When Respect first breaks out its titular track, it's the original Otis Redding version that echoes in the background. The song plays in the Franklin household as Aretha (Jennifer Hudson, Cats) and her family listen, and the scene bubbles with anticipation for the thing everyone watching knows will come. Shortly afterwards, the Queen of Soul tinkers at the piano in the deep of night, her excitement buoyant after hearing her first big hit 'I Never Loved a Man (The Way I Love You)' on the radio. Her sisters Erma (Saycon Sengbloh, Scandal) and Carolyn (Hailey Kilgore, Amazing Stories) join in, and they're all soon rearranging Redding's tune into the single that cements Aretha's status as a music superstar. For the entire film up to this point, viewers have also heard the Franklins, including patriarch and preacher CL (Forest Whitaker, City of Lies), refer to Aretha using a nickname. "Ree" they call her again and again, and soon "ree, ree, ree" is exactly what Erma and Carolyn sing on backing vocals. It's a neat and also exuberant moment. Respect quickly segues to Aretha and her sisters crooning 'Respect' at Madison Square Garden to a rapturous crowd, but watching the track come together has already proven electric. Something can be orderly and expected and potent and rousing all at once, as this movie happily demonstrates regarding its namesake — but for most of its 2.5-hour running time, Respect is content to careen between inescapably formulaic and occasionally powerful. In other words, Respect is a standard music biopic. The genre will never stop expanding — films about Elvis, Madonna, Boy George, Bob Marley, Amy Winehouse and Whitney Houston are currently in various stages of development — but flicks about famous musicians have peppered cinemas with frequency recently. Thankfully, Aretha's stint in the cinematic spotlight doesn't merely shuffle through a greatest hits album like Bohemian Rhapsody. All her well-known songs are accounted for, though, and it definitely doesn't strive to shake up the template as Rocketman managed so vividly. And with Judy and The United States vs Billie Holiday still fresh in filmgoing music-lovers' memories, Respect can't help feeling like it's striking the same beats. The faces and tunes change, but the overall journey remains undeniably similar. The fact that so many iconic female singers' stories navigate comparable paths is a horrible indictment of the way women have long been treated in the music industry; however, the fact that the movies telling their tales can't completely shake that air of familiarity can never quite do them justice. Respect begins with young Aretha (lively debutant Skye Dakota Turner) being roused from sleep by her father to sing at one of his well-attended house parties. It's 1952, and to an audience that includes Dinah Washington, Duke Ellington and Ella Fitzgerald, she breaks out a rendition of the latter's 'My Baby Likes to Be-Bop' — and "she's 10 but her voice is going on 30" is the shared reaction. This obviously isn't the last time that Aretha unleashes her astonishing voice in Respect, and that everyone in earshot reacts accordingly. When she's accosted by an unnamed man in her bedroom afterwards, it isn't the last time the film veers between highs and lows, either. First-time feature director Liesl Tommy and screenwriter Tracey Scott Wilson (Fosse/Verdon) repeat that pattern, embracing it as comfortably as their key figure croons any song she chooses. But where their subject transcends every ditty she trills, Respect can't be said to do the same. Even viewers unaware of the ups and downs of Aretha's life will still know where each second of the film is headed. The choice to end with 2016 footage of the real-life singer piping '(You Make Me Feel Like) A Natural Woman' is a classic biopic touch, of course, but it's preceded by far more predictable choices again and again. Accordingly, as a child Aretha wrestles with her mother's (Audra McDonald, Beauty and the Beast) untimely death, and her own abuse, to evolve from singing in church for her father and family friend Martin Luther King (Gilbert Glenn Brown, Stargirl) to starting her career under her dad's ferocious guidance. From there, she struggles to turn her early Columbia Records releases into successes, yearns to make music that means something to her and defies her father by marrying small-time producer Ted White (Marlon Wayans, On the Rocks). The children she has as a teenager remain with her family as her path leads to Atlantic Records, veteran record producer Jerry Wexler (Marc Maron, Joker) and recording with the Muscle Shoals Rhythm Section in Alabama, which is where early hits like 'Respect' and 'Ain't No Way' come to life. But her marriage to Ted isn't happy, and coping with his violence takes its toll. So does touring, recording and working non-stop, including when she weds her tour manager Ken Cunningham (Albert Jones, Mindhunter), and later decides to make her best-selling gospel album Amazing Grace. It's never a smart idea to remind your audience that a better movie exists on the same topic, so the decision to recreate parts of Aretha's Amazing Grace performance — as also seen in the magnificent documentary of the same name that only reached cinemas in 2019 — is misjudged. This section of Respect does let Hudson shine, and Aretha's music do the same, though. Alongside the dazzling costuming, they're the film's biggest assets the whole way through. While the script sticks to well-worn territory, cramming its subject's story to fit the usual music biopic mould and giving the entire affair a handsome period sheen, Hudson injects power and presence into her portrayal. The Dreamgirls Oscar-winner has the talent to do Aretha's songs proud, too. But she also makes viewers wish that everything around her performance, the tunes she's singing and the clothes she's wearing didn't fall victim to the usual cliches. This film has ample respect for the woman at its centre, but it also approaches the act of bringing her life to the screen like it's simply taking care of business.
If you've ever felt guilty about staying at home on a Saturday night to play video games, learn Beyoncé dance moves off YouTube or watch six straight hours of Netflix — don't. The Sydney Opera House has just announced that they'll be hosting an epic overnight 24-hour festival dedicated to binging on pop culture in a totally acceptable social setting. Think Buffy marathons, Street Fighter, Shia LeBeouf — and cats. Bingefest is a brand new festival for the Opera House (their first newbie in five years) and will pull together this year's pop culture phenomenons to discuss, celebrate and — most importantly — enjoy them for what they are when it comes to the Opera House for 24 hours (or so) this December 17 and 18. The biggest announcement is that actor and artist Shia LeBeouf — along with collaborators Nastja Säde Rönkkön and Luke Turner — will be coming along to the fest. Best known for their live performance art like Take Me Anywhere, where they posted their coordinates and waited for the first people to find them and pick them up, the trio will be creating a work especially for Bingefest. No word on what it is yet though. The program — which will run from about 3pm on Saturday until 6am on Monday morning — includes a whole range of things we consume on the Internet, from TV and video games to podcasts and viral videos. Running overnight on the Saturday will be a Buffy marathon, in which lovers of the kickass femme vampire can relive the best episodes all over again (and all night), as well as a 24-hour Street Fighter session. Those familiar with the cult '80s video game will be able to drop in at any point in the night for a go. Other highlights include a talk from The AV Club, where four of their editorial staff will take you through all the TV you should have watched by now. Community's Dan Harmon and Luke McGregor and Celia Pacquola (from the soon-to-air ABC show Rosehaven) will write a TV-show from scratch in front of an audience, Serial producer Julie Snyder will discuss binge-worthy journalism and Amrita Hepi will hold two Rihanna and Beyoncé dance clases in the Opera House's ballet rehearsal room (perfect post-Buffy binge). Redfern Convenience Store will even be holding a pop-up snack store. Also, in what could be the most captivating performance we've seen this year, the Internet Cat Festival will make its Sydney debut. It will be held in partnership with the RSPCA and will be goddamn adorable. The festival will function as a curated reel of videos, played in the Joan Sutherland Theatre Northern Foyer on Sunday, December 18 at 2pm as part of the Bingefest's free program. Bingefest founder and curator Danielle Harvey says the festival is an opportunity for people to consume pop culture together as a community. As something that's largely consumed personally at home, the live participation of festival makes it a whole different experience. Danielle is a co-curator of other Opera House events like All About Women and the Festival of Dangerous Ideas, but unlike the other festivals that incorporate elements of pop culture, Bingefest will be 100 percent dedicated to featuring it in a more celebratory way. Bingefest will take place at the Sydney Opera House from the afternoon of Saturday, December 17 until the morning of Monday, December 19. FOr more info and to buy tickets, visit bingefest.sydneyoperahouse.com.
Secret Garden Festival might be the most secretive festival to grace the summer scene, and tickets for the next instalment are on sale on Thursday, November 14. As per every previous year, the lineup and location are still a complete secret, so the cash dropped for one of these tickets is a lucky dip that commits you to a whole weekend of booze, bands, friends and fun. Once again, the first day is a theme day. The 2013 festival celebrated the theme of Secret Garcon, where Friday festival goers dressed up in their favourite Cosplay attire. 2014, however, is a whole new ballgame. The Friday celebrations will be Farmers vs Zombies: a band of 'zombies' will be let loose on gardeners, who will be armed only with Nerf weapons (BYO Nerf weapons) and are expected to clear the yard in two hours, when the festival proper kicks off. Badass. The rest of the festival is given over to all manner of entertainment, including bands, artists and various other performers doing various other things. As vague as that sounds, it's mysteriously exciting. The best dang thing about the whole deal is that the entire festival is not for profit. All proceeds from tickets, food and drinks bought at the festival go towards the Sarah Hilt Foundation, which supports victims of meningococcal. So the more you drink, dance and stuff yourself, the more you're helping the community. Tickets start at $120 for one day, or $185 for both. Additional costs are involved for hiring tents, the Friday morning banquet and a bus to and from and the Farmers vs Zombies.
When is a dance film more than just a dance film? When it brings a celebrated real-life performance to the cinema, fills its frames with dream-like visuals, and dives into the indigenous Australian experience. That's the case with Spear, which — its sublime showcase of fancy footwork and smooth moves aside — bears little other resemblance to the bulk of the dance film genre. Saturday Night Fever, Footloose and Step Up, this is not. Indeed, in an effort concerned with origins and evolution, understanding the movie's own leap from dance piece to film is pivotal. Spear blossoms out of a Bangarra Dance Theatre presentation first staged in 2000, and marks the feature filmmaking debut of Stephen Page, the company's artistic head. His close connection with the material is evident from the outset, and not just because his son, Hunter Page-Lochard, plays the lead character and his brother, David Page composed the accompanying music. Prior to this, Page's only credits are on a segment of The Turning and choreography work on Bran Nue Dae and The Sapphires. Nonetheless, his expressive offering demonstrates what all directors hope for: the strong imprint of a distinctive guiding hand. Given that the production relies upon imagery and movement much more than words and narrative, the importance of Page's task cannot be underestimated. In fact, as Spear cycles between rocky seaside cliffs, dusty outback plains and gritty urban locations, the feature's primary aim isn't to tell a story, but to convey a feeling and channel a sense of spirituality. Enter Djali (Page-Lochard), an Aboriginal youth trying to understand his heritage, and the audience's on-screen surrogate. As the film takes him through the past and present experiences of his people, sometimes accompanied by an Old Man (Demala Wunungmurra) or interacting with Suicide Man (Aaron Pedersen), its rhythmic sights and sounds wash over him — and over the watching viewer, too. Think of Spear as a series of exquisite dance routines, each fusing the traditional and the contemporary, and representing a plethora of issues: discrimination, marginalisation, violence, homelessness, abuse, and forced assimilation among them. Think of it as a process of layering, as well. Each individual section proves an intricate, intimate and distinctive creation in its own right, as well as a crucial piece of a bigger thematic and artistic puzzle. If it sounds unique, that's because it is. In fact, with its combination of exceptional physical feats, evocative presentation and somewhat abstract content, Spear is unlike any film most audiences will have seen. It's a stunning achievement, as well as a memorable one. The end result doesn't simply engage the brain but assaults the senses — so much so that it almost feels as though the movie could dance from the screen back into reality at any moment.
Maybe you loved her on Saturday Night Live. Perhaps you adore Parks and Recreation like it's a member of your family. Or, you could've watched and rewatched Baby Mama and Sisters over and over again — or binged your way through Making It, her competitive crafting show. However you became an Amy Poehler fan, 2021 is shaping up to be a great year. The talented comedian and actor is co-hosting the Golden Globes again with Tina Fey, Parks and Recreation has just hit Netflix and, come early March, Poehler's latest movie will also make its way to the streaming platform. That flick is called Moxie, and it both co-stars Poehler and marks her second stint as a feature filmmaker. It also heads back to high school — because popping up in Mean Girls, which Tina Fey wrote the screenplay for, clearly wasn't enough of a blast from the past. Poehler obviously isn't packing her school bag. Instead, she plays the mother to a teenager, Vivian (Hadley Robinson, I'm Thinking of Ending Things). The 16-year-old has always been quiet and studious, and tried to to avoid attracting any unwanted attention from her classmates. But, after finally realising that she's had enough of the toxic behaviour that runs rampant at her school, she takes a few cues from her mum's past, starts an underground zine and starts fighting for change. From the just-dropped first trailer, Moxie slides easily into the high-school genre; however, it also gives it a riot grrrl spin. Plus, as well as Poehler and Robinson, the film's cast includes Alycia Pascual-Peña (Saved By the Bell), Lauren Tsai (Legion), Patrick Schwarzenegger (Daniel Isn't Real), Josephine Langford (After We Collided), Clark Gregg (Agents of SHIELD), Ike Barinholtz (The Hunt) and Marcia Gay Harden (The Morning Show) — and it's based on the he novel by Jennifer Mathieu. Check out the trailer below: https://www.youtube.com/watch?v=Sf34qI1hjKU Moxie will be available to stream via Netflix from Wednesday, March 3. Top image: Colleen Hayes/Netflix © 2020
“Your nose like a delicious slope of cream / And your ears like cream flaps / And your teeth like hard shiny pegs of cream.” Diner en Blanc — like Howard Moon's poem — will have you in all white. But sorry, Booshers: the third edition of this Sydney event is just for the sophisticated. Now on five continents, the Diner en Blanc began in Paris 26 years ago thanks to François Pasquier and friends. This year, around 3000 of Sydney's creme de la creme will once again dress in all white on Saturday, November 29, for the event held at an iconic location that remains secret until the very last moment (last year it was Bondi Beach. Wowza). Following an evening of elegance, fine dining and live music, the foodies then pack up their crystal, dinnerware, tables and litter. Like ghosts (white 'n' all), they leave behind no sign of their rendezvous. (But don't get any ideas: a white sheet thrown over your figure will not do for an outfit). Diner en Blanc guests must either be invited by a member from the previous year, or get on the waiting list for a ticket.
There's something rather cool about being ahead of the curve when it comes to cinema; watching the latest and greatest flicks unfold on silver screen well before anyone else. Well, at Flickerfest Short Film Festival you can do just that. Yep, break out the popcorn, the internationally acclaimed festival is back at Bondi Pavilion from Friday, January 11 to Sunday, January 20, and there's a swag of world premieres on the bill. This year, the folks at Flickerfest received 2700 entries from more than 100 countries around the world, making the 2019 program a real doozy. Around 200 creative and inspiring shorts will screen throughout the ten-day festival, with a whopping 47 percent of films directed by women. Standout shorts from the homegrown lineup include Desert Dash — a film written, directed and starring formidable Australian artist Gracie Otto, which questions what life would be like in the Aussie outback if it was all just a game (spoiler: it's slightly twisted) — and the Australian premiere of Ghost Bear, a touching animation for kids by comedic heavyweight and Flickerfest alumnus Paul McDermott (that funny guy from Good News Week). The international program is as equally impressive, featuring a host of humdingers from our overseas friends. See Wes Anderson's favourite frontman Jason Schwartzman in a Norwegian comedy To Plant a Flag or dive into a gripping French drama about a ballerina navigating her dark and complicated life, starring renowned French actress Catherine Deneuve. But it's not all fun and games — the selected films are vying for various Academy-accredited awards, including Best International Film, Best Animation and Best Australian Film. And after the ten-day festival is done and dusted, the top flicks will hit the road, stopping off at more than 50 destinations across Australia, for an annual tour between January and May. To see the full Flickerfest 2019 program and grab tickets, head to the website. Plus, we've got ten double passes to give away. Enter with your details below, cinephiles. [competition]702377[/competition]
Newly incorporated Artist-Run-Initiative AIRspace Projects INC will be holding a fundraiser-meets-exhibition this month, starting with a celebratory opening night on December 1. For the past four years Sally Clarke and Brenda Factor have been running the formerly independent space and pulling together some killer exhibitions. Now the team are excited to be rolling out a bunch of new projects including video weekends and AIRseum — an unconventional museum dreamt up by artist, scientist and museologist Catherine Polcz. The exhibition spreads across four galleries and features both established and emerging artists including Liz Day, Yiorgos Zafiriou, Katy Plummer, Ali Noble, Stella Chen and Susan Andrews. You'll be able to snap up multiples, series, publications and even originals, all to support what the gallery calls "a struggling species" (i.e., artists). It's a good opportunity for would-be-investors, and a chance to buy a truly awesome Christmas present for someone. AIRfair will be open from 11am Thursdays-Saturdays from December 1 to 16. Image: Yvette Hamilton, A Loved One Sleeping #3 [detail], photographic print, Edition of 5. Image courtesy of the artist.
There's no such thing as an ordinary dish to chef Nelly Robinson, namesake of and driving force behind Sydney restaurant NEL, as his degustation menus keep demonstrating. KFC? Lamingtons? French onion soup? Pots of honey? They can all be given a fine-dining twist, and have. Paddington Bear's marmalade sandwiches? They're next. For the Harbour City restaurant's latest 11-course feast, it's going all in on dishes inspired by England. The theme: great British memories. So, of course everyone's favourite talking bear and his sandos get a nod. So do beef wellingtons, scampi and beer, Sunday roasts and chocolate orange. This limited-time special hits NEL from Wednesday, August 16–Saturday, September 30 — and, like all of the eatery's degustations, is a bucket list-worthy meal for Sydneysiders and visitors alike. That nod to Paddington Bear? It's made with Davidson plum marmalade, and dished up in a suitcase. And those NEL-style beef wellingtons? They're whipped up from slow-cooked stout beef cheeks, which come wrapped in cime di rapa, then topped with carrot puree and English peppercorn sauce. The pub grub-esque scampi and beer is a prawn-filled tart mayonnaise seasoned with and tajin, also featuring avruga caviar, and paired with a sarsaparilla-flavoured drink. As well as the chocolate orange — which doesn't resemble the Terry's supermarket-sold version — and the riff on a roast, spins on gammon and eggs, cheese and onion, fish and chips, korma scallops, and rhubarb and custard feature. Robinson is drawing upon his own formative years. "The team knew exactly where I was coming from when crafting of this menu began. It was really special to create a whole new menu honouring my childhood and roots," the chef advises. "As always, we have paired it with some sensational wines, too." Patrons can tuck in for $185 per person, with matched beverages starting at $85 each on top.
Exil is Sydney Chamber Opera's final hurrah for the season and it's something special. The post-Holocaust poetry of Paul Celan and Hans Sahl placed alongside Psalm 23, and set against Jane Sheldon's extraordinary vocal performance, forms the foundation for this take on contemporary Georgian composer Giya Kancheli's song cycle. Directed by Belvoir resident Adena Jacobs, Exil is a haunting attempt at expressing the inexpressible. As the grandchild of Holocaust survivors, Jacobs is conscious of the problems one faces in trying to represent that which no words can describe. Carriageworks is an apt setting for the performance, made all the more eerie by the frequent passing of trains. The design is minimalist, stripped down and cast in shadow, opening on Sheldon kneeling in a shallow pool of water, her bare back to the audience. While she faced a blank wall, her voice penetrated the distance between herself and the audience. Her solitary figure is made all the more haunting when the words of Psalm 23 are projected onto the wall to her right, and to her left the orchestra, conducted by Jack Symonds, are bathed in yellow light. In performing the song cycle created in 1994 and never meant for the stage, Symonds and Sheldon have been faithful to Kancheli’s minimalist, although heavily romantic and post-Mahlerian style. The slow speed of the music lends weight to Sheldon’s tonal range, and the effect was a rich and moving, at times anguished and fleeting representation of what no words can describe, that tongue of desperation to survive. Sheldon, praised by the New York Times for singing "sublimely", is a New York-based Australian soprano, who has worked under the direction of William Christie and has performed with the London Philharmonic Orchestra. She is utterly captivating in the role — even more so given she is on her knees for the first part, barely moving, and spends the second half of the performance in a soaking wet woollen coat. And what does Exil achieve? It is testament to the power of poetry to fill that gap between experience and understanding, and the power of art to guide survivors from horror into the unknown days ahead. Sheldon's is a lonely voice against the scale of the most familiar of biblical prayers — "The Lord is my shepherd..." — and against the harrowing and pointed poetry of Celan and Sahl. The voice is lonely but not isolated — it is a harrowing voice because it calls for freedom for beyond torture, for human connection despite the imprisonment of soul. Performances are held on Saturday, December 7, Monday, December 9, Wednesday, December 11, and Friday, December 13, all at 8pm. Image by Louis Dillon-Savage.
Most years, the arrival of winter heralds more than just colder weather for Sydney's cinephiles. When June hits, so too does the Sydney Film Festival, unleashing hundreds of movies upon the city's cinemas. By now, we all well and truly know that little has been normal about the past 12 months, so SFF has been adjusting with the times. In 2020, it cancelled its physical event completely, opting for a virtual-only festival instead. This year, it's planning to come back as an in-person fest; however, it'll be doing so a bit later than normal. Movie buffs, you'd best block out the last couple of weeks of August in your diary, because that's when SFF will be starting up the projectors. The 2021 event will now take place from Wednesday, August 18–Sunday, August 29, so you'll be ending winter by running between cinemas and watching as many films as you can, rather than beginning it that way. While Sydney's COVID-19 case numbers have remained under control for the past month or so — on Sunday, February 14, New South Wales marked 28 consecutive days without any locally acquired cases, in fact — that hasn't been the situation overseas. Accordingly, it's hardly business as usual at big international festivals such as Berlinale and Cannes. After completely cancelling last year, the latter has postponed its 2021 dates from May to July. SFF typically programs a number of brand new titles straight from Cannes, so moving to the end of August allows it to keep accessing the kind of big-name flicks that'll premiere at the French event. If you're the type of cinephile who pays attention to Australia's nationwide festival scene — and travels interstate to keep getting your movie fix — you might've noticed that SFF's new dates overlap with the Melbourne International Film Festival's regular August timing. MIFF also hopped online in 2020, and has announced August 5–22 as its 2021 dates. Whether that'll change, or if diehard film fans will find themselves picking which fest to attend (or zipping from one to the other), is obviously yet to be seen. The 2021 Sydney Film Festival is now scheduled to take place from Wednesday, August 18–Sunday, August 29. For further details, head to the festival's website.
Back in November 2020, David Abram, owner of the now-closed Sydney cultural institution Freda's and new venture Cafe Freda's, told Concrete Playground that he was optimistic for the future of Sydney's nightlife and culture. "The reality is the talent is here. The ambition is here. We just need spaces, support and far less red tape," Abram said. While there is still a way to go, the ball has started rolling and this red tape has begun to be cut in the five months since Freda's closed. In November, a series of archaic laws surrounding live music venues were rolled back; in February, the last remaining lockout laws were finally abolished; and in March, COVID-19 restrictions on venues were removed, once again allowing dancing in New South Wales. Now, the latest development in the push to revitalise Sydney's night time economy is coming from the City of Sydney, which has announced plans to "revitalise Sydney after dark". As approved by the local government body on Monday, March 29, the city council's plan includes several reforms to restrictive laws — with the changes aiming to help businesses operate more freely and to encourage more small-scale cultural events to pop up in the CBD. Under the new reforms, local businesses and shops will be able to open until 10pm without needing to apply for permission from regulators. Also, a range of spaces around the city — including offices, retail spaces and community facilities — will now be able to hold "minimal impact small-scale" cultural events and activities without needing to apply for permission. [caption id="attachment_806020" align="alignnone" width="1920"] 107 Projects[/caption] "It is so important that we make and maintain space for artists in our cities," Lord Mayor Clover Moore said. "By removing red tape, we are making it easier for small businesses to open later, put on small-scale cultural events and set up maker spaces in the heart of our villages." The Erskineville Town Hall is also set to be revitalised under the new plan, with the City of Sydney leading a push for it to be turned into a multi-purpose cultural space, cinema and live music venue. The hall is currently available to hire for private hire, but doesn't run its own program of public events. The result of research and consultation since 2015, the proposed reforms will now be submitted to the New South Wales Department of Planning, Industry and Environment for final approval. And, according to the Lord Mayor, they'll be accompanied by similar plans from the Inner West Council to lift Sydney's nightlife throughout the inner city. For more information about the City of Sydney's plans for Sydney's nightlife, head to the council's website. Top image: Jamie Williams
Masters of late night snack fuel Ben & Jerry's have been dishing out pop culture-riffing flavours like Liz Lemon Greek Frozen Yoghurt, Stephen Colbert's AmeriCone Dream and, of course, Schweddy Balls for years. Then the masters of frozen confection go and create something called 'Free Cone Day', an annual event which defies haters. You can score an ice cream on the house, as part of the company's yearly, worldwide tradition thanking its fanbase for all the gluttonous support. On Tuesday, April 10, Ben & Jerry's Scoop Shops around Australia are hosting the seventh annual Free Cone Day — scooping out free ice cream from 12pm until 8pm. Suss out your nearest Scoop Shop purveyor of frozen dairy heaven here, and rock up on April 10 to claim your cone. Check out Ben & Jerry's Facebook page for updates.
Sydney is no stranger to boozy brunches. They've popped up in the west with fried chicken waffles, on rooftops with endless Champagne and by the beach with tacos and margaritas. But, none do it quite like Surry Hills' Nour. The Crown Street palace of pastels and plants — and boundary-pushing Middle Eastern fare — has just brought on a new team of A-class chefs and launched a brunch offering with cocktails in teapots, breakfast pizza and possibly one of the best (and smokiest) bloody marys in the city. Executive Chef Ben Williamson (from Brisbane's Gerard's) together with Head Chef Mike Dierlenger (The Bridge Room) have overhauled the restaurant's general menu and unveiled its first-ever breakfast lineup, which is only available one day a week. On Sundays from 10am–2pm, you can find a spot on the sunny banquette (surrounded by pillows) or out the back (here, surrounded by plants) and order an appropriately boozy breakfast teapot. Made to share between two, the pots cost $36 and come filled with either bourbon, apple juice and earl grey or gin, lemon myrtle and peppermint. You could, instead, go for the bloody mary (made with gin, harissa and extra-smoky tomato juice) or a Blossom Pipe ($20), with cardamom, pineapple and vodka served in an elaborate glass pipe. Nour is known for using traditional Middle Eastern flavours in new and interesting ways — and its brunch is no different. Designed to share, the breakfast dishes include a falafel crumpet (with crisp edges and a soft interior) topped with tahini and a pickled quail egg; burnt butter hummus topped with whole golden chickpeas; and a lineup of manoushe: a popular Lebanese pizza typically eaten for breakfast. Cooked to order in a woodfired oven and topped with the likes of sujuk (spicy sausage) and stretched cheese curds, it'll dissuade you from ever eating cold, leftover slices of Domino's in the morning ever again. Another daytime highlight is the Baalbek eggs: a thin flatbread topped with soft-yolked fried eggs, tahini yoghurt and lamb awarma (which is spiced, cooked and preserved). You could, in theory, eat this with a knife and fork, but it's suggested you use your hands; tear off a piece of bread and use it to scoop up a salty, yolky mouthful. For the decision-averse, Nour's brunch menu also includes two banquet options for $45 or $69, with optional bottomless booze add-ons. For an extra $30 a head you can choose from 90 minutes of endless bellinis or rosé.
UPDATE, December 20, 2021: Happiest Season is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube Movies and iTunes. Heading home for the holidays and stepping into a sea of interpersonal dramas is a familiar on-screen set-up, as a new movie every Christmas or so reminds us. By now, then, we all know the formula. Adult children make the pilgrimage to their parents' place, rivalries and animosities flare up, secrets are spilled, chaos ensues and, by the end of the film's running time, everyone has learned something. Happiest Season fits the template perfectly. With the merriest time of the year in full swing, the Caldwells converge on the Pennsylvanian family home, with their celebrations given an extra edge due to patriarch Ted's (Victor Garber, Dark Waters) mayoral campaign. His fastidious wife Tipper (Mary Steenburgen, The Book Club) insists on snapping every moment for his Instagram feed, all as stern eldest daughter Sloane (Alison Brie, GLOW) arrives with her husband (Burl Moseley, Crazy Ex-Girlfriend), two children (Asiyih and Anis N'Dobe) and plenty of unspoken tension in tow; zany middle sister and aspiring fantasy writer Jane (Mary Holland, Between Two Ferns: The Movie) is largely ignored; and Pittsburgh-based political journalist Harper (Mackenzie Davis, Irresistible) returns with the girlfriend, Abby (Kristen Stewart, Charlie's Angels), that none of her relatives know about because she hasn't come out to them yet. If someone other than The Faculty, Girl, Interrupted, Veep and The Handmaid's Tale actor-turned-filmmaker Clea DuVall had made Happiest Season, the above paragraph would accurately reflect the feature's character hierarchy — because Sloane would take centre stage, and Harper and Abby would hover around the narrative's edges. But DuVall did make Happiest Season and, with co-writer Holland, she flips the movie's focus, even while still sticking with a well-worn general premise. Accordingly, this festive flick resembles a comfy sweater that often gets a wear, but seems welcomely different on this particular occasion. As Aussie queer teen rom-com Ellie and Abbie (and Ellie's Dead Aunt) also demonstrated this year, it shouldn't be so subversive to take an overused genre that's heavy on recognisable tropes, then strip away the engrained heteronormativity. But it is, in both high school-set romances and movies about meeting your partner's parents over eggnog. After filling the credits with details of the formative stages of Harper and Abby's relationship, the feature introduces them properly as they're touring local Christmas lights. The towering Harper is giddier than one might expect of someone of her age, but the calmer Abby isn't fussed about the season after losing her parents when she was a teenager. When the former asks the latter to come home with her for Christmas, though, Abby gets excited. She wants to pop the question anyway, and figures there's no time or place better to make the festive-loving Harper her fiancée — although her best friend John (Dan Levy, Schitt's Creek) points out that asking Harper's dad's permission beforehand is hardly a progressive step. It isn't until Happiest Season's central couple has almost reached the Caldwells' that Abby discovers Harper's subterfuge. Not only do Ted, Tipper and company not know that Harper is gay and in a relationship, but Abby is asked to pretend she's straight as well (yes, one gag literally places her in a closet, because of course that happens). In the broad strokes, the movie doesn't serve up any surprises. But like moving its focus to Harper and Abby, this Christmas rom-com is all about the details. Amid the sibling struggles, the re-emergence of old flames both male (Jake McDorman, What We Do in the Shadows) and female (Aubrey Plaza, Parks and Recreation), and the always-hectic whirlwind that surrounds every seasonal family affair — and every attempt to run for political office, too — Happiest Season explores two crucial themes in a meaningful way. First, it unpacks the performative nature of human existence, where too often we're all trying to match other people's perceptions and expectations without consistently remaining true to ourselves. And, it also interrogates how coming out isn't a simple or straightforward act, even in seemingly loving circumstances. These are weighty ideas and, while Happiest Season is light and jovial overall, it doesn't sugarcoat its heavier moments. It doesn't devote all of its running time to them either, but DuVall and Holland's script finds a delicate balance — with the part played by Holland herself at first seeming to be the movie's most overtly exaggerated role for comedic effect, but eventually proving more thoughtful, for instance. It's easy to see how the screenwriting pair could've turned this into a different picture, with the initially tentative friendship that springs up between Abby and Plaza's Riley, and the commonalities they feel as women who've been pushed aside so Harper could maintain a lie, 100-percent begging for an entire movie of its own. But DuVall never forgets the task that she has clearly set herself: to make a queer meet-the-parents Christmas comedy. The film's warm-hued, Hallmark-style imagery never lets the audience overlook the fact that Happiest Season willingly sticks to a formula in order to update it, either. Also apparent is just how well Stewart and Davis anchor the movie's generic and more soulful elements alike. This shouldn't come as a surprise, with Stewart picking most of her post-Twilight roles astutely (see: Clouds of Sils Maria, Certain Women, Personal Shopper and Seberg), and Davis always a memorable addition to any cast. In their hands, their characters feel lived-in. So does Happiest Season's central relationship, especially as it navigates considerable ups and downs, including an ongoing series of questionable decisions by Harper. Steenburgen, Plaza, Levy, Brie, Garber — they're all reliably great, too, but it's likely this LGBTQIA+-friendly dose of merriment wouldn't have found the right mix of festive familiarity and emotional substance with other leads. https://www.youtube.com/watch?v=j_jjELPpKkk
Having made its international premiere at New York's Museum of Arts and Design (MAD), this exhibition has hit the Powerhouse. At its heart is the increasingly intense relationship between digital manufacturing and, well, everything — from art and design to science and architecture. The computer revolution has changed every part of the process. More than 60 artists are bringing their perspective to the mix. You'll be seeing works from New York-based sculptor Barry X Ball, Iraqi-born British architect Zaha Hadid, Dutch fashion designer Iris van Herpen who's collaborated with everyone from Tilda Swinton to Lady Gaga and Israeli industrial designer Ron Arad.
Heads up, Mother's Day is just around the corner. (It's happening on Sunday, May 9, in case you temporarily forgot.) You can frantically message your siblings later, because there's pressie planning afoot — and we've found a showstopper for your dear ol' mumsie this year thanks to Gelato Messina. Never one to miss an opportunity to experiment with new ways to inhale sweets, Messina has been cooking up quite the delicate novelty dessert for Mum since 2015: an Italian-inspired box of chocolates. These brownie point-winners have been selling out every year since, and they're sure to bring it home again in 2021. An important note, though: while these chocolate bon bons were filled with gelato to begin with, Messina went for an all-chocolate version in 2020. And, that's what's on offer again this Mother's Day. They're made from single origin Ecuadorian chocolate, no less — and, with Messina recently stepping up its in-house chocolate-making capabilities, you'll be tasting some of the gelato chain's new varieties. Each box comes with nine handmade chocolate bon bons in nine different flavours — Davidson plum, earl grey, alfajores, lamington, mandarin white choc, Messina Rocher, strawberry pate de fruit, 80-percent dark chocolate and yuzu white chocolate. So, your mum will have quite the variety to feast on. And hey, if she doesn't like one of the flavours, maybe she'll share it with you. The Mother's Day boxes are going for $49 a pop, and will be available to order from 9am, Thursday, April 22. This year, you'll need to pick them up, too, with the bon bons available for collection between Friday, May 7–Sunday, May 9. Gelato Messina's Mother's Day Bon Bons will be available to order from 9am, Thursday, April 22 for pick up between Friday, May 7–Sunday, May 9.
Having a parma and a pint at your local will be a reality once again come Friday, May 15, with the NSW Government tonight revealing that pubs and clubs will be able to reopen to dine-in customers — with some restrictions. On Sunday, NSW Gladys Berejiklian announced the first stage of eased restrictions for the state, which will come into place on Friday, and includes five visitors allowed inside a house, gatherings of ten outside and the reopening of restaurants and cafes — but this new rule did not, at the time, extend to pubs and clubs. Tonight, however, NSW Treasurer Dominic Perrottet confirmed that pubs and clubs will also be allowed to reopen their restaurants to dine-in customers from May 15, according to the Sydney Morning Herald. [caption id="attachment_680429" align="alignnone" width="1920"] Parma by Giulia Morlando[/caption] Like restaurants and cafes, pubs and clubs will be allowed a maximum of ten customers at a time, and a strict one customer per four square metres must be maintained. Bars and gaming facilities will be closed, but table service will be allowed. So, you won't be able to walk up to the bartender and order a jug, but you will be able to sit down and have a pint or two alongside your meal. The news comes as NSW earlier this week recorded zero new COVID-19 cases in 24 hours for the first time since the pandemic began. For more information about what restrictions will be eased on Friday, May 15 in Sydney, head to the NSW Government website. Top image: Tanya Saint James
Spoiler Alert: Buried may be entirely what you expect. The simple premise of this film is of a man buried alive. But what you may not expect is that the film never shies away from this one idea. For 90 minutes you are stuck with Ryan Reynolds inside a coffin, but by the end of it you will probably marvel at how far this movie goes while boxed within these constraints. The greatest challenge for director Rodrigo Cortes is the cynical film goer. How can a film containing just one man, in just one box, keep one enthralled for a whole 90 minutes? To test this I dragged along a cynic — a disbelieving, slightly irritable cynic. But from the opeining credits to the first interminable minutes of darkness and silence, we had both succumbed to the promise of an unusual and challenging film. Although initially I was smug, in my large comfy cinema with my large delicious cola, something happens during the course of the film — Paul Conroy's (Reynolds) oxygen starts running low and his hip flask runs dry and I cannot help but feel tight in the chest. Cortes has won his battle. That something is a magical combination of director, actor and camera that occurs between the confines of those wooden walls. With little light, an immense amount of feeling is generated. Camera angles explore the entire terrain and I am reminded of a child playing with a brown cardboard box: Cortes' imagination within these confines is without limit. Everything feels tense and gritty. Suspense builds as the human tragedy surrounding Conroy unfurls and the clock keeps ticking. Unlike the similarly enclosed drama of Phonebooth, the action never strays form the plight of Paul Conroy. His only connection to the outside world is a phone with decreasing battery and poor reception. If acting is mostly re-acting then Reynolds has done well to shrug off his early lighter roles. Some of the phonecalls are simply harrowing, and the mandane frustrations of call centres and answering machine messages become yet another nail in his coffin. High concept films are designed to answer a simple premise. Jurrasic Park asked "what if we could clone dinosaurs?", Jaws: "what if sharks attacked?". Buried asks "what if you were buried alive?" but the question you will ask yourself going into this film is "can I watch a man in a box for 90 minutes?". My answer is, you wont be able to look away. https://youtube.com/watch?v=jqxvtTQpsJw
For the second year in a row, movie buffs will need to get their Melbourne International Film Festival fix purely from their couches. After the 2020 fest jumped online due to the pandemic, the 2021 event was meant to go ahead as a hybrid of both in-cinema and digital sessions. But then not one but two lockdowns hit, venue restrictions were put in place when the city wasn't under stay-at-home conditions, and the COVID-19 situation in Melbourne in general has kept complicating plans, leading MIFF organisers to scrap its in-cinema screenings. Initially, in-person sessions were set to span the festival's first week or so, before the event closed up online; however, just days before this year's MIFF kicked off on Thursday, August 5, the fest flipped that order and expanded its virtual component. It was due to then add in-person sessions from Thursday, August 12, but that'll no longer be happening. "MIFF's heart was in a return to cinemas this year, and this is a goal that we have pursued with determination to this point," said Artistic Director Al Cossar. "It is with deep sadness and profound frustration that we must take the step of cancelling our Melbourne cinema-based screenings for 2021." This year's MIFF was designed to be able to adapt to changing conditions, given that it was always likely that the pandemic would continue to impact the festival's plans — and so it is well-positioned for the move online. "Despite the duress of this moment, we are proud that elements of our program can still continue," said Cossar. "Through our XR platform, global audiences anywhere can continue their season of MIFF's exciting range of immersive experiences; and, centrally, through MIFF Play we can continue to deliver the very best Australian and international films to audiences not just in Melbourne but right around the country, at a time that it's most needed." Via MIFF Play, the festival is screening more than 90 features, with its catalogue of titles growing in recent days. Exisiting highlights include college-set rom-com Freshman Year, Spanish influencer satire La Verónica, New Zealand thriller Coming Home in the Dark and Norwegian comedy Ninjababy, while the Mads Mikkelsen-starring Riders of Justice and psycho-thriller music mockumentary The Nowhere Inn — featuring Carrie Brownstein and St Vincent — sit among the just-added newcomers. More films are set to become available on Saturday, August 14, too, such as documentary Hopper/Welles, which sees Dennis Hopper and Orson Welles meet and chat back in 1970; Night of the Kings, a prison thriller set on the outskirts of Abidjan; and Stray, a doco about the 100,000-plus stray dogs that rove freely around Istanbul. And, other titles will drop later in the fest, like Australian drama Little Tornadoes, which is co-written by The Slap's Christos Tsiolkas; Woodlands Dark and Days Bewitched: A History of Folk Horror, a documentary exploring the folk horror genre; and closing night's Language Lessons, which takes place via video calls. MIFF's digital platform is available Australia-wide, ensuring that cinephiles around the country — including those in lockdown elsewhere, like in Greater Sydney — can enjoy its lineup as well. That facet of the online program proved popular last year, unsurprisingly, with 2020's virtual festival resulting in MIFF's biggest fest yet, audience-wise. The 2021 Melbourne International Film Festival runs via MIFF's online platform MIFF Play until Sunday, August 22. For further details, visit the MIFF website.
There are plenty of ways to describe something that's fun while it lasts, but finishes up prematurely. And yes, many of them could be followed by "title of your sex tape". So, with US TV network NBC announcing that beloved sitcom Brooklyn Nine-Nine will come to an end after its next season, we're sure you're going to be thinking about Jake Peralta's favourite retort for a while. We're sure the phrase will be uttered at least once in the show's final batch of episodes, too, with Brooklyn Nine-Nine due to wrap up with a ten-episode eighth season. Those final instalments won't air until either the second half of 2021 or the first half of 2022, so you have some time to come to terms with the news — and to prepare to say goodbye to Peralta (Andy Samberg), Amy Santiago (Melissa Fumero), Rosa Diaz (Stephanie Beatriz), Charles Boyle (Joe Lo Truglio), Terry Jeffords (Terry Crews) and Raymond Holt (Andre Braugher). And yes, even to farewell Hitchcock (Dirk Blocker) and Scully (Joel McKinnon Miller) as well. In response to the announcement, showrunner Dan Goor said that "ending the show was a difficult decision, but ultimately, we felt it was the best way to honour the characters, the story and our viewers". This definitely isn't a noice development, but if you've been following news headlines over the past year, ending B99 shouldn't come as much of a surprise. In response to 2020's Black Lives Matter protests — and their efforts to raise awareness about police brutality after the death of George Floyd — the first four scripts for the show's eighth season were scrapped. Several cast members, including Samberg, also spoke publicly about rethinking B99's approach in light of the events. https://twitter.com/nbcbrooklyn99/status/1359958366433341440 When the series ends, it'll do so after 153 episodes of Brooklyn-set antics, all based around the fictional 99th precinct — with quite a few Halloween heists thrown in. And, it'll cap off a tumultuous run for the show off-screen, because B99 was threatened with being axed for its entire first five seasons, and was even cancelled in May 2018. That move was made by Fox, its original American network; however, after an outcry followed, rival US channel NBC picked up the series just 31 hours later. It first committed to a sixth season of cop comedy, then picked it up for a seventh, and later renewed it for an eighth before that seventh season even aired. Whenever any B99 news hits — happy or sad — there are plenty of appropriate ways to mark this development. You could break out a sorrowful yoghurt, Terry Jeffords-style. If you're more like Captain Raymond Holt, perhaps you'd like to treat yourself to a trip to a barrel museum. You could also channel your inner Gina Linetti (Chelsea Peretti) and dance about your distressed feelings, you could organise your entire house as you know Santiago would, or you say cheers to Peralta by watching Die Hard over and over. Brooklyn Nine-Nine will come to an end after its next — and eighth — season. The show's final ten episodes will air sometime either in the second half of 2021 or the first half of 2022 — we'll update you when more details are announced.
Wetherill Park's dining and entertainment hub Kinchin Lane is throwing an all-weather summer party this month to stretch out the celebratory vibes of the season. The mini festival called Summer Eats and Beats will takeover the Stockland site for a two-week event that kicks off on February 10. Kinchin Lane's food and entertainment hub will host eats, music, workshops, entertainment and prizes as part of the lineup. Outdoor games and a summer lounge area will be open every day, with live music on Friday evenings (as well as on Valentine's Day) and DJs on Thursday and Saturday evenings providing the soundtrack for all your summer frolicking. Of course, summer wouldn't be summer without a refreshing drink, so you can level up your summer bev game with an expert mixologist who'll be on site on February 26 to lead a mocktail workshop where you can craft your own drinks using a range of native ingredients. There's plenty happening for kids, too, with free workshops to make summer-themed crafts and snacks (think watermelon pizzas and nacho cups), and a balloon artist will be on site for Sunday mornings to bend out some creations to take home. On Saturdays, a roller skating duo, bubble dancers and stilt walkers will bring a touch of the big top to proceedings. There's also a huge summer giveaway you won't want to miss. Two lucky winners will score a dining experience at the ever-popular Thai Rock for themselves and up to 18 (yes, eighteen) mates. All you need to do to go in the running is snap a pic in front of the Summer Pool Party installation, upload it to Instagram and add a couple of tags, so make sure you're camera-ready that you've got your pose sorted. To find out more about Summer Eats and Beats, head to the event website.
The French are often hailed as the best lovers in the world; they gave us the French kiss and French lingerie, after all. But you don't need to schlep all the way to the City of Love to enjoy a romantic evening, Sydney can turn on the charm just as well. With help from our friends at the Sydney Opera House, we've crafted a French-inspired date night itinerary that'll make even that loved-up skunk Pepé Le Pew jealous. From a harbourside Champagne pop-up to heart-racing cabaret, your cheri will be beaucoup impressed. So, buckle up, les amoureux, you're in for one helluva hot and steamy night. TUCK INTO AUTHENTIC FRENCH PASTRY Kick off your lovey-dovey date by treating your partner to a decadent French pastry at hidden gem La Renaissance in The Rocks. Follow the buttery scent up Argyle Street and into the patisserie's leafy courtyard — here, you'll find all manner of authentic treats, from perfect croissants and pains au chocolat to quiche and baguette sandwiches. Co-owned and headed up by French-trained, award-winning pastry chef Jean-Michel Raynaud, La Ren has been dishing out its superb pastry since 1974 and is not only the first patisserie in Australia to be invited to join the prestigious Relais Desserts — an international association recognising top pastry chefs — but also the first in the Southern Hemisphere. So you know you and your stomachs are in good hands. BROWSE SOME FAMOUS FRENCH ART Another thing the French do well? Paint. All of their passion and energy truly comes alive on canvas; so, grab your lover's hand and take a wander through the Masters of Modern Art from the Hermitage exhibition at the Art Gallery of NSW. Here, you can get up close and personal with some true French masters, including Monet, Matisse, Cezanne and Gauguin. Taking a minute to marvel celebrated works with your special person will bring you closer together and give you some cultural fodder to discuss over a drink after. FIND THE GREEN FAIRY WITH AN ABSINTHE COCKTAIL By now, you may be craving a spot to cuddle up with your partner and speak in hushed tones à la français. We also know that some like it hot, so we've found just the place. Make tracks to petit-yet-punchy cocktail bar Eau de Vie for a flamin' cocktail — not like Alf Stewart flamin' but, like, literally flaming. The Elysee Montmartre — named after a historic French theatre which tragically burnt down in 2011 (but was thankfully restored in 2016) — is a raging hot cocktail complete with a flaming ball of absinthe. This little humdinger is sure to ignite your evening and set you up for a ménage à trois: you, cheri and the green fairy. ENJOY A SUMPTUOUS FRENCH FEAST AT HUBERT After that heated moment, you're probably feeling a little more than peckish. Head to famed French brasserie Hubert for a bite to eat in decadent post-war Paris surrounds. Here, the Champagne flows thick and fast, jazz rolls through the air and classic French fare takes centre stage. Really, your meal can be as low-key or extravagant as you'd like. You can keep things casual with a couple of small share plates like duck parfait and escargot; or up the ante with caviar and oysters mignonette followed by a full-blown feast of beef tartare and chicken fricassé. Whatever you decide, be sure to save room for the silky-smooth crème caramel — one each to avoid a lover's quarrel. GRAB A DRINK AT THE BLANC DE BLANC POP-UP BAR Before you settle in for the saucy sensation that is Blanc de Blanc Encore at the Opera House, take in those iconic harbour views while sipping Champagne or gin cocktails (or both) at the show's Blanc Bar, popping up till Monday, February 4. Should you still be hungry after Hubert (or if you've decided to just head straight for the water), the French-inspired menu also features nibbles that pair with the beverages on offer. Think ocean trout with cucumber jelly, native lime and elderflower dressing or Sydney rock oysters with verjus vinaigrette. Plus, there'll be DJs on the decks all night long, so après show, you can head back to the bar to keep the opulent party atmosphere going. SETTLE IN FOR SOME HEART-RACING CABARET You can't do a romantic French-inspired date night without getting a little naughty, so sidle up to your lover and get ready for a spot of risque cabaret at Blanc de Blanc Encore. Running at the Studios at the Opera House till Saturday, March 9, the fully immersive cabaret extravaganza promises the glitz and glamour of 1920s Paris and is bursting at the sequined seams with all kinds of jaw-dropping acts. Ready yourself for alluring cabaret, toe-tappin' jazz, breathtaking circus tricks and laugh-out-loud comedy. It's an experience that'll have your lover saying merci beaucoup, over and over again. FINISH OFF WITH CHEESE AND CHAMPAGNE Surely, there's no better way to cap off the night than with a cheese flight and glass of Champagne — especially if you want to keep the French thing going. Stroll over to the Cured and Cultured bar at Bennelong to savour a few wedges of the good stuff while taking in the incredible harbour views. There's also a new spritz cocktail list on offer at the Opera House-based restaurant with sparkling numbers like Spices with Bennelong mulled wine syrup, Pampelle Ruby l'Apero, Pierre Ferrand dry curacao and Stefano Lubiana sparkling or Fruits with vanilla-infused Pampero Anejo rum, Stefano Lubiana sparkling, apricot and saffron syrup and mandarin soda. And if you're keen for one last show before bed, the counter affords front row seats to theatrics in the kitchen (basically, a bunch of well-trained chefs executing dishes with precision). Ah, sweet dreams are made of cheese. Grab your tickets to Blanc de Blanc Encore and start planning your roaring night on the town.
Most of us have at least one baby-faced friend: that eternally youthful chum forever being asked for ID and almost certainly secreting an ageing portrait of themselves in a dusty attic somewhere. While they're always good for a laugh, it doesn't matter how much these child-adults (or 'chadults', as no-one will ever call them) appear younger than they are; we'd scarcely consider them capable of doubling for a high-school kid. Hollywood, on the other hand, seems to do it all the time. Stockard Channing was 34 when she played the 17-year-old Rizzo in Grease, Shirley Henderson was 35 whilst playing the 15-year-old Moaning Myrtle in Harry Potter, and Luke Perry was 117 when he began playing Dylan on 90210. Even more implausible is the idea that actual teenagers might be duped by the pretence, yet that's precisely the thinking behind Jonah Hill's new movie, 21 Jump Street, based on the '80s TV series that famously launched Johnny Depp's career. Hill teams up with Channing Tatum to play police officers Schmidt and Jenko, two junior patrolmen sent undercover into a high school to dismantle a burgeoning drug ring. To the film's credit, it at least acknowledges the improbability of the premise, particularly in the case of the muscle-bound Tatum, to whom the sports coach says at one point, "Jesus when did you go through puberty? Like, at seven or something?" Tatum is definitely the big surprise in this movie, with his first foray into comedy potentially revealing the ideal market for which his talents are best suited. Whilst it mightn't seem like a huge stretch for the guy to be playing an attractive but vacuous himbo, his timing is pleasantly spot-on and his 'jock-out-of-water' subplot is so endearing it quickly becomes the more engaging and amusing of the two. Hill, unsurprisingly, continues to play Hill: a socially awkward, slightly overweight and well-intentioned nerd who, courtesy of a hidden talent and a touch of serendipity, is suddenly propelled into the cool crowd. It's all very familiar, Superbad territory; however, the pairing with Tatum works unexpectedly well in this case and a fast-tracked sequel feels almost inevitable. Directed by Phil Lord and Chris Miller, whose last film was the magnificent Cloudy with a Chance of Meatballs, 21 Jump Street combines improv-heavy surrealism with high-octane action and some seriously offensive language to create a film quite unlike anything else you're likely to see this year. The Judd Apatow-esque dialogue is understandably hit and miss; however, there are easily enough laugh-aloud moments (as well as one particularly clever cameo) to make this film more than worth your while. https://youtube.com/watch?v=RLoKtb4c4W0
Sydney's intimate, boutique Golden Age Cinema is teaming up with Four Pillars Gin for a mini booze and film festival. Each Wednesday night in August, the 56-seat Surry Hills spot is hosting double bills paired with Bloody Shiraz gin cocktails. It's quite the lineup, too, with a little something for everyone on the bill. The festival is called Winter Is Dark, however, so that's the kind of tone it's going for — whether horror flicks, comedies, dramas or romance movies are hitting the screen. First up on August 7 is 70s great Harold & Maude, followed by a trip to Fargo (the Coen Brothers-directed film, not the TV series it inspired). Or, if you're heading along with your significant other, perhaps August 14's pair of Eternal Sunshine of the Spotless Mind and Only Lovers Left Alive will appeal. The next week, on August 21, classic western McCabe & Mrs Miller will screen, accompanied by the French Alps-set pitch-black dramedy Force Majeure. Then, wrapping it all up on August 28 is John Carpenter's The Thing and the head-turning The Exorcist. These dark cult flicks will all get a beverage to match, made with Four Pillar's highly coveted Bloody Shiraz gin. The screenings kick off between 6.15–6.30pm and 8.30–8.40pm each evening, but we suggest you get there a little earlier for the drinks. Tickets are $22 for each film.
Brunswick Heads and its surrounds are renowned for kayaking — the series of creeks and tributaries ensures you can get up close with lush landscapes and native wildlife. If you're looking for an expert to give you the inside word, there's no shortage of guided kayaking tours available to book. Byron Bay Eco Cruises provides a comprehensive three-hour tour where you'll take part in a river cruise that delves deep into a rainforest before loading into kayaks to scout out local wildlife (with binoculars provided, too). Finally, there's the chance to stand-up paddleboard amid the Brunswick River's serene environment. Image: Mia, Flickr
With the return of Finders Keepers market in May, so too comes the return of our inner art and design guru. It pulls us towards eye-catching prints, impeccably designed ceramics and irresistibly quirky earrings — all of which we might not necessarily need, but certainly can't seem to live without. In its eleventh year, Finders Keepers is bringing back its high-quality collection of stalls with a few exciting additions and a continued focus around independent and up-and-coming artisans. And bonus — it's returning just in time to pick up some last-minute gifts for Mothers Day. The design market continues its Artist Program series with recipient Amanda Denning, whose designs will be found across all market collateral for the season. Denning is the founder of The Adventures Of, a line of unique greeting cards and limited edition prints that suddenly give you all the motivation you need to write that letter you've been meaning to. Other new stalls worth stopping by include artist and Finders Keepers Sydney Indigenous Program recipient Sar.ra by Rachael Sarra, homeware and textile label The Little Wallflower and Byron-based ceramicist Sit Still Lauren. Art and design run the show at Finders Keepers, and over the years the market has bolstered other mediums of expression — food and music. The 2019 festival will see food stalls from just around the corner, like Mr.Bao and Balmain-based Nutie Donuts, plus out-of-towners bringing their craft to the city. One of many to look forward to is the Mudgee-based Maya Sunny Honey — particularly notable because of Polish-born apiarist, Andrew Wyszinski, who has created a system which allows the bees to produce honeycomb directly in the jar. If you're looking for something a bit more hefty to bring home, The Canberra Distillery will be bringing spirits to Finders Keepers and stocks French earl grey gin, coffee liqueur and a fitting winter gin — which is spiced, aromatic and intended to be served in a warm glass. Needless to say, seek and you will find. If you're feeling a bit overwhelmed by choices, you can take a look at the Finders Keepers online directory for a comprehensive look at the stalls and the sitemap to find where they'll be on the day. Finders Keepers Autumn/Winter Sydney will run from Friday, May 3–Sunday, May 5. The market will be open from 12pm–9pm on Friday, 10am–5pm on Saturday and 10am–5pm on Sunday. Entry is $5 and tickets are valid for all three days. Images: Samee Lapham.
For the past few years, the Sydney Film Festival hasn't just served up a feast of new and awesome cinema. Collaborating with David Stratton, it has also shone a spotlight on a great auteur — you know, the kind of filmmaker responsible for movies that no one else could make. Martin Scorsese and Akira Kurosawa have previously been in the spotlight, and now it's Aki Kaurismäki's turn, with the fest showcasing the work of the great Finnish director. While the cinema of Finland isn't a common presence on Australian screens, Kaurismäki's work is, whether he's telling a tale of an amnesiac in The Man Without a Past, exploring life in a French port city in Le Havre or contemplating the refugee crisis in The Other Side of Hope. With the latter only getting a general release on our shores this year, the first two aforementioned flicks lead the charge in this 10-title retrospective. Throughout the festival's run from June 6 to 17, other highlights include Kaurismäki's debut Crime and Punishment, an updating of Dostoevsky's novel; Leningrad Cowboys Go America, which follows a fictional band on the road; and Drifting Clouds, a movie widely considered to be the one Kaurismäki flick to see if you're only going to see one of his flicks. Sessions will screen at the Art Gallery of New South Wales and Dendy Opera Quays, showering films buffs with Finnish deadpan with an empathetic heart — plus plenty of dogs, one of the filmmaker's trademarks.
French storytellers seem to have a peculiar gift for producing deceptively simple little fables which nevertheless resonate at the deepest level. Jean Giono's The Man Who Planted Trees was first published in 1953, the same year as Antoine Saint Exupery's beloved fable The Little Prince. It has the same guileless, perennial appeal. It's the story of a young man who wanders into a desolate valley where nothing grows but wild lavender. He meets a shepherd who has decided to rejuvenate the valley by single-handedly cultivating a forest, acorn by individual acorn. Observing the shepherd's selfless dedication, the young man learns something about the human heart. Transformed from prescient tale into madcap puppeteering masterpiece by the most excellent Puppet State Theatre Company, The Man Who Planted Trees has sold out and won awards all over the world for the last two years. Now performing at Sydney Opera House, the show combines superb comic sketches involving a stage-stealing sheepdog with an evocative soundscape and scented breezes that transport the audience to the French countryside. The simple set, consisting of canvas tree shapes and scruffy hessian sheep, becomes a metaphor for the simple message of the story. The Man Who Planted Trees is wonderfully moving, utterly unpretentious and unobtrusively didactic. Come with your day's baggage, leave with a pack of invisible acorns.
Time flies when you're watching films and pretending you're on the other side of the world, which is exactly the kind of fun that Palace Cinemas' annual Volvo Scandinavian Film Festival serves up. It has been six years since the arthouse chain started giving winter-loving movie buffs a smorgasbord of films from frosty Nordic climes — timed for the Australian winter, naturally — and the cinema showcase is still going strong. Touring the country from July 9 to August 7, this year's event doesn't hold back when it comes to its strengths. If you're a fan of twisty mysteries and thrillers, brooding dramas set against a stunning snowy backdrop, and smart leaps in genres, you're in luck. Spanning the latest and greatest titles from Denmark, Norway, Sweden, Iceland and Finland, plus old favourites that you'll want to revisit on a big screen, this year's Scandinavian Film Festival is lineup is stellar. Here are our five must-see picks. https://www.youtube.com/watch?v=3MIlE9R00ik ANIARA The savviest sci-fi films don't simply ponder a future that may not come, they follow today's big troubles to their possible end. If environmental issues are big on your radar, add Aniara to the watch list. In this Swedish imagining of the apocalypse, earth is uninhabitable, humanity is in the process of fleeing for Mars and there's no way to repair the damage of the past. When a spaceship headed to our nearest celestial neighbour is pushed off course, there's no way to return either. It should come as little surprise that this ambitious movie contemplates our ability to ignore what we're doing to the planet, as well as our need to soothe our existential ills with nostalgia and materialism. Directors Pella Kågerman and Hugo Lilja found inspiration for the film in a poem by Swedish Nobel Prize winner Harry Martinson, and the end result is quite the trip. https://www.youtube.com/watch?v=T8bzar3Nrjk THE PURITY OF VENGEANCE Across the Department Q movie series to date, crime buffs have watched eccentric homicide detective Morck (Nikolaj Lie Kaas) reluctantly team up with fellow cop Assad (Fares Fares). From there, fans have followed the duo's efforts to solve difficult and dead-end cases, including a political death that was initially ruled a suicide, a scandal at an elite boarding school, and a series of child disappearances, too. To wrap up the page-to-screen series, The Purity of Vengeance tasks the intrepid investigators with a particularly murky case and a ticking clock, after they discover three mummified bodies — plus space for a fourth. When this franchise is at its best, it offers up a compelling odd couple, gripping mysteries and plenty of twists and turns, which this huge last chapter promises to continue. At home, it absolutely smashed the local box office, achieving the biggest opening ever for a Danish movie. A WHITE, WHITE DAY One of the big hits of this year's jam-packed Cannes Film Festival — where it took out the best actor prize in the event's Critics' Week sidebar — A White, White Day marks the second Scandinavian Film Festival title in two years for Icelandic filmmaker Hlynur Pálmason. After the writer/director's stellar Winter Brothers last year, his sophomore feature is immediately worth a look. Given the remote location, striking icy scenery and exquisite cinematography on offer, there's clearly plenty to literally peer at, with Pálmason proving an accomplished visual storyteller. And, narrative-wise, this acclaimed drama charts a suitably thorny tale, following a grief-stricken ex-top cop (Ingvar E. Sigurdsson) who is trying to get over the loss of his wife, only to discover that their marriage might not have been as blissful as he thought it was. https://www.youtube.com/watch?v=ue91wuHsLIY AURORA In one of Finland's standout contributions to the program, the hard-partying Aurora (Mimosa Willamo) meets Iranian refugee Darian (Amir Escandari). Equally outcast in their Lapland surroundings, they're both at their lowest points; however, Aurora is a romantic comedy, so (naturally) their chance encounter changes both of their lives. That said, writer/director Miia Tervo doesn't stick to the usual script from there, making a movie that's passionate, lively, topical and subversive — and not only examining the plight of immigrants across Europe but unpacking the expectations placed upon Finnish women. This charming debut also proved a hit at this year's SXSW Film Festival. https://www.youtube.com/watch?v=JlF-hk3IJQE THE MILLENNIUM TRILOGY Before Rooney Mara and Claire Foy stepped into Lisbeth Salander's shoes, Noomi Rapace got there first. She'll always be the original and best incarnation of everyone's favourite tattooed computer hacker. A decade after the Swedish adaptations of Stieg Larsson's best-selling novels first hit screens, it's easy to forget just how fantastic Rapace is in The Girl with the Dragon Tattoo, The Girl Who Played with Fire and The Girl Who Kicked the Hornets' Nest. While the trio of Millennium movies follows the same trajectory as the books they're based on (starting off with quite a bang, then losing their impact a little as they go along), it's also easy to forget just how involving the entire series is as a whole. As directed by Daniel Alfredson and Niels Arden Oplev, and also starring the late Michael Nyqvist (John Wick) as a journalist who makes Lisbeth's acquaintance, this franchise kicked off the world's obsession with Nordic noir for a reason. Plus, if you can't get enough of Larsson's twisted fictional world, the festival will also be screening a documentary on the late author's life. The Volvo Scandinavian Film Festival tours Australia from July 9, screening at Sydney's Palace Norton Street, Palace Verona and Palace Central from July 9 to July 31; Melbourne's Palace Cinema Como, Palace Westgarth, Palace Brighton Bay and Palace Balwyn from July 11 to July 31; Brisbane's Palace Barracks and Palace James Street from July 18 to August 7; and Perth's Palace Cinema Paradiso from July 17 to August 7. For more information, visit the festival website.
For anyone in need of a morning coffee hit to get out of bed, here's an even better reason to face the day: Sydney's best coffee brands are all coming together under one roof. Think of it as a peppy pick-up party that espresso aficionados and latte sippers alike can enjoy, with Editions, Harry's, Circa, Skittle Lane, Artificer and more forming part of new roasting co-op Collective Roasting Solutions. Sure, it sounds a bit like a consultancy firm, but we have no doubt that it will be much more fun. The pop-up CRS Brew Bar is now open in Enmore for the next four months, and features award-winning beans and hot coffees, with the former roasted at CRS' facility in St Peters, and the latter made to order, of course. As well as allowing caffeine fiends to choose from multiple roasters in one spot, the Brew Bar also boasts a 'try before you buy' feature. Yes, you can taste any number of roasted beans before you seal the deal, making this pop-up a coffee commitment-o-phobe's dream. Raw green beans will also be available to purchase. Not to be left out, that obligatory mug-side pastry will be available for all post-brekky sippers. Expect sweet treats from the popular Nutorious, including signature cookies with a "bespoke coffee filling" — because everything's better bespoke. Find CRS Brew Bar at 177 Enmore Rd, Enmore. Visit the CRS website and Facebook page for more information.
Running fanatics, assemble – Ultra-Trail Australia is here. The 100km trail running event (yes, you read that correctly) takes place over four days in May in the stunning world heritage-listed Blue Mountains National Park. Featuring an elevation gain of 4,400 metres and a lot of stairs, this one certainly isn't for the faint-hearted. Those not quite up to the 100km event can take part in the 50km race, which follows the second half of the 100-kilometre route through the Kedumba Valley, or the 22-kilometre event which starts at Queen Victoria Hospital and ends at Scenic World. If you're into something short but sweet, try your hand at the Scenic World UTA951, where you'll only have to run for 1.2km, but up the (in)famous Furber Steps. It's all good if your legs feel like jelly at the end – your entry fee includes a ride down the Scenic Railway, the steepest incline railway in the world.
Whether you're spending a night far from home or you're staycationing in your own neck of the woods, enjoying a drink at the hotel bar is one of life's small joys. There's just something about being able to duck downstairs for a cocktail — or dropping in on your way back up to your room, too — that simply screams vacation. If you're looking for a reason to spend a night away from your own bed — or if you're simply fond of sipping drinks in hotel bars and pretending you're on holidays — Four Pillars' newest limited-edition gin wants to tempt you out of the house. The spirits brand has teamed up with QT Hotels and Resorts on a new tipple it's calling Ordered Chaos Gin, and it includes an inventive array of flavours. Although this gin is clear — unlike Four Pillars' pink-hued last collaboration earlier this year — you'll taste more than just juniper, spice and citrus. Also featured, flavour-wise, are fresh coconut milk, raw almonds and bamboo leaves. So yes, this isn't the type of tipple even the most dedicated gin fans are used to knocking back. You'll only find Ordered Chaos Gin served at QT Hotels' bars, where it's being poured in three kinds of cocktails: the 'Room Service Rickey', which features bitter and bubbly tastes; the 'QT Colada Fizz', which is designed to be creamy; and the 'Bamboo', a stirred-down variation on the martini that heroes coconut. If your gin shrine needs a new edition, Ordered Chaos Gin is also being sold by QT for $89 a bottle, but only while stocks last. Four Pillars x QT Hotels Ordered Chaos Gin is available at the hotel chain's bars, and to buy by the bottle via the brand's website.
This time last year Tkay Maidza received a bunch of international attention for her release of 'Brontosaurus' (ft. Badcop). But to us, she sounded just like any another artist making miscellaneous party noises reminiscent of that act who plays those festivals we try to avoid. That being said, within the year she's developed into something special. Her latest EP Switch Tape offers '90s inspired breaks, with interesting production and confident vocal performances throughout. Adelaide's answer to Azealia Banks, Maidza brings so much energy to her recordings and we can't wait to see her on stage. After touring the UK and US, she's now returning home and hitting the road with a national tour for the new EP. Hitting up Sydeny's Chinese Laundry, Melbourne's Can't Say and Brisbane's Alhambra Lounge, Maidza's sure to bring a pretty big party. Even Adelaide is getting some love — this local kid definitely has definitely done good.
Sydneysiders, your weekend plans just got bigger and better, because the New South Wales Government will scrap density limits in venues from this weekend. Premier Dominic Perrottet announced today, Thursday, February 17, that the current restrictions on venue capacities that have been in effect since mid-December will end as soon as Friday, February 18 ticks over. For almost two months, the hospitality industry has been operating under a one person per two-square-metre density requirement, as you've no doubt noticed whenever you've left the house for a bite to eat. And, in early January, the NSW Government shut down dance floors, too, including banning dancing and singing outdoor festivals — but the state will also no longer resemble the town from Footloose, the Premier confirmed as well, although that change is rolling out in stages. Basically, get ready to do more things in more places with more people — including make shapes — from this weekend onwards, all thanks to the decreasing community transmission and hospital admission numbers. Dancing and singing will be back in most venues from Friday, February 18, but the ban won't lift for music festivals for another week, on Friday, February 25. [caption id="attachment_716557" align="alignnone" width="1920"] Parker Blain[/caption] Also part of the first stage of eased restrictions from Friday, February 18: only requiring QR-code check-ins at nightclubs, and at music fests with more than 1000 people (so, scrapping them everywhere else); and ditching the recommendation to work from home, which'll now be at your employers' discretion. Then, in a week's time, singing and dancing will be back at music fests, and the 20,000-person cap on music festivals will also lift. In big news, Friday, February 25 will also see mask rules loosen, so you won't need to cover up your smile quite as often. From that date onwards, masks will only mandated on public transport, planes and indoors at airports, as well as at hospitals, aged and disability care facilities, and correctional facilities. You'll also need to keep making up at indoor musical festivals with more than 1000 people, and they'll still be encouraged indoors where physical distancing isn't possible — and for customer service staff as well. Even though it's happening across two phases a week apart, NSW's easing restrictions arrive sooner than expected, with the mask mandate, density caps, and singing and dancing bans previously extended in late-January until the end of February — a move that today's news overrides. "We don't want restrictions in place for any longer than necessary, and with hospitalisation and ICU rates trending downwards now is the right time to make sensible changes," Perrottet said. NSW reported 9995 new COVID-19 cases today, Thursday, February 17. New South Wales' density, dance floor and QR check-in rules will first ease on Friday, February 18, with mask rules and restrictions on music festivals relaxing on Friday, February 25. For more information about the status of COVID-19 and the current restrictions, head over to the NSW Health website. Top image: Prince of York, Mitchell Ferris.
Written and directed by Sydney theatre veteran Marshall Napier, Freak Winds is like a ghost train — if ghost trains were good. There’s a couple of jump scares, equal measures of weirdness and mounting dread, none of which is alleviated by the laughter in the audience. Above all, it keeps you guessing, looking like it could jump in about six different directions until the closing seconds. Henry Crumb (Ben O’Toole) is an insurance salesman. When his car is crushed by a tree, a simple sales pitch to an old man named Ernest (Marshall Napier) becomes a prolonged visit. Between bouts of spontaneous vomiting, knife-sharpening and a Chocolate Wheaten or two, Henry realises that he has underestimated Ernest and begins to suspect that he himself may be far higher on Ernest’s list of priorities than insurance is. Of late, the stranger-with-an-agenda-gets-more-than-he-bargained-for plot seems to be more prevalent in cinema than theatre, and so it is fascinating to see themes and tropes from the horror and thriller genres explored without a screen mediating the experience. Originally performed in this very space a decade ago, Freak Winds has gone on to have several international productions. Napier has run the gauntlet of director, actor and writer with great skill. In Ernest, he has written an enigma, a, no-nonsense gentleman who operates with Napier’s trademark gruffness but who also harbours facets of Hannibal Lecter in his penchant for manners and prickly questions. A plodder in many respects, Ernest is prone to very quick changes of temper and every one of his scenes is a tense affair as his visitor flounders, unable to determine whether to play the role of businessman or prisoner. The problem is that when Ernest shuffles offstage, this tension cools and stalls the momentum of the play. O’Toole’s Henry is brash and manic and his meltdown is simultaneously comedic and stressful. In terms of unravelling the play’s mystery, though, he knows no more than those observing him. Myra (Anna Bamford), a wheelchair-bound companion of Ernest’s definitely has answers, but we sense that she will not be the one to give them up; her enjoyment of Henry’s despair is too pronounced. There is no doubt that the equation becomes infinitely stranger every time Ernest absents himself, but the story pays for this in the time it takes to get going again once he reappears. Despite these lulls, Freak Winds is still very entertaining. The creeping mould on the back wall of Ernest’s otherwise immaculate living room is not the only blight in this house — there is serious evil at work here. Ignore the Old Fitz’s dinner deal this time around; this is not one to do on a full stomach.
Wellness travel is on the rise, and it doesn't take a genius to figure out where Australians choose to rest and recharge most. According to Traveloka's 2025 Wellness Travel Trends, the much-loved destinations of Bali, Bangkok and Hanoi top the list, offering the ideal combination of stunning scenery, relaxing experiences and affordability. If a self-care holiday sounds pretty good right now, you'll be happy to know Traveloka has just revealed its Spring Travel Sale. Featuring stellar deals on flights to these mindful destinations and more, the sale also includes discounts on serenity-inducing resorts and renowned sightseeing experiences that elevate your adventure. Until Friday, October 10, Perth-based travellers can score one-way flights to Denpasar starting from $179, while flights from Melbourne to Hanoi start from $274 one-way. Special airline brand days also offer massive savings, with up to 30 percent off flights with Indonesia's Garuda Airlines and Malaysia Airlines. Plus, there are low-cost flights to Bangkok, Seoul, Da Nang and beyond. At the same time, Traveloka has budget-friendly discounts on luxe hotels and resorts, making it easy to secure accommodation that matches your relaxation vibe. Think up to 52 percent off Bali's Legian Beach Hotel and 77 percent off Bangkok's The Quarter Ratchayothin. That means no noisy, crowded party hostel for you. Discounts on activities will also help you get out and about more during your overseas adventure. For instance, 40 percent off tickets for Singapore Zoo or 20 percent off Hong Kong Disneyland will help keep your travel costs down and ensure your vacation is filled with incredible one-off experiences. "Travel is no longer just about sightseeing — it is increasingly a way to nurture well-being, build meaningful connections, and support local communities," says Baidi Li, VP Commercial at Traveloka. "Through our Spring Travel Sale, we want to make these restorative travel experiences more accessible and affordable, while also contributing to the growth of the tourism ecosystem across Asia Pacific." Traveloka's Spring Travel Sale is happening until Friday, October 10. Head to the website for more information.
At some point or another, we’ve all been guilty of wasting food and thinking "it's not that much, it'll be ok" — but did you know that up to 40 percent of the average household bin is comprised of edible items? To highlight this issue, OzHarvest and the UN have teamed up to present Think.Eat.Save, a series of national events that will aid you in doing your bit to combat food waste. Think.Eat.Save is part of a global campaign to increase awareness about food sustainability, so head along, pledge your commitment to #thinkeatsave and opt to reduce your 'foodprint'. You'll also be able to enjoy a free, delicious and hot meal made from rescued produce, and get tips on how to help our food system become more sustainable. Australia's top chefs, politicians and celebrities will unite to address the alarming amount of food wasted in Australia each year. Waste is a huge problem but it doesn't have to be. Image: Untitled via photopin (license).
Van She will perform their second record, Idea of Happiness, for Sydney audiences on April 25. Recorded and produced in Kings Cross, Idea of Happiness manifests the band's focus and meticulous ear for lyrical perfection. Uplifting and sincere, the album's nod to tropical rhythms and use of fluid synth bass is reminiscent of flawless summer nights. We can't imagine a more accurate idea of happiness. Van She is joined by indie band Made in Japan and wild, feel-good Swimwear for their Wednesday night show at Beach Road. Summer may be over, but that doesn't mean you should leave your smile and good vibes in the sand. Track ticket availability on Van She's Facebook page. https://youtube.com/watch?v=-Qz_Wy8r7hw
Sydney is home to not one but two film festivals focused on LGBTQI+ flicks, but there's always room for more. So, Dendy Newtown has put together Rainbow Retrospective, a program that showcases the great queer movies that have reached cinemas over the years. Whether you need another excuse to see The Rocky Horror Picture Show on a big screen, you fell head over heels for Carol when it first released or you're a fan of Australian drama Holding the Man, you'll find them on the bill. Screening on various dates for over a month — between Thursday, September 24–Wednesday, October 28 — the full lineup includes 28 titles. In other words, if you're eager to relive a heap of queer cinema highlights, you have plenty of films to choose from. On the retro front, you can check out Robin Williams in The Birdcage, or watch a blistering performance from Alex Dimitriades in Head On. And, from the more recent selection, everything from A Single Man, Stranger By the Lake and Tangerine to God's Own Country, The Miseducation of Cameron Post and Sequin in a Blue Room are also on offer. Obviously, The Adventures of Priscilla, Queen of the Desert nabs a few sessions as well — as do stone-cold masterpieces like Brokeback Mountain, Weekend, Moonlight, Call Me By Your Name and Portrait of a Lady on Fire. If you'd prefer a doco, Bill Cunningham: New York, McQueen and Studio 54: The Documentary are getting a spin, too. https://www.youtube.com/watch?v=Bn_-YoG69Sw Dendy Newtown's Rainbow Retrospective screens on select dates between Thursday, September 24–Wednesday, October 28.
From the tip of his soldiers cap the long face of Woyzeck droops, like his story, down below his heavy black boots. As he twists and contorts his mind and body around a world of dehuminising sergeants and demeaning science, we see that this play has human suffering at its centre. Yet, this show is far from doom and gloom; surrounding all this melancholy is a bold and dynamic take on Buchner's still relevant work. Director, Netta Yashchin, uses chorus lines, pop tunes and the odd Katy Perry song, inspiring in the audience a painful, awkward laughter — a discomfort at our lack of intervention in this singular man's suffering. Left unfinished by his untimely death at 23, Buchner's work is a tragedy in itself, dealing with working class poverty, human suffering and our animal nature. We follow a character who is tortured equally by his promiscuous wife and bastard child, his sergeant ceaselessly reminding him of his weak moral character, and a scientist weakening his mind and his body with inhumane experiments and by allowing him to eat nothing but peas. The endless torment and grinding down of Woyzeck by his tormentors is a constant reminder of the power of the rich and influential over the poor and inconsequential. The scientist is a commanding figure whom Woyzeck must obey — her cold, analytical strength highlighting his world of madness, illusions and freemasons. The nameless scientist controls not only Woyzeck's every move and morsel but also her own humanity — a lust not only for control that highlights the sexuality that runs throughout the show. Yashchin uses palpably painful dance and movement to highlight Woyzecks journey through his own suffering. He leads the way with a grotesque physical manner as he moves around the stage, both animalistic and pathetic. Backed up by disjointed and writhing dance routines, one cannot help but squirm along with his tortured soul. This is particularly effective in the close-to-action seats of the Belvoir theatre as the whole stage pulls you in to each encounter between Woyzeck and those that bear witness to his demise. Overall, this is a well-paced performance held together by a fine lead and powerful support. The entire show moves smoothly between intense dialogue and well choreographed movements leading towards Yashchin's self devised ending. There are many interpretations of Buchners original, with numerous conclusions to counter his untimely passing, so as to not spoil the surprise, let's just say that Woyzeck does not enjoy his peas.
Calling all Scandi cinema diehards, Nordic noir buffs, fans of the region's oft-icy climes, and lovers of mythology and folklore: the 2023 Scandinavian Film Festival has something on its lineup for you. When it gets frosty in Australia each year, this big-screen showcase celebrates titles primarily hailing from Denmark, Finland, Iceland, Norway and Sweden — and its latest lineup is full of must-see highlights. Screening from Tuesday, July 18–Wednesday, August 9 at Palace Norton, Palace Central and Chauvel Cinema in Sydney, the fest's latest program will kick off with the Australian premiere of Let the River Flow, which won the Audience Award at this year's Göteborg Film Festival. Based on a true tale, it tells of a young woman who unintentionally becomes involved in a protest against a dam, with the new structure set to possibly flood Indigenous Sámi land. The standouts keep coming, such as Godland from Icelandic filmmaker Hlynur Pálmason (A White, White Day), which gets the festival's centrepiece slot — and Fallen Leaves, the latest from Finnish great Aki Kaurismäki's (The Other Side of Hope). Both hit the Scandi Film Festival after bowing locally at other events around the country. Also boasting a high-profile name is Burn All My Letters, which follows the consequences of a love affair, and stars Barbarian and John Wick: Chapter 4's Bill Skarsgård. Or, there's Swedish thriller Shadow Island, Darkland sequel Darkland: The Return and psychological drama Copenhagen Does Not Exist for devotees of Nordic cinema's dark side. If that's your favourite way to get a Scandi film fix, you'll also be in your element with Scandi Screams, the fest's six-movie retrospective. That's where that focus on myths and eerie tales comes in, and of course Let the Right One In is on the lineup. So is Ari Aster's Midsommar, the Oscar-nominated Border, Mads Mikkelsen in Valhalla Rising, twisted Christmas flick Rare Exports and the fantasy-heavy Troll Hunter. Back to the event's slate of recent releases, comedy lovers can get excited about Iceland's dinner party-set Wild Game, Denmark's Fathers & Mothers and The Land of Short Sentences, the new film in The Grump franchise, and absurdist-leaning period piece Empire. Also on the lineup: Unruly, another 2023 Göteborg Film Festival award-winner, this time for Best Nordic Film; documentary The King, about Swedish King Carl XVI Gustaf; Munch, a dramatisation of the Norwegian artist's life; coming-of-age drama Norwegian Dream; One Day All This Will Be Yours, about a Swedish cartoonist and her siblings dividing up the family farmland; and polyamory love story Four Little Adults.
A charming portrait of two lonely hearts who connect across a city of more than 20 million people, Ritesh Batra's debut feature feels worlds away from a stereotypical Indian melodrama. As a matter fact, were it not for the setting, the language and the mouth-watering shots of local cuisine, you might very well mistake it for Nora Ephron's You've Got Mail. The epistolary romance is hardly a new genre; Ephron's film was itself a modernised remake of the classic Hollywood rom-com The Shop Around the Corner. But Batra infuses The Lunchbox with a distinctively Indian flavour, through his clever incorporation of Mumbai's famously efficient dabbawallas — hard-working couriers who transport freshly cooked lunches to offices all around the city. It's through a one-in-a-million mix-up that curmudgeonly accountant Saajan (Irrfan Khan) receives a meal cooked by neglected housewife Ila (Nimrat Kaur). The lunch was meant for her husband, but Saajan proves a far more grateful diner. So the next day Ila sends a note to accompany the food, thanking her mystery costumer for his appreciation. He replies, and slowly they begin a correspondence, bonding over mutual feelings of loneliness and personal regret. Documentary-style footage chronicles the daily journey of the lunchbox, from doorstep to bicycle, railway platform to high-rise. Every delivery brings the two battered souls closer together, while the food — and the cooking process — takes on a quality that's almost sensual. Batra demonstrates beautiful restraint in his slow, steady development of Saajan and Ila's relationship, an unacknowledged romance in which we soon grow heavily invested. The poignancy of the blossoming love story is balanced by other, platonic relationships. As Saajan counts down the days towards his retirement, he's forced to help train his eager young replacement (Nawazuddin Siddiqui). But what starts as a chore soon evolves into a begrudging sort of friendship. Their odd-couple bond is mirrored by the one between Ila and her neighbour, who shouts recipe and relationship advice through the window of the apartment above. Fundamentally, The Lunchbox is a film about unlikely human connections, and the unexpected happiness they can bring. Endearing characters give substance to the formulaic plot and make Batra's debut feature a satisfying cinematic meal. https://youtube.com/watch?v=Qdn6nVJHyfM
In the almost two decades that Gelato Messina has been in business, over 4000 special flavours have made their way through its gelato cabinets around the country. Yes, that's a lot of frosty and creamy scoops. To celebrate some of these oldies but goodies, the chain brings a selection of these flavours back every now and then — and, sometimes, it busts out its entire top 40 greatest hits. That's happening again between Monday, July 26–Sunday, August 1, which is when lucky Sydneysiders, Melburnians and Brisbanites will be able to treat themselves to an entire freezer-full of limited-edition gelato flavours. While, in the past, the greatest hits specials have been a buy-in-shop-only deal, the chain went with preordered tubs in 2020 — so no one had to worry about long queues and empty cabinets — and it's doing the same thing again this year. Gelato fiends can preorder 500-millilitre tubs of the 40 flavours from Monday, July 26. You'll then need to pick them up from Sydney's Rosebery, Tramsheds, Bondi, Darlinghurst, Parramatta and Brighton Le Sands stores; Melbourne's Fitzroy an East Brunswick stores; and Brisbane's South Brisbane store between Friday, July 30–Sunday, August 1. Individual tubs can be filled with just one flavour and will set you back $16, or you can get three for $45, six for $85, nine for $125 or — if you have the freezer space — 20 for $260. Wondering which flavours will be available? This time around, Messina hasn't announced which faves are making a comeback just yet. But, you can likely expect the beloved Jon Snow (white chocolate gelato with dark chocolate mud cake and almond praline), Fairy Bread (toast and butter gelato with 100s & 1000s), Mango Pancake (mango gelato with vanilla cream and pancake crunch), Old Gregg (Baileys and butterscotch sauce) and Robert Brownie Jnr (milk chocolate gelato, chocolate brownie and chocolate fudge sauce) to return in tub form — and hopefully everything from super duper dulce de leche and pavlova to finger bun and Oreogasm, too, if the flavours available in previous years are any guide. Gelato Messina's Greatest Hits will be available to preorder on Monday, July 26 with pick up between Friday, July 30–Sunday, August 1 from Sydney's Rosebery, Tramsheds, Bondi, Darlinghurst, Parramatta and Brighton Le Sands stores; Melbourne's Fitzroy an East Brunswick stores; and Brisbane's South Brisbane store.
Are you a bit of a film nerd? Do you obsessively watch Lynch or recite the words to Napoleon Dynamite nonstop? Well, there’s something the Dendy Newtown are screening which you might be interested in (along with the rest of us). Written and directed by Mark Cousins, The Story of Film: An Odyssey is what he's calling his 'love letter' to film, through the medium of film. Over five parts (The Beginnings, Studios and the World at War, New Wave, Politics, Pop and Protest, and Birth of Digital and the Future), Cousins leads us from the birth of film to what the future might hold for movies. Charlie Chaplin, all of those glittery Hollywood types, Taxi Driver, Star Wars, and Moulin Rouge are all in there. And yep — there will be interviews with some of (hopefully) your favourite filmmakers and actors. You had better prepare yourself for some serious amounts of screen time.
Not all blasts from the past are welcome — and not all trips down memory lane turn out the way you might expect them to. That's a telling message for our nostalgia-soaked times, where everything old always seems to be new again. It's also one Australian actor, writer and producer Joel Edgerton is pushing in his first film in the director's chair. His filmmaking debut, The Gift, is so steeped in tension and wariness about previous deeds, figures and altercations that it crafts a psychological thriller out of it. The feature starts, as many moody mysteries do, with a married pair moving to a new home. Simon (Jason Bateman) and Robyn (Rebecca Hall) are fleeing their recent baggage for a fresh beginning, the former starting a different job, the latter readying the house for trying to start a family. Out shopping one day, they meet Gordo (Edgerton, starring as well as helming), who recognises Simon from high school, though not vice versa. The three make polite, tentative plans to catch up; however, Gordo takes the pleasantries quite a bit more seriously than his reunited pals. Cue the beginnings of a stalker drama that wouldn't feel out of place as a late '80s or early '90s effort featuring Michael Douglas — and that's a compliment. Showing his skill behind as well as in front of the camera, Edgerton ramps up the creepiness in the film's mood, script and in his supporting turn. He's also made a movie that combines slick packaging and mature-skewed content; a glossy piece of entertainment for teens, this isn't. Indeed, again finding inspiration in familiar territory, The Gift isn't just concerned with the series of presents Gordo leaves Simon and Robyn, or his unwanted encroaching on their space, or the not-so-truthful tales he tells to get close to them, but with the chasm between how things appear and how they really are at all levels. There's a reason the audience is instantly aware that the seemingly happy couple aren't really, and that they always feel that Gordo seems both odd and somewhat sweet. Yes, appearances can be deceiving. As a screenwriter, Edgerton best explores the conflict that springs when ghosts from the past expose lies from the present through his characters — and as a filmmaker, through some stellar performances. The director himself straddles the fine line between strange and sympathetic, Hall brings depth to the role of the woman trapped in the middle, and it's always a pleasure to see Bateman flirt with playing the bad guy (the murkiness surrounding Simon and Gordo is The Gift's strong point). When the film devolves into one too many twists, and tries to offer a too-definitive ending — when it finally gets there — it loses steam. Remaining ambiguous and toying with the dynamic between the central trio is what keeps things intriguing. Accordingly, although The Gift may not always balance its generic elements with its ambitions, it revels in trying to present a well-produced piece of unnerving cinema. Here, it mostly succeeds too, because rare is the film that can balance overt jump scares with patient puzzling conveyed through dialogue, and follow a formula yet retain interest.
If Scenes From a Marriage hadn't already been taken, it would've made a great title for most of Asghar Farhadi's movies to date. From 2003's Dancing in the Dust to 2011's Oscar-winning A Separation and his 2013 follow-up The Past, the Iranian writer-director has filled his resume with features about the struggles of not-so-harmonious domesticity. Now you can add The Salesman to the pack, just as Farhadi can add another Academy Award to his mantle. Still, a shiny new statuette can't mask his fondness for repetition. Farhadi is a master of observing just how the bonds of matrimony can unravel, but seven films in there's no avoiding the feeling that you've seen some of it before. The Salesman opens on the set of a play, with husband and wife Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti) staging a revival of Arthur Miller's Death of a Salesman. As Farhadi demonstrates rather unsubtly by cutting from a bed on stage to their crumbling real life home, all isn't well for the couple. That's especially true after they move into a friend's flat and Rama leaves the door unlatched, only to be attacked by a stranger. Understandably she's shaken. Just as understandably, he's driven to track down the perpetrator. Their conflicting responses sit at the heart of Farhadi's latest film, with the writer-director eager as ever to wait and watch as the couples' fraught emotions slowly but surely rise to the surface. Indeed, pumping seemingly ordinary spaces full of the kind of tension that can only spring from fraying intimate bonds is one of the things he does best. Dissecting how even a mere word, look or gesture can completely reshape, change or ultimately unravel a relationship is another. Both talents are on display as Rama takes the reserved and ultimately forgiving route, while the increasingly frantic Emad can't shake his wounded pride — or his need for vengeance. Cue a situation rife with drama, which Farhadi carefully heightens. As he's done before, he makes plain the gender lines driving the divide between husband and wife, as well as the cultural reasons for their behaviour. Here, he also stresses the fact that Iranian society will applaud a man bent on revenge but blame a woman who's a victim and judge another that's made untraditional choices, making hefty material even meatier. Throw constrained yet probing visuals into the mix alongside nuanced and multifaceted performances by Hosseini, Alidoosti and the pivotal Babek Karimi, and The Salesman can only be described as classic Farhadi territory. Still, there's a difference between ticking the usual boxes and expanding them, and here the Oscar-winning filmmaker manages one but not the other. As a result, the movie feels less like an involving effort in its own right and more like a greatest hits package. Many a director has made a successful career out of playing the same cinematic notes over and over again, but just as many have eventually stretched their usual tendencies too far. While The Salesman proves engaging, particularly in its later stages, there's a distinctive sense that next time Farhadi needs to show us something new.
Phase three of the Imperial's $6 million redevelopment is turning things UP with a rooftop space that combines Italian food and cocktail culture with the vibrancy of LGBTQ culture. Following the launch of 'drag & dine' spot Priscillas and late-night hangout The Basement, Imperial UP features serious Studio 54 feels with artisanal eats, drinks and Andy Warhol vibes. After being closed for nearly three decades, Imperial's top floor has been spruced up with a 200-person courtyard, a plethora of pop art and gold mirror covered pizza ovens. "Imagine a little Italian trattoria that loves disco and has a very cool lounge room," says co-owner Fraser Short. Menu-wise, expect Italian food with a touch of the Imperial's flamboyant flair. The lineup of stuzzichino, pasta and pizza features fried school prawns with bright saffron aioli, spaghetti ragu, pepperoni pizza and wagyu steak. Like downstairs sibling Priscillas, Imperial UP also has a strong list of vegan, gluten free and dairy free dishes. And — importantly — an extensive cocktail menu, which stretches from the classics through to colourful jugs of inventive drinks. The new space is fit for many occasions, the external rooftop and inside Carlotta's Lounge primed for after-work drinks, and Rosa Room and Carpriccio's Corner ready for intimate gatherings. UP's opening has also welcomed the beginning of Explore Yourself Sundays — a weekly venue-wide gathering that will give everyone at Imperial a chance to embrace queer culture, starting July 15. Keep an eye out for the launch of a diva-dazzled Drag Party Lunch in September, and the highly anticipated Same-Sex Wedding Chapel coming sometime in early 2019. Imperial UP is open from Friday, July 6, at 35 Erskineville Road, Erskineville.
'Have I got a story for you?' The uttering of this simple question is simultaneously charged with boundless potential, designed to pique interest and loaded with promise. Will the tale be hilarious, harrowing or just plain entertaining? This year, the Sydney Writers' Festival (the local wordsmith's answer to Glastonbury) has put grandiose, pompous conceptions of what truly great literature means aside to focus on the simple joy that can only be brought forth by a cracking yarn, plain and simple. Whether you're a book club aficionado who knows her Shakespeare from her Tolstoy or just a fan of The Breakfast Club, the dynamic program of events has something to make you lean in with anticipation. "Stories lie at the heart of our lives. We need them to understand ourselves, to understand others and to make sense of the world around us. In 2013 we look at the breadth of storytelling from Australia and around the world," explains Jemma Birrel, who debuts in her role as artistic director this year. Reckon you've heard it all before? Let the festival's astonishing stable of prominent orators, including Molly Ringwald, Naomi Wolf, William Dalrymple, Robert Green, Ruby Wax, Anita Desai, Archie Roach, Edward Rutherford, Hannah Kent, James Wood, Joe Rospars, Karl Ove Knausgaard, Kate Atkinson, Kate Mosse, Michael Sanders and Gillian Meares prove you wrong. These voices of our generation (minus Hannah Horvac of Girls, der) will wax lyrical on everything from the Future of Activism, to What Money Can't Buy and the question on everyone's, um, lips — I'm a Feminist, Can I Vajazzle? In a new addition to this year's program, a series of live storytelling events will see the likes of Claudia Karvan, Brendan Cowell, Jacqueline McKenzie and William McInnes hold court. Topics include personal passions and obsessions as told in 15-minute increments, true stories with the literally loco theme Lost the Plot and the sharing of specially written love letters by authors to their other halves in People of Letters. Gather round children, the Sydney Writers' Festival has a story for you. Can't get through the novella of a program? Check out our picks of the ten best events at the festival. Image via Sydney Writers' Festival.
Any footy fan and craft beer lover can attest that the two don't normally go hand-in-hand, and it's a true struggle to find good local drops at Aussie sporting events. 4 Pines hears your woes, so it's opening a fourth Sydney venue — this time at the SCG. The bar launches tonight — Friday, April 20 — for the Sydney Swans vs Adelaide Crows game. Located within the level one food court in the MA Noble, Don Bradman and Dally Messenger stands, the 4 Pines bar will offer the brewery's signature kolsch, pale ale, summer ale and alcoholic ginger beer, along with rotating taps from their seasonal range. Like the brewery's other venues (Manly Brewpub, Brookvale Truck Bar and the Newport barrel-aged outpost), the bar uses repurposed timber and mirrors, plus the space is decorated with images from the northern beaches where the Manly-grown brewery takes its roots. If you're an SCG member, you can even order from your seat and collect your cold one from the 4 Pines priority line. Apart from the bar, you'll also start seeing 4 Pines on tap at nearby pubs that normally don't carry craft brews. There's no doubting the significance of a locally produced beer bar at a commercial sporting stadium, which is pretty much unheard of. However, it should be noted that 4 Pines was bought by the world's largest brewing company, AB In-Bev, last year and so is no longer an independent brewery. But, to be fair, independence and craft beer don't have to be exclusive to each other, and the Sydney-based company has continued to brew from its Brookvale and Manly outposts — so far, it's been true to the craft cause. And in any case we're glad to see a solid beer option at the footy tonight. The 4 Pines bar is located on the level one food court in the MA Noble, Don Bradman and Dally Messenger stands at the SCG. For more info on 4 Pines' beers, visit 4pines.com.au.
