A tense, make-your-stomach-drop drama from director Benedict Andrews, Una is not an easy watch. You'll find your skin crawling, and your legs and arms crossed, physically recoiling from the modern-day version of Lolita too realistic for comfort unfolding on screen. You might even forget all about the big crush you have on your fave Aussie dad figure Ben Mendelsohn. The effect of Una is just that jarring. The film tells the story of Una (Rooney Mara), a woman whose sudden reappearance threatens to destroy the life of Ray (Mendelsohn), a man who at first glance it seems she was once intimately involved with. But we soon pick up on the fact that "involved with" here means "sexually abused by". Una was 13 when Ray began a sexual relationship with her. Years later, she arrives at his workplace, come to confront him about the past. In brief, disjointed moments of flashback we meet Una as a child, and Ray as a younger man who becomes obsessed with his neighbour's daughter, sexually abusing her through the guise of them "being in love". Back then, it all ended in a plan to run away to Europe, a single motel bed, abandonment, and a jail sentence. Years later, Ray (now "Peter") has rebuilt his life with a new job, a new wife, a new house, and a whole new identity. Una? Not so. Still dealing with what was done to her as a child, she lives in the same house where it all happened, with a mother she's still failing to communicate with. The last time we see Una as a child, she's pleading with Ray via live video feed in a courtroom, asking him to come back, to make contact, and to tell her why he left her. The first time we meet her as an adult, she's having sex with a faceless man at a club and wandering home in the early morning, stuck in her anger and her past. The film was adapted from Blackbird, a play by David Harrower, and its origins on the stage are clear to see. Una's musings to Ray, mostly within the confines of the lunchroom at his workplace, are delivered like monologues. Mara chews up and spits out the dialogue the way her character must have practised hundreds of times in the years since her abuse. The film succeeds in what it sets out to do in part through its handling of the aspects of Una and Ray's past that, obviously, it can't actually show. A chill runs down your spine with each horrible moment left unseen; a close-up of two hands holding each other, or a long shot of a huge tree that obscures our view. Our imaginations run cold along with our blood. Mendelsohn is convincingly charismatic while bringing the requisite darkness to his role. Mara struggles a little in her attempts to pull off a British accent, but aside from that her performance is exceptional. The chemistry between the two is patently present, enough to make you shudder. Una is one of those films that you can't stop watching, no matter how much you might want to; a tense, confined study of a paedophile that dares you to look away. Is Ray rehabilitated, trying to move on from the unforgivable actions of his past? Or is he still as sick and manipulative as ever? The film, and Mendelsohn, will leave you guessing. https://www.youtube.com/watch?v=QSpZBmnamhg
UPDATE, February 8, 2021: The Breaker Upperers is available to stream via Google Play, YouTube Movies and Amazon Video. Breaking up isn't hard to do in New Zealand's latest hilarious comedy. In fact, dumping someone you never want to see again couldn't be easier. For a fee, best friends Jen (Jackie van Beek) and Mel (Madeleine Sami) won't just do their clients' dirty work for them, but they'll come up with an elaborate scenario or even a song. Want to ditch an unwanted boyfriend via a country ditty? They'll start crooning. Certain that a scandal is the only way to stop your wedding? One of them will pretend to be the mother of your unborn child. Need something with a bit more finality? The pair will tell your wife that you're missing, presumed drowned. Welcome to The Breaker Upperers — the name of Jen and Mel's busy Auckland business, as well as the title of van Beek and Sami's astute and side-splitting film. The duo write, direct and star, and they're an uproarious force to be reckoned with. Comedians with considerable resumes on New Zealand television (as well as parts across Taika Waititi's filmography), their first big-screen adventure together doesn't just milk ghosting an ex for laughs. It's also the kind of female-focused buddy comedy that cinema could use considerably more of, telling a tale of thirty-something women who don't have it all together. Moreover, the movie's protagonists aren't chasing the usual romantic fantasy, and don't feel like they should be doing what rom-coms tell them. Actually, ever since Jen and Mel experienced their own respective relationship mishaps, they've each sworn to keep their love lives casual. That's easier for the pessimistic Jen than the amiable Mel, with two specific jobs thrusting their differences into focus. Firstly, the distraught wife of a former client (Celia Pacquola) keeps popping up in their lives — needing a shoulder to cry on, and making Mel start to doubt whether breaking up couples for cash is a line of work anyone should be doing. Secondly, high schooler Jordan (James Rolleston, delightfully asked to play dumb) hires them to dump his smart-talking girlfriend Sepa (breakout newcomer Ana Scotney), causing sparks to fly between the 17-year-old rugby player and Mel. As well as giving van Beek and Sami on-screen gigs over the years, plus directing Sami's one-woman TV show Super City, Waititi has an executive producing credit on The Breaker Upperers. While the brand of dry, awkward Kiwi comedy found in Boy, What We Do in the Shadows and Hunt for the Wilderpeople is alive and well here, this is always van Beek and Sami's movie. They fire off gags and one-liners with such a hit rate that you might miss a few because you're laughing too much. They not only commit to the more outlandish aspects of the picture's humour, but flesh out their characters so they're much more than just a source of jokes. And, in a film with several standout musical moments, they make the best Celine Dion karaoke video you're ever likely to see. A little bit silly, a little bit sweet, yet still thoroughly smart in its ode to female friendship: that's The Breaker Upperers from start to finish. It's the cinematic equivalent of a great (not doomed) romance — hooking viewers instantly like love at first sight, throwing up plenty of joyful surprises and then riding off into the sunset. The film itself doesn't chart that narrative path, but that's the journey it takes audiences on anyway. It's also energetic, well-paced, and delightfully diverse in its appreciation of sexuality, sex positivity, gender, race, culture, body image and going grey at a young age. If it was your date, you wouldn't be asking anyone to break up with it for you. https://www.youtube.com/watch?v=-phMlkRiWIg
When Hereditary premiered at this year's Sundance Film Festival, it received the kind of response that first-time filmmakers usually only dream about. Ari Aster's debut feature was instantly likened to horror greats such as Rosemary's Baby, The Shining, The Wicker Man and The Babadook, while one critic dubbed it "this generation's The Exorcist". Given the movie's story and subject matter — a grief-stricken family grapple with the aftermath of several personal tragedies, uncovering sinister secrets about their ancestry and fate in the process — such comparisons might seem obvious. But as Hereditary tells its slow-burning tale in a masterfully unnerving fashion, it more than earns its place among such genre standouts. Led by Australian actor Toni Collette in an award-worthy performance, this meticulously unsettling and suspenseful effort delves into the lives of the Grahams, starting with a printed death notice for their matriarch. The mood is expectedly grim, although artist Annie (Collette) doesn't seem that upset about her mother's passing, and nor does her psychiatrist husband Steve (Gabriel Byrne) or pot-smoking teenage son Peter (Alex Wolff). It's a different story for 13-year-old Charlie (Milly Shapiro), who was closer to her eccentric, erratic grandmother than everyone else, and isn't coping quite as well as a result. While their varying reactions hint at the kind of domestic disharmony that most families weather, the Grahams are soon forced to face their demons. Indeed, Aster describes Hereditary as "a family tragedy that curdles into a nightmare" — and that's actually his favourite way to describe the film. "It becomes a nightmare in the way that life can feel like a nightmare when disaster strikes," he elaborates, touching upon the movie's uncannily effective ability to turn a familiar situation into something much darker and more disturbing. In fact, not only probing family struggles but pushing the boundaries has proven Aster's favourite terrain across short films Munchausen and The Strange Thing About the Johnsons. For his next feature, rather than making the jump from successful indie horror to the big end of town, he's sticking with his niche — this time following a couple on a trip that goes awry. With Hereditary now screening in Australian cinemas, we chatted to Aster about making a perturbing yet relatable horror film, the need for films to wade into emotionally difficult territory and casting Toni Collette — among other topics. https://www.youtube.com/watch?v=3__y-uPwbe8 ON GROUNDING HEREDITARY'S HORRORS IN REALITY "I wanted to make a film that was a serious inquiry into questions about grief and trauma, that then spirals into something else. There is a tragedy that occurs in the film, and I feel like that there is a trend, certainly among horror movies, to like throw these things in and then not really address the impact that such an event would have on the people at the centre — and I did want to make a film that really, really dealt with that. And I feel like there is especially a trend among American family dramas where something horrible happens in the family, they struggle and they go through a tumultuous period, and there is some sort of breakdown in communication but then they ultimately come back together. Ultimately this tragedy has strengthened their bond and you know that they're going to be okay. But it's just that sometimes, that's not how it happens. Sometimes something horrible happens and it takes a person down. And sometimes that has a domino effect and people don't recover. I wanted to make a film about that, but if you make that as a drama then it's a pretty punishing watch — and you're maybe going to get ten people in the audience. If you make it as a horror film, you're able to reach more people because suddenly something that might be considered a downer in one genre is a virtue in another. So I wanted to make just a very sorrowful horror movie that was really trying to come to terms with hard things." ON THE CATHARSIS OF HORROR FILMS "It was certainly cathartic for me to write and direct it. I think there is a certain level of catharsis that is demanded of any genre film — and certainly horror. And it was a therapeutic process finding that catharsis. We need hope. I think that's how people get through things — they project into the future and they work towards something better. We need movies about how things can repair themselves. But I know that there are people who are suffering and are going through something horrible, and they're not out of it, and sometimes those films are not very helpful to watch — films about people getting through things. I think sometimes it can be a relief to watch a movie that takes suffering seriously." ON HEREDITARY'S SLOW-BURN APPROACH "I wanted to make a film that really took its time, and really made sure to root you in the experience of these people. And I knew I needed to address the family drama stuff before I even thought about the horror elements, because I knew that I needed the horror elements to all grow out of what we had established in that first hour. But then, at the same time, the film is about a family that has no agency, and they are being driven towards this inevitable end — so everything that's happening, it's like all of these snares are being set up for these things that need to be triggered at the end. It's just a matter of testing the audience's patience without actually giving them anything unnecessary. The editing process was a pretty gruelling one, because we had a three hour film at first. We ended up cutting around 30 scenes out of the film, because the movie was asking too much of the audience's patience. That's what happens on every film — you end up cutting a lot. But I think we cut more than I was expecting to cut, and it was all family drama stuff — so that slow-burn was slower." ON CASTING TONI COLLETTE "She was one of the first people we went to. It was a huge day when she responded to the script, and we met up and really got along. And when it became clear that she was attaching herself — I mean, that's the difference between having a movie go ahead or not. So when she came on, that was the beginning of the forward momentum that resulted in the movie being made. I'm endlessly grateful for that. But she's just a really reliable actress. I've been watching her since I was a kid — in Muriel's Wedding — and I've always loved her, I had never really seen her chew apart the scenery in the way this film challenges actors to. I mean, everything she does is in the script, but the way that she throws herself into it so completely and so without ego was really amazing to watch and really, it was necessary. The movie needed it, but it takes balls." ON RECEIVING SUCH AN ENTHUSIASTIC RESPONSE TO HIS FIRST FEATURE "It's been a really gratifying experience, and it's been wonderful to have it be so warmly received. Obviously that's just great. But I have some nerves about it coming out, only because it has been so well-received and it has been receiving some quite hyperbolic praise. I guess I don't know if you would describe me as a realist or a pessimist, but I guess I'm just waiting for the pendulum to swing the other way. So I'm waiting for the backlash — but hopefully people just continue to enjoy it."
Anyone who lives in a teeny, tiny apartment will love this one. The 1900s-invented wall-folding bed (or 'Murphy bed') isn't new by any means — Charlie Chaplin fought one in the the 1916 comedy short, One A.M. and James Bond was surprised by assassins in one to open 1967's You Only Live Twice — but Latvia-based Boxetti designer Rolands Landsbergs has taken the old space-saving trick to a new slick level. Landsbergs' 'Bedroom in a Box' is the most compact, Fifth Element-looking design we've seen in Murphy beds yet — primarily because it's not just the bed that shuts away, it's the whole room. Containing all the elements of a regular bedroom, 'Bedroom in a Box' contains your bed, bedside table, reading spotlight, headboard ambience lighting, wardrobe space and bookshelf, all in one origami-like, wall-mountable rectangle. But why fold away just your bedroom? Landsbergs has developed a whole series of modules to make your whole home able to pack away, from the kitchen to the lounge room. So if you're living in a claustrophobic loft, awkwardly small sharehouse or just want more floor space for at-home yoga/YouTube dance lessons/fisticuffs with Corben Dallas, there's a setup for you. Via Inhabitat.
A good breakfast always goes down better in a good location, and a literal stone's throw from the water in Warners Bay is bloody good as far as locations go. That's where you'll find Hippo Espresso, once a hidden destination known and loved solely by locals until those locals showered it with votes during the 2024 run of the Toby's Estate Local Legends competition. Now Hippo Espresso proudly stands as one of the most loved cafes in the entire state of NSW and owner Aaryn Algie, a hospo veteran of two decades, couldn't be prouder. So what landed Hippo Espresso in the top spot? It could be something in the menu. With a breakfast and lunch offering seven days a week, the menu highlights have to be the breakfast wraps with scrambled egg, hash browns, bacon, spinach and tomato relish; the beloved acai bowl with unlimited toppings; or the sizeable omelette that's described as an egg pizza with the lot by Algie. Come lunchtime, you can get a mix of Aussie and Asian-fusion treats ranging from steak sandwiches and bacon and mushroom carbonara to sticky pork belly bites and pork and prawn nasi goreng. Wash that down with coffee, smoothies, or frappes (that you can order as alcoholic if you're dining in). With variety like that, a top-notch spot by the water and a clientele that includes the likes of local Matildas players, no matter how you shake it, you're set for a good time at Hippo Espresso.
There hasn't been much to say cheers to in 2020, or many opportunities to do so out of the house. But between Thursday, November 19–Sunday, November 22, you'll be able to raise a few glasses and wander around Sydney, all as part of the boozy new Whisk(e)y on The Rocks festival. Yes, this fest is taking place in The Rocks, where you'll wander your way between four festival zones across two hours. Just where you start is up to you, with each space offering something different as part of your $25 ticket — with that price including seven tokens for samples. At Campbell's Cove, you'll find the The Fever-Tree High Ball Bar. Obviously, highballs are on offer here. So too is mixing and matching, depending on what whiskeys, whiskys and mixers you feel like. And the Glenfiddich 'Whisky Wanderer' bus will also be stationed onsite, complete with its own bar slinging samples. Next, at 47 George Street and 6–8 Atherdon Street, you'll be sipping Maker's Mark, Dead Rabbit's and Wild Turkey. There'll be multiple spaces, enabling you to pick your preferred tipple and your favourite spot. Then, on Playfair Street, the Monkey Shoulder Mixer Truck will be pumping out blended malt scotch neat, on the rocks or in cocktails poured straight out of said giant mixer. Finally, The Argyle Courtyard will be celebrating 200 years of Johnnie Walker, so you know what's on offer here. As well as the four festival zones, you can mosey through The Rocks Whisk(e)y Trail, which includes The Argyle, The Doss House, Mrs Jones Bar at The Orient Hotel, the Copper Dog Courtyard at The Push, The Mercantile Hotel, Sergeant Lok, Tayim, Fortune of War and Maybe Sammy. And, although they haven't been announced as yet, the fest program will also feature masterclasses — which will be ticketed separately. Whisk(e)y on The Rocks tickets go on sale at 2pm on Wednesday, October 14. You'll need to pick your day and your session, with timeslots at 5.30–7.30pm and 8–10pm each night, plus extras at 3–5pm Friday–Sunday and 12.30–2.30pm Saturday–Sunday.
Iberica takes inspiration from small Spanish towns along the stunning Balearic Islands, like Ibiza and Mallorca, so it's no wonder the restaurant chose Sydney's most iconic beach as its home. The venue is helmed by Managing Director Joaquin Saez (previously at Cho Cho San, Fratelli Paradiso, Alberto's Lounge and Ikaria Bondi). Joining him is Executive Chef Ivan Sanchez, who brings 15 years of experience in Mediterranean cuisine, including stints at Porteño and Bastardo. Head of Bar, Carlo Valdivia, who formerly worked at Porteño, Continental Deli, Bar & Bistro and Sokyo, is in charge of curating the Spanish-heavy wine list and creative cocktail menu. The menu focuses on supporting local suppliers and showcasing their produce. Start off with house-made bread served with a truffle butter candle, jamon Iberico, seared scallops and grilled octopus with Jerusalem artichoke and ajo blanco. Bigger plates include seafood paella, charcoal-grilled sirloin with a Pedro Ximenez reduction and a charcoal-grilled spatchcock with mojo rojo. Finish off with a caramel flan with manchego cheese, Basque cheesecake or a refreshing grape sorbet.
For the people who care deeply about beautiful things — the ones who know their glassware silhouettes, have opinions on timber grains or can spot a well-cut bag from across a room — design-forward gifts always land best. This year's edit brings together thoughtful pieces from Australian makers and independent studios, spanning sculptural homewares, tactile accessories, sustainable fashion and objects that balance form with function. Whether they're curating their space piece by piece or simply appreciate good design in the everyday, these polished picks offer style, utility and a little artistic flair. Shopping for someone who prefers edible design? Explore our guide to the best small-batch foodie gifts. Balance Vase, Fazeek A sculptural glass vase that plays with symmetry and scale, this two-tone design turns a simple stem into a full display moment. Shop now. The Baguette Bag, Fred Home A bag made purely for carrying a baguette? Equal parts outrageous and totally gorgeous. Shop now. Incense Holder Bundle, Gentle Habits A ceramic holder paired with the brand's signature coastal-inspired incense blends. Shop now. Merino Alpaca Throw in Cobalt, Hommey A luxe throw woven from merino wool and alpaca, in a punchy cobalt tone to instantly elevates any space. Shop now. Ulna Ring (Emerald), Kto Made in Castlemaine, this cuttlefish-cast silver ring is a sculptural addition to any design lover's collection. Shop now. Roman Pool Towel, Baina A premium organic cotton towel featuring Baina's signature checkerboard pattern. Shop now. Sculptural Lobster Candle, Milligram A candle shaped like a lobster — do we need to say more? Witty, sculptural and very giftable. Shop now. Pin Drop Vessel, Leisa Wharington A playful hand-blown glass vessel with mix-and-match stoppers. Make it a bottle, a vase, or simply an objet d'art. Shop now. The Bronzing Duet, Fluff Fluff's unmistakable silver pebble compact, paired with a matching kabuki brush and a refillable bronzing powder. Shop now. Plaid Bag, Pan After A durable, handmade statement bag in bold woven plaid — made from 100 percent recycled nylon. Shop now. MECCA x E Nolan SPF + Lip Balm Beauty Bag Set, MECCA Cosmetica A fashion-meets-beauty collab pairing everyday essentials with a limited-edition scrunchie and pouch. Shop now. Long Stone Servers, Dinosaur Designs Hand-poured in Australia, these resin servers showcase Dinosaur Designs' signature organic forms and rich marbled colour. Shop now. Sakura Outdoor Mat, Sunnup Made from around 100 recycled polypropylene bottles, this picnic mat is as durable as it is chic. Shop now. Organica Day Bag, Brie Leon Spacious enough for daily essentials but refined enough for after-dark plans — and crafted from buttery vegan leather. Shop now. Mother of Pearl Oyster Plate, Jardan Crafted in Melbourne and slipcast to highlight natural texture, this Nattier oyster plate offers a fun take on functional serveware. Shop now. Organic Cotton Bedding in Watson Stripe, Sheet Society Soft, stonewashed organic cotton and quiet ruched detailing give this percale bedding set a refined, lived-in feel. Shop now. FYI, this story includes some affiliate links. These don't influence our recommendations, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Everyone has at least one piece of IKEA furniture in their house. Let's be honest: we all have more than that. And, when deciding which items to buy from the giant Swedish retailer, we've all consulted its thick printed catalogues that come out every year and give us all a big list of things that we suddenly want — and convince ourselves that we need — to purchase. From 2021, however, flicking through the weighty tome will no longer be a part of browsing through and buying the company's flatpack wares. After a whopping 70 years in circulation, the publication is being retired. The reason? IKEA says that both customer behaviour and media consumption have changed, its online sales increased by 45 percent worldwide in 2020 and its website received more than four billion visits over the same period. Given that the world spent more time at home last year — likely browsing the chain's website to look for ways to liven up our homes in the process — that's hardly surprising. Seven decades is a hefty run, and that only captures part of the IKEA catalogue's history. When it was first printed in 1951, there were 285,000 copies — all made available only in the southern part of Sweden — and the publication had just 68 pages. Jump to 2016, the biggest year in the tome's lifespan, and 200 million copies of the much thicker text were distributed — in 69 different versions, 32 languages and to more than 50 markets. The company will still be releasing a book in-stores in 2021 that'll allow customers to get ideas for furniture purchases and interior decoration choices — and to celebrate the old catalogue's history, too — but it won't be the printed guide that everyone currently knows. If you're not quite ready to farewell the publication, the chain's US branch has actually released its 2021 catalogue as a podcast, which you can listen to below: https://www.youtube.com/watch?v=foNEPnmUAdU&list=PLk5L7f7HqQ7HAvWFx_Zd-h-iIkwc9p7QM IKEA will stop printing and distributing its catalogues from 2021. For more information, head to the Swedish retailer's website.
If you've been following Dark Mofo's 2023 lineup announcements, you'll have spotted that the Tasmanian winter festival knows how to serve up multiple courses. First, it announced Florentina Holzinger's dance theatre performance A Divine Comedy back in January. Then, it followed up with the full boundary-pushing lineup in March; however, there was still more to come. So, the fest added a few fresh events in mid-April, and unveiled the huge roster of talent for this year's Night Mass as well. Next on the menu: announcing that Ana Roš is hitting the Apple Isle to headline Dark Mofo's annual Winter Feast. For Dark Mofo newcomers, Winter Feast is all about tucking into local produce by the fire while listening to tunes and just generally enjoying an evening of revelry. It's one of the Hobart-based festival's annual highlights, returning for the 2023 event across eight nights — from Thursday, June 8–Sunday, June 11, then again from Thursday, June 15–Sunday, June 18. [caption id="attachment_898569" align="alignnone" width="1920"] Ana Roš | Dark Mofo 2023.[/caption] Attendees will head to Salamanca Lawns and Princes Wharf Shed 1, where 90 stallholders will set up by the feast's blazes. (Concrete Playground Trips' Dark Mofo accommodation package might come in handy — it helpfully includes Winter Feast tickets.) Roš, who folks might know from Netflix documentary Chef's Table, heads to Australia with plenty of well-deserved fanfare. She's the owner of Slovenia's two Michelin-starred restaurant Hiša Franko in Kobarid, and was named the world's best female chef by The World's 50 Best Restaurants academy in 2017. The World Tourism Organisation have also given her the title Ambassador of Gastronomic Tourism. [caption id="attachment_898571" align="alignnone" width="1920"] Dark Mofo and City of Hobart Winter Feast. Photo Credit: Dark Mofo/Jesse Hunniford. Image Courtesy Dark Mofo, Hobart, Tasmania, Australia. Dark Mofo 2018.[/caption] At Dark Mofo, she'll get cooking in a newly built 50-seat structure just for cooking and dining, and she'll have company: Stephen Peak and Rodney Dunn, both from New Norfolk's The Agrarian Kitchen. Peak is the eatery's Head Chef, Dunn is its co-founder, and together they're a key part of a spot that was named Regional Restaurant of the Year at the National Good Food Guide Awards — and also earned two hats in the process. They're particularly passionate about supporting local producers, as well as about ethical and sustainable farming, which will come through on the Winter Feast menu. That spread is set to span four courses, taking its cues from the dishes that that Roš and Peak whip up in their own kitchens. So, expect Slovenian-inspired fare, but made with Tasmania's top seasonal produce. [caption id="attachment_898570" align="alignnone" width="1920"] Stephen Peak | Dark Mofo 2023.[/caption] "Both Ana Roš and The Agrarian Kitchen have elevated regional dining in their respective countries by taking a bold and innovative approach to their food. We're thrilled to be able to highlight such incredible artists of the culinary world," said Winter Feast Food Curator Amanda Vallis. As for who'll be taking care Winter Feast's stalls — and what'll be on their menus, and which installations will surround them — that's all still to be unveiled. Expect more details mid-May, ahead of Dark Mofo 2023's Thursday, June 8–Thursday, June 22 dates. [caption id="attachment_898572" align="alignnone" width="1920"] Dark Mofo Winter Feast. Image Courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] Dark Mofo 2023 runs from Thursday, June 8–Thursday, June 22 in Hobart, Tasmania, with tickets on sale now. Top image: Winter Feast, Dark Mofo 2022. Photo credit: Jesse Hunniford, 2022. Image courtesy of Dark Mofo 2022. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world — including our Dark Mofo tickets and accommodation package.
Thirty-four-metres long, more than twice as big as a regular hot air balloon and ripped straight from Patricia Piccinini's inimitable mind, Skywhale might just be one of Australia's most recognisable recent pieces of art. It's a sight to see, and the largest-scale example of the artist's fascination with the thin line that separates nature and technology — and it's about to meet its match. In 2020, the National Gallery of Australia will unveil Piccinini's new Skywhalepapa, which is designed to form a family with Skywhale. They'll both float through the Canberra skies from March, with the second bulbous sculpture commissioned as part of the gallery's Balnaves Contemporary Series. In total, the pair will take flight from a site near the NGA eight times during the nearly three-month Skywhales: Every Heart Sings exhibition, with the exact launch dates yet to be revealed. [caption id="attachment_751759" align="alignnone" width="1920"] Skywhalepapa, 2019/20 (artist's sketch), Patricia Piccinini. Courtesy of the artist.[/caption] Just how big Skywhalepapa will be is also yet to be announced, but given the impressive size of its companion, expect it to be hefty. If you can't make it to Canberra to see the growing Skywhale clan, they will also tour the country for an NGA touring exhibition, with locations and dates to be confirmed at a later date. While both Skywhalepapa and the Skywhales: Every Heart Sings exhibition will be big Canberra drawcards for the NGA next year, that's not all that the gallery has in store. In fact, it'll also welcome another incredibly famous artwork before the year is out: Vincent van Gogh's Sunflowers. The 231-year-old piece will arrive in November 2020, displaying during the four-month-long Botticelli to Van Gogh: Masterpieces from the National Gallery, London exhibition. In total, more than 60 works from European masters will line the NGA's walls, including Rembrandt's Self-portrait at the age of 34 from 1640 and Johannes Vermeer's A young woman seated at a virginal from 1670 — and most of them have never before travelled to Australia. [caption id="attachment_751757" align="alignnone" width="1920"] Sunflowers, 1888, Vincent van Gogh. National Gallery London; Bought, Courtauld Fund, 1924.[/caption] Art lovers can also look forward to Know My Name: Australian Women Artists 1900 to Now, which'll shine a spotlight on the nation's female creatives across more than 150 works; Belonging: Stories of Australian Art, a major collection of 19th-century Aussie pieces; a six-month focus on Chinese artist and activist Xu Zhen; and The Body Electric, a showcase of works by female-identifying creatives that are all about sex, pleasure and desire. Or, you can ponder the evolution of contemporary art with The Shock of the New and see a large-scale installation by the Tjanpi Desert Weavers. Skywhales: Every Heart Sings runs from March 7–May 30, 2020 at the National Gallery of Australia, Parkes Place East, Parkes, ACT. For further information about the NGA's 2020 lineup, visit the gallery's website. Top image: Skywhale, 2013, Patricia Piccinini. National Gallery of Australia, Canberra. Gift of anonymous donor 2019, Australian Government's Cultural Gifts Program.
Maiz — one of our picks for the best restaurants in Sydney — has just introduced one of the city's best bottomless brunch offers for you to inject into your weekend. Round up a group of friends and head to south King Street for Barra Libre, a 90-minute session of free-flowing drinks paired with highlight dishes from Maiz's menu of central Mexican street food. The drinks menu is the first impressive element that sets this bottomless feast apart from your standard mimosa-filled affair. At Maiz, you'll be treated to unlimited margaritas, Tecates and prosecco — plus Rosa Maria Spritzes made with Tequila Blanco, berries, rosemary, lemon and grapefruit soda. Food-wise, the 100-percent gluten-free feast kicks off with a spread of snacks that includes esquites, guacamole, house corn chips, papas a la diabla (a spicy potato dish) and tostadas. From there you'll get to take your pick between cactus ceviche, braised hibiscus al pastor, 18-hour barbacoa and chicken in a tinga sauce. Rounding out the feed, you'll get to choose from Maiz's array of paletas, a Mexican spin on the classic ice block. The flavours span far and wide, including watermelon and chilli, poached peach iced tea, and cucumber and lime. If you aren't drinking, you can opt to enjoy just the food for $50 per person, otherwise the boozy brunch will set you back $89. The deal is available every Saturday, with bookings between midday until 3pm.
Arriving in a flurry of new openings for the Sydney CBD, King Clarence is the latest restaurant from acclaimed chef Khanh Nguyen and the award-winning hospo crew Bentley Dining Group (the team behind Monopole, Cirrus and, of course, Bentley Restaurant + Bar). It's a case of the prodigal son returning home, with Nguyen moving to Sydney to rejoin the group after cutting his teeth at the team's restaurants early in his career before moving down to Melbourne to open his wonderful restaurant Aru. Adding to Sydney's nightlife resurgence, the expansive venture celebrates Chinese, Japanese and Korean cuisine in a 100-seat space that co-owner Brent Savage promises to be "fun, loud, and busy". The menu here is designed around the kitchen's custom-built barbecue and live seafood tanks. Impressive highlights pulled from the tanks or placed on the grill include the signature grilled rock lobster, 14-day aged duck, whole roasted pork belly ssam and grilled miso eggplant. Choose your poison and pair it with a cucumber salad and spanner crab fried rice. Or, order a selection of lighter dishes, including woodfired edamame, fish finger bao, lime and nori scallops, pork and prawn dumplings, and Spencer Gulf kingfish collar. Hate to choose? Never fear, there's a pair of set menus available for $95–154, depending on how extravagant you pictured your night. The next-level Signatures Menu runs through plenty of the above items, plus oysters, beef tartare, chicken liver skewers and coffee parfait for dessert. Matching the ambition of the King Clarence menu is the drinks on offer, especially the vino. Polly Mackarel, former Head Sommelier at Cirrus, is curating and guiding you through a wine list that's equal parts approachable and comprehensive. There are more than 40 drops available by the glass and plenty of bottles on offer for $100, with the list placing particular focus on rieslings, chardonnay and medium-bodied reds. Those looking to impress can even dip into the Bentley Wine Vault for a rare drop if the budget allows. This is one to get on your new restaurant hit list ASAP. King Clarence joins a host of new venues that have recently opened on Clarence Street, including Palazzo Salato, Old Love's and Cash Only Diner. King Clarence is now open at 171 Clarence Street, Sydney. Head to the restaurant's website for more info and to make a booking.
The Wizarding World is officially crossing the globe to visit fans in Australia, with the globally touring Harry Potter: The Exhibition announcing that it's coming later this year. Having welcomed over four million fans around the world already, Warner Bros. Discovery Global Experiences, alongside partners Imagine and Eventim Live, today announced that Sydney is next on the itinerary. Settling in to Sydney Olympic Park's Paddington Pavilion from Thursday, May 14, the immersive touring experience celebrates the world of Harry Potter and its expanded universe, bringing together elements from the eight original films, the Fantastic Beasts series, and the stage production Harry Potter and the Cursed Child. Designed as an interactive, behind-the-scenes journey through the wizarding world, the exhibition features authentic props, original costumes and detailed recreations of iconic locations from the franchise. Visitors will move through themed galleries inspired by Hogwarts and beyond, with installations dedicated to subjects such as Potions, Herbology and Defence Against the Dark Arts. Fans will also have the chance to take part in a series of interactive experiences, including digital wand activities, potion-making stations and a Patronus charm experience set within a Forbidden Forest environment. Among the exhibition's highlights is a first-edition copy of Harry Potter and the Philosopher's Stone, displayed in a Gringotts-inspired vault, alongside multimedia displays exploring the journey of the series from page to screen. A dedicated retail space will accompany the exhibition, offering exclusive merchandise including apparel, jewellery and treats such as Chocolate Frogs and Butterbeer. Based on the best-selling novels by J.K. Rowling, the Harry Potter franchise remains one of the most successful entertainment properties globally, spanning blockbuster films, stage productions, games and a growing portfolio of location-based experiences. Warner Bros. Discovery is also developing a new HBO series based on the original book series. Tickets for the Sydney exhibition go on sale on Thursday, March 26, with a presale beginning Tuesday, March 24 for fans who sign up to the official waitlist. See here for details. Images: supplied This article first appeared on Variety Australia.
Whether you're a day tripper, a holidaymaker or a local, there's no denying that Sydney is an incredibly photo-friendly city. Truly, the sheer breadth of stunning vistas is bordering on ridiculous. From sun-kissed beaches to world-famous landmarks and remarkable architecture, there really is something for everyone. We've teamed up with Samsung to pick out the best spots in Australia's largest city to take Insta-worthy pics that will be the envy of all your followers. Handily, we've also split them up into daytime and night time selections, as the camera on the Samsung Galaxy S22 Series is equipped with an incredible Nightography feature that means you get pin-sharp pictures and videos, even in low light. [caption id="attachment_702755" align="alignnone" width="1920"] Manly Beach by Paros Huckstepp[/caption] DAY Wendy's Secret Garden For three decades, Lavender Bay resident and artist Wendy Whiteley has dedicated her life to the design and upkeep of a patch of land just beyond her home, turning it from abandoned train yard into a stunning living artwork which now has official public park status. Deliberately unsignposted and full of sculptures and artefacts, Wendy's Secret Garden feels like an oasis right on the harbour, with countless beautiful nooks and crannies in which to get that perfect shot. Curl Curl Ocean Walk Any walk along the Northern Beaches coastline is beyond picturesque, but for the best views, you can't beat the one-kilometre boardwalk between Curl Curl and Freshwater. Along this oceanside stretch, you get to walk atop the cliff edge as the waves crash below. Travelling north from Freshwater also affords you the opportunity to see the underrated Curl Curl Beach arcing out before you and the incredible, endless ocean to your right. On a sunny day, there's nothing like it. Shelley Beach Manly Beach is one of Sydney's most famous, and rightly so, but it's difficult to photograph a beach when you're actually on it. A short coast-side walk from Manly brings you to the gorgeous Shelley Beach. There's all manner of vantage points where you can to capture this slice of paradise, but it's also a perfect spot from which you can see Manly, Freshwater, Curl Curl and Dee Why beaches, and, on a really clear day, beyond Long Reef headland to Collaroy and Narrabeen. Opera Bar There's no way to go to Opera Bar and not feel impossibly bougie. There can't be many places on earth with a more iconic view, and a waterside table makes for a perfect pano. In just a few seconds, you can capture the Harbour Bridge, the Opera House and Luna Park, not to mention ferries and boats zipping in and out of Circular Quay. Any non-Aussie friends on your timelines will be amazed that so many famous landmarks are viewable from just one spot. The Strand Arcade To step into The Strand Arcade is to step back in time. First opened in 1892 and originally one of five Victorian arcades in Sydney but now the only one that survives, The Strand has undergone several restorations over the years that have enabled it to retain as many of its historic features as possible, from its neoclassical columns to its famous tessellated tiled floor. Bonus fun fact: part of the music video for David Bowie's 'Let's Dance' was shot on the ground floor. Central Park Chippendale urban renewal project Central Park Sydney contains all the features that make cityscapes great. There's artwork that responds to changes in wind speed and there are two separate parks: Balfour Street Park and Chippendale Green. What dominates the landscape, however, is One Central Park — an award-winning residential and commercial tower that's known for its vertical hanging gardens which features a mixture of plants, flowers and vines that stretches over 50 metres from top to bottom. Royal Botanic Gardens Every corner of the Royal Botanic Gardens is a killer pic just waiting to happen. Whether it's the unparalleled collection of plant life, the myriad views over the city, or even a shot of the futuristic-looking Calyx, there's something to take your breath away at every turn. And, because it's bursting with flora, no two visits are ever the same, meaning your pictures will always be unique based on the season and what's in bloom right now. Bar 83 Why is it called Bar 83? Quite simply, because it's on the 83rd floor of Sydney Tower, meaning there are few places in the city from where you can see more. Until relatively recently, this floor was a private events space, but it's now open to the public as a cocktail bar inspired by the era in which the tower was built: the 1970s. So, not only do you get views for days while you sip away in Sydney's highest bar, the retro-chic of the décor is also worth making an appearance in your photo. [caption id="attachment_706664" align="alignnone" width="1920"] Cole Bennetts[/caption] NIGHT Luna Park Is there anything that evokes childlike wonder quite like a trip to the fair? And by approaching Luna Park on the water, you get to experience the excitement building as you inch ever closer. By night, Luna Park is an explosion of light, with the gigantic mouth through which visitors enter being visible from practically anywhere in the harbour, signalling fun for miles around. Chinatown Sydney's Chinatown is a bustling hive of activity at any time of day, but it truly comes alive when the sun goes down. It really does feel like wandering the streets of a charming Chinese city as brightly lit stalls and restaurants vie for your attention, all punctuated by the rows of lanterns that criss-cross the laneways. For an extra treat, head down on Friday night, when a weekly market adds even more activity to the mix. MCA Watching the lights from the ferries dance across the water at Circular Quay is photo-worthy in itself, but the nearby Museum of Contemporary Art really pulls its weight alongside some of the more famous landmarks in the vicinity. It's an imposing, impressive building on its own, but it's become known for its light shows which see the façade of the building become a riot of kaleidoscopic colour. You won't be able to resist pulling out your phone for a snap. Wynyard Station/George Street The bustling heart of the CBD is replete with bars, pubs and restaurants – there's always something going on. On top of that, you have Wynyard station and the light rail running along George Street. The end effect is the very best of the light-strewn, busy global city that Sydney truly is. It's a sight that, after the last few years we've all endured, makes you extremely grateful to live somewhere that's so vibrant and teeming with life. Coca-Cola Billboard It might seem a little odd to be leading you to a billboard for an American company, but the Coca-Cola logo is arguably the most famous in the world. But you can, famously, find an oversized version at the entrance to Kings Cross. Such a monument to capitalism is an incongruous sight in a country so famous for its beaches and bushland but here, lit up and surrounded by cars, buildings and lights, it somehow makes perfect sense. Observatory Hill Observatory Hill might feel a little way away from where all the real action is, but your slightly higher vantage point affords you the opportunity to gaze upon the southern hemisphere's most famous skyline and harbour. Up here, you'll find the view that travellers picture when they think of Sydney and, on a clear night, it's a complete no-brainer as to why. Sydneysiders might have seen this view a million times, yet it's impossible to ever tire of it. Make nights epic with Samsung Galaxy S22. For more info, head to the website. Top image: Benjamin Sow (Unsplash)
You may have been hanging out with Shag for ages. He might have been in your house, your car and your headphones with his Friday arvo program on FBi Radio with Sweetie Zamora. And as one of those go-getters who's been contributing to Sydney's alternative, independent arts and music community for years, we thought he'd be the perfect insider for Concrete Playground's Hidden Sydney column. We all know the thrill of finding a new view of the city skyline, or a window in a pub that's great for people-watching. Here are your next five discoveries. And keep an ear out for Shag's new podcast later this year with his former co-host Peach, called What's Up With Peach and Shag? 1. City of Sydney Library The Sydney library system is amazing – borrow twenty items at a time for three weeks, borrow and return them to any of the twelve branches, and free membership if you live in the inner city. Best of all is its Network Graphic Novels collection, as it’s pretty complete. From Neil Gaiman, Alan Moore and classic Batman to Harvey Pekar and Fun Home, you’ll find an awesome selection of major titles that you’ve heard of or should have heard of. 2. Sydney Park with a dog I’ve recently become a dog person thanks to my girlfriend’s pound puppy ‘Poppet’, a giant Irish Wolfhound cross who needs a large open area to run around in every once in a while. So when we can, we head to Sydney Park. There are none of those horrible anti-dog signs, no need for leashes, and no precious, over-protective owners – just heaps of space filled with happy pups, running free. 3. Rock Lily at The Star Hear me out. Yes, casinos can be super depressing places, and obviously the name is atrocious. But here’s the thing: Rock Lily is completely surreal. It’s a rock-themed venue (think a milder Hard Rock/Planet Hollywood) that sits IN THE MIDDLE of the main casino floor, like the Tardis. Just slap bang in the middle! Plus, it’s almost never full, or even half full. Does that not sound like a potentially great venue for the beginning (or end) of an insane night out? 4. Cream on King For a cheap, well-fitted vintage t-shirt with a completely unique print, there’s really no better place. 5. Staying in Sydney A friend of mine told me something once that has always stuck with me: Sydney could be as amazing as anywhere else, as long as the good people stay. So instead of dreaming about moving to New York, start thinking about how you can make your mark here.
If you're already thinking ahead to summer, here's three trends that'll be shining in Australia: spots, gourds and kaleidoscopic reflections. You'll see them all over your social feeds. You'll spy them in exhibition merchandise sported by anyone who visits NGV International. And, most excitingly, you'll be surrounded by the trio at the Melbourne art gallery, which will be hosting a huge Yayoi Kusama retrospective as its summer blockbuster. When we say that Yayoi Kusama, the exhibition, is big, we mean it. While the Japanese artist's work is no stranger to Aussie shores — and was the focus of a comprehensive showcase at Brisbane's Gallery of Modern Art back in 2017–18 — NGV International's ode to the iconic talent will be the largest that country has ever seen. When it displays from Sunday, December 15, 2024–Monday, April 21, 2025, more than 180 works will feature, the world-premiere showing of a brand-new infinity mirror room among them. It's a massive endeavour for the NGV, too. "It's the largest space that's been given a living contemporary artist, across the entire ground floor," Wayne Crothers, NGV's Senior Curator of Asian Art, tells Concrete Playground. [caption id="attachment_950475" align="alignnone" width="1920"] Installation view of Yayoi Kusama's Chandelier of grief 2016/18 at Tate Modern, London, © YAYOI KUSAMA[/caption] The NGV has curated Yayoi Kusama with input from Kusama, with the end result stepping through the 95-year-old artist's eight decades of making art via a thematic chronology. Some pieces hail from her childhood. Some are recent. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s: they'll all appear. Half of the exhibition will be devoted to the past four decades — so, pumpkins galore; giant paintings; and an impressive and expansive range of room installations, complete with her very first infinity room from 1965, plus creative interpretations since from the 80s onwards. Again, this is a hefty exhibition. It's one of the most-comprehensive Kusama retrospectives ever staged globally (and the closest that you'll get to experiencing her Tokyo museum without leaving Australia). "We've been wanting to do a major exhibition with this artist for a long time. We're very focused on contemporary art. We're very focused on Asian art. And Kusama hasn't had a big solo show in in Australia for some time — and she's still very active. So there's past works, but also some contemporary works being produced right at the moment," continues Crothers. [caption id="attachment_950477" align="alignnone" width="1920"] Yayoi Kusama, Pumpkin 1981, Collection of Daisuke Miyatsu © YAYOI KUSAMA[/caption] If you're keen to be one of the first people in the world to be wowed by Kusama's new infinity room, it'll be as immersive as such spaces always are when she's behind them. Even the NGV team don't know the full details of the piece that's being produced especially for the exhibition, so it'll be a surprise to everyone. It'll be complemented by the aforementioned array of rooms, which is "one of the largest displays, for our audience, of those immersive rooms that have ever been assembled globally," Crothers advises. Eager to see a five-metre-tall bronze sculpture of a pumpkin? 2020's Dancing Pumpkin, which has just been acquired by the NGV, will feature. And, for the first time in Australia, 2019's THE HOPE OF THE POLKA DOTS BURIED IN INFINITY WILL ETERNALLY COVER THE UNIVERSE will unleash its six-metre-high tentacles — as speckled with yellow-and-black polka dots, of course. Almost six decades since first debuting at 1966's Venice Biennale — unofficially — Narcissus Garden will be a part of Yayoi Kusama in a new version made of 1400 30-centimetre-diameter stainless silver balls. Now that's how you open an exhibition, as this will. NGV's Waterwall is also scoring a Kusama artwork specific to the space, while the Great Hall will be filled with the giant balloons of Dots Obsession floating overhead. [caption id="attachment_950474" align="alignnone" width="1920"] Installation view of Yayoi Kusama's Flower Obsession 2017 on display in NGV Triennial from 15 December 2017 – 15 April 2018 at NGV International Melbourne. Image courtesy of NGV[/caption] Basically, wherever you look across NGV International's ground level, Kusama works will be waiting, spanning paintings, installations, sketches, drawings, collages and sculptures, as well as videos and clothing. Dots will obviously be inescapable. One section of the gallery will replicate Kusama's New York studio. Over 20 experimental fashion designs by the artist will also demand attention. Infinity Net paintings from the 50s and 60s, Accumulation sculptures and textiles from the 60s and 70s, and a Kusama for Kids offshoot with all-ages interactivity (fingers crossed for an obliteration room) are also on their way. The must-see exhibition for Melbourne locals and travel-worthy event for art lovers located outside of the Victorian capital will benefit from pieces from the artist's own personal collection — and rarely seen photos, letters (including to and from fellow artist eorgia O'Keefe), posters, magazines, teen sketch books and films — while others will be sourced from Japanese and Australian institutions. [caption id="attachment_950473" align="alignnone" width="1920"] Yayoi Kusama. The obliteration room 2002–present. Queensland Art Gallery | Gallery of Modern Art © YAYOI KUSAMA[/caption] "Kusama's imagery has become part of the general common visual vernacular of the society," notes Crothers. "And I think our role in the exhibition, or what I've really taken on, is to introduce how profound the journey has been that's led her to this point of global visual recognition, going right back to a very ambitious teenager in rural Japan, and then the letter correspondence and New York, and delving into a lot of archival material." "There are few artists working today with the global presence of Yayoi Kusama. This world-premiere NGV-exclusive exhibition allows local audiences and visitors alike the chance to experience Kusama's practice in deeper and more profound ways than ever before," said NGV Director Tony Ellwood AM in the summer showcase's official announcement. "We are indebted to Yayoi Kusama for her passion and collaboration on this special project. Without the artist's personal dedication to this exhibition — and excitement to share her worldview with Australian audiences — none of this would be possible." [caption id="attachment_950480" align="alignnone" width="1920"] Yayoi Kusama, 2022 © YAYOI KUSAMA[/caption] [caption id="attachment_950479" align="alignnone" width="1920"] Portrait of Yayoi Kusama c. 1939 © YAYOI KUSAMA[/caption] [caption id="attachment_950478" align="alignnone" width="1920"] Installation view of Yayoi Kusama's Infinity mirror room – Phall's Field 1965 at the Castellane Gallery, New York © YAYOI KUSAMA[/caption] Yayoi Kusama displays at NGV International, St Kilda Road, Melbourne from Sunday, December 15, 2024–Monday, April 21, 2025. Head to the NGV website for more details and tickets. Top image: excerpt of Yayoi Kusama, 2022 © YAYOI KUSAMA.
Fresh from starring in page-to-screen Australian series Invisible Boys, Aussie actor Joseph Zada is headed to the arena. Hunger Games fans, meet young Haymitch. When the franchise's latest book Sunrise on the Reaping becomes its next movie — with the latter due to hit cinemas in 2026 — Zada will be in its key role. Two crucial pieces of casting have been announced for The Hunger Games: Sunrise on the Reaping: Zada following in Woody Harrelson's (Fly Me to the Moon) footsteps as Haymitch Abernathy, plus Whitney Peak (Gossip Girl) as the character's girlfriend Lenore Dove Baird. Together, they'll be helping take the saga back to 24 years before Abernathy met Katniss Everdeen (Jennifer Lawrence, No Hard Feelings) in the first The Hunger Games novel. The new film couldn't be in the works if Suzanne Collins hadn't entered the arena again, of course, stepping back into Panem and The Hunger Games' past — and into the tale of a well-known character from her initial three books in the dystopian franchise — with the saga's second prequel. After the author first went down that route with 2020's The Ballad of Songbirds & Snakes, her next jump backwards hit bookstores in March 2025. When the novel was announced, naturally a film was as well. It might've taken three years for The Ballad of Songbirds & Snakes to become a movie, but Sunrise on the Reaping is hitting the big screen just a year after the book made its way shelves. This time, the focus is on the Second Quarter Quell, with Haymitch winning those games — and Sunrise on the Reaping's narrative kicking off on the morning of the reaping for the 50th Hunger Games. Harrelson portrayed Haymitch in 2012–15 movies The Hunger Games, The Hunger Games: Catching Fire, The Hunger Games: Mockingjay – Part I and The Hunger Games: Mockingjay – Part II, with filmmaker Francis Lawrence helming every one of them since Catching Fire — and also doing the same on The Ballad of Songbirds & Snakes. He'll be back in the director's chair on Sunrise on the Reaping. For Zada, this isn't his only big post-Invisible Boys project. He's also treading where James Dean once did, playing the same character as the late, great icon in a new version of East of Eden opposite Florence Pugh (We Live in Time), Mike Faist (Challengers) and Christopher Abbott (Wolf Man) — and he has the page-to-screen adaptation of We Were Liars also on the way, hitting streaming in June 2025. There's obviously no trailer yet for The Hunger Games: Sunrise on the Reaping, but you can check out the trailer for all of the past Hunger Games movies below: The Hunger Games: Sunrise on the Reaping will reach cinemas on Friday, November 20, 2026 in the US — which will likely mean Thursday, November 19, 2026 Down Under. We'll update you with more details when they're announced. Via Variety. Top image: David Dare Parker, Invisible Boys. Hunger Games images: Murray Close.
Real estate in Australia is a complex and pricey market, with prices in most cities steadily rising year on year. The median house price in Australia is now $883,000, and in capital cities, things are getting dire — dire enough that Sydney buyers are paying seven-figure sums for driveways, let alone houses. But hard as it may be to believe, some property is still cheap in Australia, as long as it's rural and small, according to a report from Realestate.com.au. In NSW, January's cheapest sale was a fraction of that media price at a mere $80,000 — the property in question being a sandstone Anglican church on 2000 square metres of land in Wilcannia, a town outside of Broken Hill with 735 permanent residents. According to Realestate.com.au, the property was put on the market because its Sydney-based owner failed to anticipate the logistical challenges of the renovation. [caption id="attachment_1074362" align="aligncenter" width="1920"] Realestate.com.au[/caption] In Victoria, a low record for the month was set by a fixer-upper weatherboard cottage in Walpeup, which sold with an acre of land for $115,000. The decades-old, three-bedroom cottage had been abandoned for the last eight years but reportedly still attracted a lot of interest from cash buyers before it sold. Up in Queensland, Mt Isa saw the cheapest sale in the state, $105,000 for a three-bedroom home pitched as a 'renovator's delight'. With a plywood-covered exterior setting the scene for a bare, linoleum-floored interior. [caption id="attachment_1074361" align="aligncenter" width="1920"] Realestate.com.au[/caption] It's not much of a step from Tasmania, where the cheapest deal was $110,000 for a two-bedroom lake shack set in a township of just 11 residents in the Central Highlands. Size didn't matter in South Australia either, where a partial ocean-view studio apartment sold for $165,000 in Victor Harbor. Prices were higher in the ACT and Northern Territory. In the former, the cheapest sale was a studio apartment for $235,000, while in the latter, an Alice Springs ground-floor apartment with 51 square metres of living space, a pool, a basketball court, and a barbecue area sold for $190,000. But the cheapest sale in the country occurred in Western Australia, where a rundown three-bedroom home with almost no images listed sold for just $60,000. Images: Realestate.com.au/sold
When you think of alpine luxury, you're probably picturing France, Switzerland or Colorado. Yet a reimagined five-star stay awaits that won't take the better part of 24 hours to reach on a plane. Enter New Zealand's newest indulgent stay — Coronet Ridge Resort — an intimate 41-room retreat perched above Queenstown's Shotover River. Previously known as the Nugget Point Hotel, an NZD $30-million renovation brings a new level of luxury to the edge of the Coronet Peak Ski Area. Meticulously crafted from top to bottom, guests can make the most of the Southern Alps' dramatic landscapes and rest in quiet luxury at the end of the day. Just a few minutes' drive from central Queestown, each room and suite features a private balcony or patio that invites spectacular mountain vistas. Meanwhile, the interiors emanate highland warmth through bespoke timber joinery, natural tones and thoughtfully curated objects. Dining is also a highlight, with the Elevation Bar & Restaurant offering a standout experience from its soaring vantage point. Set against panoramic views of the Wakatipu Basin and the Remarkables mountain range, Executive Chef Dominic Dsouza delivers a seasonally-inspired menu spanning gourmet breakfast to apres-ski bites. Start the day with buerre noisette pancakes, then round out with acclaimed Royalburn lamb. Whether you're dining en plein air or inside, the setting is suitably stylish with an open kitchen and bar offering a glimpse of the restaurant's culinary and cocktail theatrics. Plus, once winter arrives, the ultra-cosy Library Bar proves inviting with a roaring fireplace and a drinks menu brimming with single-malt whiskies alongside wines carefully selected from Central Otago's renowned vineyards. Contrasting with its rugged ridgeline, the hotel's amenities offer incredible relaxation, immersed in crisp mountain air and native flora. Guests can enjoy a Roman-inspired day spa with the signature treatment, The Ridge Journey, offering a three-hour experience featuring full-body exfoliation, a hydrating body wrap and a 75-minute massage and facial using luxe NZ-made skincare products from RAAIE and Corbin Rd. Plus, there are outdoor hot tubs, squash courts, a premium fitness centre and even a private cinema to heighten your time on the slopes. "We are delighted to welcome guests to experience a new era of luxury hospitality amid the secluded beauty of New Zealand's Southern Alps. Coronet Ridge Resort is a sanctuary where the peace and tranquillity of its location allow guests to enjoy a soul-soothing getaway yet still be minutes away from the excitement of central Queenstown," says Clare Davies, Founder and Managing Director of Capstone Hotel Management. Coronet Ridge Resort is now accepting bookings at 146 Arthurs Point Road, Queenstown, with special opening rates available from $650 per night. Head to the website for more information.
Clearing out your wardrobe, sifting through your old clothing and making a pile to give to a new home rank among life's necessary but often overlooked tasks. It's also an easy process to get just partway through — pulling unloved shirts off their hangers and bagging up a heap of your old outfits to donate to charity, but then letting said bag sit in your hallway for months and months. Sound familiar? If you have the enthusiasm to gift your pre-loved clothing to a new home, but never quite get around to dropping off your old pieces for whatever reason, then you might be interested in The Iconic's new donation scheme. Called Giving Made Easy, it's an extension of the online retailer's free returns mechanism. Just print out a pre-paid shipping label from the company's website, pop it on a box or satchel filled with clothes that you're never going to wear again, then take it to an Australia Post box or office. Obviously, it still involves you actually moving your pile of unwanted clothes out of your house — but even if you never manage to make it to a Salvation Army or St Vincent's store or bin, you're never too far away from a post box. Once posted, your old threads will be sent to the Salvos to sell in their 330 shops across the country, which raise money to assist folks dealing with homelessness, addiction, domestic violence and emergency situations. To nab a label, you will need to have an active account with The Iconic. Once you've done that and printed out the label, you can stick it on any box or satchel you choose. And if you're a customer with one of the company's delivery satchels in your possession after your last order, you can also use that to send in your pre-loved pieces. The initiative is part of The Iconic's efforts to help reduce textile waste, with around 6000 kilograms of fabric and clothing ending up in Aussie landfill every ten minutes. As always when you're donating pre-worn clothes, pieces will need to be in good condition. If you'd happily give it to a friend as it is, then it's okay to give it to the Salvos. The charity is accepting dresses, tops, t-shirts, singlets, skirts, pants, shorts, jeans, coats, jackets, jumpsuits, playsuits, sweats, hoodies, jumpers, cardigans, suits, blazers, shirts, polos and activewear, as well as footwear and shoes. Used underwear, socks and hosiery won't be taken, nor anything that's damaged. To find out more about The Iconic's Giving Made Easy scheme — or to download a pre-paid shipping label — visit the online retailer's website. Top image: The Iconic.
The drive down the Mornington Peninsula to the Peninsula Hot Springs retreat is somewhat of a Melburnian pilgrimage — where Victorians escape the chill of the city every winter via thermal means. One of the first hot springs in Victoria before the 900-kilometre bathing trail was proposed, the team constantly looks to deliver the best service and experience. A $13 million upgrade in 2018 saw the addition of two cold plunge pools, seven new hot spring pools and an impressive outdoor Bath House Amphitheatre to the site's remote and picturesque hilltop location. Guests also have access to two 30-person saunas, a chilled (and Australian-first) ice cave and a 'deep freeze' treatment room, which will be kept at a cool 25 degrees below freezing. This is in addition to the existing hamam, underground sauna, cave pool and the pool at the top of the hill which affords 360-degree views of the area. The venue also has a new cafe, a cultural meeting space designed in collaboration with local Indigenous elders, and a multipurpose wellness centre for classes and talks. Further renovations were announced at the end of last year to expand accommodation and other facilities. A trio of new eco accommodation lodges, three outdoor massage pods and an undercover cafe dining space, as well as a new relaxation and sleep lounge in the Spa Dreaming Centre are all expected later in the year. [caption id="attachment_726805" align="alignnone" width="1920"] Visit Victoria[/caption] Updated April, 2023.
Here's what it will look like when the Sydney Light Rail finally launches into action in 2019. The brand new trams, dubbed the Citadis x05, are the world's longest light rail vehicles to date and we're the very first city to nab 'em. Built in France and Spain by Alstom, the trams ring in at 67 metres and can carry 450 passengers, which is nine times the capacity of a bus. The new schmick design was unveiled in Randwick on Tuesday, August 1 by NSW Premier Gladys Berejiklian and Andrew Constance, Minister for Transport and Infrastructure. "It is a really exciting day to be standing here with the first of our world-class light rail vehicles and offering the people of NSW a glimpse of this innovative, modern vehicle," said Premier Berejiklian. Despite its behemoth size, the Citadis x05 is pretty efficient. Compared with your average bus, it uses four times less energy, as well as ten times less energy than a car. It's also very, very wheel-friendly — think loads of room for prams and wheelchairs, double doors, low floors and easy-to-reach intercoms. All in all, there will be 30 tram sets operating in the CBD and South East Light Rail, which will run from Circular Quay and the CBD through Surry Hills, Moore Park and Kensington, ending in Randwick and Kingsford. You can expect to see the Citadis x05 getting some test runs around town later this year. Sure, from the outside the tram basically looks like every other modern light rail vehicle we've seen. But, even though Sydney is still obviously behind Melbourne on the tram scene —and, let's be honest, in a lot of ways — we can finally firmly lay claim to having the best of something other than beaches. Which are amazing and unbeatable.
Another stalwart pub in The Rocks has been given a new lease on life. The Orient Hotel has recently reopened after a three-month renovation, which has taken the venue back to its heritage roots. The public bar and sandstone courtyard have both been restored and there's a renewed focus on live music, with bands on seven days a week. The corner pub's reopening is a welcome addition to The Rocks' nightlife, with the all-day offering available from morning until late daily allowing for some legit late-night gigs. The heritage building was built in 1844 and boasts a multifaceted history as a Chinese laundry, a butchery and, most notably, a shipping company called Orient Line who docked its boats in Sydney Cove, just in front of the hotel. It's now owned by Ryans Hotels, the group that also runs CBD venues the Paragon Hotel, the Ship Inn and Taylor's Rooftop. Expanding on the hotel's refurbished offering is a new cocktail terrace Mrs Jones, which is named after Jane Jones, the Orient's 1897 licensee who was a well-known publican in the area. It officially launches this Thursday, May 17. The space has its own concealed entrance on Kendall Lane and the terrace lounge overlooks the Orient's interior courtyard and the laneways below. Designer Kate Formosa has drawn on the hotel's maritime roots with a replica Orient Line boat model, blue-and-white woven chairs and timber floorboards, all while giving the terrace a greenhouse feel with a lush garden fit-out and sliding glass panel walls. Ex-Merivale drinks-maker Tommy Donnison is heading up the bar and has curated a sizeable cocktail menu with heaps of classics, plus signatures including the Fizzy Jones (gin, green apple liqueur, Baileys and lime juice soda) and the Purple Haze (vodka, blackcurrant and cacao liqueurs, vanilla syrup, blueberries and egg white). For eats, chef Brad Copeland (ex-Est., MG Garage, Bistrode) has created a menu for both venues that aims to showcase Australian produce and focuses on share plates — ideal for nibbling on with cocktail in hand. Think slow-cooked lamb croquettes with truffle honey, panko-crumbed prawns with garlic mayo and peking duck spring rolls, along with your requisite charcuterie platters. For larger dishes, sous vide Queensland kangaroo rump and crispy pork belly accompany pub classic schnittys, parmas and burgers.
A new exhibition exploring the beauty of underwater plant life has opened at the Royal Botanic Garden's outdoor exhibition space, The Calyx. Inside the Tide recreates kelp forests, coral reefs and seagrass meadows above the ground — using land plants in order to demonstrate the marvelous aesthetic and ecological value of these marine environments. "When most people hear the word seaweeds, they think of the dead stuff rotting on the beach or it touching their legs when they're trying to swim," Dr Yola Metti says. "There's a huge lack of awareness of the benefits of marine algae in general. One of the biggest things we can be thankful for is the amount of oxygen algae produce." Over 20,000 plants have been installed inside the venue, including one of the largest vertical green walls in the southern hemisphere. The plant wall, that most recently played home to thousands of flowers for the exhibition InBloom, now springs forward with the lush green tones of underwater plant life. "Our land plants are the actors with cactus and other succulents playing the roles of corals, and ferns and ivy becoming the seaweeds," Royal Botanic Garden Sydney Curator Manager David Laughlin said. "We have pandanus trees on the sandy shore with mock seagrass meadows we've created to feel like you're by the beach but in the heart of the city, surrounded by our beautiful gardens." The horticultural exhibition has been created in collaboration with puppetry and arts collective Erth who has helped transform The Calyx into a marine world with expressive sculptures of sea creatures and interactive elements that both children and adults can engage with. Inside the Tide is running from Friday, December 3 through until July next year. Throughout the exhibition, The Calyx will be open 10am–4pm daily and entry is available via donation. This exhibition marks the reopening of The Calyx following InBloom and maintenance that was conducted during Sydney's lockdown. The new exhibition took horticultural staff months to install and prepare. The Calyx is located at The Royal Botanic Garden, Mrs Macquaries Road. Inside the Tide will run from Friday, December 3, 2021–July 2022.
Over on Crown Street, Night Parrot leans into top-notch wines from the likes of Lo-Fi Wines' Das Juice, Adelaide Hills' Vinteloper and Yarra Valley's Punt Road Winery. The bar recently changed hands but things remained unchanged for now, so you can sip funky natural drops alongside a selection of Asian-style snacks, including handmade dumplings, bao and Korean popcorn chicken. Images: Stefan Posthuma
ANZAC Day is upon us for 2020; however with the usual parades and dawn services cancelled and downscaled due to COVID-19 restrictions, this year's commemorations are looking considerably different than usual. Given that pubs, bars and RSLs are closed across the country thanks to social-distancing requirements, the great Aussie tradition that is two-up has also been affected — but, like most aspects of normal life at the moment, the game has moved online. At 2up 2.0, you can yell "come in spinner" while you're playing along virtually (and while drinking brews and eating ANZAC biscuits, too, if that's part of your April 25 routine). As you're watching digital coins flip, you'll also be helping a very worthy cause, with 100-percent of the site's proceeds being donated to Wounded Warriors to help support Australian servicemen and women and their families. To play, all you need to do is head to the site — and, while purchasing virtual coins in order to make a donation to diggers is obviously encouraged, you'll receive 100 free virtual dollars just for signing up. Prizes are on offer from Rocks Brewing Co, while a leaderboard keeps track of how everyone is faring. And remember that you'll only be able to play along today, Saturday, April 25, as that's the only day each year that two-up is legal to play in most places in Australia. To play 2up 2.0 and donate to Wounded Warriors, visit the game's website.
It's been a big year for Sydney hospo group Merivale. On top of reopening The Newport back in March, they've rounded out the year by opening their long-awaited Oxford Street double venue Fred's and Charlie Parker's and also buying Botany Road's Tennyson Hotel for a cool $37.5 million. And to top off a huge 2016, they're opening another new venue today, Monday, December 12. In April of 2015, they bought the iconic Queen Victoria Hotel in Enmore — and now, 19 months later, they're ready to open her back up. Like Fred's and Charlie Parker's, the Queens Hotel (as it's now known) will comprise of two venues: a restaurant and a bar. Downstairs will be home to Queen Chow, a Cantonese restaurant lead by Papi Chulo duo Christopher Hogarth and Patrick Friesen and dumpling master Eric Koh, formerly of Mr. Wong. The menu is packed full of twists on traditional Hong Kong street fare like salt and pepper cuttlefish and silken tofu and prawns with chilli bean mayo. They'll also have a whole roast duck with plum sauce on the menu, and a typhoon shelter crab, which is deep fried and served with garlic, chilli, black bean and pulp from soybeans. Dayum. If your tastes run more towards delicious pillows of filled dough, the dim sum menu has been lovingly designed by Eric Koh, guided by his 30 years of dumpling experience. He'll be serving up steamed, baked and fried dumps for lunch, dinner and late night supper — the latter of which should really be a legal requirement of all bars. And once you've gorged to satiation at Queen Chow, head upstairs to The Smelly Goat (excellent name, team) for some bizarre cocktail combos. We've got a lot of faith in the Merivale team (we recently drank a cocktail flavoured with grass from Centennial Park at Charlie Parker's), so we're willing to give their weirder inventions a try — like the Dutch Courage cocktail with carrot, Maker's Mark and white wine. Could go either way. But we're champing at the bit to try the Moloko Plus – it comes with Crunchy Nut milk, white rum and cardamom. Sounds very Momofuku Milk Bar and totally acceptable to drink at breakfast. Naturally, because it's Merivale, you'll be sipping these concoctions in supremely well-styled surrounds. The bar will have a salon feel with fabric-lined walls and black timber panelling, plus an onyx bar top and taxidermy bird boxes filling the space. It's been done in collaboration with Merivale regulars Amanda Talbot and Kelvin Ho of Akin Creative, who have also styled the downstairs restaurant as well. The Queens Hotel is Merivale's first venture into Sydney's inner west, so it'll be interesting to see how to the venue is received by locals. End-of-year drinks, anyone? The Queens Hotel opens at noon on Monday, December 12 at 167 Enmore Road, Enmore. It will be open for lunch, dinner and supper seven days a week. For more info, visit merivale.com.au/queenshotel.
With Monster Fest showering Melbourne with an annual showcase of horror, thrills and just a bloody good time at the cinema since 2011, non-Victorian genre buffs can be forgiven for experiencing a severe case of film festival envy. Don't worry, the Monster Fest Travelling Sideshow is the cure for that green shade you've been sporting. It's taking the best of the festival around the country; first stop: Sydney. From March 9 to 12, Event Cinemas George Street will become Monster Fest's temporary home away from home with a lineup that should excite and unnerve cinephiles in equal measure. Topping the bill is the faint-inducing Raw — and it really has made people weak at the knees, so don't say we didn't warn you. The cannibal-focused effort certainly made an impact when it opened the 2016 Melbourne festival, taking out the fest's Golden Monster award. Attendees can also catch the all-female horror anthology XX, which premieres at this year's Sundance Film Festival, delivering scares, frights, gore and more from filmmakers of the fairer sex. About time. Or, see the monochrome delights of the maternally minded The Eyes of My Mother splashed across the screen, as well as the old-school slicing and dicing of Toronto International Film Festival hit The Autopsy of Jane Doe. Rounding out the program is classic Italian horror Suspiria, plus the locally linked Skinford (which was made in Sydney) and doco Dead Hands Dig Deep (which was made by a Sydney director).
No matter the name and no matter the hook, it seems that whosoever takes over the premises of 44 King Street shall open and operate a live-music themed bar in the basement. Once the home of lively New Orleans-themed joint The Swinging Cat, the venue is now home to Lucille's: the divier little sibling of nearby country music hotspot Jolene's. Recently opened by the same husband and wife duo that runs the aforementioned York Street mainstay, Simon and Lucille Rose-Hopkins, Lucille's is inspired by the pair's travels to the rock and blues heartland of the United States, and is named after Rose-Hopkins herself. In turn, she's named after a musical legend: "The name of the bar was a funny coincidence. Lucille is the name BB King gave his guitar after it was saved from a fire started at a bar… over a fight over a woman named Lucille. Lucille's parents saw BB King on a trip to the States many years ago and decided to name her after the guitar as well," said her husband and co-owner, Simon. While Jolene's is a love letter to the "classier side of Nashville," as the duo puts it, Lucille's takes inspiration from their favourite dive bars in Memphis and Dallas, with plenty of southern character and charm. True to the great blues and rock bars of the south, Lucille's welcomes regular live music from established and upcoming artists alike every Thursday from 7.30pm, and every Friday and Saturday from 8pm. The menu is simple but satisfying. The daily happy hour offering tells you everything you need to know about drinks: $14 margaritas, $7 beers, and $8 wines and select spirits from 5–7 pm daily. There's also a range of cocktails — some simple (like the whiskey and fresh apple), and some house specialties named after country songs, like Bright Lights, Big City and Southside of Heaven. The food is what you would imagine: comforting, moreish, Southwest-style snacks and shared plates to accompany the rock and blues tunes. Choose from mac and cheese balls, buffalo chicken bites, hotdogs and more, and you'll be whisked across the world to the home of the blues in no time.
When long-running live jazz spot The Basement announced it was closing in March last year, a wave of sadness rippled through the Sydney live music community. It seemed the Circular Quay venue was set to be another empty space. But then Mary's hospo duo Jake Smyth and Kenny Graham (also responsible for resurrecting The Lansdowne and The Unicorn) stepped in, announcing they would take over space and reopen it as Mary's Underground. It's probably not what you expected from the Mary's crew. There are no burgers on the menu (though you can find them upstairs at Mary's CBD) and it's more of an eat-with-cutlery situation. Smyth and Graham have diverted slightly down the bistro route for Mary's Underground — making it a place where you can do dinner and a show as well as just a drop-in drink on a rowdy night out. As promised back in February, the venue will keep The Basement's commitment to live music going, with gigs running every night except Sunday (when the bar is closed). So far, programming has included a six-piece Afro-Cuban band, a ten-piece South London jazz performance and a New Orleans-inspired house brass band. But apart from the focus on live music, the venue isn't going for a theme other than "Sydney 2019". According to Smyth, he and his team — which consists of award-winning sommelier Caitlyn Rees (ex-Fred's), bar manager Karl Coombe and head chef Joel Wootten (both ex-Rockpool) — "aren't trying to recreate another time or another feeling", wanting the venue to instead "scream 'now'". Still, the menu has a distinct French vibe that's hard to ignore (and similar to that of Restaurant Hubert around the corner). Think caviar, oysters, lobster and a $300 seafood tower. Unlike at Mary's, you won't be able to get a meal for less than 20 bucks here. But if money is no object, the gents suggest trying the a serve of the Tasmanian sea urchin, the rock lobster potato salad and the Spanish tortilla (with the addition of blue swimmer crab, naturally). For mains, the French-style breaded whiting and the rotisserie duck with persimmon and star anise ($70 half, $140 whole) are Smyth's go-to. He also suggests ordering all of the seven sides — which include hasselback carrots and a parsnip and macadamia gratin — and finishing off with rhubarb and rosella mille-feuille for dessert. Yeah, you'll need to bring a few mates along if you're planning to follow in these footsteps. If you're just after some seafood, find a spot at The Clam Bar, a 30-seat wine and oyster bar down the back. This has a dedicated chef shucking, slicing and plating fresh market seafood before your eyes. If you'd rather something quick and casual — or vegan — you can always pop up to Mary's Circular Quay upstairs. As well its cult fave beef burgs, the bar also serves Mary's first ever completely plant-based burger. On the wine side of things, Rees — whose accolades include the 2018 Gourmet Traveller Sommelier of the Year — has designed an extensive eight-page wine booklet (which includes a whopping 37 bottles of chardonnay) and every bit of it is organic or biodynamic. She's working towards keeping the list at half-Australian and half-international producers, the latter being mainly Italian and French varietals. Offsetting the enormous wine list is a succinct list of six cocktails — three specialty and three lesser known classics — that will change monthly. The list, according to bar manager Coombe, will showcase the bar team's tastes, as well as classics that it feels have "been overlooked or underrated by the hospitality community". Those include the Rum Uppercut (a mix of smoked rum and Plantation overproof rum with amaro, spiced pineapple syrup, bitters and Young Henrys cloudy cider) and Coombe's version of a Lychburg Lemonade (Jack Daniel's No. 7, Cointreau, lemon and soda). A regular classic is set to be the Filth and Fury, which is the venue's signature dirty martini. It infuses Poor Toms gin with Adelaide Hills Distillery dry vermouth, Australian bush tomato and edible seaweed. While certainly a more grown-up venture than the group's previous venues, the usual party vibes of the OG Mary's prevail, making it a great addition to the CBD bar scene. Images: James Adams. Appears in: Sydney's Best Underground Bars for 2023
There are food festivals, and then there's Noosa in June. From Thursday, June 11 to Sunday, June 14 2026, the Noosa Food & Wine Festival transforms the coastline into a playground of waterfront lunches, live cooking battles and beachside dinners that blur the line between refined and raucous (how Noosa). Sand underfoot, champagne in hand, some of the country's best chefs on the tools – it's a format that's hard to beat, and the 2026 lineup looks particularly electric. Come hungry. Official Opening Party Friday, June 12 Promising to be "bigger, brighter, and even more unforgettable" than its sold-out 2025 equivalent, this is the celebration that sets the tone for everything that follows. Expect continuous canapés and interactive pop-ups from an all-star culinary cast, including Guy Grossi, a South African braai from Warren Mendes, and Lucio's Marina's interactive seafood bar. As the sun drops behind the marquee and the sky shifts to gold, live DJs take over, and the three-hour beverage package keeps pace – welcome Enough cocktail on arrival, wines from Mojo and beers from Stone & Wood flowing freely. Part marquee comfort, part open-air beachfront beauty, this is Noosa at its most celebratory: sand underfoot, drink in hand, chefs at full throttle. Sunset Sessions: Beachside Dinner Saturday, June 13 Sunset Sessions brings fire, flavour and three of Australia's most exciting restaurants together for one collaborative feast on the sand. Lanai's Ryan Fitzpatrick, Stanley's Louis Tikaram and Serai's Ross Magnaye join forces for a share-style dinner inspired by the islands of the Pacific and the spice markets of Asia – bold, expressive and designed to pass across the table. Canapés on arrival lead into three generous courses, with interactive cooking stations adding theatre as the sky shifts to gold. The Catalina Afternoon Float Sunday, June 14 Swap sand for something sleeker and step aboard Noosa's most iconic vessel for a two-hour river cruise where flavour, sunshine and soundtrack align. Presented by Florcita Tequila, this Sunday session blends Latin-inspired canapés, premium pours and DJ-curated beats as you glide along the Noosa River. At the helm is Jason Jones, the culinary force behind Melbourne's acclaimed Mamasita and Noosa's Bandita. His menu of continuous canapés celebrates bold Latin flavours with a refined coastal twist – vibrant, punchy and designed to match every sip. If your ideal Sunday involves midday margaritas, river breezes and dancing in the golden glow of a subtropical afternoon, this is your move. The Festival Sundowner Sunday, June 14 One last, sun-soaked celebration to round out the weekend. As golden hour settles in, this big-finale beach party blends continuous canapés, flowing drinks and DJ sets that roll effortlessly into the evening. On the tools is Light Years, serving bold, punchy modern Asian flavours designed to share. Expect playful combinations, vibrant spice and the kind of dishes that demand a second lap. At the bar, Stone & Wood keeps things crisp and easy-drinking – think Pacific Ale in hand, sand underfoot and that salty twilight breeze coming off the water. Three hours. 350 guests. Toes in the sand and festival energy at full tilt. Restaurant Series Thursday, June 11 to Sunday, June 14 If the beach parties bring the spectacle, the Restaurant Series is where things stay intimate. Across four days, almost 20 of Noosa's top dining destinations will host one-off collaborations, curated menus and chef pairings that exist for one service only. It's billed as "an unmissable series of fully curated events, top-tier collaborations, and never-before-seen culinary experiences" – and many of these line-ups may never share a kitchen again. Expect Rickys Bar & Grill with Brisbane's Essa, Light Years alongside Long Time (Bali), Bandita and Byrdy bringing Melbourne energy north, Peli's teaming up with George Calombaris, Sum Yung Guys collaborating with Marion Grasby, The Wood Shed (Kin Kin) partnering with Lancemore (Melbourne), Humble on Duke joining forces with Makepeace Island, plus brand new venue Cibaria Noosa stepping into the mix. Smaller rooms. Sharper menus. Blink, and you'll miss them. American Express Festival Village Saturday, June 13 If you want it all in one place, this is your base. The American Express Festival Village is the beating heart of Noosa Food & Wine – a high-energy day packed with live cooking, cold drinks and more than 40 bars and restaurant pop-ups to roam between. Your General Admission ticket sets the tone early: a reusable festival glass, canapés on arrival and a welcome mocktail in hand before you dive into the action. From there, it's a choose-your-own-adventure of 10+ live cooking demonstrations across the Main Stage and Olsson's Salt Culinary Stage, plus a full soundtrack of DJs and live acts. The Main Stage brings the theatre, with headline cooking demonstrations and the ever-rowdy PorkStar Live Cooking Battles. Over on the Culinary Stage, guest chefs share tips, tricks and samples, with Interactive Tickets available for front-row seats and extra tastings. Between sessions, settle into the Village Pavilion for laid-back luxe under shady palms, explore producer pop-ups from around Noosa and the Sunshine Coast, or post up in the Premium Lounge to sip and watch the action in comfort. It's dynamic, delicious and delightfully buzzy – a full-day immersion in everything the festival does best. The full festival program has just been unveiled, with Signature Events and Festival Village tickets on sale now. The Restaurant Program tickets will go on sale from Friday, March 13 – subscribe to access an exclusive 24-hour presale. Images: Supplied
There's a new gin in town and it's pink. And when we say pink, we mean really pink — like, Grease girl gang pink. This delightful concoction will be in glasses for spring and its creators are the master distillers at Bass and Flinders, which you'll find on the Mornington Peninsula in Victoria. Dubbed Cerise, the gin gets its pinkness from a blend of cherries and raspberries, which is layered with hibiscus and orange blossom aromas. These ingredients are sourced from farms at nearby Red Hill. All bottles are made in small batches, to keep the gin's high quality and delicate flavour profile. Apparently it will have a slight sweetness, similar to Turkish delight. As with all Bass and Flinders gins, the spirit is based on grapes. "Using grape spirit for gin provides another dimension to the gin's botanicals and adds to the viscosity, texture and flavour — this, combined with seasonal produce, produces extraordinary spirits," says head distiller Wayne Klintworth. The gin will go on sale on September 12. It'll be available for a limited time, only at the cellar door and via the distillery's website. Bass and Flinders have been making unusual gins and other spirits, including vodka, limoncello, grappa and a five-year-aged brandy called Ochre, since 2009.
"Well, Kriv got talking to me, you see. At a certain point late in the filming of The Correspondent, he mentioned in passing that he wanted to talk to me about another thing. And when he told me about the idea, I had some initial reluctance, because I guess playing another important Australian political figure wasn't the first thing that would come to mind on my list of most-desired projects," Richard Roxburgh tells Concrete Playground. The Australian actor is chatting about director Kriv Stenders, who he worked with on 2019's Danger Close: The Battle of Long Tan, then on 2025 cinema release The Correspondent and now on Joh: Last King of Queensland as well. "And I guess the way that he talked about it, the way that he pitched it to me, I just thought it was such a kind of crazy, excellent idea that I thought I had to go for." In Roxburgh and Stenders' aforementioned movie collaborations so far, the former has continued a trend that's popped up repeatedly across his career: portraying real-life Australian figures. Danger Close tasked him with stepping into Brigadier David Jackson's shoes. In The Correspondent, he helped bring journalist Peter Greste's ordeal after being arrested in Egypt, then put on trial, found guilty and sentenced to seven years' imprisonment, to the screen. Now, however, Roxburgh is playing former Queensland premier Joh Bjelke-Petersen — and doing so not in a drama, but in a documentary. Joh: Last King of Queensland initially premiered at the 2025 Sydney Film Festival, then made its way to streaming via Stan. While Stenders has compiled a wealth of archival footage to fill its frames, as well as contemporary interviews with the politician's family members and friends, plus journalists, historians and more, Roxburgh couldn't have a more pivotal part. In recreations of the final days that the conservative figure at the doco's centre spent in office in 1987 after years leading the Sunshine State — when he refused to leave, in fact — the acclaimed actor delivers Bjelke-Petersen's speeches. Stenders grew up in Queensland, and has crafted a cautionary portrait of Bjelke-Petersen's time in charge of the state. The prolific filmmaker, who has kept jumping between fiction and fact, and the big and small screens, via everything from The Illustrated Family Doctor, Lucky Country, Red Dog and its sequel, Kill Me Three Times, the Wake in Fright miniseries, Jack Irish, Bump and Last Days of the Space Age to The Go-Betweens: Right Here, Brock: Over the Top and Slim & I, has also made another timely film with Roxburgh after The Correspondent also proved exactly that. Watching Joh: Last King of Queensland's survey of one man's authoritarian-style power, a regime filled with corruption and the vast suppression of dissent, for instance, means seeing blatant parallels to global politics today. [caption id="attachment_1015675" align="alignnone" width="1920"] Stephane Cardinale - Corbis/Corbis via Getty Images[/caption] Despite his initial hesitation, Roxburgh felt that this was a unique opportunity. "It really did. It felt really quite odd, and I was still unreally unsure about it when we started shooting it — but Kriv was so determined about it and was loving what he was seeing so much, he kept reassuring me that it was just going to slot into what he was doing. So, I trusted him," he advises. He was aware of the type of material that would surround his performance in the documentary, too. "I picked Kriv's brains about a lot of it, so I did know quite a bit of what was going on. I knew the people he'd interviewed, what the general thrust of their interviews were. I was across quite a bit of that stuff." Portraying Bjelke-Petersen doesn't just follow Roxburgh's time as Greste and as Jackson for Stenders. He has played former Australian Prime Minister Bob Hawke twice, in both Hawke and The Crown. His performance as corrupt police office Roger Rogerson in Blue Murder won him his first Australian Film Institute Award — the accolades that are now the AACTAs — and Logie. Then there's Roxburgh's efforts as pianist Percy Grainger in Passion; as Ronald Ryan, the last person legally executed in Australia, in The Last of the Ryans; and in Bali 2002 as Graham Ashton, the Australian police's operational commander in the investigation into the bombings. That parts as real-life Australian figures keep coming his way, alongside interrogations of power and how it impacts those in prominent positions — streaming series Prosper and The Dry sequel Force of Nature equally fit the latter bill — were also topics of discussion in our second chat for 2025 with Roxburgh. Among other subjects, we spoke with him about putting in another performance for Stenders that places him in one space alone, as portraying Greste largely did; not growing up in Queensland under Bjelke-Petersen like Joh: Last King of Queensland's director; if there's a real-life Aussie that he's keen to take on next; and the diversity he's enjoyed beyond his stints inhabiting IRL names, with Thank God He Met Lizzie, Oscar and Lucinda, Mission: Impossible II, Moulin Rouge, Van Helsing, Rake, Sanctum, Looking for Grace, Go!, Elvis, Aunty Donna's Coffee Cafe and Lesbian Space Princess just some of his other projects. On the Theatre Feel to Roxburgh's Solo Scenes in Joh: Last King of Queensland — and the Process of Stepping Into Bjelke-Petersen's Shoes "It was a weird little moment in time, obviously. Because it felt after a couple of days, I said to Kriv, like a stage production that no one would see about the life and times and great strangeness of this powerful Australian political presence. So it was odd. But I think the more I settled into it, into the rhythms of that character, and tried to burrow into what he was doing in those last three days when he was alone, the more settled I felt. I thought it was going to be easier than it ended up being — because I thought, the way that Kriv talked about it, we weren't going to do makeup, we weren't going to do any of the lookalike stuff, in particular. But there were some elements that were so key to his personality, and so key to the way that he crafted sentences — the way that he conveyed information. And then there were other things, like the fact that he had polio as a child. There were so many things that went into the physical and vocal life of the character that ended up being so important and, in a way, they were sine qua non. I had to at least find the song of it. I had to find that cadence, that particular gift for clouding argument, for obfuscation, for changing sentences midstream. And you couldn't do that in the end without actually doing it. So it ended up being quite a lot of work — a lot of pre-work." On Getting Into the Mindset of a Leader That Everyone Wants Out of Office But Is Refusing to Leave "There's quite a bit of really excellent footage of Joh strongly inhabiting his argument, whatever the argument is. And so that was really useful to see how he commanded the space in those times. There was a lot less of his cloudiness, his wooliness, his diversion, obfuscation, when he was speaking like that — and a lot more control and determination, incredible determination, that he was absolutely right. Joh was an absolutist. He believed in his authority, and the fact that it was a kind of gift to Queensland from god, as it were, because he felt like he was obeying divine instruction. He was always serving his version of his lord. And so there's, to my mind, a really salient warning in that as well." On Whether There's Anything That's Key to Roxburgh in Inhabiting, Rather Than Merely Impersonating, a Real-Life Figure "I guess it's not more than it is for any other character you do. It's just a different landscape, because it's a landscape that everybody's seen before. So the difference is that an audience is going to watch it with a precondition and pre-understanding of what that character is meant to look like or how they were. It's not really different in the sense that you always have to find yourself in the in the centre, in the makeup of — and I don't mean makeup as in hair and makeup, I mean in the cellular energy of that individual, which doesn't change whether the character is fictitious or was somebody who lived and was very much in the public eye. But the difference is that everybody knows that landscape. So the people watching this documentary, at least 90 percent of them will be enormously familiar with the personality and personage of Joh. And so they'll be coming in with a pre-understanding or a preconditioning to what that character is like. So that's the thing. The risk is to do the comedic version of the character, because there were so many great versions of that and I didn't want to fall into that." On If Having an Outsider's Eye, Not Growing Up in Queensland, Helped with Roxburgh's Task in Joh: Last King of Queensland "Interesting thought. I don't know the answer to that. I feel like probably my work would be the same no matter what. Because your work, when you're inhabiting that character, is going to be always the same — and in a sense, it's to not judge it. Because Joh, whatever we think of him, he had his own incredibly powerful reasons for doing what he did — and incredibly powerful self-justifications for doing them." On What Interests Roxburgh About Interrogating the Nature and Influence of Power On-Screen "I think it's definitely something that interests me, because it's so front and centre in the human experience — because we're either living it, aiming for it ourselves, or we're suffering at the hands of it. And so it's always there. And it's such a rich and compelling part of what it is to be a human being, as evidenced in everything that Shakespeare ever wrote. There's no drama, in a sense, without it, without the mechanics of it in one way or another." On Why Portraying Prominent Real-Life Australian Figures Keeps Coming His Way "No clue why I get offered these things because I obviously don't look a thing like Bob Hawke. I don't look at thing like Joh Bjelke-Petersen, either. I don't know why this happens. And as I said, I did have really strong tendrils of reluctance when Kriv was first talking to me about this. And he said 'look, I understand if you don't want to do this, having played Bob and various others — Peter Greste and other Australian famous figures'. But then I think I just really love the audacity of this project. I love the audacious way that Kriv was finding to tell this story. I just thought 'it's a great, really ballsy, wonderful piece of cinematic thinking that I loved I really'. I just really dug it. And I trust his opinion." On the Parallels That Joh: Last King of Queensland Draws Between Joh-Era Queensland and the US in 2025 — and If It Felt Like This Would Be a Timely Film While Making It "Yeah, it did. I think it's really fascinating because I have spoken to 30-year-olds in Australia who didn't know the name Joh Bjelke-Petersen, and I thought 'holy crap, come on, everybody should know that name'. These people need to be known about. As the famous saying goes about history repeating, I just think there's so many shots across the bow in that administration of Joh Bjelke-Petersen. There's so many warnings about untrammelled power and where it can lead — that one tiny rollback of something here then leads to a bigger rollback of democracy there, which just keeps leading democracy further and further afield, until you end up with, I think, a kind of deeply embedded, corrupt, pretty rotten administration where there is so much fear, so much resentment, so much anxiety. And where anybody with a slight sense of sitting outside the paradigm had to escape to safety. And I don't think that's a great place to be, and so I would love Australians to know about what happened under the administration of Joh Bjelke-Petersen." On How Roxburgh and Stenders' Working Relationship Has Evolved Over Multiple Films Now "A lot of trust in it. I really do. And a lot of the time, not having to say too much to each other. I'll still pick his brains and he'll obviously give me direction and talk about stuff. We will do that. But I think I just know what he's after. I can assess what he's after at any given moment, I think. And sometimes, we just scratch our heads after a scene and say 'I don't know if that? Did we get that right? Or do we — fuck it, let's do another one'. So there's a really great, very relaxed, trusting shorthand, I would say. And I think Kriv is an artist who is at his peak of his powers. I think he's doing such really, really interesting, strong work." On How Roxburgh Sees His Almost Four-Decade On-Screen Journey So Far "I think I've been really lucky because I've had a working life in the thing that I love. And I do still love it. I love the hell out of it. I love doing what I do so much. I love the various shapes of it. So I also like the idea of producing, of directing, of creating material, as well. I love being able to step between theatre and film and television. I like the gradation of difference that exists between film and television. I like all of it. I love all of it. So I feel really lucky and I feel privileged in the matter that I have had a life in it, and been able to make life in it. Because it's not always the case, and it can be a tough life at times. But I feel incredibly fortunate." On the Diversity That Roxburgh Has Enjoyed Across His Career — Even If Recurring Trends and Themes Pop Up "I love it. I love the kind of weird, wacky, family-photo-album madness of that particular curriculum vitae, I guess. I think, again, I'm lucky. I'm lucky to have experienced things that were ridiculous comedies. I love my time on Rake so much, because it was familial because I was deeply involved creatively — and it was so meaningful to me on lots of levels. But I think it's just a really madcap photo album that is kind of fascinating to thumb through, not that I ever do. But I guess one day in my dotage I'll be siting around, thumbing through: 'my god, I did this thing called Go!. I did this thing called — can anybody remember Lesbian Space Princess? I mean what did I do in that?'. I think it's fascinating. It's crazy." On Whether There's Any Other Key Australian Figure That Roxburgh Is Keen to Portray "No — I can say in all honesty there's not particularly. That person does not exist particularly at the moment. Generally what happens more is that you get offered something and your first thought is 'well, that's insane. That's ridiculous. Why would they? I don't. I'm not. I couldn't play that person'. And it goes from there so. No, I would say this — it's not like I would ever sit around thinking 'I'd love to have a crack at that character'." Joh: Last King of Queensland streams via Stan.
A major architectural installation landed on Sydney's streets last month when local artist and architect Chris Fox unveiled Interchange Pavilion in South Eveleigh's Village Square. The striking 350-square-metre sculptural landmark acts as a focal point and public pavilion for the new dining precinct. In coming months, it'll also function as an amphitheatre for events. An award-winning artist, Fox is most recently known for his 2017 installation Interloop, which transformed the historic 1930s wooden escalators at Wynyard Station into a 50-metre artwork suspended above the York Street escalators. More generally, he's known for creating large-scale public installations that closely intertwine art and architecture. For Interchange Pavilion, Fox was inspired by the precinct's rail history, and the structure's shape mimics the geometry of a railroad switch. As such, the pavilion is meant to embody a meeting place where paths converge. It boasts built-in seating, a wide pathway and a glowing golden hue by night. [caption id="attachment_782682" align="alignnone" width="1920"] Josh Raymond[/caption] The complex archway was building using 250 metres of stainless steel ground rails, 15 tonnes of robotically moulded glass, 1400 pieces of hardwood and over 1650 pieces of digitally fabricated aluminium. Yep, it's an impressive piece of work. The installation fits into a much larger public art program that's been curated by Carriageworks and commissioned by Mirvac for its huge new South Eveleigh project. Expect more sculptural and botanical installations to appear, too, with public works already installed by artist Jonathan Jones (in the Axle Building) and visual artist Nell (as part of Yerrabingin House). Also announced as part the new dining precinct is a mega-venue by The Grounds group and a Cantonese restaurant by Kylie Kwong — both slated for sometime in 2020. Interchange Pavilion is located at Village Square, South Eveleigh. You can find out more information about the South Eveleigh project at the Mirvac website.
Sashimi, wine and sake are the name of the game at Tanuki, the Bay Street restaurant from the Matteo team. Named after a mischievous figure in Japanese folklore (see: Studio Ghibli's Pom Poko), this spot offers a raw bar, internal courtyard, impressive sake collection and late-night lounge, all in one stunning space right next door to the Double Bay pizzeria. The venue is centred around a 30-year-old Japanese liquid amber tree with a surrounding dining bench. There are several zones to discover throughout the space, whether you're dropping in for a drink and a plate of seared salmon temarizushi or sticking around for a full feast. Leading the kitchen is Head Chef Ken Wee Lee, who brings experience from Sushi e, Zuma and Toko on a menu split into categories like sashimi, nigiri, tempura and robata. Menu highlights include Alaskan king crab cooked on the robata grill and served with truffle gratin, spatchcock presented with pickles and barley miso, and wagyu beef gyoza paired with a yuzu ponzu for dipping. There's also a pair of set menus, with the reasonably priced $80 selection rolling through edamame, kingfish sashimi, wagyu beef tartare, scallop and prawn toast, chicken karaage, the steak of the day and matcha tiramisu. An all-star cast leads the way behind the bar, with the cocktails, sake and wine lists curated by General Manager Joong Charpentier (ex-Sushi e, Hemmisphere), Bar Manager Sean Guardian (ex-Mr Wong) and Head Sommelier Ambroise Moriceau (ex-Bennelong, Armorica). Alongside the extensive sake and wine selections, you can opt for an inventive highball or peruse the signature cocktails like the 'Umeboshi' crafted with a collision of tequila, plum umeshu, strawberry and wasabi leaf, and togarashi. Tanuki is a jack-of-all-trades-style venue, offering a myriad of experiences, all set in a moody space designed by Matters + Made. Wander in from Bay Street, find your spot and decide what type of night you're in for.
You get what you pay for. I learnt this the hard way eating cheap Vietnamese on Illawarra Road in Marrickville one night when a waiter stacked our empty dishes on the table in front of me (!) only to knock them over and spill the combined remnants of our dinner on my skirt (!!!!!!!!). We left without much of an apology from the staff, no apologetic meal discount and I ended up wearing eau du sauce poisson for the rest of the night. Nice. This would never happen at Bay Tinh, just a block off Illawarra Road. Fancy it is not, but is lovely to sit down to a Vietnamese meal without feeling like tasered cattle under butcher's lights in an in-'n'-out noodle house. Instead, Bay Tinh gives its diners the time, space and surroundings to enjoy Vietnamese food more fully. You can (and should) choose your dishes entirely from the entrees and 'house specialities' sections of the (mostly southern Vietnamese, with a couple of visits up north) menu. Chao tom banh hoi ($8 entree size) opens the meal on a delicate note, combining marinated prawn grilled on sugarcane skewers with rice noodle cake, pickles, the freshness of mint and lettuce and 'special sauce' that's thick and a little too sweet. Never fear though — ask the friendly staff for some chilli to dip into instead and they will happily oblige. The banh xeo (pancake with pork, prawns and bean sprouts, $14.50) is a killer. Bay Tinh's proprietor, Harry Hoang, loves to tinker with his native cuisine — in this case he's fermented his pancake batter for a result that is lighter and more crisp than most renditions yet collapses beautifully over the fatty pork and prawns. The canh chua ($8.90), a sweet and sour soup with chicken, is a clear broth packed with fresh vegetables and pineapple. Sweetness prevails again here — a little more emphasis on the sour note would have made it a perfect chaser for the pancake. Ga rut xuong (half chicken, $28.50) shows Harry's fondness for experimentation paying off again. Deboned chicken is stuffed with minced pork, spices, vermicelli and shiitake mushrooms, cooked sous vide and then deep fried. Although the plum sauce the dish is finished with is heavy on the sweetness, the combination of the crisp chicken skin, soft meat and musky warmth of the shiitake stuffing work together beautifully. We end the meal with an apt French-Vietnamese flourish: brown sugar-caramelised banana inside a Vietnamese-style pancake with Belgian chocolate sauce and ice cream. Moreish and rich, this dessert met its end with much plate scraping. Checking the time we realise it's late — the evening has slipped by as we enjoyed a typically fast cuisine rather slowly for a change, and with much more pleasure. Images: Cassandra Hannagan
Along with delivering quintessential Southern hospitality, Memphis is the destination that allows you to walk the brick-lined streets that witnessed the astronomical talent — and unprecedented ascent to fame — of Elvis Presley. The birthplace of rock 'n' roll, and home of blues and soul, is all electrifying energy and originality. This June, Baz Luhrmann is bringing the bright lights, creative flair and distinct directorial prowess he's known for to the euphonious history of Memphis with Elvis. The energetic and emotionally charged film charts the rise (and rise) of Elvis Presley (Austin Butler), celebrating the inimitable musician's music and life against the backdrop of an evolving cultural climate in 1950s and 60s America. Using the lens of Presley's relationship with his enigmatic manager Colonel Tom Parker (Tom Hanks), the bold picture tells a story of musical self-expression and monumental stardom — and the coinciding loss of innocence that was broadcast on a global stage. As hips shook, money was made and a rock 'n' roll icon immortalised. https://youtu.be/xSbQ_ERfmFQ To celebrate the release of Elvis in cinemas Thursday, June 23, Memphis Tourism is giving you the chance to win two tickets to the Australian premiere on the Gold Coast — which is where the feature was shot — on Saturday, June 4. To be in the running to rock and roll your way to the red-carpet experience, enter below. [competition]851551[/competition] Top images: Hugh Stewart (first two); Courtesy of Warner Bros Pictures (third) © 2022 Warner Bros. Ent. All Rights Reserved.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. BERGMAN ISLAND Each filmmaker sits in the shadows of all who came before them — and as cinema's history lengthens, so will those penumbras. With Bergman Island, French writer/director Mia Hansen-Løve doesn't merely ponder that idea; she makes it the foundation of her narrative, as well a launching pad for a playful and resonant look at love, work and the creative wonders our minds conjure up. Her central duo, two filmmakers who share a daughter, literally tread where the great Ingmar Bergman did. Visiting Fårö, the island off Sweden's southeastern coast that he called home and made his base, Chris (Vicky Krieps, Old) and Tony Sanders (Tim Roth, The Misfits) couldn't escape his imprint if they wanted to. They don't dream of trying, as they're each searching for as much inspiration as they can find; however, the idea of being haunted by people and their creations soon spills over to Chris' work. Bergman's Scenes From a Marriage has already been remade, albeit in a miniseries that arrived on the small screen a couple of months after Bergman Island premiered at the 2021 Cannes Film Festival — but across one half of Hansen-Løve's feature, that title would fit here as well. Her resume has long been filled with intimate looks at complicated relationships, including in 2009's Father of My Children and 2011's Goodbye First Love, with her movies both peering deeply and cutting deep as they unfurl the thorny intricacies of romance. Accordingly, when Chris and Tony find themselves sleeping in the bedroom where Bergman shot the original Scenes From a Marriage, it's a loaded and layered moment several times over. That said, the thing about willingly walking in someone else's footsteps is that you're not bound to taking the exact same path — as Bergman Island's characters learn, and as the filmmaker that's brought them to the screen clearly already knows. Turning in finessed and thoughtful performances, Krieps and Roth bring a lived-in dynamic to the film's first key couple, with the chaos that swirls from being in the same line of work but chasing disparate aims not just flowing but bubbling in their paired scenes. He's the kind of Bergman fan that's adamant about going on the Bergman safari, a real-life thing that all visitors can do, for instance, while she prefers being shown around informally by young film student Hampus (acting debutant Hampus Nordenson). But their Fårö escapades only fill half of Bergman Island, because the movie also brings Chris' budding script to life. She tells Tony the tale, seeking his assistance in working out an ending, but he's too immersed in Bergman worship to truly pay attention. The feature itself, Hansen-Løve and the audience all savour the details, though — eagerly so. There, in this film-within-a-film, 28-year-old director Amy (Mia Wasikowska, Blackbird) visits an island, too — "a place like this," Chris advises, and one that visibly resembles Fårö. She dances to ABBA to cement the Swedish ties, and also spends her time on the locale's shores wading through matters of art and the heart. The catalyst for the latter: her ex Joseph (Anders Danielsen Lie, The Worst Person in the World). They're both attending a wedding of mutual friends, and their lengthy, passionate and volatile history quickly pushes to the fore. While they've each moved on, they're also forever connected, especially when placed in such close quarters. Accordingly, that tumultuous relationship is as bedevilled by other creative endeavours, and also by the thrall of history, as Chris' quest to put pen to paper. And, via the movie-inside-a-movie concept, there's an evocative sense of mirroring that couldn't spring any firmer from Bergman himself. Read our full review. WASH MY SOUL IN THE RIVER'S FLOW A silent hero and a rowdy troublemaker. That's what Ruby Hunter calls Archie Roach, her partner in life and sometimes music, then characterises herself. She offers those words casually, as if she's merely breathing, with an accompanying smile and a glint in her eyes as she talks. They aren't the only thoughts uttered in Wash My Soul in the River's Flow, which intersperses concert and rehearsal clips with chats with Hunter and Roach, plus snippets of biographical details from and recollections about their lives as intertitles, and then majestic footage of the winding Murray River in Ngarrindjeri Country, where Hunter was born, too. Still, even before those two-word descriptions are mentioned, the film shows how they resonate within couple's relationship. Watching their dynamic, which had ebbed and flowed over three-plus decades when the movie's footage was shot in 2004, it's plain to see how these two icons of Australian music are dissimilar in personality and yet intertwine harmoniously. Every relationship is perched upon interlocking personalities: how well they complement each other, where their differences blend seamlessly and how their opposing traits spark challenges in the best possible ways. Every song, too, is a balance of disparate but coordinated pieces. And, every ecosystem on the planet also fits the bill. With Hunter and Roach as its focus, Wash My Soul in the River's Flow contemplates all three — love, music and Country — all through 2004 concert Kura Tungar — Songs from the River. Recorded for the documentary at Melbourne's Hamer Hall, that gig series interlaced additional parts, thanks to a collaboration with Paul Grabowsky's 22-piece Australian Art Orchestra — and the movie that producer-turned-writer/director Philippa Bateman makes of it, and about two Indigenous stars, their experience as members of Australia's Stolen Generations, their ties to Country and their love, is equally, gloriously and mesmerisingly multifaceted. When is a concert film more than a concert film? When it's Wash My Soul in the River's Flow, clearly, which is named for one of Kura Tungar's tracks. Bateman could've just used her recordings of the legendary show, which won the 2005 Helpmann Award for Best Australian Contemporary Concert, and given everyone who wasn't there the chance to enjoy an historic event — and to bask in the now-late Hunter's on-stage glories more than a decade after her 2010 passing — but that was clearly just the starting point for her movie. With Roach as a producer, the documentary presents each of its songs as a combination of five key elements, all weaved together like the feather flower-dotted, brightly coloured headpiece that Hunter wears during the performance. With each tune, the film repeats the pattern but the emotion that comes with it inherently evolves, with the result akin to cycling through the earth's four seasons. First, a title appears on-screen, overlaid across breathtakingly beautiful images of the Murray and its surroundings, and instantly steeping every song in a spectacular place. From there, the Kura Tungar rendition of each tune segues into practice sessions with Grabowsky and the AAO of the same track, plus both text and on-the-couch chatter between Hunter and Roach that speaks to the context of, meaning behind and memories tied to each piece. Hunter's 'Daisy Chains, String Games and Knuckle Bones', which springs from her childhood, gets that treatment. Roach's unforgettable 'Took the Children Away' does, too. 'Down City Streets', as written by Hunter and recorded by Roach, also joins the lineup. The list goes on, and the power that each song possesses alone — which, given the talent and topics involved, is immense — only grows when packaged in such a layered manner. Read our full review. THE SOUVENIR: PART II In showbusiness, nepotism is as inescapable as movies about movies. Both are accounted for in The Souvenir: Part II. But when talents as transcendent as Honor Swinton Byrne, her mother Tilda Swinton and writer/director Joanna Hogg are involved — with the latter working with the elder Swinton since her first short, her graduation piece Caprice, back in 1986 before Honor was even born — neither family ties nor filmmaking navel-gazing feel like something routine. Why this isn't a surprise with this trio is right there in the movie's name, after the initial The Souvenir proved such a devastatingly astute gem in 2019. It was also simply devastating, following an aspiring director's romance with a charismatic older man through to its traumatic end. Both in its masterful narrative and its profound impact, Part II firmly picks up where its predecessor left off. In just her third film role — first working with her mum in 2009's I Am Love before The Souvenir and now this — Swinton Byrne again plays 80s-era filmmaking student Julie Harte. But there's now a numbness to the wannabe helmer after her boyfriend Anthony's (Tom Burke, Mank) death, plus soul-wearying shock after discovering the double life he'd been living that her comfortable and cosy worldview hadn't conditioned her to ever expect. Decamping to the Norfolk countryside, to her family home and to the warm but entirely upper-middle-class, stiff-upper-lip embrace of her well-to-do parents Rosalind (Swinton, The French Dispatch) and William (James Spencer Ashworth) is only a short-term solution, however. Julie's thesis film still needs to be made — yearns to pour onto celluloid, in fact — but that's hardly a straightforward task. As the initial movie was, The Souvenir: Part II is another semi-autobiographical affair from Hogg, with Swinton Byrne slipping back into her on-screen shoes. This time, the director doesn't just dive into her formative years four decades back, but also excavates what it means to mine your own life for cinematic inspiration — aka the very thing she's been doing with this superb duo of features. That's what Julie does as well as she works on the film's film-within-a-film, sections of which play out during The Souvenir: Part II's running time and are basically The Souvenir. Accordingly, viewers have now spent two pictures watching Hogg's protagonist lives the experiences she'll then find a way to face through her art, all while Hogg moulds her two exceptional — and exceptionally intimate and thoughtful — movies out of that exact process. Julie's graduation project is also an escape, given it's patently obvious that the kindly, well-meaning but somehow both doting and reserved Rosalind and William have been pushed out of their comfort zone by her current crisis. Helping their daughter cope with her heroin-addicted lover's passing isn't something either would've considered might occur, so they natter away about Rosalind's new penchant for crafting Etruscan-style pottery instead — using small talk to connect without addressing the obvious, as all families lean on at some point or another. They provide financing for Julie's film, too, in what proves the easiest part of her concerted efforts to hop back behind the lens and lose herself in her work. Elsewhere, an array of doubt and questions spring from her all-male film-school professors, and the assistance she receives from her classmates is quickly steeped in rivalries, envy and second-guessing. Read our full review. FACING MONSTERS "If you want the ultimate, you've got to be willing to pay the ultimate price." Uttered by Patrick Swayze in 90s surfing action flick Point Break, that statement isn't directly quoted in Facing Monsters. Still, when it comes to the underlying idea behind those words — that anything at its absolute pinnacle comes at a cost, especially seeking bliss hanging ten on giant swells — this new Australian documentary unquestionably rides the same wave. Directed by Bentley Dean, and marking his first movie in cinemas since 2015 Oscar-nominee Tanna, the film focuses on Kerby Brown, the Aussie slab surfer who is at his happiest atop the biggest breakers possible. He's turned hunting them into his life's mission — think Point Break's 50-year storm, also set in Australia, but every time that Kerby hops on a board — and Facing Monsters commits that pursuit to celluloid. Helming solo unlike on Tanna — which he co-directed with Martin Butler, as he did on prior documentaries Contact, First Footprints and A Sense of Self as well — Dean understands three key aspects to Kerby's story. The thrills, the spectacle and the calm: they're all accounted for here, including simply in the astonishing imagery that fills the film. There's no shortage of talk in Facing Monsters; Kerby himself, his brother and frequent partner-in-surf Cortney, his partner Nicole Jardine, and his parents Glenn and Nola all chat happily. But this movie makes much of its impact, and captures plenty that's pivotal, all via its visuals alone. Cinematographer Rick Rifici has long shot the sea as if it's an otherworldly space, including while working as a camera operator on Storm Surfers, as a water cinematographer on Breath, and as the underwater camera operator on Dirt Music, and he's as as crucial here as Kerby. The long, wide, lingering image that begins the film is one such unforgettable moment — essential and exceptional, too. Kerby floats in a sea of lush but rippling pink, face to the sky, his board strapped to his leg. It's a near-supernatural sight, and a transcendent one, but amid the unshakeably striking beauty of the shot, uncertainty also loiters. An unspoken query, too: is this a picture of bliss or bleakness? Next comes a quick cut, letting Kerby's bloody face and bandaged head fill the the screen instead, and making it instantly clear that his love of riding big waves has physical and severe consequences. The gorgeous visions return from there, and the intimacy as well — the latter largely flowing from talk from this point forward — but Facing Monsters' first frames truly do say it all. Indeed, it's noticeable that the remainder of the movie feels like it's paddling after this opening sensation and atmosphere. Facing Monsters is a documentary about chasing, of course — waves, obsessions, addictions, demons, solace and happiness alike. The dangerous nature of slab surfing plays out like a quest as much as an adventure, driving Kerby ever since he and Cortney got bored with the swells at Kalbarri in Western Australia, where they grew up, then starting seeking out bigger and bigger possibilities. That's there in the chatter as well as the imagery, in a film that aims to convey the what and why behind its subject's choices through immersion first and foremost. It's fitting, then, that watching Facing Monsters sometimes resembles riding high — when its visuals express everything they need to — and sometimes floats in shallower waters. Ensuring that audiences share the awe and wonder that Kerby experiences on his board is easy with Rifici's astounding help; diving deeper into exactly what else makes its point of focus tick, and has through swirls of drugs and booze, life-threatening incidents in the surf, and becoming a father, is a far more evasive task. BOOK OF LOVE In 2018's The Nightingale, Sam Claflin gave the performance of his career so far while playing thoroughly against type. As a British lieutenant in colonial-era Tasmania, he terrorised the film's female protagonist to a nerve-rattlingly distressing degree — and his work, just like the phenomenal feature he's in, isn't easy to watch. Book of Love, his latest movie, couldn't be more different; however, Claflin's portrayal could use even a sliver of the commitment he demonstrated four years back. The film around him could, too. Here, he plays a floundering novelist who doesn't want to do a very long list of things, so it makes sense that he takes to the part with a dissatisfied attitude that drips with not only unhappiness, but pouting petulance. He's meant to be one of this dire rom-com's romantic leads, however, and he constantly looks like he'd rather be doing anything else. Author of The Sensible Heart, Claflin's Henry Copper is instantly as dour as his book sounds. It too is a romance, but he's proud of its sexlessness — to the point of boasting about it to bored would-be readers who definitely don't make a purchase afterwards. He's also seen using his novel as a pick-up line early in the movie, and that goes just as badly. In fact, his whole career seems to be a shambles, and the prim-and-proper Brit can't understand why. But he's also surprised when he's told that his latest has become a bestseller in Mexico, and he's hardly thrilled about the whirlwind promotional tour his brassy agent (Lucy Punch, The Prince) swiftly books him on. Upon arrival, where his local translator Maria Rodríguez (My Heart Goes Boom!) doubles as his minder, he's visibly displeased about everything he's asked to do — more so when he discovers that she's taken the liberty to spice up his work. Of course, Maria's revisions — a wholesale rewrite that plunges The Sensible Heart into erotic page-turner territory — are the sole reason that Mexican women are lining up at Henry's events to throw themselves at him. And with both his British-based and Mexican agents adamant that his publicity tour must go on, he's forced to grin and bear that truth as they take a road trip across the country. Henry and Maria are a chalk-and-cheese pair in a host of other ways, naturally, but apparently sparks can't help igniting in this contrived scenario. It's telling that BuzzFeed Studios is behind the film, the site earns a mention in the movie and its plot feels like a gif-heavy listicle from the outset. Indeed, based on how slight and stereotypical every aspect of Book of Love proves, writer/director Analeine Cal y Mayor (La Voz de un Sueño) and co-writer David Quantick (Veep) don't appear to have spent much time fleshing anything out beyond that potential starting point. Tired, not wired: that's the end result, including Book of Love's place in the current literary-focused subgenre of romantic flicks that's also spawned the 50 Shades movies, the After films and fellow forgettable 2022 release The Hating Game. Claflin's patent disinterest is the least of the feature's troubles given that its storyline is nonsensical, there's no sign of chemistry between its leads, the dialogue couldn't be flatter and the travelogue setup has already been overdone. The charismatic Rodríguez certainly deserves better, even if no one else involved inspires the same description solely based on their efforts here. She's stuck playing a character that's been given as much depth and texture as a full stop — the archetype: feisty put-upon single mother with big dreams but crushing responsibilities — but she's also the only part of the movie that feels remotely real. OFF THE RAILS In need of a bland and derivative friends-on-holidays flick that's painted with the broadest of strokes? Keen to dive once more into the pool of movies about pals heading abroad to scatter ashes and simultaneously reflect upon their current lot in life? Fancy yet another supposedly feel-good film that endeavours to wring humour out of culture clashes between English-speaking protagonists and the places they visit? Yearning for more glimpses of thinly written women getting their grooves back and realising what's important on a wild Eurotrip? Call Off the Rails, not that anyone should. Coloured with every cliche that all of the above scenarios always throw up, and also covered from start to finish in schmaltz, it's a travel-themed slog that no one could want to remember. A grab bag of overdone tropes and treacly sentiment, it also doubles as an ode to the songs of Blondie, which fill its soundtrack — but even the vocal stylings of the great Debbie Harry can't breathe vibrancy into this trainwreck. Alongside its woeful been-there-done-that plot, its lack of personality, its yearning to be the next Mamma Mia! and all those Blondie tracks — the prominence of which makes zero sense given how briefly and haphazardly each song, hits and deeper cuts alike from a lengthy list, are deployed — Off the Rails does have another claim to fame to its name. The British film also marks the last on-screen appearance of Kelly Preston, who passed away in mid-2020; however, it isn't the swansong that any actor would want. Her involvement does give the movie's messages about making the most of one's time, embracing what you love and keeping in touch with the people who matter while you can a bittersweet tone, but not enough to wash away its mix of dullness and overdone mawkishness. Or, to invest depth into what's largely 94 minutes of middle-aged travellers arguing about anything and everything. Once close, Kate (Jenny Seagrove, Peripheral), Liz (Sally Phillips, Blinded by the Light) and Cassie (Preston, Gotti) now just call on big occasions — and even then, they're barely there for each other. But when fellow pal Anna dies, they reunite at her funeral, and are asked to carry out her final wish by her mother (Belfast's Judi Dench, in a thankless cameo). The task: catching a train across Europe, through Paris to Girona, Barcelona and Palma in Spain, to recreate a backpacking jaunt the four took decades earlier. Specifically, they're headed to La Seu, a cathedral with stained-glass windows that look particularly spectacular when the sun hits at the right time (the film calls it "god's disco ball"). Anna already bought their Interrail passes, and her 18-year-old daughter Maddie (Elizabeth Dormer-Phillips, Fortitude) decides she'll join the voyage, too. Amid the bickering, which fills most of debut feature director Jules Williamson's scenes and screenwriter Jordan Waller's dialogue, the usual antics all roll out. Old feuds are unearthed, transport often goes awry every which way it can and the main middle-aged trio cause middle-aged women problems (getting drunk, getting lost, causing a scene in a boutique, delivering a baby and the like). Menopause earns some discussion, romance also springs — which is where the always-welcome but underused Franco Nero, aka cinema's original Django, comes in — and life lessons are ultimately learned. If that sounds tediously stock-standard on paper, it certainly plays out that way in a sunnily shot but always plodding ostensible comedy. Few performances could improve this plight, and Off the Rails' happily one-note efforts can't either, especially when its most interesting character and corresponding portrayal — courtesy of Dormer-Phillips as Maddie — keeps being pushed aside. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3. You can also read our full reviews of a heap of recent movies, such as Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman and Blind Ambition.
Lego Camera is a 3-Megapixel camera made entirely out of its namesake. It is a new go-to gadget for any shelf that’s looking a little bare and any hands that are feeling a little bored because, being Lego, you can add extra pieces to build a totally customised camera. Fortunately, it can't be pulled apart, which means you won’t find yourself scrambling on all fours looking for that missing piece. The camera, available online at Urban Outfitters, has pretty simple features: fixed focus, digital zoom, in-built flash and a 1.5 inch colour-screen with memory to store 8 shots. This may be marketed to the younger generation, but for those who never outgrew their childhood Lego fixation to operate this is certainly a fun option. [Via Desktop Mag]
It might be a movie about a faux romance, but Anyone But You hasn't faked its setting. In the upcoming rom-com, which has a date with cinemas on Boxing Day, Sydney Sweeney (Reality) and Glen Powell (Top Gun: Maverick) play a couple pretending that they're in love — but as most of the just-dropped full trailer shows, there's no shams about the Sydney location. When Sweeney was in Sydney at a Sydney Swans game earlier in 2023, it wasn't just because she was playing the Sydney version of Pokémon and catching them all. Rather, the Euphoria and The White Lotus star was filming this movie. And, from both the first teaser and the latest sneak peek, this film clearly falls into a specific category of Aussie-made flicks: pictures shot Down Under that can't stop reminding viewers that they were made Down Under (see also: fellow future release The Fall Guy, which will arrive in 2024). [caption id="attachment_926799" align="alignnone" width="1920"] Glen Powell and Sydney Sweeney star in ANYONE BUT YOU.[/caption] Multiple shots of the Sydney Harbour Bridge and Sydney Opera House feature heavily amid the banter-heavy glimpses at Anyone But You's stars. In fact, the Opera House even shows up in the background as Bea and Ben are having a Titanic moment on a boat. Anyone But You's setup: Sweeney's Bea had a great first date with Powell's Ben; however, then everything turned sour. Now they're at the same destination wedding and pretence becomes their solution. Anyone But You is directed and co-written by Will Gluck, who has both Easy A and Friends with Benefits on his resume, then the vastly dissimilar Annie and the two Peter Rabbit movies. On-screen, as well as Sweeney, Powell and a whole lot of Sydney — the city — Alexandra Shipp (Barbie), GaTa (Dave), Dermot Mulroney (Secret Invasion), Bryan Brown (C*A*U*G*H*T) and Rachel Griffiths (Total Control) also feature. Check out the full trailer for Anyone But You below: Anyone But You opens in cinemas Down Under on December 26, 2023.
This Queen's Birthday Long Weekend, Sydneysiders are allowed to travel to regional NSW once again, but it doesn't mean everyone can — or wants to. If you're staying local, it's certainly no time to despair. With restrictions easing, the city's shops, cultural institutions and hiking trails are reopening, so there's plenty to explore. From starting your day with a flaky fresh-from-the-oven pastry to ending it watching a flick on the big screen at a drive-in cinema, our fair city has lots to offer. As some COVID-19 rules are still in place though, it's not 100 percent business as normal, with limited capacities and social distancing measures at most indoor and outdoor venues. So, we suggest you check the relevant websites before making plans. To find out exactly what you can and can't do under NSW's current restrictions, have a look over here. [caption id="attachment_652424" align="alignnone" width="1920"] Infinity Bakery Paddington by Kitti Gould[/caption] START YOUR DAY WITH A FLAKY FRESH-FROM-THE-OVEN PASTRY There's nothing quite like the smell of freshly baked bread and pastries to whip your appetite into a frenzy. And that first bite of fluffy doughnut or glazed danish, not too long out of the oven? That's one way to kick off your long weekend. You can do just that at long-standing Sydney favourite Infinity — led by brother and sister duo, William and Sophie Peterson — which has outposts in Manly, Paddington and Darlinghurst. Alongside its range of sourdough — white, wholemeal, spelt and rye — you can find expertly made pastries, including croissants, cinnamon scrolls and piping hot pies, plus cakes, muffins, sandwiches and a brownie that can't be beaten. If you want to keep the bakery crawl going, check out the some more of our favourite bakeries across the city. [caption id="attachment_770818" align="alignnone" width="2000"] 'And Now' at White Rabbit by Kimberley Low[/caption] EXPLORE THIS THREE-STOREY ASIAN ART EXHIBITION To celebrate its tenth anniversary last year, Chippendale's White Rabbit Gallery launched a huge two-part retrospective. The first half, dubbed Then, featured giant pink fibreglass undies, a porcine car with an 11-metre gold tongue and 30 life-sized naked figures. Now, the follow-up exhibition is taking place, fittingly called And Now. Showcasing 15 key works from the second part of White Rabbit's life, 2011–2019, the show takes over the three-storey gallery with videos, giant sculptures, paintings and performative pieces. A three-part video installation by Liu Chuang will see Stephen Spielberg, Zhou Dynasty bells and bitcoin come together (figuratively) to explore issues of displacement in Bitcoin Mining and Field Recordings of Ethnic Minorities, while Zhu Jinshi's The Ship of Times — made from 14,000 sheets of xuan paper, 1800 pieces of fine bamboo, and 2000 cotton threads — will symbolise spiritual transformation. You'll also find a tall pillar of red glass by ceramicist Liu Jianhua, a performative video piece by Patty Chang in which she washes a rotting whale carcass, and two works by provocative artist, and former Ai Wei Wei studio assistant, Zhao Zhao. Want to keep your art adventure going? Here are three other IRL art exhibitions happening around Sydney this month. MEANDER THROUGH SYDNEY'S CHINESE GARDEN OF FRIENDSHIP At the south end of Darling Harbour, you'll find a hidden oasis: the Chinese Garden of Friendship. While the silhouette of the city skyline shadows the garden, you'll be put at ease by the towering willow trees and soon forget your woes. The garden is peaceful and harmonious, making it the perfect place to stop and recharge your batteries or devour a good book. Take a deep breath and you'll feel instantly revived. If you're keen to stretch your legs and explore, the garden has waterfalls, sculptures, lakes and local wildlife, such as koi carp, water dragons and lots of pretty birds. While Lotus at The Gardens is currently closed, you'll find plenty of snacks nearby at Steam Mill Lane and Darling Square. The gardens are open every day from 10am–4pm daily and entry is $8. VISIT BABY BABOONS AND WOBBLY WOMBATS AT SYDNEY'S NEW ZOO Sydney's first new major zoo in 100 years — aptly called Sydney Zoo — is reopening its doors to the public on Saturday, June 6. Located in the city's west near the Great Western Highway, it's home to more than 100 animals, including, African painted dogs, hyenas, spider monkeys, tigers, zebras, 11 chimpanzees and 13 baboons (and three baby baboons), as well as Aussie wombats, echidnas, dingos, emus, koalas, Tasmanian devils and kangaroos. You can check out all these animals from pram and wheelchair-friendly raised boardwalks, too. It doesn't stop there either, with the zoo also home to the country's largest reptile and nocturnal house — with 60 different species, including the world's most venomous snakes, ghost bats and giant grasshoppers — and an aquarium with fish and penguins. Before you head in, you need to book a ticket, which you can do over at the website. [caption id="attachment_650370" align="alignnone" width="1920"] Barrenjoey Lighthouse Track by D Finnegan for NSW Parks[/caption] HEAD ON A STUNNING SEASIDE WALK (AND PRETEND YOU'RE ON HOLIDAYS) In the spirit of turning off and seeking out some wholesome nature, we tracked down some top-notch seaside walks to freshen up your routine. From the shores of the northern beaches to the bush tracks of the Royal National Park, recharge this weekend by embarking on one of Sydney's best coastal walks. One you'll really want to scope out this weekend is the Palm Beach to Barrenjoey Lighthouse walk. Perched at the top of Sydney's northern beaches, just 90 minutes from the CBD, Palm Beach is the ultimate spot for a staycation. It boasts the laidback vibes you'd expect from a tropical escape, minus the airfare. So, it's the ideal spot for an easy day trip from the big smoke. While you're there, head to the top of the peninsula for the Barrenjoey Lighthouse walk. This cruisey three-kilometre trail takes you through the bush to the lighthouse, with sweeping views of Palm Beach and beyond. Tip: take the short but steep Smugglers Track route for the best views (and photos). [caption id="attachment_771678" align="alignnone" width="1920"] Skyline Blacktown Drive-In[/caption] CATCH A FLICK AT SYDNEY'S ONLY PERMANENT DRIVE-IN CINEMA Most of Australia's cinema industry has earmarked July as its relaunch date, aiming to reopen in time for the planned release of Christopher Nolan's Tenet. But if you're a movie buff keen for some big-screen fun before that, Sydney's drive-in theatre is filling the gap — and, given that their whole concept involves folks watching flicks in cars, social distancing is already part of the experience. Blacktown's Skyline Drive-In is hosting screenings from Thursday–Sunday each week (plus a Monday night session on the Queen's Birthday public holiday), with four flicks playing each night. Films on the bill include The Invisible Man, IT: Chapter Two, Spies in Disguise, Joker, Grease and Knives Out, with horror-themed Friday nights and retro programming on Saturdays also on the agenda. Its diner is also back in business, serving burgers, hot chips, choc tops and other snacks. [caption id="attachment_757975" align="alignnone" width="1920"] Una Mas by Steven Woodburn[/caption] HIT UP A BAR, PUB OR RESTAURANT During lockdown, many of the city's hospitality venues had to close (or offer takeaway only), but now a whole swag of them are back and welcoming dine-in (and drink-in) customers once again. Whether you want to down a single pint at a pub or go for an eight-course dinner (with bottomless booze) at a restaurant, you can. If you want to hit up Mary's new rooftop burger bar in Chippendale or visit a new pop-up Israeli street food spot on the lower north shore, you can do that, too. Or, hit up any of the reopened bars and pubs, as well as restaurants and cafes of your choosing. Hot tip: with venues allowed a maximum of 50 customers (or one per four square metres) many require reservations, so check before heading in. Top image: Barrenjoey Lighthouse Track by D Finnegan for NSW Parks
Outback adventures don't come much more unusual than a visit to Lightning Ridge. Situated close to the Queensland border in the northwestern NSW hinterland, this rural locale is renowned for its unique black opal mines that attracted fortune-seekers from far and wide in the early 20th century. As well as exploring dinosaur fossil dig sites, ancient bore baths and quirky museums, you'll come away with many stories to tell after a visit to Lightning Ridge. In partnership with Wild Turkey, we've handpicked everything you need to explore during your visit to this slightly weird and very wonderful place. [caption id="attachment_843112" align="alignnone" width="1920"] John (Flickr)[/caption] FOSSICK FOR OPALS The history of opal mining in Lightning Ridge dates back to the 1880s, when miners discovered valuable gemstones hidden beneath the earth's surface. You can get a thorough education on these mineral-like creations at The Big Opal – the first opal mine licensed to open to the public. While there are stunning handcrafted pieces to admire in the gallery, taking a tour underground provides a more immersive perspective. With this place operating as a working mine for much of the year, wandering the sandstone tunnels offers a glimpse into this century-old treasure trove. You can even try your hand at fossicking while you're there, too. [caption id="attachment_843231" align="alignnone" width="1920"] James de Mers (Pixabay)[/caption] DIG FOR DINOSAUR FOSSILS If digging for bling isn't your thing, how about searching for dinosaur fossils? At the Australian Opal Centre, visitors are welcome to register for Lightning Ridge Fossil Digs, which gives you the chance to discover opalised fossils buried for over 100 million years. With the next dig scheduled for August 2022, you can sign up for six days of adventure alongside some of Australia's leading palaeontologists and researchers. Previous excavations here have resulted in several world-first discoveries, so your trip might just make history. [caption id="attachment_843233" align="alignnone" width="1920"] Ester Westerveld (Flickr)[/caption] DISCOVER THE WORLD OF CACTI Lightning Ridge's arid outback climate makes it the perfect spot for Bevan's Cactus Nursery, one of the largest of its kind in the southern hemisphere. Founded in 1966, the nursery is home to approximately 2500 cacti varieties of all shapes and sizes, with the oldest plant nearly 150 years old. Head along to view the incredible species on display — just watch where you put your hands. Bevan's Cactus Nursery is also home to a supremely rare collection of opals, including speckled black, crystal and white gems that are bound to catch your attention. [caption id="attachment_844634" align="alignnone" width="1920"] Dillon Seitchik-Reardon / Places We Swim[/caption] RELAX IN AN OUTDOOR BATH Lightning Ridge's surrounding landscape is undoubtedly dry, but you won't notice when you slide into the Artesian Bore Baths. Situated on the outskirts of town, these openair and naturally heated thermal pools provide the ideal spot to rest and recuperate after a long day in the sweltering sun. The Great Artesian Basin — Australia's largest freshwater resource — heats these rejuvenating watering holes from deep underground, helping them maintain a temperature of 40 to 50 degrees. Free to access and open 22 hours a day, this therapeutic experience is a far cry from your average inner-city wellness spa. VISIT AN UNDERGROUND ART GALLERY It seems like much of what makes Lightning Ridge special takes place underground. Chambers of the Black Hand is another unique landmark, a sprawling opal cave featuring tableaux hand-carved into the sandstone walls. Produced by artist and opal miner Ron Canlin, this incredible artistic endeavour was started in 1996. Today, the subterranean lair is adorned with figures carved into the mine walls with a small pick-axe and a butter knife. You can explore themed sections dedicated to native animals, dinosaurs and pop culture references like Lord of the Rings. There's also an underground shop where you can purchase opals directly from the source. COMPLETE THE CAR DOOR TOURS The outer reaches of Lightning Ridge are home to a collection of fascinating landmarks and landscapes, with the self-guided Car Door Tours ensuring you journey to the very best. Just follow the green, blue, red and yellow wreckage lining the roads that leave town in all directions. You'll reach the Opal Mine Adventure on the Blue Car Door Tour, while the Red Car Door Tour swings by Ridge Castle – an offbeat mining camp with panoramic countryside views. These trips range from 10 to 45 minutes of drive time, making them perfect for a quick cruise. Even if you don't take yourself on a tour, you'll become familiar with the car doors pretty quickly — they function as de facto street signs in Lightning Ridge. [caption id="attachment_843236" align="alignnone" width="1920"] John (Flickr)[/caption] EXPLORE LIGHTNING RIDGE'S QUIRKY MUSEUMS, GALLERIES AND MONUMENTS Lightning Ridge might be best known for its enduring opal mining history, but the community's collection of bizarre museums is definitely a close second. Bottle House Museum is one such structure, constructed from 5800 bottles and featuring a wide variety of curiosities for sale inside. A short drive away, the Astronomers Monument is another kooky landmark dedicated to scientists like Copernicus, while the colourful Beer Can House does what it says on the proverbial tinnie. If you love off-the-wall antiques and unusual souvenirs, don't miss the Kangaroo Hill Complex. Perhaps the most emblematic of the town's unusual art spaces is Amigo's Castle. This 15-metre-tall structure, based on Italian ruins, was hand-built with ironstone boulders in the 1980s, and is home to a small gallery, underground cellars, a corner turret and no roof, while the grounds surrounding the castle contain all sorts of tongue-in-cheek oddities. [caption id="attachment_843109" align="alignnone" width="1920"] John (Flickr)[/caption] If you're unable to resist the charms of Lightning Ridge and need to take a piece home with you, head to the more traditional — but no less colourful — John Murray Art Gallery, the exclusive home for works by the celebrated eponymous artist. Murray's works showcase the beauty and the character of the Australian outback with wit and whimsy. Stop into the gallery to see Murray's photorealistic works up close, and exit via the gift shop where you can pick up original paintings, prints, cards and souvenirs. Murray is also the creative mind behind Lightning Ridge's newest mascot, Stanley the Emu. Unveiled in 2013, Stanley is an 18-metre-tall steel emu made primarily from VW Beetle bonnets and doors, and is an unmissable sight that greets visitors just 10 kilometres out of town. Find out more about Wild Turkey's Discovery Series at the website. Top image: Craig Gibson (Flickr)
A temple to tequila and tacos, Bar Patron brings an air of sophistication to Sydney's sour cream-dolloped Mexican dining scene. Located in the old Café Ananas spot in Circular Quay, the venue comes courtesy of Rockpool Dining Group. The interiors, designed by Grant Cheyne, channel a Mexican country estate with tan leather seating, potted succulents and a decorative ceiling with cut-out detailing. Patrons of Bar Patron can choose from one of the well-dressed dining tables and a spot at the Carrara marble bar, which boasts beautiful views over Sydney Harbour. Bar Patron's menu includes all the Mexican classics — tacos, enchiladas, quesadillas and empanadas. Plus, there are a heap of dishes made to share. Drinks-wise, despite the extensive offerings, you really do need to try the margarita, which is shaken with lime, sherbet and Silver, Roca or Platinum Patron tequila. Served in a copper-bottomed old fashioned glass, the drink is beautifully balanced, strong but not too sweet, with a thick, crusty salt rim. If you just won the lottery (or you're bad with money) then go ahead, treat yo'self to Bar Patron's Millionaire's Margarita. The top tipple, which is priced at $100 (holy guacamole) is made from the ultra premium Patron Gran Burdeos tequila, Remy Martin Louis XIII Cognac, liquid nitrogen chilled finger lime pearls and freshly squeezed lime and agave juice. Served in a martini glass, it's decorated with 24-karat-gold leaf and a gold Patron bee ornament.
While travelling far away for a vacation may seem tempting, there's no reason not to embrace all those primo travel destinations located right here in Victoria. And, if sun, sand and water are top of your post-lockdown holiday wish list, you don't need to look any further than the popular coastal stretch of East Gippsland. Just three hours east of Melbourne, this regional gem is primed for that warm weather getaway you've been dreaming of, filled with idyllic waterfront retreats offering the ultimate antidote to city life. We've done the hard work for you and rounded up 10 of the most blissful waterfront stays you can book in East Gippsland. Pick a favourite, pack those fishing rods and lock in some much-needed time lakeside. Recommended reads: The Best Glamping Sites in Victoria The Best Pet-Friendly Stays in Victoria The Best Places to Stay Along the Great Ocean Road The Oar House, Metung Surrounded by breathtaking nature, this coastal-chic stay is picture-pefect. Enjoy the sunny deck, pet-friendly yard and private walkway down to the beach. From $322 a night, sleeps six. Locanda, Paynesville Perched right on the canal, this roomy retreat boasts its own jetty, modern features throughout and some primo outdoor living spaces overlooking the water. From $259 a night, sleeps seven. Lakescapes, Metung At this high-set coastal escape, you're in for blissful 180-degree lake views. The minimal cottage comes complete with an expansive deck for those sunset cocktails. From $205 a night, sleeps four. Captain's Hideaway, Paynesville A modern coastal getaway, overlooking the bay. This pet-friendly beach house features all the amenities you could desire, plus generous outdoor living and yard. From $357 a night, sleeps ten. Anchored, Paynesville Sleek and spacious, this waterfront beauty is sure to impress. Enjoy light-filled open-plan living, jetty access, and a stunning canal-side deck and barbecue. From $786 a night, sleeps ten. Amazing Views, Metung This revamped beach cottage will delight you with its water views, leafy setting and modern fit-out, all located just across the road from the jetty. From $250 a night, sleeps seven. The View at Captain's Cove, Paynesville Find this modern self-contained townhouse perched right on the canal, offering a blissful outlook, primo location and smart coastal styling throughout. From $289 a night, sleeps six. The Loft, Paynesville A modern waterfront gem, complete with private jetty and pool. Expect generous, bright living areas, with space to sleep the whole gang. From $325 a night, sleeps ten. Mallacoota Magic, Mallacoota Enjoy a well deserved recharge on this three acre property overlooking Mallacoota Inlet. The cozy cottage includes an outdoor campfire, deep tub and incredible views. From $440 a night, sleeps four. Teulu House, Nungurner Based on an eastern European courtyard style, this modern lakeside ranch provides sufficient seclusion while offering a stunning view the Gippsland Lakes. From $235 a night, sleeps four. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
2024 was a year of heartbreaking cancellations in the Australian music scene. Not every festival that took some time out has returned a year later, but 2025 has thankfully seen more than a few comebacks. Here's the latest: Harvest Rock, the Adelaide event that cemented itself as a fest worth travelling to in its 2022 debut and 2023's second spin, has locked in a two-day 2025 instalment in October. It was in August 2024 that Harvest Rock revealed that just two years after initially popping up, the decision had been made to postpone that year's event. The news came after Splendour in the Grass announced its 2024 dates and lineup, then ditched its plans — and following Groovin the Moo going through the same cycle of reveals and cancellations. Spilt Milk, Summergrounds Music Festival and Dark Mofo also sat the year out or said goodbye permanently. Dark Mofo returned for 2025, as is Spilt Milk — and now Harvest Rock is joining them. Only Teenage Joans have been named on the lineup for this year's stint at Rymill Park / Murlawirrapurka and King Rodney Park / Ityamai-itpina so far, but you can pop Tuesday, August 12 in your diary, as that's when the full roster of acts that'll be taking to the stage will be unveiled. Also crucial, dates-wise: Saturday, October 25–Sunday, October 26, when the festival is taking place. When Harvest Rock was first born, hailing from the Secret Sounds crew — who were also behind Splendour in the Grass — it aimed to get everyone dancing in a park in Adelaide each spring, including interstaters heading to South Australia to enjoy the fest's visitworthy lineups. The first year welcomed Jack White, Groove Armada, The Avalanches, Crowded House and Courtney Barnett, for starters. 2023 backed that up with Jamiroquai and Beck doing Australian-exclusive shows, plus everyone from Sparks and Nile Rogers & Chic to Bright Eyes and Paul Kelly. A two-day blend of music, food and wine — well, it is in SA — Harvest Rock also spans Adelaide's top restaurants and eateries serving up dishes, a culinary-focused stage and wine tastings. 2025's iteration will include Wildwoods & Cellar Door by Duncan Welgemoed and Nick Stock, for starters. "We're thrilled to see Harvest Rock return to its Adelaide home to deliver a festival that brings global stadium-sized artists to South Australia, while also championing the region's world-class food, wine and culture for interstate guests. Harvest Rock not only drives tourism and benefits local businesses, but offers a unique festival experience for all ages across the local community and beyond," advised Festival Director of Harvest Rock Ryan Sabet. "Music to the ears of festival lovers and our hospitality and tourism operators, Harvest Rock will return to Adelaide this October. The beauty of this festival is that it combines what we do best in South Australia — offering premium food and beverages and delivering memorable events," said SA Minister for Tourism Zoe Bettison about Harvest Rock's comeback. "Held in 2022 and 2023, Harvest Rock has contributed a combined $34.5 million to the state's economy. We continue to see the impact major events like this deliver to our economy, while reinforcing our state's reputation as the ultimate destination for bucket-list events — whether you are a sports fan, art lover, foodie or just enjoy a good festival." Harvest Rock 2025 is set to take place across Saturday, October 25–Sunday, October 26 at Rymill Park / Murlawirrapurka and King Rodney Park / Ityamai-itpina, Adelaide. Head to the festival's website for further details — with presale tickets available from Tuesday, August 19 and general sales from Wednesday, August 20. And check back here on Tuesday, August 12 for the lineup. Image: Ian Laidlaw / Mitch Lowe / Zennieshia Butts.
Nestled in amongst the shops and cafes of Marrickville Road, a small bar jostles with local patrons that spill out onto the pavement, while live local acts fill the air with music. Welcome to Gasoline Pony. A small bar setting the standard for the area, the Pony features an impressive selection of natural wines, cocktails and craft beer paired up with hearty bar food and live music. Couldn't get much better than that right? Wrong. It continues to impress with its smart, compact courtyard out the back of the busy main bar. Simple wooden furniture offers a chilled out, low-lit space to relax over a few drinks, before heading in to check out the bands. Perfect spot for a mid-week drink with friends and a great spot for a casual date. Images: supplied.
Freshwater's legendary Harbord Hotel has levelled up your next beachside hang with the launch of Bombies, a brand-new rooftop bar and music venue that blends laidback 1970s beach house energy with a lively late-night buzz. Open from Friday, June 6, the sun-drenched new space will bring state-of-the-art staging, a stacked entertainment program and sweeping ocean views to a spot just metres from the waves where surfing was first introduced to Australia. Occupying the first-floor space that was once the caretaker's residence, Bombies is positioning itself as a vibrant gathering place for all, whether it's for a post-surf drink and snack, or after-dark entertainment such as local and international musical talent, live-band karaoke, curated film screenings and comedy nights. The venue is channeling the same sense of spontaneity for which it's named — 'bombies' is surf slang for the offshore reefs that create wild, unpredictable waves, drawn from the Aboriginal word 'bombora'. [caption id="attachment_1007506" align="alignnone" width="1920"] Jessica Nash Photography[/caption] The tone is very much set with the design of the venue, which tips its hat to the golden era of beachside living through a contemporary creative lens. It's the work of Bondi studio Alexander & Co — which was also behind the venue's massive 2021 redesign — and is anchored by warm wood and terracotta tones offset by mural-covered brick, glass blockwork, mid-century furniture and bold textured fabrics. Come summer, these will all be awash with sunlight, capturing the energy of a buzzy beach house party. Similarly, the refreshed food and drink offering leans coastal and breezy. Expect salty, summery flavours via signature dishes like smoked mortadella skewers with buffalo curd, green olives, mint and pickled pepper; a crab sambo with avocado, chive and pickled eschalots on thick-cut white bread; and the achiote-marinated chicken espetada served with gem leaves, peppers, red onion, salsa roja and a house-made flat bread. In keeping with the retro theme, the menu also features a next-level club sandwich: a sky-high stack of chicken schnitzel, pancetta, avo, egg, mayo and gem lettuce served with potato crisps. [caption id="attachment_1007505" align="alignnone" width="1920"] Jessica Nash Photography[/caption] The drinks list also plays into the year-round summer vibe. Highlights include the Bombora, a mix of Patrón Silver, triple sec, pineapple acid and orange, and the bright and zesty Piper Perch, in which Brookie's Slow Gin is elevated with Peychaud's bitters, hibiscus and lime. Bombies is the next chapter of the Harbord Hotel's full-venue restoration — later this year, the venue will unveil a cutting-edge recording studio open to local artists, while longer-term plans include the return of boutique accommodation. Nearly 100 years after it first opened, the art deco venue is once again ready to make waves. [caption id="attachment_1007504" align="alignnone" width="1920"] Jessica Nash Photography[/caption] [caption id="attachment_1007508" align="alignnone" width="1920"] Jessica Nash Photography[/caption] [caption id="attachment_1007507" align="alignnone" width="1920"] Jessica Nash Photography[/caption] Bombies is now open on the first floor of Harbord Hotel, located at 29 Moore Road, Freshwater. For more information, head to the venue's website.
In a year that's seen us all pondering holidays close to home, the New South Wales National Parks department has just gifted the state's residents another new reason to book a local trip. It already gave everyone three great excuses to enjoy a local getaway back in September, courtesy of three refurbished cottages in supremely impressive locations — and now it has added another beach house, in Murramarang National Park, to the list. You'll find Judges House in Yellow Rock on the south coast. Wondering about the name? It was owned by a Supreme Court judge and used as a family getaway, before being given to the NSW National Parks and Wildlife Service. And, because it sits within a 30-minute drive from Batemans Bay, it's a nifty choice if you want to feel secluded but also don't want to be too far from the rest of the world. Thanks to that location, Judges House boasts views out across Batemans Bay — and you'll have access to a beach while also being surrounded by bushland. So, it's a best-of-both-worlds kind of deal, if you can't choose between a coastal holiday and trees as far as the eye can see. [caption id="attachment_794552" align="aligncenter" width="1920"] John Spencer, NSW Department of Planning, Industry and Environment[/caption] Here, for between $350–$450 per night — with a seven-night minimum stay — you can vacation in a group of up to six. The self-contained three-bedroom abode also comes with a fully equipped kitchen, indoor and outdoor toilets and showers, an open-plan living space, a big wraparound deck and an outdoor barbecue. In terms of things to do, swimming ranks high on the list, as does kayaking, canoeing and fishing. Or, you can wander through walking tracks that trek through coastal bushland, and also head to the national park's rocky coves — and spot birds, dolphins and whales in the process. Judges House is now available for bookings. For more information, or to make a reservation, head to the NSW National Parks website. Images: John Spencer, NSW Department of Planning, Industry and Environment.
To put it mildly, it's been a challenging year so far. And though the effects of the first half of 2020 can be felt in almost every corner of the world, small businesses are especially feeling the toll. Which is why investing your hard-earned dollars in local businesses across Australia is a great way to put your money to good use and spend consciously. To help you do just that, we've teamed up with Square to bring you a list of local businesses across Australia that can deliver ethically sourced coffee, a new leafy housemate or a cake to cheer up a friend. Square has the tools to help businesses, even when business is not running as usual, like contactless payment systems and online stores with pickup, delivery and shipping services. So, whether you choose to shop online, pop into these small businesses, or buy a voucher for a future trip, you'll be spending your money wisely and keeping the little guys in business at the same time. BUY GREEN BABIES FROM THE PLANT SOCIETY Set up by Jason Chongue and Nathan Smith in Melbourne in 2016, The Plant Society has you covered for all things green whether you live near one of its stores or not. If you're in Melbourne and Sydney, its Collingwood and Paddington stores have an extensive range of plants — from swiss cheese vines to chinese money and fruit salad plants — as well as handmade ceramics, homewares, planter kits, candles and plenty of gardening gear. But, no matter where you live, you can browse its online store to shop for ceramic planters, keep cups, plants, seeds and candles to brighten up your living space. Plus, to help deliver your goods to you safely, The Plant Society offers free delivery for all purchases over $150. You can also buy gift vouchers from $30, if you'd like to spend now to support the small business in the future. [caption id="attachment_758750" align="alignnone" width="1920"] Erik Dungan[/caption] STOCK UP ON VINO AND FROMAGE FROM THE CHEESE & WINE CO If you're a fan of wine, cheese and intimate date nights, and live in Sydney, you should pay The Cheese & Wine Co in Neutral Bay a visit. The small wine bar features a consistent rotation of the best local and international wines and cheeses, along with charcuterie and antipasto platters. The bar is open for 90-minute seatings for tapas-style dishes, accompanied with stellar drops of wine. Practising social distancing, The Cheese & Wine Co is limiting its capacity right now, so it's best to book online beforehand, and its also open for walk-ins for breakfast and lunch sittings. If you live locally, can also purchase a takeaway bottle of wine by ordering online and picking up in store. HAVE CAKE DELIVERED FROM KOI DESSERT BAR You may be familiar with the name Reynold Poernomo from MasterChef. Before he was winning hearts on national TV, he and his family created KOI Dessert Bar in Chippendale. The laneway dessert bar offers a range of savoury snacks and desserts — think pie tee tart, pumpkin with mascarpone and a guava and green apple meteor. If you're in Sydney, you can book a four-course dessert tasting menu from $95 per person, Sunday to Thursday. Or, for at-home indulgence, you can choose from a rotation of smaller desserts and cakes to take away. Visit KOI's Cake Shop for mascarpone tiramisu, passion colada and pear mousse, or a larger celebration cake, such as strawberry lychee, nomtella or mango yuzu ($55–160). Delivery stretches to Sydney's eastern suburbs, inner west, north shore and CBD, or you can select scheduled pickup at its Chippendale or Ryde stores. SEND BAKED GOODIES FROM FALCO Falco is a small-batch bakery in Melbourne's inner north that boasts a range of baked goods alongside coffee that's been roasted just around the corner. The bakery specialises in traditional methods with innovative twists; its sourdoughs range from oat porridge and toasted sesame to a classic wholemeal. For something a bit sweeter, it's hard to go past its peanut butter and miso cookies, cardamom buns, fruit danishes and jalapeño and cheddar croissants ($4–5). During lockdown, the bakery has daily pre-order and delivery options, too, making it easier and safer to get your baked goods if you're staying at home. Not in Melbourne? Send a gift to a friend, such as the Falco tote ($20) and a bag of single origin ground coffee ($19) within three kilometres of the Collingwood store. HAVE FRESH GROUND COFFEE DELIVERED FROM MARKET LANE Market Lane is a much-adored Melbourne coffee roastery and retailer. The folks here source beans from across the globe and then roast them in small batches in Brunswick East. The beans are then distributed to seven stores across the city, from Prahran to Brunswick East and through the city's CBD. If you're not Melbourne-based, or prefer to brew at home, you can purchase espresso or filter beans from the roastery's online store and enjoy free standard shipping Australia wide on all purchases over $30. There's also a fortnightly subscription (from $20), meaning you'll never run out of coffee again without having to leave your house. Planning ahead? Market Lane has a range ready for Father's Day (September 6), too, including pour over kits, a heavy duty apron, coffee subscriptions and gift vouchers. [caption id="attachment_716231" align="alignnone" width="1920"] Kitti Gould[/caption] ORDER VINYL FROM COTTONMOUTH RECORDS If you're a fan of good booze and even better tunes, you'll love what Cottonmouth Records has on offer. The record store and bar, located in Sydney's Enmore, is where you can pull up a pew and sip on a pale ale, XPA or IPA as you peruse the stacks of vinyl records surrounding the bar's walls. Here you'll find black gold from the likes of James Brown, Aretha Franklin, Beastie Boys, Blink-182, Lenny Kravitz, 2Pac and the Spice Girls, among many, many others. Not in Sydney? You can browse Cottonmouth's online record store where it sells an extensive selection of records from Blondie to Zappa, and everything between. Records start from $20, and shipping is calculated according to distance from Sydney. [caption id="attachment_741542" align="alignnone" width="1920"] Simon Shiff[/caption] BUY A GIFT CARD FROM HENRY LEE BARBERSHOP Collingwood's Henry Lee Barbershop may have its physical doors closed due to Melbourne's lockdown, but its online shop is very much still open for business — and you don't have to live in Melbourne to support this small business. Online, you'll find everything from hydrating and volume shampoo and conditioner to miracle treatment, wax, oil and hair putty by Australian brands Eleven, Fatboy and The Groomed Man. While you're there, you can also grab yourself or a mate a gift card (starting from $50) for when the barbershop reopens — after all, we'll all need a little TLC come September. To truly show your local love on your sleeve, you can order some of the barbershop's merch, too, including Henry Lee logo tees from $40. Find out how Square is supporting small businesses with the tools they need to grow, here.
