With the Year of the Rat almost upon us, The Rocks is turning its regular weekend markets into a Lunar New Year celebration. From 10am on Thursdays, Fridays, Saturdays and Sunday between January 30–February 9, lanterns and themed stalls will be lining the cobblestones of Playfair Street, George Street and Jack Mundey Place. As is usually the case at The Rocks' regular Friday Foodie Market, there will be plenty of tasty treats to choose from, with Mr Bao and Let's Do Yum Cha slinging steamed buns and dumplings, Sri Lankan hoppers from The Hopper Pan, Firepop's selection of skewers and Zizime's Korean pancakes and toasties. [caption id="attachment_758152" align="alignnone" width="1920"] Anna Kucera[/caption] On the sweeter side, Spontané, Yum Thai Juice Bar and Som Som Candy are providing everything from bubble tea to animal-shaped fairy floss for the New Year. You can find the perfect new year gift for anyone with a selection of boutique stalls offering everything from silk scarves to spicy Thai condiments. The Rocks Lunar Markets run from 10am–9pm Thursday–Saturday and 10am–5pm Sunday.
If you can't afford the time or money for an island holiday this summer — or just can't be bothered trekking down to Bondi — drop by the East Village instead. The terrace has done away with its spring theming and has transformed into a beach club, complete with palms, festoon lighting, bright colours and frozen cocktails. A slushie machine has been brought up to the rooftop so you can cool down with frozen piña coladas and frosé while taking in the view of the city skyline. If you want to go full moon party vibes, Midori illusions and blue lagoons will be served in mini buckets — complete with tiny umbrellas. The food menu has been altered to match, and will be serving up oysters, prawn rolls and spicy tater tots. The beach club is now open and will stick around for the rest of summer.
If you dote over your vinyl collection with obsessive passion — or even if you just casually collect whichever albums you happen to come across whenever you're in your local record store — then you probably have one Saturday in April permanently marked on your calendar. That'd be Record Store Day, the annual celebration of ace music, a beloved format and the shops that trade in both. As happened last year, RSD has been postponed in 2021. Instead of its usual timeslot, the huge vinyl event will now take place in June. But that doesn't mean that your record pile has to remain static for the next couple of months, with record companies banding together for a huge vinyl sell-off: The Great Australian Warehouse Sale. Across the weekend of Saturday, April 17–Sunday, April 18, music aficionados will be able to snap up vinyl galore via indie record stores. Record companies such as Universal, Sony, MGM, Warner and more will be diving into their vaults, clearing out their warehouses and making as much stock available as possible, while individual shops will also be adding their own spin to the fun. Different stores will have different items on offer, so going crate-digging at your favourite shops is highly recommended. For further details — including which places are taking part — head to The Great Australian Warehouse Sale website.
In 2013, 300 people danced to Kate Bush's' 'Wuthering Heights' in a field — and in 2020, the idea is back and bigger than ever. Yes, The Most Wuthering Heights Day Ever is happening in Sydney on Saturday, July 11. Yes, everyone should be dressed as Kate Bush, complete with a red dress, red stockings and black belt (men, that means you as well). On the day, a clowder (that's the collective noun for Kate Bushes, just FYI) will descend upon the park and copy Bush's swaying, kicky dance in unison just for the pure joy of it. Support for this weird and wonderful outing has been widespread, and Kate Bush fans from around the world have been inspired to create events in their home cities. So get your gear together (dressmakers are usually flooded with orders for the day) and ready yourself to roll and fall in green, out on the wily, windy moors of Sydney Park. If you need an incentive — other than the event itself, of course — it's now 42 years since the song was first released. https://www.youtube.com/watch?v=BW3gKKiTvjs
Keen to make your next night in a big one? Now that you can invite five mates round (with sensible social distancing in place, of course), you can make it a real party. So, if you're keen to cut some serious shapes this weekend, ring up five of your nearest and dearest and dust off that disco ball because a new one-off party with pumping tunes and bad fashion is taking over your living room on Saturday, May 23. Yep, Canadian Club's annual Bad Sweater Party is going virtual. Hang on, a Bad Sweater Party? The major point of difference for this party is that you've got a dress code. Don an ugly jumper — it's OK, you're partying at home. And, yes, you'll get pretty sweaty with all those killer moves you'll be busting. Hot Dub Time Machine will be bringing the dance-worthy tunes, which will have you pushing your furniture aside and starting a makeshift dance floor in no time. Expect everything from 50s rock 'n' roll tunes to disco hits like ABBA's 'Gimme Gimme Gimme' and Earth, Wind & Fire's 'September'. Once you hit the more recent decades, there's often glam rock, a bit of 90s grunge, Darude's epic 'Sandstorm' and 'Toxic' by Britney. As you dance your way through the decades, you'll be working up quite the sweat (you'll be in a sweater, remember), so you'll also want some cold ones nearby. Get into the spirit of things by mixing up some CC 'n' drys. Or save yourself the trouble and grab a case of the stuff. It'll all kick off at 7pm and you can tune in to the live set via Hot Dub's Twitch account.
Christmas barely seems behind us, but it's time to start thinking about Easter already. And while there are many ways to mark the occasion, only one involves paying tribute to a cinema star like no other — and also playing mini golf in a cinema. Between Thursday, April 1–Sunday, April 4, the Ritz Cinema in Randwick is hosting Adam Sandler Fest. Although it kicks off on April Fools' Day, it definitely isn't a joke. You will be laughing at Billy Madison, Happy Gilmore and The Wedding Singer, though, and getting considerably more serious with Punch-Drunk Love. Rounding out the bill is the phenomenal Uncut Gems, Sandler's best-ever on-screen role, which'll be hitting the big screen in Australia for the first time — and, unlike everything else on the program, will be showing multiple times. While the whole festival is obviously filled with highlights, the 25th anniversary session of Happy Gilmore will include a putt putt contest before the movie. Yep, you'll be tap, tap, tapping, with prizes on offer. https://www.youtube.com/watch?v=vTfJp2Ts9X8
It's impossible to watch a movie directed by Wong Kar-Wai and mistake it for the work of another filmmaker. As he has kept proving over his 32-year career to-date, his work is just that distinctive. And while the opposite isn't true, either — no one will ever confuse a movie helmed by someone else for one of Wong's efforts — his influence on cinema and his peers is evident in every neon-hued tale of yearning, every mesmerising and aching love story that says as much through its imagery as it does with dialogue, and plenty of martial arts fare as well. Wong makes films to luxuriate in — to truly feast your eyes upon — and, unsurprisingly, Sydney Film Festival and the Australian Centre for the Moving Image want to celebrate that fact, and his work. Accordingly, they're teaming up to present touring program Love & Neon: The Cinema of Wong Kar-Wai. It showcases 11 of the filmmaker's titles, surveying his entire career, and will screen in Sydney from Saturday, January 16–Sunday, January 31 at the Art Gallery of New South Wales and also from Tuesday, January 19–Thursday, February 18 at Dendy Newtown. In the Mood for Love is on the bill, of course, but it isn't the only movie worth checking out on the silver screen. You can also see his debut feature As Tears Go By; Chungking Express, which is inspired by a Haruki Murakami short story; and the touching Happy Together — plus, the rebellious Days of Being Wild, the gorgeous 2046, and Wong's first English-language film My Blueberry Nights. Or, there's also his two martial arts epics: Ashes of Time: Redux and The Grandmaster. You'll be watching restored versions of most of the above, too, including glorious 4K restorations. https://www.youtube.com/watch?v=EfbLJh7-hQY
When Winghaüs set up shop in Sydney, no one needed to guess what kind of food it focused on. You'd best like chicken pieces, because they're on the menu here in a big way — all day, everyday. How does a chook-loving joint up the poultry ante? Across the entire 2020–21 summer, it hosts an event called Wing Fest. Again, it really doesn't require too much explanation. From Tuesday, December 1–Sunday, February 28, Winghaüs isn't just doing its usual wing lineup, though. As well as its nine always-available types of rubs and sauces, the chicken-centric joint is adding a huge 13 more varieties. So, you can pick from 21 different styles — including salt and vinegar, garlic and parmesan, sweet and sour, mango habanero and vindaloo. Ever wondered what chicken wings with chicken salt taste like? That's on offer as well. Chicken may be the focus — either classic or boneless — but you can also opt for cauliflower wings. You'll get one complimentary sauce or rub for every ten-piece serve of wings ($12), with extra sauces and rubs costing $3 each. There are also 20-piece ($22), $50-piece ($49) and 100-piece ($94) options — and beers and cocktails on tap, plus margaritas served frozen, on the rocks and in shareable one-litre steins.
Sadly, after nine years of packed dance floors and support for Sydney's music and art scene, beloved nightclub Freda's will be closing permanently this month. The Chippendale venue will close its doors to the public on Saturday, November 21. But, Freda's is going out with a bang throwing a six-part final celebration over the next three weekends. The Festival of Freda's will begin on Saturday, November 6 with Disco Bongo: the Last Night of Disco, featuring DJ sets from Andy Webb of Disco Delicious and Honey Point. Sunday, November 7 will see Freda's celebrate tits ninth and final birthday, featuring two rooms of live music and DJ sets. The following weekend will feature a live set from local electro-pop group Gauci with support from Freedom Sounds on Saturday, November 13, and a DJ set from Ben Fester and friends the following night. Kicking off on Friday, November 20, Freda's final weekend will include a farewell party thrown by Sydney party collective Vibe Positive, and one last event titled Freda's: The End featuring the Freda's House Band. Head along to celebrate and commemorate a Sydney institution shutting up shop and enjoy Guaci's latest track to get you in the mood. https://www.youtube.com/watch?v=s2-eM5I7s94 All events are seated and limited to 50 people per session due to social distancing regulations. All info and tickets are available at Freda's website. Top Image: Imogen Grist
There hasn't been much to say cheers to in 2020, or many opportunities to do so out of the house. But between Thursday, November 19–Sunday, November 22, you'll be able to raise a few glasses and wander around Sydney, all as part of the boozy new Whisk(e)y on The Rocks festival. Yes, this fest is taking place in The Rocks, where you'll wander your way between four festival zones across two hours. Just where you start is up to you, with each space offering something different as part of your $25 ticket — with that price including seven tokens for samples. At Campbell's Cove, you'll find the The Fever-Tree High Ball Bar. Obviously, highballs are on offer here. So too is mixing and matching, depending on what whiskeys, whiskys and mixers you feel like. And the Glenfiddich 'Whisky Wanderer' bus will also be stationed onsite, complete with its own bar slinging samples. Next, at 47 George Street and 6–8 Atherdon Street, you'll be sipping Maker's Mark, Dead Rabbit's and Wild Turkey. There'll be multiple spaces, enabling you to pick your preferred tipple and your favourite spot. Then, on Playfair Street, the Monkey Shoulder Mixer Truck will be pumping out blended malt scotch neat, on the rocks or in cocktails poured straight out of said giant mixer. Finally, The Argyle Courtyard will be celebrating 200 years of Johnnie Walker, so you know what's on offer here. As well as the four festival zones, you can mosey through The Rocks Whisk(e)y Trail, which includes The Argyle, The Doss House, Mrs Jones Bar at The Orient Hotel, the Copper Dog Courtyard at The Push, The Mercantile Hotel, Sergeant Lok, Tayim, Fortune of War and Maybe Sammy. And, although they haven't been announced as yet, the fest program will also feature masterclasses — which will be ticketed separately. Whisk(e)y on The Rocks tickets go on sale at 2pm on Wednesday, October 14. You'll need to pick your day and your session, with timeslots at 5.30–7.30pm and 8–10pm each night, plus extras at 3–5pm Friday–Sunday and 12.30–2.30pm Saturday–Sunday.
On a couple of occasions this year, McDonald's has spread some lockdown cheer by offering burger-loving customers free delivery. Now, with stores open for in-person dining around the country, it's doing something different — serving up daily specials for the entire month of November. This isn't the first time that the chain has run its 30 Days 30 Deals promotion — but it's kicking it off for 2020 with quite the offer. On Sunday, November 1, burger lovers can pick up 50-cent cheeseburgers. All you need to do is order through the MyMaccas app, select the deal, then mosey on down to your closest McDonald's to pick it up. Throughout the rest of the month, a new special will pop up each day. Think $2 Big Macs, $1 McFlurrys and $1.50 thickshakes, as well as $8 share packs, $5 small McChicken meals with a cheeseburger and $8 for two small Quarter Pounder meals.
Australia's first 100-percent plant-based hotel bar Alibi will be serving up special plant-based menu items throughout November in honour of World Vegan Month. From Sunday, November 1, you'll find unique vegan treats on the Alibi menu each week of November, as well as $10 spritzes and $6 beers throughout the month. Expect $10 plant-based cheeseburgers, $1 mac 'n' cheese balls, $10 cheesy dogs and $5 cauliflower bites. You'll also be able to enjoy Alibi's regular vegan offerings including high tea, an eight-course tasting menu and kitchen classics like tacos and bao. Alibi Bar is open from 4pm each day and you can reserve your spot over at the website. Alibi is located in the Woolloomooloo Ovolo Hotel who recently announced it would be going 100-percent vegetarian in all their hotels across Australia and Hong Kong for a full year. The initiative titled 'year of the veg' began on World Vegetarian Day on October 1. WORLD VEGAN MONTH LINEUP Week 1 (November 1–8) — $10 cheeseburgers Week 2 (November 9–15) — $1 mac 'n' cheese balls Week 3 (November 16–22) — $10 cheesy dogs Week 4 (November 23–30) — $5 cauliflower bites
Sydney's intimate, boutique Golden Age Cinema is teaming up with Four Pillars Gin for a mini booze and film festival. Each Wednesday night from February 3–March 3, the 56-seat Surry Hills spot is hosting double bills paired with gin cocktails. It's quite the lineup, too, with a little something for everyone on the bill. The festival is called Summer is Cinema, so that's the kind of tone it's going for — whether road movies, hazy escapades or out-there journeys are hitting the screen. First up on February 3 is Wes Anderson's The Darjeeling Limited — because the venue has also been running a season dedicated to the director — followed by seminal 90s classic Thelma and Louise. Or, if you're in the mood for a different kind of cinematic trip, perhaps February 10's pair of The Beach Bum and Inherent Vice will appeal. The next week, on February 17, Alfred Hitchcock's Rear Window will heat up the screen, accompanied by Spike Lee's iconic Do the Right Thing. Then, on February 24 comes Studio Ghibli's Spirited Away and Alexandro Jodorowsky's The Holy Mountain, both classics in their own distinctive ways. Finally, Badlands and Wild at Heart will wrap things up on March 3 with a lovers-on-the-run duo. These flicks will all get a beverage to match, made with Four Pillar's juniper spirits. The first screenings each evening kick off between 6–6.10pm, then the second start between 8.15–8.40pm — but we suggest you get there a little earlier for the drinks. Tickets cost $22.50 for each film.
Gerardo López of Kensington Mexican restaurant La Tortilleria is hosting online cooking classes to bring the art of Mexican cuisine into your home. For $80 you'll be sent a box of ingredients and a list of things you'll need to source yourself. You'll then be able to log on from 6pm on a Friday to join Lopez for a cooking masterclass. Lopez is running the class the first three Fridays of October, and spots are limited. If you can't make it, Lopez expects there to be more classes in November so keep your eyes out and follow the chef on Instagram. You'll start the night by creating margaritas, guided by special guest bartenders from Sonder. Once you have your drink in hand, you'll then make a traditional guacamole, your choice of fish or cauliflower ceviche and tinga tacos. Another bartender from On Top Bar will guide you through a second mezcal cocktail during the night to ensure you don't run dry, and the meal will be capped off by a dessert by Dulce Beso's Shai. Non-drinkers can purchase a version of the ingredients without the goods needed for the cocktails for $60 and join the class with water or a non-alcoholic beer in hand. All the profits from the cooking class are being donated to Friends for Good, a volunteer-driven not-for-profit that strives to help people connect with others and improve Australians wellbeing.
International travel could possibly be back on the cards for Australians by Christmas, but you'll be able to get a 26-film glimpse of Italy first. The reason: the 2021 Italian Film Festival. As it does every year, it's showcasing a stacked lineup of new and classic cinema from its chosen part of the globe, as part of its touring program. For Sydneysiders, this year's fest will arrive in late October, in line with New South Wales' roadmap out of lockdowns. From Wednesday, October 27–Sunday, November 21, movie buffs will want to head to Palace Norton, Palace Verona, Palace Central and Chauvel Cinema to get their Italian film fix. The fest opens with The Ties — and with a marriage in crisis. Starring Alba Rohrwacher (Happy as Lazzaro) and Luigi Lo Cascio (Human Capital), and helmed by Daniele Luchetti (La Nostra Vita, My Brother is an Only Child), this moving film follows a couple's tumultuous romance over the course of decades. It comes to the Italian Film Festival after opening last year's Venice Film Festival, and becoming the first Italian movie in more than a decade to do the latter. At the other end of the 2021 Italian Film Festival, the event will close with a classic: Roberto Rosselini's Rome, Open City. It's part of a four-film retrospective of the director's work, and also falls within the fest's look back at iconic Italian leading ladies. This event always comes with a big appreciation for Italy's filmmaking past, which is where documentary Fellini Forward: From the Creative Genius of Federico Fellini, about the acclaimed director, also fits in. Elsewhere, festival highlights include Cannes Film Festival Director's Fortnight winner To Chiara, about a 15-year-old who discovers her father might have criminal ties; Nanni Moretti's Three Floors, which is set across a Rome apartment block; Hidden Away, a biopic about artist Antonio Ligabue; and You Came Back, a thriller that makes ample use of Venice's lagoons. Or, there's also comedy Three Perfect Daughters; drama Tigers, about footballer Martin Bengtsson; and Sirley, which sees director Elisa Amoruso draw upon her adolescence for her first fictional film.
Where would we be without movies over the past 18 months? Even when cinemas have been closed for hefty portions of 2020 and 2021 in different parts of the country, we've all still sought out the joy and escapism of watching a flick — because when you're in lockdown, quarantining or isolating at home, or just spending more time indoors in general, it's particularly cathartic. Still keen to queue up a big heap of movies, and a hefty dose of couch time? Enter Movie Frenzy, the returning week-long online film rental sale. From Friday, October 1–Thursday, October 7, it's serving up a sizeable lineup of popular flicks from the past year, all for under $3 per movie. On the lineup: page-to-screen Aussie drama The Dry, long-awaited horror sequel A Quiet Place Part II, Bob Odenkirk aping John Wick in Nobody, and Jason Statham and Guy Ritchie teaming up again with Wrath of Man. The monster melee that is Godzilla vs Kong, the Chris Rock-starring Spiral: From the Book of Saw and Denzel Washington-led thriller The Little Things are also on the list, as is everything from Monster Hunter, Penguin Bloom, June Again and War with Grandpa to Tom and Jerry, The Croods: A New Age and Peter Rabbit 2. And while some are more worth your attention than others, we'll let you do the choosing. You can nab the cheap flicks via your digital rental platform of choice, including Apple TV, Fetch, Google Play, the Microsoft Store, Amazon Prime Video, Telstra TV Box Office and YouTube Movies — although just what's available, and the price, will vary depending on the service. Also, you won't need a subscription, unless you decide to join in the fun via the Foxtel Store.
There's one surefire way to keep those autumn shivers at bay, and that's a hefty dose of chilli. Or, in this case, a whole month of it thanks to two Sydney bars — Cronulla institution Northies and Mona Vale's Park House — which are teaming up with local brewery Young Henrys and spiced whisky brand Fireball to celebrate the spicy peppers in all their glory. First up, Northies will see its third iteration of the fiery fest, complete with spicy eats and tongue-tingling drinks. The kitchen is fuelling the burn with a chilli-charged special menu, featuring dishes like jalapeño poppers, TNT pizza and Fireball-glazed chicken wings. There'll also be a 'death wagon' rolling around the bar stocked with 50 hot sauces, which you can add to any dish. Meanwhile, the bar is coming to the party with some spicy treats of its own. Get cosy with a chilli-choc espresso martini or a heavily Tabasco-loaded bloody mary. Or, cool things down a little with a Young Henrys chelada of lime and habanero chillis topped with Young Henrys Natural Lager. To signify the fest's two sponsors, it's also letting you add a shot of Fireball for just $5 when you order any Young Henrys beer. Naturally, Northies will play host to chilli eating competitions, which will go down every Sunday arvo throughout the month. Expect to start off on the milder side as you work your way up to a carolina reaper. Sign up to compete in the competition here. Or, you can watch from a safe distance with tastebuds still intact. Over at Park House's chilli celebrations, there'll just be the one chilli chewing comp, taking place from 2pm on March 27 (sign up here). But, you can still expect a heap of chilli-loaded food and drink specials over the month — think chipotle cheeseburgers and chilli wings paired with burny bevvies like the spicy twist on a classic margarita, the Death by Marg. Head to Northies and Park House's respective websites for the full rundown.
Sometimes, when a movie hits cinemas, it doesn't always play out exactly as the person behind it had hoped. The flick you're watching mightn't match the filmmaker's vision for a hefty number of reasons — but that's where director's cuts come in. We live in an age where a filmmaker can be replaced, have someone else take over, fans can complain about the finished product and the original director can then step back in and make a new four-hour version — see: the upcoming new version of Justice League — so of course we also live in a world where film festivals can celebrate these kinds of revised flicks. That's what The Directors' Cuts is all about, with Dendy Newtown showing a heap of familiar titles, but in iterations you mightn't have seen before. Blade Runner's director's cut is one of the most famous, and it's on the bill. 2o19's Apocalypse Now: Final Cut falls into both categories, too. You can also check out 2020's The Godfather Coda: The Death of Michael Corleone, longer versions of the vastly dissimilar Midsommar and Lion, plus The Exorcist, Close Encounters of the Third Kind, Blood Simple, The Wicker Man, and both Alien and Aliens. The Directors' Cuts runs from Friday, February 26–Wednesday, March 17, with different films screening at different dates and times — so check out the full rundown for session details. https://www.youtube.com/watch?v=9l-ViOOFH-s
There's something oh-so-relaxing about staring at the sea, even if you're feasting your eyes on the water via the big screen. That's the concept behind the Ocean Film Festival Australia. You can't always spend all your time at the beach, by the river or in a pool — but you can spend an evening peering at the next best thing in a cinema. On select dates in March, screening at 7pm, the festival will unleash a cinematic feast of water-focused wonders onto the silver screen at various venues around Sydney. Head to the Randwick Ritz Cinemas from Tuesday, March 2–Wednesday, March 3, to the Hayden Orpheum in Cremorne from Wednesday, March 3–Friday, March 5 and the Seymour Centre in Chippendale from Wednesday, March 10–Thursday, March 11. Film-wise, viewers will spend time both above and below the ocean's surface thanks to a compilation of shorts from around the world. Expect to chase big waves, explore a range of sea life and get a hefty ocean rush, plus a heap of other sea adventures. The program is united by a love of the ocean, an appreciation of the creatures who dwell in its waters and a curiosity to explore the substance that comprises more than two-thirds of the earth. It's the next best thing to diving in, all without getting wet. https://www.youtube.com/watch?v=Wo-qXf5sXAw&feature=emb_logo Image: Travis Burke.
Sydney's cinema scene started off the year with a deep dive into the wondrous cinematic worlds of Wes Anderson. But, when this filmmaker is involved, you can never have too much of a good thing. So, from Thursday, February 4–Wednesday, February 24, Dendy Newtown is falling head over heels for the acclaimed director's work, too — via a film series called Fantastic Mr Wes: A Wes Anderson Retrospective. Film buffs can enjoy Anderson's distinctive visual stylings, compelling soundtracks and all-star casts, with the inner west venue playing different flicks multiple times across the three-week period. First up, catch 1996 crime-comedy Bottle Rocket, followed by the Jason Schwartzman-led hit Rushmore, the family dramas of The Royal Tenenbaums and the stop-motion animation delight that is Fantastic Mr Fox. Also on the bill: The Darjeeling Limited (which'll help you vicariously indulge your wanderlust), The Life Aquatic With Steve Zissou (if you feeling like wearing matching tracksuits with your movie date) and Isle of Dogs (because no one does animated canines like Anderson) — plus Moonrise Kingdom's tale of young love and the exceptionally cast The Grand Budapest Hotel as well. Fingers crossed that 2021 is the year we all finally get to see Anderson's latest, the pandemic-delayed The French Dispatch, too. https://www.youtube.com/watch?v=rs7mIoG8ffI
Looking to wind down after silly season in search of a wholesome way to spend a summer's day? Well, The Rocks is here to the rescue thanks to its string of pop-up events set to take over the harbourside precinct till the end of summer. First up is The Rocks Art Trail (December 28–February 28), which is an artist, maker and designer trail championing local retailers throughout The Rocks' cobblestone streets. Then, hit up The Rocks' Gin and Toning event, happening every Wednesday from January 20–February 24. The event kicks off at 5.30pm with a free pilates class in First Fleet Park, then, after attending, you'll score a free gin cocktail voucher to use at Sergeant Lok that evening. Or, you can kick back at The Argyle's openair cinema on a Wednesday instead, which is screening the likes of Anchorman 2: The Legend Continues, Forgetting Sarah Marshall and Wedding Crashers over summer. And, for a pre- or post-movie tipple, sip Iced VoVo and Fruit Tingle-inspired margaritas at El Camino Cantina. You can also head to the year-round The Rocks Markets, which is once again running on Fridays from 10am–3pm, as well as on Saturdays and Sundays from 10am–5pm. Here, you can pick up an array of goodies and even get bendy with its free outdoor yoga sessions. The precinct is also set to be a hive of activity come January 26, with a specialty high tea by way of Tea Cosy — think fairy bread, Vegemite sangas and lamington iced tea galore. Plus, there'll be roving performers and entertainment and a kids' corner at First Fleet Park. [caption id="attachment_795905" align="alignnone" width="1920"] Anna Kucera[/caption] The Rocks Goes Pop runs from December 27, 2020 through February 28, 2021. For more details, head to therocks.com.au.
This planet we all call home is constantly in flux. After the year everyone has just been through, that shouldn't be news. And, it isn't a new topic to Australia's annual Transitions Film Festival either. Based in Melbourne — and touring its program around the country on occasion over the past decade — it routinely programs films on the topic. In 2021, it's continuing that mission, too. There is something different about this year's Transitions Film Festival lineup, however. For the first time, the festival is jumping online. In collaboration with MPavilion, it is still hosting a physical screening of documentary Beyond the Burning in Melbourne on February 23 — but from February 26–March 15, it's streaming its selection of films digitally. Available on an on-demand basis (so you can view whatever you like whenever you like), the program includes plenty of factual flicks on topics as broad as walking barefoot across America (as seen in Barefoot), youth activism (the subject of NOW), a lawsuit against an animal rights advocate (The Walrus and The Whistleblower) and the benefits of adopting a universal basic income (Inherent Good). Or, you can dive into the sea with An Ocean Story, watch the fight against plastic pollution via Microplastic Madness, see the threats to Canada's Boreal forests in Borealis and tackle blazes in Megafires. Elsewhere, The Hidden Life of Trees takes its name from Peter Wohlleben's best-selling book, and continues its focus on forest. And, Invisible Hand dives into the battle between capitalism and nature — and it's produced by Mark Ruffalo. https://www.youtube.com/watch?v=zzDFF0y-O9w Top image: The Hidden Life of Trees, 2019, Constantin Film Verleih GmbH, nautilusfilm.
Already known for its bottomless vegan pizza and pasta feasts, Italian restaurant chain Salt Meats Cheese has been upping its cruelty-free food game at a monthly special event. Called Soul Meets Cheers, it serves up an entirely plant-based menu, featuring vegan versions of Italian classics. For the feast's February outing — taking place at all Sydney venues from 5pm on Tuesday, February 2 — it'll be focusing on bites to eat inspired the northern region of Lombardy in Italy. Think polenta fries with napoletana sauce, three-pumpkin pizza and Milanese-style risotto. And yes, that's just a few of the dishes on offer. Your $49 ticket also includes a glass of vegan wine or or Young Henrys beer or cider upon arrival.
Throughout autumn, Golden Age Cinema and Bar flirted with darkness. It contemplated fate, twisty rendezvous and chance meetings, in fact, all through its season-long film program. Now, with winter upon us, it's still exploring the shadows — this time via a lineup that it has fitting called Shadow Play. Expect to see a few shady characters grace the Surry Hills venue's big screen each weekend between Saturday, June 5–Sunday, April 15. Expect noir thrillers, twisty crime sagas, all-night adventures and quests for eternal youth, too. Private detectives will make more than a few appearances, as will femme fatales. And more than one acclaimed actor will play famed fictional PI Philip Marlowe. Among the highlights: The Big Lebowski, which kicks off the season with a big dose of The Dude; Blade Runner, because this Ridley Scott-directed dystopian tale never gets old; After Hours, Martin Scorsese's Manhattan-set after-dark caper; and Inherent Vice, which sees Paul Thomas Anderson spin a shaggy dog tale in 70s Los Angeles. Everything from The Maltese Falcon, The Big Sleep and Le cercle rouge to The Long Goodbye, To Die For and Death Becomes Her also features — screening at various times on Saturdays and Sundays. https://www.youtube.com/watch?v=LQRawYZl-ls
A new night market has been added to the Sydney event calendar. Following the success of other after-dark food festivities like the Night Noodle Market and the Lunar Lane Night Markets, Vegan NSW has announced they will be taking over Sydney Olympic Park with a market full of vegan and plant-based eats. After a successful iteration of the Sydney Vegan Market in Sydney Olympic Park back in January, as well as pop-ups in Newcastle and Gosford, the Vegan Night Market will debut from 2–9pm on Saturday, June 5. Stores will range from vegan Greek eats to ethically sourced artisan good from the likes of I Should Be Souvlaki, Treat Dreams and The 3 Amigos. Entry to the markets is free and you can bring your pooch as it will be a dog-friendly affair. Vegan musicians will be setting the mood with performances throughout the night, and it's encouraged you bring your own picnic rug to set up in the Cathy Freeman Park, as well as your own cup, container and cutlery in line with the market's environmentally sustainable ethos.
Pier One's harbourfront igloos are back. And, this year, they're offering a particularly dazzling place to enjoy Sydney's winter. Those hankering after waterside drinks will be able to get sipping in a lit-up space, with one igloo surrounded by with cherry blossom trees adorned with light globes. In case you're wondering, the igloos aren't made of snow and ice. They're transparent dome-shaped structures that you can hire for yourself and up to nine mates (socially distanced, of course). You will need to be willing to indulge in a few cocktails, glasses of champagne and snacks — choosing between canapes, grazing boards or a barbecue. To hire out the cherry blossom igloo, you have to spend $400–700 on food and drinks for your 2.5-hour session, and pay a $200–300 hire fee. The minimum spend and hire price changes depending on the day and time. You can hire out the igloos daily, from 12–2.30pm, 3.30–6pm or 7–9.30pm, until Sunday, August 29. And if you opt for the latter time slot from Friday–Sunday, you'll need to add on a compulsory night's stay in the suite for an extra $350 — which includes overnight accomodation for two, plus breakfast and parking. Images: Anna Kucera.
Between Thursday, May 20–Wednesday, May 26, Palace Cinemas is giving movie buffs in Sydney an extra present. It's not just the gift of great flicks — that is, their daily bread and butter — but the gift of cheap great flicks. Head to one of the chain's four Sydney locations — Paddington's Palace Verona or Chauvel Cinema, Chippendale's Palace Central and Leichhardt's Palace Norton St — across the week in question, and any film at any time will only cost you a fiver. Want to see A Quiet Place Part II with your friends a week before it comes out? It'll cost you $5. Keen to check out Minari, Those Who Wish Me Dead, Antoinette in the Cevennes and The Courier? Also $5. We'd keep naming movies, but you get the picture. Booking in advance is highly recommended, given how much everyone loves going to the flicks for little more than the price of a cup of coffee. If you do nab your tickets online, you will have to add a transaction fee to the cost. And if you're wondering what $5 Movie Week is all about, Palace is simply endeavouring to encourage folks to catch a flick on the big screen. That's still the best way to watch a movie, after all. https://www.youtube.com/watch?v=MZmgl4TkFBc&feature=emb_logo Top image: Palace Central
A century or so ago, back when cinema was still in its infancy and synchronised sound hadn't yet revolutionised the movie-going experience, seeing a film also meant listening to a live show. Those days are long gone, of course. Next time you head to your local theatre, someone won't be playing the movie's music in front of you while you watch. But a heap of recent screenings have been harking back to those times — and the next one has an action-adventure classic in its sights. Sydneysiders, it's time to grab your fedora and get cracking towards the Aware Super Theatre, because that's where you'll be celebrating Raiders of the Lost Ark's 40th anniversary rom 8pm on Saturday, August 21. The movie will screen, obviously, and The Metropolitan Orchestra will play John Williams' rousing score. Even if you haven't seen the film before — or watched it for years — everyone knows its famous theme tune. For those in need of a refresher, plot-wise, Raiders of the Lost Ark kickstarted the Indiana Jones franchise by following its eponymous figure (as played by Harrison Ford) on his quest to find the Ark of the Covenant before the Nazis. It's the movie that sparked three sequels to-date, and a fourth one supposedly still to come. Bringing a whip probably isn't recommended, but you know Indy will have one.
Sydney's boutique Golden Age Cinema is teaming up with Four Pillars Gin for a mini booze and film festival. Each Wednesday night in June, the intimate 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 program. The festival is called Wild Winter Nights, 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 July 7 is early 00s favourite Donnie Darko, followed by Jordan Peele's Get Out. Then, the next week, comes The Wicker Man and Midsommar — because, yes, Golden Age's curators are having fun with their nightly lineups. Heading along with your significant other? Perhaps July 21's pair of Eternal Sunshine of the Spotless Mind and The Lobster will appeal. Lastly, wrapping it all up on July 28 is eerie sci-fi feature Under the Skin and Gaspar Noe's intoxicating Climax. These dark cult flicks will all get a beverage to match, made with Four Pillar's highly coveted Bloody Shiraz gin. The first screenings each not kick off at either 6.10pm or 6.20pm, with the second movies starting at 8.30pm each evening — but we suggest you get there a little earlier for the drinks. Tickets are $22.50 for each film.
It isn't the first movie about the Tham Luang Nang Non cave incident to reach screens, thanks to the underwhelming The Cave. It won't be the last project to focus on the 12 Thai schoolboys and their soccer coach who were trapped in the Chiang Rai Province spot for 18 days back in 2018, either. Ron Howard (Hillbilly Elegy)-directed dramatisation Thirteen Lives hits cinemas next year, a Netflix limited series executive produced by In the Heights filmmaker John M Chu is also set to debut in 2022 and, to the surprise of no one, more are bound to follow. Still, The Rescue earns another worthy honour. The documentary isn't just an inspirational recounting of a miraculous effort that thwarted a potential tragedy, as told by the brave people who pulled off the feat, although it's certainly that. In addition, this gripping film falls into a genre that always needs more entries: celebrations of skilled people doing difficult things with precision, passion, persistence and prowess. If documentarians Elizabeth Chai Vasarhelyi and Jimmy Chin have a niche, it's this. As co-directors, the married couple has now made three films, all valuing hard work, expertise and when the former leads not only to the latter, but to extraordinary achievements. With 2015 Sundance award-winner Meru, they documented Chin's efforts with two other climbers to scale Meru Peak in the Indian Himalayas. Then came Oscar-winner Free Solo, the exceptional doco about Alex Honnold's quest to free-climb Yosemite National Park's El Capitan. The Rescue swaps clambering up for diving deep, and hones in on an event that captured international headlines as it happened, but still belongs in the same company as the duo's past two releases. Here, viewers start the film with an understanding of what happened thanks to all that non-stop news coverage, but finish it in profound awe of the talent, smarts, dedication and unflinching competence involved. Vasarhelyi and Chin spotlight the divers who extricated Tham Luang's 13 unwilling inhabitants, aka the Wild Boars soccer team — and did so as the world watched, as hours became days and then weeks, and as monsoonal waters flooded the cave despite a desperate pumping initiative. Thai Navy SEALs initially attempted the task, yet struggled in the ten kilometres of sprawling and narrow tunnels. In fact, due to the murky water and the constant deluge from the fast-falling rain, they weren't able to get far. To assist, civilian hobbyists including Brits Rick Stanton and John Volanthen were brought in — experts in their field, and volunteers for the biggest diving quest of their lives. When their crew found the boys and their coach almost four kilometres from the mouth of the cave, they then faced another dilemma: how to get them back out alive. With its ending already well-known, The Rescue starts at the beginning, letting those who were there talk through each step, and also weaving in footage from the rescue mission itself. No re-enactments — not the small amount The Rescue uses, as noted in its credits; not The Cave's awful docodrama approach; and not all the future dramatisations set to flow from Hollywood — can ever be as nerve-wracking as seeing this remarkable feat actually happen. That said, the film's interviews are also significant. While the on-the-ground and in-the-water clips show the immense level of skill at work and the enormous dangers faced, the accompanying discussions offer keen insights into the thought processes involved. And, they draw out Stanton, Volanthen and their team's distinctive personalities, ensuring that these heroes are always flesh and blood. In all that chatter, much of the tension springs from one point: not just the logistics of extracting the kids and their coach from the cave, but the possibility of sedating them during the dive. The Rescue's most chilling moment comes from Australian anaesthetist and cave diver Richard Harris, who likens that option to euthanasia in his frank initial assessment — a goosebump-inducing comment, even though everyone watching knows that the boys were all rescued safely. Vasarhelyi and Chin make films about survival and endurance, too, and those notions thump away in The Rescue like a heartbeat. Still, as much as it pays tribute to the individual and collective efforts behind something astonishing, and its success, the film never forgets the stakes or cost, including the death of ex-Thai Navy SEAL Saman Kunan during an early attempt. Enthralling, suspenseful and vivid — and with more time for the moral and ethical implications of the rescue than is ever likely to be committed to the screen elsewhere — this documentary has been made to emulate its subjects. Indeed, that precision, passion, persistence and prowess shines through again and again both on- and off-screen. The Rescue's meticulous splicing is particularly finessed, for instance, with editor Bob Eisenhardt (another Free Solo alum) maintaining the movie's pulsating sense of intensity while stitching together an array of talking-head interviews, plus that wealth of archival materials. The heartstring-tugging score by Daniel Pemberton (The Trial of the Chicago 7) isn't quite as convincing, however, but it's one of the film's rare weak links. There is a gaping cavern at the heart of The Rescue, though, and one that's far wider than the rock shelf where the Wild Boars sheltered for almost three weeks. Those boys and their coach aren't among the movie's interviewees, and noticeably so. National Geographic, who produced the film, was only able to secure the rights to the divers' stories — with Netflix snapping them up for the soccer team. It leaves The Rescue absent key perspectives, but Vasarhelyi and Chin have filled that chasm savvily. Indeed, the documentary's edge-of-your-seat, ticking-clock, heart-in-your-throat tribute to skill, hard work and the global team of thousands that spanned Thais, Americans and Australians, too, mightn't have sported the same focus otherwise. Once more, the movie mimics the incident at its centre, turning sheer necessity into something stunning.
Normally when the middle of the year hits — when Australia's weather is at its frostiest, aptly — the annual Scandinavian Film Festival rolls into cinemas around the country. In Sydney, that timing coincided with lengthy lockdowns, so the fest is bringing back its Nordic noir-heavy lineup for another spin before the year is out. Kicking off on Tuesday, November 23 and running through until Wednesday, December 16, the returning showcase of Denmark, Finland, Iceland, Sweden and Norway cinema launches with a must-see new entry in the Scandi-noir genre. Hailing from Denmark, opening night's Wildland stars Sidse Babette Knudsen (Borgen, Westworld) as the head of a family crime syndicate. She's charged with looking after her teenage niece and, in a movie that instantly brings Australia's own Animal Kingdom to mind, the latter soon learns more about the family business. Also on this year's Scandinavian Film Festival lineup: Knudsen again in Copenhagen-set psychological thriller The Exception; masterful and engaging Norwegian film Disco, about an evangelical dance champion who finds her faith tested; and surreal mother-daughter drama Psychosis in Stockholm. Or, for fans of Nordic cinema's big names, relationship drama Hope co-stars Stellan Skarsgård (Chernobyl), musical comedy A Piece of My Heart sees Swedish-born actor Malin Akerman (Rampage) back on home turf, and The County hails from Icelandic filmmaker Grímur Hákonarson — who directed Rams, which was remade in Australia last year. Other highlights include Icelandic box office hits Agnes Joy and The Last Fishing Trip, the latter of which has been compared to The Hangover; Finnish biopics Helene and Tove, about painter Helene Schjerfbeck and visual artist and author Tove Jansson, respectively; and Tigers, which tells the true tale of former Inter Milan player Martin Bengtsson. Or, there's also Diana's Wedding, which isn't actually about that Diana — plus closing night's 50th anniversary-screening of The Emigrants starring Max von Sydow and Liv Ullmann.
After almost eight weeks of staring at your own four walls, it's likely you're craving a disruption of your current orbit between bed and couch. Luckily, the Powerhouse Museum have created something that'll transport your mind to places far beyond your living room: Sydney Science Festival. From Saturday, August 14–Sunday, August 22, you can get involved in Sydney Science Festival by joining one of its live-stream events. This year, the festival is completely online — and free — meaning you'll get to hear from science experts working across various disciplines without even leaving the house. Catch the keynote address from the 2021 Sydney Science Festival ambassador and Deadly Science founder Corey Tutt; join Gomeroi astronomer Karlie Noon on a journey across the cosmos in Southern Sky Livestream; tune into panel discussion Pandemics — Past, Present and Future moderated by Dr. Norman Swan; hang out with tech pioneer Jaron Lanier in Gadgets, Dreams and Dilemmas; or book yourself into Great Moments in Science to discover some of today's biggest science ideas with Australia's much-loved, Dr. Karl. [caption id="attachment_822352" align="alignnone" width="1920"] Image: Dan Boud[/caption] Sydney Science Festival 2021 is a completely free and online event. To read the full program — and to register for access to these brain-tingling live-streams — visit the website. Top image: Ken Leanfore.
If you've been making plans to revamp your style, but haven't been able to rustle up the coin or are sick of online shopping, here's your chance. Hugo Boss is hosting a mega sale at its outlet stores. You'll be able to score a further 30 percent off menswear, womenswear, footwear and accessories. Whether you're after a suit for a special occasion later in the year or looking to level up your work wardrobe stat, Hugo Boss's mid-season outlet sale will have you sorted for a fraction of the fashion label's usual prices. You'll have to get in quick to score though, with the sale running from Saturday, April 3 until Sunday, April 18 (or until stocks last). In Sydney, you can head to Birkenhead Point Outlet Centre and DFO Homebush to get these quality threads for such a steal. Current opening hours are 10am–5pm daily at Birkenhead Point Outlet Centre and 10am–6pm at Homebush. Hugo Boss mid-season outlet sale will run from Saturday, April 3 till Sunday, April 18, or until stocks last (excludes new season stock). To find your closest outlet, visit the website.
It's the time of the year when the days begin to shorten, the evenings get cooler and your stomach starts grumbling for comfort food. But, while that'll remain true for the next few months, only one particular day will bring free tacos. Tex-Mex giant Taco Bell has been steadily opening stores around the country since 2017, with a new Sydney store in Green Square launching on Tuesday, May 4 — and it's doing a big giveaway at all of its locations on the same day. If you haven't tried the chain's Crunchy Taco Supreme, this is your chance. If you have and you just like freebies, count yourself in as well. There is a catch, though. This free taco day is themed around the moon — because the chain has decided to name the half-moon the 'taco moon'. So, to get a taco without paying a cent, you need to mention 'taco moon' or say 'I saw the taco moon' when you get to the counter. Also, there's a limit of one free taco per person, so you won't be able to stuff your stomach full of them. What's a Crunchy Taco Supreme? A crunchy taco, as the name suggests, as filled with seasoned beef, sour cream, fresh lettuce, tomato and cheese — or black beans for vegetarians. If you happen to be one of the first 20 people through the door at each store — in Albion Park, Ballina, Blacktown and Jesmond in New South Wales, plus the about-to-launch Green Square — you'll also score a taco moon party kit, which includes merchandise.
Before the pandemic, food and drink event Taste of Manly encouraged Sydneysiders to eat, sip and be merry by the beach each and every year. None of the above happened in 2020, of course, but the festival is making a comeback in 2021 — as a new, bigger and broader event called Taste of the Beaches. For the whole month of May — so from Saturday, May 1–Monday, May 31 — the entire northern beaches region is getting in on the action, spanning more than 30 restaurants, cafes and food outlets in the area. The lineup includes pop-ups on the sand, food truck parties and craft brews, as well as a whole heap of different dining experiences, which means that Sydneysiders can choose their own path through the multi-suburb event. Kicking things off on Saturday, May 1–Sunday, May 2, Hotel Steyne is taking over Manly beach each afternoon, and serving up a seafood-heavy menu and plenty of drinks. Or, from Wednesday–Sunday throughout the month, Market Lane will play host to live tunes — giving your meals and beverages at the laneway's businesses a soundtrack. Also on the agenda: a food truck party in Mona Vale on Saturday, May 15, a wine garden in Palm Beach on Saturday, May 29–Sunday, May 30, and a big craft beer fest in Freshwater on Saturday, May 29 as well. And, from the list of special dining options, you can head to a Tokyo-style street food market at Daniel San, and taste your way through flights of spirits at Manly Spirits Co Distillery — or pair wings and tins, learn how to make your own pizza, attend a pork knuckle party, celebrate Eurovision over dinner and eat a tapas-style curry spread. Top image: Karen Watson for Northern Beaches Council.
Sydney is about to stop resembling the town from Footloose, and you can expect to hear plenty about that fact for the next few weeks. It's understandable — dancing is a form of celebration, so dancing to celebrate that dancing is allowed again from Monday, March 29 is what the situation calls for, really. One place that you can get into the spirit of the much-anticipated occasion: Darling Square. It's hosting a 16-event program called Sounds in the Square until Saturday, May 1, with music and dancing at the centre of it all. For those fond of making shapes, DJs Gab Zak, Lavida, Thom Josef, Demi Jewel and Ruby J will provide the soundtrack on selected Friday and Saturday nights. Or, you can listen to tunes from Flava, or at Pianos for the People — where Yantra De Vilder will perform six piano concerts. Also on the bill: sessions of Dance Cinema, where you'll watch shorts, movies and videos about cutting a rug. The lineup is curated by local artists alongside filmmaker Melissa Ramos. And, if you're hungry and thirsty thanks to all that dancing, music and dance-related content, Darling Square's tenants will be on hand. [caption id="attachment_805048" align="aligncenter" width="1920"] Dallas Kilponen[/caption]
Freshwater Brewing Co is swapping hops for grapes as it hosts an inviting wine festival focusing on small-batch vineyards and women in the wine industry. Popping up in Sydney's north on Wednesday, March 27, Into the Vines will bring 25 different drops of vino from five boundary-pushing female winemakers to the breezy brewery for a midweek journey through some of the exciting things happening in the booze world. The lineup of producers includes Empire of Dirt, a lo-fi winery based out of Moorabool Valley in Victoria, and ACT native Intrepedus Wines whose tiny one-acre winery is located in Yass and produces a cracking Nero D'aVola. Rounding out the program is biodynamic specialist Krinklewood, and a pair of Hunter Valley vineyards: M&J Becker Wines and Comyns & Co. The festivities will kick off at 6pm, with two one-hour sessions to choose from — 6–7pm and 7–8pm. Either way, you'll get to wander around and chat with the winemakers, tasting their wares, and enjoying a grazing platter while you're at it — all for just $15. If you want to grab dinner, there's also a combo deal, which includes the hour-long tasting session, plus a pint and a burger at the brewery for $40. Thanks to a partnership with Humanitix, a portion of the ticket sales will also be donated to local not-for-profit Girls Boardrider Fraternity. The approachable wine festival is great for any Sydneysiders north of the bridge who would usually have to travel into the inner-city to find such an eclectic mix of new-age winemakers all in the one spot.
What do slicing-and-dicing villains in horror movies and Monster Fest's annual weekend-long mini film festival have in common? Both can strike at any time. Each year, usually at the end of the year, the broader fest showcases genre and cult movies — but it also pops up before then to host Monster Fest Weekender. In 2023, the latter took place in winter. In 2024, it's bringing the scares, plus a focus on slasher films, in autumn. If you like frightening flicks, then you'll want to make a date with Sydney's Event Cinemas George Street from Friday, May 3–Sunday, May 5. Across three days, just one type of horror film will be on offer — and yes, of course the lineup includes Nightmare on Elm Street and Friday the 13th titles, as well as a Sleepaway Camp marathon. Wes Craven's Freddy Krueger franchise is represented with both the OG A Nightmare on Elm Street and also 1994's New Nightmare, each of which are marking anniversaries — 40 and 30 years, respectively. Prefer movies about Jason Voorhees instead? Friday the 13th: The Final Chapter is also on the bill, and also celebrating its 40th anniversary. Other pictures that'll get the projectors whirring at Monster Fest Weekender: Slasher Edition span Deranged, which commemorates its 50th anniversary with the first-ever showing of its complete and uncut version in Australian cinemas — and I, Madman, which has also never been seen in Aussie picture palaces. And if you can handle the Sleepaway Camp Slash-athon, it features the first, second and third films.
For most filmmakers, Isabel Wilkerson's Caste: The Origins of Our Discontents would've screamed for the documentary treatment. A non-fiction text published in 2020, it works through the thesis that racism in America isn't just the product of xenophobia, but is an example of social stratification. The journalist and author — and, in 1994, Pulitzer Prize-winner — examines how categorising populations into groups with a perceived grading is at the heart of US race relations, and how the same was true in Nazi Germany and still does in the treatment of the Dalit in India. A doco could spring easily from there. If it happens to in the future, no one should be surprised. Ava DuVernay, who brings Wilkerson's prize-winning tome to the screen now, has demonstrated again and again with Selma, The 13th and A Wrinkle in Time that she's not most directors, however. Make the points in Caste: The Origins of Our Discontents via a documentary, if and when that occurs, and they'd be accurate and powerful. Express them through cinema's function as an empathy machine, via personal tales including Wilkerson's own, and they resonate by getting audiences stepping into a range of shoes. Watching isn't merely investigating and learning in Origin, as Wilkerson as a character — played by Aunjanue Ellis-Taylor (The Color Purple) in a phenomenally passionate and thoughtful lead performance — does in a movie that's also a biopic about her life and work. Sitting down to DuVernay's film is all about feeling, understanding what it's like to be a range of people who are forced to grapple with being seen as less than others for no reason but the fact that urge to judge that keeps proving inherent in human nature. Accordingly, viewing Origin means walking in the footsteps of Black teenager Trayvon Martin (Myles Frost, All In) in the US in 2012, when he was shot by a Hispanic man solely for strolling in a white neighbourhood. It means spending time with Black nine-year-old Al Bright (Lennox Simms, Abbott Elementary), who wasn't permitted in a public pool with his white Little League teammates in the 50s. And, it means charting the efforts of Black anthropologists Allison and Elizabeth Davis (Fear the Walking Dead's Isha Blaaker and Blindspotting's Jasmine Cephas Jones), who went undercover with white colleagues Burleigh and Mary Gardner (Doom Patrol's Matthew Zuk and Pain Hustlers' Hannah Pniewski) in Jim Crow-era Mississippi. Their work resulted in Deep South: A Social Anthropological Study of Caste and Class — a book that now sports a forward by Wilkerson. Following Origin's narrative also involves being immersed in the tale of a Jewish woman and German man, August Landmesser (Finn Wittrock, American Horror Story) and Irma Eckler (Victoria Pedretti, You), falling in love in the Third Reich. In a famous photograph from 1936, he's considered to be the lone person not saluting in a Nazi crowd. Origin plunges into reality for a group in India once dubbed "untouchables", too, a title given due to their place in the pecking order. It's a literal term, and one of exclusion and segregation — and it dictates what those deemed at the bottom of the Hindu caste ranks can and can't do and interact with. DuVernay weaves in everything beyond Wilkerson as recreations, making such tales far more tangible and pivotal than mere slices of the past — recent and not-so — providing examples for Caste. In other words, it's one thing to know something or even witness it, and another to feel as if you're experiencing it yourself. That's DuVernay's approach — and it's in line with her focus on Wilkerson, getting Origin's audience empathising not only with everyone in its vignettes, but with her while she's sifting through this history. Sensitive, savvy, sincere, supremely smart: they all describe the way that this film, which its director penned and helmed, is built. DuVernay doesn't ever lose sight of Wilkerson, though, as she pursues her book amid several rounds of loss. Facing individual and societal heartbreak in tandem is also a thread in the feature. So are the echoes that the concept of caste has had on her mother Ruby (Emily Yancy, Sharp Objects), who has lived the reality of avoiding provoking backlash for simply existing — and also on Wilkerson's relationship with her doting husband Brett (Jon Bernthal, The Bear). As a confidant, friend, much-needed support and sounding board, DuVernay includes Isabel's cousin Marion (Niecy Nash-Betts, Never Have I Ever) into her retelling as well. That move gives the film and its protagonist a third tender relationship to navigate, and viewers to identify with. It's also another way that DuVernay expands her long-running push to explore the emotions simmering within Black women, and how they're influenced by the place that they're allowed in the world. Before Selma gave Coretta King prominence alongside her husband, and before A Wrinkle in Time, DuVernay's last non-documentary picture prior to now, charted a Black teen's quest aided by astral travellers, I Will Follow and Middle of Nowhere also traversed this terrain. Indeed, the question with Origin isn't why its director took this path with the material — it's how could she have done anything else? Is Origin ambitious? Bold? Unfailingly intelligent? Lensed with texture and intimacy by Matthew J Lloyd (Spider-Man: Far From Home)? Remarkably acted, especially by Ellis-Taylor, Bernthal and Nash-Betts? A film where feeling deeply is the only response? Does it take a route that no one else would've dreamed of contemplating with Wilkinson, her book, grief, power structures and subjugation? Is it a journey of one woman and of humanity in tandem? DuVernay's movie is all of these things — and it's a chronicle of the jumping-off points and discussions along the way to Caste coming to fruition, such as listening to the 911 call by George Zimmerman, who murdered Martin; having editors (The Nun II's Vera Farmiga and Harlan Coben's Shelter's Stephanie March) ask for her thoughts on it; her romance with Brett; caring for Ruby; chats with Marion; and even talking to a Make America Great Again hat-wearing plumber (Nick Offerman, Dumb Money). Yes, among all of the above, Origin is also a piece of cinema that only DuVernay could've made.
Resurrecting horror franchises that first gleamed bright in the 70s is a trend that Hollywood isn't done idolising. Halloween did it. The Exorcist returned as well. Via remakes, Carrie, Suspiria and Black Christmas have all made comebacks since the 2010s. The Omen was always going to get its turn, then. Taking the prequel route — because the OG 1976 film hadn't spawned one yet with 1978's Damien — Omen II, 1981's Omen III: The Final Conflict and 1991's Omen IV: The Awakening, plus a 2006 remake and 2016's one-season TV series — gives rise to The First Omen, as set in Rome in 1971. Fans will know that June 6 that year was when Damien was born. Spinning backstories into new movies can create flicks that smack of inevitability above all else, but not here: this is a genuinely eerie and dread-laced Omen entry with an expert command of unnerving imagery by first-time feature director Arkasha Stevenson (Brand New Cherry Flavour), plus a well-chosen anchor in lead actor Nell Tiger Free (Game of Thrones). Horror, unusual babies, childminding at its most disquieting, a claustrophobic location, a lack of agency, distressing displays of faith: Free has been here before. Indeed, if Stevenson and her co-writers Tim Smith (a screenwriting debutant) and Keith Thomas (the director of 2022's awful Firestarter remake) used Servant as their inspiration in more ways than one, they've made a savvy choice. Featuring their star for four seasons between 2019–2023, that M Night Shyamalan (Knock at the Cabin)-produced series was one of the great horror streaming efforts of the past five years. The First Omen goes heavier on jolting visuals to go with its nerve-jangling atmosphere, but it too stands out. Its worst choice is being needlessly and gratingly blatant in connecting dots in its very last moments, even if nearly half a century has passed since this spawn-of-Satan saga began. For those who don't know the Damien-centric details going in, The First Omen redresses that gap in your pop-culture knowledge — except that anyone unaware of the franchise's ins and outs will have still picked up the antichrist basics; they're that well-established. Also, as per above, every decade since the 70s has given something Omen-related a whirl. In the actual first Omen film, an American ambassador in Rome adopted a boy in secret, as sourced by a chaplain, when his own didn't survive childbirth. Five years later, when the bulk of the flick takes place, a 666 birthmark proved exactly what the title described. Stevenson's movie steps in before all of that, spending its time with a novitiate from the US who is invited to take her vows in Italy and, in the lead up, to stay and work at a convent that cares for orphaned girls and unwed pregnant mothers. Free's Margaret is that aspiring bride of Christ, in Rome at the behest of Cardinal Lawrence (Bill Nighy, The Beautiful Game), who she knows from a childhood spent entirely within the church. Despite her devotion to god, and to prim-and-proper rules, her reception is mixed; she finds abbess Sister Silvia (Sônia Braga, Shotgun Wedding) spooky, colleague Sister Anjelica (Ishtar Currie-Wilson, Lockwood & Co) unsettling and the stiff treatment of Carlita Scianna (Summer Limited Edition), one of the older girls under the nunnery's guardianship, questionable to say the least. Luz (Maria Caballero, The Girl in the Mirror), Margaret's roommate who'll also soon take the veil, encourages her to let loose before giving her body to the lord. A night at a bar, and also witnessing a mother ushering her child into the world at the orphanage, quickly sparks nightmares. Then there's Father Brennan (Ralph Ineson, The Creator), who has gone rogue to warn her about the plans for Carlita. Horror, unusual babies, pregnancy at its most disquieting, a claustrophobic location, a lack of agency, distressing displays of faith, the Catholic church trying to keep a stronghold on power by nefarious means, an American nun-to-be in Italy and in trouble, sisters and priests that can't be trusted: cinema in 2024 has been here before as well. The First Omen arrives mere weeks after Immaculate, where filmmaker Michael Mohan (The Voyeurs) helmed a Sydney Sweeney (Madame Web)-led dance with Christianity at its most devilish — but with a different progeny hoped for. Call it a case of twin films, right down to the cues taken from giallo. Releasing either side of Easter, a go-to time for Catholic horror flicks — 2023 had The Pope's Exorcist and 2021 The Unholy, for instance — call this pair a great double feature, too. One of the greatest tricks that The First Omen pulls: making its audience not give a damn whether it's an Omen movie or not by being utterly engrossing in its visuals and lead performance regardless of the nods sent in obvious directions. That's another reason why the last scene lands with the clunkiest of thuds. Former photojournalist Stevenson, plus No One Will Save You's Aaron Morton as her cinematographer, are both bold and elegant with the sights that grace the screen — images that haunt with mood and texture as they evoke a visceral response. 1981's Possession, which shares Sam Neill (Apples Never Fall) as a star with the same year's Omen III, gets a striking visual nudge. Elsewhere, black habits virtually come alive, closed curtains hold fearsome foes, walls and floors are filled with sinister scribblings, and a line of nuns hugs the floor. A face screaming in agony while trapped in a black veil, claws replacing a crowning baby's head: they provide unforgettably chilling moments, and also reinforce that The First Omen, like Immaculate, is born into an IRL world and from a country where control over women's bodies is no mere relic. Examining how religion reacts to dwindling influence lingers in The First Omen in several ways, including seeing and speaking about protesting students, who Lawrence laments have no trust or faith in Catholicism. New blood such as Margaret and Luz is just one tactic floated for connecting with non-believers, of course. There's little subtlety to The First Omen's themes or plot but, again, its deeply perturbing vibe and look, and a committed lead performance from Free (plus the always-great Braga, The Witch's Ineson putting his gravelly voice to great use, and Nighy and Charles Dance, the flick's third GoT alum, adding a creepy air), all demand adoration. With the latter, who swings between innocent and unhinged, emotional, psychological and physical devotion are part of her portrayal. In fact, when "it's all for you" is wailed in Free's vicinity — a line no Omen movie can pass up — it could be coming from Stevenson, who has made a spine-chiller that hardly needs to exist on paper, but is wholly worthy of her star's remarkable efforts.
If David Dastmalchian ever tires of acting, which will hopefully never happen, he'd make an entrancing late-night television host. He even has the audition tape for it: Late Night with the Devil. Of course, the star who earned his first movie credit on The Dark Knight, and has stood out in Blade Runner 2049, The Suicide Squad, Dune and the third season of Twin Peaks — plus Boston Strangler, The Boogeyman, Oppenheimer and Dracula: Voyage of the Demeter all in 2023 alone, alongside Ant-Man and the Wasp: Quantumania — might be hoping for a less eerie and unsettling gig IRL. Dastmalchian is a fan of horror anchors, writing an article for Fangoria about them. Here, putting in a helluva can't-look-away performance, he plays one. That said, the namesake of Night Owls with Jack Delroy isn't meant to fit the mould so unnervingly, nor is the series that he's on. Delroy is a Johnny Carson rival — and, because Australian filmmakers Cameron and Colin Cairnes (100 Bloody Acres, Scare Campaign) write and direct Late Night with the Devil, he's also a Don Lane-type talent — who isn't afraid of embracing the supernatural on his live talk show. On Halloween in 1977, airing his usual special episode for the occasion, he decides to attempt to arrest the flagging ratings of what was once a smash by booking four attention-grabbing guests. What occurs when Delroy, who is grieving the loss of his actor wife Madeleine Piper (Georgina Haig, NCIS Sydney) a year earlier, shares the stage with not only a famous skeptic and a psychic, but also with a parapsychologist and a girl who is reportedly possessed? That might sound like the setup for a joke, but it's this new Aussie horror gem's captivating premise. To be precise, it's the contents of the October 31 instalment of Night Owls with Jack Delroy, with Late Night with the Devil posed as a documentary about the broadcast that includes the entire show itself. With Michael Ironside (BlackBerry) on narration duties, Delroy gets some backstory first, stepping through Piper's lung cancer diagnosis despite never having smoked, plus Delroy's own affiliation with exclusive and highly questionable Californian men's club The Grove. The 70s gets some context, too, digging into its climate of fear and mistrust post-Manson family murders, and the anger of the decade's reckoning with race relations and the Vietnam War — all reasons put forward to explain why variety entertainment offering pure escapism is having a moment. The fortunes of the series itself from gleaming to flailing are also charted, justifying going all-in on the occult for the Sweeps Week episode that "shocked a nation", as presented in full as found footage from a master tape interspliced with behind-the-scenes material. If you've seen one evening talk show — from then, now or in-between; whether hailing from the US or Australia (Late Night with the Devil was shot in Melbourne, but packages its content as purely American) — then you know the basic format. Delroy monologues and banters charismatically to begin, albeit with an inescapable sadness that he's endeavouring to plaster over with a smile and 'the show must go on' bravado. So, he starts bringing on his guests. Medium Christou (Fayssal Bazzi, Prosper) foresees that something sinister is about to be afoot. Professional cynic Carmichael "the Conjurer" Haig (Ian Bliss, Safe Home), who was once a magician, is all doubt. There to spruik her book Conversations with the Devil, about a girl who was offered up as a Satanic sacrifice by a cult but survived, Dr June Ross-Mitchell (Laura Gordon, Foe) is wary that her text's subject Lilly (Ingrid Torelli, Force of Nature: The Dry 2) isn't ready for the exposure. But with the kid supposedly afflicted with demonic possession, and so much at stake for Delroy and the show, no one is letting her remain off the air. When The Blair Witch Project made found footage a horror movie go-to 25 years back, sparking too many imitators — most generic and/or terrible — it didn't create the format. Indeed, the gimmick of unearthing tales from previous documents hadn't only been seen on-screen, but is engrained in iconic gothic horror novels Frankenstein and Dracula, both of which deploy correspondence to unfurl their stories. In the post-Blair Witch era, however, inventive and exciting screen uses of the tactic have become increasingly rare. Enter: the Cairnes brothers. The duo also give riffing on Martin Scorsese's 1982 satire The King of Comedy, which Joker did as well, a fresh spin. Late Night with the Devil is the best kind of pastiche: one that knows it, loves it, adores everything that it's drawing upon and is committed to never merely aping its inspirations (which also span Scanners, as Ironside's involvement helps reinforce — plus four-time Oscar-winner Network, which sports a fellow Aussie connection in British Australian actor Peter Finch). Watching the Halloween chaos of Night Owls with Jack Delroy in real time is a masterstroke: viewers have no alternative but to have the same experience that the show's audience, both in the studio and at home, did at the fateful broadcast — and that Delroy, his crew and guests all shared. Late Night with the Devil is constructed from a raft of equally clever decisions, the most pivotal of which is casting the hypnotic Dastmalchian. There's an Alan Partridge-esque air to the film and its protagonist, transported into literal horror rather than the horrors of cringe comedy, and with the same go-for-broke commitment that's always marked Steve Coogan's (The Reckoning) best-known character. Within the picture's sole setting — another savvy move — Dastmalchian owns the screen. He also grounds Late Night with the Devil's examination of the relationship between celebrity and the attention that mass media brings, aka the cult of personality; it might be easy to paint the price of fame as a Faustian bargain, but it works. A performance this perfect and an idea this brilliant receives the execution to match, making sitting down to the movie virtually a time machine. The look, the feel, the detailed production design (by Otello Stolfo, Aunty Donna's Coffee Cafe) and costuming (Steph Hooke, The Wheel), the era-specific cinematography (Matthew Temple, Gold Diggers) and editing (by the Cairnes siblings themselves) choices, the commitment to practical effects when the spookfest kicks in after a tense and patient build up: they all ensure that Late Night with the Devil plays like it truly has been newly discovered in a pile of forgotten tapes from decades and decades back. As it conjures up that sensation, this is Cairnes' best film yet, and a delight of a wild ride to watch in one of two ways: in a packed cinema where everyone reacts to its contents like they're in the studio with Delroy; and at home on the couch, glued to the tube like Night Owls with Jack Delroy devotees. Whichever suits, no one is switching off.
Amy Winehouse would have turned 32 on September 14. To celebrate her birthday, the Soda Factory is dedicating the sixth edition of its popular Covers for a Cause series to her. A bunch of the Soda Factory's favourite resident acts will get together to jam on Winehouse's hit tunes, from 'Tears Dry on Their Own' to 'Valerie'. Entry is free and, for every dish or drink you buy on the night, a gold coin will be donated to Headspace, a national foundation committed to helping young people with mental health issues. The usual dinner menu — with its crave-worthy mix of home-cooked burgers, pulled pork, gourmet hot dogs, southern fried chicken and so on — will be available. And there'll be a couple of special, Winehouse-inspired additions to the drinks menu: The Winehouse Sour (raspberry, red wine, vanilla, egg white, lemon, vodka) and Valerie’s Secret Sangria (citrus fruits, cointreau, cinnamon, red wine). Doors open at 5pm.
Cinephiles, fans of on-screen dreams outside the norm and those with all-round offbeat tastes, it's time for your mosey through the movies that exist far beyond the mainstream. You know the ones — they won't be coming soon to a multiplex near you, and you wouldn't want them to. They're strange and sublime, odd and eccentric, and weird and wonderful. They're also the kind of fare that the Sydney Underground Film Festival lives, breathes, champions and screens, and has done for nine years now. And with efforts about a Finnish bunny with a genital fetish and the space where concepts become crimes in their 2015 lineup, there's no doubting that this year's SUFF is overflowing with off-kilter sensibilities. Accordingly, expect brain-exploding big-screen brilliance, raucous parties, a mind-expanding masterclass program and more, jam-packed into four days of film fun from September 17–20 at The Factory Theatre, Marrickville. Here are ten SUFF movies you won't want to miss.
The stars are out for Queer Screen Film Fest 2015, which returns to Event Cinema George Street in September. Kicking off on the evening of Tuesday, September 22, the festival begins with the Australian premiere of Boulevard, featuring the late Robin Williams in his final dramatic role as a depressed man whose life is changed when he befriends a young male sex worker. Other highlights on the six-day program include Cut Snake, a brooding Aussie crime thriller from director Tony Ayres featuring an unforgettable performance from Sullivan Stapleton, A Sinner in Mecca, which follows documentarian Parvez Sharma as he makes his pilgrimage to the holy city while struggling to reconcile his sexuality with his faith, and Guidance, a comedy about a washed-up former child star masquerading as a high school guidance councillor. The festival concludes with another major title straight from its world premiere at the Toronto International Film Festival. Based on a true story, Freeheld stars Julianne Moore as a New York Police detective with a terminal illness who is forced to fight for the legal right to pass her pension benefits onto her domestic partner (Ellen Page).
Part of the Giant Dwarf festival-within-a-festival at Sydney Fringe, Free to a Good Home sees comedians Michael Hing (Triple J, Good Game) and Ben Jenkins (The Checkout, Story Club) bring their hilarious podcast series to the stage, inviting a host of guests along as they delve into the weird and wonderful world of Australia’s classifieds. Watch them scour Gumtree, Craigslist, Etsy et al as they discover and discuss, in detail, what people are shamelessly selling or giving away for cheap via the convenient anonymity of the internet. This event is one of our top ten picks of the Sydney Fringe Festival. See the other nine here.
The best of Korean cinema will once again be on full display when the Korean Film Festival in Australia returns for its sixth straight year. Kicking off in Sydney on Wednesday, August 12, the program is headlined by a number of gripping crime thrillers — the genre having become synonymous with Korean cinema thanks to films like Oldboy and I Saw the Devil. This year, the mantle passes to the likes of A Hard Day, The Target and Gangnam Blues (and no, we're not talking about Psy). Other highlights among the KOFFIA 2015 program include the powerful coming-of-age film Han Gong-ju and the brilliantly titled opening night feature How To Steal A Dog. We're also pretty intrigued by period drama My Dictator, about a man hired as a body double for North Korean leader Kim Il-sung, only for him to become convinced that he is actually the genuine article. For the full KOFFIA program, visit their website.
Sydney's inner west is about to get in on the openair cinema action. Ben & Jerry's Openair Cinema has just announced they'll be opening their very first inner west cinema this summer, adding another location to their free ice cream-loving lineup of Bondi, Brisbane, Gold Coast, Melbourne, Canberra, Adelaide and Perth this November. Setting up on the lawns of Cadigal Green at the University of Sydney, Ben & Jerry's Openair Cinema will debut with new releases and cult classics including Joseph Gordon Levitt's Oscar tip The Walk, Robert De Niro and Anne Hathaway teaming up in The Intern, Tom Hanks and Steven Spielberg's Bridge of Spies, Kate Winslet's The Dressmaker in rural Australia and the Christmas rom-com to rule them all, Love Actually. Plus, there'll be a 25th anniversary screening of Thelma and Louise. The team are keeping their tried and true formula intact — live music and free ice cream nights. Local artists will hit the stage before the film for cruisy sets, including Nic Cassey, Angus Murphy and many more, and local DJs will spin a few for Aperol Sunsets — with free Aperol samples aplenty. There'll also be a fully-licensed bar, gourmet food stands, and lawn games aplenty, with putt putt and something called Giant Cow Jenga. Tickets for the Bondi Openair Cinema tend to sell out, so get in early. Earlybird tickets are just $15 online ($10 concession), until October 21. You can also hire deckchairs, beanbags and blankets, or go all in for a Volkswagen Polo Class ticket with reserved seating, blanket, cushion, beer or wine and a Ben & Jerry's ice cream included. Ben & Jerry's Openair Cinema will take over Cadigal Green, University of Sydney from November 19 to December 12, 2015. For the full program or to buy tickets, head to the website. Check out CP's roundup of Sydney's best openair cinemas over here. Image: Artof2 Designs.
Stories from one of the most volatile regions on earth will be in the spotlight at Australia's Palestinian Film Festival. Hosted at Palace Norton Street in Leichhardt, this year's program includes seven full length features and five shorts that showcase the experiences of Palestinians, from Gaza to the West Bank and beyond. The festival begins with animated documentary The Wanted 18, a tragicomic true tale about how a herd of Palestinian cows became the centrepiece of a protest against Israeli occupation. Degrade, meanwhile, takes place almost entirely within a Gaza beauty salon, where employees attempt to maintain some semblance of normalcy while violence rages just outside their door. But the most intriguing film in the program would have to be The Idol. Directed by two-time Oscar nominee Hany Abu-Assad, the movie tells the true story of a wedding singer from a Gaza refugee camp who became the second ever winner of Arab Idol. For the full festival program, visit palestinianfilmfestival.com.au
Michael Ware, the lawyer turned Courier-Mail, Time and CNN journalist turned filmmaker, calls Only the Dead a film that wasn't meant to be made. His documentary is cobbled together from hundreds of hours of footage he shot while in Iraq as a reporter, with a movie never part of his plans. Perhaps that's why the trembling handicam images feel immediate and urgent, even in a time where alarming visuals of combat have become commonplace. Only the Dead charts Ware's obsession with Abu Musab al-Zarqawi following the U.S. invasion and occupation of Iraq. Al-Zarqawi wasn't a point of focus for many at the time, but his brutal methods — starting with suicide bombings, then escalating to filmed beheadings of foreign hostages and worse — certainly earned him increasing attention. The faction he founded would become the Islamic State. There's more to Ware and al-Zarqawi's story, just as there's more behind the documentary's existence. Many of the remarkable sights contained within only became possible after Ware forged a connection with the insurgents, who began to feed him discs of their own videos, wanting him to disseminate them to the western media. Becoming an unofficial intermediary, he was placed in a tenuous and tricky position. While Only the Dead doesn't delve into the ethical side of Ware's interactions, it does chart the clear influence the situation had upon his viewpoint. A picture really does speak a thousand words in that regard, although the film isn't short on the latter — filling in the history of the Iraq war, as well as conveying Ware's reflections. Context is helpful, but verbal explanation almost seems unnecessary given how striking the shaky footage proves. And yet, there's something about the combination of distressing visuals and voiceover insights that hits the mark. Ware is the key, starting out "young and dumb enough for war to have its false sense of adventure", but slowly changing as a result of his time chronicling the Iraqi conflict. As his narration makes plain, even as the film depicts violent and bloody events gone by and horrors occurring in a nation far from his own, this strory is overwhelmingly personal. Entertainment, this is not. Cast Homeland, American Sniper or any other screen effort that claim to dissect the war on terror far from your thoughts. Ware's offering — as co-directed with veteran filmmaker Bill Guttentag — walks in the shoes and offers the mindset of someone who's there, and is then lucky enough to be able to look back at what he lived through. It's worth remembering that his account, though released within a world now brimming with YouTube videos and social media posts from those on the ground, predates this now unavoidable phenomenon. You might have seen the likes of Ware's offering before; however prior to this, you've never been brought not just beyond the front lines, but into the complications of his harrowing journey. https://www.youtube.com/watch?v=BWdi8JJG-7U
Slip into a world of gangsters and glamour at a shindig inspired by one of Sydney's most notorious nightclubs. For two nights in October, The Festivalists will transform Sydney's Justice & Police Museum into a hive of shady activity, complete with go-go dancers, paparazzi and a backroom roulette table. Throw on your best '60s garb and leave your inhibitions at the door – they're not calling it Mayhem for nothing. Taking their cues from Chequers circa 1969, when the club famously hosted a party with Chicago mobster Joseph Testa in attendance, The Festivalists have teamed up with Sydney Living Museums on what promises to be the most scandalous ticket in town. On Thursday, October 8, and Friday, October 9, guests dressed to the nines will breeze past the photographers into a pop-up cabaret and bar, where Memphis Mae will take the stage for a '60s-style burlesque show. Maeve Marsden will emcee regular cabaret performances, while retired showgirl Elizabeth Burton spills her guts about life during Sydney's seedy heyday. Venture a little deeper into the shadows and you'll find plenty more to get up to, including liquid light painting with Zender Bender, immersive theatre by The Jetback Collective, and pole dancing 101 with Cody Cabana. There'll be prizes for best dressed — and if you're really feeling lucky, try your hand at the roulette wheel, or have a go at cracking open the club safe. Image by Brent Lederitz.
