Seems Sydney's love affair with New York City hasn't waned one little bit, with Surry Hills' brand new dive bar Brooklyn Social opening today. Taking over the old Mexico Food and Liquor spot on Randle Street, Brooklyn Social joins the host of returned Sydney expats paying homage to those unbeatable dive bars of NYC. With particular nods to the Velvet Underground-fuelled rambunctious punk era of the '60s and '70s, this late-night fast food-lovin' eatery serves NYC-inspired diner meals, 40 types of gin and cocktails repping the five boroughs. Brooklyn Social's fit-out is classic '70s NYC — roller door, stripped back timber benches, tartan walls, jukebox filled with the Ramones. Painfully Brooklyn-like denim aprons were custom-made by Nana Judy to seal the deal. The bar/diner is just the first phase of The Hills, a collaboration between co-owners Ben May (The London Hotel, Mrs Sippy, Manly Wharf Hotel), Raul Gonzales and David Freeman (The Backroom, Potts Point) that will also see a new bar open downstairs at the old Central Tavern in August. Boasting a furiously 'We've Been to NYC, So Ner' menu by consulting chef Mikey Canavan of London Fields and Chur Burger, Brooklyn Social serves up NYC-inspired meals like the 'Meatpacking District' beef burger ($12), 'Hell's Kitchen Dog' ($8), BBQ ribs ($28/39) and homemade cinnamon doughnuts with DIY chocolate syringes ($6). Food is served until 2am, a perfect post-lockout pre-home nom. Cocktails are named for each of the five boroughs: Manhattan (Spring Street Crusta), Queens (Lady Grey Martini), Brooklyn (Myrtle Avenue Smash), The Bronx (Uptown Sour) and Staten Island (Forte Green Snapper). Master sommelier Sebastien Crowther consulted on the Brooklyn Social wine list, with old and new world up for clinking. This Surry Hills bar is also the only spot in Sydney with Brooklyn Lager on tap. But it's gin ruling the avenue here, with over 40 unique gins snuggled in the bar (from bathtub to jenevers). Both recently returned bitter expats and star-crossed NYC fans will dig this one in the same way Frankie's slices run — a tiny bite of an apple Sydneysiders nibble, bring back home and make their own. Brooklyn Social can be found at The Hills Top Floor, 17 Randle Street, Surry Hills. It's open seven days, noon - 2am. Images by Alana Dimou.
When the Sydney Gay and Lesbian Mardi Gras arrives each year, picking your parties becomes everyone's new pastime as the LGBTQIA+ celebrations take over the city. Is going all out both at the parade and afterwards your kind of shindig? Do you want to hit up a vogue ball? Enjoy a pool soirée? Dance on a beach? Get glittery in a laneway? They're all options — including from Friday, February 16–Sunday, March 3 in 2024. Who you'd like to listen to as you get into the Mardi Gras spirit inspires another set of questions — and the answers for this year, aka the event's full lineup, have just been announced. Adam Lambert, Ultra Naté, CeCe Peniston and Slayyyter all feature, as do Cub Sport, MAY-A, Keiynan Lonsdale, Melissa Tkautz and the cast of & Juliet. In total, more than 150 performers are on the bill across 100-plus events. [caption id="attachment_938201" align="alignnone" width="1920"] Joseph Sinclair[/caption] Lambert is at the top of the list for the ten-hour, 10,000-capacity Mardi Gras Party, taking to the stage at Hordern Pavilion. That's where Ultra Naté will also bust out 1997 anthem 'Free', on a roster that also spans ONYX, Brett Austin, Patrick Mason, DJ Monki and Mark Alsop. The same event will feature Peniston giving an Australian-exclusive performance that will have everyone singing along to 'Finally', but in The Forecourt. Also on the bill: Lonsdale, Miss Katalyna, Shigeki and Bobby Blanco, as well as SGT Slick and Ebstar. Elsewhere, Mardi Gras Party lineup's includes DJ Naian, Lisa May and AK Sports among the talents at Liberty Hall, which will be going for a boiler room-style vibe; a roster featuring DADSMAYO, Charlie Villas, Mary Kiani and more at The Big Top; Diva Cups, Mama de Leche, Dyan Tai, Drag Kings and others at Watson's; and Mary's EQ and The Entertainment Quarter hosting food trucks and bars. If revelling on the sand at Sydney WorldPride's Bondi Beach Party was one of your 2023 highlights, it might earn the same status again this year. While Sydney WorldPride was a once-off, its surfside shenanigans are returning. This time, the event will welcome in 15,000 attendees to see Slayyyter in an Aussie-exclusive performance — plus Jay Jay Revlon, Lagoon Femshaymer, Corey Craig, Josh Harrison, Tyoow, Mama de Leche and Beth Yen. Mardi Gras 2024 is similarly giving Sydney WorldPride's Ultra Violet a second run, celebrating LGBTQIA+ women in an event that takes place as day turns to night at the National Art School. MAY-A will headline, with Estée Louder, DJ Sveta, Gemma, Kinky D (UK), BVT, Jacqui Cunningham, Mirasia and Kilimi on the bill as well. The free Fair Day is where Tkautz will break out 'Read My Lips'; stage talents riffing on Shakespeare will perform; and LION, Paul Capsis, Royston Noell and DJ Nate will also be take to the stage. The doggywood pageant, karaoke cave, drag king games and First Nations circle are all also on the agenda. Gender-diverse celebration Hot Trans Summer on floating venue Glass Island will feature DJs Neesha Alexander, Yvngcweed, and Victoria Anthony, plus Fetu Taku, Bluberry Bakla and Willow Ick performing. Paradiso Pool Party's lineup at the ivy Pool Bar is bringing together Beth Yen, Enn, DJ Dolly Llama, Haylee Maree, DJ Sveta, Axl Rod, Rocky Stallone and more. And at the other excuse for a splash, the Kaftana Pool Party, Texas Gold, Miss Rosie Rivette, Sideboob DJ Hamo are among the DJs. Cub Sport lead the charge at Laneway at The Beresford to wrap up the fest, with Atomic Kiss, Amanda Louise, Dan Azzo and Jesse Boyd for company. Before then, DJ Colin Gaff, GI Jode, Kevininthecity, Faustina Agolley, John Glover and Rosie Piper are among the folks who'll be helping set the mood at the parade's viewing areas. The full 2024 Mardi Gras rundown also sees Zoë Coombs Marr host Laugh Out Proud at the Enmore Theatre, where St Clair, Wandi Cao, Steven Oliver, Michelle Braiser, Eli Matthewson, Bob Downe and AJ Lamarque will pick up the microphone. At the Sissy Ball, Jack Mizrahi will be commentating, while Legendary Tamiyah 007, Joel Bueno, Steva 007 and Daniielle Juicy Gorgeous Gucci are judging. Sydney Gay and Lesbian Mardi Gras 2024 runs from Friday, February 16–Sunday, March 3, 2024. For more information, or for tickets, head to the event's website. Select images: Jeffrey Feng Photography, Lexy Potts.
When A League of Their Own hit cinemas back in 1992, it didn't just claim that there's no crying in baseball. More importantly, it told a spirited story about the All-American Girls Professional Baseball League back in the 1940s — and it hit a home run with audiences in the process. It should come as no surprise, then, that it's getting the remake treatment, this time with Broad City's Abbi Jacobson leading the show. Jacobson also co-created and executive produced Prime Video's new version of A League of Their Own, which'll slide into your streaming queue on August 12. If you've seen the movie — which starred Geena Davis, Madonna and Rosie O'Donnell as members of a women's baseball team, plus Tom Hanks as their manager (and the person who famously decided that tears didn't have a part in the bat-swinging game) — you'll know the general gist of what's in store. As seen in the show's initial teaser trailer back in June, as well as the just-dropped full trailer, the series again jumps back to World War II to follow a group of women who dream of playing professional baseball. That said, it also promises to expand its story further that the film, charting a whole generation of baseball-loving ladies with that dream, including beyond the AAGPBL — and looking at both race and sexuality on and off the field in the process. Jacobson plays Carson, while Chanté Adams (Voyagers) plays Max — and they're joined by The Good Place's D'Arcy Carden among the players, plus Parks and Recreation favourite Nick Offerman as well. Also appearing on-screen: Gbemisola Ikumelo (The Power), Roberta Colindrez (Vida), Saidah Arrika Ekulona (Better Call Saul), Kate Berlant (Search Party), Kendall Johnson (Sexless), Kelly McCormack (George & Tammy), Alex Désert (Better Things), Priscilla Delgado (Julieta), Aaron Jennings (Grand Crew), Molly Ephraim (Perry Mason), Melanie Field (The Alienist) and Dale Dickey (Palm Springs). Charting its characters' efforts to make their way onto the field — and not only be part of a team, but also discover who they really are along the way — the new A League of Their Own marks Jacobson's first ongoing on-screen TV role since Broad City said goodbye. If you're in need of a weekend-long binge in August, all eight episodes of the show will drop at once, too. Check out the full trailer for A League of Their Own below: A League of Their Own will start streaming via Prime Video on August 12.
There's a certain pleasure to events that might be great or that might bomb, badly. So-crazy-it-just-might-work shenanigans lend themselves to an excited trepidation. You know, as exemplified by the prospect of Regurgitator live-scoring a screening of Akira. If you like animation, it's pretty much a given that you're big on Akira. How could you not be? It's a masterpiece of hand-drawn art and excellent (also: tight wound; also: bizarre) storytelling. And explosions. By the same token, if you're an art nerd, there's also a good chance that you like you some Regurgitator. That's a venn diagram with a substantial overlap. One that you can scientifically test by cross-referencing your own movie and music collection, you big nerd. Combining the two should be an automatic winner. But what makes this exciting is it's potential to be either more or less than the sum of its parts. Akira's existing soundtrack is definitely one of its strengths. Geinoh Yamashirogumi's percussive/chanting score lends the movie much of its atmosphere and texture. While Regurgitator are willfully oddball enough for it not to come as a shock if they take a similar approach, it's thrilling to anticipate something even weirder. And potentially a giant letdown if they play it safe and "rock". Guess you'll have to find out which way that cookie crumbles — and see some amazing animation on a big screen — when the event unfolds as part of the Sydney Opera House's Graphic program.
Caffè sospeso — or 'suspended coffee' — is a Neapolitan tradition where you pay for two coffees at a café, drink one and the second is given to the next customer who walks through the door. It's a small, anonymous act of charity. Now laneway bar Bar Americano is bringing the tradition to the streets of Melbourne. Owner Matt Bax has subsidised espressos and two cocktails on his menu in the hope that it will encourage his customers to partake in the random act of kindness. While the first drink, for yourself, will be full price, the second espresso will cost $3, Amaro Americano (their namesake drink) $7 and Negroni $15. While it's not the first establishment to recreate the tradition down south — STREAT implemented it as an act of kindness for Melbourne's homeless — it is the first establishment to recreate it with cocktails. Bax — a renowned bar tsar who has been working in the city for over 20 years — hopes this venture encourages people to be more tolerant and kind to each other. "It may just be a $3 espresso you are buying for a stranger," he says. "But it's so much more. I think it's an investment in a better society." It might not change the world but — for those who can afford to, at least — caffè sospeso might at least help foster a sense of community in the middle of the CBD. Caffè sospeso is running six nights a week at Bar Americano, 20 Presgrave Place, Melbourne. For more information, visit baramericano.com. Image: Alicia Taylor.
If we can glean any positive takeaways from 2020, one of them has been our renewed appreciation for a casual get-together with friends. While nothing replaces the joy of hitting up your local for a few cold ones with your mates, the benefits of staying home include having the time to play games, the freedom to listen to your own music and the chance to show off the cooking skills you perfected during lockdown. To help you make the most of barbecue season, we've partnered with Jim Beam to bring you a guide to flexing your hosting skills around the grill this summer. [caption id="attachment_786631" align="alignnone" width="1920"] Erik Mclean[/caption] SWAP SAUSAGE SIZZLE FOR GOURMET SANGAS Snags are easy, which is precisely why you're going to give them a miss this time around. When you want to level up your grilled feast, swap out the sausages for a platter of steak sandwiches topped with caramelised onions and gruyere (for when you're really flexing). Pick up a ciabatta loaf, flank steak or bavette, and a few large onions, red wine vinegar and brown sugar to make the caramelised onions. You can caramelise the onions ahead of time, and warm up the ciabatta just before serving time. For those who'd like a little helping hand, Jamie Oliver has a good steak sandwich recipe, as does Gourmet Traveller. It's your turn to play MasterChef contestant, so get creative, and if you've got fussy eaters, present each ingredient individually at a serving station so that everyone feels part of the process. [caption id="attachment_786453" align="alignnone" width="1920"] Cassandra Hannagan[/caption] SWAP CHIPS AND DIP FOR PIMPED-UP POTATOES Leave the corn chips on the supermarket shelf. Instead, pick up some chats, corn on the cob and prosciutto and create bowls of potato salad fancy enough to match your gourmet steak sandwiches. First, bring a pot of potatoes to the boil and cook until they're soft but still retain their shape. Leave to cool and slice into halves or quarters. Bring a pan to high heat and crisp up chunks of prosciutto until crispy. Now, make up some spiked sour cream (silken tofu, lemon juice, red wine vinegar, chilli powder and cayenne pepper) and add it to the cooled potatoes along with strips of prosciutto and a pinch of smoked paprika. To add to the feast, grill corn on the cob and leave part of the husks intact for hands-on snacking. [caption id="attachment_786622" align="alignnone" width="1920"] Steven Woodburn[/caption] SWAP FRIDGE BEERS FOR PREMIXERS OR COCKTAILS Your mates aren't going to turn up at your house empty handed, and we bet they'll bring a couple of beers along as usual. So, as you're the host, make sure you have a slab of something else to change up the booze options. We suggest picking up cans of Jim Beam and Cola, a premixed drink of Jim Beam's famed American bourbon and cola that pairs well with barbecued meat flavours. Keep the cans on ice, chilled and ready for your guests to drink from the can or to serve themselves over ice in a glass. If you like to add a little something extra, prep some wedges of lime for a citrusy addition to the premixed drinks. Or, if you have a bottle of Jim Beam in your drinks cabinet, make up a quick cocktail with 15ml of lemon cordial and 30ml of bourbon in a highball glass. Fill the glass with ice and top up with soda and a wedge of lemon. [caption id="attachment_762521" align="alignnone" width="1920"] Eric Nopanen[/caption] SWAP ARVO FOR SUNSET It can be hard to pin people down for a date if your event runs all through the day and into the night. So, make things easier for everyone by hosting yours after the peak sunshine hours when everyone can relax into their evenings and enjoy dinner together. If you have epic views from your abode, make the most of golden hour and take lots of photos just before the sun sets (trust us, you'll look amazing). And, when the sun has gone down, have lots of atmospheric lighting ready to go — think vintage festoon lighting, or a lit fire pit if you have one. Need inspiration? The Party People has clear, colourful, disco ball-shaped and festive lights for sale with delivery available across Australia. [caption id="attachment_787327" align="alignnone" width="1920"] Cottonbro[/caption] SWAP TABLES AND CHAIRS FOR PICNIC RUGS Use the best of what you already have to your advantage. Got a picnic rug? Camping chairs? Cushions? You can make a cosy and super casual chill out area in your backyard, no matter how much space you have. Your mates will love your creativity, and it'll create an environment where everyone feels relaxed and able to kick off their shoes without feeling trapped at a dining table. Go one better and gather all your pot plants from around the house and bring your green friends to the party, too. It'll create a mini oasis where you might otherwise have had a lifeless concrete patio. Looking to add to your indoor jungle? The Plant People delivers low-maintenance plants across Australia. Or see our lists of the best places to buy new plants in Sydney, Melbourne or Brisbane. Top image: Cassandra Hannagan
When 2021 began, it did so with hopes for a bright, fun-filled, restriction-free year after months of lockdowns — and now it's ending the exact same way. Despite the rollercoaster of a year we've had, one shining light has been a bunch of new restaurant openings of epic proportions. From fried quail at a Catalan-inspired vermouth bar and eatery to addictive Mexican brunch in a stunning openair courtyard, this year's new restaurant offerings have been truly impressive and exceptionally tasty. Here are out personal favourites for you to add to your culinary bucket list and make a beeline to this summer.
Over the past two years, we've already spent too much time burning through our streaming queues, so simply settling in for a stint of TV has lost a bit of its lustre. And, there's also the fact that our day-to-days are pretty well dominated by screens anyway. From waking up and checking the weather/news/Instagram to then packing our days with staring at a computer at our nine-to-fives, sitting on the loo watching TikToks and cooking the recipes we view on iPads, it's no wonder we've got screen fatigue. So, put that remote down and treat yourself to another way to kill time: a jigsaw puzzle. Yep, it's time to get analogue. For many of us, 2020 was the year of hobbies and home activities. So, no doubt you already have a jigsaw or two lying around — which means you're in need of fresh puzzle talent. Or, you might've resisted the recent trend, only to now realise that you missed out on some wholesome, puzzle-piecing times. Either way, we're here to help. Here are our eight puzzle picks for when boredom next hits like a tonne of bricks — whether you just have a few spare hours, you're spending time in isolation or you feel like you've watched every streaming series there is to watch. AUSTRALIA UNSEEN Bring the beach to your living room with these serene coastal scenes in puzzle form. Australia Unseen's Vincent Rommelaere takes photos of Australian beaches and rock pools, and usually sells them as prints on his website. But in 2020, as iso-life became the new normal, Rommelaere began transforming some of his snaps into jigsaw puzzles. At the moment, he offers seven different puzzles available as 1000-piece ($49) jigsaws. If you're into ocean pools, you can keep your fingers busy with a puzzle of Bondi's famed Icebergs. Otherwise, there's shots of the Coogee Beach rainbow path, the Bronte Baths and people sunbathing at Bondi. Or, if you'd prefer to look at Melbourne, you can opt for one of the city's CBD skyline. Delivery within Australia is $10 and international shipping is also available, with cost and delivery time dependent on region. All jigsaw puzzles in stock are shipped from Sydney and you'll score free shipping on orders over $100. Buy via Australia Unseen's website. OKAY LADY Chances are at least one of your housemates developed a penchant for puzzles over the past two years and, if that's the case, a pressie from online jigsaw puzzle company Okay Lady will be a winner. Think of it as the perfect 'thanks for putting up with me' gift that you benefit from, too. Okay Lady puzzles champion Aussie women illustrators and come in environmentally friendly packaging — no plastic in sight. The artists also receive royalties from every single sale, which we love to see. If you happen to live with your bestie, there's a super-cute 400-piece jigsaw by Queensland artist Sophie Beer that features two besties and some adorable pups. Or, nab the Night Dancer puzzle, designed by artist Alice Lindstrom, for a truly vibrant work of puzzle art. All Okay Lady jigsaws are $59 and each 400-piece design is aimed to be more of a mindful activity than a super challenging, days-long process. Shipping is free across Australia with orders shipped from the Melbourne office every weekday, so expect about five–seven business days for your package to arrive. Can't wait? Opt for express delivery for $15. Buy via Okay Lady's website. SMOOCHY POOCHEY Ever wanted to piece together a portrait of your adorable pooch? Of course you have — which is why Queensland-based company Smoochy Poochey exists. While the company allows you to pick whichever kind of personalised puzzle you like, getting a jigsaw puzzle emblazoned with your pet's cute little face is a clear winner. Think of it this way: you've already spent so long gazing at them because they're just so adorable, and you've well and truly committed their face to your memory in the process, so this should be the easiest jigsaw you've ever done. And if you'd like to provide more than one photo for a single puzzle — as uploaded via the company's website — you can. Just simply upload multiple pics of of Fido, Fluffy, Polly or Nemo and create a collage. A number of sizes are available, ranging from a simple, kid-friendly 30-piece jigsaw to challenging 1000-piece ones for when you have hours upon hours to kill. Prices range from $28.25 for the smallest puzzle and up to $59.95 for the largest. Delivery is via Australia Post, with a standard $12.95 flat rate across Australia, or you can opt for express delivery for $16. Buy via the Smoochy Poochey website. PUZZLE POST You've done it: you've reached peak puzzle madness. You can't get enough of the brain-tickling activity and you want a regular rotation of jigsaws landing on your doorstep. Enter: Puzzle Post — Australia's first jigsaw puzzle subscription. Puzzle Post delivers a new jigsaw to your doorstep every month, and factors in your tastes. Now that's a service. From the same minds behind book subscription service Bookabuy, the idea for this new venture spawned after owners Chris and Mel Tantchev noticed something of a jigsaw puzzle resurgence. Look around these pandemic days and you'll notice those little cardboard pieces have made quite the comeback. There are a bunch of themes from over 20 categories — including cats, nostalgia, flowers, Disney and food — ranging from easy (500 pieces) to harder, 1000-plus piece puzzles. By answering a few quick questions at checkout, you'll end up with a jigsaw haul personalised just for you. You can opt for a one-off puzzle delivery ($29) or organise a three-, six- or 12-month subscription, which'll set you back between $87–348 up front (or $29 per month). If every month is too frequent, you can choose to get a new puzzle delivered in two- or three- month intervals, too. Subscribe via the Puzzle Post website. JOURNEY OF SOMETHING Journey of Something is a female-founded and Australian-owned company dedicated to combining art with activities (read: beautiful puzzles, art kits and games). But, you're here for puzzles — not the other stuff — so we'll get right to it. It stocks a bunch of jigsaws, ranging from mini puzzles to 1000-piece beasts, which are all designed by local artists. Order yourself a puzzle decorated with iconic women such as Dolly Parton, Frida Khalo and Malala Yousafzai — or, there's a cute mini puzzle that'll have you doing your daily affirmations in no time. Puzzles range from $20–64, and Journey of Something also offers some duo packs and a 12-month subscription. Shipping costs depend on how much you're buying — starting at $10 for one puzzle. Buy via Journey of Something's website. [caption id="attachment_708992" align="alignnone" width="1920"] Rone[/caption] RONE If you're bored of putting together rainforest scenes or that 500-piece Monet puzzle was just too easy, Melbourne street artist Rone has come up with the goods, releasing three of his large-scale artworks (Home Wrecker, The Dining Room and The Study) as jigsaw puzzles. For those not in the know, Rone normally creates large-scale artworks on the sides of nine-story buildings or in abandoned spaces throughout Melbourne. He's particularly known for his massive portraits that combine elements of beauty and ruin, alongside concepts of new and old. Since bursting onto the local scene in the early 2000s, his work has been shown in London, New York, San Francisco, Miami and Hong Kong. So, he's kind of a big deal — and you can now build a piece of his art in your living room. Rone's puzzles are priced at a reasonable $64, considering his art prints are selling upwards of $400. Each art-cum-puzzle is comprised of 1000 pieces and includes enough detail for a challenging afternoon of puzzling. Shipping to locations across Melbourne costs $10.95, while it's $14.89 for the rest of Australia. Hot tip: buy two puzzles and you save yourself the delivery fee, thanks to Rone offering free shipping on orders over $100. Buy via Rone's website. SALTY GALLERY Similar to the popular Australian Unseen puzzles, photographer Dharma Bendersky and his gallery Salty Gallery have turned his stunning shots of Sydney beaches into 1000-piece jigsaw puzzles. So, if you're missing sunny afternoons at the beach and simply can't get enough of creating intricate cardboard artworks, then add these beauties to your cart. There are currently four idyllic puzzles on offer, featuring a selection of spots. If you're more a fan of concrete-covered bays, Bedersky also plans to unveil more designs. Each puzzle is $59, includes free shipping Australia-wide, can be delivered internationally, and are shipped in eco-friendly compostable bags. Buy via the Salty Gallery website. [caption id="attachment_822202" align="aligncenter" width="1920"] Charles Conder, 'Rainy Day', 1888. Art Gallery of NSW's online art puzzles range.[/caption] ONLINE ART PUZZLES We know, we know — we told you to lay off the screens. But these digital jigsaws come in handy if you're an absolute puzzle fiend who can't wait till your next one arrives in the post, or you're a try-before-you-buy kinda person. Either way, these art-filled gems are sure to fill many hours (and save you some cash). First up, the Art Gallery of NSW has some killer online puzzles — seven to be exact — so you can digitally put together masterpieces such as E Phillips Fox's Nasturtiums and Paul Cézanne's Banks of the Marne. Melbourne Museum also has digital jigsaws on its website, including ones of fur seals, the Royal Exhibition Building and Phar Lap. Or, check out the National Library of Australia website to complete puzzles using its collection, with everything from art by Ellis Rowan to Australian birds. Head to the AGNSW, Melbourne Museum and National Library of Australia websites for some free — and wait-free — puzzling adventures. Top image: Australia Unseen
In frightening news, we're almost halfway through the year so a well-deserved escape from your desk is on the cards. Whether you're saving up your leave for a trip abroad or waiting impatiently for enough to accrue, we've got a solution that allows you to coast through the work week without using up any precious annual leave. Enjoy a scenic four-hour drive up to sunny Port Macquarie where you can trade the confines of your home office for a week of remote working with a view and mornings and evenings (and some cheeky lunch breaks) spent discovering the picturesque region. Start your day with a swim or hike at one of the surrounding beaches or rainforests, before setting up shop in a local cafe. Ditch your usual meal-prepped salad for some fresh seafood overlooking the water, and then close out a day of work with a meal at one of the city's many stellar restaurants or a cellar door. Read on for our top picks of where to stay, eat and explore around Port Macquarie. Where to Stay Ditch the fake Zoom background for a real view that'll make your colleagues jealous. Whether you opt for a cosy motel, boutique apartments or a luxe resort, you're guaranteed idyllic views of the water at each of these hotels. Keep it simple at The Mid Pacific, which offers five different room types to suit solo travellers, couples and groups alike. The modern motel overlooks the Hastings River and is an ideal base from which to post up for the week with kitchenette and private balcony in every room, plus a communal laundry. If you've convinced a mate or two to tag along, Macquarie Waters has one- to three-bedroom options for your stay. Located a stone's throw away from Town Beach, various shops and popular eateries, such as Bandwagon and Zebu Bar & Restaurant, the apartment hotel also has a pool, hot tub and free parking. For the ultimate beach vacay experience, choose to unwind at Sails Port Macquarie. The newly refurbished resort boasts sprawling views of the Hastings, an outdoor heated pool and spa, a tennis court, three restaurants and room service. Your full inbox will seem much more manageable when you're holed up in a poolside cabana with drinks and snacks on hand. Must-Try Dining Port Macquarie's dining scene has evolved in recent years. Cafes, bars and restaurants take full advantage of the region's fresh produce and seafood while working closely with local producers. Kick off your day with a picture-perfect piccolo at Banks, which serves breakfast classics and coffee by the river in McInherney Park. Drop in to the coastal cafe for seasonal brunch dishes including poached pear brioche toast, reuben benedict, butter-poached prawn croissant and chorizo scrambled eggs. On Friday and Saturday evenings, you can sip on a glass of wine or a cocktail while enjoying the sunset when the cafe transforms into a romantic restaurant for dinner. Beat the afternoon slump with a light lunch or go for a post-work wine and dine at Zebu Bar & Restaurant. The Italian restaurant offers everything from sunrise coffee to sunset cocktails in an airy space by the Hastings River, with dishes that include a blue swimmer crab risotto, gnocchi with garlic chilli prawns, chargrilled swordfish and seared chicken with portobello mushroom, smoked eggplant, hazelnut salsa and prosciutto crisp. Continue your Italian journey at Bar Florian. Inspired by the famed Caffé Florian in Venice, the inviting eatery serves a selection of antipasto, such as French brie with chilli jam, and gourmet pizzas. Unmissable Attractions Between endless emails and dreary meetings, reignite your curiosity with some of Port Macquarie's inspiring nature. Whether you want to ride the waves, hike through lush rainforests, visit koalas or wander through charming rural towns, there's an experience for every type of traveller. Tack another trip onto your time away with a short drive to nearby Wauchope. The country town is well worth visiting for a day, with historic museums, local bakeries and cascading waterfalls. If you've only got a short lunch break but are itching to get out and explore, the Sea Acres Rainforest Centre is located just three minutes from Port Macquarie's CBD. Stretch your legs with a one-kilometre stroll along the looping boardwalk before stopping in at the Rainforest Cafe for lunch or a coffee. Finally, make some new furry friends at the Port Macquarie Koala Hospital. The rehabilitation facility and research centre is committed to the conservation of koalas, with treatment rooms, intensive care units, recovery yards and a round-the-clock rescue operation. Admission is free, but the non-profit will gratefully accept donations, and any purchases from the gift shop will go towards the care of these endangered animals. To start planning your break and find out more, head to the Port Macquarie website.
You've crooned your way through sing-along screenings of Spice World, wished you could visit the huge memorabilia exhibition in Britain and just generally been following Spice Girls news since the English pop stars unleashed their brand of girl power on the world back in the 90s. Now, come 2020, Australians just might be able to spice up their lives with the group itself — according to Melanie Brown, aka Mel B, they're coming our way. As part of their Spice World reunion tour, Mel B and her bandmates Melanie Chisholm, Emma Bunton and Geri Halliwell have been playing gigs across the British Isles, bringing their zigazig-ah back to stadiums. They just played their last concert in London on Saturday, June 15 UK time, during which Mel B concluded the proceedings by saying "we'll see you in February in Australia". https://twitter.com/HalinaWatts86/status/1140009527129137152 No further details have been revealed, and nor has an official tour announcement at this stage — but here's hoping that if anyone is in the know about the Spice Girls' plans, it's one of the Spice Girls themselves while the group is on stage. If you're a fan, you'll wannabe hollering about the chance to see Scary, Sporty, Baby and Ginger perform in Australia for the first time — in a huge light and costume-filled performance, no less. Victoria Beckham, aka Posh, isn't part of the current shows, so this won't be the full Spice experience. Still, four out of five Spice Girls is better than none. It has been a big week for Spice news, with an animated Spice Girls movie also just announced, targeting a 2020 release. Unlike the live shows, it'll feature the whole Spice gang, according to The Hollywood Reporter. And, it'll include both new and old songs as well. The Spice Girls look set to tour Australia in February 2020, with dates and venues yet to be revealed. We'll keep you posted with further details as they come to hand.
Lana, Hinchcliff House's vibey upstairs Italian-Asian dining room, is following up on the sold-out launch of its March collaboration series with a new round of four-hands events. There'll be three one-off dinners taking place between June and September, with each promising creative pairings and prime produce. It kicks off on Tuesday, June 3, when Lana's Executive Chef Alex Wong teams up with John Rivera from hatted Melbourne Filipino restaurant Askal. A former San Pellegrino Young Chef of the Year for the Pacific Region, Rivera has made a name for himself thanks to his bold, contemporary takes on Filipino food. The nine-course menu features punchy dishes like oxtail kare-kare doughnuts with peanut curry and bagoong butterscotch; sesame pandesal paired with chicken adobo butter; and Bangalow pork belly tocino served with banana ketchup and atchara. You can elevate your meal with a Chalmers Wines pairing of Australian-grown Italian varietals. On Wednesday, July 30, Wong welcomes Kyle Johns from Barossa Valley's Hentley Farm to the Lana Kitchen. Johns will showcase his passion for local, seasonal produce via a collaborative menu that channels the flavours of winter in the Barossa. The third act sees bold, smokey, fiery flavours take the spotlight, as Wong pairs up with Ewa Goralewski from Sydney restaurant Yan on Tuesday, September 23. Goralewski, who spent a decade working in Dinner by Heston's London and Melbourne kitchens, will present the kind of smoke- and fire-backed contemporary Chinese dishes that have garnered the south Sydney restaurant a chef's hat. Top image: Leigh Griffiths.
Darling Harbour and Old Pasedena now have something in common. Meat. Meat District Co., to be precise: a two-week old addition with a big fat focus on ribs, burgers and waterfront views. And while the Harbour many love to hate may not have the same glam-fest reputation of LA, the guys behind Meat District Co. have done well to land themselves this location and we're pretty certain they'll pull in the crowds even in Sydney's saturated bun-and-patty market. Said guys are brothers Coco and Gary Simonian, owners of Platinum Restaurant Group, who saw the opportunity to bring their acclaimed-in-the-States meat emporium to our shores and pounced. They also brought in designers DS17 to transform the space into a large, airy and open yet rustic-look restaurant split over two levels. The spiral staircase is pretty cute, and if you can nab a table upstairs facing the water you'll definitely be set for an hour or two. There's also a fair amount of al fresco dining too, which in this city is never a bad thing. Food-wise, even if we hadn't given it away, we're sure you'll guess from the name that if your dining habits swing more towards veg/vegan you'll probably avoid this place like the plague (the meat cleaver-shaped menu adding insult to injury). Luckily for us, we love our meat (and the menu shape), so it was fun to see a 10-strong selection of burgers ranging from the traditional cheese ($12), to brie and cranberry (and beef patty, of course, $14), the more health-conscious grilled chicken ($13, fried chicken also available at $14) and even a truffle burger ($14). With mince supplied from a boutique Double Bay butcher, each one we sampled was juicy and fulfilling but definitely more on the mainstream side than some of this city's more independent boutique options. If you're in the market for less carbs and more protein, both the pork ($31 for half, $41 for full) and beef ribs ($29 for half, $39 for full) are good, if a little exy, choices. Those who don't want to get fingers and phone screens covered in sauce, however, can opt for something from the grill section. Oh, and if you're on the daring side, the roasted bone marrow ($8.50) — super slimy, but dripping with garlic, parsley, chilli and mustard seeds — slips down nicely. All in all, while spoiled-for-choice Sydneysiders might not go as mad for Meat District Co. as our friends in the States, with a philosophy of paddock to plate, this already bustling harbourside diner understands its Australian market and is worth a visit if you're in the area.
Brisbanites, prepare for your next hotel getaway — but don't expect to travel very far. Come March 2018, the CBD will welcome its first new luxury hotel in decades, W Brisbane. A five-star establishment on the northern side of the river, it's the type of place that screams 'staycation'. Views beyond South Bank and Mt Coot-tha from each of its rooms, three dining and drinking venues, a lounge-style lobby that boasts a DJ booth by night: they're all part of the W Brisbane experience. In-room cocktail bars, free Netflix, a barbecue-lined poolside area and 1,100 square meters of function space are as well. Taking over the spot at 300 George Street that previously housed the city's supreme courts, and forming part of the new Brisbane Quarter development, the hotel won't be lacking in lush facilities, amenities or reasons to drop by. Those staying the night can pick from 280 standard rooms, 28 suites, two extra-luxe spaces they've dubbed "wow" suites and one "extreme wow" offering — all decked out with custom-designed furniture inspired by the state's history. If that's not blissful enough, guests can also head downstairs to the spa, which features a hair and nail salon, vitality pools, relaxation pods and rejuvenating salt inhalation chambers. W Hotels is owned by Marriott International. New hotels are also planned for Sydney in 2019 and Melbourne in 2020. As for the rest of Brisbane Quarter, it's slated to include an office tower, apartments and two levels of retail too. Find W Brisbane at 300 George Street, Brisbane from March 2018. For more information, or to make a reservation from November 2017, visit the hotel website.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. CYRANO Love can spring quickly, igniting sparks instantly. Or, it can build gradually and gracefully, including over a lifetime. It can be swift and bold like a lightning strike, too, or it can linger, evolve and swell like a gentle breeze. In the sumptuous confines of Cyrano, all of the above happens. The latest adaptation of Edmond Rostand's 1897 play Cyrano de Bergerac, this time as a musical via playwright Erica Schmidt's own song-filled on-stage version, lends its attention to two men who've fallen for the plucky Roxanne (Haley Bennett, Hillbilly Elegy) in opposite ways. Charming soldier Christian de Neuvillette (Kelvin Harrison Jr, The Trial of the Chicago 7) gets the fast-and-infatuated experience, while the movie's namesake (Peter Dinklage, I Care a Lot), a poet also handy in battle, has ached for his childhood pal for as long as he can remember. Roxanne's two suitors make a chalk-and-cheese pair, with their contrasting approaches to matters of the heart — specifically, to winning her heart and helping ensure that she doesn't have to marry the rich and ruthless De Guiche (Ben Mendelsohn, The Outsider) to secure her future — driving much of Cyrano's drama. Also present and accounted for, as all takes on the tale have included (see also: 80s rom-com Roxanne with Steve Martin, the Gérard Depardieu-starring Cyrano de Bergerac, 90s rom-com The Truth About Cats & Dogs with Uma Thurman and Janeane Garofalo, plus recent Netflix teen flicks Sierra Burgess Is a Loser and The Half of It): insecurities about appearance, a way with words and a ghostwriting gambit. Short in stature given Dinklage's casting, Cyrano can't even dream that Roxanne could love him. But he wants her to be happy above all else and knows that she's smitten with Christian, so he secretly lends his romantic rival his letter-penning abilities to help woo her by lyrical prose. This Cyrano may have a different reason for not believing that Roxanne could reciprocate his feelings, even as she gets giddy over the correspondence he scripts for Christian — traditionally, a large nose gets in his way — but his slow-and-steady affection is especially apt in this particular film. The latest period piece from Joe Wright, it slips into the British director's resume alongside Pride & Prejudice, Atonement and Anna Karenina, and initially seems as standard a silver-screen staging of Cyrano as a musical as he could reliably muster. But all three of those aforementioned movies are stunning in their own ways, especially the gutsy Anna Karenina. Unsurprisingly, his newest feature is as well. Doing his best work since that Tolstoy adaptation, and clearly back in his comfort zone after Pan, Darkest Hour and The Woman in the Window, Wright lets Cyrano take its time to bloom and blossom. And, when it flowers partway through, it makes viewers realise that it's been a gorgeous gem of a film all along. Like on-screen love story, like surrounding flick, basically. That said, the routine air that initially seems to float through Cyrano's first act can't have been by design. Rather, the film winds up to its full heart-wrenching powers so patiently that it appears a tad too expected while its various pieces are being put into place — a fact hardly helped by how often this exact narrative or variations of it have made it to screens — until it's just simply and unshakeably wonderful. Wright doesn't change anything in his approach, helming a handsome, detail-laden, rhythmic piece of cinema from the outset, but the emotions that truly make the movie sing strengthen minute by minute. And yes, when it all clicks in just so, it's with its three main players literally crooning, conveying so much about their huge, swirling, all-encompassing feelings that normal dialogue couldn't have done justice to. Read our full review. HIVE 2021 swarmed with historic achievements for women in film, including Nomadland's Chloë Zhao becoming the first woman of colour and only second woman ever to win the Oscar for Best Director, that category's nomination of two female filmmakers for the first time in its then 93-year history and the Cannes Film Festival awarding the Palme d'Or to a woman — Titane's Julia Ducournau — for only the second time. But before all of that, Kosovo-born writer/director Blerta Basholli achieved something at the Sundance Film Festival that'd never been done either: winning the US fest's World Cinema Dramatic Competition Grand Jury Prize, Audience Award and Best Director gong for Hive. It was a well-deserved feat for a movie that'd stick in memory even without such an achievement, and it's easy to see why Sundance's jurors and viewers responded with such a show of support. A powerhouse of a true tale that's brought to the screen with a devastatingly potent lead performance, Hive is simply unshakeable. In Basholli's first feature, to peer at star Yllka Gashi (Kukumi) is to look deep into a battler's eyes. Hive directs its attention her way frequently. The also-Kosovan actor plays Fahrije Hoti, a woman who has never been allowed to stop fighting, although the men in her patriarchal village would prefer she'd keep quiet. They wish she'd just attend to her duties as a mother and do what's expected. They think she should be a silent, compliant wife, although there's a significant problem with that idea. With her husband missing for years due to the Kosovo War, she can't be a meekly obedient spouse even if that was in her nature — which it isn't — because the man she loves is gone, no sign of him either dead or alive has been recovered, and she's trapped in limbo as she waits, tries to keep caring for her family and endeavours to go on. Those dismissive, misogynistic attitudes flung at Fahrije by her community join the litany of roadblocks that she's forced to rally against with every word, thought and breath she has. In her husband's absence, her father-in-law Haxhi (Çun Lajçi, Zana) is eager to maintain the status quo, but Fahrije has been trying to make ends meet anyway, all in a town — and amidst a male-dominated culture — that couldn't be more unsympathetic to her plight. She isn't alone, however, with many of the locale's other women also widowed due to the conflict, and similarly expected to survive without upsetting traditional gender roles. So, with the beehives that she dutifully attends to unable to keep providing enough income to pay her bills, the enterprising Fahrije and her friend Nazmije (Kumrije Hoxha, The Marriage) decide to start a female-run co-operative to make and sell ajvar, a pepper relish. A picture of stinging resilience, unflappable fortitude and baked-in sorrow, Gashi is phenomenal as Fahrije. Not only does Hive keep gazing her way but, thanks to the raw compulsion of her performance, viewers eagerly do the same. The skill required to play stoic but also persistent, passionate and simmering with internalised pain can't be underestimated, and watching Gashi navigate that balance like it's the only thing she knows — because, for Fahrije after her husband's disappearance, it now is — is affecting on a gutwrenching level. Lived-in fury and resolve buzzes through every facet of her portrayal, all as the woman whose shoes she's walking in weathers derision, violence and attempted sexual assault for daring to dream of attempting to support herself. It comes as no surprise that various film festival prizes have been sent Gashi's way among Hive's collection of accolades, with ample merit. Read our full review. STUDIO 666 As the drummer for Nirvana and the frontman for Foo Fighters, Dave Grohl doesn't have many mixed bags on his resume. The music superstar has been in the spotlight for three-plus decades now, and boasts success after success to his name, complete with a list of awards and hits bound to make almost everyone else in the industry envious. But all their lives, Grohl and his fellow Foos must've dreamt of being horror movie stars — and the result, the pandemic-shot Studio 666, shouldn't entice any of them to quit their day jobs. A haunted-house horror-comedy, this rockstar lark is gonzo, gory and extremely goofy. It's a clear bit of fun for everyone involved, and it's made with overflowing love for the genre it slips into and parodies. But it's an indulgent and stretched exercise in famous folks following their whims at times like these, too. Achievement unlocked: there's Grohl's mixed bag. Studio 666's setup revolves around Grohl, drummer Taylor Hawkins, guitarists Chris Shiflett and Pat Smear, bassist Nate Mendel and keyboardist Rami Jaffee packing their bags for a live-in recording session at an Encino mansion. As the movie's 1993-set prologue shows, their temporary new home has a dark past, after the last group that inhabited the spot met bloody ends; however, ignorance is bliss for the Foo Fighters. Actually, an obligation to deliver their tenth album to their overbearing manager (Jeff Garlin, Curb Your Enthusiasm) inspires the move, as does the band's creative lull in conjuring up the record otherwise. Grohl instantly falls for the sound of the space as well, to an unhinged degree, and his bandmates begrudgingly agree to the month-long stay to make musical magic happen. Recording an album doesn't usually spark The Evil Dead-style murderous mayhem, cursed book and all, but that's Studio 666's gambit. Its Californian abode isn't just stalked by a grisly ghoul with a love of gut-rumbling tracks — it possesses Grohl with the need to craft a killer song, length be damned, and with satanic bloodlust, cannibal cravings and prima-donna rocker behaviour. Is he monstrous about doing whatever it takes to get the tune because he's bedevilled by the house's resident evil, he's on a power trip or both? That's one of the film's big gags, and also a hefty splatter of the kind of sense of humour it's working with. Winking, nudging, satirising, and sending up fame, egos and the all-devouring nature of entertainment stardom: they're all on the movie's menu, alongside as much gleefully cheap-looking viscera as any feature can manage to splash around. Amid the deaths by cymbal, barbecued faces and projectile-vomited guts — no, what's left of the Foos at the film's end won't be getting their bond back — there's zero doubt that Grohl and company are enjoying themselves. Actors, they aren't, but playfulness has always been part of Foo Fighters' mood. When the band began in 1994, initially as a one-man project by Grohl after Kurt Cobain's suicide the same year, it was instantly perkier and sillier than Nirvana. For the 'Big Me' music video from the group's self-titled first album, they shot an unforgettable Mentos ad parody in Sydney. With the 'Learn to Fly' clip in 1999, they satirised airline flicks — Airplane!, which was already a send-up, plus disaster fare Airport 1975 and Airport '77 — aided by Tenacious D's Jack Black and Kyle Gass. Getting so delightedly bloody might be new, but refusing to take themselves seriously definitely isn't. Read our full review. PREPARATIONS TO BE TOGETHER FOR AN UNKNOWN PERIOD OF TIME Will they or won't they? Do they or don't they? Every time that romance and relationships are portrayed on-screen, at least one of these questions always echoes. In the entrancingly moody and astute Preparations to Be Together for an Unknown Period of Time, it's the latter. Whether Hungarian neurosurgeon Márta Vizy (Natasa Stork, Jupiter's Moon) and fellow doctor János (Viktor Bodó, Overnight) will end the film in each other's company still remains a pivotal part of the plot, but if there's ever been anything between them — or if it's all simply in Márta's head — is the far more pressing concern. She's a woman smitten, so much so that she's returned home from a prestigious job in the US just for him. But his behaviour could be called vague, rude or flat-out ghosting, if he even remembers that they've crossed paths before — and, if they ever actually have. Preparations to Be Together for an Unknown Period of Time first introduces Márta as she's unloading her János-sparked romantic woes upon her therapist. What could've been a standard rom-com or romantic drama setup soon twists into something far more alluring and intriguing, however. Indeed, as writer/director Lili Horvát (The Wednesday Child) ponders the role of memory in affairs of the heart, her film just keeps inspiring more trains of thought. How can we ever know how someone else really feels about us? How long will any romantic emotions last, and can they last? Is it ever truly possible to trust whoever our hearts fall or, or our hearts to begin with? And, can we genuinely believe those intense memories of love that implant themselves inside our brains, refuse to leave and inspire life-changing decisions — or is love too subjective, no matter how deep, real, shared and strong that it feels? These queries all spring from Márta's homecoming, after she meets János at a conference in New Jersey, then pledges to do so again a month later on a Budapest bridge. She shows, but he doesn't. Worse: when she tracks him down at his work afterwards, he says that he doesn't know her. While tinkering with memory is a familiar film and TV concept — see: everything from Memento and Eternal Sunshine of the Spotless Mind to Mulholland Drive and Severance — Preparations to Be Together for an Unknown Period of Time is interested in the emotional fallout from János' claims to have zero knowledge of Márta first and foremost. Confused, unsettled and still wholeheartedly infatuated, she just can't bring herself to return stateside, and also can't get János out of her mind in general. Scripted with empathy and precision by Horvát, and also shot and styled like a waking dream, Preparations to Be Together for an Unknown Period of Time isn't easily forgotten either, siding its viewers with Márta over János. This is a haunting and beautifully acted psychological drama that lays bare just how all-encompassing, obsessive, intoxicating and mind-melting love can feel, all as it plays with recollection and its ability to shape our perspectives. The tone is loaded but uncanny — sweet but uncertain, too — and Horvát has fun getting both emotional and cerebral while having her characters cut open brains. The latter happens literally and yes, there aren't many movies quite like this one. Cinema doesn't boast too many performances like the exceptional Stork's, either, which draws viewers into every feeling, question, and pang of both intense affection and shattering uncertainty that flows through Márta. Preparations to Be Together for an Unknown Period of Time screens in Melbourne from February 24, and opens in Sydney and Brisbane from March 17. FORTUNE FAVORS LADY NIKUKO Japanese animation has given cinema-goers a wealth of gifts, Studio Ghibli's enchanting on-screen magic across nearly four decades sitting atop the pile, and the heartwrenching Your Name and Weathering with You ranking high among them as well. But films that serve up gorgeous snapshots of coastal living and cuisine are finding their own anime niche, too, with Fortune Favors Lady Nikuko following Ride Your Wave — and proving as much of a delight. It isn't quite another romantic tale about matters of the heart, hope and H2O, as Josee, the Tiger and the Fish also was, but only because it focuses on an 11-year-old and her mother. The same swells of emotion still wash through, all in an eye-catchingly animated story set in a northern Japanese harbour town — complete with cooking up a storm, and making illustrated dishes spark hunger pangs. The film's title refers to the outgoing, happy-go-lucky, houseboat-dwelling Nikuko (voiced by Shinobu Ôtake, Shadowfall), who works as a bar waitress in the sleepy locale she now calls home, and is also never without a smile. But as Fortune Favors Lady Nikuko's introductory sequence explains — adopting a more stylised, less naturalistic type of imagery than the bulk of the movie in the process — her bad romantic luck, including the debts she's amassed from her past loves, has played a large part in her current fate. She still works hard six days a week, never complains, and is instantly recognisable around the village. The whip-smart, serious and introverted Kikuko (model and flutist Cocomi), Nikuko's daughter, doesn't share the same attitude, however, and wants nothing more than to blend in where her single mother stands out. Based on the 2011 novel of the same name by Kanako Nishi, Fortune Favors Lady Nikuko keeps its dramas grounded, as Kikuko navigates the usual struggles of school — being forced to pick which classmates to spend lunchtime with, for instance — and the standard preteen experience that is pushing away from your parents. Indeed, no one is spirited away, tasked with saving the world or left communing with water in a grief-stricken state here, but that doesn't make this slow-building film any less resonant. As well as being deeply instep with the woes of adolescence, and of the complexities of mother-daughter relationships, this affecting slice-of-life feature also laps up simply stepping into its characters' lives and their surroundings. Where watching Weathering with You felt like taking a walk through Tokyo, for example, viewing Fortune Favours Lady Nikuko whisks the audience away to its peaceful seaside setting. Filmmaker Ayumu Watanabe also directed 2019's Children of the Sea, another recent Japanese gem and fellow Studio 4°C release that proved sweet and smart, and similarly looked a treat — and he's as skilled at immersing viewers into heartfelt stories rendered through animation as his internationally better-known compatriots. There's also a sense of calm to his films that's both soothing and bewitching, as vibrant as they always look. In fact, the only misstep that Watanabe and screenwriter Satomi Ohshima (Our 30 Minute Sessions) make with Fortune Favours Lady Nikuko stems from the easy jokes made about the movie's namesake's size, which visibly contrasts with her reed-thin daughter but didn't need to also be the butt of several verbal gags. The tone is still loving, and one of the feature's big thematic threads does involve seeing past the obvious — especially given two people who are painted as such opposites sit at its centre — but it's still a rare grey cloud in an otherwise warm anime sky. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; and February 3, February 10 and February 17. You can also read our full reviews of a heap of recent movies, such as The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted and Quo Vadis, Aida?.
A new night market has been added to the Sydney event calendar. Following the success of other after-dark food festivities like the Night Noodle Market and the Lunar Lane Night Markets, Vegan NSW has announced they will be taking over Sydney Olympic Park with a market full of vegan and plant-based eats. After a successful iteration of the Sydney Vegan Market in Sydney Olympic Park back in January, as well as pop-ups in Newcastle and Gosford, the Vegan Night Market will debut from 2–9pm on Saturday, June 5. Stores will range from vegan Greek eats to ethically sourced artisan good from the likes of I Should Be Souvlaki, Treat Dreams and The 3 Amigos. Entry to the markets is free and you can bring your pooch as it will be a dog-friendly affair. Vegan musicians will be setting the mood with performances throughout the night, and it's encouraged you bring your own picnic rug to set up in the Cathy Freeman Park, as well as your own cup, container and cutlery in line with the market's environmentally sustainable ethos.
Tasmania is home to brilliant restaurants and cafes that rival the mainland's best. And if you're looking to get a richer understanding of where phenomenal food actually comes from, there really is no better place. With the island's inland farms and coastal regions bursting with remarkable produce, Tassie is full of growers ready to guide you through an enlightening, hands-on adventure that will give you a unique culinary and agrarian perspective (not to mention the very likely chance that they'll feed you very, very well indeed). Here, we've teamed up with Tourism Tasmania to highlight a selection of experiences that offer hands-on foodie encounters to seek out and savour. [caption id="attachment_865676" align="alignnone" width="1920"] Tourism Australia[/caption] 41 DEGREES SOUTH Set a 40-minute drive west of Launceston on the outskirts of Deloraine, 41 Degrees South is a salmon farm, wetland and ginseng plantation. Featuring 20 freshwater ponds filled with water sourced from nearby Montana Falls, the farm invites you to take a self-guided tour to explore the sustainable processes that support this world-class producer of salmon. The property's owners, Ziggy and Angelika Pyka, also make the most of Tasmania's cooler climate with a thriving grove of Korean and American ginseng. Wander through the crops before making a purchase at the on-site store and stopping by the cafe to enjoy a dish made with the freshest salmon washed down with a local wine or beer. [caption id="attachment_866893" align="alignnone" width="1920"] Tourism Australia[/caption] TWAMLEY FARM Twamley Farm is a picturesque working farm spread across 7000 acres flanking the Tea Tree Rivulet near the charming village of Buckland. The property offers farmyard activities, accommodation and cooking classes that provide an opportunity to level up your skills in Italian and French cooking. Hosted by the gourmet catering business, Gert and Ted, the classes — fronted by the eponymous Gert — will show you how to prepare a range of dishes before you sit down for a long lunch with your fellow attendees. With several classes to choose from, including spring harvest feasts and festive season treats, Twamley Farm's stunning setting is the ideal place for a countryside culinary escape. [caption id="attachment_866852" align="alignnone" width="1920"] Pure Foods[/caption] PURE FOODS EGG FARM Head to a top-notch cafe in Tassie and there's a good chance it's using Pure Foods Eggs in the kitchen. Experience what goes into this superior product via a 'Pure Tour' a foodie experience touted as the "ultimate eggspedition" that'll take you on a journey through the company's scenic property in the Northern Midlands region and the largest free-range egg farm in Tasmania. Throughout the 90-minute behind-the-scenes tour, you'll explore the custom-built facilities and see how its high-tech production methods set a new industry standard. After seeing the happy hens in action, you'll receive a dozen free-range eggs to take home so you can whip up your favourite dish with the finest eggs on the island. [caption id="attachment_866851" align="alignnone" width="1920"] Sirocco South Forage and Feast[/caption] SIROCCO SOUTH FORAGE AND FEAST Mic Giuliani, the man behind Sirocco South, is a local foraging master with over 50 years of experience. So yes, Mic was doing it before it was cool. You can catch him serving delicious Tassie-inspired Italian cuisine at Hobart's Farm Gate Market every Sunday or on one of his Sirocco South foraging trips where he'll show you how to find food in the wild. Once you've collected enough seasonal ingredients, Mic goes to work producing a six-course lunch featuring quality meat and seafood paired with award-winning wines from Bream Creek Vineyard. Overlooking the spectacular Frederick Henry Bay, Sirocco South is a deluxe foraging experience in an idyllic location that helps guests appreciate the wonders of wild food. In short: it's heaven on earth for foodies. [caption id="attachment_866889" align="alignnone" width="1920"] Tourism Australia[/caption] UNEARTHED CHEFS TOUR Get a rare glimpse into the operations of some of Tasmania's top growers and producers via an Unearthed Chefs Tour. This morning or afternoon adventure sees you transported from your accommodation to the seriously delicious Tasting Trail Cradle to Coast to meet some of the North-West's finest culinary creators. The tour will take you around a saffron farm, to search for truffles and then on to a luxurious wine tasting at Lake Barrington Estate, with a stop to admire the coastline along the way. A heavenly lunch prepared by chef Naomi Parker is also on the agenda, as is a wander through Sheffield — the Town of Murals — before arriving back at your accommodation. [caption id="attachment_865666" align="alignnone" width="1920"] Tourism Australia[/caption] FORK N FARM HOMESTEAD The ForknFarm Homestead is a striking 24-acre property set in the scenic surrounds of the West Tamar Valley. It's a popular destination for farm-stays thanks to its charming cabins and it also hosts artisan cooking workshops where you can level up your talents with owners Cassie and Aaron "Lob" Lobley. Over the years, this enterprising duo has mastered a host of agrarian culinary skills, ranging from cheesemaking and open-fire cooking to pickling and preserving. There's a host of one-day and two-day sessions to consider or you can create a personalised experience if you attend in a group of four or more. [caption id="attachment_865674" align="alignnone" width="1920"] Tourism Australia[/caption] BLUE HILLS HONEY Blue Hills Honey's distinctly Tasmanian product comes from 2000 beehives hidden deep within the lush takayna/Tarkine rainforest. While this award-winning apiary specialises in leatherwood honey, the honey house also offers a selection of other varieties like manuka, blackberry and meadow. This craft honey farm has been in operation for over 60 years and you can see how it all works on its rural property in the community of Mawbanna. Alongside a factory for touring and a tasting room, there's a cafe overlooking the surrounding farmland that serves everything from honey-baked brie to Thai beef salad. [caption id="attachment_865672" align="alignnone" width="1920"] Tourism Australia[/caption] OYSTER BAY TOURS AT FREYCINET MARINE FARM Freycinet Marine Farm is beloved for its Pacific Oysters and Tasmanian Blue Mussels. Owned by Giles and Julia Fisher since 2005, the cafe makes for the perfect pitstop if you want to sample the region's famed cuisine. You can discover how the product arrives in the shop with a fantastically hands-on (and knees-in) Oyster Bay Tour. With the help of an expert guide, the tour will see you wade into shallow waters to harvest oysters straight out of the sea and show you how to shuck 'em like a pro. To finish, you'll get to enjoy your freshly claimed oysters and mussels with a glass of local riesling. [caption id="attachment_865678" align="alignnone" width="1920"] Tourism Tasmania[/caption] CURRINGA FARM In Hamilton, about a one-hour drive from Hobart, Curringa Farm presents an idyllic chance to experience life on a Tasmanian working farm. Spanning 750 acres, this sheep and cropping property has won numerous awards for its charming cottage accommodation. Whether you're heading along for the day or staying overnight, Curringa Farm has two immersive tours on offer to suit your travel plans. The 'Shearers Smoko' is a two-hour walking tour of the farm where you'll meet and greet sheep and farm dogs alongside a morning or afternoon tea. Meanwhile, the 'BBQ Lunch & Farm Tour' presents an outstanding paddock-to-plate experience. [caption id="attachment_866894" align="alignnone" width="1920"] Jamie Roberts[/caption] THE TRUFFLEDORE On the foothills of Cradle Mountain is where you'll find this truffle-filled farm, accommodation and shop. From October till April, The Truffledore is open for tastings and tours on Fridays and Sundays from 9am–4pm. Head off on the 45-minute tour to feed the farm animals and discover where the delicious winter truffles are grown. During the winter months, you can hunt and harvest truffles for yourself on Saturdays. Just make sure you book ahead of time to secure a spot. If one day on the farm isn't enough, book into one of the charming cottages for a delightful overnight stay. Ready to plan a trip for your tastebuds around Tasmania? To discover more, visit the website. Top image: Tourism Australia
If you truly want that Hollywood treatment, book an appointment (far in advance) at Bondi's Koda Cutters. It's run by Creative Director Diane Gorgievski, a celebrity and editorial hair stylist who styles fashion mag photo shoots for the likes of Elle and Vogue, as well as having an impressive background in directing runway looks for Melbourne Fashion Week. [caption id="attachment_780123" align="alignnone" width="1920"] Yaya Stempler[/caption] This super sleek salon specialises in edgy, model-worthy cuts for women and men, with a bit of Bondi cool thrown in for good measure. Here, you'll get the deluxe treatment, with custom colour work and freehand colouring on offer. Haircuts start at $145, with blow dry appointments from $50. Images: Yaya Stempler
Tucked away between Topshop and Sydney's iconic State Theatre is Gilt Lounge. As QT Hotel's sultry grown up cocktail lounge, Gilt takes things to a whole new mixology level. And this place is tops, quite literally. Walk past Parlour Lane Roasters, up the elevators, through Gowings Bar & Grill and up another flights of stairs. Welcome to Gilt. Gilt is the femme fatale of Sydney's bar scene: smoldering, secretive and sophisticated. Think eclectic, industrial chic for the interior; the large space is broken up into clusters of soft couches and dim mood lighting. As the name suggests, the venue is a place to linger and lounge. It's a destination, rather than a stopover, for conversation and cocktails. The steady stream after-workers passing in and out of the bar gives it an upbeat buzz without feeling over crowded. And what you're really here for are the expert cocktails. Shakers will be tossed in the air and drinks finished with a flourish. A must-try is the Applewood Bacon Old Fashioned ($19), a wild combination of Applewood bacon-infused buffalo trace bourbon, black peppercorn-infused demerara sugar, creole bitters chocolate covered bacon and flamed orange. Yes, you read right. Chocolate. Covered. Bacon. It's a flavour fusion gamble that definitely pays off. Another hit is the Sweet Lady ($18) — ciroc vodka, lemon balm, sugar, fresh lime, egg white, mint bitters — a twist on the classic One Lady cocktail. This is a great option to accompany food; the lemon balm provides a palette cleansing burst while avoiding that minty aftertaste that stops you from enjoying following flavours. A good match is the Bringing Back The Vol-Au-Vent ($15) that is filled with house-made ocean trout tartare, sterling caviar and quail eggs. The bar menu is considered. Choose from sub-categories such as snacks, bite-size nibbles, sliders and more substantial. And we reckon after cocktail number two, three and four you're going to need to indulge some of Gilt's tasty bites. Gilt is Sydney's newest CBD hidey hole perfectly suited to sneaky after work drinks for couples, small groups and bona fide cocktail aficionados. The only kind of guilt you'll experience here is that of not having come earlier.
"Player or watcher?" Nerve asks, and it's not an easy question to answer. The query may stem from the fictional dare-based game that gives the film its name, but there's no missing the real-world parallels. In these Snapchat-sending, Vine-streaming, Pokemon GO-playing times, this tech-savvy thriller feels relevant to the minute. With our lives increasingly lived through screens, our connections and conversations more often virtual than physical, and our days whiled away either posting selfies, or watching others do the same, the question needs to be asked: where do we draw the line? These are the big issues touched upon in Nerve, a film that's hardly subtle about the negative influence the internet has had on human behaviour. Thankfully, the film never tries to lecture millennials about their preferred pastimes. Instead, Catfish directors Henry Joost and Ariel Schulman keep toying with their favourite topics via a slickly and swiftly-told tale that never fails to entertain, even if the underlying narrative doesn't always stand up to scrutiny. But hey, when you're making a film about people doing reckless things for online fame and fortune, a certain number of illogical choices are to be expected. When Venus Delmonico (Emma Roberts) musters up the courage to participate in the live-streamed game, her spur-of-the-moment decision ends up being the first of many. The studious 17-year-old is motivated in part by the prize money she could put towards attending a Californian college, but also by a desire to venture beyond her comfort zone after being rejected by her football hero crush (Brian Marc). Kissing a stranger is Vee's first task, and when she locks lips with Ian (Dave Franco) in a diner, she discovers that he's playing the game as well. At first the viewing public seems eager for them to pair up, venture into New York, try on fancy clothes and get tattoos. But as the young duo begins to lure in more eyeballs, the dares become not just more lucrative, but more dangerous as well. Much of this movie's charms come from simply watching Vee and Ian roam around Manhattan, reacting to the challenges thrown their way and letting their mutual attraction flourish. Indeed, the film's first half doubles as a different take on the usual walk-and-talk movie date scenario. That Roberts and Franco make an engaging and enthusiastic pair helps; that Joost and Schulman are just as vibrant and energetic in their pacing and style does as well. Of course as enjoyable as it is watching the two lead actors race around attempting ridiculous feats, this effort about online entertainment isn't all fun and games. When Nerve wanders deeper into darker territory more akin to David Fincher's The Game, it's not always as successful – in fact, the feature's third act is positively silly. But by then, you're a watcher, and you can't tear your eyes away.
Summer in Sydney isn't really summer without catching some live music. But there is another truth that can get in the way of living out all your gig fantasies — and that's your budget. Between Christmas presents, end-of-year catch-ups and, you know, living, the ol' wallet takes a bit of a hit at this time of year. Good news, music lovers. For the second year in a row, Merivale is hosting See Sound, a summer-long festival of free (yes, free) gigs. Even better, every venue is also serving up $8 pints and $15 jugs of beer, thanks to See Sound partner Furphy. If you're hanging around the eastern suburbs, Coogee Pavilion Rooftop is where to go for funk and disco, and you can pop by the Royal Hotel in Bondi for rock 'n' roll. Meanwhile, inner west locals (and visitors) should make tracks to the Vic on the Park in Marrickville for indie and hip hop. Read on to find out what to expect.
If you can hold on tight for one teeny, tiny minute longer, the long weekend will be with us. We know you have all sorts of awesomeness planned, so to get you in the mood (and help you through this final, painful hour or two), we'd like to treat to you a little visual relaxation. These gorgeous, dreamy cinemagraphs (the technical word for GIFs that are partly animated but don’t qualify as video) are the creation of a Strasbourg-based photographer by the name of Julien Douvier. He’s a 24-year-old freelancer who studied design and is now making inroads into the visual world via various creative projects. On his Tumblr, Douvier says, "As you can see, I attach a great importance to quality and details in my work. I will never release something I'm not satisfied of [sic.], even if I have to spend a lot of extra time on it. The meaning is very important too; I could create a lot of personal projects, but I don’t want them to be meaningless." Douvier isn't in too much danger of that with this collection. Every carefully composed image is just begging you to take a moment out of your day and pause to meditate. And that would be Friday. Just. About. Over. Via PetaPixel. Image credit: Cinemagraphs by Julien Douvier
There's not much you can't do with tomatoes – from soup to spag bol to juice. To celebrate one of the world's most versatile fruits (or is it a vegetable?), Marrickville's Ester Distillery is teaming up with event caterer Aplenty for Viva Pomodoro! – a tomato party. Get there at 11:30am for a pasta-making class with Aplenty founder Michaela Johansson. She'll show you how to make cavatelli, orrechieti and pici around Ester's rather spectacular red marble table while the staff bring you drinks. Come 12:30pm, the party proper will kick off, with a long, long lunch. Linger over bowls of tomato pasta, abundant charcuterie boards, and cheese and anchovy pairings – accompanied by warm, crusty, buttery bread topped with pickled tomato. To match these delights, Ester has come up with a tomato-inspired cocktail menu. Try the sweet yet savoury Tomato-Strawberry Martini (Ester dry gin, tomato, strawberry, basil), or the tangy yet tropical Renata Passata (Old Tom gin, Ester alternativo aperitivo, pineapple, lime, tomato). Then there's the salty, spicy Bloody Pomodoro – a take on the Bloody Mary, with Ester strong gin, tomato juice, horseradish, jalapeño brine, and Perello olives. Viva Pomodoro! is happening for one-day-only, so be sure to book your spot at the table soon. [caption id="attachment_997344" align="alignnone" width="1920"] hughobrien.co[/caption] [caption id="attachment_997345" align="alignnone" width="1920"] hughobrien.co[/caption]
Paddington favourite Tequila Mockingbird brought its South American and Mexican flare to the CBD last spring when it opened the three-storey Esteban. The new venue already has a restaurant, a mezcal bar and a laneway dining space, but now it's adding live music to the mix. Esteban-d, its new three-month music series, will see Latin American artists, performers and bands take over the laneway space every Thursday, Friday and Saturday night from Thursday, March 11. Which means you can pair your wagyu tacos, scallop aguachile and Martinez on Fire cocktail with tango, Cuban acoustic tunes, salsa and Peruvian hits. The program changes each week, and you can check it out over at the Esteban website. The performances kick off each day at 6.30pm and run through till 10pm, so you can rock up at any point during this time to enjoy the free show. But, the restaurant does not take reservations for the laneway area, so prepare to wait if it's full. Esteband runs from 6.30-10pm. Images: Steven Woodburn
If you, like us, enjoy spending your weekends and holidays hiking through Sydney's national parks, you'll be happy to hear that one of the state's most popular hikes is getting a multimillion-dollar upgrade. The NSW Government is dropping $10 mil on a refresh of Blue Mountains' Grand Cliff Top Walk, which runs from Govetts Leap to Evans lookout. The hike passes many waterfalls and lookouts and offers up some of the most stunning views of the national park and its many eucalpyts. It's just one of the upgrades planned for NSW's many national parks with the government promising $150 million in upgrades to sites across the state. Following news of a 43,000-hectare statewide national park expansion announced last October, the Southern Highlands will also be getting a new national park of its own, spreading almost 3680 hectares around Tugalong Station. Located about 25 kilometres northwest of Bowral, the site is home to some of the area's best koala habitat, so the plans will go a long way to helping protect your favourite tree-dwelling marsupials. [caption id="attachment_574861" align="alignnone" width="1280"] Govetts Leap Lookout, NSW National Parks.[/caption] Elsewhere in NSW, the government's multi-million dollar upgrade package will be put to good use improving things like accessibility, safety and facilities. A major focus will be upgrading accessibility at a number of lookout points to meet mobility impaired access standards, and making existing walking tracks and trails both safer and more accessible. A hefty $38.7 million will go towards improving and adding picnic areas, barbecues and facilities, while $45 million is being used to boost support for visitors with restricted mobility. If you're looking for new places to go hiking or camping in the meantime, NSW National Parks and Wildlife Service has just released a new, free mobile app that provides guides to more than 225 national parks. You can check it out here. There's no word yet on when the Grand Cliff Walk's upgrade will begin, but we'll let you know as soon as there is. Image: Simone Cottrell.
If these walls could talk, they'd tell you to leave this godforsaken place while you still can. And to take the greyish terry towelling bedspread with you. You're inside a Northern Territory motel where the lives of several characters who have lodged here amongst the dank decor at different points in time are interwoven. Youth worker Anni (Leah Purcell) is chaperoning the severely (and for most of the play, unspecifically) traumatised teenager Grace (Billie Rose Prichard) while she searches for a foster home that will take her, and the two spend the night alternately fighting for dominance and trying to make a connection. Sometime later, but narratively in the same time and space, police officer Stephen (Brendan Cowell), recently exiled from Sydney, and his wife, Emma (Anne Lise Phillips), return to the room after a wedding celebration and begin to unfurl an argument that rakes over months of latent tension. A grizzled old cop (Cameron Stewart) enters after them, and sometimes yet another seems to be lurking in this crowded room. Playwright Angela Betzien and director Leticia Caceras (collaborators at RealTV) have masterfully crafted The Dark Room so that its separate strands combine into a taut thriller that contains plenty of poetic moments. Naturalism is leavened by some Gothic styling — a thumping heartbeat, haywire lighting, a creepy mask. You fear for when the lights go out. The script asks a lot of its actors — Prichard, in particular, who brings the balance of innocence and violence to Grace necessary to anchor the play. Cowell and Phillips are electric as a couple, and with their repartee and Cowell's endearing drunkenness, you really warm to them. The Dark Room is almost unbearably intense — when it's over you'll wish you could wash your brain out with rainbows and kittens and be given some reason to hope again. But life is a shitty thing for a good number of people, and this play's real achievement is that it makes a world of unspeakable terror seem very human and incredibly close. It also isn't horror for horror's sake; it intersects with contemporary social issues in a non-ostentatious way. It's well worth seeing, especially in the effectively claustrophobic Belvoir Downstairs space, which is small enough that the audience could conceivably be pressed into the same motel room as these unlucky, overlapping characters. We might all be ghosts who once stayed here, hopefully on more unremarkable nights.
Krinklewood Estate, the Hunter Valley's idyllic, French-inspired biodynamic winery and cellar door, has unveiled the first stage of its transformation into a design-led eco-retreat. Cézan — the breezy new Mediterranean eatery and bar nestled among the estate's vineyards and olive trees — is now open for relaxed daytime dining in a stunning cellar door setting, with a seasonal, produce-led menu designed to pair with Krinklewood's acclaimed organic and biodynamic wines. "Cézan really came from a simple need — where could I find a great, casual lunch in Broke?" says Oscar Martin, owner of Krinklewood Estate. "We imagined a cellar door you'd want to visit a few times a week for incredible food and wine, surrounded by nature, without any of the fuss." That fuss-free menu — curated by Hunter Valley hospo company Fennel & Co. and French chef Marine Faverais (ex-Tetsuya's, Sketch London) — leans into rustic, share-plate dining. Designed for relaxed grazing, the produce-forward menu will change with the seasons, and feature the likes of kingfish crudo, creamy hummus, stracciatella with roasted tomatoes, white anchovies dressed with olive oil and lemon, and flatbreads warm from the oven. Dishes are elevated with produce grown on the estate — plus, you can pair your selection with wines poured in four sizes, from a tasting pour to a full bottle. Cézan is the result of a long-time friendship between Krinklewood owner Oscar Martin and the team behind Fennel & Co., whose thoughtful approach to catering made them a favourite for weddings on the estate (and, from 2026, the ties will deepen further still with Cézan appointed as the exclusive catering partner for all weddings and private events on the estate). It's all part of a broader transformation of Krinklewood under Martin's vision, anchored by a Peter Stutchbury-designed masterplan that includes a 22-room boutique motel, event centre, mineral bathhouse and performance stage, which will sit alongside Cézan and the estate's cellar door. [caption id="attachment_1006274" align="alignnone" width="1920"] David Griffen Photography[/caption] Cézan also offers in-room dining for the expanding accommodation, which will include a series of eco-cabins by Dimensions X, a housing start-up co-founded by Martin and Stutchbury. The in-room dining experience will see seasonal menus delivered straight to your door, as well as curated mini bar selections in each room and the opportunity to partake in exclusive chef and sommelier experiences. With its blend of wine, food, design and sustainability, Krinklewood is aiming to be much more than another stop on a weekend winery tour, with plans underway for a broader cultural program encompassing artist residencies, exhibitions and performances. [caption id="attachment_1006276" align="alignnone" width="1920"] David Griffen Photography[/caption] [caption id="attachment_1006277" align="alignnone" width="1920"] David Griffen Photography[/caption] [caption id="attachment_1006278" align="alignnone" width="1920"] David Griffen Photography[/caption] Cézan is now open for brunch through to late lunch on Friday, Saturday and Sunday. It's located at Krinklewood Estate, 712 Wollombi Road, Broke. For more information, head to the restaurant's website. Top image: David Griffen Photography.
If you're familiar with sunglasses brand Colab, then you know they put out some pretty amazing designs. As suggested by its name, the company collaborates with independent artists, musicians, filmmakers and designers to create limited edition lines. In the past they've created killer shades with the likes of Toro Y Moi, Elke Kramer, and Kill Pixie. Their latest project with Sydney-based artist, Beastman is no exception. Beastman, personally known as Brad Eastman, is best known for his amazing street art murals in Australia and around the world. Eastman has since expanded to include gallery work, apparel design and skateboard graphics. His partnership with Colab was not his first artistic merger, but certainly proved to be new challenge. When Eastman was approached by Colab to do the collection two years back, he admits that he "didn't know anything about making sunglasses". But with a background in graphic design and a fully capable team of Colab engineers, Beastman set about bringing his vision from paper to plastic. "I drew everything," said Eastman. "I redesigned [the shape] and Colab helped with the whole process." Working closely with the Colab's (now ex) creative director, Carl Tindall, Eastman went through an 18-month process of forwards and backwards steps. He described the process as, "do something, send it to Carl, and then hear nothing for three months. Then he'd ring me, show me some sample and I'd say 'no that's shit, let's try this' and then another six months would go by." Seems like an exorbitant amount of time, but making the perfect frames proved to be quite challenging. "I gave him an idea and said 'I want get these three different colour waves of patterns,'" said Eastman. Carl would travel to factories in China, Italy and Japan searching for acetate colours that hadn't been used before. Then came the endless amounts of tweaking, shaving and adjusting to create the ideal shape. If you're familiar with Beastman's art, then you know it's pretty loud. Intricate patterns, swirling lines, and bright colours make up his dreamlike designs of mythical gods and creatures. Now you're wondering 'how that could possibly translate onto a pair of plastic frames?' Beastman's trio of wayfarer-shaped sunnies are comfortably subdued. "I wanted to make something that was unisex and subtle," said Eastman- and he succeeded in accomplishing just that. Made in brown, blue, and green, the swirly-printed acetate frames show an organic side to Beastman's art. He explained, "all my work is about patterns in nature; and how different natural elements combine and work together." The symbols of these elements, which vary by frame colour, are slyly marked on the arms. Notice a tiny leaf on a green pair or dainty orange triangles on the brown. Beastman's iconic prints weren't all lost in this project. His famous bright, geometric patterns were incorporated onto the sleeve and poster that come with every pair. Maintaining his signature style, Eastman said, "I wanted to include something for people to see the relation between the sunglasses and my work." Only 1000 people will be able to get their hands on this sweet deal. "I like doing limited edition things," said Eastman, "I don't like doing super mass-produced products." Functional products seem to be the direction Beastman's art is moving towards. Prior to his project with Colab, he's done apparel design and skate deck graphics for labels like Element. Now, he and his wife are working on a limited-edition line of furniture and homewares. Designing for everyday products is important to Eastman because, "It's not something you hang on your wall and look at; It's something you can use and wear ... that's (the theme) of all of the stuff I'm doing." We can agree with that, because who wouldn't want a coffee table or a pair of sunnies designed by a baller artist? The new Colab + Beastman sunglasses will be launched at the exhibition and end-of-year bash on Wednesday, December 11, from 6-8pm at Somedays store/gallery, 72B Fitzroy Street, Surry Hills, NSW. It will feature a limited edition print release. Join the party by RSVPing to media@somedays.com.au. Thanks to Colab + Beastman, we have one pair of their new sunglasses to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
Everyone's favourite whimsical seaside house is back for another year. Master of whimsy, The Grounds of Alexandria is returning to Bondi's Sculpture by the Sea for a third year, relaunching their pop-up cafe along the scenic walk at Tamarama from October 20 to November 6. The styling this year has moved away from last year's Hobbiton (so long Sackville-Bagginses, you fools!) to gallop full pace towards a Western desert theme. After a recent trip to America's southwest, Ramzey Choker and Therese Moussa (co-founder and creative developer, respectively) have decided that 2016 will be the year of Arizonian architecture and arid vegetation. The traditional hacienda (made with insulating adobe, so popular in warmer climates) is the structural inspiration this year. You can expect bountiful succulents and cacti, as well as textured floral rooftop of seaside daisies. The Hobbit-style house from last year will be remade into an American southwest oasis, popping with terracotta peach, coral and salmon — so make sure you bring your selfie stick. The outside will be treated with a green patina (like an oxidised copper) to give it a weathered look. It's an interior decorating dream come to life. "We want to create a house that blends in with the sunrise; we've designed it to be in harmony with its surroundings in Bondi and want it to feel like it's been sitting on the hill for years," said Moussa. Chef Paul McGrath will be serving up a selection of the Grounds fare, including brekkie bowls, seafood platters and signature burgers with some Arizonian flavours (which are, for the record, lime, chilli and coconut) thrown in for good measure. Have a look at the vid below to see Moussa working her magic with paints for the house. The Grounds by the Sea will pop-up at Marks Park in Tamarama from Thursday, October 20 until Sunday, November 6. It will be open from 7am until 7pm each day. For more info, visit thegrounds.com.au.
When The Chaser's production company, Giant Dwarf, secured the event space previously known as Cleveland Street Theatre, it wasn't sure it would last past the two-year lease. Well, that lease came and went, and while the performance space has since moved a little ways down the road, it's now considered one of the most popular in the city. Giant Dwarf focuses on those funny-shaped hybrids of comedy, storytelling and performance that have become popular on the Sydney scene: events like Story Club, Queerstories and erotic fan fiction found permanent homes here after a previously nomadic existence. There are political debates, think-pieces and album launches. Professionals, comedians and emerging talent use the venue to trial fresh material before festival circuits kick off. But the space doesn't begin and end at live performances. The venue is available for hire as a rehearsal space, green screen studio and events. Improv Theatre Sydney runs its improvisation and performance workshops out of Giant Dwarf as well, indicating an ongoing commitment from the venue to foster creative talent.
Say cheers — Sydney is scoring a huge new drinks festival this year. Beerfest is a drinks-centred celebration dedicated to top-quality beer, cider, distillers and wine. Come December, you'll be indulging in two whole days of sampling Australia's finest local producers. The Sydney edition joins a roster of Beerfest events that have previously taken places in cities throughout the country, and now, it'll be drawing a crowd to Darling Harbour. Tumbalong Park is set to host the festivities, with the celebrations taking over the spot for two big days from Friday, December 6 to Saturday, December 7. "Sydney BeerFest at Tumbalong Park is the ultimate blend of party vibes and brew education, and a place where good times and great flavours collide," said James Harding, Co-Director of BeerFest. While craft breweries are a massive contributor to the Australian economy, Beerfest is fuelled by the pressures local breweries face as a result of Australia's high beer tax, which ranks as the third-highest in the world. Hence, the arrival of this celebration, which'll act as a cash injection for the industry — especially seeing as though the event organisers don't take a cut of sales. "Australian craft brewers need our support more than ever," said Harding, "With exclusive small-batch brews, one-off collaborations and themed cocktails, it's much more than just a paddock-to-plate experience." Over 8,000 attendees are expected to join the festivities, and there are plenty of drawcards on the lineup. In addition to sampling the wares of over 100 of Australia's best local producers, punters can also enjoy live DJ sets, food trucks, cocktail masterclasses, stand-up comedy and tattoo stalls. Head to the BeerFest Australia website for tickets, updates and further announcements.
The Black Phone didn't need to star Ethan Hawke. In a way, it doesn't really. Fresh from Moon Knight and The Northman, Hawke is definitely in this unsettling 1978-set horror film. He's also exceptional in it. But his top billing springs from his name recognition and acting-veteran status rather than his screen time. Instead, superb up-and-comer Mason Thames gets the bulk of the camera's attention in his first feature role. After him, equally outstanding young talent Madeleine McGraw (Ant-Man and The Wasp) comes next. They spend most of their time worrying about, hearing rumours of, hiding from, battling and/or trying to track down a mask-wearing, van-driving, child-snatching villain — the role that Hawke plays in a firmly supporting part, almost always beneath an eerie disguise. Visibly at least, anyone could've donned the same apparel and proven an on-screen source of menace. There's a difference between popping something creepy over your face and actually being creepy, though. Scary masks can do a lot of heavy lifting, but they're also just a made-to-frighten facade. Accordingly, when it comes to being truly petrifying, Hawke undoubtedly makes The Black Phone. He doesn't literally; his Sinister director Scott Derrickson helms, and also co-wrote the script with that fellow horror flick's C Robert Cargill, adapting a short story by Stephen King's son Joe Hill — and the five-decades-back look and feel, complete with amber and grey hues, plus a nerve-rattling score, are all suitably disquieting stylistic touches. But as the movie's nefarious attacker, Hawke is unnervingly excellent, and also almost preternaturally unnerving in every moment. Whenever he opens his mouth, his voice couldn't echo from anyone else; however, it's the nervy, ominous and bone-weary physicality that he brings to the character that couldn't be more pitch-perfect. Everyone is tired in The Black Phone, albeit in varying ways. At first, that comes as a surprise — it's a looser, more laidback time, and the film happily rides the vibe in its opening Little League game. Still, that relaxed air comes with its own sense of anxiety. What's better, an era when kids escape their homes during daylight, roaming the streets as they like but also instilled with a festering sense of stranger danger, or a period where such unsupervised freedom seems utterly unthinkable? This movie lurks in the former, obviously, and there is indeed a dangerous stranger prowling around north Denver's suburban streets. To 13-year-old Finney Blake (Thames), his younger sister Gwen (McGraw) and their schoolmates, that monstrous figure is known as The Grabber, and he's abducted several of their peers so far. Finney and Gwen are also exhausted at home, where their alcoholic father Terrence (Jeremy Davies, The House That Jack Built) is hardly hands-on — unless his hands are flying in anger their way. At school, Finney has a trio of bullies to deal with, too; luckily, if his pal Robin (first-timer Miguel Cazarez Mora) isn't around to save him, the plucky and sweary Gwen usually is. She's zapped as well, courtesy of dreams of events that haven't quite happened yet. The pair's mother had the same ability, which is why their dad is so sozzled, and also so hard on the two of them. Fatigue is well and truly in the air, thick yet invisible, although The Grabber's (Hawke) is the flimsiest. After taking Finney, he's drained by his need to kidnap and kill. That doesn't stop him from terrorising the neighbourhood, of course — but if his latest target has his way, aided by advice whispered down the disconnected basement telephone by past victims, the masked assailant might soon be far worse than simply weary. If you didn't know that The Black Phone came from Hill's pen, or that his father is the most famous horror author alive, you'd likely guess it the moment that The Grabber uses balloons to lure his prey. Those decorations are black, not red. The Grabber is a part-time magician instead of a demonic clown. No one dwells in a sewer here, but the trapped Finney does peer out of a basement window — and looking at him from the outside has a Pennywise-in-a-storm-drain appearance to it. The Black Phone isn't an IT do-over; however, it always feels like it has been moulded not just from memories of growing up in the 70s (Derrickson and Hill are the right ages, as is Hawke), but by minds that have also internalised King's brand of horror. Stranger Things does the same, but with the 80s. And as with the Netflix hit, that loving, knowing, nodding sensation doesn't stop The Black Phone from drawing viewers in — or keeping them immersed, engaged, entertained and unsettled. If you also didn't know that The Black Phone was a short story on the page, you'd swiftly pick that by watching, too. The film can't be called economical or slight, but it jumps speedily from forebodingly setting the scene with gripping unease (that weariness is palpable) to getting close to wrapping everything up, all without lingering much in the middle. The sense that connecting the dots is happening a tad too fast can't be shaken, although it doesn't confine The Black Phone to the cellar where terrible, half-baked, by-the-numbers horror flicks should go to rot. (Also, The Black Phone isn't any of those things.) Rather, for such an escape room of a movie — a picture that's all about a teenage boy who isn't the typical hero using his brains and even his fears to hopefully puzzle together the necessary pieces to escape a room, with some supernatural help — it just seems too eager to flee. Wishing there was more teasing and loitering to Derrickson's return to horror after helming the first Doctor Strange, and Hawke's as well, is the right kind of problem to have, though. There's plenty about The Black Phone that keeps audience hooked — and, unlike Finney, we'd be happy to remain that way a little longer. Derrickson's film is big on mood, and on crucial details. Almost every character feels lived-in, from its two key kids through to The Grabber, Terrence, and other victims fleshed out in small scenes and flashbacks. (Performances obviously play a pivotal part in the latter, not just from the superbly vicious Hawke and the impressive Thames and McGraw, but right down to IT: Chapter Two's James Ransone showing up and getting unhinged quickly.) There's always a dripping sense of tension, much of the picture's imagery is perturbing all on its own, and the well-executed jump scares do exactly what they're supposed to. The Black Phone doesn't always know when to stay on the line, but the chilling flick is still a horror-movie call worth taking.
Electro highflier Gold Panda (aka Derwin Powers) first popped onto the radar in 2009, and has constantly thrown EPs and 7"s at us since. He's dropped two critically praised albums, 2010's Lucky Shiner and 2013's Half of Where You Live. This latest album holds truth in its name. Half of Where You Live is an electronic echo of the producer’s experiences: having lived in Japan and travelled extensively, he's now based in Berlin. With tracks such as 'An English House', 'Enoshima' and 'My Father in Hong Kong 1961', our ears get an ambiguous, aural journey through Powers' experiences and geography.
If Life of Pi has had you pondering life’s big questions, here's your chance to pursue your ideas in the flesh with some live theatre. Performance Space is hosting another instalment of Nighttime, its popular evening of short dramatic works curated by a local artist, this time to tie in with the provocative Matters of Life and Death program. Eddie Sharp (the Late Night Library series, Some Film Museums I Have Known) will be curating this round, titled NightTime: Live and Let Die. A bunch of independent artists will bring their most surreal imaginings, terrifying nightmares, and outlandish black humour to the stage for one night. Those featured include Lucinda Gleeson, who'll present Walter Burley Griffin Has a Lot to Answer For; Karli Munn with Raining Blood; and Julian Day with The Regret Tree. Whether you've spent your life sitting under a tree contemplating Hamlet repeatedly or drinking your way into oblivion so as to avoid turning your mind to mortality at all, this show is bound to leave you with something to think about. Also included in Performance Space's Matters of Life and Death program of Aussie and international works is dance piece Performance Anxiety, macabre foodie event The Last Supper, not-so-funhouse Unsettling Suite, and the Death Knocks Supper Club of impolite dinner table conversation. Read what the artists had to say in our feature 'Seven Positive Ways to Think About Death at Performance Space'.
Checho's opened in 2020, bringing contemporary Mexican dining to Penrith. The aesthetic is breezy, almost coastal chic, with pastel tones and tiles and neon feature pieces. But you're here for the food: expect vibrant flavours that pop. We're talking Tex-Mex-style snacks like jalapeño poppers with maple bacon; Latin-inspired zesty ceviche or steak with chimichurri sauce; and melt-in-your-mouth brisket tacos. The plates are made to be shared, especially larger dishes like sizzling fajitas and lamb shoulder. And the fresh house guac is, of course, non-negotiable. For bevs, there are classic margaritas and signature agave-focused cocktails, with tropical fruit flavours, spices and citrus.
When The Sopranos came to a close with perhaps the most controversial ending in television history, it left fans with plenty of questions. If you're keen to get some closure — or simply find out more about the iconic gangster series — then open up your 2019 diary: three of the show's stars are coming to Australia next year. Touring the country between May 25 and June 1, In Conversation with The Sopranos will see Michael Imperioli, Steve Scirrippa and Vince Pastore take to the stage to chat about their time on the HBO series, including everything from behind-the-scenes stories to theories on how the eight-season show ended. That means that Sopranos aficionados can hear all of the insider details from none other than Tony Soprano's unofficial nephew, Christopher Moltisani, plus two of the mob boss' enforcers in Bobby Baccala and Big Pussy. While the man who became synonymous with the series obviously, sadly can't be there, Imperioli, Scirrippa and Pastore will also chat about the late, great James Gandolfini — including their friendship with him both on- and off-screen, and the impact that he had on their lives and careers. No word yet whether the trio will come out on stage to the sounds of Journey's 'Don't Stop Believin'; however they will indeed be answering attendees' questions at the end of their discussion. Tickets start at the $100 mark (give or take a dollar or two depending on the city), and if you're feeling flush with a spare $285 burning a hole in your pocket, you can also opt for the VIP package which includes a meet and greet. In Conversation with The Sopranos tours Australia in 2019, coming to Sydney's Enmore Theatre on Saturday, May 25, The Star Casino on the Gold Coast on Sunday, May 26, Perth's Crown Theatre on Wednesday, May 29 and Melbourne's Palais Theatre on Saturday, July 1. Tickets go on sale at 9am on Tuesday, August 21, with a pre-sale from 9am on Friday, August 16 — for more information, visit the event website.
Surry Hills has scored itself a specialty coffee destination — Melbourne-born roaster Veneziano Coffee has landed in Sydney. With cafes in Adelaide and Brisbane, and a roastery and headquarters in Melbourne's Richmond, Veneziano's Sydney project comes backed by almost two decades of experience and a reputation for some pretty top-notch coffee. The sleek Surry Hills espresso bar serves a rotation of the brand's favourite creations, from house blends to featured microlots sourced from one small area of a plot. They're available to take away or enjoy in, perhaps teamed with a sweet treat from Shortstop Donuts. In even more exciting for local caffeine fiends, the cafe also includes a state-of-the-art training studio, which'll play host to a range of specialty coffee events and training courses, catering to everyone from novices to professionals.
Stunning art always endures, as A Streetcar Named Desire has for nearing eight decades now. Tennessee Williams' tale of Southern belle Blanche DuBois, her sister Stella and the latter's husband Stanley Kowalski first premiered via a Broadway production starring Jessica Tandy, Kim Hunter and Marlon Brando, and has repeatedly returned to stages since. Indeed, this southern-gothic heartbreaker has trodden the boards worldwide with everyone from Glenn Close (Black in Action), Cate Blanchett (Black Bag) and Frances McDormand (Women Talking) to John C Reilly (Winning Time: The Rise of the Lakers Dynasty), Joel Edgerton (Dark Matter) and Paul Mescal (Paul Mescal) in its cast. Four Oscars also came the way of Elia Kazan's 1951 film, where he adapted the play that he'd directed in theatres into a screen classic with much of its originating stage cast. Spectacular theatre can make that leap to screens — but the stage productions themselves have historically only lived on via memory and reputation. No matter how immersive and exceptional, and how urgent and unforgettable as well, theatre performances are live and therefore fleeting. They're tied to a specific place and usually solely experienced in the moment. NT Live did its part to help change that over 15 years ago, when it began filming National Theatre productions in the United Kingdom — expanding to other companies, too — then beaming everything from new Shakespearean stagings and Danny Boyle's (28 Years Later) take on Frankenstein to Fleabag and The Importance of Being Earnest into cinemas globally. In 2014 when he unleashed his Gillian Anderson (The Salt Path)-, Ben Foster (Long Day's Journey Into Night)- and Vanessa Kirby (Napoleon)-starring version of A Streetcar Named Desire at The Young Vic in London, Australian playwright, stage and opera director, and filmmaker Benedict Andrews was well-aware that he was taking on a classic, a masterpiece, and a play that ranks among the 20th century's best and has burned itself into memories. He'd done so before at the Schaubühne am Lehniner Platz in Berlin. He didn't initially know, though, that he'd be joining the NT Live ranks, that audiences worldwide would be able to catch it on the big screen, and that they'd still be watching 11 years later. In Australia, Andrews' Streetcar returned to cinemas from Thursday, June 19, 2025. "The play is very dear to my heart, but the nature of theatre is usually that it's ephemeral," he tells Concrete Playground. "Theatre's usually ephemeral and that is its beauty — that it usually just exists in this brief compact with the audience and the viewer when the play comes to life nightly. So it's weird that it's released in cinemas again. It's great though — because I found during COVID, they re-released it for free online at some point, and it found a whole new generation of viewers," the Australian continues. "Not just people who didn't live in London or New York, so couldn't see it there, but I'm having conversations with people in in really far-flung and diverse places, and maybe of a different generation who are seeing it, and discovering the play for the first time through that production." "I've had people tell me that — like a young actress tell me that seeing this production when she was in high school made her want to become an actress. So it's great it's out in the world again, and on cinema screens." [caption id="attachment_1010339" align="alignnone" width="1920"] Gareth Cattermole/Getty Images for BFI.[/caption] Complicated relationships, desire, raw emotions that can't be contained: these themes have recurred in Andrews' work. They all scorch and sear as Blanche's once well-to-do life keeps shattering, leading her to take the titular transport to Stella and Stanley's two-room New Orleans apartment, and to the toxicity — verbally, emotionally, psychologically and physically — of being in her brother-in-law's orbit. If you'd like to think of the trio's altercations, and those involving Stanley's friend and Blanche's hoped-for beau Mitch (Corey Johnson, September 5), as a traumatic merry-go-round, Andrews has taken that idea literally in this staging. Tying into Blanche's alcoholism and downward spiral, this aesthetically striking production is both in the round and revolves, the skeleton of the Kowalskis' powderkeg of a flat exposed to theatregoers as the show constantly rotates. Sculptural sets, spaces that actors are required to interact with rather than just stand upon, are equally a regular element in Andrews' stage creations. See also: his Cat on a Hot Tin Roof in 2017, another dance with a Williams great for The Young Vic that was also immortalised by NT Live. Streetcar's iteration is arresting, but that label perhaps best applies to Anderson as its Blanche — a part that she'd been wanting to step into since she was 16. While she'll always be The X-Files' Agent Dana Scully, The Fall's DSU Stella Gibson and Sex Education's Jean Milburn, among the immense range of roles before and after always relying on the kindness of strangers, Anderson's portrayal here is one that you'll always remember her for as much as the above once you've seen it. 2026 will be three decades since Andrews kicked off his career as a theatre director with Wounds to the Face and Storm From Paradise in Adelaide. From the South Australian capital, he went to Sydney Theatre Company, Belvoir and Malthouse Theatre — and to London's stages, New York's as well with both A Streetcar Named Desire and Cat on a Hot Tin Roof, and also Munich, Berlin, Reykjavik, Copenhagen, Buenos Aires, Amsterdam, Frankfurt and more. Opera beckoned. On the big screen, he was behind 2016's stage-to-screen adaptation of Blackbird as the Rooney Mara (La Cocina)- and Ben Mendelsohn (Andor)-starring Una, then 2018's Kristen Stewart (Love Lies Bleeding)-led Seberg. Alongside digging into his Streetcar journey, including whether thinking about the cinema experience is part of directing a stage production that will be filmed and then show in cinemas, Anderson's stellar work, and ensuring that the play's themes and emotions are always bubbling, we also explored his path to here with Andrews in our in-depth discussion. On Whether the Possibility of a Stage Production Being Filmed for the Big Screen Changes Anything About Andrews' Approach "No, no, no, never. In the case of Streetcar, I didn't know. I guess NT Live branching out of the National Theatre stuff, because this was a Young Vic production, was fairly uncommon at the time. I've had two productions filmed, I think, only — which have both been Tennessee Williams. They also filmed the Cat on a Hot Tin Roof. And no, I don't and probably I wouldn't at all. Well, I've had a bunch of operas films since as well — and I never think about it. When I've worked with the team on it, I talked to them about it like they're filming a boxing match or a football game. So we discussed what their setup would be, and with them having watched the production. Obviously Streetcar is very special because of the revolving stage, and what that means to try to shoot that or capture that, but I discuss it with them more like they're going in to shoot that, to capture the live experience of it. Rather than, because I'm also a filmmaker, rather than thinking about this filmmaking, I see it as much more of almost a functional recording that they happen to do very well — like if you watch boxing at the Olympics or you watch a well-filmed AFL game, you want it to capture the highlights and the moments, and give you the enhanced sense of being there. I think I'm trying to do that. So then, when I'm in the rehearsal room, no, I'm not thinking about that at all. I often, when I'm in a rehearsal room, I give myself and the actors very fundamental challenges to work with and overcome. And those challenges, I think, are about — they're like a kind of drill to drill very deeply into the core of the play. Rather than just assuming we can access that play by selling this kind of difficulty, I think then it allows you to access the raw matter of the play in a new and immediate way. So the revolve in the Streetcar production was exactly that. I felt it was the perfect metaphor for the play. It begins when she takes this schluck of alcohol. It reflects her addiction and the sense of what it means to be in her downward spiral with her. But it also is very visceral. Every single audience member gets a different perspective on what's happening in that room, as it constantly — the in-the-theatre experience of it — moves in and out of long shot and closeup, and literally every seat is seeing a different way into this cage where this encounter is going on between Blanche and Stanley. And we had that on throughout rehearsals. It's not some big decorative thing that's put on at the end. If it's going to be this drill, we have to learn to work with it. And the effect of it was so disorientating that the actors would go home and the room would be spinning. And I remember my apartment in London spinning when I went back after being it on all day. I think they would to take motion-sickness tablets, and so on. Beyond that, it's just also: how do you use it? What does it mean to be on and off it? And all that. So when you're so busy with the play and busy with helping the actors unlock it and find its raw heart, which all of them do, but particularly the four, the quartet, of Blanche and Stella and Stanley and Mitch, there's so much to be busy with in that that I'm not thinking about that. But in a similar way, I'm not really thinking about the audience, even the theatre audience, when I'm making something — until I'm in previews. I'm sort of the first audience, and the other people in the room are the tuning rod through which the players get to charge through. And then you hope you get that to such a point of intensity and feeling that then it's ready to share with a larger body of people." On How Staging a Play on a Revolving Set Gives Every Audience Member a Different Immersive Experience "I'm constantly thinking about that. And part of this is the acceptance that you cannot control that it will not be the same for everybody. To take the football analogy again, if you're sitting behind the white sticks at one end, you're seeing a different game from somebody sitting in the centre line, except then that it's moving, so you're rotating that perspective. But you have to accept that no audience member will literally ever get the same view of the show, so that even if audience member X bought exactly the same seat two nights in a row, just because of the slight variation in the motion of that thing, they're going to — maybe on a certain line, Blanche is going to be on the side angle one night, and on the next, she's going to be momentarily obscured by the shower curtain coming past. But that was part of it — that enhanced voyeurism of that, but it's like an active voyeurism, like you're aware that you're watching this fight in this cage, but also this very, very painful to watch, at-times unraveling and madness, this coming apart, of this woman and this family, and the sexual violence when that begins. But I think it meant that the audience had to really lean in and be complicit with it. So to answer your question, I'm thinking about the overall implications of that. Like if I was making a static picture from the front, that works — actually, that changes, the static picture changes from the position, the ideal centre-perspective position where the king used to sit, it actually changes as you move further away and the perspective disintegrates. So there's sort of something radical and democratic in how people watch it. That cinematic effect of the wipes, and that you would each see different perspectives — but in the end, everybody united in the same moment. That's what I think is also really interesting. I think about it in the moment, when the Cat Power song plays at the end, when she walks out — one of the most-extraordinary moments in 20th-century theatre, this speech when she talks about, she's so broken after the rape and after knowing she's being evicted and her psyche can't cope with it anymore, but to cope with that she invents this beautiful fantasy of this man feeding her a grape on a on a boat. And she, her genius is that she invents this, and Tennessee Williams' genius at this most-broken moment, she invents and becomes the perfect actor, playing this dignified role of this woman going to meet her gentleman caller. When we know, and probably she does, that it's the doctor and nurse coming to take her to the mental asylum, which is just going to be fucking hell. A woman like that does not belong in a place like that. It's completely heartbreaking. But the apotheosis when she invents this character, and walks out with such grace and dignity — and then in our production, where Gillian does that circle, that last circle to the Cat Power song, I think for the audience, having watched just this truly extraordinary thing that she goes through, the gift and self-sacrifice, nightly self-sacrifice of Gillian's performance, at that moment, the entire audience is just completely gathered and at one. So I think there's something about having fractured that perspective, then feeling them come together at that moment of apotheosis. I think you're always thinking about that, how to activate that, whatever then the device you're using is. It's a bit of a similar thing in The Cherry Orchard that I just recently staged, where there's also an audience all the way around. But the actors don't have fixed positions. They change what they're doing nightly. So again, the show is constantly evolving and changing and organic, but at the same time, directorially it's still very tightly held. Even if I'm fracturing that viewpoint in Streetcar between all these different viewpoints, I want, ideally, every viewpoint to be perfect — the perfect frame at every moment." On Casting Gillian Anderson in a Role That She'd Wanted to Play Since She Was a Teenager — and Giving Her Another Iconic Part That She'll Always Be Remembered For "This was my second time staging it. I staged it at the Schaubühne in Berlin a couple of years before, in German, and I always wanted to have another crack at it. And weirdly enough, that production of Streetcar was seen by David Lan, the then-Artistic Director of The Young Vic, where we staged Streetcar. And from that, he invited me to come and work in London — and I did first an opera for him, and then a production of Chekhov's Three Sisters, which also had Vanessa Kirby in it as Masha. And Gillian saw that, and said to David 'I want him to direct me in Streetcar'. So when we met to talk about that, she told me how she'd always been thinking about Blanche and always knew she wanted to play Blanche, and I could sense that profound hunger in her to do that. And I already had the plan in my skin. They're wildly different productions. We had a revolve in that, actually, but they're wildly different productions. But it was interesting to have that as a framework — so the first one was like sort of a rough sketch, and then the second one was much more elaborate. So it was just a beautiful kind of confluence of me feeling very close to the play — really, really hungry to do it in English — and then finding, for me, the perfect actress for it at exactly the right time in her life to want to do it. And it was a process and then a production just full of enormous trust and risk. I think from our very first meeting, we felt that we had found each other. I knew she trusted me to take her somewhere. And I knew she wanted to be taken somewhere. I think she and we are very, very, very, very faithful to the play, but even in the UK at that period, at that time, even doing a non-period production of a classic that didn't look like all the other previous productions and all that — she also clearly had an appetite to be in a contemporary production. I guess one thing I try, if I'm approaching a classical play, is to treat it as if it might be a contemporary play. And if I'm approaching a contemporary play, I treat it as if it should be a classical play and will be a classical play. And she clearly believed that there was no attempt to turn, to drag, the play or the production a safe place. She had, as I said, an enormous appetite for risk. And you can see in the performance. So I think why it's memorable, as you say, is she puts herself on the line in every single performance. She's talked about that a lot, I gather, since — what that meant. And I think particularly when we were in New York, what that was like to get under Blanche's skin every night. She's also talked about it, so I won't. But also, she's talked about a kind of confronting or accessing her own history of addiction in the role. And to really do Blanche, I think that is important, because it is the story of someone who is addicted to alcohol and addicted to sex, and trying to deal with the legacy and the brokenness of her own family and her own history through that." On Ensuring That A Streetcar Named Desire's Senses of Guilt and Sadness Is Always Bubbling, and Its Volatility as Well, Alongside Its Exploration of Compulsiveness and Addiction "I think ultimately that's about trusting the players. As such a loaded masterpiece, it is — every single moment of the play, he found such an extraordinary collision of these, of Blanche and Stanley. And I think two sides of himself, Tennessee Williams, but also two sides of his own desire, two sides of his own profound sexual hunger. And it means that everything under the play is just so volatile. And I think often, too, these great plays — whether it's from ancient Athens or Elizabethan London or this — these great plays come at moments of huge historical change, often after major wars. And this play is a of flowering of that new America. It's the same time where the great Arthur Miller plays come as well. And in post-war America is a changing society that's becoming the kind of muscular empire we now see disintegrating. And I think that everything in the play is really loaded. So it's about trusting that, encouraging the actors to access it. In this production, I guess there are a few structural things done, in that Blanche usually leaves the stage — and she does not leave the stage. She's briefly absent in the first minute, I think, before Stella runs out and then she arrives with the suitcase. And then she's very briefly gone the at the end. But even when she and Mitch go to the fairground or whatever, they're still onstage in this production. So that was, I guess, part of also the compact with Gillian, was: what is it like to expose, to put every single moment of this woman's crisis under the microscope and not give her anywhere to hide? So, even during the scene changes, the costume changes between scenes, she's exposed and literally exposing herself while doing them, and she has to stay in that. So I think it's also structurally thinking of the play as this last downward spiral of this, that's been going on for some time — maybe even generations within her family, and the legacy of slavery and corruption in her family. And then she's the last one left. She's the last queen of this ruined nation who comes into exile, into the camp of her enemy, Stanley. And I think it's also been just about what that process in the rehearsal room is, and making sure that it's understood that every night they're going out there to chase it down. And when the play is big enough, then that process never finishes. They're going out to meet each other and the play and the audience afresh every night, and to play the game to the hilt." On the Challenges of Live Theatre, and the Extended Run of Interrogating a Story and Its Emotions Night After Night That It Affords — and Andrews Once Saying That It and Film Are the Same Thing "I'm not sure in the end they are the same thing, either. I think probably what I meant when I was saying that once is that they tap into the same place. And that that someone like [Ingmar] Bergman, who spent his artistic life moving between the theatre and the cinema and not making a binary between the two of them, but that they could be a conversation in which he's exploring ongoing questions — I think that is really, really an ideal for me. But one thing that, of course, is entirely different is that cinema is made by a frame and a camera recording the world. And the shot of the poppy shaking in the garden, cut to the hand of the trembling actor, cut to something they say on their face: that creates the meaning, that creates the story, that creates your feeling. And you collect it during the shoot, but it is then cut up and reconfigured in the edit room, and that is the art and the architecture of cinematic storytelling. So the swaying poppy is just as important as their closeup on the actor's eyes. In the theatre, whatever images there might be onstage or whatever — even if there's an emptiness onstage, even if the actor is absent, it's about the absence of that actor. The actor is everything in the theatre. And it's where I come from first. It is my home and it is my emotional gymnasium. And it's this very beautiful, privileged space, like a little island where we go to reflect on the world and reflect on being human and reflect on being alive, to deal with emergencies and crisis — both political, personal, whatever — but within the permission of this safe room. So you can go into the places emotionally that would send you to the madhouse, like they do Blanche, or put you in prison like if you were to follow through with what happens in that room. But it's a room where we then have permission to think through, play through, work through, together as a collective, without the big, beautiful apparatus — that was a Trumpian sentence — without the extraordinary apparatus that cinema has. You need, even if you're reduced, stripping it right down, it needs this village of people and technical equipment to make it. The theatre needs nothing in the end. Just a circle of viewers and the players. And I guess as I then started to make — I made my first film just after Streetcar, I made Una in the months after Streetcar the first time — and as I've started to move more between the two mediums, I think it's become even more precious, this sense of the fragile, the gift of being in a room with people and exploring these things, but also the idea of this fragility and the idea that if I'm going to do theatre, I don't want to hide behind anything. So my theatre was already pretty raw, but I think since then it's become even more about — in every show I've done since COVID and since my last movie, the audience has been lit. They are to a degree in Streetcar, but in recent plays like The Cherry Orchard, they're lit by this same forensic white light. You're very aware of them sitting there. The actors sit amongst the audience and step up and play from that. So this essential liveness and this essential experiment of theatre, that it's a nightly process, an experiment, I think has become even more important to me — or, if you like, it's always there, it's always there in theatre, but it hides behind a lot of bullshit often." On Whether Taking Either A Streetcar Named Desire or Cat on a Hot Tin Roof to the Big Screen as Films Appeals, as Andrews Did with Una "Probably not with either of those. The Streetcar, the Kazan one, I'd rather film the play like this. I think it's different if it's a new play. I think things have to undergo a transposition, right, and Una undergoes a significant transposition. It's not filmed theatre. You could even say some things that are closer to filmed theatre, like the Who's Afraid of Virginia Woolf? or something, still that makes a transmutation of form. And so I think more, sometimes I think about two things. To take a story — and this is something I've talked to with some actors about; I've talked about it with Cate Blanchett, who's somebody I've worked with a few times, and also with Nina Hoss [Do Not Expect Too Much From the End of the World] separately, who, both of those who are great theatre actresses and great film actresses — this idea that if you've played a role in theatre, you've lived it so completely and you've explored it in so many different ways compared to [film]. This isn't comparative. I think they're both significant. But compared to filming for and performing for the camera, which is like you're doing these short little sprints — you're doing these little bits that are then cut up — but when you've lived it in the theatre, I think they recognise, the wealth of having done that, what it might mean to do that in another, to take all that, take the character, rewrite it for another form. Weirdly, it happened when Cate had done Streetcar herself, right, for Liv Ullmann, and then did the Woody Allen film [Blue Jasmine]. She's sort of playing Blanche in that. And that's really interesting. To rather than say you're just copying the same thing, to say you grow a new creature from it, but using the same logic and ideas. And then the other one that I'm starting to think about for a future project — and maybe this is because of the NT Lives. Like I said, they film them themselves and that's great, and they're really excellent things to have out there, and they reflect the moment of the theatremaking. But there's one where then I as a filmmaker and a theatremaker might take the production, and not make it as a film, like the Kazan version of Streetcar, but do my own cinema version of filming the production. So like the Paul Schrader Mishima or something, right, which has that artificiality in it — but do bring the camera into the theatre space that's constructed, and make this boutique object from that. So I'm very curious about that. And I think NT Live proves that there's an audience for that as well." [caption id="attachment_1010340" align="alignnone" width="1920"] David M. Benett/Getty Images.[/caption] On Andrews' Dream When He Was Starting Out as a Director Three Decades Back — and How Even Imagining NT Live Wasn't Possible "No, I didn't. I mean partly, some of those things were impossible to even conceive of then. The world has changed so much. Also, I think my ambition has always been of a different kind. I never began thinking 'oh, I would like to work in these places. I would do this'. I was always just obsessed with making work. So those first works in the Red Shed in Adelaide, they were all-consuming. At the same time then, on the nascent internet or however, I was sort of Googling different — well, it was probably pre-Google — looking for radical theatremakers in the world. And in 1999, getting to travel and go and meet them and see their work. So for me, it's always been a hunger for the work and about the work. And all of the opportunities that have come — right from, I guess, first going and working, being invited from Adelaide to become a resident at Sydney Theatre Company, then being invited to come and work at the Schaubühne in Berlin, and then going to London and so on — they have always come from the work, from somebody seeing the work, recognising the work and inviting me to build on that. I've never looked and said 'I want to be working on these stages' or be there — other people work like that, but for me, it really comes from the work. I think back then, I loved cinema very much and was very influenced by cinema, and thought that I would like to make a movie one day but was busy with theatre for a lot longer than I thought — and absolutely consumed with theatremaking, but I guess I always hoped that I would do that. And to move between those two worlds — we mentioned Bergman — that still remains a goal. And to make a movie that can have the effect on people that Streetcar has, I don't think I've quite done that yet. That can be very, very true to itself — very true to itself — and also have audiences lined around the block to see it when we did it in London, and people still wanting to see it in the cinema. I'd love to find that sweet spot in a movie, and I feel there's still a lot of work to do there — and that theatre is a place I can keep returning to for now. That's a really beautiful, safe home to explore in. So it's always about the work for me." NT Live's A Streetcar Named Desire returned to Australian cinemas from Thursday, June 19, 2025. A Streetcar Named Desire images: Johan Persson.
Winter might currently be in full swing in Australia, but here's a trusty reminder that there's plenty of summer fun to look forward to: the ticket ballot for 2025's Meredith Music Festival is officially open. If spending three days and two nights watching one stage at the Meredith Supernatural Amphitheatre is your favourite way to kick off the warmest season of the year, then you'll want to go in the running to attend the regional Victorian fest ASAP. 2025 marks the beloved event's 33rd year, and its' promising "a midland melodrama in three parts". This three-decade-plus tradition will take over its namesake locale across Friday, December 5–Sunday, December 7, 2025. In the festival's own words, patrons can look forward to the "same shape, same size, and all on the one stage" once more. The other crucial date for your diary right now is Monday, August 11, 2025 — and 10.33pm AEST specifically that day. As at Wednesday, July 16, 2025, that's when the three-day BYO camping festival's ticket ballot is open until for this year. So, book that long weekend, enter for tickets, then cross your fingers that you'll be spending a trio of days at The Sup. There's no lineup as yet, as Meredith has long stopped being the kind of festival where attendance is dictated by whoever is taking to the stage. In both 2023 and 2024, the roster of acts dropped in mid-August. This year, Meredith has confirmed that 2025 lineup will be revealed with the ballot draws. 2023 saw Kraftwerk, Caroline Polachek, Alvvays, Alex G, Eris Drew & Octo Octa, Flowdan, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Sneaky Sound System, No Fixed Address, Souls of Mischief and plenty more on the bill. For 2024, Jamie xx, Waxahatchee, Genesis Owusu, Mk.gee, ZAPP, Angie McMahon, The Dare and Glass Beams were just some of the fest's names. Meredith Music Festival will return to Meredith from Friday, December 5–Sunday, December 7, 2025. To put your name in the ballot to get your hands on tickets, head to the festival's website before 10.33pm AEST on Monday, August 11. Images: Chip Mooney, Ben Fletcher, Chelsea King and Steve Benn.
Head into the huge Crown Tower in Barangaroo, bypass the lavish dining options a'Mare and Nobu, and head up the elevator to discover one of Sydney's most impressive spa experiences. Whether you're looking for a facial, nail service, wellness service or a massage, you'll find it here with a heavy dose of luxury. What really elevates the Crown Spa experience is the attention to detail and the wellness journey each guest is taken on. If you're after a massage, you'll be treated to access to the sauna, 360-degree shower and spa bath. This also means you can squeeze a massage into a workday and freshen up afterwards. Your boss will be none the wiser. For a next-level trip to the spa, book yourself in for a package. Crown Spa's Celebration package includes a one-hour relaxation massage and a La Prairie Skin Caviar Essential Facial; while the full three-hour Restoration journey includes body exfoliation, marma massage and an age-defying facial. Top image: George Apostolidis Appears in: The Best Day Spas in Sydney
Where do partygoers go when the party's over? Well, so far, it's been Hugo's Lounge, where DJs and indefatigable punters have gathered every Sunday to deny the weekend's demise. Now, 13 years on, Sydney's long-running dance night is moving around the corner to new club, Santa Barbara. Though the change has inspired some controversy, Sneaky Sundays devotees need not be concerned. Founders Black Angus and Miss Connie Mitchell (aka Sneaky Sound System) intend to continue in the spirit that has ensured the night's longevity, with all their favourite DJs being made well aware of the new location. And why not mark a change of address with a launch party? On February 24, Sneaky Sunday's loyal DJ talents, including Sam Francisco, Cassette, Jimmy 2 Sox, Ajax, Dangerous Dan, Jonny Pow and, of course, Sneaky Sound System, will be warming up their new home.
Beloved pub The Alexandria Hotel will reopen to the public after half a decade, with new owners Merivale to unveil a new dog and family-friendly outdoor dining space called Backyard at The Alex. The official opening date has yet to be announced, but the new outdoor area is set to feature food trucks, pop-up bars and live entertainment. "What we're trying to do with the indoor space is kind of flip the traditional concept of you get your drink inside and you head outside to the beer garden," The Alexandria Hotel General Manager Sam George told Concrete Playground. "We want to make this the backyard of this community. A place where you go, have fun, relax, listen to some good music, have some good drinks, eat some good food." Backyard at The Alex will be open for lunch and dinner Wednesday–Sunday and will share similarities to Merivale's fan-favourite beer garden at the Vic on the Park with long communal tables, grandstand seating, a basketball court and a large outdoor screen for sports. Local musicians and DJs will also be on hand to provide your spring and summer dose of live music. Food trucks will provide a rotating roster of culinary eats, beginning with chicken schnitzel specialist Wholly Schnit and Firepop, a Yakitori-style bamboo skewer vendor. A pop-up kitchen and container bar will also serve favourites from Merivale's other pub menus and a classic array of tap beers, wine and cocktails. [caption id="attachment_828453" align="alignnone" width="1920"] Merivale Group Beverage Manager Keven Peters and Merivale General Manager Sam Egerton[/caption] When plans were unveiled in 2015 to bulldoze 150-year-old pub in order to turn it into an apartment complex, the community banded together to save the pub. The result of a public push to maintain the venue resulted in the purchase of The Alexandria by Merivale in 2016. "Institutions like this must be preserved, they reflect our history and help shape our culture — especially when they mean as much to their local community as The Alex does," Merivale owner Justin Hemmes said back in 2016. Following the acquisition, The Alex sat vacant for nearly half a decade. At the time, Merivale asked for input from the local community on how they'd like to see the pub take shape which George says they've taken inspiration from. "We definitely listened to what the community wanted and we are trying to respond to it as much as we can," he says. George hinted that Merivale has bigger plans for The Alex in the future, but has confirmed that the new outdoor dining area will remain the focus as Sydney begins to open up. The Alexandria is located at 35 Henderson Road, Alexandria. It will be reopening soon from 12pm–12am Wednesday–Saturday and 12am–10pm Sunday. We'll bring you more details as they become available. Top image: Newtown Graffiti
If you have lived in Sydney for frankly any time at all, you should be familiar with King Street Wharf mainstay Cargo. It's the place that you inevitably end up when, already a few drinks down, someone in the group (occasionally you) suggests finding a dance floor to tear up. But the appeal of Cargo stretches beyond after-dark dancing. A recent overhaul has brought a funky metropolitan buzz to the venue with a new palette of concrete, glass blocks and pops of royal blue. Combined with its prime real estate overlooking Darling Harbour and this pretty appealing package, Cargo is an ideal spot to get your day drink on. Each Saturday and Sunday, Cargo hosts Get Spritzed, a 2.5-hour deal on bottomless spritz cocktails. For $60 per person — and a minimum of two people, no getting boozed alone — you and your mates can spend the afternoon slinging many an Aperol spritz. In addition to the well-loved classic, there's also a Campari spritz, a sweet rosé spritz and a fruity tropical spritz to try. Even day-drinking rookies know that the key to going the distance is a lined stomach so the package also includes a selection of starters and pizzas to share. There's certainly worse ways to spend a Saturday or Sunday. Already have weekend plans? Never fear. Cargo also has some pretty sweet midweek deals including Happy Hour — from 4–7pm, Monday to Friday, when you can pick up a vino for $5, a schooner for $6, house spirits for $7 or a cocktail jug for $18 — and Throwback Thursdays, which features 90s hip hop and R&B. Bookings for Get Spritzed are available from 12–3pm each Saturday and Sunday. Head to the website to reserve a table. Image: Anna Kucera
It isn't called the big screen for nothing — and, when you head to the pictures, that's typically what you spend a couple of hours peering at. But you won't just be staring at a giant rectangle at Wonderdome, Australia's new pop-up cinema experience. In a blend of film, music and art that takes its cues from planetariums, you'll be sat in a dome watching movies that've been specifically designed to take up the whole 360-degree space that's towering above you. Melbourne Planetarium's regular fulldome sessions, the Melbourne International Film Festival's own fulldome programming and the Brisbane International Film Festival's foray into the same space a decade back have all served up this same kind of immersive view, if the overall concept sounds familiar. But when Wonderdome hits Sydney's Entertainment Quarter between Saturday, December 4–Sunday, January 30, it'll also be following in the footsteps of Coachella and Burning Man by creating a dedicated fulldome space that's all about this type of cinema-going. It'll also offer Australia's largest-ever 360-degree projection cinema. The structure itself is a geodesic steel dome that spans 21 metres in diameter, and is filled with multiple projectors, as well as a 7.2 surround sound system. To watch, you'll recline on throne-style beanbags and stare up at the movie. Given that the projection sprawls all around you, it's been likened to virtual reality — but without the goggles. During Wonderdome's debut run in Sydney, it'll screen a lineup of 22 films — including the dazzling Coral Rekindling Venus, about fluorescent coral reefs, bioluminescent sea creatures and rare marine life, from Emmy Award-wining Australian filmmaker Lynette Wallworth. Other highlights include National Geographic's Flying Monsters, about flying dinosaurs, which is narrated by the one and only David Attenborough; the climate-focused Dynamic Earth, which benefits from Liam Neeson's vocal work; and Carriberrie, which focuses on Indigenous Australian dance and song. Fulldome cinema is also known for its psychedelic and eye-popping visual displays, which is where Samskara, from artist Android Jones, comes in — plus Labyrinth, which is filled with squares, streets, passages, corridors and rooms; and Luminokaya, which lets you explore Cambodian temple complex Angkor Wat. The rest of the program also features the architecture-focused Urban Levitation; Distant Life: Alien Worlds, about whether humanity is alone in the universe; Flight of Fancy, which recreates a space jump at 120,000 feet; and other space-centric titles such as From Earth to the Universe and Journey to the Centre of the Milky Way. There's a lineup of fulldome movies for kids, too, because this is an all-ages space. Snacks-wise, you'll be able to grab something to eat and drink either before or after each Wonderdome session, with the menu including jaffles, chips, slushies, chocolates and ice creams. Plus, there'll be a gin bar, as well as a lineup of craft beers. Wonderdome's Entertainment Quarter season will also accept New South Wales' Dine & Discover vouchers, if you have some left — or you're eager to get your hands on more when two extra vouchers become available for NSW residents over the age of 18 sometime this summer. And if you won't be in Sydney this summer, cross your fingers that Wonderdome will plan stops in other cities. The fact that it's is pop-up dome obviously makes that easier. Wonderdome will pop-up at Sydney's Entertainment Quarter from Saturday, December 4 –Sunday, January 30. For more information, or for tickets from 11am AEST on Wednesday, November 17, head to the Wonderdome website.
Anyone in Sydney who considers themselves a Sider knows the Sun-Herald City2Surf. What with it being the largest event of its kind in the Southern Hemisphere, attracting over 85,000 participants, this charity fundraiser/epic test of stamina and virtue is hard to miss even on the laziest of radars. With our partners The Athlete's Foot, we're putting one of our team to the test, giving him four weeks to get in shape and make it to that starting line (and, hopefully, the finish line) on August 11. Follow his ups, downs and diversions here, in his #ididit diary. And for all of you out there looking for some extra motivation to join in? The Athlete's Foot is giving away a pair of running shoes each week to their favourite #ididit photo during the running season. The Runner: Jack Arthur Smith, 24, Rugby Born and Bred I'm not from around here. In fact I was born, raised and schooled in the small market town of Rugby, England. Yes, the birthplace of that great game we Poms and our neighbours are apparently better at playing than you. But don't let this consequence fool you; I ain't no sports fan. If I was a Lion I'd be skipping down the yellow brick road with Dorothy and letting the Tinman do things to me after dark. However, while I may have spent last Saturday watching Pirates of the Caribbean and drinking Earl Grey tea, I do strongly believe in trying new things and pushing myself to stay active. I figure if I can pack my bags and travel halfway across the planet, I can handle jogging 14km through one the greatest cities on it. So when the chance to run the Sun-Herald City2Surf came along, just like when I danced in the Mardi Gras parade (twice now) or shaved my head for the World's Greatest Shave, it was against my nature to say no. Friday, July 19, 12.13pm Friday, July 19, 12.35pm Friday, July 19, 4pm My dad once told me if you're ever going to do anything, do it properly or don’t do it at all. So to fully prepare myself for the onslaught of 14km in less than four weeks, I knew there was only one thing to do: 60 minutes of pure remedial massage bliss. Say what you like, but we all know if you want something done in life, it’s better to butter up whomever you need it from first. And if that's yourself, well, too easy. Saturday, July 20, 11.40am Friday, July 26, 12.44pm Jack: Did 8km todays in 53 mins - #city2surf is just over double that... #FML #ididit http://t.co/tRMT8j07z5 — Concrete Playground (@PLAYGROUNDnews) July 29, 2013 Tuesday, July 30, 8.45pm Ever since I arrived in Sydney it's become increasingly clear it's true what they say: you people like to exercise. None more so, I would argue, than my good friend Jess Robinson who spends her free time training wannabe athletes or inspiring people from across the globe on her blog, Lazy Girl Fitness. Naturally, being somewhat allergic to exercise, it seemed more than appropriate to seek a little expert advice. A week and a bit later and I’ve run a total of almost 44km, done 96 push ups, 96 kettle bell swings, 96 squats, 160 Bulgarian lunges (honestly, don’t ask), 96 TRX rows, 40 burpees, planked more than I care to account and come close to vomming all over the gym floor about seven times. It's been all systems go, literally, and if I’m 100 percent honest, I couldn't be luckier to have such skilled support and encouragement by my side. Only two more weeks to go! Need some fitness inspiration yourself? Pay Jess a visit on Facebook or Twitter. Wednesday, July 31, 9am Sunday, August 4, 9.44am Jack: At Button Bar psyching myself up for the #city2surf. #ididit with #negroni. http://t.co/tRMT8j07z5 — Concrete Playground (@PLAYGROUNDnews) August 8, 2013 Friday, 9 August, 12.50pm Saturday, 10 August, 5.30pm As I recline here in my bedroom, rubbing my stomach and groaning from the pains of a triple-decker, hazelnut meringue cake slice from The Rocks, I honestly have no fear for tomorrow. In fact, I’m looking forward to it. I know it’s going to be killer, I know about 11km in I’m going to want to throw myself onto the ground and let the thousands of feet trample me into an early grave, but I also know I’ll push through. Why? Because it’s fun. Training has been excellent, I’ve become closer with fitness-enthused friends, and, ladies and gentlemen, my love handles have become smaller by the day. It’s a win-win-win if you ask me. I just hope no one in a Vegemite costume overtakes me. Tuesday, 13 August, 6.50pm Two days ago I ran past the finish line of this year’s Sun-Herald City2Surf on Campbell Parade, Bondi. It was fabulous: the sun was out, the sky was blue and Sydney was alive with the sounds of school bands, house parties and thousands upon thousands of runners hitting road. Atmospheres don’t get much better than this and I managed to smash the race in just over 80 minutes. Proud of myself is an understatement. Now as I sit at my desk with a one sore big toe, but otherwise generally unharmed, I can’t help but think back to when I was a fat little school kid, getting chafe on my Duke of Edinburgh Bronze Award because my chubby legs rubbed together. It’s nice saying “I’ve come a long way”, and I’m pretty chuffed #ididit for Concrete Playground.
Saying goodbye to 2025 at Lost Paradise means farewelling the year with a jam-packed lineup of tunes. Ben Böhmer, Chris Stussy, Confidence Man, Duke Dumont, I Hate Models, KETTAMA, Marc Rebillet, Maribou State, Underworld, X CLUB: they're all headlining the annual end-of-year music festival in Glenworth Valley on the New South Wales Central Coast this year. So, mark Sunday, December 28, 2025–Thursday, January 1, 2026 on your calendar — and prepare for a huge few days. Other acts on the bill include Anna Lunoe, BIG WETT, Channel Tres, Fcukers, DJ Heartstring, Hot Dub Time Machine, Omar+, VTSS and plenty more. Some people love last-minute New Year's Eve plans, going wherever the mood takes them. Others can't start planning early enough. If you fall into the latter category, this December is for you. For Lost Paradise newcomers, the multi-day event turns a slice of its setting — which is located an hour out of Sydney — into one helluva shindig, complete with live music and DJ sets spanning both international and Australian talents. This year, organisers are promising newly reimagined versions of the festival's Arcadia, Lost Disco and Paradise Club stages. Tunes are just one part of the Lost Paradise experience, though. Here, art, culture, wellness, and food and drink also get a look in. And, at Shambhala Fields, you can hear talks and take part in workshops — so that's where you'll find the likes of Dr Karl, Eric Avery, Deano Gladstone, Lara Zilibowitz, Kath Ebbs, Sez, Tom Carroll, Simon Borg-Olivier, Gwyn Williams and others. Since first unleashing its specific flavour of festival fun back in 2014, Lost Paradise has become a go-to way to wrap up one year and welcome in the next — including if you're keen to camp for its duration. Lost Paradise 2025 Lineup Ben Böhmer Chris Stussy Confidence Man Duke Dumont I Hate Models KETTAMA Marc Rebillet Maribou State Underworld X CLUB Anna Lunoe Baby J Bad Boombox & Mischluft Balu Brigada Bella Claxton BIG WETT Blusher Bullet Tooth Cassian Channel Tres Dameeeela DJ Heartstring Dombresky presents Disco Dom Dr Banana Fcukers Folamour Heidi Hot Dub Time Machine INJI Jazzy Josh Baker Juicy Romance Kilimanjaro Luke Alessi Merci, Mercy Narciss Notion Odd Mob Omar+ Pegassi Prospa Riria Ross From Friends presents Bubble Love Sex Mask Silva Bumpa Sim0ne Sumner Swim (live) Two Another VTSS Wolters Alex Dowsing Badassmutha Bella Backe Caleb Jackson Couch Mechanic Cricket Dayzzi B2B Daug Disco Dora Elijah Something GMOZ Grooveworks Kai Kawai Large Mirage LAYTX Lily FM Lost Soundsystem Madame Reve Maina Doe Mash Middle James Mina Tonic Oscill8 Pamela Penelope People's Party Roxy Lotz Salarymen Selve Siila Silly Lily Sim Select Tia Lacoste Tokyo Sexwale Tseba Waxlily Yasmina Sadiki Shambhala Fields: Benny Holloway Catriona Wallace Chanel Contos Deano Gladstone Dr Karl Eric Avery Gwyn Williams Kath Ebbs Lara Zilibowitz Plastic Free Mermaid Sez Simon Borg-Olivier Tom Carroll Lost Paradise mages: Jess Bowen, Jordan K Munns, Byravyna and Amar Gera.
Some visit Bali seeking romantic places to stay, where they can treat themselves to pamper packages within wild natural surroundings. Others want a tropical adventure — hiking up volcano craters, riding quad bikes through the jungle or swimming beneath hidden waterfalls. And, of course, there's the party atmosphere, from group day trips to places to dance the night away. To help any kind of traveller have the best time in Bali, we curated a selection of local trips and tours that can be booked through Concrete Playground Trips. Read on to find a few of our favourites. [caption id="attachment_892435" align="alignnone" width="1920"] Juan Cruz Mountford (Unsplash)[/caption] SUNRISE VOLCANO HIKE WITH THERMAL SPRINGS SWIM This trek could quite easily become the highlight of your trip to Bali. You'll get up early to hike to the summit of volcanic Mount Batur to catch the sunrise and enjoy breakfast cooked over volcanic steam. It's not a difficult climb, but the natural hot springs waiting for you at the bottom are a magical treat. Enjoy the view of the volcano and the surrounding mountains while you soothe your muscles in the natural springs. Not a morning person? Book a midnight hike or a private jeep ride up to the volcano and into the crater instead. BOOK IT NOW. [caption id="attachment_892433" align="alignnone" width="1920"] Rob M Visuals (Unsplash)[/caption] RICE TERRACE CYCLING TOUR When visiting Bali, go beyond the island's famous beaches and head inland to explore the untamed jungle and thousands of miles of rice terraces. While you can drive to many of them, the best way to see a bunch is by going on a cycling tour. This particular one focuses on the Bangli region. It is a less commercialised area, boasting some of the world's most beautiful rice fields with views of Mount Batur in the distance. Alight from your bike to walk between the terraces, little huts, tumbling waterfalls and quaint temples before sitting down to a big lunch overlooking the stunning scenery. We could think of worse ways to spend a day. BOOK IT NOW. [caption id="attachment_892434" align="alignnone" width="1920"] Jared Rice (Unsplash)[/caption] FIVE-DAY HOLISTIC RETREAT Bali abounds with wellness retreats, and Y Retreats is one of the best budget-friendly options. That's why we teamed up with Y Retreats to sell some of the spots available on its upcoming Reset and Recharge retreat. Over the course of five days, you'll be immersed in a carefully curated combination of breathwork, cold exposure, yoga, self-development sessions, leadership and resilience workshops, physical adventuring and so much more. It's held at a secluded beachfront property in Tabanan and includes all your meals. It's the perfect place to relax and work on yourself. BOOK IT NOW. BALI SEA WALKER This is a really random travel experience. But it's heaps of fun. You pop on a glass helmet that's fed oxygen via a long tube and walk along the sea floor spotting tropical fish swimming about coral reefs. It's much easier than proper scuba diving (no training is required for sea walking). Add this little activity to a day spent at the beach. BOOK IT NOW. [caption id="attachment_892436" align="alignnone" width="1920"] Nick Fewings (Unsplash)[/caption] UBUD DAY TRIP The Ubud region has become increasingly popular these days, but remains quieter than most parts of Bali. It has many picturesque temples, coffee plantations, rice fields, museums and small villages filled with markets and great places to eat. But seeing all its best bits can be tough without a guide. So, we teamed up with Candidasa Taxi to offer this unique private tour of Ubud that also includes a trip to Tegenungan Waterfall and Sacred Monkey Forest Sanctuary. BOOK IT NOW. [caption id="attachment_892432" align="alignnone" width="1920"] Tandya Rachmat (Unsplash)[/caption] THREE-DAY GILI ISLANDS AND LOMBOK TOUR The Gili Islands is one of our favourite places to go in Indonesia. These six small islets are all located by Bali's neighbour sister Lombok and offer up exceptional experiences. You can swim with turtles, explore small fishing villages, relax on long white sand beaches and simply escape the crowds of Bali. And if you book this Gili Island and Lombok tour, you'll get to take your time seeing all the best bits over three days — you'll really want to spend more than just a day in these parts. The tour will also pick you up from Padang, so it's a great addition to any Bali holiday. BOOK IT NOW. [caption id="attachment_892439" align="alignnone" width="1920"] Florian Giorgio (Unsplash)[/caption] REGIONAL BALI TOURS Bali is a diverse place when it comes to culture, food and natural sites. That's why you shouldn't spend your entire holiday in just one place. But packing up all your things to stay in several different areas can also be tiring. The solution? Get on the day trip bandwagon. We have a bunch to help you see it all. Spend a day in the north, south, east or west of the island with each of these unique trips that take you to all the most popular parts — as well as a few hidden gems only locals know about. [caption id="attachment_892438" align="alignnone" width="1920"] Nattu Adnan (Unsplash)[/caption] NUSA PENIDA DAY TRIP Nusa Penida is an absolutely stunning island located just off the shores of Bali. It's a beach lover's paradise, with countless hidden coves located all over. A great way to see them is by joining a day tour. This particular one takes you to Broken Beach, Angel's Billabong, Kelingking Beach and Crystal Bay. You can even book a really affordable private boat tour of Nusa Penida to see it all from the water. BOOK IT NOW. [caption id="attachment_892441" align="alignnone" width="1920"] Bali Surgawi Tour Travels (Unsplash)[/caption] QUAD BIKE ADVENTURE As an ATV rider, you will be challenged to conquer some of Bali's rugged off-road terrain and muddy rock formations for 90 to 120 minutes. You'll see some great scenery, rice fields, rivers and beaches while zooming about with some mates. This will be followed by a two-hour snorkel trip that will take you to two different swimming spots. It's a two-in-one. BOOK IT NOW. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips to destinations all over the world. Top image: Jamie Fenn (Unsplash)
When you've directed two movies about zombies — the first of which you've basically become synonymous with — and also dabbled with on-screen demons, what do you tackle next? If you're Australian Wyrmwood, Nekrotronic and Wyrmwood: Apocalypse filmmaker Kiah Roache-Turner, you do battle with another classic horror concept. Sting takes its moniker from The Hobbit. The fact that its human protagonist is called Charlotte is particularly telling, however. What better name to use in a movie about a giant spider that falls from the sky, is discovered by a curious 12-year-old, then makes its growing presence petrifyingly known? Shot in the ABC studios in Sydney but set in a New York City apartment block in the thick of winter, Sting's nods elsewhere stretch across the film like a web. Lines recall Predator. Shots nod to Alien. "I pretty much copied that exact jump-scare from Alien, when Tom Skerritt goes into the air conditioning ducts, 100 percent," Roache-Turner tells Concrete Playground. He's loving about his influences, on- and off-screen. That affection for flicks gone by shows in the movie from the moment that its titular creature — he's named his spider well, too — first appears. Roache-Turner has also used himself and his own fear as a basis. Yes, he's afraid of spiders, as we almost all are. "I didn't necessarily want to confront it. It's just my job is to think of the worst thing, the scariest thing, the most-disturbing thing that could happen to me, and then put it in a script and then make you guys watch it and hope that it scares people," says Roache-Turner. "That's kind of what I do. I just sit around thinking about things that disturb me and then I write about them — and it's good because if you take your nightmares out of here and you put it down onto paper, and you spend a couple of years making a spider movie, the hope is that you might become a little less arachnophobic. So it could be therapeutic." Asked if making Sting ended up being cathartic, though, Roache-Turner has bad news for anyone thinking that they might cure their unease about eight-legged arthropods through filmmaking. "Not at all. No. I still hate spiders. Maybe it's worse now because I've had to look at so much footage of spiders, so now I'm doubly sure that I hate them," he shares. Ten years back on Wyrmwood, which he calls "one of the best things I've ever done in my life", the writer/director put everything that he had into what swiftly became his calling card. "It was three-and-a-half years of production. I shot a lot of it in my mum's backyard. It was me and my brothers and my mates just putting on zombie makeup and having fun," Roache-Turner notes. "I can't tell you how fun it was, and I still think about it almost every day. It's a huge part of my life, and it's the reason why I'm here talking to you about a giant spider movie." He's happy that it keeps coming up. "No matter what I do, people go 'you made Wyrmwood'. I think that's how Sam Raimi must feel, too. He can make as many A Simple Plan movies as he wants. He can do as many Spider-Man movies as he wants. But he's always the guy that did Evil Dead, and that's me," he advises. Roache-Turner is also still giving his all with Sting, including by drawing upon his own family setup. Charlotte, played by Furiosa: A Mad Max Saga and The Lost Flowers of Alice Hart's Alyla Browne, has an IRL analogue. So does her stepfather Ethan, with House of the Dragon and In Limbo's Ryan Corr the film's version of Roache-Turner. As happens in the picture — which features Noni Hazelhurst (One Night), Penelope Mitchell (What You Wish For), Jermaine Fowler (A Murder at the End of the World), Silvia Colloca (Wellmania), Danny Kim (C*A*U*G*H*T) and Robyn Nevin (Relic) as well — Sting's creative force had just welcomed a new baby. Similarities continue, albeit with a critter that Roache-Turner is most frightened of looming large, literally, aided by creature design by Wētā Workshop. How does taking inspiration from so much of your own life guide you when you're writing a horror screenplay? How did Sting get rolling from the idea that everyone hates spiders, not just Roache-Turner? What kind of balancing act was required to make this an unsettling spider flick, also a movie about a kid with an unusual pet Pete's Dragon and E.T. the Extra-Terrestrial-style, and a picture about a family in crisis? With Sting opening in Australian cinemas on Thursday, July 18, 2024, Roache-Turner filled us in, and also chatted about his inspirations, casting Browne and Corr, and what type of primal fear that he's grappling with next. On Starting with the Idea That Everyone Hates Spiders, Then Getting the Ball Rolling "The good thing about Sting is it's a primal fear like sharks. Everybody's scared of a thing in the bedroom. Everybody's scared of the idea of a ghost. These are primal fears. And as I'm arachnophobic, I've had the image or the idea — anytime I look at a spider, I'm scared, I want to cry. But a little part of my brain goes 'imagine that was big. Imagine that was big!'. I've been thinking about that for most of my life, and then finally I set myself a task. It was actually after I had a meeting with James Wan's producer, and he was explaining how he and James make films. And he goes 'we do a template system, so we go: single location, one monster, one family — go'. And he goes 'we just make the same movie over and over again'. And I was thinking 'I wonder if I could do that?'. So I thought 'okay, I'm going take a single location: let's say an apartment building. I'm going to take a family: let's say my family'. So I just had a baby. I'm married. I've got a stepdaughter. I'm going to just template that so I can make it personal. 'What's the monster?' And that whole thing in my head just started echoing 'imagine a spider was big'. That's the thing that I would be most scared of to see. So I just wrote the movie that would be the scariest movie that I could possibly make. The idea of a giant spider descending on a crib was one of the first images that I got, because I just was a new father and I had a baby, and I just couldn't imagine anything worse. And so I was like 'yeah, that'll make a good poster'. That's how these things get started. And I wrote the script, and I took it around. And I don't think anybody, I couldn't really find a producer who wanted to do it because they were all scared. They're just like 'no, no, no, no, no, it's probably going to be more than about five mil'. Everybody wants to make the five-mil Blumhouse template thing. And I'm like 'yeah, I could write that, but I didn't write that in this case. I don't think we can make a giant spider movie set in a New York apartment building for five. I don't know how to do that'. So Jamie Hilton and Michael Pontin and Chris Brown [Sting's producers] just were brave enough to just go 'okay, we believe in this, we're going push it'. Once we got the ball rolling, it just seemed like a good idea, because it had been a while since we had a really decent giant spider movie. I can't even really think of one. I mean Arachnophobia, but they're little. I'm talking about one the size of a pit bull terrier. Other than Shelob, there's not really that many out there. So we had something vaguely original and we just ran with it." On How Taking Inspiration From Your Personal Life Guides You When You're Writing a Screenplay "It guides the emotion, so all of this stuff with the father and the daughter and the wife and the baby and the tension, that all came out of COVID. I was going through that. The big difference is I get on with my family really well — I'll start to make up a bunch of really horrible drama to make it interesting, but the feelings and the emotion is there. In terms of writing the thing, there's no secret to it. It's unexplainable. The structure just jumps into your head. You go 'if there's an alien spider in the building, how does it get into the apartment? How do we keep it in the family? How does it then grow big? How does it then escape so it can start eating dogs and cats? Who's the first human it's gonna eat? What happens when it attacks the family?'. One thing leads to another, and it just becomes a question of thinking your way out of situations. And then you find yourself at the end, and then you write 'fade out'. Sometimes they're good. Sometimes they're bad. Writing is the most-unexplainable thing in the world, and it's the hardest part of the whole process. But there are little tricks to making it easier, and certainly templating your own family and your own experiences is an easy way to get into an emotional truth." On Balancing the Film as a Spider Horror Flick, But Also a Movie About a Kid with an Unusual Pet and a Picture About a Family in Crisis "It's the hardest part, balancing that stuff. And because I am the person who made Wyrmwood, my tendency is to just make films that feel like they just never stop. So I really was trying to make something that has more long sections of just straight drama. I wanted to slow it down a little bit. A huge part of the writing process and the rewriting was about making the family warmer at the start so that when cracks start to appear, we care about them more — and how much drama should there be between the father and the daughter? All that kind of stuff. Yeah, it's a real balancing act in a film like this. Sometimes, I'm not sure I succeeded. Sometimes, I'm like 'did I put too much family drama in there?'. And some people are like 'yeah man, you should have had more deaths and kills'. And then somebody else would go 'god, what? No, no. That was the best thing about the film'. So it's hard to know sometimes. I think you just make a thing and you hope it's right. You do some test screenings. You work on instinct. But on this one, I wanted it to be more than just about a spider eating people, and scares and thrills. I had a personal thing that I wanted to work through with the family dynamic, and we did that, we went a little bit more dramatic with it." On Casting Rising Australian Star and Furiosa Co-Star Alyla Browne as Charlotte "We went to Nikki Barrett [the Australian casting director] and just said 'Nikki, we have a really, really difficult task for you. We need you to cast a 12-year-old star in this film that we just wrote'. And she goes 'shhhh, stop talking. Cast Alyla Browne. Just don't talk about it. Don't talk about it. Just cast her'. And she doesn't talk like that. She's usually very considered, but she was just like 'this is the person. This is the girl'. I might've just looked up a clip on YouTube. I was like 'who is this Alyla Browne?'. It was two clips of an audition she did for a film years earlier when she was like nine. She did an amazing audition where she cried. And I was like 'oh, my god, she's so talented'. Then she did the same thing in a flawless American accent and cried. And I was like 'is she available immediately?'. We didn't even audition her. I just met with her and her mother and just tried hard not to stuff it up. I was more me convincing her to be in the film. But luckily she loved the script and wanted to do it. Her mum just wanted to meet me to make sure I'm not a crazy person and so I pretended not to be, and she signed up and did the movie. She's honestly one of the most-talented actors I've ever worked with. You put the camera on her and something happens. It's a star quality — she's a 12-year-old with the star quality of Nicole Kidman or something. The whole crew would go silent and people would be looking at each other going 'just how is this 12-year-old being this amazing?'. And she made my film just 30-percent better just by being on in front of the camera — and that's something that the director prays for." On Enlisting Ryan Corr to Play Roache-Turner's On-Screen Surrogate "I'd wanted to work with Ryan for years and years. We tried and we just had a few availability issues or whatever. I've been trying to work with him for a long time. So I was stoked to get him for this one, and I'm glad it was on this one because, yeah, this was very much like he's playing me. He's not playing a guy running around jumping in slow motion, firing a gun — this is me. I wanted to be a comics artist. I wear glasses. I have a beard. Like, he's playing me. He's just playing like a heaps better-looking version of me. And every actor knows that, he read the script, he knew the deal. He's like 'yeah, this is you. I get it, but I'm going to do my own version'. With Ryan, it's like working with Brando or Tom Hardy or something. You just step back, say 'action' and watch him improve your movie. There's not much directing that goes on. The guy's a genius." On the Film's Commitment to Incorporating Practical Effects "I love CGI and we've got some sick CGI in this film. Cumulus VFX, the company that did all that stuff, it was a flawless job. But I just believe, particularly with horror, sometimes there's just a bit of an uncanny-valley thing that pops in every now and again. You're just like 'oh, there's still just something wrong with the weight of it' or 'it's not quite interacting with the shadows right', and that's even when you've just got the best CGI you can get. So it's always important for me to have a big practical element. I prefer to have a layer of practical and CGI augments what's already there. Denis Villeneuve does that on Dune: Part Two — you look at the behind-the-scenes, most of it's practical, it's augmented digitally and that's why Dune is one of the best-looking science-fiction franchises of all time. I think with this one, it was really important that we had a practical element. And when that practical element is done by Wētā Workshop, who are the best at what they do in the universe, your life is made a lot easier." On Sting's Broad Array of Inspirations Beyond Roache-Turner and His Family "Charlotte's Web, 100 percent. That's just me having a dig at a cultural phenomenon — everybody read Charlotte's Web as a kid. And I figured most people have read The Hobbit, so the sting reference I think would be nice, too, and with all the giant spiders in Mirkwood. Also The Thing, with a single location with a bunch of people stuck with one monster being eaten. And there's a comedy aspect to The Thing that I love. The tone of John Carpenter's films, I love. Very heavily influenced by Jaws, even though narratively, it's very different — but just the tone of it. Poltergeist, also in that they're stuck in a house and it's a sort of flawed family with cracks in it being terrified by an entity in a house. I really was going for a Spielberg thing. There's a tendency, I think, in today's horror to be overly arty or overly bleak, and Spielberg has a light and an adventurous touch that I really like — as well as being a really good filmmaker who understands that Hitchcockian tension. So I wanted to play in that sandbox. Spielberg is a huge influence on this." On Which Classic Horror Setup Is Next for Roache-Turner "I'm in pre-production on a giant shark movie right now, so I'm literally a couple of weeks away from shooting. I'm doing an Australian World War Two shark movie where a ship gets shot down by Japanese torpedoes halfway between Darwin and East Timor, and these guys are trapped on a raft and they're bedevilled by this giant killer shark that's eating them one by one. So I'm just making my way through the monsters." Sting opens in Australian cinemas on Thursday, July 18, 2024.
