into coming-of-age affections with Being 17 and gets ghostly with the haunting Daguerrotype. Or, viewers can catch Juliette Binoche at her most slapstick in farcical detective effort Slack Bay, and enjoy the kind of moral dilemmas the Dardenne brothers explore so well in The Unknown Girl. Looking back as well as forwards, a two-movie retrospective steps into the court of Versailles courtesy of the Marie Antoinette-centric Farewell, My Queen and music drama Mozart's Sister. Plus, if all of the above isn't enough for the most eager film buffs, dedicated cinephiles can take A Journey Through French Cinema for 191 minutes of movie history. The Alliance Française French Film Festival will screen at Sydney's Chauvel Cinema, Palace Norton Street, Palace Verona and Hayden Orpheum Picture Palace from March 7 to 30.
Whether sprawling across a Tokyo warehouse, taking over a Japanese castle, turning old oil tanks into waterfalls or even popping up in Melbourne, the digital art made by creative collective Teamlab can make you feel like you're in another world. That's a sensation we could all after the past year year, even if visiting the group's overseas sites is currently off limits due to international travel restrictions. Enter Teamlab's latest project: the online-only Sakura Bombing Home. If it sounds familiar, that's because it's a twist on Flowers Bombing Home, which Teamlab launched in 2020. The project has been updated for cherry blossom season, because Japanese students usually graduate at this time of year — but can't currently enjoy the usual festivities due to the pandemic. Like the bulk of Teamlab's work, Sakura Bombing Home is interactive; however, as its name suggests, art lovers can take part from their own couch. The collective is asking its audience to draw and colour-in pictures of cherry blossoms — either on paper or on your phone — then take a photo and upload it to the group's site. Your pics will then be added to the bright, kaleidoscopic, constantly moving and evolving piece. That's the participatory part of the project. When it comes to watching — whether you've gotten arty first, or you just want to view the piece without breaking out your colouring pencils — you can head to Teamlab's YouTube channel. Sakura Bombing Home is live streaming constantly, joining together cherry blossoms created by folks all over the world. While viewing, you'll notice petals scattering, then coming together to form new images. Unsurprisingly given the sensory nature of its physical installations, Teamlab recommends viewing Sakura Bombing Home on your television set, "or as large a device as possible". The project will be available for the foreseeable future, too, with the collective advising that it "will bloom until the end of the coronavirus" — and that it'll also stick around afterwards "for people to remember this era". For more information about Teamlab's 'Sakura Bombing Home' — or to add your own drawing — visit the art collective's website. To watch the live-streamed artwork, head to its YouTube channel.
My Friend Dahmer isn't joking about its title. Exploring Jeffrey Dahmer's high school years during the 1970s, the film adapts the graphic novel of the same name, which was written by one of the serial killer's classmates and acquaintances. That said, based on the events depicted on-screen, it doesn't feel quite accurate to call John 'Derf' Backderf one of Dahmer's pals. Describing anyone as a friend of the teen who'll ultimately rape, murder and dismember 17 men doesn't feel quite right, for that matter, as the movie makes clear. "I like to pick up roadkill, but I'm trying to quit," Dahmer (Ross Lynch) tells one of his classmates. Every time the town doctor (Vincent Kartheiser) jogs past his house, he pays more attention than he should. In his garden shed at home, he likes to dissolve dead cats in acid. At school, when he's not keeping to himself, he's making odd noises and causing scenes in the hallways. It's the latter behaviour that piques the interest of aspiring artist Derf (Alex Wolff) and a few other students, inspiring them to form the 'Dahmer Fan Club' and to recruit its namesake as a member. The group encourages Dahmer's over-the-top performances, sneaks him into club yearbook photos as a prank, and even talks their way into meeting with the US Vice President. But behind the seeming camaraderie, Derf and the gang are still laughing at the new pal even when they're also laughing with him. Eventually they push the joke too far, before abandoning the guy they've been calling their mascot. There's nothing simple about Dahmer's adolescent years, as My Friend Dahmer shows. In addition to being repeatedly humiliated by the people he thinks are his friends, he struggles to cope with his sexuality, his mother's (Anne Heche) mental illness and his father's (Dallas Roberts) eventual absence. Still, there's something much too familiar about writer-director Marc Meyers' approach to this story. While the film doesn't ever try to justify or excuse the heinous deeds Dahmer would go on to commit not that much later in his life, it does draw a very short line between the treatment Dahmer is subjected to and his inner turmoil. The details might stem from reality, but the position the picture seems to take — that Dahmer was odd, but essentially an average guy until he was bullied — feels both superficial and uncomfortable, particularly given how often the same kind of sentiment is splashed across newspaper headlines to explain killings, attacks and mass shootings. Of course, watching a film about a notorious murderer's formative years shouldn't be an easy experience. Nor should empathising with a confused, tormented kid who'll go on to commit brutal crimes, including cannibalising some of his victims. The guilt and regret that the real-life Derf has obviously tussled with over the past four decades are infused into the movie, albeit in skin-deep fashion. Clumsy foreshadowing certainly doesn't help, especially since everyone knows how Dahmer's tale pans out. Whether it's someone remarking that Dahmer isn't going to bite, his mother declaring that their family eats their feelings, or an angry teacher furiously attempting to remove him from school photos, all these incidents just convey the obvious, showing absolutely no signs of depth. Segueing from Disney star to serial killer, a well-cast Lynch adds nuance where it's needed. Crucially, his performance pits Dahmer in the middle of two extremes — ostensibly normal but misunderstood and mistreated at one end, fated for horrific deeds at the other. In fact, the young actor captures a mood of ambiguity that the film around him can't completely master, offering up a portrayal that's never sympathetic but never filled with overt judgement either. Wolff is also impressive as Derf, although the character is sometimes painted in the same overly neat manner as much of the rest of the movie. Indeed, from a visual perspective, My Friend Dahmer looks like a picture-perfect portrait of '70s high school angst, as often laid out in wide shots that mimic Derf's graphic novel. But demonstrating that something darker lurks beneath the surface isn't as profound as the film seems to think. https://www.youtube.com/watch?v=LP4yqd90BT0
The COVID-19 situation in Australia is changing every day, with the federal government first implementing a ban on non-essential events with more than 500 people and then mandating that everyone arriving from overseas self-isolate for 14 days. In response to the first restriction, events and venues around the country are cancelling and postponing their 2020 plans. The latest casualty: Bluesfest. The long-running festival was set to return to Tyagarah Tea Tree Farm — just outside Byron Bay — for the Easter long weekend, headlined by Alanis Morissette, Dave Matthews Band, Patti Smith, Crowded House and Lenny Kravitz, among others. But, Festival Director Peter Noble this morning announced it would not be going ahead. "We are heartbroken," Noble said in a statement. "We believe we were presenting one of the best ever bills of talent for you." While the Easter festival has been cancelled, Noble says "we are now working through how to move forward". https://www.facebook.com/bluesfestbyronbay/posts/3896289597078132 It's the first time in 30 years the festival will not run, but the second year in a row it has come under threat. Last year, Noble contemplated moving the festival to a spot outside of NSW last year because of the State Government's strict music festival licensing regime. According to website I Lost My Gig Australia, so far 20,000 events have been cancelled, which has impacted 190,000 Australians and equated to $47 million in lost income. And those numbers are continuing to climb by the minute. We'll let you know if and when Bluesfest releases more details. To stay up-to-date with the events postponed and cancelled in your city, head over here. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Joseph Mayers
One of Sydney's biggest design events is back for 2018. Taking over Carriageworks from May 24–26 as part of Vivid Sydney, Semi Permanent will once again boast a spectacular mix of panels, workshops, exhibitions and more, featuring some of the biggest and most intriguing names in the business. This year's guest list is typically eclectic. There's veteran Nike sneaker designer Tinker Hatfield, former Wired editor-in-chief Scott Dadich, and iconic New York graphic designer Paula Scher, to name but a few of the speakers that have been announced so far. "We'll be giving you the skills to adapt in an ever-evolving environment with some of the best and brightest minds we've ever had the pleasure of hosting, not to mention the workshops, installations, screenings, drinks, food, sound and light our audience has come to expect from us," said Semi Permanent founder, director and curator Murray Bell. Suffice it to say, we plan on holding him to his word.
UPDATE, December 9, 2020: McQueen is available to stream via Stan, Doc Play, Google Play, YouTube Movies, iTunes and Amazon Video. Glamour meets the grotesque in the couture of designer Alexander McQueen. Indeed, it's not by accident that a recent hit museum retrospective showcasing his work took the moniker Savage Beauty. For two decades as the enfant terrible of British fashion, he crafted clothing that didn't just make a statement, but screamed it down the catwalk, splashed it across glossy magazine pages and shouted it at the world at large. "I don't want to do a show that you walk out feeling like you've just had Sunday lunch," he once said. "I want you to walk out feeling repulsed or exhilarated — as long as it's an emotion." That telling soundbite joins many others in McQueen, the film that ostensibly unpacks the life, career and death of its titular working-class lad turned tailoring apprentice turned provocative toast of the town. But, making their first full-length documentary, directors Ian Bonhôte and Peter Ettedgui do much more than that. Theirs is a movie made in McQueen's image, keen to show more than tell even though it doesn't shy away from talking heads. The filmmakers are well aware that everyone already knows its rise-and-fall story, with the man called Lee by his friends ultimately committing suicide in 2010. Instead of pretending that it's telling viewers something new, the movie focuses on how it approaches its subject as much as it does the specific details of McQueen's story. Cue chapters that take their names from his famous runway shows, in a segmented yet still cohesive film that takes its concept from another of McQueen's own comments. (In one of his trademark displays of cheek, he dubs his own candid home videos 'The McQueen Tapes'.) Each part stitches together a narrative about his fashions — from both his own label and his time at Givenchy — and the context surrounding each highlighted collection. The end result isn't as obvious as it might sound, of course. McQueen refuses to simply state that one particular aspect of McQueen's experiences gave rise to a specific element in his work. Rather, it explores the fabric of his life while demonstrating how he wrangled fabric in bold ways in his designs. The documentary doesn't need to blatantly connect the dots, as each sartorial series makes its own statement. With names such as Jack the Ripper Stalks His Victims and Highland Rape, and challenging pieces within each collection to match, how could they not? Throughout it all, McQueen remains a constant presence thanks to archival footage, while his family members, friends and colleagues offer their intimate recollections and reflections. Even for those unfamiliar with the minutiae, there's much that's recognisable. Never seeming the typical fashionista, McQueen parlayed his talent, artistic eye and hard work into a thriving career from the early 90s onwards. But with success, attention and notoriety came drugs, depression and despair, matters that the movie perhaps doesn't touch on in as much depth as it could've. Still, even when it somewhat skirts over a few areas, the documentary proves revelatory in how it captures McQueen's complicated essence. The designer's clothing pieces were always going to feature prominently, but with its incredible detail, intricate construction and willingness to get dark, the film they're in feels like it was cut from the same cloth. If one scene in McQueen particularly stands out, it's one that's all McQueen's doing. More than that, it's one that he staged with as much theatricality, spectacle and flair as he ever displayed: his 1999 spring show. In a stunning sight to behold, model Shalom Harlow wears a white strapless dress made voluminous with layers of tulle, spins on a rotating platform like a jewellery box ballerina, and is sprayed with paint by two adjacent robots. As a depiction of life splattering and changing something luminous, it's vivid, almost violent and certainly intoxicating, all as its creator intended. McQueen was clearly relaying a message and, in both featuring the runway moment within the film and adopting its attitude, Bonhôte and Ettedgui ensure that McQueen sports the same force and power. https://www.youtube.com/watch?v=yKwCd6WLPdE
Over the past year or so, many Australians have been working from home either during lockdowns or in general, which means many of us are have been leaning on our bar carts a little more than usual. This has lead to a level of experimentation — whether that's ordering in cocktails, trying our hand at making our own fancy drinks or getting some fun wines delivered. Another way you can get creative: by ordering a bottle of Unico Zelo's yuzu vermouth. The tasty child of Adelaide Hills winery Unico Zelo and sister distillery Applewood, this third batch of untraditional (but ever-so-tasty) vermouth is made from a combination of Adelaide Hills merlot grapes, some native Australian botanicals (usually used to make Applewood's Okar bitter amaro) and yuzu from Mountain Yuzu — a 20-acre farm located in northeast Victoria, on the foothills of the Australian Alps. As you can see, its an all-Australian affair — unlike a lot of traditional vermouths, which are made in Italy and France. Eco-minded founders and winemakers Laura and Brendan Carter are committed to using native botanicals and sustainably produced grapes in their entire range of wines and spirits, aiming to create products that truly taste Aussie as. View this post on Instagram A post shared by Unico Zelo | Australian Wine (@unicozelo) As it's not a traditional sweet vermouth — it's really quite far from it — we forgive you for not knowing exactly how to drink it. But, thankfully, we've done some testing for you. On the rocks? Yep. Instead of sweet vermouth in a negroni? Do it. With a splash of soda? Definitely. If you want something a little fancier, the Unico team has a couple of cocktail suggestions for you. Try your hand at the Natty-Cano, a spin on an americano, but with pét-nat instead of soda water. To make it, mix 45-millilitres of Unico Yuzu, 15-millilitres of Økar Island Bitter (or Campari) and 120-millilitres of pét-nat in a highball glass and garnish with an orange twist. All of Unico's limited releases only available in very small batches, so if you want it, don't wait on it. Unico's Yuzu Vermouth is now available to purchase via the brand's website for $35 per bottle.
Beached as a whale with a fondness for chuups, bro. Except swap the whale for Gastro Park chef Grant King, and the chips for cider, and you're there. Yup, this one is for the hardcore cider junkies out there. Every Sunday throughout December and Sunday you can chill out in the Beach Road Hotel's outdoor bar The Backyard, sipping on a cold Rochdale Cider and something from the cider-themed menu. The Beached As menu includes the Cider Slider (cider baked pig, crunchy crackles and apple celeriac slaw), Crispy Claw (crispy cider batter, encasing soft shell crab claws, lemon and lime mayo, wrapped in lettuce with cucumber and coriander) and The Rockdale Frostie (Cider caramalised apple ice-cream, with granny smith popping candy). So if a brightly coloured, traditional, medium dry cider with a matching menu in an outdoor bar sounds like your pint of cider, then Bondi is where it's at.
To help brighten up your newsfeed a little, Sydney's Sea Life Aquarium is live-streaming playtime with its resident dugong, the adorably named Pig. Who, yes, likes to eat a lot. Pig was found and rescued as a baby dugong in north Queensland after he'd been separated from his family. While the aquarium tried to release him back into the wild, Pig washed up on shore (again) and they decided to keep him. He's now one of only two dugongs in human care, globally. At 10.45am AEDT on Friday, March 20, you can watch Pig splash around, play with toys and hang out and with his keepers Emma and Kerrie via Sea Life Aquarium's Facebook page. It's the feel-good content we need right now. Thankfully, this isn't the only live-stream the aquarium is planning. Keep an eye on future cute (and maybe slightly scary) content, including possible shark feedings, penguin hangs and tropical fish tours. [caption id="attachment_762120" align="alignnone" width="1920"] Sea Life Sydney[/caption] Live Stream: Playtime with Pig the Dugong is taking place at 10.45am via Sea Life Aquarium's Facebook page.
The Money lands at Sydney Opera House's Utzon Room via the UK Houses of Parliament, Edinburgh City Chambers and Lisbon City Hall, among other left-of-field venues. It's not just a theatre show, but an immersive game in which you play a part. The premise is pretty simple: you're given a wad of cash and you have to decide how to spend it. The catch is, your choice must be legal. Plus, you've got to persuade everyone else at your table to agree with you before you run out of time. Otherwise, the money moves on and you stay put. Take your pick of two roles. As a Player, you're a paid, active decision maker. As a Silent Witness, you're an observer, but with the power to buy in anytime you like and change the game's course in one fell swoop. If you've long held strong opinions about the spending of tax payers' money or the habits of billionaires, this is your chance to test them out.
Getting tired of your usual nights out? Looking to shake up your routine? We've got just the ticket — four of them, in fact. We've teamed up with West HQ, the Western Sydney dining and entertainment hub that's home to a suite of stellar restaurants and leisure facilities, to give one lucky Concrete Playground reader the chance to enjoy a night out — or two – at the precinct. First up, you can win four platinum tickets to the Sydney International Ballet Gala. Whether you're a ballet lover or ballet-curious, you'll be dazzled by this spectacular showcase that'll present hundreds of years of ballet history on one stage. The repertoire, created by internationally acclaimed choreographers, will be performed by principal dancers and soloists from celebrated companies including The Australian Ballet, Royal New Zealand Ballet, San Francisco Ballet, Berlin State Ballet, Dutch National Ballet and more. You'll see excerpts from some of the greatest classical and contemporary ballet works, as well as three world premieres and three Australian premieres during this stunning demonstration of artistry, elegance and technical precision. The performance will take place at West HQ's Sydney Coliseum Theatre, an internationally recognised, 2000-person seat theatre that's among the best in the west. To sweeten the deal, you'll also be greeted with a refreshment pack, which includes all manner of sweet treats and two bottles of mini Moët to enjoy during the show. The prize also includes a $400 voucher for Chu. A sibling to Woolloomooloo's award-winning China Doll, Chu presents contemporary interpretations of traditional pan-Asian dishes in a handsome 200-seat, 1940s Shanghai-inspired space. The menu includes highlights such as China Doll's celebrated lemon chicken, master stock pork belly with chilli caramel and nam pla and steamed Cone Bay barramundi fillet finished with ginger, soy and coriander, and is complemented by an equally impressive, three-Goblet-winning wine list. The best part? You can use the voucher at any time, whether for a pre-show banquet or a leisurely Sunday yum cha. Sound like a dream night out? Drop in your details below to go into the running. [competition]856221[/competition]
Back in 2012, when Daniel Radcliffe was initially trying to shake a certain boy wizard from his system — before everything from Swiss Army Man and The Lost City to Miracle Workers and Weird: The Al Yankovic Story firmly helped — he stepped into a different kind of supernatural thrills. His first post-Harry Potter role saw him take on The Woman in Black, a gothic-horror tale that pitted him against a curse and a ghost. And yes, the latter did have quite the fondness for wearing dark clothing. The film adapted the 1983 novella of the same name for the second time. But before The Woman in Black made it to the screen, it spooked out the theatre. Because hauntings often keep coming back, it's doing so again, this time in a new Australian production starring John Waters (Blaze) and Daniel MacPherson (Foundation). If you don't like scary tales about sinister spirits seeking revenge for past ills, then you might want to sit this one out. If you love them, then prepare to put your nerves to the test. We're betting that Theatre Royale Sydney will be at its unsettling best for the occasion — it's not every day that it hosts a show that ranks among West End's longest-running productions, second only to Agatha Christie's The Mousetrap, after all. The new Australian run was first revealed in January, but with something missing: a Harbour City stopover. That's now been added, joining already-announced New South Wales showings in Wollongong and Newcastle. Sydney's season will kick off on Tuesday, July 30, spanning till Sunday, August 18. The Woman in Black is set in Eel Marsh House in England's north, which sits at the heart of a story that Arthur Kipps recounts about his stint as a young solicitor overseeing Mrs Alice Drablow's funeral. The place isn't just filled with secrets, thanks to the titular figure. Waters plays the elder Kipps, with MacPherson plays an actor who agrees to perform the role of his younger guise. Kicking off its full Aussie tour in late April, the stage version of The Woman in Black was first adapted for the theatre by Stephen Mallatratt back in 1987. "I first saw The Woman in Black in 2020 and knew I had to bring it back to Australia. It's such an incrediblem gripping show that is so spellbinding, it has you on the edge of your seat for two hours," said the current season's producer Alex Woodward. "When it came to casting we knew it was perfect to ask theatre royalty John Waters to reprise his role he debuted in Australia more than 15 years ago. Daniel was also a natural choice for his incredible ability, charm and charisma." The Woman in Black 2024 Australian Dates: Saturday, April 27 — Empire Theatre, Toowoomba Tuesday, April 30–Saturday, May 11 — QPAC Playhouse, Brisbane Wednesday, May 15–Sunday, May 26 — Dunstan Playhouse, Adelaide Festival Centre, Adelaide Thursday, May 30–Sunday, June 9 — His Majesty's Theatre, Perth Thursday, June 13–Saturday, July 6 — Athenaeum Theatre, Melbourne Tuesday, July 9–Sunday, July 14 — Canberra Theatre Centre, Canberra Wednesday, July 17–Sunday, July 15 — Illawarra Performing Arts Centre, Wollongong Tuesday, July 23–Saturday, July 27 — Venue Civic Theatre, Newcastle Tuesday, July 30–Sunday, August 18 — Theatre Royale Sydney, Sydney The Woman in Black is touring Australia from April 2024, including a just-announced Sydney season from Tuesday, July 30–Sunday, August 18 at Theatre Royale Sydney. Head to the production's website for tickets and more information. Images: James Reiser.
See the sky set alight this New Years Eve from Sydney's Gatsby-like terrace bar, The Butler. Pott Point's panoramic venue is putting on a lavish, four-course banquet to welcome 2016 in style. Tipped to guarantee ticketholders an impressive selection of French flavours with an unexpected Caribbean twist, this intimate soiree offers sweet city views and an equally impressive feast to match. At $200pp, entry to this sky-high tropical hideout comes at a bit of a cost. But with whispers of bubbly on arrival and best-seat-in-the-house views of the fireworks, this is one NYE party to entice partygoers after a more sit-down yet lively affair.
Beyond Cinema – the good folks who brought the Mad Hatter's tea party to the Botanic Gardens and recreated Titanic on Sydney Harbour – have turned their fantastical minds to an immersive sing-a-long edition of Les Misérables. Their plan is to bring Tom Hooper's 2012 film – which is based on the 1980 stage musical by writer Alain Boublil and composer Claude-Michel Schönberg – to Surry Hills' John Painter Theatre. This unique space will be transformed into a slice of 19th century France. You'll be invited to dress up accordingly and, once the film starts rolling, belt out all your favourite tunes – from "I Dreamed a Dream" to "Do You Hear the People Sing?" to "Castle on a Cloud". Fighting a war (and singing for hours) is thirsty work, and luckily there'll be a bar on site — serving both food and drinks. This isn't Beyond Cinema's only upcoming production, either. The busy collective of film buffs and story tellers is bringing The Great Gatsby to Sydney on Sunday, August 19, and has also promised a sing-a-long version of The Greatest Showman – at some point in the not too distant future Beyond Cinema's 'Les Miserables' will be held at John Painter Theatre, 1/55 Foveaux Street, Surry Hills, on Saturday, December 15, from 2–5pm and 7–10pm. Tickets are on sale now.
In today's art world, it's hard to establish yourself as an emerging artist. Galleries will rarely take the risk of featuring your work, and investors won't even know you exist. Equally tough for wannabe art buffs is to develop a reputation of being a seasoned collector, known for having your proverbial finger on the pulse of the next big thing. The solution could be Artsicle — a try-before-you-buy art rental program based in New York which provides much-needed exposure to artists and affordable art pricing options for art afficionados. The site allows first-time investors to road test art before handing over the big bucks. Simply select from Artsicle's online catalogue, which largely features the work of young artists, and the original art is delivered to your doorstep. $50 a month gets you the pleasure of hanging new works on the walls of your home or office on regular basis. If you love the art enough you can buy it for your very own; if you don't you're under no obligation to purchase and can simply swap it for a new work. [Via PSFK]
No matter where you live in Australia, you've heard about plans, pathways, roadmaps and rollouts quite often during the pandemic. As the country has faced COVID-19, our state and federal leaders have unveiled plenty of outlines that run through what we can do, what we can't do whenever restrictions are in place, how we're getting vaccinated, where we can travel and how life might return to normal — including, in early July, a new outline for the future stemming from Australia's National Cabinet. That overall plan, announced by Prime Minister Scott Morrison after meeting with state and territory leaders on Friday, July 2, steps through four phases that Australia intends to work through to get life back to its pre-pandemic state. It covers things like resuming international travel, loosening restrictions on vaccinated folks and scrapping lockdowns completely. That said, when first announced, the plan didn't include timeframes or information on when these different tiers would kick in, other than vague hopes. But following the latest National Cabinet meeting on Friday, July 30, the Prime Minister has now filled in some details. Vaccination thresholds have been attached to the second and third phases of the roadmap, which has been dubbed the National Plan to transition Australia's National COVID Response. The second stage will come into effect when 70 percent of the population has been fully vaccinated with two doses, while the third phase will kick in at 80 percent. There's still no expected dates, however. For both stages, there's also a couple of requirements — and a "two-key process", as the Prime Minster explained. Firstly, the entirety of Australia must reach those figures overall, based on the population over the age of 16. After that, each individual state and territory also must hit those thresholds for that phase to specifically apply in that state or territory. At 70 percent, restrictions will be eased on folks who've had the jab, including around lockdowns and border controls. Some of the inclusions in each phase have been amended since the beginning of July, reflecting the changes in Australia's COVID-19 situation over the past month, but it's still aimed that lockdowns will be less likely in this second stage. Low-level restrictions will still help minimise the spread of cases and assist contact tracing, and the vaccine booster program would begin. This is when inbound passenger caps for unvaxxed returning Aussies will be restored to previous levels, too, and when more vaccinated returning Aussies will be allowed to come home. When the 80-percent threshold comes in, that's when jabbed Australians can travel overseas again without restrictions — which is clearly huge news. This third phase also has minimal restrictions on daily life and no lockdowns, and frees vaxxed Aussies from all those domestic restrictions anyway. At this point in the plan, there'd be no caps on returning vaccinated travellers at all, and more travel bubbles, like the one floated with Singapore, would open. Also, vaccine boosters would keep being delivered. After that comes the final phase, although this one doesn't have any specifics regarding a vaccination threshold as yet. This tier sees COVID-19 just treated like other infectious diseases. It'd still be around, but it'd get the same kind of response as the flu. So, there'd be no lockdowns or domestic restrictions ever, vaccinated folks could come and go as they like, and non-vaccinated travellers would just have to get tested before they depart and when they arrive. Basically, life would be like it was before the pandemic, just with some quarantine required for the highest-risk inbound travel. Obviously, with Greater Sydney set to spend at least nine weeks in lockdown, Victoria just coming out of its latest almost two-week-long lockdown and 11 Local Government Areas in southeast Queensland heading into a new three-day lockdown from Saturday, July 31, COVID-19 case levels could still impact how this plan gets put into effect. Indeed, if Australia's pandemic response so far is any guide, this could all change, take forever or simply not happen — but it's the stated federal plan at the time of writing, and now has some concrete vaccination thresholds. Wondering where we sit in the scheme of things right now? We're in the first stage, unsurprisingly. Here, the aim is to suppress the virus to minimise community transmission. So, there's early, stringent and short lockdowns when outbreaks occur, and domestic restrictions as well. Our international borders are closed, there's a cap on inbound travellers, and the vaccination campaign is underway. Also in this initial phase, the Medicare Vaccination Certificate will be rolled out, Australia will work out how to authenticate digital vaccination status at our international borders and the vaccine booster program will be prepared. For further details about the National Plan to transition Australia's National COVID Response, head to the Prime Minister's website.
To celebrate the start of the Year of the Pig, Darling Square's food hub Steam Mill Lane will be filled with giant zodiac lanterns, courtesy of Tumbalong Park's Lantern Festival, from Saturday, February 2. And that's not all that's happening in the buzzing laneway, either. Its residents will be serving up limited-edition eats, including nightly bottomless Szechuan-style buffets (for only $19.80) at Ricefields, an extra-porky roll pack from Marrickville Pork Roll, and loaded Chinese-spiced fries, milkshakes and lap cheong (Chinese sausage) beef burgers at 8bit. Plus from February 15–16, between 6 and 7.30pm, you can enjoy a night of bottomless wings and beer for just $40 at Belle's Hot Chicken (bookings essential) or dance with traditional dragon dance performances at midday and 2pm each day. And you can grab a free fortune cookie or test your mahjong skills (on Friday and Saturday night) and win some sweet prizes, too. You can head down to check out the laneway, its many eateries and large-scale lanterns from 8am–11pm until Saturday, February 23.
No one can know for certain what tomorrow will bring; however, the tales told on screens big and small, and through games and comics as well, have delivered plenty of visions of what might come. Will androids dream of electric sheep? Will a Keanu Reeves (John Wick: Chapter 4)-voiced rock star and terrorist make their presence known? Will Afrofuturist technologies transform life as we know it? These are some of the future possibilities conjured up by beloved pop-culture titles — and they're all part of the Australian Centre for the Moving Image's world-premiere exhibition The Future & Other Fictions as well. Displaying at the Melbourne screen museum across Thursday, November 28, 2024–Sunday, April 27, 2025, taking pride of place as its big summer showcase, The Future & Other Fictions is a love letter to and deep dive into futuristic storytelling. More than 180 works feature, including from Blade Runner 2049, Black Panther: Wakanda Forever, Cyberpunk 2077 and The Creator. Saltsea Chronicles, comic series NEOMAD and Björk's music video 'The Gate': they're all also covered. Before he was just Ken, Ryan Gosling (The Fall Guy) starred in the 35-years-later sequel to Blade Runner — and before he brought Dune and Dune: Part Two to the screen, Denis Villeneuve directed Blade Runner 2049. The Future & Other Fictions lets attendees follow in their footsteps via miniature sets, which are one of the exhibition's definite must-sees. Black Panther: Wakanda Forever gets the nod thanks to Academy Award-winning costumes by Ruth E Carter, while sketches from NEOMAD also feature — as do concept art from The Creator, Cyberpunk 2077 and Saltsea Chronicles. This showcase isn't just about well-known renderings of the future, though, thanks to work by Olalekan Jeyifous, Osheen Siva and Tāgata Moana art collective Pacific Sisters. Plus, via new commissions, DJ Hannah Brontë has her own take, and so does Liam Young and Natasha Wanganeen (Limbo). As it celebrates how screens imagine the years ahead via its array of artwork, sets, props and scripts — alongside clips, costumes and original design materials, too — The Future & Other Fictions also features a film season focusing on Björk, complete with Björk: Biophilia Live on the lineup. [caption id="attachment_974750" align="alignnone" width="1920"] Mahia Te Kore[/caption]
This article is sponsored by our partners, the Sydney Festival. The Sydney Festival crew knows better than anyone else that seeing the world's most amazing shows, losing yourself in monumental artworks and dancing into the wee hours can make for hungry and thirsty work. So they've partnered with a handpicked selection of the city's most popular and adventurous eateries to present 'Fast Festival Feasts'. From January 9-26, you'll be able to sample gourmet cuisine at festival prices, including $30 and $55 two-course extravaganzas and specially designed a la carte menus. Some restaurants do require reservations, so we recommend making contact in advance to avoid disappointment. Near Paradiso at Town Hall Like the Village, Paradiso will be providing some light, hot catering of its own via the Terrace Bar. But if you want to rest your feet and stock up your energy before dancing the night away at one of the venue's free post-11.30pm music fests, try the Chef's Gallery where you'll score five Chinese Tapas (or Chapas) and a drink for $30, or the Glass Brasserie for a Luke Mangan-designed main and a beverage for the same amount. Sydney Opera House and The Rocks No fewer than 14 restaurants around the Sydney Opera House and The Rocks have struck deals with the festival folk. At Ananas Bar & Brasserie, indulge in two courses of One-Hatted French Mediterranean excellence for $55, including a glass of Marc Initale Brut. Equally adored by the critics, but Japanese in style, is the nearby Sake Restaurant & Bar, where you'll be able to exchange $55 for kingfish jalapeno and kombu trout paired with sake. Up on George Street, The Morrison Bar and Oyster Room will be selling a $30 special — duck fat fish and chips with mushy peas and homemade tartare sauce, accompanied by a glass of red or white. The Star Whether you're seeking out a feast to match your much-anticipated Dido & Aeneas experience or dropping by Darling Harbour to check out Merchants Store, you'll find a few options at The Star. Spend $55 at the undeniably elegant (even in a casino) Sokyo and receive two courses of your choice from the vast menu, or at the striking Balla for some Stefano Manfredi brilliance. Top image: Dining Room at the Park Hyatt.
When the COVID-19 pandemic forced the closure of cinemas worldwide, two questions arose: when will they be able to reopen and, with movie release dates instantly thrown into disarray, what will they show? Picture palaces are now welcoming movie buffs back through the doors in some portions of the world, including parts of Australia and in New Zealand, so that's the first query taken care of. Just what they're able to screen, however, is still the subject of constant manoeuvring. Many of the big films that were due to release in 2020 have been shifted to 2021, such as Fast and Furious 9, In the Heights, Ghostbusters: Afterlife and Halloween Kills. Some have remained committed to reaching the silver screen this year, but have still moved their release date over and over, like Tenet. And some have decided to make the jump online — including after rescheduling in-cinema release plans a few times, as is the case with Disney's live-action Mulan remake. As announced this week, the new Mulan will head straight to streaming platform Disney+ in many areas of the world, including Australia and New Zealand. It'll hit the service on Friday, September 4, but it won't be a part of your regular subscription. Instead, you'll have to pay to view it on a video-on-demand or 'premier access' basis, at a cost that's yet to be announced for viewers Down Under. If you want a ballpark figure, though, the US price is $29.99. This isn't the first Disney project to make the move to digital this year, with Pixar's Onward doing the same after a very brief cinema run as the globe went into lockdowns in March. Terrible family-friendly fantasy Artemis Fowl bypassed theatres altogether, hitting Disney+ in early June, while the phenomenal recorded version of Hamilton debuted on the streamer in July. In Mulan's case, it'll mean that fans can not only watch the highly anticipated blockbuster at home, but also finally enjoy the latest screen iteration of the famed character. In Chinese history, the legend of Hua Mulan dates back to the sixth century. At the movies, the formidable female warrior first fought her way across the big screen in a 1927 silent film. Mulan has been no stranger to the page, stage or cinema over the past 92 years, but many folks know the tale thanks to Disney's 1998 animated musical. Now, as it has done with everything from Alice in Wonderland to The Jungle Book to Aladdin, the Mouse House has turned the story into its latest live-action remake. Once again, Mulan (played by Chinese American actor Liu Yifei) will evolve from dutiful daughter to kick-ass combatant, all to protect her family in a time of war. She's originally due to be married off to a husband chosen by a matchmaker, until the Emperor of China issues a decree stating that one man per household must serve the Imperial Army as it endeavours to fend off northern invaders. To save her ailing ex-soldier father from having to fight, Mulan disguises herself as a man, takes on the name Hua Jun and becomes an icon. Forget rousing tunes or a talking dragon voiced by Eddie Murphy. This time, the tale hits the screen without a singing and smart-talking sidekick, but with plenty of sword-swinging, arrow-flinging antics. In New Zealand director Niki Caro's (Whale Rider, The Zookeeper's Wife) hands, this version of the story goes heavy on the action and empowerment, as shown in the spectacularly choreographed scenes seen so far. As well as Liu (whose resume includes The Forbidden Kingdom and The Assassins), the new Mulan features Jet Li as the Chinese Emperor, Gong Li as a witch, Donnie Yen as the protagonist's mentor, Jason Scott Lee as a villainous army leader, and Yoson An (The Meg, Mortal Engines) as her fellow fighter and love interest. Check out the full trailer below: https://www.youtube.com/watch?v=KK8FHdFluOQ Mulan will be able to view via Disney+ — on a 'premier access' video-on-demand basis from September 4, 2020. Image: © 2020 Disney Enterprises, Inc.
Yesterday LCD Soundsystem made a surprise appearance on this year's Coachella lineup, almost five years after the band called it quits. But guess what? That is only the start of it. And proving speculation to be true, frontman James Murphy has posted a lengthy (read: really long) note on the band's website confirming that, yes, the band has officially reunited, yes, they'll be doing an "all over" tour, and they'll be releasing a new album in 2016. Holy shit. We'd almost be angry if we weren't so insanely excited right now. It seems that Murphy has anticipated some backlash from fans who have already mourned the band, and are presumably (hopefully) already on the other side of their seven stages of grief. In his apologetic post, which was also shared on the band's Facebook early this morning Australian time, Murphy acknowledges the fans who "feel very attached to the band, and have put a lot of themselves into their care of us, who feel betrayed by us coming back and playing". These fans did, of course, shell out and possibly sold a limb and/or firstborn child for their last glimpse of LCD at their final Madison Square Garden show back in 2011 — a moment that may now, according to Murphy, may feel "cheapened" by their reunion and promise to do a wider tour. He writes: "to you i have to say: i’m seriously sorry. the only thing we can do now is get back into the studio and finish this record, and make it as fucking good as we can possibly make it." An expected album release date is currently unknown, as are the details of the proposed "all over tour" — but we expect the Internet will start wildly speculating on that too. As for an Australian tour? Well, we'll be sitting here quietly, crossing all our things. Image: Matt Biddulph via Wikimedia Commons
