At the tail-end of a year that's seen an unprecedented amount of hotels open across the country, one of Sydney's older establishments has scored a good-as-new refurbishment. Sheraton Grand Sydney Hyde Park, previously known as Sheraton on the Park, has undergone a mammoth $50 million refurbishment. As well as joining the brand's prestigious 'grand' series, the hotel has scored some modern new features after 25 years of operation. Catapulting it to luxury status, the five-star hotel on Elizabeth Street has had all 17 of its event spaces refurbished, as well as the 558 rooms transformed into more refined and deluxe residential experiences — think walk-in-robes, private floor access and complimentary cocktails. This doesn't come cheap, however — rooms start at around $270 a night and suites surpass the $1k mark. The hotel doesn't run shy of lavish experiences. Guests — or just anyone wishing to be spoilt for a few hours — can make a beeline for the Health Club for a massage, body or skincare treatment. And those after some fun in the sun (without having to hike it to Bondi) can escape to the rooftop pool or jacuzzi. The exclusive Sheraton Club Lounge on level 21 — reserved only for guests staying in Grand Executive suites — is another drawcard for cashed-up travellers. It's decked out with stylish furnishings and has uninterrupted views from the outdoor terrace, right across St Mary's Cathedral and out to Sydney Harbour. The hotel has its fair sharing of dining options, too. Choose from a seafood buffet at the hotel's restaurant Feast, high tea at the Gallery, or light eats and a cocktail from the Conservatory Bar, which was refurbed late last year. This latest renovation will help the Sheraton compete with newer hotels, like the Sofitel in Darling Harbour and the futuristic new Skye Suites. It could be a good excuse to lower your carbon footprint and be a tourist in our own city this summer — or at least drop in for a drink and peek inside. The Sheraton Grand Sydney Hyde Park is now open at 161 Elizabeth Street, Sydney.
While kids may get excited about Santa coming down chimneys, Rudolph's red nose and magical gift-making elves, that doesn't mean Christmas has to be devoid of charm for us kidults. Head down to Moore Park this holiday season (kids in tow or not) and you'll find a Christmas-themed family-friendly extravaganza. Taking over the Entertainment Quarter for the first two weekends of December, the Sydney Christmas Fair will provide all the festive fun you could ask for. If you're keen to get a dose of adrenaline, tear your way around the dodgem cars, hop on a carousel and soar through the sky on the Wave Swinger. Or, check out the vast amount of Carnival-style games, then cool off by racing down a giant water slide. There'll also be a gingerbread house party, dress up competitions, creative workshops, photo ops with Santa and an outdoor cinema screening Christmas classics, naturally. There is a global pandemic to be mindful of, so expect extra hygiene facilities and social distancing measures to be in place during your visit. Pre-booking tickets is encouraged and you can do so over here. Sydney Christmas Fair is running from December 4–6 and December 11–13. It is open 5–7pm on Friday, 10am–9pm Saturday and 10am–4pm on Sunday.
Australians have an appetite for international cinema, with major cities across the country regularly hosting events like the Japanese Film Festival, which returns to theatres nationwide this October and November. Whether you're a film fest regular, more of a blockbuster-familiar audience member or are simply looking to expand your cultural worldview, you'll be able to catch the best of Japanese film and filmmakers on a big screen near you. "We're excited to bring a program that speaks to the breadth of Japanese cinema today," said Manisay Oudomvilay, Festival Programmer. "From historical sagas to intimate family portraits, contemporary thrillers to beloved manga brought to life, these films capture both the richness of tradition and the restless innovation of Japanese filmmakers." Leading this year's JFF program is Kokuhō, an Academy Awards-submitted title starring three of Japan's best acting talents — Ryо̄ Yoshizawa, Ryūsei Yokohama and Ken Watanabe — in a five-decade story of friendship and rivalry between two boys making a name for themselves in traditional kabuki theatre. [embed]https://www.youtube.com/watch?v=9c6-ZPGwmKk[/embed] This year's festival also features three titles from acclaimed Japanese filmmaker Kiyoshi Kurosawa. There's the sound-centric horror film Chime, an online resale-inspired thriller titled Cloud and a French-language remake of Kurosawa's Serpent's Path. Also featuring on the lineup are literary and pop culture adaptations. There's 6 Lying University Students, a story of a corporate recruitment test-turned psychological thriller, Petals and Memories, which adapts the prize-winning short stories of Minato Shukawa, and 366 Days, adapting the song of the same name by HY about two students trying to make careers in Tokyo's music and translation scenes. There's also the terrorist negotiation thriller Showtime 7, two unlikely allies teaming up to take down swindlers in Angry Squad: The Civil Servant and the Seven Swindlers, the surreal animated flick The Concierge at Hokkyoku Department Store, a contemporary post-COVID story in Sunset Sunrise, samurai drama Bushido, manga-adapting Cells at Work! and a retrospective series of Japanese films from the 1930s at various venues around the country. [caption id="attachment_1033101" align="aligncenter" width="1920"] The Concierge at Hokkyoku Department Store[/caption] JFF 2025 is taking place in theatres and venues across Sydney from Wednesday, November 12 to Monday, December 1. Get the full program or tickets on the website. Top images: 'Cloud', 'Kokuhō'
Sometimes, you just need to get away from it all. And what better way to do that, than by escaping to your own private luxury villa, floating offshore from Sydney's famed Palm Beach? Lilypad, the northern beaches' lavish floating accommodation is reopening from February to the public, following a series of upgrades and refurbishments. The villa, which first opened in 2019, has been fitted out with a whole new design that pulls from Spanish and Mediterranean coastal villas. The spot has also scored some exciting new additions, including a completely solar-powered, on-board sauna. The new design is a pretty vast change from the previous look of the floating home, according to owner and designer Chuck Anderson. "We've made better use of the space to create a whole new feeling when onboard and I know returning guests, along with new guests will absolutely love it," Anderson says. The floating paradise has been built with respect for its natural environment, running entirely off solar power. And, it's been cleverly engineered to remain stable, while still embracing the natural movements and rhythms of the water below. After all, a bout of seasickness doesn't exactly scream 'luxury'. Inside you'll find all the comforts of a luxe home-stay from a full modern kitchen and king bedroom, to a wine cellar with access to a collection of Las Vino and Veuve Clicquot wines. The living space opens onto a deck on which you can sit and look out over the surrounding ocean while you eat or with a drink in hand. Topping off your time at the Lilypad is added resort-style luxuries like included meals with a private chef on request, champagne on arrival, a private boat for use to and from the villa, paddle boards and access to onboard massages. Bookings are available for one to five nights stay, with accommodation packages starting at $1800. Bookings are now open for Lilypad from February 2022 via the accommodation's website.
With The Lansdowne's live music room set to close down next month to make space for more hostel rooms, any chance to visit the iconic venue should be relished. One of the final gigs scheduled for the hallowed stage is local pop singer-songwriter Thandi Phoenix who will be performing at the Chippendale venue on Saturday, March 26, as part of Great Southern Nights. Phoenix has carved out her name as one of Australia's top dance pop exports through her powerhouse vocals and collaborations with the likes of Rudimental and Sigma. Last year, she blessed us with 'Overdrive', a huge club-ready track produced by Sydney dance legend Paul Mac, accompanied by a video that will have you raring to hit the dance floor. In support are the equally talented Rissa performing her spellbinding blends of pop and neo-soul, and local DJ Nes. https://www.youtube.com/watch?v=2dk20ks5NFY Great Southern Nights is facilitating a heap of gigs across Sydney and regional NSW, ranging from icons like Jimmy Barnes in western Sydney or Archie Roach performing in Wagga Wagga, through to smaller acts like hyped young R&B singer Liyah Knight headlining a night of local music and DJs at Zetland's 107 Projects. You can find the full program at the Great Southern Nights website. Top image: Tim Carrafa
The Lord Gladstone has been sold. But locals and lovers of the Chippendale stalwart can rest assured that it won't be changing — too much. Owner Paddy Coughlan has sold the business to his long-time business partner Benny Johnson and the bar's second-in-command Mitchell Crum. While The Forresters owner George Kazzi has bought the physical building, Johnson and Crum now own the Lord Gladstone name. Which means, according to Johnson, "you now have the two head guys at Lord Gladstone actually running the business". The duo isn't planning to veer too far from the pub's relaxed, good-times-for-all ethos, just expand on it. "I've been there since inception and nothing will dramatically change." says Johnson. "We just plan on activating all the spaces a lot more often." They include the upstairs art gallery Goodspace, which will host more regular events and intimate live music gigs going forward. Expect hip hop and punk garage acts to take to the stage in the upcoming months. First off the bat is an after party for Indigenous Australian rapper Briggs this Thursday, May 30, from 11pm, after his Vivid show at the Sydney Opera House. There are also plans to amp up the venue's party vibes, with Johnson currently in talks with local promoters. A full lineup is slated for June — though, exact party details are being kept under wraps for now. Crum will also bring his experience from the Oxford Art Factory and Redfern Surf Club into the mix, aiming to turn The Gladdy into more of a late-night destination. [caption id="attachment_723825" align="alignnone" width="1920"] Goodspace Gallery[/caption] In the kitchen, Head Chef Joseph Luamanu (The Carter, Pub Life Kitchen) will be turning out a menu inspired by the American South. While it's still being finalised, and won't be rolled out until early June, expect the likes of sriracha and maple-glazed chicken wings, chorizo and prawn jambalaya and a vegan roasted cauliflower in coconut curry. Existing pub classics like the cheeseburger and schnitty won't be going anywhere, either. As far as drinks go, the Gladdy will continue to cater to a wide ranging crowd. "We're a pretty traditional-style pub in that sense," says Johnson. "We're not trying to specifically target natural wine or craft beer drinkers." Johnson has been working closely with the Gladstone's former owner Coughlan for the past four years, with the duo also opening The Lady Hampshire (which Coughlan sold last year) and the Botany View Hotel together. Coughlan will now focus on his remaining pub — which earned an impressive revamp in 2017 — and his alcoholic lemonade business, Frank Strongs. As for the Gladstone, it will (mostly) be business as usual. "We want locals to know that The Gladdy is in good hands and it will continue to kick on with the same vibe," says Johnson. "Just expect a breath of fresh air from the guys who have been here from the start." Find The Lord Gladstone at 115 Regent Street, Chippendale. It's open from 11am–11pm Monday–Tuesday, 11am–midnight Wednesday, 11am–3am Thursday–Saturday and midday–10pm Sunday. Keep an eye on its Facebook page for upcoming events. Images: Chris Loutfy.
The famed works of artists like Monet, Renoir and Pissarro are set to make their way down under, with the Art Gallery of South Australia announcing it'll host a major French Impressionism exhibition curated by Paris' Musée d'Orsay. Featuring over 65 world-celebrated Impressionist works from the French museum's collection, Colours of Impressionism: Masterpieces from the Musée d'Orsay will grace the gallery's Elder Wing from March 29 to July 29, 2018. Exploring the use of colour throughout the Impressionist movement, the exhibition is set to serve up a pretty sensational visual feast. Expect the luminous tones of Monet's La Pie (The Magpie), the rich blues and greens of Cézanne's French countryside imagery and the moody hues of Manet's Spanish-influenced pieces, alongside scores of other innovative nineteenth century masterpieces. With many of the works having never before travelled to the southern hemisphere, Colours of Impressionism is a huge coup for the Aussie art world, with director Nick Mitzevich calling it "the most important exhibition ever to be shown at the Art Gallery of South Australia." As the state's Premier and Arts Minister Jay Weatherill notes, "the works of artists such as Monet and Cézanne, for example, are so well regarded that this exhibition is bound to be very popular among Australians who would welcome the chance to see such an extensive display of Impressionist works in their own backyard." Colours of Impressionism: Masterpieces from the Musée d'Orsay will exhibit at the Art Gallery of South Australia from Thursday, March 29 to Sunday, July 29, 2018. For more information, visit the gallery website. Image: Claude Monet, The Water Lilies Pond, pink harmony, 1900, oil on canvas, 90 x 100 cm, Musée d'Orsay, Paris, France, ©photo Musée d'Orsay / rmn
In the long line of the immersive experiences, perhaps the most original is the classic murder mystery. If you were a big fan of Cluedo as a kid, you know how this one goes — a group of shady characters find themselves grouped together under suspicious circumstances, and that's when the ultimate crime is committed. The Australian National Maritime Museum invites guests to solve the crime at its one-night Murder at the Museum event, held on Friday, April 27. The experience will take you through the many rooms of the museum, giving guests a rare behind-the-scenes look at surveillance, interrogation, evidence and forensic rooms. Your group will be tasked with finding the murderer before it's too late. Since it's not a competition without prizes, there will be plenty of those in store, too — and they sound to be pretty legit winnings from the likes of Sydney By Sail and Alliance Française. Tickets are $65 for adults or $60 for students and groups of ten or more — a great excuse to get a big group of your friends together. The tickets include a drink on arrival, too, and you can nab 'em here.
If you've ever wondered how variety can be the spice of life if simplicity is the ultimate in sophistication, it will do you good to head along to Sagra, one of Darlinghurst's most talked about Italian restaurants tucked inside a cute corner terrace on Stanley and Riley Street. With a juicy reputation in and around the eastern suburbs for unpretentious, humble Italian like Nonna used to make, on a menu that changes daily, you’ll soon understand how tasty this so-called paradox can be. Literally translating to 'festival' (of the small town variety), Sagra is owned and operated by head chef Nigel Ward (Lucio’s, Sean’s Panaroma and Trullo in London), and it’s safe to say the main attraction here, apart from the thoroughly inviting home-like and sparse-yet-still-cosy interior, is his philosophy of seasonally inspired food without the frills. Throw in traditional and cheeky Italian service with a genuine appreciation of the dishes in-hand, as well as knowledge of wines back home from The Boot, and you’ve got yourself plenty of reasons to nab a space at one of the 11 or 12 tables scattered inside. Luckily, you can book. When in Rome we began with a Negroni ($15) as we munched on the complimentary house-made bread and plump Sicilian green olives. Then one of the few long-term dishes made its way to our mouths: garlic soup (if, like on our visit, this isn’t displayed on the menu, definitely ask). Made from pureed Aussie cloves and olive oil, pepper, bread and cheese, this friendly little bowl packs a punch without any aftermath, smacking fellow diners in the face via your breath and their nostrils. The visible menu is divided between antipasti, primi (pasta) and secondi (main courses usually in the form of one meat and one fish). Skipping the antipasti in favour of the aforementioned favourite, we moved onto the pappardelle ($17) mingled with mascarpone, rocket and 'nduja (spreadable, spicy pork sausage) and some seriously good malfatti in sage butter (blob-like pasta balls literally meaning “badly formed”). Both dishes were perfectly proportioned, leaving plenty of room for the pork ($31), gemfish ($29) and rosemary potatoes ($7) that followed. The pig was tender and accompanied well with cabbage and verjuice salsa, while the thick white fish kept its natural flavour alongside cauliflower and heirloom carrots. Wine-wise our waiter helped us out with a powerful bottle of Italian Nebbiolo from the Piedmont region (also not on the menu). As we say here in Oz: too easy. At the end of the night and a little time poor, in search of something sweet we sadly had to substitute the house-made ice cream with a shot of thoroughly satisfying house-made lemoncello. But to be honest, after a couple of hours eating, drinking and generally being as merry as those fabulous Italians themselves, we’re not ashamed to admit “in search of something sweet” actually meant finding any excuse not to leave. Hey, simple variety. We love it.
When it comes to our long-lasting love affair with coffee, we all know this city prefers boutique fabulous over, say, evil green and white corporate giants intent on, if nothing else, killing tastebuds. Piccolo Me, however, a 100 percent Australian venture launched by brothers Roy and Charlie Hachem that aims to bring back some much needed "soul" to the chain industry, is pulling out some pretty quirky stops to help attract a crowd. And so far so good: it looks like those stops are bringing in the go. We decided to head along to Piccolo Me's Bridge Street store in the CBD (you can also find a fix on Castlereagh, as well as Macquarie Uni and Norwest Business Park by the way). The setup here is good, with a decent street-fronted waiting area complete with large counter, warehouse-inspired stalls and Connect Four if you're in between meetings and need to give the old feet and brain a rest. Otherwise you can pop round to the dining area, illuminated by some pretty nifty, diagonal bare bulb lighting, which features a cute plant wall with a multitude of green sprouts homed in self-branded black and yellow cups. As dining goes, there's nothing really that special on the menu – think all the usual carb and filling-based quick and tasty hunger killers. However, in these guys' defence, all said bread-based goods are sourced from The Bread and Butter Project (where 100 percent of profits go towards helping in-need communities), and more importantly, you don't really come here to eat. You come here to drink. On that front, another of Piccolo Me's philosophies focuses on local industry and sustainability, so your caffeine, in the form of organic Fairtrade beans only, is chosen from local roasters (a cup of Joe comes in at $3.50 for a regular and just $2 for a piccolo between the hours of 3pm and 4pm). But then there's the Nerdtella Bomb of Nutella, Nerds and milk; an evolution of Piccolo Me's initial Nutella mocha or hot chocolate that, as well as combining the Hachem brother's love of sweet treats, is so pop culture-tastic it received international attention from Huffpost Taste. Yes, it's very sweet and totally worth it if you need to binge on something ridiculous, but sadly no, it's not that amazing. You can certainly taste the tang of the nerds combined with the smooth, chocolately Nutella, but once the speckled brown nugget melts off its stirring stick, it clumps at the bottom. This is fine if you're sitting in, but on the go is not such a hot look. The gravitational behaviour of melted breakfast spread and lollies aside, however, we have to admit the team at Piccolo Me have done a fantastic job with their marketing. All you need to do is wander around the CBD circa 3pm and it won't take you long to see some busy businesswoman throwing back a black and yellow $2 afternoon saviour. And, if we're to believe all this soul and sustainability stuff too, then what else can we say? Piccolo Me, piccolo you.
Hot on the heels of Babylon opening its doors last week is Westfield Sydney's second sprawling rooftop venue. Duck & Rice is a 500-seat contemporary Cantonese restaurant with 1920s Shanghai vibes. Opening its doors yesterday, Wednesday, June 26, it boasts an expansive outdoor terrace, Asian-inspired cocktails and dim sum aplenty. The 400-square-metre venue spans multiple spaces including a restaurant, 200-seat bar and the aforementioned terrace. Head chef Kago Fong is plating up fresh seafood, dim sum and whole roast duck with plum sauce. Dishes you might find on the main menu include drunken pork knuckle, five spice beef shin with chilli vinaigrette and whole barramundi with pine nuts. For dim sum, there are pork and crab siu mai, saltwater duck and wild mushroom dumplings and scallop wontons with chilli. Get it all in the assorted dim sum basket or try one of the banquet menus ($50–88) for the full experience. [caption id="attachment_728587" align="alignnone" width="1920"] Steven Woodburn[/caption] The bar offers its own reduced menu until midnight daily, too. It includes the likes of buns stuffed with slow-cooked pork, crispy chicken wings slathered in kung pao sauce and XO fried rice topped with duck. The bar is, of course, also stirring and shaking Cantonese-inspired cocktails, courtesy of bar manager Luke Nicola (Mr Wong, Mercado). There's the Guns 'n' Roses (rum and spiced vermouth with strawberry and black rose tea) and the Spice Trade Punch #5 (star anise-infused cognac and Campari mixed with yuzu and pineapple). Plus, an old fashioned that uses black sesame-spiked rum and activated charcoal, and a spicy G&T with sichuan pepper gin. Absinthe and Chinese baijiu flights also make the cut, as do a whopping 28 wines by the glass and another 100 by the bottle — you can thank sommelier Simon Howland (Nomad, Catalina) for that bit. For those attempting Dry July, Chinese teas, house lychee and elderflower sodas and high-end mocktails are also up for grabs. [caption id="attachment_728584" align="alignnone" width="1920"] Steven Woodburn[/caption] The fit-out is the work of Brisbane-based architect firm Hogg & Lamb, and the design fuses traditional Chinese art with the art deco stylings of 1920s Hong Kong and Shanghai. Expect a glowing, glass-fringed bar top, Brazilian teak flooring, blue and gold wallpaper and tabletops made from oak and emerald marble. There's also marble tiling and a dedicated lantern room on the terrace —it features 250 handmade Chinese iron lanterns. Duck & Rice is the third Sydney venue for Mantle Group Hospitality, which also opened Babylon last week, as well as James Squires' restaurant and microbrewery, The Squire's Landing, in Circular Quay last year. Duck & Rice is now open at Level 7, Westfield Pitt Street, Sydney. Opening hours are 11am–midnight daily. Images: Steven Woodburn.
London's iconic Ministry of Sound Club is bringing its beats down under with the launch of a brand new EDM night in the Sydney CBD. Lighting up ivy on George Street each and every Saturday night, Ministry of Sound Club Australia will feature four rooms of music, a state of the art sound system, and a carefully crafted lineup of killer acts. They're calling it a "new era of clubbing in Australia", and at the risk of over-hyping it, they might just be right. MOS' Australian excursion will kick off with a bang, with an opening night set by Peking Duk. They'll be joined in the ivy Courtyard by local favourites Kinder, while US house legend Sandy Rivera, aka Kings of Tomorrow, takes over the Pool Club. "Ministry of Sound in London is a world-renowned venue and has been the destination for lovers of dance music for over 25 years," said Ministry of Sound Australia CEO Tim McGee. "We are now going to bring that same experience and ethos to Sydney...Ministry of Sound Club will be the ultimate destination for true lovers of dance music." For more information about Ministry of Sound Clubs Australia visit www.ministryofsoundclub.com.au. Image: Nathan Doran Photography
In the film festival space, it's one of 2020 big trends: forgoing a physical event this year and hosting online screenings instead. It's also a move that comes with an added benefit, opening up local events to a broader national audience. Sydney Film Festival has already done all of the above, and the Melbourne International Film Festival will do so come August —and, in the middle, it's Revelation Perth International Film Festival's turn. Without investing in a plane ticket and taking a trip across the country, east coast dwellers don't normally get to enjoy the west coast festival's distinctive lineup and vibe; however, thanks to its new Couched Online Film Festival, that's changing this year. Running virtually until Sunday, July 19, Couched is jam-packed with the types of titles that always make Revelation, in its in-person guise, stand out — aka the types of movies that don't often pop up elsewhere. Featuring more than 25 features, documentaries and shorts collections, the online fest's program is streaming on demand, on a pay-per-view basis, so you can pick and choose what you'd like to catch. You can also nab a pass and watch your way through everything. On the bill: Willem Dafoe grappling with existence at a the snowy bar in the out-there (and divisive at Berlinale) Siberia, the VHS-shot 80s-set throwback comedy VHYes, and magical-realist adventure Precarious. If you like films about films, look out for documentaries about Russian director Andrei Tarkovsky, Czech filmmaker Milos Forman and the camp status held by 1985 horror sequel Nightmare on Elm Street 2: Freddy's Revenge. Or you can watch a housewife step into making her own erotic movies in Aussie doco Morgana, explore the wild true tale of Cold Case Hammarskjöld, revel in the sounds of The Rise of the Synths, check out a few new local features and work your way through a four-film 'Black Voices that Matter' retrospective. https://www.youtube.com/watch?v=rCYAjkwZcd0 And, if you like what Couched serves up and you're eager for a WA holiday (and the border situation around the country changes in the next few months), Revelation is actually still planning to run as normal later in the year, from December 2–13. Couched Online Film Festival runs until Sunday, July 19, with films available to view online.
You may affiliate the industrial suburb of Rosebery with oversized storage warehouses and designer outlet stores; however, the area is becoming quite the dining precinct, abuzz with delicious eateries. And now that our favourite bakery/cafe Black Star Pastry has set up shop in the neighbourhood, it makes the detour through these concrete 'burbs even more worth it. Set in the Cannery alongside Kitchen By Mike, the cafe is sticking to the streamlined theme of Rosebery; exposed raw brick matched with high ceilings enhance the spacious warehouse feel. The sleek interior makes for a sophisticated space — a stark contrast to the cosy Newtown parent. But it also seems that eclectic vibe we know and love about Black Star is somewhat amiss here. The staff are slightly detached and not as engaged as those behind the counter in Australia Street. Nonetheless, there are some fluencies that we recognise, from the chalkboard menu to the DIY toast station, the Little Marionette coffee and trendy tattooed staff — even the little black description cards with silver handwriting in front of the treats are the same. Perhaps Christopher Thé and his team are at odds over what to do with all this excess room? We doubt it. The location may have changed, but the heavenly treats remain and we're loyal to the core. More space just means that we diners now have ample elbow room to throw our arms around in ecstasy over the incredible strawberry watermelon cake ($7.50). Our fellow patrons needn't fear anymore that their orange cake with Persian fig ($4.50 piece) or chocolate eclair ($5.20) will meet its fate with the floor. Elbows can stretch out here — jump for delicious joy all you like. Whereas the Newtown store is driven by cakes, here it's more about lunch and bread, courtesy of the woodfired oven. It's getting put to good use by roasting chicken for the pita pockets ($10) and daily salads (from $5); they've even experimented with beetroot bread. The goat's cheese and roast tomato sandwich ($10) is lacking a real punch, however — maybe they're attempting to lay the focus on how great the sourdough is. Take home a loaf for only $8. But who comes to Black Star for a sandwich anyway? Lest we forget what we really love about Black Star: the signature flaky pastries such as the boozy almond knot ($4.80); quiches like the mushroom and feta that have that well-balanced eggy wobble ($6.50); and the pies ($8) that give you a good excuse to never make your own. As always, the lamb shank and red wine pie ($8) is a hot-seller. Best be quick. And butter me up and call me a cake, there's nothing like the sweet favourites: bread and butter pudding ($6.80) with dreamy Anglaise, the wonderfully rich chocolate hazelnut torte ($6.80), the coconut covered lemon myrtle chiffon cake ($4.80 piece) that is so ridiculously light and spongy it feels like you're eating velvet, and a zen garden ($7.50) — a pistachio, lemon and white chocolate layered cake is a Zen garden, in your gob. To wash down all the glorious sweet and savoury delights, the house-brewed iced tea ($4) or cold drip coffees ($4) are ideal accompaniments. Need we say more? Despite the the Rosebery branch being somewhat stark in comparison to the familiar Black Star that we have fallen head over heels with, don't let that deter you. The famed patisserie is still knocking us over with its exquisiteness. So warm your arms up in anticipation for that elbow-extending frenzied delight.
UPDATE, October 7, 2021: Due to lockdowns in Sydney and Melbourne in 2021, Pinot Palooza has postponed its 2021 event until 2022. This article has been updated to reflect that change. Master sommelier Madeline Triffon describes pinot noir as 'sex in a glass'. Winemaker Randy Ullom calls it 'the ultimate nirvana'. Broadway wannabe Titus Andromedon loved it so much he compares it to 'caviar, Myanmar, mid-size car' (see below). No wonder the good folk at Revel — who've also brought Malbec Day and Mould our way — are coming back to town with Pinot Palooza, an epic travelling wine festival celebrating all things peeeno noir. For just two days, Sydney wine connoisseurs will have the chance to sample more than 100 drops, direct from Australia and New Zealand's best producers. Whether you're a newbie who wants to start with something light and inviting, or a pinot pro ready for the biggest, most complex mouthful on the menu, there'll be an abundance of selections at either end — and plenty along the spectrum, too. If, at any point, you need to take a pause in your tasting adventures, you'll be catered for. Pinot Palooza will hit Carriageworks on Friday, June 17 (from 4.30–8.30pm) and Saturday, June 18 (from 11am–3pm and 4–8pm). Tickets are $65, and include all tastings and a take-home wine glass. https://youtu.be/A6yttOfIvOw
Gang, pronounced 'gung', is a creative network of artists from Sydney and Java. Taking their name from a variety of references — mostly the vernacular of both countries, such as the word for 'laneway' in Indonesian and closer to home 'gung-ho' (as in, gung-ho about Java!) — Gang are a fluid, free-loving group of artists doing their thing. They get together, they manage festivals, they talk and they rig. What was that? Yes, they rig. The newest incarnation of Gang includes their commercial enterprise: rigging for the arts industry. It is an interesting aside — an arts collaborative attempting to seek financial sustainability through the provision of services — perhaps not so gung-ho hippy after all. Unfortunately, this element of their team sits rather uncomfortably as it inhabits such a large presence throughout the exhibition at Gaffa. With a screen dedicated to stills of their rigging work, as well as business cards strewn throughout the galleries, we end up feeling like the whole exercise is just that — a marketing exercise. I don't wish to be totally dismissive of this decision as I was thoroughly impressed to find artists stretching the limits of that age-old struggle of how-to-make-a-living, but I don't necessarily want to have it stare me down amongst the glare of the white walls of a gallery. And yes, I am well aware of the stupidity of the above tirade because what is an exhibition but a marketing exercise for the artist? And secondly, of course the artist and art in general is totally dependent on the capitalist market. Oh, money. Us artists generally don’t like to talk about it, just count it in our bedrooms at night. In the dark. Anyway, if you haven't been down to the towering four-storey 19th century police station that is the product of the hard work of the ambitious crew at Gaffa, then make time during your lunch break today. With a wonderful street-side cafe, a fresh location for the in-house jewellery store and The Arcade Project shops opening to new vendors, it is just the right time to catch a glimpse of the vision that can be achieved when artists sit down to dream.
One of the most prominent events of its kind outside of China, the Golden Koala Film Festival is back for another year. With engagements in Melbourne, Sydney and Brisbane, this annual festival will once again showcase a selection of critically acclaimed Chinese movies — including multiple Australian premieres. A black comedy about a reformed gangster who decides to open a kindergarten, Uncle Victory won the Grand Jury Prize at last year's Shanghai Film Festival. Other standouts include Tsang Tsui Shan's multigenerational documentary Flowing Stories and the critically acclaimed drama Blue Sky Bones (shot by award-winning Australian cinematographer Christopher Doyle). All films in the program will compete for the prestigious Golden Koala Award, which is bestowed by a jury of Australian filmmakers. Best of all, because the festival is designed to promote Chinese cinema, all the screenings are absolutely free.
MOP is a good gallery - one of the best artist-run space's in Sydney in my opinion. Evidence of this can be seen in the artists that exhibit here, but it might also be due to the fact that the standardized curatorial hand does not press too heavily on the exhibitions themselves (after all, curators don't make art, artists do). To this end, established and emerging artists often exhibit together without it being a 'strategy' or 'generational connector', mediums do not have to match and each artist is often working from a different history or set of concerns. A good example of this diversity can be spotted in the upcoming lineup: Jai McKenzie, Gary Carsley and Kate Williams. McKenzie re-visits underachieving 20th Century utopian propositions in a new installation Used Future, Carsley expands on his very own brand of cosplay-inspired iconography in Display Sweet, and Williams presents her fractured sculptures that directly address our perception of space and self in Twisted Logic. It's certainly a varied group, but if there are links to locate here you'll be able to think through them yourself. This is art served straight up. Image: Jai McKenzie
There's always something going on in Sydney's nightlife labyrinth, YCK Laneways. This September, the buzzing venues around York, Clarence and Kent streets are painting the town negroni red. To mark Negroni Week's 13th global celebration, the CBD precinct is teaming up with Italian aperitif, Campari, to bring Sydneysiders a month-long negroni festival. Across the month, participating venues throughout YCK Laneways will be slinging three creative spins on the world's best-selling classic cocktail, including a signature negroni, a non-alc take, and the bartender's choice. Wondering which bar to head to first? At PS40, they're known for unexpected cocktail concoctions that include their own house-made sodas. Around the corner at Since I Left You, hang out under the fairy lights in the bar's atmospheric courtyard, while soaking up live music on the Garden Stage. Or at Jolene's, you can enjoy a Nashville-style take on a bar, with live country and western gigs throughout the week. While you're exploring the bars and sipping your way through each cocktail variation, you'll also stumble across live jazz music, roving performers, a a chance to win prizes with every negroni purchase. Plus, the laneways will be lit up with Lightstream, a new public lighting artwork that transforms the area into an immersive playgrounds. It all leads up to the official Negroni Week — running Monday, September 22 to Sunday, September 28 — which raises proceeds for Campari's charity partner, the Slow Food Negroni Week Fund. This fund supports a range of scholarships, awards and grants, so you'll know every sip goes towards something greater. We've all seen the Italian aperitif on cocktail menus. But did you know the negroni — made with equal parts gin, sweet vermouth and Campari, stirred over ice and served with an orange slice — dates back to 1919? The cocktail was named after Count Camillo Negroni, who asked a bartender to strengthen his Americano by swapping soda water for gin. Over a century later, the negroni remains a global favourite, loved for its bitter, sweet and botanical flavours. So, if you're going to raise a glass this spring, make sure it's red — because there's no Negroni without Campari. YCK Laneways' Negroni Month runs throughout September 2025 at Burrow Bar, Cash Only Diner, Esteban, Kahii Kissaten, Button Bar, Kuro, Next Door, Papa Gedes, Roast Republic, Since I Left You, Stitch Bar, The Barber Shop, The Duke of Clarence, Vinabar, Jolene's, Little National Hotel, PS40, Uncle Ming's. Head to the website for venue maps and drink menus. Please remember to drinkwise.
In the Bram Stoker vampire novel that's inspired almost all other vampire novels, Dracula is undead. In popular culture since and forever, the fictional Transylvanian bloodsucker will never die. Regardless of his fate on the page back in 1897, the most-portrayed character in horror movies ever keeps baring his fangs on-screen, rising again and again like the sun that this creature of the night can never bask in. 2023 brings two new Dracula films, which isn't overly notable, but this crop of Stoker-influenced flicks doesn't simply retell the usual 126-year-old tale. Leaning into comedy and action, Renfield sunk its teeth in by giving the vampire's long-suffering familiar some love. Now the dread-dripping Dracula: Voyage of the Demeter hones in on one chapter of the book that started it all, detailing the captain's log from the neck-munching fiend's journey to London via ship. In print, this stint of seafaring isn't Dracula's main focus. In adaptations upon adaptations over the past century, sometimes it isn't even included — or, if it does pop up, it's often a montage or a passing mention. The watery trip glistens with horror-movie potential, however, boasting a specific setting, a captive group, and an ominous force stalking and slaying. Slasher films, haunted-house fare, Jaws, Alien: they've all fed on such scenarios. Dracula: Voyage of the Demeter has spent decades in various stages of development, cycling through a feast of various talents, but bringing this Dracula chapter to the screen was always a sound idea. While the end result doesn't star Noomi Rappace (You Won't Be Alone), Ben Kingsley (Daliland), Jude Law (Peter Pan & Wendy) or Viggo Mortensen (Thirteen Lives) as previously floated, and isn't directed by Robert Schwentke (The Captain, Allegiant), Marcus Nispel (Conan the Barbarian, Friday the 13th) or Neil Marshall (The Lair, Hellboy), a solid concept with eerie, moody and gory potential remains at its core. Leading instead: Corey Hawkins (In the Heights) as physician Clemens, Aisling Franciosi (The Nightingale) as stowaway Anna and Liam Cunningham (Game of Thrones) as Captain Eliot. The former hops onto the latter's ship in Eastern Europe, where a promised job falls through due to his race, forcing a pivot onto the Demeter's crew to return to England. Clemens isn't the only new boarding, with the vessel also welcoming 50 unmarked crates from the Carpathian Mountains. Given that the film is named Dracula: Voyage of the Demeter Down Under — elsewhere, it's known as just The Last Voyage of the Demeter — there's no surprises about what's among the cargo. So, as initially told in Dracula's seventh chapter, in the epistolary format of letters, journals and clippings that Stoker's tome deployed across the entire novel, the key contents of those mysterious wooden chests soon begins offing fellow seafarers. As it relishes gothic-horror chills and, later, gruesome blood spills, there's a full-circle air to the latest film by Trollhunter, The Autopsy of Jane Doe and Scary Stories to Tell in the Dark director André Øvredal. Of course Dracula: Voyage of the Demeter feels like Alien but Dracula, or Halloween with the nape-chomping Count — all visions of slaughter at sea owe his acclaimed text's 'The Dailygraph' segment a debt, and all slasher flicks owe Stoker's book as a whole. Bragi F Schut (Escape Room) and Zak Olkewicz's (Bullet Train) screenplay isn't quaking about those similarities. It isn't afraid of unfurling a narrative with zero tension about its outcome, either, because Dracula's time in London is already that well-covered. Indeed, after commencing with the end that's so deeply established, the bulk of the movie arrives as flashbacks, as lifted from Eliot's log, of the infernal odyssey that eventuates whenever "a man, tall and thin, and ghastly pale" — aka a Nosferatu-esque Dracula (Javier Botet, His House) — awakes from coffin. Dracula: Voyage of the Demeter's script is an invitation to its filmmaker, then: take this setup, with its familiar situation, famous monster and foregone conclusion, and make it an old-school frightfest through atmosphere, execution and investment in characters. Øvredal largely obliges. Exactly what the audience knows will happen does — regardless of how intimate you are with the source material, or past Drac outings, or not — but this isn't a mere water-treading viewing experience in the Norwegian director's hands. How creepily and compellingly this story is splashed across the screen is as crucial as the plot details. So is the film's willingness to let its antagonist terrify, plus its eagerness to flesh out its pivotal humans. Enlisting Botet, who was also a menacing presence in Mama, Crimson Peak, IT, Insidious: The Last Key and Slender Man, helps. In avoiding relegating Clemens, Anna, Eliot, his grandson Toby (Woody Norman, C'mon C'mon) and first mate Wojchek (David Dastmalchian, Oppenheimer) to just prey and pawns, the rest of the cast also assists. The ins and outs of Schut and Olkewicz's script see the science-minded Clemens set sail, clash with the Demeter's crew over their faith in myth and superstition — they're also not fussed about his attire or smooth hands — then try to hunt down the creature that's leaving a red-streaked body count. The film's narrative also chronicles Anna's shock appearance mid-voyage, as well as a cat-and-mouse game as the living endeavour to stop the undead. Øvredal's committed direction, plus discerning cinematography (by Mortal's Roman Osin and The Ice Road's Tom Stern), production design (Edward Thomas, Escape Room: Tournament of Champions) and composing (Bear McCreary, Foundation), showers that doomed journey with unease. As the helmer's filmography already attests, he knows the horror genre's basics inside out. And, he's equally aware that textured performances leave a mark, whether Hawkins is conveying why believing in the rational is so important to Clemens, or Franciosi is expressing pain and perseverance, or Cunningham embodying down-with-the-ship dutifulness. As it charts its carnage-filled cruise, Dracula: Voyage of the Demeter isn't an origin story but an in-between story. "In-between" sums up the picture overall, too. It lingers in the middle of Hammer flicks and Francis Ford Coppola's Bram Stoker's Dracula. It is gleefully keen on bloodshed, but also frequently refined in look and feel. Øvredal's feature is enthusiastic about staking its own claim; however, as too much does lately, it goes to great efforts to spark a follow-up — and attempt to resurrect Universal's monster movies after 2014's Dracula Untold and 2017's The Mummy failed. (Consider Renfield and Dracula: Voyage of the Demeter's swift-in-succession releases the studio giving itself two new tastes.) This trip with ol' Drac never sinks, yet it also doesn't truly soar. For the bloodsucker himself over this particular journey, that's a welcome outcome. For viewers witnessing a literary masterpiece given a different big-screen spin after its packed history, it's enough to bite into.
Birds chirp, rainbows form and the sun shines a little brighter when the Sydney Dog Lovers Show comes around. And in 2021, it's returning for another year of pats, licks and parades on the weekend of Saturday, August 7–Sunday, August 8. Once again, it'll take place at the Sydney Showgrounds — and yes, the dedicated puppy cuddle zone is returning. The Sydney Dog Lovers Show will see thousands of dedicated pooch fans celebrating the noble four-legged monarch of human companionship. There'll be dozens of furry friends available for adoption from dozens rescue groups across NSW in the adoption zone, where you can learn up on what's actually involved with the process. Plus, DockDogs will be back, featuring a competitive long jump and high jump for talented dogs who want to flop into a pool of water. Dogs, amiright? But hold up — you came here to cuddle pooches. We're getting there. Punters can make their way to the Pat-a-Pooch zone to cuddle up to a wide range of Australia's most loveable and popular breeds from puppy to adult dogs — we're talking uppity dachshunds to fluffball samoyeds. This has undeniably been the main attraction of previous year's events, and gives kitten cafes a run for their money. There's plenty more happening over the two days of furry friended fun. Not sure which type of pooch is perfect for you? Sign up for a Pawfect Match session where you'll be paired with your ultimate dog breed. Already found your tail-waggin' soulmate? Get some expert tips on training, behaviour, first-aid and nutrition in seminars by some of Australia's big name vets.
Almost a quarter-century has passed since Keanu Reeves uttered four iconic words: "I know kung fu". The Matrix's famous phrase was also the entire movie-going world's gain, because watching Reeves unleash martial-arts mayhem is one of cinema's purest pleasures. Notching up their fourth instalment with the obviously titled John Wick: Chapter 4, the John Wick flicks understand this. They couldn't do so better, harder, or in a bloodier fashion, in fact. Directed by Keanu's former stunt double Chad Stahelski, who helped him look like he did indeed know wushu back in the 90s, this assassin saga is built around the thrill of its star doing his violent but stylish best. Of course, The Matrix's Neo didn't just know kung fu, but gun fu — and Jonathan, as The Continental proprietor Winston (Ian McShane, Deadwood: The Movie) still likes to call him, helps turn bullet ballet into one helluva delight again and again (and again and again). The John Wick movies — the first blasting into cinemas in 2014, John Wick: Chapter 2 hitting the target in 2017, John Wick: Chapter 3 — Parabellum shooting straight in 2019, and now this striking four years later — seem like they should be oh-so simple. Slip Keanu into a black suit, let his 90s grunge-style hair frame his face, get him next to an array of dazzling backdrops, let him raise hell against whoever is thrown his way: that's the basic formula. And, wanting nothing more than a quiet life with the dog left to him by his deceased wife, then the pets that've replaced that pooch since, the eponymous Wick doesn't like to overcomplicate anything. Witnessing a John Wick film, though, means seeing how much stunning action choreography, energetic cinematography, lightning-fast editing and stellar production design goes into making these pictures flow so smoothly. Reeves is so in his element that he'll always be remembered as John Wick (and Neo, Bill & Ted's Theodore 'Ted' Logan and Point Break's Johnny Utah), but the John Wick movies are spectacular technical achievements. All that gun-fu mastery spins through a story — one that is similarly straightforward, but also meticulously constructed to look and play that way. Initially, the happily retired but recently widowed John got dragged back into the hitman life over that aforementioned puppy and a full-hearted quest for revenge. Since then, that move keeps sparking consequences in an action franchise that mixes the western genre's gunslingers and crusades for vengeance, plus their strong, silent types and scenic use of backgrounds, with a musical's rhythm, steps and set pieces. So, Jonathan tried to stay out of the game. Then, he endeavoured to escape the death-for-hire business after its powers-that-be, aka the High Table, started meting out punishment for breaking their rules. Summing up the situation brings another epic crime saga's words to mind: "just when I thought I was out, they pull me back in!". Picking up where its immediate predecessor left off, John Wick: Chapter 4 saddles its namesake with the Marquis (Bill Skarsgård, Barbarian), the High Table's emissary, as his new adversary. After Wick puts the assassin realm's head honchos on notice during an early trip to the Middle East, the series' latest nefarious figure wants rid of him forever, wasting no time laying waste to the few things left that John loves. The Marquis has company, too — seeking a big payday in the case of the mercenary known as Tracker (Shamier Anderson, Son of the South), who has his own devoted dog; and due to a familiar deal with Caine (Donnie Yen, Mulan), a martial-arts whiz who is blind, and an old friend of John. That said, Wick has pals in this clash between the hitman establishment and its workers, which doubles as an eat-the-rich skirmish, including Winston, the Bowery King (Laurence Fishburne, All the Old Knives), and the Osaka Continental's Shimazu (Hiroyuki Sanada, Bullet Train) and Akira (Rina Sawayama, Turn Up Charlie). Retaliating against the High Table, and just trying to stay alive, involves jumps to Japan, Berlin and Paris — starting from New York, naturally — and shooting, stabbing, slicing and battling through hotels, nightclubs, apartment blocks and more. In the latter category sits two of the saga's most ambitious locations yet, where two of its most glorious fight scenes take place: the traffic circle around the Arc de Triomphe and the 222 steps up to Montmartre's Sacré-Coeur Basilica. Indeed, with Stahelski a four-film John Wick veteran, cinematographer Dan Laustsen (Nightmare Alley) up to three, and editor Nathan Orloff (Ghostbusters: Afterlife) dropping in seamlessly as a newcomer, all 169 minutes of John Wick: Chapter 4 is an action marvel. More John Wick has long been a good thing, whether more movies or more in those movies; the last hour here, as Wick and the Marquis' conflict sprawls across Paris, is the franchise's pièce de résistance. With frenetic frays such a focus, and so expertly and inventively executed — doorbell sensors and bulletproof vests have significant parts, gun fu becomes car fu, and filming flats from above is mesmerising — it'd be easy for anyone new to the ways of John Wick to assume that the plot is secondary. Or, that screenwriters Shay Hatten (returning from Chapter 3) and Michael Finch (American Assassin) have built John Wick: Chapter 4's narrative around the onslaught of carnage, not vice versa. These are lovingly crafted films, however — and layered and thoughtful, as seen when Winston name-drops Ned Kelly and his supposed last words "such is life". The John Wick series is deeply steeped in its own mythology, which swirls around John aka the Baba Yaga, the High Table's workings and love of retro tech, the various Continentals, and all the regulations that underscore the to-ing and fro-ing that leads to such a massive body count, so referencing an IRL figure also steeped in myth is a smart and knowing move. Casting has always worked comparably, drawing upon McShane's Deadwood standing, Lance Reddick's The Wire pedigree, Franco Nero's history as the OG Django in Chapter 2 and Skarsgård's time as Pennywise, for instance. No one is as immaculately cast in the John Wick universe as Keanu, who continues to invest everything into his stoic-faced character by playing it just right — never adding anything superfluous, never undercooking his performance, and always dancing through the franchise with the weight and agility it needs. Still, Yen is his absolute equal, to zero astonishment given that he's Donnie Yen. Physical feats so fleet that they stand out even in this highly physical flick, charm and wit in spades, pitch-perfect doses of comedy: they're all on show. Yen also delivers a gleaming Point Break nod, and owns John Wick: Chapter 4's debt to Japan's swordplay-heavy Zatoichi pictures (a homage he knows well thanks to Rogue One: A Star Wars Story, but he's not repeating himself). No matter how a John Wick movie finishes, it ends with viewers wanting more — and this is no exception, including more of Yen as Caine alongside Keanu.
One of Sydney's favorite cafes, Edition Roasters has added an exciting new element to its Haymarket offering. The sleek minimalist coffee shop has been serving up top-notch brews in Haymarket since it opened its second cafe in 2018 (before closing its OG Darlinghurst venue shortly after). Now, with more cafes in World Square and Wynyard, the Edition team has also introduced a new dining experience focused on sake and classic Japanese favourites. From 5.30pm four days a week at its flagship Darling Square cafe, the cafe puts away the beans and the oat milk — transforming into Edition Izakaya. This new nighttime venue is now open Wednesday–Saturday and joins a host of renowned dining options like XOPP, IIKO Mazesoba, Nakano and Tsuki Yo at Darling Square. On the menu, you'll find a range of Japanese favorites: garlic edamame, teriyaki fried chicken, kingfish sashimi, king prawn udon with black garlic butter and soy butter clams with crispy potatoes. There's also a specific charcoal grill menu frying up saikyo salmon ochazuke and an array of yakitori. Order your choice of chicken thigh, mb5+ Angus beef, king brown mushrooms and marinated quail eggs, all given the charcoal grill experience. Sake lovers rejoice, there's an extensive list on offer including spiced pear and orange hot sake — joined on the drinks menu by a reserved selection of Japanese whiskey and Asahi. Plus, the Edition team has also transitioned their cake and pastry experience to Edition Izakaya, creating a dessert menu that's sure to tempt you into making room for just one more thing. The basque cheesecake is infused with yuzu and the tiramisu is a miso, coffee crystal and chocolate delight — how could you say no? Edition Izakaya is open 5.30pm–11pm Wednesday–Saturday at 60, Darling Drive, Haymarket.
A butler who’d make the Fawlty Towers crew look competent, a bride who bolts and couch potatoes who can’t stop thinking about pizza are just some of the characters that have been inspired by this year’s Tropfest signature item: 'Mirror'. To be screened on Sunday, December 7, in Centennial Park, the 16 short films that have made the finals are promising the funniest, craziest and most bizarre program we’ve seen yet. And that’s saying something; Tropfest isn’t exactly known for being run-of-the-mill. The films will kick off at 7.30pm, as the sun’s disappearing, but you’d do well to head in earlier, not only to stake your claim over a patch of grass but also to check out the introductory live music, which starts at 5pm. Scheduled acts include foot-stomping, folk duo Pierce Brothers; psychedelic sampler Ego, who mixes music with video art; soul-influenced, teenaged singer-songwriter Thelma Plum; and creative electronica whiz Elizabeth Rose. Alternatively, make an entire, festivalised day of it by arriving when the gates open at 11am. Daylight hours are more focused on family fun, with the screening of the world’s biggest short film festival for kids and by kids, Trop Jr, as well as mini golf, kite flying, a flower wall set up by Moonlight Cinema, an interactive art installation from SBS 2, Cirque du Soleil’s Totem Turtle and more.
Since 2010, Sydney has been home to the Korean Film Festival in Australia. While 2025's main fest hits the Harbour City in August, you can also join in at Parramatta's Riverside Theatres across Friday, September 26–Saturday, September 27. One pivotal difference between the regular festival and the regional KOFFIA Touring Program: head to the latter and everything that you see from its four-title lineup is free. Catch About Family, a dramedy about a chef discovering that he might have grandchildren — and The Noisy Mansion focusing on a tenant and her neighbours trying to discover why their building is plagued by strange sounds. Parramatta audiences can also watch Forbidden Fairytale, about a children's book author who starts ghostwriting online erotica. Plus, Hear Me: Our Summer is one of the highlights, with the romantic drama co-starring former Iz*One member Kim Minju, remaking Taiwan's Hear Me and seeing a love story blossom via Korean Sign Language.
For everyone who has ever had a cringeworthy boss, annoying co-worker or soul-crushing office job, one sitcom franchise has understood for more than two decades now. It was back in 2001 that the original UK version of The Office arrived, introducing the world to the literally paper-pushing David Brent. And, in 2005, an American series featuring the also-awkward Michael Scott hit the small screen as well. More international takes on the show have followed, including an in-the-works Australian series that'll mark the 13th iteration beyond Britain to-date. Next, so might a big return, with the US version reportedly set to score a reboot. Might, could, apparently, rumoured, possibly, hopefully: they all fit this news, which Puck dropped in the wake of Hollywood's current writers' strike looking like it is nearing its end. "Greg Daniels is set to do a reboot of The Office," the publication noted in its wrap-up of where things stand now that the Writers Guild of America has reached a provisional deal with the Alliance of Motion Picture and Television Producers. That sentence, naming the US version of The Office's creator (who has also been behind Space Force and Upload), is all there is to go on for now; however, it hails from an outlet that's all about insider conversation in Hollywood, Silicon Valley, Wall Street and Washington. As for how a restocked take on the Dunder Mifflin-set The Office might work, who'd star, if any of the OG cast will return, if it'll still feature Scranton in Pennsylvania, how many desk supplies might get put in jelly and all the other burning questions that everyone has right now, there's no answers as yet. On its first go-around, the American The Office proved one of the rare instances where a TV remake is better than the original. It was also immensely easy to just keep rewatching, as fans have known since the 2005–13 show finished its run. Of course, that's what you get when you round up Steve Carell (Asteroid City), John Krasinski (Tom Clancy's Jack Ryan), Jenna Fischer (Splitting Up Together), Rainn Wilson (Weird: The Al Yankovic Story), Mindy Kaling (Velma), Ed Helms (Rutherford Falls), Ellie Kemper (Happiness for Beginners), Craig Robinson (Killing It) and more in the same show, and let all of them break out their comedic best. As for The Office Australia — which comes after everywhere from Canada, France and Germany to Israel, India and Poland have similarly given the idea a go — it's on its way in 2024 thanks to Prime Video. In the Aussie series, it will be Hannah Howard's turn to become the manager that no one wants but everyone has worked for. Played by actor and comedian Felicity Ward (Wakefield), she'll oversee a packaging company called Flinley Craddick. And, when she receives news that head office is shutting down her branch — with everyone working from home instead — she's determined to keep her team together. Obviously that won't go smoothly, or there'd be no sitcom antics to be had in The Office Australia. Joining Ward is a hefty cast spanning Edith Poor (The Lord of the Rings: The Rings of Power), Steen Raskopoulos (The Duchess), Shari Sebbens (Preppers), Josh Thomson (Young Rock), Jonny Brugh (What We Do in the Shadows), Pallavi Sharda (The Twelve), Susan Ling Young (Barons), Raj Labade (Back of the Net), Lucy Schmit and Firass Dirani (House Husbands). There's no sneak peek yet at whatever the US reboot of The Office pans out to be, and no trailer yet for The Office Australia, either. But, in the interim, you can check out a couple clips from the US version below: The rumoured reboot of the US version of The Office doesn't have a release date yet — we'll update you with more information when it is announced. The Office Australia will stream via Prime Video sometime in 2024 — we'll update you with an exact launch date when one is announced.
Lennox Head is an ideal location for hang gliding, watching surfers and spotting the odd dolphin. If it is whales you're after though, head to the top of Lennox Point at Pat Morton Lookout. The expansive views over the Pacific and Seven Mile Beach are where you'll spot the migration — and it's also the best point from which to see surfers catch the famous right-hand break down on the beach. Pack a picnic for this grassy knoll as you'll want to stay a while. Image: Flickr
Kevin Macdonald (The Last King of Scotland) directs How I Live Now, a film adapted from Meg Rosoff's 2004 novel of the same name by a team of writers including talented British playwright Penelope Skinner. Startlingly mature Irish actress Saoirse Ronan (Atonement, The Way Back) stars as Daisy, a strong-willed New York teenager sent to stay with English relatives one summer. Just as she's settling in and falling in love with her cousin Edmond (George MacKay), a nuclear bomb is detonated in London by an anarchist group and all hell breaks loose. The boys are conscripted into the army; the girls are taken to an evacuation camp, which is soon attacked by "the enemy". Forced to flee, Daisy faces an arduous journey to survive, get home and be reunited with Edmond. Featuring a largely young cast of up-and-comers, How I Live Now sounds a little bit like John Marsden's Tomorrow, When the War Began series, albeit set in England and with a much bigger budget. If you like your films on the adventurous side with a splash of romance and an impressively resilient heroine, then this could be right up your alley. How I Live Now is in cinemas on November 28, and thanks to Madman Films, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
Any show of Henson’s works is always going to be worth a visit. He’s one of our most successful artists, and with good reason – dude takes a seriously good picture. Bill Henson: cloud landscapes is snack-sized but provides a pleasing survey of his body of work. What will strike you first is the current of sameness running throughout the show. Yes, the later works are perhaps slightly more refined and a little more painterly (fancy art speak for "it really looks like it was painted"), but the similarities among them all are startling. The same smoky palette of enveloping blacks, blues and faded neutrals; and the same meditative, melancholic tone emanates from each work. Such consistency is impressive. He recently made the shift to digital printing processes, but the change is indiscernible. Henson’s work can be filed pretty neatly into two categories: landscapes and figures. Both are characterised by a sense of deep reverie, and all his works are beautifully executed, but his ability to capture the human form is what he does best. There is a vim and vigour present in his bodies that seems to be somewhat absent in the landscapes. Unsurprisingly, the curators have neglected to include any of the works responsible for garnering the controversy of a few years back (Henson found himself in hot water over images he had taken of nude children but was eventually cleared of any wrongdoing). There is one picture featuring a young-ish boy, but he does look old enough to legally drink and made his own bad decisions. His work is synonymous with a masterful treatment of darkness and light. In a 2004 interview with art critic Sebastian Smee, Henson explained: ‘In some respects not even being able to see the whole structure is partly what the work is about — the way in which things go missing in the shadows. Shadows can animate the speculative capacity in the viewer in a way that highlights can’t. It’s often, to my way of thinking, what you don’t see in the photograph that has the greatest potential to transmit information’. Bill Henson: cloud landscapes is yet another reminder that Bill Henson is an artist working at the top of his game.
On Saturday, October 26, prepare to experience Australia's largest LGBTQIA+ Halloween party. A haunting takeover of Liberty Hall will go from dusk till dawn (6pm–2am), so get ready for a night full of eerie excitement, spine-tingling surprises, and ghostly good vibes. Brought to you by Sydney based LGBTQIA+ events company, GAYM Entertainment, this spook fest will star local artists and international headliners in the DJ booth, including Dani Brasil, John Course, Mario Beckman, Nat Valverde, Sam Gee and Tommy Trash. Two custom-built stages, both indoors and outdoors, will deliver a high-energy mix of house, tech, tribal, and circuit beats. Expect scream-worthy performances and blood-curdling roaming characters to keep the thrills and chills alive throughout the night. To keep you fuelled up for the festivities, food trucks will be dishing up tasty bites all night long and the signature scare tunnel is making its return, offering spine-chilling frights just like in previous Horrorween events. Final tickets are on sale now, so don't delay in securing your spot at this strictly 18+ party.
Going out is great: whether it's a rowdy birthday dinner with mates, a dance party that went until sunrise or a hot date where a few too many drinks were had, we love a big night out as much as the next person. Not so great? That next morning, where pounding headaches and parched throats put a vicious end to all the good vibes of the night before. Thankfully, after a few too many Sundays spent hiding under our doonas in sweatpants, we discovered an infinitely more pleasant way to recover from a big night out. Yep, there's nothing quite like a big brekkie or lazy lunch that's all about comfort food and guilty pleasures. In collaboration with American Express, we've found the best places in Sydney to take your hungover self after a massive night on the town. Each of these spots has a menu featuring tried-and-tested hangover cures (think juicy burgers, massive bowls of pasta or dim sum), and an excellent coffee to perk you right back up, plus they're just casual enough for you to show up looking a little less put-together than usual. And they also all accept Amex (so you can stock up on points). You'll be feeling human again in no time. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
Look, lockdown wasn't the best of times. But that's not to say there weren't some perks — no commute, perfecting that sourdough starter and the knock-off wines had in the garden were pretty good, too. Not to mention the comfortable and inventive fashion choices we made when working from home (WFH). While many may be ready to ditch the Uggs and trackies, there are still a great many of us who have embraced the WFH aesthetic — and totally nailed it. So, even though we're back in the office (at least sometimes), we don't want to forgo all those stellar outfits. Together with American Express, we've come up with a list of wardrobe essentials that can take you from your morning coffee, into the office and right through to the end of the day where all you want to do is flop on the couch. Take a peek at these eight comfy-but-oh-so-chic threads and level up your work wardrobe. You'll just have to leave those fuzzy slippers at home.
If you've been making an effort to be kinder to the planet, chances are your daily coffee habits have had a bit of a shakeup of late. Maybe you've said farewell to your last takeaway coffee cup, switched to drinking only fair-trade beans, ditched environmentally harmful coffee pods, or all of the above. Well, now local company Pod & Parcel could just see you change up your coffee game once again. The start-up is the brainchild of three Melbourne business consultants, Ben Goodman, Elliott Haralambous and Jai Felinksi, who wanted to combine the ease of a coffee pod with the quality of specialty coffee — without leaving a nasty impact on the planet. The trio developed a special plant-based pod that is fully biodegradable and compostable, taking just six months to break down, as opposed to the 500 years of its competitors. With an estimated two-to-three million coffee pods consumed daily in Australia alone, that's a whole lot of reasons to switch. Another is the coffee itself. Far from skimping on quality, the trio has collaborated with local coffee roasters to develop its product, so you can enjoy that cafe-level cuppa from the comfort of your home. Choose from a single-origin Guatemalan — with notes of creamy vanilla and blood orange — or a toffee-noted blend of Colombian and Tanzanian beans, among many others. Because it's specialty-grade arabica coffee, it has a back-story, too. Consumers can find out where it came from, how it travelled and exactly when it was roasted. Consider this a budget-friendly alternative to those exxy brews from your local specialty coffee shop, that also challenges big name pod manufacturers like Nespresso. Pod & Parcel's creations come in a swag of different flavours and intensities, available online from around 86 cents per pod. If you fancy saving even more, you can sign up to its Coffee Club, which delivers pods straight to your door.
You don't need an excuse to visit Bali — the endless sun, world-class beaches and enchanting cuisine are easily enough reasons to head straight to the airport. Yet add one more to the list as Lyvin Melasti, a new boutique collection of villas and suites, has opened its doors. Sure, there's no shortage of luxury stays on the island, but this refined take on barefoot luxury is more thoughtful — and plush — than most. Perched on three lush acres above the white sands of Melasti Beach, think minimalist architecture, sweeping ocean views and non-stop relaxation. Tucked into the limestone hills of Bali's Bukit Peninsula, 18 ocean-facing villas with private pools dot four cliffside levels drenched in greenery. Designed to integrate with the landscape, each villa's green roof is a terrace for the accom above, while pathways through the stay flow with the coast's contours. Inside each villa, the finishes combine Scandinavian and Balinese design philosophies. Chosen for their inherent calmness and textural quality, you'll find locally sourced Sulawesi marble floors, custom teak furniture, soft neutral tones and floor-to-ceiling windows inviting stellar Indian Ocean views. "We designed Lyvin Melasti to feel both grounding and expansive — a space that invites rest, reflection, and reconnection," says Lyvin Properities Co-Founder and Product Director Victoria Sokovykh. "Everything is intentional, but never overdone. It's a place to breathe." While already appealing, this luxe addition to Bali's accommodation scene is set to get even better. The stay will launch 20 ocean-view suites in December, with plans for a signature restaurant and wellness spa to open in the near future. Lyvin Melasti is now open in the Uluwatu region of Bali. Head to Instagram for more information.
If you compare theatre to sports, opera will sit somewhere at the Olympic level. The statement "I've got tickets to the opera" is so laced with cultural flavour that it's practically a four-course meal. There are some stellar opera venues in Sydney including a certain world famous House. But if you're looking for an experience that will make you the star of the "did you have a good night?" chats at work the next day, look no further than Handa Opera on Sydney Harbour. They're preparing for their next season, when the iconic Madama Butterfly returns to the outdoor stage with a suitably iconic vista, truly a ticket worthy of your hard-earned funds. So, what sets this opera apart from the rest? And why should you, the audience member, be interested? Well settle in, dear reader, and prepare to find out. The story: An opera that has inspired and enchanted audiences worldwide Madama Butterfly is, at its core, a tragedy. But it's also a story about personal growth and extraordinary determination. The original opera was based on a short story written in 1898 – it follows a Japanese geisha who falls in love with a wealthy American named Pinkerton and enters an explosive, whirlwind romance with him (for better or worse). Italian composer Giacomo Puccini adapted the story from a one-act play to an opera that premiered in 1904 and initially the show was unsuccessful. After several revisions it finally became a global success with the premiere of the enduring fifth version in 1907. It's the most commonly performed iteration of the opera and is the version that inspired this show, with contemporary influences. For example, historically the Pinkerton character is a naval officer and in this production he's a property developer. The venue: An outdoor stage with room for a show to soar As mentioned, the Sydney Opera House traditionally dominates the opera scene but other fantastic opera venues are scattered across Sydney, chief among them the Fleet Steps at Mrs Macquaries Point. The epic outdoor venue has massive seating capacity, jaw-dropping harbour views and a range of dining options onsite. The dining: Al fresco dining and themed menus to bring wonder to your taste buds The Fleet Steps bring the views and the entertainment, but you can't bring your own food into the event area. Fret not, because the menus here top whatever you can fit into a picnic basket. There are five bar and restaurant areas to choose from so let's dig in. For the maximum experience, book a table at the HSBC Platinum Club operated by the Kitchen By Mike team and is as luxe as it sounds. Here, you have access to two or three courses on the Japanese-inspired menu (think steamed coral trout served with pickled cucumber, avocado and a black bean and ginger sauce) before the show and a VIP drink voucher for the interval. Beyond that, you can also get a pre-show feed at one of the other eateries — serving up everything from katsu chicken burgers to teriyaki tofu bowls and cheese and charcuterie boxes. The dining options all open from 5pm, which gives you a two-and-a-half-hour window to get your food fix plus the interval for topping up your champagne flute. The costume and production design: A performance that evolves in front of your eyes During interval, you can also watch the stage transform from one spectacular set to the next. This isn't a simple spruce with moving furniture and changing the lights — there is heavy machinery involved in the transformation. It is production design and staging of this enormity that has made Madama Butterfly stand out among its peers. Not only does the set evolve midway but you'll see 'floating' suns and moons and a literally explosive finale. As well as an evolving stage, pay close attention to the costume design. As the protagonist Cio-Cio San goes on her journey, you'll see her emerge from figurative and literal cocoons alike. Costume designer Lluc Castells said: "Through the costumes, I want to narrate the cultural shock that Cio-Cio San feels and all their consequences, such as the loss of her identity and the dependence on a dominant culture that blinds her." The cast: Powerhouse creatives behind a powerhouse production A killer production is nothing without a killer team to bring it to life. The behind the scenes talent is led by director Àlex Ollé of renowned Spanish theatre group La Fura dels Baus, joined by equally talented (and also Spanish) revival director Susana Gomez and set designer Alfons Flores. Conductor Brian Castles-Onion, a veteran of over 500 opera performances, will be leading the orchestra and steering Puccini's iconic compositions. On stage and in complete view of the audience is a cast of performers who have each performed on global stages, including in past editions of Madama Butterfly. Karah Son and Eva Kong perform the role of Cio-Cio San, Diego Torre and Thomas Strong star as Pinkerton, Sian Sharp and Agnes Sarkis as Suzuki and Michael Honeyman and Luke Gabbedy as Sharpless. For more information on Madama Butterfly, the production and the experience, or to secure your tickets, visit the Opera Australia website.
Usually when Cirque du Soleil hits cities around the world, it has audiences rolling up to its big top to see stunning acrobatic feats. But with the Montreal-based circus company's latest show, which also marks a pioneering display for the organisation, viewers will be hitting up arenas instead — because CRYSTAL takes place on ice. Cirque du Soleil's first-ever ice show, CRYSTAL still features all the trapeze, juggling, aerial acrobatics and more that fans have seen and loved across the company's past 41 productions — seven traditional circus acts, in fact, including banquine and hand balancing — but then adds a frosty surface rather than its usual stage setup. And, it includes figure skating and extreme skating into the spectacle as well, two disciplines that've never been featured in a Cirque du Soleil production before now. Even better: CRYSTAL will make its debut Down Under in 2023, kicking off in — when else? — winter. Sydneysiders, get ready for frosty wonders from Thursday, August 3–Sunday, August 13 at Qudos Bank Arena. This'll mark Cirque du Soleil's first visit since KURIOS: Cabinet of Curiosities in 2019 and 2020, although that production's run was interrupted by the pandemic. Also part of CRYSTAL, and another Cirque du Soleil first: remastered pop songs, including Beyoncé's 'Halo', U2's 'Beautiful Day', Nina Simone's 'Sinnerman' and Sia's 'Chandelier', in the company's only touring show so far to use such tracks. CRYSTAL has been doing the rounds worldwide since 2017, with more than 1.8-million people in 115 cities in 12 countries checking it out over the past five years. The all-ages show takes its name from the production's protagonist, who acts as the audience's guide as she follows her destiny to become herself.
If you managed to nab a ticket to Paul Kelly's Making Gravy tour in Melbourne last year, then you were one of the lucky ones. If you weren't and have been lamenting ever since, you can stop. The songwriting legend has just announced that he'll be performing the show all over again this December, in Sydney, Melbourne and Brisbane. As in 2017, you can expect to hear a stack of songs from Kelly's four-decade long career. Listen out for all the hits, from "Dumb Things", from the album Live, May 1992, to "Love Never Runs On Time" from Wanted Man (1994). The Christmas classic "How To Make Gravy", first released in 1996 on an eponymous EP, is on the menu, too. Chances are, you'll also hear some tunes from Kelly's new album, Nature. Due out on 12 October, it features poems by Dylan Thomas, Walt Whitman, Sylvia Plath, Gerard Manley Hopkins and Phillip Larkin, alongside original poems and songs. Last year, his 23rd studio album, Life is Fine, topped the ARIA Albums Chart, becoming the first of his albums to do so. Kelly won't be hitting the road alone: he's inviting a bunch of special guests. He'll be joined by Angus & Julia Stone, playing tunes from 2017 album Snow, Alex Lahey at all shows, with Angie McMahon and D.D Dumbo joining the lineup in Sydney, and Mojo Juju jumping on board in Melbourne and Brisbane. All three shows are outdoors and all-ages. Paul Kelly Making Gravy presale tickets will be available from 2pm on Monday, August 20. General sales will kick off at 10am on Thursday, August 23. Paul Kelly Making Gravy will hit Sydney's Domain on Saturday, December 15; Melbourne's Sidney Myer Music Bowl on Friday, December 14; and Brisbane's Riverstage on Friday, December 21. Image: Cybele Malinowski
If a photograph has ever been able to transcend the visual, been able to be heard, then Bill Henson’s current exhibition contains some serious contenders. In his characteristic sombre style, Henson’s images encompass the portrait and the landscape, combining fragile human studies (for which he has become renowned), epic vistas and enigmatic ruins. Shot in large-scale and installed without framing, ensuring an intimate view, Henson’s photographs totally transform the gallery and make a powerful statement, working two angles at once. A lone, rocky island is at once familiar and otherworldly, broken stories dripping from the recognisable ruins, while the portraits — in particular the one showing a girl in profile, her head held by another’s hands, affecting the movement of a baptism — are delicate yet potent. The image that really sings is the one of the waterfall; you can hear the water as it falls, almost feel the spray, and, in the masterly style that has made Henson one of Australia’s premier photographers, he captures the power of the gushing water without detracting from the diaphanous quality of the veil of water.
They played the first game of their 2023 Women's World Cup campaign in Sydney. They took on Denmark there in the round of 16, then England in the semi-final loss. The next reason that the Matildas will hit the Harbour City: a match against China PR on the way to the 2024 Paris Olympics, and also for goalkeeper Mackenzie Arnold and coach Tony Gustavsson to take to the Vivid stage. The duo are on the already-packed Vivid Sydney 2024 lineup for a Vivid Ideas session at Sydney Town Hall on Monday, June 10. At Champions of Change: Mackenzie Arnold and Tony Gustavsson, the pair will have plenty to talk about — all things Matildas, of course, including the team's achievements over the past year, the challenges along the way, the squad's impact, the pressures and the coach-athlete dynamic. What has the last 12 months been like for the Matildas? How does it feel to represent your company on the global stage? What do the Matildas' successes — and the love showered their way — mean for women's sport? They'll all get a mention, too. Arnold and Gustavsson's addition to the Vivid lineup comes after Amy Poehler recently also joined the bill, to discuss her career and the upcoming Pixar sequel Inside Out 2.
A 42.8ha reserve located along the southern shoreline of Narrabeen Lagoon, Jamieson Park provides a perfect backdrop for your next picnic catch up with friends or family. There's a 2.3km walking trail beginning at Jamieson Park that goes to South Creek where you can wander through native bushland while spotting wildlife and soaking in the scenic views over the lake. If you're feeling adventurous, hire equipment for paddle boarding, pedal boating and kayaking. Or, stay dry and enjoy lunch at one of the site's picnic tables and BBQ areas. The large paid carpark makes driving there a good option, though it does fill up fast on sunny days — so be quick. Images: Mel Koutchavlis
Lunar New Year is just around the corner, running from January 25–February 8. Ring in the Year of the Rat and celebrate Chinese culture by hitting up a street party in Haymarket, watching dragon boat racing in Darling Harbour and gawking at large-scale lanterns of the 12 lunar zodiac animals, plus a gold tower of nine 2.8m-tall robotic rats in Circular Quay. After your cultural fix, it's time to tuck into a feast. For those looking to ring in the New Year in style, you can head to one of the city's best restaurants — Aria — which is serving up Chinese-inspired dishes in celebration. Executive Chef Joel Bickford's specialty menu will be on offer from January 22–29, so you can either start the festivities early or head there after a day of exploring the many lunar events around Sydney. You'll be feasting on chilled lobster and potato salad topped with oyster emulsion and caviar; slow-cooked pork jowl, greenlip abalone, king oyster mushrooms and greens in XO sauce; steamed red emperor fish with creamed miso eggplant and shellfish oil; and cherry-glazed organic duck breast, aged in-house for seven days. Then, for dessert, a blood plum sorbet and a white chocolate, lychee and mango pudding. And, of course, it's all accompanied by sweeping Opera House and harbour views. This decadent six-course menu will cost you a cool $260 per person, with additional wine pairings ranging from $128–328 (or opt for a non-alcoholic drinks pairing for $78). After all, the Year of the Rat is one of wealth and surplus. Aria's Chinese New Year Celebration menu is available for lunch and dinner, from January 22–29. To book, head here. Images: Cole Bennetts, Steven Woodburn and Kitti Gould.
On the long list of things that were bound to happen after the success of Stranger Things, seeing Dungeons & Dragons roll back into cinemas has always been right at the top. The role-playing game has already sparked three movies, with the first dating back to 2000 — but none of them starred Chris Pine, Rege-Jean Page, Michelle Rodriguez and Hugh Grant (or were well-received, whether they hit the silver screen or went straight to home entertainment). Another D&D film has been in the works in some shape or form since before the world saw a bunch of kids in Hawkins, Indiana play the game, unsurprisingly. Thanks to the success of Game of Thrones, fantasy epics have become a huge Hollywood cash cow (see also: the return of The Lord of the Rings as a streaming series later this year). Whether the new D&D will become one of the genres hits or misses is clearly yet to be seen — Dungeons & Dragons: Honor Among Thieves doesn't reach cinemas until March 2023 — but the just-dropped first trailer certainly looks like it's aiming to start a franchise. Released to coincide with San Diego Comic-Con, which is currently on now, the initial glimpse at Dungeons & Dragons: Honor Among Thieves introduces its motley crew of characters. "Here's the thing, we're a team of thieves," Pine (All the Old Knives) explains, if the title wasn't already obvious enough. This crew, which spans Page (The Gray Man), Rodriguez (Fast & Furious 9), Justice Smith (Jurassic World Dominion) and Sophie Lillis (IT and IT: Chapter Two), too, "helped the wrong person steal the wrong thing". Cue the greatest evil the world has ever known, unleashed unwittingly, which this band of thieves now endeavours to stop. Dragons pop up, of course. So do dungeons, to the astonishment of no one. Other fantastical animals, fights, flaming swords, fireballs: they're all included as well, as are Grant (The Undoing), fellow cast members Chloe Coleman (Marry Me) and Daisy Head (Wrong Turn), and Led Zeppelin's 'Whole Lotta Love'. Behind the camera, Jonathan Goldstein and John Francis Daley (Game Night) are in the directors' chairs, and co-wrote the screenplay with Michael Gilio. And yes, films based on Hasbro properties don't have the best record — the Transformers series, the GI Joe flicks, Battleship, Power Rangers — but if you're a D&D devotee, you'll be hoping this one changes that. Check out the trailer below: Dungeons & Dragons: Honour Among Thieves opens in cinemas Down Under on March 2, 2023.
Back in May, when Australia started to look past social distancing and public gathering rules to a less-restricted future, Falls Festival announced it was powering ahead with plans for its New Year's festival. But a couple of months is a long time in 2020 — and today, Wednesday, August 26, the event has announced that it will not longer be taking place this year. In a statement released via Facebook, festival organisers advised that "given the current status of things and border restrictions in place, it won't be possible to hold Falls Festival in our regular New Year's timeframe". It's worth noting that the post doesn't say that the next iteration of Falls is completely cancelled, however. "Consider this a raincheck, and please know we will be back with more information as it comes to hand," the statement notes. As for what that entails, Falls will "work with government stakeholders and key agencies to get Falls Festival back in the calendar". Clearly, given the way the past few months have shaped up — including with Victoria's reimplemented restrictions — there are a hefty range of factors to navigate. https://www.facebook.com/fallsfestival/photos/a.103842988679/10158800587688680/?type=3&theater If it had gone ahead in its usual December/January slot in 2020/2021, the summer festival had planned to implement some big changes. Usually taking place at Tassie's Marion Bay, Lorne in Victoria, North Byron and Fremantle, it was set to feature an all-Aussie lineup this year — which, with Australia's borders currently closed and even travel between just Australia and New Zealand "still some time away", seemed the smart choice. It also had the added bonus of helping Aussie musicians, many of which have been financially impacted by the COVID-19 lockdown. When the festival does go ahead, it's still fair to expect that it might look a little different — at least in terms of punters numbers. Falls Byron usually has around 25,000 attendees, while Falls Lorne has 9000, for example, figures that seem particularly large in today's social-distancing world. Last year, the music festival was impacted by the bushfires, with the Lorne leg cancelled one day in because of extreme and hazardous weather. Falls Festival will no longer go ahead in December 2020/January 2021. We'll let you know if and when more details are announced.
You've found it! The perfect gift. You go to hit 'add to cart' and then you see it — a Christmas shipping deadline date that has long since sailed past you, leaving only that sinking feeling of losing something that was never yours. But there's an easy way to avoid that mini tragedy: shop local, and shop good old-fashioned bricks and mortar. The unique gifts right here at home are sure to please even the most difficult, seen-it-all giftees. For more great Sydney stores, check out our shops directory. STERLING BY GAFFA GALLERY Focusing a bunch of contemporary Australian and New Zealand artists and designers into one space, Sterling, the Gaffa Gallery retail store, offers unique jewellery pieces and objets d’art as well as giving you a bit of insight into how they were made. Each piece is handcrafted and gives your loved one a chance to wear a little piece of art everyday. Or, if you’re more interested in giving experiences rather than objects, why not invest in a seven-week jewellery-making course for that special someone? Pop next door and you’ll find Kakawa, the mouth-watering chocolate boutique, for chocolate Christmas decorations. Can’t lose. 281 Clarence St, Sydney PUBLISHED ART BOOKSHOPS Basically the hub of all coffee table books, Published Art stocks everything and more on art, design, photography and architecture. You’re unlikely to just stumble into this stuff anywhere else. Every book on the shelf goes through a careful screening process, each being hand-picked and directly sourced by the store manager, Rebekah Lawson. Expect to find titles such as Henri Cartier-Bresson: Here and Now housed alongside children’s books of full-colour Pinocchio illustrations. Prices won’t break the bank either; most items can be bought for under $100. Level 1, 52 Reservoir St, Surry Hills MITCHELL ROAD ANTIQUE AND DESIGN CENTRE This graffiti-clad emporium is what you’d if you crammed together a year of Saturday garage sales, binned the dud items, and arranged the gems in one enormous warehouse in Alexandria. There are over 60 different stalls within the Centre’s walls, stocking all the vintage, industrial and retro furniture, knick-knackery and ephemera you’ve ever fantasised about, with a range from Victoriana through to 20th-century design. Searching for something specific? Use their ‘wish list’ feature to have the Centre’s dealers try to hunt it down for you. 17 Bourke Rd, Alexandria KAKAWA CHOCOLATES You can’t go wrong with chocolate. You just can’t. Kakawa, the gluten-free chocolatiers, make chocolate masterpieces with only natural ingredients and have a whole heap of goodies just for Christmas. Get your hands on a Christmas tree decoration, a chocolate Bambi along with a forest of chocolate Christmas trees for him to frolic in, or go all out and splurge on a ‘ginger breadless house’ made entirely out of chocolate (hold the gingerbread). And for the especially cool character in your family, a chocolate cigar is all they’ll need at the end of a big Christmas lunch. 5/147 William St, Darlinghurst BERKELOUW BOOKS There are a few Berkelouw stores and we like them all, but if we had to pick our favourite it would have to be the landmark Berkelouw Books on Oxford Street. Three storeys of new, second-hand and rare books complete with a cosy cafe and wine bar. The super helpful staff will only bother you if they have a better recommendation than what you’ve got open, and the selection of knick-knacks, stationery and vaguely literary novelties is as good as at any gift shop. 19 Oxford St, Paddington REPRESSED RECORDS If you’ve got a loved one who’s losing all their funds supporting the local Sydney music scene and buying the latest LP from the newest punk/alt act, why not help them out this Christmas by getting something they actually want — a gift or voucher from Repressed Records. The guys at Repressed are champions of Australian independent music and always have something amazing in stock they can’t wait to get you listening to. Introduce your mate to their new favourite band or get them a voucher and help feed the habit. DINOSAUR DESIGNS Instantly recognisable in their freeform design and luminescent colours, Dinosaur Designs has become somewhat of a household name when it comes to homewares and jewellery. So when it’s time for Christmas gift shopping, they’re always the kind of place you can rely upon. Each of their items – necklaces, bangles, bowls, jars, vases – are meticulously handcrafted from coloured resin so not one object is ever the same as another. 339 Oxford Street, Paddington SORRY THANKS I LOVE YOU Sorry Thanks I Love You is a deftly curated online stores of handmade accessories, homewares, gourmet foods, fresh flowers from boutique florists and craft beverages sourced from around the world. And now you can see and try out all these goodies for yourself at Sorry Thanks I Love You’s pop-up store in Martin Place, open right up until Christmas. The store will feature tons of products, including knives carved from Scandinavian reindeer antler, hand-woven Kashmiri scarves, wheels of Bruny Island cheese and premium single malt whisky distilled in highland Tasmania, which you can taste test in the store. Sorry Thanks I Love You Pop-Up, Shop 2, Ground Floor, GPO Building, 1 Martin Place, Sydney THE SOCIAL OUTFIT Make the gift you give really mean something by buying it from The Social Outfit, where each purchase means you're supporting hyperlocal industry (the main product line is made right there in the store) and helping welcome new migrants into the community (through training and employment in the organisation). This isn't the Oxfam Shop, though we love them too; the fashion and accessories here have a contemporary Australian aesthetic that would be at home in any Paddington boutique. Check out the donated prints from the likes of Ken Done and Dragstar. 353 King St, Newtown THE GROUNDS OF ALEXANDRIA The Grounds of Alexandria is not strictly a shop, but it's also so many things that it's not not a shop. And there's only one gift you need from the massive cafe and mini city farm this year: their Santa Sack, aka the hamper to end all hampers. Filled with goodies like homemade jam in paint tubes, tins of 'Farm Friends' cookies, Egyptian ice tea and indulgent black truffle salt, they're priced at a very reasonable $120. If you need yet more foodie gifts after that, just head next door to Salt Meats Cheese. Building 7A, 2 Huntley Street, Alexandria Find more unique gifts by browsing our shops directory. By the Concrete Playground team.
Across the Central Coast, venues have been hand-picked for a free outdoor screening of Disney family classic Lilo & Stitch. Catch a screening between Friday, April 12 and Saturday, April 20, at Memorial Park in The Entrance, The Village Green in Toukley, Kibble Park in Gosford and The Chapman Lawn in Wyong to enjoy an evening of family fun and watch a beloved movie in picturesque surrounds. It's not just a film screening, though—two hours before the main event, there will be lawn games, circus fun and face painting to get the kids in the mood for an animated adventure. A limited number of chairs and picnic blankets are available, so it's recommended that you bring your own. There is also a wide range of food options close to each of the four sites. Gosford, Wyong, The Entrance and Toukley have their share of foodie havens (Wyong even has a Foodie Day Tour you can embark upon), so there's no excuse not to make an outing of it and experience an evening under the stars. Outdoor Movie Nights will take place at Memorial Park in The Entrance on Friday, April 12, The Village Green in Toukley on Saturday, April 13, Kibble Park in Gosford on Friday, April 19 and The Chapman Lawn in Wyong on Saturday, April 20. For more information or to get tickets, visit the website.
Home may mean different things to different people but, in Monsoon, Vietnam doesn't mean home to Kit (Henry Golding). He was born there, in the aftermath of the war. He spent his earliest years in the Asian nation, with his parents caught up in the aftermath of the conflict. But when he was still a child, his family left for a refugee camp in Hong Kong and then moved permanently to London. Now, as an adult who has lived the bulk of his existence far away, he returns for the first time to bring back his mother's and father's ashes. He's instantly thrown off balance upon his arrival, whether he's driving through moped-filled streets or walking around crowded markets. Little of what he remembers is the same — his old house and his neighbourhood stomping grounds, particularly — and he doesn't recall as much as his childhood best friend Lee (David Tran), who stayed behind, would clearly like. Of what he does recollect, some crucial details clash with Lee's versions, too. As Kit roves around Saigon and then Hanoi — his place of birth and his parents' original home, respectively — he's searching for a connection. He'll make one, but not in the way he expects. Monsoon tells a noticeably slight tale, but Cambodian-born Chinese British writer/director Hong Khaou (Lilting) is keenly and overwhelmingly aware that a sense of belonging doesn't simply come with one's birth certificate. Kit wants to feel like he's where he's supposed to be. He wants to appreciate his homeland, and its significance to his mum and dad, as effortlessly as he appreciates his online dates. But it takes time, immersion and a true willingness to feel an affinity to the place he's supposed to call home. It takes falling in love with one of those online dates, American ex-pat Lewis (Parker Sawyers), too, and hearing about the object of his affection's complicated relationship with Vietnam as the son of a soldier who fought for the US during the war. Khaou is a minimalistic filmmaker, in a sense. He delves into straightforward scenarios, and knows that he needn't layer them with too many external complicating factors. In other words, he's cognisant that merely examining how a person copes — even in a very commonplace situation — can deliver several lifetimes worth of complexity without a wealth of other narrative roadblocks or setbacks. Here, that means tagging along as Kit flits around Saigon, sorts through his awkward baggage with Lee, and makes a pilgrimage to Hanoi in search of the perfect resting place for his parents. It also means watching as he befriends local art curator Linh (Molly Harris) and follows her home to join her relatives as they make lotus tea, and soaking in the neon-lit bar hues and misty seaside cafe views on Kit's dates with Lewis. Monsoon revels in these moments, and in what they reveal about its protagonist, all while showing how Kit himself recognises that he's changing and connecting with each experience and realisation. As a result, both Khaou and Monsoon ask a significant amount of Golding — more than his previous charisma-driven roles in Crazy Rich Asians, A Simple Favour and Last Christmas have combined. Viewers of those three films already know that he can radiate charm like few other actors currently appearing on-screen. Indeed, because he served up such a magnetic presence in that trio of flicks, it's easy to forget that he only has seven movies to his name to-date (six of which hail from the past three years, in fact). But Monsoon requires Golding's soulful best; at every moment, he's tasked with conveying the potent thoughts and jumbled emotions swelling inside Kit, and with doing so largely without dialogue. It's a quietly powerful performance, and it's one that the movie steadfastly needs. Actually, it's one that Monsoon depends upon. All of the film's key players are superb — including second-time actor Tran (Farewell, Berlin Wall), the also charismatic Sawyers (who played a young Barack Obama in Southside with You) and Harris (Artemis Fowl) as the pragmatic Linh — but Golding is its emotionally saturating core. While it might be light on talk, making its chatter count whenever it flows either freely or nervously, Monsoon is big on atmosphere. Alongside Khaou's delicately pared-back approach and Golding's tenderly gripping performance, that's one of the film's strongest assets. Even if you've never roamed far beyond the spot where you entered this world, everyone can relate to feeling like an outsider somewhere where they think they shouldn't — and Monsoon nails and expresses that sensation again and again. That's how Khaou and cinematographer Benjamin Kracun (Beats) approach the movie in their naturalistic visuals, too. Whether staring down at the daily hustle and bustle, or dwarfing Golding via his surroundings, it views Vietnam as someone might view a childhood memory that's slipping from their mind. Accordingly, Monsoon feels comfortable and intimate and eye-opening and new all at once, like it's seeing a familiar sight properly for the first time. Of course, that's Kit's journey, as it is for anyone embarking upon a homecoming that feels foreign — and it proves immensely affecting viewing. https://www.youtube.com/watch?v=ETK0fOKwJNQ
Who said we were running out of space in our urban centres? Berlin has found enough room for a farm in the heart of the city, large enough to supply its inhabitants with tons of fresh produce each month. What better place for a vegetable garden than the roof of an abandoned malt factory, or a fish farm in the factory's empty cylinders once used to dry barley? The 'Fresh From The Roof' project aims to plant 7,000 square metres of crops in this haven above the urban sprawl, fertilised entirely by the excrement of the city-slicking fish below. In return, the plants work to purify the fish tank water, making it the ideal venture for regions suffering water shortages. If only all apartment dwellers could work out how to reside in such utter harmony with their neighbours. The three German entrepreneurs behind Fresh From The Roof have already seen small-scale success, producing lettuce and tomatoes from their prototype for the urban farm built out of a recycled shipping container. But while the large-scale project won't be guzzling too much energy, there's no promise that it won't guzzle plenty of cash. The running cost of the rooftop farm is estimated at a whopping $6.7 million. But with an increasing consumer demand for organic, home-grown produce, and of course that pressing need to get creative in the way we use our space, hopefully this little farm will produce a positive return on investment.
It was one of the biggest celebrity scandals of the 90s, and it's now heading back to screens. When a sex tape featuring Baywatch star Pamela Anderson and her then-husband Tommy Lee was stolen from their home in 1995, then leaked online, it fuelled tabloid headlines (and internet downloads) for years and years. Now, the whole saga has been turned into a drama called Pam & Tommy — starring Lily James (The Pursuit of Love) as Anderson and Sebastian Stan (The Falcon and the Winter Soldier) as the Mötley Crüe drummer. Even better: streaming platform Disney+ is bringing the eight-part show Down Under in February and, after dropping the first teaser for the series in 2021, it has just unveiled the full Pam & Tommy trailer. James obviously dons the red swimsuit that Anderson was so famous for wearing for 76 episodes of everyone's favourite 90s lifeguard drama, because you really couldn't make a series about her without it. Also, given that the focus is squarely on the couple's intimate recording, how it became public, and the impact it had on Anderson and Lee, things clearly get chaotic rather quickly. In both sneak peeks so far, a mullet-wearing duo played by Seth Rogen (An American Pickle) and Nick Offerman (Devs) can't quite believe what they've stumbled across. That's the main focus of the first trailer, alongside Anderson and Lee's reaction when the tape makes its way out into the world — and the second trailer goes big on the latter. Pam & Tommy's stars firmly look the part — calling James' appearance a transformation definitely fits — and the trailer sports an expectedly hectic vibe. Australian-born director Craig Gillespie has jumped into larger-than-life true tales before with I, Tonya, so he's in somewhat familiar territory. He also keeps being drawn to decades gone by: the 90s here and in I, Tonya, the 80s in aerobics-focused dark comedy series Physical, and the 70s in 2021's live-action Cruella as well. Disney+ will start streaming Pam & Tommy in Australia and New Zealand from Wednesday, February 2, dropping the first three episodes on that date and then streaming the rest week-to-week afterwards. Yes, there's something to add to your 2022 must-see TV list. Check out the full Pam & Tommy trailer below: Pam & Tommy will start screening via Disney+ Down Under from Wednesday, February 2.
Music fans, assemble. If you're the one your mates turn to for music recommendations and gig suggestions, consider heading to The Rocks this weekend to catch live tunes from musicians on the rise at Songwriters @ The Rocks as part of Sydney Solstice. It's a sure-fire way to preserve your status as the go-to friend for music recommendations. And the best part, it's all free. On Friday, June 18 and Saturday, June 19, 20 singer-songwriters will take to the stage at various venues in The Rocks in an attempt to make it to the all-important Songwriters @ The Rocks finale. Four finalists will be selected by a panel of industry heavyweights to battle it out in the grand final on Sunday, June 20. Here, they'll play alongside Aussie musicians who have already made their mark in the industry including Grinspoon frontman Phil Jamieson, Boo Seeka and Tia Gostelow. To catch the final, head to First Fleet Park from 1–4pm on Sunday, June 20 and find out who will be crowned the next big thing in Aussie music. As this is a licensed event, all underage attendees must be accompanied by a responsible adult. Songwriters @ The Rocks will take place from Friday, June 18–Sunday, June 20. For more information, visit the website.
