In an ever more divisive world, we are increasingly encouraged to sloganise ourselves, to identify as one thing. But Domestic Departures at Chalk Horse explores the contradictory nature of the self. Jasper Knight, James Oram and Abdul Abdullah each offer works that reflect on what it means to turn desire into reality. Knight’s miniature centrepiece, a 3D printed model of his family, sits at the heart of the space. It’s almost like a pivot between the two rooms. Then there are two collages built from clashing wood textures, various rulers and bits of broken paintings (glimmers of his usual colour scheme shining through). With these works, Knight is turning away from paint and stepping into a more sculptural realm. They can be thought of as an evolution of the hard-edge modernism he is known for, expanding into new media and harder edges. With the family in the periphery, there is a sense in which fatherhood has forced a shift in his practice — something which is simultaneously destructive and creative. You probably caught a glimpse of Abdullah’s portrait of Richard Bell at this year’s Archibald Prize — he's tipped as an up-and-comer. In this show, his dramatic photographs are real show-stealers. Unlike Knight’s works, which seem to start at the centre and gradually unfurl, symbols from the outside world filter into Abdullah’s work. He is often described as blending personal and political. For example, The re-introduction of Australian Knighthood could be a sly take on Tony Abbott’s recent (ill-judged) reach back to his English roots. The image itself is more guerrilla than knight. Sporting an excess of Australian flags, there are bared fists and eyes peeping through a balaclava. It’s a topical look at the threat of home-grown terror and the surge of prejudices that accompany it. There’s a simmering menace to these works that offsets the sunnier and more homely feel of Knight’s practice. Oram’s works seem more loosely attached to the personal. Nevertheless, his video work, Stacks, is a mesmeric portrait of chance and desire. On one side of the screen, Scratchies are scratched in tunnel vision, and on the other side, a pyramid of playing cards is carefully stacked in black space. With the circular framing, the flecks of scratched paper become surprisingly poignant. They look like the material residue of disappointment. Both Knight and Abdullah appear to engage with ‘types’ — father, artist, jihadi, outsider —compounding and conflating them. On the other hand, Oram offers a more contemplative counterpoint. We might think through these works as representing different degrees of consciousness and control. While Abdullah is actively working to subvert stereotypes, Knight reflects on who he is in different contexts. And finally, Oram is geared toward something more universal, looking at the poetry of chance and the unpredictable forces that dictate who we are and what we want.
Dig out those once-a-year novelty gumboots, because Groovin the Moo has unveiled its 2019 lineup. Taking the large-scale music festival out of the city and into regional centres for another year, GTM will hit Maitland north of Sydney on Saturday, April 27. This year sees local talent new and established taking the stage, with the lineup spanning up-and-comers like Jack River, G Flip and Haiku Hands right through to recent Hottest 100 top tenner Billie Eilish, Aussie favourites Nick Murphy and Thelma Plum, Australian hip hop legends Hilltop Hoods and rockers Regurgitator. International talent like Coolio — who'll you'll most likely recognise from his hit track 'Gangsta's Paradise' — Danish pop singer MØ and American rapper A$AP Twelvyy will make their way to the Moo, too. Groovin the Moo is also moving its ACT festival to Exhibition Park for the first time as it conducts its second pill testing trial. Pill testing is still a much-debated topic around the country with five people recently dying from suspected overdoses in as many months and the NSW Government remaining staunchly opposed to the idea of pill-testing, despite international research and the success of last year's pill-testing venture at the Canberra fest. Here's the full lineup. GROOVIN THE MOO 2019 LINEUP A$AP Twelvyy (USA) Angie McMahon Aurora (Nor) Billie Eilish Carmouflage Rose Coolio (USA) Crooked Colours DMA's Duckwrth Fisher Flosstradamus (USA) G Flip Haiku Hands Hermitude Hilltop Hoods Holy Holy Jack River Just a Gent MØ (Dnk) Nick Murphy Nicole Millar Regurgitator Rejjie Snow (Irl) Sofi Tukker Spinderella Thelma Plum TOKiMONSTA (USA) Trophy Eyes Images: Daisy Hofstetter.
Looking to join the war on waste but aren't sure where to start? Well, you can kick off your anti-plastic lifestyle in good company, at ABC's War On Waste pop-up boutique this weekend. Making an appearance at Bondi Pavillion this Saturday, August 4, the pop-up hopes to encourage small, everyday changes we can all make in the fight against unnecessary waste. With an estimated 10 million single-use plastic straws used by Aussies each day, there's no doubt that every little bit helps. Head along and make a pledge — whether that's making the switch to a reusable coffee cup, refusing those plastic straws from here on out, or ditching plastic bottles — and you'll score yourself a nifty reusable bag or bottle for your efforts. You'll also have the chance to meet the artists behind the funky designs, Lauren & The Lost Boys. Which will help if you plan on shopping at the newly plastic-bag free Harris Farms and Woolworths — and hopefully soon Coles. The 'War On Waste' Pop-Up will run from 2–5pm.
Surry Hills is home to some of Sydney's finest and most beloved restaurants, bars, pubs, hotels and cinemas — from shiny new spots to historic stalwarts. In order to celebrate this bustling suburb, a two-week festival of food, drink, music, art and just about anything else you could imagine is popping up in September. Surry Thrills encourages downtown Surry Hills venues to flex what they've got and put on enticing one-off events throughout the 16-day program. Think: long lunches, wine tastings, big-name collaborations, bar takeovers, artist talks, art exhibitions, live music and a whole bunch more. There's a heap of names attached to the festival, both big and small, all pulling together something different as part of the festivities. Some of the highlights include a lobster and champagne lunch at Nomad, an Astral People party and art by Rosie Deacon at Harry's, a retrospective feast celebrating ten years of Chin Chin, and bottomless drinks and fried chicken at Butter. [caption id="attachment_764209" align="alignnone" width="1920"] Declan Blackall Photography[/caption] Elsewhere on the program, you'll find private karaoke sessions in the hotel rooms of Harry's; classic thrillers double features including showings of The Silence of the Lambs, Zodiac, Rear Window and Body Double at Golden Age Cinema & Bar; and a massive collaboration between Tio's, Bad Hombres and Ricos Tacos featuring $5 margaritas. The Paramount House Hotel is also offering deals on hotel rooms as part of the festival if you want to make a whole staycation out of the occasion. If you book a room during Surry Thrills, you'll be treated to a free dinner for two worth $250 per person, complimentary breakfast at Paramount Coffee Project and a lucky-dip item from the hotel's vending machines. The program is huge, which means there's plenty more that's popping up — and you can explore the whole thing via the Surry Thrills website. [caption id="attachment_867718" align="alignnone" width="1920"] Rosie Deacon[/caption]
Some bands are so influential, so pioneering and so ahead of their time that they change the course of music history. Electro trailblazers Kraftwerk are one such group. Forming in Düsseldorf in 1970, they quickly segued from krautrock to diving into the electronic scene — and imagining the future, including experimenting with robotics, in the process. The song 'Computer Love'? Back in the 80s, it foresaw internet dating. Unsurprisingly, Kraftwerk have left their mark on everything from their chosen genre and techno to synth pop and hip hop since. Also, more than five decades later, the German outfit is still touring. Kraftwerk's live shows are an experience, combining the band's electronic music computer animations and performance art. Take note, Sydneysiders, because the group is heading your way in December as part of an Australian and New Zealand tour. The multi-media project founded by Ralf Huetter and Florian Schneider, and that aims to create "gesamtkunstwerk — a total work of art" — in each gig, will play Aware Super Theatre on Wednesday, December 6. Expect synthetic voices and computerised rhythms aplenty — it is what Kraftwerk's music is known for, and were inducted into the Rock & Roll Hall Of Fame for — plus a visual show that ponders man and machine to match. Kraftwerk's latest visit Down Under comes after the band played Vivid in 2015, as part of 3D Kraftwerk — The Catalogue 1 2 3 4 5 6 7 8, which saw them perform eight albums from 1974's Autobahn through to 2003's Tour de France over four nights at the Sydney Opera House. Since starting their retrospective gigs at the Museum of Modern Art in New York in 2012, they've hit up everywhere from London's Tate Modern and Bilbao's Guggenheim Museum to Tokyo's Akasaka Blitz and Los Angeles' Walt Disney Concert Hall.
Whether your bank account, annual leave balance or just life in general is getting in the way of your holiday plans, there's always one great fallback for those feeling the travel bug but unable to travel far from home. That'd be simply pretending — perhaps by visiting a local brewery and following its lead. For the second time, Wayward Brewing Co is hosting Destination Unknown. Sure, you know where you're physically heading — Gehrig Lane, Camperdown — but not where your head and your heart will be located for the evening. From 6–10pm on Wednesday, September 19, the boozy spot will deck out its Cellar Bar around a far-flung locale, complete with a three-course feasting menu and three exclusive, brand-new, never-before-seen themed beers to match. You'll also be greeted by the Wayward cabin crew upon entry, taken down a runway, and receive both a personalised boarding card and a tasting passport — and there'll be live entertainment. Tickets cost $68 per person, and are certain to get snapped up quick. And in case you're wondering, last time was Japanese-themed, with a cherry blossom tree and hanging lanterns setting the mood.
Pyrmont is set to welcome a new Euro-leaning wine bar, helmed by acclaimed Sydney chef Justin North (Hotel Centennial, Becasse). Opening next month within boutique hotel Ovolo 1888 Darling Harbour, Mister Percy pulls its inspiration from the Mediterranean — for its menu, wine list and designer fitout. It's named in honour of Percy Ewart, a former wool classer who worked in the site's original wool-store. In the kitchen, head chef Luca Guiotto (A Tavola, Catalina) will deliver a considered lineup of pintxos and large share dishes, built around classic coastal European flavours and top local produce. You'll find creations like chargrilled Clarence River baby octopus with local chorizo and pickled green chilli; locally made burrata teamed with prosciutto, pea shoots and fried potato skins; and a grilled Port Lincoln sardine tart. It's a vibe that's mirrored in the drinks offering, too, with consulting sommelier Chris Morrison assembling a wine selection that heroes Mediterranean grape varieties and local producers. Expect to find yourself kicking back with drops like Beechworth's Jamsheed rousanne, or a touriga-shiraz blend from Gundagai, while admiring the luxurious, old-meets-new interiors by the award-winning Luchetti Krelle (Banksii, Matinee). The former hotel lobby has been transformed into a classy blend of leather, cane bark, plush fabrics and Venetian-style paintings, paying homage to its history while simultaneously celebrating the contemporary. Find Mister Percy at 139 Murray Street, Pyrmont, from late July. Images: Alana Dimou
Hosting a series of events and workshops throughout the month of September, The Wardrobe pop-up at Castle Towers will see industry leaders showing you tips and tricks on how to up your style game. Kicking off on Wednesday, August 23, events cover off a wide range of skills and interests, from fashion photography and illustration to cosmetic design to how to add some statement pieces to your wardrobe. While stylists will offer insight into the latest trends, professional makeup artists will hold 20-minute consultations on the benefits of natural cosmetics, properly matching your foundation to your skin tone and how to care for your skin during the warmer months. Instagram influencers will host sessions on flat-lay photography, The Lip Lab will teach you how to blend your very own shade of lipstick and Birdsall Leather will be on hand every day to monogram and personalise your leather pieces. If you're looking for a style refresh this spring, these workshops may be your place to start. We've also got a competition running where you could win a double pass to the DIY fragrance workshop, plus a $100 gift card to spend in centre. Enter the draw here.
While Good Food Month offers up some extravagant set menus and big-name collaborations that'll set you back hundreds of dollars, there are also more affordable options if you want to get into the swing of things this January. CBD restaurant Indu hosts regular vegan nights throughout the year, and this month it's rolling out the red carpet to welcome Rhys Watson-Lamb (Kid Kyoto) for an exciting menu that combines Japanese and southern Indian cuisines. Available for $69 per person, the set menu starts with curry salted edamame, daikon mochi with coconut chutney, watermelon sashimi and wild mushroom dosa. The vegan night's mains menu is built around a Japanese potato curry, which is accompanied by corn ribs, daal, paratha and sushi rice. Then, the meal is brought to an end with an avocado ice cream and vegan meringue. You can also take things up a notch by adding wine pairings to the meal for an extra $30 a head. To book head to Indu's website or email aaron.hutton@indudining.com.au. [caption id="attachment_646251" align="alignnone" width="1920"] Kid Kyoto[/caption]
Head down to Parramatta's Centenary Square from Thursday, January 13 to Sunday, January 16 for a collision of skateboarding, BMX riding, dancing, free-running and performance. Demo is free public exhibition of controlled chaos that will be enthralling crowds as part of Sydney Festival. The exhilarating performance will take place on a half-pipe and feature a team of professional athletes and dancers pulled together by award-winning physical theatre company Branch Nebula. The unlikely group of performers are set to exhibit their unique skillsets in tandem as part of the free show which will pop up six times over four days in Parramatta. On Thursday and Friday, Demo will begin at 6pm, while crowds on Saturday and Sunday will be treated to two shows each, with performances at both 4.30pm and 6.30pm. There's no registration required and if you can't make it down to Centenary Square, you can tune in via a live stream. Images: Mark Metcalfe
When we sniff the word 'birthday' being thrown about somewhere, there's that instant ding in our minds: 'Ah yes. Official right to par-ty!' (never mind whose birthday it actually is). This time around it's our old mate Jack Daniels, and he's made it to 161 fine years. To celebrate, he's throwing one mighty big blow out. This year, a bevvy of musical acts are paying homage to one of Australia's greats, Icehouse – they who brought us 'Great Southern Land', 'Electric Blue', 'Crazy' and more (this would be your cue to hold a mini Icehouse YouTube party in your bedroom). Heading up the pack is Art Vs Science, who are no strangers to the cover, having taken on Daft Punk on Triple J's Like A Version. Along for the ride are Kate Miller-Heidke, Patience Hodgeson of The Grates, and Dappled Cities' Tim Derricourt. Plus, Purple Sneakers DJs will be at the decks to get things moving. To go in the running for one of four double passes to the JD Set, just make sure you're subscribed to Concrete Playground then email us with your preference of Sydney or Melbourne shows. Entries close Friday, September 9 at 5pm. Sponsored post https://youtube.com/watch?v=HRwis9CWcjA
Sydney might still be a long way from a full restoration of the nighttime economy decimated by the lockout laws, but, bit by bit, publicans and nightclub owners around the traps are clawing back ground and bringing back the party. Earlier this year Club 77 launched weekly Sunday morning club 'night' Afters, and the latest initiative to get on-board is Roots A.M. It's a new, early, early morning shindig that, from December 16, will be taking over the bottom floor of The Flinders from 5am till midday every Saturday morning. The venue will close from 3am till 5am, but if you miss lockout hour or are in the mood for a quick drink after a late-night shift, you now have a place to go. You may not have visited The Flinders for a while — let alone at 5am — but it was officially relaunched this year. Launching the first ever party will be Lokomotiv, joined by Marlie and Venda, both Roots DJs. Entry will $5 and the bar will be offering $7 tequila squash and vodka sunrises all morning. Which should take you right back to your uni days. Get more information and keep up with developments via the Facebook page. Roots A.M. will run every Saturday from 5am till noon from December 16. For more info, visit the Facebook group.
Besides being a whole lot of fun to say, Urbanal/Schmurbanal is also an exhibition that looks at friends and collaborators Matthew Venables and Paul Gilsenan's "accounts of life within the urban mundane". Paul is a Sydney-based artist who describes himself as a "scribbler, painter and lover". He also goes by the name of his alter-ego cartoon character Duckman, and Duckman (or is it Paul?) has been working on a collection of paintings that has been five years in the making. These are fantasy pieces set in an urban landscape. Matthew on the other hand, is a photographer who also dabbles in video and animation. He's also one of the founders of 107 Projects — so this is a project close to his heart. He's photographed existing things and places within urban settings that look at 'all things city', and he's been working on them for three to four years. That's two artists, working in two mediums, who have been working on their pieces for a long time. These aren't works thrown together at the last minute by any means. Summed up, this exhibition is photography versus painting, which explores life in an urban setting. It's all so Urbanal/ Schmurbanal. Image by Matthew Venables.
The cult of phone culture has now evolved to the point of art, as the first ever film festival in Australia dedicated solely to smartphone films debuts in Sydney this August. The inaugural SmartFone Flick Fest, taking place at Sydney’s beloved Chauvel Cinema, will include among its finalists only films shot on a smartphone or tablet, all coming in at under six-and-a-half minutes long. The festival is a sign of the new trend in global filmmaking that was evident at this year’s Sydney Film Festival, where the acclaimed Tangerine, shot entirely on an iPhone 5S, was among the highlights. Theoretically, anyone with enough talent can now make a high quality film and reach a global audience, not just those with big budgets. Receiving over 500 entries from all across the globe, the festival will screen ten finalists from Spain, India, Indonesia and Australia and be judged by a expert panel that includes award-winning writer/director Serhat Caradee (Cedar Boys) and Jason van Genderen from the Pocket Film Academy, masters of the art of smartphone filming. “Our finalists’ subjects include everything imaginable from love stories to a dramatic interrogation, an Indian pickpocket, an unlikely superhero and a film about the love child of Ginger Rogers and Fred Astaire,” said Angela Blake, who co-founded the festival with Ali Crew. Image: Dollar Photo Club.
If there's one thing Sydneysiders like, it's watching Studio Ghibli films. Understandably, a whole heap of cinemas around town have been more than happy to oblige, hosting their own events dedicated to the Japanese animation house over the years. Now it's Palace Central's turn, screening 15 Ghibli favourites between Thursday, September 10–Sunday, December 19. As part of the 35 Years of Studio Ghibli program, fans will get yet another chance to catch these Japanese gorgeous features on the big screen — in their original Japanese-language, English-subtitled versions. Yes, you should make like a moving castle to see Howl's Moving Castle this time. And yes, you'll feel like you've been Spirited Away once again. Both of the above films are on the lineup, as are everything from Nausicaä of the Valley of the Wind, My Neighbour Totoro, Kiki's Delivery Service and Princess Mononoke to Tales from Earthsea, Ponyo, The Wind Rises and The Tale of the Princess Kaguya. Each film will screen twice, on Thursdays at 6.30pm and on Sundays at 2pm. If you've missed these flicks in their limited cinema runs or fest appearances in the past, consider this your chance to catch up (with tickets costing $15 per session, or $12 for Palace members). Check out the Spirited Away trailer below to get in the mood, too: https://www.youtube.com/watch?v=ByXuk9QqQkk 35 Years of Studio Ghibli screens at Palace Central between Thursday, September 10–Sunday, December 19 — on Thursdays at 6.30pm and on Sundays at 2pm.
It's 27 years since The Cult's first album went platinum. Electric's impossibly high energy saw the Bedford-born rock band's career explode overnight. Perhaps it was something to do with the crazy circumstances in which it was recorded. "[Electric's] definitely a Polaroid of a certain period in my life," frontman Ian Astbury told Max TV recently. "New York City, 1986, when New York was kind of lawless ... We barely slept making that record ... We'd pretty much get up, go to the studio, work till midnight, maybe 1am, go out, come in at seven in the morning, and go do it again, every day." Now, as part of their Electric 13 World Tour, The Cult are going to play the entire album live for Australian audiences for the first time. It's a kind of sequel to their 2009 Love Live Tour, which Astbury described as "such an incredible experience". The show will include a second set, featuring tracks from the band's eight other studio albums. https://youtube.com/watch?v=k6PgftKbQnQ
Early collage works from Shen Shaomin in which he weaves a tapestry from carpet and does works in singed Chinese and Australian newspapers, are particularly resonant, not only because of their delicacy and the accidental meanings that are brought together. Created shortly after the artist moved to Sydney in 1989, these works are evidence of how long the issues they encompass have been a part of our contemporary consciousness and how little has been resolved in the past 20 years. Archie Moore's Mulgoa addresses the history of these problems as present in Australia for more than 200 years, by linking up text from The Book of Revelation (plagues, wars, famine, loss of languages etc. denoting the end of the world) to the 'Greatest Hits of 1788' convict anthem 'Bound for Botany Bay.' A little further from home, Eric Bridgeman stages The Fight, a documentary-seeming but staged conflict in the hills of Papua New Guinea. The artist's heritage in the region and sense of partial identity with it but also with 'whiteness' further complicates the relation between staging culture for the tourist gaze and the impossibility of impartial ethnography. Considerations of cultural practices and authenticity also inform Alfredo and Isabel Aquilizan's In God We Trust, which uses a jeep left behind by Americans after World War Two and the decorative talents of Manilan craftspeople, to create an example of a 'folk' cultural practice that activates the industrialised and appropriative moves of postmodernism. Hikaru Fuji's Nike Politics also represents the incorporation of American culture into the vocabularies and economies of other nations in a more satirical and threatening way, by creating a series of 'swoosh' branded police equipment, beginning with batons and handcuffs and ending with a prison uniform and a film of two people in riot gear going at one another. There's a fight in Zhang Ding's work too, in the silent loops of the artist boxing cacti. Moving between full body shots and closeups of the artist's hands and the spikes on the plants, it's an uncomfortable demonstration of endurance and, against a black background, a portrayal of decontextualised pain that acts as a reminder of the numbing effects of a lot of the media and culture we consume. He also does a charming Fellini-style self portrait against a backdrop of historical change in The Great Era. Image: Isabel and Alfredo Aquilizan 'In God We Trust'
Eat bread, don't eat bread. Exercise until you drop, stress less with yoga. One more glass of wine or down the rest of the bottle. With so many different sources telling us different things about what will kill us faster, decision making can become nightmarish. One thing is agreed upon: laughter = good. You won't be getting fatter, you'll reduce stress and you'll walk out of the room with 1.6 years added on to your life.* To get a large dose, head to the next instalment of Laugh Your Tits Off, quickly becoming a very popular comedy event. This time, our favourite adopted American, Tommy Dean, is headlining. Continuing the ha-haing is Daniel Townes (Just For Laughs Comedy Festival), Paul Warnes (owner of Sydney venue Laugh Garage Comedy Club), Dave Bloustein (writer for Good News Week and The Glass House), Gary Bradbury (Rove) and heaps of untainted up-and-comers. Get over your hump day blues on Wednesday, 7th March and laugh until body parts fall off.** * This statistic may be made up. **This may not be good for your health. To win one of two double passes to Laugh Your Tits Off, just make sure you are subscribed to Concrete Playground then email us at hello@concreteplayground.com.au to enter. https://youtube.com/watch?v=oMqqQ6c010o
Gaybies is a fun and insightful night of verbatim theatre, as writer/director Dean Bryant’s interviews with the children of same-sex couples are brought to the stage. Their real-life stories of growing up with gay parents generate positive, good-natured vibes within the Eternity Playhouse, which has been turned into a daggy Aussie community hall by designer Owen Phillips. The details and nuances of each child’s story — the unique personality of each ‘gaybie’ taking the stage — is the pulling point of this theatre experience. As each interviewee, whether four years old or 40, explains their situation to us/society, it becomes clear they are Such. Strong. People. The argument for gay parenting/gay marriage is never explicitly stated in this show; however, it’s supported by these beautiful individuals. It’s uncanny to see such characters, who may be otherwise written off or stereotyped, delivering truth bombs and progressive societal wisdom. In this way, quietly, the show screams, "don’t you dare make assumptions of me!" The actors do a great job in bringing the interviewees to life and making their language seem natural — not an easy feat. This pulls the audience’s hearts into their stories and keeps the 90-minute piece entertaining. They are wonderfully tight on their cues, which prevents any one anecdote from becoming slow. The way the cast (Cooper George Amai, Sheridan Harbridge, Rhys Keir, Steve Le Marquand, Zindzi Okenyo, Olivia Rose and Georgia Scott) work together to create a dynamic, surging, evolving narrative is Gaybies' greatest strength. And the subject matter really matters to these actors. That transfers to the audience and makes what we’re watching seem like an important moment in history — it's just before the "old conservatives die off" (to quote one teenage interviewee) and Australian society sees big reforms. The musical numbers of Gaybies are unexpected and at first seem guilty of over-sentimentality. Thankfully, the considerable musical talent of the cast and their exquisite, very contrasting voices (as well as quick recommencement of dialogue that leaves no time for musical theatre post-song applause) means they pull it off. Gaybies sheds an interesting light on the comparative liberties and opportunities available to the children of these same-sex couples, especially those who identify as queer. We hear what their parents endured and fought for, and the pressure they felt as they raised their children: “If we failed, gay people failed”. The insights run deep from these progeny of same-sex couples. The takeaway from the whole project? “My choice is valid”.
Beach season is in full swing, but frolicking in the sun comes with its risk. Australia has one of the highest rates of skin cancer in the world — with two out of three Aussies getting it before age 70 — so, beach season also means skin check season. And since the team at Merivale likes to turn everything into a party, it has teamed up with Aussie not-for-profit Beard Season to offer free skin checks across three of its beachside venues. Head into the The Newport, Coogee Pavilion or The Collaroy in January to have your skin looked at by trained doctors and nurses using AI-based screening technology. The checks will take place in private huts within the venues, and each will take around 10–20 minutes. While melanoma — an aggressive type of skin cancer — remains one of Australia's biggest killers, it's also one of the most successful cancers to treat if discovered early. This is why it's important to get your skin checked regularly. And you should slip, slop, slap, seek (shade) and slide (on sunglasses) when you're outside, too. [caption id="attachment_755010" align="alignnone" width="1920"] Beard Season's Jimmy Niggles and Merivale's Justin Hemmes by Dimitri Tricolas.[/caption] Alongside the screening, Merivale will also host the Million Dollar Beard Ball in February, during which Beard Season founder Jimmy Niggles will shave off his massive beard for a whopping $1 million. He'll then funnel that money into launching a national skin check program. Each venue is only hosting the free skin checks on select dates, with The Newport running January 4–8 and the other two venue dates still to be announced. Keep an eye on the website for more info. Summer Skin Check Sessions are happening across The Newport, The Collaroy and The Coogee Pavilion at various dates throughout January. Top image: The Newport
Bavarian Bier Cafe is lightening up. The legendary beer house has long been associated with the biggest and tastiest of traditional dishes — from Klaus’s Gulaschsuppe (spicy beef goulash soup) to the mighty German sausage tasting platter, crowded with bratwurst, kransky and frankfurter. But now, those who don’t have the heart for the hearty are being catered to, too. The Cafe has added a page to its menu, introducing a range of what’s been dubbed ‘new modern favourites’. So rather than having to commit to a serious, meaty feast, you can eat as light and as fresh as you like. All nine of Bavarian Bier’s Australian venues are making the addition, with exact options varying from place to place. What all dishes have in common, though, is that they’re inspired by Bavarian flavours and dashed with creative, modern twists. Depending on which BBC is your local, keep a look out for light and fluffy steamed prawn dumplings ($16) and popcorn shrimp ‘dampfnudel’ steamed buns ($19) on the sharing menu. Meanwhile, for salads, expect the likes of spicy sesame chicken ($16), crispy calamari ($18) and grilled pork and Asian vegetables ($15). As far as mains go, dishes include pan-roasted salmon with lentils, root vegetables, beet pickled red onions and dill ($23); crisp roasted wild New Zealand hapuka with sweet and sour red capsicums, lemon puree and roasted garlic ($25); and lemon and herb marinated chicken breast with pesto scented orzo and shaved vegetable salad ($25). Whatever you choose, there’s no doubt that one of the Bavarian Bier Cafe’s pure biers, made with just four natural ingredients (malt, hops, yeast and water), will chase it down without any argument.
As far as global creative hubs go, Brooklyn and Sydney are indisputably two of the big guns. Locals will vouch for their turf's supremacy; the grungy, bustling hip hop-saturated streets of NYC's most populous borough against Australia's thriving cultural hub brewing arguably some of the best coffee and beer around. Needless to say, heated discussion usually ensues with such a comparison. But M2's latest exhibition Brooklyn vs. Sydney puts all this competitive quarrelling aside, finding common ground through the medium of collage. Pieced together by New York-based curator Kara Brooks, artists from the Brooklyn Collage Collective (BCC) along with a few handpicked Sydneysiders showcase the brilliance of this underground and often overlooked art form. Calling back to the long forgotten days of the humble scissors and glue, these collage-based artists like to push the boundaries of orthodox techniques. In an era of information overload, these collages put the magic back into the crafty medium — proving it as dynamic as its creator's communities.
Any mention of Joanna Murray-Smith tends to elicit the same kind of wince as would David Williamson. Like Williamson, she's an expert at portraying the Australian bourgeoisie engaged in the national pastime of cringing. But this is a trap she steers well clear of in her latest offering, Switzerland; a fictional account of American author Patricia Highsmith's late in life retreat to the Swiss Alps. Sarah Peirse playing the straight-shooting curmudgeon makes old age look like a hoot. Peirse appeared last year in Murray-Smith's Fury playing a mild mannered, upper middle class intellectual mother. Here she shows off her acting chops by transforming into the nasty, charismatic Highsmith. We're introduced to Highsmith hiding away from her fame and literary adversaries in the US in a cosy, naturalistic interior designed by Michael Scott-Mitchell with a spiral staircase, fireplace and writing desk. Apart from an offensively kitsch Highsmith portrait hanging to the right of the fireplace, the space works well. The action begins when a timid junior assistant from her publishing house visits, ostensibly to persuade her to sign a contract for a final installment of The Talented Mr Ripley. The opening exchange between Eamon Farren playing Edward and Peirse shows off Murray-Smith's comic competence and received plenty of laughter on opening night. The witty repartee only loses its shine when we reach the tenth false exit in as many minutes. As entertaining as the play is, it's hard to see its relevance. Whereas Fury spoke to a specific tension between radicalism and racial vilification, Switzerland only gets as far as generalised chats about the universality of human evil and cliched psychoanalysis suggesting that Highsmith is protecting herself behind her racism. It's all fine, and Peirse and Farren's performances are even mighty fine, but I couldn't help feeling that if director Sarah Goodes had focused more on Highsmith's obsession with snails or her collection of guns, we might have been in for a more interesting night of theatre. For a character study of a woman obsessed with murder, Switzerland displays a conspicuous lack of danger.
During 2021's COVID-19 lockdown, Dan Pepperell's boundary-pushing French restaurant Bistrot 916 mixed things up with a special takeaway menu featuring one hit item: cheeseburgers. From Restaurant Hubert's famous burger to Charcoal Fish's Murray cod patties, Sydneysiders love a fancy burger — and these Bistrot 916 buns were a certified hit. After removing them from the menu post-lockdown, these cheesy delights are finally back alongside a killer oyster deal three days a week at the Potts Point haunt. The deal is running all the way through October and November, with patrons able to drop in for burgers and oysters for lunch Friday–Sunday. Diners are able to get their hands on one of these much-hyped burgers for $29. While this is quite a hefty price tag, Bistrot 916 isn't exactly your cheap and cheerful local burger shop. Plus, it's not quite Sydney's most expensive burger. That honour may sit with Circular Quay's 6Head, which has a $33 dry-aged beef burger on the menu — or, if you're counting sandwiches, Sandoitchi's Wagyu Katsu Sando with MB9+ tajima wagyu tenderloin, which will set you back $49. As for the oysters, they're on offer for just $1 during the promotion. That means that you can drop in for a few shucked beauties and your choice from the 916 wine list, or combine the two deals to treat yourself to half-a-dozen oysters and the burger for just $35. Top image: Steven Woodburn
Eight months after Australian same-sex couples could first formally and legally tie the knot, Brisbane Festival is celebrating the occasion in an appropriate fashion — by throwing a free wedding for eight LGBTIQ pairs. While Sydney Festival put together a huge reception earlier in the year, Brisbane's equivalent is going one better by hosting the actual nuptials. And, if you're a LGBTIQ couple looking to get hitched, you might just be able to take part. Called Qweens on King, the Saturday, September 8 event is one of the three-week-long fest's opening celebrations for 2018, turning Bowen Hills' King Street precinct into a garden party filled with merriment and real-life matrimony. Entries are now open for all interested parties, with winners saying 'I do' on stage before a celebrant named Gai Lemon, scoring a wedding party filled with Brisbane's queer performers, nabbing free wedding bands and receiving a $500 voucher towards holding their reception at adjacent food truck hangout Welcome to Bowen Hills. Everything from the music to the flowers to the photographer has been arranged, with couples simply needing to register, make sure they're available on the date and pick their own outfits. Of course, if that sounds like your ideal way to spend your big day, you'll also need to be willing to share your happy moment with a considerable crowd. "I'm hoping that the eight couples we find will represent a broad spectrum of personal experiences, from those who have been through the Bjelke-Petersen time when homosexual acts were still illegal, to newcomers and the multitude of various cultures within all those letters: L-G-B-T-I-Q-plus," says Brisbane Festival artistic director David Berthold. The ceremony will also launch the 29th annual Brisbane Pride Festival, with Brisbane Pride vice president Michael James dubbing the event "a gathering of rainbow sophistication and flair". Entries close at midnight on Sunday, July 22, with Qweens on King taking place on Saturday, September 8. To register, or for more information, check out the online application
The last of Red Rock Deli's Secret Suppers in Melbourne has been and gone, with Ms. Frankie's head chef Giorgio Distefano cooking up a feast on a CBD rooftop. The exclusive supper series saw some of Australia's most talented chefs whipping up mouth-watering, three-course feasts inspired by Red Rock Deli's new limited-edition range. And when we say exclusive, we mean it — only 20 lucky guests got to tuck into each lavish dinner. On Thursday, October 17, top Melbourne chef Distefano put up a feast inspired by Rock Deli's new Chilli, Roast Garlic and Lemon Oil Deluxe Crisp flavour. The theme of the evening was 'Elevation of the Senses', so the menu featured simple dishes masking intense flavours. To start, there was a charcuterie board with oven-baked ricotta, pumpkin, chilli and parmesan arancini and house-made bread. And to finish, guests tucked into lemon pannacotta with mixed berries. But it was the main course of tortellini filled with ricotta and lemon zest and slathered with chilli, garlic and lemon-infused oil that really had us salivating. Sounds like a meal that shouldn't have been missed but, if you did — or you went and want to recreate the magic at home — check out Distefano's tortellini recipe here. Images: Parker Blain.
Jamaican-born, Sydney-based artist Robin Clare’s work riffs on the colour, rhythm and repetition of dancehall music and the popular culture of her native country. Expect a heady culture clash of blaring hand-drawn typography, bold large-scale paintings, screen prints and a jungle of pop art, comic book, cinematic and advertising influences. The conceptual underpinning beneath this criss-cross of influences is the nature of cross-cultural exchange between Jamaica and the United States, particularly a 1950s publication, Bulls Eye, by comic artist team Simon and Kirby. Clare has exhibited across London and Sydney and works at the edge of the map between contemporary art and graphic design, producing zines and illustrations for t-shirts. Her latest show Badda dan dem star is on for a few short days only at at China Heights in Surry Hills, a gallery that ties the design and art worlds together. Badda dan dem star is on 6-9 for Friday opening and 12-5 on Saturday and Sunday.
The returning Fantastic Film Festival Australia isn't just about celebrating cult-classic movies. This cinema showcase is one of several in Australia that wears its love for the weird, wild and wonderful — the strange and surreal, too — on its screens, and that means going heavy on the latest flicks that fit that description. But when the Sydney and Melbourne event includes beloved retro titles on its lineup, it usually does something special with them. So, in 2023, as part of its just-announced program, it has particularly attention-grabbing plans for Zoolander and the OG Teenage Mutant Ninja Turtles live-action movie. Ben Stiller's comedy about the world of modelling might be all about donning clothes, but FFFA's session of the film is going in the opposite direction, joining the fest's growing spate of nude screenings. The event debuted the concept in 2021, then brought it back in 2022 for the 25th anniversary of The Full Monty. Now, patrons are asked to wear nothing but their best blue steel look — or magnum if they prefer — while watching a really, really, really, ridiculously good-looking movie. Clothes are required at FFFA's showings of Teenage Mutant Ninja Turtles, but don't worry about eating pizza beforehand — you'll be able to smell it during the session. The fest is going with a scratch-and-sniff experience, in what it's calling Teenage Mutant Ninja Turtles Stink-O-Vision and will be a world-premiere. As you watch Leonardo, Donatello, Michelangelo and Raphael (and Sam Rockwell in a blink-or-you'll-miss-it part), you'll be told to scratch a card at certain moments to get smelling. Some scents will be tasty. Some definitely won't. Running from Friday, April 14–Sunday, April 30 at Ritz Cinema in Randwick and Lido Cinemas in Hawthorn, FFFA's 2023 bill also features a 2K restoration of Takashi Miike's Audition, but mostly it's serving today's fresh flicks that'll be tomorrow's cult favourites. Opening the fest is Polite Society, about a martial artist-in-training endeavouring to save her sister from an arranged marriage — and a hit at this year's Sundance Film Festival. Closing it: LION-GIRL, a futuristic, post-apocalyptic sci-fi film about saving humanity (aren't they all?) that boasts character design by manga artist Go Nagai. Elsewhere on its 2023 program, Fantastic Film Festival Australia will screen the 1997-set Zillion, the highest-grossing film in Belgium in 2022, which tells of a computer whiz who creates the biggest discotheque in the world; Evil Dead Rise, the latest title in the ongoing zombie franchise, and prime fodder for a midnight slot; and Holy Shit!, which is completely set in a portaloo rigged with explosives. Or, there's a movie that FFFA is calling An Untitled and Perfectly-Legal Coming-Of-Age Parody Film — it isn't naming it because it was surrounded by controversy at its world premiere at the 2022 Toronto International Film Festival, but you can easily work out by a quick online search, especially if you're fond of comic-book characters. It'll screen with the director in attendance, in what'll be one of its rare public showings so far. A number of Australian efforts are also on the lineup, starting with Rolf de Heer's The Survival of Kindness, which recently proved a hit at the Berlin International Film Festival. There's also Beaten to Death, a new-wave Ozploitation thriller set in remote Tasmania; the giallo-style Blur, about an investigation into a strange entity; and The End of History, about Australian techno producers Darcy and Pat as they chase their creative dreams in Berlin. Back to the international flicks, Belgium's H4Z4RD has been compared to Lock Stock and Two Smoking Barrels, Estonia and Finland provide crime-caper comedy Hit Big, Spain's Manticore contemplates evil and French standout The Five Devils is about an eight-year-old with an inhuman sense of smell. Plus, Germany's The Ordinaries dives into a three-class society where a 'supporting character' wants to be a 'main character' — and Quantum Cowboys features Scream alum David Arquette and is designed to start a trilogy. Also, on the events bill, FFFA is bringing back Music Video Blind Date, to connect Melbourne musos with filmmakers in the hopes of making music video magic. Fantastic Film Festival Australia runs from Friday, April 14–Sunday, April 30 at Ritz Cinema, Randwick in Sydney and Lido Cinemas, Hawthorn in Melbourne. For more information or to buy tickets, head to the FFFA website.
Thirteen years ago, Korea's cinema standouts scored their own showcase Down Under, with the inaugural Korean Film Festival in Australia debuting in 2010. Since then, the festival has grown from a one-city event to a four-stop tour celebrating both the latest and greatest flicks that South Korea has to offer. It was playing Bong Joon-ho films before Parasite swept the Oscars. It was revelling in Korean thrillers prior to Squid Game becoming an international success, too. It loved Korean genre fare before Train to Busan as well. And, in its just-dropped 2023 lineup, KOFFIA keeps heroing the nation's must-see titles — this time via a 13-film program that'll hit Sydney, Canberra, Melbourne and Brisbane. 2023's KOFFIA has a date with Event Cinemas George Street from Thursday, August 24–Tuesday, August 29, before heading to Palace Electric from Friday, September 1–Sunday, September 3. Then, it's time for an ACMI stop across Thursday, September 7–Monday, September 11, before wrapping up at the Elizabeth Picture Theatre from Thursday, September 14–Sunday, September 17. In each location, it'll endeavour to give audiences a new Korean favourite, or several, from a selection that spans everything from murder-mysteries and detective dramas to revenge thrillers and musicals. There's no such thing as a standard Korean film, which is true of every country's movie output; however, this national cinema is mighty fond of twisty tales. Accordingly, it should come as no surprise that Confession and Gentleman are both on the 2023 bill. The first is a locked-room mystery with an IT company CEO suddenly finding himself the prime suspect, while the second involves a private detective agency's head honcho being falsely accused of a crime. Also on the lineup: The Devil's Deal, which sees a political candidate disqualified, then out for revenge; and The Night Owl, about an acupuncturist who is blind in daylight, can see clearly at night, and witnesses a tragic event one evening. The latter opens the festival, and the directors of both films — The Devil's Deal's Lee Won-tae and The Night Owl's An Tae-jin — are coming to Australia for KOFFIA. Elsewhere, comedy 6/45 hits the Korean Film Festival after proving a box-office smash at home, focusing on soldiers from both North and South Korea finding a windfall; Hero heads back to 1900s Korea to hone in on independence activist Ahn Jung-geun's plight battling Japanese colonial rule; musical drama Life Is Beautiful sees a husband trying to locate his wife's childhood sweetheart; and Next Sohee, which played Cannes 2022, is all about an exploitative work situation. Or, the standouts also include Switch, where a celebrity wakes up one morning to discover that he's living a completely different life — and romance Nothing Serious, about an aspiring novelist who writes a sex column. If it seems like a diverse lineup, that's wholly the aim. "Our 2023 festival program is designed to appeal to a broad audience, offering something for everyone — be they casual viewers or diehard film enthusiasts, promising a vivid and enriching journey through the multi-faceted realm of human experiences," said KOFFIA Programmer Francis Lee. "We hope that KOFFIA continues to facilitate the appreciation of Korean film artistry and culture in Australia, bringing audiences closer to the unique blend of storytelling, cinematography, and performances that have garnered global recognition." KOREAN FILM FESTIVAL IN AUSTRALIA 2023 DATES: Thursday, August 24–Tuesday, August 29: Event Cinemas George Street, Sydney Friday, September 1–Sunday, September 3: Palace Electric, Canberra Thursday, September 7–Monday, September 11: ACMI, Melbourne Thursday, September 14–Sunday, September 17: Elizabeth Picture Theatre, Brisbane The Korean Film Festival in Australia 2023 runs across August and September, touring to Sydney, Melbourne, Canberra and Brisbane. For more information or to buy tickets, head to the KOFFIA website.
Since back in 2019, Sydneysiders have been able to use contactless card payments to cover public transport fares, letting you ride the Opal network without an Opal card. A digital Opal card is also being trialled, too, and the New South Wales Government is slated to test out a handy feature: using it to pay for Ubers, Ingogo taxis and Lime bikes as well. Being able to use the digital Opal card across other forms of transport — so, not just the Opal network — was initially floated back in 2019, but now the test run is finally going ahead. Up to 10,000 Sydneysiders will be granted access to the feature via the digital Opal card trial, which is expected to start in mid-2021. The new technology will also encourage mixing modes of transportation for people who live further from public transport, with credit awarded to user's accounts if they transfer from an Uber, Ingogo taxi or Lime bike onto public transport within 60 minutes. In a statement, NSW Minister for Transport and Roads Andrew Constance said if the initial trial is a success, the NSW Government will look to roll out the program across the transport network and will invite other transport providers to get involved. "We know how convenient using one card is, and this is just the beginning," said Constance. Participants in the trial will receive up to $3 worth of credit each time they transfer from an Uber, Ingogo or Lime service to public transport within an hour window. My Fast Ferry customers participating in the trial will also receive a ten percent discount on their peak hour ferry trips and 25 percent off during off-peak hours, all to help encourage people traveling between Manly and Circular Quay to pair multiple forms of public transport during their journey. The NSW Government has already run one intake for digital Opal trial participants, and is set to open for a second round of applicants sometime this year, too. The overall test run is expected to last for 12 months, with Transport for NSW teaming up with Mastercard, Commonwealth Bank of Australia and EML Payments Limited. One form of transport that Sydneysiders almost certainly won't be able to transfer to or pay for with a digital Opal card during the trial is electric scooters. Back in February, Minister Constance said he was "not in the mood" to run e-scooter trials in NSW, and that they would remain illegal despite the success of organisations like Lime Bike in the city and a growth in e-scooter retailers. The Opal digital trial is set to begin in mid-2021. For further details, head to the Transport for NSW website.
The Chippendale Creative Precinct is on a mission. What Chelsea did for Manhattan, they want Chippendale to do for Sydney. In other words, transform the kind of no man's land between Broadway, City Road and Cleveland Street into the city's creative heart. The area certainly has the kind of rambling, gambling history that compels romanticising. The Beams Arts Festival, now in its second incarnation, is central to the CCP's plan. On the evening of Saturday 21 September, 350 creatives will converge on Chippendale, bringing with them live music, dance, performance, light, video, animation and sculpture. Artists will be working on the spot, creating site-specific works, from enormous inflatables, to guerrilla knitting to street art. Dramatic light shows promise to illuminate Chippendale's nooks, crannies and hidden laneways from previously unseen perspectives. While your eyes and ears are rediscovering their sensory potential, you'll be able to widen your gastronomic horizon with an array of offerings from local chefs, temporary eateries, food vans, boutique beers and top-shelf wines.
414 Bourke Street might be bidding a sad farewell to Colin Fassnidge's hatted restaurant 4Fourteen, but we're banking on plenty more culinary goodness to come, with Jessi Singh confirmed as the venue's next high-profile tenant. The Surry Hills space will be reborn as "inauthentic Indian" eatery Don't Tell Aunty, which is slated to open its doors in early October. For the uninitiated, Singh is the master of modern Indian fare who, along with wife and business partner Jennifer Singh, gifted Melbourne with culinary hits Dhaba at the Mill, Horn Please and Babu Ji. He has spent the last few years stateside, first launching Babu Ji NYC, and most recently opening Bibi Ji wine bar and bottle shop in California, in collaboration with world-renowned wine guy Rajat Parr. Don't Tell Aunty marks Singh's first foray into the Sydney food scene, and is a slight departure from his usual approach. Fun, non-traditional Indian fare is still the game plan, though here, it'll be served alongside a playful cocktail list, heavy on gin and mezcal, and a thoughtful wine list, all headed up by Parr. "I'm really excited to be joining the dynamic and vibrant Sydney hospitality scene," said Singh. "It's been a longtime dream. Let the good times roll!" Colin Fassnidge's 4Fourteen, which has been on the market since the start of the year, will close its doors on Saturday, August 25. Don't Tell Aunty is slated to open at 414 Bourke St, Surry Hills in early October.
While Messina's main jam is crafting supremely scoffable varieties of gelato, the brand's love of food extends far beyond the freezer — as it has proven plenty of times over the past few years. Sometimes, it likes to team up with other culinary hotshots. Sometimes, it just likes to whip out a creative dessert. Either way, your tastebuds always benefit. From 12pm on Friday, June 18 and Saturday, June 19, Messina is busting out one of its specials. If you've had its famous mango pancakes before, including at its yum cha sessions, you'll already be hungry. The crepes come stuffed with mango sorbet and whipped cream, and they've proven immensely popular every other time they've popped up. So, it's no wonder that Messina is turning the tasty occasion into a mango pancake party. The reason: the cult gelato chain has just gotten its hands on a new pancake machine. Even if that wasn't why, desserts like these don't need any justification. The whole thing will go down in the carpark at Messina's Rosebery HQ, until sold out each day — so getting in early is recommended.
Rallies and marches take place every January 26, not only addressing concerns about the date of Australia's national celebration, but also protesting the ongoing discrimination that Indigenous Australians have faced since white settlement. This year, the Indigenous Social Justice Association has organised an Invasion Day, Day of Mourning and Survival Day march that will meet at Town Hall at 10am on Wednesday. The rally will be pushing for Indigenous land rights, reparatory justice, climate justice and the ending of deaths in custody and child removal. It will also mark the 50th anniversary since the Aboriginal Tent Embassy was set up in Canberra. Following speeches at Town Hall, a silent and commemorative march will take place to the historic Day of Mourning site at Australia Hall on Elizabeth Street. After the march, the rally will move onto Victoria Park where attendees can take part in Yabun Festival, the largest one-day celebration of Aboriginal and Torres Strait Islander culture in Australia. Yabun Festival 2022 will mark 20-years of the festival and will feature talks, discussions, markets and performances from musicians including Kobie Dee and Vic Simms. The rally has been organised with COVID-safety in mind. Mask and social distancing will be required. If you cannot attend, you can tune into Yabun Festival online at the festival website or via Koori Radio 93.7FM.
If you're in need of a few chuckles in the face of the state of the world, then Sydney has you covered across April and May. The Sydney Comedy Festival has a bumper edition on offer in 2023, delivering non-stop laughs from an impressive lineup of local and international comedic talent. From Monday, April 24–Sunday, May 21, venues across the city will play host to a program of sidesplitting stand-up, improv, theatre, magic and more. Returning favourites include the always huge Sydney Comedy Festival Gala, which hits the Sydney Opera House, Pac Pavilion Sutherland, Riverside Theatre, the Enmore Theatre and The Concourse to kick things off from Monday, April 24–Wednesday, April 26. Whichever date and venue you choose, expect an outrageous night of onstage antics from a star-studded cast of festival greats and emerging stars. Across the month-long fest, you'll also be able to catch solo shows from the likes of Dylan Moran, Ed Gamble, Bert Krescher, Mark Watson, Jordan Raskopoulos, Josie Long, Arj Barker, Gabbi Bolt, Sam Campbell, Ray O'Leary, Thalia Joan and stacks more. Elsewhere, Lucinda Price — commonly known as Froomes — is bringing her Besties slumber party to the Factory Theatre with Louis Hanson, the internet's patron jar-sauce hater Nat's What I Reckon will be bringing his show Yeah Righto to the festival and the UK''s Sh!itfaced Shakespeare will be performing Romeo and Juliet at the Manning Bar and The Concourse. You can catch Osher Günsberg's satirical news show NTNNNNN (read our chat with Günsberg about the show) and Richard Glover will be popping up with a special live broadcast of Thank God It's Friday! featuring live music from The Soul Movers. Images: Ben Sanford.
It's Mardi Gras time again, Sydney — and the annual celebration comes not just one festival, but two. When you're not partying, heading to performances and hitting up the parade, you can spend time in a darkened cinema watching the latest and greatest queer movies. Returning for its huge 26th year, and running between Wednesday, February 13 and Thursday, February 28, the Mardi Gras Film Festival is going big in 2019. A lineup that boasts 54 features, 66 shorts, 70 sessions and 75 Australian premieres isn't small by any means. It's also making a sizeable footprint, using Event George Street Cinemas as a base but spreading its screenings around the city too. After opening with the Kyle MacLachlan and Maria Bello-starring Giant Little Ones, MGFF's program includes a little bit of everything. There's the werewolf thrills of Good Manners, plus an award-winning drama about toxic masculinity and sexuality in the form of Slovenian film Consequences — as well as a Paris Is Burning and Rize-style dance doco courtesy of When the Beat Drops, and a restored version of the 1987 Merchant Ivory classic Maurice. Famous figures are in the spotlight thanks to biopics Mapplethorpe, The Happy Prince and Wild Nights with Emily, focusing on photographer Robert Mapplethorpe, playwright Oscar Wilde and poet Emily Dickinson respectively. And when the fest comes to a close, it'll do so with the tender, luminous and important Rafiki, a lesbian love story that was initially banned in its native Kenya.
The team behind some of Sydney's recent major pub revamps is at it again. Just a few months after relaunching Waterloo's George Hotel and the Duke on Enmore Road, James Wirth, Michael Delany and Joel Amos are doing the same to Woolloomooloo's Old Fitz. The Dowling Street stalwart reopened late last week with a fresh coat of paint, British pub eats by a star chef and natural wines aplenty. But, as Wirth is quick to point out, it's still the same old pub at heart. "We wanted to keep the spirit of the place alive," says Wirth. "So we kept the front bar as is, apart from replacing the carpet and updating the furniture." Elsewhere, the upstairs dining room now has a "drinking den meets old man study" vibe and the courtyard has been transformed into a leafy oasis with plenty of group seating. [caption id="attachment_729165" align="alignnone" width="1920"] Tanya Saint James[/caption] In the kitchen, Head Chef Nicholas Hill (who's previously worked at Sydney fine diners Sepia and Quay, as well as the lauded Ledbury in London) is dishing up the city's best take on traditional pub food, with a strong focus on nose-to-tail cooking. The succinct menu, which varies slightly at lunch and dinner, includes a scotch egg with pickles, a rissole sandwich with beetroot and cheddar and — Wirth's personal favourite — the raw beef on dripping toast. Pub stables, including schnitzels, steak, and fish and chips (with mushy peas) make the cut, too. Then there are the blackboard specials, which change daily. When Concrete Playground visited, highlights included a pig trotter schnitzel sandwich and a terrine of the day made with chicken liver and pine mushroom. A daily pie for two, most recently with veal neck and pig trotter, has been making the rounds on Instagram, too. Another new and popular Old Fitz dish that's already made its mark on the 'gram is the hot chip butty. It's a DIY sandwich with white bread, golden chips, lots of butter and optional sauce, including the aforementioned drippings or curry. [caption id="attachment_729169" align="alignnone" width="1920"] Daily pie for two by Tanya Saint James[/caption] On the drinks side of things, Amos (founder of online and now-IRL wine retailer Drnks) has, of course, brought a natural-wine spin to the pub, but it's not strictly so. "We have a regularly changing wine specials board, that'll focus on two or three bottles from independent producers," says Wirth. "But you can still come in for a sauv blanc before the theatre, too." Speaking of the venue's attached Old Fitz Theatre, that hasn't changed one bit, but now you can get a bottle of orange wine and a really good feed before or after. As well as the wine, there's a brand new cocktail menu, featuring the bars signature Pimm's cup and a black velvet, which is an unusual combo of a stout and sparkling wine. Other concoctions on the list include the Blackberry Bramble (gin, blackberry liqueur and lemon juice), the Penicillin (two types of scotch, honey and ginger syrups and lemon juice) and a G&T with earl grey syrup. Beer is also in the limelight with the bar's 21 taps offering a mix of Aussie pub standards alongside local craft from the likes of Grifter and Yulli's Brews. The Old Fitz is now open at 129 Dowling Street, Woolloomooloo. Opening hours are Monday through Saturday from 11am–midnight and Sunday 11am-10pm. Images: Tanya Saint James
Is your aesthetic still stuck in the greys and blues of winter? Well, you should hotfoot it to Precinct 75 — its upcoming design market will help you transition into spring. On Saturday, September 14, the market takes over the St Peters creative precinct to celebrate local independent labels. Both Precinct 75 tenants and guests will be there, including jewellery maker Alana Douvros, Taste Kaleidoscope Teas and natural skincare label Oleu Life. The event is pairing up with the local foodies and farmers markets to keep you fed — including Pepita's Ice Cream Van and its vegan, dairy free frozen treats — while St Peter stalwarts Rice Pantry, Sample Roasters and Willie the Boatman Brewery will be serving up their wares as well. And, if you want to take something green home with you, plenty of plants will also be for sale — which can help brighten up your home. Plus, with free entry for you, your mates and the pooch — yes, pets are welcome — you'll have plenty of money to spend on some new wares. While entry is free, you will need to register over here. The Spring Design Market runs from 9am–4pm. Images: Lucy Alcorn
Artist Nalini Malani's Mother India: transactions in the construction of pain tackles the violence during the partition of India into India and Pakistan in 1947. Rape and violence by both sides laid the groundwork for a lot of current tensions and traumatised or killed a lot of ordinary people along the way. Mother India is especially interested in what happened to the women of both sides, both before and after the violence. Paid for by money from the Gallery's Contempo program, this video installation consists of five oversize video panels along the back wall. Black and white street scenes pass as voices speak in the background. One voice reassures us, a woman screams "Get off me! Get off me!" Meanwhile we see images of the everyday: everyday men and women on street, everyday protest, everyday blue cows. The violence of partition was horrific, but for an audience neither raised nor schooled with this history, Mother India doesn't suggest enough of everyday life before the violence, which makes it hard for the peace to dissolve into the horror of what had been normal being broken in two. Also in the exhibition is a wall-spanning work by Hema Upadhyay, the fantastic Mute Migration. This work is a giant city map hung sideways on five black panels. It is Dharavi, a Mumbai slum and one of the world's largest slum districts. The houses are picked out as three dimensional tiny models topped with real aluminium rooves in yellow, blue, brown, and bare metal. The minarets of green mosques are dotted everywhere, among tiered apartment blocks and white-roofed official buildings. Another section of the slum has shanties built on shanties built on shanties. Black paint snakes between these low-rise blocks like streets or a river. Like their real life counterparts, these slums are ramshackle, vivacious and seething. Where Mother India alludes at the depravities of nation building, Upadhyay demonstrates. Image: Mother India: transactions in the construction of pain 2005 by Nalini Malani.
When you can't venture to a crowded pub to watch your favourite sport on the big screen, recreate the best parts of game day in your own home instead. Whether you're into the AFL or NRL, you can take inspiration from these five suggestions to amp up the at-home viewing party to suit your code. We've partnered with leading bourbon brand Jim Beam to bring you tips on entertaining your mates without missing any of the highlights. [caption id="attachment_786097" align="alignnone" width="1920"] Cassandra Hannagan[/caption] COOK UP YOUR FAVOURITE PUB CLASSICS First thing's first: food. Any good party host knows you need to plan ahead when it comes to feeding your guests, but that doesn't mean you need to spend heaps of cash or lean on the same-old chips and dips combo. Give yourself a theme and opt for handheld, small bites. For example, buffalo wings with blue cheese dipping sauce and loaded potato skins with bacon and sour cream for easy-to-serve snacks that you can prep in advance and your friends can graze on throughout the game. Make a classic hot dog more grown-up with fresh lettuce, jalapeños and mustard, or create a nacho topping station so everyone can serve themselves when they're peckish. [embed]https://open.spotify.com/playlist/7pS5D5MnYe11rtrRcjeMTk?si=d6yoaggsQnaTvog48eh0IA[/embed] CREATE A PUB PLAYLIST Channel the mood of your local, wherever that may be. If yours usually busts out Powderfinger, Crowded House and Paul Kelly, lean into the theme and create your own playlist that's two parts nostalgia and one part fresh Aussie hits. Or, if you want to pretend you're at the Gabba for this year's AFL Grand Final, pull together a playlist that honours the local acts taking to the stage come Saturday, October 24. Brisbane bands Sheppard and Cub Sport will be performing, along with singer-songwriter Thelma Plum and Rockhampton's blues duo Busby Marou. Plus, Sydney's DMA's and Adelaide-based duo Electric Fields. If you're short on time, head to one of the act's own selections, like DMA's Radio above. More of an Amy Shark fan? The indie-pop star is headlining this year's NRL grand final and the Gold Coast artist has a sweet playlist of equally cool Aussie acts like East, Lime Cordiale and Wafia that you can find here. [caption id="attachment_786936" align="alignnone" width="1920"] Dan Burton[/caption] PULL OUT THE LAWN GAMES When you're drinking at the pub there's often time for playing games and getting competitive — whether that's around the pool table or facing the dart board. Bring a sense of playful competition into your get-together with bocce, giant Jenga, Finska, Twister — or whatever games you might have stored away at home. Create a break-out zone away from the TV so your friends can dive into an active game whenever the mood takes hold. Don't have any games at home? You'll find a good selection of outdoor games at Opus, which has free delivery if you spend over $75, and at Sunnylife, which has a $12 flat rate for delivery. [caption id="attachment_787026" align="alignnone" width="1920"] Kaleidico[/caption] PLAN A SURPRISE PUB QUIZ FOR HALF TIME No one wants to listen to the game analysis come half time, so bring all your sports fanatics together over some brain teasing. Can you name the date of the very first AFL match? What's Daniel Ricciardo's driver number? How many times has Dylan Alcott represented Australia at the Paralympics? Who is Australia's fastest female bowler? No matter what sport you're celebrating on the big screen, you can test your collective knowledge in a quick quiz to lighten the mood. Create one of your own, or hit up the sports quiz of the week from The Guardian, or the ABC's news quiz for a mix of sport and general knowledge. Or, if you want to play along live, Jay's Virtual Pub Quiz runs weekly quiz sessions on YouTube. [caption id="attachment_784939" align="alignnone" width="1920"] Steven Woodburn[/caption] STOCK UP YOUR BAR Rather than making sure there are enough glasses in the house, or having to fight over space in the fridge for cold drinks, make things easier on you and your guests by filling up your bath or a bucket with ice and stocking it with premixed drinks. That way everyone can dip into the bathroom or kitchen for a fresh bevvy when they like, and you don't have to worry about chopping citrus for cocktails, or smashing glasses you don't have time to replace. Jim Beam has a range of premixed drinks to suit all your mates' tastes. You can pick up a pack of seven Jim Beam & Cola cans for $29 at BWS stores. Or go one better and enter Jim Beam's competition to win your own Tiny Stillhouse, which comes decked out with bluetooth speakers, a mini fridge, four bar stools, an esky, bar mats, a Jenga set, a case of Jim Beam and Cola and a bottle of Jim Beam White Label to really up the ante for your next get-together. Top image: Cassandra Hannagan
This article is sponsored by our partners the City of Sydney. This summer, the City of Sydney's City Art program will light up the William Street side of the Australian Museum with projections of larger-than-life Aboriginal women draped in cloth. These sepia-drenched, architectural bodies speak of the need to reconnect with, and revitalise, Australia's Aboriginal and Torres Strait Islander identity. born in darkness before dawn (2013), by Sydney-based Wiradjuri artist Nicole Foreshew, will be launched as part of the City of Sydney's Eora Journey: Recognition in the Public Domain, which recognises and celebrates the ‘living culture of the Aboriginal and Torres Strait Islander community in Sydney’ under the guidance of curatorial advisor Hetti Perkins. The work is also part of the inaugural Corroboree Sydney, a new festival celebrating Indigenous culture. Cast upon the William Street facade of the building opposite Cook and Phillip Park, the projections will be approximately three hours in duration, combining slow movement and still imagery. In elaborating on the significance of the cloth, which is imbued with traces of mineral and plant specimens, Foreshew explains this is to "emphasise the transition of space, as it is always moving between social relationships which are generated within the logic of place: revolving around people, occupying, owning, seizing, losing or transforming a space". Hence, the translucence and fluidity of cloth can be perceived as evoking the fluctuating historical moments of possession, dispossession and repossession, and their deeply felt social repercussions. Foreshew also states that, "the body is used to perform the absence of place". In this way, she is addressing the subjugated women of colonial Australia and reinscribing them into history. There is a sense of architectural power and stateliness evoked by the textured folds of the women's cloth-garments, as if rivalling the aesthetics of ancient civilisations. The siting of the work is significant as the Australian Museum houses a rich collection of Aboriginal artefacts that complements Corroboree's central theme of 'place' and 'living culture'. The work will engage with personal histories and negotiate a sense of community and belonging. The work responds to Indigenous usurpation, bespeaking the robbery of their status as the original inhabitants of the land. By etching a contemporary and bodily Aboriginal presence into the facade of one of Sydney's iconic landmarks, Foreshew challenges Australia's colonial narrative and promotes the historical and cultural significance of the site for Aboriginal and Torres Strait Islander people. For more information, visit the City Art website.
Grab your most colourful beach floatie and your most surf-friendly out-there fancy dress — the 15th annual Manly Inflatable Boat Race returns to delight kidults on Sunday, February 23. The charity event will see participants take their makeshift boats and paddles through a one-kilometre course, starting off at Shelly Beach and ending back at shore. You must be at least 12 years old to participate and, of course, be able to swim. Following the race, there'll be a sausage sizzle while token prizes are awarded. The day isn't just for laughs, though, with all proceeds going to Tour de Cure, an Aussie-based fundraiser that benefits cancer research. Even the booking fee will be donated thanks to Humanitix, Australia's first not-for-profit ticketing platform. Early bird tickets have already sold out, but you can still nab $55 tickets online, or pay $60 on the day. The race starts at Shelley Beach at 10.30am — but you'll need to leave enough time to check in and inflate your vessel on South Steyne Promenade (just opposite Royal Far West) beforehand. Here's a chance to enjoy yourself silly while doing some good. May the best floatie win.
Sydney is home to some serious local distillers, as well as the event to prove it. Returning for its third year, Indie Tasting exclusively features independently-made spirits, and plenty of them. On September 16, Restaurant Hubert will host both local and international makers of craft spirits in a day of talking, learning and, of course, boozing. The event will see 150 boutique spirits on offer from more than 40 suppliers, so you'd best arrive thirsty. It's the type of event that whiskey, gin, rum, vodka and tequila-lover's dreams are made of. We'd keep listing different kinds of spirits, but we're getting thirsty. Each ticket will include a burger and fries, plus three free masterclasses, which include a myth-busting session, a chat about sustainability, and a class called 'Here's a crazy idea — let's open a distillery'. Indie Spirits Tasting is being held as part of Sydney Bar Week 2017, so this tasting is just a highlight of what drinks may come mid-September.
Sample 500 wines sourced from 120 Australian vineyards, try 100 cheeses and catch your favourite chefs in the flesh when the Good Food and Wine Show comes to Sydney Showground from June 27-29. Whether your passion is wine, coffee, local produce, cooking or travel, there'll be displays, tables, talks and masterclasses to get you working up an appetite. Good Food Theatre will see a bunch of celebrity chefs, including Matt Stone, Sammy and Bella, and Bill Granger whip up a three-course meal right in front of your eyes, revealing some of their secret tips along the way. Paddock to Plate will host a series of presentations, with Matt Moran popping in to chat about various food and wine regions and talk up his favourite producers. Plus, there'll be a grazing garden offering food truck feasts, a creative kitchen from Laucke, wine theatre presented by Riedel, a farmers' market lane and a cheese alley by Tucker's Natural.
You can never have too many occasions to eat cheese, but this returning Sydney cheese festival isn't just keen to shower cheese fiends with creamy goodness. A collaboration between Bruny Island Cheese Co. cheesemaker Nick Haddow and the organisers of Pinot Palooza, Mould wants dairy lovers to explore and devour the mild, hard and soft bites that Australia's best cheese wizards have to offer. Returning for a third year in 2021, after a postponed 2020 festival thanks to COVID-19, the cheesy event will paint Carriageworks yellow between Friday, May 21 and Saturday, May 22. Alongside unlimited tastings of Australia's best cheeses — with the lineup yet to be announced — it'll feature flavoursome fare from cheese specialists too. Think of it as a cheese tasting trip around Australia without leaving Wilson Street. Of course, snacking on samples and purchasing slices and slabs to take home with you are just two ways to enjoy cheese. The fest will have cooking demonstrations, masterclasses and talks so you can stretch your cheese knowledge as well as your cheese stomach. And it wouldn't be a cheese festival without beverages to wash it all down with, so expect a bar serving Aussie wines, whisky, beer and sake — all of which match nicely to a bit of cheese. Tickets cost $45, and there'll be three sessions: 4.30–8.30pm on Friday night, 11am–3pm on Saturday morning and 4–8pm on Saturday afternoon. Of course, the event is running at a COVID-safe capacity, so tickets are limited.
Barangaroo's expansive sandstone event space The Cutaway — on the land of the Gadigal people of the Eora Nation — is set to host an immersive mash-up of music, spoken word and sound design for two nights this September. Long-standing Bankstown creative company Utp presents Blak Box: Precarities, an electrifying exploration of exactly that — precarity. Defined, precarity is a state of unpredictability. Uncertainty and doubt mixing in with our day-to-day. On Friday, September 2 and Saturday, September 3, these transient fluctuations will be explored via Blakfella-style cabaret, bespoke music compositions and spoken word. Sound artist and journo Daniel Browning has curated a hard-hitting lineup of performers. There's poet and activist Lorna Munro spitting quick-fire spoken word, DOBBY and his superb musical talents and the violin mastery of Eric Avery. Plus, Ancestress will be bringing her creatively charged determination for change and star of ABC's Black Comedy Steven Oliver expanding his creative repertoire. Backdropping the live performances is lighting design from Karen Norris of Bangarra Dance. Not sure what to expect? Think a 60-minute, boundary-pushing, First Nations-driven artistic exploration of where we all sit as we lurch towards the unknown. Blak Box: Precarities is a project commissioned by the NSW Government. To find out more and secure your tickets, head to the website. Image: Rhett Hammerton
It wasn't long ago that the MCA wore no clothes at all. But for the duration of the Biennale, with Lee Mingwei's Mending Project in-house, it's taking a closer interest in the stitched article. And one of its approaches is to take on what was a new idea not too long ago but is now standard: find a group of like-minded fashion-lovers, bone them up on the value of recycling over consumption and get them together for an orgy of swapping stuff they have already. For the Biennale, the MCA is throwing its hat in the ring. To swap for said hat, you're encouraged to bring up to 10 nice-enough and no-longer-loved articles of clothing for the MCA Clothing Exchange, for swapping with other like-minded cohabiters of art and fashion. Will you find the cast-offs of swish fashionistas, or will art lovers' choice of clothes be the strangest cut of all? Read the rest of Concrete Playground's Top Ten Things to See and Do at the 2012 Sydney Biennale.
In his first stripped-back solo shows since 2005, singer-songwriter CW Stoneking will be touring his much-loved old-timey blues for Heavenly Sounds in June. The short tour — which sees him playing in the grand cathedrals of Melbourne and Sydney — will definitely make for a unique experience. While Stoneking's music is already rooted in soulful storytelling, giving it an intimate reception in a church will no doubt add an extra bit of depth and meaning. For someone who has only two albums to his name, Stoneking has an incredibly dedicated following. Debuting with banjo-heavy blues album King Hokum in 2005, this Australian oddball set himself apart from the local talent by flawlessly delving into the music of America's deep south. Then, his 2008 release of Jungle Blues expanded into the 1920s realms of calypso, hillbilly and jungle jazz. These two shows for Heavenly Sounds will see him preview music from a yet unreleased album. Your guess of the genre is as good as mine. For this tour, Stoneking will be joined by soulful Novacastrian Kira Puru — the former vocalist for The Bruises — who has collaborated with the likes of Illy, The Preatures and Paul Kelly. Inevitably, though, all eyes will be on on the main act. Not only is it rare to see a blues artist take the stage, but Stoneking will be one of the only men on a tour which has so far hosted talented but similar songstresses such as Laura Marling, Sarah Blasko, Julia Stone and Lisa Mitchell. Tour dates: Sydney: Wednesday June 11, St Stephen's Uniting Church, 197 Macquarie Street Melbourne: Friday June 13, St Michael's Church, 120 Collins Street Tickets are available through Ticketek from Monday, April 14, for $62.50 + transaction fees. Members of the Heavenly Sounds mailing list can access pre-sale at 9am on Friday, April 11. Sign up at www.heavenlysounds.com
Sydneysiders venturing outdoors this morning could find the whole breathing thing a little less fun than usual — as you may have noticed, it's pretty smoky out there. As the result of bushfires burning on the north coast and northern NSW, a layer of smoke has made its way across the city and is expected to stick around for the rest of the day. Needless to say, it's affecting air quality, with the NSW Office of Environment and Heritage labelling areas in Sydney's east, northwest and southeast as "very poor" and "hazardous" on the morning of Thursday, October 31. Those further out of the city are affected, too, with the Lower Hunter and Central Coast currently experiencing "hazardous" air quality and areas in the Illawarra "poor" to "very poor". https://twitter.com/NSWHealth/status/1189412830618869762 When the Air Quality Index reaches these levels, NSW Health suggests that everyone cut back on strenuous outdoor activities and those with chronic respiratory or heart conditions avoid all outdoor physical activity and stay indoors where possible. It's also advised that you carry your inhaler, follow your Asthma Action Plan and seek medical advice if you start experiencing symptoms. This follows a smoky Wednesday, too, and the haze is unlikely to lift completely for another 24 hours, with the NSW Rural Fire Service continuing to battle numerous blazes across the state and northeasterly winds bringing smoke down towards the city. https://twitter.com/BOM_NSW/status/1189418802590695424 As of 5pm yesterday, the NSW RFS was fighting 72 fires across the state, with 38 yet to be contained. A blaze near Port Macquarie had burnt more than 2500 hectares and one to the northwest, near Coffs Harbour, over 100,000 hectares. Both are being controlled. https://twitter.com/NSWRFS/status/1189637843783581696 You can keep an eye on the fires burning across the state at the NSW RFS website. For more tips on staying safe during smoky conditions, head to the NSW Health website.
If humanity ever managed to cure or circumvent death — or even just stop being despairingly afraid of our own mortality — the horror genre would immediately feel the difference. Lives are frequently in peril in films that are meant to spook and frighten. Fears of dying underscore everything from serial killer thrillers and body horror flicks to stories of zombies, ghosts and vampires, too. Indeed, if a scary movie isn't pondering the fact that our days are inescapably finite, it's often contemplating our easily damaged and destroyed anatomy. Or, it's recognising that our species' darkest urges can bring about brutal and fatal repercussions, or noting that the desperation to avoid our expiration dates can even spark our demise. Accordingly, Saint Maud's obsession with death isn't a rarity in an ever-growing genre that routinely serves it up, muses on it and makes audiences do the same whether they always realise it or not. In an immensely crowded realm, this striking, instantly unsettling feature debut by British writer/director Rose Glass definitely stands out, though. Bumps, jumps, shocks and scares come in all manner of shapes and sizes, as do worries and anxieties about the end that awaits us all. In Saint Maud, they're a matter of faith. The eponymous in-home nurse (Dracula and His Dark Materials' Morfydd Clark) has it. She has enough to share, actually, which she's keen to do daily. Maud is devoted to three things: Christianity, helping those in her care physically and saving them spiritually. Alas, her latest cancer-stricken patient doesn't hold the same convictions, or appreciate them. Amanda (Jennifer Ehle, Vox Lux) isn't fond of Maud's fixation on her salvation or her strict judgements about her lifestyle. She knows her time is waning, her body is failing and that she needs Maud's help, but the celebrated ex-dancer and choreographer does not want to go gently or faithfully in that good night. Instead, she'd much prefer the solace that sex and alcohol brings over her palliative care nurse's intensely devout zeal. Playing out in a hilltop house near the British seaside that could host any number of gothic horror tales, Saint Maud directs plenty of attention towards the push and pull between its two central characters. But Glass isn't solely interested in an adversarial relationship between a pious young woman with her whole life seemingly ahead of her and the ailing hedonist who'll soon have hers cut far too short. The ideological, psychological and emotional dance that Maud forces Amanda into is gripping to watch — and shrewdly and potently handled — but that's just one of the movie's two key clashes. The other: the war raging within Maud herself. Despite her fervour, as well as the stern but feverish way in which she pushes her devotion to her faith upon others, her own story isn't straightforward. Flashes to her past, and to her previous job in a hospital, make it plain that pain, trauma and tragedy all linger in her recent history. That Maud has changed her name from Kate in the aftermath also colours her backstory, as does her alarm when she's approached by a former colleague, and the fact that her sanity just might be fraying. Set to star in the upcoming Lord of the Rings TV series, Clark also has Love & Friendship, Crawl and The Personal History of David Copperfield on her resume; however, her performance in Saint Maud is career-defining. It's one of the best of recent years by any actor, and it isn't easily forgotten. She's subtle but also severe, two traits that can co-exist in a portrayal this exceptional. She wears Maud's devoutness like a second skin, but also conveys how it itches when anything conflicts with the character's forceful but also fragile status quo. Ehle, who is perhaps presently best-known for Contagion despite boasting three decades of credits to her name, is similarly stellar in a vastly dissimilar way. Amanda isn't an object of pity, or meant to get audiences weeping for her misfortune. Her personality, warts and all, remains steadfastly intact even as illness visibly takes its toll. And, she isn't willing to simply nod, smile and acquiesce to Maud's religious zest out of gratitude, either. Most filmmakers can only dream of guiding such powerful and delicately layered performances out of their two stars — and in their very first stint as a writer and director — but again, Glass isn't willing to rest easy. In its narrative, Saint Maud is about control on several levels, as its titular figure attempts to use her faith to keep her own life and her patient's impending death in check. Behind the lens, Glass has crafted a work of supreme mastery, including in its vivid imagery and sinister mood. Whether the film is sinking into realism, embracing horror or getting surreal, the cinematography (by The End of the F***ing World's Ben Fordesman) and production design can't be faulted. As the movie steps further inside Maud's precarious existence, nor can the score, which conjures up as much unease as the overall feature. They each contribute to a swirling sea of tension, culminating in a thunderous final shot that really couldn't be more fitting, affecting, astonishing or memorable. Part of being a horror fan is spotting the genre's webs and threads, and seeing how the best and the worst examples — and everything in-between — build upon all that's come before. Glass evokes Hereditary and Midsommar-esque levels of dread as her anti-heroine is slowly forced to reckon with her beliefs spiritually, emotionally and physically. Focusing on a young woman seen differently by the world around her, her feature recalls The Witch, too. Both as a character study and as a part-religious thriller, part-body horror flick, it also feels like the product of a 70s binge. That said, Saint Maud is firmly its own movie. Awful and average films make you wish you were watching their influences, while excellent pictures leave you ecstatic that their sources of inspiration have given rise to something so stirring — and, as it haunts from start to finish, demanding viewers' reverence, this revelatory feature falls into the latter category. https://www.youtube.com/watch?v=OP2MlPwflX4
