Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from May's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW THE GREAT Television perfection is watching Elle Fanning (The Girl From Plainville) and Nicholas Hoult (Renfield) trying to run 18th-century Russia while scheming, fighting and heatedly reuniting in ahistorical period comedy The Great. Since 2020, they've each been in career-best form — her as the series' ambitious namesake, him as the emperor who loses his throne to his wife — while turning in two of the best performances on streaming in one of the medium's most hilarious shows. Both former child actors now enjoying excellent careers as adults, they make such a marvellous pair that it's easy to imagine this series being built around them. It wasn't and, now three seasons, The Great has never thrived on their casting alone. Still, shouting "huzzah!" at the duo's bickering, burning passion and bloodshed-sparking feuding flows as freely as all the vodka downed in the Emmy-winner's frames under Australian creator Tony McNamara's watch (and after he initially unleashed its winning havoc upon Sydney Theatre Company in 2008, then adapted it for television following a BAFTA and an Oscar nomination for co-penning The Favourite). In this latest batch of instalments, all either written or co-written by McNamara, Catherine (Fanning) and Peter (Hoult) begin the third season sure about their love for each other, but just as flummoxed as ever about making their nuptials work. She's attempting to reform the nation, he's the primary caregiver to their infant son Paul, her efforts are meeting resistance, he's doting but also bored playing stay-out-of-politics dad, and couples counselling is called for. There's also the matter of the royal court's most prominent members, many of whom were rounded up and arrested under Catherine's orders at the end of season two. From Sweden, exiled King Hugo (Freddie Fox, House of the Dragon) and Queen Agnes (Grace Molony, Mary, Queen of Scots) are hanging around after being run out of their own country due to democracy's arrival. And, Peter's lookalike Pugachev (also Hoult) is agitating for a serf-powered revolution. The Great streams via Stan. Read our full review. PREHISTORIC PLANET When it initially arrived in 2022, becoming one of the year's best new shows and giving nature doco fans the five-episode series they didn't know they'd always wanted — and simultaneously couldn't believe hadn't been made until now — Prehistoric Planet followed the David Attenborough nature documentary formula perfectly. And it is a formula. In a genre that's frequently spying the wealth of patterns at the heart of the animal realm, docos such as The Living Planet, State of the Planet, Frozen Planet, Our Planet, Seven Worlds, One Planet, A Perfect Planet, Green Planet and the like all build from the same basic elements. Jumping back 66 million years, capitalising upon advancements in special effects but committing to making a program just like anything that peers at the earth today was never going to feel like the easy product of a template, though. Indeed, Prehistoric Planet's first season was stunning, and its second is just as staggering. The catch, in both season one and this return trip backwards: while breathtaking landscape footage brings the planet's terrain to the Prehistoric Planet series, the critters stalking, swimming, flying and tumbling across it are purely pixels. Filmmaker Jon Favreau remains among the show's executive producers, and the technology that brought his photorealistic versions of The Jungle Book and The Lion King to cinemas couldn't be more pivotal. Seeing needs to be believing while watching, because the big-screen gloss of the Jurassic Park and Jurassic World sagas, the puppets of 90s sitcom Dinosaurs, and the animatronics of Walking with Dinosaurs — or anything in-between — were never going to suit a program with Attenborough as a guide. Accordingly, to sit down to Prehistoric Planet is to experience cognitive dissonance: viewers are well-aware that what they're spying isn't real because the animals seen no longer exist, but it truly looks that authentic. Prehistoric Planet season streams via Apple TV+. Read our full review. I THINK YOU SHOULD LEAVE WITH TIM ROBINSON Eat-the-rich stories are delicious, and also everywhere; however, Succession, Triangle of Sadness and the like aren't the only on-screen sources of terrible but terribly entertaining people. I Think You Should Leave with Tim Robinson has been filling streaming queues with assholes since 2019, as usually played by the eponymous Detroiters star, and long may it continue. In season three, the show takes its premise literally in the most ridiculous and unexpected way, so much so that no one could ever dream of predicting what happens. That's still the sketch comedy's not-so-secret power. Each of its skits is about someone being the worst in some way, doubling down on being the worst and refusing to admit that they're the worst (or that they're wrong) — and while everyone around them might wish they'd leave, they're never going to, and nothing ever ends smoothly. In a show that's previously worked in hot dog costumes and reality TV series about bodies dropping out of coffins to hilarious effect, anything can genuinely happen to its gallery of the insufferable. In fact, the more absurd and chaotic I Think You Should Leave with Tim Robinson gets, the better. No description can do I Think You Should Leave with Tim Robinson's sketches justice, and almost every one is a comedic marvel, as again delivered in six 15-minute episodes in the series' third run. The usual complaint applies: for a show about people overstaying their welcome, the program itself flies by too quickly, always leaving viewers wanting more. Everything from dog doors and designated drivers to HR training and street parking is in Robinson's sights this time, and people who won't stop talking about their kids, wedding photos and group-think party behaviour as well. Game shows get parodied again and again, an I Think You Should Leave staple, and gloriously. More often than in past seasons, Robinson lets his guest stars play the asshole, too, including the returning Will Forte (Weird: The Al Yankovic Story), regular Sam Richardson (The Afterparty), and perennial pop-ups Fred Armisen (Barry) and Tim Meadows (Poker Face). And when Jason Schwartzman (I Love That for You) and Ayo Edebiri (The Bear) drop in, they're also on the pitch-perfect wavelength. I Think You Should Leave with Tim Robinson streams via Netflix. Read our full review. IN LIMBO Not to be confused with the just-released Australian film Limbo, new six-part Aussie dramedy In Limbo not only takes its title to heart, but also uses the idea as fuel for a supernatural buddy comedy. Indeed, before the first episode is out, Nate (Bob Morley, Love Me) is palling around with his lifelong best friend Charlie (Ryan Corr, House of the Dragon) from the afterlife. The former doesn't know why he's still a presence. The latter is understandably reeling from the tragedy, and initially thinks that spying Nate is just a drunken hallucination. No one else, not Nate's wife Freya (Emma Harvie, Colin From Accounts), eight-year-old daughter Annabel (Kamillia Rihani, The Twelve), supremely very Catholic mother Maria (Lena Cruz, Wellmania) and affable father Frank (Russell Dykstra, Irreverent), can see their dearly-departed loved one as a ghost. It's Christmas, too, in this Brisbane-shot and -set series, and facing the festivities after such a shock is far from easy. While heartily deploying Brisbane Powerhouse and New Farm Park as settings, that's a lot for one show to delve into — and delve it thoughtfully does. Tackling grief, mental health and suicide is never simple, even in a show about someone haunting their best mate, and including when such topics have been increasingly popping up in Australian fare of late (see also: Totally Completely Fine). In Limbo is clearly made with care, empathy and understanding — and, crucially, doesn't attempt to offer any firm answers, instead acting as a conversation starter. At its core, the always-excellent Corr plays a complicated role with charm. That's no surprise given his resume, and he couldn't be better cast. Corr's likeable performance always dives deep into the about-to-get-divorced Charlie's struggle without Nate physically by his side, with Nate now his ghostly offsider and with his own problems, and never brushes past the character's flaws. And, just as importantly as the show's focus on 21st-century masculinity and friendship, Corr makes such a great double act with Morley that filmmakers should be clamouring to pair them up again ASAP. In Limbo streams via ABC iView. CONFESS, FLETCH Since Mad Men had Don Draper want to buy the world a Coke to end its seven-season run back in 2015, comedy has been Jon Hamm's friend. He's the ultimate TV guest star, building upon stints in 30 Rock and Parks and Recreation while Mad Men was still airing with Toast of London, Unbreakable Kimmy Schmidt and Curb Your Enthusiasm, on a resume that also includes The Increasingly Poor Decisions of Todd Margaret, Childrens Hospital, Medical Police, Angie Tribeca, The Last Man on Earth and Wet Hot American Summer: First Day of Camp as well. So, casting him as the new Irwin Maurice 'Fletch' Fletcher couldn't be an easier move. Having fellow Mad Men standout John Slattery (The Good Fight) also appear in the latest flick about the investigative reporter, and the first since the Chevy Chase-led movies in the 80s, is another winning touch. Even if that reunion wasn't part of the film, Hamm is so entertaining that he makes a killer case for a whole new Fletch franchise — on whatever screen the powers-that-be like — with him at its centre. Hamm clearly understands how well he suits this type of character, and the genre; he's a comic delight, and he's also one of Confess, Fletch's producers. Superbad and Adventureland's Greg Mottola directs and co-writes, scripting with Outer Range's Zev Borow — and ensuring that Hamm and Slattery aren't the only acting highlights. Working through a plot that sees Fletch chasing a stolen artwork, discovering a dead body, and both looking into the crime and considered a suspect himself, the film also features engaging turns by always-welcome Twin Peaks great Kyle MacLachlan and Barb and Star Go to Vista Del Mar gem Annie Mumolo. There have been several attempts to revive Fletch over the past three decades, including separate projects with Ted Lasso duo Bill Lawrence and Jason Sudeikis — on the page, the character spans nine novels — but viewers should be thankful that this is the action-comedy that came to fruition, even if it skipped cinemas everywhere but the US. Confess, Fletch streams via Paramount+ and Binge. BUPKIS In its opening moments, Bupkis unloads — twice, in completely different ways, while ensuring there's zero doubt that this is a series about Pete Davidson starring Pete Davidson as Pete Davidson. First, the former Saturday Night Live comedian gets Googling while alone in the basement of the Staten Island home he shares with his mother Amy (Edie Falco, Avatar: The Way of Water). The results about Ariana Grande, Kate Beckinsale and Kim Kardashian's ex aren't positive; so, to shake off the unpleasantness of reading '12 Things Horribly Wrong with Pete Davidson', he switches from "scumbro" with "butthole eyes" comments to porn. He's wearing a VR headset, and he's soon deep in self-love. Then his mum walks in. Bupkis clearly isn't wary about getting crude. It isn't concerned about satirising its central figure, either. Instead, this semi-autobiographical dramedy relishes the parody. At the age of 29, Davidson has reached the "you may as well laugh" point in his career, which is hardly surprising given he's spent the past decade swinging his big chaotic energy around. Partway through the eight-episode series, while keen to claim some perks for being Davidson's mother — other than doting on her son, that is — Amy shouts at wait staff that "Marisa Tomei played me!". Add that to Bupkis' gleeful, playful nods to reality. An opening statement before each instalment stresses the difference between fact and fiction, and why the show has the moniker it has, but art keeps imitating life everywhere. There's no switching names, however. Davidson is indeed Davidson, his IRL mum is called Amy and his sister is Casey (Oona Roche, The Morning Show). As in The King of Staten Island, they've been a trio since 9/11, and dealing with losing his New York City firefighter dad still isn't easy. Off-screen, however, Davidson must be a fan of My Cousin Vinny, plus the gangster genre. Hailing from the former as Tomei does, and famed for his performances in the latter like The Sopranos star Falco, Goodfellas, Casino and The Irishman alum Joe Pesci is a pivotal part of Bupkis as Davidson's grandfather Joe — a hilarious and delightful part, unsurprisingly. Bupkis streams via Binge. Read our full review. VENGEANCE When Vengeance begins with a New Yorker journalist who's desperate to start his own podcast, Soho House hangouts and relationship advice from John Mayer as himself, it begins with rich and savvy character details. Writing, starring and making his feature directorial debut after helming episodes of The Office and The Mindy Project, BJ Novak instantly establishes the kind of person that Ben Manalowitz is. He shows the East Coast world that his protagonist inhabits, too — and, by focusing on the only guy in NYC without their own audio outlet, or so it seems, plus that romantic guidance, it splashes around its sense of humour. This is a sharply amusing mystery-comedy, and a highlight on Novak's resume in all three of his guises. It's also about subverting expectations, and lampooning the first impressions and broad stereotypes that are too often — and too easily — clung to. Indeed, Vengeance bakes in that idea as many ways as it can as Ben (Novak) does the most obvious thing he can to convince his producer (Issa Rae, Insecure) that his voice is worth hearing: bursts his Big Apple bubble. The Mayer bit isn't just a gag; it helps set up Ben as the kind of person who is dating so many women that he doesn't know which one has died after he gets a bereaved phone call from Texas in the middle of the night. On the other end is Ty Shaw (Boyd Holbrook, The Sandman), brother to Abilene (Lio Tipton, Why Women Kill), who insists that Ben head southwest immediately to attend her funeral — she claimed that they were serious enough that she's his girlfriend, after all. Upon arrival, the out-of-towner initially regards his hosts as jokes, and their lives and Abilene's death as content. Ty thinks she was murdered, and Ben couldn't be giddier about getting it all on tape and calling the series Dead White Girl. The journo's self-interest is up there with his obliviousness about anything that doesn't fit into his NYC orbit; however, this isn't a culture-clash comedy — thankfully — but a clever, self-aware and ambitious satire. It's also strikingly shot and features a standout performance by Ashton Kutcher (That '90s Show) as a suave record producer. Vengeance streams via Netflix and Binge. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK SILO Rebecca Ferguson will never be mistaken for Daveed Diggs, but the Dune, Mission: Impossible franchise and Doctor Sleep star now follows in the Hamilton Tony-winner's footsteps. While he has spent multiple seasons navigating dystopian class clashes on a globe-circling train in the TV version of Snowpiercer, battling his way up and down the titular locomotive, she just started ascending and descending the stairs in the underground chamber that gives Silo its moniker. Ferguson's character is also among humanity's last remnants. Attempting to endure in post-apocalyptic times, she hails from her abode's lowliest depths as well. And, when there's a murder in this instantly engrossing new ten-part series — which leaps to the screen from Hugh Howey's novels, and shares a few basic parts with Metropolis, Blade Runner and The Platform, as well as corrupt world orders at the core of The Hunger Games and The Maze Runner flicks — she's soon playing detective. Silo captivates from the outset, when its focus is the structure's sheriff Holston (David Oyelowo, See How They Run) and his wife Allison (Rashida Jones, On the Rocks). Both know the cardinal rule of the buried tower, as does deputy Marnes (Will Patton, Outer Range), mayor Ruth (Geraldine James, Benediction), security head Sims (Common, The Hate U Give), IT top brass Bernard (Tim Robbins, Dark Waters) and the other 10,000 souls they live with: if you make the request to go outside, it's irrevocable and you'll be sent there as punishment. No matter who you are, and from which level, anyone posing such a plea becomes a public spectacle. Their ask is framed as "cleaning", referring to wiping down the camera that beams the desolate planet around them onto window-sized screens in their cafeterias. No one has ever come back, or survived for more than minutes. Why? Add that to the questions piling up not just for Silo's viewers, but for the silo's residents. For more than 140 years, the latter have dwelled across their 144 floors in safety from the bleak wasteland that earth has become — but what caused that destruction and who built their cavernous home are among the other queries. Silo streams via Apple TV+. Read our full review. THE OTHER TWO Swapping Saturday Night Live for an entertainment-parodying sitcom worked swimmingly for Tina Fey. Since 2019, it's also been going hilariously for Chris Kelly and Sarah Schneider. Not just former SNL writers but the veteran sketch comedy's ex-head writers, Kelly and Schneider have been giving the world their own 30 Rock with the sharp, smart and sidesplitting The Other Two. Their angle: focusing on the adult siblings of a Justin Bieber-style teen popstar who've always had their own showbiz aspirations — he's an actor, she was a ballerina — who then find themselves the overlooked children of a momager-turned-daytime television host as well. Cary (Drew Tarver, History of the World: Part II) and Brooke (Heléne York, Katy Keene) Dubek are happy for Chase (Case Walker, Monster High: The Movie). And when their mother Pat (Molly Shannon, I Love That for You) gets her own time in the spotlight, becoming Oprah-level famous, they're equally thrilled for her. But ChaseDreams, their little brother's stage name, has always been a constant reminder that their own ambitions keep being outshone. In a first season that proved one of the best new shows of 2019, a second season in 2021 that was just as much of a delight and now a stellar third go-around, Cary and Brooke have never been above getting petty and messy about being the titular pair. In season three, however, they aren't just hanging around with stars in their eyes and resentment in their hearts. How do they cope? They've spent the past few years constantly comparing themselves to Chase, then to Pat, but now they're successful on their own — and still chaotic, and completely unable to change their engrained thinking. Forget the whole "the grass is always greener" adage. No matter if they're faking it or making it, nothing is ever perfectly verdant for this pair or anyone in their orbit. Still, as Brooke wonders whether her dream manager gig is trivial after living through a pandemic, she starts contemplating if she should be doing more meaningful work like her fashion designer-turned-nurse boyfriend Lance (Josh Segarra, The Big Door Prize). And with Cary's big breaks never quite panning out as planned, he gets envious of his fellow-actor BFF Curtis (Brandon Scott Jones, Ghosts). The Other Two streams via Binge. Read our full review. PLATONIC Sometime in the near future, Rose Byrne, Seth Rogen and filmmaker Nicholas Stoller could easily join forces on a new rom-com. In fact, they should. Until then, buddy comedy Platonic makes a hilarious, engagingly written and directed, and perfectly cast addition to each's respective resumes. Reuniting the trio after 2014's Bad Neighbours and its 2016 sequel Bad Neighbours 2, this new series pairs Australia's comedy queen and America's go-to stoner as longterm pals who are never anything but mates — and haven't been in touch at all for years — but navigate a friendship that's as chaotic and complicated as any movie romance. That's an easy setup; however, watching the show's stars bicker, banter and face the fact that life doesn't always turn out as planned together proves as charming as it was always going to. Also, Platonic smartly doesn't try to be a romantic comedy, or to follow in When Harry Met Sally's footsteps. Instead, Platonic explores what happens when two former besties have gone their own ways, then come back together. The show knows that reconnecting with old pals is always tinged with nostalgia for the person you were when they were initially in your life. And, it's well-aware that reckoning with where you've ended up since is an immediate side effect. Enter Sylvia (Byrne, Seriously Red), who reaches out to Will (Rogen, The Super Mario Bros Movie) after hearing that he's no longer with the wife (Alisha Wainwright, Raising Dion) she didn't like. She's also a suburban-dwelling former lawyer who put work on hold to become a mother of three, and can't help feeling envious of her husband Charlie's (Luke Macfarlane, Bros) flourishing legal career. Her old BFF co-owns and runs an LA brewpub, is obsessive about his beer and hipster/slacker image, and hasn't been taking his breakup well. They couldn't be in more different places in their lives. When they meet up again, they couldn't appear more dissimilar, too. "You look like you live at Ann Taylor Loft," is Will's assessment. Sylvia calls him "a '90s grunge clown." Neither is wrong. Platonic streams via Apple TV+. Read our full review. THE CLEARING They're called The Kindred, not The Family. Adrienne Beaufort is their leader, not Anne Hamilton-Byrne. But there's no mistaking the inspiration for JP Pomare's book In the Clearing and its new eight-part adaptation The Clearing. Exploring the inner workings of an Australian cult based in rural Victoria, spouting New Age sentiments mixed with doomsday thinking, fixated upon blonde-haired children and led by a charismatic woman — a rare female cult leader — this tale fictionalises the real-life details documented in countless newspaper headlines since the 80s, and also in Rosie Jones' 2016 documentary The Family and 2019 series The Cult of the Family. Amid their so-wild-they-can-only-be-true stories, both of those projects showed viewers the eerie image of children with platinum locks in severe bobs and dressed in matching blue attire. That distinctive look is similarly at the heart of Disney+'s first original scripted Aussie drama. In the earlier of its two timelines, Amy (Julia Savage, Blaze) dons the tresses and uniform as one of the older children at Adrienne's (Miranda Otto, Wellmania) Blackmarsh bush compound — one being prepared to be her heir, and made an accomplice in the group's quest to add more kids to its ranks. Initially dutiful, the teenager is soon questioning the only existence she's ever known, with its harsh rules, strict aunties keeping everyone in line between Adrienne's sporadic visits, weekend services attended by well-to-do acolytes and, sharing the show's title, its LSD-fuelled confessional sessions. When The Clearing dwells in the now, still in Victoria at its leafiest, the smear of heartbreak and damage is ever-present. Indeed, when single mother Freya Heywood (Teresa Palmer, Ride Like a Girl) hears about a girl being abducted, she can't shake the feeling that history is repeating. She dotes over her primary school-aged son Billy (debutant Flynn Wandin), but she's also visibly nervous and anxious. When she keeps spotting a white van, she's a portrait of panic. The Clearing streams via Disney+. Read our full review. HIGH DESERT In High Desert, the always-excellent Patricia Arquette (Severance) leads a private investigator comedy that dapples its jam-packed chaos under California's golden sun, against the parched Yucca Valley landscape and with an anything-goes philosophy — not to mention a more-mayhem-the-merrier tone. She plays Peggy Newman, who isn't letting her age get in the way of perennially struggling to pull her life together. That said, when the eight-part series begins, it's Thanksgiving 2013 and she's living an upscale existence in Palm Springs, with gleaming surfaces abounding in her expansive (and visibly expensive) home. Then, as her husband Denny (Matt Dillon, Proxima) jokes around with her mother Roslyn (Bernadette Peters, Mozart in the Jungle), and her younger siblings Dianne (Christine Taylor, Search Party) and Stewart (Keir O'Donnell, The Dry) lap up the lavish festivities, DEA agents swarm outside. Cue weed, hash and cash stashes being flushed and trashed, but not quickly enough to avoid splashing around serious repercussions. A decade later, High Desert's protagonist has been sharing Roslyn's house and trying to kick her addictions while working at Pioneertown, a historical attraction that gives tourists a dusty, gun-toting taste of frontier life. Peggy would love to step back in time herself when she's not pretending to be a saloon barmaid — to when her recently deceased mother was still alive, however, rather than to her glitzy post-arrest shindigs. Still angry about being caught up in a drug bust, Dianne and Stewart have zero time for her nostalgia and a lack of patience left for her troubles. Their plan: to sell Roslyn's abode with no worries about where Peggy might end up. Her counter: doing everything she can to stop that from happening. High Desert doesn't just embrace the fact that living and breathing is merely weathering whatever weird, wild and sometimes-wonderful shambles fate throws your way; in a show created and written by Nurse Jackie and Damages alumni Jennifer Hoppe and Nancy Fichman, plus Miss Congeniality and Desperate Housewives' Katie Ford, that idea dictates the busy plot, too. High Desert streams via Apple TV+. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March and April this year. You can also check out our list of standout must-stream 2022 shows as well — and our best 15 new shows of last year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
Thinking of downsizing? Are you aware that you could be part of a movement? The tiny house movement, to be exact. Unenthused by mortgages, mopping and mountains of stuff, more and more people are shifting into Snugglepot-sized spaces. We're about to take a journey through some of the teeniest-tiniest houses in the whole world. Not only do they make you wish you could climb into a J.R.R. Tolkien novel, they're also the environment's new best friend. OTIS (Optimal Travelling Independent Space) Move over, Winnebago. This pod-on-wheels is the creation of a bunch of American REED (Renewable Energy and Ecological Design) students from Green Mountain College, Vermont. Not only is it mobile and ridiculously cute, it's also self-sufficient. A 300-watt solar powered system delivers electricity, a rain collection facility supplies water and the toilet is of the composting variety. Nearly all the construction materials are recycled. At just 2.4 x 3.6m, the OTIS can be easily towed via trailer. The Tiny Project American web designer Alek Lisefski and his partner Anjali were tired of paying through-the-roof rent. At the same time, though, they wanted a place to call home. So Lisefski took matters into his own hands by designing and building a portable miniature house. It's known as The Tiny Project and its motto is "Less House. More Life". Built-in, foldable furniture maximises the 2.4 x 6m of interior floor space. An elevated loft serves as a bedroom and there's even a 2.2 square metre outdoor verandah. "While living in such a small house, my space, and in turn each area of my life, will be simpler, less chaotic, and free from all but what is essential," Lisefski told Gizmag. APH80 Rome might not have been built in a day, but the APH80 can be. Created by Spanish design studio ABATON, it's an impeccably designed, portable micro-home. A double bedroom, lounge-kitchen and bedroom make up its 27 square metres, with a 3.5m gabled roof providing an airy, spacious feel. Sustainably sourced timber is used throughout. If there's no water between your place and Spain, have your very own APH80 delivered for US$42,000. Chico Tiny House A husband and wife team based in Chico, California, designed this 11.1 square metre home. On their Facebook page, Palm to Palm, they describe themselves as "dreamers ... who are holding the vision of bringing a community based sustainable into existence, one alternative dwelling at a time". They built the Chico Tiny House on a tight budget without any construction experience. Now, aspiring micro-dwelling owners are begging for a copy of the plans, soon to be made open source. The sustainable design includes south-facing windows, polyiso insulation, solar-powered hot water and a green house, where grey water can be recycled. The Hobbit Hutch No tiny house list would be complete without the mention of at least one gypsy caravan. This Texas-based, 5.2 square metre Hobbit Hutch features all the mod cons, including a faux wood stove, air-conditioning, coffee machine, chandelier, foldable dining table and bed. There's also a 1.8 square metre verandah. The owners — writers and artists by the names of James and Sidney Mangum — have plans to build an outdoor toilet and shower, to be stored inside a plywood cube and surrounded with curtains for privacy.
Which film can boast besting a Yorgos Lanthimos and Emma Stone collaboration, a Silver Bear-winner at Berlinale, and the 2023-defining duo of Barbie and Oppenheimer? Only one: Italy's There's Still Tomorrow. First, the melodrama defied the Barbenheimer phenomenon to top the box office in its homeland last year. Now, the hit flick has beaten Kinds of Kindness — aka Lanthimos and Stone getting weird again after The Favourite and Poor Things — and ten other movies for 2024's coveted Sydney Film Festival Prize. Actor Paola Cortellesi (Petra, Don't Stop Me Now) both stars and makes her directorial debut with SFF's cream of the crop for 2024, earning the event's $60,000 cash prize for her efforts. Set in post-Second World War Rome, There's Still Tomorrow follows a wife and mother who dreams of a different future, with the feature no stranger to accolades. At the David di Donatello Awards, Italy's equivalent of the Oscars, it took home six gongs in May. (And if you missed it during's SFF official dates, it's among the fest's encore screenings between Monday, June 17–Thursday, June 20.) Tasked with rewarding "audacious, cutting-edge and courageous" filmmaking, the 2024 jury comprised of Bosnian writer and director Danis Tanović (The Hollow), Indonesian director Kamila Andini (Before, Now and Then), US producer Jay Van Hoy (The Lighthouse), Australian producer Sheila Jayadev (Here Out West) and Aussie director Tony Krawitz (Significant Others) picked There's Still Tomorrow for welcoming "audiences into one of the historic cradles of cinema". "Set in post-war Italy, Paola Cortellesi's debut feature C'è ancora domani (There's Still Tomorrow) feels intensely relevant today. We relive every woman's struggle for equality through Cortellesi's Delia, we face the brutal cycles of domestic violence with an immense empathy that ultimately proclaims and affirms the virtues of democracy," they continued in a statement. "C'è ancora domani deftly weaves humour, style and pop music into a dazzling black-and-white cinematic event, then it delivers an ending that will take your breath away." There's Still Tomorrow joins an impressive list of past SFF Prize-winners, including Moroccan documentary The Mother of All Lies in 2023, Lukas Dhont's Close in 2022, Mohammad Rasoulof's There Is No Evil in 2021 and Bong Joon-ho's Parasite in 2019. Before that, The Heiresses (2018), On Body and Soul (2017), Aquarius (2016), Arabian Nights (2015), Two Days, One Night (2014), Only God Forgives (2013), Alps (2012), A Separation (2011), Heartbeats (2010), Bronson (2009) and Hunger (2008) have all taken out the accolade since its inception. 2024's recipient was announced at this year's closing event, where body-horror The Substance made its Australian premiere and the rest of the film festival's annual prizes were handed out. Another big winner: 11-minute short film First Horse. Hailing from New Zealand filmmaker Awanui Simich-Pene, it received SFF's first-ever $35,0000 First Nations Award. "Members of the jury were thrilled with the quality and variety of the works programmed for the inaugural First Nations Competition, noting the power and beauty in the collection of these storytellers' films which represent all types of cinematic art. The jurors also celebrate the launch of this meaningful prize and congratulate the Festival for making it a reality," said producer and programmer Jason Ryle (Amplify), Australian First Nations producer Erica Glynn (True Colours) and Aussie producer Kath Shelper (The New Boy). "In awarding the winning work, the jury recognises its originality, elegance, and cinematic achievement in story and form. In a few short minutes, the talented creative team has crafted a deeply impactful film with a resonant emotional punch." The fest's annual shower of love also covers films focused on sustainability, Australian documentaries and shorts. SFF's fourth-ever Sustainable Future Award, which now hands out $40,000, went to documentary Black Snow about the Siberian eco-activist who has earned the nickname the "Erin Brockovich of Russia". The Feast and Wilding received high commendations. Welcome to Babel, which puts Chinese Australian artist Jiawei Shen at its centre, took out the $20,000 Documentary Australia Foundation Award for Australian Documentary. In the Dendy Short Film Awards, Die Bully Die won Best Australian Live Action, while the Yoram Gross Animation Award for Best Australian Animation went to Darwin Story. Say picked up two prizes, the AFTRS Craft Award for Best Practitioner for screenwriter Chloe Kemp and the Event Cinemas Rising Talent Award for lead actor Bridget Morrison. And the Rouben Mamoulian Award for Best Director went to Pernell Marsden for The Meaningless Daydreams of Augie & Celeste. The 2024 Sydney Film Festival ran from Wednesday, June 5–Sunday, June 16, with the festival screening four days of encores until Thursday, June 20.
A few years ago an idiotic politician declared that Sydney simply didn't want small bars like Melbourne's, where people could quietly read a book while drinking a glass of chardonnay in a black skivvy. That comment has been proven false again and again, and now Sydney is graced by establishments like Love, Tilly Devine, the perfect small bar to sit and read a book over some chardonnay. In a skivvy, if you want. The people at Love, Tilly Devine are excited. They're excited about their wine, about the future of their neighbourhood, and about their food. The name of the bar is an ode to East Sydney's past and a tribute to an obscure 1930s brothel madam who performed acts of local charity. The bar is tucked away in a Darlinghurst alley, with open windows and exposed brick walls and cosy to the point that I spotted one waiter go outside into the street and refill somebody's glass through the window. Don't come to Love, Tilly Devine if you want to get drunk. There are other places to do that. This is a place you can bring a date and drink quality, not quantity. This is a wine lover's bar for people who are willing and able to spend their money on it. The staff are happy to help out if you feel a bit befuddled by the seemingly limitless selection (the wine list currently sits at just under 300 varieties), and with the perfect seasonal food to go with it. Prices come per bottle, so it's tricky if you just want a glass; the cheapest glass of wine from the Riesling list, for example, is $16. But while it might be on the dear side, Love, Tilly Devine is a welcome addition to Sydney's thriving small bar scene. Image: Nikki To. Updated Tuesday, March 21 2023. Appears in: The Best Bars in Sydney
Take advantage of the Labour Day holiday and get out of town. Dance the night away and recover in style at Establishment Hotel, indulge in award-winning food at Lake House or sample the best wine the Margaret River has to offer at Empire Retreat and Spa. Whether you go bush at Arkaba Station, swim with the manta rays at Pinctada Cable Beach or pamper yourself at Lyall Hotel and Spa, it will be a weekend well spent. Establishment Hotel, Sydney The building that holds the decadent Establishment Hotel is an all-in-one affair, with a two-hatted restaurant, nightclub, speakeasy and exclusive cocktail bar at your fingertips. For the ultimate opulent experience, book the top-floor Loft Penthouse or huge two-level Duplex Penthouse. Either way, you’ll want a room on the higher levels; the all-inclusive set-up means noise from the revellers downstairs is unavoidable. Head to .est on level one for a fine dining experience like no other, and continue the party with drinks at Hemmesphere, the luxurious cocktail lounge on level four. When the music calls, venture downstairs to Establishment Main Bar to dance until the early hours. Step outside the door to be in the heart of the city — the Harbour Bridge and Opera House are literally a hop, skip and a jump away. Smith Extra: VIP access to Establishment’s lounge bar Hemmesphere, nightclub Ivy and Pool Club, and a bottle of sparkling wine. QT Port Douglas, Qld Soak up the spring sun at QT Port Douglas, the tropical getaway tucked away from the bustle of the main town. Lounge by the lagoon-shaped pool with a good book; the island deck will ensure you’re the centre of attention. Use the free guest bikes to explore the town or take the path down to Four Mile Beach for a leisurely ocean swim. Recover with a luxurious treatment at spaQ before spying on the shenanigans by the pool’s swim-up bar from the balcony of your One-Bedroom Pool View Villa. In winter and spring, QT also hosts Moonlight Cinema — enjoy a delicious snack while watching a classic or latest release on a state-of-the-art outdoor screen. Indulge with a meal at Bazaar, the resort’s main restaurant. The glass fridges hold fabulous produce that the chefs cook to order. Start with salad and seafood, before moving onto dishes from around the world (just make sure to leave room for dessert). Smith Extra: A bottle of bubbly plus late check-out (12 noon). Arkaba Station and Walk, Flinders Ranges Find your inner farmer at Arkaba Station and Walk, a 60,000-acre homestead and sheep station. Nature is king here; watch for kangaroos and emus or listen for the pink-hued galahs flocking the trees around the property. The exclusive homestead has five rooms, meaning you can bring friends along for an adventure. Each room brings a little of the outdoors inside, with cowhide rugs and wool-sack-wrapped bedside tables. Escape the spring heat with a dip in the outdoor pool, admiring the view of Arkaba Creek, hills and bush. The more adventurous can book a three-night guided walk, sleeping in comfy campsite swag beds for two nights before a night at the station. Eat food made over the fire, have an alfresco bush shower and fall asleep with a sheepskin hot-water bottle keeping you warm. Smith Extra: An assortment of Australian bush spices. Pinctada Cable Beach, Broome Perched between one of Australia’s most iconic beaches and the vast Kimberley, Pinctada Cable Beach delivers both beachside relaxation and rugged desert adventures. Rooms reference the town’s Asian heritage: the Honjin (meaning ‘most honoured guest’ in Japanese) Courtyard Suites share a serene courtyard and a plunge pool between four. Ocean adventurers can go swimming with manta rays on Cable Beach or take a camel ride along the white sand. Meanwhile, guests in search of rejuvenation can be pampered with an Aboriginal-influenced treatment at Pinctada Spa, which champions Li’Tya products and local plants and spices. Finish the day at Selene Brassiere, where the menu blends North African, Middle Eastern and Mediterranean flavours with a taste of the Kimberley. Pair your meal with an excellent selection of Australian wines. Smith Extra: A bottle of wine and canapes. Lake House, Daylesford The runner-up for Best Hotel Restaurant in the Smith Hotel Awards 2013, Lake House boasts an award-winning restaurant, rural lodge and a state-of-the-art spa just outside the rustic town of Daylesford. Indulge in a signature Salus Bliss treatment at the Salus Spa, or unwind in the hot mineral-water tubs looking over the lake. For a private experience, try the Spa Villa, which boasts a courtyard with a sunken hot tub and direct access to the lake. Sample the local produce at chef Alla Wolf-Tasker’s destination restaurant — almost everything on the menu is grown in the kitchen garden or in the region. Alla’s husband Allan is responsible for the paintings that adorn the interiors, adding a splash of exuberance to an otherwise tranquil space. Smith Extra: Elemis spa products presented in a satin travel pouch. Lyall Hotel and Spa, Melbourne For a stylish mini-break with designer shopping on your doorstep, look no further than Lyall Hotel and Spa. The spacious one-bedroom suites are a sleek affair, resembling deluxe city apartments. For extra room, try the Platinum Suite — it comes with a living room, ensuite bathroom, double spa bath and full kitchen. You’ll find the space filling up after an afternoon in the boutiques of South Yarra; the credit card — and your legs — will be given a proper workout. Comfort your weary pins with a signature treatment at the hotel’s destination day spa, a three-storey space perfumed with mandarin and ylang-ylang. Unwind in one of two steam rooms or just relax in the indoor-outdoor area. Wear your latest purchase to the sexy Lyall Champagne Bar, an intimate space with a soundtrack of easy listening tunes. Choose between an apple crumble martini and a selection of champagne by the glass. Smith Extra: A bottle of Chandon NV on arrival. Empire Retreat and Spa, Margaret River While the weekend away at the slick Empire Retreat and Spa, smack-bang in the centre of Margaret River wine country. Tour the onsite vineyard and sample the estate’s chardonnay and cabernet sauvignon, the region’s dominant varieties. Sip a glass in front of the open fireplace in a Luxury Villa or have a shower in your private courtyard. There’s no pool, but a secluded Jacuzzi should satisfy your watery whims. Achieve full relaxation with a treatment at Empire Spa — the three-hour Opulence session lives up to its name with an exfoliation, wrap, massage, bath and facial. There’s no restaurant, but the communal kitchen in the heart of the property is open to guests, meaning you can whip up a meal to match your wine. You can find excellent examples of the local offerings at Moss Wood, Cullen Wines and Leeuwin Estate. Smith Extra: A bottle of Empire Estate wine and a cheese plate. Saffire, Tas Just minutes from the azure water and white sand of Wineglass Bay, Saffire goes back to nature with a blend of stone and timber, beach views and locally sourced food and wine. For the ultimate in private comfort, book one of four Private Pavilions — they each have their own courtyard plunge pool, spacious living and bedroom areas, a front deck and a kitchen where a hotel chef can rustle something up for you. Room rates also include a treatment at Spa Saffire, so you’d be silly not to visit. The facials in the Jewel Collection are particularly special — all of the therapists have been trained by celebrity facialist Marionne De Candia. Other free activities include exploring the secret life of oysters at Freycinet Marine Farm, learning about the local produce with the hotel’s award-winning chef or quad biking around the wetlands. Smith Extra: A bottle of champagne. The Australasian Circa 1858, Fleurieu Peninsula With the facade of a heritage pub and graced with light, Asian-inspired interiors, The Australasian Circa 1858 offers the weariest of weekenders an intimate and stylish retreat from reality. The Parlour Room whispers extravagance with a huge tub in a step-up area of the bedroom, perfect for a spot of reading and relaxing. This adults-only sanctuary specialises in fine dining, with co-owner and head chef Juliet Mitchell preparing meals with an Asian theme. The restaurant is only open to guests (except Saturday night), but for extra privacy, dine in your room. The hotel is only open from Wednesday to Sunday each week, but its location makes it a perfect stopover before continuing onto Kangaroo Island — only a 45-minute ferry ride away. Smith Extra: A tasting selection of ales from the Steam Exchange Brewery at Goolwa Wharf Kingsford Homestead, Barossa Valley, SA Put your station-owner hat on at Kingsford Homestead, an historic estate with an impressive cellar in the Barossa Valley. The rooms are named after the former owners of the property — the Kerry Packer suite catches the afternoon sunshine and has a gorgeous claw-foot bath tub, and the Stephen King suite (named after the founder, not the famous author) is perfect for families as it connects to the John Angas Suite. There’s no pool, but the alfresco bush bath, located in a secluded corner of the grounds, is big enough for two. Follow up with an in-room massage or facial — but be sure to book in advance. Local produce dominates the menu here; chef Stuart Oldfield has developed strong relationships with local farmers. The menu changes by the season, but the wine will always be Barossa. Enjoy drinks and canapes on the veranda while watching the resident kangaroos have their dinner. Smith Extra: A picnic hamper. Browse other long weekend stays, or contact Smith’s expert Travel Team on 1300 896 627.
The Hollywood Quarter refers to the wedge of Surry Hills that's made up of just a few streets around the intersection of Campbell and Commonwealth, but those few contain some of the liveliest spots in Sydney. Taking its name from the Hollywood Hotel — a long-standing institution of the precinct where you've probably encountered many a schooner, the neighbouring venues include Ace Hotel Sydney, Paramount House, Alberto's Lounge and Tio's. They're all joining forces to take part in a special gig trail on Saturday, 23 March from 4pm. It's a one-night-only event that involves a curated walk through the neighbourhood for a journey of free live music at the various venues, starring Sydney artists like Tasman Kieth, Charlie Villas, Jono Ma and Kirin J Callinan (scroll down for the full gig list). Also on show will be some equally rocking deals from the area's many excellent dining establishments, so start scheming up your perfect dinner and a show lineup now. In-Venue Gigs Ace Hotel Sydney: Charlie Villas and Fried Pork Chop (6pm-12am) Alberto's Lounge: Fritto Disco Speciale starring Kirin J Callinan (lunch) Burdekin Hotel: Kingdom Calm ft Burkina Flats & Bakura (7-10pm) Butter: Cherryrype, Grebel, Izzybops, LXGCY (9pm-12am) Golden Age Cinema & Bar: Tasman Keith (10pm-1am) Harry's: Refuge Recording presents SilverStix (7pm-3am) Hollywood Hotel: The Zoe K Experience (New Orleans Edition) (7pm-1am) Paramount House Hotel: Jono Ma (5-8pm) Soda Factory: Soda's House of Fun ft DJ Nino Brown & Friends (7pm-4am) Food & Drink Specials Alberto's: Lunch special, 2 course and wine $45 from 12-5pm Beau: Happy hour from 4pm to 6pm at the bar or laneway Butter: 3 crispy chicken wings and a Tiger Beer for $20 Gilda's: Open from 5.30pm for a pre-show meal or a drink with snacks Kiln: Late night snack menu plus DJ tunes Nel Restaurant: Join Nelly Robinson for his native Australian degustation Pellegrino 2000: Dine al-fresco, be entertained by the troubadours, and be transported to Italy! Poly: "Apolytivo" delicious drinks and food at happy hour prices from 5-6pm The Rover: Happy Hour from 4-6pm with $2 oysters, $6 beers, $6 G&Ts, $10 wine and a $14 spritz Nomad: Feast al-fresco and be entertained by the troubadours. Book an outside table now. Tio's: Nachos, live tunes and $12 margarita specials (till sold out) Top image: Declan Blackall
The world of Public Bunnies begins and ends in a grim, black room furnished with old pianos and suspended garments. In this place outside of time, given form by the throaty dirge of unseen monks, twenty young performers collapse one after the other and are stripped down to their black underwear. Once unclothed, they are reborn into a dream state where bodies meld and flow into one another; they have become a true community, united in form as well as agenda.Community is the underlying theme of Public Bunnies, though this is a simple reading of the fascinating world created by the 2009 imPACT ensemble. Under the direction of stage visionary Michal Imielski, the ensemble succeeds in building a small village for its audience to explore - complete with a hospital, a water treatment plant and an underwear mine. Scattered throughout this pocket dimension are a host of quirky and haunting characters who spill across one another to develop a very organic, exciting space.This is a wonderful experiment in adventure theatre, giving audiences the chance to explore a well-realised world that does not fall into the danger of cringe-worthy "audience participation". Public Bunnies is also generous with its audience; as far as Imielski is concerned, there is no single interpretation to this production, so audiences are free to create their own story for the residents of this strange land.https://youtube.com/watch?v=fPcya4M7nfc
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=1SEoi8r1Z4Y SUPERNOVA Stanley Tucci and Colin Firth aren't lazy, bad or bland actors. The former has an Oscar nomination for The Lovely Bones, the latter won for The King's Speech, and neither can be accused of merely playing the same character again and again. And yet, whenever either pops up on-screen, they bring a set of expectations with them — or, perhaps more accurately, they each instantly remind viewers of the traits that have served them so well over their respective four-decade careers. In features as diverse as The Devil Wears Prada and the Hunger Games films, Tucci has given a distinctive sense of flair and presence to his many parts, as well as his innate ability to appear bemused and sarcastic about life in general. Whether as Mr Darcy in Pride and Prejudice or as Mark Darcy in the Bridget Jones movies, Firth has enjoyed immense success playing reserved, introverted, dry-witted men who are more likely to ruminate stoically than to outwardly show much emotion. Teaming up in Supernova, both talents draw upon these characteristics once more, as writer/director Harry Macqueen (Hinterland) wants them to. But here's the thing about this pair of stars, who shine particularly bright in this affecting drama: far from ever settling into their own comfortable niches, they're frequently delving deeper, twisting in different directions and offering up untold surprises. A famed novelist less interested in putting pen to paper than in peering up at the stars, Tucci's Tusker knows how to defuse any scenario with his charm in Supernova, but it's apparent that he often uses that canny ability to avoid facing a number of difficulties. An acclaimed musician with an eagerly anticipated concert in the works, Firth's Sam often says little; however, the fact that he's grappling internally with feelings he can't quite do justice to in words always remains evident. Travelling around England's Lakes District, they're not just on an ordinary campervan holiday. Neither man has simply been whiling away their time before their long-awaited returns to performing and writing, either. With stops to see Sam's sister (Pippa Haywood, Four Kids and It) and her family, and to reunite with old friends, the couple are making the most of what time they have left together. Tusker is unwell, with early-onset dementia increasingly having an impact on not only his everyday life, but upon the shared existence they've treasured for decades. Read our full review. https://www.youtube.com/watch?v=ilNHPfOOeIs GUNDA Move over Babe, Piglet, Porky and Peppa. Thanks to monochrome-hued documentary Gunda, cinema has a brand new porcine star. Or several, to be exact; however, other than the eponymous sow, none of the attention-grabbing pigs in this movie are given names. If that feels jarring, that's because it breaks from film and television's usual treatment of animals. Typically on-screen, we see and understand the zoological beings we share this planet with as only humans can, filtering them through our own experience, perception and needs. We regard them as companions who become our trustiest and most reliable friends; as creatures who play important roles in our lives emotionally, physically and functionally; as anthropomorphised critters with feelings and traits so much like ours that it seems uncanny; and as worthy targets of deep observation or study. We almost never just let them be, though. Whether they're four-legged, furry, feathered or scaly, animals that grace screens big and small rarely allowed to exist free from our two-legged interference — or from our emotions, expectations or gaze. Gunda isn't like any other movie you've seen about all creatures great and small, but it can't ignore the shadow that humanity casts over its titular figure, her piglets, and the one-legged chicken and paired-off cows it also watches, either. It's shot on working farms, so it really doesn't have that luxury. Still, surveying these critters and their lives without narration or explanation, this quickly involving, supremely moving and deeply haunting feature is happy to let the minutiae of these creatures' existence say everything that it needs to. The delights and devastation alike are in the details, and the entire movie is filled with both. Filmmaker Victor Kossakovsky (Aquarela) looks on as Gunda's namesake gives birth, and as her offspring crawl hungrily towards her before they've even properly realised that they're now breathing. His film keeps peering their way as they squeal, explore and grow, and as they display their inquisitive, curious and sometimes mischievous personalities, too. Sometimes, this little family rolls around in the mud. At other times, they simply sleep, or Gunda takes the opportunity to enjoy some shut-eye while her piglets play. Whatever they're doing, and whenever and where, these pigs just going about their business, which the feature takes in frame by frame. In one of the documentary's interludes away from its porcine points of focus, the aforementioned chook hops about. Whether logs or twigs are involved, it too is just navigating its ordinary days. In the second of the movie's glimpses elsewhere, cattle trot and stand, and their routine couldn't seem more commonplace as well. Read our full review. https://www.youtube.com/watch?v=hbn8-Tpa3no AALTO Sometimes, a documentary doesn't need words, as Gunda wholeheartedly demonstrates. Aalto features plenty, all spoken as voiceover and delving into the life of great Finnish modernist architects Alvar and Aino Aalto; however, the film's visuals would've still kept viewers glued to the screen if not even a single syllable was uttered. For the bulk of the doco's duration, savvy director Virpi Suutari (Entrepreneur) fills the screen with the couple's handiwork. Furniture from the 1930s onwards and buildings up until the 1970s are seen in loving detail, with the feature's imagery zooming in on the former and walking through and soaring above the latter. Some might be familiar, especially on the homewares side — IKEA has taken a few cues from some of their designs over the years — but viewers new and well-acquainted alike will find much to catch their eye. With its smooth bends and sculptural look, the bentwood Paimio Chair is a thing of unshakeable beauty. The unpredictable curves in the pair's various wavy vases are just as vivid to behold. Combining an undulating appearance with rough bricks that Alvar complimented as "the lousiest in the world", Baker House at the Massachusetts Institute of Technology is far more striking than any other college dormitory. And there's minimalistic grace in the buildings at the University of Jyväskylä, which are among the few sites seen in the feature with people in them. To see these pieces and places, and others like them, is to be submerged into the Aaltos' way of viewing the world. Aalto doesn't just stare at the marvellous items designed by its namesakes, though. Suutari also draws upon home videos to tell their story, uses multiple unseen narrators to unfurl and comment upon their tale, and gives voice to letters penned between the pair whenever one travelled away from the other. Indeed, this isn't just a professional portrait, but a personal one, too — and a film made with admiration but not devotion. While Alvar became a world-renowned star, he isn't the sole reason that Aalto remains a famous design name. He also wasn't without his flaws. Accordingly, Aalto doesn't blindly sing his praises, peddle stock-standard male genius tropes or solely peer his way. Yes, the documentary's title mirrors its focus. Aino was a pivotal part of his architectural practice; "regardless of how the drawings are signed, they clearly worked as a team," the film's narration offers. After Aino's death, Alvar's second wife Elissa, another architect, also proved just as crucial. It would've been easy to simply worship Alvar, but Suutari cannily broadens the story around his work — and makes a better, and more interesting and engaging doco as a result. https://www.youtube.com/watch?v=VzvwJiBFhSg CREATION STORIES Whenever someone gets 'Wonderwall' stuck in their head, they partly have Alan McGee to thank. The Scottish music industry executive and Creation Records co-founder happened to be at the same Glasgow bar as Oasis in 1993, and saw the band being turned away by management despite their claim that they were booked to play a gig. When the Manchester-based group was eventually allowed in, McGee checked out their set. He quickly offered them a recording contract and, yes, history was made. His impact upon the music world doesn't end there, either, with McGee managing The Jesus and Mary Chain, putting out records by Primal Scream and My Bloody Valentine, and getting involved in the acid house scene as well. That means that Creation Stories has much to cover. The lively biopic initially frames its episodic jumps through McGee's life via a chat between the exec (Ewen Bremner, T2: Trainspotting) and a journalist (Suki Waterhouse, The Broken Hearts Gallery), but that's just an excuse to leap back into his memories. From there, the film pinballs from his unhappy teenage years with his doting mother (Siobhan Redmond, Alice Through the Looking Glass) and stern father (Richard Jobson, Tube Tales), and his early attempts to soar to music stardom in London, to Creation's many financial ups and downs and his involvement in politics. Creation Stories is adapted from McGee's autobiography of the same name, with Trainspotting author Irvine Welsh and playwright Dean Cavanagh penning the script; however, it often feels as if McGee himself saw Rocketman and asked for his own version. That sensation comes through stylistically, thanks to the frenetic pace, vibrant splashes of colour and ample scenes of drug-fuelled partying. It's also evident in the impressionistic approach applied to McGee's life, telling a tale that mightn't always be 100-percent accurate in every minute detail but is wholly designed to capture the wild mood and vibe perfectly. Both movies boast Lock, Stock and Two Smoking Barrel stars as their directors, too, with Nick Moran (The Kid) jumping behind the lens here. And, the two films also benefit from standout lead performances, with Bremner as stellar as he's ever been on-screen. Indeed, the actor best known as hapless heroin addict Spud couldn't be more important in Creation Stories. So much of the film's chaotic ride through McGee's highlights and lowlights rests upon Bremner's larger-than-life portrayal, peppy presence, mile-a-minute gift of the gab and deceptive charisma, so its central talent was always going to make or break the film. There's no shaking its general adherence to the rock biopic genre, though, but there's also no doubting its alluring energy. https://www.youtube.com/watch?v=LLg86R4Ay-Y THE UNHOLY The Exorcist was not an easy movie to make, as exceptional documentary Leap of Faith: William Friedkin on The Exorcist made clear. But over the past four decades, the horror masterpiece has proven a very easy film to emulate again and again — or, to try to ape in anything that pairs religion and scares, at least. Copying it is nowhere near the same as matching it, of course. That's especially the case when most one-note flicks that attempt the feat simply think that crosses, creepy females and stilted, unnatural body movements are all that it takes. The Unholy is the latest example, to uninspired, unengaging, unoriginal, unconvincing and thoroughly unsurprising results. Adapted from the 1983 James Herbert novel Shrine by seasoned screenwriter turned first-time feature director Evan Spiliotopoulos (Charlie's Angels, Beauty and the Beast, The Huntsman: Winter's War), the movie's premise has promise: what if a site of a supposed vision of the Virgin Mary and subsequent claimed miracles, such as Lourdes in France and Fatima in Portugal, was targeted by a sinister spirit instead? But, despite also boasting the always-charismatic Jeffrey Dean Morgan (The Walking Dead) as its lead, all that eventuates here is a dull, derivative and not even remotely unsettling shocker of a horror flick. The fact that The Evil Dead and Drag Me to Hell's Sam Raimi is one of its producers delivers The Unholy's biggest scare. Looking constantly perplexed but still proving one of the best things about the film, Morgan plays disgraced journalist Gerry Fenn. After losing his fame and acclaim when he was caught fabricating stories, he now makes $150 per assignment chasing the slightest of flimsy supernatural leads. His current line of work brings him to the small Massachusetts town inhabited by Father Hagan (William Sadler, Bill & Ted Face the Music) and his niece Alice (Cricket Brown, Dukeland), the latter of whom is deaf. Thanks to a barren tree, a creepy doll, an eerie chapter of history and a strange run-in with Gerry, however, she can soon suddenly hear and speak. She says that can see the Virgin Mary, too. Swiftly, word about her story catches the church, media and public's attention. Even if Spiliotopoulos had kept the novel's title, it'd remain obvious that all isn't what it seems — the film starts nearly two centuries ago with a woman being burned alive at the aforementioned tree, so nothing here is subtle. But instead of pairing an exploration of the dangers of having faith without question with demonic bumps and jumps, The Unholy embraces cliches with the same passion that satan stereotypically has for fire. The cheap-looking visuals, Cary Elwes' (Black Christmas) wavering accent and the bored look on co-star Katie Aselton's (Synchronic) face hardly help, either. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; and March 4, March 11, March 18 and March 25; and April 1 and April 8. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective and Voyagers.
What happens when you get rare approval for extended, late-night trading hours? Well, if you're anything like 70s-inspired enoteca Alberto Lounge, you celebrate by throwing a big ol' party. That party's taking over the bar on Sunday, November 24, promising eats, beats and boozy treats right through until midnight. From 4pm, you'll catch DJs spinning a soundtrack of throwback Euro grooves, drink specials including a $10 negroni and complimentary serves of Alberto's signature mortadella sandwiches. There'll be 'Nature Morte' t-shirts by Sydney-based print-maker Allie Webb up for grabs, while the kitchen dishes up its full food menu all night long. Alberto Lounge is now open an extra hour until 1am Thursday, Friday and Saturday nights, and an extra two hours until midnight on Sundays. To match, a refreshed DJ program is set to kick on until late every weekend. Monday, Tuesday and Wednesday nights will remain the same, with the venue open until about midnight. The bar was opened late last year by the folks behind Restaurant Hubert, Frankie's and Shady Pines Saloon. Its new hours are another small win for Sydney's nightlife and live music scene, with tough lockout laws on track to be rolled back right across the CBD by the end of the year. Venue images: Kitti Gould.
Global culture, technology and entrepreneurship juggernaut Remix stopped in Sydney for two days from May 8-9. We went, we watched, we wrote things down. Here are some takeaways from the event. Three people to internet stalk after Remix Sydney 1. Anna Higgs (@AnnaEHiggs), head of digital at Film4. As well as being a totally inspiring powerhouse who, just lately, has commissioned stuff like Frank, 12 Years a Slave and 20,000 Days on Earth, she live tweeted the whole of Remix like a boss. 2. Peter Tullin (@PeterTullin and Simon Cronshaw, co-founders of CultureLabel.com (@CultureLabel) and this whole worldwide conference shebang known as Remix. They seem to know everything about what's going on in the culture/technology/entrepreneurship world, and they were genial hosts to boot. 3. Dr Hugh Bradlow (@hughbradlow) works for Telstra, not always the most inspiring company, as chief technology officer but he is so much more than that. A sweetly excitable geek who loved telling us about the system he's set up to measure energy use in his home, he also asked some of the week's biggest questions about the future. Intra-preneurship: Building a Culture of Innovation This ends up being hilarious. Because Leigh Carmichael, creative director at Dark MOFO, MONA's Winter Festival, has a simple and popular dictum: kill the committees. But that's not going to work for everyone on this panel who doesn't have the luxury of being bankrolled by a wealthy, art-loving gambler. Mark Goggin, director of Sydney Living Museums, is a good counterpoint, his talk entitled 'taking creative risks with public money'. That organisation (formerly the Historic Houses Trust) has definitely managed to bring in new audiences and stage a variety of interesting cultural events. But both Leigh and Mark basically agree: you have to empower creatives with as much decision making ability as possible. The organisation's leaders have to endorse creative risk-taking (even knowing they won't all be successes) and make sure that attitude rules the discourse. Mark points to the @sweden Twitter ("a new Swede every week") as an inspiringly risk-taking public program — even when the person in control has been sexist, racist, offensive or otherwise disappointing, the government has stuck it out. Mark Goggin from @sydlivmus speaking on taking creative risks with public money. That org is on a roll. #innovation #RemixSyd — Concrete Playground (@PLAYGROUNDnews) May 8, 2014 Three ideas that stuck at Remix Sydney 1. We're suckers for storytelling. No matter what you're doing, you will need to be able to tell your 'story' at every stage — from getting funded, to finding your audience to showing off at a big, intimidating conference like Remix. 2. Think of your project as a treasure map not a road atlas. Anna Higgs uses this as a guideline for making cross-platform work, but it ends up being applicable to just about everything (except road trips). 3. How do you build a world where people lead meaningful lives when this is happening? Seriously, Dr Hugh Bradlow, CTO of Telstra, wants us to figure this shit out. Uh oh. @hughbradlow #terrified #thefutureisnow #RemixSyd pic.twitter.com/QfdTEtTjET — Lisa Burns (@LisaKBurns) May 9, 2014 The Experience Economy: Creating Extraordinary Moments and Stories That Get People Talking Everyone on this panel is certain they haven't heard the phrase 'experience economy' before, but they instinctively get it. They've each been part of masterminding an event or place that has gone beyond the usual definitions and ways of doing things — and brought together a community of people in a shared moment. There's Andrew Valder of the Garage Sale Trail, Heather Whitely Robertson of the MCA and Kaj Lofgren of the School of Life. It seems what Remix is hinting at is that brands might be trying to leverage this need that people have to connect with each other in real life (while at the same time tweeting and Instagramming it). Quelle horreur. Someone, at some point posits that art at the moment isn't about the art so much as it is about bringing people together to view it. There may be truth to that, but as Heather tells it, art is essentially personal, and ultimately the experiences we remember will be the ones we connect to internally, rather than externally. Can culture orgs create both experiences at the same time? That looks like the challenge. So true "increasingly art doesn't exist for arts sake, it is a catalyst for bringing ppl together in meaningful ways" @PaulBarclay #RemixSyd — Kaj Lofgren (@kajlofgren) May 8, 2014 Three projects to read more on after Remix Sydney 1. The School of Life — At Melbourne's School of Life (founded by Alain de Botton), the cafe gives out philosophical conversation cards with each purchase, facilitating chats that are more open and probing than the norm. 2. Four Pillars Gin — Admittedly, this Australian gin was created by a publicist, so its branding is top notch. But it's backed up its December 2013 Pozible success with a March 2014 double gold medal at the San Francisco World Spirits Competition, and the team has real passion for both the pure spirit and building an Australian cocktail culture. 3. MoMa's Art Lab — Is this the coolest art app ever? The box says "for ages seven and up", but time has shown no one is too old for creative art education without the big words. Public Forum: Rethinking Cross-Platform Performance for Live and Broadcast Audiences Niche topic, but any lover of performance should feel the pull of it. It's not like as a society we're going to see theatre less, but now that we're consuming so much media, so constantly (several screens at a time, often), how can live performance works remain relevant to public debate? How can they find new audiences? This panel brought together some of Remix's key guests — Anna Higgs, commissioning executive for the UK's multiplatform Film4; Freya Murray, arts manager at SKY Arts, another multiplatform innovator; Allegra Burnette, creative director of digital media at MoMA; and Tom Uglow of Google's Creative Lab. These guys have all gone beyond the idea of merely recording a live show and broadcasting it into a box in the corner of a living room. Allegra was at MoMA during what's possibly art's most viral moment — Marina Abramovic's The Artist Is Present — and spoke of how unpredictable that was; they just put the pieces out there and facilitated the internet to do it's thing. Freya emphasised that when setting out on these kinds of projects, you need to be flexible and reactive to your audience. Go with the flow, even if that's the most scary thing of all. Working in this area is a treasure map journey rather than road map journey. Must experiment @AnnaEHiggs #Rethinkingcrossplatform #RemixSyd — Rima Sabina Aouf (@rimasabina) May 8, 2014
Could 2011 be the year of the infographic? They're all over the internet: eye-popping visuals which make sense of complex data sets through bright colours and great typography choices. In a world where information bombardment is enough to make your head spin, infographics are bringing order to the chaos of endless facts and figures. Perhaps the logic of the infographic could be applied to the design of nutrition labels, another daily dose of confusing percentages, milligrams, serving sizes and calorie counters. US magazine Good has teamed up with the University of California Berkeley Graduate School of Journalism's News21 project, inviting designers to rethink food labelling. Their instructions? "Redesign the food label. Incorporate the existing nutrition facts and calorie counts. Or reimagine a label entirely based on food quality, food justice, or lesser-known chemosensory characteristics. Consider a food's carbon footprint or its cultural significance. Above all, make the redesigned label informative, instructive, and memorable." Enter the competition before July 1 and use your design skills to inspire better food and nutrition literacy. [Via Good]
Some dishes are as straightforward as they sound, and omurice — aka omelette rice — is one of them. It's an omelette made with fried rice, then typically topped with sauce. Yes, it's an easy concept to get around; however, not all versions of this western-influenced Japanese eggs-plus-rice staple are made equal. Indeed, trying Kichi Kichi Omurice's in Kyoto might be on your travel bucket list. Chef Motokichi Yukimura's viral-famous take on the dish has made him an internet star — the term "Japan's most-famous omurice chef" has been used — and seen his eatery become a tourist destination. As of January 2024, it's no longer doing bookings in advance, in fact. Now, diners are only able to make reservations on the same day they're eating, and need a password that's placed on the restaurant's door each morning to lock in their seating. But if you'd like the Kichi Kichi Omurice experience without the airfares, that's about to become a reality in Australia for four nights only – two apiece in Sydney and Brisbane. Yukimura is heading Down Under in February and March 2024 to hit up Harajuku Gyoza, and show why the dish he's been making for over 45 years is such a hit. The chef is doing 'meet and eat' events in both cities, cooking everyone who attends his specialty — and putting on a show, complete with his Kichi Kichi Omurice song and dance. Folks in Sydney are headed to Harajuku Gyoza Darling Harbour on Tuesday, February 27 and Thursday, February 29. For Brisbanites, your destination is Harajuku Gyoza Albert Lane in Brisbane from Sunday, March 3–Monday, March 4. In Sydney, tickets cost $290 for two people, with sittings at 5pm, 6pm, 7pm and 8pm on both days. Brisbane's tickets are $250 for two, with 11am, 6pm, 7pm and 8pm sittings on the Sunday and 5pm, 6pm, 7pm and 8pm sessions on the Monday. That price covers tucking into Yukimura's omurice, plus Harajuku Gyoza's sushi tacos, mozzarella gyoza and dessert bao — and meeting the chef. Harajuku Gyoza advises that Yukimura's last international event notched up 50,000 booking enquiries, so expect tickets to get snapped up quickly. Motokichi Yukimura will be at Harajuku Gyoza Darling Harbour in Sydney on Tuesday, February 27 and Thursday, February 29, then at Harajuku Gyoza Albert Lane in Brisbane from Sunday, March 3–Monday, March 4. Head to the eatery's website for further details and bookings.
You know that feeling of unsurpassed joy you experience when you are eating at a restaurant and you see the waiter approaching your table with your dish? Good Food Month is that feeling. Spread out over a whole month. Spanning all October, Good Food Month celebrates the joy of food over many diverse platforms — ranging from markets to workshops, talks, tastings and completely unusual, unexpected, food-skewed events. It's also the time when restaurants that we probably couldn't afford open their doors with breakfast, lunch, dinner and dessert specials. This year, Good Food month will feature Israeli food maestro Yotam Ottolenghi, who'll be doing an exclusive dinner, lunch and talk. The list of things to see (and, most importantly, eat) feels endless, so, as usual, we've handpicked the ten best events that you cannot miss if the thought of food makes you feel giddy with excitement. Night Noodle Markets You know it's Good Food Month when Hyde Park is transformed into a fairy-lit backyard, dotted with stalls featuring the best Asian food that Sydney has to offer. This year, there will be 50 stalls showcasing these goodies, including the likes of China Republic, Harajuku Gyoza and popular Melbourne eatery Wonderbao, alongside old favourites such as Mamak, Longrain and Din Tai Fung. For the first time in its 16-year operation, the Night Noodle Markets will be operating on Sunday evenings as well. If you're hankering for Asian street food but can't bear the Noodle Market crush, try China Town's Asia on Your Doorstep Festival, which will feature an authentic-as-can-be Little Eat Street on October 25. October 10 – 26, Hyde Park North. Hours: Mon – Tue 5pm – 9pm, Wed 5pm – 10pm, Thu - Fri 5pm – 11pm, Saturday 4pm - 10pm, Sunday 4pm – 9pm. Free entry. Momofuku Ssäm Bar 2007 By now, everyone should know what the big deal is with superstar chef David Chang. To those unfamiliar, only two words are necessary: pork buns. We in Sydney have had a chance to experience Chang's Momofuku empire thanks to Momofuku Seiobo opening a while back, but the rest of his restaurants overseas sadly still evade us. Now Momofuku Seiobo is stepping back in time to bring us a taste of New York's Momofuku Ssäm Bar's 2007 menu, some of which is now iconic — like Chang's signature pork belly buns with hoisin, cucumber and spring onions. Best of all, you won't have to fight for a reservation, just for a spot in the queue; no bookings are being taken for Ssäm Bar 2007. All dishes are $10-40, and you get a Tanqueray G&T on arrival. October 13-18, 6.30pm - 10pm, at Momofuku Seiobo, Level G, The Star, 80 Pyrmont Street. Journey to the Forbidden Kingdom What little we know about North Korea ranges from the surprising to the downright bizarre. Something that we know even less about is North Korean fare. The chefs at one of our faves, Kim Restaurant in Potts Point, will open those doors for us, giving us a peek into the cuisine styles of a land not many people get to visit. October 10, 5 - 10pm, at Kim Restaurant, 7/24-30 Springfield Avenue, via Llankelly Place, Potts Point. $80pp for a five-course banquet matched to Korean spirits. Reservations kimrestaurant7@gmail.com Foraged Feast at Hill Eatery Bondi Beach institution Hill Eatery is dedicated to creating the freshest meals from local produce. It is fitting that their contribution to Good Food Month encompasses this passion: guests are invited to forage for their food around Bondi's beach parks and backyards, before the chefs transform it into a delicious and hearty meal. Forage Feast is $98pp for a three-course meal including wine and beer. While you eat, the chefs will explain where ingredients were sourced and the inspiration behind each dish. October 30, 7pm – 11.30pm at Hill Eatery, 5/39 Campbell Parade North Bondi. Reservations info@thehilleatery.com.au. Foraged Feast is a part of the Down to Earth program of events. Asia Town street food festival The best (worst?) thing about Good Food Month is that we're almost too spoiled for choice when it comes to picking out the best experience for our tastebuds, making it all the harder. Asia Town fixes this dilemma for you, bringing some of Australia's best chefs to a giant one-off marketplace of tastings, drinks, music and demonstrations. Dishes will be prepared by chefs like founder of Sailers' Thai David Thompson; the man behind Ms G's, Dan Hong; founder of Red Lantern, Luke Nguyen; and Chui Lee Luk, who opened Surry Hills' Chow Bar and Eating House last year. Oh, and not to forget the talented folk from Sokyo, Golden Century, Moon Park, Cho Cho San, and Melburnian restaurants Kong and Chin Chin. That's, like, everyone. This is one of the rare times we recommend going to the Star. Sunday, October 19, from noon - 8pm, at Star Terrace, Pirrama Road, Pyrmont. $125pp, including tastings, drinks and demonstration sessions. Book at the Good Food Month website. Halloween Harajuku Pop Up Bar at Sake For the dressed-up characters walking the streets of Tokyo's famed district of Harajuku, practically every day is Halloween. Now, we can have our own little twist on Japanese style, with Sake Restaurant and Bar resurrecting their Harajuku-themed pop-up bar for Halloween — which means you get to dress up too. There will be themed cocktails and izakaya-style canapes, including skewers, grilled fish, sashimi salad, sushi rolls and — wait for it — deep-fried cheeseburger gyozas. Chill with some spooky tunes thanks to Sake's DJs and you've got a seriously good night sorted. October 31, 7pm – 12am, at Sake Restaurant and Bar, 12 Argyle Street, The Rocks. $45pp including three cocktails and matching canapes. Reservations reservations@sakerestaurant.com.au. The Growers' Market, Pyrmont Heading to the markets could possibly be one of the nicest ways to spend a day: wandering through mazes of stalls, consuming the sly tester and, in the case of the Growers' Market, enjoying a wonderful view. During its 16 years in operation, the Growers' Market Pyrmont has become one of Sydney's most loved morning markets. As the title suggests, the Growers' Market is all about fresh produce, with 70 stalls presenting freshly harvested food in the shape of cheese, meats, fruit and veggies. The Growers' Market runs on the first Saturday of each month; however, during Good Food Month it will also include cooking demonstrations from Australian food personalities and a fine-food sausage sizzle as a nod to the 'Barbecue Madness' segment of Good Food Month. October 4, 7am - noon, at Pyrmont Bay Park, Pirrama Road. Free. Omnivore The Omnivore world tour is a determined shift away from stuffy exclusive restaurants and close-minded chefs. Adopting the title 'la jeune cuisine' (young chefs, new ideas) the Omnivore movement is based in Paris and unites chefs from all over the world. The Australian four-day event will feature masterclasses, dinners and an 'Omnivorous Party' on October 4, the latter including bouchees pastries, music and drinks with a backdrop of the harbour. Hear, learn from, dine with and eat the food of chefs from eateries such as Nomad, Pinbone, The Bentley and Papi Chulo. October 2-5. Masterclasses $45 half day/$80 full day), Omnivorious party $45. Reservations via the Omnivore website. Sip & Savour: A Craft Beer Experience Beer and cider lovers, rejoice. As part of Sydney Craft Beer Week, festival-within-a-festival Sip & Savour are promising two full days of tastings, dining and entertainment, featuring over 250 brews and cider. Some of our most loved Australian microbreweries — including Young Henrys, Six String and Hawthorn Brewing Company — will be pouring throughout the weekend. For those looking for a bit of Beer 101, there's also going to be seminars and workshops teaching you how to start your own brewery and how to successfully match beer with food. But don't conk out too early. Live music acts including 2011 Triple J Unearthed winner Husky, local indie-rock five-piece Castlecomer, electronic indie-pop songstress Lupa J and young singer-songwriter Gordi will be providing tunes all Sunday night. October 25 from 11.30am - 1pm) and October 26 from noon - 6pm at Carriageworks, 245 Wilson Street, Eveleigh. Prices vary from $44 - $78. Book tickets at the Sip & Savour website. StreetFest Food Trucks United Food trucks tick all the right boxes — cheap, fulfilling, fast and guaranteed to be made fresh on the spot — so it's a wonder why they aren't more easily seen around town. One popular solution to that is Streetfest Food Trucks United, which is returning to fill the void now that long summer nights are on their way. Vendors like Cantina Mobil, Eat Art Truck and a crowd of others will fill the space of Belmore Park, along with stages for live art, music and some fun entertainment like rap-battles and street performances. October 10, 5pm - 10pm, at Pyrmont Bay Park, Pirrama Road. Pyrmont. Free entry. By the Concrete Playground team.
Vivid Sydney is here for 2022, brightening up as many places around the city as it can manage — and turning almost every walk around town into a glowing experience. Here's another way to soak up the luminous sights while making the most of the citywide fest: hitting up Carriageworks for free installation Contact. The work of light artist Sam Whiteside, this immersive piece includes a monolithic lightwork, complete with thick haze and an intense white and red beam of brightness. If it sounds a tad trippy and also a bit eerie, that's by design. Using algorithmically generated simulations, those shafts of light pulse through the space — distorting your sense of reality. On display from 5–11.30pm on Thursday, June 2–Friday, June 3 and Thursday, June 9–Saturday, June 11 — plus from 5–9.30pm on Sunday, June 5 — Contact also comes with a drone soundscape composed and produced by Patrick Liney. So, it finds another way to steep you in its confines. Another key factor: Carriageworks' architecture, and the shadows that Contact casts among its walls. Images: Jacquie Manning.
In celebration of the Aboriginal and Torres Strait Islander culture held on the traditional lands of the Gadigal people in Sydney, Koori Radio 93.7FM presents the annual Yabun Festival. The largest one-day celebration of its kind, the festival seeks to showcase some of the best Indigenous music, speakers and creative talent in the country. Get cultured in traditional dance as performers kick up the dust; wander the market stalls of Corroboree Ground; or be enlightened by some of Australia's leading artists, authors and thinkers at the SpeakOut Tent.
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. ETERNALS It's the only Marvel movie by an Oscar-winning director. Focusing on a superhero squad isn't new, even if everyone here is a Marvel Cinematic Universe newcomer, but it's the lone instalment in the franchise that's about a team led by women of colour. It's home to the MCU's only caped crusader who is deaf, and its first openly gay superhero — and it doesn't just mention his sexuality, but also shows his relationship. It happens to be the first Marvel flick with a sex scene, too. Eternals is also the only film in the hefty saga with a title describing how long the series will probably continue. And, it's the sole MCU entry that features two ex-Game of Thrones stars — Kit Harington and Richard Madden, two of the show's Winterfell-dwelling brothers — and tasks them both with loving a woman called Sersi. (The name isn't spelled the same way, but it'll still recalls Westeros.) When you're 26 movies into a franchise, as the MCU now is, each new film is a case of spotting differences. All the above traits aid Eternals in standing out, especially the empathetic, naturalistic touch that Chloé Zhao brings to her first blockbuster (and first film since Nomadland and its historic Academy Award wins). There's a sense of beauty and weight rippling through almost every frame, as well as an appreciation for life's struggles. Its namesakes are immortal aliens sent to earth 7000 years ago to battle intergalactic beasts, and yet Eternals shows more affinity for everyday folks who don't don spandex or have superpowers than any Marvel flick yet. It's also largely gorgeous, due to its use of location shoots rather than constantly stacking CGI on CGI. But everything that sets the film apart from the rest of Marvel's saga remains perched atop a familiar formula. Perhaps that's fitting; thematically, Eternals spends much of its lengthy 157 minutes contemplating set roles and expectations, and whether anyone can ever truly break free of either. Spying an overt statement in these parallels — between the movie's general adherence to the MCU template and the ideas bubbling within it — might be a little generous, though. Of late, Marvel likes giving its new instalments their own packaging, while keeping many of the same gears whirring inside. That's part of the comic book company-turned-filmmaking behemoth's current pattern, in fact. Still, even after Thor: Ragnarok, Black Panther and Shang-Chi and the Legend of the Ten Rings, Eternals finds its own niche. It both intrigues and entertains, and it's ambitious — and it's often more than the sum of all those MCU firsts and onlys it's claimed. As opening text explains, Eternals' central group were dispatched by a Celestial — a space god, really — called Arishem. With the monstrous Deviants, another alien race, wreaking havoc, the Eternals were tasked with fighting the good fight — and were forbidden to interfere otherwise, which is why they've been absent in the last 25 movies. But now, a new Deviant attacks Sersi (Gemma Chan, Raya and the Last Dragon), her human boyfriend Dane Whitman (Harington) and fellow Eternal Sprite (Lia McHugh, The Lodge). That gets the gang back together swiftly, including the flying, laser-eyed Ikaris (Madden), the maternal Ajak (Salma Hayek, The Hitman's Wife's Bodyguard), Bollywood star Kingo (Kumail Nanjiani, The Lovebirds), the super-strong Gilgamesh (Don Lee, Ashfall), warrior Thena (Angelia Jolie, Those Who Wish Me Dead), the super-speedy Makkari (Lauren Ridloff, Sound of Metal), tech wiz Phastos (Brian Tyree Henry, Godzilla vs Kong) and the mind-manipulating Druig (Barry Keoghan, The Green Knight). Read our full review. THE MANY SAINTS OF NEWARK So much about The Many Saints of Newark is a matter of when, not if: when familiar characters will show up looking younger, when well-known New Jersey locations will be sighted and when someone will eat ziti. This all occurs because it must; it wouldn't be a prequel to The Sopranos otherwise. Servicing fans is a key reason the movie exists, and it's far more resonant if you've already spent 86 episodes with Tony Soprano and his mafia and blood families while watching one of the best TV shows ever made. This is a film with a potent air of inevitability, clearly. Thankfully, that feeling reaches beyond all the obligatory nods and winks. That some things are unavoidable — that giving people what they want doesn't always turn out as planned, and that constantly seeking more will never fix all of life's woes, too — pulsates through this origin story like a thumping bass line. And yes, on that topic, Alabama 3's 'Woke Up This Morning' obviously gets a spin. Penned by The Sopranos' creator David Chase and series alum Lawrence Konner, and helmed by veteran show director Alan Taylor, The Many Saints of Newark doesn't merely preach to existing devotees, even if they're the film's main audience. Marking the last of the big three 00s-era prestige US cable dramas to earn a movie spinoff — following El Camino: A Breaking Bad Movie and Deadwood: The Movie — the feature is aware of its own genesis and of gangster genre staples in tandem. Casting Ray Liotta, who'll forever be associated with Martin Scorsese's Goodfellas, was always going to show that. Travelling back to the 70s, when The Godfather franchise electrified cinema, does also. Indeed, The Many Saints of Newark plays like a hybrid of pop culture's three most influential and essential mob stories. A bold move, it also explains what works and what falters in a film that's powerful and engaging but firmly baked in a well-used oven. The first detail that Sopranos fans should've picked up when this flick first got a title: in Italian, many saints translates as moltisanti. While The Many Saints of Newark spends time with young Tony as a pre-teen in the late 60s (played by feature first-timer William Ludwig) and a teen in the early 70s (when The Deuce's Michael Gandolfini, son of the late, great James Gandolfini, steps into the character's shoes), its protagonist is Dickie Moltisanti (Alessandro Nivola, The Art of Self-Defense). He's seen as an uncle and mentor by Tony, who'll eventually hold the same roles for Dickie's son. The Sopranos mainstay Christopher Moltisanti (Michael Imperioli, One Night in Miami) turns narrator here, in fact, offering knowing voiceover that occasionally channels the show's dark humour — calling out Christopher's death at Tony's hands, for instance. Dickie was recalled with reverence in the series, yet threw a shadow over Tony's middle-aged mob-boss malaise — as seen in his duck obsession, panic attacks and reluctant chats with a psychiatrist. Here, Dickie falls into a similar pattern with his dad 'Hollywood' Dick (Liotta, No Sudden Move), who returns from Italy to subject his new, much-younger bride Giuseppina (Michela De Rossi, The Rats) to domestic violence. One of The Many Saints of Newark's finest traits is its layering, honing in on cycles that keep echoing through generations as it examines Dickie's role in turning Tony into the man viewers watched from 1999–2007. Its greatest stroke of casting plays with the same notion as well, and the younger Gandolfini is a soulful yet primal revelation. To call his performance lived-in is the epitome of an understatement, and it's never a gimmick. Read our full review. JULIA Call it the SNL effect: in two of their past three films, Julie Cohen and Betsy West have celebrated pioneering women who've been parodied on Saturday Night Live. They've referenced those famous skits in RBG and now Julia, in fact, including their subjects' reactions; Ruth Bader Ginsburg was seen howling with laughter when she first saw Kate McKinnon slip into her robes, and Julia Child reportedly played Dan Aykroyd's blood-soaked 1978 impersonation to friends at parties. Cohen and West clearly aren't basing their documentaries on their own sketch-comedy viewing, though. Instead, they've been eagerly unpacking exactly why a US Supreme Court Justice and a French cuisine-loving TV chef made such a strong impact, and not only in their own fields. Julia makes an exceptional companion piece with the Oscar-nominated RBG, unsurprisingly; call it a great doco double helping. Julia arrives nearly two decades after its namesake's passing, and 12 years since Meryl Streep earned an Oscar nomination for mimicking Julia in Julie & Julia. If you've seen the latter but still wondered why Julie Powell (played by The Woman in the Window's Amy Adams) was so determined to work her way through Julia's most famous cookbook — first published in 1961, Mastering the Art of French Cooking completely changed America's perception of printed recipe collections — let this easy-to-consume doco fill in the gaps when it comes to the culinary wiz's mastery and achievements. Let it spark two instinctual, inescapable and overwhelming reactions, too: hunger, due to all the clips of Julia cooking and other lingering shots of food; and inspiration, because wanting to whip up the same dishes afterwards is equally understandable. In their second film of 2021 — after My Name Is Pauli Murray, another portrait of a woman thoroughly deserving the spotlight — Cohen and West take a chronological approach to Julia's life. The two filmmakers like borrowing cues from their subjects, so here they go with a classic recipe that's been given slight tweaks, but always appreciates that magic can be made if you pair a tried-and-tested formula with outstanding technique. Julia's entire cooking career, including her leap to television in her 50s, stirred up the same idea. Her take on French dining was all about making delectable meals by sticking to the right steps, even while using supermarket-variety ingredients, after all. Julia boasts a delightful serving of archival footage, as well as lingering new food porn-esque sequences that double as how-tos (as deliciously lensed by cinematographer and fellow RBG alum Claudia Raschke), but it still embodies the same ethos. Born to a well-off Pasadena family in 1912, Julia's early relationship with food is painted as functional: the household's cooks prepared the meals, and wanting to step into the kitchen herself was hardly a dream. In pre-World War II America, the expectation was that she'd simply marry and become a housewife, however, but a hunger for more out of life first took her to the Office of Strategic Services — the US organisation that gave way to the CIA — and overseas postings. While stationed in the Far East, she met State Department official Paul Child. After a berth in China, he was sent to France, where the acclaimed Cordon Bleu culinary school eventually beckoned for Julia. From there, she started her own cooking classes in Paris, co-penned the book that made her famous, turned a TV interview into a pitch for her own show and became an icon. Read our full review. RED NOTICE When Interpol hunts down the world's most wanted international criminals, it issues red notices — and for anyone who isn't already aware of that fact, Red Notice starts by spelling out the details. If the film world circulated the same kinds of warnings about bland, cliched, charmless and tedious movies, this Dwayne Johnson, Ryan Reynolds and Gal Gadot-starring supposed action-comedy would earn several. That it bears far too much in common at times with two of its stars' most recent features — Johnson's likeable-enough Jungle Cruise and Reynolds' excruciatingly terrible The Hitman's Wife's Bodyguard — says plenty about this by-the-numbers affair. If only they were the sole instances that it conjured up other movies; Reynolds does a Borat impression, whistles the Indiana Jones tune and verbally references Jurassic Park, and it's all as dated as it sounds. Also tired and trying: Reynolds' performance in general, which is permanently stuck on the same kind of schtick at the heart of both Deadpool and Free Guy. This time, however, he's playing the globe's second-best art thief — and his character, Nolan Booth, desperately wants the top spot. But a couple of people stand in his way, which is where Red Notice's other big names come in. Firstly, FBI profiler John Hartley (Johnson) interrupts Booth's latest heist, which involves tracking down three golden eggs that were once owned by Cleopatra (the third of which has never been found before). Secondly, the planet's number one art thief, The Bishop (Gadot, Wonder Woman 1984), is on the same hunt for the same $30 million payday. She's also constantly one step ahead of not just her professional competitor, but also the man pursuing both criminals. Red Notice plays like the result of watching 80s and 90s hits, its three leads' filmographies and the National Treasure flicks, then throwing their basic ideas into a blender and pouring the jumbled mess onto the screen. It's Netflix's most expensive movie yet, and it's also shiny-coated garbage. That its opening scene involves a decoy egg doused in Coca-Cola to reveal an empty shell inside is far more telling than it's meant to be. Also landing with a thud: a dance between Hartley and The Bishop at an Eyes Wide Shut-styled party that's supposed to herald this as the next True Lies, but just makes viewers wish they were watching that instead. That's the thing with shovelling in reference after reference instead of penning a decent and coherent script, even when around half of those winks are done with writer/director Rawson Marshall Thurber's (Central Intelligence, Skyscraper) tongue firmly in his cheek: constantly calling attention to better movies but failing to live up to them is like punching yourself the face. They're three of the highest-profile names in blockbuster cinema, but Johnson, Reynolds and Gadot all sleepwalk through their parts here — not that the screenplay asks much more. Not a single gag lands, either, and neither does any tension, chemistry, timing or reason to care about its lead trio, their characters' globe-hopping quest and all the chaos they leave in their wake. Of course Nazis are involved, even though it's now 2021 and not 1981 when Raiders of the Lost Ark did the exact same thing. Of course the whole film looks like the dullest kind of CGI onslaught, with green screens standing in for Rome, Russia, London, Egypt and more. Of course it also plays like something an algorithm would spit out — and one that thinks Ed Sheeran is the height of stunt cameo casting after Game of Thrones already proved that idea oh-so wrong four years ago. Red Notice screens in select Australian cinemas from Thursday, November 4, and streams via Netflix from Friday, November 12. 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 June 10, June 17 and June 24; July 1, July 8, July 15, July 22 and July 29; August 5, August 12, August 19 and August 26; September 2, September 9, September 16, September 23 and September 30; and October 7, October 14, October 21 and October 28. For Sydney specifically, you can take a look at out our rundown of new films that released in Sydney cinemas when they reopened on October 11, and what opened on October 14, October 21 and October 28 as well. And for Melbourne, you can check out our top picks from when outdoor cinemas reopened on October 22 — and from when indoor cinemas did the same on October 29. You can also read our full reviews of a heap of recent movies, such as Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills and Passing. Top image: Photo courtesy of Marvel Studios. ©Marvel Studios 2021. All Rights Reserved.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this months latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from October's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW THE GREEN KNIGHT Mesmerising and magnetic from its first moments till its last, The Green Knight is a moving musing on destiny, pride, virtue, choice, myths and sacrifice, all wrapped in a sublime spectacle. The medieval fantasy hums with haunting beauty and potency as it tells of Arthurian figure Gawain (Dev Patel, The Personal History of David Copperfield), nephew to the King (Sean Harris, Mission: Impossible — Fallout), and the only man who accepts a bold challenge when the eponymous figure (Ralph Ineson, Gunpowder Milkshake) — a mystical part-tree, part-knight — demands a duel one Christmas. The catch: whichever blows the eager-to-prove-himself Gawain inflicts on this towering interloper, he'll receive back in a year's time. So, when this initial altercation ends in a beheading (and with the Green Knight scooping up his noggin and riding off), Gawain faces a grim future. Twelve months later, that bargain inspires a quest, which The Green Knight treats as both a nightmare and a dream. There's an ethereal look and feel to every inch of this stunning movie, where the greenery is verdant, and the bloodshed and battlefield of skeletons just as prominent. Playing a man yearning for glory yet faced with life's stark realities, Patel is in career-best form — and the latter can also be said of writer/director/editor David Lowery. Every film he makes has proven a gem, from Ain't The Bodies Saints and Pete's Dragon to A Ghost Story and The Old Man and The Gun; however, The Green Knight is a startling and riveting feast of a feature that's as as contemplative as it is visionary. The Green Knight is available to stream via Amazon Prime Video. THE VELVET UNDERGROUND Excellent filmmakers helming exceptional documentaries about music icons just might be 2021's best movie trend. It isn't new — see: Martin Scorsese's filmography as just one example — but any year that delivers both Edgar Wright's The Sparks Brothers and Todd Haynes' The Velvet Underground is a great year indeed. Both docos are made by clear fans of the bands they celebrate. Both films find creative and engaging ways to approach a tried-and-tested on-screen formula, too. And, both movies will make fans out of newcomers, all while delighting existing devotees. They each have killer soundtracks as well, obviously. They're each tailored to suit their subjects, rather than leaning on the standard music bio-doc template. As a result, they each prove the kind of rich, in-depth and electrifying features that only these two directors could've made. With The Velvet Underground and Haynes, none of this comes as a surprise. As well as the astonishing Carol and the just-as-devastating Dark Waters, he has experimental short Superstar: The Karen Carpenter Story, glam-rock portrait Velvet Goldmine and the Bob Dylan-focused I'm Not There on his resume, after all. Here, he makes two perceptive choices: splitting his screen Andy Warhol-style to show both archival materials and new interviews simultaneously, and avoiding the allure of giving the late, great Lou Reed all his attention. The result is an inventive, impassioned and wide-ranging doco that charts the band's story and impact; captures the time, place and attitudes that gave rise to them; and proves as dazzling as The Velvet Underground themselves. The Velvet Underground is available to stream via Apple TV+. SPREADSHEET When Katherine Parkinson starred in The IT Crowd 15 years ago, she played a woman trying to exude a cool, calm and collected air, but constantly finding her life — and her new job in IT — hindering that aim. In Spreadsheet, her new sitcom role, Parkinson's latest character isn't attempting the same feat. Instead, freshly divorced Melbourne-based lawyer and mother-of-two Lauren has has accepted that her existence is now messy; however, having a spreadsheet to keep track of her revamped love life is meant to help. Embracing being single, and all the opportunities for casual hookups that apps now bring, she isn't looking for a relationship. She even has her colleague Alex (Rowan Witt, Adore) helping to maintain her fast-growing database of sexual options. But this clearly wouldn't be a comedy if her new status quo turned out smoothly and stress-free. As this new Australian sitcom knows and keenly relies upon, there's a breeziness to Parkinson's comic performances that hits both humorous and relatable notes. Indeed, the British actor is the key reason that Spreadsheet's eight-episode first season is so incredibly easy to binge. Whether Lauren is being introduced in the throes of pleasure in the car park outside the Palais Theatre, is getting intimate in a snake dungeon or sports an eye patch after a run-in with a cuckoo clock, Parkinson is a comedic whirlwind. In a series that approaches its 'sex in the suburbs' setup with smarts and insights, too, she's also surrounded by an impressive local cast that includes Witt, Stephen Curry (June Again), Katrina Milosevic (Wentworth) and Zahra Newman (Long Story Short). The first season of Spreadsheet is available to stream via Paramount+. THE DONUT KING The documentary that comes with an obvious serving suggestion — avoiding pastry cravings while watching is impossible — The Donut King chronicles the life of Cambodian American Ted Ngoy. In the mid-70s, the soldier-turned-refugee fled the Khmer Rouge for a new start in the US. Then, after being enticed by the smell wafting out of a Californian doughnut shop, he found owning his own the path to success. After beginning with one venue, Ngoy grew his empire. In the process, he even helped cement pink-hued doughnut boxes as the industry standard — the pop culture standard, too. Inhabiting a constant cinnamon cloud might've been bliss, and it certainly was the impetus behind Ngoy's rags-to-riches story; however, filmmaker Alice Gu covers much more than pastry highs in this incisive and thoughtful portrait of the American Dream. Not even the best job is ever 100-percent filled with glaze and sprinkles, including when making desserts is your daily trade. For Ngoy, becoming a doughnut kingpin was the result of hard work — not just his own, but his whole family's — as well as savvy choices. His business also helped set a path for fellow Cambodians, as well as fostering a sense of community, by sparking a run of expat-owned doughnut shops in California. Gu captures all of this lovingly, with a celebratory tone, and with a warm appreciation for Ngoy's achievements both in general and as an immigrant entrepreneur. That said, she doesn't shy away from the twists and turns that've complicated his path, and this story, along the way. The Donut King is available to stream via Docplay. THE GUILTY It's the remake that was always going to eventuate; the remake that was announced before the original Danish film even reached Australian cinemas, in fact. A high-concept thriller set in a police call centre and solely conveying its dramas via telephone conversations, The Guilty was instantly destined to get the Hollywood treatment — not only because it's predicated upon a commanding concept, but because the first time around made for exceptional, Oscar-shortlisted, outstandingly tense and gripping viewing. Thankfully, Netflix's take on the tale lives up to its predecessor. It's as suspenseful and taut, as economical and evocative, and as superbly acted. Twenty years after Donnie Darko made him a star, Jake Gyllenhaal's resume isn't short on highlights; however, The Guilty easily sits among them. Gyllenhaal (Spider-Man: Far From Home) plays LAPD officer Joe Baylor, who's been demoted to taking 911 calls after an on-the-job incident that'll see him in court the next day. His evening at work will prove just as stressful, after a woman called Emily (Riley Keough, Zola) advises that she's been kidnapped by her ex (Peter Sarsgaard, Interrogation), with their kids left home alone. Joe springs into action, and tries to get his colleagues to do the same. But as the excellent series Calls also demonstrated, words can tell viewers the whole story while keeping on-screen characters twisting. Reteaming with Gyllenhaal after Southpaw, filmmaker Antoine Fuqua directs this intense affair with that truth firmly in mind. The Guilty is available to stream via Netflix. A GLITCH IN THE MATRIX When a certain Sydney-shot, Keanu Reeves-starring sci-fi/action film did big box-office business 22 years ago, it did more than just start a huge movie franchise. The Matrix and its sequels also gave proponents of the simulation hypothesis — the idea that this life we all call our own is merely an artificial simulation, but we don't know it — an enormously successful pop culture touchstone. Examining that notion, as well as its connection to the series that shares part of its title, A Glitch in the Matrix couldn't arrive at a timelier moment. The concept is about to get another blockbuster billboard, after all, with The Matrix Resurrections just months away from release. What truly interests this documentary, however, isn't the answer to that reality-versus-simulation question, but all the reasons that might inspire someone to think that nothing about their experience is genuine. Documentarian Rodney Ascher likes delving into ambiguous and liminal spaces. With Room 237, he pondered conspiracy theories around The Shining. Next, he dedicated his sophomore effort The Nightmare to sleep paralysis. He's clearly fond of fascinating, mind-bending concepts, too, but there's always a shagginess to his films — a sense that the underlying ideas he clasps onto are far more compelling than actually charting the stories he selects on his chosen topic. A Glitch in the Matrix is no different, but it's also ambitious and engrossing as it mixes everything from animation and archival clips to interviews. A movie can be thought-provoking and also messy, of course, and still make for compelling viewing. A Glitch in the Matrix is available to stream via Docplay. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK SUCCESSION For fans of blistering TV shows about wealth, power, the vast chasm between the rich and everyone else, and the societal problems that fester due to such rampant inequality, 2021 has been a fantastic year. The White Lotus fit the bill, as did Squid Game, but Succession has always been in its own league. In the 'eat the rich' genre, the HBO drama sits at the top of the food chain as it chronicles the extremely lavish and influential lives of the Roy family. No series slings insults as brutally; no show channels feuding and backstabbing into such an insightful and gripping satire of the one percent, either. Finally back on our screens after a two-year gap between its second and third seasons, Succession doesn't just keep plying its astute and addictive battles and power struggles — following season two's big bombshell, it keeps diving deeper. The premise has remained the same since day one, with Logan Roy's (Brian Cox, Super Troopers 2) kids Kendall (Jeremy Strong, The Trial of the Chicago 7), Shiv (Sarah Snook, Pieces of a Woman), Roman (Kieran Culkin, No Sudden Move) and Connor (Alan Ruck, Gringo) vying to take over the family media empire. This brood's tenuous and tempestuous relationship only gets thornier with each episode, and its examination of their privileged lives — and what that bubble has done to them emotionally, psychologically and ideologically — only grows in season three. It becomes more addictive, too. There's no better show currently on TV, and no better source of witty dialogue. And there's no one turning in performances as layered as Strong, Cox, Snook, Culkin, J Smith-Cameron (Search Party), Matthew Macfadyen (The Assistant) and Nicholas Braun (Zola). The first two episodes of Succession's third season are available to stream via Binge, with new episodes dropping weekly. Read our full review. LOVE LIFE Mere minutes into Love Life's second season, a big query arises. With The Good Place's William Jackson Harper taking over from Anna Kendrick as the show's lead, it's an obvious question: what would Chidi Anagonye think? He'd recognise the indecision bubbling away inside Harper's new character, Manhattanite book editor Marcus Watkins. From a moral and ethical standpoint, he'd be less enamoured with Marcus' other choices, especially the flirtatious friendship that Love Life's new protagonist pursues with Mia (Jessica Williams, Booksmart) while still married to Emily (Maya Kazan, Love Is Love Is Love). Thankfully, it doesn't take long for Harper to settle into his new part, and for the ghost of Chidi to fade. The latter would still protest, of course, but Love Life sends the man behind him wading through a different pool of rom-com dilemmas. It's a delightful stroke of casting, in a series that has always hinged upon its audience's connection with its main character. Harper doesn't ever let his natural charm eclipse Marcus' flaws — Love Life doesn't trade in perfect protagonists or easy, clearcut romantic fantasies — and that balance adds both weight and depth to the show's second season. That said, the storylines here won't seem particularly different to Love Life's season-one viewers. This is a case of new lead, same city, similar romantic struggles. It isn't a spoiler to note that Marcus and Emily's marriage doesn't last long, or that the relationships that follow take him on quite the rollercoaster ride, but Harper instantly gets you hooked on the journey. The first three episodes of Love Life are available to stream via Stan, with new episodes dropping weekly. FOUNDATION If you've ever wondered whether good things truly do come to those who wait, as the old adage insists, let Foundation convince you. In the 90s, these Isaac Asimov-penned sci-fi stories were slated to become a film trilogy, but those plans faltered. In the late 00s, Independence Day's Roland Emmerich was onboard to direct a different movie adaptation — and thankfully that didn't eventuate either. It's hard to see how Foundation would've worked on the big screen, unless it fuelled a sizeable number of features. On the small screen, it still spins an immensely dense storyline, but it also has room to breathe. Stepping into a futuristic world on the precipice of ruin, this is a series that rewards patience. (If you've ever seen the Party Down episode that jokes about hard sci-fi, you'll know how seriously it takes its genre, too.) Created by screenwriters David S Goyer (Christopher Nolan's Batman trilogy) and Josh Friedman (the TV version of Snowpiercer), Foundation splashes its sizeable budget across the screen — all while reimagining Asimov's tales almost eight decades after they were written. Mathematics professor Hari Seldon (Jared Harris, Chernobyl) remains a key part, though, thanks to his prediction that the Galactic Empire will soon fall. That prophesy angers the three cloned versions of Emperor Cleon, especially Brother Day (Lee Pace, Captain Marvel), with his dismay sparking action just as Seldon's new protege Gaal Dornick (Lou Llobell, Voyagers) arrives. That's just Foundation's setup, too, and it's sci-fi catnip. The first six episodes of Foundation are available to stream via Apple TV+, with new episodes dropping weekly. A RECENT MUST-SEE YOU CAN (AND SHOULD) STREAM NOW THE OTHER TWO You're in your twenties, trying to make it in New York and struggling to chase your dreams. The only thing that's making you feel better is the knowledge that your sibling is doing the exact same thing. Then your kid brother comes up with a throwaway pop hit, adopts the stage name ChaseDreams and becomes a YouTube sensation — and suddenly you're related to the world's next Justin Bieber. That's the premise of sitcom The Other Two, which follows struggling actor Cary (Drew Tarver, Bless the Harts) and his ex-dancer sister Brooke (Helene York, Katy Keene) as they come to terms with their new situation. Yes, they're thrilled for their baby brother; however, they're also shocked, envious and desperate to get their own time in the spotlight. That's the other thing about having a famous sibling: riding their coattails isn't the same as making it yourself. The Other Two leans upon two things: its sense of humour and the way it interrogates the celeb game, and its casting. Both are as sharp as Chase's rise to stardom; Case Walker even got that part after becoming a Musical.ly sensation IRL. Tarver and York's back-and-forth is the series' anchor, however. Also excellent: Molly Shannon (The White Lotus), Ken Marino (Black Monday), Wanda Sykes (Breaking News in Yuba County) and Josh Segarra (The Moodys). Its second season hasn't arrived in Australia yet, but The Other Two's first ten episodes are hilarious, acerbic and perceptive, especially when it comes to today's celebrity-obsessed, influencer-heavy society. It's an instant classic (it was one of our best new shows of 2019, in fact), and it's instantly rewatchable. The first season of The Other Two is available to stream via Paramount+. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August and September this year — and our top straight-to-streaming movies and specials from 2021 so far, and our list of the best new TV shows released this year so far as well.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are nine that you can watch right now at home. REALITY Sydney Sweeney is ready for her closeup. Playwright-turned-filmmaker Tina Satter obliges. A household name of late due to her exceptional work in both Euphoria and The White Lotus, Sweeney has earned the camera's attention for over a decade; however, she's never been peered at with the unflinching intensity of Satter's debut feature Reality. For much of this short, sharp and stunning docudrama, the film's star lingers within the frame. Plenty of the movie's 83-minute running time devotes its focus to her face, staring intimately and scrutinising what it sees. Within Reality's stranger-than-fiction narrative, that imagery spies a US Air Force veteran and National Security Agency translator in her mid-twenties, on what she thought was an ordinary Saturday. It's June 3, 2017, with the picture's protagonist returning from buying groceries to find FBI agents awaiting at her rented Augusta, Georgia home, then accusing her of "the possible mishandling of classified information". Reality spots a woman facing grave charges, a suspect under interrogation and a whistleblower whose fate is already known to the world. It provides a thriller of a procedural with agents, questions, allegations and arrests; an informer saga that cuts to the heart of 21st-century American politics, and its specific chaos since 2016; and an impossible-to-shake tragedy about how authority savagely responds to being held to account. Bringing her stage production Is This a Room: Reality Winner Verbatim Transcription to the screen after it wowed off-Broadway and then Broadway, Satter dedicates Reality's bulk to that one day and those anxious minutes, unfurling in close to real time — but, pivotally, it kicks off three weeks earlier with its namesake at work while Fox News plays around her office. Why would someone leak to the media a restricted NSA report about Russian interference in getting Donald Trump elected? Before it recreates the words genuinely spoken between its eponymous figure and law enforcement, Reality sees the answer as well. Reality is available to stream via YouTube Movies, iTunes and Prime Video. Read our full review. SPIDER-MAN: ACROSS THE SPIDER-VERSE There's nothing small about Hollywood's superhero obsession, with its 30-movies-deep-and-counting cinematic universes, competing caped-crusader realms, ever-growing spread across screens big and small, and determination to enlist every actor ever (and some actors more than once). That decades have passed, many spandex-clad characters have cycled through a few faces now, and reuniting past and present versions of beloved crime-fighters is the current trend: none are minor matters, either. And yet, when 2018's Spider-Man: Into the Spider-Verse took pop culture's favourite web-slinger back to its animated roots, it made those flesh-and-blood flicks and shows, as well as the expensive special effects behind them, look positively trivial and cartoonish. Five years later, the first sequel to the deservedly Academy Award-winning masterpiece plasters around the same sensation like a Spidey shooting its silk. Give this latest take on Stan Lee and Steve Ditko's iconic character by directors Joaquim Dos Santos (The Legend of Korra), Kemp Powers (Soul) and Justin K Thompson (Into the Spider-Verse's production designer) 2024's Best Animated Feature Oscar immediately. All the money in the world can't make people in tights standing against green screens as visually spectacular and emotionally expressive as the Spider-Verse films. If it could, Spider-Man: Into the Spider-Verse and now Spider-Man: Across the Spider-Verse wouldn't be so astonishing and exhilarating, look so stunning and feel so authentic. Spider-Man's eight stints in theatres with either Tobey Maguire, Andrew Garfield or Tom Holland behind the mask — and all of the latter's pop-ups in other Marvel Cinematic Universe entries, too — have splattered around plenty of charm, but they'll now always swing far below their animated counterparts. Indeed, when Spider-Man: No Way Home tried to emulate the Spider-Verse by pointing its fingers into the multiverse, as Marvel's live-action world is now fixated upon, it paled in comparison. And, that isn't just because there was no Nicolas Cage-voiced 30s-era spider-vigilante Spider-Man Noir, or a spider-robot, spider-pig, spider-car or spider-saur; rather, it's because as the Spider-Verse movies tell of Miles Morales (Shameik Moore, Wu-Tang: An American Saga), Spider-Gwen (Hailee Steinfeld, Hawkeye), Peter B Parker (Jake Johnson, Minx), Miguel O'Hara/Spider-Man 2099 (Oscar Isaac, Moon Knight) and more, they truly do whatever a Spider-Man movie can. Spider-Man: Across the Spider-Verse is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. JOY RIDE Before it busts out licking lucky cats, K-pop-style Cardi B covers, cocaine enemas, threesome injuries and intimate tattoos, Joy Ride begins with a punch. For most of the movie, Audrey Sullivan (Ashley Park, Beef) and Lolo Chen (Sherry Cola, Good Trouble) are nearing 30, travelling in China and going on a wild journey in a gleefully raucous comedy. In the 1998-set prologue in White Falls, Washington, though, they're five-year-olds (debutants Lennon Yee and Milana Wan) first meeting, being taunted by a racist playground bully and responding with the outgoing Lolo's fist. Crazy Rich Asians and Raya and the Last Dragon screenwriter Adele Lim uses her directorial debut's opening scene not just to start a fast and firm friendship, but to establish the film's tone, sense of humour and, crucially, its willingness to fight. Joy Ride will ultimately get sentimental; however, this is a movie that beats up cultural prejudices and stereotypes by letting its four main female and non-binary Asian American characters grapple with them while being complicated and chaotic. Hollywood should be well past representation being such a noteworthy factor. That should've happened long before Bridesmaids and Bachelorette gave The Hangover's template a ladies-led spin more than a decade ago, and prior to Girls Trip spending time four Black women on a raucous weekend away six years back. Reality proves otherwise, sadly, so Joy Ride openly addresses the discrimination and pigeonholing slung Audrey, Lolo, and their pals Kat (Everything Everywhere All At Once Oscar-nominee Stephanie Hsu) and Deadeye's (comedian and movie first-timer Sabrina Wu) ways — and in Audrey's case, after being adopted as a baby by the white Sullivans (The Recruit's David Denman and Bridesmaids' co-writer Annie Mumolo), internalised. With its booze- and sex-fuelled antics, Lim's film could've simply been formulaically entertaining, just with Asian American characters in Asia. It certainly doesn't hold back with its raunchy setpieces. But it's a better and more thoughtful feature because it engages with the diasporic experience; "I'm just a garbage American who only speaks English," Audrey chides herself, which the picture she's in unpacks. Joy Ride is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. NO HARD FEELINGS Has Jennifer Lawrence entered her Jennifer Coolidge era? With the spirit of American Pie lingering over No Hard Feelings like unpaid property taxes — a pivotal part of the movie's plot — the Silver Linings Playbook Oscar-winner and Winter's Bone, Hunger Games, X-Men and mother! star is flirting with that direction and loving it. No one sticks their genitalia in a warm home-baked dessert or talks about band camp in Lawrence's latest film, but it is a sex comedy about an inexperienced teenager that includes parents giving clumsy advice. It also involves getting lucky with an older woman; while Lawrence is only 32 and plays it here, an age gap — as well as the chasms between millennials and zoomers, and with the generations prior — is essential to the narrative. The spirit of Coolidge, a game Lawrence, gags about Hall & Oates' 1982 earworm 'Maneater' — a storyline that somewhat riffs on its lyrics, in fact — and battles over class, generational differences and gentrification: that's No Hard Feelings. Based on a real-life Craigslist ad, it's also the next movie from filmmaker Gene Stupnitsky, who penned Bad Teacher and made his feature directorial debut with Good Boys. Where the latter took a Superbad-esque setup but swapped 17-year-olds out for sixth graders, his second flick as a helmer tells a coming-of-age tale on two levels. Percy Becker (Andrew Barth Feldman, White Noise) is the introverted brainiac whose helicopter parents (Daybreak's Matthew Broderick and Life & Beth's Laura Benanti) want to live a little before he hits Princeton University, while Maddie Barker (Lawrence, Causeway) is the bartender and Uber driver who's been in a state of arrested development ever since giving up her plans to surf California's beaches when her mother got sick. No Hard Feelings is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. ELEMENTAL When Pixar is at its best and brightest, the animation house's gorgeous and heartfelt films flow across the silver screen. They glow with colour, creativity, sincerity and emotion. In movies such as WALL-E, Inside Out, Soul, Toy Story 4, Up and Ratatouille, the Disney-owned company's work floats beyond the ordinary as it flickers — and yet, it's also grounded in genuine feelings and insights, even while embracing the now Pixar-standard "what if robots, playthings, rats and the like had feelings?" setup over and over. Accordingly, it makes sense that the studio's Elemental draws upon the sensations that its features usually inspire. It seems like something that was always destined to happen, in fact. And, it's hardly surprising that its latest picture anthropomorphises fire, water, air and earth, and ponders these aspects of nature having emotions. What's less expected is how routine this just-likeable and sweet-enough film is, with the Pixar template lukewarm instead of an inferno and hovering rather than soaring. Elemental also treads water, despite vivid animation, plus the noblest of aims to survey the immigrant experience, opposites attracting, breaking down cultural stereotypes and borders, and complicated parent-child relationships. The Captain Planet-meets-Romeo and Juliet vibe that glinted through the movie's trailers proves accurate, and also something that the feature is happy sticking with exactly as that formula sounds. Although filmmaker Pete Sohn (The Good Dinosaur) draws upon his own upbringing as the son of Korean expats growing up in New York City and its distinctive neighbourhoods — that his family ran a grocery store is worked in as well — and his own marriage, his second stint as a director is too by-the-numbers, easy and timid. Elemental looks like a Pixar film, albeit taking a few visual cues from Studio Ghibli in some character-design details (its bulbous grassy creatures noticeably resemble Totoro), but it largely comes across like a copy or a wannabe. Elemental is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE LITTLE MERMAID For anyone without a scaly tail, communing with the ocean can be a routine dip, a refreshing splash or a sail into choppy waters. In Disney's latest dance with merpeople and the humans that its main mythical sea creature yearns for (and desperately wants to learn more about), all three prove true. The next in the Mouse House's long line of live-action remakes — albeit with ample CGI helping to bring its sea-dwelling characters to life, but no hand-drawn animation — the new The Little Mermaid from director Rob Marshall (Mary Poppins Returns) is often content to wade where its beloved 1989 predecessor went before. That's the Disney do-over standard. Sometimes, though, this new effort is its own delightful paddle; when 'Under the Sea' echoes against a literal sea of colour, movement, creatures and energy, it's a dazzling Golden Age Hollywood-esque spectacular. There's no escaping the movie's bloat when it's not merrily floating, however, due in no small part to inflating the storyline from the original's 83 minutes to a hefty 135 minutes. This day at the cinematic beach — glowing highs and waterlogged lows included — keeps the same basic narrative that viewers loved 34 years ago, as loosely inspired by Hans Christian Andersen's 19th-century fairy tale of the same name. A quote from that text opens the film as Alan Menken's revisited Oscar-winning score starts to swell, advising "but a mermaid has no tears, and therefore she suffers so much more". The curious and adventurous Princess Ariel (Halle Bailey, Grown-ish) cries through her siren's song instead, lamenting the strict no-humans rule enforced by her father King Triton (Javier Bardem, Lyle, Lyle Crocodile). And, in rebellious teen-style, she acts out by sneaking off to scour the ocean floor's shipwrecks with her fish best friend Flounder (voiced by Jacob Tremblay, Luca), even when Sebastian the crab (Daveed Diggs, Snowpiercer) is tracking her every move, and stashing trinkets from the world on land in a secret cave. The Little Mermaid is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. JOHN FARNHAM: FINDING THE VOICE There's no need to try to understand it: John Farnham's 1986 anthem 'You're the Voice' is an instant barnstormer of a tune. An earworm then, now and for eternity, it was the Australian song of the 80s. With its layered beats, swelling force and rousing emotion, all recorded in a garage studio, it's as much of a delight when it's soundtracking comedy films like the Andy Samberg-starring Hot Rod and the Steve Coogan-led Alan Partridge: Alpha Papa as it is echoing out of every Aussie pub's jukebox. Making a noise and making it clear, 'You're the Voice' is also one of the reasons that Farnham's 1986 album Whispering Jack remains the best-selling homegrown release ever nearing four decades since it first dropped. But, as John Farnham: Finding the Voice tells, this iconic match of track and talent — this career-catapulting hit for a singer who'd initially tasted fame as a teen pop idol two decades prior — almost didn't happen. Whispering Jack also almost didn't come to fruition at all, a revelation so immense that imagining Australia without that album is like entering Back to the Future Part II's alternative 80s. Writer/director Poppy Stockwell (Scrum, Nepal Quake: Terror on Everest) and her co-scribe Paul Clarke (a co-creator of Spicks and Specks) know this, smartly dedicating a significant portion of Finding the Voice to that record and its first single. The titbits and behind-the-scenes anecdotes flow, giving context to a song almost every Aussie alive since it arrived knows in their bones. Gaynor Wheatley, the wife of Farnham's late best friend and manager Glenn, talks about how they mortgaged their house to fund the release when no label would touch the former 'Sadie (The Cleaning Lady)' crooner. Chris Thompson, the English-born, New Zealand-raised Manfred Mann's Earth Band musician who co-penned 'You're the Voice', chats about initially declining Farnham's request to turn the tune into a single after the latter fell for it via a demo. John Farnham: Finding the Voice is available to stream via 7plus, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INSIDIOUS: THE RED DOOR Horror franchises like their doors to stay open: years may pass, stars and filmmakers may come and go, but every popular series eventually waltzes back onto screens. That's been true of Halloween, Scream, Candyman, A Nightmare on Elm Street, The Texas Chain Saw Massacre, Friday the 13th and more. It's also accurate of Insidious, which is up to five features in 12 years and returns after its longest gap to-date. For viewers, half a decade has elapsed since this supernatural saga last hit cinemas in 2018's underwhelming Insidious: The Last Key, one of two prequels alongside Insidious: Chapter 3 (because that was the only way to keep bringing back MVP Lin Shaye). For Insidious' characters, though, Insidious: The Red Door takes place nine years after the events of Insidious: Chapter 2. That flick was the last until now to focus on Josh (Patrick Wilson, Moonfall) and Renai Lambert (Rose Byrne, Platonic), plus their haunted son Dalton (Ty Simpkins, The Whale) — and it's their tale the franchise leaps back into. Not only starring but debuting as a director, Wilson makes Insidious: The Red Door an answer to the question that no one, not even the most dedicated horror fans, has likely asked: how are the Lamberts doing after their demonic dalliances? The portrait painted when the movie begins is far from rosy, with Josh and Renai divorced, Dalton resenting his dad, and something niggling at both father and son about their past. Neither the Lambert patriarch nor his now college-bound boy can remember their experiences with unpleasant entities in the astral plane, however, thanks to a penchant for handy hypnotism. So, Insidious: The Red Door poses and responds to another query: what happens when that memory-wiping mesmerism stops working? Insidious: The Red Door is available to stream via YouTube Movies, iTunes and Prime Video. Read our full review. TRANSFORMERS: RISE OF THE BEASTS In the breakout movie of 2022, Michelle Yeoh was everything and everywhere. Multiverses are like that. Now, the Oscar-winner voices a space-robot peregrine falcon in Transformers: Rise of the Beasts, and viewers should wish that this only existed in Everything Everywhere All At Once's kaleidoscope of realities. Alas, in this very realm, the newest Transformers film is indeed flickering through projectors. The toy-to-screen series it belongs to is now seven live-action entries in and — apart from 2018 spinoff-slash-prequel Bumblebee — largely still as dull as a smashed headlight. Set in 1994, the current instalment is a sequel to the last 1987-anchored franchise flick, which focused on the yellow-hued mechanised alien that can morph into a car, and also a prequel to 2007's saga-spawning Transformers. It draws upon the Transformers: Beast Wars animation, comics and video games, too, and feels in every frame like a picture that purely exists to service intellectual property that does big box-office business (2011's Transformers: Dark of the Moon and 2014's Transformers: Age of Extinction each made over a billion dollars). Michael Bay, Hollywood's go-to director for maximalist action carnage, might've been enthusiastic about Transformers when he started the silver-screen series nearly two decades back — the Ambulance filmmaker was definitely devoted to crashing together pixels replicating chrome in all five titles he helmed, including 2017's Transformers: The Last Knight — but these movies can't be anyone's passion projects. They show zero feeling, and seem to keep rolling out because the saga assembly line has already been established. New faces and a new guiding force behind the lens (director Steven Caple Jr, Creed II) can't dislodge that sensation with Transformers: Rise of the Beasts. The five-person team responsible for the script give no signal that they even wanted to. The feature's latest two leads (In the Heights' Anthony Ramos and Swarm's Dominique Fishback) do resemble people better than most flesh-and-blood characters in the Transformers world, welcomely, although one gets a sick-kid backstory and another a bad boss. Were the Transformers themselves asked to write the most cliched screenplay they could? Transformers: Rise of the Beasts is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April, May, June and July, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies of 2023 so far
UPDATE: MAY 13, 2020 — DOC Sydney is reopening for dine-in service from Friday, May 15, with a limit of ten customers per sitting.To book, call (02) 9211 1507. Reservations are essential. The name might not mean much to a lot of Sydney folk, but we promise it's one you'll soon come to love. For our neighbours to the south, DOC is known for its crisp pizzas, commitment to timeless Italian simplicity and collection of delicatessens, espresso bars and pizza and mozzarella bars spread across Melbourne and the Mornington Peninsula. Now, the group has expanded to Sydney, opening the doors to a DOC Pizza and Mozzarella Bar on Campbell Street in Surry Hills. Long-standing DOC Restaurant Manager Andrea Colosimo has made the move from Melbourne, too, to ensure the eatery retains the same fun vibes and quality food as its siblings. On the menu, you'll spy plenty of top-notch imported Italian ingredients, which are all displayed on a map — so you know exactly where each tasty morsel has come from. Many of these you'll find atop crisp and springy bases in the 14-strong pizza offering. Chianti truffle oil is splashed on the pizza ai porcini — with wild mushrooms, mozzarella and pecorino — san daniele prosciutto from Friuli-Venezia Giulia is paired with buffalo mozzarella on the pizza san daniele and the napoletana stars San Marzano tomatoes from Campania, Ligurian olives and anchovies. Once you've eaten your way through all of these, you still won't get bored — two new specials are set to grace the menu each week. DOC's Italian-made buffalo mozzarella is the star of its extensive antipasto offering, though pasta fiends will likely be tempted by the group's much-loved lasagne, available here in both classic and gluten-free vegetarian format. The menu also features a few salads and sides for breaking up the meat, cheese and dough feast. There's a rocket, pear, honey and pecorino number that you can add buffalo mozzarella to, and the riso nero: golden beetroot, Italian kale, pomegranate, shaved almonds and dill, drizzled with a maple syrup citronette. It's all backed by a considered mix of local and Italian vino, including some natural wines and a prosecco made by third-generation winery Cester Camillo in Treviso, Italy. Or you can BYO wine for $10 per bottle. Like its siblings, you'll also enjoy an abundance of spritz, aperitivi and hearty 'ciao' greetings, followed by a classic Italian dessert of sweet goat's cheese tiramisu and a shot of grappa. The Campbell Street outpost reflects a similar aesthetic to its Melbourne counterparts, with the group using the same architect, Studio Ström Design, to create a space designed to welcome hungry diners and make them feel right at home. There are plenty of natural stones, warm-toned timber, steel and brass, as well as commissioned artworks by Kate Florence, which have become a bit of a signature for DOC. Appears in: Where to Find the Best Pizza in Sydney for 2023
Bondi Festival is back bigger than ever for 2025, and it's set to heat up the beachside 'hood between Friday, July 4–Sunday, July 20. On the bill you'll find a jam-packed lineup of comedy, theatre, live music, art installations and interactive experiences, alongside beloved mainstays like the beachside ice-skating rink and the 25-metre-high Bondi Vista Ferris Wheel. Plus, a brand-new food market will showcase delicious local eats in Bondi Park every Saturday throughout the festival. On the music front, you'll be able to catch a powerful NAIDOC week performance starring soulful Sydney songstress Mi-Kaisha and 2024 triple j Unearthed winner RIAH, while four-time ARIA award-winner Meg Washington will bring her magnetic voice to Bondi Pavilion Theatre for a Friday night special on July 18. There's also an eclectic spread of stage acts, from the debut of the Bondi Festival Comedy Gala — which takes place across two nights at Bondi Pavilion Theatre — to the experimental three-night production POV by re:group, a mash-up of stage and screen in which a film is made on stage. Meanwhile, award-winning comedian and disability advocate Madeleine Stewart will make her debut at Bondi Festival this year as the host of Bondi From the Barber's Chair, an interview series spotlighting prominent neighbourhood personalities in barbershop Badlambs. Among the returning favourites is the Pavilion Paw Parade — an activity-packed, family-friendly day out for doggos and their humans — and Gladdy Drawing Club's inclusive life drawing sessions. Of course, no Bondi Festival is complete without the Bondi ice-skating rink and the 25-metre-high Bondi Vista Ferris Wheel, which will both be back this year. And over three massive Saturdays, the all-new Blue Sky Markets will fill Bondi Park with food stalls from some of the Eastern Suburbs' favourite restaurants.
What do one of the darkest chapters in Australia's recent past, one of the nation's literary best-sellers and the country's ongoing reckoning with its colonial history all have in common? In 2021, they all found a home on the big screen. And, they've all just been named among the year's best homegrown flicks, too, with Nitram, The Dry and High Ground scoring a heap of 2021 AACTA Award nominations. The AACTA Awards — which were previously called the AFI Awards, before changing their name — recognise the best and brightest in Australian film and television every 12 months. Because they span multiple types of screen content, there's a hefty number of local productions vying for a gong when the winners are announced on Wednesday, December 8. On the film front, that includes not only the three movies already mentioned above, but also the gold rush era-set western The Furnace, queer rom-com Ellie and Abbie (& Ellie's Dead Aunt), true tale Penguin Bloom and comedy Rams. In terms of stars, everyone from Eric Bana, Simon Baker, Naomi Watts and Claudia Karvan are in the running, as well as Noni Hazlehurst, Judy Davis, Rose Byrne and Michael Caton. Recognising the wealth of Indigenous talent that's graced our screens over the past year, the acting nominees in the movie fields also include Jacob Junior Nayinggul, Sean Mununggurr and Esmerelda Marimowa from High Ground; Miranda Tapsell for The Dry; and Baykali Ganambarr for The Furnace. Egyptian actor Ahmed Malek also got a nod for the latter — and, in terms of overseas actors, so did American actor and 2021 Cannes Film Festival Best Actor-winner Caleb Landry Jones for Nitram. In the TV categories, if you've been watching Clickbait or Aunty Donna's Big Ol' House of Fun on Netflix, they're both in AACTA contention. So are a wide range of other series — everything from Mr Inbetween to The Newsreader in the drama categories, and from Aftertaste to Rosehaven in the comedy fields, in fact. [caption id="attachment_822493" align="alignnone" width="1920"] Ben King/Netflix[/caption] The 2021 AACTA Awards will take place on Wednesday, December 8. Here's a rundown of the major nominations — and you can check out the full list on AACTA's website: AACTA NOMINEES 2021 FILM AWARDS: BEST FILM The Dry The Furnace High Ground Nitram Penguin Bloom Rams BEST INDIE FILM Disclosure Ellie and Abbie (& Ellie's Dead Aunt) Lone Wolf Moon Rock for Monday My First Summer Under My Skin BEST DIRECTION Rob Connolly, The Dry Roderick MacKay, The Furnace Stephen Maxwell Johnson, High Ground Justin Kurzel, Nitram Glendyn Ivin, Penguin Bloom BEST LEAD ACTOR Simon Baker, High Ground Eric Bana, The Dry Caleb Landry Jones, Nitram Ahmed Malek, The Furnace Jacob Junior Nayinggul, High Ground BEST LEAD ACTRESS Rose Byrne, Peter Rabbit 2 Judy Davis, Nitram Noni Hazlehurst, June Again Genevieve O'Reilly, The Dry Naomi Watts, Penguin Bloom BEST SUPPORTING ACTOR Michael Caton, Rams Baykali Ganambarr, The Furnace Anthony LaPaglia, Nitram Sean Mununggurr, High Ground Jack Thompson, High Ground BEST SUPPORTING ACTRESS Essie Davis, Nitram Claudia Karvan, June Again Esmerelda Marimowa, High Ground Miranda Tapsell, The Dry Jacki Weaver, Penguin Bloom BEST SCREENPLAY Rob Connolly and Harry Cripps, The Dry Shaun Grant and Harry Cripps, Penguin Bloom Will Gluck and Patrick Burleigh, Peter Rabbit 2 Jules Duncan, Rams BEST DOCUMENTARY Girls Can't Surf I'm Wanita My Name Is Gulpilil Playing with Sharks Strong Female Lead When the Camera Stopped Rolling TELEVISION AWARDS: BEST DRAMA SERIES Clickbait Jack Irish Mr Inbetween The Newsreader Total Control Wakefield Wentworth BEST TELEFEATURE OR MINISERIES A Sunburnt Christmas The End Fires New Gold Mountain The Unusual Suspects BEST NARRATIVE COMEDY SERIES Aftertaste Aunty Donna's Big Ol' House of Fun Fisk Frayed Preppers Rosehaven BEST COMEDY ENTERTAINMENT PROGRAM Dom and Adrian 2020 Hard Quiz The Moth Effect Spicks and Specks The Weekly BEST LEAD ACTOR IN A TELEVISION DRAMA Rudi Dharmaligam, Wakefield Guy Pearce, Jack Irish Sam Reid, The Newsreader Richard Roxburgh, Fires Scott Ryan, Mr Inbetween BEST LEAD ACTRESS IN A TELEVISION DRAMA Deborah Mailman, Total Control Mandy McElhinney, Wakefield Miranda Otto, Fires Pamela Rabe, Wentworth Anna Torv, The Newsreader BEST COMEDY PERFORMER Mark Samual Bonanno, Aunty Donna's Big Ol' House of Fun Kitty Flanagan, Fisk Tom Gleeson, Hard Quiz Broden Kelly, Aunty Donna's Big Ol' House of Fun Sarah Kendall, Frayed Nakkiah Lui, Preppers Luke McGregor, Rosehaven Celia Pacquola, Rosehaven BEST SUPPORTING ACTOR IN A TELEVISION DRAMA Harry Greenwood, Wakefield William McInnes, The Newsreader Matt Nable, Mr Inbetween Stephen Peacocke, The Newsreader Justin Rosniak, Mr Inbetween BEST GUEST OR SUPPORTING ACTRESS IN A TELEVISION DRAMA Michelle Lim Davidson, The Newsreader Marg Downey, The Newsreader Harriet Dyer, Wakefield Rachel Griffiths, Total Control Noni Hazlehurst, The End
There's no need to shake off that Swiftmania, Australia. The world's biggest pop star right now has hit the country, unleashed the first three nights of the Aussie leg of her Eras tour, broken records and given everyone an enchanted time. There's no way that you could not know that Taylor Swift has arrived Down Under, with Melbourne her first stop. That trio of initial gigs even means that she makes more appearances at the MCG in 2024 than most AFL teams, in fact. So, you went along and it was gorgeous, and you're still keen to get your Swiftie on. Or, you're hitting the Sydney concerts at Accor Stadium from Friday, February 23–Monday, February 26 and want to get the full lowdown. Missed out completely? Eager to figure out how to cope? We can help you with that as well. We were lucky enough to hit up an Eras show in Melbourne, so we have the details. We've outlined logistical tips if you're watching Swift's three-hour spectacular in Sydney, too — plus Swift-related events across Sydney, Melbourne and Brisbane. And yes, the Eras concert film will help fill that blank space in your calendar. Here's our Australian Eras tour 101: [caption id="attachment_941681" align="alignnone" width="1920"] TAS Rights Management[/caption] The Show (and Yes, It's as Sensational as You've Heard) Before even getting to the show, most fans have memorised the setlist, seen most of the performances on social media and created perfect recreations of Swift's Eras tour costumes. They know what's to come. But are they ready for it? Absolutely not. From the moment that Swift enters the stage — emerging from the giant flower petals that everyone has seen in countless videos of already — the MCG loses its shit. It's the feeling of being a part of the international tour that's been obsessed over for so many months that draws up the excitement. We don't need to be surprised. We just want to be a part of these legendary moments. Swift doesn't disappoint, on any level, for none of the three-hour show packed with hits. She runs through each of her albums, spanning 18 years of music, ticking off the bangers as the crowd screams the lyrics along with her — no matter what era they come from. She doesn't lose breath or miss a beat for a moment. She's done this show god knows how many times now and knows exactly what she's doing. She's a total pro. [caption id="attachment_941679" align="alignnone" width="1920"] TAS Rights Management[/caption] But while Swift soars in her most upbeat hits, the more-emotional ballads show her real vulnerability. The walls seem to really come down for a few moments. This is best seen in her ten-minute version of 'All Too Well', captivating the audience for the entire song while it's just her on stage with a guitar in a stunning red-and-black sequinned coat. She gets visibly angry, is particularly pointed with some harsh lyrics and takes the audience with her on the journey of hating the celeb we all know this song is about. From start to finish, Swift repeatedly reminds you why she is an icon — and that she's got plenty of more eras to come. Let's just hope that she brings them back Down Under to smash some more records and give us another (or first) chance to see her IRL. [caption id="attachment_941680" align="alignnone" width="1920"] TAS Rights Management[/caption] Tips to Help Make Hitting the Gigs as Gorgeous as Possible When it comes to the kit you'll be wearing, most Swifties go down one of two routes. You can sequin the house down and be inspired by her tour looks, or try to recreate one of her iconic music-video ensembles. Glitter is almost a must, even if it covers your bathroom at home for months afterwards. And friendship bracelets. You've got to invest in some if you want to participate in those sweet community feels at the concert, when everyone is swapping bracelets with one another, sharing their excitement for what's to come. It couldn't be more wholesome. While heels might go with your outfit, flats are probably the smartest choice. Everyone gets a seat, but you'll be standing and dancing for over three hours. Everyone in the crowd tries to sit down in between eras when the stage gets changed over and Swift quickly swaps into a new outfit, but it's not enough to save your poor feet (especially as there isn't that much time between albums). Beyond that, be sure to bring a portable battery for your phone. Even if you say you won't take videos, you likely will. And there are plenty of times during the night when fans turn on their camera lights and sway along to the slow jams. For most of us, this will kill our batteries in an hour. [caption id="attachment_940691" align="alignnone" width="1920"] Ronald Woan via Wikimedia Commons.[/caption] If you're heading to one of the four Sydney shows, it's time to start planning your journey. Gates open at 4.30pm, and everyone has assigned seating, so there's no need to camp out overnight to secure the best spot. The show will kick off around 6.20pm, with Sabrina Carpenter handling opening duties. Get down early to see what she rhymes with Sydney during her iconic 'Nonsense' outros. While there is car parking available, it's almost fully booked up already, so public transport is the optimal option for heading in. Travel on PT is included in your ticket, and both express trains and major event buses are running each night to deal with the masses of Swifties making the pilgrimage to Sydney Olympic Park. If you're attending on the Friday or Saturday, leave yourself some extra time — Blink-182 is performing at Qudos Bank Arena on both these days, so there will be two lots of music lovers travelling to the same spot. Everyone's journey in will be a little different, of course, but if you head to Central, Redfern or Strathfield Station, you'll be able to get a direct train. While there are a couple of spots to eat near Accor Stadium, it's not exactly a cornucopia of food and drinks. Consider hitting up a venue near one of these key stations for an early dinner or a couple of celebratory cocktails. City Oltra is a perfect pitstop for a few slices of some of the city's best pizza and a glass of orange wine just metres from Central Station. If mimosas on a rooftop are more of the vibe, consider stopping over at The Old Clare Hotel. As for Redfern, The Sunshine Inn, RaRa Ramen, Redbird and BrewDog are all stellar options for a pre-gig feed. Or, if you're just after a few top-notch drinks, Arcadia Liquors always does the trick. Plus, Strathfield is filled with plenty of standout dining options. Our picks for a cheap and cheerful meal: Korean fried chicken and a bottle of soju from the no-frills CC Train, or a big brothy bowl from Hansang. Not Going? How to Play Along Elsewhere Look what you made Australia do, Swifties: put on Taylor Swift-themed festivities everywhere and anywhere, to prolong the lavender haze swirling not just around Melbourne and Sydney, but Brisbane as well. From candlelight tributes and colourful cocktails to painting pottery and showing off your knowledge of Swift trivia, you have options. Sydney: Sydney well and truly has Swift fever, so if you're a Lover lover but you're not heading to Accor Stadium, there are plenty of Taylor-themed events happening all across the Harbour City. There's Taylor Swift bottomless brunch at both Harry's by Giuls and Above 319, Eras-themed doughnuts at Miss Sina, and limited-edition cocktails at Moxy Sydney and Alibi Bar and Dining. Crown Sydney is hosting a Swiftie High Tea at Teahouse until Sunday, February 25. The extravagant afternoon activity features a lineup of sweet treats representing some of Swift's most beloved albums — like the 1989, a lavender ganache with yuzu and almond streusel — as well as some savoury mouthfuls like whisky teriyaki wagyu and Sichuan miso-baked toothfish. If you want to flex your knowledge, Taylor Swift Trivia is popping up across Western Sydney, including Guildford on Sunday, February 25 and Penrith on Wednesday, February 28. The Argyle is getting in on the action with a Taylor Rave on Thursday, February 22 and, if you think you'll be full of energy after the show and you're looking to kick on with some more big TS sing-alongs, Oxford Art Factory is hosting a series of unofficial afterparties on the nights of the Friday, Saturday and Sunday shows. [caption id="attachment_940473" align="alignnone" width="1920"] Paolo Villanueva via Wikimedia Commons.[/caption] Melbourne: While most of the Taylor Swift-themed parties and events in Melbourne took place just before or during her time in the city, there is one way to still join in the fun in the week following: Candlelight: A Tribute to Taylor Swift. The hour-long concert features Swift's music played by a string quartet. It's running at Collingwood Town Hall on Saturday, February 24 at 6.30pm and 8.30pm. The moody candlelit performance is a brilliant chaser for any Swiftie who went to the shows, or even those who couldn't nab the hotly fought-over tickets. Brisbane: Every Brisbane Swiftie, and most Brisbanites in general, is well aware that T-Swift isn't bringing Eras to the Queensland capital. To commiserate, you can calm down in a number of ways — including at Fritzenberger South Bank's Swift-themed trivia night on Wednesday, February 21, then at a tribute party on Saturday, February 24 at Fortitude Valley's The Sound Garden, where a DJ will be spinning all the requisite tunes. Also on Saturday, February 24, head to Clontarf's The Craft Haven to make and paint Taylor Swift-inspired pottery. Then, on Sunday, February 25, Fluffy is taking its cues from the singer back in Fortitude Valley. And, come March and April, Candlelight: A Tribute to Taylor Swift will help you embrace your Swift love story at Grand on Ann, too. [caption id="attachment_922251" align="alignnone" width="1920"] Trafalgar Releasing[/caption] How to Enjoy Eras Whenever You Want Back in October 2023, singing and dancing along to the Eras tour without actually attending the Eras tour became possible. That's when Swift released concert film Taylor Swift: The 'Eras' Tour, which took in over $260 million at the worldwide box office when it hit the big screen. It also got everyone excited when it arrived on digital. Its next stop, if you're ready for it: Disney+ from Friday, March 15, complete with five extra tunes — 'cardigan' and four acoustic tracks — that haven't featured in other versions of the movie. You don't need to be a Swiftie to enjoy the film. In fact, watching it might turn you into one no matter how you feel about the pop superstar going in. There's no denying that the singer knows how to put on a helluva show — and the cinematography on display, plus the energetic direction by Sam Wrench (Billie Eilish Live at the O2), gives viewers an intimate experience across 169 minutes while also stressing how massive the Eras tour gigs are. The feature was shot over three concerts at Los Angeles' SoFi Stadium in August 2023 — so, not at Swift's largest-ever gigs of her entire career at the MCG across Friday, February 16–Sunday, February 18, 2024 — and everything about it is dazzling. That includes the costume changes, choreography and setlist, and the fact that the tour and the film both exist as an ode to Swift's knack for reinvention. Check out the trailer for Taylor Swift: The 'Eras' Tour Concert Film below: Taylor Swift's Eras Tour plays Australia until Monday, February 26. Head to the tour website for further details. Taylor Swift: The 'Eras' Tour will stream via Disney+ from Friday, March 15, 2024. Read our review. Taylor Swift Australian Eras tour images: TAS Rights Management.
It brought Stephenie Meyer's vampire romance saga to the big screen. It helped make Kristen Stewart and Robert Pattinson superstars. Indeed, for its two biggest names, it saw KStew go soaring to everything from Clouds of Sils Maria and Personal Shopper to Charlie's Angels, Crimes of the Future and Spencer — earning an Oscar nomination for the latter — and RPatz going from The Rover and Good Time to High Life, Tenet and The Batman. And, now, The Twilight Saga is making a comeback. The undead don't die, after all, and neither does much in the pop-culture realm. No big movie franchise ever says goodbye these days, with making the leap to the small screen one sticky trend at the moment. The Marvel Cinematic Universe did it, as has the rival DC Extended Universe. The Star Wars realm took the jump, too. So did The Lord of the Rings, and Harry Potter, IT and The Conjuring series are also on their way. There's also a John Wick show in the works — and yes, the list goes on. With Twilight, Lionsgate Television is in early development on a small-screen version, as per The Hollywood Reporter. That said, it apparently hasn't yet been decided whether this'll be a spinoff from the OG books and the movies that initially brought them to the screen, or if it'll take the remake route like HBO's new Harry Potter show is set to. Either way, given their careers right now — see: all those films mentioned above — it's probably safe to say that Stewart and Pattinson won't be involved. Of course, there's zero word on casting for Twilight's television iteration so far, with only writer and producer Sinead Daly (The Get Down, Dirty John, Raised by Wolves, The Walking Dead: World Beyond and Tell Me Lies) named as being involved and Meyer also expected to have some input. Exactly when the Twilight TV series will arrive, and where it'll air or stream, similarly hasn't been revealed. Forgotten what the five vamp films cover? They start with teenager Bella Swan (Stewart) moving to the small town of Forks, Washington, where she meets and falls in love with vampire Edward Cullen (Pattinson). This romance between a human and a vampire isn't particularly straightforward, otherwise there wouldn't be four books and five movies devoted to it. In cinemas, Twilight also starred everyone from Taylor Lautner (Cuckoo), Anna Kendrick (Alice, Darling) and Dakota Fanning (The First Lady) to Michael Sheen (Good Omens), Rami Malek (Amsterdam) and Bryce Dallas Howard (Jurassic World Dominion). There's no sneak peek at the Twilight TV show yet, understandably, but as well as the original Twilight trailer above, plus the New Moon trailer, you can watch Eclipse and two Breaking Dawn trailers below: The TV version of Twilight doesn't yet have a release date — we'll update you when one is announced. Via The Hollywood Reporter.
If you're planning to spend 12 days in the Harbour City's cinemas this winter, Sydney Film Festival's full 2025 slate of movies is jam-packed across Wednesday, June 4–Sunday, June 15. A few highlights on the program are also part of Vivid Sydney 2025, falling within the citywide arts, light, music, food and ideas celebration as well. A celebration of Warren Ellis was always going to be huge news — and worthy of a spot on both festival's bills. There's two parts to it, both on Sunday, June 8: a screening of Justin Kurzel (The Narrow Road to the Deep North)-directed documentary Ellis Park, about the iconic musician establishing an animal sanctuary to protect endangered species in Sumatra, then An Evening with Warren Ellis at City Recital Hall. At the first, at the State Theatre, audiences will obviously see the film. Afterwards, its subject — a Nick Cave & The Bad Seeds collaborator and Dirty Three founder, as well as a pivotal force in movie scores, including on The Proposition, The Road, Far From Men, Mustang, Hell or High Water, The Velvet Queen, The New Boy, Back to Black, Kid Snow and newly minted Oscar-winner I'm Still Here — will chat about the doco, and also put on a short musical performance. You'll need separate tickets if you want to attend both the movie and the in-conversation session.
Nick Coyle has made a very ridiculous name for himself by writing, directing and performing a whole mess of shows based around the inert silliness we all generally hide. The 2012 FBi SMAC Award winner for Best on Stage has been behind such productions as Me Pregnant!, Double Tribute and Rommy. This time, however, Nick is bringing his antics to The Bondi Pavillion Theatre, and these antics are for kids. Uh Oh Tony! is one man’s quest to find his best friend. Who happens to be a robot. With his somewhat unwanted sidekick. Who is a puppet. Of course. That said, it’s exactly the kind of weirdness that Coyle is known for, so what else could we expect? As much as the interactive, all-singing, all-dancing extravaganza is written for little kids, there’s no reason why big kids (us) shouldn’t love it either. Get out of the way, shorties. Uh Oh Tony is on at 11am and 1pm daily.
Pups usually get all the cafe fun, but New Yorkers have saved some coffee for the kitties. In one of the most Internet-anticipated cafe openings in NYC since Dominique Ansel's cronut shop, Purina One's pop-up Cat Cafe takes pet friendly to the next level, with cat'achinos aplenty. Populated with sixteen outrageously squeal-inducing adoptable cats from the North Shore Animal League, the Cat Cafe has everything your tabby could want in a downtown hotspot: multiplatformed towers, little mouse things on sticks, and All The Pats. You can take Duchess, Zander or Sushi to a good home after you've chilled out together over free pastries and cat'achinos with feline face latte art. Photos and bios of the adoptable fuzzies are framed proudly on the walls, or you can meet the crew over here. Sitting at 168 Bowery in lower Manhattan, the pop-up Cat Cafe is open from today for four days until April 27. Taking home a Health Department Sanitary Inspection Grade of "A", the cafe sits in its own space sectioned off from the kitty hang zone and can hold up to 65 cat-loving punters. Sure to follow the lead of Every Other NYC Opening, queues are expected down the block and to be solidly represented on Instagram. Nothing stops a New Yorker from lining up. Purina's Niky Roberts told Gothamist that the cat food company wanted to raise awareness of feline health issues and get some furry faces adopted in the meantime, simultaneously promoting their healthy cat food. With no other plans to open another cat cafe at present (or one in Australia, dayum), Purina are open to the possibility. For everyone not in NYC sipping cat'achinos and making buds with Duchess, it's going to be on Livestream a la Pandacam. Via Gothamist. Images by Tod Seelie.
After nearly a decade of Westerosi power struggles, obsessed fans and soaring ratings, HBO found itself with a Game of Thrones-sized gap to fill last year. The network isn't completely saying goodbye to the world created by George RR Martin, with at least one spinoff in the works — but it's also eager for something else to help pick up where GoT left off, fantasy-wise. First debuting late in 2019, and due to return for a second season in the next few months. His Dark Materials is one of the US network's prime candidates. It's based on Philip Pullman's award-winning young adult trilogy of books of the same name: The Golden Compass, The Subtle Knife and The Amber Spyglass. And if it sounds familiar — and not just because you watched the initial batch of episodes — that's because one of the tomes, The Golden Compass, was already turned into a movie back in 2007. HBO is keeping things simple with their adaptation by sticking with the franchise name, other than individual book monikers — hence the His Dark Materials title. They've also bet big on star power, with the series boasting a hefty cast. James McAvoy, Ruth Wilson, Hamilton's Lin-Manuel Miranda, Da 5 Bloods' Clarke Peters and Logan's Dafne Keen all star, while Fleabag's Andrew Scott and Phoebe Waller-Bridge will also pop up in the second season. Yes, it'll be a reunion for the two series newcomers, although you'll be seeing Scott on-screen as Colonel John Parry and hearing Waller-Bridge's voice as Parry's daemon. What's a daemon? It's one of the key parts of His Dark Materials. Here, Keen plays an orphan by the name of Lyra Belacqua — who seems just like everyone else, but hails from an alternate universe where a person's soul manifests as a shape-shifting animal called a daemon. In the show's first season, as Lyra looks for a kidnapped friend in the Arctic, she discovers a church-run stolen children ring, learns about mysterious particles known as Dust and ventures through different worlds, including the one we all know. McAvoy pops up as a powerful aristocrat, Wilson is his ex, and Miranda plays a balloonist and adventurer. If you're eager for the next season, HBO has just dropped the first sneak peek, releasing a trailer as part of this year's Comic-Con at Home. An exact release date for the season hasn't been revealed yet, but it'll hit the US in the country's autumn — so spring Down Under, where it airs in Australia on Foxtel. Check out the full trailer below: https://www.youtube.com/watch?v=FnFsU7SY0Gk His Dark Materials' second season will arrive sometime later in 2020 — we'll update you with an exact date when it is announced. Images: Simon Ridgway/HBO.
The service industry has really been through some things lately. 'Shake up' doesn't even come close. Crowd-sourcing, app-ification, and hyper-localisation mean that the service industry we enjoy looks nothing like what our parents knew. And the latest offering from the team behind Paramount Coffee Project, Reuben Hills and Melbourne's Seven Seeds is a testament to this brave new world. When it was announced back in August, Paramount House Hotel promised it wouldn't be a hotel in the traditional sense of the word — a promise which it most certainly kept. It's not a glitzy chain where everything looks and feels the same no matter which country you're visiting. It's more of an immersive local experience which gives visitors a genuine slice of life in Surry Hills. The hotel is part of Paramount House, which currently houses Paramount Coffee, a co-working space and Golden Age Cinema. The downstairs cafe acts as the entrance to the new hotel lobby, and a two-storey extension houses the 29 suites. The hotel also contains a rooftop gym and outdoor cafe — dubbed Paramount Recreation Club — and a brand new restaurant from Ester named Poly. (Yes, it does room service.) "We hope to encapsulate the spirit of Surry Hills and offer the guest an immersive local community experience," said Ping Jin Ng, who co-owns the hotel along with Russell Beard and Mark Dundon. "We are considered but not staged, generous but not lavish and we will offer a memorable and inspiring stay — not just comfortable and slick." The vision for the hotel has been realised by Melbourne architecture firm, Breathe. You may know them for their work on Seven Seeds, Brother Baba Budan, Host, the Collingwood Arts Precinct, The Commons and Transformer. It's connected two buildings on Commonwealth Street, added a copper-clad extension to the roof and decked it out with little luxuries like private terraces and generous spots of greenery. All of this helps make Paramount House Hotel one of the very best hotels in Sydney. Rooms start at $225 a night, and have a mini bar stocked with snacks from LP's Quality Meats and Tom Shobbrook wines, and Aesop products in all the bathrooms — of course. Images: Tom Ross and Sharon Cairns.
So if you're lonely, Franz Ferdinand will be here waiting for you across Australia before 2025 is out. Fresh from releasing their sixth album in January, the Scottish band have announced a visit Down Under in November and December, with five gigs on the itinerary. Their stops: Perth, Brisbane, Melbourne, Thirroul and Sydney. It's been more than two decades since the Alex Kapranos-led group made a helluva splash with the catchy second single from their self-titled debuted album. Even just reading the name 'Take Me Out' is enough to get the number-one tune in Triple J's 2004 Hottest 100 stuck in your head. The song was also nominated for two Grammys, while the record that it springs from won the Mercury Prize. Franz Ferdinand's latest trip to Australia kicks off in Perth at Red Hill Auditorium on Wednesday, November 26, before heading across the country to Brisbane's Riverstage on Saturday, November 29. Next destination: Melbourne, playing Live at the Gardens at the Royal Botanic Gardens on Friday, November 28. Then comes a Tuesday, December 2 date with Anita's Theatre in Thirroul in New South Wales, before wrapping up on Wednesday, December 3 at On the Steps at the Sydney Opera House Forecourt. On every stop, Melbourne's Delivery will be in support — and everywhere except Thirroul, so will the Mornington Peninsula-born Teenage Dads. Since the huge success of 'Take Me Out' and their 2004 Franz Ferdinand album, the band have dropped records in 2005 (You Could Have It So Much Better), 2009 (Tonight: Franz Ferdinand), 2013 (Right Thoughts, Right Words, Right Action), 2018 (Always Ascending) and this year (The Human Fear). Touring-wise, their past Aussie trips have included sets at Big Day Out, Splendour in the Grass and Falls Festival. Franz Ferdinand's 2025 Aussie visit comes just a few months after Bloc Party, who benefited from Kapranos' approval when they were starting out, do the same in August. Franz Ferdinand Australian Tour 2025 Wednesday, November 26 — Red Hill Auditorium, Perth Saturday, November 29 — Riverstage, Brisbane Friday, November 28 — Live at the Gardens, Royal Botanic Gardens, Melbourne Tuesday, December 2 — Anita's Theatre, Thirroul Wednesday, December 3 — On the Steps, Sydney Opera House Forecourt, Sydney Franz Ferdinand are touring Australia in November and December 2025, with ticket presales from 10am local time on Monday, May 12 and general sales from the same time on Wednesday, May 14. Head to the tour website for more details. Select images: Raph PH via Flickr.
Ice cream and gelato are not the same. And sure, we could dive into the subtle ways they differ, but we know that all that really matters when the mercury soars and the summer sun beats down is that they both offer a deliciously chilled way to beat the heat. While a Golden Gaytime from 7-Eleven will always hold a place in our hearts (and rightfully so), the seemingly endless creativity of Sydney's ice cream and gelato slingers has raised expectations of the scoops we crave to new gastronomic heights. So, to help you make the difficult decision as to just what ice cream or gelato to enjoy today, we've put together a list of the best frozen dessert joints in town. Venture forth on this icy sojourn and work your way through this list throughout the sunny season. Recommended reads: The Best Waterside Brunch Spots in Sydney The Best Beaches in Sydney The Best Italian Restaurants in Sydney [caption id="attachment_716745" align="alignnone" width="1920"] Kitti Gould[/caption] Mapo, Newtown This Newtown ice cream joint is scooping quality gelato with a focus on sustainable ingredients. Italian-born owner Matteo Pochintesta is an architect-turned-gelato maker who trained under the owner of Milan's gelateria Ciacco — and returned to Sydney last year to put his skills to the test. Sure, there are plenty of gelato shops along King Street, but Mapo brings a purist's sensibility to the local ice cream game, focusing on the highest quality ingredients and all seasonal fruit. Signature flavours include the pistachio, made with certified premium Sicilian nuts, and the single-origin chocolate gianduja — both are vegan. Other traditional Italian flavours include the fior di latte and the stracciatella (chocolate chip). Flavours are limited to 12–14 at a time, with plenty of specials on offer, like its previous cold brew coffee gelato collab with Potts Point's Room Ten. Gelato Messina, Various Locations Sure, people were making gelato in Sydney before Gelato Messina — but it was Messina that made it cool. And, even though it's grown from a single shop in Darlinghurst to an ice cream empire that includes 19 gelato stores in NSW, it's still just as popular. The epic cabinet is always stocked with 40 flavours at a time — 35 regulars and five weekly specials — that are all made with Messina's own milk. Some flavour suggestions: the apple pie ice cream (it contains real home-baked cinnamon spiced apple pies), the tiramisu (a must try for any self-respecting coffee addict), salted coconut and mango (vegan and fresh) and the salted caramel and white chocolate (a crowd favourite). Also expect collabs, degustations and special cake options at its Sydney gelato stores. Gelato Messina's HQ is in Marrickville, and outposts can be found in Rosebery, Darlinghurst, Surry Hills, Brighton Le Sands, Martin Place, Harris Farm, Newtown, Tramsheds, Bondi, Circular Quay, Darling Square, Miranda, Manly, Norwest, Randwick, Parramatta, Surry Hills, Penrith and The Star. [caption id="attachment_652781" align="alignnone" width="1920"] Kitti Gould[/caption] Ciccone & Sons, Redfern While the bigger players dominate much of the attention in Sydney's gelato scene, the smaller businesses, like Redfern's Ciccone & Sons, are harbouring some of the city's most lickable delights. Ciccone's menu, displayed on an old-school red felt letter board, is limited to all seasonal flavours that are churned on-site daily using jersey milk. It is serious about quality ingredients elsewhere too, using fresh fruit, whole nuts and fine chocolate across the board. In summer, things lean a little more to the fresh and fruity side with coconut and watermelon granitas and sorbettos making an appearance. The gelataria is also licensed, and you can now grab a Ciccone negroni from the takeaway fridge — along with gelato-on-a-stick and tubs for two. Anytime of the year, the team here create some of the best gelato in Sydney. Cow & The Moon, Enmore This tiny shop on Enmore Road looks fairly inconspicuous from the outside, but it is a true local gem. Cow & the Moon make all of its gelato in-house using a recipes developed over the past 27 years. The traditional flavours are all winners here — including the gianduia, pistachio and tiramisu — as are the raspberry white chocolate and the strawberry balsamic pannacotta. In the lucrative field of sorbets, the chocolate is one of the best around. Cow & the Moon also turns out espresso tonics, affogatos and gelato cakes to boot. Grab a cone and a seat out front to enjoy your Sydney gelato while you watch the Enmore locals in action. Small Joys Gelato, Five Dock Here's the scoop — this gelateria in Five Dock is slinging artisan gelato with Asian-inspired flavours at the core. The innovative Sydney gelato spot strikes a balance between maintaining tradition and experimenting with new flavour combinations. Head inside and you'll be met with an Italian pozzetti-style display, with the cold treats housed in silver tin casings to ensure the texture and temperature of the scoops remain perfect. While this set-up screams traditional, the combinations of flavours may surprise you. Small Joys Gelato has 10–12 flavours available on its ever-changing rotation, which is tweaked and announced on the Small Joys Gelato Instagram page every three weeks. The flavours take inspiration from Asia, hence the appearance of some non-traditional and unexpected flavour pairings. This includes the likes of Hong Kong milk tea, pistachio sea salt, peanut butter jam toast and strawberry shizo. There's also a range of exciting sorbets on rotation, including a mango lemon myrtle flavour, umeshu (Japanese liquor) and coconut lime. Rivareno Gelato, Darlinghurst, Barangaroo, Potts Point, Bondi and Paramatta There aren't many foods that can bring a smile to a Sydneysider's face quite as quickly as gelato. Australian-born, Italian-influenced entrepreneur Kieran Tosolini knew this all too well when he brought his Bologna-based chain Rivareno back with him to Crown Street. All flavours are made in small batches daily at each of the five seperate Darlinghurst, Potts Point, Barangaroo, Bondi and Parramatta stores. The most popular varieties include the mascarpone — which comes with a splash of Sicilian dessert wine, Arabica coffee and dark chocolate slivers — and the Cremino Rivareno, which offers swirls of white chocolate and hazelnut ganache. If you're after something more refreshing, try a sorbet or granita, made using fresh fruit. Hakiki, Newtown Newtown's cult favourite Turkish ice creamery Hakiki has been impressing Sydneysiders since early 2015. It has earned quite the reputation for its traditional Maras-style ice cream — which is smooth and creamy, yet drip-free and melt-resistant, until the second it hits your mouth. The signature serve is so thick, it's best tackled with a knife and fork. The ingredient that gives the ice cream this unusual texture is an orchid root grown in southern Turkey. Alongside classic Anatolian treats like baklava, turkish delight and rich coffee (which are each gelato flavours as well), the team whips up a range of traditional and innovative ice cream varieties — from old favourites like pistachio and hazelnut to the ever-popular melon and feta and the moreish grape molasses and tahini. It's home to both the best gelato and ice cream in Sydney. Duo Duo, Strathfield Deep-fried ice cream is the kind of confection that delivers the best of two worlds: cold and creamy, warm and crunchy. This singular treat takes the starring role in the flagship Strathfield store from longtime Sydney food truck Duo Duo. When it comes to its deep-fried ice cream, the specialty is made with pandan and coconut, but you can fry just about every flavour available. Beyond this, there's a classic gelato bar out front scooping classics like vanilla bean and pistachio, alongside more inventive flavours like durian, macha, taro, Vietnamese iced coffee and Thai milk tea. Duo Duo is even slinging fresh doughnuts — filled with either Biscoff, crème brûlée, strawberry and custard. This Sydney ice cream joint has the lot. Top image: Gelato Messina
First Nations cultural currents run deep across Australia, marking the landscape with diverse history and meaning from its glistening coastlines, across the mountains and out to the expansive desert plains. With more than 60,000 years of human experience to contemplate, the best way to learn about this living history is by seeking guidance from the Traditional Custodians of the lands. Join First Nations tour operators and guides on these nine experiences that will take you across New South Wales on knowledge-seeking journeys.
Central Station is currently undergoing some big changes. You may have already spotted the massive overhaul of the Grand Concourse which, among a heap of renovations and refurbishments, will feature the longest elevators in the southern hemisphere. There are also plans to transform Eddy Avenue into a dining and entertainment precinct. The latest element to the NSW Government's projections for the bustling inner-city train station is possibly its biggest — with the introduction of new public spaces, parklands, restaurants, shops, office buildings and affordable housing. This ambitious new addition to the plans will see a series of buildings constructed over the existing rail lines and significant makeovers to some of the station's current spaces in order to facilitate a range of new public and privately run facilities. New connectivity between Ultimo and Surry Hills will also be central to the plan which hopes to bring more people into the city. "We have a once-in-a-generation opportunity to reimagine this iconic part of our CBD and transform it into a world-class precinct of shops, restaurants, office spaces, parkland and additional housing," NSW Premier Dominic Perrottet says. 60,000 square metres of public parks, squares and plazas will be introduced into the area as part of the Central Precinct Renewal Program. Renders of the potential transformation show an expansive green space in place of Railway Colonnade Drive between the Grand Concourse and Railway Square, and rooftop parklands on top of the station alongside buildings reminiscent of those in the proposed Central Station tech hub. The plan also hopes to provide more connections between the suburbs surrounding Central via an over-rail pedestrian and bicycle bridge at Devonshire Street. "The masterplan celebrates the heritage of the precinct while also offering a grand new public square, three new parks, new community, social services hubs as well as at least 30 percent of affordable and diverse housing to better meet the needs of all sections of the community," said NSW Minister for Infrastructure, Cities and Active Transport Rob Stokes. "This proposal will heal parts of our city that have been torn apart since the railway divided Surry Hills from Ultimo back in 1874." Premier Perrottet also promises the new constructions will assist in easing some housing pressure within Sydney by introducing 850 new dwellings. 15 percent of these homes will be classified as affordable housing while 15 percent will include diverse use types including student housing. "If you believe, as we do, that Sydney's growth should be concentrated around public transport, then Central Station is one of the best places to go big," said Gabriel Metcalf, the CEO of the Committee for Sydney, who put together the plan to revive Kings Cross. "The real test is whether they can resolve the public realm issues of such a complicated site, with level changes and lots of passenger movements, to make it feel like a nice place to be. Over-station developments are notoriously tricky, and places like the Hudson Yards in New York have achieved only mixed success." For all of those reasons, this is going to be one of the most closely watched projects in Sydney: an incredible opportunity, but also quite the challenge. You can find out more about the Central Precinct Renewal Program and provide feedback until Monday, September 19 at the NSW Government website.
You're probably familiar with Jurassic Lounge, the beloved after-hours mainstay that transforms the iconic halls and arches of the Australian Museum into a bustling extravaganza year by year – and always with a different theme. Past themes have included Heroes, Halloween and Robots vs Dinosaurs. Now, in 2023, the Australian Museum will join Sydney WorldPride celebrations with Jurassic Lounge: Pride Edition, an evening of inclusive celebrations for all. If you're unfamiliar with Jurassic Lounge and the after-dark metamorphosis of the museum, here's a taste of what to expect. The galleries and exhibits you know and love will be transformed with lights, music and entertainment. The main stage will be hosted by queer nightlife fixture Aunty Jonny, keeping an upbeat playlist of tunes that have underscored the LGBTQIA+ community for decades, plus best-dressed awards and a choreographed dance hosted by Sydney Drag Royalty. [caption id="attachment_884900" align="aligncenter" width="1920"] Lyndal Irons[/caption] There'll be a celebration of all things queer science hosted by the legendary Dr Alice Motion and scientific minds from across the LQBTQIA+ world, comedy-trained scientists from Scary Strangers taking you through everything from a T. Rex Autopsy to the science of spider orgies. On top of that, you can join drop-in drawing classes, anatomically-complex games of pin the tail on the donkey, a silent disco and drag show in the Wild Planet gallery, and participate in a beginner's guide to scientific experimentation hosted by the hilarious Nat Caro and AM's Martha Johnson. Jurassic Lounge: Pride Edition is on Saturday, February 18, from 6.30pm to 10pm. Tickets are $36 per person for members and $45 for non-members. To purchase tickets and find out more about the event, head to the website. Images: Diabolique Photography and Sarah Wilson
Forget humdrum Hallmark — this Valentine's Day, it's time to up the ante by whisking your other half to a boutique escape that would knock even Casanova's (lacy) socks off. Best for lavish loving: Blakes Hotel London, United Kingdom Having long seduced fabulous film stars and glamorous glitterati, Blakes Hotel delivers hedonistic pleasures with a hefty dose of decadence. Put simply, the sexy boudoirs will have you seriously considering extending your stay (no wonder Blakes won 'Sexiest Bedroom' at our recent Smith Hotel Awards). Inspired by far-flung lands, including Turkey, Russia and Indi, each room has its own unique style: think suites kitted out with mother-of-pearl-inlaid furnishings, four-poster beds draped in rich fabrics or hand-painted white floors. Jimmy Choo-clad ankles and Rolex-boasting wrists head to Blakes’ dimly lit restaurant to dine on dishes that are influenced by the East: try tempura oysters for an afternoon aphrodisiac. Best for rustic romantics: The Farm at Cape Kidnappers Hawke's Bay, New Zealand Neighboured by a 6,000-acre working farm and jaw-dropping Pacific Ocean views, The Farm at Cape Kidnappers comes complete with a glam golf course, soothing spa and seductive dining snug. Communal areas in this French-style country house have exposed wooden beams above rough grey-stone walls, natural wood panelling, stone floors scattered with cowhide rugs and oversized couches clustered around a fire — perfect for snuggling up with your favourite person and glass of New Zealand pinot. Following a day on the green, choose from a range of dining spaces — the snug is perfect for dinner a deux. Be sure to leave room for dessert; the hotel’s pastry chef makes all of the scrumptious cookies, breads, jams, ice-cream and pastries from scratch. Best for party pleasures: QT Sydney Sydney, Australia Dubbed the ‘Directors of Chaos’, the red-wigged belles manning the doors at QT Sydney are the first hint that this hotel is not your average boutique bolthole. A playground for adults (ankle-biters are best left with grandma), the hotel occupies the beautiful old bones of the revamped State Theatre and Gowings department store buildings. All the rooms are tricked out with vibrant hits of colour, prints and patterns across fur throws, rugs and cushions. DIY Martini kits cater to budding mixologists and hint at pre-dining-and-dancing tipples. For morning-after alleviation, slot in a session at stylish SpaQ, where an old-school barber is a nod to the history of the Gowings building. Best for quiet canoodling: Ca Maria Adele Venice, Italy With heavy damask fabrics, shimmering Murano chandeliers and ornate flock wallpaper, Ca Maria Adele is a romantic respite hidden away from camera-clutching tourists. Couples are welcomed by a private dock and then coaxed into the elegant reception, resplendent in gold marble and deep African teak. A soundtrack of lapping water and chattering locals can be heard from the windows of Ca Maria Adele’s magnificent rooms: the grand Sala del Doge has sumptuous furnishings and a sensuous red palette; Sala Noire is darkly seductive, with black glass and muted lighting. Best for balmy beach bliss: Qualia Great Barrier Reef, Australia In the heart of the world's largest marine park, the postcard-perfect and too-turquoise views from Qualia extend as far as the eye can see. Pavilions — made from natural wood, glass and stone — are enveloped by lush tropical forest and gardens or are perched on the resort’s aptly named Pebble Beach. Those seeking to stimulate the senses in the most serene of surroundings should head for the spa; oenophiles can get their kicks with a chardonnay massage and vinotherapie body scrub. Golf buggies replace cars and can be used to explore Hamilton Island's main street offerings of shops, cafes and restaurants. When a growling stomach bids you to return to the resort, the Long Pavilion is a fine-dining eatery serving modern Australian cuisine at candlelit tables with sunset vistas. Best for a private palace: La Residence Garden Route & Winelands, South Africa Peering over Franschhoek's valley of vines, La Residence is a mini, modern Versailles with more Persian rugs and exotic antiques than you could poke a pith helmet at. Life happens at a leisurely and luxurious pace here — days are spent moseying between the come-hither infinity pool and shaded sun loungers, cycling around the estate or indulging in a private cheese or wine tasting at one of the neighbouring vineyards. Dine beneath dazzling chandeliers in the hotel's grand dining room. The Persian Alley is perfect for cocktails and canapes by candlelight, while would-be master-chefs can book a cookery demonstration at the chef’s table. Best for enchanting escapism: Jade Mountain St Lucia, St Lucia Rising above the Caribbean sea, Jade Mountain is a cornucopia of zigzagging stone walkways, cascading koi pools and sculpture-topped stone pillars. The vision of conceptual architect Nick Troubetzkoy, each of the ‘sanctuaries’ (fancy talk for rooms) has its own ‘sky path’ — an individual bridge suspended from a network of columns and a removed fourth wall, allowing for totally uninterrupted ocean views. There’ll be no quickly checking emails or uploading a #nofilter shot to Instagram; this is a tech-free zone with no phones, sound systems, TVs or WiFi. Bliss. Expect to fill days with waterskiing, snorkelling, kayaking, cycling, paddling in your private infinity pool and feasting on the seafood-focussed menu at the Jade Mountain Club. Best for decadent dining: The Prince Melbourne, Australia Behind its art deco facade, The Prince is home to simply decorated communal spaces, an acclaimed restaurant and a spa sure to soothe every niggle. In edgy and bohemian St Kilda, the Prince is so cool it's sure to illicit a raised eyebrow from even the most blase of hipster — credentials include a sophisticated vodka bar, buzzing public saloon and an iconic live-music venue. Paying homage to Melbourne’s favoured sleek and minimal aesthetic, rooms are uncluttered and spacious with dark woods, chocolate-grey carpets and unfussy white bed linen. Dining at the Prince is an award-winning affair: helmed by Ashly Hicks, Lyndon Tyers and Stephen Burke, Circa’s menu focuses on seasonal and local produce — roasted duck with mandarin and blackened onion, smoked quail with parsnip curd and mulberries. Best for upscale country manor: The Lodge at Kauri Cliffs Bay of Islands, New Zealand Soak up panoramic Pacific Ocean vistas from The Lodge at Kauri Cliffs, which flaunts blissful beaches, a championship golf course and a cliff-top perch. Rooms at the lodge are the kind that you want to take back home in your carry-on so nothing gets broken: think neutral-toned comfy armchairs by the fire, walk-in wardrobes, indulgent bathrooms and private porches overlooking the sea. If golf isn’t your game, a private beach with soft pink sand is a mere 15-minute stroll from the seventh hole, or you can succumb to the spa, where treatment rooms have floor-to-ceiling windows and overlook a trickling stream. Best for Parisian perfection: L’Hôtel Paris, France In Paris, romance rules and L’Hôtel isn’t daunted by its setting; it will sweep you off your feet. In the hotel where Oscar Wilde penned his last, there are extravagant nods to this famed eccentric everywhere, from the glamorous underground swimming pool to the leopard-print carpet and original Jean Cocteau artwork in the lobby. From the cylindrical hotel atrium, a spiral staircase descends towards the basement hammam, where the pool is decked out with heavy velvet curtains, terracotta floors and rough-stone columns. Post-swim stomachs can splurge on Michelin-starred cuisine at Le Restaurant or, if liquid libations are more your speed, the adjacent Le Bar is a dark and seductive haunt, favoured by artists, film stars and discerning Parisians. Ready to swoon? See more romantic designer dens for Valentine’s Day or explore other collections at Mr & Mrs Smith.
It's that time of year again. Temperatures are rising and we're planning our summer getaways, but when you don't want to follow the crowds to the beach — and the idea of lounging around isn't your kind of holiday — perhaps it's time to rethink mountain adventures. Once the snow melts away, New South Wales' Snowy Mountains transform into an adventurer's haven. There are peaks for conquering, trails for cycling, rivers for kayaking, long plains for horse riding and swimming holes for cooling off after all that adrenaline-boosting action. Plus, you'll be surrounded by incredible views, fields of wildflowers and incredible wildlife. In partnership with Destination NSW, here are five reasons to make your great escape to the Snowy Mountains in the summer months. Please stay up to date with the latest NSW Government health advice regarding COVID-19. [caption id="attachment_742018" align="alignnone" width="1920"] Thredbo[/caption] GO MOUNTAIN BIKING Whether you're a newbie or veteran on two wheels, there are tracks and trails to suit your skills in the Snowies. A good place to start is Thredbo Mountain Bike Park, where there are 50 kilometres to explore — from skill parks to cross country routes. For a longer adventure, cycle to Lake Crackenback Resort & Spa along the Thredbo Valley Track — the 35-kilometre trail follows Thredbo River, taking in a few suspension bridges and plenty of pretty scenery. Note that it's closed until December 19 for track maintenance. Perisher's easier-going trails, which come with epic views, are also worth a spin. And, if you're looking for some local company, book a guided mountain biking tour. [caption id="attachment_745605" align="alignnone" width="1920"] Tourism Snowy Mountains[/caption] TREK INTO THE WILD Explore the legend that Banjo Paterson made famous on a pony of your own. At Thredbo Valley Horse Riding, you can choose from a range of trail rides, be it a one-hour taster, a 1.5-hour saunter or a two-hour adventure. All of them pass through magical, sub-alpine wilderness, and begin with a 15-minute lesson, so you learn the basics before jumping into the saddle. Ride at a level that suits you, whether you prefer a slow walk or a fast-paced gallop. Ready for something more epic? Plunge into a multi-day saga, with either Cochran Horse Treks or Reynella Rides. [caption id="attachment_742071" align="alignnone" width="1920"] Tourism Snowy Mountains[/caption] TAKE A HIKE You could spend months hiking in the Snowy Mountains without running out of terrain. The Mount Kosciuszko Summit Walk is the best-known trail in the area, but there are loads of other routes to try. If you're into waterfalls, take a stroll along the Waterfall Walking Track, which passes through six kilometres of wildflowers, forests and granite boulders. For panoramic views, go for Dead Horse Gap Walking Track, a five-kilometre hike that passes beneath the Ramshead Range, 600 metres above Thredbo Valley. Or, to combine a walk with a swim, add Illawong Walk to your itinerary. It's an easy, five-kilometre return trail that follows Thredbo River from Guthega Village. [caption id="attachment_745602" align="alignnone" width="1920"] Destination NSW[/caption] SWIM IN SCENIC POOLS AND ALPINE LAKES The water isn't exactly tropical in the Snowy Mountains, but it's definitely an adventure. At Thredbo, you'll find a couple of swimming holes that are popular with locals, including Merritts Pond and Friday Flat Pond. Another super-peaceful spot is Lake Jindabyne, where there are various bays suitable for dipping, one of the prettiest being Rushes Bay. Then there's Thredbo River, home to a bunch of swimming holes. But, if you really can't hack the chill, make tracks to Yarrangobilly Caves Pool, a thermal, spring-fed pool, right near Yarrangobilly Caves, which is 27 degrees all year round. [caption id="attachment_742081" align="alignnone" width="1920"] Thredbo[/caption] SCALE THE SNOWY MOUNTAINS Need to clear your head? There are stacks of places in the Snowies where you can climb your way to greater heights — whether you're a novice who's never left the ground before or a hard-corer who's summited Mount Everest. K7 Adventures offers a variety of tours, from half-day escapades in Charlotte Pass suitable for beginners to full-day experiences at Blue Lake designed for advanced climbers. Another popular operator is Snowy Mountains Climbing School, which runs trips among Thredbo's granite tours for climbers of all skill levels, including newbies. Once you've scaled great heights it's time to put your trust in the ropes and abseil back down again. To find more things to do in the Snowy Mountains or to start planning your trip, go to Visit NSW. Top image: Tourism Snowy Mountains
More than most games, Dungeons & Dragons thrives or dies based on the people rolling the dice, creating their own characters and casting spells. Whether Stranger Things' demogorgon-slaying teens are hunched over a table imagining up their fantasy dreams, or flesh-and-blood folks who aren't just part of a TV series find themselves pretending that they're fighters and clerics, an adventure or campaign is only as good as the party at its core. Writer/directors Jonathan Goldstein and John Francis Daley understand this. The latter definitely should: the one-season TV great Freaks and Geeks, which gave him his start as an actor when he was just a kid, threw D&D some love, too. As filmmakers, Goldstein and Daley jump from Game Night to Dungeons & Dragons: Honour Among Thieves with a clear mission: making the swords-and-sorcery flick's cast its biggest strength. This game-to-screen flick sports a stacked roster, starting with Chris Pine (Don't Worry Darling) as Edgin Darvis, a bard and former member of the Harpers who turned petty thief — complete with a Robin Hood-esque attitude — after his wife passed away. Since his daughter Kira (Chloe Coleman, Avatar: The Way of Water) was a baby, he's been co-parenting with his gruff best friend Holga Kilgore, a stoic exiled barbarian, who is played with exactly the stern look that Michelle Rodriguez (Fast & Furious 9) was always going to bring to the part. When Dungeons & Dragons: Honour Among Thieves opens, however, Edgin and Holga have been in prison for almost two years thanks to a job gone wrong. Brought out of their dank dungeon to plead for their release, Edgin and Holga are determined to get free by any means necessary. And, once they're out, they're equally as committed to reuniting their makeshift family. Yes, a dungeon is indeed sighted within seconds of the film starting. Dungeons & Dragons: Honour Among Thieves doesn't skimp on dragons when it's their turn to arrive, either. But there's more cast members to bring into the fray — and, handily, Edgin and Holga had a whole gang back in their escapade-heavy days. Rogue and con artist Forge Fitzwilliam (Hugh Grant, Operation Fortune: Ruse de Guerre) was one such party member. Simon Aumar (Justice Smith, Sharper), a sorcerer with hefty confidence issues, was another. These days, Forge has turned nefarious, seized guardianship of Kira, become Lord of Neverwinter, and gotten far too friendly with the fierce, fearsome and necromancy-loving Red Wizard of Thay Sofina (Daisy Head, Wrong Turn). Simon is still trying his magical luck, which is quickly needed, alongside help from tiefling druid Doric (Sophie Lillis, IT and IT: Chapter Two) and paladin Xenk Yendar (Regé-Jean Page, The Gray Man). As Dungeon Masters — co-scripting with Michael Gilio (Jolene), and working with a story by him and The Lego Batman Movie's Chris McKay — Goldstein and Daley thrust their various figures together, then shape a story around them. So, it's all classic D&D, just on-screen with copious amounts of special effects (some overdone in the usual CGI-dripping fantasy blockbuster fashion, some pleasingly looking more tangible, such as reanimated corpses voiced by Aunty Donna Down Under) rather than sitting around a board. Dungeons & Dragons: Honour Among Thieves' tale couldn't be more straightforward, or fittingly episodic — with actions to complete, skills called upon and combat unleashed. There's no 20-sided die, but there is said bard and barbarian, and the sorcerer, druid and paladin with them, battling a rogue and wizard. And, straight out of the Monster Manual, owlbears, displacer beasts, red dragons and gelatinous cubes all make an appearance. Whether they first had everyone moving miniatures or mashing buttons, games are having a heap of big- and small-screen moments in 2023. The Last of Us is one of the year's very best new TV shows, a film about getting Tetris out of Russia and to the masses makes for a tense and entertaining streaming thriller, and The Super Mario Bros Movie gives the Nintendo favourite the animated treatment. A question lingers over all of them, though, and for fans and newcomers alike: would it be more engaging, and more fun, just to play? Dungeons & Dragons: Honour Among Thieves answers by giving the act of watching the feel of playing regardless of whether you're a level zero or level 20 with its mythology — in its light, jovial and energetic tone, with the film taking itself earnestly but never grimly seriously; and in no small part thanks to its array of faces. Stranger Things has been helping broaden D&D's influence for nearing a decade now, but everything from E.T. the Extra-Terrestrial, Futurama and Community to Buffy the Vampire Slayer, The IT Crowd and Gravity Falls have nodded its way, too — and Goldstein and Daley also understand this. Their take on the game is welcomely accessible, while appropriately loving and still packed with nudges and references. That said, it's also padded and repetitive the more that it goes goes on. And Dungeons & Dragons: Honour Among Thieves does go on, clocking in at 134 minutes. Some lengthy films make the time fly by — see: John Wick: Chapter 4, which could've lasted forever — but this one doesn't quite realise when a good time becomes an overly formulaic one. The fights and confrontations, the quips and character beats, the beasts and underground cells: after a while, a fantasy-101 feeling sinks in, especially in these days of ample worshipping thrown Game of Thrones, Lord of the Rings, The Witcher and company's ways. Mostly, Dungeons & Dragons: Honour Among Thieves is enough of a romp — a romp with clear franchise-starting ambitions, even though there's already been three D&D movies dating back to 2000, but a romp nonetheless. Take out Pine and his on-screen pals, though, and it would've been all over the map. His charm is breezy, and his rapport with Rodriguez gives the film a likeable chalk-and-cheese duo. Page is as smooth as ever — yes, Bridgerton-level smooth — and Grant is visibly having a blast of a time getting villainous Paddington 2-style. Head, daughter of Buffy and Ted Lasso's Anthony Stewart Head, frequently shows up the pixel wizardry with just her glare and makeup. Yes, Dungeons & Dragons is all about the folks playing both on- and off-screen, and Dungeons & Dragons: Honour Among Thieves' bunch makes viewers want to play along with them.
If 2020 has you thinking about the simple things in life — good food, good booze and nice threads, for example — then block out the weekend of Friday, November 6–Sunday, November 8 in your diary. That's when Sorry Thanks I Love You, P&V Wine + Liquor Merchants' Mike Bennie and Saint Peter's Josh Niland are all joining forces to celebrate all of the above at an event they've dubbed Rack Off. There'll be bites to eat, with Niland and his Fish Butchery team taking care of the menu. They'll be whipping up those famed sea urchin crumpets, too. And to wash all that tastiness down, there'll also be natural and biodynamic wines by the glass and bottle. [caption id="attachment_601490" align="aligncenter" width="1280"] Saint Peter, Nikki To[/caption] The main attraction, though, is the fundraising fashion sale. Across two mini warehouse spaces at 17 Oxford Street, Paddington, you'll be able to browse and buy — with items from Comme des Garçons, Issey Miyake, Veja, Rains, Rick Owens, Maison Margiela, Mykita, Hender Scheme, Sulvam, Lucy Folk and Bassike all on offer. Expect to nab a discount, feel like you're in a high-end boutique, but also hang out and drink and eat. A portion of the profits will be donated to integrated cancer hospital Chris O'Brien Lifehouse — and, at the checkout, you can play a game of paper, scissors, rock to either score 10 percent off your purchase or commit to donate 10 percent to the hospital. Rack Off runs daily from 10am–6pm. Top image: Joey Clark.
In 2022, Australian movie lovers felt a need for speed. The nation's cinemagoers flocked to see yellow-hued offsiders spouting gibberish, too, plus oh-so-many superheroes. We also adored rock 'n' roll icons, wizarding backstories and rampaging dinosaurs. Yes, Top Gun: Maverick, Minions: The Rise of Gru, Thor: Love and Thunder, The Batman and Doctor Strange in the Multiverse of Madness all sit atop of the Aussie box office for the year at the time of writing, followed by Jurassic World Dominion, Elvis, Black Panther: Wakanda Forever, Spider-Man: No Way Home and Fantastic Beasts: The Secrets of Dumbledore. Your memory isn't failing you: Spider-Man: No Way Home did first hit screens in 2021, and was the top-grossing movie in Australia in 2021. It proved such a box-office smash, though, that it's one of 2022's best money-earners as well. Expect Avatar: The Way of Water to do something similar this year — it's already storming up the list. Indeed, expect it to crack the top ten easily by the time that New Year's Eve hits. So, they're the massive flicks that everyone saw over the past 12 months, with the literal receipts to prove it. If you only went to the pictures to see huge titles, however, you missed an array of other delights that are well and truly worth your time and attention. As we do every year — and have since 2014 (see also: 2015, 2016, 2017, 2018, 2019, 2020 and 2021) — we've rounded up a list of top-notch films that released in Aussie cinemas in 2022 but didn't rack up fat stacks of cinema takings. Here are our 15 picks that you need to catch up on ASAP. BLAZE In the name of its protagonist, and the pain and fury that threatens to parch her 12-year-old existence, Del Kathryn Barton's first feature scorches and sears. It burns in its own moniker, too, and in the blistering alarm it sounds against an appalling status quo: that experiencing, witnessing and living with the aftermath of violence against women is all too common, heartbreakingly so, including in Australia where one woman a week on average is killed by her current or former partner. Blaze has a perfect title, with the two-time Archibald Prize-winning artist behind it crafting a movie that's alight with anger, that flares with sorrow, and that's so astutely and empathetically observed, styled and acted that it chars. Indeed, it's frequently hard to pick which aspect of the film singes more: the story about surviving what should be unknown horrors for a girl who isn't even yet a teen, the wondrously tactile and immersive way in which Blaze brings its namesake's inner world to the screen, or the stunning performance by young actor Julia Savage (Mr Inbetween) in its central part. There are imagined dragons in Blaze, but Game of Thrones or House of the Dragon, this isn't — although Jake (Josh Lawson, Mortal Kombat), who Blaze spots in an alleyway with Hannah (Yael Stone, Blacklight), has his lawyer (Heather Mitchell, Bosch & Rockit) claim that his accuser knows nothing. With the attack occurring mere minutes into the movie, Barton dedicates the feature's bulk to how her lead character copes, or doesn't. Being questioned about what she saw in court is just one way that the world tries to reduce her to ashes, but the embers of her hurt and determination don't and won't die. Blaze's father Luke (Simon Baker, High Ground), a single parent, understandably worries about the impact of everything blasting his daughter's way. As she retreats then acts out, cycling between both and bobbing in-between, those fears are well-founded. Blaze is a coming-age-film — a robbing-of-innocence movie as well — but it's also a firm message that there's no easy or ideal response to something as awful as its titular figure observes. Blaze is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. YOU WON'T BE ALONE Sometimes, a comparison is so obvious that it simply has to be uttered and acknowledged. That's the case with You Won't Be Alone, the first feature from Macedonian Australian writer/director Goran Stolevski, who also helmed MIFF's 2022 opening-night pick Of an Age. His debut film's lyrical visuals, especially of nature, instantly bringing the famously poetic aesthetics favoured by Terrence Malick (The Tree of Life, A Hidden Life) to mind. Its musings on the nature of life, and human nature as well, easily do the same. Set centuries back, lingering in villages wracked by superstition and exploring a myth about a witch, You Won't Be Alone conjures up thoughts of Robert Eggers' The Witch as well. Indeed, if Malick had directed that recent favourite, the end product might've come close to this entrancing effort. Consider Stolevski's feature the result of dreams conjured up with those two touchstones in his head, though, rather than an imitator. The place: Macedonia. The time: the 19th century. The focus: a baby chosen by the Wolf-Eateress (Anamaria Marinca, The Old Guard) to be her offsider. The feared figure has the ability to select and transform one protege, but she agrees to let her pick reach the age of 16 first. Nevena (Sara Klimoska, Black Sun) lives those formative years in a cave, in an attempt to stave off her fate. When the Wolf-Eateress comes calling, her initiation into the world — the world of humans, and of her physically and emotionally scarred mentor — is jarring. With Noomi Rapace (Lamb), Alice Englert (The Power of the Dog) and Carloto Cotta (The Tsugua Diaries) also among the cast, You Won't Be Alone turns Nevena's experiences of life, love, loss, desire, pain, envy and power into a haunting and thoughtful gothic horror fable. To say that it's bewitching is obvious, too, but also accurate. You Won't Be Alone is available to stream via Google Play, YouTube Movies and iTunes. Read our full review. FULL TIME At the 2021 Venice International Film Festival, French actor Laure Calamy won the Best Actress award in the event's Horizons strand — and mere minutes into Full Time, it's easy to see why. The Antoinette in the Cévennes and Call My Agent! star is phenomenal in this portrait of a single mother's hectic routine, with writer/director Eric Gravel (Crash Test Aglaé) charting the ups and downs of his protagonist's professional and personal situation like he's making a thriller. In fact, he is. Julie Roy, the feature's focus, is stretched to breaking point, and every moment of every day seems to bring a new source of stress. For starters, her job overseeing the cleaning at a five-star Parisian hotel is both chaotic and constantly throwing up challenges, she's put all her hopes on a new gig in market research but getting time off for the interview is easier said than done, and the French capital is in the middle of a transport strike that makes commuting in and out from the outskirts basically impossible. Also adding to Julie's troubles: the childcare arrangement she has in place with a neighbour, having any energy to spend meaningful time with her children at the end of her busy days, trying to get financial support out of her absent ex and planning a birthday party. All of this might sound mundane, and like the kind of thing that plenty of people deal with every day — and that's partly the point. Full Time hones in on the rush, hustle and bustle to show how fraught this vision of normality is. Every shot by cinematographer Victor Seguin (Gagarine) ripples with tension, and the rhythm amplified by editor Mathilde Van de Moortel (Mustang) is nothing short of relentless. Gravel truly sees Julie, her stresses and the fact that she's at her wits' end, and the marvellous Calamy plays the part like she's living it. Full Time is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. WHEEL OF FORTUNE AND FANTASY One of two films by Japanese filmmaker Ryûsuke Hamaguchi that hit Australian cinemas this year — the other, Drive My Car, was an Oscar hit — Wheel of Fortune and Fantasy gives three tales about romance, desire and fate a spin. These three stories all muse on chance, choice, identity and echoes as well, and focus on complex women reacting to the vagaries of life and everyday relationships. Coincidence plays a role in each of the trio, too, and commonalities ebb and flow between each dialogue-heavy narrative. In other words, this is a smart, astute and savvily layered triptych from the director behind Happy Hour and Asako I and II, as brought to the screen with excellent performances, a canny knack for domestic drama and piercing long shots in each and ever chapter. In the first part, model Meiko (Kotone Furukawa, 21st Century Girl) discovers that her best friend Tsugumi (Hyunri, Wife of a Spy) has just started seeing her ex-boyfriend Kazuaki (Ayumu Nakajima, Saturday Fiction), and grapples with her complicated feelings while pondering what could eventuate. Next, college student Nao (Katsuki Mori, Sea Opening) is enlisted to seduce Professor Sagawa (Kiyohiko Shibukawa, Tezuka's Barbara) as part of a revenge plan by her lover Sasaki (Shouma Kai, Signal 100). Finally, in a world where the internet has been eradicated due to a virus, Natsuko (Fusako Urabe, Voices in the Wind) and Nana (Aoba Kawai, Marriage with a Large Age Gap) cross paths — thinking that they went to school together decades ago. Wheel of Fortune and Fantasy isn't currently available to stream. Read our full review. COMPARTMENT NO. 6 Handheld camerawork can be a gimmick. It can be distracting, too. When imagery seems restless for no particular reason other than making the audience restless, it drags down entire films. But at its best, roving, jittery and jumpy frames provide one of the clearest windows there is into the souls that inhabit the silver screen in 90-minute blocks or so, and also prove a wonderful way of conveying how they feel in the world. That's how Compartment No. 6's cinematography plays, and it couldn't be a more crucial move; this is a deeply thoughtful movie about two people who are genuinely restless themselves, after all. Finnish director Juho Kuosmanen (The Happiest Day in the Life of Olli Mäki) wants what all of the most perceptive filmmakers do — to ensure his viewers feel like they know his characters as well as they know themselves — and in his latest cinematic delight, he knows how to get it. How Kuosmanen evokes that sense of intimacy and understanding visually is just one of Compartment No. 6's highlights, but it's worthy of a train full of praise. With the helmer's returning director of photography Jani-Petteri Passi behind the lens, the film gets close to Finnish student Laura (Seidi Haarla, Force of Habit) and Russian miner Ljoha (Yuriy Borisov, The Red Ghost). It peers intently but unobtrusively their way, like an attentive lifelong friend. It jostles gently with the locomotive that the movie's central pair meets on, and where they spend the bulk of their time together. It ebbs and flows like it's breathing with them. It rarely ventures far from their faces in such cramped, stark, 90s-era Russian surroundings, lingering with them, carefully observing them, and genuinely spying how they react and cope in big and small moments alike. Pivotally — and at every moment as well — this Before Sunrise-esque gem truly pays attention to, appreciates and understands its key duo. Compartment No. 6 isn't currently available to stream. Read our full review. C'MON C'MON The last time that Joaquin Phoenix appeared in cinemas before 2022, he played an overlooked and unheard man. "You don't listen, do you?" Arthur Fleck asked his social worker, and the entirety of Joker — and of Phoenix's magnetic Oscar-winning performance as the Batman foe in the 2019 film, too — provided the obvious answer. Returning to screens in a feature that couldn't be more different to his last, Phoenix now plays a professional listener. A radio journalist and podcaster who'd slide in seamlessly alongside Ira Glass on America's NPR, Johnny's niche is chatting with children. Travelling around the country from his New York base, C'mon C'mon's protagonist seeks thoughts about life, hopes, dreams, the future and the world in general, but never in a Kids Say the Darndest Things-type fashion. As Phoenix's sensitive, pensive gaze conveys under the tender guidance of Beginners and 20th Century Women filmmaker Mike Mills, Johnny truly and gratefully hears what his young interviewees utter. Phoenix is all gentle care, quiet understanding and rippling melancholy as Johnny. All naturalism and attentiveness as well, he's also firmly at his best, no matter what's inscribed on his Academy Award. Here, Phoenix is as phenomenal as he was in his career highlight to-date, aka the exceptional You Were Never Really Here, in a part that again has his character pushed out of his comfort zone by a child. C'mon C'mon's Johnny spends his days talking with kids, but that doesn't mean he's equipped to look after his nine-year-old nephew Jesse (Woody Norman, The War of the Worlds) in Los Angeles when his sister Viv (Gaby Hoffmann, Transparent) needs to assist her husband Paul (Scoot McNairy, A Quiet Place Part II) with his mental health. Johnny and Viv haven't spoken since their mother died a year earlier, and Johnny has previously overstepped when it comes to Paul — with the siblings' relationship so precarious that he barely knows Jesse — but volunteering to help is his immediate reflex. C'mon C'mon is available to stream via Binge, Paramount+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. FLEE When Flee won the World Cinema Documentary Grand Jury Prize at the 2021 Sundance Film Festival, it collected its first accolade. The wrenchingly affecting animated documentary hasn't stopped notching up deserving acclaim since. A spate of other gongs have come its way, in fact, including a history-making trifecta of nominations for Best International Feature, Best Documentary and Best Animated Feature at this year's Oscars, becoming the first picture to ever earn nods in all three categories at once. Gleaning why this moving and compassionate movie keeps garnering awards and attention isn't difficult. Pairing animation with factual storytelling is still rare enough that it stands out, but that blend alone isn't what makes Flee special. Writer/director Jonas Poher Rasmussen (What He Did) has created one of the best instances of the combination yet — a feature that could only have the impact it does by spilling its contents in such a way, like Ari Folman's Waltz with Bashir before it — however, it's the tale he shares and the care with which he tells it that makes this something unshakeably exceptional. Rasmussen's subject is Amin Nawabi, an Afghan refugee using a pseudonym. As his story fills Flee's frames, it's also plain to see why it can only be told through animation. Indeed, the film doesn't cover an easy plight — or a unique one, sadly — but Rasmussen renders every detail not just with eye-catching imagery, but with visuals that flow with empathy at every moment. The filmmaker's protagonist is a friend of his and has been for decades, and yet no one, not even the director himself, had ever previously heard him step through the events that the movie chronicles. Amin is now in his 40s, but he was once a kid in war-torn Kabul, then a teenager seeking asylum in Copenhagen. His life to-date has cast him in other roles in other countries, too, on his journey to house-hunting with his boyfriend as he chats through the ups and downs for his pal. Flee is available to stream via DocPlay, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MEMORIA When Memoria begins, it echoes with a thud that's not only booming and instantly arresting — a clamour that'd make anyone stop and listen — but is also deeply haunting. It arrives with a noise that, if the movie's opening scene was a viral clip rather than part of Thai filmmaker Apichatpong Weerasethakul's spectacular Cannes Jury Prize-winning feature, it'd be tweeted around with a familiar message: sound on. The racket wakes up Jessica Holland (Tilda Swinton, Three Thousand Years of Longing) in the night, and it's soon all that she can think about; like character, like film. It's a din that she later describes as "a big ball of concrete that falls into a metal well which is surrounded by seawater"; however, that doesn't help her work out what it is, where it's coming from or why it's reverberating. The other question that starts to brood: is she the only one who can hear it? So springs a feature that's all about listening, and truly understands that while movies are innately visual — they're moving pictures, hence the term — no one should forget the audio that's gone with it for nearly a century now. Watching Weerasethakul's work has always engaged the ears intently, with the writer/director behind the Palme d'Or-winning Uncle Boonmee Who Can Recall His Past Lives and just-as-lyrical Cemetery of Splendour crafting cinema that genuinely values all that the filmic format can offer. Enjoying Memoria intuitively serves up a reminder of how crucial sound can be to that experience, emphasising the cavernous chasm between pictures that live and breathe such a truth and those that could simply be pictures. Of course, feasting on Weerasethakul's films has also always been about appreciating not only cinema in all its wonders, but as an inimitable art form. Like the noise that lingers in his protagonist's brain here, his movies aren't easily forgotten. Memoria is available to stream via SBS On Demand, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BELLE When Beauty and the Beast typically graces the screen, it doesn't involve a rose-haired singer decked out in a matching flowing dress while singing heart-melting tunes atop a floating skywhale mounted with speakers. It doesn't dance into the metaverse, either. Anime-meets-Patricia Piccinini-meets-cyberspace in Belle, and previous filmed versions of the famed French fairytale must now wish that they could've been so inventive. Disney's animated and live-action duo, aka the 1991 musical hit that's been a guest of childhood viewing ever since and its 2017 Emma Watson-starring remake, didn't even fantasise about dreaming about being so imaginative — but Japanese writer/director Mamoru Hosoda (Mirai) also eagerly takes their lead. His movie about a long-locked social-media princess with a heart of gold and a hulking creature decried by the masses based on appearances is firmly a film for now, but it's also a tale as old as time and one unafraid to build upon the Mouse House's iterations. At first, there is no Belle. Instead, Hosoda's feature has rural high-schooler Suzu (debutant Kaho Nakamura) call her avatar Bell because that's what her name means in Japanese. That online character lives in a virtual-reality world that uses body-sharing technology to base its figures on the real-life people behind them, but Suzu is shy and accustomed to being ignored by her classmates — other than her only pal Hiroka (Lilas Ikuta of music duo Yoasobi) — so she also uploads a photo of the far-more-popular Ruka (Tina Tamashiro, Hell Girl). The social-media platform's biometrics still seize upon Suzu's own melodic singing voice, however. And so, in a space that opines in its slogan that "you can't start over in reality, but you can start over in U", she croons. Quickly, she amasses an audience among the service's five-billion users, but then one of her performances is interrupted by the brooding Dragon (Takeru Satoh, the Rurouni Kenshin films), and her fans then point digital pitchforks in his direction. Belle is available to stream via Binge, Google Play, iTunes and Prime Video. Read our full review. ALL QUIET ON THE WESTERN FRONT War makes meat, disposable labour and easy sacrifices of us all. In battles for power, as they always are, bodies are used to take territory, threaten enemies and shed blood to legitimise a cause. On the ground, whether in muddy trenches or streaming across mine-strewn fields, war sees the masses rather than the individuals, too — but All Quiet on the Western Front has always been a heartbreaking retort to and clear-eyed reality check for that horrific truth. Penned in 1928 by German World War I veteran Erich Maria Remarque, initially adapted for the screen by Hollywood in 1930 and then turned into a US TV movie in 1979, the staunchly anti-war story now gets its first adaptation in its native tongue. Combat's agonies echo no matter the language giving them voice, but Edward Berger's new film is a stunning, gripping and moving piece of cinema. Helming and scripting — the latter with feature first-timers Lesley Paterson and Ian Stokell — All My Loving director Berger starts All Quiet on the Western Front with a remarkable sequence. The film will come to settle on 17-year-old Paul Bäumer (astonishing debutant Felix Kammerer) and his ordeal after naively enlisting in 1917, thinking with his mates that they'd be marching on Paris within weeks, but it begins with a different young soldier, Heinrich Gerber (Jakob Schmidt, Babylon Berlin), in the eponymous region. He's thrust into the action in no man's land and the inevitable happens. Then, stained with blood and pierced by bullets, his uniform is stripped from his body, sent to a military laundry, mended and passed on. The recipient: the eager Paul, who notices the past wearer's name on the label and buys the excuse that it just didn't fit him. No one dares waste a scrap of clothing — only the flesh that dons it, and the existences its owners don't want to lose. All Quiet on the Western Front is available to stream via Netflix. Read our full review. HIT THE ROAD How fitting it is that a film about family — about the ties that bind, and when those links are threatened not by choice but via unwanted circumstances — hails from an impressive lineage itself. How apt it is that Hit the Road explores the extent that ordinary Iranians find themselves going to escape the nation's oppressive authorities, too, given that the filmmaker behind it is Panah Panahi, son of acclaimed auteur Jafar Panahi. The latter's run-ins with the country's regime have been well-documented. The elder Panahi, director of Closed Curtain, Tehran Taxi and more, has been both imprisoned and banned from making movies over the past two decades, and was detained again in July 2022 for enquiring about the legal situation surrounding There Is No Evil helmer Mohammad Rasoulof. None of that directly comes through in Hit the Road's story, not for a moment, but the younger Panahi's directorial debut is firmly made with a clear shadow lingering over it. As penned by the fledgling filmmaker as well, Hit the Road's narrative is simple and also devastatingly layered; in its frames, two starkly different views of life in Iran are apparent. What frames they are, as lensed by Ballad of a White Cow cinematographer Amin Jafari — with every sequence a stunner, but three in particular, late in the piece and involving fraught exchanges, nighttime stories and heartbreaking goodbyes, among the most mesmerising images committed to celluloid in recent years. Those pictures tell of a mother (Pantea Panahiha, Rhino), a father (Mohammad Hassan Madjooni, Pig), their adult son (first-timer Amin Simiar) and their six-year-old boy (scene-stealer Rayan Sarlak, Gol be khodi), all unnamed, who say they're en route to take their eldest to get married. But the journey is a tense one, even as the youngest among them chatters, sings, does ordinary childhood things and finds magic in his cross-country road trip, all with zero knowledge of what eats at the rest of his family. Hit the Road is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. QUO VADIS, AIDA? Films about war are films about wide-ranging terror and horror: battles that changed lives, deaths that reshaped nations, political fights that altered the course of history and the like. But they're also movies about people first, foremost and forever: folks whose everyday existence was perpetually shattered, including those lost and others left to endure when hostilities cease. Quo Vadis, Aida? is firmly a feature about both aspects of war. It homes in on one town, Srebrenica, in July 1995 during the 1992–95 Bosnian War, but it sees devastation and a human toll so intimate and vast in tandem that heartbreak is the only natural response. A survivor of the war herself, writer/director Jasmila Žbanić (Love Island, For Those Who Can Tell No Tales) knows that combat and conflict happens to ordinary men and women, that each casualty is a life cut short and that every grief-stricken relative who remains will never forget their magic ordeal — and she ensures that no one who watches Quo Vadis, Aida? can forget the Srebrenica massacre, or the fact that 8372 civilians were killed, either. A teacher-turned-interpreter, the eponymous Aida Selmanagic (Jasna Đuričić, My Morning Laughter) is Žbanić's eyes and ears within the demilitarised safe zone established by Dutch UN peacekeepers. The film doesn't adopt her exact point of view aesthetically — we see Aida, and plenty; Quo Vadis, Aida? wouldn't be the same without the tenacity and insistence that radiates from her posture and gaze — but it lives, breathes, feels, roves and yearns as she does. Aida has a mother's and wife's motivations above all else, however: she wants her husband Nihad (Izudin Barjović, Father), a school principal, to be with her and to be safe, and the same for their sons Hamdija (Boris Ler, Full Moon) and Sejo (Dino Barjović, Sin), obviously. It's a mission to even get them in the base, especially with so many other refugees pleading to be allowed in outside. But Aida hustles, including getting Nihad sent to negotiations with Serbian General Ratko Mladić (Boris Isaković, Last Christmas) as a town representative. And as the General's brash, cocky, swaggering troops start escorting out the base's inhabitants and putting them onto buses depending upon their gender following those talks, Aida makes every desperate move she can to save her family. Quo Vadis, Aida? is available to stream via Binge, Google Play, YouTube Movies and iTunes. Read our full review. LOST ILLUSIONS Stop us when Lost Illusions no longer sounds familiar. You won't; it won't, either. Stop us when its 19th century-set and -penned narrative — written by acclaimed novelist Honoré de Balzac almost 200 years ago, and brought to the screen now by filmmaker Xavier Giannoli (Marguerite) — no longer feels so relevant to life today that you can easily spot parts of it all around you. Again, that won't happen. When the handsome and involving French drama begins, its protagonist knows what he wants to do with his days, and also who he loves. Quickly, however, he learns that taking a big leap doesn't always pan out if you don't hail from wealth. He makes another jump anyway, out of necessity. He gives a new line of work a try, finds new friends and gets immersed in a different world. Alas, appearances just keep meaning everything in his job, and in society in general. Indeed, rare is the person who doesn't get swept up, who dares to swim against the flow, or who realises they might be sinking rather than floating. The person weathering all of the above is Lucien Chardon (Benjamin Voisin, Summer of 85), who'd prefer to be known as Lucien de Rubempré — his mother's aristocratic maiden name. It's 1821, and he's a poet and printer's assistant in the province of Angoulême when the film begins. He's also having an affair with married socialite Louise de Bargeton (Cécile de France, The French Dispatch), following her to Paris, but their bliss is soon shattered. That's why he gives journalism a try after meeting the equally ambitious Etienne Lousteau (Vincent Lacoste, Irma Vep), then taking up the offer of a tabloid gig after failing to get his poetry published. Lucien climbs up the ranks quickly, both in the scathing newspaper business — where literary criticism is literally cash for comment — and in the right Parisian circles. But even when he doesn't realise it, his new life weighs him down heavily. Lost Illusions is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. LIMBO What happens when a group of refugees are sent to await the results of their asylum applications on a Scottish island? That's the question that Limbo ponders. There's no doubting why this second feature from writer/director Ben Sharrock (Pikadero) has been given its moniker; for Syrian musician Omar (Amir El-Masry, Star Wars: Episode IX — The Rise of Skywalker) and his fellow new arrivals to Scotland, there's not much to do in this void between the past and the future but wait, sit at the bus stop, check out the children's playground and loiter near the pay phone. That, and navigate the wide range of reactions from the locals — veering from offensive to thoughtful — and, in Omar's case, feel the weight of his prized possession. He's brought his grandfather's oud with him, which he rarely let go of, but his own musical dreams are in limbo as well. A film can be heartbreaking, tender, insightful and amusing all at once, and Limbo is indeed all of those things. It's both dreamlike and lived-in, too, a blend that suits its title and story — and also the mental and emotional state shared by Omar and his fellow asylum seekers as they bide their time on an island that feels like another world. A movie can be both heavy and light simultaneously as well, which is another of Limbo's strengths. Sharrock sees both seriousness and levity in his narrative, his characters and their plights, and recognises the nightmarish and the beautiful in tandem. The latter especially applies to the feature's haunting cinematography, which lenses a landscape that keeps Omar pals physically in limbo with a probing eye. Limbo is available to stream via SBS On Demand, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. 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, the newest period piece from Joe Wright (Pride & Prejudice, Atonement and Anna Karenina), 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. Cyrano is available to stream via Prime Video, Google Play, YouTube Movies and iTunes. Read our full review.
In Zola, the swooshes and whistles have it: when a character utters a line of dialogue taken directly from the movie's famous 148-tweet source material, filmmaker Janicza Bravo pairs it with the right noise. That's one way that the second-time filmmaker tackles the formidable task that is adapting a lengthy social media thread into a feature. And she wasn't working with any old tweetstorm; when Aziah 'Zola' King let her fingers do the talking back in October 2015, it trended under the hashtag #TheStory. Charting a gal-pal getaway to Florida that swerved from exotic dancing to sex trafficking, crime and violence, King's Twitter thread had social media users hanging on its every word. Six years later, it remains an iconic piece of internet history — King deleted it swiftly, but nothing ever truly disappears in the online world. The challenge for Bravo in turning those posts into Zola: remaining true not only to King's rollercoaster ride of a tale, but also to the entire reason that everyone knows about it. Cue those telltale sounds, which keep Zola's origins firmly in viewers' minds. Cue a big swerve away from text on-screen, too, because a story this wild deserves an in-the-moment approach that plastering a phone screen across the big screen just can't evoke. And, cue a brilliant urination scene that instantly tells the world everything it needs to about the titular Detroit waitress (played by Taylour Paige, Ma Rainey's Black Bottom) and the fellow dancer, named Stefani here (Riley Keough, The Lodge), who invites her on the road trip to end all road trips. When it debuted at Sundance in 2020, Zola became one of the buzziest premieres of the festival. Due to the pandemic, it has taken more than 18 months for the movie to make it to Australian cinemas, but its candy-hued, neon-lit, dreamy-meets-dazzling glow hasn't dimmed. With Zola now showing locally, we chatted to Bravo about those tweets, getting the gig over James Franco and, yes, that glorious pissing scene. "YOU WANNA HEAR A STORY? IT'S KIND OF LONG, BUT IT'S FULL OF SUSPENSE." One tweet, 22 words, one helluva impact: that's how King's Twitter thread started. Its first two sentences couldn't set the scene better: "You wanna hear a story about how me and this bitch fell out? It's kind of long, but it's full of suspense." Bravo didn't read those words as they were tweeted but, when she did, she knew that she had to turn them into a film. "At this point, I hadn't even made a first movie, but I've decided this will be my second movie — and I'm glad I was right," she explains. "I'm not Twitter and I wasn't on Twitter — lucky me. It's just not for me. I think it's super valuable and there's a lot of deliciousness that I've gotten from that space, but overall it's not a vibe for me," Bravo notes. "So I read it on Twitter at the end of that day. It was up for about 24 hours before she deleted it. I didn't get to participate in the live experience, meaning I didn't get to see her writing and responding and the sort of subtweet thing that happens inside of it or the reposts. I didn't get to see all that. But I got to sit with it right after, and it was radical. I knew right away that it was going to be my second movie." THE TWEETSTORM THAT HAD HOLLYWOOD TALKING When a Twitter thread gets this much attention, everyone wants in. Bravo wasn't originally the only filmmaker inspired to bring King's story to the screen — didn't originally get the job. "I go after it right then. I'm nodding when I'm reading it, and I'm sending it to both my agent and my manager and saying that I want this," she says. "I don't know how Twitter IP works, but I really want to make this. They get back to me three days later and say there is a Rolling Stone article, and then there's her life rights, and that's an entry point into being able to have access to the story." "And so I go 'yes, put me in!'. To which they reply that of the five people going after it, three of them are studios and two of them are independently wealthy. And I was like, 'well, I have no cash, so I'm not making the shortlist'. Clearly, that isn't the end of the story. "I find out a year later, though, that Killer Films — that I'd made Lemon [Bravo's first feature] and a short film with — were one of the producers were on it. And, James Franco was directing it," Bravo advises. "So I just wrote them and was like, 'hey' — because I understand how things work, and sometimes a director is no longer on a project. I was like 'if for some reason James is not directing this, remember me, think of me'. Then I found out in the spring of 2017 from an actress who was friendly with him that he was no longer directing it, so I reached out to my reps again and was like 'I want this'. And then I got it." THE BIG QUESTION: HOW TO ADAPT 148 TWEETS INTO A MOVIE? Peppered with emojis and all-caps, King's tweets don't simply describe a wild ride — they take readers on one. Bringing them to the screen put Bravo in uncharted territory but, writing Zola's script with playwright Jeremy O Harris, she didn't see it that way. "A lot of people did. My producers did. It was like, 'how do you adapt this?'," she explains. "But I'm a child of theatre, and I saw it as adapting a long poem. It was adapting a short story. It was adapting a sonnet and making a whole world out of it." "And this, for me, I felt it had so much more in some ways. I printed the tweets, cut them out, put them into a first act, a second act, a third act… and not only was there the outline, but the dialogue was in the outline," Bravo notes. "For me. it felt pretty seamless." "I think the thing that becomes curious, that allowed myself some room to explore, is okay, so there's a road trip to Detroit to Florida, from home to Florida, that is a 19–20-hour drive. That's only one tweet. Now does that become one scene, or three scenes, or five scenes, and how do you tell the story of that drive? Multiple tweets can be in a scene, or some can just be standalone, or one can be five — and figuring out the math on that, that's a part of writing, that's part of drafting." ADDING DETAIL — AND THAT KILLER BATHROOM SCENE As evocative as #TheStory is to read — as gripping and addictive, too — it didn't cover everything that Bravo envisaged for the film. Enter the bathroom scene. "I would happily talk about it forever. It's one of my favourites in the film," Bravo says. "When I was auditioning for the movie, I had come to the table with a handful of things I wanted to try that were not in the film. And then when it came to writing, once I get it and I'm writing with Jeremy, one of our first assignments is what are the five things you definitely want to make sure arrive in this script, and what are these three ideas outside of the world that you want to bring to this?" "And for me, one of those ideas, I just really want this piss scene. I've been thinking about wanting to put something like this in my work for a while. And this is a film about this love story between these two women — this seduction that happens between these two women — how they fall in love and out of love, and I couldn't recall being able to have a window into a character like this without there being a good deal of dialogue to tell me who they were. So I had this idea about a bathroom scene in which you got to see the interior of each of those characters," Bravo explains. "The audience can always go back to that as to who is reliable or not reliable — or who's hydrated or not hydrated, basically. It's meant to be so much about who they are. How they treat themselves in the bathroom is how they move through the world. And I know it seems kind of small, but I thought it did that." Zola is now screening in Australian cinemas. Read our full review. Images: A24 Films.
Between 2010–2017, Melbourne was ranked the most liveable city in the world. In 2023, it's the most liveable city in Australia — yet again. The Economist Intelligence Unit compiles an annual Global Liveability Index, with the Victorian capital coming in third in the latest list. In fourth place? Its usual homegrown rival Sydney. Cue battles across state lines about whether Melbourne or Sydney is the truly best place to live, plus international recognition for Australia's two biggest cities. And, for residing Down Under in general. Only Canada had more places in the top ten in 2023, with three, while Switzerland also scored two. When Melbourne was dethroned from top spot in 2018, Vienna in Austria emerged victorious, earning the honours from 2018–20, then again in 2022 and now once more in 2023. Getting the love in 2021? New Zealand's Auckland, which came equal tenth this year. The full top ten features Vienna at number one, Copenhagen in Denmark in second place, then Melbourne and Sydney in third and fourth, plus that big Canada and Switzerland block — Vancouver in fifth, Zurich in sixth, Calgary and Geneva sharing seventh, and Toronto in ninth place — then Auckland and Osaka, Japan both in tenth. Melbourne's placing sees it rise from tenth in 2022, while Sydney came in 13th last year. And if you're wondering about other Aussie cities, they all zoomed up the rankings, too. Perth and Adelaide now share 12th spot, up from 30th and 32nd respectively, while Brisbane sits 16th after coming in at 27th in 2022. Asia Pacific cities were big movers overall, which the report credits to "a shift towards normalcy after the pandemic". Also rising: Auckland, which went up by 25; fellow Aotearoa city Wellington, lifting 35 places to sit in 23rd; and Hanoi in Vietnam, which moved up 20 spots. Regarding Melbourne and Sydney's soaring fortunes again, which sees them take the spots that Frankfurt and Amsterdam enjoyed last year, the report notes that the Aussie cities "bounced up and down the rankings during the pandemic" but "have seen their scores in the healthcare category improve since last year, when they were still affected by COVID waves that stressed their healthcare systems". As for why Vienna came out on top once more, "the city continues to offer an unsurpassed combination of stability, good infrastructure, strong education and healthcare services, and plenty of culture and entertainment, with one of its few downsides being a relative lack of major sporting events," advised the report. "The same is true of Copenhagen, another frequent high performer that has kept its position in second place from last year." The annual index ranks cities on stability, healthcare, education, infrastructure, culture and environment, giving each city a rating out of 100. Vienna achieved a score of 98.4 overall, with Melbourne receiving 97.7 and Sydney 97.4. At the other end of the list, Damascus in Syria scored 30.7, ranking in 173rd spot. To read the full Global 2023 Liveability Index, head to the Economist Intelligence Unit's website.
Is a long lunch complete without oysters? Ask any Sydney local, and they'd give you a firm 'No'. Ideally enjoyed with a crisp and cold beverage in hand, freshly shucked oysters make for the perfect dining delicacy. This season, there's one oyster in particular to seek out: Albany Rock Oysters. Harvested on the south coast of Western Australia, and available from November through to April, the oysters thrive in the region's cool, nutrient-rich waters. This results in a bright and balanced flavour profile of sea spray brine and grassy undertones with a hint of watermelon rind and cucumber to top it off. Below, we've rounded up eight Sydney venues where you can order Albany Rock Oysters and what drink to pair with them. Book a table, text the group chat, and enjoy while they're still on the menus this season. Bathers' Pavilion, Mosman It's a fact of life that oysters taste better with an ocean view. Sorry, we don't make the rules. Set on Balmoral Beach and overlooking Middle Harbour, Bathers' Pavilion combines the beachside elegance Sydney's known for with a modern European-Australian menu. Bather's Pavilion also serves over 350 wines, so order your fresh oysters with a Mornington Peninsula Pinot Gris or New Zealand Chenin Blanc while admiring the view. Felons Seafood, Manly Manly is built for summer seafood sessions, and Felons Seafood is one of Sydney's best venues to enjoy it in. Felon's Seafood Manly offers fresh seafood produce, including Albany Rock Oysters, with a waterfront view. Enjoy small share plates and large seafood-focused platters, paired with one of Felon's signature crisp lagers. [caption id="attachment_757979" align="alignnone" width="1920"] Steven Woodburn[/caption] Mimi's, Coogee Described as coastal fine dining, Mimi's at Coogee Pavilion serves freshly shucked oysters with a white Kampot pepper mignonette. Featuring a touch of Mediterranean influence and Sydney glamour, Mimi's is a perfect long lunch destination. Pair your oysters with Mimi's range of champagne for special celebrations. Otto, Woolloomooloo Lauded for its modern Italian food, Otto in Woolloomooloo is a mainstay of the Sydney dining scene. With harbour views, fresh linen and Italian hospitality, Otto is one to add to your Saturday lunch list. Pair your freshly shucked Western Australian oysters with a glass of chilled Swinney Frankland River Riesling, also in WA. Public Dining Room, Mosman One of Sydney's renowned fine dining restaurants, Public Dining Room, celebrates the best local, seasonal produce with a large focus on fresh seafood. The restaurant overlooks the picturesque Balmoral Beach, so you can enjoy Albany Rock Oysters while sipping on a bright gin and tonic on a warm afternoon. Flaminia, Circular Quay Flaminia brings a different angle to the oyster long lunch: more inner-city date-night energy than relaxed Sunday lunch. If you like your seafood with a side of mood lighting and a stellar wine list, you're in the right place. Order a serving of freshly shucked oysters and a glass of Italian prosecco before a show at the Sydney Opera House. Lugarno Seafood Restaurant, Lugarno If you're in the mood to go full seafood feast, Lugarno is an old-school Sydney venue that delivers. The restaurant has been around for over three decades, serving fresh (and tasty) seafood daily. Settle in for an entreé of Albany Rock Oysters before diving into Lugarno's à la carte menu. Pair your meal with a bottle of Sauvignon Blanc for a relaxing, long lunch by the water. Felons Brewing Co, Manly Wharf Sometimes you don't need a white tablecloth long lunch. You just need sun, a harbour breeze, and oysters that are served cold and freshly shucked. Felons Brewing Co at Manly Wharf is ideal for a casual afternoon outing that still feels like a treat. Pair your oysters with a crisp pale ale and a Manly sunset. Try Albany Rock Oysters before the season passes. Lead Image: Steve Woodburn
What will start Together, then end with Splitsville? The annual midyear cinema celebration that is Sydney Film Festival in 2025. Title-wise, the event's opening and closing picks couldn't be more fitting for a fest that amasses movie lovers for 12 days to feast on as many flicks as they can, then gets everyone saying farewell until the next year. While Together was announced back in April, Splitsville has only just now joined the SFF program. Accordingly, when it comes time to say goodbye for 2025 on Sunday, June 15 — with the festival kicking off on Wednesday, June 4 — audiences will be catching the Australian premiere of a Dakota Johnson (Madame Web)-starring relationship comedy. Splitsville heads to the Harbour City direct from Cannes, where it debuted. Johnson plays Julie, who is in an open marriage with Paul (Michael Angelo Covino, Notice to Quit), news of which comes as a surprise to the film's protagonist Carey (Kyle Marvin, WeCrashed) when his own wife Ashley (Adria Arjona, Andor) asks for a divorce. Covino also directs, and co-wrote Splitsville with Marvin, reteaming after The Climb. Among its cast, Succession's Nicholas Braun and The Handmaid's Tale's O-T Fagbenle feature as well. The film's gala closing-night screening will span SFF's annual award ceremony, as is the case every year, anointing 2025's Sydney Film Prize winner, shorts award winners and other gongs. "We are delighted to close the 72nd Sydney Film Festival with the Australian Premiere of Splitsville. Michael Angelo Covino delivers a witty and well-crafted comedy with outstanding performances from a brilliant ensemble cast. We always want audiences to leave the cinema feeling like they've had a great time, so this is a joyous and fitting way to conclude this year's festival," said SFF Festival Director Nashen Moodley, announcing 2025's closing film. [caption id="attachment_938017" align="alignnone" width="1920"] Tim Levy[/caption] SFF's program for this year just keeps growing, after Vivid collaborations, including with music icon Warren Ellis, were revealed in March — and then a bunch of titles were announced at the beginning of April. After that came news of its Jafar Panahi retrospective, a prescient pick given that the Iranian filmmaker has since won the 2025 Palme D'or at Cannes, plus word of Together's opening-night slot. The bulk of the full program arrived to kick off May, followed by adding Free Solo filmmaker Jimmy Chin chatting about his work, DEATH STRANDING and Metal Gear Solid creator Hideo Kojima in-conversation with Mad Max and Furiosa director George Miller, and the Australian premiere of Ari Aster's Eddington. Sydney Film Festival 2025 takes place from Wednesday, June 4–Sunday, June 15 at various cinemas and venues around Sydney. For more information and tickets, head to the festival's website.
If you're planning to spend 12 days in the Harbour City's cinemas this winter, Sydney Film Festival's full 2025 slate of movies won't be revealed until early May, ahead of the annual big-screen celebration's Wednesday, June 4–Sunday, June 15 dates. A handful of flicks from the lineup will be named in April first, but Vivid Sydney's 2025 program announcement comes bearing gifts even earlier: a few SFF events that fall within the citywide arts, light, music, food and ideas celebration as well. A celebration of Warren Ellis was always going to be huge news. There's two parts to it: a screening of Justin Kurzel (Nitram)-directed documentary Ellis Park, about the iconic musician establishing an animal sanctuary to protect endangered species in Sumatra, then An Evening with Warren Ellis at City Recital Hall. At the first, at the State Theatre, audiences will obviously see the film. Afterwards, its subject — a Nick Cave & The Bad Seeds collaborator and Dirty Three founder, as well as a pivotal force in movie scores, including on The Proposition, The Road, Far From Men, Mustang, Hell or High Water, The Velvet Queen, The New Boy, Back to Black, Kid Snow and newly minted Oscar-winner I'm Still Here — will chat about the doco, and also put on a short musical performance. SFF and Vivid are teaming up on a second event, too: Planet City: Live. Courtesy of designer and director Liam Young, the speculative fiction experience takes attendees to a different future — one where humanity has responded to the environmental destruction of the planet in a decisive fashion. Young's film is set at a time where there's just one city, which is where everyone on earth resides, with the rest of the globe left to rewild. At SFF, Young will provide live narration for the film, while Forest Swords will play its score live as Planet City screens. "Sydney Film Festival has always been a place for bold and innovative storytelling, and we are delighted to join forces with Vivid Sydney to present these two unique cinematic experiences. These events push the limits of film, sound and imagination, offering audiences something truly unforgettable," said SFF Festival Director Nashen Moodley, announcing the fest's collaboration with Vivid 2025. "The partnership between Vivid Sydney and Sydney Film Festival represents a powerful fusion of artistic vision that embodies the spirit of creative innovation we champion and allows us to connect with audiences in meaningful new ways. These immersive film events perfectly amplify our 2025 theme of 'dream' by inviting audiences to explore alternative realities through the intersection of cinema, music and live performance," added Vivid Sydney Festival Director Gill Minervini. Sydney Film Festival x Vivid Sydney 2025 Events Sunday, June 8 — Ellis Park screening at the State Theatre and Ellis Park: An Evening with Warren Ellis at City Recital Hall Tuesday, June 10 — Planet City: Live at City Recital Hall Sydney Film Festival 2025 runs from Wednesday, June 4–Sunday, June 15 at cinemas across Sydney. Hit up the festival website for further information and tickets — and check back in with Concrete Playground in April for more films from the program, and on Wednesday, May 7 for the full lineup. Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information.
For the second year in a row, one of Australia's filmmaking icons has joined the Sydney Film Festival's program: George Miller, the director responsible for all things Mad Max and Furiosa. In 2024, he hit the Harbour City festival to chat about his work, including the dystopian saga that he has gifted Aussie cinema, but his 2025 discussion will span further. Not only is Miller taking to the stage, but he'll be joined by Hideo Kojima. One is the man responsible not just for a big Australian movie franchise, but for the big Australian movie franchise. He's also followed a pig in the city, made penguins dance, gotten witchy and granted wishes, too. The other is the creator of both the DEATH STRANDING and Metal Gear Solid video-game series, and heads to Sydney just before DEATH STRANDING 2: ON THE BEACH releases at the end of June. This is a world-exclusive in-conversation session, taking place on Saturday, June 14 at Sydney Town Hall's Centennial Hall — so consider it one of the ace ways to help see out this year's cinema celebration, which runs from Wednesday, June 4–Sunday, June 15. Miller and Kojima will not only dig into how they each approach their fields, plus their respective visionary approaches, but also explore how movies and video games overlap, alongside cinematic storytelling in gaming. Greats in their own rights, the duo are also recent collaborators — Miller portrays himself in the Australia-set DEATH STRANDING 2: ON THE BEACH. "This is a rare and exciting meeting of two creative minds who have reshaped their respective industries. Kojima and Miller's shared love of cinema and storytelling will make for an unforgettable conversation at this year's festival," said SFF Festival Director Nashen Moodley, announcing the fest's latest addition. On the fest's guest list, Miller and Kojima are joined by Free Solo filmmaker Jimmy Chin, Together director Michael Shanks, music icon Warren Ellis and plenty more — so along with putting 201 movies on your must-watch list, it's adding a heap of must-see talents to your June as well. The George Miller and Hideo Kojima in-conversation session is happening on Saturday, June 14 at Sydney Town Hall. Sydney Film Festival 2025 takes place from Wednesday, June 4–Sunday, June 15 at various cinemas and venues around Sydney. For more information and tickets, head to the festival's website. Read our interview with George Miller, Anya Taylor-Joy and Chris Hemsworth about Furiosa: A Mad Max Saga,.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from July's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW THE BEAR The more time that anyone spends in the kitchen, the easier that whipping up their chosen dish gets. The Bear season two is that concept in TV form, even if the team at The Original Beef of Chicagoland don't always live it as they leap from running a beloved neighbourhood sandwich joint to opening a fine-diner, and fast. The hospitality crew that was first introduced in the best new show of 2022 isn't lacking in culinary skills or passion. But when chaos surrounds you constantly, as bubbled and boiled through The Bear's Golden Globe-winning, Emmy-nominated season-one frames, not everything always goes to plan. That was only accurate on-screen for Carmen 'Carmy' Berzatto (Jeremy Allen White, Shameless) and his colleagues — aka sous chef Sydney (Ayo Edebiri, I Think You Should Leave with Tim Robinson), baker-turned-pastry chef Marcus (Lionel Boyce, Hap and Leonard), veteran line cooks Tina (Liza Colón-Zayas, In Treatment) and Ebraheim (Edwin Lee Gibson, Fargo), resident Mr Fixit Neil Fak (IRL chef Matty Matheson), and family pal Richie aka Cousin (Ebon Moss-Bachrach, No Hard Feelings). For viewers, the series' debut run was as perfect a piece of television as anyone can hope for. Excellent news: season two is better. The Bear serves up another sublime course of comedy, drama and "yes chef!"-exclaiming antics across its sizzling second season. Actually make that ten more courses, one per episode, with each new instalment its own more-ish meal. A menu, a loan, desperately needed additional help, oh-so-much restaurant mayhem: that's how this second visit begins, as Carmy and Sydney endeavour to make their dreams for their own patch of Chicago's food scene come true. So far, so familiar, but The Bear isn't just plating up the same dishes this time around. At every moment, this new feast feels richer, deeper and more seasoned, including when it's as intense as ever, when it's filling the screen with tastebud-tempting food shots that relish culinary artistry, and also when it gets meditative. Episodes that send Marcus to a Noma-esque venue in Copenhagen under the tutelage of Luca (Will Poulter, Guardians of the Galaxy Vol. 3), get Richie spending a week learning the upscale ropes at one of Chicago's best restaurants and jump back to the past, demonstrating how chaos would've been in Carmy's blood regardless of if he became a chef, are particularly stunning. The Bear season two streams via Disney+. Read our full review. THEY CLONED TYRONE Jordan Peele's Get Out and Us would already make a killer triple feature with Boots Riley's Sorry to Bother You. For a smart and savvy marathon of science fiction-leaning films about race in America by Black filmmakers, now add Juel Taylor's They Cloned Tyrone. The Creed II screenwriter turns first-time feature director with this dystopian movie that slides in alongside Groundhog Day, Moon, The Cabin in the Woods, A Clockwork Orange, Invasion of the Body Snatchers and They Live, too — but is never derivative, not for a second, including in its 70s-style Blaxploitation-esque aesthetic that nods to Shaft and Superfly as well. Exactly what drug dealer Fontaine (John Boyega, The Woman King), pimp Slick Charles (Jamie Foxx, Spider-Man: No Way Home) and sex worker Yo-Yo (Teyonah Parris, Candyman) find in their neighbourhood is right there in the film's name. The how, the why, the specifics around both, the sense of humour that goes with all of the above, the savage satire: Taylor and co-writer Tony Rettenmaier perfect the details. Ignore the fact that they both collaborated on the script for the awful Space Jam: A New Legacy, other than considering the excellent They Cloned Tyrone as a far smarter, darker and deeper exploration of exploitation when the powers that be see other people as merely a means to an end. On an ordinary day — and amid vintage-looking threads and hairstyles, and also thoroughly modern shoutouts to SpongeBob SquarePants, Kevin Bacon, Barack Obama, Nancy Drew and bitcoin — Fontaine wakes up, has little cash and doesn't win on an instant scratch-it. He chats to his mother through her bedroom door, tries to collect a debt from Slick Charles and, as Yo-Yo witnesses, is shot. Then he's back in his bed, none the wiser about what just happened, zero wounds to be seen, and going through the same cycle again. When the trio realise that coming back from the dead isn't just a case of déjà vu, they team up to investigate, discovering one helluva conspiracy that helps Taylor's film make a powerful statement. They Cloned Tyrone's lead trio amply assists, too, especially the ever-ace Boyega. Like Sorry to Bother You especially, this is a comedy set within a nightmarish scenario, and the Attack the Block, Star Wars and Small Axe alum perfects both the humour and the horror. One plucky and persistent, the other oozing charm and rocking fur-heavy coats, Parris and Foxx lean into the hijinks as the central threesome go all Scooby-Doo. There isn't just a man in a mask here, however, in this astute and inventive standout. They Cloned Tyrone streams via Netflix. GOOD OMENS Since 2019, witnessing David Tennant utter the word "angel" has been one of the small screen's great delights. Playing the roguish demon Crowley in Good Omens, the Scottish Doctor Who and Broadchurch star sometimes says it as an insult, occasionally with weary apathy and even with exasperation. Usually simmering no matter his mood, however, is affection for the person that he's always talking about: book-loving and bookshop-owning heavenly messenger Aziraphale (Michael Sheen, Quiz). With just one term and two syllables, Tennant tells a story about the show's central odd-couple duo, who've each been assigned to oversee earth by their bosses — Crowley's from below, Aziraphale's from above — and also conveys their complicated camaraderie. So, also since 2019, watching Tennant and Sheen pair up on-screen has been supremely divine. Good Omens, which hails from Terry Pratchett and Neil Gaiman's award- and fan-winning 1990 novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch, was always going to be about Aziraphale and Crowley. And yet, including in its second season, it's always been a better series because it's specifically about Sheen as the former and Tennant as the latter. In this long-awaited return, neither Aziraphale nor Crowley are beloved by their higher-ups or lower-downs thanks to their thwarting-the-apocalypse actions. Season one saw them face their biggest test yet after they started observing humans since biblical times — the always-foretold birth of the antichrist and, 11 years later, cosmic forces rolling towards snuffing out the planet's people to start again — and saving the world wasn't what their leaders wanted. One fussing over his store and remaining reluctant to sell any of its tomes, the other continuing to swagger around like Bill Nighy as a rule-breaking rockstar, Aziraphale nor Crowley have each carved out a comfortable new status quo, though, until a naked man walking through London with nothing but a cardboard box comes trundling along. He can't recall it, but that birthday suit-wearing interloper is the archangel Gabriel (Jon Hamm, Confess, Fletch). He knows he's there for a reason and that it isn't good, but possesses zero memory otherwise. And, in the worst news for Aziraphale and Crowley, he has both heaven and hell desperate to find him — which is just the beginning of season two's delightful chaos. Good Omens streams via Prime Video. Read our full review. FULL CIRCLE Whether on screens big and small, when an audience watches a Steven Soderbergh project, they're watching one of America's great current directors ply his full range of filmmaking skills. Usually, he doesn't just helm. Going by Peter Andrews and Mary Ann Bernard — aliases from his parents' names — he shoots and edits as well. And he's prolific: since advising that he'd retire from making features after Side Effects, he's directed, lensed and spliced nine more, plus three TV shows. Among those titles sit movies such as Logan Lucky, Unsane, Kimi and Magic Mike's Last Dance; the exceptional two seasons of turn-of-the-20th-century medical drama The Knick; and now New York-set kidnapping miniseries Full Circle. The filmmaker who won Cannes Film Festival's Palme d'Or at 26 for Sex, Lies and Videotape, earned two Best Director Oscars in one year for Traffic and Erin Brockovich, brought the Ocean's franchise back to cinemas in 2001, and eerily predicted the COVID-19 pandemic with 2011's Contagion is in his element with his latest work. Six-part noir-influenced thriller Full Circle reunites Soderbergh with Mosaic and No Sudden Move screenwriter Ed Solomon, boasts a starry cast, involves money and secrets and deception, and proves a twisty and layered crime tale from the get-go. Full Circle starts with a murder, then a revenge plot, then a missing smartphone. These early inclusions all tie into an intricate narrative that will indeed demonstrate inevitability, cause and effect, the repercussions of our actions, and decisions looping back around. The pivotal death forms part of a turf war, sparking a campaign of retaliation by Queens-based Guyanese community leader and insurance scammer Savitri Mahabir (CCH Pounder, Avatar: The Way of Water). She enlists freshly arrived teens Xavier (Sheyi Cole, Atlanta) and Louis (Gerald Jones, Armageddon Time) to do the seizing under her nephew Aked's (Jharrel Jerome, I'm a Virgo) supervision; one of the newcomers is the brother of the latter's fiancée Natalia (Adia, The Midnight Club), who is also Savitri's masseuse. The target: Manhattan high-schooler Jared (Ethan Stoddard, Mysteries at the Museum), son of the wealthy and privileged Sam (Claire Danes, Fleishman Is in Trouble) and Derek Browne (Timothy Olyphant, Daisy Jones & The Six), and grandson through Sam to ponytailed celebrity chef Jeff McCusker (Dennis Quaid, Strange World). Savitri is convinced that this is the only way to stave off the curse she's certain is hanging over her business — a "broken circle", in fact. But, much to the frustration of the US Postal Inspection Service's Manny Broward (Jim Gaffigan, Peter Pan & Wendy), his go-for-broke agent Melody Harmony (Zazie Beetz, Black Mirror) is already investigating before the abduction. Full Circle streams via Binge. Read our full review. WHAM! "If you're gonna do it, do it right," sang Wham! on their 1985 single 'I'm Your Man'. When it comes to living the dream of becoming international pop sensations in your twenties, and with your childhood best friend by your side, George Michael and Andrew Ridgeley took those lyrics to heart. Wham!'s rise wasn't perfect, as the documentary that shares the group's name surveys, but the group's brief existence in the 80s saw them make their mark on history — and release quite the array of earworms. The songs, the ska band that Michael and Ridgeley formed first, the doubts, the struggles: documentarian Chris Smith (Fyre: The Greatest Party That Never Happened, Operation Varsity Blues: The College Admissions Scandal) steps through it all, including Michael's difficult decision to keep his sexuality closeted. The early club gigs to drum up a fandom, the big-break Top of the Pops appearance, catapulting to fame, becoming the first Western pop group to play China: that's all featured as well. And shorts — so, so, many shorts donned by both the man who'd become a massive solo star once Wham! split and the pal who volunteered to show him around on his first day at Bushey Meads School long before their Wham! success. Smith crafts an affectionate and insightful film that's unashamedly a tribute, celebrates all things 80s from the hair and the outfits to the aura of excess, but makes clear that the band was never just Michael's launching pad — even if it did cement his talents not just as a singer, but also as a writer and producer. A fast-paced array of archival footage tells the tale visually, aided by scrapbooks kept by Ridgeley's mother that chart their careers; candid interviews with Michael before his death and Ridgeley now fill in the details. Also echoing: Wham!'s hits from 'Wham Rap!' and 'Young Guns' to 'Club Tropicana' and 'Wake Me Up Before You Go-Go'. Each gets their engaging origin story, although none more so than the still-astonishing 'Careless Whisper', which record executives dismissed when they ignored the group's very first demo four decades ago. The behind-the-scenes material is relaxed and intimate, the live clips electrifying, and the joy on Michael's face while playing Live Aid with the likes of Freddie Mercury and David Bowie is genuine (even as he talks of his fears that he didn't belong in their company). Watching means getting Wham!'s catalogue stuck in your head, of course — yes, 'Last Christmas' as well. Wham! streams via Netflix. THE HORROR OF DOLORES ROACH It takes place in New York, not London. The era: modern times, not centuries back. Fleet Street gives way to Washington Heights, the demon barber to a masseuse nicknamed "Magic Hands", and pies to empanadas. There's still a body count, however, and people end up in pastries as well. Yes, The Horror of Dolores Roach namedrops Sweeney Todd early, as it needs to; there's no denying where this eight-part series takes inspiration, as did the one-woman off-Broadway play that it's based on, plus the podcast that followed before the TV version. On the stage, the airwaves and now via streaming, creator Aaron Mark asks a question: what if the fictional cannibalism-inciting character who first graced penny dreadfuls almost two centuries back, then leapt to theatres, films and, most famously, musicals, had a successor today? Viewers can watch the answer via a dramedy that also belongs on the same menu as Santa Clarita Diet, Yellowjackets and Bones and All. Amid this recent feast of on-screen dishes about humans munching on humans, The Horror of Dolores Roach is light yet grisly, but it's also a survivalist thriller in its own way — and laced with twisted attempts at romance, too. That knowing callout to Sweeney Todd: The Demon Barber of Fleet Street comes amid an early banquet of knowing callouts, as The Horror of Dolores Roach begins with a play based on a podcast that's wrapping up its opening night. Newspaper clippings in actor Flora Frias' (Jessica Pimentel, Orange is the New Black) dressing room establish that the show takes its cues from a woman who got murderous in the Big Apple four years prior, and helped get unwitting NYC residents taking a bite out of each other. Meet the series' framing device; before the stage production's star can head to the afterparty, she's face to face with a furious Dolores (Justina Machado, One Day at a Time) herself. The latter isn't there to slay, but to haunt the woman spilling her tale by sharing the real details. Two decades earlier, Dolores was a happy resident of Lin-Manuel Miranda's favourite slice of New York, a drug-dealer's girlfriend, and a fan of the local empanada shop. Then the cops busted in, The Horror of Dolores Roach's namesake refused to snitch and lost 16 years of her life. When she's released, gentrification has changed the neighbourhood and her other half is nowhere to be found. Only Luis Batista (Alejandro Hernandez, New Amsterdam) remains that remembers her, still in the empanada joint, and he couldn't be keener on letting her stay with him in his basement apartment below the store. The Horror of Dolores Roach streams via Prime Video. Read our full review. HUESERA: THE BONE WOMAN The sound of cracking knuckles is one of humanity's most anxiety-inducing. The noise of clicking bones elsewhere? That's even worse. Both help provide Huesera: The Bone Woman's soundtrack — and set the mood for a deeply tense slow-burner that plunges into maternal paranoia like a Mexican riff on Rosemary's Baby, the horror subgenre's perennial all-timer, while also interrogating the reality that bringing children into the world isn't a dream for every woman no matter how much society expects otherwise. Valeria (Natalia Solián, Red Shoes) is thrilled to be pregnant, a state that hasn't come easily. After resorting to praying at a shrine of Our Lady of Guadalupe in desperation, neither she nor partner Raúl (Alfonso Dosal, Narcos: Mexico) could be happier, even if her sister Vero (Sonia Couoh, 40 Years Young) caustically comments that she's never seemed that interested in motherhood before. Then, two things shake up her hard-fought situation: a surprise run-in with Octavia (Mayra Batalla, Everything Will Be Fine), the ex-girlfriend she once planned to live a completely different life with; and constant glimpses of a slithering woman whose unnatural body movements echo and unsettle. Filmmaker Michelle Garza Cervera (TV series Marea alta) makes her fictional narrative debut with Huesera: The Bone Woman, directing and also writing with first-timer Abia Castillo — and she makes a powerfully chilling and haunting body-horror effort about hopes, dreams, regrets and the torment of being forced into a future that you don't truly foresee as your own. Every aspect of the film, especially Nur Rubio Sherwell's (Don't Blame Karma!) exacting cinematography, reinforces how trapped that Valeria feels even if she can't admit it to herself, and how much that attempting to be the woman Raúl and her family want is eating away at her soul. Solián is fantastic at navigating this journey, including whether the movie is leaning into drama or terror at any given moment. You don't need expressive eyes to be a horror heroine, but she boasts them; she possesses a scream queen's lungs, too. Unsurprisingly, Cervera won the Nora Ephron Award for best female filmmaker at the 2022 Tribeca Film Festival for this instantly memorable nightmare. Huesera: The Bone Woman streams via Shudder. NIMONA Bounding from the page to the screen — well, from pixels first, initially leaping from the web to print — graphic novel-to-film adaptation Nimona goes all in on belonging. Ballister Boldheart (Riz Ahmed, Sound of Metal) wants to fit in desperately, and is willing to do whatever it takes to achieve it. In this animated movie's medieval-yet-futuristic world, there's nothing more important and acclaimed than being part of the Institute for Elite Knights, so that's his aim. Slipping into armour usually isn't possible for someone who grew up on the wrong side of this realm's tracks, as he did, but Ballister has been given a chance by Queen Valerin (Lorraine Toussaint, The Equalizer), who says that anyone can now be a hero. Alas, just as he's about to have his sword placed upon his shoulder with all the world watching, tragedy strikes, then prejudice sets in. Even his fellow knight-in-training and boyfriend Ambrosius Goldenloin (Eugene Lee Yang, Star Wars: Visions), who boasts family ties to legendary monster-slaying heroine Gloreth (Karen Ryan, Under the Banner of Heaven), believes that Ballister is responsible. His only ally? Nimona's namesake (Chloë Grace Moretz, The Peripheral), a shapeshifter who offers to be his sidekick regardless of his innocence or guilt. Nimona usually appears as a human girl, but can change into anything. The shapeshifter also wants to belong — but only by being accepted as she is. Unlike Ballister's feelings of inferiority about being a commoner, Nimona is happy with morphing from a kid to a rhinoceros, a whale to a shark, then between anything else that she can think of, and wouldn't give it up for anyone. Indeed, when Ballister keeps pestering her for reasons to explain why she is like she is, and asking her to remain as a girl, she's adamant. She already is normal, and she rightly won't budge from that belief. Animated with lively and colour animation that sometimes resembles Cartoon Saloon's Song of the Sea and Wolfwalkers, Nimona is a family-friendly adventure and, as penned as a comic by ND Stevenson (She-Ra and the Princesses of Power), also a clear, impassioned and sincere allegory for being true to yourself. As a film, directors Nick Bruno and Troy Quane (who also teamed up on Spies in Disguise) and screenwriters Robert L Baird (Big Hero 6) and Lloyd Taylor (another Spies in Disguise alum) ensure that it remains a thoughtful delight. Nimona streams via Netflix. RETURNING FAVOURITES TO CHECK OUT WEEK BY WEEK FUTURAMA Good news, everyone: Futurama keeps getting thawed out. The small screen's powers that be love defrosting the animated sci-fi series, and viewers should love watching the always-funny results. Not once but twice in the past quarter-century, Matt Groening's other big sitcom has been cancelled then respawned years later. It was true back in 2007 when the show was first reanimated, and it's true again now: whenever Futurama flies across the screen after a stint in stasis, it feels like no time has passed. Groening first spread his talents beyond The Simpsons back in 1999, riffing on Y2K excitement and apprehension, and also leaping forward in time. Futurama's 20th-century pizza delivery guy Philip J Fry (voiced by Billy West, Spitting Image) didn't welcome the 21st century, however; he stumbled into a cryogenic chamber, then awoke to greet the 31st. After tracking down Professor Hubert J Farnsworth (also West), his only living relative, he was soon in the delivery game again — but for intergalactic cargo company Planet Express, in a show that that satirises every vision of the future previously committed to fiction, and with one-eyed ship captain Turanga Leela (Katey Sagal, Dead to Me) and shiny-metal-assed robot Bender Bending Rodríguez (John DiMaggio, Transformers: Rise of the Beasts) by his side. Futurama's initial run lasted four seasons, four years and 78 episodes. Then, the show reappeared in 2007 as a direct-to-DVD movie, followed by three more, which were then turned into episodes for the show's fifth season. Alas, another trio of seasons later, Futurama said goodbye again. Thankfully, when a series not only peers at and parodies the next millennia, but takes an anything-goes approach that's brought everything from robot Santas and soap operas to human-hating alien news anchors and talking celebrity heads in jars, there's always room for a new spin. Still, getting the Planet Express soaring yet again does pose one difficulty: how do you undo a perfect finale? When the prior season ended in 2013, it wrapped up Fry and Leela's on-again, off-again romance in a smart, sweet and widely loved bow. The new instalments pick up exactly where that swansong left off, then unleash a "massive disruption in the flow of time" to move everyone to 3023, then restore the usual status quo. So, Fry, Leela, Bender, the Professor, Jamaican accountant Hermes Conrad (Phil LaMarr, Craig of the Creek), Martian intern Amy Wong (Lauren Tom, Dragons: The Nine Realms) and lobster-esque alien doctor Zoidberg (also West) resume their workplace sitcom antics — in vintage form. Futurama streams Disney+. Read our full review. WHAT WE DO IN THE SHADOWS Following in Taika Waititi and Jemaine Clement's footsteps isn't easy, but someone had to do it when What We Do in the Shadows made the leap from the big screen to the small. New format, new location, new vampires, same setup: that's the formula behind this film-to-TV series, which is now in its fifth season. Thankfully for audiences, Matt Berry (Toast of London and Toast of Tinseltown), Natasia Demetriou (Eurovision Song Contest: The Story of Fire Saga) and Kayvan Novak (Cruella) were enlisted as the show's three key bloodsuckers in this US spinoff from the New Zealand mockumentary, all in roles that they each seem born for. The trio play three-century-old British aristocrat Laszlo, his 500-year-old creator and partner Nadja, and early Ottoman Empire warrior Nandor, respectively, who share an abode and the afterlife in Staten Island. In cinemas, the film already proved that the concept works to sidesplitting effect. Vampire housemates, they're just like us — except when they're busting out their fangs, flying, avoiding daylight, sleeping in coffins, feuding with other supernatural creatures and leaving a body count, that is. On TV, What We Do in the Shadows has been illustrating that there's not only ample life left in palling around with the undead, but that there's no limit to the gloriously ridiculous hijinks that these no-longer-living creatures can get up to. It was true as a movie and it's still true as a television show: What We Do in the Shadows sparkles not just due to its premise, but when its characters and cast are both as right as a luminous full moon on a cloudless night. This lineup of actors couldn't be more perfect or comedically gifted, as season five constantly demonstrates via everything from mall trips, political campaigns, pride parades and speed dating to trying to discover why Nandor's long-suffering and ever-dutiful familiar Guillermo (Harvey Guillén, Werewolves Within) hasn't quite started chomping on necks despite being bitten himself. Berry's over-enunciation alone is the best in the business, as is his ability to play confident and cocky. His line readings are exquisite, and also piercingly funny. While that was all a given thanks to his Toast franchise, Year of the Rabbit, The IT Crowd, Snuff Box, The Mighty Boosh and Garth Marenghi's Darkplace history, What We Do in the Shadows is a group effort. Demetriou and Novak keep finding new ways to twist Nadja and Nandor's eccentricities in fresh directions; their characters have felt lived-in since season one, but they're still capable of growth and change. What We Do in the Shadows streams via Binge. Read our full review. THE AFTERPARTY When The Afterparty arrived on Apple TV+ in 2022, riding a wave of revived murder-mystery comedy love that Knives Out and Only Murders in the Building had helped wash over screens big and small, it made one big risky move. Throwing a motley crew of characters together, then offing one? Tried, tested and a favourite for a reason. The ensemble cast attempting to sleuth its way through a shock death? Flawless. The genre-bending setup that saw each episode in the season parody a different style of filmmaking? Perfectly executed. Having the words "how great is this party?" uttered over and over again? That's what could've proven dicey if The Afterparty wasn't in fact great; thankfully, it very much was. There's a reason that phrase kept being uttered, because superfluous detail isn't this show's style: as in all great whodunnits, everything happens, is mentioned or can be spotted with cause. Creator Christopher Miller and his fellow executive producer Phil Lord, a duo with Cloudy with a Chance of Meatballs, 21 Jump Street and 22 Jump Street, and The Lego Movie on their resumes as co-directors, know the format they're working with. Crucially, they know how carefully their audience will scrutinise every clue and element. And, in the show's first season and now the second season — they also know how to equally honour and spoof. Fittingly, The Afterparty feels like a murder-mystery comedy party as a result. Adoring, irreverent, willing to get loose and shake things up: that's the vibe and approach. In season one, the series' title was literal thanks to a high-school reunion with fateful post-soiree hijinks. In season two, a wedding brings a disparate group together — and, following the nuptials and reception, The Afterparty's moniker comes into play again. To the horror of the returning Aniq Adjaye (Sam Richardson, I Think You Should Leave with Tim Robinson) and his ex-classmate, now-girlfriend Zoe Zhu (Zoe Chao, Party Down), another body then puts a dampener on the festivities; however, this second go-around doesn't get a-solving just in one night. Aniq and Zoe have recovered from their last confrontation with a killing at a celebration by diving into their romance, but it's the latter's younger sister Grace (Poppy Liu, Dead Ringers) who's getting hitched. Her groom Edgar (Zach Woods, Avenue 5) sports both family money and a cryptocurrency-aided bank-balance boost, he's an all-work-no-play socially awkward type as a result and, when he's alive, he's more fond of his pet lizard than most humans. Then he's found face down after the afterparty, déjà vu arrives and so does the also-returning Danner (Tiffany Haddish, The Card Counter) to sift through the suspects. The Afterparty streams via Apple TV+. Read our full review, and our interview with Sam Richardson. MINX A full-frontal embrace of feminism, penises and 70s porn for women greeted audiences when Minx instantly cemented itself among 2022's best new TV shows. The setup: Vassar graduate and country club regular Joyce Prigger (Ophelia Lovibond, Trying) makes her dream of starting her own magazine come true, but for pornography publisher Doug Renetti (Jake Johnson, Spider-Man: Across the Spider-Verse). Created by Ellen Rapoport (Clifford the Big Red Dog) and executive produced by Paul Feig (Last Christmas), the show wasn't shy about the industry it dived into, even if its protagonist initially was. It wasn't afraid to push the strait-laced Joyce out of her comfort zone, see the empowering side of erotica for the fairer sex and champion the female gaze, either. The end result: a savvy, smart and breezy series that was as layered as it was astute and funny — and, yes, one that happily filled its frames with male genitalia. The show was quickly renewed, but also then cancelled in December 2022 during production as part of David Zaslav's cost-cutting measures at Warner Bros Discovery. Then, fellow American network Starz stepped in to save it. Watching Minx's bigger, richer and deeper second season, it's mindboggling to think that it almost didn't make it to screens. "Minx is back and better than ever," announces Doug with his usual shambling brand of swagger — the kind that Johnson long-perfected in New Girl, and also in film roles in Drinking Buddies and Win It All — and he isn't wrong. Of course, he's talking about the series' eponymous erotic mag, not the series itself, but he's on the money. First, though, the again vibrantly shot, styled and costumed show has season-one finale fallout to deal with, after Joyce and Doug ended their tumultuous working relationship. The former goes looking for a new publisher, with boardrooms overflowing with men dropping compliments and promising money awaiting. Then billionaire and ex-shipping industry titan Constance Papadopoulos (Elizabeth Perkins, The Afterparty) shows an interest in the magazine, in supporting and mentoring Joyce, and in having Doug involved — and the Minx gang, including former model Bambi (Jessica Lowe, Miracle Workers), photographer Richie (Oscar Montoya, Final Space), Doug's girlfriend and ex-secretary Tina (Idara Victor, Shameless), and Joyce's sister Shelly (Lennon Parham, Veep), are back together. Minx streams via Stan. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May and June this year. You can also check out our running list of standout must-stream shows from this year as well — and our best 15 new shows of 2023's first six months, top 15 returning shows over the same period and best 15 straight-to-streaming movies from January–June 2023, too. Top image: Parrish Lewis/Netflix.
Why spend just over a week worshipping the silver screen, as most film festivals do, when you can stretch the in-cinema celebration out to more than a fortnight, and throw in over a week of online viewings as well? That's Melbourne International Film Festival's approach. In 2023, now that the event's full lineup is newly here, it's also asking another question: why just have Tilda Swinton star in a film as one character when she can play two, and a mother and daughter at that? The movie in question is The Eternal Daughter, Swinton's latest collaboration with filmmaker Joanna Hogg after the sublime The Souvenir and The Souvenir: Part II, and it's one of MIFF's big 2023 highlights. Yes, there's more — much, much more. This year's fest will screen 267 films to Melbourne and Victorian movie buffs, in fact, plus a selection of picks virtually and nationally via the returning MIFF Play. 2023's festival footprint mimics the setup that worked so well for the film feast in 2022, which was its first proper year back after the pandemic began. So, it's gracing cinemas in Melbourne from Thursday, August 3–Sunday, August 20; hitting the big screen in regional Victorian locations from Friday, August 11–Sunday, August 13 and Friday, August 18–Sunday, August 20; and also going digital from Friday, August 18–Sunday, August 27. Shayda, a Melbourne-set drama that won an Audience Award at Sundance, was revealed as MIFF's 2023 opening-night flick back in May. The world premiere of Ego: The Michael Gudinski Story, paying tribute to the Australian record executive and promoter with help from Kylie Minogue, Dave Grohl, Sting, Ed Sheeran, Bruce Springsteen, Billy Joel and Jimmy Barnes, was also announced then, taking the fest's centrepiece slot. Now, they're joined by Theatre Camp among MIFF's high-profile sessions, with closing night scoring the Aussie debut of a crowd-pleasing comedy about loving the stage, as starring and co-written and co-directed by Booksmart and The Bear's Molly Gordon. Other standouts include Anatomy of a Fall, a drama about an author (Sandra Hüller, Toni Erdmann) accused of her husband's murder, which won French director Justine Triet (Sibyl) the French festival's top prize back in May; May December, which hails from Carol director Todd Haynes, is led by Natalie Portman (Thor: Love and Thunder) and Julianne Moore (Sharper), and dives into a scandal; Certain Women's Kelly Reichardt reteaming with Michelle Williams again with Showing Up; and Biosphere, about the last two men on earth, with star and co-writer Mark Duplass (The Morning Show) coming to Melbourne in-person with the film. Or, there's the Josh O'Connor (Mothering Sunday)-led La Chimera from Happy as Lazzaro's Alice Rohrwacher, Catherine Breillat's (Abuse of Weakness) return with Last Summer, Paul Schrader's (The Card Counter) Master Gardener starring Joel Edgerton (The Stranger), and Hirokazu Kore-eda's Monster — the prolific helmer's latest on a lengthy resume that also includes Shoplifters and Broker. Keen to settle in for the long haul? Still on big-name filmmakers, Nuri Bilge Ceylan's (The Wild Pear Tree) latest About Dry Grasses clocks in at 197 minutes. In 2022, MIFF launched Bright Horizons, its official competition — and the titles vying for glory in 2023, all from either first- or second-time filmmakers, are impressive for the second year running. Among 11 films, Shayda fits the bill, as does Cannes Un Certain Regard Prize-winner How to Have Sex, about three British teen girls on a boozy getaway; Earth Mama, an A24 release by Grammy-nominated music video veteran Savanah Leaf; and Inside the Yellow Cocoon Shell, which follows a musical journey across the Vietnamese countryside. Also, the star-cross'd lovers-focused Banel & Adama plays direct from Cannes, Disco Boy stars German talent Franz Rogowski (Great Freedom) and Animalia explores an alien invasion in Morocco. Elsewhere, Cobweb stars Parasite's Song Kang-ho and is helmed by I Saw the Devil director Kim Jee-woon, the prolific Hong Sang-soo (The Novelist's Film) returns with Walk Up, and four-time British Independent Film Award-winner Blue Jean focuses on a lesbian teacher in Thatcher's England. Oscar-winning Amy and Senna filmmaker Asif Kapadia takes cues from Woyzeck and Frankenstein with the expressionistic dance-filled Creature; 2023 Sydney Film Prize-winner The Mother of All Lies heads south; You Can Call Me Bill pays tribute to the inimitable William Shatner; and Soda Jerk's first film since Terror Nullius, Hello Dankness, offers a chaotic yet cutting survey of US politics from 2016 onwards. MIFF 2023 will also feature eerie fare in the form of Sleep, by Bong Joon-ho protégé Jason Yu; birth/rebirth, which also riffs on Frankenstein; Perpetrator with Clueless favourite Alicia Silverstone; and Australia's own Godless: The Eastfield Exorcism. And, no strangers to showcasing giallo, including running a retrospective on Italian horror before, the fest is going all in on Suspiria, Tenebrae and Deep Red director Dario Argento. Among MIFF's shorts are Pedro Almodóvar's (Parallel Mothers) queer western Strange Way of Life starring Ethan Hawke (Moon Knight) and Pedro Pascal (The Last of Us), and also Trailer of the Film That Will Never Exist: 'Phony Wars', the last film by iconic French director Jean-Luc Godard before his passing. All of the above — and a whole lot more — joins previously announced titles such as The Rooster, starring Hugo Weaving (Love Me) and Phoenix Raei (The Night Agent); Celine Song's debut feature Past Lives, a bittersweet romance about two childhood friends (Russian Doll's Greta Lee and Decision to Leave's Teo Yoo) who briefly reunite after decades apart; Bad Behaviour, the feature directorial debut of actor-turned-filmmaker Alice Englert (You Won't Be Alone) starring Jennifer Connelly (Top Gun: Maverick); BlackBerry, which delves into the smartphone's rise and fall — and satirises it — with Jay Baruchel (FUBAR) and Glenn Howerton (It's Always Sunny in Philadelphia) among the cast; and The Kingdom Exodus, Lars von Trier's latest followup to 1994's miniseries The Kingdom and its 1997 second season. The 2023 Melbourne International Film Festival runs from Thursday, August 3–Sunday, August 20 at a variety of venues around Melbourne; from Friday, August 11–Sunday, August 13 and Friday, August 18–Sunday, August 20 in regional Victoria; and online nationwide with MIFF Play from Friday, August 18–Sunday, August 27. For further details, including tickets from Friday, July 14, visit the MIFF website.
You know the feeling when your colleagues roll into work on a Monday morning with tales of their weekend adventures and you wish you'd been at that hip hop gig, or dancing till dawn at that techno party? Well, don't feel sorry for yourself — Sydney has heaps of live music events each summer for you to play catch up. You've just got to decide which one suits your music tastes. With a little help from our friends at Sunglass Hut, we've picked out eight FOMO-inducing gigs and parties coming up this summer, from festive singalongs in the Domain with Paul Kelly to Australia's clash-free, one-day summer festival in Parramatta (aptly named for those who fear missing out). There are also international artists on some of the lineups, from avant-garde acts at Sydney Festival to "the world's greatest boyband". Whatever genre you worship, get out and enjoy it before summer's over.
If you want to add some cuddles to your morning workout routine, make tracks to Centennial Park tomorrow morning for Pups and Pilates. BYO doggo (or cosy up to someone else's) and enjoy a 45-minute pilates class that is sure to start your day off with a big dose of endorphins. The class is hosted by PatchPets, a new social app that allows you to connect with other dog owners and lovers, and acts as a directory of all the dog services, venues and happenings around town. The sessions will run at 8am, 9am, 10am and 11am on Thursday, November 7. The class is free with an Eventbrite bookings and there are still spots left in each — so take your pick and nab a spot while you can.
