2013 marks the first year of the Sydney Intercultural Film Festival, a celebration that aims to connect Sydneysiders with the stories, sounds and tastes of the many cultures of the world. The festival runs from November 13–17 with events and screenings at multiple venues across the city. The hub of the festival will be in Haymarket’s Belmore Park, which will be transformed into Cinema Park for five days of entertainment. The park will host screenings of films from 33 countries including China, India, Vietnam, Korea, Japan, Poland and Australia. The festivities also include music, arts and comedy performances; film workshops, demonstrations and seminars; signing and interactive sessions with celebrities and filmmakers; kid’s rides; costume competitions; raffles and prize giveaways; and more than 100 international food, merchandise and entertainment stalls. Whether you’re a film fanatic or culture crazed, there is something for everyone at Cinema Park. And you certainly know the food will be good. Cinema Park is open from 10.30am-9.30pm. Image: K.P. Jayasankar behind the camera.
BYOB. Nope, it's not Bring Your Own Booze. It's Bring Your Own Beamer. That's beam of light, not the flashy car that bankers like. German artist Raphael Rozendaal started these one-night-only exhibitions across the globe, and it's all about beaming images from screens. Portable projection. Computers. Moving images. And all just for one night. This is the first time the beamers have come across to Sydney, and this one, curated by Susan Bui, promises to be an explosion of colour, sound, chaos and energy. The artists will transform Archive Space's walls, ceiling and floors with art installations that project light and sounds from all angles. And the artists? David Manley, Lisa Sammut, David Greenhalgh, Liam Ambrose, William Bennett, Katrina Stamatopoulos, James Nguyen, Ari Zainal, Optic Soup, Bryden Williams, Daniel Connell Eric Davidson and Haidee Ireland as well as Bui are all flashing a little of what they've got.
Cosmic bass visionary Flying Lotus (aka Steven Ellison) specialises in crafting a whirlwind of sounds you've never heard in combination before. Praised as the most revered producer of his generation, he is the supreme genre-traverser and genre-creator. Before sneaking down south to showcase his mind-melting magic at Golden Plains Festival, he will be treating Sydneysiders to the years-in-the-making audiovisual spectacular Layer 3 at the Opera House on March 9, 2014. Over the years, Ellison has carved out a unique brand of ambient hiptronica that folds together the pulse of contemporary urban life with sci-fi futurism. With his hypnotically off-kilter beats, Flylo's musical palette is meticulously designed. He creates immersive soundscapes that voyage through downtempo jazz, pulsing electronica, and 1990s trip-hop. In an interview with the UK magazine The Wire, he described his recent album Until the Quiet Comes as a more pared back attempt at "a children's record, a record for kids to dream to." And true, there is a sense of musical wanderlust embedded in this record, with its thick dreamy textures and mystical harmonies. Ellison has had a busy year collaborating with Odd Future's Earl Sweatshirt and Kendrick Lamar, as well as curating the soundtrack for Grand Theft Auto V. Thus, we are truly fortunate to have scheduled in a session of head-spinning avant-garde electronica. This one-off performance will be a swirling array of video-game funk and room-rupturing beats, translating basslines into cinematic beauty. It is fair to say that no-one can do what Flying Lotus does. Simply unmissable. Tickets will go on sale at 9am on November 15, 2013, from the Sydney Opera House website. https://youtube.com/watch?v=rbuQuvoc0YE
The upcoming Sydney Festival has got some pretty weird and wonderful acts on the bill. But few will be have as little accompaniment and yet be quite as astonishing as Tom Thum. Hailing from Brisbane, Thum has been described as a “beatboxing virtuoso”. A one-man sound system, Thum performs with only a microphone and his voice, producing music that ranges from hip hop to Soft Cell to the sound of trumpets in New Orleans circa 1938. Gaining recent popularity with a string of world tours and accumulated accolades with his 'Tom Tom Crew', this is Thum’s first solo appearance to date. And it looks to be him at his best — a kaleidoscope of impossible beats, phenomenal notes and sounds that just generally evoke an entire orchestra worth of instruments. Want more Sydney Festival events? Check out our top ten picks of the festival. Image by Conan White.
One of Melbourne’s foremost artists, Jon Campbell is heavily influenced by a "lefty, westie, working-class view", fusing together art, music, national identity and popular culture. Campbell’s current solo exhibition, Bewdyful, is a continuation of his exploration of suburban Australia and its unique vernacular. Blazing with punchy phrases and cheeky one-liners, the glossy finish of enamel paint on plywood evokes a strong pop aesthetic. The luminous and colourful phrases are painted in Campbell’s hand-crafted font. Some works channel the slick veneer of advertising, whilst others are more along the lines of hasty signage or graffiti. They range from listing the band members of Crazy Horse, framed by a border of sunny yellow spray paint, to the poignantly simple Sad Times, a lonely little phrase almost engulfed by its grey background. A personal favourite is the humorous catch phrase typically uttered by the bigoted 60-something, I’m not racist, but... a sly poke at Australia's xenophobia and condition of self-denial. There are also loud suburban moments as represented by Friday Night Dilemma, featuring the words ‘Fish and Chips or Pizza?’, as if directly plucked from the living room banter of blue-collar Australia. It is as though an animated verbal exchange is taking place in the gallery space. The overall atmosphere of the exhibition is joyous and upbeat; though some of his works may be boisterous, they are never mean-spirited. There is also a musical sensibility imbued in Campbell’s practice. Paying homage to Bob Dylan, he has been known to replicate the iconic ‘cue-card’ routine both in painting and performance. These music-based acknowledgements are endowed with cultural codes and attitudes. His works, laden with nostalgia, are manifestations of a generation, a sub-culture, a time and place. What comes out of Campbell’s paintings is the visceral feeling of a sun-scorched afternoon filled with backyard boozing. Unlike the blatancy of an Australia Day parade, Campbell’s brand of patriotism resides in the unassuming Australian backyard, equipped with a stubby holder and cricket bat. You might have also heard about the Jon Campbell art tram that was recently unveiled as part of the Melbourne Art Fair. Dressing up the old burgundy and gold with a lurid pop overcoat, it is one of a handful of mobile murals that will be rolling around the city for the next six months.
Even lifelong vegans are likely to learn something when Silvereye’s Sam Miller and Urbane’s Alejandro Cancino get together for an animal-free dinner on 23 February. The two chefs will create no fewer than fifteen courses, without using so much as a drop of honey or a splash of milk. Those familiar with Cancino should know that he’s a committed vegan. Meanwhile, Silvereye has a number of winning vegan dishes on its menu already, including crowd-pleasers like 'Tommy's Turnip' and 'Beetroot and Blackcurrant'. You can expect them to make an appearance. The fifteen courses will consist of six snacks, six savoury dishes and three desserts. You’ll score this epic feast for $150 a head. Add matching wines for $90 or go ultra-healthy and make it matching juices for $65.
Ever wondered why all of Merivale's venues look so spiffing, yet still manage to retain their uniqueness? Want to know how a sommelier makes decisions when putting together a wine list? Not sure why your Instagram posts aren't attracting as many hits as Kim Kardashian's? Can't figure out why you're so addicted to chocolate? If you're a questioner, seeker, sampler or Instagrammer, March Into Merivale's Show and Tell Mondays are for you. Every week, an expert — or a bunch of experts — will get together to talk about what they do and why they're so good at it. And you won't just be using your ears at these sessions — they'll be offering you samples of their wares too, be it chocolate, wine or some hands-on Insta tips. There will be five sessions, held each week during March into Merivale 2016. SHOW & TELL MONDAYS FEBRUARY 15: Chocsessive — Lorraine's Patisserie FEBRUARY 22: Wine Not? — J&M FEBRUARY 29: #Instaskillz — Subtype Store MARCH 7: Style Me Merivale — Ivy Ballroom MARCH 14: Chocsessive — Lorraine's Patisserie
If you're a fan of Imogen Heap's keyboard sound or the arrangements on Coldplay's Viva la Vida and/or the Monsters soundtrack, then you might not know it, but you're a fan of the work of Jon Hopkins. The musician-composer-arranger-producer extraordinaire has definitely made a sizeable mark on the music production business. In fact, the success of Hopkins's international collaborations has had a habit of overshadowing his solo work. Up until now, that is. His fourth album, Immunity, released in June this year, provoked some serious critical attention – Pitchfork, bestowing upon it a coveted 8.5, went so far as to predict Immunity's likelihood to 'catapult [Hopkins] to stardom in his own story'. This month Hopkins will bring his trio to Australia to play the Meredith Music Festival and sideshows in Perth, Melbourne and Sydney. He was last here in 2009, performing at the Sydney Opera House as part of the Luminous Festival curated by Brian Eno. https://youtube.com/watch?v=Y8eQR5DMous
Director Emmanuelle Bercot takes Catherine Deneuve on a wild ride across the French countryside in this eccentric and funny — if somewhat higgledy-piggledy — road trip meets family comedy. Deneuve is Bettie. Crowned Miss Brittany in her glory days, she’s now the middle-aged manager of a failing restaurant and caregiver to her interfering mother (Claude Gensac). When her non-committal lover takes up with an attractive 25-year-old, she jumps into her golden Mercedes and cuts loose. As the melancholic strain of Rufus Wainwright’s ‘This Love Affair’ rolls out, we know that we’re not about to see Deneuve in her signature ice-maiden guise. Even though Bercot invented Bettie specifically for the French icon, she certainly wasn’t limited by a temptation to typecast. One of On My Way’s many charms is its exploration of Deneuve’s warmer, more vulnerable side. Bettie’s spontaneous departure carries her on a string of outrageous adventures. The bumming of a cigarette from a solitary, timeworn farmer leads to an unexpectedly intimate conversation. In a sleazy nightclub, an infatuated young local named Marco (Paul Hamy) employs an excess of caipirinhas in a rather uproarious attempt at seduction involving an enormous pink afro. Finally, a phone call from an enraged, bitter daughter (Camille) means that Bettie winds up with company — in the form of her grandson, Charly (Nemo Schiffman). On one hand, the scattershot narrative construction, the haphazard unravelling of characterisation and occasional improbabilities run the risk of losing momentum. The depiction of Bettie’s troubled relationship with her daughter, for example, never penetrates beyond a fairly simplistic sketch. On the other, the script is pleasingly fresh and witty — light on it might be, but it’s thankfully devoid of contrived, overworked passages. A raw, real-life feel permeates throughout, intensified by Guillaume Schiffman’s (The Artist) adoption of a handheld shooting style and the casting of Deneuve alongside relative unknowns and even non-professional actors. Indeed, much of On My Way’s appeal lies in Deneuve’s embracing of such an atypical role — even when confused, waterlogged and run ragged by the vagaries of the road, she still oozes charisma.
That staple of summer, Maltesers Moonlight Cinema, is back for its 18th season of open-air cinema. And they've put together another cracking program to tickle the cinematic tastebuds of old and young alike — from advance screenings of the hottest blockbusters to cult classics, blood-rushing action flicks to heart warming rom-coms. Centennial Park will be the Sydney venue for the series. After the daytime bustle of joggers, personal trainers and cyclists, hire a beanbag or simply sprawl out on the grass under the stars with a loved one. Don't forget to indulge in some delicious snacks and perhaps a few beverages to complete your cinematic experience. It's the perfect way to unwind after a hard day and usher in those balmy summer nights. There's also the option of 'Gold Grass' tickets, which gets you a bean-bed in the front rows and designated waitstaff. New releases include the much anticipated return of Ron Burgundy in Anchorman 2: The Legend Continues as well as sneak previews of big Boxing Day releases The Railway Man and The Secret Life of Walter Mitty. Sometimes its the classics that can be most fun, however. Embrace your inner dag and negotiate how much a set of jousting sticks should cost with the much-loved and highly quote-able Aussie comedy The Castle. Or roll out the picnic rug and share a meal fit for Jehovah over Monty Python's 1979 gut-buster, The Life of Brian. If there's one thing Moonlight Cinema has proven itself more than capable of, it's cherry-picking the most enjoyable moments in cinema and creating a relaxed and sociable atmosphere to boot. Tickets will go on sale from November 7.
In response to recent events surrounding the culpability of surveillance networks, UTS's newest exhibit offers a curious perspective on 21st century surveillance methods. Trace Recordings is a collection of works by 11 artists who use a variety of media to examine modern surveillance mechanisms and explore how they affect our behaviour and perceptions of public and private spaces. Using both analytical and playful methods, Trace Recordings examines the scale and intricacy of surveillance technologies from an artistic perspective. Works range from top-secret NSA listening stations to Stranger Visions, Heather Dewey-Hagborg's series of sculptures that went viral after she modelled their features off DNA from discarded chewing gum. Following the exhibition opening are a number of public events, including a panel discussion, UTSpeaks lecture, and interactive workshops such as CV Dazzle, an experimentation with makeup styles to distort facial recognition software. If you’re a fan of crime scene investigation dramas, this is your chance to step into one. The exhibition opening is from 6-8pm on October 22. Other events are at various times. For more info, see the UTS website
Richard Curtis is the master of the rom-com. The man behind Love Actually, Four Weddings and a Funeral and Notting Hill, he's the king of date nights out and girlie evenings in. He's also the man behind About Time, his latest offering starring the relative unknown Domhnall Gleeson as Tim and the new queen of cute romantic leads (since Julia Roberts hung up her heels), Rachel McAdams. The film begins on the completely ridiculous premise, explained by Tim father (the ever superb Bill Nighy ) that the men in their family can travel in time. Tim takes this skill and uses it, not for monetary gain, nor to try and right the wrongs of the past, but rather to help him get a girlfriend. It then goes on to become a love story which is rather quickly resolved into being the perfect romance, with the aid of the occasional trip into the past. Questions about the butterfly effect and other pesky time travel issues are swept under the carpet in favour of smooching in front of buskers and dancing in the rain (which has never been timed more perfectly than in a Curtis film). And most of the time, you let them. Despite the film lacking a keen eye for detail in the plot, every attempt at stepping back and casting a critical eye over the film is thwarted by the soundtrack, Nighy's charm and Gleeson's unbelievably adorable wave. These elements all conspire in drawing you more comfortably into your seat so you can smile at the antics, laugh at the jokes and cry when the heartstrings are so professionally plucked by the virtuoso Curtis. So while the set-up is flimsy, the minor characters caricatures and the love story all too quickly resolved, there are enough moments of mirthful giggling and nostalgic smiling to keep you plodding along over every jolting plot hole. And with the added bonus that the main man is a ginger? About time that happened really. https://youtube.com/watch?v=7OIFdWk83no
If you like your beats smooth and your drops sweaty, Paradisco is where it's at. Selling out Melbourne’s Liberty Social late last year, this Herculean electronic effort comes straight from the creators of No Dice Paradise. The good vibes-lovin' team has joined forces with Knock Knock Magazine and Paradise for an epic interstate meeting of beats-cranking minds. From Melbourne, there's electronic AV duo friendships, who've just released new single 'My Luv is Bad 4 U'. Representing fused hemispheric influences (via Sydney, Brooklyn and London) is Phondupe, the duo creating dark, jittery trip-hop via Skype correspondence and online long distance production. After recording in NYC with New York native Justin Dean Thomas, the pair have released a killer new EP by the name of Greenhouse. Keeping things local are the hip hop chilltronics of Embassy, the downtempo grooves of Twin Caverns and brand new three-piece World Champion, who dub Can, The Rapture and Primal Scream major influences. Green as it gets, the threesome will release their new single via Home In The Sky later this year. At just ten clams (that's $2 a set or about 1.2 glasses of vino), it's an absolute steal to get low and check out some of some best new beats-dropping talent out.
If it's ethereal indie folk you're after, Dustin Tebbutt is your man. His music is described by his record label as "the music for your autumns and winters" which, in our opinion, couldn't be more accurate. The haunting isolation that comes through his high echoey vocals and crisp acoustic guitar certainly create feelings of isolation and introspection. Well, it's a good thing he's coming to town as the temperature is starting to drop. Tebbutt's latest national tour is for his latest EP, Bones, and it's gorgeous. First single 'Bones' is much like what we saw on debut EP The Breach; incredibly entrancing music that has the ability to transport its listeners far away from anyone or anything. If you enjoy the thoughtful sounds of Bon Iver or Sigur Rós, then Dustin Tebbutt is a local boy you definitely shouldn't miss. https://youtube.com/watch?v=OysNiYXWga0
Got the itch to have a boozy weekend getaway without the time or the means to actually get all that far? Look no further, for in May returns the Pyrmont Festival, boasting a packed bill of wine tastings, art exhibits and dining experiences and building Pyrmont's profile as a creative, cultural and dining precinct. The festival highlight is set to be a two-day outdoor event at Pirrama Park (17-18 May), with live music, cooking demos and art installations. Taste over 120 different wines and sample delicious morsels at the 50+ food stalls, all while having the opportunity to meet and greet the makers of each fine drop. There are, however, eight more days of smaller festivities on top of that. A fusion of city and country, Pyrmont Festival highlights the best of both the Pyrmont and Mudgee regions. It features over 50 dynamic restaurants, bars, winemakers and artists, along with names such as Huntington Estate, Burrundulla Vineyard and Lowe Wines. From May 16-25, check out the Mudgee Sculpture Garden and Progressive Dining Walk, as well as some pretty special dining experiences at the likes of Flying Fish and Blue Eye Dragon.
Cough, presented by Unhappen, is a playful poke at the tendency to overprotect kids, stamping out the happy chaos of childhood. This phenomenon of bubble-wrapping feels all too common these days, and where better to study its effects than the contemporary childcare centre. Playwright and former childcare worker Emily Calder’s colourful script is stitched together from firsthand experiences. Whilst some scenes venture into the fantastical, others strike a more realistic chord, mirroring that painfully familiar fussy parent. The plot revolves around a trio of children and their parents, played by the same actors. However, harmony is disrupted when a fourth friend enters their circle, the domineering and highly imaginative Frank. He becomes the mischievous ringleader, inventing an evil monster named Brian, with giant gnashing teeth and an appetite for small boys and girls. The fear this instils in his playmates feeds back into the temperamental angst of their parents. And as the play unfolds, pet peeves escalate into hysterical anxieties. A magnetic performer, Vanessa Cole plays first-time mother, Isabella (and daughter, Isla). Oozing passive aggressiveness, she is the pulsing heart of parental angst. Constantly quizzing the childcare workers, her condescending quips are perfectly placed, as is her intent and borderline manic gaze. Tim Reuben plays struggling single father Clive (and son, Finlay). Initially composed, he is consumed by a pedantic hatred of dirt, raging obsessively against the centre's sandpit. Melissa Brownlow plays the rationalising Jules (and her rebellious daughter, Jess). However, surrounded by the toxic anxieties of Clive and Isabelle, her endearing optimism breaks down. And finally, Tom Christophersen plays the slippery Frank. He makes for the perfect creepy kid, brimming with wild stories and demonic energy. Also, his commitment to a violent coughing fit is simply hilarious. A key strength of this production is the dynamic and inventive staging. Through craft materials, puppets and plastic balls aplenty, the childhood pursuit of make-believe is magnified and honoured. Constant clouds of smoke frame the set, building to a particularly mesmeric scene featuring light and bubbles. Led by director James Dalton, the creative team has stretched the limits of a small space to create a visually immersive experience. There are some sharp turns into the surreal towards the end, as seemingly negligible worries quickly transform into legitimate danger. Though these plot developments are a little hard to keep up with, the concluding scenes are rewarding. If you think about a cough, it’s generally symptomatic of something else. In this case, anxiety is the nasty contaminant that spreads throughout the group. Its infectiousness acts to unpick the networks of trust that bind the characters together. Calder's play explores the premature imposition of adulthood on children, yearning for the joy of fantasy. Combined with bold directorial decisions and a committed cast, it is hoisted to new heights. Image by Lucy Parakhina.
It's been five long years since the much-loved comedy variety (read: total pisstake) show The Chaser's War on Everything has been on air. Since then, we've dealt with bits and pieces of the Chaser boys in the form of Yes We Canberra and The Hamster Wheel and The Hamster Decides, but rarely do these shows have the same spontaneity or gall of the original (well, except for that one time). To cure this, Chris Taylor and Andrew Hansen are taking to the stage for an Australia-wide tour of their particular brand of crazy. Because hey, Mark Scott can't make apologies for what happens in a theatre and Today Tonight are unlikely to report on it. In this live showcase of sketches and songs, Taylor and Hansen will be testing the limits of the live form and bringing all their craziest material into play. Fingers crossed for bits as good as 'The Eulogy Song' or that time Chris Taylor pretended to leave his wife on Sunrise. https://youtube.com/watch?v=dXHleozgQ18
Debaucherous dance duo Flight Facilities have been major players on the local EDM scene for some time now. Their infamous club banger 'Crave You' is guaranteed to get even the biggest of party poopers in a merry mood. It's so big, even Kylie Minogue has got in on the action. And now, after what seems like an eternity, Hugo Gruzman and James Lyell have finally seen fit to release an entire album. After bursting on the scene four years ago, they're hitting the road on their first national album tour. Down To Earth is here. Of course, this debut LP promises more of what the fans already love, with standout tracks like 'Two Bodies' building on their already stellar repertoire in a big way. Another of their quality summer tunes, 'Sunshine' even got Reggie Watts on board. But the good news doesn't stop there. This tour will see them paired with Client Liaison. Sporting '80s synth pop, oversized aviators and tan suits aplenty, these Melbourne boys will make the perfect sidekicks.
Edmond Rostand’s 1897 portrait of 17th-century real-life poet and all-round badass Cyrano De Bergerac is a giant of a play awash with velvet pantaloons, enduring love and, of course, one crucial prosthetic nose. Each night, makeup supervisor Lauren Proietti creates a masterpiece. Her version of the nose is a good bulbous sort: robust, gnarly and believable. Richard Roxburgh wears it with a quixotic defiance that makes you want one yourself. Despite Cyrano’s commitment to truth, he can’t quite get past regarding himself as a hideous monster — an old-school, less green, more eloquent Shrek. Cyrano spends most of his life as a self-assured, uncompromising poet, but when he falls in love with his distant cousin Roxane (Eryn Jean Norvill), he comes undone. He continues to pine for her despite her affections for the more handsome, but significantly dimmer Christian (Chris Ryan). Their dual wooing of Roxane is a fabulous comedy of errors. It’s no exaggeration to say that Roxburgh as Cyrano is outstanding, walking a delicate line between cavalier and humble. Matching Roxburgh in the excellence stakes is Josh McConville as Comte De Guiche. His speech detailing the trail of small compromises that have led to his worldly success is compelling and disarming. De Guiche’s conviction that Cyrano’s personal integrity is far more valuable than worldly possessions is excellent and may see hoards of Sydneysiders quitting their day jobs. The rest of the cast is vibrant, none more so than Julia Zemiro playing Sister Claire. She seems to be constantly amused at finding herself on stage. Alice Babidge’s set is simple and dynamic, a wide open space with a peripheral balcony that provides ample space for multiple thrilling sword fights directed well by fight director Nigel Poulton. Babidge’s set comes alive in a final striking shower of autumn leaves. Adapted and directed by the Sydney Theatre Company's artistic director, Andrew Upton, this Cyrano is big, shiny and moving.
May 23 marks the second outing of Other Worlds Zine Fair, an alternative space for comic book artists and zine makers to showcase and sell the fruits of their creativity. Originally a boycott action against Transfield Holdings' sponsorship of the 2014 Sydney Biennale, Other Worlds continues to provide local and international artists autonomy from suspect corporate support. The main zine fair is at Glebe Town Hall, with over 70 independent artists present, and this year the program has expanded into a three-day series of events and workshops throughout the inner west. Participating venues include The Rizzeria's Leichhardt printshop and Monster Mouse Studios at Marrickville. Other Worlds also seeks to generate discussion and raise awareness of the impact of detention centres in Australia and includes initiatives such as The Refugee Art Project among its participants. Those interested in supporting Other Worlds' corporate-free status should jump to their Pozible campaign.
It's the yearly exhibition that leaves us with jaws on the floor; the 59th annual World Press Photo exhibition is coming to Australia for another year. Beating 97,912 submissions by 5692 photographers from 131 countries, Denmark's Mads Nissen took out the top spot for 2014 Photo of the Year for his intimate, poignant portrait of Jon and Alex, a gay couple in conservative St Petersburg, Russia. After almost six decades of beautiful and devastating photojournalism, the WPP contest continues to be one of the world's most important platforms for art, journalism and humanising the headlines. The World Press Photo exhibition can be seen at Sydney’s State Library of NSW, May 23 – June 21; WA Museum in Perth, July 4 – 26; and Brisbane Powerhouse, August 8 – 30. Before the exhibition makes its way to Australia, take a look through some of the landmark images that caught the eye of the WPP judges; from an orphaned rhino in Kenya to Lionel Messi at Brazil's World Cup, Istanbul's anti-government protests to a young Kamilaroi girl in Moree, New South Wales. With many of the photographs documenting the more saddening news headlines, they're often not easy images to look at, but it's the work of these photojournalists that wakes up an otherwise ignorant world.
The last time Courtney Love popped by was 1999, when she headlined Big Day Out with Hole. Since then, the 50-year-old has released solo albums America's Sweetheart and You Know My Name/Wedding Day, as well as Hole's fourth record Nobody's Daughter (albeit without Melissa Auf der Maur, Patty Schemel and Eric Erlandson). This month, she's treating us to her very first Antipodean solo tour. Recent appearances in the UK have been triggering rave reviews. One Guardian critic described her as "enjoying her rock resurrection, leaping from vitriolic to vulnerable, often in the same breath", while The Daily Telegraph experienced 75 minutes of "slightly unhinged" and "thoroughly entertaining... raw pop punk". Rumours continue to bubble concerning a possible Hole reunion. In a recent Pitchfork interview, Love revealed that they're not necessarily without foundation. "I'm not going to commit to it happening, because we want an element of surprise," she said. "It's next year's concern, but we've hung out, we've sat down, we've met, we've jammed." https://youtube.com/watch?v=Rg_ECFpSceA
Feeling an urge to witness some rollicking rock 'n' roll? Sydney dudes Gang of Youths will sort you out. Earmarked with that buzzed-up title of 'ones to watch' last year when they formed, Gang of Youths have since played a sizeable bunch of headline shows, tangled amongst support gigs for the likes of The Jezabels, Frightened Rabbit, Vampire Weekend and most recently Foster the People. The ferocious five-piece are back this month with a few more dates up their sleeves for the riff-starved, showing off their latest single, 'Poison Drum'. In the accompanying music video, Gang of Youths power through the colourful streets (and supermarket aisles) of LA armed with their instruments and some succulent-looking noodles. Did we mention they're yet to release their debut album? Fear not, Gang members. Recorded with Kevin McMahon (The Walkmen, Real Estate, Titus Andronicus), the group's first LP is in its final stages and due for release sometime this year. https://youtube.com/watch?v=yqi2dT5rRtw
Everyone's favourite half-giant of few words is coming to Australia to host a series of Game of Thrones-themed rave parties. Kristian Nairn, who plays the simple and loveable Hodor, is a legit house DJ — minds are boggled as to why this sort of party hasn't been thrown sooner. Thankfully touring company Falcona have jumped on the house-loving GoT favourite and we can party like we've finally found the three-eyed raven. As the name suggests, Rave of Thrones will be a series of GoT-themed parties in large-scale Australian venues — and dress ups are mandatory. Break out the faux fur, your finest armour or dye your hair silver-white; just leave your Valerian steel at the door. We're expecting to see Starks dancing with Lannisters, Tyrells and Tullys sharing mead, while Wildlings and White Walkers unite forces in the name of rave. These parties are likely to attract a larger crowd then the Red and the Purple wedding combined (and will presumably be way less murdery), so make sure you snap up some tickets faster than one of Ygritte's arrows heading for Jon Snow's heart. Nairn has recently been in Melbourne for Oz Comic-Con with Daniel Portman (aka Podrick Payne), so we're thanking the Old Gods and the New that he'll be returning to us shortly. Nairn will be joined by audio visual artist Ego who will be cranking out GoT-themed projections, and the night will include "surprise guests and garnishings" — we're not sure exactly what that entails just yet. HODOR! https://youtube.com/watch?v=cxjw-w-V5k4
If you’ve been wondering how to tell chocolatey accents from nutty tones, why it is that the coffee you brew at home’s never as good as the one from your favourite cafe, or how you can turn your lattes into artworks, July is your month. In the lead-up to Aroma Day, Sydneysiders will get the chance to spend an hour or two expanding their coffee-related skills and knowledge via a series of workshops. Some focus on tasting and cupping, others on roasting and brewing and others still on coffee's illustrious history. There’s pretty much something for everyone, whether you’re a beginner who can’t differentiate a dark roast from a smooth blend or a connoisseur who’s ready to become an officially credited barista. Highlights include the 'Coffee Appreciation Course', where you’ll come to understand why you prefer one barista over another (assuming, of course, that it’s their brewing ability we’re talking about); 'Brew Camp', which will teach you the skills necessary to perfecting the pour over brewing method; 'Chocolate - Bean to Bar', during which you'll get to taste a whole bunch of different chocolates under the guidance of expert local chocolatiers; and Latte Art with ASCA, where 2011 NSW barista champ Alex Stathis and 2011 NSW latte art winner Jibbi Little will show you how to froth and drip like a master. To book your spot in a workshop, visit the Aroma Festival website.
If there’s one way to live a satisfying life, it’s quite possibly the taking of a crazy creative idea and turning it into a working, sustainable financial reality. Writers, musicians and artists are often reminded of ‘how hard it is to break into the industry’ and of the challenge of balancing integrity with ‘commercial appeal’. But when you’ve got a great original concept that you want to get off the ground, they’re not the things you want to hear. And they’re by no means imperatives. Just to confirm that, consider buying yourself a ticket to the world’s most inspiring design event and Vivid festival opener, Semi-Permanent 2014. That way you’ll get to spend three days with people who’ve stuck to their artistic guns and hit the success mark. Skateboarding legend Tony Hawk and ex-Aussie champion Corbin Harris will tell you all about how they built the Hawk brand, while Mr. Brainwash, who you might know from Exit Through the Gift Shop, will give you the lowdown on getting up-close and personal with Banksy. Other guest speakers on the program include John Jay (GX, Portland agency), Andrew Denton, cult artist Tara McPherson and New York filmmaker Cheryl Dunn. Then there’ll be installations, exhibitions, presentations and workshops. FBi is in charge of organising the parties. Tickets go on sale on March 4. Tickets costs are: Professional One Day $195 / 3 Day $445 Student One Day $120 / 3 Day $280 VIP One Day $295 / 3 Day $795
In past years it feels as if there's been a surge in the sub-genre of romantic comedies that revolve around the 20-something commitment-phobes. Generally they feature a host of characters more attractive than you, resisting relationships for the sake of engaging in meaningless sex. Or, the kind of films Natalie Portman and Mila Kunis did to flush the Oscar winning demons of Black Swan out of their psyches in 2011. Are We Officially Dating (released in the US as That Awkward Moment) can be lumped into this category, while also having a stab at bro comedy. The film follows Jason (Zac Efron), Daniel (Miles Teller), and Mikey (Michael B. Jordan), who after the failure of Mikey's marriage, make a pact to stay single as a gesture of solidarity. Unsurprisingly, all three violate the agreement. Whilst first-time filmmaker Tom Gormican has an admirable goal — to depict the clunky transition from dating to relationship from a male perspective — this film's insipid plot and unfunny jokes make it, dare I say, 94 minutes worth of 'awkward moments', It's essentially a male version of Sex in the City; they're snappy dressers and waltz around Manhattan, fuelling their crude humour with chai lattes. This brand of sex-positivism doesn't have the quite same punch when paired with stereotypical 'dudes' and such a flimsy premise. Venturing out of the PG13 paddle pool and into cinematic adolescence, Efron plays Jason, an apparently sharp-minded graphic designer working at a chic New York publishing house. In a feat of Don Draper-esque brilliance, he impresses a client by drawing an impromptu stiletto for a book cover. (Ah, of course. The essence of woman boils down to footwear. It's psychology 101, folks.) It's difficult to shirk the film's reductive and vacuous depiction of women. Aside from the trio 'rostering' girls to bone at appropriate intervals so they don't get attached, the female characters are poorly drawn. They merely function as narrative goalposts, as if to assure us that there is in fact, a point. Imogen Poots plays Ellie, Jason's humble, bookish and bohemian love interest. Whilst instinctively likeable, a scene in which she reveals her deepest desire — a ridiculously big house in the middle of Manhattan — feels like a contradiction of character. There's also a touch too many penis jokes. In fact, it feels as if scenes are set up specifically for the purpose of penis jokes. For example, when Jason misinterprets a dress-up party and arrives with a sex toy hanging from his fly, leading to much 'cock'tail punning. All in all, if you're planning on a Valentine's Day movie with your significant other, you may want to think about spending your money elsewhere. To impart the film's single slice of wisdom, "Relationships are about being there for the other person." https://youtube.com/watch?v=UrdI3zAnzno
Sit up, you beautiful planet-saving, green smoothie-drinking people, because the world’s largest hippie festival is about to unleash some serious flower power all over the Domain on March 30, 2014. Wanderlust has cemented itself internationally as an all-inclusive celebration of yoga, music and the peace-loving life, offering festivalgoers the chance to chant ‘namaste’ with world-renowned yoga teachers and lifestyle gurus, get jiggy to some uber-radical DJs and musicians, stroll through some sweet craft markets, or simply kick back with a biodegradable glass of organic wine and a tofu burger. There are upgrade packages available for the super-passionate folk, the likes of which include immersive yoga workshops and the chance to meet some world-renowned yoga leaders. Free registration, ticketing and lineup info can all be found at the Wanderlust website.
"And now you want to be my friend on Facebook? Are you fucking kidding me?" The gal who brought us the anthem to sing at exes attempting to Facebook stalk us is releasing her latest album (album number four) on March 14 and heading on tour. She'll be singing 'Lose My Shit', 'Ghost' (featuring Megan Washington) and other new tunes and hitting notes that most of us could only ever dream of. O Vertigo is Kate Miller-Heidke's first independently released album. And how did she make it happen? Crowdfunding. That's one way of getting around it. She hit her target three days after launching the campaign, and some of the lucky donators will be getting a Happy Birthday phone call from Ms Triple-Octave Pipes. The rest of us will attempt to suppress our jealousy. This is one worth heading to. https://youtube.com/watch?v=X0FdR7dEAYU
In one of the funniest scenes in Tidy Town of the Year, Pamela (Victoria Greiner), overcome by an overwhelming need to vomit, staggers across the stage, fumbling with a plastic bag. As it slips this way and that, like a struggling puppy in her hands, she looks like she’s about to explode. Up until now, we’ve only known Pamela as the prim, uptight cleaner of the Traveller’s Rest Motor Inn Motel. But she’s just seen a limbless dead body in one of the bathrooms. It’s a discovery that not only provokes a violent physical reaction but also threatens her life-long dream: to see the fictitious Australian town of Gandiddiyup crowned ‘Tidy Town of the Year’. The scene hinges on a mix of identification, surprise, timing and physicality. One part of us recognises the frustration of wrestling with a plastic bag that will not open; another delights in Pamela’s sudden loss of control. Under the co-direction of Sean O’Riordan and Deborah Jones, Greiner serves a deliciously exaggerated dose of slapstick, without giving away where she’s going. It is these nuances that are imperative to laugh-out loud comedy. Tidy Town of the Year hits the sweet spot on several occasions. However, there are moments when it misses. Here’s the premise. Pamela and co-cleaner Rover (Andy Leonard) are preparing a room in anticipation of the arrival of Tony Clare, Minister for Tourism and Tidy Town judge, when new staff member Hope (Sarah Hodgetts) arrives, carmine-lipped, utterly uninterested in picking up a mop and, apparently, hot for Rover. The discovery of a corpse unleashes not only intense mutual suspicion but the unravelling of personal frailties and dirty secrets. Greiner, Leonard and Hodgetts — all co-writers of the script — embrace their roles with gusto. They’re good to watch and a bubbling energy pervades throughout, while temporal and dynamic undulations, bizarre plot twists and some clever one-liners maintain our engagement. O’Riordan and Jones utilise every corner of the Old Fitz’s tiny stage, arranging the trio in one formation after another, all the while keeping the dramatic action natural. The set (designed by Matt de Haas) is every bit the country town motor inn, complete with bad oil portraits, sepia photographs, poo-brown shag rug and faux-wood fridge. Sound designer Marcello Fabrizi and lighting designer Dimitra Kiriakopolous mirror the dramatic changes with rock songs, revving motor bikes, sudden blackouts and police sirens. It’s fun and fast-paced. But, ultimately, the comic and emotional impact is limited by uneven scriptwriting and some structural flaws. Gags that perform as motifs, such as Pamela’s small-town pride and Rover’s pedantry, are amusing at first but tend to become repetitive rather than developmental. Too often, the characters lapse into stock simplicity, their hidden weaknesses and personal sadnesses conveyed painfully obviously, without any deep or clever exploration. So much is going on at once that the storyline feels as though it's travelling in circles rather than moving forward. All-in-all, it’s a lightly entertaining night out that provokes some genuine laughs, but for the Greiner-Leonard-Hodgetts combo to realise its theatrical potential, we’ll need to see a more meticulous sorting of what works from what doesn’t and a more concentrated focus on narrative cohesion.
This unique exhibition at Carriageworks will be accompanied by a series of nightly performances. It will see esteemed choreographer Sue Healey collaborate with photographer Judd Overton to produce a series of live portraits of dance artists. Healey has selected five dancers with very different styles of movement: Martin del Amo, Shona Erskine, Benjamin Hancock, Raghav Handa and Nalina Wait. An accompanying work will also feature video portraits of Australian dance legends Dame Lucette Aldous and Professor Shirley McKechnie AO. By crafting simple and complex choreography, Healey is interested in exploring how we view performance and how we make sense of moving images. Utilising the whole of Bay 20, the exhibition will comprise filmed and live choreography that will play out simultaneously — the dancers will perform against their virtual selves. If you're planning on taking a look at this immersive interdisciplinary project, note that while the daily exhibition is free, the nightly performances will be ticketed.
Thundering into town upon the back of his immense triumphs in literature, and now the world of cult television, Lionel Corn is the kind of author who draws focus with the slightest adjustment of his seating position. It's no wonder that academics, writers manqué and pedantic fans alike want to limply dab him to death with inane questions whenever he speaks publicly. Following a successful stint at the Melbourne International Comedy Festival and Sydney Writers' Festival, The Chaser's Andrew Hansen and Chris Taylor bring the portly form of Corn to the Giant Dwarf. Hansen and Taylor's George RR Martin-like figure is the centre of a show that pokes fun at the rise in 'In Conversation'-type events, of which you'll find no shortage around town.
The most electrifying new movies from Spain and Latin America will heat up Palace Cinemas around the country once again this autumn. The much-loved Spanish Film Festival will celebrate its eighteenth birthday in 2015, with the festival's most diverse and exciting lineup yet. From smash-hit romantic comedies to Oscar-nominated tales of revenge, there’s a film in this year’s program to suit every conceivable cinematic taste. The festival begins with Spain’s biggest ever box-office success, the upbeat rom-com Spanish Affair. From there, audiences can choose between more than three dozen titles, including Goya Award-winning crime film Marshlands, Cannes-selected indie drama Beautiful Youth and the darkly comedic horror flick Shrew’s Nest. Further highlights include a documentary about soccer superstar Lionel Messi, and a movie that brings Bollywood dance numbers to the streets of Barcelona. Closing night film Wild Tales is another major standout, combing six outrageous short stories about people who are driven to the edge — each one funnier and more twisted than the last. For the full Spanish Film Festival lineup, visit the festival website.
Sydney choreographer Martin del Amo seems determined to dislodge dance from its lofty pedestal. His dance theatre is kooky, self-reflective, accessible and has its feet firmly on the ground. Last year he treated audiences to a degustation of bodies and stories with Slow Dances for Fast Times, and now Songs Not To Dance To follows in its quirky stead. Songs Not To Dance To promises to address those ditties discarded by choreographers, for being “too obscure”, “too cheesy” or “too famous”. Dancing side-by-side with Lismore dance artist Phil Blackman, del Amo will let these forbidden songs move him, and we’ll watch the depths to which he goes. Will he work against the music, take the piss or surrender? If Slow Dances is anything to go by, the constant change of pace and atmosphere will keep us laughing heartily and thinking deeply. We'd definitely sign up to see highly trained bodies look a little daggy, which seems very in vogue.
Mismatched milk crates stand stoic under the spray-painted board which passes for a stage. A plastic sheet painted to resemble a brick wall sags dejectedly in front of the genuine article. On the far wall, Cleopatra seduces impassively, the Queen of the Nile spearheading a column of pokie machines. Location: purgatory? Incorrect. It’s comedy night at The Laugh Hurrah. Is This Thing On? (written and directed by Zoe Coombs-Marr, with Kit Brookman as co-director) tracks the career of Brianna (Madeleine Benson, Genevieve Giuffre, Fiona Press, Susan Prior and Nat Randall), a comedian, from nervous teenager, riffling shakily through handwritten notes, to comedy stalwart, returning to the mic after a long stint away. Played by five different actors, the various Briannas weave in and out of each other’s stand-up sets, existing in the space as memories and ambitions when they’re not dishing out the goods. Obviously comedy consumption is notoriously subjective — everybody needs their funny bones tickled from a slightly different angle to get the desired result. With that in mind, I was disappointed by this show. It felt messy, let down by a structure which didn’t nail its comedic or dramatic elements enough to create a potent mix of the two. Rather than subverting expectations the way a good joke does, the fairly straightforward plot periodically grinds to a halt until the requisite amount of stand-up has been performed before culminating in a hasty climax and a musical finale. Though there is some good material in the script, very little of it is given room to breathe. Every punchline is so swamped by ‘shazams’, awkward pauses and explanations of the humour that there is virtually no opportunity to appreciate the jokes themselves. The Briannas’ heavily exaggerated delivery also means that the content often feels like a parody of the form rather than a celebration of it, making the laughs even harder to locate. The show definitely has its moments — Giuffre finally answers the question that Stevie Nicks put to Rhiannon all those years ago in resounding style, and a woman in the crowd, asked for her profession on three separate occasions, finally makes the improbable jump from ‘semi-retired’ to ‘bricklayer’. Ultimately, however, good comedy is governed by two things: timing and structure, and it is these elements which Is This Thing On? feels like it fails to truly master.
Since Tony Abbott was elected Prime Minister last year, I can count on one hand the number of my acquaintances who have not, at one point or another, volunteered an elaborate or brazenly carnage-laden scheme for offing him (the pacifists outlined similarly detailed plans to emigrate). While these threats are in no way credible, they’re not exactly the idle grumblings of voters whose home team has been banished to opposition, either. They are products of the worst kind of political disaffection, that which breeds apathy and disinterest rather than incisive and reasoned opposition. Kill the PM, written by Fregmonto Stokes and directed by James Dalton for Unhappen, imagines a group of young, naive and poorly organised extremists railing against this sluggish political atmosphere in the most radical way possible. Debates about political assassination generally focus on the morality of killing one person for the benefit of many. The quandary here, though, is whether it can ever be morally acceptable to murder a head of state that the many actually voted for. The set, despite being attributed to Dylan Tonkin, looks like it’s been erected by Dexter Morgan. Concrete walls and musty furniture are hazy behind sheets of plastic which hang from the ceiling or are draped carefully over objects which might later register fingerprints. The quiet menace of the space is enhanced by the dull reflected glare of industrial worklights. Enter Pete (Michael McStay), Flick (Zoe Jensen), Naomi (Lily Newbury-Freeman) and eventually, Rowan (Nicholas Hiatt), four dissidents who have realised that the strongly worded letter isn’t quite the vehicle of political change they’d hoped it could be. Armed with a rifle, they intend to cast the ultimate vote of no confidence when the Prime Minister’s motorcade passes the building in an hour’s time. The fact that there’s a traitor in their midst is the least of the group’s worries. From the moment we discover that the designated gunman is a schizophrenic acrobat in his pyjamas, we’re fairly sure that Our Glorious Leader is going to make it out in one piece. The murder plot becomes largely immaterial, though, as the second half moves to explore the unravelling of the conspirators themselves. Reality quickly loses definition when word reaches that the Reptilians have begun their march on humankind. Through green smoke, the Pregnant Madonna is led away by the headsman and goannas casually munch the carrion of their own kind. Arresting visuals and an excellent sound design by Lucy Parakhina and James Brown, respectively, create a world which, though terrifying, is no more nonsensical or chaotic than the one we’ve just left. The narrative has evaporated but the imagery and the questions that remain are rich and challenging. Kill the PM might sound like an exercise in coarse wish fulfilment, but whether you consider that a major selling point or a reason to decry it, know this: it isn’t. By refusing to provide an easy or coherent conclusion, Kill the PM proves its unwillingness to sink to the level of a revenge fantasy. It shows that both the problem and the solution are far too complex to be solved by a single gunshot.
When a movie character complains about the flimsiness and predictability of the world, it helps if the film they're in doesn't share the same traits. The character in question is Margo Roth Spiegelman (Cara Delevingne), while the feature is Paper Towns. She's the resident high school cool girl that the boy across the road, Quentin — or Q (Nat Wolff) — has spent years pining over. She's also the central mystery in the latest page-to-screen adaptation based on the work of novelist John Green. Those with a memory for melancholy teen fare might remember the last Green-penned effort to reach cinemas: cancer romance The Fault in Our Stars. Swap illness for aloofness, and a visit to Europe with a drive to upstate New York, and you know the kind of earnest drama you're in for. The same writers bring both films to fruition, and Wolff also features in each — then as the sidekick, now as the star. Here, his Q fondly remembers his younger days palling around with Margot before they grew up and into different cliques, only to feverishly relive them after she climbs through his bedroom window seeking his help for a revenge-fuelled adventure. The morning after, still buzzed from pranking Margot's cheating ex-boyfriend and the friends who knew about his philandering ways, Q thinks his life will change — only to find that the object of his affections has gone missing instead. Cue an attempt to track Margot down sparked by a series of clues she has left behind, with the smitten Q certain that they're signs she wants him to do just that. And cue a film that wears not just its heart on its sleeve, but its fantasies about halcyon high school days where important life lessons are learned. You've seen and heard them all before: try new things, follow your dreams, be yourself, cool kids have problems too, don't pin all your hopes of your teenage crush. The list goes on. Paper Towns barely gives anyone older than 18 a passing glance. Yet as it cycles through the usual house party, road trip and prom moments, it feels more like the calculated, nostalgic product of adults looking backwards than an authentic reflection of youth. That's the territory Green plays in — and while director Jake Schreier cultivated genuine emotion in his previous effort, Robot and Frank, just as writers Scott Neustadter and Michael H. Weber did in The Spectacular Now, the author's formula here is clearly at work. Hence the insubstantial and obvious narrative, the hardly memorable characters, and the other cookie-cutter elements — warm tones, a wistful soundtrack and standard performances included. An amalgam of everything those remembering their adolescence wish to recall, as well as everything those going currently through it wish to experience, Paper Towns just wants to be pleasant and neat. And that's what it achieves — however at-odds with its underlying "don't get boxed in" mantra that may be.
He won three Oscars and worked on 285 films. He created gowns for everything from 42nd Street to Casablanca, The Maltese Falcon to An American in Paris, and Oklahoma! to Some Like it Hot, and ranks among the most successful costume designers ever to ply his trade in Hollywood. He's also Australian, born Orry George Kelly but better known as just Orry-Kelly. And, as Women He's Undressed rightly assumes, most people have probably never heard of him. For those who haven't, Gillian Armstrong's latest documentary is here to shed light on a life of glamorous ups and heartbreaking downs during the Golden Age of cinema. For those who have, the movie will surely still fill in plenty of gaps, whether serving up interviews with Orry-Kelly's colleagues and those he inspired, or spilling the beans on his famous friendships and status as a confidant to many a leading lady. Either way, his journey from a small town to the big screen makes for quite the story, as do the exploits that followed. He didn't just dazzle with his prolific designs, but also with his defiance, proudly living as a gay man at a time – and in an industry – that was far from accommodating. In a factual effort that bears more than a little resemblance to Armstrong's Unfolding Florence: The Many Lives of Florence Broadhurst, Women He's Undressed doesn't only rely upon talking heads and archival footage, though what it boasts in these areas proves both engaging and illuminating. Instead, it addresses the issue that troubles many docos — not having enough existing content, but not wanting to fill its frames with wall-to-wall secondhand accounts and clips — through cheeky re-enactments. In some films, that's a tactic that doesn't work, but not in Armstrong's skilled hands. She tasks actor Darren Gilshenan (Rake) with both playing and recounting Orry-Kelly's life, with his version of the subject — who is rarely glimpsed in his real guise — speaking directly to the camera. The effect feels more conspiratorial than typical narration, like watching someone talk through their memoir and share all the juicy tidbits that were omitted. In fact, such scribblings are mentioned, as intermingled with an account of his special bond with Cary Grant. More well-known names keep coming up, of course — and with actress Jane Fonda, local designers Catherine Martin (The Great Gatsby) and Kym Barrett (The Matrix), and film critic Leonard Maltin among those offering their memories of and thoughts about Orry-Kelly, there's never any doubt that this is a tribute. If ever a film figure warranted such an adoring approach though, it's this under-sung hero and his brilliant career. Oh, and those ladies he helped in and out of his beautifully made costumes? They included Ingrid Bergman, Bette Davis, Katherine Hepburn, Natalie Wood, Shirley MacLaine and Marilyn Monroe, just to name a few.
Okay, so free shipping and a 0 percent chance of being talked into buying a bag you don't need because it would look so cute with those shoes is great, but shopping IRL has plenty of bonuses, too. You'll find pretty much all of them at Fashion's Night Out, which is probably the best idea to come out of Anna Wintour's brain since she decided Seth Meyers should wear a lacey Marc Jacobs dress to the CDFA awards. Fashion's Night Out was initiated by Wintour six years ago to pump money back into the flailing retail economy, and Sydney's own edition is now a firm fixture on the calendar. Excuses you didn't really need to buy a whole bunch of nice new things for spring include pop-up beauty bars, free champagne, complimentary nibbles, gifts-with-purchase, and photo booths, with the majority of them taking place around Westfield and the CBD.
That staple of summer, Maltesers Moonlight Cinema, is back for its 19th season of open-air cinema from December 11 to March 29. It's the casual, picnicky solution to all your summer cinema dreams. After the daytime bustle of joggers, personal trainers and cyclists subsides at Centennial Park, hire a beanbag or simply sprawl out on the grass under the stars. Don't forget some delicious snacks and a few beverages to complete your cinematic experience. It's the perfect way to unwind after a hard day and usher in those balmy summer nights. There's also the option of 'Gold Grass' tickets, which gets you a bean-bed in the front rows and designated waitstaff. The December–January portion of the program is basically a hit list of the summer's biggest flicks. Guardians of the Galaxy and Interstellar will make for perfect viewing under the vast night sky. Ladies will be taking a leading role for a fair portion of the action with The Hunger Games: Mockingjay Pt 1, Lucy, and the controversial Gone Girl. Then the latest comedy will be lightening the mood with Dumb and Dumber To, Horrible Bosses 2, and The Interview which sees Seth Rogen and James Franco basically going to war with North Korea. There are a few lesser known titles to watch out for too. The yet-to-be-released Birdman will see Michael Keaton poking fun at his days as the caped crusader alongside a stellar supporting cast, the heartbreaking Still Alice has Julienne Moore tipped for a Best Actress nomination, and The Gambler sees Mark Wahlberg front an adaptation of a '70s classic.
Sydney's rambunctious leotard-loving lads, Bluejuice, are calling it a day. The beloved pop/rock/dance/errrthang ratbags Jake Stone, Stavros Yiannoukas, Jamie Cibej and James Hauptmann are embarking on their final greatest hits national tour to wrap everything up by the end of 2014. "After 13 years of broken bones, broken hearts, sore heads, passive aggression, regular aggression, several arrests, questionable skin infections, and a busload of infuriated tour managers, Bluejuice are announcing they are calling it quits at the end of 2014," says the Bluejuice reps. Since 2001, the beloved Sydney outfit have had one heck of a ride, keeping the chin of Australian music up with three celebrated albums (Problems, Head of the Hawk and Company) on the shelf and still holding the position of most played track on triple j ever ('Vitriol'). Bluejuice have decided to part ways to test the waters in other projects, with the sad intention of giving those leotards a rest. Before they take their final bows, the team will release a big ol' greatest hits album — a retrospective ride dubbed Retrospectable, with all your favourite mid-2000s sticky-floored party go-tos, best bits from their three albums, extra rare content and new single 'I'll Go Crazy', produced by Dann Hume (Sticky Fingers/Alpine). Bluejuice will kick it on their final national tour this September/October. Starting at Adelaide's Uni Bar, the pair will meander through the capitals and rural centres before finishing up where it all started — Sydney (at the Metro Theatre, where many a drunken Bluejuice escapade has roamed before). In one of the most emotionally-charged press releases we've ever seen, Bluejuice's legacy is laid down. "They shall leave behind a body of work of which they are all very proud, and they look to the future with a mix of hope and fear of starvation, not unlike the chick at the end of Children Of Men." Top notch. https://youtube.com/watch?v=ldBhDmvWFXE
Heralding from Argentina, the enigmatic Juana Molina makes her way to Newtown Social Club for a one-night-only performance guaranteed to dazzle. Described as "Spanish-sung folktronica", Molina's performances are as unique as they are playful; full to the brim with experimentation and honest passion in song. Continuing soundscapes full of surprises, never dull or anticipated. Some have attempted to pigeonhole Molina, tried to fit her into a niche genre or have compared her to other songstresses such as Beth Orton or Bjork while trying to describe her sound; one of the most admirable characteristics of Juana is her very selfness, her unique sensibilities and authentic original sound. Molina's always in good company, even as a staunchly solo artist — she's worked with the likes of Vetiver and Vashti Bunyan and has toured with David Byrne and Feist. Molina is also a member of the Congotronics vs Rockers collaboration with Konono N°1, Kasai Allstars, Deerhoof, Wildbirds & Peacedrums and the Skeletons' Matt Mehlan. Busy, busy. Supported by Alyx Dennison + Fieldings. https://youtube.com/watch?v=UC2lFttTOIM
Dance music lovers are well and truly catered for this Spring. With Inside Out and the S.A.S.H. Sleepout dominating September, lovers of big drops and tight beats have already been planning carpools for the warmer months. Planning an exclusive dance music haven to rival your imagination, festival promoters Disktrict want to keep the tempo high until November with the second instalment of Return To Rio. Founded by Ricky Cooper (Tricky) and Nick Law (Lawless), Disktrict launched as a local dance party arbiter of Sydney's east in mid-2012. It didn't take the DJ duo long to dabble into festival territory, holding a rainy but relatively successful Return To Rio a year later. The three-day dance music festival sees Ibiza favourite Ten Walls headlining a solid beats-heavy crew — including Berlin-based DJ and producer Lake People, Sydney 'We Speak No Americano' duo Yolanda Be Cool, Leftroom/Crosstown Rebels label mates Laura Jones and Gavin Herlihy, '80s house pioneer Mr C Superfreq and '90s underground acid house king MC Scallywag. RETURN TO RIO 2014 LINEUP: TEN WALLS (LIVE) LAKE PEOPLE (LIVE) LAURA JONES MR C MC SCALLYWAG GAVIN HERLIHY YOLANDA BE COOL NEIL HODGKINSON GOODWILL SIMON CALDWELL KEN CLOUD BEN KORBEL NICK LAW + MORE Taking over the Del Rio Riverside Resort in Wiseman's Ferry for a weekend in mid-November, Return To Rio shares many of the same traits with the ill-fated, end of summer retreat, Playground Weekender. Due to a major risk of flooding, the five-year-strong dance festival was cancelled in 2012 just hours before it was meant to take off, and wasn't able to recover from the financial blowout. Hopefully the weather doesn't make any threats this time around. Ticket prices have taken a small leap up from $120 to $150, but Return to Rio have delivered a severely beat-heavy lineup akin to last year's, which included Mad Racket, S.A.S.H., Love Bombs, Start Cue, Murat Killic, Wonderland Ave and a truckload of others.
Melbourne-based literary and art mag The Lifted Brow is coming to Sydney to launch its 26th issue at Freda's in Chippendale. Entry is free and there'll be live music from singer-songwriter Alyx Dennison, who used to be one half of indie-pop kyu and has just released her debut, self-titled solo album. Issue 26 is the second incarnation of The Lifted Brow's new format. It includes work from international contributors Wayne Koestenbaum and Hoa Nguyen, as well as a stack of home-grown talents, such as Briohny Doyle, Upulie Divisekera, Helen Addison-Smith, Samuel Wagan Watson, Michael Farrell, Jessica Yu, Sam George-Allen, Rebecca Harkins-Cross, Dion Kagan, Jana Perkovic, Nicky Minus, TextaQueen, Mary Leunig, HTMLflowers and Michael Hawkins. Since being founded in 2007, The Lifted Brow, a "quarterly attack journal", has become one of Australia's most respected literary publications. Numerous big names have featured, Christos Tsiolkas, Helen Garner, David Foster Wallace and Neil Gaiman among them.
If you see an unusual number of fictional characters roaming the streets this May 2, you're not crazy, but you are missing out: it's Free Comic Book Day. Every year on the first Saturday in May, comic book stores around the world give away free comics to anyone who walks in. Free Comic Book Day started in America, but it's been picked up by stores in Australia as well. Aiming to "reach out to those individuals unfamiliar with the comic book specialty market", Free Comic Book Day sees many publishers ship specially printed comic books, often previews of upcoming titles, to participating stores around the world. It's not just about the free stuff, though — most stores will have special events going on like artist signings, dress-up competitions and giveaways. The website also has a handy store locator, so you can see what stores are participating near you. In Sydney, it means heading to the city and storming Kinokuniya, Kings Comics and Comic Kingdom.
When it comes to getting to the heart of what life is like during wartime, Vera Brittain literally wrote the book. You may not have heard of the English writer, though you really should've. A century ago, she was crusading for her right to make her own decisions and rallying against the future that was supposed to await all women. Getting married and playing house was the done thing, but it was far from her dream. Instead, she wanted to study at Oxford and pursue a career — until the First World War broke out, changing everything. Brittain's first memoir, Testament of Youth, offers a record of the devastation that followed, including loss and destruction anyone who has ever read or seen anything about war will instantly recognise. Her recollections are more than just accounts of the horrors she witnessed while volunteering as a nurse in London, Malta and France, however; they're a portrait of a generation forever shaken by the experience, as told from the female perspective. Think about the wealth of movies you've seen about men marching off to battle, then think about how many truly depict what such times were like for women. That's just one of the reasons that Brittain's story — and the film that brings it to the screen — demands attention. She might not have been on the front lines, but she was fighting for a cause in any way she could. After striving to further her education, she willingly chose to put her life on hold, head to the conflict and do her part to support those in the thick of combat. Rising star Alicia Vikander plays Brittain as a determined figure in a dark era, yet never a merely dutiful one, which is an important distinction. It is certainly disappointing that the film pays so much attention to the influence of the men in Brittain's life — her initially disapproving father (Dominic West), her charming brother (Taron Egerton) and the poet she falls in love with (Kit Harington, because every film these days seems to have to cast someone from Game of Thrones) — but Vikander's convincing and complex portrayal ensures she's always the real star of the show. Thanks to director James Kent, the movie is also as handsome as it is heartfelt, his fondness for period details apparent. Audiences have seen warm-toned, softly lit scenes like his before, and romanticised and restrained war films, too, but when they're this intricate and earthy, it is hard to get tired of watching them. Indeed, that sentiment also fits Testament of Youth as a whole. So much looks and feels familiar in the way Brittain's real-life plight has been adapted for the screen, and even if the movie doesn't do its inspiration justice, there's always something — a refreshing point of view, a stellar performance, an elegant image — that keeps sparking interest in this wartime chronicle.
Snooping isn't something we'd encourage. But sometimes having sticky fingers pays off, big time. A Town Named War Boy, the latest offering from the Australian Theatre for Young People (ATYP), turns the State Library's World War One archives into a stripped-back dramatic performance of the Anzac legend. One hundred years on and four budding actors under the direction of ATYP's artistic director Fraser Corfield bring their experiences of hardship and sacrifice to life. Playwright Ross Mueller uncovers the voices behind the diaries and letters of these young Aussie soldiers, giving audiences a brutally honest insight into the realities of life in the firing line. Brandon McClelland, Joshua Brennan, Simon Croker and Edward McKenna take to the stage to deliver these poignant tales.
One of our brightest video artists is exhibiting at Stills Gallery this month. Her latest series, titled simply Work, restages a local fruit market. The prettiness of Kawita Vatanajyankur’s art is like a packet of lollies — deliciously alluring. However, she often blends pain and humiliation with her Willy Wonka colour palette. Her work is a peculiar blend of quirkiness and body-aching intensity. Vatanajyankur is an endurance artist; she is perpetually testing her mental and physical limits. This latest foray into smashing melons and balancing bananas also contains a feminist undercurrent. While reviving the pre-industrial labour of her native Thailand, her videos tap into traditional understandings of ‘women’s work’. You are likely to see a heightened destructiveness where she is literally being worn down by banal tasks. In any case, Vatanajyankur is one of those can’t-look-away artists. Come along to the opening on Wednesday, May 6, at 6–8pm.
This elusive-sounding exhibition will feature a collection of photographs from emerging artist Simon del Favero. Liminal is an adventure into the space surrounding the photographed object; it is an attempt to see through the solitary in search of something that is not quite visible. Del Favero’s architectural training has fostered an interest in spatial situations and visual relationships. In a curious way, it seems this show is less about individual images and more about how the act of photography stimulates thought about human perception. Head along to the opening at Firstdraft on August 5. Other artists exhibiting at Firstdraft this month include Marilyn Schneider, Jarrod van der Ryken and Amanda Williams.
Melbourne's shindig-instigators Northeast Party House will be dominating Beach Road, Newtown Social Club and The Lair with three downright hootenannies to launch their highly anticipated debut album. Any Given Weekend features dancefloor fillers such as 'Youth Allowance' and 'Fake Friends', which are sure to stir a rambunctious crowd. Latest single off the album, 'The Haunted', is a great example of the strong songwriting chops and poppy hooks you can expect from NPH's debut record as a whole. Forming in 2010, these six Melbourne lads began by throwing down sets at warehouse parties, and their reputation for delivering high-energy live performances has stayed strong. Northeast Party House's alternative dance rock is chaotic but never sloppy, and always wildly fun. So don your most easily-danceable outfit and gather the party fiends in your crew, these shows are set for serious shindiggery. Here's the rundown: Wed 25 June – SOSUEME, Beach Road Hotel, Bondi w/ High-Tails — Free Sat 28 June – Newtown Social Club, Newtown w/ High-Tails and Conics Sun 29 June – The Lair, Metro Theatre, Sydney w/ High Tails and Conics https://youtube.com/watch?v=yU63Pertfk8
