While Redfern has retained a sense of inner-city grit, the area is undeniably becoming more upscale — especially when it comes to wining and dining. These days, it has a rooftop bar, a corner wine bar, a ramen joint with a line snaking out the door and now Southside Charmers: a cafe with a retro-Miami vibe by the team who brought us Scout's Honour and Morris (before selling them both) as well as local wine bar Bart Jr. Taking over the much-loved Eathouse Diner's digs on Chalmers Street, Southside Charmers has kept with the Americana theme, but adding a fresh lick of paint and some kitschy nods to 70s Miami. The 50-seater space (with an additional 20 seats outside) is a lively, colourful and full-of-character diner. "It's a little bit Golden Girls-y," says Southside co-owner Anne Cooper. "A very breezy, light and bright interior with a little bit of kitsch and a little bit of fun." [caption id="attachment_718525" align="alignnone" width="1920"] Kitti Gould[/caption] Opening in early April, the venue is the brainchild of Cooper and Georgia Woodyard, with Georgie Easdale in the kitchen and Ryan Butler (Restaurant Hubert) leading the front of house. As locals, Cooper and Woodyard were driven by the desire of filling a culinary gap in their neighbourhood. It's the kind of place you'll find Redfern locals rubbing shoulders with a more transient crowd on weekends — a neighbourhood go-to. "We just look at what's missing," says Cooper. "We always want to create something that we would want to go to and where our friends would want to hang out." Following a produce-focused ethos, Woodyard — the "kitchen queen" of the pair — has developed a fresh, flavourful menu inspired by a trip they took around Mexico a few years back and the cuisine's influence on Miami and southern Cali. Dishes like the Pablo Rice Bowl with mushroom, chorizo, greens and egg, Woodyard's take on a Cuban sandwich and breakfast tacos of scrambled egg, smoky black beans, charred corn and roasted pumpkin are obvious nods to the Latin American influence. Meanwhile, the Eggplant Pahi Scramble and the coconut, turmeric and buckwheat granola are more in line with the duo's former cafes, Scout's Honour and Morris. "It's not a Mexican restaurant, it's just our flavour profile for here," insists Cooper. "It's also a point of differentiation to Bart, which has more of a European palate." [caption id="attachment_718506" align="alignnone" width="1920"] Kitti Gould[/caption] As well as nourishing food, expect fresh juices, well-executed smoothies, kombucha and Five Senses coffee alongside some brunch cocktails — including espresso martinis, bloody marys and, of course, southsides —a predominantly natural wine list and some boutique local brews hand-picked by Cooper. Currently open for breakfast and lunch (with booze available from 10am), Southside will soon be extending its hours to dinner from Thursday to Saturday, offering a relaxed, fun and boozy spot for any time of day. Southside Charmers is located at 306 Chalmers Street, Redfern and is currently open from 7.30am–3pm Tuesday through to Friday and from 9am–3pm on Saturday and Sunday. Dinner service is expected to be open soon Thursday to Saturday. We'll keep you updated with details. Images: Kitti Gould.
Two kinds of people make it into tabloids. The first are celebrities, and the second are non-celebrities in extraordinary (particularly: sexy) circumstances. Those in the latter category are sometimes genuinely interesting, and you'll never meet more interesting tabloid fodder than Joyce McKinney, 1978's Mormon-kidnapping, sexually predatory Southern beauty queen. Documentarian extraordinaire Errol Morris (The Fog of War, The Thin Blue Line) has tracked down the larger-than-life McKinney and others involved in this now mostly forgotten event for a trip down memory lane. They retell the story of how she came to extract young Mormon Kirk Anderson from his church using a gang of men, a fake gun and a bottle of chloroform and hold him in the English countryside for several days. She claims, as ever, that she was rescuing her true love from a dangerous cult. When found, he claimed he was kidnapped and raped. After a brief foray into tabloid headlines and celebrity parties, McKinney fled back to the US and was convicted of the crime in absentia. Tabloid has in its grasp the two things a great documentary needs: a human point of interest and a way into a deeper argument about the structures that underlie our society — in this case, the structure of tabloid media. Morris could actually stand to pry a little further into the scandal-fuelled news machine. After what went down at News of the World, we're certainly hungry for the insight. Fortunately, the human interest at the centre of the story is of mammoth proportions. McKinney is charming, intense, and entirely convinced of her view of the facts. She has gone on to live a life of celibacy on a Wyoming country estate with four cloned dogs. Seriously. Morris keeps things fun and gripping, with hyperactive editing to aid the attention deficient. The effects of his patented 'Interrotron' system are palpable: relaxed and engaged interviewees seem to look down the barrel of the lens and address you while they are, in their reality, looking at and addressing Morris. Unfortunately and understandably, the Mormon at the centre of it all is not one of these interviewees. Anderson refused to be interviewed for Tabloid, so the task of arguing his case, that he was kidnapped and raped, falls to journalists and other onlookers. It gives McKinney's story perhaps more credence than it deserves, and some may justifiably find this off-colour. Still, if you're open to hearing out someone who is quite possibly a deranged sexual offender, this story is one that will bewilder, challenge, and prompt a conversation on how we think about consent. https://youtube.com/watch?v=B5FcZrg_Nuo
Built in 1793 for wool farmer John Macarthur and his wife, Elizabeth, this retreat is one of the oldest houses in Australia. It has since been transformed into a hands-on museum where you can access all areas, touch the furnishings and generally make yourself at home. There's an old-school tea room that serves up sandwiches, Devonshire tea and baked treats, but you're also welcome to bring a picnic, borrow a picnic blanket and relax in the garden, among lilies, roses, eucalypts and veggies. After your bite to eat, you can explore nearby cottages Experiment Farm Cottage and Hambledon Cottage, which are part of the same precinct — just be sure to check opening hours and tour information before you go. Image: City of Parramatta
There's more to stunning Jervis Bay than just sunbathing and swimming. In fact, one of the best ways to explore this stretch of coastline is by going for a stroll. We're not saying work up a serious sweat (unless you want to), but you can catch some pretty amazing views on foot. For a gentle stroll, take the White Sands Walk and Scribbly Gum Track. The leisurely 2.5-kilometre loop takes you past the white sands of Hyams, Greenfields and Seamans, as well as through the coastal forest by the shores of Jervis Bay. You can cool off with a swim along the way, plus spot birds and dolphins. The walk takes between 30–90 minutes. Make sure you check the National Parks website for any alerts before you venture out. [caption id="attachment_770531" align="alignnone" width="1920"] Hyams Beach by Tourism Australia[/caption] Top image: Scribbly Gum Track, National Parks NSW
You'd think Sydney had reached peak boozy brunch, but, in our opinion, there's always room for one more — especially when bottomless spritzes are involved. Kensington Street newcomer, Barzaari Chippendale has just joined the brunch game, launching a new eastern Mediterranean menu available from 10.30am every Saturday and Sunday. Created by Chef Darryl Martin, the dishes incorporate flavours from the cuisines of Cyprus, Lebanon, Syria and Egypt. You'll start with haloumi-spiked baked eggs and a mezze plate, then move on to your choice of whole rainbow trout with chermoula or spatchcock cooked in vine leaves with salsa and toum (garlic sauce). Want both? You can. The menu is served family-style, so round up your friends and order it all. The mains will also arrive with falafel and heirloom tomatoes and butternut pumpkin with zaalouk (a Moroccan salad of tomato and eggplant). And then, as expected, you'll receive Barzaari's famed baklava for dessert. All of this will set you back $75 — and that includes two whole hours of bottomless spritzes. You can choose from four different boozy, carbonated beverages, including the Strawberry Royal (rose water and freeze-dried strawberry), the Jerusalem Lemonade (gin, orange blossom and lemon) and the Bitter Apricot (brandy, Campari and apricot purée). If 120 minutes of endless spritzes doesn't quite hit the spot, you can add a third hour for $30 a head. Reservations are recommended and can be made via the website. Images: Nikki To.
So many movies, so little time. That's film festival life, including right now in Sydney. The 2022 Sydney Film Festival is happening at the moment, showcasing hundreds of movies in cinemas across the city — and, if you haven't been able to fit all your viewing into its 12-day run, you'll now have four extra days to help. As it usually does — in years when things run as usual, that is, given the chaos of the last few pandemic-affected years — SFF is hosting a Back By Popular Demand program in the days after the fest's official close. In 2022, those bonus screenings will hit Dendy Newtown and Palace Norton Street between Monday, June 20–Thursday, June 23. No, you're not done spending your nights in darkened rooms just yet. There's 15 films to pick from and, as the name makes plain, they're all flicks that've been proving a hit with crowds so far. That includes opening night's Indigenous anthology We Are Still Here, as well as closing night's Broker, aka the latest from Shoplifters' director Hirokazu Kore-eda. Also on the list: Cannes Palme d'Or-winner Triangle of Sadness, Sundance hit Good Luck to You, Leo Grande, absurd (and often naked) New Zealand comedy Nude Tuesday and Aubrey Plaza (Best Sellers)-led heist flick Emily the Criminal. Or, there's documentaries Kurt Vonnegut: Unstuck in Time and Fire of Love — about the Slaughterhouse Five author and French volcano scientists Katia and Maurice Krafft, respectively. Plus, the homegrown slate includes excellent horror-comedy Sissy, You Won't Be Alone by Aussie director Goran Stolevski, the Sydney-set The Longest Weekend and Evicted! A Modern Romance, and documentary Everybody's Oma. Rounding out the encores are French rom-com The Tasting — which, yes, is about wine — plus No Land's Man, about a South Asian who meets an Australian woman in New York. Sydney Film Festival's 2022 Back By Popular Demand bonus screenings hit Dendy Newtown and Palace Norton Street between Monday, June 20–Thursday, June 23. The 2022 Sydney Film Festival runs until Sunday, June 19 at the State Theatre, Event Cinemas George Street, Dendy Newtown, Palace Central, Palace Norton Street, Hayden Orpheum Picture Palace Cremorne, Ritz Cinemas Randwick, Casula Powerhouse Arts Centre and Art Gallery of NSW. To check out the event's full program, or to buy tickets, head to the festival's website.
Whenever projectors have whirred in 2023, it has sometimes been thanks to seasoned filmmakers at the top of their games. Whenever silver screens have come alive with new sound-and-vision delights, it's sometimes been due to new voices making glorious debuts, too. Both are hallmarks of an exceptional year at the movies, as the 15 best films of 2023 show — because when beloved greats are delivering the goods and the next generations are making instant masterpieces, the state of cinema as an artform is glowing. The one caveat to the above, and a reminder that's worth repeating each and every year: thanks to the hundreds of titles that make their way to picture palaces across each annual calendar, there's no such thing as a bad 12 months of films. Still, each year's crop is boasts its own wonders, surprises and thrills — and 2023 was no different. Not all movies can be stunners, of course, but this year brought electrifying takes on Frankenstein, plus both Martin Scorsese and Hayao Miyazaki's new masterpieces, swooning love stories, blasts into the past, haunting documentaries and pink-hued playtimes our way. They're all among our 15 best films of 2023 — and most unforgettable — complete with excellent company. POOR THINGS Richly striking feats of cinema by Yorgos Lanthimos aren't scarce. Sublime performances by Emma Stone are hardly infrequent. Screen takes on Mary Shelley's Frankenstein couldn't be more constant. For Lanthimos, see: Dogtooth and Alps in the Greek Weird Wave filmmaker's native language, plus The Lobster, The Killing of a Sacred Deer and The Favourite since he started helming movies in English. With Stone, examples abound in her Best Actress Oscar for La La Land, supporting nominations before and after for Birdman or (The Unexpected Virtue of Ignorance) and Lanthimos' aforementioned regal satire, and twin 2024 Golden Globe nods for their latest collaboration as well as TV's The Curse. And as for the best gothic-horror story there is, not to mention one of the most influential sci-fi stories ever, the evidence is everywhere from traditional adaptations to debts owed as widely as The Rocky Horror Show and M3GAN. Combining the three results in a rarity, however: a jewel of a pastel-, jewel- and bodily fluid-toned feminist Frankenstein-esque fairy tale that's a stunning creation, as zapped to life with Lanthimos' inimitable flair, a mischievous air, Stone at her most extraordinary and empowerment blazing like a lightning bolt. With cascading black hair, an inquisitive stare, incessant frankness and jolting physical mannerisms, Poor Things' star is Bella Baxter in this adaptation of Alasdair Grey's award-winning 1992 novel by Australian screenwriter Tony McNamara (The Great). Among the reasons that the movie and its lead portrayal are so singular: as a character with a woman's body revived with a baby's brain, Stone plays someone from infancy to adulthood, all with the astonishingly exact mindset and mannerisms to match, and while making every move, choice and feeling as organic as birth, living and death. In this fantastical steampunk vision of Victorian-era Europe, London-based Scottish doctor Godwin Baxter (Willem Dafoe, Asteroid City) is Bella's maker. Even if she didn't call him God, he's been playing it. But curiosity, the quest for agency and independence, horniness and a lust for adventure all beckon his creation on a radical, rebellious, gorgeously rendered, gloriously funny and generously insightful odyssey. So, Godwin tries to marry Bella off to medical student Max McCandles (Ramy Youssef, Ramy), only for her to discover masturbation and sex, and run off to the continent with caddish lawyer Duncan Wedderburn (Mark Ruffalo, She-Hulk: Attorney at Law). Read our full review. KILLERS OF THE FLOWER MOON Death comes to Killers of the Flower Moon quickly. Death comes to Killers of the Flower Moon often. While Martin Scorsese will later briefly fill the film's frames with a fiery orange vision — with what almost appears to be a lake of flames deep in oil country, as dotted with silhouettes of men — death blazes through his 26th feature from the moment that the picture starts rolling. Adapted from journalist David Grann's 2017 non-fiction novel Killers of the Flower Moon: The Osage Murders and the Birth of the FBI, with the filmmaker himself and Dune's Eric Roth penning the screenplay, this is a masterpiece of a movie about a heartbreakingly horrible spate of deaths sparked by pure and unapologetic greed and persecution a century back. Scorsese's two favourite actors in Leonardo DiCaprio (Don't Look Up) and Robert De Niro (Amsterdam) are its stars, alongside hopefully his next go-to in Lily Gladstone (Reservation Dogs), but murder and genocide are as much at this bold and brilliant, epic yet intimate, ambitious and absorbing film's centre — all in a tale that's devastatingly true. As Mollie Kyle, a member of the Osage Nation in Grey Horse, Oklahoma, incomparable Certain Women standout Gladstone talks through some of the movie's homicides early. Before her character meets DiCaprio's World War I veteran Ernest Burkhart — nephew to De Niro's cattle rancher and self-proclaimed 'king of the Osage' William King Hale — she notes that several Indigenous Americans that have been killed, with Mollie mentioning a mere few to meet untimely ends. There's nothing easy about this list, nor is there meant to be. Some are found dead, others seen laid out for their eternal rest, and each one delivers a difficult image. But a gun fired at a young mother pushing a pram inspires a shock befitting a horror film. The genre fits here, in its way, as do many others as Killers of the Flower Moon follows Burkhart's arrival in town, his deeds under his uncle's guidance, his romance with Mollie and the tragedies that keep springing: American crime saga, aka the realm that Scorsese has virtually made his own, as well as romance, relationship drama, western, true crime and crime procedural. Read our full review, and our interview with Martin Scorsese. PAST LIVES Call it fate, call it destiny, call it deeply feeling like you were always meant to cross paths with someone: in Korean, that sensation is in-yeon. Partway through Past Lives, aspiring writer Nora (Greta Lee, Russian Doll) explains the concept to fellow scribe Arthur (John Magaro, Showing Up) like she knows it deep in her bones, because both she and the audience are well-aware that she does. That's what writer/director Celine Song's sublime feature debut is about from its first frames to its last. With Arthur, Nora jokes that in-yeon is something that Koreans talk about when they're trying to seduce someone. There's truth to her words, because she'll end up married to him. But with her childhood crush Hae Sung (Teo Yoo, Decision to Leave), who she last saw at the age of 12 because her family then moved from Seoul to Toronto, in-yeon explains everything. It sums up their firm connection as kids, the instant spark that ignites when they reunite in their 20s via emails and Skype calls, and the complicated emotions that swell when they're finally in the same place together again after decades — even with Arthur in the picture as well. Song also emigrated to Canada with her parents as a pre-teen, but achieves that always-sought-after feat: making a movie that feels so intimately specific to its characters, and yet resonates so heartily and universally. Each time that Nora and Hae Sung slide back into each other's lives, it feels like no time has passed, but that doesn't smooth their way forward. Crafted to resemble slipping into a memory, complete with lingering looks and a transportingly evocative score, this feature knows every emotion that arises when you need someone and vice versa, but life has other plans. It feels the weight of the roads not taken, even when you're happy with the route you're on. It's a film about details — spying them everywhere, in Nora and Hae Sung's lives and their faces, while recognising how the best people in anyone's orbits spot them as well. Lee, Yoo and Magaro are each magnetic and magnificent, as is everything about this sensitive, blisteringly honest and intimately complex masterpiece. And, in one specific shot, waiting for a car has never felt so loaded and conflicted. Read our full review, and our interview with Celine Song. AFTERSUN The simplest things in life can be the most revealing, whether it's a question asked of a father by a child, an exercise routine obeyed almost mindlessly or a man stopping to smoke someone else's old cigarette while wandering through a holiday town alone at night. The astonishing feature debut by Scottish writer/director Charlotte Wells, Aftersun is about the simple things. Following the about-to-turn-31 Calum (Paul Mescal, Foe) and his daughter Sophie (debutant Frankie Corio) on vacation in Turkey in the late 90s, it includes all of the above simple things, plus more. It tracks, then, that this coming-of-age story on three levels — of an 11-year-old flirting with adolescence, a dad struggling with his place in the world, and an adult woman with her own wife and family grappling with a life-changing experience from her childhood — is always a movie of deep, devastating and revealing complexity. Earning the internet's Normal People-starring boyfriend a Best Actor Oscar nomination, and deservedly so, Aftersun is a reflective, ruminative portrait of heartbreak. It's a quest to find meaning in sorrow and pain, too, and in processing the past. Wells has crafted a chronicle of interrogating, contextualising, reframing and dwelling in memories; an examination of leaving and belonging; and an unpacking of the complicated truths that a kid can't see about a parent until they're old enough to be that parent. Breaking up Calum and Sophie's sun-dappled coastal holiday with the older Sophie (Celia Rowlson-Hall, Vox Lux) watching camcorder footage from the trip, sifting through her recollections and dancing it out under a nightclub's strobing lights in her imagination, this is also a stunning realisation that we'll always read everything we can into a loved one's actions with the benefit of hindsight, but all we ever truly have is the sensation that lingers in our hearts and heads. Understanding why the adult Sophie is scouring VHS tapes and her mind's eye for far more than mere nostalgia involves doing what everyone on a resort getaway does: hanging out. Aftersun spends much of its time in the simple holiday moments, including by the pool, at dinner, singing karaoke, day tripping, and in Sophie and Calum's room — and lets these ordinary, everyday occurrences, and the details that flow from them, confess everything they can. Read our full review, and our interview with Charlotte Wells. OPPENHEIMER Cast Cillian Murphy and a filmmaker falls in love. Danny Boyle did with 28 Days Later and Sunshine, then Christopher Nolan followed with Batman Begins, The Dark Knight, The Dark Knight Rises, Inception and Dunkirk. There's an arresting, haunting, seeps-under-your-skin soulfulness about the Irish actor, never more so than when he was wandering solo through the empty zombie-ravaged streets in his big-screen big break, then hurtling towards the sun in an underrated sci-fi gem, both for Boyle, and now playing "the father of atomic bomb" in Nolan's epic biopic Oppenheimer. Flirting with the end of the world, or just one person's end, clearly suits Murphy. Here he is in a mind-blower as the destroyer of worlds — almost, perhaps actually — and so much of this can't-look-away three-hour stunner dwells in his expressive eyes. As J Robert Oppenheimer, those peepers see purpose and possibility. They spot quantum mechanics' promise, and the whole universe lurking within that branch of physics. They ultimately spy the consequences, too, of bringing the Manhattan Project successfully to fruition during World War II. Dr Strangelove's full title could never apply to Oppenheimer, nor to its eponymous figure; neither learn to stop worrying and love the bomb. The theoretical physicist responsible for the creation of nuclear weapons did enjoy building it in Nolan's account, Murphy's telltale eyes gleaming as Oppy watches research become reality — but then darkening as he gleans what that reality means. Directing, writing and adapting the 2005 biography American Prometheus: The Triumph and Tragedy of J Robert Oppenheimer by Kai Bird and Martin J Sherwin, Nolan charts the before and after. He probes the fission and fusion of the situation in intercut parts, the first in colour, the second in black and white. In the former, all paths lead to the history-changing Trinity test on July 16, 1945 in the New Mexico desert. In the latter, a mushroom cloud balloons through Oppenheimer's life as he perceives what the gadget, as it's called in its development stages, has unleashed. Read our full review. EO David Attenborough's nature documentaries are acclaimed and beloved viewing, including when they're recreating dinosaurs. Family-friendly fare adores cute critters, especially if they're talking as in The Lion King and Paddington movies. The horror genre also loves pushing animals to the front, with The Birds and Jaws among its unsettling masterpieces. Earth's creatures great and small are all around us on-screen, and also off — but in EO, a donkey drama by Polish filmmaker Jerzy Skolimowski (11 Minutes), humanity barely cares. The people in this Oscar-nominated mule musing might watch movies about pets and beasts. They may have actively shared parts of their own lives existence the animal kingdom; some, albeit only a rare few, do attempt exactly that with this flick's grey-haired, white-spotted, wide-eyed namesake. But one of the tragedies at the heart of this adventure is also just a plain fact of life on this pale blue dot while homo sapiens reign supreme: that animals are everywhere all the time but hardly anyone notices. EO notices. Making his first film in seven years, and co-writing with his wife and producer Ewa Piaskowska (Essential Killing), Skolimowski demands that his audience pays attention. This is both an episodic slice-of-life portrait of EO the donkey's days and a glimpse of the world from his perspective — sometimes, the glowing and gorgeous cinematography by Michal Dymek (Wolf) takes in the Sardinian creature in all his braying, trotting, carrot-eating glory; sometimes, it takes on 'donkey vision', which is just as mesmerising to look at. Skolimowski gets inspiration from Robert Bresson's 1966 feature Au Hasard Balthazar, too, a movie that also follows the life of a hoofed, long-eared mammal. Like that French great, EO sees hardship much too often for its titular creature; however, even at its most heartbreaking, it also spies an innate, immutable circle of life. Read our full review. CLOSE When Léo (debutant Eden Dambrine) and Rémi (fellow first-timer Gustav De Waele) dash the carefree dash of youth in Close's early moments, rushing from a dark bunker out into the sunshine — from rocks and forest to a bloom-filled field ablaze with colour, too — this immediately evocative Belgian drama runs joyously with them. Girl writer/director Lukas Dhont starts his sophomore feature with a tremendous moment, one that's arresting to look at and to experience. The petals pop; the camera tracks, rushes and flies; the two 13-year-olds are as exuberant and at ease as they're ever likely to be in their lives. They're sprinting because they're happy and playing, and because summer in their village — and on Léo's parents' flower farm — is theirs for the revelling in. They don't and can't realise it because no kid does, but they're also bolting from the bliss that is their visibly contented childhood to the tussles and emotions of being a teenager. Close's title does indeed apply to its two main figures; when it comes to adolescent friendships, they couldn't be tighter. As expressed in revelatory performances by Dambrine and De Waele, each of whom are genuine acting discoveries — Dhont spotted the former on a train from Antwerp to Ghent — these boys have an innocent intimate affinity closer than blood. They're euphoric with and in each other's company, and the feature plays like that's how it has always been between the two. They've also never queried or overthought what their connection means. Before high school commences, Close shows the slumber parties, and the shared hopes and dreams. It sits in on family dinners, demonstrating the ease with which each is a part of the other's broader lives amid both sets of mums and dads; Léo's are Nathalie (Léa Drucker, Custody) and Yves (Marc Weiss, Esprits de famille), Rémi's are Sophie (Émilie Dequenne, An Ordinary Man) and Peter (Kevin Janssens, Two Summers). The film adores their rapport like a summer day adores the breeze, and conveys it meticulously and movingly. Then, when girls in Léo and Rémi's grade ask if the two are a couple, it shows the heartache and heartbreak of a boyhood bond dissolving. Read our full review. ALL THE BEAUTY AND THE BLOODSHED With photographer Nan Goldin at its centre, the latest documentary by Citizenfour Oscar-winner Laura Poitras is a film about many things, to deeply stunning and moving effect. In this Oscar-nominated movie's compilation of Goldin's acclaimed snaps, archival footage, current interviews, and past and present activism, a world of stories flicker — all linked to Goldin, but all also linking universally. The artist's bold work, especially chronicling LGBTQIA+ subcultures and the 80s HIV/AIDS crisis, frequently and naturally gets the spotlight. Her complicated family history, which spans heartbreaking loss, haunts the doco as it haunts its subject. The rollercoaster ride that Goldin's life has taken, including in forging her career, supporting her photos, understanding who she is and navigating an array of personal relationships, cascades through, too. And, so do her efforts to counter the opioid epidemic by bringing one of the forces behind it to public justice. Revealing state secrets doesn't sit at the core of the tale here, unlike Citizenfour and Poitras' 2016 film Risk — one about Edward Snowden, the other Julian Assange — but everything leads to the documentary's titular six words: All the Beauty and the Bloodshed. They gain meaning in a report spied late about the mental health of Goldin's older sister Barbara, who committed suicide at the age of 18 when Goldin was 11, and who Goldin contends was just an "angry and sexual" young woman in the 60s with repressed parents. A psychiatrist uses the eponymous phrase to describe what Barbara sees and, tellingly, it could be used to do the same with anyone. All the Beauty and the Bloodshed is, in part, a rebuke of the idea that a teenager with desires and emotions is a problem, and also a statement that that's who we all are, just to varying levels of societal acceptance. The film is also a testament that, for better and for worse, all the beauty and the bloodshed we all witness and endure is what shapes us. Read our full review. THE BOY AND THE HERON For much of the six years that a new Hayao Miyazaki movie has been on the way, little was known except that the legendary Japanese animator was breaking his retirement after 2013's The Wind Rises. But there was a tentative title: How Do You Live?. While that isn't the name that the film's English-language release sports, both the moniker — which remains in Japan — and the nebulousness otherwise help sum up the gorgeous and staggering The Boy and the Heron. They also apply to the Studio Ghibli's co-founder's filmography overall. When a director and screenwriter escapes into imaginative realms as much as Miyazaki does, thrusting young characters still defining who they are away from everything they know into strange and surreal worlds, they ask how people exist, weather the chaos and trauma that's whisked their way, and bounce between whatever normality they're lucky to cling to and life's relentless uncertainties and heartbreaks. Miyazaki has long pondered how to navigate the fact that so little while we breathe proves a constant, and gets The Boy and the Heron spirited away by the same train of thought while climbing a tower of deeply resonant feelings. How Do You Live? is also a 1937 book by Genzaburo Yoshino, which Miyazaki was given by his mother as a child, and also earns a mention in his 12th feature. The Boy and the Heron isn't an adaptation; rather, it's a musing on that query that's the product of a great artist looking back at his life and achievements, plus his losses. The official blurb uses the term "semi-autobiographical fantasy", an elegant way to describe a movie that feels so authentic, and so tied to its creator, even though he can't have charted his current protagonist's exact path. Parts of the story are drawn from his youth, but it wouldn't likely surprise any Studio Ghibli fan if Miyazaki had magically had his Chihiro, Mei and Satsuki, or Howl moment, somehow living an adventure from Spirited Away, My Neighbour Totoro or Howl's Moving Castle. What definitely won't astonish anyone is that grappling with conjuring up these rich worlds and processing reality is far from simple, even for someone of Miyazaki's indisputable creative genius. Read our full review. SALTBURN Sharp, savage and skewering, plus twisted in narrative and the incisive use of genre tropes alike: as a filmmaker, Emerald Fennell certainly has a type. With the Oscar-winning Promising Young Woman and now Saltburn, the Barbie and The Crown actor-turned-writer/director takes aim, blazes away giddily and blasts apart everything that she can. When she made a blisteringly memorable feature debut behind the lens — giving audiences one of 2021's's best Down Under releases, in fact, and deservingly earning a place among the Academy Awards' rare female Best Director nominees in the process — she honed in on the absolute worst that a patriarchal society affords women. Now, after also pointing out the protection provided to the wealthy in that first effort as a helmer, Fennell has class warfare so firmly in her gaze that Saltburn is named after a sprawling English manor. With both flicks, the end result is daringly unforgettable. This pair of pictures would make a killer double, too, although they enjoy neighbouring estates rather than frolic across the same exact turf. On her leaps from one side of the camera to the other, Fennell also keeps filling her features with such spectacular casts that other filmmakers might hope to fall into her good graces to bask in their glow — a fate that sits at the heart of Saltburn, albeit beyond the movie world. Fresh from nabbing his own Oscar nomination for The Banshees of Inisherin, Barry Keoghan adds yet another beguiling and astonishing performance to a resume that's virtually collecting them (see also: The Killing of a Sacred Deer, Dunkirk, American Animals, The Green Knight and Calm with Horses), proving mesmerisingly slippery as scholarship student Oliver Quick. Usually standing in his sights, Euphoria's Jacob Elordi perfects the part of Felix Catton, aka that effortlessly charismatic friend that everyone wishes they could spend all of their time with. And as Felix's mother Elspeth, father Sir James and "poor dear" family pal Pamela, Rosamund Pike (The Wheel of Time), Richard E Grant (Persuasion) and Carey Mulligan (Fennell's Promising Young Woman star, also an Academy Award nominee for her work) couldn't give more delicious line readings or portraits of the insular but shambolic well-to-do. Read our full review. BARBIE No one plays with a Barbie too hard when the Mattel product is fresh out of the box. As that new doll smell lingers, and the toy's synthetic limbs gleam and locks glisten, so does a child's sense of wonder. The more that the world-famous mass-produced figurine is trotted through DreamHouses, slipped into convertibles and decked out in different outfits, though — then given non-standard makeovers — the more that playing with the plastic fashion model becomes fantastical. Like globally beloved item, like live-action movie bearing its name. Barbie, the film, starts with glowing aesthetic perfection. It's almost instantly a pink-hued paradise for the eyes, and it's also a cleverly funny flick from its 2001: A Space Odyssey-riffing outset. The longer that it continues, however, the harder and wilder that Lady Bird and Little Women director Greta Gerwig goes, as does her Babylon and Amsterdam star lead-slash-producer Margot Robbie as Barbie. In Barbie's Barbie Land, life is utopian. Robbie's Stereotypical Barbie and her fellow dolls (including The Gray Man's Ryan Gosling as Stereotypical Ken) genuinely believe that their rosy beachside suburban excellence is infectious, too. And, they're certain that this female-championing realm — and the Barbies being female champions of all skills, talents and appearances — has changed the real world inhabited by humans. But there's a Weird Barbie living in a misshapen abode. While she isn't Barbie's villain, not for a second, her nonconformist look and attitude says everything about Barbie at its most delightful. Sporting cropped hair, a scribbled-on face and legs akimbo, she's brought to life by Saturday Night Live great Kate McKinnon having a blast, and explained as the outcome of a kid somewhere playing too eagerly. Meet Gerwig's spirit animal; when she lets Weird Barbie's vibe rain down like a shower of glitter, covering everything and everyone in sight both in Barbie Land and in reality, the always-intelligent, amusing and dazzling Barbie is at its brightest and most brilliant. Read our full review, and Greta Gerwig, Margot Robbie, Issa Rae and America Ferrara chatting about the film. SAINT OMER In 2016, a French documentarian with Senegalese heritage attended the trial of a Senegalese French PhD student who confessed to killing her 15-month-old daughter, who was fathered by a white partner, by leaving her on the beach to the mercy of the waves at Berck-sur-Mer. The filmmaker was fixated. She describes it as an "unspeakable obsession". She was haunted by questions about motherhood, too — her mum's and her own, given that she was a young mother herself as she sat in the courtroom. That story is the story of how Saint Omer came to be, and also almost exactly the tale that the piercing drama tells. In her first narrative film after docos We and La Permanence, writer/director Alice Diop focuses on a French author and literature professor with a Senegalese background who bears witness to a trial with the same details, also of a Senegalese French woman, for the same crime. Saint Omer's protagonist shares other traits with Diop as she observes, too, and watches and listens to research a book. A director riffing on their own experience isn't novel, but Saint Omer is strikingly intimate and authentic because it's the embodiment of empathy in an innately difficult situation. It shows what it means to feel for someone else, including someone who has admitted to a shocking crime, and has been made because Diop went through that far-from-straightforward process and was galvanised to keep grappling with it. What a deeply emotional movie this 2022 Venice International Film Festival Grand Jury Prize-winning feature is, understandably and unsurprisingly. What a heartbreaking and harrowing work it proves as well. Saint Omer is also an astoundingly multilayered excavation of being in a country but never being seen as truly part it, and what that does to someone's sense of self, all through Fabienne Kabou's complicated reality and Laurence Coly's (Guslagie Malanda, My Friend Victoria) fictionalised scenario. Read our full review. WOMEN TALKING Get Rooney Mara, Claire Foy, Jessie Buckley, Frances McDormand and more exceptional women in a room, point a camera their way, let the talk flow: Sarah Polley's Women Talking does just that, and this year's Best Adapted Screenplay Oscar-winner is phenomenal. The actor-turned-filmmaker's fourth effort behind the lens after 2006's Away From Her, 2011's Take This Waltz and 2012's Stories We Tell does plenty more, but its basic setup is as straightforward as its title states. Adapted from Miriam Toews' 2018 novel of the same name, this isn't a simple or easy film, however. That book and this feature draw on events in a Bolivian Mennonite colony from 2005–9, where a spate of mass druggings and rapes of women and girls were reported at the hands of some of the group's men. In a patriarchal faith and society, women talking about their experiences is a rebellious, revolutionary act anyway — and talking about what comes next is just as charged. "The elders told us that it was the work of ghosts, or Satan, or that we were lying to get attention, or that it was an act of wild female imagination." That's teenage narrator Autje's (debutant Kate Hallett) explanation for how such assaults could occur and continue, as offered in Women Talking's sombre opening voiceover. Writing and helming, Polley declares her feature "an act of female imagination" as well, as Toews did on the page, but the truth in the movie's words is both lingering and haunting. While the film anchors its dramas in a specific year, 2010, it's purposefully vague on any details that could ground it in one place. Set within a community where modern technology is banned and horse-drawn buggies are the only form of transport, it's a work of fiction inspired by reality, rather than a recreation. Whether you're aware of the true tale behind the book going in or not, this deeply powerful and affecting picture speaks to how women have long been treated in a male-dominated world at large — and what's so often left unsaid, too. Read our full review. ASTEROID CITY In 1954, one of Alfred Hitchcock's greatest thrillers peeked through a rear window. In Wes Anderson's highly stylised, symmetrical and colour-saturated vision of 1955 in Asteroid City, a romance springs almost solely through two fellow holes in the wall. Sitting behind one is actor Midge Campbell (Scarlett Johansson, Black Widow), who visibly recalls Marilyn Monroe. Peering through the opposing space is newly widowed war photographer Augie Steenbeck (Jason Schwartzman, Spider-Man: Across the Spider-Verse), who takes more than a few cues from James Dean. The time isn't just 1955 in the filmmaker's latest stellar masterpiece, but September that year, a month that would end with Dean's death in a car crash. Racing through the movie's eponymous setting — an 87-person slice of post-war midwest Americana with a landscape straight out of a western, the genre that was enjoying its golden age at the time — are cops and robbers speeding and careening in their vehicles. Meticulousness layered upon meticulousness has gleamed like the sun across Anderson's repertoire since 1996's Bottle Rocket launched the writer/director's distinctive aesthetic flair; "Anderson-esque" has long become a term. Helming his 11th feature with Asteroid City, he's as fastidious and methodical in his details upon details as ever — more so, given that each successive movie keeps feeling like Anderson at his most Anderson — but all of those 50s pop-culture shoutouts aren't merely film-loving, winking-and-nodding quirks. Within this picture's world, as based on a story conjured up with Roman Coppola (The French Dispatch), Asteroid City isn't actually a picture. "It is an imaginary drama created expressly for the purposes of this broadcast. The characters are fictional, the text hypothetical, the events an apocryphal fabrication," a Playhouse 90-style host (Bryan Cranston, Better Call Saul) informs. So, it's a fake play turned into a play for a TV presentation, behind-the-scenes glimpses and all. There Anderson is, being his usual ornate and intricate self, and finding multiple manners to explore art, authenticity, and the emotions found in and processed through works of creativity. Read our full review. LIMBO When Ivan Sen sent a police detective chasing a murdered girl and a missing woman in the Australian outback in 2013's Mystery Road and its 2016 sequel Goldstone, he saw the country's dusty, rust-hued expanse in sun-bleached and eye-scorching colour. In the process, the writer, director, co-producer, cinematographer, editor and composer used his first two Aussie noir films and their immaculately shot sights to call attention to how the nation treats people of colour — historically since its colonial days and still now well over two centuries later. Seven years after the last Jay Swan movie, following a period that's seen that character make the leap to the small screen in three television seasons, Sen is back with a disappearance, a cop, all that inimitable terrain and the crimes against its Indigenous inhabitants that nothing can hide. Amid evident similarities, there's a plethora of differences between the Mystery Road franchise and Limbo; however, one of its simplest is also one of its most glaring and powerful: shooting Australia's ochre-toned landscape in black and white. Limbo's setting: Coober Pedy, the globally famous "opal capital of the world" that's known for its underground dwellings beneath the blazing South Australian earth, but reimagined as the fictional locale that shares the film's name — a place unmistakably sporting an otherworldly topography dotted by dugouts to avoid the baking heat, and that hasn't been able to overcome the murder of a local Indigenous girl two decades earlier. The title is symbolic several times over, including to the visiting Travis Hurley (Simon Baker, Blaze), whose first task upon arrival is checking into his subterranean hotel, rolling up his sleeves and indulging his heroin addiction. Later, he'll be told that he looks more like a drug dealer than a police officer — but, long before then, it's obvious that his line of work and the sorrows he surveys along the way have kept him hovering in a void. While he'll also unburden a few biographical details about mistakes made and regrets held before the film comes to an end, such as while talking to the missing Charlotte Hayes' brother Charlie (Rob Collins, The Drover's Wife The Legend of Molly Johnson) and sister Emma (Natasha Wanganeen, The Survival of Kindness), this tattooed cop with wings inked onto his back is already in limbo before he's literally in Limbo talking. Read our full review, and our interview with Ivan Sen and Simon Baker. Looking for more viewing highlights? We also rounded up another 15 exceptional flicks that hardly anyone saw in cinemas this year — plus the 15 best straight-to-streaming movies, 15 best new TV series of 2023, another 15 excellent new TV shows of 2023 that you might've missed and the 15 best returning shows as well. And, we've kept a running list of must-stream TV from across the year, complete with full reviews. Also, you can check out our regular rundown of film and TV streaming recommendations, which is updated monthly.t you might've missed.
There are some parts of Harry Potter's magical world that we're never going to experience, like invisibility and Butterbeer (though we live in hope). The same can no longer be said about moving pictures. Cinemagraphs, a kind of animated gif, are still photos that visually come to life through a minor and repeated movement of one aspect of the image. The technique was invented by US fashion photographers Kevin Burg and Jamie Beck, and the Australian Centre for Photography is giving you the chance to learn how to do it. Hosted by super cool fashion photographer Christian Blanchard, this intensive weekend workshop will leave you with the skills to move your stills. If the only camera you've ever used is the one on your smart phone, this may not be the course for you (there are a couple of pre-requisites to enrol for the course including Camera Craft 1 and 2 and some knowledge of Photoshop). But if you have those skills and your own DSLR, this is your chance to learn some seriously cool visual effects and literally move people (and random inanimate objects) with your art.
Another vaccination milestone, another loosening of COVID-19 rules: that's becoming a Monday tradition in New South Wales. The Greater Sydney region just came out of lockdown this week, on Monday, October 11, after the state hit the 70-percent double-vaccinated mark — and now, with the 80-percent double-jabbed threshold set to be reached in the coming days, more rules will ease across NSW on Monday, October 18. All those restrictions you've been abiding by for the past few days? Yes, they're about to change. And while NSW has an existing roadmap for easing back to the pandemic version of normality, the new requirements that'll kick in at the 80-percent double-vaxxed mark have also been given a tweak, with regional travel from Greater Sydney pushed back until Monday, November 1. "Tomorrow we will probably hit 80-percent double-dose. We have set out a roadmap that from Monday will provide a removal of a number of restrictions put in place. We have only been able to do this because of the significant efforts of the people across New South Wales have made in getting us to this point," said NSW Premier Dominic Perrottet at a press conference today, Friday, October 15. "We have made a decision today — and I know for many it will be unpopular, but as Premier I believe it is the right decision — and that is to defer regional travel from Greater Sydney until November 1," the Premier continued. "The reason we have made that decision is based on vaccination rates in front of us. If you look at where a percentage of LGAs have reached that 80-percent double-dose here in Sydney, that is where regional New South Wales will be on November 1." Media release: reopening roadmap update. #NSWPol #auspol2021 pic.twitter.com/mKbxdO0W53 — Dom Perrottet (@Dom_Perrottet) October 14, 2021 Accordingly, when Monday, October 18 arrives, at-home gatherings can have up to 20 double-vaccinated people in attendance (not including people under 12, who aren't counted as visitors), while outdoor gatherings can go up to 50 double-vaccinated folks. Also, weddings and funerals won't have attendee caps if everyone is double-vaccinated, but the density limit of one person per four-square-metres inside and and one person per two-square-metres outdoors will apply. Also, at both types of events — and in all hospitality venues other than nightclubs, eating and drinking while standing will be permitted both indoors and outdoors. Speaking of nightclubs, they can reopen for double-jabbed patrons, but only with seated drinking — and dancing won't be allowed. At other entertainment venues, up to 3000 double-vaccinated people can attend outdoor events that are both ticketed — or 200 double-vaxxed attendees if the event isn't ticketed or seated. Also, community sport returns for double-jabbed folks. Personal services stores, such as hairdressers and beauty salons, can keep serving double-jabbed customers but with a density limit of one person per four-square-metres — and no customer limit. Also, in offices, masks will no longer be required. The Premier also advised that as well as allowing regional travel throughout NSW from Monday, November 1, a few other changes will become effective on that date. That's when there'll no longer be caps on bookings at hospitality venues, for starters. Also, the quarantine requirement will also be dropped for double-vaxxed overseas arrivals. So, that's when NSW will open back up for international travellers. From there, the other eased conditions already outlined in the existing roadmap are still set to kick in on Wednesday, December 1. Today's announcement comes as revealed that 399 new COVID-19 cases were recorded in the 24 hours to 8pm on Thursday, October 14. For more information about New South Wales' reopening roadmap, head to the NSW Government website. For more information about the status of COVID-19 in NSW, head to the NSW Health website. Top image: Opera Kitchen, courtesy of Sydney Opera House.
Salt Meats Cheese is expanding again. This time, it's heading down south — to the Sutherland Shire. The restaurant chain's fifth New South Wales establishment, which opens its doors today, is a 87-seater located within the art deco and heritage-listed Commonwealth Bank building on Ocean Grove. It boasts big open windows, exposed brick walls and its signature woodfired pizza oven. The pizzas are, of course, the hero here, and include house favourites like the Amatriciana — topped with smoked scamorza, amatriciana sauce, pancetta and pecorino — and the Tartufo, made with fior di latte, mushrooms, gorgonzola and truffle oil. There are gluten-free bases and dairy-free gorgonzola up for grabs, too. With pizza must come pasta, and a standout is the tagliolini with blue swimmer crab, zucchini and chilli. Other Italian staples on offer include antipasti and cocktails. The latter includes a menu of signature spritzes, like the Yarra Valley (Four Pillars Bloody Shiraz gin, prosecco and soda) and the Riviera Spritz (ruby red grapefruit aperitif, prosecco and soda). Cocktails better suited to later in the meal are the amaretto sour and tiramisu martini — which is made with Frangelico and Sydney's own Mr Black coffee liqueur. Salt Meats Cheese's NSW expansion doesn't stop in the Shire, either — a sixt instalment is coming to a rooftop bar in Circular Quay soon, along with a seventh location in Dee Why. Keep an eye on this space for updates. Salt Meats Cheese Cronulla is now open at 66–70 Cronulla Street, Cronulla. It is open Monday–Thursday, 7am–11pm; Friday–Saturday, 7am–midnight; and Sunday, 7am–10pm. Images: Jiwon Kim
When you're grieving, you're haunted. Not in a literal sense, but you might wish you were. Instead, you're haunted by bittersweet flashes of happier times. Haunted by the spaces you shared with someone who'll never again walk through that door, sit on this couch or share your bed. Haunted by knowing you'll always associate certain places with a person who is gone forever. A Ghost Story only shows this experience directly for a small portion of its running time, but the entire movie whispers it like the sweet nothings the bereaved still yearn to hear. When M's (Rooney Mara) husband C (Casey Affleck) is killed suddenly, she roams around their Texan house, cries and devours a whole pie, and then eventually finds a way to move on. But he does not. Wearing the sheet M placed gingerly over his head when she identified his body, C gets up from his morgue slab, returns to their home, watches her grieve, and then continues to wait long after she has left. A woman mourns and a deceased man lingers. Drawing upon ideas as old as humanity, there's little else to the narrative than that. It's an easy plot gets an obvious gimmick to go with it, with Affleck spending the bulk of the film wearing a costume you probably donned as a kid. Emotionally and intellectually, however, the second collaboration between writer-director David Lowery and the two stars of his debut feature Ain't Them Bodies Saints couldn't be more intricate. Like standing under a sheet to jokingly taunt those around you, physically covering up the anxiety-inducing nature of mortality in the process, sometimes the simplest expressions of complex thoughts and feelings are the most effective. While everything that appears on screen seems straightforward — the bed linen attire, the feature's box-like Academy aspect ratio, the use of hard cuts to jump from one scene to another — watching A Ghost Story isn't the same as experiencing it. The film is as much about what happens inside of the audience as it is about what happens around C himself. As Affleck, who proves a skilled actor even under a sheet, observes new residents come and go, buildings rise and fall, and time swirl around, audiences are reminded of all the places that once meant something to them, and the people to whom those places will be forever tied. The sensation that creeps over you when you drive past your childhood home, revisit your old favourite bar, or walk past a site where something life-changing once happened to you: that's the sensation that A Ghost Story perfects. Ultimately, Lowery understands that it's people, rather than places, to whom ethereal memories cling, and that it's mourning that causes our minds to forever link individuals and experiences with certain spaces. Much, much more than just the human equivalent of a ghost emoji standing in an Instagram snap, A Ghost Story is moody and minimalistic in exactly the right ways, and one of the most astute depictions of grief to reach cinemas in a long time. https://www.youtube.com/watch?v=NcYZFmh3sHM
This October, the Sydney Opera House celebrates 50 years of being an internationally renowned Australian icon — and it's pulling out all the stops for a year-long festival to honour its past, present and future. This month, the legendary landmark will pay homage to a beloved figure of its past with The Harbour, a four-week outdoor pop-up restaurant inspired by the original seafood diner that operated in the same location from the late 80s to the early 90s. Open Tuesdays to Saturdays from 12–8pm, The Harbour will be plating up classic fish and chips from the Yallamundi Rooms on the Opera House's Northern Broadwalk. Head down for a leisurely lunch or date night with a difference and tuck into Executive Chef Lee Thompson's menu of sustainably sourced fresh seafood, crisp-fried fish, crunchy golden chips and other takeaway classics like potato scallops, all backdropped by one of the very best views in Sydney. Or, level up with a seafood platter, fish burger or a plate of grilled prawns. As well as the unbeatable surrounds, The Harbour will feature chequered tablecloths, picnic tables and historical projections of the original restaurant. There's also a picnic-ready takeaway menu, perfect for when you want to find your own spot in one of the nearby harbourside gardens. The Harbour is popping up at the Sydney Opera House from January 4 to February 3 (but is closed on January 26). For more information, head to the website.
Australian gin favourite Four Pillars is getting in on the negroni week action by launching pop-up stores around the country. In Sydney, that pop-up will take place within the The Dolphin Hotel. It'll offer the gin brand's new range of bottled negronis, which range from a spiced coffee version to a herbaceous number and one that uses Four Pillars' famed Bloody Shiraz Gin. You can enjoy these batched cocktails at the bar or purchase one for takeaway, with a four-pack also on offer. The pop-up bar will run throughout negroni week, from June 24–30, with $1 from every negroni sold going to OzHarvest. The Four Pillars Pop-Up Bar will be open from 11.30am–midnight daily, with the bottle shop open till 11pm.
"Look on my works, ye Mighty, and despair". The fingerprints of Shelley's timeless poem Ozymandias are all over Ridley Scott's latest foray into the Alien franchise. Perhaps more so than he intended. While the inexorable decline of leaders and their empires forms the central theme of Alien: Covenant, it also feels neatly appropriate for a franchise in dire need of an original idea. Put simply, Alien: Covenant feels like a beat-for-beat remake, which is at once good news and bad. It's good because Scott's original Alien from 1979 remains one of the best films he has ever made, and is arguably the strongest entry in the now eight-film franchise. But it's also bad because, by sticking so closely to a tried and true formula, Scott robs us of the possibility of seeing anything much new. The reason they've gone in this direction is obvious. The previous film in the series, Prometheus, was a wildly divisive effort, splitting audiences over its sudden and sweeping shift away from the killer xenomorph story towards a far more philosophical one built around questions about mankind's origins and purpose. Factor in the movie's many, many plot holes and absurdities, and you at least understand why Scott felt the need to rein things back in. Even so, the extent to which Covenant so quickly dispenses with everything Prometheus established is both remarkable and disappointing. And yet, at the end of the day, this is still a Ridley Scott film, meaning that even at its worst it still has much to offer. Visually, for example, it's another spectacular piece of cinema, combining stunning panoramas with gritty, claustrophobic closeups. We also get some excellent work from the likes of Katherine Waterston, Billy Crudup and – in an impressive dramatic turn – comedian Danny McBride. That said, the MVP gong absolutely belongs to Michael Fassbender, although in order to avoid spoilers we can't really say why. Finally, there's the action. For all of his film's shortcomings, Scott manages to craft at least one set-piece, in which the aliens first appear, that proves absolutely gripping. This is a gory, frenetic and xenomorph-heavy return to safe and familiar territory for the Alien saga, which will doubtless come as pleasing news to all of Prometheus's detractors. And yet, to quote Shelley, nothing beside remains round the decay of this colossal wreck. No more questions. No more mystery. Just lone and level sands stretching far away. https://www.youtube.com/watch?v=svnAD0TApb8
If you’re Newcastle-based or maybe planning a little trip up for the long weekend, check out Crack Theatre Festival. Part of the yearly independent arts festival This Is Not Art (TINA), Crack is now into its sixth year and is once again treating Newy to an eclectic smattering of theatre, art, dance, circus, stand-up, installations, masterclasses and panels, including the thought-provoking live-action documentary Kids Killing Kids. This year’s co-artistic director Nick Atkins says, "Crack scans the country for quality contemporary performance and helps it to land on its feet in Newcastle." Over 70 artists will present over 50 works in what sounds like a stimulating (and free!) weekend embracing creative discovery and the outlandish. So maybe head along to support young performers testing out original material, touring collaborative works and experimenting with new ideas. If you don't know what to see, just pick the shows with the most intriguing names — Nicole Henriksen's comedy piece Naked Unicorn Vomit would be my personal preference. You can check out the full festival program at the Crack Theatre Festival website.
You know those days where all you really need is a good hug? Sri Mata Amritanandamayi Devi can sympathise, and she'll even provide that warm hug...that is, if you are patient enough to wait in the queue. Known to her followers as 'Amma', this Indian spiritual leader is on a hug campaign, having already shared the warmth of her hug with 31 million people worldwide. Last week, Amma paid Australia a visit; she drew huge crowds in Sydney, Queensland, and Melbourne, all desiring one of her healing hugs. To be greeted by eager masses awaiting her arrival is nothing new for her: originally from Kerala, India, Amma travels have taken her everywhere from Sri Lanka to Haiti, into the arms of millions. During a recent trip to Penang, Malaysia, Amma hugged 40,000 devotees over the course of 20 hours. She claims that her connection to an "eternal power source" enabled her to deliver so many hugs, all without even pausing for a break. With her hugs, Amma seeks to transfer a sense of peace and pure love. Her humanitarian efforts have extended into her organisation, Embracing the World, which has successfully established homes for the homeless, food kitchens for the hungry, and safe havens for women. She has also set up schools, orphanages, and environmental programs. So, what exactly does it feel like to be hugged by one of the world's great humanitarians? You could ask one of the 4,000 Sydney Boys' High School Students who queued up on the 18th for their turn. Or any of the thousands upon thousands of Australians who waited for their chance. Or, perhaps, 43-year-old mother, Hema, said it best: "Tears just rolled down my cheeks. It was just like a mum giving you a loving hug and her love was pouring into me. That feeling lasts forever," she told BBC. https://youtube.com/watch?v=HiSmx1odU-k
UPDATE, May 30, 2021: High Ground is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Violence is never splashed across a cinema screen unthinkingly. Depicting physical force is always a choice, even in by-the-numbers action films where fists and bullets fly far more frequently than meaningful moments. Accordingly, when brutality and bloodshed arrives in a movie that peers back at Australia's colonial past, there's no doubting that the filmmakers responsible have considered what they're including, why, the message it conveys and the impact it'll have on the audience. High Ground is one such Aussie feature. This outback western joins a growing number of homegrown efforts, such as Sweet Country, The Nightingale and The Furnace, and it's just as exacting about its scenes of confrontation and carnage. All excellent films, they each ensure that watching atrocities committed by white Australians against First Nations people and people of colour isn't a passive act — because having a visceral and emotional reaction, facing the horrors of Aussie history and releasing the imprint such violence still leaves today is the only natural response. High Ground's main forceful encounter occurs early, motivating everything that follows and proving impossible to forget. In 1919, ex-World War I sniper-turned-police officer Travis (Simon Baker, Breath) sets out across the area now known as Kakadu National Park, leading a law enforcement team on a routine expedition to track down runaway criminals. Travis is respectful of Arnhem Land's Indigenous residents; however, it doesn't take much — namely, the decisions of his less fair-minded colleagues — for the journey to end with slaughter. Twelve years later, in the 30s, Travis is still haunted by the incident. Thanks to one of High Ground's most important choices, it doesn't require any effort at all to understand why he feels the way he does, or why his eyes have taken on a sorrowful glint. The movie's viewers have witnessed the same awful events, with Aboriginal men, women and children who were enjoying a peaceful waterside gathering all suddenly and savagely killed, and a boy called Gutjuk (debutant Guruwuk Mununggurr) only managing to leave the scene alive due to Travis' intervention. The bulk of the film takes place in its later time period, when Travis is enlisted by his superior Moran (Jack Thompson, Never Too Late) and ex-partner Eddy (Callan Mulvey, Shadow in the Cloud) to address the still-lingering aftermath of the massacre. One of the few survivors, Baywara (Sean Mununggurr, Lucky Miles), has been waging a campaign of revenge — and, despite the fact that Travis turned in his badge in disgust after his bosses covered up the incident, he's given the task of locating him. Baywara is also Gutjuk's uncle, which sparks a reunion between the ex-cop and the child he saved. Of course, the latter is now a young man (fellow first-timer Jacob Junior Nayinggul), has spent the past decade-plus at a local mission with the kindly Father Braddock (Ryan Corr, Hungry Ghosts) and his sister Claire (Caren Pistorius, Unhinged), and is as begrudging about the new expedition as Travis. He's also just as aware that a showdown looms between Australia's colonisers and its original inhabitants, and that whatever eventuates isn't likely to be peaceful. Even when untainted by blood, the country's landscape has blazed with red, orange and ochre hues since long before European settlement — since the sun first started beating down upon it, undoubtedly — with those colours helping many an Aussie film bake heated feelings of fury and torment into their frames. Indeed, simmering anguish goes with the territory in High Ground. That's true of every movie that recognises that Australia was far from terra nullius when the First Fleet arrived, but there's no escaping the scorching mood that radiates here, as director Stephen Maxwell Johnson (Yolngu Boy) intends. Working with cinematographer Andrew Commis (Babyteeth) to bring screenwriter Chris Anastassiades' (The Kings of Mykonos) script to the screen, the filmmaker fills his first feature in two decades with picturesque yet also pulsating scenery. Peering down at eye-catching swathes of the Northern Territory, the nation's earthy beauty is striking and stunning, and so is the knowledge that it has been walked upon by Indigenous Australians for tens of thousands of years. And one goes with the other, as the movie's soundtrack also helps reinforce, layering the noises of birds and wildlife with songs by Yolngu singers such as Yothu Yindi's Witiyana Marika — who also appears in the film as Gutjuk's grandfather Dharrpa — and his son Yirrmal Marika. Johnson has a history with Yothu Yindi, directing music videos for the group, including for its 1991 hit track 'Treaty'. He also grew up in the NT, and has ties with Arnhem Land and Kakadu National Park's Yolngu and Bininj Aboriginal communities. And, he worked with the elder Marika and the late Dr M Yunupingu, also of Yothu Yindi, as the script for High Ground and the project in general evolved. It should come as no surprise, then, that the film stings with authenticity. It tells a fictional tale, but does so to illuminate inescapable truths. Everyone involved knows that they're interrogating a difficult but vital subject, and aims to get their audience thinking as long and hard as Johnson and his collaborators clearly have about the details, the violence, and the way the country's historic treatment of its First Peoples still echoes today. In one of his rare homegrown roles of late, Baker belongs among High Ground's intensely contemplative talent. He's one of the film's executive producers as well, but he's ideal on-screen. That said, he's at his best when he's acting opposite the exceptional Nayinggul, who seems to live and breathe Gutjuk's pain and conflict with such soulfulness and sincerity that his performance appears near-effortless. Their pairing speaks volumes at every turn, too. They play men pushed together by circumstance, with one made to confront the ills that an entire nation would rather ignore and the other forced to help clean up an invading culture's unspeakable acts. That juxtaposition alone paints a potent picture, and a purposeful one — but that's this latest great Aussie film all over. https://www.youtube.com/watch?v=WL-G4oCoDF0
Sydney Dance Company has just settled into its brand new, custom built studios along Ultimo's Wattle Street, and the fresh digs are looking classy. The modern studio is so excited to share its new space with the masses that it's offering up heaps of classes on the cheap until the end of October — including an all-you-can-dance membership for just $55 per week. Established back in 1976, the acclaimed dance company is made up of some of the country's leading dancers and choreographers, many of whom have performed across the world's greatest stages in New York, Paris, Shanghai and Moscow, not to mention at home in the Sydney Opera House. The company's new studios have up to 65 dance and fitness courses on offer each week — from ballet, jazz and tap to hip hop and latin funk, along with pilates and stretch. Classes are held morning to night, so it's easy to fit in a class, whether you like to shake-it-off pre-brekkie, during your lunch break or post-work. Plus, classes are held for casual drop-ins, so you can join at any point during the year without terms or start dates. What's more, there are deals on aplenty to come along with these new digs. Casual visits will cost just $22, or a week of unlimited classes will ring up at $55. Newcomers can nab three classes for $30 (valid through October 31) and Sydney Dance Company is also slinging $95 five-class or $170 ten-class vouchers (valid for six months). Whether you're a two-left-feet newcomer or a lifelong dancer, these classes are for all ages (16 years and above) and levels — so bring it on.
Australian hip hop could be called underrated. More often than not it doesn't get the attention and accolades it deserves; why not give it a chance? Consistently pushing the genre toward the Australian mainstream, Sydney's Chance Waters is returning with a brand new single and a national tour to back it up. His blend of pop, hip hop and a splash of doo-wop makes for feet-tapping tracks that will have you dancing deep into the night. Which night? Saturday, April 12 at Oxford Art Factory. Returning to his hometown for the Sydney leg of his excellently titled A Transit Officer Beat Up My Brother So I Wrote a Funny Song About Him tour, Waters will perform new material from his forthcoming third album to be released later this year, featuring upcoming new single 'The Ticket Inspector' as well as recent Triple J favourites 'Young & Dumb', 'Looking For Something' and 'Bonnie'. Special guest Brendan Maclean will join Waters in support, geared to warm things up with tracks from his Paul Mac-produced EP Population, home to the crowdfunding YouTube triumph 'Stupid'. Maclean has taken to Facebook to suggest "glitter, colour and fantasy wear" as appropriate audience garb for the gig, with dancing shoes highly recommended by the Concrete Playground team. Although two of the tour dates have been postponed (at Melbourne's Howler and Brisbane's Alhambra Lounge), the Sydney show is locked down and ready to hit Oxford Art Factory with full force. https://youtube.com/watch?v=k3u_YRY-PSw
Now in its third year, Harvest Festival has already established a name for itself in Australia's absurdly crowded festival market, pitching itself as 'a civilised gathering' for those disinclined to battle the marauding hordes at some of the larger summer festivals. But Harvest has also established itself as a destination for "serious" music fans, its first two lineups a compelling combination of household names (The Flaming Lips, The Family Stone, Beck and Grizzly Bear, to name but a few) and slightly more niche bands with small but fervent fan bases (Cake, The Walkmen, Los Campesinos! and Mike Patton's Mondo Cane prime examples). And this year's lineup continues the tradition, with superstars again rubbing shoulders with exciting up-and-comers, reunited indie heroes and longtime favourites. It remains to be seen how the vibe of the Sydney show will change as it shifts from the bushland sprawl of Parramatta Park to The Domain, but judging by the lineup no one is going to be complaining about the music! Here's the lineup for 2013, with more bands to come as we get closer to the date: Massive Attack Franz Ferdinand Primus! Goldfrapp Neutral Milk Hotel Desaparecidos (one of Conor Oberst's bands, he of Bright Eyes fame) Eels CSS The Drones Black Rebel Motorcycle Club Mutemath M Ward Superchunk The Wallflowers Walk Off The Earth Sunday, November 10 -Werribee Park, Melbourne Saturday, November 16 – The Domain, Sydney Sunday, November 17 – Botanic Gardens, Brisbane
There's plenty of competition in the race for Sydney's top Thai food, but beloved restaurant group Chat Thai is a strong and spicy front-runner. The no-nonsense Randwick iteration is ideal for casual, shareable feasts. Pull up a stool out front or head inside with a few beers and start with classics like ultra-crispy fish cakes and a round of fresh spring rolls. Turn up the heat with a sweet and spicy green papaya salad with peanuts and dried shrimps, an unbeatable tom yum goong or a five-spiced roasted duck red curry. Round out the evening with a table-full of coconut ice cream, sticky rice and mango.
Among the wealth of new content that Netflix drops on viewers each and every year, Dead to Me proved one of the streamer's 2019 hits. Taking a few cues from 2018 film A Simple Favour, the show's ten-episode first season told the tale of two women who meet, become friends despite seemingly having very little in common, and help each other with their daily lives — then find themselves immersed in more than a little murky business. Back in May this year, the twisty dark comedy returned for a second season — with stars Christina Applegate and Linda Cardellini coming back as well. The former plays a just-widowed woman trying to cope with losing her husband in a hit-and-run incident, while the latter pops up as a positive-thinking free spirit. Initially they crossed paths at a grief counselling session, sparking a definite odd-couple situation — which has evolved to feature secrets, lies, complications, cliffhangers and more than one murder cover-up over the show's two seasons to-date. If you've become a fan of Applegate's Jen Harding, Cardellini's Judy Hale and their antics — and fellow series co-star James Marsden, too — Netflix has revealed some good news: after the show's latest big ending, it's coming back once more. And we do mean once. The streaming platform has renewed the series for a third and final season, The Hollywood Reporter notes, which'll wrap up the program's story. Created by 2 Broke Girls writer Liz Feldman, the series marks Applegate's first lead TV role since 2011-12 sitcom Up All Night. For Cardellini, it's a return to Netflix after starring on the streaming platform's drama Bloodline — and she also featured in A Simple Favour, too. If you haven't watched it yet, check out the full trailer for Dead to Me's second season below: https://www.youtube.com/watch?v=HmU7ylnmn_M Dead to Me's third season will hit Netflix at a yet-to-be revealed date — we'll update you with exact details when they come to hand. The show's first and second seasons are available to stream now. Via The Hollywood Reporter. Images: Saeed Adyani / Netflix.
If there's been a big, White Night-shaped hole in your social calendar since the famed Melbourne after-hours fiesta wrapped up its last edition in February 2018, you'll be happy to know it's making a return this August. Just be prepared for a very different experience, as the immersive festival makes some serious changes to its programming and farewells part of the late-night fun. As well as making the move from summer to the deep of winter, White Night Reimagined has swapped its previous one-night format for an expanded three-night affair. Interestingly, it's also scrapped the all-nighter aspect in the process. Instead of the usual 7pm–7am program, which has been in place since the festival's inaugural 2013 edition, White Night is this year running from 7pm until midnight on Thursday, August 22, and again on Friday, August 23, followed by a 7pm until 2am session on Saturday, August 24. The new curfew means punters will no longer get to experience what some might argue is one of White Night's biggest pulls — the adventure of roaming around town soaking up art and installations, right through until the wee hours. Although, frosty August probably isn't the best time of year for pre-sunrise wanderings, anyway. The new-format event has also expanded in scope, held across three key precincts with each boasting its own distinct theme. Treasury Gardens will take the form of the 'Sensory Realm', showcasing dazzling projections, lighting and audio installations, and interactive artworks inspired by the five senses. Here, you'll find British artist Michael Pinsky's immersive Pollution Pods, which represented the different environments of global cities; a musical and calming SongCloud; a colourful light and audiovisual installation called Cluster; as well as a giant floating Cocoon made from 1000 lights tied together by ropes. Carlton Gardens will be transformed into the mystical 'Spiritual Realm', featuring a huge ten-metre lion puppet by Melbourne artist Joe Blanck, along with illuminations sharing the stories of Indigenous Australia. And the 'Physical Realm' descends on Birrarung Marr, showcasing the Aussie debut of internationally acclaimed street theatre performance Globe, from a troupe of 41 acrobats, aerialists, singers and actors. Other famed Melbourne spots coming to the party include the Melbourne Museum, the National Gallery of Victoria and the State Library Victoria, all hosting their own programs of art, food and music. The rest of White Night Reimagined's extended program, including the music component, is set to be revealed in the coming weeks. Starting from 2020, White Night will also form part of a new and bigger winter festival, in conjunction with the Melbourne International Arts Festival (MIAF).
Ding Dong Dang-ers, you've got a new karaoke spot to try obliterating your vocal chords at. Surry Hills' Japanese-style street bar Goros has just had a mini-revamp, counting two brand new karaoke rooms in the new features to be revealed on Monday, April 27. Sitting just outside the lockout zone, Goros are truly capitalising on the best or worst of late night kick-on choices — screeching 'Let It Go' into a shitty mic and throwing back a few Bacardi Breezers amongst the lasers. But these aren't your regular, lovably tacky karaoke rooms (and you won't be drinking alcopops). Built for groups of up to ten punters, Goros' new rooms have your regular big screen TV and microphone set-up. But there's also a dress up box. A dress up box. Things are inevitably going to get loose during 'Love Shack'. Goros' new karaoke rooms aren't the only new features of the reno; there's a new classic arcade games area — yep, they've got Tekken and Point Blank — and they've created six new booth spaces to snuggle into before pulverising your throat with 'You're the Voice' and the inevitable 'Bohemian Rhapsody'. Line that stomach with a Tokyo Chilli Dog from the new menu (the kitchen's open until 2am on Friday and Saturday nights and 12am on Thursdays), or try the new yakitori roulette wasabi challenge every Wednesday night. To give you a little liquid courage, there's now sake shots on the revamped Japanese spirit and cocktail list — best perused through the bar's old-school Viewfinders. There's $15 'sake journeys' on offer, a flight which includes three different sakes to get you ready to do some damage on 'Hotel California'. Happy hour runs between 5.30pm and 7.30pm Monday-Friday, which is a little early for karaoke but you might be naturally lacking in inhibitions already. You go Glen Coco. Find Goros at 84-86 Mary Street, Surry Hills. Reopen from Monday, April 27.
Tokyo Lamington loves a collaboration. During lockdown, the Newtown dessert specialist brought its inventive lamington creations to suburbs around Sydney by teaming up with the likes of By George, Circa Espresso and Stitch Coffee. Back in 2020, it teamed up with Koko Black for a series of limited-edition lamingtons. And now, the inner west favourite is coming together with the legendary Lotus Dining Group for a set of treats to celebrate the Year of the Tiger. The limited-time lamingtons consist of three creations — The Tiger, The Fortune Cookie and The Lychee. The Fortune Cookie and The Lychee are both made with vanilla sponge cake, with The Fortune Cookie containing a crushed fortune cookie and white chocolate mousse and coated in white chocolate and crushed cookie crumb. The Lychee on the other hand coated in coconut and pistachio flakes. As for The Tiger, the lamington is made with a charcoal black sponge cake and a yuzu, sesame cream and orange curd centre. "The team at Tokyo Lamington are really creative and we love the way they celebrate diverse flavour combinations," Lotus Dining Group's Head Chef Steve Wu said. "These three lamington flavours are delicious, and I think they will provide a balanced finish to Lunar New Year banquets across our venues, sharing happiness and prosperity with our diners." There are three ways you can get your hands on these lamingtons. The Tiger lamington will be available in-venue at all of Lotus Group's Sydney venues at Tokyo Lamington in Newtown, or if you want to try all three you can head to Lotus at The Galleries where you can score a three-pack for $29. The final way is through delivery service Providoor which offers the triple packs on their own or as part of the Lotus Dining Group Lunar New Year banquet. Images: Alana Dimou
Streaming platforms have become one of modern life's certainties, with new instances continuing to pop up all over the place. When Disney launches its own online streaming service, Disney+, fans of the company's Marvel Cinematic Universe and Star Wars saga will have plenty to celebrate — and fans of Disney's animated film catalogue will now as well. Expected to launch later this year in the US — with details on availability elsewhere yet to be confirmed — Disney+ has already announced a heap of new content; however it's the full range of old favourites that'll take viewers back to their childhoods. The company has long maintained the 'Disney Vault', which involves releasing its beloved flicks on home entertainment formats for a limited time only, then taking them out of circulation. When Disney rolls out its own streaming platform, that tactic is set to end. Speaking at the company's annual meeting in St. Louis, CEO Bob Iger noted advised shareholders that "at some point fairly soon after launch, it will house the entire Disney motion picture library," as Vulture reports. To make his point clear, he went further: "so the movies that… traditionally have been kept in a vault and brought out basically every few years will be on the service," Iger explained. On the new front, Disney's recent flicks are also expected to be made available on Disney+, with subsequent cinema releases due to hit the service within a year of their big-screen release. The platform will also be home to not one but two small-screen Star Wars series, plus several Marvel series (and given that Disney owns both Lucasfilm and Marvel Entertainment, Disney+ will likely will boast an entire galaxy of shows related to each huge franchise). Fans of the George Lucas-created space opera can not only look forward to the $100 million Star Wars series The Mandalorian from The Jungle Book, Iron Man and Iron Man 2 director Jon Favreau (and with Thor: Ragnarok director Taika Waititi helming an episode), but also a new spin-off from Rogue One. The latter, called Cassian Andor, will be set before the events of the film and will focus on Diego Luna's Rebel spy, with the actor reprising his role from the movie. In the Marvel sphere, while rumours have been floating around for some time, Disney announced that Tom Hiddleston's trickster Loki will definitely be getting his own series. Just what storyline it'll follow, or when it'll be set, is yet to be revealed. That said, it's safe to assume that it might be a prequel series as well. Release dates for the three series haven't been unveiled either — and nor has any word on the other Marvel show that has long been rumoured, about Elizabeth Olsen's Scarlet Witch and Paul Bettany's Vision. Disney+ is definitely going big when it comes to bringing the company's well-known properties to the new streaming platform, with a High School Musical TV series, another show based on Monsters, Inc. and a live-action Lady and the Tramp movie also on its lineup. And while a big batch of the aforementioned existing Disney content is currently available on Stan in Australia, spanning movies and TV series, you can reasonably expect that that arrangement will be impacted by Disney+. Via Vulture.
Update, Thursday, July 19: Due to overwhelming demand at pre-sale, the Opera House has just announced that Wu-Tang Clan will be performing two more shows this December. The extra shows will take place on Monday, December 10 and Tuesday, December 11. Tickets for all four shows go on sale to the general public at 9am, Thursday, July 19 — so now you have double the chance of snagging a ticket. If you're a hip hop buff, the phrase "Enter the 36 Chambers" probably gets you excited for a particular East Coast US rap group. After much speculation, caused by mysterious social media posts and posters plastered around the country, it has been confirmed that Wu-Tang Clan is coming Down Under. Time to prepare your dollar dollar bills — the group will be hitting Aussie soil this December, playing two exclusive shows at the Sydney Opera House on Saturday, December 8 and Sunday, December 9. The last time the group came to Australia was back in 2016, and this time they'll only be hitting up Sydney. The shows will coincide with the 25th anniversary of Enter the Wu-Tang (36 Chamber), which features hit tracks 'C.R.E.A.M.', 'Wu-Tang Clan Ain't Nuthing ta Fuck Wit' and 'Protect Ya Neck'. All nine members — RZA, Method Man, Ghostface Killah, Raekwon, U-God, Masta Killa, Inspectah Deck, GZA and Cappadonna — will perform the acclaimed album in full for the first time in Australia. Earlier this month it was announced that Kendrick Lamar was bringing his much-hyped 'DAMN.' pop-up to Australia, and we can only hope Wu-Tang Clan follows suit, bringing its 'Wu-Tang: The Saga Continues' Pop-Up Down Under, too. Wu-Tang Clan 'Enter the Wu-Tang (36 Chamber)' 25th Anniversary shows will take place in the Sydney Opera House Concert Hall on Saturday, December 8 and Sunday, December 9. Tickets go on sale at 9am, Thursday, July 19. Pre-sale tickets go on sale at 9am, Wednesday, July 19 and to get access you'll need to sign up to the Opera House newsletter. Image: Danny Hastings
Wubba lubba dub dub, Rick and Morty fans. Yes, everyone's favourite interdimensional adventurers are finally back. It's been way too long since a certain eccentric scientist and his anxious grandson caused chaos across the multiverse, with the animated sitcom's third season releasing in 2017 — and if you've been feeling the duo's absence over the past two years, you're not alone. Even the just-released new trailer for the series' next batch of episodes recognises the elephant in the room — or the lack of Mr Meeseeks and Mr Poopybutthole on our screens, to be specific. Those beloved characters are back, too, alongside Rick Sanchez and Morty Smith (both voiced by show co-creator Justin Roiland); Morty's mother Beth (Sarah Chalke), father Jerry (Chris Parnell) and sister Summer (Spencer Grammer); and all the world-hopping craziness that anyone could ever hope for. If you've been counting down the days since the last episode hit back in October 2017, the fourth season will rejoin the smartest Rick and Morty-est Morty in the universe — and absolutely anything could happen from there, really. If you're just getting schwifty with the series for the first time, Rick and Morty doesn't just ape a concept straight out of Back to the Future (aka a lab coat-wearing old man, his teenage sidekick, and their time- and space-jumping antics), but filters that idea through the inventive minds of Roiland and Community's Dan Harmon. After proving such a huge hit across its first three seasons, there's plenty more Rick and Morty to come, with the show renewed for a huge 70 episodes by US network Adult Swim last year (which is more than double the 31 that the comedy has aired to date). Of course, all that animated insanity takes time to put together, hence the delay. The first five new episodes are slated to drop from mid-November in America — watch this space for local release details. And that's the wayyyyyy the news goes — check out the fourth season's trailer below: https://www.youtube.com/watch?v=Rw6BrzB1drs Rick and Morty's fourth season will start airing weekly from November 10 in the US. We'll keep you updated with a release date Down Under once one comes to hand.
There's no doubt Sydney is passionate about its food. With restaurants like Quay, Tetsuya’s and Marque among the best in the world, the city is shaped by its food and the culture it brings. But how does what we put on our plate affect the world outside our kitchens, and vice versa? Two of the city's driving forces in its bustling food scene, the City of Sydney and the Sydney Morning Herald, have partnered to present a panel on just this issue, titled Recipes for Change: How food is changing the cultural and community life of cities. Around the world, many cities are searching for sustainable and ethical ways to source food. Lord Mayor Clover Moore, who has steered Sydney towards a small bar revolution, will discuss how local initiatives like community gardens can help cities plan for a food crisis. With a star-studded culinary line-up including Merivale CEO Justin Hemmes, OzHarvest founder Ronni Kahn, and food writer Jill Dupleix also speaking, it's any foodie's dream. The city's army of food trucks will be waiting outside to make sure guests are well fed and ready to listen about Sydney's food future. Recipes for Change is listed as full, but uncollected (free) tickets will be rereleased to grab in person from 6.25pm on the night.
UPDATE, March 4, 2021: God's Own Country is available to stream via Netflix, Google Play, YouTube Movies and iTunes. When God's Own Country begins, it's with a quiet Yorkshire farmhouse swiftly disturbed by the sound of retching. Johnny Saxby (Josh O'Connor) has had yet another boozy night out, and he's suffering the consequences. Unfortunately for him, the land and the livestock won't wait for his hangover. It's an appropriate opening to a film that looks like a gritty, austere, social realist drama, but contains much that cannot be constrained. The after-effects of drinking have nothing on lusty, bubbling emotions. The first feature film from writer-director Francis Lee, God's Own Country pairs its struggling farm setting with surging desire, and asks its characters to weather hardships with both. Shot in the part of England the filmmaker grew up in, on a property much like his own father's, the movie follows Johnny's reaction when handsome Romanian Gheorghe (Alec Secareanu) arrives to assist during lambing season. Initially, Johnny's reluctant and even rude, though he can't help being impressed by the newcomer's skills with the job at hand. But cold nights spent in the countryside eventually warm up more than his appreciation for hard work. As something physical blossoms into even more, Gheorghe proves a positive influence on Johnny's self-destructive tendencies. If that description reminds you of another movie, you're certainly not alone. The phrase "British Brokeback Mountain" has been used to describe Lee's film since it premiered at Sundance in January. More than just a convenient way to describe a rural queer romance, it's a comparison that's well and truly earned. Men working the land and making a connection; concerns about the response of Johnny's unwell father (Ian Hart) and stoic grandmother (Gemma Jones); scenic sights and swelling feelings: the commonalities are all there, although God's Own Country ultimately follows its own path. More importantly, both films present a raw and affecting love story teeming with honesty and emotion. One thing's for certain: this isn't a restrained affair. Instead, it wears its heart proudly on Johnny and Gheorghe's muck-covered sleeves. It's a film that's unafraid to depict the harsh realities of farm life, or delve into the frustrations and troubles that come with it. Nor does it shy away from the heated passion of its erotic scenes. Blood, spit, mud, rough tumbles and tender moments all wash across the screen, drawing viewers into a realistic, resonant account of the two men's growing intimacy. In the process, God's Own Country does what every romance endeavours, but can't always manage: it ensures that every stolen glance, hard-earned smile, quiet gesture and clenched hand is felt by more than just the people on the screen. Pitch-perfect performances by O'Connor and Secareanu help, of course, with the actors giving their characters both texture and sincerity. So too does the fond but still clear-eyed way that cinematographer Joshua James Richards lenses everything from the sparse, sprawling hills to Gheorghe and Johnny's breathless encounters. https://www.youtube.com/watch?v=C-N_tdBhCjI
There are few bands with enough unfaltering stamina to line up a debaucherous, beer-fuelled pub crawl to kick off every night of their Australian tour. But Brisbane's Dune Rats leave the rules at home, abiding by one big ol' proviso: "no kooks, no gutties." Whatever the blazes that means, these bloody corker dudes surf self-generated waves of laidback party-fuelled philosophy. We checked in with the Dunies in Kuala Lumpur during the South East Asian leg of their world tour, or "Koala Kangaroo" as bassist Brett Jansch calls it. The Brisbane lads have been on a furious bender around the globe, rambling around South Africa, Europe and South East Asia in mobile homes and tour buses — with their sights set back home for June. "It's fuckin' awesome," Jansch says "Last night was like, the first time I've slept in a bed for like, the last however long it's been. Just chilled. We had like, a motorhome, then a little campervan all tour." It's good for the Dunies to kick back after months on the road, with all the modern conveniences that come with the gloriousness of hotel life. "I watched this thing on the TV last night called 100 Most Favourite '90s Songs or something, they had like LL Cool J and Marky Mark and shit, it was sick." https://youtube.com/watch?v=CjJ0ABIwOfo On An American Death Trip of Dreams Dune Rats' BC Michaels, Danny Beusa and Jansch have been away from home for some time now, heading to the US, staying in a New York AirBnB warehouse, driving along the West Coast from San Diego to Vancouver and filming their own (sorta) web series American Death Trip of Dreams. Then they bailed over to Europe and the UK. "Ah fuck, I just had such a sick time in the UK and Europe... In America I just get super fat and then washed up, then you get hungover and then you get fat again. Then it's ok, then you get fat again. It's not good for your health, America." "When we just came back, there was about two weeks at home and we all dissipated to our families' respective, like, sanctuary zones because everyone was just wrecked. Too much of America. Then we came to the UK and everyone's like, BC's gettin' a full six pack hey? Eatin' lots of fruit and veg for the last few weeks!" The Dunies made their way to Liverpool, playing an Aussie BBQ during the city's legendary festival Sound City. "That was fuckin' super fun. There were so many Brisbane bands there and we were all "How the fuck are we all here in one place?" That was actually a corker of a time hey." After months on the road, the Dunies will head back home to Australia for a national tour, showcasing their debut album set for release on June 1. It'll be the first time the trio have played to home audiences for months. The tour kicks off on the west coast and ends up back where they all started. "I'm pretty fucking excited to get home, that's for sure. We haven't played in Brissy for ages," says Jansch. "We've been away for so long and hopefully we can just get back and hang out with our buddies and just talk about anything else, find out what they're doin'. https://youtube.com/watch?v=0APj4u-56Jw On Turning an Australian Tour into a Pub Crawl Pieced together like a rambunctious escapade of regrets, the Dunies will host a pub crawl in every city before the gig for fans who've preordered their debut album (out June 1). "Well I guess you just want to get as fucked up as possible before the gig with all our friends and buddies that have preordered the album in order to come to the pub crawl," Jansch says in a wink-wink, nudge-nudge moment of please-buy-our-albumness. "We'll find the right place where we can all hang out together near the venue or whatever and just go pub to pub. "So honestly, we'll be going on a pub crawl all around Australia I guess. I wonder if anyone will come all the way with us. If someone does, they can definitely have a fuckin' t-shirt! They can have a hangover as well." Supporting Dune Rats will be different buds in each state. "We've kind of put together just all our fucking favourite bands and our friends to play, you know... So it's going to be a fucking party every night, especially now with our pub crawls and shit.," Jasnch realises. "Fuck, I think it's going to be a full wash up by the end of it." https://youtube.com/watch?v=1TKRT5IQtjQ On Writing at Brett's Mum's House The Dunies' debut album came to fruition in the most unlikely of locations. The trio headed to Brett's mum's house and started writing. Well, planted a vege patch, went surfing, wrote a bit, hung out, went surfing, wrote again, played a bit, all with Mum's permission. Has to be said: Coolest. Mum. Ever. "She was frothing! You know, I bet whenever the door was shut she was probably sitting on the fuckin' step outside, like with a megaphone in her ear. She was just lovin' it man," says Jansch. "Like, I fuckin' hate all our neighbours at home. But mum would always be like, play as long as you fuckin' want, as loud as you fuckin' want, fuck everybody," he laughs. The World's Best Mum and a solid support base has proved the best grounder for the Dunies, who wholly appreciate everything on their plate. "I guess we're all just fuckin' blown away that we can even go around the world on fuckin' tour... We don't take it for granted or anything. We're always constantly stoked, we're always frothing about all this shit." https://youtube.com/watch?v=lU3n6vRX8yY On Their Debut Album Like all groundbreaking things (Jane Austen's Pride and Prejudice, Ian McEwan's Atonement, Keanu Reeves and Sandra Bullock's The Lake House) the whole thing hinges around an important letter. "You know there's like, a letter from Steve Albine that surfaced, when Nirvana recorded 'In Utero'? He just outlined the idea of like, fuck all the bullshit, there's no need to slave over shit and try to get everything perfect. The best thing to ever do is probably just punch it out as it would come naturally. And what happened with that album is it turned out fuckin' awesome. [That's] exactly what we were kinda talking about. "We just didn't wanna fuckin' do all this stupid shit that bands do with an album. We just wanted to record the song that we made up in the shed. And that was just this nice inspiration to think oh fuck, you know what? We actually can do it the way that that we'd like to and it'll turn out right." The album was recorded and mixed at Melbourne's Red Door Studios, in the capable hands of Woody Anderson (tour manager and sound engineer for Children Collide). The whole process — recording, mixing, the lot — took just four weeks. "It was all super chilled, all with Woody — just fuckin' easy peasy," says Jansch. "It was pretty much just a bunch of us in the studio, fuckin' chillin' out, makin' the songs." Dune Rats is a rambunctious ride through moments of pure silliness ('Dalai Lama' has five words in total: "Dalai Lama, Big Banana, marijuana,") and heartfelt bouts ('Home Sick'). Jansch is insistent, however, the trio didn't set out to make a particular type of song any given day. "It wasn't like "Ahhh what's today fellas? Let's try and write a funny song." All of them just fuckin' turned out." DUNE RATS TOUR DATES: June 12 - Mojo's, Fremantle WA June 13 - Amplifier, Perth WA June 14 - Uni Bar, Adelaide SA June 19 - Karova Lounge, Ballarat VIC June 20 - The Corner Hotel, Melbourne VIC June 21 - Oxford Art Factory, Sydney NSW June 28 - The Zoo, Brisbane QLD TO REGISTER FOR THE DUNIES PRE PARTIES: 1. Pre-order the album Dune Rats for ten beans at iTunes or JB HiFi. 2. Forward your iTunes or JB HiFi album preorder receipt and your mobile number to stuff@ratbagrecords.com. 3. Let the Dunies know which pre-show you'd like to go to from the dates above. 4. Wait. Recieve the deets on the morning of the show. Then party on dudes. For more details about the Dune Rats pub crawls and to preorder the album head over here. Dune Rats debut album is out Sunday, June 1.
Whoever realised that May the 4th sounds awfully like "may the force" must've been rather excited — more excited than Han Solo walking into almost any cantina in the galaxy, we're guessing. The saying's origins are about as certain as Jar Jar Binks' purpose, but unlike that incredibly annoying Gungan, everyone can enjoy the early May Star Wars celebrations when they roll around. This year, the Powerhouse Museum is getting in on the action with a weekend of themed activities that'd make George Lucas proud. While it's all actually taking place on May 5 and 6, attendees can still expect everything from Star Wars collector's items from the Museum of Applied Arts & Science's collection, to jedi training sessions and augmented reality lightsaber duels, to a Millennium Falcon-load of talks, screenings and panels. You can even try to patch up BB-8 in the VR repair bay. Other highlights include a life-sized x-wing resistance fighter that you can hop into, character appearances and statues, plus costume competitions — so break out your best Poe Dameron swagger, Obi-Wan Kenobi robes or Princess Leia-style hair. Plus, with Solo: A Star Wars Story due in cinemas just a couple of weeks later, it's a great way to help fill your month with as much intergalactic revelry as possible.
The tropical vibes are always strong at King Street Wharf's Bungalow 8, but its latest offering has taken things up another notch. The part bar, par nightclub is now serving up bottomless sorbet cocktails. Held upstairs in The Loft every Saturday and Sunday lunchtime, the 2.5-hour sessions of unlimited cocktails — served with matching grazing plates — will help you forget that summer is over for another year. For $79 per person, you get endless access to three lush cocktails: the Italian-inspired Sgroppino with vodka, prosecco and lime sorbet; the pink-tinged Istanbul Rose, which is the same as the latter but with rose syrup; and the Coconut Kiss — a strong blend of Tanqueray gin, white crème de cacao, lemon juice, coconut sorbet and tart lemon curd. To help line your stomach throughout this rousing session, the bar will ply you with a heap of tasty morsels (and by heap, we mean a serious amount of food). There's an antipasto board — piled high with cured meats, cheese, figs and bread — vegetarian rice paper rolls, a honey-spiked mountain of fried prawns and a moreish dip platter. Head to The Loft website to reserve your spot at a Sorbet Sessions and to make those tropical island (and bottomless cocktail) daydreams a reality. Images: Jacquie Manning
To the casual observer, the rise in plant-based eating has seemingly come about overnight. Brands like Beyond Meat, Impossible Foods and V2Food have signalled a major shift in the way we think about meat, while thought-provoking documentaries like Food, Inc., The Game Changers and Cowspiracy: The Sustainability Secret have sparked conversations around our relationship with food and behaviours of consumption. Elsewhere, online resources like Vegkit — a new initiative by Animals Australia — offer a world of resources that have made it more accessible than ever before to embrace the many ways to eat plant-based. From a culinary choice you used to associate with your kooky aunt to now seeing legitimate alternatives lining supermarket shelves — could it be that plant-based eating has suddenly become cool? It's more than just marketing spin. Factors such as increased awareness of the environmental impact of agriculture, rising meat prices and the health benefits linked to a reduced meat intake have seen Australia's meat consumption hit a 25-year low, according to research released earlier this year. While plant-based diets and meat-centric ones might have once been seen as a one-or-the-other thing, the increased visibility of meat-free options is helping many shift to full- and part-time veganism. Sure, the merits of lab-made meat alternatives are certainly open for debate. But that's kind of missing the point: these products have become a successful gateway to reducing meat intake for the otherwise disinclined. PLANT-BASED EQUALS CREATIVITY Many venues around Australia are embracing the creativity offered by cooking without meat. Karl Cooney of Sydney restaurant Yulli's and brewery Yulli's Brews has been vegetarian for nearly 25 years and vegan for the past seven. He considered his decision to switch to plant-based cooking as both a blessing and a curse. "Being from a very food-oriented background, I wanted to eat good shit, so it forced me to learn ways of seeking out and creating well-rounded dishes that didn't seem lacking for not having meat," Cooney tells us. Co-owner of plant-based Brisbane diner Fitz + Potts, Cassie Potts (pictured above), had a similar experience: "When a meal doesn't revolve around one central, dominating ingredient, [which] is often the case when you cook with meat, you can explore how a range of ingredients and flavours can work in balance and harmony." For celebrated American chef Matthew Kenney (pictured above), plant-based eating and cooking represents a new frontier. "This is the most exciting food sector and the future of how we cook, eat and live," says Kenney, who recently opened Alibi, an entirely plant-based restaurant and bar inside Ovolo Woolloomooloo and his first Australian venue. "Cooking and eating plant-based connects us with seasonality and local ingredients," he continues. "It is also incredibly motivating to work with a cuisine that is not fully developed, allowing us an opportunity to craft a path toward the future." Potts agrees that when it comes to exploring food options that go beyond animal ingredients, we're only just getting started: "I feel like a bit of an alchemist in the kitchen, because plant-based cooking is still such a new concept. When I first became a vegan, there weren't all the [current] meat- and dairy-alternative options, so I learnt to cook creatively," she says. "Coming up with new versions of meat-based recipes or experimenting with fresh new combinations of vegetables, grains and plant-based proteins is hugely exciting stuff for me." This creativity benefits diners, too — walk into any of these chefs' restaurants and you'll be treated to a cracker of a meal. [caption id="attachment_798372" align="alignnone" width="1920"] Yulli's Surry Hills (supplied)[/caption] PEOPLE THRIVE ON A PLANT-BASED DIET The idea of plant-based cooking being 'new' might seem a little strange — after all, humans have been cooking plants for more than 10,000 years. What has changed, though, are perceptions around a plant-based meal as 'missing' something. "Ironically most people probably think a vegan lifestyle is all about denying yourself of things, but I've always been obsessed with food, and enjoy it in excess," says Potts. Cooney has also found himself responding to many doubters over his years of plant-based eating and cooking. "The biggest misconception [around cooking plant-based] is that you can't create flavour," says Cooney. "The obvious response is well, you're doing it wrong." "[Another] misconception is that you get tired on a vegan diet," Cooney adds. "I don't think I've ever eaten meat in the couple of decades I've worked [in] hospitality — and we all know what a brutal industry it is — and the one thing I never lack is energy. Sometimes I lack patience but that's another story." Kenny adds to this: "The reality is that we always had to overcome perceptions of plant-based not being fulfilling or not having enough protein. However, with elite athletes, many of the world's highest-performing CEOs and the general public thriving on plant-based diets, those misconceptions are thankfully put to rest." [caption id="attachment_663302" align="alignnone" width="1920"] Alibi (supplied)[/caption] Perhaps, though, it's a cultural thing? "Many cultures don't think anything of eating a purely plant-based meal," says Potts. "I think it would benefit people's health, the planet and of course animals, if western society didn't think it was so unusual to appreciate a tasty meal without getting hung up on the fact there isn't a lump of flesh central on the plate. Plant-based eating is honestly no different to eating any other meal. Good food is good food." Looking for more plant-based meal inspo? Check out Vegkit — it's loaded with hundreds of plant-based meals you can enjoy any time of day.
Summer in the Harbour City is the perfect time to explore the city's many and varied outdoor spaces — and there's perhaps none more impressive than the Royal Botanic Garden Sydney. There are plenty of ways to experience the inner city space this season, from hands-on workshops and immersive exhibitions to free outdoor gigs backed by some of the best views in town. The Calyx will be hosting Inside the Tide, an exhibition that explores the fascinating world of marine plant life. Open daily from 10am–4pm with entry by donation, Inside the Tide presents a surreal, under-the-sea experience that combines theatre and horticulture. With over 20,000 plants on display and a remarkable green wall, this exhibition will inspire all ages. Elsewhere, book a spot on an Aboriginal Bush Tucker Tour for a fascinating experience that'll expand the palate and the mind. This one-hour tour will take you through the Garden while your First Nations guide teaches you about Indigenous bush foods. You'll also find out how Indigenous foods have been cultivated traditionally as well as learn more about their growing place in contemporary cuisine. It'll set you back $30 per person, and you'll even get to taste some goodies along the way. If you're looking to get creative, be sure to head to the Art Kintsugi Workshop with Yoko Kawada. This hands-on workshop will guide you through the traditional Kintsugi mending method, leaving you with your very own artwork to take home. Practice the centuries-old Japanese art of repairing ceramic objects with lacquer and gold dust, transforming objects into new pieces that embrace the beauty in imperfection. Tickets for the workshop, which will be held on Tuesday, February 8 at the Maiden Theatre, are priced at $190 per person, with lunch also included. For those just wanting to kick back and enjoy the view, The Garden Social is back to give you the ultimate summer destination to do just that. Settle into the sunshine with a lineup of live music, spanning jazz to electronic, while enjoying great food and drinks all set to sweeping views of Sydney Harbour and the Opera House. The best part? Entry is free. Discover more things to do this summer at the Royal Botanic Garden Sydney over at the website.
A long time ago in this very galaxy, a whole year passed by without a new Star Wars movie hitting cinemas. That year was 2014, with Disney delivering a fresh trilogy of flicks and two spinoffs to big screens for five years straight between 2015–19 — introducing the world to new lightsaber-wielding characters, farewelling old favourites and delving into stellar side stories. Alas, in 2020, that run is coming to an end. More Star Wars movies are planned, because of course they are; however, wannabe Jedis won't be watching them just yet. But that doesn't mean that the force won't be with us this year, with The Mandalorian's second season heading to Disney+ from Friday, October 30. For those that missed it or need a refresher — the Star Wars universe certainly does sprawl far and wide, both within its tales and in its many different movies, shows, books and games — the Emmy-nominated show follows the titular bounty hunter (Pedro Pascal). In the series' first season, which was set five years after Star Wars: Episode XI — Return of the Jedi and aired last year, that meant tracking his latest gigs. And, it also involved charting his encounter with a fuzzy little creature officially known as The Child, but affectionately named Baby Yoda by everyone watching. Also on offer the first time around: Breaking Bad's Giancarlo Esposito playing villain Moff Gideon, aka the ex-Galactic Empire security officer determined to capture The Child; everyone from Carl Weathers and Taika Waititi to Werner Herzog playing ex-magistrates, droids and enigmatic strangers; and plenty of planet-hopping. Yes, it was firmly a Star Wars TV series, and yes, it plans to continue in the same manner. As the just-dropped first trailer for The Mandalorian's second season shows, it also plans to once again focus on one of television's best pairings. Not only is Mando back, but so is the oh-so-adorable Baby Yoda. The duo's quest to return to The Child's home planet continues, and they aren't parting ways on the journey — "wherever I go, he goes," Mando advises. In addition to showering viewers in Baby Yoda's cuteness, the eight-episode new season will see Boba Fett (Temuera Morrison) pop up — it is a show about a bounty hunter, after all — plus Timothy Olyphant and Rosario Dawson join the cast. Behind the lens, directors include showrunner Jon Favreau, Jurassic World star Bryce Dallas Howard, Dope's Rick Famuyiwa, Ant-Man's Peyton Reed and Alita: Battle Angel's Robert Rodriguez, as well as Weathers doing double duty on-screen and off. Check out the trailer below: https://www.youtube.com/watch?v=5LkkaL-y6Hc&feature=youtu.be The Mandalorian's second season hits Disney+ on Friday, October 30. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Top image: Disney+
As far as food preservation methods go, smoking might just be the tastiest. It's one of the oldest ways of keeping food edible for long amounts of time, but nowadays, its popularity probably has more to do with how tasty the results are. "You can't really recreate it, that extra flavour you get from the wood and the charcoal," says Jose Lagos, head chef at The Erko, "you can't get that any other way." In case you haven't noticed, smoking has become something of a trend for all kinds of food — and even drink. Take for example the Wild Turkey Kentucky Firebird cocktail that smoked things up at the Annandale Hotel last month. Obviously, smoking stuff now applies to more than just meats. So, how can you bring this trend home and start smoking things in your own kitchen? We caught up with Jose, as well as Jaimee Edwards from Cornersmith and Eli Challenger of Challenger Smallgoods (who both teach Cornersmith workshops on home smoking) to chat about the best ways to start smoking your own food and drink at home. From meats to vegetables, drinks to dairy to desserts, everything's up for grabs when it comes to home smoking, provided you get it right. "Fuel, temperature and time," Eli says. "Manage those three variables and you're good." MEATS There is a slew of methods to smoking at home, but arguably the easiest — also the method taught by Cornersmith in their workshops — is wok smoking. Rather than splashing out on a full-on smoker, look to your wok to get things smoking. It's as simple as lining the bottom of a wok with tin foil, heating up your fuel (wood or charcoal) in the foil until it smokes, and sticking your meat on a rack above. Cover the whole deal with more foil, and you've got a smoker you can stick right on your stovetop. Consistency and the right product are key to smoking meat at home. Also, fat content is essential to getting the whole spectrum of flavours into smoked meats, as some of the compounds in the smoke will only be absorbed by fat. "In any smoke that comes off the wood," Eli says, "you're going to have some compounds in the smoke that are fat-soluble and some that are water-soluble." According to Eli, picking a cut with a bit of fat and a bit of lean is essential to getting the right result. "That's why you'll often find when people do barbecue for example, they use fattier cuts like brisket and shoulder, because they have a good mix of fat and lean, so you get a really complex depth of smoked flavour in there." VEGGIES While smoking revolves primarily around meats, bear in mind that you can smoke pretty much anything if you're brave enough. Smoking is not a process reserved just for brisket and pork, explains Jaimee Edwards, workshop coordinator and fermenter at Cornersmith. "It's used in so many different cuisines, and non-animal products really take up the smoke flavour really well." Smokey veg is absolutely delicious, but getting vegetables in prime smokey form can be a little trickier since they don't have much fat content and the fat-soluble smoke flavours can't squeeze their way into the flavour profile. With that being the case, it's essential to add a little fat to your raw ingredients. Oils are a great source of fat for smoking vegetables. Something like a good sesame oil is ideal, which allows the smoke to form a flavour profile, all while adding its own nutty taste to the end product. You should also note that veg smokes excellently on a stovetop wok smoker, given the versatility and ease of the homemade apparatus. "You can do everything," Jaimee says, "from tofu to nuts, to pieces of meat, seafood and vegetables." COCKTAILS Although for food, that smokey taste is a happy by-product of a technique originally developed to preserve food, when it comes to smoking a beverage, the whole process simply boils down to getting those smokey flavours into a drink — there ain't nothing functional about it. There are many ways to make this happen, whether it's by using a smoking gun to inject hot smoke into an old fashioned, using smoked water to make ice for the drink, or by simply burning a cinnamon stick inside a glass. Whatever your method, the result is delicious, especially with whisky and bourbon. That's why the Wild Turkey Kentucky Firebird cocktail works so well. The cocktail combines the sweetness of bourbon, with the bitterness of Cinzano Rosso and a citrus kick from Grand Marnier, taking it all to another level with American oak chips smoked to order for each cocktail. "You can't go wrong with that," Eli says about smoking drinks. "I mean, you're just adding more depth and complexity to it." CHEESE Welcome to the advanced class. Smoking things requires well, smoke, thus requiring heat, so something that melts when heat is applied makes the process a bit more complex. While smoked cheeses are incredible, they require a more complicated cold smoking method, where the smoke is kept between 20 and 30 degrees. Maintaining this kind of temperature at home can be a bit tricky, but if you can pull it off, the rewards are plentiful. Since cheese is already packed with its own individual flavours, you don't have to go to town with the smoker to get great results. "You don't want [the cheese] to be too flavoursome," Jaimee says. "Unlike meat, where the flavours are all really robust, with cheeses and butters, it's a bit more delicate." Rather than smoking for hours on end like you might do for a cut of brisket, use a lighter touch to smoke your dairy. Once you get it right, it's totally worth it. "Man, when you get a smoked brie, or a smoked butter, or a smoked olive oil…" Eli says, "it's awesome." DESSERTS Speaking of smoking dairy, when it comes to smoked desserts, Jaimee explains how most are generally dairy based, which is the part that needs gentle smoking. Desserts tend to have the same qualities as cheese — see high melt factor — so you can't directly apply them to heat and expect great results. As such, getting smoke into your desserts also requires a cold smoke. If that doesn't tickle your fancy, however, there are other ways to get that smokey goodness into your sweet treats. Jose simplifies the process by suggesting smoking the smaller elements of a dessert, which can then be added to the bigger dish. For example, nuts have a high-fat content so they smoke well and can be managed on your home wok smoker. Take some macadamias, smoke 'em good, then bake them into a brownie — you get all the rich, sweetness of the brownie delightfully paired with pockets of smokey flavour. There are plenty of ways to get excellent smokey goodness into your desserts, and finding out those combinations is the best part of the game. Overall, smoking is all about trial and error. "Keep playing and keep experimenting," explains Eli. "That's the fun of barbecue." If you missed out on the Wild Turkey Kentucky Firebird smoked cocktail at the Annandale Hotel, head here to find recipes to make it yourself at home.
Paddington's Global Gallery is presenting an exhibition and no reserve auction of pop artists, Dennis Ropar and Frank Malerba. Between them, Ropar and Malerba boast more than 50 solo shows in the mediums of painting and sculpture, and will exhibit over 100 works together. Linked by their love of fresh, juicy images and determination to shake up what they disparage as the sanitised commercial art scene, both artists are bold enough to allow the public to determine the value of their work. Andy Warhol claimed that "[g]ood business is the best art". Everything will be sold at no reserve and for collectors — or indeed anyone with a passing interest in purchasing exciting, contemporary art — this is a brilliant buying opportunity. Registration for the auction starts at 5.30pm Wednesday 1st December. Bidding commences at 7pm sharp.
Achieving the culinary competence and consistency necessary to earning a Good Food hat can take half a lifetime. So one of the surprises of this year's awards was the handful of restaurants that, despite having opened their doors relatively recently, scored themselves some headwear. Gowings Bar & Grill, Mr Wong, Kepos Street Kitchen, MoVida and Monopole all made it onto the list, with the Good Food Guide editor, Joanna Savill, praising their "freshness, excitement and originality". Kylie Kwong, who'll be speaking about "Bugs and bush food" at this week's Australian Garden Show, received the Sydney Morning Herald Innovation Award for her contribution to the expansion of our culinary horizons. Not only has she been opening our palate to the edible potential of green tree ants and the like, she's also been busy injecting a social conscience into dining, via her support of organisations such as Oxfam, Climate Friendly and the Australian Marine Conservation Society. The new Citi Chef of the Year is the Bridge Room's Ross Lusted. Savill described him as "a trailblazer", "almost obsessive in his expertise", who has "created a new landmark on the dining landscape". Meanwhile, Guillaume Brahimi, set to part ways with the Sydney Opera House in a few months' time, received a third hat for his work at Guillaume at Bennelong, and took home the prestigious Vittoria Coffee Legend Award. Unexpected losses were copped by both Mark Best of Marque and Peter Doyle of est., each of whom saw their three hat status diminished to two. Porteno suffered a similar fate, dropping from two to one, as did Matt Moran's Chiswick, emerging hatless. Moran actually skipped the event for the second time in 20 years, letting his fans know with a geo-specific tweet from Kangaroo Valley. Sydney Morning Herald readers will be able to pick up a copy of the Good Food Guide for just $10 this weekend. After that, it'll set you back $24.99.
Choose your team wisely, you've only got 60 minutes to work together and escape this treacherous space. Welcome, to Break the Code Escape Room, a real-life skill tester set in the heart of Haymarket just two minutes walk from Central Station. With four themed rooms to choose from — Da Vinci, Indiana Jones, Avatar and Lost — Break the Code offers an escape room experience with cutting-edge technology and complex puzzles which makes it both highly entertaining and suitably challenging. You'll be put to the test both mentally and physically, as you collect clues to break the code before it's too late. Okay, while it might sound slightly stressful, tackling an escape room with friends or colleagues is a great way to build trust and rapport. The challenges you come up against require collaboration, logic and creativity to solve, which means everybody (and their unique skill set) will get a chance to shine. The escape rooms require at least two players and can accommodate up to eight, but work best with four to six players. At the moment, Break the Code has a birthday promotion on, so if you're looking for a nailbiting way to spend your birthday, hit them up and book a room.
An actual trip to Japan might not be on the cards this winter, but you'll find a pretty solid alternative in Ramen Alley, which is popping up at Tramsheds for a cosy culinary series next month. From July 3 to 20, local Japanese eatery Osaka Trading Co is taking over Tramsheds' Artisan Lane for a three-week celebration of Japan's classic noodle soup. From Wednesdays through Saturdays, the space itself will be transformed into a Tokyo-style laneway, dishing up ramen menu favourites alongside a weekly changing ramen special. Current hits from the Osaka Trading Co repertoire include a miso chashu roast pork number with wood ear mushroom and black garlic oil, and a roasted sesame version loaded with baby bok choi and spiced pork mince. The crew from Suntory is also joining in the fun, so you'll be able to match your soup feast with $10 whisky highballs all throughout the pop-up. And if you fancy diving in a little deeper, catch the Suntory whisky tasting on Thursday, July 4, or a Saturday evening highball and cocktail-making workshop on July 6 or 13. Tickets to the tastings are $64 and $70 for workshops, and booking are essential for both. You can book your regular ramen session in advance, too, by nabbing a $27 pre-purchase ticket, which includes a regular shoyu ramen and a classic Toki whisky highball. Extra food and drinks can be bought once you're there. Ramen Alley is open from Wednesday to Saturday from 5.30pm–9pm.
If you’re a fan of all things Mexican, you might want to visit the Cantina del Sol pop-up. For just one weekend, Villa Bar & Kitchen in Potts Point will be transformed into a Mexican cantina by interior designer Ally Bercich, inspired by the vibrant artwork of artist Frida Kahlo and the Mexican spiritual holiday Dia de los Muertos (Day of the Dead). There will be Sol beers, colourful cocktails decorated with fresh fruit and authentic Mexican cuisine. Fans of roaming taqueria-on-wheels Al Carbon will be happy to learn they will be catering the event, treating guests to their sharp, spicy street food. And, really, who can resist a charcoal barbecue? DJs, musicians and other creative types will keep the crowd entertained, including Balmain independent artist Skullavera whose hand-crafted ceramic skulls — also inspired by dia de los muertos — are spookily awesome. From Friday to Sunday you'll be able to grab lunch between 12.30-3.30 pm and dinner between 5.30-9.30 pm. Update 17 Oct: The fiesta continues — the Cantina del Sol pop-up has been extended to the last weekend of October.
A new exhibition exploring the beauty of underwater plant life has opened at the Royal Botanic Garden's outdoor exhibition space, The Calyx. Inside the Tide recreates kelp forests, coral reefs and seagrass meadows above the ground — using land plants in order to demonstrate the marvelous aesthetic and ecological value of these marine environments. "When most people hear the word seaweeds, they think of the dead stuff rotting on the beach or it touching their legs when they're trying to swim," Dr Yola Metti says. "There's a huge lack of awareness of the benefits of marine algae in general. One of the biggest things we can be thankful for is the amount of oxygen algae produce." Over 20,000 plants have been installed inside the venue, including one of the largest vertical green walls in the southern hemisphere. The plant wall, that most recently played home to thousands of flowers for the exhibition InBloom, now springs forward with the lush green tones of underwater plant life. "Our land plants are the actors with cactus and other succulents playing the roles of corals, and ferns and ivy becoming the seaweeds," Royal Botanic Garden Sydney Curator Manager David Laughlin said. "We have pandanus trees on the sandy shore with mock seagrass meadows we've created to feel like you're by the beach but in the heart of the city, surrounded by our beautiful gardens." The horticultural exhibition has been created in collaboration with puppetry and arts collective Erth who has helped transform The Calyx into a marine world with expressive sculptures of sea creatures and interactive elements that both children and adults can engage with. Inside the Tide is running from Friday, December 3 through until July next year. Throughout the exhibition, The Calyx will be open 10am–4pm daily and entry is available via donation. This exhibition marks the reopening of The Calyx following InBloom and maintenance that was conducted during Sydney's lockdown. The new exhibition took horticultural staff months to install and prepare. The Calyx is located at The Royal Botanic Garden, Mrs Macquaries Road. Inside the Tide will run from Friday, December 3, 2021–July 2022.
There's a certain moment between waking up in a hot tent, losing your boot sole in shin-deep mud and slipping up the side of a muddy, muddy amphitheatre that we remember this unshakable music addiction of ours is fukt. Yet year after year, we load up our borrowed cars with hidden goon sacks, blow-up Kmart mattresses, '90s throwback playlists and enough muesli bars to make our mums happy and we drive our timetable-highlighting butts to the music mecca to rule them all post-BDO: Splendour in the Grass. Why do we do it? Why do we skate through mudpiles resembling a human bowel system? Why do we munch on greasy moshpit ponytails between burling throat-scraping vocals? Why do we shell out ten beans a tinny for watery piss that calls itself beer? Seems we can't shake this pesky music lovefiend. Returning to North Byron Parklands, this year's Splendour in the Grass gained wraps from the 5-0 for 'good behaviour' (the badly behaved are still sitting in sinkholes in the Mix Up tent), slam dunked three big gun headliners in a row (Mark Ronson, Florence and the Machine, Blur), and generally became the mudbath we annually buy novelty gumboots for. While we counted no less than seventeen headdresses and found an entire Splendour stall selling the damn things, there was a limited quota of douchebaggery to be seen — or perhaps they were simply easier to avoid; mud maketh muppets of the munted. Instead, here's what made us cheer for an encore. CLIENT LIAISON With a bigger budget and bigger audiences to boot, Client Liaison have become the nostalgia-fuelled spectacle they've been threatening to be for years; ferns, pastel tuxedos, gold necklaces, and three incredible legs-for-days aerobic dancers to pose Lampoon-style around Client's disco-dancin' Monte Morgan. With co-Liaison Harvey Miller tweaking singles 'Queen' and 'End of the Earth', Client finished up with a cover of INXS's 'Need You Tonight' with longtime live bandmate and triple j Hack presenter Tom Tilley. FLORENCE AND THE MACHINE Florence Welch is the new messiah. Well, you'd be forgiven for thinking so after this large-scale bapitism-by-ballad. Characteristically bare-footed and donning flowing white threads to rival Stevie Nicks, the British powerhouse entranced the amphitheatre with soaring vocals and theatrical spirit fingers, backed by her mighty Machine — stopping to remind the audience of her first Splendour performance in a Surry Hills-bought vintage wedding dress many moons ago. With expectations high following her slam dunk of a 2015 Coachella set, Welch careened through single to fan favourite to 'Dog Days Are Over' finish with the level of high energy usually associated with Bacchanalian wood nymphs. TAME IMPALA The last time Tame Impala played Splendour, they debuted a little ol' single called 'Elephant' three years ago. This year, Kevin Parker and his psychedelic bunch came armed with brand new album Currents and an amphitheatre full of expectant fans (and granted, Blur fans trying to get a good spot). It's not every artist who's confident enough to drop seven-minute single 'Let It Happen', or open a set with it, but Parker's not every artist. BLUR "You're all fucked, aren't you." Blur frontman Damon Albarn knew an end of Splendour audience when he saw one, bubbling with anticipation at seeing the '90s Britpop legends united in the ampitheatre on Sunday night. Saluting the moon, bounding about the stage like a merry pirate and getting up in fan faces over the almost two-hour set, Albarn steered Alex James, Graham Coxon and Dave Rowntree through a furiously fast 'Song 2', beloved singles 'Beetlebum', 'Parklife' and 'There's No Other Way' amongst plenty of material from new album Magic Whip. Finishing up the festival with epic 1995 ballad 'The Universal' made whimpering messes of fans amphitheatre-wide. PURITY RING Though the Mix Up tent was almost literally sinking into the mud, Canada's Purity Ring took Splendour punters to new heights of euphoria. Multi-instrumentalist Corin Roddick commanded booming synths and playable light-up crystals, while elven vocalist Megan James jumped, skipped and serenaded like a futuristic woodland sprite, blitzing everything from 'Push Pull' to 'Fineshrine'. MARK RONSON With Theophilus London, Kevin Parker, Daniel Merriweather, Keyone Starr and co. in tow, Mark Ronson's all-star variety show careened through the superstar producer's hit-dotted career so far; from explosive opener 'Feel Right' to a heartfelt 'Valerie' singalong using Amy Winehouse's original vocals. After cheesily getting bikes onstage for 'The Bike Song', bringing out Miike Snow's Andrew Wyatt for a rendition of the Ronson-co-written single 'Animal', Ronson dropped the firecracker Splendour was waiting for: a ten minute, rain-drenched bacchanal fuelled by 'Uptown Funk'. Worth the subsequent flu. MØ If you've ever wanted to feel as old as humanly possible at a live gig, see a MØ gig. The Danish electro pop singer (real name Karen Marie Ørsted) made a mockery of ageing, blasting out a youth-fuelled escapade into her debut album No Mythologies to Follow in the Mix Up tent — finishing up with a giant singalong of Major Lazer and DJ Snake single 'Lean On'. Ørsted gave a nod to her buddy Elliphant, the pint-sized Swedish pseudo rapper who'd similarly stopped time the day before, with a sultry rendition of their duet 'One More'. JENNY LEWIS While DZ Deathrays melted faces in the amphitheatre and Japanese Wallpaper threw shapes for giggly teenfans, longtime crooner Jenny Lewis was kicking goals over in the GW McLennan tent. Turning what should be a sheriff-badged country hoedown into a candy-coloured pop shop, as Lewis's pastel rainbow-themed set flagged new material from her latest album The Voyager. Lewis has never been better. Sauntering through old heartwrenchers like 'With Arms Outstretched', and new buzz tracks 'Just One of the Guys' and 'She's Not Me', the ever pitch perfect Lewis dropped a bit of 'Bad News' for Rilo Kiley fans late in the set. Kudos go to Lewis's lead guitarist and keyboardist who joined Lewis for a three-part harmony a la Brother Where Art Thou that left no dry eye in the house. UV BOI If you're not across this 18-year-old Brisbane producer, take note. One of the most original and refreshing producers in the game right now, UV boi threw every genre in the book in the bin with his Tiny Dancer stage set. JARRYD JAMES There's a lot to be said for a killer single. Brisbane's Jarryd James has been kicking serious goals over the last 12 months, with a debut album on the way and a multi-platinum single 'Do You Remember' tailor-made for a big ol' Splendour singalong. But James is more than his big breakthrough song, showcasing the his Frank Ocean-meets-Blackstreet catalogue to a packed-out Mix Up tent. "Thanks for coming and hanging out, I know my music's not party music." Beg to differ bro, beg to differ. THE SMITH STREET BAND Melbourne's bighearted rockers hit it out of the ballpark on Splendour's sunny, sunny Saturday afternoon, while toilet paper rolls soared over the crowd. "I dare anyone else playing at Splendour to sweat this much," mused frontman Wil Wagner staring straight into the sun and leading his crew and one heck of an adoring crowd through such hard-hitting jewels as 'I Don't Wanna Die Anymore', 'Don't Fuck With Our Dreams' and the nostalgia-driven 'Young Drunk' in front of a huge banner preaching "Real Australians say welcome". Total legends. THE DANDY WARHOLS Though slightly lacking in vocal volume, the Dandies put on one energetic show for their boob-flashing fans. Bouncing from mega single 'We Used to Be Friends' to Thirteen Tales From Urban Bohemia throwbacks like 'Mohammed' and 'Bohemian Like You', the Oregonians proved unexpected highlights for both longtime fans and Dandy newcomers alike — all trying to get a solid footing on the perilously muddy amphitheatre slopes. VALLIS ALPS Watch out for these two. Filing the Mix Up tent for Saturday's perilously early midday slot, bright young up-and-comers Vallis Alps served up their dreamy brand of Chrome Sparks-like electronica to new ears. The Canberra and Seattle-based duo blitzed their fourth ever live show (yep, kids today), cranking a beauty of a Bon Iver 'Blood Bank' cover and finishing up with big buzz single 'Young'. MEGAN WASHINGTON Surrounded by metallic balloons and playing the absolute crap out of her beloved keyboard, Washington delivered one of her most energetic, stadium-like sets yet. The real showstopper? A mid-'My Heart Is a Wheel' cover of Real McCoy's 'Another Night', with Washo's keyboardist crushing that immortal 'rap' bit. Plus, punters got to nab those silver balloons, most of which were released into the night during Tame Impala's amphitheatre set. Magic. #1 DADS Last show for Tom Isanek's #1 Dads side project, and what an emotional feelbucket it was — from the heartbreaking 'Return To' featuring Tom Snowdon to that glorious, widely celebrated cover of FKA Twigs’s 'Two Weeks’. JOHNNY MARR Watching a legend play their own iconic guitar lick reminds you of how many bad cover bands you've seen over the years. Legendary guitarist for The Smiths Johnny Marr commanded the GW McLennan tent with tracks from his latest album The Messenger, but indulged in a few Smiths classics for fans, nailing Morrissey's warbling vocals in 'There Is a Light That Never Goes Out' and finishing up with the howling 'How Soon Is Now'. Images: Bianca Holderness, A. Catt, Justin Ma, Savannah Vander Niet, Claudia Ciapocha, Ian Laidlaw, Stephen Booth, Marc Grimwade, UV Boi.
Fans of pastels and symmetry, brand-new Australian cinema, one of Japan's greatest filmmakers, a buzzy Euphoria and The White Lotus star, Succession, the internet's boyfriend and heartfelt animation, rejoice. Devotees of acclaimed Iranian directors, kaiju flicks, NBA superstar Stephen Curry, John Wick-style revenge tales, and wild commentaries on America's recent political landscape using clips from Wayne's World and Barb and Star Go to Vista Del Mar, too. Sydney Film Festival is back for 2023, and all of the above is on the lineup to help the cinema celebration hit 70 years old. Festival Director Nashen Moodley's carefully curated 2023 bill will screen from Wednesday, June 7–Sunday, June 18, featuring 239 films from 67 countries 18 — with 90 narrative feature films and 54 documentaries, and also notching up 37 world premieres and 123 Australian premieres. As for where you'll be heading to get your festival fix this year, SFF is back at The State Theatre, Event Cinemas George Street, Dendy Newtown, Palace Central, Palace Norton Street, Hayden Orpheum Picture Palace Cremorne, Ritz Cinemas Randwick, Casula Powerhouse Arts Centre, Australian Museum and Art Gallery of NSW. When SFF 2023 opens, it'll do so with Warwick Thornton's The New Boy. The Cannes-selected title is his first film since 2017's stunning Sweet Country, and sees him team up with none other than 2023 Tár Oscar-nominee Cate Blanchett. It's also vying for the festival's annual prize alongside 11 others, in what marks the official competition's 15th year. Other contenders span Aussie documentary The Dark Emu, about Bruce Pascoe's book; Bad Behaviour, the feature directorial debut of actor-turned-filmmaker Alice Englert (You Won't Be Alone) starring Jennifer Connelly (Top Gun: Maverick); Hirokazu Kore-eda's Monster, the prolific helmer's latest after fellow recent SFF titles Shoplifters and Broker; and Celine Song's first effort Past Lives, telling 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. Yes, Wes Anderson's Asteroid City is on the 2023 SFF program, bringing the filmmaker's now-trademark sensibilities and aliens together at last — and a characteristically massive cast filled with every famous actor ever or thereabouts. Also set to flicker across Sydney's screens is the Sydney Sweeney-starring whistleblower docudrama Reality, Sarah Snook in Sundance-bowing Australian psychological thriller Run Rabbit Run, the Paul Mescal-led (and Aussie-shot and opera-inspired) Carmen and Pixar's what-if-elements-had-feelings newbie Elemental. Jafar Panahi's (Tehran Taxi) Venice Special Jury Prize-winner No Bears was announced earlier as well, but remains a SFF must-see — and the kaijus come via Shin Ultraman, which springs from the creators of Shin Godzilla and Neon Genesis Evangelion. NBA fans will want to see Stephen Curry: Underrated, and the vengeance arrives via SXSW hit The Wrath of Becky (well, one of SFF's 2023 flicks about vengeance). And Soda Jerk return to the fest after Terror Nullius screened in 2018, this time with Hello Dankness and its chaotic yet cutting survey of US politics from 2016 onwards. Movie lovers should already be eagerly anticipating SFF's already-revealed Jane Campion retrospective, with the filmmaker herself in attendance — and Indian screen icon Amitabh Bachchan also earns his own program strand. But the new features keep coming, too, including in the fest's returning strands. Seasoned attendees should already be well-acquainted with SFF's ten-film focus on female directors from Europe, selection of movies about music, weird and wonderful horror and genre flicks, family-friendly fare, celebration of filmmaking talent with disability and titles from First Nations creatives, all back in 2023.
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. From the latest and greatest to old favourites, here are our picks for your streaming queue for June. NEW STUFF TO WATCH NOW https://www.youtube.com/watch?v=D5RDTPfsLAI DA 5 BLOODS A fiery examination of both the Vietnam War and US race relations, Da 5 Bloods is a Spike Lee film through and through. It nods liberally to its influences, such as Apocalypse Now, but only the acclaimed Do the Right Thing and BlacKkKlansman filmmaker could've made a war movie this affecting, incisive, entertaining and politically astute — especially given its focus on African American men expected to fight and die for the same country that still struggles to treat them equally. Plot-wise, the part combat drama, part heist thriller, part history lesson follows four ex-soldiers (Delroy Lindo, Clarke Peters, Norm Lewis and Isiah Whitlock Jr) who make the trip back to Ho Chi Minh City decades after the conflict. They're searching for buried gold, as well as for the remains of their beloved squad leader (Chadwick Boseman, as seen in flashbacks). In Lee's hands, and with Lindo taking charge as a PTSD-afflicted, MAGA hat-wearing veteran, the results are energetic, passionate, and both intellectually and emotionally stunning. Da 5 Bloods is available to stream via Netflix. https://www.youtube.com/watch?v=ZEiwpCJqMM0 THE VAST OF NIGHT When strange things start happening in a 50s-era New Mexico small town while most of its residents are attending a school basketball game — unusual lights in the sky, and eerie sounds interrupting both radio broadcasts and phone calls — radio DJ Everett (Jake Horowitz) and phone switchboard operator Fay (Sierra McCormick) decide to investigate. That's the premise behind The Vast of Night, and it couldn't be more simple and straightforward; however this smart and engaging sci-fi film is inventive and compelling from the moment it begins. In terms of its narrative, a few surprises pop up, even for those with a knowledge of history. But it's the movie's strong focus on character and its commanding style that's always riveting. Every shot, every camera movement and, crucially, every single sound contributes to an ambitious and gripping filmmaking debut (and a certain calling card) from first-time feature director Andrew Patterson. The Vast of Night is available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=oWYPlhHbKtM RAMY In Ramy's first season, creator, writer, director and star Ramy Youssef explored the daily life of his on-screen surrogate: Ramy Hassan, a twenty-something New Jersey-based American Muslim of Egyptian heritage. Ramy struggles to reconcile his culture, religion and family's expectations with his own wants, needs and dreams, continually professing his desire to make the right choices while often overtly following questionable paths. In the show's just-released ten-episode second season, the same still rings true — although, this time, Ramy seeks guidance from a new Sheik (Moonlight and Green Book Oscar-winner Mahershala Ali, who's excellent as always) while getting closer to the latter's daughter (MaameYaa Boafo). Youssef won a Golden Globe for his first-season performance earlier this year, and he's just as great in the next batch of episodes; however, it's the show's continual refusal to gloss over, ignore, excuse or accept Ramy's frequent array of self-sabotaging decisions that stands out. The just-released second season of Ramy is available to stream via Stan. The show's first season is also available, too. https://www.youtube.com/watch?v=lGcJL6TG5cA SNOWPIERCER First, the bad news: Snowpiercer, the series, isn't directed by Bong Joon-ho. Now, the good news: while it isn't as great as Bong's film — because, honestly, how could it be? — it takes the same dystopian concept, heightens the suspense and drama, and serves up a class warfare-fuelled survivalist thriller that also spends its first five episodes unravelling a murder-mystery. Think constant twists, reveals and reversals, cliffhangers at the end of almost every scene, and a 'Murder on the Snowpiercer Express' kind of vibe. Once again, it all takes place on a 1001-car locomotive carrying the last remnants of humanity while constantly circling the frozen earth. Hamilton's Tony Award-winning Daveed Diggs plays an ex-detective who has spent seven years in the tail end of the train, only to be summoned to the upper carriages when bodies start piling up. Also excellent: Jennifer Connelly as the engine's all-seeing, ever-present head of hospitality. The first five episodes of Snowpiercer, the series, are available to stream via Netflix — with new episodes dropping weekly. https://www.youtube.com/watch?v=qaMIcuVH83M&feature=emb_logo THE BEACH Whenever Warwick Thornton makes a new project, it demands attention — and the Indigenous Australian filmmaker has never made anything quite like The Beach. The director of Samson & Delilah and Sweet Country turns the camera on himself, chronicling his quest to escape his busy life for an extended soul-searching getaway. With only chickens and wildlife for company, Thornton bunkers down in an electricity-free tin shed in Jilirr, on the Dampier Peninsula on the northwest coast of Western Australia. He fishes, cooks, chats to the chooks, wanders along the shoreline and reflects upon everything that's led him to this point, with this six-part documentary series capturing the ups, downs, sublime sights and epiphany-inspiring moments. Unfurling quietly and patiently in the slow-TV tradition, Thornton's internal journey of discovery makes for both moving and absorbing viewing. Indeed, combined with stunning cinematography (as shot by Thornton's son and Robbie Hood director Dylan River), it just might be the best piece of Australian television you see this year. The Beach is available to stream via SBS On Demand. ONES TO WATCH OUT FOR LATER IN THE MONTH https://www.youtube.com/watch?v=9_ozcr43fP4 WHAT WE DO IN THE SHADOWS First hitting cinemas back in 2014, What We Do in the Shadows is a perfect comedy. It's clever and creative, finds new ways to satirise and deploy familiar tropes, genres and formats, and features a spot-on cast — and, of course, the Taika Waititi and Jemaine Clement co-directed, co-written and co-starring movie is also sidesplittingly funny. Thankfully, the film's US TV spinoff also fits the above description. Focusing on a group of vampires living in a Staten Island sharehouse (rather than the original movie's Wellington location), it could never be considered a mere small-screen copy. Instead, it's a lively and captivating addition to the broader What We Do in the Shadows universe, which also includes New Zealand series Wellington Paranormal. Back for a second season (and already renewed for a third, too), the What We Do in the Shadows television show has two specific aces up its sleeves, too: the combined on-screen talents of Matt Berry, Kayvan Novak and Natasia Demetriou as three of the central bloodsuckers, plus the time to delve deeper into their undead world. The second season of What We Do in the Shadows is available to stream via Foxtel Now from Thursday, June 25, with new episodes added weekly. https://www.youtube.com/watch?v=7q6Co-nd0lM EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA As music, spandex and glitter fans everywhere know, the Eurovision Song Contest didn't go ahead this year. That's left a sizeable Europop-shaped hole in plenty of hearts; however Netflix's new comedy is here to help. Called Eurovision Song Contest: The Story of Fire Saga, the film follows two Icelandic singers who've always wanted to represent their country at the famed sing-off. Lars Erickssong (Will Ferrell) and Sigrit Ericksdottir (Rachel McAdams) aren't particularly well-liked in their homeland, but when they're named as the next Eurovision contestants, they're determined to prove that chasing their lifelong dream was worth it. Directed by Wedding Crashers, The Change-Up and The Judge filmmaker David Dobkin, Eurovision Song Contest: The Story of Fire Saga looks set to feature plenty of Ferrell's over-the-top antics, as well as icy backdrops and a song called 'Volcano Man'. Also on offer: a fierce rivalry between Fire Saga and fellow competitor Alexander Lemtov (Legion's Dan Evans), and a cast that spans Pierce Brosnan and Demi Lovato. Eurovision Song Contest: The Story of Fire Saga will be available to stream via Netflix from Friday, June 26. CULT CLASSICS TO REVISIT AND REDISCOVER https://www.youtube.com/watch?v=rA87ltqFEIQ IT'S ALWAYS SUNNY IN PHILADELPHIA This May, when It's Always Sunny in Philadelphia was renewed for a 15th season, it made history. When those episodes make it to the screen, the cult US sitcom will become the longest-running live-action comedy series that's ever aired on American television. That mightn't sound all that surprising given the general concept — a group of friends (Charlie Day, Glenn Howerton, Rob McElhenney, Kaitlin Olson and Danny DeVito) try to run their own Irish pub and usually fail at everything they attempt — but It's Always Sunny in Philadelphia's dark, nihilistic and irreverent sense of humour is all its own. This is a show that's dedicated most of its episodes to a whole range of taboo topics, after all, while also watching its characters stage a twisted rock opera and make their own version of Lethal Weapon 6. Indeed, when it comes to satirising despicable behaviour and attitudes, It's Always Sunny is on another level. Amazon Prime Video is now streaming the first 13 seasons, which means you now have 144 episodes to binge. The first 13 seasons of It's Always Sunny in Philadelphia are available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=Skpu5HaVkOc ALMOST EVERY FAST AND FURIOUS MOVIE It's the big-budget franchise that likes driving speedily and passionately, can't get enough over-the-top car antics and loves filling its frames with a constant onslaught of hectic stunts. It's also the Vin Diesel, Paul Walker, Jordana Brewster and Michelle Rodriguez-starring saga that adores family — and Corona-swilling friends who become family — just as much as vehicular mayhem. And, it's ridiculously entertaining. Not every Fast and Furious movie is a winner (2 Fast 2 Furious definitely isn't, for example), but this huge series boasts more than a few high points. Of course, 2020 will no longer see the saga's ninth official film hit cinemas, with F9's release postponed until 2021 due to COVID-19; however you can now marathon the first seven movies on Stan. Come for a Point Break ripoff that swaps surfing for street racing, which is where it all began. Then, stay as everyone from Tyrese Gibson, Gal Gadot, Eva Mendes and Ludacris to Dwayne Johnson, Luke Evans, Jason Statham and Kurt Russell shows up, because of course they do. The Fast and Furious collection — featuring the franchise's first seven movies — is available to stream via Stan. https://www.youtube.com/watch?v=cw1euaNtuXM SYDNEY FILM FESTIVAL'S PAST HITS Due to the COVID-19 pandemic, this year's Sydney Film Festival didn't take place physically. Instead, it moved online, making 33 new films available for cinephiles to stream at home. And, as part of the one-off virtual move, SFF 2020 also features a whole heap of ace movies that have previously screened at the festival — 40 of them in fact, all thanks to a Sydney Film Festival Selects collection on SBS On Demand. It's a best-of lineup, so get ready to revisit Studio Ghibli co-production The Red Turtle, Taika Waititi's Boy, the Greta Gerwig-starring Frances Ha, Aussie comedy That's Not Me and New Zealand's The Breaker Upperers. You can also feast your eyes on Palme d'Or winner The Square, Scandi thriller The Guilty, Turkish drama Mustang and Xavier Dolan's Heartbeats, among other films. And, they're all available to watch for free. The Sydney Film Festival Selects Collection is available to stream via SBS On Demand until Friday, July 10. Top images: Da 5 Bloods via David Lee/Netflix; Ramy via Craig Blankenhorn/Hulu; Eurovision Song Contest: The Story of Fire Saga via Elizabeth Viggiano/Netflix.
You think origami, you think folding paper. But this April, put your assumptions to one side and think about what else could possibly be folded. At the Gosford Regional Gallery and Edogawa Commemorative Garden, an incredible visual spectacle is taking place on Saturday, April 13 with a host of musical acts, including DJ duo Stereogamous, pop artist Tessa Thames, and circus performer Ray Matthews. Attendees of Origami – Folding Light and Sound are advised to come dressed for a garden party (flowers in your hair, plant-themed accessories and the like), albeit a garden party that features a traditional Japanese teahouse, delicious Sichuan dumplings, and aerial cabaret. It's all the brainchild of the not-for-profit Naughty Noodle Fun Haus collective, which, since 2018, has been organising community entertainment events with a strong focus on inclusion, diversity and acceptance. In the collective's own words, they "proudly embrace renegade artists and thought-leaders who are courageous, outrageous and mind-blowing". All you have to do is bring a picnic blanket, lawn furniture and an open mind, and you'll be treated to a sunset experience where you can dance to your heart's content, find quiet contemplation in nature, and everything in between. Origami promises to turn Gosford into a tactile, audio/visual wonderland, giving you an evening that you'll never want to forget. Origami — Folding Light and Sound is coming to Gosford Regional Gallery and Edogawa Commemorative Garden, 36 Webb St, on Saturday, April 13, from 5—11pm. Tickets will set you back $45 or get a group of mates together for a concession. For more information or to grab tickets, visit the website.
We're going to trust this party on name alone. It's called The Velvet Cave Rave, people, and it's taking place at a super-secret venue in Sydney. In case you're not familiar with The Velvet Cave, expect a full night of next-level experimental music you've probably never heard before and extravagant light installations in a pre-requisite industrial warehouse. Showcasing international and local live artists and rare vinyl DJs, the lineup features live performances from the likes of Lucy Cliche, Orion and Buzz Kill and DJ sets from Ryan Grieve and Julian Sudek. We're not sure how to, but you should be prepared to get lost in the sounds of synthwave, hyperdelic, goth, Italo disco, Kraut, and techno amongst other genres.
Spend a day out on the water in the sunshine exploring the northern beaches' largest estuary, Narrabeen Lakes, with Jamieson Park Paddle. You can choose to rent a kayak, pedal boat or go stand-up paddle boarding. As you move across the water, keep your eyes peeled for wildlife such as the white-bellied sea eagle and black swans. There are also lessons available if you'd like a little more guidance or want to improve your existing skills. Jamieson Park Paddle can also host kid's parties and group paddling fitness sessions, too. You'll find it on the southern shores of Narrabeen Lakes — entry to the car park is via the esplanade.
A brand-new year is fast approaching, which means it's time to say goodbye to 2021 and get excited for what 2022 could be. Whether you're a New Year's resolution stickler or a go-with-the-flow kinda person, it's safe to say most of us would be keen to experience something different in 2022. And, let's face it, we'd be lying if we said we hadn't watched Survivor and thought, "I want to try that". Well, you can, just for a weekend, or even a few hours. Whether you're a bicycle junkie with hand-eye coordination Lebron James would envy, or if you just want to get out of your comfort zone, New South Wales has a full calendar of physical challenges to help you hit those new year goals. Here are eight you should add to your list. [caption id="attachment_838191" align="alignnone" width="1920"] Destination New South Wales[/caption] SPEED THROUGH THE SNOWY MOUNTAINS AT THE SNOWIES MOUNTAIN BIKE FESTIVAL When: February 4–6, 2022 Where: Snowy Mountains Over the first weekend of February, the Snowies Mountain Bike Festival returns to Thredbo. Peddle-heads from far and wide are welcome to make the descent from Thredbo to Jindabyne with two unique course options to try. The Wild Brumby course is not for the faint-hearted. Across three days, you'll test your strength, speed and stamina as you tackle 114 kilometres of rugged terrain — most of it, single track. But you'll be treated to some of the most exquisite scenery in the world as you sweat it out, so you can't complain too much. For a less technical but no less intense ride, the three-day 75-kilometre Brumby course is also on the menu. Both of these multi-day rides can also be tackled as a two-person team event, too. Looking for a challenge but can't afford the time commitment? Sign up for one of the several one-day events, which includes 45-, 30- and 15-kilometre rides. Register for the Snowies Mountain Bike Festival at the website. [caption id="attachment_838195" align="alignnone" width="1920"] Supplied[/caption] OR, TAKE IN THE SURROUNDS ON A SNOWY MOUNTAINS TRAIL RUN When: February 18–19, 2022 Where: Snowy Mountains Want to experience the Snowy Mountains from a viewpoint other than a ski lodge? Sign yourself up to the Snowy Mountains Trail Run Australia. The weekend-long festival of running includes a number of trails of varying lengths, including a 42-kilometre marathon and a 70-kilometre ultramarathon, both of which are new for the 2022 iteration. If you've got a competitive streak, there's also a $1000 cash prize each for the first male and first female runners across the line in the 70-kilometre event. Don't worry if you're not an experienced trail runner — there are a few more low-key runs for families and those who just want to get out and experience something new, including a cruisy five kilometre option. Whichever run you choose, you'll be in the perfect spot to take in the incredible views of Thredbo Valley and River within Kosciuszko National Park. The trails set off from Lake Crackenback Resort and Spa, so book ahead to make sure you don't have to go too far for your much-deserved post-run R&R. Register for the Snowy Mountains Trail Run Australia at the website. [caption id="attachment_838192" align="alignnone" width="1920"] Supplied[/caption] STAY OFF THE BEATEN TRACK AT THE TREX CROSS TRIATHLON When: February 20, 2022 Where: Snowy Mountains Stick around the Snowy Mountains after Trail Run Australia for some off-road action at the Trex Cross Triathlon on February 20. With Mount Kosciuszko as your backdrop, you'll start with a 1500 metre swim before mountain biking for 30 kilometres then finishing with a ten kilometre run on a gritty off-road track. The event is open to all experience levels, so even if you're still recovering from a summer of eating, drinking and beaching, there will be something to inspire you and fit your outdoorsy needs. Register for the Trex Cross Triathlon at the website. CHALLENGE YOUR LIMITS AT THE TRUE GRIT ENDURO When: March 5–6, 2022 Where: Lower Portland, Hawkesbury region Whether you're a fitness fanatic or a casual weekend warrior, the True Grit Aussie Titles will have something for you. This is no stroll in the park, though — this 24-hour event will present a serious challenge for even the most experienced athletes, testing both mental and physical endurance. It's billed as the toughest obstacle course race in the southern hemisphere, demanding competitors to complete as many laps of the ten-kilometre, 30-obstacle course in 24 hours at Dargle Farm on the Hawkesbury River in Lower Portland. The course will have you running, climbing and crawling as you move through grasslands, rainforest, swamps, towering sandstone cliffs and more. Not an elite athlete? No sweat (well, yes, sweat, but not as much). Just opt for the half course — it's a five-kilometre trek that features over 25 obstacles that'll put you through your paces, including traverse ropes and inclination. You can enter solo or as part of a team, too, so you don't have to battle the elements alone. Register for the True Grit Enduro at the website. [caption id="attachment_837880" align="alignnone" width="1920"] Destination New South Wales[/caption] TEST YOUR ENDURANCE AT THE SNOWY CLASSIC When: March 26, 2022 Where: Snowy Mountains The inaugural Snowy Classic will be taking place on Saturday, March 26, and it will see cyclists testing their endurance as they make their way through New South Wales' stunning Snowy region. The event boasts two courses on fully closed roads: a 170-kilometre ride and a 110-kilometre ride, both starting and finishing at Banjo Paterson Park, next to Lake Jindabyne. Both routes pass through the idyllic towns of Berridale, Dalgety and Jindabyne, while cyclists tackling the longer route will head up through the winding Kosciusko National Park on their way back to the finish line in Jindabyne. Fancy yourself a bit of a cycling superstar? There's a cash pool of $10,000 to be won — so slap on that lycra and get registering. Register for the Snowy Classic at the website. [caption id="attachment_837914" align="alignnone" width="1920"] Marc Rafanell Lopez (Unsplash)[/caption] GET BATTLE-READY AT SPARTAN NSW TRIFECTA When: April 1–3, 2022 Where: Marulan, Southern Tablelands Ever wanted to run through mud and leap over fires without mum telling you off? Well, you're in luck, because the world's biggest obstacle race series is coming to NSW in 2022. For the first time ever, New South Wales is hosting a Spartan Trifecta weekend. Join the five-kilometre Sprint, the ten-kilometre Super or the 21-kilometre Beast depending on your fitness level, and expect swimming, running, leaping, and the oh-so-fun scrambling. You'll climb a rope, avoid barbed wire, drag a concrete block, traverse ropes and even throw spears at this event that's so challenging and rewarding, even mum will be proud. Register for the Spartan NSW Trifecta at the website. RIDE THROUGH VINEYARDS AT THE MUDGEE CLASSIC When: 30 April–May 1, 2022 Where: Mudgee That weekend in Mudgee you've been meaning to take can finally come to fruition in May — and what better way to take in one of New South Wales' premier wine regions than by cycling through it? Head to the state's mid-northwest for the Mudgee Classic, a cycling event catering to all levels of cycling ability featuring four courses: the 170-kilometre Maxi Classic, 120-kilometre Challenge Classic, 60km Rouleurs Classic and the 35-kilometre Social Classic. Whichever you choose, you'll have the best seat in the house to explore the region's expansive vineyards, rolling hills as you ride through them. Pro tip: if you plan on making a weekend of it by heading to a winery or two the night before the race (and why wouldn't you?), the Social Classic might be the one for you. Sign up for the Mudgee Classic at the website. [caption id="attachment_837810" align="alignnone" width="1920"] Destination New South Wales[/caption] RIDE HARD (AND PLAY HARD) AT PORT TO PORT When: May 19–22, 2022 Where: Hunter Region There's nothing better than a cold beer at the end of a hard day's work — and we say the same goes after a hard day of mountain biking. Experience it for yourself by taking part in Port to Port, a mountain bike stage race running over four days in May that takes in the Hunter Valley, Lake Macquarie and Newcastle. It's a pretty social event, too — there's a bar positioned close to the finish line every day and participants are encouraged to unwind after each stage and enjoy the generous selection of local food, wine and beer on offer. You'll be made to work for it, though — the race spans around 196 kilometres of riding and 4300 metres of climbing. Register for Port to Port at the website. Feel new in 2022 by setting yourself a new challenge in NSW. For more information, head to the website.
