Though technically taking its inspiration from The Hamptons, The Pines in Cronulla, with its chic, neutral palette, pops of greenery and meat-heavy menu (though it's got a vegan one, too) would fit right in in the south of France. The beachfront eatery, which opened November 2020, has James Metcalfe as its exec chef and former Rockpool and Merivale sommelier Chris Hoy heading its beverage list. The menu is extensive and features everything from four-week dry-aged steaks ($38) and koji cured-flank ($38) to smoked ham and pineapple pizza ($29). For a real treat, order the seafood bouillabaisse ($110), which feeds two and comes with a whole baguette. Images: Rachel Kara
This is karaoke attached to ten-pin bowling, and possibly a spot of laser skirmish if you're keen. Strike charges per room, as opposed to per person, so it works out well if you're in a big group. All the rooms are immaculately themed and clean - there's the polka dot room, the Victorian boudoir, the executive party room, and there's a pretty flash touch screen to order your songs, but sadly no soft-filter video clips to accompany your choices. Moreover, there's a prop box with wigs and over-sized glasses to enhance your performance, and a couple of tambourines and maracas to add a bit of pizzazz to your performance. They've also got an excellent menu of snacks and a decent bar serving cocktails for your tipsy lady-friends.
In The Guest Edit we hand the reins over to some of Sydney's most interesting, tasteful and entertaining people. For this instalment we have enlisted the guidance of Claire Perini, an interior architect who is founder and curator of the beautiful Avalon-based interiors studio and store Composition. Here, Claire divulges some of her favourite spots in her pocket of the Northern Beaches, a suburb once primarily known as a haven for surfers that is now home to a burgeoning creative community and growing food and drink scene. [caption id="attachment_812163" align="alignnone" width="1920"] Bar Elvina interior, photographed by Steven Woodburn[/caption] Dining & Drinking Bar Elvina "Whether mid-week or mid-weekend, Elvina is always serving up good times. Specialising in Mediterranean food with seafood expertly cooked on charcoal and a focus on pasta and grains — my personal favourite being their vongole which I could eat breakfast, lunch and dinner. They also boast a beautiful outdoor terrace nestled in an edible kitchen garden that is available for hire and makes the perfect backdrop for any celebration. On the weekends Elvina also has a bottomless banquet, tantalising menu and includes open wine and Aperol spritz's (I'll have 3 please). Menu designed and beautifully executed by Andy Emerson (formerly of Acme)." Find it at: Level 1, 50 Old Barrenjoey Road Book here. Randy's "A casual street bar you'd expect to find hidden within the streets of New York. With a focus on delicious snacks designed to be shared and daily oyster happy hour (serving only the best Australian rock oysters) Randy's is a keeper. Weekends are lively and you're bound to find a local to dine with on a Friday afternoon. Chef Zac serves up a series of different pickled foods that I frequently request jars of to take home." Find it at: 50 Old Barrenjoey Road Text or call to book: +61474 945 431 Graze n' Cakes "Mine and most of Avalon's favourite hole-in-the-wall dining spot, this patisserie/Vietnamese haven is undoubtedly my favourite lunch spot. When you can get a banh mi and the best chocolate chip cookie in one spot, why would you go anywhere else? Sandy who runs it, is also one of the nicest people on earth which is an added bonus when visiting!" Find it at: 3/38 Burrawong Road Call: (02) 8919 0058 Other local dining spots that Claire recommends: Pocket Pizza, Oceana Traders and La Banette patisserie. [caption id="attachment_944544" align="alignnone" width="1920"] The collection at Composition, photographed by Sage Hammond[/caption] Shopping Composition Naturally this guide needs to include Claire Perini's own studio, showroom and store which we have previously described as "achingly tasteful". Her meticulously curated selection of Modern-period antiques and contemporary brands all fall within one of three categories: Artefact (unique vintage), Object (new product) and Print (design literature both vintage and new, and lithographic works). The latest collection dubbed 'La Dolce Villa' has a focus on smaller items and little moments to admire that bring sweetness and connection into interior spaces. Find it at: 45a Avalon Parade Browse the website here. Bassike "The prominent Australian brand that needs no introduction has their stunning flagship store (designed by Akin Atelier) within the heart of Avalon. With not only their stunning own range of designs, but I love the way the brand threads through beautiful Australian brands that compliment the company's ethos." Find it at: 41 Avalon Parade Browse the website here. Lee Matthews "A new addition to the offerings in Avalon is the introduction of Lee Mathews' beautiful showroom." Find it at: 4o Avalon Parade Browse the website here. Peggy Concept Store "Named after Peggy Guggenheim, this store does not disappoint. Offering a curated collection of Australian and international ready-to-wear brands including some of my favourites: Matteau, Silk Laundry, Oséree and Muma World." Find it at: 62 Old Barrenjoey Road Browse the website here. Lifestyle Sauna Amalfi "A new addition to Avalon is this modern take on a Swedish sauna, Sauna Amalfi. Services include state of the art clear light infrared saunas, a traditional sauna, and a UV-Filtered and temperature controlled cold plunge." Find it at: 62 Old Barrenjoey Road Browse the website here. Feels Pilates "When you're done eating and drinking your way through Avalon, nothing like a little reformer session to sweat away the guilt. The Feels Pilates instructors will leave you feeling like every muscle has been activated with their dynamic classes that focus on form." Find it at: Rear shop at 46 Old Barrenjoey Road Learn more here. [caption id="attachment_536619" align="alignnone" width="1280"] Avalon Beach[/caption] Nature "My absolute favourite part of living in the Northern Beaches, and specifically 'past the bends', is the nature. The proximity to the national park, the views of the Pittwater, the sounds of wildlife and the community constantly activating the different elements... A few of my favourite spots would be, Paradise Beach a little beach on the Pittwater side; Angophora Reserve a little hour's walk through the bushland but nestled just behind the village shops and for some more dramatic scenery; Bangalley Head walk which boasts views of the ocean and the natural sandstone cliffs." Discover more spots in and around Avalon Beach here.
What could possibly be more Sydney than gathering seven of the city's most diverse musicians on the rooftop of a Parramatta carpark, and asking them to combine their music with dance, video projections and art installations for an epic one-off multimedia performance? Not much, really. And, as such, this is precisely what the Sydney Sacred Music Festival plan to do with a brand new work called Worlds Collide, which will be premiered atop said rooftop this September. In conjunction with Riverside Theatres, the festival's artistic director Richard Petkovic has gone about finding some of the best (and most culturally distinct) musicians in Sydney in an effort to take Australia's multicultural roots to the mainstream after he recognised a noticeable lack of diversity in the local music scene. "We've got these fantastic artists from different backgrounds — amazing DJs, amazing world musicians — and this is a great new work that represents us all," says Petkovic. "I do a lot of work in Western Sydney, and there I was able to find these hidden treasures in our community." So the choice of location — the rooftop of Parramatta's Wentworth Street carpark — was a natural choice. It's a unique venue and, according to Petkovic, represents where real people live. "I've always wanted to do an event on a carpark roof and when I looked at it I thought, 'this is not a gig that is going to suit people in a seat'," he says. "I want people to move, dance, get excited and really engage with the event." Musically, styles will span everything from world music to dance; meditative drones and sacred African chants will combine with the hip hop rhymes of Mt Druitt's Esky the Emcee and South Asian underground beats of Coco Varma's Sitar Funk. Art installations from Khaled Sabsabi, Marian Abood and Ghasan Saaid will also be featured. Sydney Sacred Music Festival begins on Friday, September 2 at Pemulwuy (Prospect Hill) with a performance from internationally acclaimed artist William Barton. Worlds Collide will kick off from 7pm the following night on Saturday, September 3 on the rook of the Wentworth Street carpark, Parramatta. You can buy tickets here. Image: Jens Thekkeveettil.
If you're in New South Wales – these bars and pubs are offering a complimentary Chandon Garden Spritz on arrival on Friday, February 28 to celebrate the last day of summer. From beachside pubs down in the 'gong to rooftop bars in the city, enjoy a complimentary Chandon Spritz and keep those summer vibes going. Chandon's Garden Spritz is a natural ready-to-serve blend of sparkling wine handcrafted with navel and blood oranges, dried orange peel and natural herbs and spices. All the way from the Yarra Valley, it's not too bitter, but not too sweet and has half the sugar of most spritzes thanks to its natural ingredients. For the perfect serve, just add ice and an orange slice and top with a sprig of rosemary if you're feeling fancy. Chandon Sydney Dunbar House Head to Dunbar House in Watsons Bay for a spritz against the backdrop of one of Sydney's most charming restaurants and bars. Housed within a historic beachfront building, this drinking hole has been serving locals and visitors alike since the 1830s. We suggest heading up the stairs to Palomas Bar, where you will be met with sunset views, an impressive cocktail list and just the right amount of fancy. East Village Hotel Once one of the lesser-known rooftops among Sydney locals, East Village Hotel in Darlinghurst is a Sydney institution. The buzzing three-level pub houses a bar, a cosy sports bar and a roof terrace. The best place to enjoy a cocktail has to be the rooftop. Spritz in hand, panoramic views of the city and sun on your face — we can't think of a better summer day. Pepe's on the Beach A rite of passage among uni students, we're still heading to this popular Wollongong pub and have no plans to stop anytime soon. With beach views, affordable drinks and a constant lineup of DJs, no Wollongong trip is complete without visiting Pepe's. If you're a local or planning a South Coast road trip, be sure to head to the buzzing beachside pub on Friday, February 28 for a Garden Spritz, paired with some tacos for the perfect summer night out. Helm Bar The ideal post-work pitstop on a Friday afternoon, Helm Bar is the Sydney CBD's answer to coastal summer vibes, without having to go to the beach. With stunning views across Darling Harbour, the slick eatery has it all, from fresh-shucked oysters to seafood baskets and pizza. Head into these venues around Australia on the last day of summer to receive a complimentary Chandon Spritz on arrival. First in best dressed and T&C's apply. Enjoy Chandon Responsibly. Images: Supplied.
Shen Shaomin's Summit brought world leaders together at last year's Biennale to ponder the global financial crisis. Each was preserved motionless under glass. In 4A's The Day After Tomorrow he offers some similar sensibilities. I head the sound of distance is twelve sculpted bells, which can be played as you enter: painted porcelain rings, while another is resonant brass. There is a deep, thumpy plastic bell, a steel hammer almost impossible to lift, and two small wooden bells that tap out orchestral hoofbeats. They don't prepare you for the centrepieces upstairs. I want to know what infinity is, invites you to put blue covers over your footwear and stride out into a desert of salt. This black room smells of glue, the salt crunches. In the corner, a naked old woman sits on a white deckchair. Wrinkled and sleeping, she looks like the salt has withered her in death, like a too-intimate Guanajuato mommia. But she breathes, only sleeping and serene, with shoulders cuddled along the deck chair and her feet adrift among sheets of salt. Opposite, in I sleep on top of myself, infants and adult animals lie on white mounds. Three piglets together, a dog, a mildly nodding chicken, a sheep with its young. Their hair or feathers lie stripped around them, as pillows. Soft pneumatic breathing and hot-house spotlights make them seem to live. Throughout, they slip around your perception. They flick back and forth, seeming to be incubated embryos then appearing like plucked meats awaiting the oven. In this exhibition, with these animal forms laid out opposite the old woman at rest, Shaomin's suggestion seems to lie more in sympathy for the animals, but he makes nothing implicit. Leaving, the humidity of the spotlights falls away and the crunch of the salt brings you back to yourself. Image: I heard the sound of distance, Shen Shaomin
On Sunday, January 20, women all over the world will come together for the third annual #WomensWave, a global march that aims to draw attention to, and protest, violence against women. According to Destroy the Joint, an Australian group that researches and records the number of women killed by violence, 69 women died due to violence in Australia in 2018. The Women's March is calling on the Australian government to address gender-based violence and to continue working towards equality for women. In Sydney, participants will gather at 11:30am at Hyde Park, before walking to Belmore Park, near Central Station, where the solidarity will continue at the Women's March Fair. Other marches will take in France, Zimbabwe, New Zealand and across the USA (among others). MCing the action will be Yumi Stynes, host of SBS documentary Is Australia Sexist? and ABC Radio podcast Ladies, We Need to Talk. She'll be introducing a bunch of speakers, including Bri Lee, author of Eggshell Skull; Bhenji Ra, indigenous queer artist and activist; Jane Brock of Immigrant Women's Speakout and 1 Billion Rising; and Aunty Norma, a Wiradjuri woman and activist. At Belmore Park, you'll find an array, food trucks and stalls representing not-for-profits, including NSW Women's Alliance, Amnesty International, Mums4Refugees, Grandmothers Against Detention of Refugee Children, fEMPOWER, and Lou's Place. There will also be live performances by Australian-Tanzanian indie artist Malaika Green and all-female Sydney four-piece Body Type. The inaugural Women's Wave, held in 2017, saw an estimated 10,000 people march through the Sydney CBD and five million partake globally, making it the largest mass political protest in history to date. If you can't make it, Women's March is also calling for donations to help run future events. Images: Simone Cheung.
Purple Sneakers — a Sydney-based crew dedicated to emerging club music — turns 13 this year and, to celebrate, the team is taking over every nook and cranny of The Landsdowne Hotel. Happening as part of Vivid Sydney, this epic one-night shindig will host a stack of artists, who'll be keeping the party going for seven hours on Saturday, June 15. The lineup is jam-packed. Gracing the stages a verious points between 8pm and 3am will be Kota Banks, Mickey Kojack, Din, Rebel Yell and Close Counters, among others. There'll also be DJ sets from new Triple J House Party host Ebony Boabu, plus appearances by local favourites Nectar's Merph, Lex Deluxe and Ayebatonye, as well as the next generation of Purple Sneakers DJs. Since kicking off in 2006, Purple Sneakers has given career-launching gigs to the likes of Flume, Rüfüs du Sol, Alison Wonderland, Cloud Control and Nina Las Vegas, as well as hosting Melbourne premieres for both Disclosure and Flosstradamus. These days, the team runs a website, radio show and regular parties around Australia.
In the heart of Sydney's centre is a haven of enthralling cuisine: Nel, the passion project of owner and Chef Patron Nelly Robinson. Described as a "culinary odyssey" Nel's constantly evolving 11-course degustation menu is crafted to elevate modern Australian fine dining experiences. Nel's exquisitely formed dishes show a delicacy, imagination and precision of technique that quickly sets the place apart. Each course is plated to precision under the watchful eye of Chef Nelly who started his career as a kitchen hand when only a teenager at the Michelin-starred restaurant Northcote (UK). He has built his vast culinary experience working in restaurants across the UK and abroad — including a stint at the Michelin-starred Lancashire chef Nigel Howarth — before earning his spot as one of Australia's top personalities and opening Nel in March 2015. [caption id="attachment_893950" align="alignnone" width="1920"] Gardens By The Bay. Nel. Supplied[/caption] Located in an underground bunker in an otherwise drab stretch of Wentworth Avenue, Nel is a subdued but stylish space with exposed brickwork and an open kitchen. The set menu ($185PP, wine pairing $165PP, non-alc pairing $85PP) is a prix fixe affair that changes periodically. Each menu concept created by Chef Nelly tells a unique story with engaging and thought-provoking elements. The innovative dishes serve as a masterclass on combining different textures into a harmonious whole. There's a touch of Philippa Sibley in the exquisite presentation and maybe even a bit of Heston's playfulness to Robinson's cooking. Every dish brings at least one touch of left-field inspiration, be it an unexpected crunch or a surprising citrus zing. If you are opting for the wine pairing, drops are carefully calibrated to match the food while building on the profile of the partnering wine. As with everything at Nel, it is clear a lot of thought has gone into these pairings. With exemplary, well-informed service to guide you through a heady menu, Nel is exceptional from start to finish. Originally published in 2015. Updated March, 2023.
What's better than one queer-focused film festival each year? Two, of course. That's always been the motto of the the Sydney-based Queer Screen, which puts together the Mardi Gras Film Festival during the first half of every year and then gives cinephiles the Queer Screen Film Fest to close out the annual calendar. Two fests are still on the agenda in 2021 — but, after MGFF paired in-cinema sessions with an online program, QSFF will only be screening online. Running from Thursday, September 16–Sunday, September 26, the latter is popping up while Sydney is in lockdown, so you'll have plenty of viewing options from your couch. And, it'll be playing virtually nationally, letting fans of LGBTIQA+ flicks tune in Australia-wide. More than 40 films are on the bill, spanning new highlights and a few favourites that've graced Queer Screen's two fests in previous years. Among movies from 17 countries and in 18 languages, new standouts include François Ozon's 80s-set Summer of 85, about a two teens and their summer fling; Taiwanese drama Dear Tenant, which explores the experience of being a gay man in the country today; Lola, an award-winner that focuses on a trans girl and her estranged father on a trip to the Belgian coast; and A Sexplanation, which ponders the stigma that still surrounds talking about sexuality. And, from the past standouts, lesbian rom-com Signature Move, Germany's acclaimed Free Fall and Wild Nights with Emily, about poet Emily Dickson, all feature.
On February 17, 1936, when Sir Reginald Ansett first took flight in his Fokker Universal passenger plane from Hamilton, Victoria, he wasn't to know that his would be a legacy in two acts. A legacy not just of iconic Southern Hemisphere aviation, but also of the dankest wearable swag this side of that $19 Bunnings cap with the built-in torch. Yet, some 82 years later, in a rural tin shed-cum-hangar-cum-museum — located at the birthplace of the aforementioned national aero-identity — lies, in mint-ish condition, the most complete collection of Ansett Australia paraphernalia you never knew you were in grave spiritual free fall without. And much of which money can buy. Because we're suckers for nostalgia and weird experiences accessible from the city, it was time to beeline — nay, V/Line — 288 kilometres west to the good township of Hamilton (town slogan: "One place, many possibilities") and examine the loot. But first: the 'museum'. There she blows. If you're not familiar with Ansett Australia, it was an airline — much like Qantas is currently an airline — until 2001 when it was placed into administration following a gnarly financial collapse. At its peak, it sponsored the cricket, provided Winnie The Pooh pencil cases and colouring books for kids, and served hot food on board when the competition bothered not to. It was the official airline of the Sydney 2000 Olympic Games, flying the torch from Auckland to Uluru, and it sponsored Neighbours during the iconic Kylie era of the late 80s. The museum tells of the erstwhile airline's rise and fall (mostly the fall) and houses a neat grab of quintessential airline detritus. It also houses a heap of derelict (and creepy) mannequins — perhaps the most complete collection of derelict mannequins in the entire Southern Grampians region — cracking out in costume, for your pleasure. Some are more headless than others. About halfway through the museum, we hit a room covered with testimonials from former employees penning some pretty deep plane's-going-down truths. Some were undyingly positive — "It should not have gone down / We were fabulous / We could have blasted QF and VG out of the sky" — others more sombre — "To everyone, for everything, thank you" — and some a little bit extraterrestrial: "We might all be gone but our spirits will last forever". Also in the room was this scary unexplained bus. Aside from the reminiscing and the scrutinising decaying mannequins, what you're really here for is that euphoric airline swag of yore. Like this 90s schoolyard must-have. What a ride. If you're not ready to go home, or you can't for whatever reason, a volunteer — let's call him Gary — who'll put on a historical Ansett Australia DVD in the headless mannequin room. It's ok — two stars. Otherwise it's an exit through the gift shop, where you'll find many things you can buy with your money and wear to cool nightclubs. You can buy this stubbie cooler ($8). That you can pair with this beanie ($10). Or this fresh self-mulleting legionnaires hat ($10). And put it all in this nightclub-essential bum bag ($9). Probably drape one of these ($5) around your best finger, too. It all feels a bit like when an elderly relative dies and you have to spend a weekend going through their things — only the deceased was an airline and owned more stuff. But, hey, treasure is treasure. The Ansett Australia Museum is located just three and a half hours from Melbourne in Hamilton, and is weird and good. Did I say good? I meant strange. Entry is $10 for adults, $8 for concession, but you can also not go into the museum and just go to the gift shop — though you'll have to explain that to Gary. You can also just go to this website and buy heaps of this stuff online, but you would really be missing out on the whole experience. Ansett Museum is located at the corner of Ballarat Road and Riley Street, Hamilton, Vic. It's open daily from 9am–4pm. To book a visit call (03) 5571 2767. Images: Frank Sweet.
With plenty of IKEA furniture ending up deep in the Gumtree 'For Sale' ads or left on the side of the road, the Swedish retailer came up with a pretty clever plan to give those unwanted flat-pack ensembles a second lease on life: a buy-back service. In good news for those moving house or faced with an accumulative collection of Malm blond wood pieces, the chain allows Australians to return their retired IKEA pieces to their nearest store, ready to be sold on to a new home — and score a voucher for their efforts. For ten days between Tuesday, November 24–Thursday, December 3, IKEA is going a step further — because Black Friday falls within that period, and because it's keen to make the annual buying frenzy more sustainable. Return an unwanted IKEA piece between those two dates, and the retailer will double your refund. So yes, you'll receive twice as much as you would if you brought in a few bookshelves either now or once the special is over. And, you'll be able to use that refund for a year after its issued. So how does it work? If you've got some furniture you want to get out of your life, you'll need to get an estimated quote online. Between the aforementioned dates, that web calculator will automatically double the value of your returned item, compared to normal. Then, you'll need to take the quote and your furniture — still fully assembled, mind you — to your closest IKEA location. Once there, your furniture will be assessed by an IKEA staff member, and they'll confirm the a value and give you a buy-back refund card to use in-store. The one big caveat: to score double the refund, you'll need to be an IKEA Family member (otherwise, you'll just receive the normal amount). It's free to join, though, and you can sign up online. Even with twice as much credit on offer, the buy-back scheme still works in the same general way. So, it's only for IKEA furniture, and not for other products like lighting, mattresses, textiles, kitchen components or appliances. That's because the bought-back pieces need to be in good enough condition to be sold on to other customers in the As-Is store. It does, however, have separate recycling schemes for mattresses, batteries and light bulbs. The by-back program was rolled out nationally in 2019 after a year-long trial at Sydney's Tempe store, which saw 1600 pieces bought back from customers. Initially, the initiative was spurred by findings from the company's latest People & Planet Positive Report, which suggested Aussies threw away up to 13.5 million pieces of furniture that could have been recycled, reused or repaired. If your Malm bed frame or chest of drawers isn't in quite good enough condition for the As-Is store, you might need to consider donating it to charity or finding another way to recycle it. And if you are buying new furniture, consider buying something secondhand from the As-Is store, or at least investing in something that you plan to keep long-term. As part of the Black Friday promotion, items returned and sold at the As-Is store will be renamed after their previous owners. If your name is already Billy and you're bringing back bookcases of the same name, though, obviously nothing will change. For more information about IKEA's buy-back scheme — and its Black Friday deal — head to the retailer's website. Between Tuesday, November 24–Thursday, December 3, IKEA Family members will get double the refund amount on returned IKEA furniture, as calculated via an online quote, and then confirmed when you take your goods to the brand's stores to collect and redeem the voucher.
Instead of renting an apartment for their vacation, rich European holiday-goers are now renting or buying entire villages. Villages like Engelberg, Deidesheim, Goldegg and Mariazell are also being hired by companies for business retreats and meeting, while others are allowing buyers to name street corners, use restaurants and bars as a local meeting place or even a hideout for the night. In Italy, the small medieval village of Valle Piola was for recently on the market for US$782,040, roughly the same price as a 2 or 3-bedroom flat in Sydney. Further north, Liechtenstein put itself up for rent with a $70,000/night price tag, which also includes its 30,000 residents. Snoop Dogg reportedly tried to rent the country for a music video but was turned away. [Via Born Rich]
Love them or hate them; oysters are a big business. NSW has a multimillion-dollar oyster industry, with a serious portion of Sydney's supply coming from the Central Coast. Those local farms get their chance to celebrate when the annual Brisbane Waters Oyster Festival rolls around, returning in 2024 on Sunday, November 10. Hosted at Lion's Park in Woy Woy, you'll find all sorts of oyster-centric entertainment and offerings at this all-day event. Local producers like Hawkesbury River Oyster Shed and Whittle Organic Oyster Farms will be dishing out the goods themselves, fresh from local waterways. There will also be live music and mariachi bands, market stalls selling food, wines, cocktails, and a drinks stand selling cold beers from Six Strings Brewing Company. Don't fill up on beverages, though. You'll need an empty stomach if you're to compete in the annual oyster-eating competition.
At the moment, you can't go visit your local bar for a round of after-work negronis on a Friday afternoon. But that doesn't mean you need to forego your usual end-of-week drinks with your colleagues. A heap of bars, wineries and distilleries are bringing the happy hour to you — virtually. Whether you'd like to learn how to whip up a Bond-worthy martini, show off your beer knowledge at a boozy trivia session or taste your way through some top drops (and learn a thing or two) at an online cellar door event, there are plenty of digital happy hours to get around while you work from home. Here are some of our favourites.
Being kind to the planet is good in theory, but in reality, breaking old habits can be tough to do. One minute you're swearing off single-use coffee cups forever, and the next you're in line at the cafe realising you've forgotten your reusable version — again. If you're an Inner West local, the answer to your coffee woes is here. From next Tuesday, July 30, the area will be home to a new BYO coffee cup swap initiative. A collaboration between Inner West Council, the nationwide Responsible Cafes program and reusable cup system Green Caffeen, the Swap and Go scheme allows cafes and customers to cut down drastically on their usual caffeine-related waste, all by making use of a rotating network of reusable cups. Already used by over 200 cafes across Australia, Green Caffeen will now add a growing list of Inner West venues to its roster. So how does it work? Download the free Green Caffeen app to your smartphone, then swing by any participating cafe, where you can get your hot drink of choice served in one of the signature green reusable cups. They're crafted from BPA-free polypropylene, and feature barcodes that allow the cups to be scanned out and then scanned back in when you return your empty vessel — either to the same cafe, or to any other participating venue. The cups can be used endlessly between cafes and users who've signed up to the network. And you've got a handy 30 days to scan each cup back in before landing a late charge of $12.99, which shouldn't be a problem at all for regular sippers. Green Caffeen estimates that its operations have saved over 509 bins of single-use coffee cups from heading to landfill — and with the Inner West's coffee drinkers on board, that number's surely set to skyrocket. A similar program, called Viva La Cup, was launched in Melbourne last year. Plans to hook the Inner West up with its own cup scheme were first announced in August last year, after council voted in support. For more information about Green Caffeen, head to the group's website.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning 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, comedies, music documentaries, 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. https://www.youtube.com/watch?v=q7eZEZHRrVg PENGUIN BLOOM Nature is healing in Penguin Bloom, but not in the way that 2020's most famous meme has taught us all to expect. This Australian drama tells the story of Sam Bloom (Naomi Watts, The Loudest Voice), a nurse who becomes paralysed from the waist down due to a tragic accident during a Thailand vacation. Then, while adjusting to being in a wheelchair upon her return home, she finds solace in the company of an also-injured magpie chick. Her three young sons Noah (Griffin Murray-Johnston), Rueben (Felix Cameron) and Oli (Abe Clifford-Bar) name the bird Penguin. They're keen to look after it until it recovers, something they're unable to do with their mother. But the strongest bond between human and magpie forms between Sam and Penguin, albeit reluctantly at first. Traumatised by her experience, pushing her husband Cameron (Andrew Lincoln, The Walking Dead) away, subjected to her mother Jan's (Jacki Weaver, Never Too Late) fussing, and struggling with the changes from her old life — so much so that she's barely able to look at photos from the past — Sam is angry, upset and unhappy. She's hurt, and not just physically. As enjoying the presence of and caring for a pet is known to do, however, she finds hope, purpose and perspective via her new feathered friend. Describing Penguin Bloom's plot is bound to make anyone think that it's a piece of fiction conjured up by a screenwriter, but the Glendyn Ivin (Last Ride)-directed movie is based on real-life events — with scribes Harry Cripps (The Dry) and Shaun Grant (True History of the Kelly Gang) adapting the book by Cameron Bloom and Bradley Trevor Greive. Still, overcoming that manufactured, formulaic, sentimental feeling is the movie's chief obstacle, and one that it can't completely manage. In her first homegrown role since 2013's Adore, Watts puts in a film-lifting effort. The several exceptionally trained birds by her side all do too, vying with their high-profile co-star for the feature's best performance. And the rapport between human and magpie is as touching as it should be, ensuring that you don't need to have sat in Sam's exact seat or seen the world through the picture's wheelchair-height cinematography to understand the impact that Penguin has on her emotional and mental wellbeing. But, as most Australian films that that focus on a human-animal connection have been (with 2014's Healing a rare exception), Penguin Bloom is firmly a family-friendly affair. Movies that are suitable for all ages should genuinely earn that term, engaging adults as much as children; here, though, chasing that feat involves sticking to a noticeably easy, straightforward and simplistic template even when the film does strike a chord. https://www.youtube.com/watch?v=B5Fr1M2fjY0&t=26s ONLY THE ANIMALS Murder-mystery Only the Animals starts with a killer opening image, featuring a live goat being worn like a backpack. The animal is slung over the shoulders of a cyclist as he rides through the streets of the Côte d'Ivoire city of Abidjan, and the unique picture that results instantly grabs attention — for viewers, even if it doesn't appear to interest anyone in the vicinity on-screen. This involving French-language thriller doesn't explain its attention-grabbing sight straight up, though. Instead, it jumps over to the Causse Mejean limestone plateau in southern France, where snow blankets the UNESCO World Heritage-listed site and — unrelated to the weather — a number of locals are icily unhappy. Indeed, farmer Michel (Denis Ménochet, Custody), his insurance agent wife Alice (Laure Calamy, Call My Agent!) and Joseph (Damien Bonnard, Dunkirk), one of her clients, are all far from content before word arrives of a shock death in the area. Doing house calls is part of Alice's job in the small, close-knit community, and it sees her embarking upon an affair with the awkward Joseph, who has shut himself off from everything beyond his property after his mother's passing a year prior. The surly Michel barely seems bothered about his marriage, spending all his time in the office attached to his cattle-feeding shed ostensibly working on the farm's accounts. When the grim news spreads, it has implications for all three. Adapting the novel Seules Les Bêtes by Colin Niel, writer/director Dominik Moll (News from Planet Mars) and his frequent co-screenwriter Gilles Marchand switch between Only the Animals' characters and relay the details from their perspectives. First, Alice's take on the situation graces the screen. Next, it's Joseph's turn. Waitress Marion (Nadia Tereszkiewicz, The Dancer) earns the third chapter, which charts her hot-and-heavy rendezvous with Evelyne (Valeria Bruni Tedeschi, Let the Sunshine In), the woman who'll turn up dead — while the final and longest segment belongs to Armand (debutant Guy Roger 'Bibisse' N'Drin), without the goat, as he tries to catfish his way to riches, success and the girl of his dreams. A whodunnit, Only the Animals tasks its audience members with sleuthing their way through its fractured tale, all to discover who is responsible for Evelyne's demise and why. Thanks to its multiple parts, it also gets viewers guessing about events that initially appear unrelated, and how they'll end up linking into the broader story. But the suitably cool-hued film is filled with other questions, too, ruminating on the primal nature of love and pondering the ways in which pursuing it — or chasing a mere moment, however fleeting, with someone else — can lead down immensely complicated paths. Read our full review. https://www.youtube.com/watch?v=x5xoxzO9bRQ&feature=youtu.be DAWN RAID When Danny 'Brotha D' Leaosavai'i and Andy Murnane set up their own record label in the late 90s, they took its title from a bleak chapter in New Zealand's history. During the 70s and 80s, early-morning round ups were deployed by the government to locate and detain Pacific Islanders who had overstayed their visas — a racially motivated tactic that left a strong imprint in South Auckland, where Leaosavai'i and Murnane grew up. Accordingly, by using Dawn Raid as moniker for a venture that supported Polynesian artists, the duo were reclaiming and repurposing a problematic term. Their clothing line, also under the same name, was filled with slogan-heavy apparel that did the same thing with other words. And, as their business empire grew quickly to also encompass stores, bars and even a barber shop, the pair employed the same irreverent, enthusiastic, passionate but carefree approach at every turn. The local impact was considerable, launching careers, giving aspiring musicians a pathway and inspiring hope throughout the local community as well. But, as the new documentary that's also called Dawn Raid makes clear, Leaosavai'i and Murnane's entrepreneurial spirit and can-do attitude sent them on a complicated rollercoaster ride. Their rise was meteoric; their struggles, when they came, were just as significant. Filmmaker Oscar Kightley details Dawn Raid's tale, paying tribute to the label's influence and the artists that it brought to the public's attention as well — including hip hop group Deceptikonz; its members Savage, Mareko and Devolo, who have each pursued solo careers; singer Aaradhna; and R&B duo Adeaze. The filmmaker may have already been well-acquainted with Leaosavai'i and Murnane after the pair oversaw the soundtrack to Kightley's big 2006 hit Sione's Wedding, but he still takes a warts-and-all approach to their ups and downs. It'd be impossible to do justice to their story otherwise and, as the movie's main interviewees, Leaosavai'i and Murnane are just as frank and willing to discuss both the good and the bad. They need to be, of course; it's their experiences after meeting in business school, overcoming troubled childhoods, lucking into some of their success and making as many fortunate choices as mistakes that makes the documentary particularly compelling. Indeed, Kightley doesn't need to amass much more than talking heads, archival footage and music videos to unfurl Dawn Raid's history, or to keep viewers interested. Still, he not only skilfully weaves together this engaging and comprehensive chronicle, but also knows when to give particular incidents from the company's past — like Savage's surprise viral hit when his single 'Swing' was used in the movie Knocked Up — the spotlight. https://www.youtube.com/watch?v=B_T0F36YEi0&list=PLB5pxwdW-CtP4EVTJe_bHhQ-iBR8mBeBS THE MARKSMAN If film stars are ever able to digitise their likenesses, then let CGI versions of themselves do the acting for them, Liam Neeson could end up with an even longer list of forgettable action flicks on his resume. That idea for that kind of technology stems from the 2013 movie The Congress, which didn't feature Neeson — but, perusing much of his recent output, you can be forgiven for wondering if letting a computer insert him into however many Taken ripoffs that Hollywood seems to need would be any different. For now, Neeson keeps performing the usual way. And, he keeps making movies that call upon his particular set of fist-throwing, villain-dispensing skills more than the talents that saw him receive an Oscar nomination for Schindler's List. The good news with The Marksman is that it's an improvement on 2020's Honest Thief; however, it's also yet another thoroughly by-the-numbers movie that only seems to exist so that it can star Neeson. This time around, he plays a retired marine-turned-Arizona rancher who lives near the Mexico border, has spent his time since his wife died reporting illegal crossings, and earns a drug cartel's bloodthirsty interest after he helps the fleeing Rosa (Teresa Ruiz, Narcos: Mexico) and her 11-year-old son Miguel (feature debutant Jacob Perez). Neeson's character, Jim, isn't the type to let murderous thugs hunt down a boy — or to trust that they won't still get to Miguel in police custody, even with his own stepdaughter Sarah (Katheryn Winnick, Vikings) on the force. So, in an inversion of the role that cemented Neeson as a 21st-century action star, Jim takes the kid on the run in an effort to deliver him safely to relatives in Chicago, all while both assassins and the cops try to hunt them down. Unsurprisingly, The Marksman trades in routine action scenes, but it thankfully does so in an unflashy way. It's far less subtle about its patriotic imagery; when Jim is told that the bank is selling off his house, the cringeworthy scene sees him deliver a speech about serving his country and working hard all of his life while grimacing sternly and wearing an American flag slung over his shoulder. It's the type of dialogue you might expect Clint Eastwood deliver and, in case you weren't thinking about him during the film, writer/director Robert Lorenz even has Jim and Miguel watch a clip from the actor's 1968 western Hang 'Em High. The filmmaker has a history with Eastwood, actually, directing him in 2012's Trouble with the Curve and working on a long list of Eastwood-helmed movies. Lorenz doesn't have ties to John Wick, but that doesn't stop him borrowing a little from that franchise as well — and stranding Neeson in a passable-enough but always derivative movie several times over in the process. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26; and December 3, December 10, December 17, December 26; and January 1, January 7 and January 14. You can also read our full reviews of a heap of recent movies, such as The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky, The Furnace, Wonder Woman 1984, Ottolenghi and the Cakes of Versailles, Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig and The White Tiger.
Drawing attention away from any one of Timothée Chalamet (Wonka), Zendaya (Euphoria), Javier Bardem (The Little Mermaid), Rebecca Ferguson (Silo) or Josh Brolin (Outer Range) isn't easy, let alone from all five in the same films. And yet, the desert expanse that's roamed across by the stars of Denis Villeneuve's Dune franchise demands notice above everyone and everything. The person guaranteeing that viewers not only spy the sand stretching as far as the eye can see, but feel its impact: Australian cinematographer Greig Fraser. On both Dune: Part One and Dune: Part Two, his work for the Blade Runner 2049 director ensures that audiences spend ample time with Chalamet and company as well. The two movies are as intimate as they are epic. But these pictures couldn't exist without their namesake receiving such prominence. Sand isn't just sand in Dune, or to Fraser. With Dune: Part Two, Frank Herbert's books now reach cinemas for the third time — David Lynch's 80s adaptation came first — but they couldn't value golden grains more highly even when they were only playing out in readers' imaginations. In the Dune realm, all that siliceous substance is spice, also known as melange. It powers interstellar travel, extends lives and expands consciousness. It's only found on Arrakis, the planet that Chalamet's Paul Atreides is sent to live on in Dune: Part One when his father (Oscar Isaac, Spider-Man: Across the Spider-Verse) is installed as its new ruler. It's hardly astonishing, then, that past overseer Baron Vladimir Harkonnens (Stellan Skarsgård, Andor) isn't thrilled about losing control of such a treasure trove. It's similarly unsurprising that the Fremen, Arrakis' Indigenous population, is determined to fight for their home and destiny. Spinning this story for cinema was always going to be a sandy endeavour, with Fraser's skills pivotal. For Dune: Part One, which stunned with its spectacular desert-swept visuals and set the bar stratospherically high for its sequel, he won the Best Cinematography Oscar. "You become an expert in the dunes," he tells Concrete Playground about not just making the first film, but also returning for Dune: Part Two. He didn't shoot the initial flick with its follow-up in mind, however — or even dream back when he lensed his first-ever feature, 2005's Jewboy, that this is where his career would take him, or to an Academy Award-nomination for Lion before his Dune win. Bright Star, Let Me In, Zero Dark Thirty, Foxcatcher, Rogue One: A Star Wars Story, The Mandalorian, The Batman, The Creator: they're all also on Fraser's resume. "It's funny because, it's going to sound a little bit weird, but I just didn't think full stop," Fraser shares about his mindset when he was initially starting out. "Whenever I was doing a movie when I was younger, or even now, frankly, it's one foot in front of the other as opposed to a master plan. I wish I was smart enough to be in that Dune world of plans within plans, and manipulating events to my end. But really what I was just trying to do was just trying to do the best job of the thing that was sitting right in front of me." "So no, I can tell you that right now, when we were filming in Bondi for that movie, on a bus in Bondi" — for Jewboy, that is — "that I categorically was not ever thinking about the possibility of doing something like Dune. That was never on my radar. Obviously I knew what I liked, and I knew the films that I loved. And it just became a a race — or a game, I should say — of doing what I love doing. And then if I was doing what I love doing, and then doing the best job that I could, then hopefully that then leads to the next thing that I love doing. And that's kind of how the career's gone. It's a little bit of a simplistic way of describing it, but that's a genuine, honest take on it," Fraser continues. To say that his career is going well is an understatement. Now that Fraser has returned to Dune — including showing moviegoers what Arrakis and all of its sand looks like under an eclipse, and also bringing the planet of Giedi Prime, which dwells beneath a black sun, to the screen — he'll next shoot the Dark Knight again on The Batman Part II. We chatted with the cinematographer about his work on both Dune films to-date, his Oscars recognition, how daunting it is to try to back up his Dune: Part One accolades on Dune: Part Two, his new expertise on sand dunes, taking Arrakis and Giedi Prime from the page to the screen, and more. [caption id="attachment_774009" align="alignnone" width="1920"] Dune: Part One. Image: Chiabella James. Copyright: © 2020 Warner Bros. Entertainment Inc. All Rights Reserved.[/caption] On Lensing Dune: Part One Without Presuming That Fraser would Be Returning on Dune: Part Two "You never take anything for granted, and doing a movie is a miracle. People talk about us as a species having evolved, that's kind of a miracle — because there's a million things that could have gone wrong with a film getting up and going, but then there's another million things that could have gone wrong with me being able to do it. I could have been committed on another project. Denis may have chosen to to use another cinematographer, as is his right and he should and could, to create something different. Because that's what he he does — he casts his crew like he cast his actors. And so there's a whole myriad of reasons why I may not have been able to do Part Two. So I wasn't necessarily doing Part One on the proviso that I do Part Two. I was trying to make — as Denis was — Part One as good as possible, and do the best job for my director as possible. Then, with Part Two — obviously, we knew there was more of the story, but it's not dissimilar to to something like Rogue One. You know there's more to the story because the Star Wars universe is bigger than just Rogue One, but you don't make Rogue One thinking there's going to be another one or a series. You make the best thing you can." On Winning an Oscar for Dune: Part One — and Receiving a Nomination for Lion Before That "I love Lion, as I know a lot of people do. There's a lot of love out in the world for Lion. So, to have done that — the recognition is interesting, because the recognition from my peers is really important, and particularly peers that I respect and know. There's been a few events in my life where I've been given a pat on the back by people that I respect, and that's what effectively the Oscars are. A nomination for that is that exact thing. It's a pat on the back by your peers. And the win itself is, of course, icing on the cake, but that's not the most important thing. The most important thing is the nomination, because it basically says that of the movies of that year, that your peers feel like you are in the top five — and that's a big deal. For a kid from Melbourne who used to shoot short films and music videos with his buddies, to have made the top five film of the year for two years, I guess, now — two nominations — that's a big deal to have kudos from your peers, that I think's quite, quite fantastic. And also as a pat on the back to not just me, but also my director. Because if you recall in that year, Garth Davis directed Lion and that's a pat on the back to him. And Denis in the year that Dune was nominated, it's a massive pat on the back to him." On Being Daunted on Dune: Part Two After the Accolades and Acclaim Earned by Dune: Part One "Suddenly there's hype behind it. If it'd just been people going 'yeah, good one, that's great', well Part Two, you've got nothing to lose. But going into Part Two for us meant that we had everything to lose. Suddenly the stakes where a thousand times higher because everybody was going 'well, that won all these awards, this has got to be better'. Now, I will say just on the record, there have been many, many movies that have not won Academy Awards that are incredibly deserving — and there are many, many that have that aren't. So winning an Academy Award, in my opinion, is not always for the best film, out of respect for other films that don't win. But there is an inbuilt kind of consensus that that becomes the best film of the year. So therefore we were like 'alright, well all of us basically won that year'. Myself, and Patrice [Vermette, Foe] the production designer, and Paul [Lambert, First Man] the effects supervisor, and Joe [Walker, The Creator] the editor — we all kind of went 'gulp, we've got to make this better'. We want to make it better for ourselves anyway, and for the director anyway. But we're now like 'okay, now we've got to make it better better better better better'. Again, regardless of what it does in the awards season, I feel like we've made it better. I think every department stepped up. I didn't think that was even possible, frankly — that the design could be any better than last time or the VFX could be better than last time. But it is. And it was. And we did. And it felt better." On Becoming an Expert in Sand Dunes "What happens that I've learned — so here is the the masterclass of the sand dunes, if anybody wants to go out and shoot sand dunes — is that the time of day is critical. So you might be scouting a place in the morning where the sun's coming from east and you might not love it. You might dismiss it as a location. But you're driving past there in the afternoon, and the way the sun works its way across the the tops of the sand dunes and backlights the wind, it can change the location massively. Often at the beginning of our journey, back in 2019–2020, we would scout at the wrong time of day — or we would scout at a time of day that we weren't shooting. And we soon came to realise that 'okay, when this is scheduled, let's scout when it's scheduled, and that's the afternoon'. Which, in hindsight, is logical, and I'm surprised it even took us the couple of days it took us to figure that out. But yeah, I've become a bit of an expert when it comes to what the sand dunes are going to look like with the right light." On Giving Arrakis a Different Colour Palette for Dune: Part Two "We didn't want to start the movie the same way that that Part One ended. And it was a very deliberate, very deliberate process. Denis obviously had a really long time to think about this film — because even though I had done The Batman between the two Dune films, he had not. He was finishing Dune: Part One and he was preparing Dune: Part Two. So he had a lot of time to think about it, and he came to me and said 'I don't feel like we should start this the same way we ended'. And he said 'should we consider doing this as a night scene?'. And you know, I read the script, and a night scene for that scene would have been technically really tough, in the desert with lights. It would have been not only tough — nothing was impossible, of course — but I don't think the end result would have been as good. So we looked at day for night options. We looked at other ways to film it, to make it look different. And I found a filter that that cuts out a lot of blue and green light — not all of it, just a part of it, so it changes the spectrum, and it felt a little bit reddy-orange, but it still had colour. And we went 'perfect, that's what this world looks like when there's an eclipse'. So we said 'okay, we have the ability to to make an eclipse whenever we want'. And so we went 'let's start the film with an eclipse'. The funny thing was, we didn't plan for this, but during our time filming that sequence there was actually an eclipse in Jordan. Not to that degree — but we did a shot, we had our splinter unit DP Christoph with the long lens filming the sun, and so he did film the eclipse. I think there might be shot of the actual eclipse that we filmed in the film." On the Striking Look of House Harkonnen's Giedi Prime "Again, it's conversation with Denis. So Denis said 'listen, there's a fight scene. Feyd-Rautha [played by Elvis' Austin Butler] is gladiator, and there's a fight scene, and it's outside in a gladiatorial environment — but it can't look like Arrakis'. You think about all the gladiator films you've seen, and they're all on sand, aren't they? And they're all under the sun. So you would be confused if it looked like Gladiator or something, because it would be too similar to Arrakis. I'm not sure if this is in the book or not, but Denis wanted to create a a black sun for that world. And I was like 'wow, okay, what does the black sun do? Does it suck light out? Well, if it does, then it's black. It's a black hole.' But we were like 'no, it sucks the colour out. It emits an infrared light, but it sucks all the colour'. All work that's outside — the sun, effectively anything that's hit by sun or the effects of sun — is an infrared type of light with no visible colour. There are some scenes where it's inside in Giedi Prime and it's muted colours, but it's not black and white. When anybody comes from the Baron's box, for example, when they're inside in artificial light, let's call it, it's colour. It has colour. But then when they get hit by the sun, they become just this white, almost-ghoulish kind of effect. The benefit of that was that it really helped us tell that story of why the Harkonnen look the way they do — why they look so pale, and why they have alopecia, and why they have such gaunt, pale, pasty skin. It's because they don't get any of the ultraviolet from from the real sun. That's a backstory that never gets discussed in the movie, but hopefully with an audience it starts to become logical that you go 'okay, I get why they're so white and they need protection in the desert, because they can't handle the UV'. On Balancing the Epic and the Intimate On-Screen "I love extremes. I love dramatic extremes. I'm visually quite dramatic, I would like to think. So there's nothing more fantastic to me than seeing a closeup, then cutting to an extreme wide [shot] and seeing scale and grandeur that we possibly can't even imagine. It's something that I love about the Star Wars series. These guys get on the Millennium Falcon, which is massive, and then the Millennium Falcon flies up close to the Death Star, which then the Millennium Falcon becomes tiny. It's all about scale. It's people that we know get into something big, and then that big thing flies into something even bigger, which is beyond belief. It's hard to imagine that scale. As humans, we rarely come across scale that that absolutely floors us. I know people start talking about things like the Grand Canyon, they start talking about massive structures — massive earth-mining machinery, about the scale of those things that just literally blow their mind. So with filmmaking, we have that ability to create this scale that's beyond beyond this world, but mindblowing. Like those worms, I mean, those worms are beyond massive." On Making a Third Dune Film If It Comes to Fruition "Absolutely. I love working with Denis, so anytime Denis asks me to do a movie, I'll be there if the stars align — I'd be absolutely there. How it would look is a different story. I can't tell you what that would be, and that's what's fun about the process of discovering what a film is. Because Part Three would not look like Part One and Part Two. It would look different, and I don't know how that would be different at this point, which is fun because it means you got to work it out — and we could be talking again in whenever it comes out, five, ten years, whatever. If I get the chance to shoot it, then I'd love to talk about how different we made it. But at the moment, I don't know. It's a funny thing. I would love to do it. And if it comes off for me and the timing's right, fantastic." Dune: Part Two opened in cinemas Down Under on Thursday, February 29, 2024. Read our reviews of Dune: Part One and Dune: Part Two.
Rock legend Patti Smith will soon see her most iconic pageturner made into your newest binge watch. The 68-year-old's immortal Just Kids memoir is being made into a Showtime miniseries. The best bit? Smith is producing and co-writing the series — alongside Penny Dreadful showrunner John Logan. Announced at this year's Television Critics Association press tour, Showtime’s new series will follow Smith's National Book Award-winning memoir detailing her years spent living in New York City with photographer Robert Mapplethorpe. No cast or release date has been announced, but uppity predictions will inevitably flow over the next few months. Costumes though: It goes without saying, the series already has one hell of a script. Smith, whose sequel memoir M Train is set to hit shelves on October 6, is keen to delve further into her own NYC youth with the series. “A limited series on Showtime will allow us to explore the characters more deeply, enabling us to develop stories beyond the book and allow a measure of unorthodox presentation,” said Smith in her media statement. “The medium of a television limited series offers narrative freedom and a chance to expand upon the themes of the book.” Via Flavorwire.
The Icebergs, long synonymous with its classic Bondi Beach views, will soon be able to treat diners to a new horizon. That's because the restaurant is set to open another branch — in Bali. You'll find it at Echo Beach, Canggu, where it'll form part of the Sea Sentosa development. That's on Bali's southwest coast, 15 minutes from Seminyak, 15 minutes from the Greg Norman-designed Nirwana Golf and Country Club, and 45 minutes from the airport. Oh, and a five minute walk from no fewer than eight amazing surf breaks. Sea Sentosa first suggested the idea to Icebergs owner Maurice Terzini about five years ago. Back then, the in-demand restaurateur decided against it, but now he feels that the time is more auspicious. "I've wanted to do something here for a long time," Terzini told Good Food, speaking from Bali. "I've been coming here since the early 1980s." He also said that he'll be joining forces with "a partner-backer", but has yet to name who. However, he did mention that a favourite designer, Lazzarini Pickering, has been flown to Bali from Rome to begin whipping the space into shape. Terzini's most recent project — Da Orazio Pizza + Porchetta — has been attracting an exceptionally healthy stream of customers since opening in Bondi's Boheme development in January. Via Good Food.
UPDATE: June 10, 2020: Honey Boy is available to stream via Google Play, YouTube and iTunes. A Vietnam veteran and ex-rodeo clown who treats his pre-teen son more like a buddy than a child, James Lort is the role that Shia LaBeouf was born to play. He has certainly studied it more closely and carefully than any other part — more than his time befriending shape-shifting aliens in Transformers, undoubtedly — because he spent his whole childhood watching it in action. That's what kids do with their fathers. They don't usually write screenplays about the experience, then step into their own dad's shoes themselves, but that's the situation that LaBeouf is in. Basing Honey Boy on his years as a child actor, and on his father's involvement, the result is an astonishingly personal and revelatory film that continues the American Honey and The Peanut Butter Falcon star's recent stellar streak. The names have been changed — LaBeouf's real-life father is called Jeffrey Craig LaBeouf, and the actor's 12-year-old on-screen surrogate (A Quiet Place's Noah Jupe) goes by Otis — but Honey Boy smacks of emotional authenticity. Even if LaBeouf and first-time feature director Alma Har'el didn't show an older Otis (Ben is Back's Lucas Hedges) being coaxed by his counsellor (Laura San Giacomo) to talk about his dad, the whole film would resemble a therapy session. Honey Boy is that introspective, but it isn't indulgent or needlessly navel-gazing. Rather, this piece of catharsis delves into one rather famous figure's demons while recognising that his experiences have universal resonance. Although we haven't all become Disney TV stars before puberty, we've all had our lives shaped by complicated influences. 'Complicated' may be an easy catch-all term for anything that isn't straightforward; however it definitely applies to Otis and James. As the latter constantly reminds the former, he's the hands-on parent that takes Otis to work, helps him learn his lines and oversees his career. But he's also erratic, haunted by his regrets and struggling with his four years of sobriety. One day, James is regaling everyone with his stories and gags on the set of Otis' TV series. The next, he forgets to pick him up once shooting is done. He also frequently leaves Otis alone in the Los Angeles motel room they call home, argues over just who's the boss — Otis' earnings support the family and he pays James to be his manager, so that's a thorny question — or gets envious over the volunteer mentor (Clifton Collins Jr) who wants to take Otis to a baseball game. LaBeouf frames these incidents as memories, flickering in and out after 22-year-old Otis crashes his car, causes a scene, gets sent to rehab in lieu of prison and is diagnosed with post-traumatic stress disorder. In the process, LaBeouf drenches the whole film in the confused emotional state of someone who's scarred by his upbringing (hence the PTSD), yet also appreciates his dad's own problems and just loves his father like every kid does. This isn't an idealised, nostalgic look backwards, or a work of unfettered anger. Honey Boy, like LaBeouf himself, pinballs between multiple extremes. It should come as no surprise that this frank and sincere movie was written while LaBeouf was in rehab himself, and that it always feels like he's confronting issues he knows will never completely be resolved. That's LaBeouf's recent career in a nutshell, both on and off the screen. Growing up in the spotlight, he has acted out his pain in reckless, risky and very public ways — and also channelled it into his art. When he wore a paper bag over his head, declaring "I am not famous anymore", he told the world he was more than just a celebrity. When he live-streamed himself watching a marathon of all of his own movies, he signalled his need to interrogate his history. Both received countless headlines, many dismissing LaBeouf as attention-seeking and vain; however they each exist on the same ruminative and purgative continuum as playing his own dad in a film about his childhood. It's no wonder that LaBeouf's raw performance as James feels so lived-in, whether the character is manic or melancholy, testing his son's love or baring his secrets at an Alcoholics Anonymous meeting. It's a portrayal based not just on fact, but on a lifetime of feelings — and it's the centrepiece of an emotionally heavy, unwaveringly honest and touchingly heartfelt feature that welcomes viewers into LaBeouf's traumas. That intensity isn't just his alone, though. Jupe and Hedges, two of the best actors in their respective age groups, potently capture Otis' conflict and turmoil. In bit parts, Collins, San Giacomo and FKA Twigs (as a "shy girl" who befriends the young Otis when James is out) also flesh out his volatile world. And, at every turn, Har'el finds an evocative and kinetic way to bring Otis' experiences to the screen, including by giving the whole film a dreamlike, hyperreal look and feel. The movie's first transition between the older and younger versions of the character, blasting each backwards while they're shooting — and while Jupe and Hedges both stare directly into the camera — immediately sets Honey Boy's reflective and expressive tone, and this intimate wander through LeBeouf's heart and soul doesn't let up from there. https://www.youtube.com/watch?v=hroo3-sKc0w
After 18 days of the world's finest and most cutting edge films back to back to back, the Melbourne International Film Festival has packed up the popcorn and projectors. Here's what our critics loved, loathed, admired and squirmed over. The Best Films MOMMY The latest film from 25-year-old enfant terrible Xavier Dolan pours unconstrained emotion into a claustrophobic space. Shot in boxy 1:1 aspect ratio, the film tells the story of fiery widow Dianne and her troubled teenager Simon, a pair of bombastic outsiders in a white-bread, buttoned-down world. Anne Dorval and Antoine Olivier Pilon are both stunningly good, their performances positively glowing with uninhibited feeling. The tightness of the frame, meanwhile, reflects Di and Simon's limited options, even as their energy threatens to force the edges apart. This is a funny, earnest, devastating film, one that's vitalised, rather than limited, by its intriguing technical conceit. -Tom Clift https://youtube.com/watch?v=Ifhu51tLv5g FORCE MAJEURE I really wish this wasn't my favourite film of the festival. For the sake of my own credibility, I would prefer that my favourite film wasn't a film released by the company for whom my wife works as marketing manager. But the heart wants what it wants, and I'm talking about both her and the film when I say that. Force Majeure, which won the Un Certain Regard Jury Prize at this year's Cannes Film Festival, is a film that manages to completely deconstruct the concept of masculinity while also being utterly hilarious at almost every moment. It leaves you in a state of shock, but it's so entertaining and funny, you immediately want to watch it again regardless. An amazing achievement on every level. -Lee Zachariah https://youtube.com/watch?v=Jkjn5ICqmJI LISTEN UP PHILIP The blending of ambition, arrogance, inspiration and irrelevance troubles Jason Schwartzman's titular Philip in Alex Ross Perry's third feature. His second novel isn't garnering the requisite attention, and his girlfriend, Ashley (Elisabeth Moss), is better off without him. So when his mentor, Ike (Jonathan Pryce), offers up his holiday home, Philip quickly accepts. Yet, as astute as Perry's rendering of the familiar writer's self-absorbed struggle is, the film tells not just his story but Ashley's and Ike's too. Such structural daring matches an embrace of the abrasiveness of artistry, as played with acerbic comedy, cast with perfection and shot with the warm texture of super-16mm. -Sarah Ward https://youtube.com/watch?v=cX4Hhqjt6J8 BLIND Forgive the pun, but sometimes at a festival, it's best to go in blind. A film without a huge amount of pre-MIFF buzz, the directorial debut of acclaimed Norwegian screenwriter Eskil Vogt concerns a woman named Ingrid struggling with the loss of her sight. Alone in her apartment, she constructs an elaborate fictional narrative through which she works through her fears and insecurities — particularly in regards to her husband, who she fears may be having an affair. It's compelling, self-reflexive, sensual and funny. Think Stranger than Fiction — only full of incredibly graphic sex. -TC The Boldest Experiments MAIDAN You'd think that a largely static camera quietly observing the protests in Ukraine, with no narration and very little context, would be dull as dishwater. Yet Maidan is one of the most incredible documentaries I've seen in a very long time. When the protests begin in the Ukrainian square, they are peaceful and friendly. Children sing on a stage to an appreciative crowd. As the months drag on, the authorities become more tense, and we observe the situation devolve into something horrific and violent. The final moments, which include possibly the most beautiful sequence ever captured on film, leave not a dry eye in the house. -LZ https://youtube.com/watch?v=UgwSi3XVT4E LA ULTIMA PELICULA Alex Ross Perry didn't just direct one of the best features of the festival, he also stars in a creative highlight. Focused on a filmmaker trekking through Mexico circa 2012 to make an apocalyptic effort on the last reels of celluloid, La última película channels a distinct sense of the disjointed in its pseudo-documentary callback to Dennis Hopper's The Last Movie. Formats switch alongside tone and intention, the narrative meanders and rambling improvisation reigns — yet so does affection for its thematic aspiration and aesthetic beauty. That Mark Peranson and Raya Martin's film both probes and parodies the conversation surrounding its conceit also adds to its offbeat appeal. -SW https://youtube.com/watch?v=r2GN3wdfqbA OBVIOUS CHILD A brilliant response to weirdly conservative pregnancy comedies like Juno and Knocked Up, Gillian Robespierre's Obvious Child is probably the most entertaining movie about abortion you'll ever see. Former SNL cast member Jenny Slate is hilarious as Donna Stern, a struggling New York comedian who gets pregnant after a drunken one night stand. The film's progressive, level-headed treatment of abortion makes it a rarity amongst American films, which when you think about it is fairly depressing. In any case, Obvious Child was early one of smartest, funniest comedies at the fest. -TC Most WTF Moments https://youtube.com/watch?v=ibffxoK5gs0 GOODBYE TO LANGUAGE 'Trolling' is something that is usually the domain of adolescents on social media. It's rare that an 83-year-old director will engage in such behaviour, but that's where Jean-Luc Godard — hero of the French New Wave — disagrees. Following on from his nigh-unwatchable Film Socialisme in 2010, Godard again creates something deliberately designed to irritate his audience. Goodbye to Language is filmed in 3D, and some shots contain the most impressive 3D I've ever seen. There is a depth to many of these shots that no Hollywood film has yet achieved. Yet for the majority of the running time, the 3D is specifically designed to make you cross-eyed, pushing the two angles just a little too far away from each other. Or in some cases, way, way too far away from each other. Detachable eyes are essential to watching this film without incurring a migraine. -LZ OUT 1: NOLI ME TANGERE The entirety of Jacques Rivette's 13-hour opus invites exclamation; it's not called the cinephile's holy grail without reason. Seemingly impenetrable extended sequences of experimental theatre, intertwined with a man (Jean-Pierre Leaud) caught in a conspiracy and a woman (Juliet Berto) fleecing the unsuspecting, evolve into a patchwork portrait of a time, place and mood. As it ebbs and flows, plays and provokes, everyone strives for but struggles to achieve their target. Though Out 1 offers no neatness in narrative or certainty in climax, neither does it leave the viewer unsatisfied. Instead, Rivette constructs an experience unparalleled in its insidious intrigue. Once you commit, you can't look away. -SW https://youtube.com/watch?v=_-ZtW5fWRjI WHY DON'T YOU PLAY IN HELL The shining star of the otherwise tepid Night Shift section, the latest film from Japanese splatter-head Sion Sono is a blood-soaked love letter to the movies. An absurd, exuberant mix of western, mob movie and samurai flick, the story follows a group of amateur filmmakers who get hired to 'direct' the showdown between two rival Yakuza clans. Packed with profanity, gore and over-the-top action, Why Don't You Play in Hell? is two straight hours of cinematic insanity. -TC Most Disappointing Films https://youtube.com/watch?v=aCponfeWNOI WISH I WAS HERE To say we were disappointed by Zach Braff's Wish I Was Here implies we were looking forward to it. Even those with fond memories of his debut Garden State (and hey, we count ourselves among them) will find it hard to stomach this privileged, tone-deaf family dramedy. It's a shame the phrase 'first world problems' has now been overused into oblivion, because it would be aptly deployed in this film, where very few of the problems faced by the leads are possible to sympathise with. Rich people struggling with not being quite rich enough? Yeah, it's not exactly Sophie's Choice. -LZ JACKY IN THE KINGDOM OF WOMEN It's a premise with promise and a production and pedigree with the same potential: a Monty Python-esque skewering of gender stereotypes and fundamentalism, filtered through a Cinderella-like story from graphic artist turned filmmaker Riad Sattouf (The French Kissers), and brought to life by a cast including Charlotte Gainsbourg and The Artist director Michel Hazanavicius. It's also a plain example of an idea ill served by its execution, with everything broad and blatant in the role-reversal comedy that eventuates. Laughs are few, as are subtleties, despite the spirited attempts of the director and performers. Jacky in the Kingdom of Women should boast ingenuity but instead languishes in obviousness. -SW https://youtube.com/watch?v=9KrhMbS9uh8 THE DISAPPEARANCE OF ELEANOR RIGBY The Disappearance of Eleanor Rigby was one of the more unique entries of the program, in that it's actually two separate films that together recount the breakdown of a marriage. Eleanor Rigby: Her is told the perspective of the wife, Eleanor, played by Oscar-nominated actress Jessica Chastain. Unfortunately, while the formal conceit is fascinating, the script leaves a lot to be desired. Dull, mopey and full of unconvincing dialogue, the first film ended up being so disappointing that we didn't even bother with part two. -TC By Tom Clift, Sarah Ward and Lee Zachariah.
When you're in a crappy situation, you call a plumber. After the news broke that alleged sexual harasser Kevin Spacey would no longer star in All the Money in the World, with his scenes to be reshot with Christopher Plummer, it was one of the internet's better observations. Controversy aside, the end result is astonishing. You'd never guess that 88-year-old Plummer only stepped into his role as real-life oil tycoon J. Paul Getty in November. Nor will you be able to imagine anyone else playing the part, including the excised, prosthetic-clad Spacey with his penchant for over-acting. Trust Ridley Scott, the now-80-year-old director of Alien and Blade Runner, to mastermind such an impressive technical feat. All the Money in the World is his second movie in less than a year, after 2017's Alien: Covenant — and while it mightn't seem like it at first, there's more than a little in common between the two titles, and with Scott's filmography in general. After spending decades contemplating humanity's complicated relationship with mortality — seen not just in his iconic science-fiction work, but also in the likes of Thelma & Louise, Gladiator and The Martian — Scott has jumped from a film that ponders the notion of creation as the only lasting legacy, to one about the downfall of a man who puts his faith in wealth instead. Plummer's Getty is more comfortable collecting objects than nurturing relationships, including with his own son (Andrew Buchan) — "there's a purity in beautiful things that I've never been able to find in people," the world's richest billionaire dismissively croaks. Getty Jr only contacts his father when he's broke and struggling to provide for his wife Gail (Michelle Williams) and four children, though it's his eldest boy, Paul (played by Charlie Shotwell as a 7-year-old), that the old man takes a shine to. Fast-forward nine years to 1973, and the now-16-year-old (Charlie Plummer) is abducted by kidnappers looking to get their hands on a slice of the Getty fortune, but the cantankerous patriarch insists that he doesn't have a cent to spare. That leaves the distraught Gail to work with Getty's security advisor, former CIA operative Fletcher Chase (Mark Wahlberg), to secure her son's release. A word of warning: you'll hear the phrase "all the money in the world" more than once throughout the film. It's as if Scott and his screenwriters, adapting the 1995 book Painfully Rich, just couldn't help themselves. It's an unneeded wink in a movie that slides with thrilling ease into the icy waters of wealth, laying bare the darkness and ruthlessness born of excessive greed in the process. Balancing multiple negotiations, including Gail wrestling with both Getty and Chase, the family liaising with the captors, and young Paul trying to stay alive with the help of one of his abductors (Romain Duris), the movie also serves up the type of brawny, absorbing thriller we don't often see on screens these days. Working with his regular cinematographer Dariusz Wolski, Scott uses grey tones to contrast the haves and the have nots, immersing audiences in the detail and emotion of the scenario at every turn. Moreover, even when the film stretches its story a little too far amidst multiple twists and changes of allegiance, audiences will find themselves gripped by the work of Plummer and Williams. The pair play polar opposites in an equally effective manner — one a heartless man motivated by self-interest, the real villain of the piece; the other a desperate mother who'd give up anything, including money, for the people she loves. If only Scott had found someone other than Wahlberg to play the third person in their tussle. The actor might as well be fighting giant robots, given how by-the-numbers his performance is. All the money in the world clearly couldn't help with that. https://www.youtube.com/watch?v=viQBNu9z6RQ
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning 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, comedies, music documentaries, 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. A QUIET PLACE PART II When every noise you make could send savage aliens stalking, slashing and slaughtering your way, it's the waiting that gets you. When you're watching a nerve-rattling horror film about that exact scenario, the same sentiment remains relevant. In A Quiet Place, the Abbott family went into survival mode after vicious creatures invaded, hunted down every sound and dispensed with anyone that crossed their path. For the characters in and viewers of the 2018 hit alike, the experience couldn't have screamed louder with anxiety and anticipation. Evelyn and Lee (Wild Mountain Thyme's Emily Blunt and Detroit's John Krasinski) and their children Regan (Millicent Simmonds, Wonderstruck), Marcus (Noah Jupe, The Undoing) and Beau (Cade Woodward, Avengers: Endgame) all silently bided their time simply trying to stay safe and alive, but their continued existence lingered under a gut-wrenching shadow. The critters were still out there, listening for even a whisper. It was a matter of when, not if, they'd discern the slightest of noises and strike again. That type of waiting drips with tension and suspense, and also with the kind of inevitability that hovers over everyone alive. A certain bleak end awaits us all, a truth we routinely attempt to ignore; however, neither the Abbotts nor A Quiet Place's audience were allowed to forget that grim fact for even a moment. Initially slated to arrive in cinemas two years later, then delayed by the pandemic for 14 months, sequel A Quiet Place Part II isn't done with waiting. Written and directed once again by Krasinski, the film doesn't shy away from the stress and existential distress that marking time can bring, but it also tasks its characters with actively confronting life's inevitabilities. After an intense and impressive tone-setting opening flashback to the first day of the alien attack, when the Abbotts' sleepy hometown learns of humanity's new threat in the cruellest fashion, the storyline picks up where its predecessor left off. It's day 474 — the earlier film spent most of its duration around day 472 — and Evelyn, Regan, Marcus and the family's newborn are grappling with their losses. That said, they're also keenly aware that they can't stay in their Appalachian farmhouse any longer. After spotting smoke on the horizon and setting off in that direction, they reconnect with Emmett (Cillian Murphy, Peaky Blinders), an old friend who has been through his own traumas. Evelyn sees safety in numbers, but he's reluctant to help. Then Regan hears a looping radio transmission playing 'Beyond the Sea' and decides to track down its source — and a film that's less thrilling, potent and unsettling than its predecessor eventuates. Read our full review. CRUELLA A killer dress, a statement jacket, a devastating head-to-toe ensemble: if they truly match their descriptions, they stand the test of time. Set in 70s London as punk takes over the aesthetic, live-action 101 Dalmatians prequel Cruella is full of such outfits — plus a white-and-black fur coat that's suspected of being made from slaughtered dogs. If the film itself was a fashion item, though, it'd be a knockoff. It'd be a piece that appears fabulous from afar, but can't hide its seams. That's hardly surprising given this origin tale stitches together pieces from The Devil Wears Prada, The Favourite, Superman, Star Wars and Dickens, and doesn't give two yaps if anyone notices. The Emmas — Stone, playing the dalmatian-hating future villain; Thompson, doing her best Miranda Priestly impression as a ruthless designer — have a ball. Oscar-winning Mad Max: Fury Road costume designer Jenny Beavan is chief among the movie's MVPs. But for a film placed amid the punk-rock revolution, it's happy to merely look the part, not live and breathe it. And, in aiming to explain away its anti-heroine's wicked ways, it's really not sure what it wants to say about her. Before she becomes the puppy-skinning fashionista that remains among Glenn Close's best-known roles, and before she's both a wannabe designer and the revenge-seeking talk of the town played by Stone (Zombieland: Double Tap), Cruella is actually 12-year-old girl Estella (Tipper Seifert-Cleveland, Game of Thrones). In this intellectual property-extending exercise from I, Tonya director Craig Gillespie, she sports two-toned hair and a cruel that streak her mother (Emily Beecham, Little Joe) tries to tame with kindness — and she's also a target for bullies, but has the gumption to handle them. Then tragedy strikes, an orphan is born, loss haunts her every move and, after falling in with a couple of likeable London thieves, those black-and-white locks get a scarlet dye job. By the time that Estella is in her twenties, she's well-versed in pulling quick heists with Jasper (Joel Fry, Yesterday) and Horace (Paul Walter Hauser, Songbird). She loves sewing the costumes required more than anything else, however. After years spent dreaming of knockout gowns, upmarket department stores and threads made by the Baroness (Thompson, Last Christmas), she eventually gets her chance — for fashion domination, as well as vengeance. Read our full review. MY NAME IS GULPILIL Lengthy is the list of Australian actors who've started their careers on home soil, then boosted their fame, acclaim and fortunes by heading abroad. Some have won Oscars. Others are global household names. One plays a pigtailed comic book villain in a big film franchise, while another dons a cape and wields a hammer in a competing blockbuster saga. David Gulpilil doesn't earn any of the above descriptions, and he isn't destined to. It wouldn't interest him, anyway. His is the face of Australian cinema, though, and has been for half a century. Since first gracing the silver screen in Nicolas Roeg's Walkabout, the Yolŋu man has gifted his infectious smile and the irrepressible glint in his eye to many of the nation's most important movies. Indeed, to peruse his filmography is to revel in Aussie cinema history. On his resume, 70s classics such as Mad Dog Morgan and The Last Wave sit alongside everything from Crocodile Dundee and Rabbit-Proof Fence to Australia, Goldstone and Cargo — as well as parts in both the first 1976 film adaptation of Storm Boy and its 2019 remake. The latest film to benefit from the Indigenous talent's presence: My Name Is Gulpilil. It might just be the last do to so, however. That sad truth has been baked into the documentary ever since its subject asked director Molly Reynolds and producer Rolf de Heer — two filmmakers that Gulpilil has collaborated with before, including on Another Country, Charlie's Country, Ten Canoes and The Tracker — to make something with him after he was diagnosed with stage-four lung cancer. That was back in 2017, when he was given just six months to live. Gulpilil has been proving that diagnosis wrong ever since. Cue this heartfelt portrait of an Australian icon like no other, which celebrates a star who'll never be matched, reminds viewers exactly why that's the case, but is never a mere easy, glossy tribute. Anyone could've combined snippets of Gulpilil's movies with talking heads singing his praises. In the future, someone probably will. But Reynolds is interested in truly spending time with Gulpilil, hearing his tale in his own words, and painting as complete a portrait of his life, work, dreams, regrets, spirit, culture and impact as possible. Read our full review. FIRST LOVE When a filmmaker has more than 100 movies to their name and shows no signs of stopping, do they constantly branch out in new and untested directions — or do they keep doing what they already know and clearly love? If you're Takashi Miike, you tick both boxes depending on how the mood strikes you, although First Love plays to the prolific Audition, Ichi the Killer and Yakuza Apocalypse director's established strengths. Pulp violence, a twisty crime tale and the Japanese auteur's gonzo energy all combine in this Tokyo-set noir-thriller. A decapitated head makes an appearance within minutes, and gangsters blasting, slashing and fumbling their way around the city are a key part of the story. Late in the piece, when the frenetic action kicks into another gear, a vibrant animated sequence is also threaded into the film. At this point, why not? Miike's features can't be confused for anyone else's, and First Love is no different; however, even with its hyperactive mood, hectic score, and steep swerves into romance, comedy and slapstick, this is also one of his most straightforward works of late. It's no less fun, inventive, dynamic, enjoyable or brilliant, though, and Miike can never be accused of painting by numbers. Perhaps it's just that everything here fits and works as it should, and that the inimitable filmmaker has found and embraced his wavelength. When boxer Leo (Masataka Kubota, Diner) receives news that no one wants to hear — he has a brain tumour, it's inoperable and he doesn't have much time left — he takes it as gloomily as anyone would. But when he subsequently crosses paths with sex worker Monica (Sakurako Konishi, Colorless), his evening takes another unexpected turn. She's fleeing the yakuza gangsters who forced her into prostitution, including one particularly scheming underling (Sometani, Detective Chinatown 3) who plans to use her in a ploy with a crooked cop (Seiyô Uchino, 13 Assassins) to eradicate a Chinese triad gang. They start off as strangers, but Leo swiftly becomes Monica's only friend amidst the bloody mayhem. Working with a script from Masa Nakamura, who co-penned Sukiyaki Western Django with him back in 2007, Miike knows that he's playing with a raft of familiar elements. As well as the swathe of touches he rolls out from his own wheelhouse, his protagonist is decked out like James Dean in Rebel Without a Cause, for instance. But there's a distinctive brand of Miike magic in the movie's blending of gleefully cartoonish mania with a poignant outsiders-against-the-world narrative, and in everything from its jazz-rock score to its immaculately executed hardware store showdown as well. FINAL ACCOUNT How did something so heartbreakingly, gut-wrenchingly, soul-crushingly abhorrent happen? Why did an entire nation accept what was happening in its name? Wouldn't decent people have spoken out in protest, especially when they saw others being rounded up and taken to their deaths? They're some of the trains of thought that the Second World War has inspired for decades, because humanity so desperately wants to believe that the Holocaust and its atrocities are aberrations in our history. But during the past decade — and the past four years in American politics, particularly — it has been impossible to keep simply wondering how rotten leaders command unquestioning allegiance while they're committing horrendous acts. That recent reality, complete with the rise of hatred-fuelled ideologies and violent deeds carried out as a result, only makes Final Account more grim and potent. Over the course of more than a decade, making what would become his last film, director Luke Holland (I Was a Slave Labourer) set himself a task: to interview the last generation of surviving Germans and Austrians who lived through World War II. Their memories and recollections are chilling, including when they're claiming ignorance, or contending that opposing the Third Reich was impossible, or shrugging off their collaboration with a murderous regime. For most of the film's octogenarian and nonagenarian interviewees, living with what happened is no longer something they struggle with. That truth is unnerving, and it's on display again and again. Some, but only a few, veer in opposing directions — uttering their disgust, admitting that everyone knew and describing how the smell of burning bodies would linger for kilometres around concentration camps; or calling the Waffen SS heroes, polishing their medals and other Nazi insignia, and voicing their agreement with Hitler. Each admission either way, and the multitude of opinions in-between, remains haunting. Some come from soldiers and camp guards, others from Hitler Youth members, and others still from bystanders. The quality, both of the discussions and the footage capturing it, wavers from clip to clip, but nothing can temper the overall impact. Also distressing: the journey that Final Account takes through the sites of former concentration camps such as Sachsenhausen, Mauthausen and Auschwitz. Even merely via the screen, each location seethes with pain and torment. Holland could've made a far larger work, perhaps on par with Shoah. He could've fine-tuned his focus here, too. Still, the end result delivers an equally unsettling and essential testament not just about one specific chapter of history, but about the kinds of people who let it happen. KING OTTO With a title like King Otto, this documentary about soccer player-turned-coach Otto Rehhagel wears its celebratory spirit on kit sleeves. That doesn't dull its impact, however, because director Christopher André Marks (Tiger Hood) understands that an against-the-odds underdog story told well is one of the most engaging narratives there is. For the unacquainted, the German-born Rehhagel was a star footballer in his homeland from the late 40s until the early 70s. Then, a managerial career beckoned, also on home turf. In 2001, he was appointed to lead the Greek national team — a squad that had never won a tournament match and were considered one of the weakest in Europe. The fact that this film even exists instantly signals that there's a tale worth relaying here. Rehhagel's time at the helm started with a big loss, then a period of rebuilding, but when the team qualified for the 2004 Euro Championships, they weren't expected to do well. That assumption only grew when they were drawn to play powerhouse host nation Portugal first up, and yet the surprises kept arriving from there. Even if you know how it all turned out, King Otto is alway rousing. Even if you've seen every similar sports story there is — and there are plenty, both fictional and true — that remains the case. And even if you're rarely moved by such antics, this film is still bound ot strike a chord. Marks doesn't do anything revolutionary in terms of his style and approach. Talking heads feature prominently; interviewing the forthright Rehhagel in a space that looks like a palace is one of the documentary's flashiest touches. The film surveys players such as Giorgos Karagounis, Traianos Dellas and Antonios Nikopolidis, plus other officials like administrator Vassilis Gagatsis and assistant coach Ioannis Topalidis, too, hearing their thoughts and recollections about the roller coaster period — and makes heavy use of archival footage of the Greek national team's matches, including at their best and their worst. Savvy editing maximises the anticipation and suspense, though, as well as the excitement and eagerness. After hearing about how poorly the squad was regarded, spanning negative comments from opponents such as France's Thierry Henry in advance of their game and the soccer-covering media regarding Rehhagel's defensive-first tactics afterwards, even the most sports-ambivalent viewers will be hoping for and investing in their wins. And as the feel-good trajectory inches closer and closer, so does the film's warmth, sense of catharsis, and respect for its subject and his achievements alike. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; and May 6, May 13 and May 20. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw and Ema.
When life gets stressful and you live in a big, bustling city, it can be hard to cut through the noise and forge personal connections when you're one in a million — and not in a good way. We get the feeling this is why our love of cafes is as consistent as death and taxes. Cafes, replete with friendly faces and coffee, function as calm oases in a busy city. The warm, fuzzy feeling that comes from reaching 'regular' status at your local, where they not only know your name but your order, is also why everything No. 19 cafe owners Domenic and Diana Caruso touch turns to gold. A little kindness can take you quite far. With two thriving venues under their collective belt, there's not much they can't achieve. We've teamed up with Squarespace to chat with these forward-thinking design gurus about how much effort actually goes into that minimalist look and homely cafe feel we love and crave. PUT YOURSELF FIRST It might sound counter-intuitive for a fledgling business to be built for selfish means, but hear us out. If you design a space that you'd like to inhabit, the chances are people like you will like it too. While that sounds like pretty obvious advice, it's also something that gets easily overlooked. For Domenic and Diana, those needs were simple. "We had a young family and just wanted to have somewhere nice to eat that could cater for children," says Domenic. "Ultimately, [we needed] something that was cool, homely and had killer food and coffee." For the young family, this was the ethos that started it all, the desire to create their own urban oasis where their kids could play. And from that seed grew St Rose in Essendon. "Our business started as a dream, as corny as that sounds. We always believed that someday we would open an establishment that best suited us". See? Business doesn't really have to be that complicated. KINDNESS (AND COFFEE) GOES A LONG WAY "[In hospitality] kindness and coffee go along way," Domenic observed. In 2013, they put that theory to the test and opened St Rose in Essendon, a suburb that, at the time, suffered from a serious lack of specialty coffee. Armed with only kindness and coffee (and an excellent design team at Viola Architects), St Rose took Essendon by storm and marked the beginning of the suburb's cafe boom. "The concept was simple but it had intention," says Dominic — which is a perfect summary of the St Rose vibe: simple and purposeful. St Rose very much positions itself as an elusive urban oasis. White internal brick walls lit up by soft lighting create a calm atmosphere while rich hardwood furniture and lush greenery warm it right up. But at the end of the day, it was the warmth of the team that became the cafe's strongest point of difference. "[St Rose] was the beginning of a very strong team that has become part of our family," Domenic says. BE BRAVE AND BE SMART Opening a cafe can be likened to having a child: it's difficult, tiring, challenging but ultimately, incredibly rewarding. With St Rose passed its terrible twos, and their own family chugging along, the Carusos decided to do it all over again. And this time, they took a risk. "When we knew we were confident enough in the team at St Rose in Essendon, we were ready to create another milestone and open up the second venture," Domenic says. "No. 19 was always a concept we had on the back burner. It ultimately felt like it was time to have another baby…we were ready to learn, grow and conquer." This time, instead of designing for themselves, they started No. 19 with a different (slightly more abstract) inspiration: concrete. "We were fascinated with the idea that something so raw could look so refined when paired with the correct hues and textures," Domenic says. They would soon discover that a huge amount of thought and planning goes into the perfect minimalistic aesthetic, from perfectly match concretes to choosing the perfect Squarespace template and getting their name out there with a slick website. For the Carusos, chasing that aesthetic was a calculated risk. "[When we started the designs] there weren't a lot of cafes that looked anything like this…a minimal concrete playground of food and coffee," says Domenic. (Sounds perfect to us…) With the help of Biasol Design Studio, they found their premises in Ascot Vale, built out the concept of No. 19, and opened the doors just over a year ago. FOOD AND COFFEE IS STILL KING The outcome is stunning. No. 19 is an Instagram darling, a pageant girl of the cafe scene, with a minimal but somehow warm and eye-catching interior schematic. "There was a lot of detail [that went into] No. 19, but we knew ultimately it was going to be all about the simple elements that would give a minimalistic raw charm," Domenic says. They did what they set out to do — create a new addition to the family that managed to have its own unique flavour. At the end of the day, though, the food and coffee needed to be on point and maintain the standard set by St Rose — this is hospitality, after all. And while aesthetics are important, food and coffee is still king. Diana bore the responsibility for working with their chefs to create an exciting but simple menu. "We chose what we believe is the most fitting for the cafe and true to our motto: simple done extremely well. We try to please a wide range of people from vegan to meat lovers," she says. So, what shouldn't you miss when you pay a visit? "I love the vegan rainbow bowl. It's like eating a bowl of goodness and it tastes so darn good. And the peanut butter pancake sandwich, I can only describe as f****** yum!" Domenic says. Diana says, "The business is still a baby to us. We just celebrated one year…and we've a lot more exciting new things to introduce." Keep an eye on their flourishing little enterprise as they go from strength to strength (hint: the next big addition is a cocktail menu). Keep tabs via their (equally minimalist and aesthetically pleasing) Squarespace site. Looking to start your own business? Whether it's a creative project or new culinary venture, you'll need to let people know about it. That's where Squarespace comes in. Kickstart your new biz with a website, and use the code CP for 10% off your first Squarespace purchase. Images: Chris Middleton.
At this Glenayr Avenue florist, owner Jenni May is always ready to spitball a bouquet to meet your needs. Camellias, peonies, tulips and turned out roses pack the wooden tables on one side of the store, and once you've locked in your budget, preferred colours and any pet hates she's busy plucking stems from vases to make up an arrangement that can soothe a broken heart, surprise a parent-to-be, or brighten up a friend's day. [caption id="attachment_776454" align="alignnone" width="1920"] Yael Stempler[/caption] May visits the flower markets three times a week, and if you want the freshest of the bunch you should trust her best judgement. The same is true of her online store, which has $65 bouquets under names like Miss Maggie's Mystery: a florist's choice of the best in store on the day. And if you're sending in the eastern suburbs, delivery won't cost you a thing. Images: Yael Stempler
Despite taking its name from a raucous, rundown pub in the Patrick Swayze-starring 80s flick Road House, Double Deuce Lounge isn't a dive bar. Instead, the newest CBD drinking hole from the Ramblin' Rascal team is a refined cocktail lounge with a touch of '70s porn chic'. "What is 70s porn chic?", we hear you say. Well, don't expect to find Ron Jeremy lounging in one of the burgundy leather booths — but do expect loud geometric 70s wallpaper, a two-person booth with a furry wall and a cocktail list that arrives in a Deep Throat-esque VHS cover. You'll also find the bar's owners, Charlie Lehmann, Sebastian Soto and Dardan Shervashidze, suitably on theme, decked out in safari suits and furry vests. [caption id="attachment_730465" align="alignnone" width="1920"] Kimberley Low[/caption] For the trio's latest venture, the team is shaking and stirring ten signature cocktails (all $20), which travel from the tangy and refreshing yuzu margarita and minty Stinger (with lots of Fernet and Cognac) to the cold brew-spiked Discretionary, the Jungle Boogie — with cacao, rhubarb and Campari — and a super-fancy take on a gin and soda dubbed Trouble Man. As you may've noticed, these cocktail names reference a heap of 70s films and soundtracks, which are also reflected in the posters on the walls — Jackie Brown, Coffy, Prince and Mick Jagger — and the music. Expect to hear the likes of Marvin Gaye, James Brown, Curtis Mayfield and Bobby Womack on heavy rotation. [caption id="attachment_730473" align="alignnone" width="1920"] Kimberley Low[/caption] While the cocktails are proverbially stuck in the 70s, the wines and beers are very much 2019. Co-owner of Newtown's P&V Wine and Liquor Mike Bennie has pulled together an extended list of fun and funky drops. You can throw back a couple of Garage Project's Salted White Peach Sour numbers (they're only 2.9 percent ABV and super tasty), order a bottle of Blind Unicorn pét-nat for a very reasonable $60 or go big with a milk stout from Marrickville's Batch and a shot of 'Deuce Juice' (Jim Beam). At the moment, food is mostly limited to complimentary bowls of Goldfish (fish-shaped cheese crackers), but the lease on the two-storey Bridge Street venue has been split, leaving space for a full restaurant upstairs. No one's locked in yet, but we'll let you know when they are. Find Double Deuce Lounge at 6 Bridge Street, Sydney. It's open from Monday–Wednesday 4pm–midnight and Thursday–Saturday 4pm–2am. Images: Kimberley Low
As it turns out, Luke Powell of LP's Quality Meats had a long-held dream of opening his own pizzeria. Mates Joseph Valore and Elvis Abrahanowicz over at Porteño had similar fancies. It just took a recent trip to the USA to seal the deal, and now Sydney's welcomed the group's first joint venture, Bella Brutta. Taking over a King Street shopfront that's been home to many a former pizza joint, the crew has finally brought its ideas to life: a laidback 50-seater, with bar seating and a pizza oven that's just arrived from Italy. The style of pizza served up here isn't traditional. The bases are a mix between Neapolitan and Roman style — blistered and chewy like the former, but crisp enough that it can be eaten with your hands (like the latter) — and toppings vary widely, taking their inspiration from America and across Italy (and even around the corner in Chippendale). If you've been to LP's in Chippendale you've probably tried its house-made mortadella. And, here, you'll find it atop a a pizza ($25) with garlic and green olives. The Clam ($26) pizza, however, takes its inspiration from a bit further away — New Haven, Connecticut, to be exact. This white-based pizza is heavy on the chilli and garlic and unlike anything else we've tried in Aus. Elsewhere on the menu, there's house-made pickles ($10), braised green beans ($12) and LP's salami ($15) to kick off the meal, and Italian doughnuts ($9) and cannoli ($6 each) to end it. Drinks lean natural and are sourced from across Australia and Italy. Full review to come. Images: Kitti Smallbone. Appears in: Where to Find the Best Pizza in Sydney for 2023
The Grounds are at it again. The awe-inspiring venue will play host to an exclusive event featuring two leading international coffee champions from Denmark, who will share their insights and expertise in the field. A night with Coffee Champions will be held on Tuesday 21 May from 7pm until 9pm and guests will be invited to explore the journey of coffee from seed to cup. Klaus Thomsen and Casper Engel Rasmussen, co-founders of the Coffee Collective, will be guest speakers for the evening, as well as The Grounds' head barista Jack Hanna and master roaster George Sabados. Following the success of the barista and latte art workshops at The Grounds, Jack is incredibly enthusiastic about this exciting event, given his passion for the bean. "We're passionate about sharing our knowledge and expertise in coffee to our loyal customers and coffee lovers all over." And despite the focus of the evening being on coffee, The Grounds is notorious for their mouth-watering food and produce. Guests will be treated to a coffee-inspired cocktail upon arrival as well as canapes and grazing tables of food. So break up the working week and get along to this special occasion: if not for the coffee talk, at least for the food. For more information and ticket enquiries, visit The Grounds website.
UPDATE, January 26, 2022: Gold opened in select Australian cinemas from January 13, and is available to stream via Stan from January 26. Gold's title doubles as an exclamation that Australian filmmakers might've made when Zac Efron decamped to our shores at the beginning of the pandemic. Only this outback-set thriller has put the High School Musical, Bad Neighbours and Baywatch star to work Down Under, however, and he definitely isn't in Hollywood anymore. Instead, he's stuck in "some time, some place, not far from now…", as all-caps text advises in the movie's opening moments. He's caught in a post-Mad Max-style dystopia, where sweltering heat, a visible lack of shelter, a cut-throat attitude, water rationing, and nothing but dirt and dust as far as the eye can see greets survivors navigating a rusty wasteland. But then his character, Man One, spots a glint, and all that glisters is indeed gold — and he must guard it while Man Two (Anthony Hayes, also the film's director) seeks out an excavator. Exactly who stays and who goes is the subject of heated discussion, but Gold is an economical movie, mirroring how its on-screen figures need to be careful about every move they make in such unforgiving surroundings. As a filmmaker, helming his first feature since 2008's Ten Empty, Hayes knows his star attraction — and he's also well-aware of the survivalist genre, and its history, that he's plonking Efron into. Almost every male actor has been in one such flick or so it can seem, whether Tom Hanks is talking to a volleyball in Castaway, Liam Neeson is communing with wolves in The Grey or Mads Mikkelsen is facing frosty climes in Arctic. Although Gold purposefully never names its setting, Australia's vast expanse is no stranger to testing its visitors, too, but Hayes' version slips in nicely alongside the likes of Wake in Fright, The Rover and Cargo, rather than rips them off. The reason such tales persist is pure human nature — we're always battling against the world around us, even if everyday folks are rarely in such extreme situations — and, on-screen, because of the performances they evoke. Efron isn't even the first import to get stranded in sunburnt country in 2022, after Jamie Dornan did the same in TV miniseries The Tourist, but he puts in a compellingly internalised performance. Man One's minutes, hours and days guarding an oversized nugget pass with sparing sips of H20, attempts to build a shelter and altercations with the locals, including of the two-legged, canine, insect and arachnid varieties, and the toll of all this time alone builds in Efron's eyes and posture. His face crackles from the sun, heat and muck, but his portrayal is as much about enduring as reacting, as both Efron and Hayes savvily recognise. Writing with costumer-turned-scribe Polly Smyth as well as directing solo, Hayes puts more than just survival on Gold's mind, though: when the titular yellow precious metal is involved, greed is rarely good. Here, staying alive at any cost is all about striking it rich at any cost, and also about the paranoia festering between two new acquaintances who've randomly stumbled upon a life-changing windfall — as heightened by the film's stark, harsh, post-apocalyptic setup. When a third person (Susie Porter, Ladies in Black) enters the scenario, Gold grimly lets its life-or-death and lucky break elements keep clashing, but also pairs Man One's desperation with the mental decline that blistering in the sun, being parched with thirst and starving with hunger all bring. Greed proves perilous in a plethora of ways in the film's frames, including inside its main character's head. The mood: dire, drastic but also frantic, the latter not in pace but in how urgently Man One obviously wants the situation to work out. As lensed by cinematographer Ross Giardina, who also worked as a second unit director of photography on The Dressmaker — another feature to make strong use of the Aussie landscape while led by an high-profile overseas actor — Gold ensures its bleak tone ripples in every image. Just how grey, white and almost blue the desert can look here is one of the movie's most striking features, in fact. Where The Tourist blazed away its cooler hues, and most other outback-set fare lets ochre and golden shades radiate, Gold is sun-dappled to the point of often being sun-bleached. As shot in South Australia, all of its wide vistas look particularly ominous as a result, and never let the feature's tension subside for a second. Another of Gold's astute moves springs from its determined focus; don't expect backstory here. Barely glimpsed signs make it clear that this likely isn't Australia, but Hayes sports a heavily put-on American accent to match Efron — because keeping everything ambiguous to retain an unflinching gaze on two men and their big piece of gold is the lean aim. In early scenes, the remote outpost where Man One enlists a ride from Man Two is dystopian-standard sparse, and all that's said about Man One's need to head east is that he's en route to work in a mining camp. The details of why the world has turned to hot dust don't matter, with Hayes and Smyth leaving plenty of room for viewers to read in their own takes on how human nature — the movie's main subject — has turned the planet into this scalding hell. From its performances and visuals to its weightiness, Gold is patently well-made. Again, it's well-acted, including by Hayes (who, among his many acting credits dating back to the early 90s, also had roles in The Rover and Cargo). With every image it bakes onto the screen, it's inescapably well-lensed, which applies when peering closely at Efron in a fraying state and surveying all that desert stretching out around him. It ruminates upon familiar but still meaty matters, and thoughtfully so, all within a stingingly suspenseful feature. Gold is also never more than the sum of its parts, but those parts always do what they're meant to — and glitter as brightly as they need to.
That's it. December. It's summer now and there's no excuses for staying curled up inside, rain or no rain. Aside from that, Sydney's foodies and mixologists have been working hard: experimenting with ingredients, concocting new combinations and opening up a whole swathe of new places for you to visit. So get scampering around this town! Concrete Playground has your checklist ready to go. Here it is, Sydney's top new bars and restaurants for the summer season. Neild Avenue Where: 10 Neild Avenue, Rushcutters Bay Ahhh, Sydney, you can officially exhale. For all those who are desperately seeking an unpretentious dining/drinking experience that doesn’t involve having to choose between a wine bar the size of a studio apartment (in New York) with a shave of glorified ham and a lick of pâté masquerading as a meal, or a pub with sticky carpet and $10 steak: your search has ended. The duo that could turn battery acid into Beaujolais, Maurice Terzini and chef Robert Marchetti, recently unveiled their brand new slice of the Mediterranean-meets-Brooklyn, Neild Avenue. For full review and details, click here. Freda's Where: 107-109 Regent Street, Chippendale Finding Freda’s is like stepping through the back of a magic wardrobe. Walk down an unassuming, dingy alley behind Central, past the sashaying salsa dancers and through a black door with a small, hand-drawn placard and suddenly you’re in a softly lit room, easy music playing and a kindly man at your side ready to whisk you to a table. Once settled in, peruse the cocktail list, which is a pleasing mix of classics and reinventions. Of the former they do a perfectly balanced Midnight Negroni ($16) and I can imagine the Fresh Fruit Cocktail will be a sell-out this summer. The wine list has a good selection of up-and-comers, with a super smooth Pinot called Giant Steps from the Yarra and a full-bodied tempranillo/grenache called La Vendima ($10). I’m a big fan of the beer choices, which includes one of my favourites, Murrays, as well as two amber ales that are caramel flavoured and quite hoppy – choose the Sierra Nevada ($9.5) to have with food or Atomic ($9.5) for sipping solo. For full review and details, click here. Jester Seeds Where: 127 King St, Newtown 2024 Jester Seeds has only recently opened, and marks the last drinking establishment on King Street before you hit the no-man’s land of City Road and the University of Sydney campus. So a lot of people haven’t stumbled across Jester Seeds yet. It’s not especially noticeable from the street – just a collection of curious couches framing a doorway and the shadow of a bar behind. In fact, a man had to yell at me from the pavement to get my attention, but I’m very grateful that he did. The bar is a haven of recycled furniture, dark wood and shabby student chic. A room at the back is filled with sofas and intimate tables, and the couches at the front could easily keep you sitting there for hours. Essentially, it looks like they’ve transported the contents of a ramshackle vintage shop from the lower end of King Street then artfully rearranged it, and prettied it up with some lampshades and mood lighting. The staff are lovely, with many recommendations and plenty of chat, and were infinitely tolerant of my inability to make a decision. For full review and details, click here. Honeycomb Where: 354 Liverpool Street Darlinghurst 2010 Perched on a corner in Darlinghurst, Honeycomb has wide windows running down the length of one side so that from almost any seat you can see the street. It makes it feel as if you could lift the roof off and you’d have a little Italian piazza. However, it isn’t the best place for a date (eating at the 6.30pm, family-time sitting probably doesn’t help either) as the small tables are very close - it’s a little hard to be romantic while speaking to your dining partner as if they were hard of hearing. Saying that, when the sun sets and the lights dim, it definitely becomes more atmospheric. If you follow food news, you’ll know this is Andy Bunn’s (former chef at Café Sopra) project, and if you’re a regular at one of the Fratelli restaurants, don’t expect any surprises. This is far from being a criticism though: the Fratelli restaurants do some of the best relaxed, Italian food this side of Leichhardt. For full review and details, click here. Hemingway's Where: 48 North Steyne, Manly 2095 The atmosphere of a writer's den, insanely long opening hours, fun and flavorsome food, a drinks menu that will keep even the most inspired drinker guessing, and not even the slightest degree of pretension. In short, Hemingway's must be one of the best spots in town right now. And it's perhaps not where you would expect it to be. A far cry from the back lanes of Darlinghurst or even the fame of King Street, this bar is firmly situated on Manly's main strip, right across from the beach. Despite this, it's about as dissimilar from a tourist trap as you can imagine. For full review and details, click here. Dry Land Bar Where: 92 Redfern Street, Redfern 2016 The thing about Redfern is, although it has a reputation as being the ‘next big suburb’, there’s also not a lot there yet. Enter Dry Land Bar, the first small bar to open in Redfern. It possesses the kind of local, relaxed atmosphere that would make you seriously consider moving (unless of course you already live close by, in which case accept my jealous commendations). The lovely thing about Dry Land Bar is that they really know what they’re doing, bringing together folk who’ve done stints in Love, Tilly Devine and Grasshopper. On top of this, they serve the kind of drinks that cause me to do a kind of happy-wiggle dance in my chair and the best food I’ve had at any small bar in Sydney. It’s technically bar food, but I’d be quite happy to come here for dinner once a week: try the Mushroom, Jerusalem Artichoke and Fennel Tart or the Gruyere Cheeseburger. And if you’re in any way fond of after-dinner treats, the Chocolate Mousse with Poached Pear is enough to cause a very indelicate scramble for spoons. For full review and details, click here. Cantinero Where: 18 Sydney Road, Manly 2095 Something about Cantinero feels a little bit... illegal. It could be the fact that this is a coffee house by day, occupied by this underground crowd only in the late hours. Or it might be the makeshift film projector, which shows Mexican gangsters flickering across the back wall. Either way, we like it. The bunker atmosphere and a relaxed courtyard combine into something that feels like an Alice in Wonderland-style rabbit hole in the Manly landscape. That said, there's no chance of wandering in by accident. While Cantinero lies on the main strip, you need to know what you're looking for to find this dimly lit restaurant slash bar. And once you do, there's no going back. For full review and details, click here. Nourishing Quarter Where: 315 Cleveland Street, Redfern 2016 It all started with a group of friends, a handful of nutrition books and a collective desire to heal through food. Now Nourishing Quarter - barely in its second year - has attracted a serious cult following. NQ is a vegetarian and vegan-friendly restaurant dedicated to the wheat, gluten and dairy intolerant among us. But it’s also much more than that. The affable owner Lam Dinh (banker turned restaurateur, following his own health scare) describes his team’s work as contributing to the growing awareness about the importance of diet for general health and well-being. ‘We’re not about preaching’ he explains, ‘we’re about producing consistently high-quality, healthy and tasty food that’s accessible to all.’ For full review and details, click here. The Island Bar Where: Cockatoo Island, Port Jackson 2090 Key Largo, Montego, baby why don’t we go… When the Beach Boys penned those lyrics, they probably weren’t thinking of an industrial island smack-bang in the middle of an antipodean metropolis. Cockatoo Island may not have sandy beaches and swaying palm trees, but its newest resident, The Island Bar, is adding a touch of beach to Sydney Harbour. This brand new bar by renowned Sydney mixologist Marco Faraone surprises with its striped deckchairs and sunbrellas alongside the site’s antique shipbuilding machinery, a reminder of the island’s heritage past – over the years, it was an imperial prison, a shipbuilding yard, reformatory, Commonwealth naval base and industrial school. The design of the bar – it’s constructed from recycled shipping containers – picks up on this theme. For full review and details, click here. Former Glory Where: Corner of Liverpool and Palmer Streets, Darlinghurst 2010 Prostitutes and razor gangs seem to be all the rage in Darlinghurst right now. References to Tilly Devine abound. But Former Glory has a little something the other bars don't: a real dark and dirty history. Situated right across the road from what was once Devine's main brothel, this pub, formerly known as the Tradesman's Arms Hotel, was dubbed the Bloodhouse in honour of its violent scenes. Sounds like the kind of place I'd like to visit. You're likely to find that you're already familiar with the location of this pop-up bar. The East Village Hotel is, after all, a familiar marker on the Darlo drinking landscape. Duck inside and take the stairs, winding up two levels past the fading conviction notices on the walls. You'll emerge into a resuscitated space, filled with round wooden tables and white tablecloths, leather chesterfield armchairs and a tastefully subtle assortment of vintage paraphernalia. For full review and details, click here. Caffe Sicilia Where: 628 Crown Street, Surry Hills 2010 While Crown Street certainly has its attractions, it's a pleasure to duck into this slice of 1940s Sicily, take a deep breath and sip a coffee as you watch the crowds pass you by. The theme is clearly stated in the marble, tiles, polished wood and mirrors of the interior, as well as in the numerous references to Italian film icons. Relaxed Italian glamour is the order of the day. The menus are expansive, with breakfast, lunch and dinner - as well as drinks, desserts and takeaway - on offer. Opening hours are surprisingly long, stretching from 7 in the morning until midnight most days. We popped in for a lazy Sunday lunch, which is a great time to make the most of the outdoors seating. For full review and details, click here.
It was 35 years ago in the original 1977 Star Wars film that Princess Leia called for the help of Ben Obi-Wan Kenobi through holographic messaging. At the time we thought anyone would be out of their mind to think such a thing would be possible. We were wrong about a lot of things back in 1977. Educated as an industrial design engineer but always fascinated by lights, Japanese artist Makoto Tojiki turned his head to creating art in 2003 and for five years has worked on his life sized light sculptures. Through the medium of thousands of LED lights and optical fibres, the futuristic celestial like sculptures approach the idea of 'physical presence' in an illuminating way. Tojiki explains his stunning 'No Shadow' light installation sculptures: "An object is seen when our eyes capture light that is reflected from the object. If we extract just the light that is reflected from ‘something,’ are we still in the presence of that 'something?' Using contours of light, I try to express this 'something.' Playing with perception and space, Tojiki encourages the audience to interact with his sculptures from different angles and distances, in turn altering viewer experience. Despite the international success of Tojiki's artworks, his talents are not limited to LED sculptures. Dabbling in interior design and jewellery, Tojiki hopes to see his artworks integrated with fashion brands and featured at events, stores or showrooms. For all you Harry Potter fans, check out Tojiki's 'Horse with No Shadow' installation. Created for Hermes, and probably with no connection to the wizarding world whatsoever, I can't help but see a comparison to Harry Potter's Petronus charm. [Via The Cool Hunter]
Since 1885, carousers on the North Shore have been gathering at the Woolwich Pier Hotel to sink a bev or two and catch some glistening harbour views. But, after a huge reno last month, the pub looks a fair bit different. The Pier, as it's known around town, has scored slick new design and a modern new menu inspired by French and Japanese cuisine. If you're a longstanding Pier drinker, you're in for a surprise. While the building has lost none of its heritage elements, the place is now a whole lot fancier. Alexander & Co., the firm responsible for venues like Watsons Bay Boutique Hotel, the East Village and Stanton & Co, has looked after the interiors, giving them a Sydney seaside stamp. Everywhere you go, you'll notice splashes of marble, leather and velvet. What was the unassuming dining room is now a European brasserie called The Eatery, and the bar has been transformed into The Parlour. For those looking to lay their eyes on the water, the wraparound balcony overlooking Cockatoo Island still has plenty of room among its 70 seats. Alternatively, you can follow the spiral staircase up to The Social, an indoor dining room that also boasts harbour panoramas. In keeping with these dramatic changes, head chef Glenn Tabudlo has launched a new menu. Start with small plates, such as tuna tartare with wasabi-ponzu dressing and rice crackers, before moving onto decadent mains, like Yamba prawns with braised kale, pont-neuf potatoes and lobster sauce Americaine, or crispy skin miso salmon with squid ink risotto, salmon roe, sesame mayo, togarashi, edamame and enoki with ponzu. Lovers of the chicken pot pie — don't panic. The much-adored staple is still available, as is a bunch of The Pier's tried-and-tested classics. Even though it has some fancy new furnishings, it is still a local pub, after all. Find the Woolwich Pier Hotel at 2 Gale Street, Woolwich. It's open 11am–11pm Monday to Thursday, 11am till midnight Friday and Saturday, and 11am–10pm Sunday. Images: Jessie Harris.
Your local grocer is getting a flash, big-city revamp with a new European-inspired fresh food market coming to the CBD this autumn. Family-owned retail group Romeo's is set to open Locali by Romeo's, a large-scale grocer and cafe, within the newly renovated, multimillion-dollar George Street office building. Inspired by the grand market halls in Budapest, Barcelona, Rome and beyond, the market will be a one-stop-shop for fresh produce and tasty treats with a walk-in cheese room, salumi bar, nut bar, continental deli and a liquor store with wine tastings. Fresh meat and fish will be available for at-home dinners and a florist will be on hand for you to pick up flowers on your way home from work and woo that special someone. CBD workers and citysiders looking for a bite to eat or a caffeine fix will also be in luck, with the market set to be home to a dine-in cafe, commercial kitchen, Italian bakery and sushi bar. Romeo's has signed a 15-year lease for the 1600-square-metre space inside 388 George Street. Alongside Locali by Romeo's, the office building is home to a five-storey retail space and yet-to-be-revealed rooftop bar. Completed last November, a $200 million renovation of the space included a complete redesign of the office spaces, as well as new ceilings, lobbies and amenities. A second Locali by Romeo's is set to open midway through 2021 at Brookfield Place Sydney, the $2 billion office and retail building being built above Wynyard Station. Locali by Romeo's will open at 388 George Street, Sydney in mid-March.
Artificial intelligence in video games has come a long way in the last few years. Rare now are the days of mindless drones walking pre-determined paths, completely oblivious to the death and destruction around them. In an industry where a single release can pull half a billion dollars in just one day, developers have adapted to an increasingly sophisticated market and pushed AI to a point capable of rivalling the human one. Unfortunately, the same cannot be said for action movies, where nameless henchmen continue to run witlessly into hails of bullets like hapless Civil War foot soldiers or extras in Commando. The latest example of this is John Wick, a 'revenge porn' flick starring Keanu Reeves and directed by his former stuntman, Chad Stahelski. Reeves plays Wick, a retired hit man whose wife has just passed away from a terminal illness. On the day of her funeral he receives a pre-ordered puppy from her to ensure he doesn't mourn alone, but during a home invasion the puppy is killed and his beloved car is stolen. In response, Wick unleashes a vengeance-fuelled rampage on New York's Russian mobsters, ratcheting up a body count to rival ebola. It's basically Taken, but with Liam Neeson's daughter played by a foot-long beagle. Is it a dumb premise? Absolutely, but it's also terrifically fun, and let's face it, there have been far worse reasons given for cinematic rampages ("They're going to take you...again"). Stylistically, the action sequences are impressive and exhilarating. Kitted out in bespoke suits, Reeves combines martial arts with gunplay (or 'gun-fu') to despatch his enemies and secure what has to be the record for the most number of consecutive head shots. Stahelski's background in stunts clearly informs his direction, with a greater degree of physicality to the fight scenes coupled with lingering shots that hold longer in the same moment than your average film. The big problem with John Wick, though, is the HS — or 'Henchman Stupidity'. In each of the action sequences, the goons demonstrate a bewildering lack of survival instinct, immediately forfeiting their Darwinian credentials and robbing the scenes of any credibility. The defence raised here is that John Wick is a classic B-movie, but that's too convenient. Yes, it has a lower budget than many of its counterparts, but with a cast that also includes Willem Dafoe, Michael Nyqvist, Ian McShane, John Leguizamo, Alfie Allen, Dean Winters, Adrianne Palicki and Bridget Moynahan, it's hard not to think the movie pitched for another capital B: 'Blockbuster'. So no, this isn't the thinking person's action film, but an action film it definitely is. As always, Reeves is a delight to watch in full-borne badass mode. He quips and kicks and does it all with an impossible level of cool. https://youtube.com/watch?v=2AUmvWm5ZDQ
Sydneysiders, it's time to get excited: the world-renowned Lune Croissanterie is opening two pastry-filled stores in the Harbour City. The bakery chain had already announced its upcoming Sydney duo, confirming a Darlinghurst locale in 2023 and also announcing a Martin Place spot. But now, that initial Darlinghurst plans have been scrapped, with Lune set to open its flagship in Rosebery instead. Lune Sydney's first location will swing open its doors at the Rosebery Engine Yards at 115/152 Dunning Avenue in the city's inner south. The space will take aesthetic cues from Lune's flagship Fitzroy outpost in Melbourne, drawing on its industrial-leaning interiors for design inspiration. "Due to unforeseen delays with Darlinghurst, we've shifted to a new location in order to keep our plans on track and honour our commitment to bring the Lune experience to Sydney in 2024," said Lune founder Kate Reid. "The Rosebery site aligns perfectly with our vision, and we're excited to have that opening in sight." The Rosebery location is currently undergoing its Lune-style transformation ahead of its opening. As for the Martin Place store, that still has the green light on operations and is also underway. An opening date for the Rosebery spot hasn't been announced as yet. As for Martin Place, both the metro tower and Lune are expected to open later in 2024. It's been a big decade-plus for the brand, after starting out as a tiny store in Melbourne's Elwood back in 2012. Since then, Lune has expanded into a converted warehouse space in Fitzroy (with perpetual lines out the front), opened more stores in Melbourne and also launched in Brisbane in 2021. And, amid all that, it was even dubbed "the finest you will find anywhere in the world" by The New York Times. Lune Croissanterie's flagship Sydney store will open at 115/151 Dunning Avenue, Rosebery in 2024. It'll join the brand's second Sydney store, which is expected to open at 1 Elizabeth Street, Martin Place at some point this year.
Over seven years in the making, Bondi Pavilion's massive transformation is finally set to be unveiled next Wednesday, September 21. To celebrate the return of The Pav, Waverley Council is putting on a free reopening party featuring live music, exhibitions, talks, workshops and an array of community activities. "There is such growing excitement in the community about the reopening as more and more of the building and our world-class restoration works are revealed," Mayor of Waverley Paula Masselos said. First announced way back in 2015, the pavilion's multimillion-dollar revamp has been a long-running project of the Waverley Council. The rejuvenated space will feature an art gallery, cultural spaces, a new area called the Bondi Story Room, a pottery studio, a theatre, new amenities and an expansive public courtyard. [caption id="attachment_868860" align="alignnone" width="1920"] Pottery Studio[/caption] As the name suggests, the Bondi Story Room will be a space dedicated to the history of the bustling beachside suburb. For example, longstanding Bondi lifeguard Lawrie Williams will be giving talks — followed by a tour of Bondi — at the story room on September 24, October 1 and October 8, where he'll be sharing his wealth of knowledge and Bondi-centric stories with attendees. [caption id="attachment_869305" align="alignnone" width="1920"] Art Gallery[/caption] Another space for storytelling at the pavilion will be the Yalagang Room. On Saturday, September 24, there will be a set of Dharawal Language workshops for children and families in this space, followed by the event Deep Listening: Dharawal language with the Chairman of the Gujaga Foundation Ray Ingrey. The nearly century-old building was first built in the 1920s, replacing the Bondi Surf Sheds with the Turkish and Hot Sea Water Baths in 1929. The current renovations have uncovered the bathhouse's original signage, which has been restored and is ready for the pavilion opening. There are also a host of food and retail tenants moving into the pavilion. The team behind Circular Quay's new multi-level venue Hinchcliff House is set to open an all-day cafe, bakery and bistro called Bondi Promenade. The restaurant will serve coffee and freshly-baked goods to beachgoers while offering a casual bistro dining experience featuring charcoal seafood and vegetables, with something available "for everyone and at every price point", according to Brown. Light healthy breakfast options, pizza-style flatbreads and seasonal fruit gelatos designed for a summer's day are all planned for the venue's menu. Other tenants at the building include clothing brand Between the Flags, previous tenant Surfish Cafe and Glory Days Bondi, a sister venue of North Sydney's Glory Days from the owners of Glorietta and Woolpack Hotel. The opening night event is free but you're required to register to ensure your spot on the night. If you want to check out all the exciting things happening across the first month of the Bondi Pavilion head to the What's On page of its website. The Bondi Pavilion is reopening on Wednesday, September 21.
Have you ever seen Nick Cave smile before? It's a shocking thing. For the generations of Australians — and there are many of them — who have grown up with Nick Cave and his Bad Seeds at the centre of musical life, it is startling to realise that amongst the darkness and the tales of addiction, Cave's face can crease itself not into a grimace or a tormented frown but an expression of unguarded joy. Cave's sudden smile is not the only first for the quasi-documentary 20,000 Days on Earth. Filmmakers Jane Pollard and Iain Forsyth have made a documentary that plays like a narrative but feels like a video clip. Unlike its obvious fictional music-doco predecessor This Is Spinal Tap, the duo's film is not a stealthy takedown: they're playing for real. Partly this is because the filmmaking team are artists with a 20-year partnership of making work together. Without any of the film world's preconceived ideas of what constitutes a documentary, their artistic training has allowed them to craft something out of elements that others would see as disparate and incompatible. And partly it's because Nick Cave's life and music necessitates a different approach to making documentaries. An artist as unconventional as Cave requires the defiance of filmmaking conventions. After opening Sydney Film Festival in June, 20,000 Days is now in art-house cinemas for everyone — including two very special sessions at Melbourne's Astor where Cave will be appearing in person for a Q&A. We spoke to Pollard and Forsyth about what it means to make a hybrid music documentary, the process behind the beauty and what Nick Cave is really all about. https://youtube.com/watch?v=Ap0_y5EGttk This is a documentary that blurs some serious lines between genres and fiction and what we think we know as documentary. What exactly was scripted and what flowed organically? Cave himself is credited as a writer. Pollard: No dialogue was scripted at all. Apart from one line [preceding Cave's meeting with a therapist, Darian Leader], the psychoanalyst's assistant says, "Darian will see you now." The things that Nick wrote were all the voiceovers, with that particular tone. Some of those things came pre-written, we found them in his notebooks, like the first quote we used: "At the end of the twentieth century, I work, I write, I eat…" — that was a lyric from his notebooks. Then we we asked him to expand on those notes. We sent him about twenty, thirty topics for the voiceovers, and when he was on tour he'd write a paragraph and send it back. And if we thought it was worth recording, we'd get him to record it on his iPhone and just try it in different places in the film. I understand you didn't actually set out to make a doco about Nick Cave. How did this project start and evolve? Pollard: We'd filmed the scenes of Nick and Warren [Ellis] writing and demoing the album, and then the band in the studios. And we'd filmed all of that before we knew what it was we were going to make this into. The big scene in the film is them playing live from the album 'Push Back the Sky'. At that point we knew we had something that deserved to be carried in something much bigger than the scope of a contemporary music film or a promo that would end up on YouTube and sync very quickly. We wanted to make something bigger that would be more meaningful and stand the test of time, and that's when Iain and I wrote an action script. We knew we had two things we wanted to do, we had the cycle of the album, and then more specifically the individual song — that's the first thing you hear, the song 'Jubilee Street', and then the performance on the Sydney Opera House stage. So we had that cycle as one parallel for the storyline. The other cycle came from finding the film's title in Nick's notebook - it was a discarded song, and he'd done this calculation of how long he'd been on earth. We loved the phrase 'twenty thousand days on earth' and it gave us a very simple conceit to strap the rest of the film onto. So we thought, okay, let's make the film one day on earth. And then we can make whatever we want happen on that day. Everything that happened in that day was something we decided. We wrote the parameters of it, and Nick worked with us. He'd say, 'I'm not so sure about waking up in bed with my wife; I'll give it a go, but I might not be happy with that.' He kinda just cast his eye over what we wrote and said 'I'll give it a shot'. For us, that's where we decided to start. Cave talks a lot about the intersection of living in a story and telling a story. I really can't tell where the boundaries are with your film. Where did you guys draw these boundaries? Pollard: We set ourselves certain parameters. One rule was, we'd never ask Nick to do something twice. Even if he said something and it was great, but we didn't catch it or the camera wasn't on, we wouldn't ask him to do it again. He never had to flip from that headspace of being in the moment, to suddenly remembering the act of what we were doing which was making a film. And with Darian, we met him a few times, we gave him a set of topics, he read books and novels, and we gave him some structure. He had an idea of the sorts of things we were looking for. And then it became an endurance thing that we filmed for ten hours. There's a disorientating thing for both Darian and Nick, talking and not knowing what we would use. Forsyth: With Darian, the psychoanalyst, it was a totally artificial location. Darian is a professional psychoanalyst, that's what he does. Our cameras were out of Nick's sightline, all the technical side of filmmaking was hidden, so as much as possible, it would feel like a genuinely intimate conversation. They met for the first time on set. How do you negotiate these funny blurred lines in hybrid documentaries like this? How do you ensure you create something that's real and true and still semi-scripted? Pollard: It's a very simple thing: if we can physiologically feel an emotional truth in a scene, then that's the truth we're interested in. Whether it's factual or autobiographical, you still need to feel an emotional truth. [Had we only taken a strictly observational approach], it's a narrow road to take your story down, because suddenly it becomes tied and tent-pegged by things that are outside of it, outside its control and parameters and you'll inevitably have to break those parameters, as every reality program does. Everything we see that presents itself as factual or observational is flawed in the truth that it's telling, the actual truth that it's telling. I think the audience is sophisticated enough to get it. I just never doubt that an audience is going to stay with us. In your film, Cave talks a lot about his fear of being forgotten. As someone who's gone to art school and knows a lot of people who also have this fear, I'm not sure how I feel about it. Do you think it's intrinsically egotistical to want artistic immortality? Or is it a natural inclination for an artist? Pollard: I think anybody who has, as their job, put themselves into performing and creating something bigger than themselves, something that is about being remarkable and being on show and being a spectacle … to be a spectacle but not to be remembered? That's a tough dichotomy. His reason for existence is to be remarkable, to be the centre of something, to be spectacular and to entertain. Forsyth: If the question was, 'are you concerned about not making a difference?', that would be completely agreeable. As an artist, as a filmmaker, you want to be impactful. 20,000 Days on Earth is in select cinemas nationally, and also showing at some special screenings. The most special of these is probably Friday, December 19, at Melbourne's Astor Theatre, when Nick Cave will appear in person for a Q&A. More info and tickets on the Astor website.
Colin Farrell's recent hot streak continues. After a busy few years that've seen him earn Oscar and BAFTA nominations for The Banshees of Inisherin, notch up a Gotham Awards nod for After Yang, steal scenes so heartily in The Batman that TV spinoff The Penguin is on the way and pick up the Satellite Awards' attention for The North Water, Apple TV+'s Sugar now joins his resume. The Irish actor's television credits are still few — and, until his True Detective stint in 2015, far between — but it's easy to see what appealed to him about leading this mystery series. There's much to entice viewers, too, including an alluring slipperiness that spans past the sleuth-focused premise from creator Mark Protosevich (whose last screen credit is scripting and co-producing the American Oldboy remake). From the moment that Los Angeles-set noir Sugar begins — in Tokyo in black and white, in fact, covering a situation that involves a yakuza gangster's kidnapped grandson — it drips with intrigue. Farrell's John Sugar, the show's namesake, is a suave private detective whichever city that he's in. Upon his return to the US, he takes a big Hollywood case against his handler Ruby's (Kirby, Scott Pilgrim Takes Off) recommendation. She thinks that he needs rest instead. She's adamant that the gig isn't for him. But once he signs on, he's swiftly plunged into sinister City of Angels chaos, bringing The Big Sleep, Chinatown, LA Confidential and Under the Silver Lake to mind, and loving movie history beyond the show sharing the same genre as said flicks. Softly spoken, always crispy dressed in Savile Row suits, understandably cynical, frequently behind the wheel of a blue vintage convertible as it drives down neon-lit streets and also narrating his experiences via voiceover, Sugar, the PI, is a film fan. The series bakes that love and its own links to cinema history into its very being through spliced-in footage and references elsewhere. To watch Sugar, the series, is to take a voyage through the gumshoe stories, LA visions, accounts of duplicity and other thematically connected flicks that've blazed across the silver screen before (The Big Heat, Kiss Me Deadly, Sunset Boulevard, Double Indemnity, Touch of Evil, The Night of the Hunter, The Third Man and The Thing are just a few that pop up). At the same time, with its wholehearted embrace of movies, the show also foregrounds the idea that illusions — aka what Tinseltown so eagerly sells via its celluloid dreams — are inescapable in its narrative. Twists come, some relating to Sugar's current assignment and some bigger — and suspense stacks up like crystalline cubes along the way — but his new task is at the show's centre for its eight-episode first season. The gig: endeavouring to track down Olivia Siegel (Sydney Chandler, Don't Worry Darling), a member of Hollywood royalty who has vanished to the immense concern of her grandfather and legendary film producer Jonathan (James Cromwell, Succession). She's also the daughter of less-worried (and less-renowned) fellow producer Bernie (Dennis Boutsikaris, Better Call Saul); half-sister of former child star David (Nate Corddry, Barry), who is on the comeback trail; and ex-stepdaughter of pioneering rocker Melanie (Amy Ryan, Beau Is Afraid). Each one is a person of interest in Sugar's quest to ascertain Olivia's whereabouts — and each has their secrets. If locating a missing person was simple, it wouldn't fuel film and TV narratives. Trying to find Olivia inspires heated and dangerous opposition from every angle, which directors Fernando Meirelles (The Two Popes) and Adam Arkin (The Night Agent) — collaborating with cinematographers César Charlone (also The Two Popes) and Richard Rutkowski (Masters of the Air) — reflect visually. In its own imagery, when the four-strong editing team aren't cutting in snippets of classic pictures, askew placements, shots peering through doorways and frequently obscured positioning are rarely far from sight. Sugar isn't just about a film buff, and doesn't merely weave in movie clips and take its cues from beloved cinema genres; it also values a big-screen look within its meticulously poised small-screen frames. Even with a cinephile for a protagonist, Sugar clearly isn't here to ignore the entertainment industry's unseemly side. Also sparked as it slinks through the clash of Tinseltown's glow and shadows: an excellently cast series that splashes around its affection for film noir and LA movies gone by wherever it can, but a show that's never afraid to be its own thing as well. Accordingly, Protosevich and his co-scribes Donald Joh (Invasion), Sam Catlin (Preacher) and David Rosen (Hunters) simultaneously probe, revere and swerve. Then arrives a bold and brilliant move that reframes everything that precedes it — one with its own winks at specific movies, of course — and ensures that Los Angeles' status as a new home for anyone chasing its gleaming sense of opportunity sprinkles on another layer. Farrell as a private eye in a hardboiled neo-noir crime drama is the stuff that detective-genre fantasies are made of. Getting Farrell leading Sugar into the rest of its concept is also a savvy decision. Investigations, as the series shows, are as much about the right pieces falling into the right places at the right time as they are about determination, instinct and gumption — and Sugar itself equally embodies that truth. Sincere yet world-weary, earnest but clear-eyed, tender but pragmatic, suave but haunted, sorrowful and vulnerable but hopeful, and decent in a place and a world that rarely recognises let alone rewards such a trait, the show's titular role isn't a straightforward one. Indeed, that's so much the case that it feels as if Farrell was born to play the part, and that the series might've crumbled without him proving magnetic yet restrained at its core. Any sleuth story is built from one-on-one exchanges; that's how interrogations work. Farrell's perfect-for-the-role skills don't only apply in fleshing out Sugar as a character, maintaining an enigmatic air even as viewers peer into his soul, but in the dynamics with Kirby, Ryan, Cromwell and his fellow co-stars — Anna Gunn (Physical) as David's protective mother and another of Olivia's stepmothers among them. Whatever the plot throws his way, and whoever else, Farrell has audiences investing in the journey, the clue-chasing, the cross-examinations, the connections and the searching, Olivia-driven and existential alike. If a second season follows, he'll also be a key reason to tune in for what'll likely be a very different program. Check out the trailer for Sugar below: Sugar streams via Apple TV+.
UPDATE, September 21, 2022: Red Rocket is available to stream via Prime Video, Binge, Google Play, YouTube Movies and iTunes. It might sound crazy, but it ain't no lie: Red Rocket's *NSYNC needle drops, the cost of which likely almost eclipsed the rest of the film's budget, provide a sensational mix of movie music moments in an all-round sensational picture. A portrait of an ex-porn star's knotty homecoming to the oil-and-gas hub that is Texas City, the feature only actually includes one song by the Justin Timberlake-fronted late-90s/early-00s boyband, but it makes the most of it. That tune is 'Bye Bye Bye', and it's a doozy. With its instantly recognisable blend of synth and violins, it first kicks in as the film itself does, and as the bruised face of Mikey Saber (Simon Rex, Scary Movie 3, 4 and 5) peers out of a bus window en route from Los Angeles. Its lyrics — "I'm doing this tonight, you're probably gonna start a fight, I know this can't be right" — couldn't fit the situation better. The infectiously catchy vibe couldn't be more perfect as well, and nor could the contrast that all those upbeat sounds have always had with the track's words. As he demonstrates with every film, Red Rocket writer/director/editor Sean Baker is one of the best and shrewdest filmmakers working today — one of the most perceptive helmers taking slice-of-life looks at American existence on the margins, too. His latest movie joins Starlet, Tangerine and The Florida Project on a resume that just keeps impressing, but there's an edge here born of open recognition that Mikey is no one's hero. He's a narcissist, sociopath and self-aggrandiser who knows how to talk his way into anything, claim success from anyone else's wins and blame the world for all his own woes. He's someone that everyone in his orbit can't take no more and wants to see out that door, as if *NSYNC's now-22-year-old lyrics were specifically penned about him. He's also a charismatic charmer who draws people in like a whirlwind. He's the beat and the words of 'Bye Bye Bye' come to life, in fact, even if the song wasn't originally in Red Rocket's script. Mikey's return after decades away isn't greeted with smiles or cheers; his estranged wife Lexi (Bree Elrod, Shutter Island), also his ex on-screen partner, is horrified when he arrives on her doorstep unannounced with $22 to his name. It takes him mere minutes to convince her and her mother Lil (Brenda Deiss) to let him crash on their couch, though — and just days to work his way back into Lexi's bed. The begrudging inevitability of their reunion echoes as firmly as Red Rocket's chosen anthem, and both keep repeating throughout the film. Unable to get a job despite his glee when explaining the big gap in his resume ("Google me," he exclaims, revealing his porn past to prospective employers), he's reluctantly given back his old weed-dealing gig by local dealer Leondra (Judy Hill), who clearly isn't thrilled. The two new connections Mikey makes — with a neighbour and a 17-year-old doughnut store cashier — also smack of the same feeling. Both relationships leave as much of an imprint upon Mikey's life as anything can — although, no matter what he contends about every bad turn he's endured, all the chaos plaguing his every waking moment is his own doing. With Lonnie (Ethan Darbone), he gets an adoring sidekick who thinks he can do no wrong and, most importantly, a driver to taxi him around town. With Strawberry (Suzanna Son, chief among the film's many first-timers), he hopes to turn his lust into a way back into the adult film industry, grooming her to make her own thrusts into porn. Both naive and aware of Mikey's brimming bullshit, Strawberry isn't quite as taken in with his promises as he imagines her to be, however. Still, she might quote "it ain't no lie, bye bye bye" about him, but she's also willing enough to go along for the ride. Played with spark and ambition by Son, Strawberry also sings 'Bye Bye Bye' herself, delivering a post-coital keyboard rendition — because, in soundtracking uninhibited jaunts into careening lives, Red Rocket, like Harmony Korine's Spring Breakers, enlists new versions of decades-old pop hits by former Mouseketeers. The film's stripped-down take speaks volumes about the movie it's in, too, because Baker's feature is as much about the sweet melodies we sing to ourselves about ourselves as it is about the clash between an alluring mood and the stark truth. Mikey has the spin down pat — in porn, he's proudest about winning awards for being pleasured orally, and doesn't waver when it's pointed out that he's not really doing anything by being on the receiving end — but Red Rocket exposes the reality behind his incessant chatter and swagger. Writing with three-time collaborator Chris Bergoch, Baker peppers the film's screenplay with devastatingly telling lines and comedic inclusions alike. When Mikey insists that "the universe is on my side", it smashes both targets. But even as Baker weaves in broader commentary about the US today — Red Rocket is set in the lead up to the 2016 presidential election, with snippets of campaign speeches heard and parallels between two different self-assured grifters easily spied — his smartest move is saying hi, hi, hi to Rex. It's a loaded choice, given the latter's own porn history as a solo player in the early 90s. Rex was then an MTV VJ, so he's also used to talking the glossy talk. Acting followed, plus rapping under the moniker Dirt Nasty, but it's safe to say that his career didn't pan out as planned until Red Rocket drew upon that history to cast him as its magnetic middle-aged dirtbag. Rex is so awards-worthily commanding — so seductive and sleazy in tandem, all while playing a livewire of a thorny character with so little self-awareness — that it's plain to see why the film was scripted with him in mind. Baker fills other key parts with non-professionals, as he has a history of doing, and there's zero weak links in what proves a riotous character study of an entrancing yet toxic and deluded hustler, and also a freewheeling snapshot of small industrial town lives that's fuelled by authenticity on several levels. It's little wonder, then, that cinematographer Drew Daniels (Waves) lenses the picture like it's caught between magic hour-hued fantasies and scrappy social realism. That's Baker's favourite aesthetic, and straddling juxtapositions is baked into his latest movie everywhere it can be. Perhaps that's why Red Rocket also feels like exactly what Baker was destined to do after the similarly phenomenal The Florida Project, but also firmly its own glorious journey. That ain't no lie, either.
As an Annandale local, I can avow that Parramatta Road is a deeply depressing commute. Walking to the Johnston Street bus stop opposite shuttered shopfronts and treeless footpaths makes me feel like I have no life. But Leichhardt mayor and potential hero Darcy Byrne hopes to correct this sad situation, with his exciting proposal to transform the ugly blight of Parramatta Road from Sydney University to Lewisham into a hub of live music and nightlife, not unlike the venue-lined thoroughfares of New Orleans or New York's Broadway. Think music venues, comedy clubs and intimate bars open into the small hours. The proposal comes in the wake of the regrettable passing of the iconic and beloved Annandale Hotel, which went into receivership this summer after a slew of legal battles with neighbouring residents over noise levels. Now Byrne is taking measures to ensure other venues in the area don't share the Annandale's fate. These measures include the Good Neighbour policy, allowing for higher levels of noise and much later trading hours, and a plan to rezone Parramatta Road as Sydney's first dedicated live music and cultural precinct. If you think about it, the strip's current attributes lend itself perfectly to this proposal: near to the CBD but not overly residential, Parramatta Road offers easy public transport access and has a pre-existing community of musical instrument retailers and recording studios. If the plan goes ahead, Byrne could "transform this roadway into rock-and-roll central", a development that could do great things for both homegrown musicians and the young 'uns of the inner west alike. Image of New Orleans by benswing.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are 12 that you can watch right now at home. Anatomy of a Fall A calypso instrumental cover of 50 Cent's 'P.I.M.P.' isn't the only thing that Anatomy of a Fall's audience won't be able to dislodge from their heads after watching 2023's deserving Cannes Film Festival Palme d'Or-winner. A film that's thorny, knotty and defiantly unwilling to give any easy answers, this legal, psychological and emotional thriller about a woman on trial for her husband's death is unshakeable in as many ways as someone can have doubts about another person: so, a myriad. The scenario conjured up by writer/director Justine Triet (Sibyl) is haunting, asking not only if her protagonist committed murder, as the on-screen investigation and courtroom proceedings interrogate, but digging into what it means to be forced to choose between whether someone did the worst or is innocent — or if either matters. While the Gallic legal system provides the backdrop for much of the movie, the real person doing the real picking isn't there in a professional capacity, or on a jury. Rather, it's the 11-year-old boy who loved his dad, finds him lying in the snow with a head injury outside their French Alps home on an otherwise ordinary day, then becomes the key witness in his mum's case. Also impossible to forget: the performances that are so crucial in telling this tale of marital and parental bonds, especially from one of German's current best actors and the up-and-coming French talent playing her son. With her similarly astonishing portrayal in The Zone of Interest, Toni Erdmann and I'm Your Man's Sandra Hüller is two for two in movies that initially debuted in 2023; here, she steps into the icy and complicated Sandra Voyter's shoes with the same kind of surgical precision that Triet applies to unpacking the character's home life. As Daniel, who couldn't be more conflicted about the nightmare situation he's been thrust into, Milo Machado Graner (Alex Hugo) is a revelation — frequently via his expressive face and posture alone. If Scenes From a Marriage met Kramer vs Kramer, plus 1959's Anatomy of a Murder that patently influences Anatomy of a Fall's name, this would be the gripping end result — as fittingly written by Triet with her IRL partner Arthur Harari (Onoda: 10,000 Nights in the Jungle). Anatomy of a Fall streams via YouTube Movies, iTunes and Prime Video. Read our full review. Poor Things Richly striking feats of cinema by Yorgos Lanthimos aren't scarce. Sublime performances by Emma Stone are hardly infrequent. Screen takes on Mary Shelley's Frankenstein couldn't be more constant. For Lanthimos, see: Dogtooth and Alps in the Greek Weird Wave filmmaker's native language, plus The Lobster, The Killing of a Sacred Deer and The Favourite since he started helming movies in English. With Stone, examples abound in her Best Actress Oscar for La La Land, supporting nominations before and after for Birdman or (The Unexpected Virtue of Ignorance) and Lanthimos' aforementioned regal satire, and twin 2024 Golden Globe nods for their latest collaboration as well as TV's The Curse. And as for the best gothic-horror story there is, not to mention one of the most influential sci-fi stories ever, the evidence is everywhere from traditional adaptations to debts owed as widely as The Rocky Horror Show and M3GAN. Combining the three results in a rarity, however: a jewel of a pastel-, jewel- and bodily fluid-toned feminist Frankenstein-esque fairy tale that's a stunning creation, as zapped to life with Lanthimos' inimitable flair, a mischievous air, Stone at her most extraordinary and empowerment blazing like a lightning bolt. With cascading black hair, an inquisitive stare, incessant frankness and jolting physical mannerisms, Poor Things' star is Bella Baxter in this adaptation of Alasdair Grey's award-winning 1992 novel by Australian screenwriter Tony McNamara (The Great). Among the reasons that the movie and its lead portrayal are so singular: as a character with a woman's body revived with a baby's brain, Stone plays someone from infancy to adulthood, all with the astonishingly exact mindset and mannerisms to match, and while making every move, choice and feeling as organic as birth, living and death. In this fantastical steampunk vision of Victorian-era Europe, London-based Scottish doctor Godwin Baxter (Willem Dafoe, Asteroid City) is Bella's maker. Even if she didn't call him God, he's been playing it. But curiosity, the quest for agency and independence, horniness and a lust for adventure all beckon his creation on a radical, rebellious, gorgeously rendered, gloriously funny and generously insightful odyssey. So, Godwin tries to marry Bella off to medical student Max McCandles (Ramy Youssef, Ramy), only for her to discover masturbation and sex, and run off to the continent with caddish lawyer Duncan Wedderburn (Mark Ruffalo, She-Hulk: Attorney at Law). Poor Things streams via Disney+, YouTube Movies, iTunes and Prime Video. Read our full review. Priscilla Yearning to be one of the women in Sofia Coppola's films is futile, but for a single reason only: whether she's telling of teenage sisters, a wife left to her own devices in Tokyo, France's most-famous queen, the daughter of a Hollywood actor, Los Angeles high schoolers who want to rob, the staff and students at a girls school in the American Civil War, a Manhattanite worried that her husband is being unfaithful or Priscilla Presley, as the writer/director has across eight movies to-date, no one better plunges viewers into her female characters' hearts and heads. To watch the filmmaker's span of features from The Virgin Suicides to Priscilla is to feel as its figures do, and deeply. The second-generation helmer is an impressionistic great, colouring her flicks as much with emotions and mood as actual hues — not that there's any shortage of lush and dreamy shades, as intricately tied to her on-screen women's inner states, swirling through her meticulous frames. Call it the "can't help falling" effect, then: as a quarter-century of Coppola's films have graced screens, audiences can't help falling into them like they're in the middle of each themselves. That's still accurate with Priscilla, which arrives so soon after Elvis that no one could've forgotten that the lives of the king of rock 'n' roll and his bride have flickered through cinemas recently. Baz Luhrmann made his Presley movie in Australia with an American (Austin Butler, Once Upon a Time in Hollywood) as Elvis and an Aussie (Olivia DeJonge, The Staircase) as Priscilla. Coppola crafted hers in North America with a Brisbanite (Jacob Elordi, Saltburn) in blue-suede shoes and a Tennessee-born talent (Cailee Spaeny, Mare of Easttown) adopting the Presley surname. The two features are mirror images in a hunk of burning ways, including their his-and-hers titles; whose viewpoint they align with; and conveying what it was like to adore Elvis among the masses, plus why he sparked that fervour, compared to expressing the experience of being the girl that he fell for, married, sincerely loved but kept in a gilded cage into she strove to fly free. Priscilla streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Cailee Spaeny. All of Us Strangers As Fleabag knew, and also Sherlock as well, Andrew Scott has the type of empathetic face that makes people want to keep talking to him. Playing the hot priest in Phoebe Waller-Bridge's (Indiana Jones and the Dial of Destiny) acclaimed comedy, he was the ultimate listener. Even as the Moriarty to Benedict Cumberbatch's (The Wonderful Story of Henry Sugar) Holmes, and with a game always afoot, conversation flowed. All of Us Strangers puts this innate air — this sensation that to be in Scott's company is to want to unburden yourself to his welcoming ears — at its tender and feverishly beating heart, this time with Paul Mescal (Foe) as one of his discussion partners. Dreamy and contemplative, haunting and heartfelt, and also delicate and devastating, the fifth film by Weekend and 45 Years writer/director Andrew Haigh, which is his first since 2017's Lean on Pete, is stunningly cast with Scott in seeing-is-feeling mode as its isolated screenwriter protagonist alone. That Scott is joined by Mescal, Claire Foy (Women Talking) and Jamie Bell (Shining Girls) gives All of Us Strangers one of the finest four-hander casts in recent memory. Awards bodies clearly agree, with nods going around for everyone (alongside wins for Best Film and Best Director, the British Independent Film Awards gave all four of the feature's core cast members nominations, with Mescal scoring the Best Supporting Performance trophy, for instance). Haigh isn't merely preternaturally talented at picking the exact right actors to play his on-screen figures, but it's one of his most-crucial skills, as every performance in his latest shattering picture demonstrates. It comes as no surprise that Scott, Mescal, Foy and Bell are all excellent. It's similarly hardly unexpected that Haigh has made another movie that cuts so emotionally deep that viewers will feel as if they've been within its frames. Combine these stars with this filmmaker, though, and a feature that was always likely to combine its exceptional parts into a perfect sum is somehow even more affecting and astonishing. All of Us Strangers streams via YouTube Movies, iTunes and Prime Video. Read our full review. Drive-Away Dolls No one might've thought of Joel and Ethan Coen as yin and yang if they hadn't started making movies separately. Since 2018's The Ballad of Buster Scruggs, their latest feature together as sibling filmmakers, the elder of the Coen brothers went with Shakespearean intensity by directing 2021's The Tragedy of Macbeth on his lonesome — while Ethan now opts for goofy, loose and hilariously sidesplitting silliness with Drive-Away Dolls. The pair aren't done collaborating, with a horror flick reportedly in the works next. But their break from being an Oscar-winning team has gifted audiences two treats in completely different fashions. For the younger brother, he's swapped in his wife Tricia Cooke, editor of The Big Lebowski, O Brother, Where Art Thou? and The Man Who Wasn't There, on a picture that couldn't slide more smoothly onto his resume alongside the madcap antics that the Coens combined are known for. Indeed, spying shades of the first of those two features that Cooke spliced in Drive-Away Dolls, plus Raising Arizona, Fargo and Burn After Reading as well, is both easy and delightful. As a duo, the Coen brothers haven't ever followed two women through lesbian bars, makeout parties and plenty of horniness between the sheets, though, amid wall dildos and other nods to intimate appendages, even if plenty about the Ethan-directed, Cooke-edited Drive-Away Dolls — which both Ethan and Cooke co-wrote — is classic Coens. There's the road-trip angle, conspiracy mayhem, blundering criminals in hot pursuit of Jamie (Margaret Qualley, Poor Things) and Marian (Geraldine Viswanathan, Cat Person), dumb men (those crooks again) in cars and just quirky characters all round. There's the anarchic chases, witty yet philosophical banter and highly sought-after briefcase at the centre of the plot, too. And, there's the fact that this is a comedic caper, its love of slapstick and that a wealth of well-known faces pop up as the zany antics snowball. The Joel-and-Ethan team hasn't made a film as sapphic as this, either, however, or one that's a 90s-set nod to, riff on, and parody of 60s- and 70s-era sexploitation raucousness. Drive-Away Dolls streams via Prime Video. Read our full review, and our interview with Ethan Coen and Tricia Cooke. May December A line about not having enough hot dogs might be one of its first, but the Julianne Moore (Sharper)-, Natalie Portman (Thor: Love and Thunder)- and Charles Melton (Riverdale)-starring May December is a movie of mirrors and butterflies. In the literal sense, director Todd Haynes wastes few chances to put either in his frames. The Velvet Goldmine, Carol and Dark Waters filmmaker doesn't shy away from symbolism, knowing two truths that stare back at his audience from his latest masterpiece: that what we see when we peer at ourselves in a looking glass isn't what the rest of the world observes, and that life's journey is always one of transformation. Inspired by the real-life Mary Kay Letourneau scandal, May December probes both of these facts as intently as anyone scrutinising their own reflection. Haynes asks viewers to do the same. Unpacking appearance and perception, and also their construction and performance, gazes from this potently thorny — and downright potent — film. That not all metamorphoses end with a beautiful flutter flickers through just as strongly. May December's basis springs from events that received ample press attention in the 90s: schoolteacher Letourneau's sexual relationship with her sixth-grade student Vili Fualaau. She was 34, he was 12. First-time screenwriter Samy Burch changes names and details in her Oscar-nominated script — for Best Original Screenplay, which is somehow the film's only nod by the Academy — but there's no doubting that it takes its cues from this case of grooming, which saw Letourneau arrested, give birth to the couple's two daughters in prison, then the pair eventually marry. 2000 TV movie All-American Girl: The Mary Kay Letourneau Story used the recreation route; however, that was never going to be a Haynes-helmed feature's approach. The comic mention of hot dogs isn't indicative of May December's overall vibe, either: this a savvily piercing film that sees the agonising impact upon the situation's victim, the story its perpetrator has spun around herself, and the relentless, ravenous way that people's lives and tragedies are consumed by the media and public. May December streams via YouTube Movies, iTunes and Prime Video. Read our full review. Mean Girls On years ending in four in even-numbered decades, we watch new Mean Girls films. So goes the 21st century so far, as the hit 2004 teen comedy about high-school hierarchies returns to the big screen in 2024 as a musical, after breaking out the singing and dancing onstage first. Just like donning pink every Wednesday because Regina George (Reneé Rapp, The Sex Lives of College Girls) demands it, there's a dutifulness about the repeat Mean Girls. Tina Fey, writing the script for the third time — basing her first on Rosalind Wiseman's 2002 non-fiction book Queen Bees and Wannabes — seems to fear the consequences for breaking the rules, too. Cue a Mean Girls movie musical that truly plays out as those four words lead viewers to expect: largely the same down to most lines and jokes, just with songs. Anyone looking at the longer running time in advance and chalking up the jump from 97 to 112 minutes to the tunes is 100-percent spot on. The latest Mean Girls also resembles protagonist Cady Heron (Angourie Rice, The Last Thing He Told Me): eager to fit into its new surroundings after being perfectly happy and comfortable elsewhere. That causes some awkwardness, sometimes trying to break the mould, but largely assimilating. Penning her first film script since the OG Mean Girls was her very first, 30 Rock, Unbreakable Kimmy Schmidt and Mr Mayor creator Fey revises details and gags that were always going to need revising. Social media, the internet and mobile phones are all worked in, necessarily so, as is sex positivity. Mean Girls 2024 is primarily dedicated to making Mean Girls 2024 happen, though; here as well, it's exactly as those three words have audiences anticipating. Scrap the songs and choreography (other than the Winter Talent Show performances, of course), and directors Samantha Jayne and Arturo Perez (Quarter Life Poetry: Poems for the Young, Broke & Hangry) would've just remade the first film two decades later. Mean Girls streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Angourie Rice. Force of Nature: The Dry 2 "Nature holds us all to account" is one of Force of Nature: The Dry 2's trailer-friendly lines. Even for those who didn't see the film's sneak peeks in the months between its arrival and the feature's release — a period stretched by Hollywood's 2023 strikes, pushing the picture's date with cinemas from August to February 2024 — it sounds primed for promo snippets when it's uttered in the movie itself. But this Australian detective franchise has earned the right to occasionally be that blunt and loaded with telling importance in its dialogue. And, it makes it work. In 2021's The Dry and here, in a flick that could've been called The Wet thanks to its drenched forest setting, the Aaron Falk saga uses its surroundings to mirror its emotional landscape. Nature holds its characters to account not just in a narrative sense, but by reflecting what they're feeling with astute specificity — so much so that the parched Victorian wheatbelt in the initial movie and the saturated greenery in Force of Nature are as much extensions of the series' on-screen figures as they are stunning backdrops. Chief among this page-to-film realm's players is Falk, the federal police officer that Eric Bana and his Blueback director Robert Connolly treat like terrain to trek through and traverse. His stare has its own cliffs and gorges. His life upholding the law and beyond has its peaks and valleys as well. In The Dry, it was evident that the yellowed, drought-stricken fields that monopolised the frame said plenty about how much Falk and everyone around him was holding back. In Force of Nature, all the damp of the fictional Giralang mountains — Victoria's Otways, Dandenong Ranges and Yarra Valley IRL — speaks volumes about what's streaming through the movie's characters inside. Cinematography is one of this franchise's strengths, and that Andrew Commis (Nude Tuesday) lenses the second picture's location just as evocatively and meticulously as Stefan Duscio (Shantaram) did the first is crucial: these features make their audience see every detail that envelops Falk and company, and therefore constantly spy the parallels between their environs and their inner turmoil. Force of Nature: The Dry 2 streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Eric Bana and Robert Connolly. Argylle For the past decade, spy films have been Matthew Vaughn's caper, thanks to Kingsman: The Secret Service, Kingsman: The Golden Circle and The King's Man until now. With Argylle, he's still being playful with a genre that he clearly loves but isn't precious about, and he's also approaching espionage antics from another angle. 80s action-adventure comedy Romancing the Stone, which isn't about secret intelligence operatives, is one of this page-to-screen effort's blatant inspirations. Something that both do have at their centres: writers caught up in scenarios that would usually only happen on paper. 2022's The Lost City took the same route — but Argylle throws in a touch of North by Northwest, and also gets meta about its own origins. And no, Taylor Swift didn't write the source material. For his eighth feature, which hits 20 years after he made his directorial debut with the Daniel Craig (Glass Onion: A Knives Out Mystery)-starring Layer Cake, Vaughn adapts the novel that gives Argylle its name; however, the specifics aren't quite that simple. The IRL title was only published as the flick hits cinemas, starting a franchise on the shelf. That said, the film — which is similarly aiming to begin a series — jumps to a later as-yet-unreleased book. Those tomes are credited to Elly Conway, which is the name of the movie version of Argylle's protagonist. In the feature, Elly (Bryce Dallas Howard, Jurassic World Dominion) is also an author who has written a saga about spies. Back in reality, who she really is has sparked a frenzy, hence the theories that she could be one of the world's biggest pop stars amid a massive world tour and a huge concert film. Again, despite Swifties' dreams, that speculation needs to be shaken off. Argylle streams via YouTube Movies and Prime Video. Read our full review, and our interview with Matthew Vaughn. The Color Purple For most, there isn't much in Alice Walker's Pulitzer Prize-winning 1982 novel The Color Purple that screams for the musical spin. Broadway still came calling. On the page, this tale always featured a jazz and blues singer as a key character. When it initially reached the screen in 1985 with Steven Spielberg (The Fabelmans) directing, it also worked in an anthem that earned an Oscar nomination and has been much-covered since; Quincy Jones composed the film's score and produced the movie. But if the idea of lavish song-and-dance numbers peppered throughout such a bleak account of incest, rape, domestic abuse, racism, injustice, violence and poverty feels like hitting a wrong note, claims otherwise keep springing. First arrived 2005's Tony-winning stage adaptation, then 2015's also-awarded revival. Now, joining the ranks of books that became movies, then musicals, then musical movies just like the new Mean Girls, a second feature brings Walker's story to cinemas — this time with belted-out ballads and toe-tapping tunes. With each take, The Color Purple's narrative has predominantly remained the same as when it first hit bookshelves, crushing woe, infuriating prejudice and rampant inequity included. Musicals don't have to be cheery, but how does so much brutality give rise to anything but mournful songs? The answer here: by leaning into the rural Georgia-set tale's embrace of hope, resilience and self-discovery. Ghanaian director Blitz Bazawule follows up co-helming Beyoncé's Black Is King by heroing empowerment and emancipation in his version of The Color Purple — and while the film that results can't completely avoid an awkward tonal balance, it's easy to see the meaning behind its striving for a brighter outlook. When what its characters go through as Black women in America's south in the early 20th century is so unsparing, welcoming wherever light can pierce the gloom is a human reaction, and how Celie (American Idol-winner Fantasia Barrino in her feature film debut) copes. The Color Purple streams via YouTube Movies, iTunes and Prime Video. Read our full review. Madame Web When a spider spins a web, the strands are designed to trap prey for the eight-legged arachnid to consume. Madame Web tries to do something similar. The fourth live-action film in Sony's Spider-Man Universe, it attempts to create a movie meal by capturing bits and pieces from anywhere and everywhere. There's Spidey nods, of course, variations on the "with great power comes great responsibility" line and more than one Spidey-like figure included. Introducing a new superhero to the screen, it's an origin story, complete with a tragic past to unfurl. Set in 2003 but with ample 90s tunes in the soundtrack, it endeavours to get retro as well. In its best touch, Madame Web winks at star Dakota Johnson's (Cha Cha Real Smooth) Hollywood family history, with a pigeon bringing The Birds, as led by her grandmother Tippi Hedren (The Ghost and the Whale), to mind. And, catching inspiration just like flies, the film also strives to be a serial-killer thriller. Look out, though. Here's hoping that spiders have more luck snaring a feast than Sony has in swinging Madame Web into its not-MCU franchise. They're not officially counted as part of the saga, and they're both exceptional unlike this, but the studio's animated Spider-Man: Into the Spider-Verse and Spider-Man: Across the Spider-Verse also help explain Madame Web's existence and approach. In trying to carve out a Spidey space around the Peter Parker version of the webslinger, who is now part of the Marvel Cinematic Universe, Sony has been throwing everything it can at the screen. In the Spider-Verse flicks, that means a kaleidoscope of spider-folk, plus dazzling visuals and creative storytelling to match, demonstrating that people in suits isn't the best way to tell caped-crusader tales in cinema. In the SSU, focusing on a heap of peripheral Spidey figures is instead the tactic — and it's as piecemeal as it sounds. Madame Web streams via YouTube Movies and Prime Video. Read our full review. Next Goal Wins American Samoa's 31–0 loss to Australia in 2001 wasn't the biggest-ever defeat in football history, but it set the world record for the largest trouncing in an international match. It's also the scoreline behind an impassioned quest to achieve something that the US territory in the South Pacific Ocean had never done before in soccer: kick a goal. And, it's the starting point for a documentary and a comedy both called Next Goal Wins, with the first arriving in 2014 and the second now Taika Waititi's eighth feature. Each charts the squad's attempt to qualify for the 2014 FIFA World Cup, and each tells an underdog tale. One strikes charmingly and winningly, the other keeps deserving red cards — and it's Waititi's long-delayed flick, which was initially filmed before the pandemic, underwent reshoots in 2021, then finally premiered at the 2023 Toronto International Film Festival, that shouldn't be on the pitch. Since leaping from New Zealand indies Eagle vs Shark, Boy, What We Do in the Shadows and Hunt for the Wilderpeople to the Marvel Cinematic Universe, Waititi might've won an Oscar for Jojo Rabbit; however, his best post-Thor: Ragnarok work has been on the small screen. Neither Jojo Rabbit nor Thor: Love and Thunder reached the filmmaker's past heights, but the hilarious US TV spinoff of What We Do in the Shadows, sublime Indigenous American dramedy Reservation Dogs and heartwarming pirate rom-com Our Flag Means Death have all proven gems. The current underwhelming cinema streak continues with the Michael Fassbender (The Killer)-led Next Goal Wins, which is as forceful as his last non-MCU picture in wanting to be a quirky, silly and sweet crowd-pleaser, and as clumsy, awkward and thinly sketched. While new takes on already-covered stories never mean that the originals are binned, sending viewers sprinting towards Mike Brett and Steve Jamison's (On the Morning You Wake (to the End of the World)) iteration of Next Goal Wins can't have been Waititi's intention. Next Goal Wins streams via YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January and February 2024 (and also January, February, March, April, May, June, July, August, September, October, November and December 2023, too). We keep a running list of must-stream TV from across 2024 as well, complete with full reviews. And, we've also rounded up 2023's 15 best films, 15 best straight-to-streaming movies, 15 top flicks hardly anyone saw, 30 other films to catch up with, 15 best new TV series of 2023, another 15 excellent new TV shows that you might've missed and 15 best returning shows.
The mercury is slowly rising again as summer nudges closer, Daylight Savings has kicked into gear and people's moods are altogether cheerier. Which means it's almost time for Sydney to get its noodle on once again. Yep, the Night Noodle Markets are gearing up for another season, whipping Hyde Park into a frenzy of sounds, smells and street food from October 11 to 18. The markets' 2019 edition is delivering a jam-packed culinary program that's as big as ever and with that comes an eye-watering array of choice. If you're feeling a bit daunted by all that decision-making and wondering how best to navigate the smorgasbord of eats, we've got your back. Avoid any bouts of indecisiveness and squeeze the best out of your Night Noodle Markets visit with our lineup of top food picks worth checking out. Get excited for attention-grabbing noodle dishes, szechuan-inspired fried chicken and inventive dessert creations that'll require both hands and a whole stack of napkins. EYE OF THE THAI-GER, GELATO MESSINA Seventeen years on and national sweetheart Gelato Messina continues to throw down inventive frozen treats left right and centre. The purveyors of weird and wonderful dessert concoctions will be showing off their latest designs at this year's Night Noodle Markets and each is a modern reworking of some classic Thai flavours. For a tasty frozen snack you can hold in one hand, try the Eye of the Thai-ger — which looks a bit like a fluffy dessert taco. It's a satisfyingly creamy fusion of Thai milk tea gelato and cheesecake mousse cradled in a layer of tea sponge. The dessert is then dunked in soft meringue and finished with a healthy dusting of coconut. We doubt you'll want to stop at just one. [caption id="attachment_745515" align="alignnone" width="1920"] Luisa Brimble[/caption] LECHE FLAN DOUGHNUT BURGER, DONUT PAPI Sydney's go-to for inventive, Asian-inspired doughnut creations, Donut Papi is returning to the Night Noodle Markets with a fresh haul of crafty desserts in tow. These guys sure aren't afraid to get a little creative, as you'll know from past ingenious doughnut iterations like peanut butter birthday cake, ube Oreo and even garlic bread. But the treat you need to sink your chompers into this month is the Leche Flan Donut Burger. A slab of lush, sticky Filipino-style crème caramel is stuffed between halves of a sugar-crusted doughnut bun, ready and waiting to ooze upon that first bite. BIG BOSS FLYING NOODLES, THE FLYING NOODLE Is it magic? Is it a feat of aerodynamics? No, it's simply the show-stopping signature dish from The Flying Noodle. Featuring a serve of chopsticked noodles suspended mysteriously in the air, this menu hit is designed to be devoured with your eyes, as well as your mouth. There are three gravity-defying variations on offer at this year's Night Noodle Markets, including The Big Boss, which teams those cascading egg noodles with seasonal veggies and marinated chicken in a rich red wine sauce. How do they do it? You'll just have to order one and find out. [caption id="attachment_745527" align="alignnone" width="1920"] Parker Blain[/caption] STICKY RICKY BURGER, JOHNNY BIRD Crows Nest's fried chicken maestro Johnny Bird is coming to the party, getting into the Night Noodle Market spirit with some Asian-inspired riffs on its usual chook-licious fare. Alongside menu favourites like chicken tenders and the classic Johnny Bird burger, you'll find the Sticky Ricky, available with or without the bun. This one features that OG crisp fried free-range chicken, teamed with lettuce, spring onion, sesame seeds and a gutsy lick of sticky szechuan sauce. Our tip? Best load up on napkins before going in for the kill. CHEESEBURGER PUFFLE, PUFFLE Everyone loves a quirky, cheesy food creation and this one's as fun to say as it is to eat. A return favourite from last year's markets, and a riff on the egg waffles you'll find at street stalls in Hong Kong, Puffle is a kind of savoury waffle cone made out of cheese and filled with various flavour combinations. This month, Puffle is out to win you over with two different decadent versions of its dish, including the cheeseburger — an assembly of chopped bulgogi-style beef and extra melted cheese, finished with lashings of sweet and spicy ketchup, mustard and Japanese mayo — and a KFC option with spicy Korean-style fried chicken. But, whichever filling you opt for, you're in for a crunchy, oozy and delightfully messy ride. Want more? The Sydney Night Noodle Markets are at Hyde Park from Friday, October 11, to Friday, October 18. Check out the full food lineup here. Top image: Bec Taylor
A pop-up outdoor wine, beer and food garden has arrived on the northern beaches to help you make the most of balmy summer nights and sunny weekends, Dubbed Market Lane Live, the temporary, al fresco event supports and celebrates local businesses, providing some of the best eats and tipples the area has to offer. The pop-up features a range of local restaurants and breweries. Donny's Bar, Momo Bar & Dumplings and The Local Smoker will all be serving up food, while 4 Pines, Nomads, Dad & Dave's and Manly Hops will be providing the beverages. Live music will also liven up the laneways and help support local musicians who may have lost income during the pandemic. Following the December lockdown of the region, Market Lane Live has returned and is taking over Manly laneways until the end of February. The market is happening every night, from 4pm–10pm weekdays and midday on weekends. It's child- and dog-friendly, so you can bring the whole family — including your fur child. You can find out more and peep the music lineup each week at the Market Lane Live Facebook page.
The folks at the Sydney Fringe Festival have unveiled a fresh swathe of 2017 highlights and you should promptly get around them. Among the standouts is this year's opening weekend extravaganza — an enormous "masqueerade" that promises to turn the brand new festival hub "into a world of mystery and disguise where reality is suspended and art becomes real life." The bash is the brainchild of the team from Heaps Gay so it's sure to be one hell of a good time. The inclusive warehouse celebration will rock over two nights from September 2 - 3, with the location kept secret in the party group's usual fashion. Party goers can expect all of the usual shenanigans, including live music and performances in an immersive night of artists, musicians and some local characters. This year's mysterious dress theme is transform/disguise, so take that as you will, but — as with any Heaps Gay gathering — you'll want to go big.
The opening moments of For Sama aren't easily forgotten. As journalist Waad Al-Kateab sings to infant Sama in their Aleppo home — a room in the city's only remaining volunteer hospital — in 2016, the sound of tank shells puncture her soothing tones. With her doctor husband Hamza, Waad and her daughter soon start to flee. As they rush hurriedly downstairs, a flash appears at the end of the hallway, filling the corridor with smoke. The trio make it to safety, huddling with others in the same situation. To keep Sama distracted as they wait out the attack, they play a game of peek-a-boo with the baby using their air-filtration face masks. Shot by Waad herself — For Sama's narrator, producer, cinematographer, co-director with Edward Watts and one of its subjects — this sequence kicks off this Oscar-nominated, Cannes-awarded, BAFTA-winning documentary as it means to go on. That said, in a film that doesn't shy away from the blood spilled, lives lost and bodies piled up during the ongoing Syrian Civil War, this introductory scene actually provides some of the movie's least confronting sights. Given how tough, fraught and tense the feature's first moments are, that speaks volumes about everything that follows. But difficult images and emotions are to be expected when peering into the lives of ordinary Syrians caught up in the country's seemingly ceaseless conflict, especially when detailed in such an intimate fashion. As the film's simple, personal and expressive title suggests, Waad has fashioned her documentary as a visual letter to her firstborn. A chronicle of Sama's time in the crumbling Aleppo, it's also an explanation, a time capsule and a portrait of a place that the Al-Kateabs passionately fought for. Using footage recorded since 2012 — when the Arab Spring initially sparked protests in Syria — Waad captures the war from her own viewpoint. Her skills as an activist and journalist are essential, but her role as a mother and the fact that she's a passionate, empathetic person prove even more important. Waad doesn't capture soldiers in battle, bombs being fired or buildings turning to ruins, instead focusing on her own efforts to simultaneously fight for her home, maintain a life and help many others in need. Piecing it all together via a poignant video diary, she also depicts the many others trying to do the same, as well as the casualties and consequences. Accordingly, this is a doco where children arrive at the hospital covered in blood, muck and dust from artillery fire, then leave crying as their siblings join the growing body count. It's a film where mothers scream with pain and fury, inconsolable about their losses but adamant that everything must be recorded in order to show the world what's happening. And, it's a movie where Waad is committed to battling for freedom however she can — by documenting the war, assisting at the hospital and, crucially, by refusing to run away — but still agonises over the choice to bring Sama into the world. Every second is heartwrenching. Every moment is devastating. Every frame stares into the on-the-ground nightmare, as relayed by someone experiencing it as it happens. While the conflict in Syria has understandably become a frequent cinematic topic — For Sama is just one of two films on the subject that were nominated for this year's Academy Award for Best Documentary — Waad's personal approach makes an enormously powerful impact. We watch as she evolves from economics student to married filmmaker and mother. We hear her thoughts, prayers and regrets. We feel her initial hope that Bashar al-Assad's Russian-backed dictatorship will come to an end, her fear when the shells and bombs keep raining down, and her seemingly impossible quest to balance her love of her country with her love for her fledgling family. And, we also watch as she records intimate, life-changing events around her, giving them the benefit of her eyewitness insight. In the latter category, footage of doctors working on a baby born via emergency caesarian ranks among the movie's many inclusions that audiences will want to both stare deeply at and instantly look away from. Jerky and jittery both emotionally and visually, there are no easy images here — even when Waad's handheld cinematography simply gazes at Sama's smiling face. There are no easy answers either, even though the utter horror of targeting civilians like Waad and her compatriots in war is never in doubt. A dedicated, distraught and despairing act of bearing witness, For Sama channels all of its energy into presenting a vital perspective — and one that's so routinely overlooked in tales of conflict. War is waged not just on nations, leaders and soldiers, but on ordinary people, mothers, children and babies, as this shattering film never lets slip out of view. https://www.youtube.com/watch?v=04BVhwx1RpA
Having recently returned from a spot of European travel-on-a-shoestring, I think I can hyperbolically decree that the Sleepbox may well be one of the greatest things I have ever seen. Sleepbox, designed by the Arch Group, does essentially what it says on the tin: it's a pod wide enough for a bed and a drop-down desk. This means that the days of sleeping on rows of metal chairs while clutching your belongings for dear life or sitting slumped over coffee-flavoured hot water in an airport food court may well be behind us. The first Sleepbox has recently been installed in Moscow's Sheremetyevo Airport, and can be rented out from half an hour to many hours. Kitted out with an LED reading light, WiFi and electrical outlets for you to charge your phone or get your ironing done or whatever it is you need to do, the pods also come with a mechanism which automatically changes the linen once each guest checks out. Which means there is less chance you will have to come into close contact with the bodily odours of others before you have to sit wedged beside them for fourteen hours in a flying tin can. Arch Group is proposing Sleepbox as a contemporary staple of urban life, with plans to set them up in other airports, railway stations. large shopping spaces, and even on the streets in warm climates. Genius. https://youtube.com/watch?v=3qxnqy37KPc [Via PSFK]
The Hollywood Quarter refers to the wedge of Surry Hills that's made up of just a few streets around the intersection of Campbell and Commonwealth, but those few contain some of the liveliest spots in Sydney. Taking its name from the Hollywood Hotel — a long-standing institution of the precinct where you've probably encountered many a schooner, the neighbouring venues include Ace Hotel Sydney, Paramount House, Alberto's Lounge and Tio's. They're all joining forces to take part in a special Gig Trail on Saturday, 23 March from 4pm. It's a one-night-only event that involves a curated walk through the neighbourhood for a journey of free live music at the various venues, starring Sydney artists like Charlie Villas, Jono Ma and Kirin J Callinan (scroll down for the full gig list). Also on show will be some equally rocking deals from the area's many excellent dining establishments, so start scheming up your perfect dinner and a show lineup now. [caption id="attachment_945949" align="alignnone" width="1920"] Alberto's Lounge bar, photographed by Kristoffer Paulsen[/caption] The Hollywood Quarter's Gig Trail is part of the state-wide live music initiative Great Southern Nights which is taking Australia's finest musicians and performers to venues across New South Wales, from the Northern Rivers to Wollongong and beyond. In-Venue Gigs Ace Hotel Sydney: Charlie Villas and Fried Pork Chop (6pm-12am) Alberto's Lounge: Fritto Disco Speciale starring Kirin J Callinan (lunch) Burdekin Hotel: Kingdom Calm ft Burkina Flats & Bakura (7-10pm) Butter: Cherryrype, Grebel, Izzybops, LXGCY (9pm-12am) Golden Age Cinema & Bar: Tasman Keith (10pm-1am) Harry's: Refuge Recording presents SilverStix (7pm-3am) Hollywood Hotel: The Zoe K Experience (New Orleans Edition) (7pm-1am) Paramount House Hotel: Jono Ma (5-8pm) Soda Factory: Soda's House of Fun ft DJ Nino Brown & Friends (7pm-4am) Food & Drink Specials Alberto's: Lunch special, 2 course and wine $45 from 12-5pm Beau: Happy hour from 4pm to 6pm at the bar or laneway Butter: 3 crispy chicken wings and a Tiger Beer for $20 Gilda's: Open from 5.30pm for a pre-show meal or a drink with snacks Kiln: Late night snack menu plus DJ tunes Nel Restaurant: Join Nelly Robinson for his native Australian degustation Pellegrino 2000: Dine al-fresco, be entertained by the troubadours, and be transported to Italy! Poly: "Apolytivo" delicious drinks and food at happy hour prices from 5-6pm The Rover: Happy Hour from 4-6pm with $2 oysters, $6 beers, $6 G&Ts, $10 wine and a $14 spritz Nomad: Feast al-fresco and be entertained by the troubadours. Book an outside table now. Tio's: Nachos, live tunes and $12 margarita specials (till sold out) The Hollywood Quarter's Great Southern Nights Gig Trail starts from 4pm on Saturday, 23 March 2024. For more details visit the precinct website.
Some photography has the power to move you; Guiseppe Santamaria's for Mercedes-Benz Fashion Week Australia just moves. The graphic designer and photographer has teamed up with Peroni Nastro Azzurro to produce a series of 'cinemagraphs' for the event under the title of An Italian in Sydney, each magical-seeming photograph capturing a still, dapper gent with the world faintly moving around him. As well as publishing a cinemagraph image each morning of MBFWA, Sydney-based Santamaria is also taking plenty of photos the regular way, sharing the street style and evocative backstage moments on his online street style journal, Men in This Town. His focus is "men with a distinct look in their natural habitat". Santamaria said that the collaboration has been a great way "to explore the art of producing cinemagraphs and telling a story through my photos". Cinemagraphs are essentially animated gifs that have moving elements, such as rippling water or riffling pages of a book. The week will be filled with Italian-inspired style beautifully photographed (or should we say, cinemagraphed) by Santamaria. Santamaria has recently returned from covering the Tokyo Mercedes-Benz Fashion Week and is a great source if you want to see the real ambience, action and characters of MBFWA. You can follow his photography at Men in This Town and the Peroni Nastro Azzurro Australia Facebook page.
2023 marks 65 years since Australia's film and television industry first started recognising its best work of the year with accolades. Back then, the gongs were called the AFI Awards. When the Australian Film Institute created the Australian Academy of Cinema and Television Arts in 2011, the awards changed names to the AACTAs. The country's standout flicks and TV highlights are still rewarded with shiny trophies, though — and, since making the switch in monikers in 2012, the big winners paint quite the picture of Australia's screen output. Red Dog, The Sapphires, The Great Gatsby, The Babadook, The Water Diviner, Mad Max: Fury Road, Hacksaw Ridge, Lion, Sweet Country, The Nightingale, Babyteeth, Nitram and Elvis have all been anointed Australia's top movie. Among the small-screen recipients, Best Drama has gone to East West 101, Puberty Blues, Redfern Now, The Code, Glitch, Wentworth, Top of the Lake: China Girl, Mystery Road, Total Control, The Newsreader and Mystery Road: Origin. They all now have company, with the 2024 awards looking back on 2023's highlights announced on Saturday, February 10. Talk to Me was named Best Film, while The Newsreader claimed Best Drama again. The AACTAs are known to concentrate the love towards a few titles each year. 2024 is different, however. The list of winners goes on, and makes an ace must-see lineup of top-notch Aussie movies and TV shows to catch up on or revisit from the past year. Here's 13 that you can watch now: Movie Must-Sees Talk to Me An embalmed hand can't click its fingers, not even when it's the spirit-conducing appendage at the heart of Talk to Me. This is an absolute finger snap of a horror film, however, and a fist pump of a debut by Australian twins Danny and Michael Philippou. As RackaRacka, the Adelaide-born pair have racked up six-million-plus subscribers on YouTube via viral comedy, horror and action combos. As feature filmmakers, they're just as energetic, eager and assured, not to mention intense about giving their all. Talk to Me opens with a party that's soon blighted by both a stabbing and a suicide. It segues swiftly into a Sia sing-along, then the violent loss of one half of the Aussie coat of arms. A breakout hit at the 2023 Sundance Film Festival, where it sparked a distribution bidding war won by indie favourite A24, it's constantly clicking, snapping and ensuring that viewers are paying attention — with terror-inducing imagery, a savvy sense of humour, both nerve and the keenness to unnerve, and a helluva scary-movie premise that's exceptionally well-executed. The picture's outstretched mitt is the Philippous' Ouija board. That withered and scribbled-on paw is also a wildly unconventional way to get high. In a screenplay penned by Danny with fellow first-timer Bill Hinzman, but based on Bluey and Content executive producer Daley Pearson's short-film concept — yes, that Bluey — shaking hands with the distinctive meat hook is a party trick and dare as well. When the living are palm to palm with this dead duke, in flows a conjuring. A candle is lit, "talk to me" must be uttered, then "I let you in". Once heads are kicking back and the voices start, no one should grasp on for more than 90 seconds, as Hayley (Zoe Terakes, Nine Perfect Strangers) and Joss (Chris Alosio, Millie Lies Low) explain. But, as she navigates the anniversary of her mother's death, Mia (Sophie Wilde, Boy Swallows Universe) is up for going as far as she can. Here, being consumed by sinister spirits, not consuming booze, is an escape. That, and filming whatever twisted chaos happens when you connect with the otherworldly. It isn't all fun and frights and games, though; when her best friend Jade's (Alexandra Jensen, Joe vs Carole) 14-year-old brother Riley (Joe Bird, First Day) takes part, traumatic consequences spring. AACTAs Won: Best Film, Best Direction (Danny and Michael Philippou), Best Lead Actress (Sophie Wilde), Best Editing, Best Hair and Makeup, Best Original Score, Best Screenplay, Best Sound. Where to watch it: Talk to Me streams via Netflix, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Danny Philippou. Limbo When Ivan Sen sent a police detective chasing a murdered girl and a missing woman in the Australian outback in 2013's Mystery Road and its 2016 sequel Goldstone, he saw the country's dusty, rust-hued expanse in sun-bleached and eye-scorching colour. In the process, the writer, director, co-producer, cinematographer, editor and composer used his first two Aussie noir films and their immaculately shot sights to call attention to how the nation treats people of colour — historically since its colonial days and still now well over two centuries later. Seven years after the last Jay Swan movie, following a period that's seen that character make the leap to the small screen in three television seasons, Sen returned with a disappearance, a cop, all that inimitable terrain and the crimes against its Indigenous inhabitants that nothing can hide. Amid evident similarities, there's a plethora of differences between the Mystery Road franchise and Limbo; however, one of its simplest is also one of its most glaring and powerful: shooting Australia's ochre-toned landscape in black and white. Limbo's setting: Coober Pedy, the globally famous "opal capital of the world" that's known for its underground dwellings beneath the blazing South Australian earth, but reimagined as the fictional locale that shares the film's name — a place unmistakably sporting an otherworldly topography dotted by dugouts to avoid the baking heat, and that hasn't been able to overcome the murder of a local Indigenous girl two decades earlier. The title is symbolic several times over, including to the visiting Travis Hurley (Simon Baker, Boy Swallows Universe), whose first task upon arrival is checking into his subterranean hotel, rolling up his sleeves and indulging his heroin addiction. Later, he'll be told that he looks more like a drug dealer than a police officer — but, long before then, it's obvious that his line of work and the sorrows he surveys along the way have kept him hovering in a void. While he'll also unburden a few biographical details about mistakes made and regrets held before the film comes to an end, such as while talking to the missing Charlotte Hayes' brother Charlie (Rob Collins, The Drover's Wife The Legend of Molly Johnson) and sister Emma (Natasha Wanganeen, The Survival of Kindness), this tattooed cop with wings inked onto his back is already in limbo before he's literally in Limbo talking. AACTAs Won: Best Indie Film. Where to watch it: Limbo streams via iTunes and Prime Video. Read our full review, and our interview with Ivan Sen and Simon Baker. The New Boy Warwick Thornton, Cate Blanchett, Deborah Mailman, Nick Cave and Warren Ellis: name a better Australian quintet. The director of Samson & Delilah and Sweet Country, the two-time Oscar-winner and Tár tour de force, the local screen mainstay, and the Bad Seeds bandmates and seasoned film composers all combine not for the ultimate Aussie dinner party, but for The New Boy. None are debuting in their jobs. All are exceptional. They're each made better, however, by the luminous and entrancing Aswan Reid. As well as playing the titular part, the 11-year-old first-time actor lives it among such a wealth of acclaimed and experienced talent — and he's such a find in such excellent company, while saying little in words but everything in every other way, that Thornton's third fictional feature owes him as much of a debt as its applauded and awarded household names. There's a spark to Reid from the moment that he's first spied grappling with outback law enforcement under blazing rays as Cave and Ellis' (This Much I Know to Be True) latest rousing score plays. His sun-bleached hair couldn't be more fitting, or symbolic, but it's the confident way in which he holds himself as New Boy, plus the determined look on his face, that sears. Wily and wiry, the feature's eponymous figure is toppled by a boomerang, then bagged up and transported to the remote Catholic orphanage doted on by Sister Eileen (Blanchett, Nightmare Alley) in the 1940s. The cop doing the escorting notes that the kid is a bolter, but the nun is just as fast in her kindness. She sees what Thornton wants his audience to see: a boy that beams with his presence and through his sense of self, even though he's been snatched up, taken from his Country and forced into a Christian institution against his will. Sister Eileen is as drawn to him as the movie, but — and not just due to the red wine she likes sipping and the subterfuge she's keeping up about the resident father's absence — she isn't as certain about what to do. AACTAs Won: Best Lead Actor in Film (Aswan Reid), Best Supporting Actress (Deborah Mailman), Best Cinematography, Best Production Design. Where to watch it: The New Boy streams via Binge, Prime Video, YouTube Movies and iTunes. Read our full review, and our interview with Warwick Thornton. John Farnham: Finding the Voice There's no need to try to understand it: John Farnham's 1986 anthem 'You're the Voice' is an instant barnstormer of a tune. An earworm then, now and for eternity, it was the Australian song of the 80s. With its layered beats, swelling force and rousing emotion, all recorded in a garage studio, it's as much of a delight when it's soundtracking comedy films like the Andy Samberg-starring Hot Rod and the Steve Coogan-led Alan Partridge: Alpha Papa as it is echoing out of every Aussie pub's jukebox. Making a noise and making it clear, 'You're the Voice' is also one of the reasons that Farnham's 1986 album Whispering Jack remains the best-selling homegrown release ever nearing four decades since it first dropped. But, as John Farnham: Finding the Voice tells, this iconic match of track and talent — this career-catapulting hit for a singer who'd initially tasted fame as a teen pop idol two decades prior — almost didn't happen. Whispering Jack also almost didn't come to fruition at all, a revelation so immense that imagining Australia without that album is like entering Back to the Future Part II's alternative 80s. Writer/director Poppy Stockwell (Scrum, Nepal Quake: Terror on Everest) and her co-scribe Paul Clarke (a co-creator of Spicks and Specks) know this, smartly dedicating a significant portion of Finding the Voice to that record and its first single. The titbits and behind-the-scenes anecdotes flow, giving context to a song almost every Aussie alive since it arrived knows in their bones. Gaynor Wheatley, the wife of Farnham's late best friend and manager Glenn, talks about how they mortgaged their house to fund the release when no label would touch the former 'Sadie (The Cleaning Lady)' crooner. Chris Thompson, the English-born, New Zealand-raised Manfred Mann's Earth Band musician who co-penned 'You're the Voice', chats about initially declining Farnham's request to turn the tune into a single after the latter fell for it via a demo. AACTAs Won: Best Documentary. Where to watch it: John Farnham: Finding the Voice streams via YouTube Movies, iTunes and Prime Video. Read our full review. Shayda Whether or not Noora Niasari was ever explicitly told to write what she knew, the Iranian Australian filmmaker has taken that advice to heart. Her mother listened to the same guidance first, even if it was never spoken to her, either. The latter penned a memoir that has gone unpublished, but helped form the basis of the powerful and affecting Shayda. This account of a mum and her daughter attempting to start anew in a women's shelter doesn't entirely stick to the facts that writer/director Niasari and her mother lived through. The Sundance-premiering, Melbourne International Film Festival-opening, Oscars-entered feature — it was Australia's contender for Best International Feature Film at the 2024 Academy Awards, but wasn't nominated — isn't afraid to fictionalise details in search of the best screen story. Still, the tale that's told of courage, resilience, rebuilding lives and finding a new community is deeply and patently personal. Perhaps even better, it's inescapably authentic. Niasari peers back at being barely of primary-school age and making a new home. Fleeing to a women's shelter is the only option that the film's eponymous figure (Zar Amir Ebrahimi, 2022's Cannes Best Actress-winner for Holy Spider) has to get away from the abusive Hossein (Osamah Sami, Savage River), whose controlling nature is matched by that of their patriarchal culture. So, Shayda leaves with six-year-old Mona (debutant Selina Zahednia). As she waits for her divorce proceedings to go through — a complicated task under Iranian law and customs — she seeks refuge at a secret site overseen by the caring Joyce (Leah Purcell, The Lost Flowers of Alice Hart). Even surrounded by kindness and filled with desperation for a better future, every iota of Shayda's decision is fraught and tense; Niasari starts the film with Mona at an airport being told what to do if she's ever there with her father, should he try to take her not only away from her mum but also back to Iran. AACTAs Won: Best Casting. Where to watch it: Shayda streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Noora Niasari. Carmen Breaking down a classic tale best known as an opera, rebuilding it as a lovers-on-the-run drama set across the US–Mexico border and making every moment burst with emotion, Benjamin Millepied's Carmen is a movie that moves. While its director is a feature debutant, his background as a dancer and choreographer — he did both on Black Swan, the latter on Vox Lux as well, then designed the latest Dune films' sandwalk — perhaps means that the former New York City Ballet principal and Paris Opera Ballet Director of Dance was fated to helm rhythmic, fluid and rousing cinema. His loose take on Georges Bizet's singing-driven show and Prosper Mérimée's novella before it, plus Alexander Pushkin's poem The Gypsies that the first is thought to be based on, is evocative and sensual. It's sumptuous and a swirl of feelings, too, as aided in no small part by its penchant for dance. And, it pirouettes with swoon-inducing strength with help from its stunningly cast leads: Scream queen and In the Heights star Melissa Barrera, plus Normal People breakout and Aftersun Oscar-nominee Paul Mescal. When Mescal earned the world's attention in streaming's initial Sally Rooney adaptation, he had viewers dreaming of fleeing somewhere — Ireland or anywhere — with him. Carmen's namesake (Barrera) absconds first, then has PTSD-afflicted Marine Aidan (Mescal) join her attempt to escape to Los Angeles. Carmen runs after her mother Zilah (flamenco dancer Marina Tamayo) greets the cartel with thunderous footwork, but can't stave off their violence. Aidan enters the story once Carmen is smuggled stateside, where he's a reluctant volunteer border guard in Texas alongside the trigger-happy Mike (Benedict Hardie, The Drover's Wife The Legend of Molly Johnson). As the picture's central pair soon hurtle towards California, to Zilah's lifelong friend Masilda's (Rossy de Palma, Parallel Mothers) bar, they try to fly to whatever safety and security they can find. That may be fleeting, however, and might also be in each other's arms. AACTAs Won: Best Costume Design. Where to watch it: Carmen streams via Stan, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Benjamin Millepied. The Giants Nature documentaries rarely simply spy the earth's wonders, point cameras that way and let the planet itself do the talking. Instead, films such as 2017's The Ancient Woods are by far the exception rather than the rule. And yet, the best footage within any movie about our pale blue dot makes viewers wish that more favoured the "a picture is worth a thousand words" approach. Take The Giants, for instance. When it includes talk, which is often, it's no lesser a feature. The conversation and commentary offered is illuminating, in fact. But when it wanders through Tasmania's colossal foliage within the Styx Valley, Southern Forests and the Tarkine, which is also regularly, it feels like it barely needs to utter a single thing. This isn't merely a factual affair about flora, with environmental campaigner and pioneering former Greens senator Bob Brown firmly at its core, but The Giants knows that paying tribute to both is best done by staring at leafy surroundings as much as it can. It's no everyday feat to get a movie-watching audience admiring the natural world while peering at a screen, even if the frequency with which David Attenborough's docos arrive has helped everyone both think and expect otherwise. Indeed, notching up that achievement is a mammoth accomplishment on the part of The Giants' filmmakers Laurence Billiet (Freeman) and Rachel Antony, plus cinematographer Sherwin Akbarzadeh (Carbon — The Unauthorised Biography). Crucially, it assists what was always going to be a fascinating ode to bloom as much as any plant that it waters with attention. When you're crafting a documentary that intertwines a love letter to Australia's ancient native forests and their ecosystems with a powerful portrait of a hefty figure who has devoted much of his life to fighting for them, showing all the green splendour it possibly can is equally a must and a masterstroke. AACTAs Won: Best Cinematography in a Documentary. Where to watch it: The Giants streams via DocPlay, YouTube Movies, iTunes and Prime Video. Read our full review. Ego: The Michael Gudinski Story Post-viewing soundtrack, sorted: to watch Ego: The Michael Gudinski Story is to take a trip down memory lane with the Australian music industry and hear homegrown standouts from the past five decades along the way. Unsurprisingly, this documentary already has an album to go with it, a stacked release which'd instantly do its eponymous figure proud. His tick of approval wouldn't just stem from the artists surveyed, but because Ego: The Michael Gudinski Story's accompanying tunes comprise a three-disc number like Mushroom Records' first-ever drop, a 1973 Sunbury Festival live LP. To tell the tale of Gudinski, the record executive and promoter who became a household name, is to tell of Skyhooks, Split Enz, Hunters & Collectors, Jimmy Barnes, Paul Kelly, Kylie Minogue, Archie Roach, Yothu Yindi, Bliss n Esso, The Temper Trap, Gordi and Vance Joy, too — and to listen to them. Need this on-screen tribute to give you some kind of sign that the Gudinski and Mushroom story spans a heap of genres? Both the film and the album alike include Peter Andre. Any journey through Michael Gudinski's life and career, from his childhood entrepreneurship selling car parks on his family's vacant lot to his years and years getting Aussie music to the masses — and, on the touring side, bringing massively popular overseas artists to Aussies — needs to also be an ode to the industry that he adored. The man and scene are inseparable. But perhaps Ego: The Michael Gudinski Story plays as such an overt love letter to Australian music because it's an unashamed hagiography of Gudinski. Although the movie doesn't deliver wall-to-wall praise, it comes close. When it begins to hint at any traces of arrogance, moodiness or ruthlessness, it quickly does the doco equivalent of skipping to the next track. Australian Rules and Suburban Mayhem director Paul Goldman, a seasoned hand at music videos as well, has called his feature Ego and there's no doubting his subject had one; however, the takeaway in this highly authorised biography is that anything that doesn't gleam was simply part of his natural mischievousness and eager push for success. AACTAs Won: Best Sound in a Documentary. Where to watch it: Ego: The Michael Gudinski Story streams via YouTube Movies, iTunes and Prime Video. Read our full review. Small-Screen Standouts Deadloch Trust Kate McCartney and Kate McLennan, Australia's favourite Kates and funniest double act, to make a killer TV show about chasing a killer that's the perfect sum of two excellent halves. Given their individual and shared backgrounds, including creating and starring in cooking show sendup The Katering Show and morning television spoof Get Krack!n, the pair unsurprisingly add another reason to get chuckling to their resumes; however, with Deadloch, they also turn their attention to crime procedurals. The Kates already know how to make viewers laugh. They've established their talents as brilliant satirists and lovers of the absurd in the process. Now, splashing around those skills in Deadloch's exceptional eight-episode first season lead by Kate Box (Stateless) and Madeleine Sami (The Breaker Upperers), they've also crafted a dead-set stellar murder-mystery series that ranks among The Kates' best work in almost every way. The only time that it doesn't? Not putting the tremendous pair on-screen themselves. Taking place in a sleepy small town, commencing with a body on a beach, and following both the local cop trying to solve the case and the gung-ho blow-in from a big city leading the enquiries, Deadloch has all the crime genre basics covered from the get-go. The Tasmanian spot scandalised by the death is a sitcom-esque quirky community, another television staple that McCartney and McLennan nail. Parody requires deep knowledge and understanding; you can't comically rip into and riff on something if you aren't familiar with its every in and out. That said, Deadloch isn't in the business of simply mining well-worn TV setups and their myriad of conventions for giggles, although it does that expertly. With whip-smart writing, the Australian series is intelligent, hilarious, and all-round cracking as a whodunnit-style noir drama and as a comedy alike — and, as Box's by-the-book Senior Sergeant Dulcie Collins and Sami's loose and chaotic Darwin blow-in Eddie Redcliffe are forced to team up, it's also one of the streaming highlights of the past year. AACTAs Won: Best Acting in a Comedy (Kate Box), Best Casting in Television, Best Editing in Television, Best Original Score in Television, Best Screenplay in Television. Where to watch it: Deadloch streams via Prime Video. Read our full review, and our interview with Kate McCartney and Kate McLennan. The Lost Flowers of Alice Hart In The Lost Flowers of Alice Hart, blooms are rarely out of sight and petals never evade attention. Adapted from Holly Ringland's 2018 novel, the seven-part Australian miniseries is set on a farm that cultivates native flora. It dubs the women who tend to them, an ensemble from various backgrounds largely seeking refuge from abusive pasts, "flowers" as well. Whether stem by stem or in bunches, its characters use florets as their own secret language. And yet, as much as bouquets linger, getting all things floral on the mind, star Sigourney Weaver burns rather than blossoms. Fire is another of the show's strong recurring motifs, so it's still fitting that its biggest name is as all-consuming as a blaze. She needs to be that scorching: this is a story about endeavouring to survive while weathering woes that ignite everything in their path. Weaver also draws upon almost five decades of thriving before the camera, often playing steely, smart and sometimes-raging women. Her on-screen career began sparking with Alien, the film that made her an instant icon. Since then, everyone has heard her performances scream — and, in The Lost Flowers of Alice Hart, she's again dazzling. Flowers frequently surround Weaver's June Hart far and wide. With a carefully selected cutting, the shotgun-toting matriarch of Thornfield Flower Farm can say all she needs to. That's what the eponymous Alice (Ayla Browne, Nine Perfect Strangers) quickly learns about her grandmother when she arrives at the property following a tragedy, becoming one of the farm's flowers after losing her pregnant mother Agnes (Tilda Cobham-Hervey, Hotel Mumbai) and violent father Clem (Charlie Vickers, The Lord of the Rings: The Rings of Power). The Lost Flowers of Alice Hart is a tale about traumas, secrets and lies that lurk as deeply as the earth — about the choices and cycles that take root in such fraught soil, too. When nine-year-old Alice relocates fresh from hospital, the determined June, her doting partner Twig (Leah Purcell, The Drover's Wife The Legend of Molly Johnson) and their adopted daughter Candy Blue (Frankie Adams, The Expanse) aim to shower the girl with sunlight to blaze away her horrors. You can't just bury problems, however, then hope that something vivid and colourful will grow over the top. Dedicating its first half to Alice's childhood and its second to 14 years later, when she's in her early twenties (Alycia Debnam-Carey, Fear the Walking Dead), The Lost Flowers of Alice Hart understands this immutable fact in its core. AACTAs Won: Best Miniseries, Best Cinematography in Television, Best Production Design in Television, Best Sound in Television. Where to watch it: The Lost Flowers of Alice Hart streams via Prime Video. Read our full review. Colin From Accounts A girl, a guy and a meet-cute over an adorable animal: that's the delightful and very funny Colin From Accounts' underlying formula. When medical student Ashley (Harriet Dyer, The Invisible Man) and microbrewery owner Gordon (Patrick Brammall, Evil) cross paths in the street one otherwise standard Sydney morning, they literally come to an impasse. He lets her go first, she flashes her nipple as thanks, then he's so distracted that he hits a stray dog with his car. As these circumstances demonstrate, Colin From Accounts isn't afraid to get awkward, much to the benefit of audiences. There's a syrupy way to proceed from the show's debut moments, intertwining sparks flying with idyllic dates, plus zero doubts of a happy ending for humans and pooches alike. If this was a movie, that's how it'd happen. Then there's Dyer and Brammall's way, with the duo creating and writing the series as well as starring in it, and focusing as much on ordinary existential mayhem — working out who you want to be, navigating complex relationships and learning to appreciate the simple pleasure of someone else's company, for example — as pushing its leads together. Just like in the Hollywood versions of this kind of tale, romance does blossom. That Dyer and Brammall are behind Colin From Accounts, their past chemistry on fellow Aussie comedy No Activity and the fact that they're married IRL means that pairing them up as more than new pals was always going to be on the show's agenda. It's how the series fleshes out each character and their baggage — including those who-am-I questions, Ash's difficult dynamic with her attention-seeking mother Lynelle (Helen Thomson, Elvis), and the responsibility that running your own business and committing to care for other people each bring — that helps give it depth. Colin From Accounts lets Ash and Gordon unfurl their woes and wishes, and also lets them grow. Sometimes, that happens by peeing and pooping in the wrong place, because that's also the type of comedy this is. Sometimes, it's because the show's central couple have taken a risk, or faced their struggles, or genuinely found solace in each other. Always, this Aussie gem is breezy and weighty — and instantly bingeable. AACTAs Won: Best Narrative Comedy Series. Where to watch it: Colin From Accounts streams via Binge. Read our full review. The Newsreader Aspiring Australian actors, take note: modelling your career after Anna Torv's so far is highly recommended. She's among the lengthy list of Aussies to call The Secret Life of Us one of her launch pads (another: Joel Edgerton). For five seasons and 100 episodes, she led fantastic US sci-fi series Fringe opposite Joshua Jackson (Fatal Attraction). The Daughter and Force of Nature: The Dry 2 in cinemas, plus Secret City, Mindhunter and The Last of Us on TV: they're also on her resume, which boasts both Hollywood and homegrown standouts. In the latter category, so is The Newsreader. Debuting with a six-episode first season in 2021, returning for the same stretch in 2023 and with another half-dozen on the way in 2024, it casts Torv as Helen Norville, News at Six's first-ever female newsreader. With the show set in the 80s, that gig isn't easy as misogyny and sexism run rife in the media industry — and as major real-life events, including the Challenger explosion, the Azaria Chamberlain case, Chernobyl and the 1987 federal election, are weaved in, all requiring news coverage. Torv is unsurprisingly excellent as Helen, and also in great company. As Dale Jennings, who starts the series as a budding reporter, Sam Reid is every bit up to the task. (He'a also someone whose own filmography is impressive both at home and abroad, thanks to past parts in The Railway Man, Belle, '71, Prime Suspect 1973, Lambs of God, The Drover's Wife the Legend of Molly Johnson and the Interview with the Vampire TV series.) The Newsreader isn't just anchored by two stellar leads, however, or guided by a cast that also includes Robert Taylor (Scrublands), William McInnes (NCIS: Sydney), Michelle Lim Davidson (After the Trial), Marg Downey (Jones Family Christmas), Chum Ehelepola (Preppers) and Stephen Peacocke (Five Bedrooms). It's textured at the character level, and also enthralling in its newsroom antics and glance backwards at Australia's past. Indeed, it's no wonder that more seasons keep coming. AACTAs Won: Best Drama Series, Best Lead Actress in a Drama (Anna Torv), Best Supporting Actor in a Drama (Hunter Page-Lochard), Best Costume Design in Television, Best Direction in Drama or Comedy. Where to watch it: The Newsreader streams via ABC iView. Love Me Add Love Me to the list of Aussie dramas set in Melbourne and featuring starry casts, alongside The Secret Life of Us, Tangle and Offspring. In this one, which first arrived in 2021, then returned in 2023, the ensemble runs deep — starting with Hugo Weaving (The Royal Hotel) and Bojana Novakovic (Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)). Bob Morley (In Limbo), Celia Pacquola (Utopia), Heather Mitchell (Jones Family Christmas), William Lodder (Bali 2002) and Shalom Brune-Franklin (The Tourist) also feature. Kim Gyngell (The Artful Dodger), Eryn Jean Norvill (Preppers) and Frank Woodley (The Ex-PM) each pop up as well. Given that this is a series about a family and their complicated romantic relationships, the who's who-esque roster of familiar Aussie talent is particularly fitting. The show steps inside the Mathieson clan's amorous ups and downs, in this Aussie adaptation of Sweden's Älska mig, and with such superb casting instantly creating a sense of intimacy in an effort that marked Binge's first local series when it initially debuted. Weaving's Glenn is the father of Novakovic's Clara and Lodder's Aaron. They quickly have death to deal with, as well as love; that life is messy thrums through the series from the outset. What stands out isn't always every minute detail in the plot, as universal and relatable as the storylines are, but the folks navigating it. That, again, is a testament to such savvy casting. Of course, putting Weaving is anything is usually reason enough to press play, especially when he's in thoughtful and layered mode as an everyman grappling with the fact that existence brings pain as well as joy. Amid the scenic vision of Melbourne roved over by helmers Emma Freeman (The Newsreader) and Bonnie Moir (Foe's second-unit director), this series brings characters to the screen with deeply engaging performances that feel layered and lived-in, and worth spending time with. AACTAs Won: Best Lead Actor in a Drama (Hugo Weaving), Best Supporting Actress in a Drama (Heather Mitchell). Where to watch it: Love Me streams via Binge.
