Learn how to cook crocodile the right way, take a trip to Goat Island and get taught how to weave when the Blak Markets hit Barangaroo Reserve on Saturday, July 9. Held as part of NAIDOC Week, the event will bring together more than 20 stallholders, selling and demonstrating Indigenous arts, crafts, skincare and bush foods. Expect to meet Cheryl Davidson, creator of extraordinary paintings, gift cards and baskets, as well as Clair Bates, whose jewellery is inspired by a childhood spent in the bush in Western NSW. Glen Timbery will also be onsite with his boomerangs, handcrafted using a technique that has been handed down through his family for the past 193 years. There's also ample opportunity to learn a thing or two. Renowned chefs Clayton Donovan and Black Olive will be holding outdoor cooking demos, and Fred's Bush Tucker will be showing punters how to traditionally prepare barramundi and crocodile. Free workshops will run throughout the day as well, giving you the chance to try your hand at weaving or shell art. Haven't been down to Barangaroo yet? Well, you'll be able to take an Aboriginal cultural tour around Barangaroo Reserve and catch a boat to nearby Goat Island — all for free. And be sure to catch the live entertainment, which will be running all day until 4pm. There'll be performances by the all-female Djaadjawan Dancers, the winner of the NCIE Talent Quest, Yaama Boys and Koomurri Dancers with songman Cecil McLeod.
They say that you should start the day in the best possible way — they being your mum, anyone older and wiser, every self-help book and everyone that's ever given you advice. For some, that involves exercise. For others, it involves a tasty meal. Or, why not head to The Green Lion and do both? Yes, stretching then snacking is on the menu at Sydney's first entirely vegan pub from 10am on February 12. The mindfulness and movement part of morning will be overseen by experienced yoga teacher Nichol, who has over eight years and 200 hours of teaching up her sleeves. When it comes to the morsels you'll be munching on, only the best cruelty-free dishes will do. The selection hasn't been revealed yet, but given that The Green Lion is the home of the vegan Big Mac, expect it to be something special. Eager brekkie yoga fans best get in quick, though, with attendance limited to 10 participants.
Deep space and chilling dystopias will dominate the screen at the third annual SciFi Film Festival. Taking place at the Ritz Cinema in Randwick, this year's program features a striking selection of new release science fiction, featuring Kristen Stewart, Mark Strong, Kate Mara and more. The festival opens on Wednesday, October 19 with the Australian premiere of Equals, a futuristic drama starring Stewart alongside Nicholas Hoult, Guy Pearce and Jacki Weaver. Other standouts in the four days that follow include Approaching the Unknown, a one-man space epic that offers a more "intelligent, meditative answer to the bombastic feel-good blast of The Martian," as well as the latest film in the Purge series, the appropriately titled The Purge: Election Year. The program also features a number of short films, plus Star Trek documentary For the Love of Spock that should pair nicely with a retrospective screening of Star Trek II: The Wrath of Khan. Cosplay is highly encouraged, FYI.
Did you wear out many VHS tapes re-watching your favourite movies as a kid? Don't worry, you're not alone. There's a type of fanatical viewing that comes with childhood, as we immerse ourselves again and again in the stories that we love most. For Owen Suskind, however, this rite-of-passage ran even deeper. Diagnosed with autism at the age of three, Owen threw himself into Disney flicks. For him, they weren't just entertainment. They were a way of learning how to process the world. That's the real world narrative that Life, Animated explores — and the heart-warming details are worthy of an animated musical. When the documentary begins, Owen is 23 and getting ready to leave home, an achievement that family members credit to his singular obsession. As he grew up, titles such as The Little Mermaid, Aladdin and Peter Pan helped him understand those around him, giving him the tools he needed to forge a life of his own. Taking his cues from the best-selling book by Owen's father Ron, Oscar-winning director Roger Ross Williams (short documentary Music by Prudence) recounts this moving story, combining home video with new footage in order to chronicle both Owen's childhood and his big move into his own assisted-living apartment. As the film unfolds, Ron and his wife Cornelia step through their two-decade journey, while Owen offers his own thoughts on his favourite films and the role they played in his coming-of-age. Unfortunately, while there's plenty of emotion to be felt here, Williams doesn't trust the audience to feel it on their own. His filmmaking tactics are as heavy-handed as they are steeped in easy emotion, and as repetitive as Owen's own viewing habits. Not only that, but by including countless moments from the movies that Owen loves, Williams trades far too heavily on viewer nostalgia, rather than actually focusing on the true tale he's meant to be telling. As a result, Life, Animated also struggles with tone, wavering between compassionate and self-congratulatory. Interestingly, the documentary's most effective sections aren't the interviews or Disney clips, but animated recreations of the Suskinds' lives provided by artist Mac Guff. These moments convey the underlying sentiment with much more subtlety than you'll find elsewhere. A cautious comment by Owen's older brother Walter, worried about someday having to take responsibility for his sibling's care, also stands out. As magical as Mickey Mouse's output may be, reality still leaves a stronger impression.
The Black Arts Market has a new home at Carriageworks this November, featuring a huge 55 stallholders and 93 Aboriginal artists from Australia's southeast region. The two-day market is a showcase of the cultural heritage of southeastern Aboriginal Australia. The market showcases artists who have transformed their traditional knowledge and skills into contemporary artworks and products of wonderful and inspiring diversity. Artists include shell artist Esme Timbery (whose work earned her the inaugural Parliament of New South Wales Indigenous Art Prize back in 2005), Aboriginal florist Flannel Billy, who will be creating native floral arrangements on-site, and Uncle Greg Simms, who'll demonstrate wood carving techniques and Tasmanian artist Netty Shaw, who creates baskets woven from kelp (seaweed). The market is co-curated by Hetti Perkins (former senior curator of Aboriginal and Torres Strait Islander art at the AGNSW) and Sydney-based Aboriginal artist Jonathan Jones, who recently presented barrangal dyara (skin and bones), a vast sculptural installation in the Royal Botanic Gardens. Visitors will have the opportunity to interact with the artists and learn about southeast Australian Aboriginal cultural practices, as well as purchase works, which will include homewares, ceramics, weavings and contemporary visual arts. The Black Arts Market will run from 9am-5pm on Saturday November 12 and 10am-6pm on Sunday November 13. Image: Esme Timbery, Sydney Harbour Bridge, 2002. Photo by Jenni Carter.
Movie versions of best-selling young adult literature have become an exercise in taking the good with the bad. For every aspect book-to-film adaptations get right — presenting an intricate vision of a dystopian future, and championing strong female protagonists, for example — there are just as many elements that fail to hit the mark. The trend of splitting final instalments into two features typifies the latter, resulting in more screen time but less satisfaction. With The Divergent Series: Allegiant, the series' penultimate chapter proves its worst to date. Indeed, it's little more than filler. Having cottoned on to the manipulated, artificially manufactured status of her closed-in, factionalised Chicago society, series protagonist Tris Prior (Shailene Woodley) is now determined to discover just what lurks beyond the city's imposing walls. With her trusty band of rebels by her side, including her boyfriend Four (Theo James), brother Caleb (Ansel Elgort) and the duplicitous Peter (Miles Teller), Tris hatches a plan to find the real puppet-masters behind the only way of life she has ever known. Cue a battle between the past and future, right and wrong, and any other opposing forces that returning director Robert Schwentke can throw into the mix. Allegiant endeavours to place its feisty heroine in the grey zone between two sides and mindsets, as illustrated not only by the rift between the crusading Evelyn (Naomi Watts) and the kindly Johanna (Octavia Spencer) back in Chicago, but also in the machinations of controlling newcomer David (Jeff Daniels) out in the wider world. Yet it does so in as blunt a manner as possible. The film is loaded with obvious clashes, be it between the bonds of love and family, moving forward or retaining the status quo, or spaces of dusty desolation and shiny innovation. These conflicts are designed to liven up a narrative that is largely treading water while waiting for the final film, but they're ultimately unsuccessful. Equally problematic are storylines about superior DNA strands, child soldiers and Truman Show-like surveillance, all of which add complication but are never especially compelling. Ramping up the bickering and the subplots also comes at the expense of the series' already tenuous sense of character. If Tris and her pals felt thinly drawn in Divergent and Insurgent, and more than a little similar to their counterparts in the likes of The Hunger Games and The Maze Runner franchises, then this time around they're positively flimsy. Once again, that leaves Woodley to act grim and concerned, James to fulfil the eye-candy quota, Elgort to do very little, Teller to steal all the best lines, and all four to look very bored while doing so. Three films in, they're going through the motions, which may as well be the movie's motto. Of course, a big finale is due to be delivered by 2017's The Divergent Series: Ascendant. However with Allegiant's trying aspects clearly outweighing any lingering sense of intrigue about the underlying concept, an important question springs to mind. No, it's not whether the franchise can be redeemed, but rather if we should even care either way.
SoCal Neutral Bay is taking over its sister restaurant Bondi Hardware across the bridge to bring you food and drink specials at both venues throughout September. Bondi Hardware was converted into a bar from a hardware store in late 2011 and pays homage to its rustic DIY roots with exposed brick, timber and a tool display wall. Its normally Italian-inspired menu will be complemented by SoCal's, which evokes the food you'd find on HWY 101 in Southern California. That means $4 tacos on Taco Tuesdays and $1 wings on Wings Wednesdays will be on offer at both Bondi Hardware and Neutral Bay, and both venues will go head-to-head on the final Wednesday of the month in a Wings Competition – where you could win free wings for a year. Hit up the SoCal/Bondi Hardware collab on Mondays for $12 margaritas, Negronis, old fashioneds or mezcal cocktails, or try Thursday for a $10 margarita. They have your weekends covered too, with $35 bottles of wine on Saturdays, and $8 bloody Marys and $30 rosé sangria carafes on Sundays. What a way to welcome spring.
They're the scenes every dog owner pictures when they leave their beloved pooch home alone. Maybe their loyal canine sits by the door, pining for human company. Maybe the crafty critter jumps on the furniture and makes a mess. Maybe it does a bit of both. With an excellent understanding of the bond between people and their furry companions, The Secret Life of Pets turns these imaginings into an animated adventure. If Toy Story swapped kids' playthings for the dogs, cats, birds and bunnies (and assorted other animals) that people of all ages adore, this highly entertaining movie would be the end result. Terrier Max (voiced by Louis C.K.) is the apple of his owner Katie's (Ellie Kemper) eye. Or least he is, until she brings him home a shaggy rescue mutt as a brother. Not only is Duke (Eric Stonestreet) bigger, he's determined to take Max's bed, his food bowl, and – the smaller dog worries – his place in Katie's heart. Before long, the tussle between the unhappy new housemates spills onto the streets during their daily walk, with the duo soon finding themselves scooped up by dog-catchers. Enter former magician's rabbit Snowball (Kevin Hart) and his motley crew of discarded beasts, who not only prove skilled at escaping to their secret underground lair, but are also plotting to overthrow humanity. There's knowing humour in everything Despicable Me director Chris Renaud and his co-helmer Yarrow Cheney assemble in this jovial animal jaunt, with the script from fellow Despicable alums revelling in anarchic but endearing comedy that trickles down to the smallest details. And it really is the little things that help The Secret Life of Pets showcase its modest charms, as demonstrated by the supporting characters. Both nodding to and twisting stereotypical traits and behaviours, the film features everything from a hamster (voiced by Renaud) who can't find his way out of a building's vents, to a pampered Pomeranian (Jenny Slate) who turns feisty when she discovers that Max is in trouble. More quirky creatures pop up, sporting recognisable celebrity tones, including Lake Bell as a cat, Hannibal Buress as a dachshund and Albert Brooks as a grumpy hawk. Each inspires a few funny sequences and sight gags, in a film that's otherwise content with the usual pop-friendly soundtrack, pop culture references and riffs on other movies. Indeed, with an action-packed homewards trek that's reminiscent of Finding Dory, and a wiener-oriented musical number that's better than anything in Sausage Party, much about The Secret Life of Pets feels familiar. There are no Zootopia-like musings about diversity and acceptance here — but there is a whole lot of awww-inducing love. Such fuzzy feelings will no doubt help viewers in overlooking the film's flaws. This is a movie that's as swift as a dog chasing a ball, as light as a budgie fluttering around an apartment, and as cute as an over-fed cat lounging in the sun. And, for its brief 87 minutes, that's mostly enough. Just make sure you leave time to visit a pet store after the movie, or scurry home to hug the four-legged friends you already have.
Run, jump and roll your way into the Sydney Opera House this September to see a brand new stage work from the champions of Western Sydney's underground parkour scene. Straight from the streets of Fairfield, Jump First, Ask Later combines the fluid movement of free running and contemporary dance in an explosively physical performance that explores "violence, migration, redemption and the collective freedom these artists discovered by mapping their city through dance". On stage at the Opera House's Studio Theatre from September 22 to October 2, this troupe of six young performers from one of the most culturally diverse parts of Australia will traverse the theatre, springing and vaulting over obstacles in a 50-minute performance produced by the Powerhouse Youth Theatre and dance company Force Majeure. Expanding your understanding of both athleticism and dance, the show shapes up as a must-see for fans of either. https://www.youtube.com/watch?v=ekt4QkjKnEw
If you've ever dined at Yellow, Potts Point, you'll know that the team is pretty damn keen on a veggie or two. In fact, in February 2016, the restaurant announced its lunch and dinner menus were going 100 percent vego. So, to usher in the beginning of summer, Yellow is visiting Newtown's Hartsyard to team up with the crew for an animal-friendly feast. Taking care of the menu will be Yellow's self-confessed plant nerds Gregory and Adam Wolfers. You can expect all sorts of weird and wonderful veggies, as well as a bunch of heirloom varieties. Meanwhile, Ned Brooks of Brooks and Amos will be coming up with a slew of matching wines. The banquet is just $90 per head (including drinks) and there'll be two sittings — at 6pm and 8.30pm. Either way, you'll be joining your fellow diners at Hartsyard's friendly communal tables. Bookings are essential.
Melbourne playwright Ross Mueller takes a knife to contemporary office politics and bureaucracy with his new work, A Strategic Plan. Under the tagline "failure is not on the whiteboard", the play follows Andrew, a former rock musician, as he sinks into, then begins drowning in, the bureaucratic swamp of running STACCATO, a youth music oufit. Justin Smith's Andrew doesn't have full Dude status, but there is something distinctly Lebowskian about him. The board smells blood immediately and begin a hellish barrage of acronyms, forms, legislation and snide remarks. A Strategic Plan promises a masterclass in how to kill a dream in the 21st century. The play is, on the surface, a comedy. But director Chris Mead says it would be a mistake to write it off as a 'funny play'. "There are great jokes in there but there's also a deeper emotional truth inside the play which is about how brave you're going to be to live the life you want to live."
Sydney Carnival has again taken over Royal Randwick — this year with their greatest entourage of food trucks yet. If like us, you're always a tiny bit more interested in food than what actually happens at these events, head to the Truckstop. It has options to suit every palate and diet, from freshly shucked oysters at The Shuck Truck to South American street food by Caminito and Mexican classics by Cantina Movil. They've even got Nathan's Famous Hotdogs in tow, serving up original New York-style dogs. Whether you're looking for a dainty dish to keep your races outfit in tip-top shape or are looking to go all out with an over-sized burrito, Truckstop has you covered. All you need to access this delectable range of food trucks is a general admission ticket into the racecourse. If you'd prefer to hang around the bar rather than participate in watching the race, there are pop-up bars from Canadian Club, Heineken and Chandon open to all. If you're feeling a little luxe, the more exclusive Moët & Chandon and Makers Mark Whisky bars are reserved for members only. Tickets to The Championships are on sale via the Australian Turf Club website.
This play about the Iraq War shies away from WMDs, oil and 9/11. These considerations, after all, are somewhat abstract to a big cat. That's right — Rajiv Joseph has entrusted his commentary on George W. Bush's appalling expedition into Iraq to a philosophising tiger. Bengal Tiger..., as the name suggests, is set in Baghdad's zoo, where a large feline is trying to unravel the mysteries of human conflict. His musings are not helped by the constant planning of his guards, Kev and Tom, two disillusioned Marines. They're scheming to get rich by finding Uday Hussein's fabled gold toilet seat. Then the ghosts start showing up. Yet another in a long line of baseless, gung-ho military disasters for America (and Australia), the Iraq War was a sustained campaign of needless destruction. I've yet to find anyone who can make sense of it, except as an exercise in corruption and greed. Perhaps it's time to listen to the tiger. Image: John Marmaras.
A film about a man experiencing time in reverse shouldn't be forgettable. When it comes to The Death and Life of Otto Bloom, however, maybe it's somewhat fitting. The eponymous Aussie isn't Benjamin Button — in this curious case he ages normally, but was born with all of his memories, progressively losing them with each passing day. That means that he can remember everything that will happen, but not what has previously occurred. Alas, for viewers, this is a case of life imitating art, with the final film failing to stick in your mind for very long once the theatre lights come up. It's not that the underlying idea behind writer-director Cris Jones' first feature doesn't stand out. One of the great things about temporal trickery and mind-bending sci-fi is that new concepts just keep coming — and Aussie filmmakers have been heartily trying their hand at them recently, as the ambitious Predestination and the excellent The Infinite Man have shown. Sadly, Otto Bloom just doesn't do much with its premise other than wrap it up in faux-documentary packaging and attempt to tell a contemplative tale of life, death, love and loss. A cult figure who dabbles in art and gathers a following as a motivational speaker, Otto Bloom is called plenty of things over the course of his life. Jones begins the film with a whirlwind of news headlines and talking heads, and indeed, it seems there is no shortage of folks willing to offer their two cents about Bloom's strange existence. The most interesting and important of these is Dr Ada Fitzgerald (played by Rachel Ward in the interview segments and her daughter Matilda Brown in flashbacks). She first met Bloom in the '80s, named his unique condition "retrochronology", and swiftly fell for his charms. But romancing a man who only remembers your future, not your past or present, proves more than a little bit tricky. Both Ward and Brown thoroughly steal the show in their shared role, so much so that you may find yourself wishing that the film was more about Ada instead of Otto. When neither actress is on screen, we're left with Spin Out and A Few Less Men star Xavier Samuel, continuing his spate of underwhelming roles in similarly underwhelming local films. We're told over and over that his protagonist is supposed to be enigmatic. Unfortunately, he just comes off as dull. But that's The Death and Life of Otto Bloom in a nutshell: intriguing on paper, underwhelming in execution. Much of the film's struggles stem from its approach and structure, with the movie never making a convincing argument for pretending it's a doco. Well, maybe it does — without the repetitive to-camera chatter from the likes of the cop that first came across Bloom, his eventual manager, a fascinated philosopher and an art critic, the movie would've been even more short and slight. Either way, it's still thoroughly disappointing.
This 20th Biennale of Sydney keynote address will be delivered by Boris Charmatz, director of the Dancing Museum, and one of the dance world's most fearless innovators. The museum's physical home might be Rennes, France, but, as Charmatz says, the concept of the museum is a "nomadic idea, which can move elsewhere, shelter time, void and talk, nudes, things political, discussions, works and fantasies, and sometimes even, all of it at the same time". To that end, he's spent the past twenty years taking dance across unexplored frontiers to public spaces around the world. And now, he's coming our way. Speaking at Carriageworks at 6.30pm on Saturday, March 19 to launch the 20th Biennale of Sydney, he promises to ask all the big questions, and explore the importance and evolution of street dance, permeable choreography and "contemporary stress about togetherness". Rather than telling crowds what to you think, he'll be offering ideas and possibilities. Afterwards, Charmatz will be joined by the 20th Biennale's artistic director Stephanie Rosenthal for a 20-minute chinwag, followed by the Sydney premiere of his 2014 work manger, which recently appeared at London's Tate Modern. Image: Boris Charmatz, ‘Manger’, 2015
Every few months or so, Hollywood throws a few of its stars into the sea. Whether they're forced to conquer towering swells or left to float and flounder until rescue, the end result is usually the same: men battle nature, treading the very fine line between sinking and surviving in the process. Favouring disaster over drifting, The Finest Hours relates the details of the SS Pendleton. To date, the US Coast Guard's mission to bring the ship's crew to shore remains the greatest small boat rescue operation in history. Like many such stories, the true tale behind the film stems from a combination of bad weather, bravery and luck both good and bad. On the day Massachusetts crewman Bernie Webber (Chris Pine) intends to ask his superior officer (Eric Bana) for permission to marry his sweetheart (Holliday Grainger), a storm strikes. Two tankers are ripped in half by the hurricane-force winds and giant waves. With most of their colleagues tending to one vessel, it's left to Bernie and a tiny band of offsiders (including Ben Foster and Kyle Gallner) to jump onto a modest 36-foot boat to try and aid the other. Sadly, daring and noble deeds don't always inspire films filled with the same spirit, even when they're made with the best of intentions. The Finest Hours is set in 1952 and looks the period part. Unfortunately, the '50s are currently plastered across the screen in everything from Brooklyn to Hail, Caesar!, and frankly those offerings provide richer old-school depictions of the decade, and not just in a visual sense. Here, director Craig Gillespie keeps his tone as flat as his images are dark. Given that he also helmed the tender Lars and the Real Girl as well as the remake of Fright Night, his lack of energy is both surprising and disappointing. What The Finest Hours lacks in liveliness, it attempts to make up for in CGI-enhanced thrills. But while the splashing and crashing spectacle of the second half provide decent entertainment, they can't quite gel with the more intimate, character-based moments. It's never a good sign when the killer storm seems more subtle than the bulk of the people caught in its midst. Thank goodness for the sections devoted to the men on the struggling ship, as anchored by Casey Affleck. In his second impressive outing in as many movies following his turn in Triple 9, he endeavours to save his fellow sailors and keep The Finest Hours coasting along. The on-board drama he's immersed in might cycle through as many cliches as the rest of the film and the wet-and-wild genre in general, but it's the only part of the action presented with any tension or urgency.
Burger lovers of Sydney, rejoice — Harpoon Harry is back in business. After temporarily closing due to COVID-19 lockdowns, the Surry Hills spot is back doing what it does best. And, it's doing so with a mighty tasty deal, too. To celebrate firing up the grill once again, it's serving up burgs at $10 a pop all day every day in June. Usually, the special only applies on Wednesdays; however, as we all know, there's absolutely nothing usual about 2020 so far. That price applies to all three burgers on the menu, so you can take your pick — between the fried chicken burger with hot sauce, coleslaw, lettuce, tomato and pickles; the wagyu with cheese, lettuce, tomato, pickles, onions and Harry's sauce; and the crumbed eggplant 'schnitty' with grilled haloumi, lettuce, tomato, pickles, charred onions and aioli. And, your tenner will also score you some fries — with the burgs and chips combo on offer daily from 11.30am. Bookings are recommended, but you can also just walk on in.
UPDATE: June 6, 2020 — On Saturday, ten minutes before the Stop All Black Deaths in Custody rally was scheduled to start, the NSW Court of Appeal overturned the Supreme Court's decision to prohibit the rally. The protest is now an authorised public assembly and will go ahead at 3pm. UPDATE: June 5, 2020 — On Friday, the NSW Police won a Supreme Court bid to prohibit tomorrow's Stop All Black Deaths in Custody rally. Justice Desmond Fagan said that the rally was "a very undesirable idea", according to the ABC, and "the exercise of the fundamental right of assembly … is not taken away by the current public health order, it is deferred." Organisers of the event have said the protest will still go ahead. This Saturday, June 6, rallies will be held across Australia in protest of Black and Indigenous deaths at the hands of police, both locally and in the US. Held in solidarity with the protests currently happening in the States — in response to the death of George Floyd in Minneapolis — and in support of the #BlackLivesMatter movement, the Sydney rally is also a call to action on the systemic mistreatment of Aboriginal and Torres Strait Islander peoples by police. Since 1991's royal commission into Aboriginal deaths in custody, another 432 Indigenous Australians have died in custody, including Dunghutti man David Dungay Jr, who's 2015 death draws many parallels to that of Floyd. Organised by the Indigenous Social Justice Association, Anticolonial Asian Alliance and USYD Autonomous Collective Against Racism, the Sydney protest is called Stop All Black Deaths in Custody: Vigil for George Floyd. It'll be held from 3–5pm, starting at Sydney Town Hall, and will also be live-streamed on Facebook and Zoom for those who can't attend (with links set to be posted on the event post on the day). While NSW's COVID-19 cases are declining, we're still in the midst of a pandemic and rally attendees are encouraged to practise social distancing measures, with the organisers suggesting everyone wears a mask, stands 1.5-metres apart and does not attend if they are feeling unwell. If you have even mild symptoms, it's strongly encouraged you go and get tested. If you can't attend, but would still like to do your part, you can donate to an Indigenous Australian charity or organisation — including to the family of Dungay Jr, who are currently raising money to cover legal costs — and educate yourself on Australia's Indigenous history. To help start with the latter, here are 13 films by Indigenous Australian filmmakers you can stream.
Sydney's intimate, boutique Golden Age Cinema is teaming up with Four Pillars Gin for a mini booze and film festival. Each Wednesday night in February, the 56-seat Surry Hills spot is hosting double bills paired with gin cocktails. It's quite the lineup, too, with a little something for everyone on the bill. The festival is called Hot Summer Nights, so that's the kind of tone it's going for — whether coming-of-age tales, love stories, thrillers or dramas are hitting the screen. First up on February 5 is 60s great The Graduate, followed by seminal 90s classic Reality Bites. Or, if you're heading along with your significant other, perhaps February 12's pair of True Romance and Romeo + Juliet will appeal. The next week, on February 19, Alfred Hitchcock's Rear Window will screen, accompanied by Spike Lee's iconic Do the Right Thing. Then, wrapping it all up on August 28 is countercultural romance Zabriskie Point and the adult film industry epic Boogie Nights. These dark cult flicks will all get a beverage to match, made with Four Pillar's juniper spirits. The first screenings each evening kick off between 6.05–6.15pm, then the second start at 8.30pm — but we suggest you get there a little earlier for the drinks. Tickets are $22.50 for each film.
It's no accident that you've never seen a big-screen adaptation of Cinderella in which the stepsisters hack off their own toes to try and fit into the glass slipper. Or that Disney's animated classic The Little Mermaid decided to switch the pitiable death of Hans Christian Andersen's protagonist for a happy ending. Over the last few decades, there has been a concerted effort in popular culture to de-fang fairy tales, replacing the blood-spattered morality of the Grimm brothers with a jamboree in which everyone gleefully walks away knowing a little more about themselves. Despite this widespread plot-wangling, there remains a fairytale that refuses to be brought into the mainstream stable. Oscar Wilde's The Happy Prince tells the story of a bird bound for Egypt who — spoiler — blinds a regal statue (at its insistence), before literally dropping off its perch. Then, a workman learns a heartbreaking lesson about the melting temperature of lead. There's more to it, but you can perhaps understand why Wilde's prince never made a cameo in the Shrek films. These idiosyncrasies, however, are what queer theatre company Little Ones thrive on. Its adaptation takes Wilde's brutally sad tale of Victorian-era inequality, punches up the eight-page plot and laces it with a love story between Janine Watson's glamour-dripping Prince and Catherine Davies' roller-skating Swallow. The Happy Prince played at La Mama in 2017 to full houses and fairytale reviews. Stephen Nicolazzo also took a Green Room Award for his direction. It's coming to Griffin, but not for long. So if Disney's latest live-action Aladdin has more shiny nostalgia-ridden sweetness than you can stomach, the dying ember of decency at the heart of this tale could be just the palate cleanser you're after. The Happy Prince will run at SBW Stables Theatre from Tuesday, June 25–Sunday, July 6. To purchase tickets, visit Griffin Theatre's website. Image: Pia Johnson.
Earlier this year, Manly's Chica Bonita jumped the harbour and opened a stunning new restaurant in the CBD. It had a beautiful Mexican-inspired design, tacos topped with both Mexican and Australian ingredients and a neat lineup of margaritas. But, there was no sign of the famed burrito that'd been served up at its Manly store for almost a decade. Thankfully, the carby, cheesy, steak-filled rolls have now arrived in the CBD — and Chica Bonita is about to start serving them up to-go. From Monday, June 24, CBD workers will be able to ditch their soggy sandwiches for a desk lunch that'll make many a colleague jealous. To celebrate the launch of its new takeaway lunch menu, Chica Bonita CBD is giving away 100 of its signature burritos from 11.30am. To snag yours, you'll need to sign-up via the website, then get ready to line up for a free California Burrito, filled with carne asada steak, guacamole, cheese and fries. Yes, fries. If you're a meat-free eater, there'll also be a (free) vego option. If you miss out, you'll still be able to try the new takeaway lunch dishes, which include three other burritos (all $14), stuffed with either sweet potato and quinoa, squid and chorizo or roast chicken and three-chilli salsa. Elsewhere on the menu you'll find carne asada-topped fries ($15), baby corn with fermented chilli mayo ($14) and three different burrito bowls: lamb barbacoa ($17), duck carnitas ($19) and crispy eggplant ($17).
July is the perfect time to check out Gelato Messina's Creative Department — the gelato fiend is adding truffles to all of its dishes for a ten-day series of eight-course gelato degustation dinners. Head chef Remi Talbot has sourced elite perigord black truffles from nearby Parkesbourne Produce farm. Expect brioche and foie gras gelato with black truffle sauce; pistachio and black truffle gelato with matcha and white chocolate fudge; and grilled kumquat sorbet with koji cream, wattleseed and black truffle. Paired with each is an equally creative non-alcoholic drink, like the lemon myrtle and macadamia bubble tea, or the pineapple, white soy and shiitake sparkling. The degustation will only be available in Sydney from July 3–13 and tickets are $160 per person. These dinners are known to sell out remarkably quickly — with only eight seats per night — so grab yours here.
Australian film festival season is in full swing, filling Sydney's big screens with cinema from around the globe. After showcasing French and Spanish flicks so far this year, it's Germany's turn. From Tuesday, May 21 to Sunday, June 9, the annual fest will head to Palace Norton Street and the Chauvel Cinema to serve up the best new movies from the country that gave us Metropolis, Das Boot, Run Lola Run, and the one and only Werner Herzog. While none of the above are on the German Film Festival bill, there's a very good reason for that. Here, you'll discover new favourites rather than revisit old ones. It all begins with the thrilling true tale of two families on a daring flight from East to West Germany — and with a name like Balloon, you should take the 'flight' part literally. Also on the agenda: a documentary celebrating Walter Gropius' Bauhaus movement, award-winning World War II imposter tale The Captain, and a comedy about naming a baby Adolf. Or, you can see what happens when a couple of pals try to ditch all of their belongings in 100 Days. There is a blast from the past, thanks to closing night's 1931 film version of Bertolt Brecht's The Threepenny Opera. There's also a dramatised take on the efforts to bring the production to life on the stage back in 1928, aka Mack the Knife — Brecht's Threepenny Film. Fancy casting your eyes around the world, even at a German film festival? You can do just that with a few new picks from Austria and Switzerland as well.
We can't think of a much better way to celebrate 'National Cheese Day' (we'll take it as an excuse to eat more cheese), than tucking into a big serve of something decadently cheesy and classically Italian. If you're on board with that dairy-filled scenario, Fratelli Fresh is more than happy to comply. To mark the annual cheese 'celebration' on Tuesday, June 4, the Italian eatery is rolling out a special menu addition at all of its seven NSW outposts. The guest of honour? A dreamy $15 cheese-wheel pasta. Busiate pasta is tossed together with lots of black pepper and cream inside a huge wheel of pecorino cheese, then served straight onto your plate in a hot, cheesy mountain. At most stores, the dish is only making a one-day appearance, though Fratelli Fresh Crows Nest and Alexandria will score it as a permanent menu addition after June 4, with a standard serve clocking in at $25. If you're downing cheese-wheel pasta as a group and looking for a liquid accompaniment, you might be tempted by Fratelli Fresh's new giant Aperol spritz concoction — the Super Spritz is a 1.5-litre share-friendly version of the drink, available for $39. $15 cheese-wheel pasta is available all day on Tuesday, June 4, at all seven Fratelli Fresh restaurants in Alexandria, Bridge Street, Crows Nest, Darling Harbour, the Entertainment Quarter, Walsh Bay and Westfield Sydney.
The constant flow of COVID-19 news was interrupted, temporarily, earlier this month when a former Prime Minister's memoir launched. Well, was leaked. According to the book's publisher Hardie Grant, a pirated version of Malcolm Turnbull's A Bigger Picture was allegedly shared multiple times from an address "within the PMO [Prime Minister's Office]". And that's not the only reason the book made headlines. As well as calling out Kevin Rudd's potty mouth, Turnbull spills the tea on his relationship with now Prime Minister Scott Morrison and even calls him a "Machiavellian plotter". If this is the kind of inside gossip that get's you excited on a Monday, you'll be happy to know you can hear even more from the man himself at a one-off Sydney Writers' Festival event. At 7pm AEST on Monday, April 27, Turnbull will be chatting to writer and presenter Annabel Crabb about his memoir, his ex-colleagues and the 2018 leadership spill. The talk will be live streamed via the Sydney Writers' Festival YouTube channel, website and Facebook page. While the literary festival has been cancelled inline with the government's restrictions on public gatherings, it's hosting a series of online events and podcasts that'll reimagine its 2020 program. You can check out more of them over at Sydney Writers' Festival website. [caption id="attachment_660576" align="alignnone" width="1920"] Sydney Writers' Festival by Prudence Upton[/caption] Top image: Flickr/Chairman of the Joint Chief of Staff
There's no doubt about it, it's cold. Sydney's winter weather has settled in — we've seen frosty mornings, snow on the mountains and rain aplenty. Luckily, Japanese casual apparel retailer UNIQLO has got some super snug clothing to keep you warm throughout the chilly season. What's more, it's giving away 10,000 free Heattech products to make sure you're cosy to the core. Essentially thermals, the Heattech innerwear comes in three levels of warmth — warm, extra warm and ultra warm — in the form of singlets, long-sleeve shirts, turtle necks, leggings, long johns and tights. So, whatever this winter holds in store, UNIQLO will help you stay nice and toasty. To nab yours, you'll need to complete an online version of 'hot and cold'. Available to play from 10am Wednesday, July 15 to 11.59pm Sunday, July 19, the virtual game will see you navigating three levels (aptly named warm, extra warm and ultra warm) looking for 'invisible' Heattech tops. If you find the tops and complete all three levels, you'll be sent a code to redeem a free men's or women's Heattech product — you can choose from any of those listed above, up to the value of $19.90 — at any Uniqlo store in Australia.
For a lot of us, it's been many months since we've seen a live gig in an actual theatre. Thankfully, there are still a few venues offering a top-quality gig experience that you can tune into comfortably from your couch. We're not talking shaky hand-held iPhone footage either, but rather full-blown performances with stellar sound, lighting and staging. Keen to catch one this weekend? You're in luck, because Parramatta's Riverside Theatres will see emerging Aussie artist Odette take the stage on Sunday, September 6 as part of its Riverside Theatres Digital series. The British-born singer grew up in Sydney's inner west and is known for her soulful pop and inimitable style. Her music has been on rotation on the likes of Triple J and Triple J Unearthed, including her hit song 'Take It To The Heart'. The 23-year-old already has an album under her belt, To A Stranger, as well as a handful of singles. Her intimate one-hour set kicks off at 7pm and can be streamed via YouTube. To access, you can buy choose-what-you-pay tickets (from $18) via Riverside's website. All proceeds will go towards supporting the artist, as well as Riverside Theatres and its staff, so you can support Sydney's struggling arts scene. Odette: Live at Riverside will run from 7–8pm on Sunday, September 6. Nab your tickets here.
A lantern parade led by a moon goddess, a dancing lion, k-pop stars and a cornucopia of international food stalls are all planned for Cabramatta's 2019 Moon Festival. The traditional event, which has been celebrated across South East Asian communities for thousands of years, marks the spring equinox — one of two days in the year when day and night are of equal length — and the coming of harvest season. Head to Cabramatta from 9am on Sunday, September 8, to join the free festivities, where you'll be in the company of more than 90,000 revellers. In between feasting to your heart's content from eateries across the suburb — and a pop-up version of the hawker-style food precinct District 8 — look out for live music, dancers, theatre and a performance by Andy Trieu (from SBS PopAsia) and k-pop idol Kevin Kim of boy group ZE:A. There'll also be a bunch of fun, food-related happenings, including a prawn peeling challenge and a moon cake-eating championship. Moon cakes are round pastries filled with lotus seeds, red beans, orange peel and a yellow "yolk" that represents the moon. You can expect frivolities to finish up around 8pm, with an epic fireworks display.
When a film casts a universally adored actor as an unlucky-in-love character, it sends the world a message: that romance's joys and heartbreaks spare no one. When a movie tasks its protagonist with grappling with technology, it makes another statement: that the advancements meant to makes our lives easier can, and often do, have the exact opposite effect. Not just tried-and-tested, but commonplace, these cinematic choices have become cliches. The truisms they represent are already well-known and well-worn, too. And yet reminders don't go astray when they're not only clever and compelling, but baked into a catfishing thriller as twisty, perceptive and engaging as Who You Think I Am, which turns subverting expectations into its very mission. Nothing is what it seems in this French standout. As the picture's moniker makes plain, that includes its protagonist, as played by Juliette Binoche. Starring in a film that initially appears a kindred spirit to last year's rom-com Let the Sunshine In, the acclaimed talent again steps into the shoes of an unhappily single 50-something who's newly navigating the dating pool. Where Claire Denis' rom-com poignantly revelled in the ebbs and flows of being unattached later in life, filmmaker Safy Nebbou uses the scenario as a springboard to examine the contradictions of today's always-online, always-connected society. Finding a partner, whether for now or forever, may be as straightforward as swiping across a screen these days, but it's also burdened with complications and deceptions. There's a glimmer of defiance twinkling in Binoche's eyes when her character, university academic Claire, takes her love life in a drastic direction after her divorce. Adjusting to the new status quo, she still wants to be desired. So, if her ex can run off with someone much younger, then she can have flings with men half her age. When her latest squeeze starts fading out of her life, she also takes up cyberstalking. To discover why Ludo (Guillaume Gouix) has called time on their dalliance without any real explanation, Claire becomes Clara, a fresh-faced fashion intern aged just 24. Soon, the professor isn't just trawling through social media looking for answers about her latest breakup — under her new persona, she's cosying up to Ludo's friend and assistant Alex (François Civil). The ordinary act of clicking "like" on Facebook sparks a thread of direct messages, then texts, then hot-and-heavy phone calls, with Clara and Alex's online affair getting serious quickly. Adapted by Nebbou and co-screenwriter Julie Peyr from Camille Laurens' novel, Who You Think I Am isn't content to just inch towards the expected revelation one keystroke at a time. Nor is it happy to merely probe the unfair importance placed on appearances in the online dating realm, or the ageist tendency to erase women over a certain age. All of the above play a part in this icily, meticulously shot flick, but its insistence on never fitting neatly into any category extends to a narrative that keeps branching off in different directions. Framed by chats between Claire and her therapist (Nicole Garcia), as obsessed with duality as any Hitchcock classic, and also purposefully referencing the notoriously slippery and seductive Dangerous Liaisons, the end result is snaky thriller, a contemplative drama and even a thorny romance. Or, much like Claire, it's a movie with more than one identity. Continuing an exceptional recent run that also includes witty literary comedy Non-Fiction and the stellar, space-set High Life, it goes without saying that Binoche is the glue holding Who You Think I Am together. The film is impressively scripted, structured, shot and styled, and would retain these facets even with a different lead — however the right performer can always elevate a great picture to a higher level. While investing in the story's twists and turns is crucial, and something that Nebbou achieves with aplomb, believing in Claire is even more vital. Whether agonising over the right wording for her next message, itching for the phone that becomes her portal to another world, or confidently embracing not just her online charade, but the chance to rewrite her own tale, Binoche ensures that audiences are with her lonely, yearning character every step of the way. A catfishing movie that makes you empathise with the perpetrator? That's just one of the delights of this sharp, smart and savvily layered surprise package. https://www.youtube.com/watch?v=ShwXIOszzIM
Leichhardt small bar Golden Gully continues to come up with some top-notch collabs for its monthly locals feast. Over the past few months, there have been breakfast for dinner, sour beers and street food and P&V Merchants' natural wines and fermented food pairings. Now, tacos and tinnies are getting The Gully treatment — and, this time, the bar has teamed up with Taco King's Toby Wilson (The George Hotel, Bad Hombres, Ghostboy Cantina) for the vegan eats. On the menu, you can expect to start with shiitake ceviche tostadas and jerusalem artichoke tacos with peanut mole, chiltepin hot peppers and fried raisins. These will be followed by cauliflower tacos topped with cashew cream and seaweed, and coconut pandan arroz con leche (Spanish rice pudding) for dessert. Behind the bar, they'll be slinging tinnies from local brewers Akasha Brewing Company, Hawkes Brewing Co. and Young Henrys. The food and booze will cost you a reasonable $50 all up, and previous months have sold out, so snag your tickets before it's too late. Tacos and Tins has bookings available from 6.30–9.30pm. Images: Taco King by Kimberley Low and Golden Gully by Trent van der Jagt
These days, loads of places do raclette — Loluk and Handpicked Wines are just a couple that spring to mind. But you know who did it first? Bistro Papillon. And now the Clarence Street restaurant is bringing back its famed Soiree Raclette series — on the first and third Monday of each month, the charming French restaurant will dish up a fromage-filled feast of your cheesiest of cheese dreams. For $55 per person, the two-course dinner kicks off with one of Bistro Papillon's signature French-style entrees, like garlic and parsley baked snails or a chicken liver pâté. That's followed by the main event: a traditional dish of golden, oozy raclette. The cheese is scraped hot from the wheel straight onto your plate to complement an assortment of smoked and cured meats, potatoes and slices of crunchy baguette. Throw in a glass or two from the restaurant's all-French wine list and your week will be off to a very solid start. Book a table in advance on the website. Soiree Raclette dinners are available at 6pm or 8pm.
Haymarket's 4A Centre for Contemporary Asian Art is throwing an all-night electronica party this month in the form of its second annual Club 4A. It'll take over Chinatown's Dynasty Karaoke on Saturday, May 25 from 7pm–3am. The party has been curated by Sydney artists Mathew Spisbah and Rainbow Chan, and features a lineup of musical guests alongside audiovisual artists. The headline act is Berlin-based electronic musician Rui Ho, who hails from Shanghai and is making her Australian debut. Rui Ho's music fuses traditional Chinese and modern club influences. Rainbow Chan will also take the stage in collaboration with Sydney electronic composer Marcus Whale, and artists Del Lumanta and Milkffish will team up, too — their set will include live electronic improvisations using ambient sounds and Milkffish's signature Filipino folkloric instruments. More Filipino influence will be found in producer Yumgod's performance, which will include his signature deconstructed hip hop footwork. On the visual art side of things, Hong Kong artist Harry Chan has created new LED works for the event. And video artists Kynan Tan and Craig Stubbs-Race will present animated pieces throughout the night. Tickets are set at a very reasonable $20 and first release is already sold out, so nab 'em while you still can. Club 4A will run from 7pm–3am.
Last time that Kenneth Branagh took on a cultural icon, he stepped into Hercule Poirot's shoes, starring in and directing a new adaptation of Agatha Christie's Murder on the Orient Express. He'll return to the character in next year's Death on the Nile, continuing a filmmaking career with a noticeable theme: bringing famous figures and stories to the screen. Mary Shelley's Frankenstein, Mozart's opera The Magic Flute, Marvel's initial Thor flick and fairy tale Cinderella all appear on his resume, however one particular chap has always retained pride of place. Thirty years ago, Branagh jumped behind the camera for the first time for a cinematic version of William Shakespeare's Henry V. In the decades since, he's directed and acted in Much Ado About Nothing, Love's Labour's Lost and As You Like It, too. So it was only a matter of time until he did the obvious, turning his attention to a Shakespeare biopic. Shakespeare in Love, this isn't. Shakespeare in Retirement would've worked as a title, though. With Branagh both starring and helming as he usually does, All Is True's take on the Bard sees him back in Stratford-upon-Avon, where his family has always lived while he's been triumphing in London. It took a fire to bring him home, with his beloved Globe Theatre burning down in 1613 during a performance of Henry VIII. Devastated, old Will has pledged never to work again, vowing to spend time with his wife Anne Hathaway (Judi Dench) and adult daughters Susanna (Lydia Wilson) and Judith (Kathryn Wilder) instead. Alas, absence hasn't exactly made the heart grow fonder. As Shakespeare switches from penning flowery prose to trying to make a garden blossom, drama still keeps finding him. Grief rears its head, over the son he lost years ago, while Anne's stoic sadness at being left to take care of the household also bubbles to the fore. So does Judith's simmering anger at being constantly overlooked due to her gender, as well as Susanna's gossiped-about troubles with her fiercely Puritan husband (Hadley Fraser). If being a genius isn't easy, living in the shadow of one is a much tougher feat. Still, in a reflective screenplay written by Ben Elton, it's Shakespeare's struggle to not only adjust to an ordinary life, but to weigh up his flaws and failings over the course of his life, that drives the film. In a movie filled with allusions to its subject's work, All Is True takes its name from the alternative moniker for Henry VIII, which would prove Shakespeare's last play. Elton's script is definitely fictionalised — although perhaps less than his recent British sitcom, Upstart Crow — and yet the eponymous phrase remains apt. At the heart of the handsomely shot feature sits an important notion that applies not only to the Bard, but to art in general: whatever unfurls on the page or stage speaks to something within its creator. Just as Shakespeare clearly resonates with both Branagh and Elton, the great playwright's acclaimed words were borne of his own emotions. Sure, All Is True includes one of those typically grating moments where a character utters its title in dialogue (no prizes for guessing who does the honours), however in painting a portrait of the Bard as a conflicted, haunted man, it conveys both the inner source and hefty toll of his output. In the acting stakes, Branagh makes for a melancholic later-in-life Shakespeare, repeatedly digging his hands into the earth as he grapples with being brought back to normality. Leading quietly, sensitively but commandingly even under a pronounced prosthetic nose, he's matched by the steely Wilder, a great stint of comic sneering by Alex Macqueen as one of the Bard's naysayers, and a witty appearance by Ian McKellen as the writer's long-term patron, the Earl of Southampton. And yet, while buoyed by strong performances and making good on its premise, the film always plays like a minor ode rather than a major work. Walking in the footsteps of greatness is a difficult task, as the movie makes plain, although Branagh has been trying for decades. With All Is True, he shows why — and demonstrates that passion, intelligence and enthusiasm can go a considerable way. https://www.youtube.com/watch?v=1I5cKmiONDI
When Sydney's first Harry Potter-themed boozy brunches were announced early last year, the city couldn't say 'accio butterbeer' fast enough, with the two sessions booking out quickly. So the return of the Wizard's Brunch is sure to be enthusiastically received — especially as it's set to be held on the spookiest of days: October 31. This Halloween feast is set to recreate the Great Hall with floating pumpkins, fortune tellers and and fire performers. Fingers crossed for butterbeer, pumpkin pasties, cauldron cakes and maybe even a treacle tart. And hopefully no trolls in the dungeon. There will be two sessions: a family-friendly brunch and an adults-only dinner. But aside from the time and date, details are scarce. The particulars such as the venue and how many galleons you'll have to spend haven't been revealed as yet, though keen muggles can sign up to The Wizard's Brunch email list for more information. To give you an idea, though, last year's events were held at MacLaurin Hall at Sydney Uni and tickets cost around $200 for food and booze.
This month, galleries and creative spaces across Sydney will throw open their doors for a massive celebration of contemporary art and artists for Art Month Sydney's milestone tenth anniversary. As part of this year's jam-packed lineup, Art Month Sydney is hosting a series of after-work tours of the city's most prolific art precincts. And on Thursday, March 28, the final precinct tour will take place in and around the streets of Redfern and Chippendale. It's set to be a great finale — following similar tours around Paddington and Woollahra and East Sydney — with artist-run initiatives, cultural centres, leading commercial galleries and universities all getting involved. To take part, simply explore the Art Month Sydney map here, pop on some comfy shoes and start your tour at 6pm. You'll get to visit 107 Projects, Duckrabbit Gallery & Studios, Pine Street Creative Arts Centre, The Japan Foundation, UTS Gallery, Galerie pompom and more on this after-hours gallery hop. The tour finishes at The Lansdowne Hotel, where a party will be kicking off at 8pm. The lineup of DJs and live performers is yet to be announced — but we've been promised 'weird pop and downer ballads with silver linings'. Sign us up. For more information on the Art at Night: Chippendale and Redfern, or to check out the full Art Month Sydney program, head this way. Image: courtesy of Art Month Sydney.
How does a film festival celebrate a big milestone? By doing what it always does best. For the Iranian Film Festival, which hosts its tenth event in 2021, that means showcasing all of the latest and greatest movies from the Middle Eastern country. From winners at notable international fests such as Sundance and Venice, to the nation's 2021 Oscars submission, this year's lineup doesn't skimp on highlights. When the event hits Dendy Newtown between Thursday, June 10–Wednesday, June 16, IFF will kick off with Titi, Ida Panahandeh's film about an ailing physicist who's working on a theory about black holes and the end of the world. From there, cinephiles can expect to dive into flicks about a brick-manufacturing factory and its ancient methods, (The Wasteland) as well as music-fuelled road movies (Bandar Band). A certain standout, Yalda: A Night of Forgiveness topped the World Cinema Dramatic category at Sundance 2020, and spins a powerful story about a woman seeking atonement on television after being sentenced to death. Or, there's also Sun Children, the Oscar-shortlisted effort that follows a 12-year-old and his pals as they try to support their families. In total, 17 films will play during the festival — which should give you ample opportunity to leave your couch behind for the big screen for more than a few sessions. That said, there'll also be an online component after the in-cinema fest, running from Sunday, June 20–Wednesday, June 30. https://www.youtube.com/watch?v=xDSk_08MvBQ
Everyone has one: a Disney film that's so intertwined with their childhood, even thinking about it makes you feel like you're six years old again. Perhaps you've always said "no worries" to The Lion King. Maybe you've never had a friend like Aladdin. Or, you could've learned that it's better down where it's wetter thanks to The Little Mermaid. Whether one of the aforementioned flicks is your favourite Mouse House movie — or even if you prefer Alice in Wonderland, Sleeping Beauty or Peter Pan — you'll find plenty to get nostalgic over at Dendy Newtown's next festival. Yes, with a name like Disney Classics Festival, it's pretty self-explanatory. Also on the bill: The Jungle Book, Lady and the Tramp, The Emperor's New Groove, Snow White and the Seven Dwarfs and Who Framed Roger Rabbit. While some of these movies have been remade in live-action or using photorealistic CGI in recent years, this fest — which runs from Saturday, June 26–Sunday, July 11 — is all about the original animated flicks. And, like all of Dendy Coorparoo's festivals, different movies screen on different dates — and multiple times — so checking out the session listing is the best way to schedule your viewing.
Treating yo'self hasn't been the easiest thing to do over the past year or so — but for one week, Salt Meats Cheese is serving up a rather tasty menu that'll do the trick. That'd be its Truffle Week lineup, with truffles popping up in all kinds of dishes. Yes, that includes truffle cocktails. From Monday, June 21–Sunday, June 27, SMC will be adding truffles to pizza, polenta, gnocchi and pappardelle — so that's four of Italian staples covered. It'll also be whipping up baked truffle brie and deep-fried bocconcini with truffles, if you feel like getting extra cheesy with your truffles. And, still on that topic, you can add a jug of truffle cream cheese to any dish you like as well. You'll need something to wash it all down with, so truffle margaritas are also on offer. They'll be garnished with freshly shaved truffle, and also feature a truffle salted rim. Or, you could opt for a truffle sour, which even includes truffle oil. Truffle Week is taking place at all SMC venues during its seven-day period. And if you're wondering why the Italian chain has suddenly gone truffle crazy, it's to celebrate the Australian truffle season — which is as good a reason as any.
If things in Sydney were different right now, celebrating Bastille Day would be as easy as walking into a heap of restaurants and taking advantage of their menus. But, with the city in lockdown, that clearly isn't the case. Cue the Bentley Group's at-home range, which is marking the occasion from the date itself — Wednesday, July 14, of course — right through until Sunday, July 18. The main option: Monopole's French-themed menu, which costs $140 and serves two. You'll tuck into potato and leek soup, ocean trout rillette with a baguette, confit duck cassoulet and a layered chocolate cake with raspberry sauce. There's a $110 vegan version, too, and you can order them both to pick up. Feel like trying something different? Yellow is making licorice bread. The restaurant is known for it, and it's only making limited numbers, with servings available to pick up from Ria Pizza + Wine between 10am–5pm on Saturday, July 17 and Sunday, July 18 . And if you're wondering what licorice bread is, it is indeed made with licorice. And, while it isn't a Bastille Day special, you'll either want to try it immediately or you definitely won't.
When you think of the Hunter Valley, you probably picture wineries. But, if you look beyond the vineyards, you'll find there's a whole lot more to the region than grapes. To celebrate its 75th anniversary, The National Trust (NSW) is hosting a bunch of free open days at its properties across New South Wales. On Saturday, May 29, you can immerse yourself in the Hunter region's history at three of the National Trust's properties in Beyond the Grapes: Discover the Hunter. Head to the historic Tomago House from 10am–4pm to take yourself on a self-guided tour of the property as well as enjoy lawn games and tunes in the garden. Between 10am–1pm, you can also catch the Maitland Repertory Theatre perform a live reading of the play Voices from Tomago. Later in the afternoon, explore Maitland on a historic walking tour from 2pm–3pm followed by an afternoon tea (with sparkling, no less) in the garden at Grossman and Brough House — tickets are $25 and include both the tour and the tea. Miss Porter's House, located in Newcastle West, will be open, too, so you can step back in time to the early 1900s and learn about the life and home of the Porter family. Plus the popular walking tour, A Walk with the Porters, will be happening but with limited capacity. Tickets are $15 and include light refreshments. Beyond the Grapes: Discover the Hunter will run from 10am–4pm on Saturday, May 29. Entry the historic sites is free but bookings to the walking tours are essential. Head to Eventbrite to reserve your tickets at each property: Tomago House Grossman and Brough House Miss Porter's House To find out more about the full program, head over here.
Dumplings are great, and they go extremely well with bottomless drinks. But have you ever eaten non-stop bowls of them not only as you're sipping away, but while surrounded by koalas on a rooftop at sunset — or while peering down at a 365-kilogram crocodile? No? Well, that's exactly what you can do at Wild Life Sydney's Koala Rooftop and Upper Croc Deck when the venue teams up with dumpling experts New Shanghai for a series of all-you-can-eat feasts. Coinciding with Lunar New Year, the dumpling and drinks sessions run from 5.30–8pm from February 11–13 and from 6–8pm on February 18–20. Tickets will set you back $80, which includes 30 minutes of endless dumplings and bottomless drinks, plus after-hours access to the zoo. Dumplings will include the likes of pork wontons, chicken and celery parcels, xiao long bao and vego numbers, plus spring rolls and rice noodles, while the drinks range includes sparkling, red and white wine, beers, soft drink and juice. Just where you'll sit, eat and drink is up to you — so you'll need to choose between the Koala Rooftop or Upper Croc Deck. It's recommended that you allow between 45–6pm minutes before your booked time slot to take your self-guided tour beforehand — but you can also hang around after your eating marathon until the zoo closes at 9pm.
El Camino Cantina is known for its colourful interiors, cheap Tuesday tacos and giant margaritas, including at its venues all around Sydney. Those oversized drinks are a huge drawcard, and they're on offer every day — but every now and then, the lively Tex Mex chain throws in a few specials. Sydneysiders, it's that time again. Until Monday, March 13, El Camino's local outposts are celebrating those easy-to-down slushie margs with a month-long ode to the frozen cocktail. In the spotlight: ten of the chain's favourite special flavours, including varieties like Skittle, marshmallow, fruit tingle, sour apple and 'rita colada. The lineup also includes classics like mango, strawberry and lychee — and a watermelon and chilli number as well. The Rocks' venue is serving all ten for the entire month, with El Camino's other locations at Entertainment Quarter, Miranda and Manly rotating through them. Drop by any site on National Margarita Day, which falls on Wednesday, February 22, and there'll also be a limited-edition one-day-only 'rita: a mango and gold Grand Marnier float version made with aged Patrón Anejo tequila, gold leaf and dry ice.
Dust off your fake blood, vampire fangs and glitter, and get your spookiest costume ready as Melbourne party collective Poof Doof returns with its annual Halloween extravaganza. Taking place at Ivy, this year's Halloqween Bloody Banquet will be going down a little different from other years due to social-distancing guidelines, but just because this year will be a seated affair doesn't mean it's going to be any less bright, bloody and fun-filled. Enjoy dinner and a show with a side of performances from devilish drag stars, singers, performers, and DJs including Kitty Glitter, Charlie Villas and Danni Issues. Food for the night will be provided by Totti's with the menu including the Trick or Truffle mushroom lasagne, Hellfire smoked and roasted chicken, and Phantasmic pear and rocket salad. Each guest will also receive a Grim Reaper's Goody Bag and creepy Absolut cocktail on arrival. If you were worried you were going to be stuck at home for Halloween this year, showing off your new skeleton leotard to your roommates, the Halloqween Bloody Banquet will allow you to flaunt it for the world to see. You'll be the star of the show with a costume extravaganza and red carpet arrival. It's the perfect opportunity to put all the arts and crafts skills you learnt in lockdown to good use. Tables of four, six or eight are available, with first release tickets sold out and second and final release tickets close behind. Tables are available from $169 per person which includes a two-course meal, drinks package, and all the fun and excitement of the night.
We're going to go ahead and call it: one of the best parts of spending summer in Sydney is going to one of our many pop-up bars. Among the latest to launch is Aria and Ruinart's Summer Wine Bar — a collaboration between the harbourside fine diner and the world's first champagne house, founded a whopping 291 years ago. From December 3 to February 13, each Thursday, Friday and Saturday, Aria's Wharf Room and Terrace will be transformed into a 1950s French-vibe pop-up — think warm-hued velvet, wood tones and al fresco-style seating. To drink, expect flutes and magnums of Ruinart champagne, plus martinis and whisky highballs aplenty. On the a la carte snack menu, created by Executive Chef Joel Bickford, you'll find oysters, abalone XO toast with black sesame and crab sandwiches, as well as a selection of cheese and charcuterie. Capacity is limited to just 20 people, so bookings are encouraged. There are seatings available at 5.30pm, 7pm and 8pm; however, walk-ins are also welcome. Aria x Ruinart Summer Wine Bar is on every Thursday, Friday and Saturday evening from December 3 to January 30. To book, head here. Images: Steven Woodburn
Perhaps the greatest trick the devil ever pulled — the devil that is time, the fact that we all have to get out of bed each and every morning, and the sleep-killing noise signalling that a new day is here — was to create alarm clocks in a variety of sounds. Some are quiet, soft, calming and even welcoming, rather than emitting a juddering screech, but the effect always remains the same. Whatever echoes from which device, if your daily routine is a treadmill of relentless havoc, that din isn't going to herald smiles or spark a spring in anyone's step. The alarm that kickstarts each morning in Full Time isn't unusual or soothing. It isn't overly obnoxious or horrifying either. But the look on Laure Calamy's face each time that it goes off, in the split second when her character is remembering everything that her day will bring, is one of pure exhaustion and exasperation — and it'd love to murder that unwanted wake-up siren. That expression couldn't be more relatable, as much in Full Time is, even if you've never been a single mother living on the outskirts of Paris, navigating a train strike, endeavouring to trade up one job for another for a better future, and juggling kids, bills, and just getting to and from work. At the 2021 Venice International Film Festival, Antoinette in the Cévennes and Call My Agent! star Calamy won the Best Actress award in the event's Horizons strand for her efforts here — and while the accolade didn't come her way for a single gaze, albeit repeated throughout the movie, it easily could've. Mere minutes into Full Time, it's plain to see why she earned herself such a prize beyond that withering gape, however. Calamy is that phenomenal in this portrait of a weary market researcher-turned-hotel chambermaid's hectic life, playing the part like she's living it. In our own ways, most of us are. The first time the alarm sounds, Julie Roy (Calamy) is already lethargic and frustrated; indeed, writer/director Eric Gravel (Crash Test Aglaé), who won the Venice Horizons Best Director gong himself, charts the ups and downs of his protagonist's professional and personal situation like he's making an unflagging thriller. In fact, he is. Julie is stretched to breaking point from the get-go, and every moment of every day seems to bring a new source of stress. For starters, her job overseeing the cleaning at a five-star hotel in the city is both chaotic and constantly throwing up challenges, and the hints dropped by her boss (Anne Suarez, Black Spot) about the punishment for not living up to her demands — aka being fired — don't help. Julie has put all her hopes on returning to market research anyway, but getting time off for the interview is easier said than done, especially when the French capital is in the middle of a transport strike that makes commuting in and out from the countryside close to impossible. Also adding to Julie's troubles is well, everything. The childcare arrangement she has in place with a neighbour (Geneviève Mnich, Change of Heart) is also precarious, thanks to threats of quitting and calling social services. Having any energy to spend meaningful time with her children at the end of her busy days is nothing but a fantasy, too. Trying to get financial support out of her absent ex is a constant battle, especially given he won't answer the phone — and the bank won't stop calling about her overdue mortgage payments. It's also her son Nolan's (J'ai tué mon mari) birthday, so there are gifts to buy, plus a party to organise and throw. Julie is so frazzled that having a drink with her best friend is a luxury she doesn't have time for, because some other task always beckons. And when a father from her village, the kindly Vincent (Cyril Gueï, The Perfect Mother), helps her out not once but twice, she's so starved of affection that she instantly misreads his intentions. All of this might sound mundane, and like the kind of thing that plenty of people deal with — and that's partly the point. Full Time hones in on the rush, hustle and bustle to impress how fraught this vision of normality is, and how draining. It isn't by accident that the film is nerve-wracking and sweat-inducing to watch. Gravel shows why that tired stare when the alarm goes off is the only thing that someone in Julie's situation can possibly sport. With the marvellous Calamy proving indefatigable at playing fatigued, the filmmaker truly sees his central character, her stresses and that she's at her wits' end, and he makes his audience feel every aspect of her struggle. One such tactic, as straightforward as it is, couldn't be more effective: for Calamy and for the frames that capture her alike, there's simply no rest. Every sharp, cold, tourism-flouting shot by cinematographer Victor Seguin (Gagarine) ripples with tension and drips with anxiety, including extreme closeups of Julie slumbering and hurtling almost-chase sequences as she flits around; her plight, and the nonstop slog, is inescapable. That keeps ringing true as she scrambles everywhere — her rustic cottage, which she'd clearly like to spend more time in; the route to her local railway station, even though the trains are barely running; and her workplace, where she's at her most composed in her pristine maid's uniform, although it can't mask her inner turmoil. On the Parisian streets, she's frequently sprinting; calling the movie Run Julie Run instead would've fit. Visually, every image that graces Full Time adds to the bubbling, broiling pressure cooker, so much so that feeling like only a tragic end can come — and desperately hoping and praying otherwise — ramps up the intensity for viewers. Calling the end result frenetic and kinetic still doesn't completely capture what a blood pressure-raising experience Full Time is, while remaining devastatingly empathetic and insightful; if The Worst Person in the World met Uncut Gems, it might look like this. The rhythm amplified by editor Mathilde Van de Moortel (Mustang) doesn't give up, and the score by first-time composer Irène Drésel earns the same description. A wealth of feelings and ideas linger along the way — the ever-swirling array of roles that Julie has to play, which makes Calamy's performance all the more remarkable; the intimate and sensory dive that Gravel takes, ensuring that the full brunt of Julie's experiences is unavoidable; and how the character's tussles and vulnerabilities, and the strike for better working conditions, run in parallel. One of the great feats that Full Time achieves: making all of this linger, and this exceptional feature in general, the next time that your own alarm goes off.
When Sydney got all revved up about Speed: The Movie, The Play a few years back, it was just the beginning of the city's love affair with comical stage interpretations of famous 90s films. And while there's sadly no blank-faced Keanu driving a bus in the other immersive and amusing adaptation that's about to float into town, there's something just as good. Titanic: The Movie, The Play is heading Sydney's way to take on the tragic romance of Kate and Leo — as well as the just-as-tragic collision of a boat and some frozen water. It'll hit town from Thursday, September 15–Sunday, October 2 as part of the 2022 Sydney Fringe Festival. If you fancy being king of the world for a night, you'll want to make a date with the Australian National Maritime Museum. Yes, your heart will go on as two lovestruck ship-dwellers attempt to overcome their different backgrounds, ignore any rules about getting hot and steamy in someone else's car, and try to avoid a pesky iceberg. And, chances are you'll still laugh along — even though you know how it all turns out. Actually, maybe you don't; if anyone was going to work in Winslet's revelation a few years back that there was actually room for DiCaprio on the door that proved so pivotal to the movie's final scenes, it's this spirited bunch.
Looking for new threads? Sure, you can head to plenty of markets around town and trawl through food, homewares and other objects, or you can mosey along to Sydney's dedicated fashion get-together. Round She Goes does one thing, and it does it well. If it's clothing, accessories and jewellery you're after, you'll find it here. Filled with preloved designer and vintage fare, the one-day happening will take over PCYC Marrickville from 10am on Saturday, July 9. These editions will boast the market's biggest array of storeholders to date with over 70 stalls, all specially curated by organisers to deliver reasonably priced, high-quality bits and pieces, ranging from beloved brands to handmade items and fashion clear-outs. In terms of the bigger brand-name stalls, you can expect to find items from Jean Paul Gaultie, Prada, Romance Was Born, Christian Dior, Balenciaga and Bianca Spender. Entry costs $4 and prices of the clothes and accessories start from $10. Top image: Leticia Almeida
It's the frostiest of Australia's annual film festivals for two reasons — the time of year it arrives, and the region it showcases — and it's back for 2022 with another round of recent and retro flicks. That'd be the Scandinavian Film Festival, which naturally hits cinemas around the country each winter. Well, winter Down Under, that is. This year's fest will play 19 titles, primarily hailing from Denmark, Finland, Iceland, Norway and Sweden, with the program heading to Palace Norton Street, Palace Verona, Palace Central and Chauvel Cinema in Sydney from Tuesday, July 12–Sunday, August 7. That gives film buffs around a month to get their Nordic movie fix, whether you're keen on a historical epic or a dive into Scandi cinema history. Yes, blasts from the pasts are a feature of the 2022 lineup — starting with opening night's Margrete — Queen of the North. Starring Trine Dyrholm (The Commune) and directed by Charlotte Sieling (Lovecraft Country, Homeland), the historical drama is set in 1402, and hones in on Denmark's Queen Margrete, who oversaw the Kalmar Union that brought together Sweden, Norway and Denmark. Also peering backwards: the Scandi Screen Sirens selection, which celebrates leading ladies from times gone by — all in classics. So, you'll catch Ingrid Bergman in Casablanca, Greta Garbo in Queen Christina and Britt Ekland in The Wicker Man. There's also two Liv Ullmann films: The Serpent's Egg, directed by iconic Swedish filmmaker Ingmar Bergman; plus The New Land, the 1972 gem in the festival's closing night slot. Elsewhere, the program includes Dyrholm again in A Matter of Trust, which heads to Australia straight from premiering at the Tribeca Film Festival; Finnish effort The Woodcutter's Story, which played the 2022 Cannes Film Festival Critics' Week; and The Emigrants, a new adaptation of Vilhelm Moberg's novels. The latter first hit the screen in 1971, in a film of the same name — to which the aforementioned The New Land was a sequel. From a selection of 19 flicks all up, there's also the Danish boarding school-set Pretty Young Thing, which will have its world premiere at the fest; psychological drama Quake from Iceland; Berlinale Crystal Bear Award-winner Comedy Queen, about a 13-year-old girl who wants to be a stand-up comedian; and documentary Nordic by Nature, which was filmed in the Faroe Islands, including in its seafood industry, and also covers two-star Michelin restaurant KOKS. And if Scandinavian talent has you thinking of Game of Thrones' Nikolaj Coster-Waldau, he's accounted for A Taste of Hunger from Denmark. It's about the quest for a Michelin star, actually, with the drama following a couple determined to get one for their restaurant.
More than four decades ago, a filmmaker wanted to journey to a galaxy far, far away, and he needed a republic cruiser's worth of epic tunes to go with it. Enter John Williams and the theme everyone now knows. When the first notes of Star Wars: Episode VI — A New Hope's score started playing over the film's opening crawl, movie and music history was made. Neither Williams nor George Lucas could've known just what they'd unleashed, nor that Luke and Leia, Han and Chewie, and the next generation of wannabe jedis and empire lackeys would still be gracing cinema screens all these years later. To celebrate the space opera saga's longevity, the Sydney Opera Hose is hosting the Star Wars event to end all Star Wars events: Star Wars: The Force Awakens in concert. We've got a good feeling about what promises to be a force-filled evening of sound and vision, with the seventh film in the franchise screening in all its Daisy Ridley, John Boyega, Oscar Isaac and Adam Driver-starring glory, and Sydney Symphony Orchestra picking up their instruments to perform the corresponding score. They'll play Williams' Oscar-nominated music live across four concerts on Thursday, September 12, Friday, September 13 and Saturday, September 14 — at 8pm daily, with a 2pm matinee on Saturday as well.
Inner west cafe Warren & Holt is graduating from the terrible twos and turning three this November. To celebrate, it won't be serving up fairy bread, but falafel bowls — for just $3. Swing by from 7am and you can order one of the vegan and gluten-free bowls — filled with five falafels, pickled red cabbage, coconut tzatziki, lentil hummus and grilled lemon — for pocket change, to either eat in or takeaway (if you want to save it for a more lunch-appropriate time). The deal is only valid with drink purchase, so you'll need to pick up a Single O coffee, nourishing smoothie, kombucha or juice, too. If the falafel hooks you in, you can make a return visit to try the cafe's gluten-free hotcakes topped with passionfruit curd, its burger on a Brickfields bun or the 48-hour slow-cooked beef broth served with soba noodles. Warren & Holt's $3 falafel bowls are available from 7am until sold out.
