Antidote — the Sydney Opera House's festival of ideas, action and change – will return following an entirely online program of talks in 2021. The festival returns with a mix of livestreamed and IRL talks boasting an impressive lineup of international names including Brian Cox, Jenny Slate and Jarvis Cocker. Fresh from spending three seasons yelling about a business empire on one of television's biggest shows, Succession star Cox headlines the Antidote bill. The iconic actor will make the trip Down Under to chat about his career, including his ability to play characters known for their anger, malicious ways and sinister mood — which, yes, spans more than just the hit HBO series. His discussion is called The Evil in Us All, after all. As for Slate, don't be suspicious. The Parks and Recreation, Obvious Child, I Want You Back and Everything Everywhere All At Once star, and Marcel the Shell with Shoes On author, will hit Sydney to focus on finding joy and laughter in our weird lives. She also has essay collection Little Weirds to her name, so she'll be on topic. Pulp frontman Cocker isn't playing tunes — no 'Common People' or 'Disco 2000' for you, sorry — but he will be showing folks his attic. His livestreamed conversation is called Good Pop, Bad Pop, just like his recently released memoir, and it'll feature him talking through some of the things he's collected, the tales behind them, and what the objects we hide away say about us. Also on the Antidote lineup: bestselling author Mohsin Hamid (Moth Smoke, The Reluctant Fundamentalist, Exit West), chatting about white anxiety, privilege and prejudice — and Olivia Laing (The Trip to Echo Springs, The Lonely City, Everybody: A Book About Freedom), with the award-winner talking about oppression, resistance and bodies via livestream. Or, there's an event called Ukraine Has Changed Us, which'll include Ukrainian poet and recent Nobel Prize in Literature nominee Serhiy Zhadan live from Kharkiv. Responding to our times in a different way, The Atlantic's science writer Ed Yong, a Pulitzer prize-winning journalist, will discuss global biosecurity and potential pandemics beyond COVID-19. He's the last of the fest's four guests that are appearing via video link — and he'll speak with epidemiologist and UNSW Chair of Biosecurity Professor Raina MacIntyre. Elsewhere, Gunai artist and writer Kirli Saunders will lead a panel with Gumbaynggirr/Bundjalung man and CEO of the Muurrbay Aboriginal Language and Culture Co-operative Gary Williams about preserving and sharing Australia's Indigenous languages. The full Antidote lineup spans 17 talks, conversations and panels, plus four workshops, and an art activation as well — all of which covers chats about storytelling, balancing living with tragedy with retaining hope, Australia's future from a First Nations standpoint, ditching careers in media to become doctors, campaign reporting and China's growing power, too. [caption id="attachment_859192" align="alignnone" width="1920"] Jenny Slate, Katie McCurdy[/caption] Top image: Antidote 2020 by Prudence Upton
All plot, all the time: that's how some filmmakers craft movies. Every scene leads to the next, then to the next and so on, connecting the story dots so that event A plus event B (plus event C, event D, event E and more) neatly equals wherever the narrative eventually ends up. Clio Barnard is not one of those writers or directors. Every scene always leads to the next in every film that tells any tale, no matter who's spinning it, but much of what happens in the Dark River and The Selfish Giant helmer's movies doesn't change, shift or drive the plot at all. Indeed, her features often have storylines that seem straightforward, as the tender and tremendous Ali & Ava does. But that uncomplicated appearance — including here, where a man and a woman meet, sparks fly, but complications arise — couldn't be more deceptive. In Ali & Ava, that man and woman are indeed Ali (Adeel Akhtar, Killing Eve) and Ava (Claire Rushbrook, Ammonite), both residents of Bradford in Barnard's native West Yorkshire. He's a working-class landlord — a kind and affable one, noticeably — from a British Pakistani family, and was once an EDM DJ. She's an Irish-born teacher's assistant at the school where one of Ali's tenants' children attends. Frequently, he's on drop-off and pick-up duty, because he is that helpful to his renters. So, when the skies open one day during his school run, Ali offers Ava a ride home rather than seeing her walk to the bus in the pouring rain. They chat, click, laugh, bond over a shared passion for music and slowly let their guards down. But what would a romance be, especially an on-screen one, if the path to love truly was effortlessly smooth? With a lyrical social-realist bent that'd do Ken Loach, living patron saint of British lyrical social-realist filmmaking, proud — see: Loach's I, Daniel Blake and Sorry We Missed You for his two most recent examples — Barnard unpacks everything that roughs up Ali and Ava's tentative courtship. But there's another English director who springs to mind, too, thanks to the way that Ali & Ava can turn from poignant to portentous in a second: This Is England and The Virtues' Shane Meadows. His work finds bliss and joy in ordinary, everyday moments, and also violence and menace as well. One can become the other so quickly that, if it didn't all feel so genuine and authentic, a case of whiplash might be the end result. All three filmmakers possess a commitment to detailing lives that aren't typically fodder for celluloid dreams; all three, including Barnard with The Selfish Giant and now Ali & Ava, make features in the vein that are potent, perceptive, dripping with empathy and as emotionally raw as films come. Ali, friend to everyone, is troubled by more than just regret about no longer hitting the decks. He has a wife, Runa (Ellora Torchia, Midsommar), who no longer loves him or wants to be with him. But he's too proud to tell his family, so they still live together while she keeps studying. That brings judgement his way, with his sister Usma (Krupa Pattani, Ron's Gone Wrong) vocal in her disapproval about his growing closeness with Ava. It makes Ava apprehensive as well, unsurprisingly. She already has enough of her own worries as it is, caring for her five kids — some of which have had kids of their own — as a single mother. One, her son Callum (Shaun Thomas, Miss Peregrine's Home for Peculiar Children), remains affected by his father's death a year earlier, and also his parents' breakup before that. He's far from welcoming to Ali as a result, terrifyingly so, hating even the idea of him as his mother's potential friend. Writing a devastatingly layered script, Barnard spies the myriad of factors that test her titular twosome. She sees them with unflinching eyes, in fact. Racism is a constant that Ali is forced to live with. For Ava — who has a top arts degree, but needs a secure job that makes ends meet to support her family — classism has long worked the same way. On both sides, someone that Ali and Ava each knows has a strong, instant, knee-jerk reaction. On both sides, the pair's past woes linger like ghosts. Barnard took inspiration for Ali and Ava from people she met while making her other movies, and she knows that there's nothing that's simple about anyone's life, not for a moment. She knows that we're all haunted by everything that's ever pierced our happiness and shattered our fantasies, and she's determined to wade through exactly what that means. Grief, trauma, domestic violence, mental health, the responsibilities of being a parent and grandparent, the expectations of families, the strength it takes to care for others, the weight of forsaking your hopes and wishes for someone else, the complexities of looking for love when a big chunk of your days are behind you: they all have a place in this deeply thoughtful film. So does daring to put yourself first, striving to work past each and every roadblock, being willing to fight for what you want, and braving the unshakeable truth that nothing is ever 100-percent rosy. These themes, ideas and factors all percolate as the movie spends time with Ali and Ava, rather than through purposeful and overt plot point after purposeful and overt plot point. Again, that's the kind of filmmaker that Barnard is. Off-screen, we get to know people through their company; on-screen here, with cinematographer Ole Bratt Birkeland shooting as he did with the director's astonishing 2010 debut The Arbor, that's what Ali & Ava does, too. The picture's namesakes, and the actors behind them, prove exceptional company. They provide wonderfully laid-bare performances as well, which Barnard directs — and Birkeland lights and lenses — with feeling to match. Just as Ali and Ava's existences swing between euphoric and struggling, the movie about them balances its naturalistic, keenly observant approach with a poetic eye. Never is this more apparent than in scenes where Ali, Ava or both are listening to music. Sometimes he dances on top of his car, or on her couch. Sometimes they sit in his vinyl-filed basement. Sometimes they're just driving. Wherever they are and whatever they're listening to, forcefully and dutifully progressing the plot is never the point; learning who Ali & Ava's eponymous figures are, and understanding them as intensely as possible, always is.
This year might've felt like it has dragged on forever, but festive season is right around the corner already. And if you're the kind of person who likes spending this particularly jolly period searching for gifts and goodies at markets, you're about to be in your element. At Entertainment Quarter from 10am–4pm on Sunday, November 29, you'll be able to wander your way through a huge addition to Sydney's market scene: The Ultimate Christmas Market. It'll feature 16o stalls, all spread around the ring in the site's showgrounds — for social distancing reasons, of course. As for what you'll be browsing and buying, it's a hefty list, with plenty of Sydney small businesses selling their wares. Whether you're looking for a present for someone else or you're keen to be your own Santa, you can check out homewares, clothes, arts and crafts, textiles, jewellery and items for pets. And, stock up on Christmas decorations, ornaments and wrapping paper as well. There'll also be food — to take home to celebrate the season, and to eat while you're wandering around.
Since cinemas reopened in Sydney, Dendy Newtown has been celebrating by hosting a number of themed film festivals. So far, it has focused on excellent anime, top-notch queer cinema and big-screen musicals — and now, for its last movie showcase of 2020, it's heading into the obvious festive territory. Don't go thinking that the Naughty & Nice Christmas Film Festival is only playing jolly and merry movies, though. If you like your seasonal cinema shenanigans with a tad more darkness than Home Alone's hijinks, your tastes are catered for, too. Yes, Home Alone is on the bill. Of course it is. But so is Finland's out-there Rare Exports: A Christmas Tale, a Die Hard and Die Hard 2 double feature, the Mel Gibson-starring Fatman and musical zombie flick Anna and the Apocalypse. In the more jovial camp, you can also watch The Nightmare Before Christmas, It's a Wonderful Life, Love Actually, National Lampoon's Christmas Vacation and Miracle on 34th Street — plus The Muppet Christmas Carol, The Santa Clause, Elf and The Man Who Invented Christmas. Each title plays at different times on different days during the fest, so make sure to check the session schedule before hopping in your sleigh and heading to Newtown. https://www.youtube.com/watch?v=dZ9DDU4R5QI
'Reduce, reuse and recycle' isn't just a catchy slogan. It's a sensible way to help diminish humanity's impact upon the planet — and it's one of the key ideas behind Little Bay's new Looped Festival. Across three socially distanced sessions on Sunday, November 29 (at 10am–12pm, 12–2pm and 2–4pm), this event will focus on the circular economy in a big way, and on getting rid of waste via a range of tactics in the process. Taking place at the Prince Henry Centre, the fest is run by Sydney-based not-for-profit organisation Seaside Scavenge — who are dedicated to shifting from a disposable-driven economy to one where items are made, used, and then reused over and over again. That's their year-round point of focus, but this one-day event will let Sydneysiders chat with folks trying to make the circular economy a reality, including across plastics, textiles and organic waste. As part of your $10 ticket, attendees will learn about the practical tools and services available to help you reduce waste. There'll also be workshops, live music, a Trashy Art exhibition and slam poetry as well. You'll be connecting with brands brands such as Huskee Cup, Sustainable Salons, Zero Co, Farm Wall and Ekoluv — and heading to sessions hosted by OzHarvest, Parva Little Things and Pocket City Farm. There'll also be an onsite thrift shop, and every ticket holder will get two tokens to use at the store (or to pick up a Ben & Jerry's vegan ice cream). [caption id="attachment_700337" align="aligncenter" width="1920"] Huskee Cup[/caption]
If you've ever been to a yoga studio with a basketball court below it, you'll have noticed something quite un-zen. During a calming session of yoga, you might hear the piercing screech of a whistle, frequent cheering and the intermittent shrieks of "Great shot Mike!" — or even a marching band procession. Flow After Dark Silent Disco Yoga seeks to give yoga enthusiasts the exact opposite experience, which Sydneysiders can discover on Tuesday, February 9. How exactly does one do silent disco yoga? Quite easily with the introduction of wireless headphones. These bad boys give participants a one-on-one with instructor Kate Kendall, while simultaneously pumping out beats from Sydney DJ James Mack. Also, they're neon. This one-off, 90-minute Vinyasa yoga session will be held at Sydney's Hordern Pavilion and is probably your best (possibly only) chance to show off your best warrior pose while simultaneously jiving to some seriously smooth music. Previous events have sold out quickly, you better snap up some tickets asap if you're keen. https://www.youtube.com/watch?v=d_eMNBPaDTg
Japanese cinema's diverse array of wonders can't be confined to one event. Sydneysiders can watch the latest and greatest films the country has to offer at the annual Japanese Film Festival; however, since 2018, cinephiles can also step back into Japanese movie history, too — all thanks to its classics program. Running until Wednesday, October 23 at the Art Gallery of New South Wales, this film program explores plenty of old-school big-screen highlights, especially if you're fond of spooky tales. A supernatural anthology telling four ghostly stories, the Academy Award-nominated Kwaidan is one of Japan's undeniable standouts, while The Ghost Story of Yotsuya adapts a kabuki masterpiece about murder and revenge. Also on the bill: The Adventures of Tobisuke, about a puppeteer, a young girl and their trek through the valley of the dead; plus the delightfully named Black Cat Mansion, which adds its own spin to the age-old haunted house premise. If you're keen on some retro bumps and jumps, entry is free, but you'll want to reserve your seat online in advance.
On Wednesday, December 18, there's no need to settle for just one scoop of vegan gelato — or just one vegan gelato burger on a brioche bun, one serve of vegan granita or only a few vegan cannoli either. Cremeria De Luca won't make you limit yourself, or make a hard decision. Instead, from 11am–9.30pm, it's serving up all-you-can-eat vegan gelato and desserts. Your $20 ticket will nab you all of the above, including vegan fried sweet buns and — in case you need something savoury as well — vegan arancini. Basically, it's the Five Docks store's regular menu, but 100-percent vegan and available as an all-you-can-eat session. Wearing something stretchy is probably sensible. This is a dine-in deal only, unsurprisingly — and you will need to nab a ticket in advance as places are limited. And you'll be eating some mighty fine vegan gelato, too, given that the De Luca family first served up scoops in Italy before making the jump to Sydney.
Ending the nine-to-five grind with a beverage can make any working day better. Pair that tipple with cheap seafood, and you'll be counting down the minutes until knock-off time. Fratelli Fresh is clearly keeping that idea in mind this summer — and serving up $2 oysters every day at all of its venues from December 12–January 31. The deal is running every day — yep, including weekends— from 5–6pm, and there's no missing numeral in the price, but you do need buy a drink to get the discounted molluscs. You can order a maximum of six oysters per drink. If you want to go fancy ('tis this season) the restaurants will also be shucking limited-edition golden oysters, sprinkled with gold dust and topped with salmon roe, for $4 a pop. Excitingly, the cheap oysters also coincide with Fratelli Fresh's regular happy hour, running daily from 3–6pm. So, you can pair your oysters with $3 olives, $4 bowls of fries and tomato bruschetta, and $5 zucchini flowers, pints of beer and glasses of wine. Oh, and $6 Aperol spritzes, espresso martinis, negronis and margherita pizzas. Both the happy hour and oyster hour deals are available at all seven NSW Fratelli Fresh stores: Alexandria, Bridge Street, Crows Nest, Darling Harbour, Entertainment Quarter, Westfield Miranda and Westfield Sydney.
One of the original godfathers of dance music is coming to Australia for a five-date nationwide tour. Fatboy Slim, otherwise known as Norman Cook, exploded in the 90s with his brand of big beat that overflowed into the mainstream pop world. From his four studio albums between 1996–2004, he can claim bonafide hits like 'Right Here, Right Now', 'The Rockafeller Skank', 'Praise You' and 'Weapon of Choice'. Fun fact: Cook also holds the Guinness World Record for the most top 40 hits under different names. Sydney audiences can expect the full live show when Fatboy Slim lands next January — hitting up Sydney Showgrounds on Friday, January 31. The UK artist will be supported by 2manydjs, aka David and Stephen Dewaele of Soulwax, with further local support acts to be announced. Image: Fatboy Slim.
The Museum of Contemporary Art remains the place to be on the last Friday of the month when MCA ARTBAR takes over the gallery with an adults-only party of art, music, design and performance. Each month is curated by a different artist, making the series an ever-changing yet constant facet in Sydney's after-dark culture. This month, on Friday, August 30, step into a world of pagan mystery, hypnotic movement and mesmerising music at MCA ARTBAR: Oracle. This adults-only party, which takes over the entire museum, is inspired by the Oracle of Delphi — a priestess of Ancient Greece — who breathed vapours, spoke in tongues and imparted fierce female wisdom. MCA ARTBAR: Oracle has been curated by experimental artists Willoh S Weiland and J R Brennan. They're the duo currently co-directing the after-dark program for next year's MONA FOMA and have created works across the globe, including in Germany, Finland and Poland. So, you can expect lots of immersive and unexpected performance art and music at this month's after-hours art party. Program highlights include an improvised dancing by ex-Bangarra dancer Yolande Brown to the tunes of Ptwiggs; fast-paced life drawing sessions; and the Polyphony Choir singing David Bowie, Björk, Kate Bush and Daft Punk in ways you've never heard before. Head to the rooftop bar and you'll find Stelly G hyping up the crowd. Then, DJ Yung Brujo will be powering the dance floor, backdropped by incredible views of the harbour, too. It all goes down on Friday, August 30 between 7–11pm. Tickets can be pre-purchased for $18–24 online or at the door for $28.
This year is flying by at rapid pace and that means summer is just around the corner — and we all need to get our warm-weather wardrobes in order. Resort and swimwear label Tigerlily is offering something very relevant to your interests: a big four-day warehouse sale to get you some much-welcome bikini bargains. There's never a bad time to treat yourself to some new clothes, especially when you're saving a heap of money in the process. The Aussie brand is known and loved for its timeless prints and unique swimwear, so getting your mitts on some of the goods at up to 60 percent off is a major win. Past-season Tigerlily bikini separates will be on sale for just $29 a piece — and it isn't just swimwear. Dresses, shorts, kaftans and sample pieces will also be reduced to help you prep for the summer months. The Tigerlily warehouse sale will take place at Paddington Town Hall from October 10–13, running from 9am–9pm on Thursday; 9am–5pm on Friday and Saturday; and 10am–4pm on Sunday.
UPDATE: 29 SEPTEMBER, 2019 — The Doggy Day is no longer being held at the Paddo Inn and has had a last minute move to Double Bay's Golden Sheaf. For free medical checks, pet photography and the pooch-only menu head across to The Sheaf. The bottomless brunch, however, will still be going down at the Paddo — more info about that over here. Looking for an excuse to spoil your pup, or just go crazy petting everyone else's doggos? Head over Golden Sheaf this month for its first Doggy Day on Sunday, September 29 from 10am–2pm. The bar will be filled with furry friends and is set up to pamper their fluffy ears off. First up, Vets on Crown will be in the house, offering free medical checks. There will also be pet photography shoots by GoBarkly and personalised accessories by Porters 4 Pets. On the pooch-only menu, meatballs and biscuits will be up for grabs. And the first 30 dogs will receive a complimentary gift bag from Healthy Everyday Pets, too. Humans aren't forgotten either. The kitchen opens at midday with a whole spread of steaks, pizzas, burgers and schnittys — and there are jugs of spritzes and mojitios available if you feel like settling in for a Sunday session. Entry is free, but you can book a table over here. Images: Steven Woodburn
It's beginning to look a lot like the festive season — and at Porteño, that means eating, drinking and shopping. Well, that's what the restaurant will be serving up at its second Christmas market, to be held at its Cleveland Street event space. For a gold coin donation on entry — the proceeds of which will go to Westmead Children's Hospital — attendees will find local designers, creatives and some of Porteño's shop-owning faves all descending upon Cleveland Street for a merry ol' day of gift browsing and buying. Expect all of your canned and pickled goods needs to be taken care of by Continental Deli and Cornersmith, meaning that you can stock up on some edible Christmas essentials as well. Plus, Cork & Chroma will be running a three-hour painting class if you think something homemade will have more resonance. Taking place from 9am to 4pm on Sunday, December 16, the market will also look after your hunger and thirst while you're perusing the stalls and shelves, courtesy of caffeinated brews from 212 Blu, gelato from Redfern's Ciccone & Sons and Porteño kitchen's own bites to eat. As for something stronger, you'll find booze from Jacoby's Tiki Bar and quality drop from Jed Wines — whether you're celebrating once you've wrapped up all your pressie purchasing for the year, or getting some liquid inspiration.
Lusting after an island holiday but lacking the time or funds? The rooftop at The Sheaf is oozing the summer feels you're craving with the Bacardi Rum Shack, a pop-up that's taken over the space until Sunday, January 27. It's open Thursday through Sunday each week and boasts specialty rum cocktails, tropical vibes and a live electronic music lineup. The cocktail list takes a twist on the classics — think watermelon mai tai (Bacardi Carta Blanca and St. Germain elderflower liquor with almond, watermelon and lime), the Mojito Magic (Bacardi Carta Blanca, mint, lime, passionfruit and soda) and the Rum Runner (Bacardi Carta Blanca and Bacardi Carta Oro with blackberry, orange and pineapple). Of course, classic mojitos and piña coladas — festively served in coconut shells — are on the menu, too. Sheaf Sunday Sessions will happen every week as well. UNDR CTRL DJs will play each week and there'll be additional headliners on November 11, December 9 and January 27 — that'll be Running Touch, Total Giovanni and Kilter, respectively. The Bacardi Rum Shack Rooftop is open Thursday to Saturday from 5pm and Sunday from 3pm. For more information, visit The Sheaf's website.
Brimming with raw excitement, emotion and urgency, Bloc Party's debut Silent Alarm was an instant hit amongst tastemakers and critics alike upon its release in 2005. Thirteen years has cemented the album's place as a shining example of mid-aughties indie rock, while its singles 'Helicopter' and 'Banquet' continue to fill dance floors around the world. So it's no wonder that the London quartet's announcement that they would be playing Silent Alarm in its entirety at the Hordern this November was met with much excitement. The first show has already sold out, but a second show has been added for Thursday, November 29. Whether you remember the music of Bloc Party due to late night raves or long evenings spent nursing feelings of desolate heartbreak, this will be an unforgettable evening for connoisseurs of jagged guitarwork, sparse electronica and truly incendiary indie-pop songs. The band be joined by local indie heroes Haiku Hands for the Australian shows.
Sydney Festival is bringing US singer-songwriter Julie Byrne back to Australian shores for its 2024 edition. The acclaimed folk musician is currently touring behind the release of her devastating new album, The Greater Wings, a record which reckons with the passing of Byrne's longtime creative partner Eric Littmann. You can expect an intimate hour-long journey through the songs of The Greater Wings and Byrne's back catalogue at Sydney Festival's pop-up Walsh Bar art precinct, The Thirsty Mile. [caption id="attachment_641500" align="alignnone" width="1920"] Jonathan Bouknight[/caption] If you want to inject some beautifully gentle, intensely personal folk music into your summer, you've got two opportunities. Julie Byrne will be performing on Wednesday, January 17, and then again on Friday, January 19. Both performances will be part of the larger program taking over Pier 2/3 in Walsh Bay, including theatre and art, cabaret and dance, bars and speakeasies, and a late-night club called The Moonshine Bar. Top image: Alexander Kellner
Class is now in session — and it's time to test your knowledge on LGBTQIA+ history. This exclusive WorldPride event is here to teach you about a side of history that you probably haven't heard about. And the best part? Homework is optional, detention does not exist and glitter is a must. If you've ever wondered how to slay at school, here's your chance. This playful production presents an opportunity to learn from Tiktok star and teacher Rudy Jean Rigg alongside writer and researcher Hannah McElhinney IRL in an evening of celebratory storytelling. You'll learn about the origins of Mardi Gras and how lesbian hotspots like Alice Springs came to be. Don't miss out — as Mardi Gras and WorldPride celebrations end this weekend, it's only here for a limited time. Head to the Darlinghurst Theatre Company to catch the live action of Rainbow History Class this week. Lessons will run from 6:30pm on Thursday, March 2 and Friday, March 3, with an additional session on Saturday, March 4 at 2pm.
Get ready to hop into the mosh pit like its the 90s and early 00s at massive alternative, metal and punk music fest Good Things, which is living up to its name with its ace 2022 lineup. Headlining the tour are Bring Me The Horizon and Deftones, plus NOFX — who'll be playing 1994's iconic album Punk In Drublic in full. They'll also be joined by The Amity Affliction, Gojira and Millencolin, spanning everything from Queensland favourites to infectious Swedish punk. Oh, and just none other than Australia's own TISM playing their first live shows in 19 years. Will TISM take to the stage naked? That's now the question of the summer. 'Tis the season — and the times in general — for Ron Hitler-Barassi and company to drop their clothes but keep their masks, after all. Whatever they're decked out in, or not, expect plenty of legendary Aussie songs. Expect to have 'Greg! The Stop Sign!', 'Whatareya' and 'Ol' Man River' stuck in your head right now as well, obviously. Good Things' impressive bill also features Kisschasy playing 2005's United Paper People in full, fellow Aussie faves Regurgitator — because, just like the 90s and 00s, it wouldn't be a festival without them — and Lacuna Coil, Soulfly, ONE OK ROCK, 3OH!3, Cosmic Psychos and more. The fest is headed to Sydney's Centennial Park on Saturday, December 3. Whether you're a yob or a wanker, you'll want to be there. GOOD THINGS 2022 LINEUP: Bring Me The Horizon Deftones NOFX (performing Punk In Drublic in full) TISM The Amity Affliction Gojira ONE OK ROCK Millencolin Polaris Sabaton 3OH!3 Blood Command Chasing Ghosts Cosmic Psychos Electric Callboy Fever 333 Jinjer JXDN Kisschasy (performing United Paper People in full) Lacuna Coil Nova Twins RedHook Regurgitator Sleeping With Sirens Soulfly The Story So Far Thornhill
Britain's two Queen Elizabeths have enjoyed their fair share of film and TV depictions, aided by Cate Blanchett, Judi Dench, Margot Robbie, Helen Mirren, Claire Foy, Olivia Colman, Imelda Staunton and more — to name just a few — but they're not the only royals of that first name to grace the screen. While the spelling differs slightly and she's played as more of a Diana-style people's princess in her latest stint in cinemas, Empress Elisabeth of Austria (also Queen of Hungary) has received several celluloid and pixel resurrections of her own. Corsage ranks among the best of them, as famed as Austria's Sissi films from the 50s are and as recently as Netflix's The Empress hit streaming, in no small part due to two other outstanding women. One is Luxembourgish actor Vicky Krieps (Bergman Island), who is shrewd, wry and wily as the Bavarian-born wife to Emperor Franz Joseph I. The other is Austrian writer/director Marie Kreutzer (The Ground Beneath My Feet), whose handsomely staged and smartly anachronistic feature is no mere dutiful biopic. Corsage's lead casting is the dream it instantly seems on paper; if you're wondering why, see: Krieps' scene-stealing work opposite Daniel Day-Lewis in 2017's Phantom Thread. Here, she's been earning deserved awards — the Best Performance prize in the 2022 Cannes Film Festival's Un Certain Regard section among them — for a portrayal that never feels like she's stepping into someone else's shoes or jumping back to the past for a part. Krieps is, naturally. Also, given that Sissi lived between 1837–1898, viewers have no way of knowing how close this characterisation is. But Krieps' fierce, dynamic and layered performance goes far further than easy impersonation, or providing a period-appropriate rendering of the Empress based on how history dictates that women of the era behaved (or what flicks set then or focusing on regal women back then have served up before). Corsage is a portrait of a lady, after all, and not of a time. There's nothing old-fashioned about Sissi in Krieps and Kreutzer's hands, although the predicament she's in when Corsage kicks off wouldn't have been new in her day: approaching a big midlife milestone birthday and feeling agitated about it. "At the age of 40, a person begins to disperse and fade," the Empress herself offers. It's 1877, her then 23-year marriage to Franz Josef (Florian Teichtmeister, Vienna Blood) is no longer lit by sparks, her young daughter Valerie (first-timer Rosa Hajjaj) disapproves of her every move, and much attention — her own and beyond — is upon her appearance. So, she flits restlessly. She can travel, circling around Europe. She can ride, exercise, pal around with friends and reconnect with old lovers. She can enjoy the company of men such as Louis Le Prince (Finnegan Oldfield, Final Cut), who directs his motion-picture camera her way, and horseman Bay Middleton (Colin Morgan, Belfast). She can play the starlet part, but also seethe with frustration about the largely decorative nature of her position. Some of the above genuinely happened. Some of it didn't. The same applies to other aspects of Kreutzer's narrative from start to finish. Fidelity to facts isn't Corsage's primary or even secondary concern, refreshingly so. Also, the film doesn't bother itself with the notorious end to her son's story, with Crown Prince Rudolf taking his own life in a suicide pact. He's still in the movie (as portrayed by Aaron Friesz, Freud), but his tale isn't his mother's. Endeavouring to set a historical figure free from their corset — which is what corsage means in French, not flowers for a formal occasion as the term refers to in English — this flick isn't bound by accuracy or the lives of others. Sissi was bound enough anyway and not just by bodices cinching in her waist down to 19.5-inches and less, as Corsage finds ample ways to make plain. In too many situations and for far too long, to be a woman is to be the subject of scrutiny — and doesn't Corsage know it. Sissi's roles as a wife, mother, Empress and representative of her countries are the source of constant fixation from all and sundry, with nothing ever pleasing everyone or even anyone much. Her exterior earns the same public obsession. The fact that she shares it is both an indictment of the ridiculous pressure she's subjected to and, in the complicated way of disordered eating, a bid for control. Corsage isn't here to simply spin woe, however. It's too playful and subversive for that. What it recognises again and again is how little agency Sissi had, how she was constantly defined by how she looked, and how one might process, cope with and rally against that truth. A haircut isn't just a haircut here, for instance, but an act of release and rebellion that also inspires tears among her attendants. Against restrained period fare and reverent on-screen biographies, Corsage is an act of rebellion, too. It isn't quite Sofia Coppola's Marie Antoinette nor Pablo Larraín's Spencer, but belongs in the middle of the pair. Accordingly, cue the flouting of 19th-century-only sights and sounds, plus a firm focus on conveying Sissi's inner state with every tool at the picture's disposal. Visually, Kreutzer and cinematographer Judith Kaufmann (The Audition) let modern details remain among the movie's settings — doors, lights, powerpoints, mops and more. On the soundtrack, French singer Camille of 'Ta Douleur' fame gets poppy, and covers of Kris Kristofferson's 'Help Me Make It Through the Night' and The Rolling Stones' 'As Tears Go By' get a workout. This tale is timeless, Kreutzer emphasises. The Empress' stresses, sadness, struggles and spirit are as well, her film continues. Corsage's point of interest is Kreutzer's familiar point of interest: women just wanting to be who they are but constrained by society's rules and expectations. 2019's The Ground Beneath My Feet and 2016's Krieps-starring We Used to Be Cool before that don't toy with real-life figures, but they unpack the same idea. That's an age-old reality, Corsage also reinforces, whether it's sticking close to its star's face, sometimes beneath striking face veils; surveying the punishing act of dressing as an Empress again and again; or stepping back to take in her lavish attire and surroundings, seeing what the world around her sees. Then, when this perceptive treasure comes to its inventive end, it's with an utterly unforgettable reimagining — which, yes, is this feature from the get-go.
Canines are so beloved in cinema that the Cannes Film Festival even gives them a gong: the Palm Dog, which has been awarded to a performing pooch (sometimes several) annually since 2001. Among the past winners sit pups in Marie Antoinette, Up, The Artist, Paterson, Dogman and Once Upon a Time in Hollywood — most real, one animated, some anointed posthumously and none scoring their prize for a quest to bite off someone's penis. That genitals-chomping journey belongs to the four-legged stars of Strays alone. They're played by actual animals, with CGI assisting with moving lips and particularly raucous turns, and they're unlikely to win any accolades for this raunchy lost-dog tale. The pooches impress. They're always cute. Also, they're capable of digging up laughs. But Strays is a one-bark idea that's tossed around as repetitively as throwing a tennis ball to your fluffy pal: take a flick about adorable dogs, and talking ones at that, then make it crude and rude. Games of fetch do pop up in Strays, but via a version that no loving pet owner would ever want to play. This one is called "fetch and fuck", with stoner and constant masturbator Doug (Will Forte, I Think You Should Leave with Tim Robinson) doing the pitching. He isn't a kindly human companion to Reggie (voiced by Will Ferrell, Barbie). He's cruel and resentful after his girlfriend adopted the border terrier as a pupper, then left him when the dog exposed his cheating — and he insisted upon keeping the pooch purely out of spite. So, he constantly drives Reggie to various distant spots. He sends him running. As soon as the ball is in the air, Doug hightails it. The canine isn't supposed to follow him back, but does every single time, hence the expletive part of the pastime's name. With unwavering affection, plus the naivety to only see the good in his chosen person, Reggie thinks that it's all meant to be fun. Being abandoned in a city hours away, and meeting Boston terrier Bug (Jamie Foxx, They Cloned Tyrone), Australian shepherd Maggie (Isla Fisher, Wolf Like Me) and great dane Hunter (Randall Park, Ant-Man and the Wasp: Quantumania) while he's there, soon has Reggie realising the truth about his relationship with Doug. Cue Barb and Star Go to Vista Del Mar director Josh Greenbaum and American Vandal creator/writer Dan Perrault sending the pup on a revenge mission with his new dog squad trotting along to help. Really, cue a parade of canines-gone-wild antics, each instance more OTT than the last. Urinating on something to claim it as your own and humping a grimy outdoor couch are just the beginning. Getting intimate with a garden gnome, squirrel threesomes, tripping on mushrooms, trying to use Hunter's great member to escape from doggy jail and a steaming pile of poop jokes: they are as well. Homeward Bound: The Incredible Journey, A Dog's Purpose, Beethoven, every family-friendly pooch flick, any treacly ode to human's best friend: Strays definitely isn't in their pack. Depending on your fondness for super-sweet dog films, that isn't a bad thing. Cat & Dogs, Doctor Dolittle, Marmaduke, Babe, Paddington: Strays doesn't join those talking-animal pictures either. Instead, as Greenbaum and Perrault riff on the fact that canines love doing everything that humans do, their feature has more in common with Sausage Party, Ted, Good Boys (not a dog movie) and The Happytime Murders. Taking something that's usually for all-ages audiences, then ensuring that it 100-percent isn't: that's the formula that Strays seeks as eagerly and forcefully as a tail-wagger sprinting after a hurled stick. Smearing straightforward gags about sex, drugs, crotches and bodily functions through a story about endearing pups isn't the film's best trait, even if that's the number-one approach and aim. Again, getting foul-mouthed and lewd with pooches is the entire concept and reason that the movie exists, but hitting the same beats over and over, then over and over some more, makes its 93-minute running time seem far longer than it is. Unsurprisingly, some comic bits are worn out quicker than a mutt's favourite chew toy. Strays is a better and funnier flick, however, when it's doing two things: leaning gleefully into the surreal and grounding its humour in perceptive insights into dog behaviour. Glorious silliness doesn't come as easily to Greenbaum as it should, though — Barb and Star Go to Vista Del Mar is one of the best absurdist comedies of the 2020s, and best comedies in general — but it leads to a few standout moments. One involves fireworks experienced from the canine perspective. Another brings in bunnies. Both are memorable (as are a winking mid-picture celebrity cameo that riffs on the dog-movie genre and the use of Miley Cyrus' 'Wrecking Ball' at a pivotal moment). Strays also isn't afraid to get dark; it might be as predictable overall as a dog licking a bone, dishing up exactly what audiences expect, but it largely craps all over schmaltz. It's less convincing when it's trying to skew deep, with musings on self-worth, emotional trauma, and folks who bring pets into their lives with selfish and attention-seeking motives well-meaning but treated flimsily. Perhaps it's fitting that Strays flits between perky (when it's bounding beyond the obvious) and sleepy (when it's happy chasing its own tail); IRL, the critters at its centre often do. Still, one thing can't be underestimated: the impact of the movie's voice work and animal cast. The wrong vocals would've left the film doing nothing but howling, and looking shoddy would've had it burying itself from frame one. Playing Reggie as an earnest child who navigates the world with curiosity and trust, Ferrell is basically in Elf mode, but it worked there and does the same here. Perfecting the pint-sized Bug's big-dog syndrome, Foxx is all swagger — while Fisher charms breezily and Park deadpans. And, even though it takes special-effects wizardry to make Strays' main quartet appear as if they're speaking, the real-life pups earn themselves ample treats. Although they still won't be winning any shiny trophies, they ensure that this hit-and-miss picture is just like people: better just by having dogs around.
Imaginary friends should be seen, but people trying to survive an alien invasion should not be heard. So goes John Krasinski's recent flicks as a filmmaker. While IF, The Office star's fifth feature behind the lens, has nothing to do with 2018 horror hit A Quiet Place or its 2020 sequel A Quiet Place Part II, the three movies share a focus on the senses and their importance in forming bonds. When Krasinski's two post-apocalyptic hits forced humanity into silence for survival, they contemplated what it meant to be perceived — or not — as a basic element of human connection amid the bumps, jumps and tale of a family attempting to endure. With IF, the writer/director also ponders existence and absence. It skews younger, though, and also more whimsical, for a family-friendly story about a girl assisting made-up mates that are yearning Toy Story-style to have flesh-and-blood pals again. The horror genre still lingers over IF, however. It doesn't haunt in tone, because this isn't 2024's fellow release Imaginary; rather, it's a sentimental fantasy-adventure film, enthusiastically so. But from the moment that the movie's narrative introduces its IFs, as the picture dubs imaginary friends, it's easy to spot Krasinski's inspiration. In New York staying with her grandmother Margaret (Fiona Shaw, True Detective: Night Country) while her dad (Krasinski, Jack Ryan) is having heart surgery, 12-year-old Bea (Cailey Fleming, The Walking Dead) starts seeing pretend creatures. She then has a task: reuniting critters such as Blue (Steve Carell, Asteroid City), the purple-hued furry monster that, alongside Minnie Mouse-meets-butterfly Blossom (Phoebe Waller-Bridge, Indiana Jones and the Dial of Destiny), is one of the first IFs that she spots, with the now-adults that conjured them up as children. Only Cal (Ryan Reynolds, Ghosted), who lives upstairs from Bea's nan, can also glimpse Blue, Blossom and the like. And although his past plans to aid the IFs in finding new kid buddies to get over their old ones haven't been successful, he's still along for the ride — somewhat reluctantly and crankily — as Bea spends the days that her dad is in hospital distracting herself with her new job. Krasinski mightn't have yet directed a film that hails from existing material, not here, in either A Quiet Place entry, his 2009 debut Brief Interviews with Hideous Men or in 2016's The Hollars, but he slips IF into familiar all-ages terrain. Take a kid or kids, whisk them off into a fanciful space either away from or that reframes their own world, then surround them with anything but the ordinary and everyday: everything from Mary Poppins and Labyrinth to Jumanji and also Studio Ghibli's Spirited Away has imagined it as well. A giant heart beats and a waterfall of sincerity flows in IF's exploration of how loneliness, pain, uncertainty and anxiety can dance away through companionship, and also through truly seeing someone and being seen. That's what it means to spot imaginary friends, after all, with children conjuring themselves up a pal that's always by their side unconditionally no matter what life throws their way at a young age. We might grow out of playing make believe to enjoy the company of a BFF, but no one moves past needing to be recognised and appreciated, and hurting if they aren't. Someone who certainly hasn't: a pre-teen who insists to her happy-go-lucky father that she's too old now for goofy pranks and spinning stories, and to her grandma that colouring in and painting aren't age-appropriate hobbies, as she grapples with her remaining parent's health after losing her mother (Catharine Daddario, The Tomorrow Job) in the movie's opening montage. Sweet almost to the point of corniness, patently unafraid of symbolism and giving all of the effort that it can, IF isn't a subtle film, including in deploying a glow from cinematographer Janusz Kamiński (The Fabelmans, and also Steven Spielberg's go-to since Schindler's List) in its retro aesthetic and heartstring-tugging melodies from composer Michael Giacchino (Next Goal Wins, and also Pixar's Inside Out, Coco and Lightyear) in its score as it takes its audience along with Bea's emotional journey. (Also obvious, and not just from Kamiński and Giacchino's involvement: the Spielberg and Pixar influences). But it's all so eagerly and unashamedly earnest, and so carefully constructed, that the movie itself resembles a kid with an imaginary friend — making viewers believe in it because it believes with such unwavering and wholehearted dedication. It helps that the various IFs bounding through the picture's frames look not only imaginative, but like the product of real imaginations, spanning bears, marshmallows, unicorns, spacemen, cubes of ice in glasses of water and more. Blue, all plush and tactile (and, yes, likely destined for the merchandise treatment), isn't the only imaginary friend that could've stepped out of a toy box. On voice duties, the cast is a look-who-I-can-call roster on Krasinski's part — see: Emily Blunt (The Fall Guy), George Clooney (Ticket to Paradise), Bradley Cooper (Maestro), Matt Damon (Drive-Away Dolls), Awkwafina (Kung Fu Panda 4), Bill Hader (Barry), Keegan-Michael Key (Wonka), Blake Lively (The Rhythm Section), Sam Rockwell (Argylle) and Maya Rudolph (Loot), for starters — yet IF doesn't enlist such a starry list of names for just-showing-up turns, getting both depth and laughs from the who's who lineup. With the impressive Fleming at its centre, a playful showpiece sequence arrives midway through the movie, with Bea guided to the IF retirement home beneath Coney Island. Here, imaginary friends endeavour to cope with life without their tykes, but Bea reshapes their space using (what else?) the power of imagination. Flourishes such as singing with the late, great Tina Turner and plunging into a painting only to come out all splattered with its hues are splendid touches (endearing as well), each alive with the spirit of childlike wonder that Krasinski so keenly wants to capture. One harking back to tunes with and cherished moments of significance to Bea, the other making the act of diving into creativity literal, they're sensory touches, too — because Krasinski knows that if we're not open to experiencing as much as we truly can, and connecting through it, we're not truly living.
A cast-out-of-time vibe tumbles and rustles through Fallen Leaves. In Aki Kaurismäki's 20th feature, his first since 2017's The Other Side of Hope, a calendar advises that it is 2024 and the radio reports on the war in Ukraine, but the look and mood could've been taken from decades and decades back. An account of two lonely souls in an uncaring world grasping a bond amid the grind that is just endeavouring to get by never dates, after all. Neither do the Finnish filmmaker's movies, with their love of droll humour, understatement and melancholy. Indeed, with tragicomedy Fallen Leaves, Kaurismäki links to the 80s and 90s, and to his Proletariat trilogy. Trust him to add a fourth title to the trio, which previously spanned 1986's Shadows in Paradise, 1988's Ariel and 1990's The Match Factory Girl; his love of absurdity doesn't age, either. Ensuring that Helsinki resembles a relic of the past — even more so at California Bar, which throws back to America in the 60s — keeps a state of arrested development lingering in Fallen Leaves. What makes a place and its people feel as if moving forward is something that only happens elsewhere? In Kaurismäki's hands in a movie that's quintessentially a Kaurismäki movie from start to finish, the answer is as simple as being caught in a monotonous routine, the very reality that the writer/director's features also give audiences a reprieve from. He knows this. On-screen here, he has Holappa (Jussi Vatanen, Koskinen) and Ansa (Alma Pöysti, A Day and a Half) find solace in a cinema themselves. They don't see a Kaurismäki picture. Instead, they catch The Dead Don't Die by Jim Jarmusch, the closest person that he has to an American equivalent. That's Holappa and Ansa's first official date, but not the start of Fallen Leaves' story. Before that, it gets to know him as a metalworker and her as a supermarket employee, methods of receiving a paycheque that neither is overly fussed about. Holappa is also an alcoholic, which eventually costs him his job. Ansa gets fired for trying to take home out-of-date food. The pair cross paths at a karaoke bar, and awkwardly, yet the audience can almost see the string tying them together as soon as they're both sharing a frame. For someone who so regularly processes the world's sadness through deadpan laughs, Kaurismäki isn't averse to kindred spirits — again, see his shoutout to Jarmusch, and also the fact that Fallen Leaves, as many of Kaurismäki's movies do, features a key canine connection. Dialogue doesn't come easily or abundantly in a film by the creative force who clearly didn't retire after The Other Side of Hope, as he said he was going to — and who won the 2023 Cannes Film Festival Jury Prize with Fallen Leaves, the proof that he's still behind the camera. Understanding his characters by being in their presence has always been his approach. Valuing silence and pauses plays like a throwback, too, increasingly so when words being flung about incessantly at literal presses of buttons is life circa 2024. His casting, and also the cinematography that splashes Kaurismäki's movies across the screen, are always pivotal as a result. With Vatanen and Pöysti, the latter collecting a Golden Globe nomination, Fallen Leaves boasts actors who reside fully in Holappa and Ansa's skins and sorrows. With Timo Salminen doing the lensing, as he has since the director's first film four decades ago, Fallen Leaves also knows how to deeply observe everything that its stars bring to their on-screen figures. The plot might be slight — Holappa and Ansa meet, gravitate towards each other, then attempt to clutch what respite they can from the winter that is existence — but that isn't the same as lacking detail. Seeing Ansa need to shop before she can host Holappa at her flat for dinner screams with minutiae about how accustomed she is to being alone, and for how long; she only has one place setting otherwise. While she's still stacking shelves for a gig, watching her employer demand that expired food be thrown out instead of going to those who need it says everything about the cruel corporate attitude that oppresses not just the working class, but 21st-century society at large. It isn't just that Kaurismäki wants his viewers to see Holappa and Ansa's lives, rather than hear them chat about it; to explain who they are, and why, plus the emotions simmering inside each, he also knows exactly what's crucial for audiences to peer at. There's a sensation that springs from Kaurismäki's films: a feeling of stepping into a world so distinctively crafted by the filmmaker while also still spying a poignant reflection of reality. That's why his script for the graceful and gorgeous Fallen Leaves can chart such a familiar scenario — template-like, almost — and yet is anything but a by-the-numbers effort. He lets his characters be who they are, ups, downs, strengths, flaws and all. He perceives them and their plights with such evident empathy, and also with hope. Anyone watching can spot how they could be or have been Holappa and Ansa, including when Kaurismäki frequently finds the hilarity in this cycle that we all call life. Naturalistic, humane, wry, sincere, tender, taking the bad with the good when it comes to each and every day and person: that's his remit, winningly, warmly and meaningfully so. In another of Fallen Leaves' touches that might seem at odds with setting it in 2024, pushing its protagonists together is complicated by the fact that they initially can't contact each other. Their names are hard-earned. Phone numbers are lost. This romance isn't easy to come by, then; for Holappa and Ansa both, and for viewers as well, it's worth striving for. Kaurismäki is a master at mirroring in his style, narrative and themes, such as showing how something that appears standard so rarely is via his plot and imagery, or telling a tale that takes away the always-on nature of modern life to stress what's truly important. He's a filmmaking great in general — and if the sexagenarian is encroaching upon the autumn of his career 41 years after his feature debut, his talents remain as verdant as ever.
Rising from the ashes of Taco King at The George Hotel, Ricos Tacos is Toby Wilson's latest tortilla venture. The taco truck has popped up around town in a few guises over the past year, including in the car park of Gelato Messina's Rosebery HQ and at Rocker Bondi, but its home for the last year has been The Grifter Brewing Co. Generally, the taco truck operates at Grifter from 12.30pm Saturdays and Sundays, but to celebrate the return of Ricos after lockdown, Grifter is hosting a relaunch party on Thursday, October 28. Fitted out with a new cart, Ricos will be serving up its fan-favourite tacos from 5pm. There are 100 free tacos on offer to the first tortilla-lovers to arrive (maximum two per person). Make sure to get down early to make the most of the offer. And yes, pairing tacos with beer is obviously on the menu.
There's a film festival for everything, or so it can sometimes seem — and that includes science fiction cinema. Like flicks about the future, artificial intelligence, where technology might take us and dystopian worlds? That's what's on the bill at the Sci-Fi Film Festival. The event has been going strong in Sydney for more than a few years; however, in 2021, it's making two big changes. Firstly, it's jumping into the online realm. as plenty of other fests have been already this year. Secondly, because that's one of the perks of being digital, it's streaming its 80-film program nationwide. Even better: you can access that huge number of flicks with a $29.99 all-access pass. No, you definitely can't say you don't have anything to watch between Friday, October 15–Sunday, October 31. That lineup includes 13 features and 67 shorts, and spans films from 28 different countries — including Say Yes Again, a Taiwanese title that riffs on Groundhog Day; Tales of Tomorrow, which sees a teenage boy from 1999 tasked with saving human civilisation in 2165; Steampunk Connection, a Canadian documentary about the titular blend of sci-fi and Industrial Revolution-era technology; and Infinite Light, about possibly bringing back the dead. Or, if you like your movies short, you can dive into seven different sessions. The themed programs cover everything from animation, dystopian dreamscapes and the future to humanity's battle against technology and the dark side of our nature.
Feel like dining in the sun with a side of sweeping views? Round up your mates and head to The Glenmore. The Rocks' favourite rooftop bar has launched a series of bottomless lunches, taking place on the first Sunday of the month. To kick things off, you'll get a cocktail on arrival, followed by two hours of French rosé. You'll be sitting down to a family-style feast, too. The menu changes regularly — think ceviche tacos with avocado and charred corn, or whipped chicken liver parfait to start, followed by smoked salmon salad, Turkish-style spiced chicken or grilled steak with caramelised onion butter as mains. Sides-wise, there'll be dishes such as curried potato salad and roasted cauliflower. To check out the full sample menu, head over here. You can also catch some live music while enjoying your lavish spread. And don't forget about those stunning views across the harbour and the Opera House. This boozy feast costs $85 per person, with two sittings available at noon–2pm and 1–3pm. Bookings are limited and can be made here. [caption id="attachment_738610" align="alignnone" width="1920"] Steven Woodburn[/caption] Images: Steven Woodburn
Fashion, art, homewares and handcrafted goods as far as the eye can see — that's usually what's on the agenda at The Village Markets on the Gold Coast and in Brisbane. The event is taking a break under current circumstances; however that doesn't mean that you can't shop from home. In fact, that's where its first Insta Market comes in. Across the weekend of Friday, March 27–Sunday, March 28, the Village Markets Insta Market is showcasing designers, artists and curators — and highlighting just what you can buy with the click of a few buttons while sitting on your couch. Whether you're after new threads, something to pop on your shelf or some goodies for your pet, you'll find it here, as well as special offers and discounts. And, because it's all online, it's available to everyone — even if you're not in southeast Queensland. By taking part in the Insta Market, you'll also be supporting more than 70 creative small businesses — who, like many folks across many industries at present, have seen their whole lives change suddenly. If that's not a great excuse to spend a couple of days scrolling through your Instagram, then we don't know what is.
Legendary Sydney crew Mary's are giving you plenty of reason to celebrate this month. First up, it's just announced the opening of Mary's On Top — a rooftop bar at much-loved party venue The Lansdowne — on Thursday, June 4. Also on that day, it's reopening its doors to punters after having to close dine-in service due to COVID-19. Sure, you could get it delivered, but you missed out on the good times that got served up with your burgers and fries. So, you can bet the boys will be celebrating. Co-owners Jake Smyth and Kenny Graham know that lots of Aussies have had their salaries reduced during the crisis, so they're temporarily reducing the price of food at all Mary's venues. For a week, you can get 30 percent off food at Mary's outposts in Newtown, Circular Quay, Castlereagh Street and Mary's On Top, with the deal valid for sit-in meals as well as via Deliveroo. Expect favourites such as the Mary's burger, the fried chook and the much-loved mash and gravy being dished up for a fraction of the usual cost, plus vegan fare at Circular Quay, the CBD and Mary's new rooftop venue. The brand's grungy, rock 'n' roll attitude will be alive and well, too. And it would be rude not to at least glance at the top-notch, very fun wine list. Mary's is offering 30 percent off food at its Newtown, Circular Quay, Castlereagh Street and new Mary's On Top outposts from June 4–10. You can find your closest Mary's and check out the menus here. Images: Kitti Gould and Mary's
If you've been making plans to revamp your style, but haven't been able to rustle up the coin or are sick of online shopping, here's your chance. Hugo Boss is hosting a mega sale at its outlet stores. You'll be able to score a further 30 percent off menswear, womenswear, footwear and accessories. Whether you're after a suit for a special occasion later in the year or looking to level-up your WFH wardrobe stat, Hugo Boss's mid-season outlet sale will have you sorted for a fraction of the fashion label's usual prices. You'll have to get in quick to score though, with the sale running from Wednesday, May 27 until Sunday, June 28 (or until stocks last). In Sydney, you can head to Birkenhead Point Outlet Centre and DFO Homebush to get these quality threads for such a steal. Current opening hours at all BOSS outlets are 11am–4pm. Hugo Boss mid-season outlet sale will run from Wednesday, May 27 till Sunday, June 28, or until stocks last (excludes new season stock). To find your closest outlet, visit the website.
As COVID-19 continues to spread around the world, Australian's Asian eateries have been doing it tough — even closing down, in some cases — with patron numbers plummeting across the board. Sydney's Chinatown hasn't been immune; however if you're hankering for some sweet and sour pork or kung pao chicken, the Lord Gladstone is giving you an extra incentive to head out to dinner. First, make a date with whichever Chinatown restaurant takes your fancy. Then, mosey on over to the Lord Gladstone with your receipt in hand. Flash that piece of paper at the bar on the same day as your meal, and you'll score your first round of drinks for free. By 'same day', you'll need to make your way to the Lord Gladstone before midnight hits to nab your free beverages. It's the perfect excuse for a nightcap, though — and another reason to support an area that's struggling at present.
In early June, beachside favourite Bondi Beach Public Bar reopened to the public and celebrated with 50 percent off all food and happy hour prices for a heap of beers, wine and cocktails — all day, every day until the end of June. Because the team knows many of our wallets are looking a little slim right now, it's decided to extend the offer until the end of July. This means you have another 31 days to swing past the Campbell Parade pub for $5 tacos, $10 burgers (beef, fish, buttermilk-fried chicken and vego) and $16 steaks, as well as $6 select wines and beers and $12 margaritas, negronis and espresso martinis. BBPB has also brought back the tunes. While you can't get up and dance — no mingling allowed at hospo venues just yet — you can sit and shimmy along to DJ Levins on Good Life Fridays and Public Affection on Saturdays. You can either book a table (for a minimum of three people) or walk in, with online reservations over here. Top image: Kitti Gould
The MCA's after-dark, adults-only art party is back — but not as you know it. While usually we'd run amok in the Circular Quay museum, this time we'll be having art-filled fun from our couches. Yep, for the first time ever, Artbar is going digital — and it won't cost you a dime. The one-night-only event is a collaboration between the MCA and the 22nd Biennale of Sydney, which is currently exhibiting across multiple Sydney venues. Much like the citywide arts festival, this season's Artbar is titled Nirin and is celebrating First Nations artists, connected by themes of ceremony, ritual and tradition. It's going down this Friday, June 26 and will kick off at 7pm with a Welcome to Country by artists Julie Bukari Webb and Corina Norman from the Blacktown Native Institution. [caption id="attachment_773774" align="alignnone" width="1920"] Caroline Garcia by Jacquie Manning. All images courtesy and © the artist.[/caption] You'll also learn how to cut some serious shapes in a digital dance class led by self-described "culturally promiscuous" interdisciplinary artist Caroline Garcia and catch a gig by the Tamil drummers from the Parai-Yah! Project (STARTTS and Tamil Arts Australia). You'll get to visit Tongan Australian artist Latai Taumoepeau's studio and take virtual tours of the Biennale exhibitions at the MCA, too. There'll also be a live set by female DJ MzRisk, coming straight from the MCA rooftop terrace to your living room. All up, expect a night full of art, music and performances, which will foster the ideas of ceremony and tradition in experimental and boundary-pushing ways. To attend this late-night art shindig from the comfort of your home, you can register for exclusive offers and first access here or head to the MCA website. You can also join its Facebook event to keep up with the latest and join in conversation as the event's happening. The live-stream will run from 7–10pm. MCA Artbar: Nirin is running from 7–10pm on Friday, June 26. For further details — and to tune in — head to the MCA website. Top images: Blacktown Native Institution Site, Dharug traditional owner Shanaya Donovan at the opening of BNI handover, 2018, image courtesy of Landcom, Sydney and DSMG, Sydney, Photograph: Joseph Mayer; MCA, Photograph: Liam Cameron; and Latai Taumoepeau, 'The Last Resort', 2020, Photograph: Zan Wimberley, courtesy of the artist.
On January 26 of this year, Yuin rapper and host of Triple J's Blak Out launched We Are Warriors, a platform dedicated to inspiring and empowering Indigenous youth through a system of role models. "After experiencing racism as a kid, my Mum spoke to me three of the most powerful words I have ever heard – We Are Warriors. It instilled a fire inside of me, a sense of pride and this unimaginable desire to be successful and show the world that WE ARE WARRIORS," said Nooky. "This journey has led me to launch a platform to highlight prolific Indigenous excellence across music, fashion, sports and everything in between; a celebration of Blak excellence to empower young people in our community." As part of Vivid Sydney, Nooky is taking over the Oxford Art Factory with a huge roster of talent who share the We Are Warriors vision. On the lineup, there are local favourites like Triple One, Ziggy Ramo and The Terrys alongside the likes of Dallas Woods, Akala Newman, Jade Le Flay, Jayvy, Muggera, Roman Jody and Scraps. Plus, you can expect some special guests to pop-up throughout the night. All profits from the tickets to the We Are Warriors enterprise will go towards supporting workshops, mentoring programs and support for Indigenous youth and young Indigenous creatives. https://www.youtube.com/watch?v=Dq-B-GhrDJs
To write notable things, does someone need to live a notable life? No, but sometimes they do anyway. To truly capture the bone-chilling, soul-crushing, gut-wrenching atrocities of war, does someone need to experience it for themselves? In the case of Siegfried Sassoon, his anti-combat verse could've only sprung from someone who had been there, deep in the trenches of the Western Front during World War I, and witnessed its harrowing horrors. If you only know one thing about the Military Cross-winner and poet going into Benediction, you're likely already aware that he's famed for his biting work about his time in uniform. There's obviously more to his story and his life, though, as there is to the film that tells his tale. But British writer/director Terence Davies (Sunset Song) never forgets the traumatic ordeal, and the response to it, that frequently follows his subject's name as effortlessly as breathing. Indeed, being unable to ever banish it from one's memory, including Sassoon's own, is a crucial part of this precisely crafted, immensely affecting and deeply resonant movie. If you only know two things about Sassoon before seeing Benediction, you may have also heard of the war hero-turned-conscientious objector's connection to fellow poet Wilfred Owen. Author of Anthem for Damned Youth, he fought in the same fray but didn't make it back. That too earns Davies' attention, with Jack Lowden (Slow Horses) as Sassoon and Matthew Tennyson (Making Noise Quietly) as his fellow wordsmith, soldier and patient at Craiglockhart War Hospital — both for shell shock. Benediction doesn't solely devote its frames to this chapter in its central figure's existence, either, but the film also knows that it couldn't be more pivotal in explaining who Sassoon was, and why, and how war forever changed him. The two writers were friends, and also shared a mutual infatuation. They were particularly inspired during their times at Craiglockhart as well. In fact, Sassoon mentored the younger Owen, and championed his work after he was killed in 1918, exactly one week before before Armistice Day. Perhaps you know three things about Sassoon prior to Benediction. If so, you might be aware of Sassoon's passionate relationships with men, too. Plenty of the film bounces between his affairs with actor and singer Ivor Novello (Jeremy Irvine, Treadstone), socialite Stephen Tennant (Calam Lynch, Bridgerton) and theatre star Glen Byam Shaw (Tom Blyth, Billy the Kid), all at a time in Britain when homosexuality was outlawed. There's a fated air to each romantic coupling in Davies' retelling, whether or not you know to begin with that Sassoon eventually (and unhappily) married the younger Hester Gatty (Kate Phillips, Downton Abbey). His desperate yearning to hold onto someone, and something, echoes with post-war melancholy as well. That said, that sorrow isn't just a product of grappling with a life-changing ordeal, but also of a world where everything Sassoon wants and needs is a battle — even if there's a giddy air to illegal dalliances among London's well-to-do. Benediction caters for viewers who resemble Jon Snow going in, naturally, although Davies doesn't helm any ordinary biopic. No stranger to creating on-screen poetry with his lyrical films — or to biopics about poets, after tackling Emily Dickinson in his last feature A Quiet Passion — the filmmaker steps through Sassoon's tale like he's composing evocative lines himself. Davies has always been a deeply stirring talent; see: his 1988 debut Distant Voices, Still Lives, 2011's romance The Deep Blue Sea and 2016's Sunset Song, for instance. Here, he shows how it's possible to sift through the ins and outs of someone's story, compiling all the essential pieces in the process, yet never merely reducing it down to the utmost basics. Some biopics can resemble Wikipedia entries re-enacted for the screen, even if done so with flair, but Benediction is the polar opposite. It must be unthinkable to Davies that his audience could simply pick up standard details about Sassoon by watching a depiction of his existence, rather than become immersed in everything about him — especially how he felt. Benediction plays like the work of someone who wouldn't even dream of such an approach in their worst nightmares. That's true in Lowden's scenes, with the bulk of the movie focused on the younger Sassoon. It remains accurate when Peter Capaldi (The Suicide Squad) features as the older Sassoon, including opposite Gemma Jones (Ammonite) as the older Hester. When the latter graces the picture's immaculately shot frames (by Harlots, Gentleman Jack and upcoming The Handmaid's Tale season five cinematographer Nicola Daley), he's a portrait of man embittered, and he's utterly heartbreaking. Lowden and Capaldi's performances are as critical to Benediction as Sassoon himself, and Davies as well. They're that fine-tuned, that tapped into the whirlwind of emotions swirling through the man they're playing, and that awash with anger, determination, longing, loneliness, defiance, despair, resentment and tragedy. (Yes, that's a complicated and chaotic mix, and 100-percent steeped in everything that's thrown Sassoon's way). As overseen by Davies, Lowden and Capaldi are also two halves of a whole, not that either actor gives anything less than their all, let alone a fraction of a portrayal. It's devastating to see how and why Lowden's charisma eventually gives way to Capaldi's loathing, but that's the plight that both men are charged with surveying, relaying and helping echo from the screen — exceptionally so. For all of the feeling coursing through Benediction — including when using archival war footage to hark back to the combat that so altered his central figure, rather than taking the 1917 re-creation route — Davies remains a rigorous, fastidious and controlled filmmaker. The feature's 137-minute running time feels as lengthy as it is. While there's a rhythm to Alex Mackie's (Mary Shelley) editing, the movie is methodically paced. Every single image seen is meticulous in its composition, too. Watching Benediction is an active act, rather than a case of being swept away. That matches everything that the film conveys about Sassoon's experiences and the turmoil they caused him, of course. Still, the art of using restraint and precision to stir up big emotions, and to whip and whisk them around so that they're inescapable, is also on display here — and it's one that this exquisite picture's driving force dispenses with as much talent as his subject did with his poetry.
When the end of the year hits, do you get 'Christmas is All Around', as sung by Bill Nighy, stuck in your head? Have you ever held up a piece of cardboard to tell the object of your affection that, to you, they're perfect? Does your idea of getting festive involve watching Hugh Grant, Liam Neeson, Colin Firth, Laura Linney, Alan Rickman, Emma Thompson, Keira Knightley, Rowan Atkinson and Martin Freeman, all in the same movie? If you answered yes to any of the above questions, then you clearly adore everyone's favourite Christmas-themed British rom-com, its high-profile cast and its seasonal humour. And, you've probably watched the beloved flick every December since it was first released in cinemas back in 2003. That's a perfectly acceptable routine, and one that's shared by many. But this year, you can do one better. A huge success during its past tours of the UK and Australia (to the surprise of absolutely no one), 'Love Actually' in Concert is returning to make this festive season extra merry. And, to the jolly delight of Sydneysiders, to the Aware Super Theatre at 7.30pm on Sunday, December 19. Here, you'll revisit the Richard Curtis-written and -directed film you already know and treasure, step through its interweaved Yuletide stories of romance, and hear a live orchestra play the movie's soundtrack. And, yes, Christmas (and love) will be all around you. Tickets go on sale at 4pm local time on Thursday, November 11, with presales from 10am local time on Tuesday, November 9.
There are plenty of things that Sydneysiders haven't been able to enjoy for much of this year, all thanks to the city's lengthy lockdown. Saying cheers with your mates with a few brews at a club is obviously one of them — but now that that's back on the cards under the city's eased restrictions, Clubs NSW wants to give you a free beer to celebrate. On Wednesday, November 10, you'll be clinking your glasses with free Together Ales thanks to Malt Shovel Brewers and Batch Brewing Co. You'll need to be double-vaccinated to take advantage of the offer, and you'll also need to register for a coupon first. Also, it's a while stocks last kind of deal, both in terms of vouchers and beer supplies on the day. The offer is valid for one voucher per person, which can only be redeemed on November 10 at participating venues — which includes a lengthy list of spots, such as Club York and Castlereagh Boutique Hotel in the CBD, and plenty of bowls clubs and RSL clubs around the place.
Heading to a movie might be one of the easiest date night options there is, but it has remained a romantic go-to for a reason. Pair the right person with the right film, and the magic doesn't just happen on the big screen. And, some flicks are just guaranteed to strike a chord no matter who you're with. If you'd been thinking about falling back on this tried-and-tested date option for Valentine's Day, we're sure that you're not alone — but you don't need to watch whatever new release has just hit the screen. At Ritz Cinemas in Randwick, Sunday, February 14 will be filled with special showings of swoon-worthy classics. See one, make it a double or, if you're special someone is a bit of a movie buff, turn the occasion into your own day-long film festival. The program starts with a 60th anniversary screening of Breakfast at Tiffany's. From there, other options include 1934 standout It Happened One Night, the Cher and Nicolas Cage-starring Moonstruck, and the mind-bending Eternal Sunshine of the Spotless Mind. Then, there's also Heath Ledger singing in 10 Things I Hate About You to cap the whole day off. https://www.youtube.com/watch?v=07-QBnEkgXU
Luxe hotel chain QT and beloved (and award-winning) Australian gin producer Four Pillars are coming together for a multi-sensory five-course meal in honour of their new collaborative gin, Ordered Chaos. Appropriately labelled Chaos dinner, diners can head to QT's Gowings Bar and Grill for four exciting dishes paired with cocktails, musical pairings and entertainment, hosted by Four Pillars co-founder, Stu Gregor. To begin the night, canapés including raw scallop, blood orange vinaigrette raw beef and sterling caviar will be served, before the first dish of the night is unveiled: yellowtail kingfish crudo with yuzu creme fraiche, seaweed cracker and saltbush. Across the rest of the of the menu you'll find black Berkshire porchetta, Tinder Creek duck breast with heirloom beets and a white chocolate ball designed to be cracked open, featuring coconut mousse and chocolate crumble. Kicking off at 7pm on Thursday, May 27, a spot at the five-course meal will cost you $175 per person and includes your cocktail pairings for the night. [caption id="attachment_813131" align="alignnone" width="1920"] Kate Shanasy[/caption]
Already known for its bottomless vegan pizza and pasta feasts, Italian restaurant chain Salt Meats Cheese has been upping its cruelty-free food game at a monthly special event. Called Soul Meets Cheers, it serves up an entirely plant-based menu, featuring vegan versions of Italian classics. For the feast's May outing — taking place at all Sydney venues from 5pm on Tuesday, May 11 — it'll be focusing on bites to eat inspired by Venice. Think vegan antipasto platters, bruschetta with fennel dip, risotto nero (which is made with charcoal stock), and beetroot pizza with roasted cauliflower. And yes, that's just a few of the dishes on offer across the five-course meal, which finishes with a raw vegan tiramisu that features cashew cream, coconut cream, vegan chocolate and almonds. Your $49 ticket also includes a glass of vegan wine or beer upon arrival.
Fabbrica, the high-end pasta and wine shop from the crew behind CBD standout Raggazi, is coming together with lifestyle brand Alex and Trahanas to bring Sydneysiders two fun limited-edition pastas to enjoy during lockdown. The pair of pastas are shaped like ropes and yacht sails to coincide with the launch of Alex and Trahanas' new Festa della Pasta range of tableware. The range is inspired by Italian coastal islands and Mediterranean holidays and includes hand-painted ceramics from Puglia, Italy, as well as beeswax taper candles, carved wooden serving trays decorated with gold leaf and woollen knit jumpers. The nautical-shaped pastas are paired with two rich Fabbrica pasta sauces. The first is a cime di rapa ragu with pork and fennel sausage, while the second is a sardine, fermented chilli and olive combination. You can order the pasta and sauce in a two-person pack from Alex and Trahanas' website, pick them up from Fabbrica or get them delivered through UberEats.
When Succession roves over New York's skyline — in its opening credits, as set to that bewitching theme tune, or just during its episodes — it gleams with wealth and privilege. Depiction doesn't equal endorsement, however, with the stellar HBO satire sharply cutting into its chosen world at every chance it gets. As one of the show's supporting cast members, Dasha Nekrasova slides into that realm, too, but that's not her only dalliance with the city's architecture, power brokers and all that both represent. The Scary of Sixty-First, the Red Scare podcast host's feature directorial debut, also savages the rich and seemingly consequence-free. It clasps onto a real-life story that's made that case inherently, abhorrently and monstrously. There's no gentle way to put it, but the fact that Nekrasova plays a woman investigating if a bargain Upper East Side duplex was one of Jeffrey Epstein's "orgy flophouses" says much about this purposefully provocative conspiracy thriller horror-comedy. College pals Addie (Betsey Brown, Assholes) and Noelle (the film's co-screenwriter Madeline Quinn) can't believe their luck when they find the cheap property, even if it does visibly need a clean — and have mirrored ceilings, as well as some questionable lock choices — and even if they don't appear completely comfortable with committing to live together. But from night one, the literal nightmares begin. Soon they're spying blood stains, scratched walls and eerie tarot cards, and feeling unsettled in a variety of ways. Enter Nekrasova's stranger, who comes sporting a dark-web rabbit hole's worth of paranoia and bearing the Epstein news. Addie and Noelle take the revelation in vastly different fashions, with the former seeming possessed by one of Epstein's child victims, and the latter diving deep into potential theories with her unnamed new friend. Letting a headline-monopolising sex offender loom large over the plot is an instant attention-grabber — and, while The Scary of Sixty-First doesn't lunge straight down that path, it feels like Nekrasova and Quinn's starting point. Their movie smacks of conjuring up a controversial premise, then fitting parts around it; thankfully, they have more than one target in their sights, plenty to ponder, and Nekrasova's bold vision bringing it all together. From the outset, there's much to mine about the hellishness of finding somewhere to live in your twenties, and in NY especially. The things you'll settle for in that situation clearly also earns the feature's focus. The same rings true of post-college life and its intrinsic awkwardness in general — and being expected to act like a fully functioning adult, and make pivotal decisions, without yet amassing the experiences to match. By contemplating the hostile real-estate market and the ordeal that is trying to find your place in the world (emotionally, intellectually and physically), The Scary of Sixty-First immediately unpacks power, money and privilege. If Addie and Noelle could afford somewhere else or had other support at their disposal, there wouldn't even be a story. When Nekrasova appears and drops Epstein's name, that excavation digs down several levels. Again, there's no shortage of ideas, directions or tangents to explore, and the script explodes as many as possible. This is a movie about a dead billionaire paedophile, the wealth of theories that've sprung up around him and the 24-hour news cycle that's made his tale inescapable. It's also about how doomscrolling has become routine, the grim routes incessant web searches can take you down, the normalisation of true-crime obsession, the proliferation of conspiracy-driven rhetoric and relentless chaos as the natural state of the world. Addie has an interminably unpleasant boyfriend, Greg (Mark Rapaport, Pledge), who also sparks an array of questions — because even when he's turned off by her descent into inappropriate baby talk during sex, he still sees his own needs as more important than anything else. Indeed, while The Scary of Sixty-First is messy by choice, and also lets its 16-millimetre frames frequently look the part, nothing here is accidental. That's true of outdoor masturbation scenes and out-there theories alike, all of which make a statement. Usually, the movie isn't coy; as the possessed Addie gets more forceful with every action, her sloppy kissing of Prince Andrew's photo couldn't be more overt. Repeatedly, though, the film sends multiple messages at once; when her glistening fingers, fresh from a stint of self-pleasure, caress Epstein's initials outside his apartment building, The Scary of Sixty-First also comments on how taboo such feverish displays of female sexuality still prove on-screen. It's still easy to see the influences coursing through Nekrasova and Quinn's screenplay, and in Nekrasova's directorial choices. If the movie itself was haunted, it'd be by 70s and 80s horror flicks and thrillers, Italian giallo cinema, every picture that's probed New York's underbelly and, quite pointedly, by Eyes Wide Shut and Rosemary's Baby as well. Making his feature debut, too, cinematographer Hunter Zimny synthesises that hefty list of touchstones into a visual style that takes little bits from everywhere, but also fittingly makes it all feel like a dreamy swirl, jittery onslaught and tormented experience. Aesthetically, The Scary of Sixty-First just keeps spiralling from the uncertain and the otherworldly to the uncontrollable, mimicking another of the script's strong observations about 21st-century life. Careening wildly is one of The Scary of Sixty-First's key traits, intentionally so, as also seen in its central performances — Brown, Quinn, Nekrasova and Rapaport all turn in committed portrayals — and its sense of humour. There's no shaking the pitch-black comedy of it all, again by design, but even the film's most absurd moments and farcical touches are steeped in reality in one way or another. Its most nightmarish inclusions are as well, and that's part of the feature's knowing, winking seesaw ride. Yes, a global paedophile ring among the elite sounds like the sickest kind of fiction and an unhinged conspiracy. Yes, there's elements of truth to such horrendous sex-trafficking. The Scary of Sixty-First doesn't always completely come together, but Nekrasova has crafted an uncompromising and compelling movie that acknowledges both, plays like a slap in the face and isn't easily forgotten.
Dining experiences, long lunches and one-off feasts are popping up across Sydney on Friday, December 3. Aiming to give the city's hospitality sector a boost, Open for Lunch is an event series all about spending a day out of the house as Sydney recovers from this year's lengthy lockdown. Sydney dining precinct in South Eveleigh is hosting one such event, complete with a menu curated by Kylie Kwong. Re's Matt Whiley will be on cocktail duty, and you can expect to pair hokkien noodles and five-spiced tofu salad with tipples made with surplus whole fruit, gin, whole mango, ancho chilli and more. The event runs from 10am–10pm, and there'll also be a dance floor — with a mirror ball, and The Original Roman vs Boogie Fingers, Levins vs Joyride, Ayabatonye, Deepa and Tyson Koh on the decks. Elsewhere in the city, YCK Laneways is putting on a luncheon at Barrack Street, Parramatta Square is hosting a 400-person meal featuring dishes from CicciaBella and Lilymu as well as live music, and 600 diners will take to the middle of George Street for a three-course long lunch. Tickets to the South Eveleigh Alfresco Disco are $30 and can be purchased through Ticketek.
Jane Bodie understands mental illness. She doesn’t exploit it for the sake of dramatic impact; she doesn’t romanticise the links between suffering and art. But her characters do. Music, which is making its world premiere at the Stables, could only have been written by someone with intimate knowledge of what it means to live with an unstable mind. “My brother was my hero for most of my childhood,” Brodie writes in the program liner notes. “As an unfeasibly good looking, cool teenager, he began to suffer from a mental illness, tragically pulling the family apart and bringing us back together.” Even though she firmly states, “The play is not about my brother, or a commentary on a specific illness,” there’s no doubt that her personal experience illuminates this sensitive, intricate and truthful work. Adam (Anthony Gee) lives alone in a small, dishevelled studio (skilfully designed for the Stables’ tiny stage by Pip Runciman). Surrounded by piles of letters and unwashed dishes, he spends his time wearing trackies, overcooking one-minute meals and listening to cassettes. Enter Gavin (Tom Stokes) and Sarah (Kate Skinner), two actors working on a play about mental illness and hoping to “study” Adam. Just how much “study” they have to do becomes painfully evident. Ignorant of the achingly narrow line between health and sickness, focused on their own 'art' and "fascinated”, they don’t hesitate to throw themselves into Adam’s life. The results are torturously unpredictable. Under the perceptive direction of Corey McMahon, Gee brings a powerful authenticity to an incredibly demanding role, traversing warmth, humour and explosive anger without losing us for a second. Stokes is a suitably self-obsessed yet well-meaning and potentially not-so-stable Gavin, while Skinner nails Sarah, oscillating from gregarious frivolity to fear. Sam O’Sullivan delivers a subtle and convincing interpretation of Adam’s long-standing and more knowing friend, Tom. Then, of course, there’s the soundtrack. The Clash and Siouxsie and The Banshees tell the story every bit as much as the words do. Image by Kurt Sneddon.
If Shakespeare had lived in the 21st century, there's a good chance he would have been a rapper. Not only was he a master of rhymes, but he had dissing down to a fine art, with gems like "I'll beat thee, but I should infect my hands" (Timon of Athens) and "Thou art a boil, a plague sore, an embossed carbuncle in my corrupted blood" (King Lear). Chicago-based theatre company The Q Brothers' are all about creating 'ad-RAP-tations' of Shakespeare plays. In their latest offering, Othello: The Remix, MC Othello is a rapper turned music mogul engaged to singer Desdemona — sort of a Shakespearean Jay-Z and Beyonce. After Othello releases up-and-coming MC Casio's latest album on his label, the jealous, Eminem-esque rapper Iago decides he has a beef with Othello because and manipulation, betrayal and murder ensues. The show premiered in Chicago last July, and has since been taken to the UK and South Korea, even winning a Jeff Award for Best Ensemble. Image by Michael Brosilow.
There’s no better place to be during summer’s late-night sunsets than outside enjoying them. With that in mind, North Sydney Oval will be transformed from January 17 into the IMB Sunset Cinema. The opening night gets underway with a screening of the new film by Richard Curtis (Notting Hill, Love Actually), About Time, preceded by the soulful, funk stylings of Uncle Jed. Later in the season, look out for popular new releases Gravity, Anchorman 2, August: Osage County, Dallas Buyers Club and The Wolf of Wall Street. It’s a great opportunity to take a picnic, kick back and enjoy the show, but the Sunset crew have got you covered for food as well, if you feel like taking a night off the domestic chores. There’ll be Maggie Beer Ice Cream, 4Pines beer, Crabbies Cider and MadFish Wines, as well as mouth watering Crust Pizza available on site. Tickets are available online for the whole season, which extends until March 9, so get in quick to watch the screen go up as the sun goes down.
This article is sponsored by our partners, Flickerfest. It's a nice story that Flickerfest had its humble beginnings 23 years ago at Balmain High School, but its new home on Sydney's most Instagrammable beachfront is a way more awesome place to sip some brews before your screening time. Sunset Bar is this 2014's on-site watering hole, setting up inside the iconic Bondi Pavilion. Besides panoramic sunset views you can enjoy tasty organic food from partners including misschu and a daily 5-6pm happy hour. Crystal Head Vodka, Little Creatures Beer, Pipsqueak Cider, Rosnay Organic Wine and Phoenix are doing the drinks again this year. It's the perfect way to enjoy a sunset dinner and drinks overlooking the beach without getting sand stuck to your rice paper rolls.
The Laugh Stand's FBi Social shows have proved so successful that the team is ready to take over the inner west. Starting December 10, they'll be occupying Glebe's Harold Park Hotel on a monthly basis. Back in the '80s and '90s, the pub was a comedic hub, playing host to the likes of Adam Hills, Ben Elton, Tom Gleeson, Jimeoin and Merrick and Rosso. A star-studded launch party is promised. Queenslander Lindsay Webb will be taking on the role of emcee. Not only has he appeared on Good News Week, The Footy Show and the Sea FM Morning Crew, he also holds the Guinness World Record for the Longest Show by an Individual — 38 hours and 6 minutes. Arizona-raised Sydney resident Tommy Dean is the headline act, with Darren Sanders hot on his heels. Plus, there'll be performances by a handpicked selection of emerging artists, including Andrew Wolfe, Dane Hiser, Scott Dettrick, Michele Betts, Jared Jekyll and Nick Capper, as well as two-for-one meals.
From November 14, for 11 days and 11 nights, Sydney's major icons, from the Bangarra Dance Theatre to the Botanic Gardens to the Opera House, will be transformed for Corroboree 2013. Australia's finest Aboriginal and Torres Strait Islander writers, artists, musicians and dancers will gather for a festival that celebrates the nation's rich culture — both past and present. The pop-up Corroboree Club at Wharf 2/3 is the place to experience this new festival's different edge. The cool social hub showcases Indigenous arts without the traditional trappings, and features two sets a night mixing music, comedy, hip-hop, drag shows and Koori-oke. It's curated by David Page (of Page 8 and Bangarra Dance Theatre), whose handpicked selections include Archie Roach, Frank Yamma and Casey Donovan. Corroboree also features a film festival-within-the-festival, featuring the premiere of Warwick Thornton's The Darkside, and an epic new dance production, Dance Clan 3, commissioned by Stephen Page, Bangarra's artistic director. The event will be launched on Friday, November 15, with The Firelight Ceremony, a commissioned artwork that acknowledges Sydney Harbour's custodians, the Eora people. The official lighting will take place at Pier 2 at sunset (7.36pm), with the flame being kept alight until the festival closes. There'll also be talks, walks, art exhibitions, food events, markets and workshops.
Sculpture by the Sea has to be one of the world's most spectacular outdoor exhibitions. The annual event heralds the beginning of the warmer months, with over 100 sculptures by artists from 17 different countries setting up along the beautiful cliff walk between Bondi and Tamarama beaches. 2013 marks the 17th anniversary of the exhibit which seems to grow in popularity every year. Contemporary sculpture and a seriously gorgeous view? It's a pretty winning combo and Sculpture by the Sea certainly doesn't disappoint. Your Instagram account will most definitely benefit from a visit. The most successful works are the ones that take advantage of the setting and actively interact with their surrounds. Matthew Harding's, The Cheshire's Grin, is a standout. The cheerful, slim metallic arc reflects the sky; the sly cat's face has become the ocean. Lucy Humphrey's Horizon has also proven to be a crowd favourite. The large glass orb inverts the sea, horizon and the sky in the most breathtakingly beautiful way. You could stand there and watch the waves roll in, upside-down, for hours. David McCracken's Diminish and Ascend is another must-see. The artist has built a stairway which seems to rise indefinitely into the heavens. It's absolutely spectacular. Many artists have used the exhibition as an opportunity for social and environmental commentary. It's a location that lends itself well to this kind of exploration. One of the most interesting works in this vein is the sculpture by Marina DeBris, Aquarium of the Public Gyre. The large glass box houses a bunch of sassy sea-creatures made from trash. Another benefit of outdoor exhibitions is that the works benefit from varying light and weather. Each of these sculptures is constantly shifting and changing. It's one of those shows you can keep returning to. Each visit will offer you up something new. The downside? Sculpture by the Sea is popular. Really, really popular. The paths aren't overly wide and you're competing with a lot of visitors, tourists and school-groups to see the works. That particular stretch of land is also a very well-known jogging track and you will, most likely, have more than one encounter with a disgruntled runner. That said, this is one of those exhibitions you can't miss. Pack a picnic, a bottle of wine and your camera. Head east. Image: Matthew Harding, The Cheshire's Grin. Photo by Gareth Carr
Art, public housing, gentrification — they're all inextricably linked ingredients in a constantly simmering cauldron of debate about what our urban spaces should or should not look and be like. So, story activist Jordan Byron has decided to shed a little light on the matter by providing the public with an intimate view of the world of public housing. Jordan's curated a travelling installation titled TURF: public housing goes public. It's a purpose-built replica of a public housing unit, showcasing art made by residents. All in all, 21 stories are told through various media, including paint, photographs, video, word and sound. “In gentrified inner city suburbs, public housing and prime real estate are side by side but worlds apart. TURF is where these worlds collide,” Jordan explains. “Most people want nothing to do with public housing — it’s dirty, it’s dangerous, it’s different. Sure it can be all of those things but it’s so much more. TURF opens the doors and invites everyone in to see public housing for what it really is: a cocoon of diversity, dreams and dilemmas.” TURF will be open to the public in two different locations: Gladstone Park, Balmain, from 9am-6pm between Thursday, November 28, and Monday, December 2, and Surry Hills Library Forecourt, from 9am-10pm between Thursday, December 5, and Monday, December 9. There'll be a launch party on Sunday, November 30, with live music, performances, food and drink.
