At one point or another, you've probably found yourself in the Sydney CBD at 3am — but, we're certain you haven't been at Mr Wong at witching hour. Well, at least not in the building's current iteration. The Merivale dumpling master is throwing it back to the venue's former life as Tank Nightclub, hosting an adults-only, after-dark party this winter. Running from midnight till 3am on Friday, June 11, Midnight Feast will see the Bridge Lane restaurant come alive with DJs, entertainment, cocktails and, of course, dim sum until the early hours. This is sure to book out fast, so get tickets while you can.
If you haven’t gone yet, 20 June is a good opportunity to explore and experience what’s on offer at Danks Street's galleries, during their Winter Solstice late night. Nine galleries in Danks Street are heralding the arrival of winter and the Sydney Biennale, inviting anyone and everyone to enjoy the art and a glass of wine. Stella Downer Fine Art gallery on Danks Street represents over 30 contemporary Australian artists who work across many mediums, with a commitment to supporting and promoting sculpture and in particular placing works in both urban and rural environments. It and its eight neighbouring galleries will open between 6pm and 8pm to let you explore their many shows before the shortest night of the year takes hold. Danks Street Depot is also offering a Winter Solstice Feast at 6:30pm and 8pm, bookings on 9698 2201 or enquiry@dankstreetdepot.com.au
For the past few years, the Sydney Film Festival hasn't just served up a feast of new and awesome cinema. Collaborating with David Stratton, it has also shone a spotlight on a great auteur — you know, the kind of filmmaker responsible for movies that no one else could make. Martin Scorsese and Akira Kurosawa have previously been in the spotlight, and now it's Aki Kaurismäki's turn, with the fest showcasing the work of the great Finnish director. While the cinema of Finland isn't a common presence on Australian screens, Kaurismäki's work is, whether he's telling a tale of an amnesiac in The Man Without a Past, exploring life in a French port city in Le Havre or contemplating the refugee crisis in The Other Side of Hope. With the latter only getting a general release on our shores this year, the first two aforementioned flicks lead the charge in this 10-title retrospective. Throughout the festival's run from June 6 to 17, other highlights include Kaurismäki's debut Crime and Punishment, an updating of Dostoevsky's novel; Leningrad Cowboys Go America, which follows a fictional band on the road; and Drifting Clouds, a movie widely considered to be the one Kaurismäki flick to see if you're only going to see one of his flicks. Sessions will screen at the Art Gallery of New South Wales and Dendy Opera Quays, showering films buffs with Finnish deadpan with an empathetic heart — plus plenty of dogs, one of the filmmaker's trademarks.
French storytellers seem to have a peculiar gift for producing deceptively simple little fables which nevertheless resonate at the deepest level. Jean Giono's The Man Who Planted Trees was first published in 1953, the same year as Antoine Saint Exupery's beloved fable The Little Prince. It has the same guileless, perennial appeal. It's the story of a young man who wanders into a desolate valley where nothing grows but wild lavender. He meets a shepherd who has decided to rejuvenate the valley by single-handedly cultivating a forest, acorn by individual acorn. Observing the shepherd's selfless dedication, the young man learns something about the human heart. Transformed from prescient tale into madcap puppeteering masterpiece by the most excellent Puppet State Theatre Company, The Man Who Planted Trees has sold out and won awards all over the world for the last two years. Now performing at Sydney Opera House, the show combines superb comic sketches involving a stage-stealing sheepdog with an evocative soundscape and scented breezes that transport the audience to the French countryside. The simple set, consisting of canvas tree shapes and scruffy hessian sheep, becomes a metaphor for the simple message of the story. The Man Who Planted Trees is wonderfully moving, utterly unpretentious and unobtrusively didactic. Come with your day's baggage, leave with a pack of invisible acorns.
Adam Norton's work often been interested in space exploration – not so much the scientific realities, but how we talk and think about it, the fictions we build up around it. In 2011, he was commissioned to create the Mars Gravity Simulator where audience members could test their ability to move in the gravity conditions found on Mars. It spanned the divide between science and art, serious endeavour and playground fantasy. The other recurring theme in Norton's work has been a fascination with the divide between military and scientific institutions and everyday life. In Camouflage suit experiment, he fashioned military wear out of domestic goods and tested them out around the Sutherland shire. The Tank Project meanwhile unleashed armoured carriers into the back alleys and laneways of Sydney's CBD to the bemusement of office workers who discovered them on their lunch breaks. Norton's new exhibition, Interplanetary Society touches on both these themes, recreating the covers of a range long-forgotten books which tapped into the Apollo era interest and optimism around space travel. Neither part of the official record nor conveying much in the way of establishment approval or credibility, the books instead capture a yearning for something more, a dissatisfaction with earthbound life and the now quaint-seeming belief that solutions to all our problems may lay beyond the stars. Norton, a sydney-based artist, has revived these titles from obscurity in striking works of vinyl on paper and acryclic on canvas which convey a wide-eyed buoyancy and an interest in UFOs and possibilities of other life forms. Amongst the titles recreated is Irving Adler's 'Man-Made Moons' , where a moon floats on a sea of deep blue and Mars, Percival Lowell's earnest survey of the canals and oases of the red planet. Most of the works show the straightforward confidence of Hollywood action posters or video game adverts, remnants of an unshakeable belief in what space travel would bring. There are a couple of more reflective works, though, with the downbeat astronaut in We Are Not The First a rare concession that the mysteries of space may not easily reveal themselves. Perhaps the key work though splashes the words We Are Not Alone across the canvas. Gallery 9 is open Wednesday to Saturday, 11- 6. Photo by Simon Hewson.
Angel and Ash. The two streets the Papermill sits on polarise like the twin themes of its latest show — Un Fête dans le Papier ('A Feast on Paper') — which dines at the intersection of poverty and excess. The exhibition takes inspiration from francophones like Basquiat and Marie Antoinette. Though Antoinette probably never said "Let them eat cake", she did spend her time off in a fake French village at Versailles, complete with peasants imported from the countryside. Un Fête dans le Papier aims to do the opposite — to build a fake banqueting hall in the image of Versailles for ordinary people to play at Royalty. Joining the combined creative visions of Alexandra Clapham and Red Rattler co-founder Penelope Benton, Un Fête transforms the expansive depth of the Papermill into its banqueting hall made from cardboard and paper. Clapham and Benton promise to stage a magnificent feast which they invite the general public — starving or otherwise — to look upon with maleficent envy. Afterwards, they promise, the mob will tear into the paper palace. If you can't make it for the decadent launch Tuesday night, the exhibition will be running until Saturday for you to sift through the wreckage.
Time flies when you're watching films and pretending you're on the other side of the world, which is exactly the kind of fun that Palace Cinemas' annual Volvo Scandinavian Film Festival serves up. It has been six years since the arthouse chain started giving winter-loving movie buffs a smorgasbord of films from frosty Nordic climes — timed for the Australian winter, naturally — and the cinema showcase is still going strong. Touring the country from July 9 to August 7, this year's event doesn't hold back when it comes to its strengths. If you're a fan of twisty mysteries and thrillers, brooding dramas set against a stunning snowy backdrop, and smart leaps in genres, you're in luck. Spanning the latest and greatest titles from Denmark, Norway, Sweden, Iceland and Finland, plus old favourites that you'll want to revisit on a big screen, this year's Scandinavian Film Festival is lineup is stellar. Here are our five must-see picks. https://www.youtube.com/watch?v=3MIlE9R00ik ANIARA The savviest sci-fi films don't simply ponder a future that may not come, they follow today's big troubles to their possible end. If environmental issues are big on your radar, add Aniara to the watch list. In this Swedish imagining of the apocalypse, earth is uninhabitable, humanity is in the process of fleeing for Mars and there's no way to repair the damage of the past. When a spaceship headed to our nearest celestial neighbour is pushed off course, there's no way to return either. It should come as little surprise that this ambitious movie contemplates our ability to ignore what we're doing to the planet, as well as our need to soothe our existential ills with nostalgia and materialism. Directors Pella Kågerman and Hugo Lilja found inspiration for the film in a poem by Swedish Nobel Prize winner Harry Martinson, and the end result is quite the trip. https://www.youtube.com/watch?v=T8bzar3Nrjk THE PURITY OF VENGEANCE Across the Department Q movie series to date, crime buffs have watched eccentric homicide detective Morck (Nikolaj Lie Kaas) reluctantly team up with fellow cop Assad (Fares Fares). From there, fans have followed the duo's efforts to solve difficult and dead-end cases, including a political death that was initially ruled a suicide, a scandal at an elite boarding school, and a series of child disappearances, too. To wrap up the page-to-screen series, The Purity of Vengeance tasks the intrepid investigators with a particularly murky case and a ticking clock, after they discover three mummified bodies — plus space for a fourth. When this franchise is at its best, it offers up a compelling odd couple, gripping mysteries and plenty of twists and turns, which this huge last chapter promises to continue. At home, it absolutely smashed the local box office, achieving the biggest opening ever for a Danish movie. A WHITE, WHITE DAY One of the big hits of this year's jam-packed Cannes Film Festival — where it took out the best actor prize in the event's Critics' Week sidebar — A White, White Day marks the second Scandinavian Film Festival title in two years for Icelandic filmmaker Hlynur Pálmason. After the writer/director's stellar Winter Brothers last year, his sophomore feature is immediately worth a look. Given the remote location, striking icy scenery and exquisite cinematography on offer, there's clearly plenty to literally peer at, with Pálmason proving an accomplished visual storyteller. And, narrative-wise, this acclaimed drama charts a suitably thorny tale, following a grief-stricken ex-top cop (Ingvar E. Sigurdsson) who is trying to get over the loss of his wife, only to discover that their marriage might not have been as blissful as he thought it was. https://www.youtube.com/watch?v=ue91wuHsLIY AURORA In one of Finland's standout contributions to the program, the hard-partying Aurora (Mimosa Willamo) meets Iranian refugee Darian (Amir Escandari). Equally outcast in their Lapland surroundings, they're both at their lowest points; however, Aurora is a romantic comedy, so (naturally) their chance encounter changes both of their lives. That said, writer/director Miia Tervo doesn't stick to the usual script from there, making a movie that's passionate, lively, topical and subversive — and not only examining the plight of immigrants across Europe but unpacking the expectations placed upon Finnish women. This charming debut also proved a hit at this year's SXSW Film Festival. https://www.youtube.com/watch?v=JlF-hk3IJQE THE MILLENNIUM TRILOGY Before Rooney Mara and Claire Foy stepped into Lisbeth Salander's shoes, Noomi Rapace got there first. She'll always be the original and best incarnation of everyone's favourite tattooed computer hacker. A decade after the Swedish adaptations of Stieg Larsson's best-selling novels first hit screens, it's easy to forget just how fantastic Rapace is in The Girl with the Dragon Tattoo, The Girl Who Played with Fire and The Girl Who Kicked the Hornets' Nest. While the trio of Millennium movies follows the same trajectory as the books they're based on (starting off with quite a bang, then losing their impact a little as they go along), it's also easy to forget just how involving the entire series is as a whole. As directed by Daniel Alfredson and Niels Arden Oplev, and also starring the late Michael Nyqvist (John Wick) as a journalist who makes Lisbeth's acquaintance, this franchise kicked off the world's obsession with Nordic noir for a reason. Plus, if you can't get enough of Larsson's twisted fictional world, the festival will also be screening a documentary on the late author's life. The Volvo Scandinavian Film Festival tours Australia from July 9, screening at Sydney's Palace Norton Street, Palace Verona and Palace Central from July 9 to July 31; Melbourne's Palace Cinema Como, Palace Westgarth, Palace Brighton Bay and Palace Balwyn from July 11 to July 31; Brisbane's Palace Barracks and Palace James Street from July 18 to August 7; and Perth's Palace Cinema Paradiso from July 17 to August 7. For more information, visit the festival website.
For anyone in need of a morning coffee hit to get out of bed, here's an even better reason to face the day: Sydney's best coffee brands are all coming together under one roof. Think of it as a peppy pick-up party that espresso aficionados and latte sippers alike can enjoy, with Editions, Harry's, Circa, Skittle Lane, Artificer and more forming part of new roasting co-op Collective Roasting Solutions. Sure, it sounds a bit like a consultancy firm, but we have no doubt that it will be much more fun. The pop-up CRS Brew Bar is now open in Enmore for the next four months, and features award-winning beans and hot coffees, with the former roasted at CRS' facility in St Peters, and the latter made to order, of course. As well as allowing caffeine fiends to choose from multiple roasters in one spot, the Brew Bar also boasts a 'try before you buy' feature. Yes, you can taste any number of roasted beans before you seal the deal, making this pop-up a coffee commitment-o-phobe's dream. Raw green beans will also be available to purchase. Not to be left out, that obligatory mug-side pastry will be available for all post-brekky sippers. Expect sweet treats from the popular Nutorious, including signature cookies with a "bespoke coffee filling" — because everything's better bespoke. Find CRS Brew Bar at 177 Enmore Rd, Enmore. Visit the CRS website and Facebook page for more information.
For almost four decades, Hans Zimmer has given cinema a distinctive sound. The German composer helped put the bounce in The Lion King's score and the droning in Inception's memorable tunes, and has loaned his talents to everything from Thelma & Louise to Christopher Nolan's Dark Knight trilogy to Blade Runner 2049. It's an impressive list that just keeps going — and it'll sound even more impressive played live and accompanied by an orchestra. As well as working his music magic on a wealth of movies — Hidden Figures, The Boss Baby, Dunkirk, Widows, X-Men: Dark Phoenix and the upcoming Lion King remake are just some of his recent credits — Zimmer has been taking his show on the road over the past few years. After touring his Hans Zimmer Revealed concert series in 2017, including to Australia, he's returning to our shores with Hans Zimmer Live, which'll echo through arenas in Brisbane, Sydney and Melbourne this October. While the Oscar, Golden Globe, Grammy and Tony-winner obviously isn't going to play every single one of his iconic film scores, expect to hear plenty of your favourites from a lineup that also includes Wonder Woman, Gladiator, Pirates of the Caribbean, 12 Years a Slave, Sherlock Holmes, Mission Impossible II and Pearl Harbour — plus the small screen's The Crown and Blue Planet II as well. Zimmer will be joined not only by a massive orchestra, but a full band and a huge stage production, complete with a luminous light show and other eye-catching visuals. [caption id="attachment_724806" align="alignnone" width="1920"] Hans Zimmer, Los Angeles, LA, Tour, Concert, Performance, April 14 2017, EVI[/caption] Hans Zimmer Live will hit the Brisbane Entertainment Centre on Thursday, October 3, Sydney's Qudos Arena on Saturday, October 5 and Melbourne's Rod Laver Arena on Monday, October 7. Tickets go on sale at 10am on Monday, June 17 — for further details, visit the promoter's website. Top image: The World of Hans Zimmer Berlin by Frank Embacher Photography.
Running fanatics, assemble – Ultra-Trail Australia is here. The 100km trail running event (yes, you read that correctly) takes place over four days in May in the stunning world heritage-listed Blue Mountains National Park. Featuring an elevation gain of 4,400 metres and a lot of stairs, this one certainly isn't for the faint-hearted. Those not quite up to the 100km event can take part in the 50km race, which follows the second half of the 100-kilometre route through the Kedumba Valley, or the 22-kilometre event which starts at Queen Victoria Hospital and ends at Scenic World. If you're into something short but sweet, try your hand at the Scenic World UTA951, where you'll only have to run for 1.2km, but up the (in)famous Furber Steps. It's all good if your legs feel like jelly at the end – your entry fee includes a ride down the Scenic Railway, the steepest incline railway in the world.
The streets of Sydney are about to transform into a kaleidoscope of colour, charisma and character for the 46th annual Sydney Gay and Lesbian Mardi Gras, and we've got two exclusive packages to make sure you're in the thick of it. Whether you're a Mardi Gras veteran or a first-timer, these deals will set you up to have the ultimate Mardi Gras experience. First up, for those looking to add a touch of luxe to their Mardi Gras, we present the Diamond Club Viewing & Boutique City Stay. Priced at AU$1,599 for two people, this deal not only puts you in a premium viewing area for the Parade on Saturday, March 2, but also gives you access to exclusive bars, gourmet food and amenities at Diamond Club — one of the hottest tickets on the festival calendar. And when the day is done, you'll retreat to your luxury room at the Ovolo Woolloomooloo for two nights (March 1–3). This isn't just a place to crash — it's a five-star retreat complete with daily breakfast, unlimited Wi-Fi, self-laundry (because glitter gets everywhere), daily afternoon cocktails, free minibar, gym, pool and in-room Alexa and Apple TV. Alternatively, the Sideshow Viewing & Boutique City Stay starts from AU$1,299 for two people and offers front-row seats to the parade from the Sideshow area. Your accommodation? Take your pick between The Woolstore 1888 by Ovolo or the Kimpton Margot Sydney. Both options are an easy stroll to the parade route and come with all the perks you'd expect from top-tier hotels. So go on, treat yourself. You're not just booking a room; you're securing a front-row seat to one of the most vibrant events on the Sydney calendar. See you there.
Whether you're spending a night far from home or you're staycationing in your own neck of the woods, enjoying a drink at the hotel bar is one of life's small joys. There's just something about being able to duck downstairs for a cocktail — or dropping in on your way back up to your room, too — that simply screams vacation. If you're looking for a reason to spend a night away from your own bed — or if you're simply fond of sipping drinks in hotel bars and pretending you're on holidays — Four Pillars' newest limited-edition gin wants to tempt you out of the house. The spirits brand has teamed up with QT Hotels and Resorts on a new tipple it's calling Ordered Chaos Gin, and it includes an inventive array of flavours. Although this gin is clear — unlike Four Pillars' pink-hued last collaboration earlier this year — you'll taste more than just juniper, spice and citrus. Also featured, flavour-wise, are fresh coconut milk, raw almonds and bamboo leaves. So yes, this isn't the type of tipple even the most dedicated gin fans are used to knocking back. You'll only find Ordered Chaos Gin served at QT Hotels' bars, where it's being poured in three kinds of cocktails: the 'Room Service Rickey', which features bitter and bubbly tastes; the 'QT Colada Fizz', which is designed to be creamy; and the 'Bamboo', a stirred-down variation on the martini that heroes coconut. If your gin shrine needs a new edition, Ordered Chaos Gin is also being sold by QT for $89 a bottle, but only while stocks last. Four Pillars x QT Hotels Ordered Chaos Gin is available at the hotel chain's bars, and to buy by the bottle via the brand's website.
In Bell Shakespeare’s production of As You Like It, directed by co-artistic director Peter Evans, little time is wasted on introductions. Instead, we are plunged straight into the action. In the first ten minutes there are two wrestling matches, one a tussle between feuding brothers and another actual wrestling match, which one of the aforementioned brothers competes in, albeit in disguise. A woman is exiled for treason and decides to hunt for her father, but not before disguising herself as a man. With minimal warning, it seems as if everybody has decided to bung on a disguise and go tromping through the forest. Nobody has brought any food, but everyone looks super-cool swanning around complaining that they are starving to death. The plot is madcap, the jokes thick and fast, and there’s a distinct feeling that the forest is not the only greenery involved in this equation. This is a great romp through one of Shakespeare’s classic comedies. So. Orlando (Charlie Garber) is the youngest son of a recently deceased nobleman. He resents his brother (Dorje Swallow) for withholding his inheritance and decides to run away. Rosalind (Zahra Newman), the daughter of a banished Duke is herself banished from court. All of this happens five minutes after these two have fallen madly in love, so it’s a remarkable stroke of luck that both of them have just gone prancing into the forest of Arden. Of course, Rosalind is now passing herself off as a man called Ganymede, but it’s true love, right? They’ll figure it out. The look of this thing is pretty bonkers — part May Day festivities, part old lady’s bathroom. Michael Hankin’s set changes from ye olde indeterminate space to a trippy and vibrant forest with just a quick drop of the flies. Kate Aubrey’s costumes are similarly eclectic and colourful; this is a world shared by dandies, go-go dancers and graduates from the Maria von Trapp school of draperies fashion. Garber and Newman are very capable as those smitten, but the show belongs to the offsiders. Kelly Paterniti is sass personified and a great foil for Rosalind as her scheme begins to unravel. Tony Taylor as Orlando’s manservant, Adam, performs his duties with much understated humour, a victorious blend of Jeeves and Baldrick. Wandering through the scenes, oblivious to the central plot and dispensing a gravelly combination of wisdom and nonsense, John Bell’s vagrant philosopher Jacques is also a pleasure. At 2 hours and 40, this is no small commitment, but if you’re in the mood, Notting Hill has nothing on As You Like It.
This time last year Tkay Maidza received a bunch of international attention for her release of 'Brontosaurus' (ft. Badcop). But to us, she sounded just like any another artist making miscellaneous party noises reminiscent of that act who plays those festivals we try to avoid. That being said, within the year she's developed into something special. Her latest EP Switch Tape offers '90s inspired breaks, with interesting production and confident vocal performances throughout. Adelaide's answer to Azealia Banks, Maidza brings so much energy to her recordings and we can't wait to see her on stage. After touring the UK and US, she's now returning home and hitting the road with a national tour for the new EP. Hitting up Sydeny's Chinese Laundry, Melbourne's Can't Say and Brisbane's Alhambra Lounge, Maidza's sure to bring a pretty big party. Even Adelaide is getting some love — this local kid definitely has definitely done good.
Put your hand on your heart and tell us: how excited are you that Kylie Minogue has not only announced a new world tour, which is her biggest in 14 years, but that she's starting it in Australia? Headlining Splendour in the Grass 2024 mightn't have worked out after the Byron Bay music festival was cancelled mere weeks after revealing its lineup, but the Aussie pop superstar is ensuring that local fans will see her new Tension tour before anyone else on the planet. It's a 'Padam Padam' summer all over again, with Minogue kicking off her latest shows in February 2025, beginning with a one-night concert in Perth. From there, she is also playing Adelaide, Brisbane and Melbourne before hitting Sydney for three gigs. The last time that Minogue embarked on a tour this big was back in 2011. The last time that she hit the stage Down Under was in 2023 to open Sydney WorldPride. In the Harbour City, Minogue will get behind the microphone to start autumn, across Saturday, March 1–Monday, March 3 at Qudos Bank Arena. In what's proven a massive career since her Neighbours-starring, 'I Should Be So Lucky'- and 'Locomotion'-singing 80s era, it's been a big last few years for Minogue thanks to the huge success of the Grammy-winning 'Padam Padam', a brief return to Neighbours and a Las Vegas residency — and now the Tension tour keeps that streak running. Images: Erik Melvin. Updated: Monday, February 17, 2024.
Sydneysiders, your weekend plans just got bigger and better, because the New South Wales Government will scrap density limits in venues from this weekend. Premier Dominic Perrottet announced today, Thursday, February 17, that the current restrictions on venue capacities that have been in effect since mid-December will end as soon as Friday, February 18 ticks over. For almost two months, the hospitality industry has been operating under a one person per two-square-metre density requirement, as you've no doubt noticed whenever you've left the house for a bite to eat. And, in early January, the NSW Government shut down dance floors, too, including banning dancing and singing outdoor festivals — but the state will also no longer resemble the town from Footloose, the Premier confirmed as well, although that change is rolling out in stages. Basically, get ready to do more things in more places with more people — including make shapes — from this weekend onwards, all thanks to the decreasing community transmission and hospital admission numbers. Dancing and singing will be back in most venues from Friday, February 18, but the ban won't lift for music festivals for another week, on Friday, February 25. [caption id="attachment_716557" align="alignnone" width="1920"] Parker Blain[/caption] Also part of the first stage of eased restrictions from Friday, February 18: only requiring QR-code check-ins at nightclubs, and at music fests with more than 1000 people (so, scrapping them everywhere else); and ditching the recommendation to work from home, which'll now be at your employers' discretion. Then, in a week's time, singing and dancing will be back at music fests, and the 20,000-person cap on music festivals will also lift. In big news, Friday, February 25 will also see mask rules loosen, so you won't need to cover up your smile quite as often. From that date onwards, masks will only mandated on public transport, planes and indoors at airports, as well as at hospitals, aged and disability care facilities, and correctional facilities. You'll also need to keep making up at indoor musical festivals with more than 1000 people, and they'll still be encouraged indoors where physical distancing isn't possible — and for customer service staff as well. Even though it's happening across two phases a week apart, NSW's easing restrictions arrive sooner than expected, with the mask mandate, density caps, and singing and dancing bans previously extended in late-January until the end of February — a move that today's news overrides. "We don't want restrictions in place for any longer than necessary, and with hospitalisation and ICU rates trending downwards now is the right time to make sensible changes," Perrottet said. NSW reported 9995 new COVID-19 cases today, Thursday, February 17. New South Wales' density, dance floor and QR check-in rules will first ease on Friday, February 18, with mask rules and restrictions on music festivals relaxing on Friday, February 25. For more information about the status of COVID-19 and the current restrictions, head over to the NSW Health website. Top image: Prince of York, Mitchell Ferris.
Another year about to pass in which you were unable to book in that holiday to New York? Fortunately, the ultimate Metropolis has so influenced this city that you can easily find something local to comfort your stationary self. Just squint — and spend a day stuffing yourself with these signature foodstuffs — and you'll be fine. Breakfast: Brooklyn Hide for a Bagel We've never been big bagel lovers here in Australia. Our carb fixes in the mornings customarily come from toast or crumpets with vegemite. But this could all change since the guys at Brooklyn Hide have moved into Surry Hills. These kids are going to make sure that Sydney knows a thing or two about the way a bagel should be: New York style. All in all, the bagels reward: they offer a texture that is desirably chewy, not overly doughy or dry. Us Sydneysiders could become quite the bagel-connoisseurs before we know it. One thing we are critics of already, however, is coffee. The talented blokes at Little Marionette are supplying the beans and the team here are pouring a fine cup. 226 Commonwealth Street, Surry Hills; Mon - Sat 7am - 4pm; www.facebook.com/brooklynhide Lunch: Chophouse for NY Steak Forget everything you thought you knew about a steakhouse, and go and try Chophouse in the Sydney CBD. Described as a tribute to the New York-style steakhouse, Chophouse removes itself from the regular gimmicks of steakhouses and instead exudes a level of class through its service, food and contemporary setting. It’s not so much for meat lovers, but more for those who appreciate quality produce. The F1 wagyu striploin ($55.90) is 300g of the finest beef from the Rangers Valley in NSW. Chophouse’s chefs have treated the cut, four on the marble score, with the upmost respect. The caramelised surface of the meat from the grill has an oaky flavour, which matches with the juicy steak and red jus. 25 Bligh St, Sydney NSW 2000; Mon – Fri 12pm - late, Sat 6pm - late; www.chophouse.com.au Dinner (for bohemian wallets): Soda factory for a dog What you’re looking for is a kitschy neon sign reading 'Bobby’s Boss Dogs'. Bobby's draws the comparison to New York’s Crif Dogs, the entrance to clandestine East Village cocktail lounge PDT, and lives up to the latter’s reputation. Pull on the handle of the Coke machine for entrance to the bar, a dimly lit industrial expanse lined with inviting booths and comfy mid-century sofas. For just $9, the Johnny Drama (beef sausage topped with bacon, sour cream, avocado and tomato salsa) straddles the line between gourmet and good old-fashioned grub. It's busiest on a Tuesday, when the dogs are a dollar. 16 Wentworth Ave, Surry Hills; Mon - Wed 5pm - late; Thur 5pm - 2am; Fri 5pm - 5am; Sat 7pm - 5am; sodafactory.com.au Dinner (for mafia-sized wallets): Momofuku Seiobo for everything Momofuku Seiobo is not some homage to NY culture; it is a genuine piece of the NY dining landscape and probably the world franchise we're most lucky to have (Sydney was the first Momofuku restaurant outside NY). Headed by David Chang, the restaurant is a world leader in high/low fusion dining, with such items as their famous pork bun (pork belly, pickled cucumber and hoisin sauce, but special). They only serve a set degustation, priced at $185 for dinner, and reservations can only be made 20 days in advance, once the system opens at 10am. But it's still less hassle and cost than a plane ticket, right? Ground level, The Star, 80 Pyrmont Street, Pyrmont; Lunch Fri - Sat, Dinner Mon – Sat; http://momofuku.com/sydney Drinks: Harlem on Central for cocktails With its blacked-out windows and lack of signage, Harlem on Central is not Manly's most easily-found nightspot, but it's certainly the area's coolest. The bar is a tiny high-class hideaway with a Prohibition theme running consistently through the drinks, decor and service. Excellent table service delivers strong, tasty and beautiful-looking cocktails made from an array of exotic-seeming spirits that will baffle even the most dedicated boozehound. Low lighting, cool jazz beats and small tables for two render Harlem On Central a seriously intimate venue, one that easily conjures up images of shady Mafia-boss types doing deals in the back booths, or fortunes made and lost. 9-15 Central Avenue, Manly; Mon - Sun 5pm - Midnight; www.harlemoncentral.com.au Late night bite: Frankie's for pizza and beer Half dive bar, half New York-style pizza parlour, this is definitely a step away from the cocktail and whiskey specialities of Shady Pines and Baxter Inn, the last openings from Jason Scott and Anton Forte. In fact no cocktails are served other than a frozen margarita ($10) slushie style, but spirits and mixers are, along with a fairly basic wine list. Frankie’s is all about craft beer from Belgium, the U.S., Australia, Scotland and Denmark. There’s a good range of ales, lagers and ciders of varying flavour, alcohol strength and price – we were digging the Lord Nelson ($8) and the Weyerbacher stout ($12) from the US. The pizza itself is more chew than crunch and generous at $5 a slice — it’s not right up there with the original but is a perfectly satisfying beer absorber. The best news about it is, in a city that has a distinct lack of good late-night drinking venues, it’s open (and serves pizza) till 4am. 50 Hunter Street, Sydney; Mon - Sun 4pm - 4am; www.facebook.com/Frankiespizzabytheslice By the Concrete Playground team. Top image: joiseyshowaa via photopin cc.
Written and directed by Sydney theatre veteran Marshall Napier, Freak Winds is like a ghost train — if ghost trains were good. There’s a couple of jump scares, equal measures of weirdness and mounting dread, none of which is alleviated by the laughter in the audience. Above all, it keeps you guessing, looking like it could jump in about six different directions until the closing seconds. Henry Crumb (Ben O’Toole) is an insurance salesman. When his car is crushed by a tree, a simple sales pitch to an old man named Ernest (Marshall Napier) becomes a prolonged visit. Between bouts of spontaneous vomiting, knife-sharpening and a Chocolate Wheaten or two, Henry realises that he has underestimated Ernest and begins to suspect that he himself may be far higher on Ernest’s list of priorities than insurance is. Of late, the stranger-with-an-agenda-gets-more-than-he-bargained-for plot seems to be more prevalent in cinema than theatre, and so it is fascinating to see themes and tropes from the horror and thriller genres explored without a screen mediating the experience. Originally performed in this very space a decade ago, Freak Winds has gone on to have several international productions. Napier has run the gauntlet of director, actor and writer with great skill. In Ernest, he has written an enigma, a, no-nonsense gentleman who operates with Napier’s trademark gruffness but who also harbours facets of Hannibal Lecter in his penchant for manners and prickly questions. A plodder in many respects, Ernest is prone to very quick changes of temper and every one of his scenes is a tense affair as his visitor flounders, unable to determine whether to play the role of businessman or prisoner. The problem is that when Ernest shuffles offstage, this tension cools and stalls the momentum of the play. O’Toole’s Henry is brash and manic and his meltdown is simultaneously comedic and stressful. In terms of unravelling the play’s mystery, though, he knows no more than those observing him. Myra (Anna Bamford), a wheelchair-bound companion of Ernest’s definitely has answers, but we sense that she will not be the one to give them up; her enjoyment of Henry’s despair is too pronounced. There is no doubt that the equation becomes infinitely stranger every time Ernest absents himself, but the story pays for this in the time it takes to get going again once he reappears. Despite these lulls, Freak Winds is still very entertaining. The creeping mould on the back wall of Ernest’s otherwise immaculate living room is not the only blight in this house — there is serious evil at work here. Ignore the Old Fitz’s dinner deal this time around; this is not one to do on a full stomach.
When it comes to food, using fire is a gamechanger — it transforms humble ingredients into incredible flavours. And few are as skilled at harnessing flame for this purpose as Duncan Welgemoed. Welgemoed is the head chef of Africola, a North African-inspired grill and smokehouse that's so renowned, it alone is almost worth booking a trip to Adelaide to visit. A little extreme? Well, luckily, you'll soon have a chance to taste Welgemoed's lauded food right here in Sydney. He has teamed up with Red Rock Deli to host one of its upcoming Secret Suppers on Thursday, June 20. [caption id="attachment_724626" align="alignnone" width="1920"] Josh Geelen[/caption] So, what can diners expect from the chef behind menu items such as grilled smoked tongue, a 'tea sandwich' of crispy chicken skin and hot chicken dripping and wood oven cauliflower with tahini cream? Well, we don't quite know — yet. The menu will stay true to the event's name and remain under-wraps until the night. But we do know that it'll be inspired by Red Rock Deli's limited-edition flavour, flame grilled steak and chimichurri, and that fire will play a big role. "At Africola, we channel the smoke element of fire to be essentially used as a seasoning. And that's what I've done with my dishes for the event," Welgemoed said. That's some truly next-level, elemental seasoning. The raw force of nature flavouring your food? It's practically magic. As a man with a burning passion for cooking by fire (thanks to his South African roots), Welgemoed has a keen admiration for other like-minded chefs. So, in an effort to get more information on his upcoming menu, we asked him about some of his favourites. [caption id="attachment_522922" align="alignnone" width="1280"] Firedoor[/caption] Sydney's vibrant restaurant scene is home to some notable inclusions in this 'hall of flame'. One venue that stands out is the aptly named Firedoor, where smoke and flames are the conceptual theme throughout the menu. Welgemoed sings high praise of the 203-day dry-aged rib of beef. "Lennox Hastie at Firedoor is one of the best fire cooks in the world. His technique is second to none," Welgemoed said. And, while it's hard to pin down a favourite dish at the Argentinian barbeque and grill restaurant Porteño, he assures us you can't go wrong with anything cooked on the asado (fire pit). Of course, sometimes you want the comfort of a classic dish done just right, and that's when you should head for The Unicorn. Welgemoed loves the half Bannockburn barbeque chook with brown mushrooms and tarragon sauce — just the right balance of fancy and familiar. Then again, if you need your dining experience to be both firey and very fine, the wood-fired potato bread from Ester comes highly recommended. Welgemoed prefers it with dashi jelly, but Ester's latest menu refresh sees it intriguingly paired with kefir cream and trout roe for a zingy, salty lift. [caption id="attachment_658136" align="alignnone" width="1920"] Fred's[/caption] Fred's in Paddington strikes the balance between home comfort (you feel like you're in someone's luxurious open plan kitchen) and upscale city dining. Welgemoed's chosen dish reflects this perfect marriage of impressive elegance and honest, wholesome flavour — grilled rack of lamb with wine grapes, cime di rapa, fennel seed and rosemary. Like the other venues, Fred's exemplifies an approach to cooking similar to Welgemoed's own by letting the ingredients speak for themselves. So, what might we deduce about Welgemoed's secret supper menu from his Sydney sparks of inspiration? Expect delightful, yet unpretentious, play with fire and flavour, the comfort of familiar touches with innovative twists and a decidedly global approach to three flaming good courses. We'll leave that idea smouldering with you for now. Duncan Welgemoed's Secret Supper will take place across two sessions on Thursday, June 20. Top Image: Josh Geelen.
Wellness travel is on the rise, and it doesn't take a genius to figure out where Australians choose to rest and recharge most. According to Traveloka's 2025 Wellness Travel Trends, the much-loved destinations of Bali, Bangkok and Hanoi top the list, offering the ideal combination of stunning scenery, relaxing experiences and affordability. If a self-care holiday sounds pretty good right now, you'll be happy to know Traveloka has just revealed its Spring Travel Sale. Featuring stellar deals on flights to these mindful destinations and more, the sale also includes discounts on serenity-inducing resorts and renowned sightseeing experiences that elevate your adventure. Until Friday, October 10, Perth-based travellers can score one-way flights to Denpasar starting from $179, while flights from Melbourne to Hanoi start from $274 one-way. Special airline brand days also offer massive savings, with up to 30 percent off flights with Indonesia's Garuda Airlines and Malaysia Airlines. Plus, there are low-cost flights to Bangkok, Seoul, Da Nang and beyond. At the same time, Traveloka has budget-friendly discounts on luxe hotels and resorts, making it easy to secure accommodation that matches your relaxation vibe. Think up to 52 percent off Bali's Legian Beach Hotel and 77 percent off Bangkok's The Quarter Ratchayothin. That means no noisy, crowded party hostel for you. Discounts on activities will also help you get out and about more during your overseas adventure. For instance, 40 percent off tickets for Singapore Zoo or 20 percent off Hong Kong Disneyland will help keep your travel costs down and ensure your vacation is filled with incredible one-off experiences. "Travel is no longer just about sightseeing — it is increasingly a way to nurture well-being, build meaningful connections, and support local communities," says Baidi Li, VP Commercial at Traveloka. "Through our Spring Travel Sale, we want to make these restorative travel experiences more accessible and affordable, while also contributing to the growth of the tourism ecosystem across Asia Pacific." Traveloka's Spring Travel Sale is happening until Friday, October 10. Head to the website for more information.
Improvised comedy is going through something of a renaissance in Sydney at the moment, with The Bear Pack regularly selling out 300+ seat venues and Tennis Improv still serving up some of the best long-form improvisational comedy this city has to offer. Formerly known as Full Body Contact No Love Tennis, the rebranded Tennis is back with a vengeance every second Tuesday at Glebe's Roxbury Hotel. It operates under the tutelage of the talented Kate Coates, Hayley Dinnison, and Fran Middleton.
At some point or another, we’ve all been guilty of wasting food and thinking "it's not that much, it'll be ok" — but did you know that up to 40 percent of the average household bin is comprised of edible items? To highlight this issue, OzHarvest and the UN have teamed up to present Think.Eat.Save, a series of national events that will aid you in doing your bit to combat food waste. Think.Eat.Save is part of a global campaign to increase awareness about food sustainability, so head along, pledge your commitment to #thinkeatsave and opt to reduce your 'foodprint'. You'll also be able to enjoy a free, delicious and hot meal made from rescued produce, and get tips on how to help our food system become more sustainable. Australia's top chefs, politicians and celebrities will unite to address the alarming amount of food wasted in Australia each year. Waste is a huge problem but it doesn't have to be. Image: Untitled via photopin (license).
Unleash some creative talent or start a new hobby by signing up to a short course in something a little bit different. You could draft that TV sitcom you’ve always wanted to write, dust of the ukulele you’ve got hiding in the cupboard (we know you have one), or shake your tail feather at a beginner’s burlesque course. To help get the creative juices flowing, here are Concrete Playground’s picks of the best short courses to enrol in this winter in Sydney. Hooping for Beginners Learn how to hula hoop with hip-swaying extraordinaire Bunny Star, founding member of Australia’s one and only hula hooping troupe, The Hoopaholics. Sydney Community College is running eight Saturday lunchtime sessions to help you master the skills of hula whilst simultaneously toning your abs and gaining one fine talent to share at your next work social. When: 11.30am-1pm Saturdays, starting 4 AugustWhere: RozelleCost: $159 Learn the Ukulele Who wouldn’t want to learn to play a jolly ukulele? It’s apparently the easiest stringed instrument to learn and you don’t even need to be able to read music to enjoy the four sessions run by City East Community College. When: 7pm-9pm Wednesdays, starting 22 AugustWhere: RandwickCost: $125, plus $35 to purchase a pre-tuned ukulele (optional) Writing Crime Fancy yourself as the next Agatha Christie? Expose your crime-writing superpowers at this one-day intensive writing course with crime novelist Phillipa (PD) Martin, creator of Aussie FBI profiler Sophie Anderson. Run by the NSW Writers’ Centre, the course covers practical and theoretical tips to get you inspired. When: 10am to 4pm on Saturday 1 SeptemberWhere: RozelleCost: $165 Drop-in acting class Express yourself without breaking the bank at a free, open acting workshop run by the Actors College of Theatre & Television. ‘Drop in’ by nature, but more ‘book in advance, then drop in later’, the sessions are suited to anyone who wants to try acting, beginner or advanced. When: 6.30-8.30pm various weeknights, 10.30am-12.30pm specific Saturdays Where: Pitt St, SydneyCost: Free Alterations Made Easy Spend a Saturday learning how to transform your wardrobe with a few simple adjustments: crop those jeans, take up a hemline, transform a jacket into a waistcoat and go from winter to summer-ready, without hitting the shops. You’ll need to bring clothes to alter and a sewing machine if you have one. When: 9.30am-3.30pm on Saturday 4 AugustWhere: AlexandriaCost: $95 Beginners Burlesque Learn the art of traditional burlesque glamour, including twirls, shimmys and seductive strides, taught by Miss Anna Felactic. The four-week beginner level course from Love Rouge requires no previous experience, just a pair of killer heels. When: Tuesday evenings and Saturday afternoons, starting late JulyWhere: Surry HillsCost: $100 Sushi & Sashimi Workshop Under the guidance of master sushi chef Hideo Dekura, prepare and create your own sushi and sashimi dishes at Sydney Fish Market. When: 11am-3pm on Saturday 4 AugustWhere: PyrmontCost: $155 Stand-up School You have to be pretty serious about comedy to sign up for this five-week course, it’s certainly not for the stage-shy. Starting in September, Australia’s School of Stand-up Comedy will help you sharpen your wit and perfect your act to take you from funny to hilarious. When: 12-2.30pm or 3-5.30pm Saturdays, starting 8 SeptemberWhere: Star Bar, Sydney CBDCost: $374.99
Van She will perform their second record, Idea of Happiness, for Sydney audiences on April 25. Recorded and produced in Kings Cross, Idea of Happiness manifests the band's focus and meticulous ear for lyrical perfection. Uplifting and sincere, the album's nod to tropical rhythms and use of fluid synth bass is reminiscent of flawless summer nights. We can't imagine a more accurate idea of happiness. Van She is joined by indie band Made in Japan and wild, feel-good Swimwear for their Wednesday night show at Beach Road. Summer may be over, but that doesn't mean you should leave your smile and good vibes in the sand. Track ticket availability on Van She's Facebook page. https://youtube.com/watch?v=-Qz_Wy8r7hw
In her fourth feature film, Polish director Malgoska Szumowska attempts to interrogate our traditional sexual mores: Is prostitution only ever an act of female exploitation or can it empower women, financially and socially? Do the sacrifices and compromises involved in maintaining a "respectable" bourgeois marriage actually constitute a form of whoredom? Of course, these uneasy questions have been asked before. On this occasion, Szumowska seeks to unpack them in the context of contemporary French society. The problem is that her exploration tends to simmer on the surface, rather than probe the depths necessary to penetrating such complicated issues. This may well be the consequence of trying to do too much in 99 minutes. Juliette Binoche is Anne, an obsessive, middle-aged journalist, struggling to meet the demands of her job, as well as play mother to two disconnected teenage sons and wife to a dispassionate husband. When asked to research the phenomenon of prostitution among Parisian students, Anne finds herself drawn to a risky yet seductive existence, leading her to question her own. The narrative hangs on Anne's interviews with two call girls: Charlotte (Anais Demoustier), a diminutive brunette who prefers to make quick money through the provision of sexual favours than to work long hours in a casual job, and Alicja (Joanna Kulig), a voluptuous blonde Pole who enjoys living in a spacious apartment and buying fancy clothes. Flashbacks convey their gamut of carnal experiences, which for the most part are portrayed as erotic and thrilling, the exception being a couple of incidents in which clients insist on humiliating and sadistic acts. This potential risk of aggression and its emotional consequences is one of many issues that are touched upon, rather than thoroughly explored, in Elles. The focus is on a plethora of graphic scenes, at the price of the development of the script's philosophical and psychological complexity. Binoche certainly delivers a powerful, poignant, and nuanced performance, even if her character's reactions are simplistic and predictable: the more time Anne spends talking with Charlotte and Alicja, the more she comes to resent the apparent mundane domesticity of her passionless marriage. Her awakening sensuality is represented by some rather obvious symbolism: in one scene, she fondles shellfish while preparing dinner. The (questionable) suggestion seems to be that Anne's life choices represent more of a sell-out than prostitution. Elles features plenty of sex, some intimate camera work, and undoubtedly compelling acting. However, its fragmented, unsettled heart ultimately limits its capacity to resonate.
New month, new Premier, new plan for what life looks like once Sydney's lengthy lockdown ends. That's how October is unfurling in New South Wales, with newly appointed Premier Dominic Perrottet announcing today, Thursday, October 7, that the state's roadmap out of stay-at-home conditions has just been given a tweak. Less that two weeks ago, then-Premier Gladys Berejiklian revealed the NSW's full roadmap out of lockdown; however, a lot can change in a short period, as the pandemic keeps demonstrating — and as NSW politics has this past week as well. So, Premier Perrottet has eased a number of rules and restrictions, with the changes effective next week. On Monday, October 11, Sydney's lockdown will end, as NSW has now officially hit the 70-percent fully vaccinated mark. As part of the original plan, stay-at-home conditions were always set to ease on the Monday after that threshold was met, and that's still staying the same. That said, fully vaccinated adults will be able to spend more time in more places with more people come Monday, with rules around gatherings both at home and in public loosening even further than initially outlined. So, double-jabbed folks will be allowed to have ten people over to their homes (up from the previously announced five-person limit, and not including children under 12) and also gather outdoors in groups of 30 (up from 20). Also, weddings and funerals will permit 100 attendees (up from 50). Also changing: the restrictions around indoor pools. They'll be reopening for swimming lessons, squad training, lap swimming and rehab sessions on Monday, October 11, too. We're moving forward with our staged NSW reopening. A few adjustments to Monday's 70% relaxations and further easing once we hit 80% double vaccinated. pic.twitter.com/UJtcgvrKZb — Dom Perrottet (@Dom_Perrottet) October 6, 2021 Other than that, the settings previously outlined for the 70-percent double-jabbed mark will remain in place — but Perrottet has also tweaked the roadmap for the 80-percent fully vaxxed mark as well. That second set of changes will still only apply to people who've had both jabs, a requirement that isn't shifting until the beginning of December. And, they're still set to come in on the Monday after that 80-percent threshold is met. So, when that happens — which is expected to be in just a couple of weeks — at-home visitor caps will go up to 20 for double-jabbed folks, and outdoor gathering limits will go up to 50. Also, controlled and ticketed events will be allowed to welcome in 3000 people, which is a big jump from the previously advised 500-person limit. Nightclubs will also be allowed to reopen for seated drinking – so, no dancing, Footloose-style — at 80-percent fully vaxxed. Also, that 80-percent mark is when you can stop wearing masks in office buildings. "If we continue to work together, if we continue to make the effort and make the sacrifices that we have all been making, NSW will be open again — and that ensures we get back to work and get businesses open and get the economy and society back to where it was before this pandemic began," Perrottet said. "We're incredibly confident. We have to learn to live alongside this virus. And the key to learning to live alongside the virus is a high vaccination rate. And we want everybody to go out and get vaccinated. We can get, as the Health Minister has said, close to 100 percent. We're going to get above 90 percent. We have one of the highest vaccination rates not just in the country but globally, and that means we can open up safely and never go back. And that's what we're on the cusp of," the Premier continued. Perrottet didn't announce any changes to the final change of the roadmap, which is due to kick in on Wednesday, December 1 — the phase that Berejiklian called "COVID-normal". So, at that point, the roadmap will include unvaccinated people at the same settings, which scrap limits on gatherings at home and outdoors, and implement lower density rules at venues and events. Also part of today's announcement, NSW Health Minister Brad Hazzard revealed that 587 new COVID-19 cases were recorded in the 24 hours to 8pm on Wednesday, October 6. Wondering where you can currently get vaccinated? There's a handy online map that helps you find your nearest clinic. Keen to keep an eye on vaccination rates? A heap of online resources will help you do that as well. For more information about New South Wales' reopening roadmap, head to the NSW Government website. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
Sydney is home to not one but two film festivals focused on LGBTQI+ flicks, but there's always room for more. So, Dendy Newtown has put together Rainbow Retrospective, a program that showcases the great queer movies that have reached cinemas over the years. Whether you need another excuse to see The Rocky Horror Picture Show on a big screen, you fell head over heels for Carol when it first released or you're a fan of Australian drama Holding the Man, you'll find them on the bill. Screening on various dates for over a month — between Thursday, September 24–Wednesday, October 28 — the full lineup includes 28 titles. In other words, if you're eager to relive a heap of queer cinema highlights, you have plenty of films to choose from. On the retro front, you can check out Robin Williams in The Birdcage, or watch a blistering performance from Alex Dimitriades in Head On. And, from the more recent selection, everything from A Single Man, Stranger By the Lake and Tangerine to God's Own Country, The Miseducation of Cameron Post and Sequin in a Blue Room are also on offer. Obviously, The Adventures of Priscilla, Queen of the Desert nabs a few sessions as well — as do stone-cold masterpieces like Brokeback Mountain, Weekend, Moonlight, Call Me By Your Name and Portrait of a Lady on Fire. If you'd prefer a doco, Bill Cunningham: New York, McQueen and Studio 54: The Documentary are getting a spin, too. https://www.youtube.com/watch?v=Bn_-YoG69Sw Dendy Newtown's Rainbow Retrospective screens on select dates between Thursday, September 24–Wednesday, October 28.
It's television's greatest tragedy, and one that's been more than a decade in the making. Watching Better Call Saul, it's impossible not to think about the route its protagonist takes through Breaking Bad. We already know how Saul Goodman's (Bob Odenkirk) story ends, so as we explore his pre-Walter White life — when he was known by his birth name of Jimmy McGill and genuinely wanted to be a legitimate lawyer — the feeling is bittersweet, to say the least. The same sensation applies to former cop Mike Ehrmantrout (Jonathan Banks), whose Breaking Bad fate is also already known. Before getting caught up with Gus Fring (Giancarlo Esposito), he first crossed Jimmy's path as a car park attendant at the Albuquerque court house — and Better Call Saul tells his tale as much as its namesake's For four seasons since 2015, the Breaking Bad prequel has stepped through the earlier existence of these two characters, as well as others in their orbit — such as Jimmy's successful older brother Chuck (Michael McKean), his girlfriend and fellow lawyer Kim Wexler (Rhea Seehorn), and Mike's widowed daughter-in-law Stacey (Kerry Condon) and granddaughter Kaylee (Abigail Zoe Lewis). As the episodes pass, the two central figures slowly start inching towards their Breaking Bad lives. Familiar faces, such as Gus and Hector Salamanca (Mark Margolis) also pop up. The result: a series that's as excellent as its predecessor, and one that provides another excuse to spend more time in Breaking Bad's world. After last airing episodes in 2018 — and leaving 2019 to El Camino — A Breaking Bad Movie — it's returning for a fifth season this year. And if you can't wait until February 24 to see what comes next, or you weren't quite satisfied by the season's first couple of sneak peeks, a new trailer has just dropped. This new trailer is still brief, like its predecessors, but it does offer a glimpse at all the familiar players. Jimmy, Mike, Kim, Gus and Hector are all accounted for, as is gangland figure Nacho Varda (Michael Mando). That said, the biggest revelation is the return of a Breaking Bad character who hasn't been seen in Better Call Saul just yet, but was always going to pop up eventually. No, it's not Walt (Bryan Cranston) or Jesse Pinkman (Aaron Paul), but DEA agent and Walt's brother-in-law Hank Schrader (Dean Norris). The trailer follows a big Better Call Saul announcement a few weeks back, with US network AMC announcing that the show will wrap up after its sixth season. Work on the last batch of 13 episodes will begin this month, and will presumably air in 2021 — ending your chances to hear Jimmy tell everyone "s'all good, man". Check out the trailer below: https://www.youtube.com/watch?v=iLOgEMxt-yM&feature=youtu.be Better Call Saul's fifth season starts streaming on Stan from Monday, February 24.
From the tip of his soldiers cap the long face of Woyzeck droops, like his story, down below his heavy black boots. As he twists and contorts his mind and body around a world of dehuminising sergeants and demeaning science, we see that this play has human suffering at its centre. Yet, this show is far from doom and gloom; surrounding all this melancholy is a bold and dynamic take on Buchner's still relevant work. Director, Netta Yashchin, uses chorus lines, pop tunes and the odd Katy Perry song, inspiring in the audience a painful, awkward laughter — a discomfort at our lack of intervention in this singular man's suffering. Left unfinished by his untimely death at 23, Buchner's work is a tragedy in itself, dealing with working class poverty, human suffering and our animal nature. We follow a character who is tortured equally by his promiscuous wife and bastard child, his sergeant ceaselessly reminding him of his weak moral character, and a scientist weakening his mind and his body with inhumane experiments and by allowing him to eat nothing but peas. The endless torment and grinding down of Woyzeck by his tormentors is a constant reminder of the power of the rich and influential over the poor and inconsequential. The scientist is a commanding figure whom Woyzeck must obey — her cold, analytical strength highlighting his world of madness, illusions and freemasons. The nameless scientist controls not only Woyzeck's every move and morsel but also her own humanity — a lust not only for control that highlights the sexuality that runs throughout the show. Yashchin uses palpably painful dance and movement to highlight Woyzecks journey through his own suffering. He leads the way with a grotesque physical manner as he moves around the stage, both animalistic and pathetic. Backed up by disjointed and writhing dance routines, one cannot help but squirm along with his tortured soul. This is particularly effective in the close-to-action seats of the Belvoir theatre as the whole stage pulls you in to each encounter between Woyzeck and those that bear witness to his demise. Overall, this is a well-paced performance held together by a fine lead and powerful support. The entire show moves smoothly between intense dialogue and well choreographed movements leading towards Yashchin's self devised ending. There are many interpretations of Buchners original, with numerous conclusions to counter his untimely passing, so as to not spoil the surprise, let's just say that Woyzeck does not enjoy his peas.
If you are nuts for nuts or go gaga for grains, then you should definitely check out one of the Source Bulk Foods stores. These specialised bulk food stores, located in Balmain and Willoughby, stock over 400 food products including flour, honey and delicious snacks in enormous quantities. What's more, shopping for seeds has never been more fun! Bring in your own containers or jars and fill them with as much or as little of each product as your seed-loving heart desires. It's like going to the candy bar at the movies. But healthy. And way more affordable.
Calling all Scandi cinema diehards, Nordic noir buffs, fans of the region's oft-icy climes, and lovers of mythology and folklore: the 2023 Scandinavian Film Festival has something on its lineup for you. When it gets frosty in Australia each year, this big-screen showcase celebrates titles primarily hailing from Denmark, Finland, Iceland, Norway and Sweden — and its latest lineup is full of must-see highlights. Screening from Tuesday, July 18–Wednesday, August 9 at Palace Norton, Palace Central and Chauvel Cinema in Sydney, the fest's latest program will kick off with the Australian premiere of Let the River Flow, which won the Audience Award at this year's Göteborg Film Festival. Based on a true tale, it tells of a young woman who unintentionally becomes involved in a protest against a dam, with the new structure set to possibly flood Indigenous Sámi land. The standouts keep coming, such as Godland from Icelandic filmmaker Hlynur Pálmason (A White, White Day), which gets the festival's centrepiece slot — and Fallen Leaves, the latest from Finnish great Aki Kaurismäki's (The Other Side of Hope). Both hit the Scandi Film Festival after bowing locally at other events around the country. Also boasting a high-profile name is Burn All My Letters, which follows the consequences of a love affair, and stars Barbarian and John Wick: Chapter 4's Bill Skarsgård. Or, there's Swedish thriller Shadow Island, Darkland sequel Darkland: The Return and psychological drama Copenhagen Does Not Exist for devotees of Nordic cinema's dark side. If that's your favourite way to get a Scandi film fix, you'll also be in your element with Scandi Screams, the fest's six-movie retrospective. That's where that focus on myths and eerie tales comes in, and of course Let the Right One In is on the lineup. So is Ari Aster's Midsommar, the Oscar-nominated Border, Mads Mikkelsen in Valhalla Rising, twisted Christmas flick Rare Exports and the fantasy-heavy Troll Hunter. Back to the event's slate of recent releases, comedy lovers can get excited about Iceland's dinner party-set Wild Game, Denmark's Fathers & Mothers and The Land of Short Sentences, the new film in The Grump franchise, and absurdist-leaning period piece Empire. Also on the lineup: Unruly, another 2023 Göteborg Film Festival award-winner, this time for Best Nordic Film; documentary The King, about Swedish King Carl XVI Gustaf; Munch, a dramatisation of the Norwegian artist's life; coming-of-age drama Norwegian Dream; One Day All This Will Be Yours, about a Swedish cartoonist and her siblings dividing up the family farmland; and polyamory love story Four Little Adults.
A charming portrait of two lonely hearts who connect across a city of more than 20 million people, Ritesh Batra's debut feature feels worlds away from a stereotypical Indian melodrama. As a matter fact, were it not for the setting, the language and the mouth-watering shots of local cuisine, you might very well mistake it for Nora Ephron's You've Got Mail. The epistolary romance is hardly a new genre; Ephron's film was itself a modernised remake of the classic Hollywood rom-com The Shop Around the Corner. But Batra infuses The Lunchbox with a distinctively Indian flavour, through his clever incorporation of Mumbai's famously efficient dabbawallas — hard-working couriers who transport freshly cooked lunches to offices all around the city. It's through a one-in-a-million mix-up that curmudgeonly accountant Saajan (Irrfan Khan) receives a meal cooked by neglected housewife Ila (Nimrat Kaur). The lunch was meant for her husband, but Saajan proves a far more grateful diner. So the next day Ila sends a note to accompany the food, thanking her mystery costumer for his appreciation. He replies, and slowly they begin a correspondence, bonding over mutual feelings of loneliness and personal regret. Documentary-style footage chronicles the daily journey of the lunchbox, from doorstep to bicycle, railway platform to high-rise. Every delivery brings the two battered souls closer together, while the food — and the cooking process — takes on a quality that's almost sensual. Batra demonstrates beautiful restraint in his slow, steady development of Saajan and Ila's relationship, an unacknowledged romance in which we soon grow heavily invested. The poignancy of the blossoming love story is balanced by other, platonic relationships. As Saajan counts down the days towards his retirement, he's forced to help train his eager young replacement (Nawazuddin Siddiqui). But what starts as a chore soon evolves into a begrudging sort of friendship. Their odd-couple bond is mirrored by the one between Ila and her neighbour, who shouts recipe and relationship advice through the window of the apartment above. Fundamentally, The Lunchbox is a film about unlikely human connections, and the unexpected happiness they can bring. Endearing characters give substance to the formulaic plot and make Batra's debut feature a satisfying cinematic meal. https://youtube.com/watch?v=Qdn6nVJHyfM
Downton Abbey has always been the TV equivalent of a cup of tea: warm, soothing, a tad sugary, but reliably serving up an escape from everyday woes. Airing for six seasons from 2010–15, the 1920s-set British TV series was a hit for many reasons, letting audiences get lost in the soapy intrigue of a lavish Yorkshire mansion chief among them. That, and watching Maggie Smith sling barbs, make quips, and put anyone in their place, a skill that the veteran actor wields oh-so-well. It's been nearly four years between sips, but both the show and its beloved octogenarian are back. They're on the big screen this time around, however this is the epitome of a television movie. It's filled with everyone's favourite characters, hits all of the familiar marks, overflows with slim subplots that get wrapped up before the end credits, and leaves viewers feeling happy and cosy. With the film taking place in 1927, more than a year has passed for Downton Abbey's inhabitants, but it's business as usual at the titular manor. That's until royal news arrives, with King George V (Simon Jones) and Queen Mary (Geraldine James) planning to stop by for a visit. Naturally, excitement abounds among the aristocratic Crawley family and their loyal staff. It's the latter that have to weather the most obstacles, though. Dreaming of attending to Their Majesties, they soon discover that the Crown will be bringing their own servants with them. That's not the Downton Abbey way, of course, and the house's maids, butlers, cooks, footmen and the like won't give up their chance to shine for the kingdom without a fight. There's plenty of story to go around, and plenty of people to navigate the regal antics. Patriarch Robert Crawley (Hugh Bonneville) isn't too fussed, and nor is his wife Cora (Elizabeth McGovern), although that's largely because their daughter, Lady Mary (Michelle Dockery), takes charge. His mother Violet (Smith) is spoiling to confront her cousin Maud (Imelda Staunton), who's also the Queen's lady-in-waiting, about an inheritance. Among the upstairs residents, Tom Branson (Allen Leech) gets the most interesting narrative arc — an ex-chauffeur who married into the family, and an Irish Republican, it's suspected that he may cause trouble during the royal stay. Downstairs, retired butler Carson (Jim Carter) has been asked back for the occasion, much to his replacement Barrow's (Rob James-Collier) dismay. Kitchen maid Daisy (Sophie McShera) isn't quite ready to plan her wedding to footman Andy (Michael C. Fox), and Mary's maid Anna Bates (Joanne Froggatt) is on the trail of a thief. The list goes on, with more than 25 characters receiving substantial screen-time. Penned by Julian Fellowes, like all 52 episodes of the TV show, Downton Abbey takes the more-is-more approach. This cinematic last hurrah is packed with as much as it possibly can manage, which is great news for existing fans, but comes across as rushed for newcomers. No one gets too much attention, no storyline feels particularly important and there's little in the way of tension. The blueprint of each subplot gleams as obviously as the mansion's lavish surfaces, too, even when the movie keeps jumping from one minor drama to the next. Rather than telling a rousing new tale in a fleshed-out fashion, Fellowes and director Michael Engler are more concerned with letting Downton diehards spend a bit of extra time with the well-to-do crew and their kindly subordinates. The pair do just that, however that doesn't mean uninitiated viewers aren't catered for. Nearly two decades after winning a screenwriting Oscar for Gosford Park, actor-turned-writer Fellowes has become the fount of all knowledge regarding English upstairs-downstairs shenanigans — and even when he's keeping things light and slight, the results are enjoyable to watch. As well as possessing an ear for the rhythm of everyday banter among posh and ordinary folks alike, he understands the class clashes between them, plus the similarities that draw them together. He also knows and conveys a crucial fact: that the dynamic between the upper echelons and the help isn't as consigned to the past as it may seem. Downton Abbey is a historical fantasy where scant little changes, but there's a reason that the period program struck such a chord over the last decade. As the political landscape becomes more and more fractured around the globe, the series recognises society's divisions while leaning into comfort, safety and stability in a gentle and unchallenging manner. Comfort, at least visually, might just be an understatement. There isn't much to rationalise Downton Abbey's release in theatres instead of on TV (other than the likely box office windfall, that is), but the lavish costuming and grand set design look a treat on the silver screen. Indeed, other than Smith doing what the program has always tasked her with doing best, the film's imagery is the star of the show. While the rest of the cast perform exactly as they're asked — as is to be expected nine years after the series first premiered — this isn't an actor-driven affair. Really, it's a big hug goodbye in movie form, offering up a huge embrace to eager aficionados and giving a pleasant-enough squeeze to everyone else. https://www.youtube.com/watch?v=GbV8LpEzYgQ
In the almost two decades that Gelato Messina has been in business, over 4000 special flavours have made their way through its gelato cabinets around the country. Yes, that's a lot of frosty and creamy scoops. To celebrate some of these oldies but goodies, the chain brings a selection of these flavours back every now and then — and, sometimes, it busts out its entire top 40 greatest hits. That's happening again between Monday, July 26–Sunday, August 1, which is when lucky Sydneysiders, Melburnians and Brisbanites will be able to treat themselves to an entire freezer-full of limited-edition gelato flavours. While, in the past, the greatest hits specials have been a buy-in-shop-only deal, the chain went with preordered tubs in 2020 — so no one had to worry about long queues and empty cabinets — and it's doing the same thing again this year. Gelato fiends can preorder 500-millilitre tubs of the 40 flavours from Monday, July 26. You'll then need to pick them up from Sydney's Rosebery, Tramsheds, Bondi, Darlinghurst, Parramatta and Brighton Le Sands stores; Melbourne's Fitzroy an East Brunswick stores; and Brisbane's South Brisbane store between Friday, July 30–Sunday, August 1. Individual tubs can be filled with just one flavour and will set you back $16, or you can get three for $45, six for $85, nine for $125 or — if you have the freezer space — 20 for $260. Wondering which flavours will be available? This time around, Messina hasn't announced which faves are making a comeback just yet. But, you can likely expect the beloved Jon Snow (white chocolate gelato with dark chocolate mud cake and almond praline), Fairy Bread (toast and butter gelato with 100s & 1000s), Mango Pancake (mango gelato with vanilla cream and pancake crunch), Old Gregg (Baileys and butterscotch sauce) and Robert Brownie Jnr (milk chocolate gelato, chocolate brownie and chocolate fudge sauce) to return in tub form — and hopefully everything from super duper dulce de leche and pavlova to finger bun and Oreogasm, too, if the flavours available in previous years are any guide. Gelato Messina's Greatest Hits will be available to preorder on Monday, July 26 with pick up between Friday, July 30–Sunday, August 1 from Sydney's Rosebery, Tramsheds, Bondi, Darlinghurst, Parramatta and Brighton Le Sands stores; Melbourne's Fitzroy an East Brunswick stores; and Brisbane's South Brisbane store.
If you don't believe that Fast X will be one of the Fast and Furious franchise's last films, which you shouldn't, then it's time to face a different realisation. Now 22 years old, this family-, street racing- and Corona-loving "cult with cars" saga — its own words in this latest instalment — might one day feature every actor ever in its always-expanding cast. Dying back in 2013 hasn't stopped Paul Walker from regularly appearing a decade on. He's the first of the core F&F crew to be seen in Fast X, in fact, thanks to a flashback to 2011's Fast Five that explains why the series' flamboyant new villain has beef with the usual Vin Diesel (Guardians of the Galaxy Vol 3)-led faces. Playing said antagonist is Jason Momoa (Dune), who adds another high-profile name to a roster that also gains Brie Larson (Ms Marvel), Rita Moreno (West Side Story), Daniela Melchior (The Suicide Squad), Alan Ritchson (Reacher) and Walker's daughter Meadow this time around. It's no wonder that this 11th flick in the franchise (yes spinoff Hobbs & Shaw counts) clocks in at an anything-but-swift 141 minutes. It's also hardly surprising that living on-screen life a quarter mile at a time now seems more like a variety show than a movie, at least where all that recognisable talent is involved. There are so many people to stuff into Fast X that most merely get wheeled out for their big moment or, if they're lucky, a couple. Some bring comedy (the long-running double act that is End of the Road's Ludacris and Morbius' Tyrese Gibson), others steely glares and frenetic fight scenes (The School for Good and Evil and Dungeons & Dragons: Honour Among Thieves' always-welcome Charlize Theron and Michelle Rodriguez, respectively), or just reasons to keep bringing up Walker's retired Brian O'Conner (which is where Who Invited Charlie?'s Jordana Brewster still fits in). When more than a few actors pop up, it feels purely obligatory, like the F&F realm just can't exist now without a glimpse of Jason Statham's (Operation Fortune: Ruse de Guerre) scowl or getting Helen Mirren (Shazam! Fury of the Gods) going cockney. Do too many drivers and offsiders spoil the Point Break-but-cars hijinks? Not completely, but the high-octane saga's jam-packed cast is now a roadblock. It certainly can't have helped screenwriter Justin Lin, the director of The Fast and the Furious: Tokyo Drift, Fast & Furious, Fast Five, Fast & Furious 6, F9 and initially Fast X until leaving a week into production, and his co-scribe Dan Mazeau (Wrath of the Titans). Their script sports an overarching plot, with Momoa's Dante Reyes avenging the death of his drug-lord father five films back, but it's really about servicing the required parts. Oh-so-many folks require some screentime; all the usual heist, chase and race antics have to drop in; everyone needs to jet between the US, Italy, Brazil, the UK, Antarctica and Portugal; family must be mentioned approximately 423,000 times; and Diesel's Dominic Toretto demands a few of beats to act as if Brian is dead even though he remains alive in the series' storyline. That's the to-do list that Lin, Mazeau, and Statham's The Transporter and The Transporter 2 filmmaker-turned-Fast X helmer Louis Leterrier tick through — and tick they do. Dom and the fam, including his abuelita (Moreno) and son Little Brian (Leo Abelo Perry, Cheaper by the Dozen), get an early backyard barbecue, waxing lyrical under the Los Angeles sun about the ties that bind. Then Roman (Gibson), Tej (Ludacris), Han (Sung Kang, Obi-Wan Kenobi) and Ramsey (Nathalie Emmanuel, The Invitation) go to Rome for a job that goes wrong, and ex-adversary Cipher (Theron) shows up bruised and bloody on Dom and Letty's (Rodriguez) doorstep talking about the devil. The common factor: Reyes, who has declared war on the extended Toretto brood without them knowing he exists. They should've expected him, though, given that battling family members — of past enemies and, when John Cena (Peacemaker) joined in F9 as Dom's brother Jakob, their own — is another box-checking saga staple. Almost every newcomer to the franchise, both here and in general, is related to someone else. That's how deep the series' family values go. And yet, for a saga that started embracing its ridiculousness when Dwayne Johnson (Black Adam) jumped aboard — also in Fast Five; you can't have Diesel, Johnson and later Statham bashing their sweaty heads together without having a sense of humour about it — it plays the soap opera-esque parade of kin (and the well-known actors being them) too straight. Fast X knows how outlandish it and its predecessors are with stunts, even if no one rockets to space this time. It says cheers over Mexican beers to its established cliches as well. And it joyfully has Momoa get giddily OTT as the scrunchie-wearing, "awesome!"-spouting, Joker-esque Dante, visibly having a ball doing so. But the so-earnest-it's-playful deliriousness that should always hum through these tales of petty thieves-turned-international spies is often revved over by needing to shoehorn in another character, then another, then more, whether they've been fam since day one or they're making their debut. It's doubtful that it's on purpose, but Fast X practises what Dom preaches, making its audience appreciate the simple things. There's nothing uncomplicated about the movie's hyper-stylised stunt choreography, with its giant pinballing bombs and reggaeton drag racing — the latter soundtracked by Daddy Yankee's 'Gasolina', of course — but the film is lighter and livelier when it strips itself down to its pedal-to-the-metal and fist-throwing basics. That's when there's an energy to now seven-time F&F cinematographer Stephen F Windon's whooshing and whirling lensing, too, especially when he's gliding through windshields while engines are purring in a Rio-set moment. Smartly, Theron and Rodriguez are gifted an impressively staged fray that screams for them to have their own spinoff. And when helicopters are being flung at each other by a Dodge Charger, it's pure dumb action-flick fun. While those choppers are swooping and crashing, revhead-in-training Little Brian can't help exclaiming with excitement. Fast X isn't ready to usher the saga's big-screen entries into Fast and Furious: The Next Generation just yet — it will eventually, sometime after this chapter's one confirmed sequel and likely second follow-up get motoring, although animated Netflix series Fast & Furious Spy Racers got there first — but that glee is exactly what Diesel and company want their audience to share. This is a thrill ride in fits and starts, however. At its worst, including with its stop-mid-scene cliffhanger, it's franchise-extending filler that never-ending sagas like the Marvel Cinematic Universe have made the gear-grinding norm. But when Fast X pumps the gas on turbocharged vehicular lunacy rather than playing connect-the-dots and spot-the-famous-face, giving four Oscar-winning actresses too little to do and dropping in hardly surprising guest appearances, it's an entertaining-enough spin down a well-driven road.
Are you a bit of a film nerd? Do you obsessively watch Lynch or recite the words to Napoleon Dynamite nonstop? Well, there’s something the Dendy Newtown are screening which you might be interested in (along with the rest of us). Written and directed by Mark Cousins, The Story of Film: An Odyssey is what he's calling his 'love letter' to film, through the medium of film. Over five parts (The Beginnings, Studios and the World at War, New Wave, Politics, Pop and Protest, and Birth of Digital and the Future), Cousins leads us from the birth of film to what the future might hold for movies. Charlie Chaplin, all of those glittery Hollywood types, Taxi Driver, Star Wars, and Moulin Rouge are all in there. And yep — there will be interviews with some of (hopefully) your favourite filmmakers and actors. You had better prepare yourself for some serious amounts of screen time.
Not all blasts from the past are welcome — and not all trips down memory lane turn out the way you might expect them to. That's a telling message for our nostalgia-soaked times, where everything old always seems to be new again. It's also one Australian actor, writer and producer Joel Edgerton is pushing in his first film in the director's chair. His filmmaking debut, The Gift, is so steeped in tension and wariness about previous deeds, figures and altercations that it crafts a psychological thriller out of it. The feature starts, as many moody mysteries do, with a married pair moving to a new home. Simon (Jason Bateman) and Robyn (Rebecca Hall) are fleeing their recent baggage for a fresh beginning, the former starting a different job, the latter readying the house for trying to start a family. Out shopping one day, they meet Gordo (Edgerton, starring as well as helming), who recognises Simon from high school, though not vice versa. The three make polite, tentative plans to catch up; however, Gordo takes the pleasantries quite a bit more seriously than his reunited pals. Cue the beginnings of a stalker drama that wouldn't feel out of place as a late '80s or early '90s effort featuring Michael Douglas — and that's a compliment. Showing his skill behind as well as in front of the camera, Edgerton ramps up the creepiness in the film's mood, script and in his supporting turn. He's also made a movie that combines slick packaging and mature-skewed content; a glossy piece of entertainment for teens, this isn't. Indeed, again finding inspiration in familiar territory, The Gift isn't just concerned with the series of presents Gordo leaves Simon and Robyn, or his unwanted encroaching on their space, or the not-so-truthful tales he tells to get close to them, but with the chasm between how things appear and how they really are at all levels. There's a reason the audience is instantly aware that the seemingly happy couple aren't really, and that they always feel that Gordo seems both odd and somewhat sweet. Yes, appearances can be deceiving. As a screenwriter, Edgerton best explores the conflict that springs when ghosts from the past expose lies from the present through his characters — and as a filmmaker, through some stellar performances. The director himself straddles the fine line between strange and sympathetic, Hall brings depth to the role of the woman trapped in the middle, and it's always a pleasure to see Bateman flirt with playing the bad guy (the murkiness surrounding Simon and Gordo is The Gift's strong point). When the film devolves into one too many twists, and tries to offer a too-definitive ending — when it finally gets there — it loses steam. Remaining ambiguous and toying with the dynamic between the central trio is what keeps things intriguing. Accordingly, although The Gift may not always balance its generic elements with its ambitions, it revels in trying to present a well-produced piece of unnerving cinema. Here, it mostly succeeds too, because rare is the film that can balance overt jump scares with patient puzzling conveyed through dialogue, and follow a formula yet retain interest.
If Scenes From a Marriage hadn't already been taken, it would've made a great title for most of Asghar Farhadi's movies to date. From 2003's Dancing in the Dust to 2011's Oscar-winning A Separation and his 2013 follow-up The Past, the Iranian writer-director has filled his resume with features about the struggles of not-so-harmonious domesticity. Now you can add The Salesman to the pack, just as Farhadi can add another Academy Award to his mantle. Still, a shiny new statuette can't mask his fondness for repetition. Farhadi is a master of observing just how the bonds of matrimony can unravel, but seven films in there's no avoiding the feeling that you've seen some of it before. The Salesman opens on the set of a play, with husband and wife Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti) staging a revival of Arthur Miller's Death of a Salesman. As Farhadi demonstrates rather unsubtly by cutting from a bed on stage to their crumbling real life home, all isn't well for the couple. That's especially true after they move into a friend's flat and Rama leaves the door unlatched, only to be attacked by a stranger. Understandably she's shaken. Just as understandably, he's driven to track down the perpetrator. Their conflicting responses sit at the heart of Farhadi's latest film, with the writer-director eager as ever to wait and watch as the couples' fraught emotions slowly but surely rise to the surface. Indeed, pumping seemingly ordinary spaces full of the kind of tension that can only spring from fraying intimate bonds is one of the things he does best. Dissecting how even a mere word, look or gesture can completely reshape, change or ultimately unravel a relationship is another. Both talents are on display as Rama takes the reserved and ultimately forgiving route, while the increasingly frantic Emad can't shake his wounded pride — or his need for vengeance. Cue a situation rife with drama, which Farhadi carefully heightens. As he's done before, he makes plain the gender lines driving the divide between husband and wife, as well as the cultural reasons for their behaviour. Here, he also stresses the fact that Iranian society will applaud a man bent on revenge but blame a woman who's a victim and judge another that's made untraditional choices, making hefty material even meatier. Throw constrained yet probing visuals into the mix alongside nuanced and multifaceted performances by Hosseini, Alidoosti and the pivotal Babek Karimi, and The Salesman can only be described as classic Farhadi territory. Still, there's a difference between ticking the usual boxes and expanding them, and here the Oscar-winning filmmaker manages one but not the other. As a result, the movie feels less like an involving effort in its own right and more like a greatest hits package. Many a director has made a successful career out of playing the same cinematic notes over and over again, but just as many have eventually stretched their usual tendencies too far. While The Salesman proves engaging, particularly in its later stages, there's a distinctive sense that next time Farhadi needs to show us something new.
Phase three of the Imperial's $6 million redevelopment is turning things UP with a rooftop space that combines Italian food and cocktail culture with the vibrancy of LGBTQ culture. Following the launch of 'drag & dine' spot Priscillas and late-night hangout The Basement, Imperial UP features serious Studio 54 feels with artisanal eats, drinks and Andy Warhol vibes. After being closed for nearly three decades, Imperial's top floor has been spruced up with a 200-person courtyard, a plethora of pop art and gold mirror covered pizza ovens. "Imagine a little Italian trattoria that loves disco and has a very cool lounge room," says co-owner Fraser Short. Menu-wise, expect Italian food with a touch of the Imperial's flamboyant flair. The lineup of stuzzichino, pasta and pizza features fried school prawns with bright saffron aioli, spaghetti ragu, pepperoni pizza and wagyu steak. Like downstairs sibling Priscillas, Imperial UP also has a strong list of vegan, gluten free and dairy free dishes. And — importantly — an extensive cocktail menu, which stretches from the classics through to colourful jugs of inventive drinks. The new space is fit for many occasions, the external rooftop and inside Carlotta's Lounge primed for after-work drinks, and Rosa Room and Carpriccio's Corner ready for intimate gatherings. UP's opening has also welcomed the beginning of Explore Yourself Sundays — a weekly venue-wide gathering that will give everyone at Imperial a chance to embrace queer culture, starting July 15. Keep an eye out for the launch of a diva-dazzled Drag Party Lunch in September, and the highly anticipated Same-Sex Wedding Chapel coming sometime in early 2019. Imperial UP is open from Friday, July 6, at 35 Erskineville Road, Erskineville.
'Have I got a story for you?' The uttering of this simple question is simultaneously charged with boundless potential, designed to pique interest and loaded with promise. Will the tale be hilarious, harrowing or just plain entertaining? This year, the Sydney Writers' Festival (the local wordsmith's answer to Glastonbury) has put grandiose, pompous conceptions of what truly great literature means aside to focus on the simple joy that can only be brought forth by a cracking yarn, plain and simple. Whether you're a book club aficionado who knows her Shakespeare from her Tolstoy or just a fan of The Breakfast Club, the dynamic program of events has something to make you lean in with anticipation. "Stories lie at the heart of our lives. We need them to understand ourselves, to understand others and to make sense of the world around us. In 2013 we look at the breadth of storytelling from Australia and around the world," explains Jemma Birrel, who debuts in her role as artistic director this year. Reckon you've heard it all before? Let the festival's astonishing stable of prominent orators, including Molly Ringwald, Naomi Wolf, William Dalrymple, Robert Green, Ruby Wax, Anita Desai, Archie Roach, Edward Rutherford, Hannah Kent, James Wood, Joe Rospars, Karl Ove Knausgaard, Kate Atkinson, Kate Mosse, Michael Sanders and Gillian Meares prove you wrong. These voices of our generation (minus Hannah Horvac of Girls, der) will wax lyrical on everything from the Future of Activism, to What Money Can't Buy and the question on everyone's, um, lips — I'm a Feminist, Can I Vajazzle? In a new addition to this year's program, a series of live storytelling events will see the likes of Claudia Karvan, Brendan Cowell, Jacqueline McKenzie and William McInnes hold court. Topics include personal passions and obsessions as told in 15-minute increments, true stories with the literally loco theme Lost the Plot and the sharing of specially written love letters by authors to their other halves in People of Letters. Gather round children, the Sydney Writers' Festival has a story for you. Can't get through the novella of a program? Check out our picks of the ten best events at the festival. Image via Sydney Writers' Festival.
If you've been dying to put that part of your mind which is great at cryptic crosswords and problem-solving games to work, head on down to Glebe's MYST — Australia's largest escape room complex. Yes, complex. Here you'll find not only the three themed escape rooms but several board game rooms and an immersive multi-room theatre experience. So, round up a group of clever mates and rediscover the highs and lows of teamwork (remember group assignments?) while trying to get out of some frightening simulated situations. You'll have your pick of three rooms all with multiple rooms within them. You and your mates will be immersed in a world that isn't your own, where you're slaying a vampire, searching for hidden treasure or escape from an ancient crypt. In the end, either you all escape or none of you do. And, if you want more chilling thrills, you can also join a three-hour, case-cracking murder mystery theatre, centred on the Qiang Dynasty. MYST is open every day, from 10am–8.30pm.
Any footy fan and craft beer lover can attest that the two don't normally go hand-in-hand, and it's a true struggle to find good local drops at Aussie sporting events. 4 Pines hears your woes, so it's opening a fourth Sydney venue — this time at the SCG. The bar launches tonight — Friday, April 20 — for the Sydney Swans vs Adelaide Crows game. Located within the level one food court in the MA Noble, Don Bradman and Dally Messenger stands, the 4 Pines bar will offer the brewery's signature kolsch, pale ale, summer ale and alcoholic ginger beer, along with rotating taps from their seasonal range. Like the brewery's other venues (Manly Brewpub, Brookvale Truck Bar and the Newport barrel-aged outpost), the bar uses repurposed timber and mirrors, plus the space is decorated with images from the northern beaches where the Manly-grown brewery takes its roots. If you're an SCG member, you can even order from your seat and collect your cold one from the 4 Pines priority line. Apart from the bar, you'll also start seeing 4 Pines on tap at nearby pubs that normally don't carry craft brews. There's no doubting the significance of a locally produced beer bar at a commercial sporting stadium, which is pretty much unheard of. However, it should be noted that 4 Pines was bought by the world's largest brewing company, AB In-Bev, last year and so is no longer an independent brewery. But, to be fair, independence and craft beer don't have to be exclusive to each other, and the Sydney-based company has continued to brew from its Brookvale and Manly outposts — so far, it's been true to the craft cause. And in any case we're glad to see a solid beer option at the footy tonight. The 4 Pines bar is located on the level one food court in the MA Noble, Don Bradman and Dally Messenger stands at the SCG. For more info on 4 Pines' beers, visit 4pines.com.au.
Maybe your monthly payday has finally rolled around. Maybe a surprise bonus dropped into your lap. Maybe you won second prize in a beauty contest (a steady source of income generation, we've been raised to believe). Whatever the source, if you're feeling flush, it's time to treat yourself. We've partnered with American Express to round up some solid-gold places for you to go to in Sydney when you just want to splash some cash. These aren't your stuffy, 18-course degustation venues; these are joints you can head to with your mates, splurge on that Burgundy you've been lusting after and have a good time with some quality eats. They all accept Amex too — so you can stock up on points. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
I have just got back from a 31 day mission around New South Wales as part of a new innovative approach to Tourism Marketing. The campaign took a unique angle for targeting the youth market by inviting four influencers from four of its key target destinations, being UK, US, Canada and New Zealand. We were asked to interact with the Visit NSW Facebook and Twitter communities, asking them where to go, what to do and who to see. Starting off at Mardi Gras in Sydney on March 1, we ended up back in Sydney on March 31 after travelling 3600 kilometres and pulling 56 u turns. All in all, a whole lot of fun was had. And there is more to follow, including a MTV produced documentary due to be completed in May, with a newly revamped youth page for Visit NSW, which will host a lot of the content produced from the trip. In the meantime, having just got back on Sunday, I thought I would take the opportunity to quickly highlight five of the moments that stood out for me from the trip. __________________________________________________ Eating the World's Hottest Chilli The hardest I laughed all trip. We turned up to this little balinese styled villa in the middle of Hunter Valley, after being challenged on the Facebook page to eat the world's hottest chilli. It was hot. Real hot. Quad Biking and Sand Boarding in Port Stephens By far the most fun I had. Over three hours of riding up and over some of the biggest sand dunes I have ever seen. Sand boarding was a classic experience also. #fail Surfing in Port MacQuarie Being a passionate surfer, I was hoping to get plenty of waves in during the trip. This never eventuated due to our schedule not matching with mother nature. However, Wayne from MacQuarie Surf School took me and Ben the bus driver to a nice spot, where we got the only dawnie of the trip. It was pretty magical and reminded me why I loved surfing so much. Guinea Pig Racing in Grenfell (pop 2400) The community of Grenfell reached out to us on Facebook and rallied up enough influence for us to drive in land to the small farming community of Grenfell. In June each year, they have a festival which attracts thousands, and the highlight is always the Guinea Pig Race. Calling a horse race was something I have always wanted to do, this was as close as I will get I think. Filming with MTV As tedious as the back and forth, repeat with more energy became, the opportunity to work on a film set was something I really enjoyed and again, probably will never do again. But who knows.
Alchemy. Evolution. Animal totems. Scientific worship. Blood and birds. These might not be the usual words that you would associate with an art exhibition, yet this is what Kaitlin Beckett and Apeseven’s artworks look at in their joint exhibiton: Invincible Fathers. Kaitlin’s works on paper have been influenced by Twin Peaks, New Zealand (where she’s from), and north-western Native American totem poles. You’ll find freaky, skeletal creatures with lungs and hearts intact, breathing through medical apparatus, as if they had some kind of respiratory illness on Halloween. Some of the creatures, strapped to totem poles are gun wielding, and others are wrinkly headed birds ripping their hearts out, while simultanously pecking at them. Apeseven, on the other hand, is influenced by hip hop, anime, skateboard art, graffiti, science, technology and folklore. You’ll see his love for the stencil in works that incorporate acrylics, aerosol, inks, found paper and objects. His works are full of sci-fi graffitti creatures from imagined worlds, with a childhood innocence to them. The exhibition asks the question of what would happen if both of their imaginary creatures are left to fend for themselves? Invincible Fathers is open Friday 6-9pm and Saturday 12-5pm.
Update, August 29: Franca's $5 happy hour proved so wildly popular during its limited four-week run that the Potts Point bistro has decided to keep the good (cheap) times rolling — indefinitely. To keep things interesting, Franca will be offering a different $5 cocktail special every week. The Franca cheeseburger will also be on offer, from 5–6pm, for $12. Potts Point's fancy French brasserie Franca is celebrating its fifth birthday with one of the best happy hour deals in the city this month. Until August 25, between 5–6pm, you can treat yourself to Franca's legendary cheeseburger or a serving of rich, decadent chicken liver parfait for just $5 each. Yes, you read that correctly. Are you in need of something to wash that bargain down? Martinis, negronis and schooners of Young Henrys tap beer are also available for only $5 each, which has to be one of the cheapest cocktail offers in the city right now. Joyeux anniversaire mon amis! View this post on Instagram A post shared by Franca Potts Point (@francapottspoint)
Cam Knight gives new meaning to the phrase 'giving 100%', in that he does everything to the fullest. His aptly titled new comedy show, 100 percenter, discusses his goal of saying yes to anything, trying to live in the now and experiencing absolutely everything the world has to offer. Knight is a fixture in the Australian comedy scene, making appearances on Foxtel and The Comedy Channel programs. He has previously hosted two seasons of Stand Up Australia. Knight also performs with Sydney-based band ManChoir. His performance will be in conjunction with the Melbourne International Comedy Festival. The 25-day festival features some of the best and brightest international and homegrown comedic talent. With venues throughout the city and beyond, MICF is accessible easily accessible to Melbournites that need a little laughter in their life. https://youtube.com/watch?v=vl_nMq_Tt1Q
Guys, Topshop is here! It’s big (1,800 metres spread over four levels), it’s shiny (lots of cool lighting) and it opened its doors at 9am this morning at 45 Market Street in the City. But before you transfer all your money out of your high interest savings account or do something totally crazy like try to infiltrate the premises without closed-toe footwear, prepare yourself mentally and try to know what you're in for. Then arm yourself accordingly, go forth and immerse yourself in full-blown retail hysteria. DO be prepared to wait. Imagine the queue at Bourke Street Bakery on a Saturday morning except approximately 195 metres longer and predominantly made up of teenage girls hungry for affordable fashion, which is even more unpredictable than yuppie mums hungry for a carb. DON’T be deterred. Like good carbs, good fashunz are worth waiting for. DO head straight for JW Anderson. Topshop/Topman Sydney will stock all the megastore’s exclusive designer collaborations, including the one by Alexa Chung favourite and perennial lover of kilts, JW Anderson. DON’T forget about the make-up and accessories. Especially don't forget about the make up capsule collection from Louise Gray, which has just dropped globally and is like an explosion of pop art for your face. DO come back on a regular basis. According to Creative Director Kate Phelan new styles will be arriving twice a week to refresh floor stock. DON’T try to coincide your visit with stock drops. They happen randomly so you can find new wares each time you shop. DO embrace embellishment. Topshop/Topman Sydney features more sequinned hotpants than the Mardi Gras Parade, the shininess of which are emphasised further by all the groovy neon lighting. Above is the aptly named "Firework Short", which your eyeballs will find to be far more sensational in real life. DON’T neglect other trends in the process. Kate Phelan feels equally strongly about "pyjama dressing". DO clash your prints. Phelan is particularly fond of a good silky floral shirt and JW Anderson's paisley printed skirts, especially in combination with one another. Adding a pair of tartan pants underneath for kilt effect is optional. DON’T forget to also take a step back and go minimal. The Sydney store will also stock the Topshop Unique range, which has shown at London Fashion Week for the past four years and has lately taken a sophisticated (though still shiny) turn with more timeless pieces. DO feel free to drop some cash. Price points are not ridiculously inflated and spending over $100 in store will get you an exclusive Topshop pouch or tote bag while stocks last. On the other hand you can spend nothing and still score an in-store makeover, and if you're extra pleased with the results you should probably take a #lovetopshop selfie to get a chance at winning a $500 shopping spree. DON’T forget about the little guys in all the excitement. The gospel of good style, according to Phelan, is mixing high and low, so support local designers in your quest to be best dressed.
The 428 is an omnibus of mystery. It goes where it wants, it arrives when it wants. Deciphering its movements is about as easy as predicting a hurricane from the flap of a butterfly's wing. The route is curvy, crowded and distracting, following the bends of the old Canterbury tram line through Newtown and Marrickville from Circular Quay. The sheer diversity of people and places touched on by the 428 makes for a surprising and bumpy ride. A team of writers, directors and actors will observe and distil the action on this bus into play form for the restaging of Stories from the 428. The play is being performed again at the Sidetrack Theatre for the Sydney Fringe Festival after a successful April season. Its set fetishises all the everyday things about modern Sydney buses: skinny yellow poles and handrails, unmysterious safety signs and the near intimacy with wordless strangers. Ordinary chachkas of everyday public transport — so familiar; so loathed on a bad day, so overlooked on a good day — are what the play tries to bring up closer into the light. It's not back for long, so catch it while you can.
When Sydney Film Festival arrives each June to fill the Harbour City's cinemas with the latest and greatest movies, it does so mere weeks after its prestigious counterpart in Cannes. That's always excellent news for local film lovers, with plenty of the French fest's flicks making their way swiftly Down Under. And, it can make an impact with the Sydney Film Prize — Bong Joon-ho's Parasite scored both the Palme d'Or and SFF's gong in 2019, Lukas Dhont's Close earned the Grand Prix at Cannes and then Sydney's top accolade in 2022, and now Asmae El Moudir's The Mother of All Lies has collected the Un Certain Regard Best Director award and SFF's shiny Sydney Film Festival Prize trophy. Sydney Film Festival's 2023 jury, which featured director Anurag Kashyap (Gangs of Wasseypur), actor Mia Wasikowska (Blueback), writer/director Larissa Behrendt (You Can Go Now), filmmaker Visakesa Chandrasekaram (Earth), and film curator and journalist Dorothee Wenner, picked El Moudir's documentary as the best movie in this year's Official Competition. The Sydney Film Festival Prize winner was announced at SFF's closing-night festivities, before the Australian premiere of Indiana Jones and the Dial of Destiny, with The Mother of All Lies emerging victorious for its inventive exploration of Morocco's 1981 Bread Riots using doll-like figures. "Commending the courage of choosing a theme perhaps wilfully obliterated from public memory, appreciating the storytelling methods of playful yet calculated visual narration, the jury hails the winning film of SFF which fictionalises the interplay between facts and memories," announced Kashyap and company in a joint statement. "Juxtaposing evidence from barely existent public materials with private family memory, this film reconstructs the history of the state, the family and the individual in three distinct levels." In winning the Sydney Film Prize, The Mother of All Lies joins not only Close and Parasite, but fellow past winners There Is No Evil (2021), The Heiresses (2018), On Body and Soul (2017), Aquarius (2016), Arabian Nights (2015), Two Days, One Night (2014), Only God Forgives (2013), Alps (2012), A Separation (2011), Heartbeats (2010), Bronson (2009) and Hunger (2008). It's also just one of this year's Sydney Film Festival award recipients, with the fest also handing out annual prizes for Australian documentaries, films focused on sustainability and shorts. Marungka Tjalatjunu (Dipped in Black) won the $20,000 Documentary Australia Foundation Award for Australian Documentary, with the 24-minute-long film following Yankunytjatjara artist Derik Lynch on a road trip back to Country, and adding the accolade to its Silver Bear Jury Prize (Short Film) and Teddy Award for best queer short film at this year's Berlinale. Documentary jury members Christoffer Guldbrandsen (A Storm Foretold), Sascha Ettinger Epstein (The Pink House) and Laurrie Brannigan-Onato praised the film for being "an incredibly evocative, precise and raw film" that's "exploratory and playful in its form" and "tests the line of fact and fiction, and in turn unearths something that sits at the root of the human experience". "The film has a highly accomplished and distinct aesthetic that allows for a powerful contemplation of culture, Country, identity and belonging. Derik Lynch is utterly mesmerising in the way he shares his life experiences, on his country, and in his Yankunytjara language. This is a film that is both deeply affecting and matter of fact in its approach, and although it is short in its duration, the film is so concisely exacted, it only leaves you wanting more," they continued. The documentary jury also gave Kindred, a feature doco about two Indigenous Australian friends who were both adopted into white families, an honourable mention. With SFF's third-ever $10,000 Sustainable Future Award, Against the Tide from Indian filmmaker Sarvnik Kaur did the honours, while the jury also called out Rachel's Farm and Power to Country. "Savnik Kaur's beautiful film Against the Tide is an audacious documentary that spans six years. A thoughtful, nuanced documentary in which the director has clearly earned the deep trust of the subjects as they navigate a rapidly changing world," said the jury featuring Amanda Maple-Brown (June Again), Steven McGregor (Looky Looky Here Comes Cooky) and War on Waste presenter Craig Reucassel. "We appreciated the dedicated undertaking of showing the difficulties of traditional fishing practices in these communities as they are overrun by more modern, unsustainable, and illegal fishing practices, all in an effort to feed their own families and look forward to future films by this director." And, in the Dendy Short Film Awards, The Dancing Girl and the Balloon Man won Best Australian Live Action, and nabbed star Robyn Liu the Rising Talent Award. Teacups earned the Yoram Gross Animation Award for Best Australian Animation, while Linda 4 Eva's Sophie Somerville received the Rouben Mamoulian Award for Best Director. Also, the AFTRS Craft Award for Best Practitioner went to Kalu Oji, Faro Musodza and Makwaya Masudi, the screenwriters of What's in a Name?. The 2023 Sydney Film Festival ran from Wednesday, June 7–Sunday, June 18, with the festival screening four days of encores until Thursday, June 22.
