If you can find a better date than free comedy in an art gallery, we'd love to hear about it. The Art Gallery of New South Wales is about to become a sort of pop-up comedy club, featuring some of Australia's best comedians every Wednesday of September — for free. In conjunction with the Archibald Prize exhibition and as part of the Sydney Fringe Festival program, Late Night Laughs is the Gallery's September comedy series. Stand-ups and caricaturists aplenty will hit the gallery for Art After Hours, putting their spin on the people we love and love to paint. First up on September 2, Paul McDermott and Paul Livingston (of Good News Week and legendary Doug Anthony Allstars fame) team up as Cocky and Pompous. Joined by acclaimed maestro Stu ‘Errol’ Hunter on keys, Cocky and Pompus invite you to an intimate concert of comedic tomfoolery in honour of only themselves. Then on September 9, sardonic comedian, art documentary maker and Please Like Me favourite Hannah Gadsby brings her quick-witted comedy to the Gallery fresh from her shows at Darwin Festival. New Zealand export we'll always claim as our own, Cal Wilson will join the Gallery on September 16, a perennial Spicks and Specks, Good News Week and Thank God You're Here favourite. And finally, on September 23, multi-award-winning comedian Ronny Chieng will finish up the month with his celebrated absurdist comedy — a rare, free show we're certain will be pretty damn packed. Each comedy show will be happening at the Gallery from 6.30pm every Wednesday from September 2 and is 100 percent, completely, ridiculously free. LATE NIGHT LAUGHS - ART AFTER HOURS: September 2 — Cocky & Pompous September 9 — Hannah Gadsby September 16 — Cal Wilson September 23 — Ronny Chieng While you're there, why not check out the Archibald Prize?
Dance meets the world game in a new show presented by Performance Space, Blacktown Arts centre and Mobile States. SDS1 is the latest solo work from former soccer player Ahilan Ratnamohan, one very much inspired by his experiences on the pitch. Running for just four nights from Wednesday, September 2, to Sunday, September 6, the piece will draw on the physical, theatrical and psychological elements of the game, focusing on the parallels between sport and dance — the discipline, the focus, the athleticism — in order to delve into the psyche of the player/performer. The two disciplines might not seem like natural bedfellows at first, but then again, let's face it: no one who's ever watched the World Cup could deny that there's a heavy element of theatre at play. Since 2012, Ratnamohan has been developing his working methodology in Antwerp, Belgium, but prior to that he honed his craft with some of Australia's premiere physical performance ensembles, including Urban Theatre Projects, Branch Nebula, Legs on the Wall, PACT, Powerhouse Youth Theatre, Theatre Kantanka, Martin del Amo and Campbelltown Arts Centre. SDS1 plays at Blacktown Arts Centre from September 2–6. To book your tickets, visit the Performance Space website.
From Aldous Huxley's Brave New World to Ridley Scott's Bladerunner, writers, filmmakers and artists have tried to predict what nature and science will do to one another in centuries to come. Now, 11 local creatives are giving us their take on the theme for a design exhibition in Sydney. Titled Future Nature, it will be held at the Australian Design Centre (the new incarnation of Object that's taken shape in Darlinghurst), in collaboration with the Australian Museum, from August 28 to October 16. Each designer has taken inspiration from the museum's collection to create his/her own cabinet of curiosities. And they're promising us escapee rabbits, organic telescopes, synthetic crickets and 'active' sculptures. Future Nature is the result of two years of conversation about bio mimicry and design, which started with Issue 63 of the Australian Design Centre's magazine, Object.
South African Magnum photographer Mikhael Subotzky has descended upon the Sherman Contemporary Art Foundation with an epic installation. Titled WYE, this triple screener immerses you in the past, present and future — all at once. Visions of 19th century history, when colonial powers were busy forcing their way into strange lands, interweave with impressions of the present, lurching from ambivalence to trauma. Meanwhile, the future is depicted in a dystopic light, ravaged by humanity's carelessness. The work simultaneously takes us on a geographical adventure, spanning Australia, South Africa and England, the epicentre of the British Empire. Subotzky spent two years developing his narrative before shooting on location in South Africa with German cinematographer Jörg Schmidt-Reitwein (Werner Herzog's Nosferatu the Vampyre and Woyzeck). Born in 1981, Subotzky has exhibited in the Museum of Modern Art and the Guggenheim in New York, as well as the V&A Museum and Tate Modern in London, and won a slew of awards, including the 2012 Standard Bank Young Artist Award, the 2012 Discovery Award at Arles, the 2009 Oskar Barnack Award and the 2008 ICP Infinity Award.
In October 2013, graffiti artist Banksy travelled to the United States for a month-long ‘residency’ on the streets of New York City. Every day for 31 days, the anonymous artist revealed a new work somewhere in the five boroughs, sending art lovers, journalists and local law enforcement into a frenzy. Produced for HBO, Chris Moukarbel’s documentary Banksy Does New York chronicles this city-wide scavenger hunt in a mostly engaging fashion, although it unfortunately lacks much of the sardonic energy of the artist whose work it follows. In some ways, you’ve got to feel sorry for Moukarbel and company, given that their film’s most obvious compatriot is Exit Through the Gift Shop. Directed by Banksy himself, that film has the distinction of being one of the best documentaries of the past decade — unique, funny, audacious and with a surprising amount to say about the nature of art, hype and commerce. Banksy Does New York, on the other hand, was made without the artist’s involvement, and as such plays like a much more conventional film. Not that there’s anything particularly wrong with that. Although the doco’s execution is a little by the numbers, Banksy still makes for a fascinating subject — as do the crowds of New Yorkers who flock to see his art. Pieces in his New York residency range from relatively simple stencilled graffiti to elaborate installations and performances. His most overtly political works include a fibreglass Ronald McDonald statue scowling at a real-life shoeshine boy and a truck full of wailing stuffed animals parked outside a city butcher. At times, you wish Moukarbel would engage more critically with the artwork, rather than simply documenting it for an audience. Various people interviewed in the film offer their opinions on the artistic and commercial value of Banksy’s work, from a pair of rabid fans who post their Banksy-hunting to YouTube to a writer for the New York Observer who dismisses it as “art that hits you over the head.” Yet the debate remains fairly surface level. For this reason, how much you like the movie will largely depend on how much you like the art. For the record, we like it quite a bit.
When a Gossip Girl leaves the world of backstabbing teen chatter behind, she becomes an ageless woman. Well, at least, that's the path Blake Lively has taken. After flirting with a few supporting film roles around the television series that made her famous, she has found a star vehicle. It feels fitting that Lively plays Adaline Bowman, a character most notable for continuing to look strikingly youthful even as the years pass. That's the type of obvious film The Age of Adaline is as it tells a lovesick tale of a long life half lived. Even when heavy-handed narration is explaining the movie's gimmick through cosmic forces and lightning strikes (yes, really), it takes the most earnest path. Adaline was born in 1908, growing from a child into an adult in an unremarkable fashion. She marries, becomes a mother and then a widow, before an unusually snowy evening sees her car veer off the road. After the accident, she's inexplicably trapped at the age of 29 and immune to the ravages of time. As the decades roll by, Adaline changes her identity and moves around to avoid arousing suspicion, with only her daughter, Flemming (first played by Cate Richardson, and then by Ellen Burstyn), aware of her secret. A celebration of eternal youth, this is not, with the film taking a more dramatic approach to remaining young in appearance but getting older in the heart. The Age of Adaline is a gentle story of sacrifice and yearning told as such, gliding slowly by as it recounts Adaline's fate. It's also a sentimental account of the power and necessity of love, as her lonely life is changed on the eve of her 107th birthday. That's when she meets philanthropist Ellis Jones (Michiel Huisman), his instantly smitten perseverance threatening to crack through her time-hardened shell. Cue the kind of sweeping, star-crossed romance typically relegated to the cheesiest, sappiest movies, though much better made, more genuine in its emotions, and with stronger-written characters here. The usual suspension of disbelief is required, and the standard complications arise, involving reconciling the past with the future. It's a considerable change of pace for director Lee Toland Krieger, making his first feature after his breakout hit Celeste & Jesse Forever; however, he never flounders in such drastically different territory. Indeed, he takes to telling a leisurely love story with elegance and enthusiasm, never more so than in his affectionate eye for period details. From the costumes to the sets, this is a movie as handsome as it is unashamedly heartfelt. As for Lively, she may be the star of The Age of Adaline, looking the part and acting suitably restrained, but she's far from the film's shining light. Instead, that honour goes to Huisman, ramping up his Game of Thrones charm to maximum levels. Though he shows up late in the game, Harrison Ford also does well as a blast from Adaline's past. They're exactly the kind of modest highlights that help the movie stick together so well, making something that could've been silly surprisingly sincere from start to finish — and somewhat timeless, too, as far as old-fashioned fantasies are concerned.
For anyone with even the slightest claustrophobic tendencies, submarines probably don't sound too appealing. Nor will 12 men headed for wet depths, fighting over a pile of Russian gold and trapped in a secondhand vessel barely fit to sail. In fact, it sounds quite torturous. That's the predicament at the heart of Black Sea, an underwater heist film bursting with pressure of both the deep-sea and crammed-together varieties. When veteran salvage captain Robinson (Jude Law) is given his marching orders after more than a decade of service, he cottons on to a guaranteed get-rich-quick scheme. Rounding up a crew of other discarded workers, he heads to the ocean floor to trawl for a treasure trove once meant for the Nazis. Everything that can go wrong does, to paraphrase Murphy's law. Tensions rise between the half English, half Russian shipmates, with loud-mouthed diver Fraser (Ben Mendelsohn) particularly unhappy about splitting the loot with his comrades. The presence of the American representative (Scoot McNairy) of the mission's wealthy backers only makes everyone anxious. And the rusty, submerged boat springs more than its fair share of breaks and leaks on its voyage. There's a formula at work, filled with dire circumstances, desperate deeds and double-crossing, but there's also the involvement of director Kevin Macdonald, whose skills can't be underestimated. Few filmmakers make terse tales like the man behind Touching the Void and The Last King of Scotland, with Black Sea a worthy, if workmanlike addition to his growing resume. Macdonald styles the movie not as a gold-snatching drama or a watery adventure, but as a horror movie steeped in greed. His film lays bare humanity's most self-serving motivations in an every-man-for-himself display of selfishness and survival, while heightening the oppression of the enclosed space. With its sustained atmosphere of unease and kill-or-be-killed progression, Black Sea is surprisingly more than a little reminiscent of that other great trapped-in-close-quarters effort: Alien. Yes, really. The end result makes you sweat, even though guessing where the story is heading isn't difficult. And in a feature that really is about the journey rather than the destination, top marks must also go to cinematographer Christopher Ross (Sex & Drugs & Rock & Roll), who contrasts the many jumps and slides through cramped hallways with an unsettling awareness of the dark depths that surround the submarine. Then there's the excellent cast, led by Law continuing his recent hot streak of good performances in things that aren't called Sherlock Holmes. He ensures Robinson avoids coming across as stir-crazy; with a weathered face and a furrowed brow, he's simply willing to do whatever it takes to turn every losing hand he is dealt into a win. While McNairy plays to type, as does Australia's latest great acting export, Mendelsohn, watching both doing what they do the best is never unwelcome. Claustrophobia, be damned: these are fine folks and a finessed film that you'll want to sink to the bottom of the ocean with.
Sure, you've seen plenty of films before — but have you smelled one? Well, here's your chance. The inimitable Odorama experience sends all kinds of scents towards willing nostrils, and it's coming to Sydney's Golden Age Cinema. The film to smell above all others? Why, it's John Waters' Polyester, of course! The cult film to end all cult films, and one intended to be as picturesque as it is pungent, Polyester is the ultimate scratch 'n' sniff movie. When it was released in cinemas in 1981, audiences were famously given numbered Odorama cards to scratch at specific moments, unleashing a wave of odours — some pleasant, some not so. The full bouquet of Polyester features smells ranging from dirty shoes to pizza to new car. Starring the one and only Divine, the film offers a frenzied tale to match its fun gimmick, delving into the anarchic lives of the Fishpaw family. Francine's world is falling apart, and trouble just keeps on coming. Her husband, Elmer (David Samson), is a polyester-clad pornographer having an affair with his secretary (Mink Stole). Her daughter, Lu-Lu (Mary Garlington), is pregnant by her delinquent boyfriend, Bo-Bo (Stiv Bators). Her glue-sniffing son, Dexter (Ken King), could possibly be the sought-after 'Baltimore foot stomper'. Francine's sole ray of sunshine comes in the form a Corvette-driving suitor, the dashing Todd Tomorrow (Tab Hunter). Since 1981's screenings of Polyster, Odorama has had few outings, so this is an very rare treat. Seeing and smelling Polyester takes cinema to another level. Steel your senses for a trip to the movies like no other. Warning: this may not suit those with weak stomachs. https://youtube.com/watch?v=fwtbY9zfOMA
Melbourne four-piece The Harpoons have just released their debut album Falling For You, which features singles such as the utterly gorgeous 'Unforgettable' and slightly more chilled gem 'Can We Work This Out'. To celebrate this long-awaited LP, they’ll be playing shows in Melbourne, Brisbane and Sydney. The Harpoons consist of brothers Jack and Henry Madin, stunning vocals from Bec Rigby and man about town Martin King (you might remember him from the likes of Oscar and Martin) Sweet one moment, breathtakingly soulful the next, get ready to go through a kaleidoscope of emotions and feel all the feels. The Harpoons pair flawless vocals with hypnotic beats and Aunty aptly described them as the R'n'B of both today and yesteryear. Their album launch at Good God will include other favourites like That Feel and Yon Yonson.
David Lynch has dabbled in as much music as he has weird, weird television, film and art — the 68-year-old's quite the multitasker. Having delved into versions of Roy Orbison, David Bowie and Chris Isaak's work, Lynch has continued to gleefully haunt and hypnotise audiences over an epic career. So now, as part of the epic Music at the House program to hit the Sydney Opera House this summer, a tribute to the Twin Peaks mastermind, 'In Dreams: David Lynch Revisited' will see Australia’s Mick Harvey (ex-Bad Seeds) and Sophia Brous (Brous), New York City-based Cibo Matto and Irish-chanteuse Camille O’Sullivan venture through Lynch's covers, original music, as well as his work with Angelo Baladamenti. New additions to the Lynchy lineup have just been announced. In what will be his only Sydney performance, Polaris Prize-winning composer, multi-instrumentalist and dreamboat vocalist Owen Pallett will join the 'In Dreams' lineup, as will Sydney's tale-weaving, ARIA-winning Sarah Blasko, ever-eclectic Sydneysider Kirin J Callinan and celebrated harpist Marshall McGuire. Check out the rest of the Music at the House program here.
Join your favourite little person — and delight your own inner child — at this adaptation of Kit Williams' much-loved children's book, brought to life onstage by playwright Kate Mulvany. With music performed live by Mikelangelo and the Black Sea Gentlemen, Masquerade follows the courageous adventure of a little boy and his mother who find themselves in an imagined world where the moon loves the sun and hidden treasure, riddles and talking hares collide. It's sure to be a beautiful adaptation by Mulvany, who credits the book with helping her through her own childhood experience with cancer.
Whip out those leg warmers, it's time to get physical. Brand X and Electrofringe are putting on an art-meets-sport event guaranteed to get the blood pumping. Game Set Patch is the name of the game; showcasing sport-inspired art, live music-scored aerobics and Jane Fonda's unmistakable workout vids. Hosted by sports-venue-turned-studio-space Tempe Jets on Holbeach Avenue, gear up for an afternoon of good ol' fashioned fun. Ride into the day with the bike brigade (hitting the road from the Sydney Park stacks at 1:45pm), and descend into this sweaty celebration of music and art in Tempe. Collarbones/Black Vanilla's Marcus Whale brings back your repressed PE-class nightmares with his noise beep test, while Sydney duo Fishing will be providing the raging dance set needed to raise heart rates all round for an aerobics session. Prefer a slower pace? Set yourself up in Spoonty's e-games lounge, grab a 'gym and tonic' and load up on some homemade protein bars to keep spirits (and energy levels) high. Fitness fanatics and couch potatoes, consider yourselves both taken care of. Image: The Royal Tenenbaums.
Ever wanted to get your mitts on Ryan Gosling's washboard abs without doing prison time for assault? This one's for you! In an undeniably genius move by the wax museum that takes our rising Celebrity Worship Syndrome to the next level, Madame Tussauds is taking you far away from your planned Valentine's Day Notebook solo sobfest and putting you right in front of the man of your erotic, erotic dreams: Ryan Gosling. And his 'interactive abs'. MT's are bringing the actor's dreamy but creepo wax figure out to Sydney to join the permanent A-List Zone on show from February 15. But if you turn up a day early with roses and heart in hand on Valentine's Day, there's a free pop-up photo booth where you can pose with ol' mate Gosso and create your very own "take-home Hey Girl meme" — actual quote. Suppress that bile, you know you want one. Needless to say, get ready to line up early and with angry, horrific Goslovers. According to the MT's team, this is "a once-in-a-lifetime opportunity to gaze into the A-lister's baby blue eyes, and even take a sneak peek under his suit to have a feel of his famous washboard abs!" Feel 'em! And no jail time for you! Hooray! Oh, Johnny Depp, Leonardo DiCaprio and Brad Pitt's wax figs will be lurking around too, but y'know. 'Interactive abs.' The Ryan Gosling pop-up photo booth runs Saturday 14 February, from 11am to 3pm. Then the A-List Zone opens Sunday, February 15 (ticketed). Find Madame Tussaud's in front of the IMAX Theatre in Darling Harbour.
Purveyors of fine pork and Prosecco Swine & Co. have earned the bragging rights as both one of Sydney's fanciest after-work hangs and the go-to for pork lovers wanting to fork out with their fork out. After twelve successful months of Milk Fed Macleay Valley suckling pig, wagyu brisket Reubens and Mad Men-themed nights, Swine & Co.'s art deco-styled walls have seen a significant amount worth celebrating. So they're going all out and giving their first birthday a Hollywood theme, taking it back to the '50s and keeping things classic. Head chef Michael Box is creating specially-designed morsels for the occasion, while bar manager David Lloyd will be shaking the usual drinks menu up with bespoke cocktails. Horns-happy jazz outfit The Martini Club will be sassing up the joint with their particular brand of yazz alongside local DJs. And if you've ever wanted to see a Marilyn Monroe impersonator sing 'Happy Birthday' to a porky restaurant mascot, this is your kind of party. Swine & Co.'s first birthday is open to all, all you have to do is register for the guestlist here and arrive before 6:30pm.
Seems Sydney's monarchs of dumplingdom weren't content with being top of the bao chain. They needed to get a little more height. Din Tai Fung is set to open a pop-up dumpling bar in the Sydney Tower Eye, celebrating Chinese New Year. Yep, on the Observation Deck. If you like your dumplings with extra chilli and a terrifyingly glorious 360 degree panoramic view of Sydney (stretching 80km in all directions, 300 metres from the ground) get to the elevator. Up top, DTF will be serving up their signature pork and vegetarian buns, black sesame dessert buns and specially created lychee-mint bevs. But most importantly, the pop-up will function as a key venue to grab those adorable little lamb buns we had a kitten over last week. Seriously. LOOK AT THEM. Of course, you can't just waltz into Sydney Tower Eye. It's $18.55 per person if you book online ($26.50 in person, ouch), so you're kind of playing for the view while you nom. But you won't just find Din Tai Fung up there. Celebrating Chinese New Year, the STE Observation Deck will be converted into a little Chinatown with decorations and daily traditional Chinese lion dance performances from 2-2.30pm. Visitors will also be able to share their Chinese New Year wishes on a wishing wall. Din Tai Fung will be open in the Sydney Towere Eye between 11.30am-2pm and 5:30-8:30pm from February 19 to 22.
When Jurassic Park opened in 1993, Steven Spielberg presented us with dinosaurs of such terrifying and spectacular realism, they've not been bested in the more than two decades since. So too the giant, wreathing CGI tornados of 1996's Twister, upon which Spielberg acted as executive producer. Special effects have come a long way since then, and one unfortunate corollary has been the proliferation of movies based on them rather than bolstered by them. Consider the latest offering: Into The Storm — another 'nature attacks humans' film where the only twist is it wasn't directed by Roland Emmerich. Here, a series of twisters are on a collision course with a small American town, imperilling not only its inhabitants but also the storm chasers determined to film from within the eye of the tornado. Some kids get stuck in a mill, more get trapped in their school and… that's it. There's the plot. Storm come. Storm big. Storm destroy. Most annoying of all, this is another addition to the found footage genre of film — an entirely unnecessary device that's almost always ignored as soon it becomes too difficult to explain how or why someone was filming every single moment (in this case, a dramatic shot of 747s swirling around inside a giant tornado was not, presumably, filmed by a pigeon with a Go-Pro). Found footage also has a knack for making even decent actors look rubbish, as is the case here with Richard Armitage, aka The Hobbit's Thorin Oakenshield. His dialogue, whether scripted or improvised, seems horrifically forced throughout, representing a sort of poor-man's Frank Underwood narration. There is one drawcard here, and it's the weather. The menacing skies are spectacular and the force of the winds is well captured in the action sequences, yet it's nothing we'd not already seen all the way back in 1996. So, if it's a twister film you desire, save your money and revisit the only one actually worthy of the name. https://youtube.com/watch?v=A_kj8EKhV3w
For seven years now, Oxford Street's long-thriving, immersive, experimental, multifunctional venue has been bringing its Warhol-influenced inspiration to Sydneysiders. It's since become a favourite for many a major touring artist, as well as the go-to for innovative mini-festivals, music-meets-art extravaganzas and all-round good times. To celebrate, OAF is hosting a massive, multi-roomed party — and entry is absolutely free (just make sure you RSVP online). On the main stage, a seriously solid lineup of Australian DJs and producers will deliver electronic, tropical vibes all night long, with appearances from Kilter, Oscar Key Sung, Hatch, Kanyon, Meare, Phondupe, Le Fruit DJs and Geoffrey James. But if live bands and sleazy rock are more your thing, there'll be plenty of satisfaction in the Gallery, where you'll find yourself face to face with The Gooch Palms, Flyying Colours, The Upskirts, The Dandelion, Smaal Cats and Dr GODDARD — OAF's got some great friends. To carry home a long-lasting memento of the evening, visit the Hunter and Fox Tattoo Parlour, which will be inking on a first-come, first-served basis from 8pm. Image: Hermitude, Meg Hewitt.
Rizzy’s 18th Birthday Party isn't your standard boozy 18th. Part film, co-directed by S. Shakthidaran and Guido Gonzalez, and part nice 'n' close live music experience, Rizzy is the first in a connected series of works by Shakthi as part of his role as Carriageworks’ first-ever associate artist. Through his work as founder and artistic director at CuriousWorks, Shakthi engages with marginalised communities, empowering them with the tools they need to artistically tell their own stories. Eleven years ago, Shakthi met co-director Guido at one such project in south-western Sydney and it’s a story from Guido’s past that inspired this modern coming-of-age tale with a south-western Sydney twist. “It’s like [there's] an escapist, dream-like stability to your world just after high school, and everything seems possible, and as you navigate your way into adulthood, the force of reality intrudes,” Shakthi explains. The film was shot over two days with an acting ensemble of talented Sydney artists and with the help of 20-30 young people from the CuriousWorks community program. Although many projects that CuriousWorks is involved in focus on refugees and new immigrants, Rizzy is unique in that it focuses on second-generation immigrants. “You walk down a street in Western Sydney and you meet the whole world," says Shakthi. "I feel like it’s that next phase, like contemporary youth culture is about all of us together, post-race, post-everything and having a truly diverse Australian identity." Technology is a huge part of the work he does, and Shakthi is very excited about the opportunities that technology affords in telling stories. For the rite of passage story that Rizzy represents, Shakthi says, “What’s really exciting about new technology is that we’re still in this emergent phase and it’s the most democratic that we’ve ever had — that’s the big difference,” he says. “The opportunity is there I think for huge diversity in our storytelling landscape.” With a band in the middle, surrounded by audiences on four sides whose attention is directed to screens where they will view multichannel projections, audience-to-story intimacy at Rizzy will be at an all-time high. And that’s exactly how Shakthi wants it. “It’s like being in a lounge room with your closest mates and sharing music and film that you love, but your lounge room is really well equipped,” Shakthi laughs. Blending Western Sydney youth culture and popular contemporary art, Rizzy’s 18th Birthday Party is one party where you’ll want to arrive on time. Rizzy’s 18th Birthday Party is on at Carriageworks from October 1-4. Tickets are $35, available via Ticketmaster here.
Whether you spent your entire primary school education grinning smugly from the King square or languishing in Dunce position, you still have a point to prove, right? Here’s your chance. The Oxford Tavern is hosting a handball competition inside a pub. Inside a pub! And, as if that weren’t kickass enough, the champion wins his/her height in cheeseburgers. His/her height in cheeseburgers! Officially known as the Inner West Handball League, the contest kicks off next Thursday, March 19, at 7pm. The rules are exactly as you would have, or should have, followed them at school. That’s four squares, labelled King, Queen, Jack and Dunce (some rebellious schools included Ace as the server). When someone gets out, everyone moves up one rank. There’s no double-bouncing, no fulls, no using any part of your body except your hand to hit the ball, no grabbing, no rolling and no hanging out in other people’s squares. And bullying is absolutely not permitted. Spots are limited, so if you’ve got the goods, you’d better email forbes@drinkndine.com.au as soon as your super-fast reflexes allow it. For the rules, check out Fennell Bay Public School's hella sick PDF. For 'tips', watch ol' K-Rudd do some damage at Brisbane High School.
Australians devour approximately 190,000 tonnes of meat per year. This equates to 120kg per person per annum, which is almost three times as much as the world average. Despite the phenomenal increase in meat consumption over the last few decades, particularly in pork and poultry, the number of pig producers in the country has reduced by 94 percent and there are only two major producers of chicken. This is largely why two-thirds of the world's meat now comes from factory farming. So what can you do about the animal cruelty and health problems this gross over-consumption is causing? Take part in Meat Free Week from March 23 - 29 to help spread the word and raise funds for this important issue. Money raised from the initiative goes to charities such as Voiceless, who help protect factory farmed animals in Australia. And they're not trying to persuade you to become an avid vegan or vegetarian; it's simply about modifying meat consumption: limiting meat intake and only choosing free-range animal products in order to reduce the amount of factory farming in Australia. You could also improve your own health in the process, as eating excessive amounts of meat can lead to heart disease, kidney failure or even cancer. Head to the Meat Free Week website to read more and sign up.
Now in its 24th year, Orange FOOD Week is one of the biggest, tastiest festivals on the New South Wales calendar. This week, more than 80 events will happen across ten days, celebrating the Orange District's local growers, farmers, foragers, winemakers, chefs, restaurants and cafes. Perhaps the most epic part of the program is the FOOD train, which will leave Sydney Central Station for Orange on April 17, taking travellers on a weekend-long journey filled with tasting menus, outdoor lunches and brewery tours. Other highlights include the 100 Mile Dinner in Molong, served under the stars on the village green (April 13); FORAGE, a 3.6 kilometre stroll through vineyards and paddocks taking in several wineries (April 18); the producer's market in Cook Park, where local produce will be turned into breakfasts and brunches on the spot (April 19); and opening night, which will take the form of a night market, to be held at Robertson Park (April 10).
Returning for a second year after a widely-publicised Parklife rebrand, national electronic dance music festival Listen Out has locked in dates for another year. Spearheaded by organisers and promoters Fuzzy (the team behind Field Day, Shore Thing and Harbourlife), Listen Out marked its debut last year to generally upward thumbs and rants about Azealia Banks' smokebomb. Stopping by Sydney, Perth, Melbourne and Brisbane in spring, Listen Out's so-called 'boutique' set-up will "showcase the best dance music in a small but perfectly formed setting," according to Fuzzy. The nationally-touring festival will return to Sydney's Centennial Park, Perth's Ozone Reserve and Melbourne's Observatory Precinct, with a change in Brisbane venue from Southbank's Cultural Forecourt to the Brisbane Showgrounds. Headlined by staggeringly popular UK duo Disclosure last year with highlights including Azealia Banks (very briefly), AlunaGeorge and Classixx, this year's lineup sees Flume, Chet Faker, Zhu, Schoolboy Q and more crank the beats up in Centennial Park. LISTEN OUT 2014 LINEUP: FLUME (only 2014 shows) CHET FAKER ZHU SCHOOLBOY Q FOUR TET YG TA-KU TOTALLY ENORMOUS EXTINCT DINOSAURS (DJ Set) SHLOHMO BONDAX YOUNG FATHERS YAHTZEL (DJ Set) GOLDEN FEATURES TKAY MAIDZA TRIPLE J UNEARTHED WINNER + more Image by Dominic Loneragan. https://youtube.com/watch?v=Lk3vbB_yuk0
You should cut down on your porklife and get to the Sydney Opera House, Damon Albarn is coming to Sydney. Celebrating the recent release of his critically-acclaimed first solo venture Everyday Roots, the legendary Blur frontman will bring early Christmas presents to Sydneysiders with two intimate performances on December 15 and 16. Alongside his Blur/Gorillaz escapades, the 46-year-old has casually worked with Everyone Ever — including the late Bobby Womack, buds Brian Eno, Natasha Khan (Bat For Lashes), Paul Simonon (The Clash), master drummer Tony Allen, Snoop Dogg and Flea (Red Hot Chili Peppers). For his Sydney show he'll be joined onstage with his shiny new live crew, The Heavy Seas, plus a cheeky string quartet and onstage choir. Epic. "Damon Albarn is one of the great figures in modern music and we're incredibly proud to present his debut solo performance in Australia," said Ben Marshall, head of contemporary music at Sydney Opera House. "His restless inventiveness, inquisitiveness and taste across all his projects have been an inspiration to me and this will be an amazing summer evening in the Opera House Concert Hall." While the setlist will undoubtedly focus on Albarn's solo material, fingers are crossed for a Boys and Girls Easter Egg or two. https://youtube.com/watch?v=ODG3VRkncBc
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 astonishing 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. It's amid strobing red lights that EO makes his debut, and in the embrace and safekeeping of the doting Kasandra (Sandra Drzymalska, Mental) at a travelling Polish circus. They perform, but they're also the best of friends beyond the big top, a bond that she doesn't ever want to end. Alas, swiftly after EO starts, protests engulf the donkey's home, with animal-rights campaigners striking and the troupe's management going bankrupt. Sold off with the other critters, the mule will meet his gentle and kind human pal again, but the movie's tale from here has almost as many strands as EO's own tail — including as he traverses the Polish and Italian countryside, complete with stints at a horse stable, a farm, wandering free, avoiding hunters, maybe bringing good luck to a local football team, definitely enraging their opposition, being accompanied by a young priest and more. After EO's liberation, the change of scenery doesn't initially seem too troubling or taxing. His next abode gets a fancy opening ceremony with dignitaries cutting ribbons, and gifts him a bountiful carrot necklace — the literal kind. But when he's startled by horses and knocks over a display stacked with trophies, he's moved on. There, he's offered just one chunky vegetable and appears despondent. Next comes a reunion, an opportune escape, the forest by night, feuding soccer clubs and awful violence, plus an animal hospital, a fur factory, the meat trade, a lonely truck driver (Mateusz Kosciukiewicz, Magnesium), that man of the cloth (Lorenzo Zurzolo, Under the Amalfi Sun) and a countess (Isabelle Huppert, Mrs Harris Goes to Paris) in a red dress in an Italian mansion. EO is also seen by spiders, frogs, owls, foxes and a Black Mirror-style robot dog. He canters across landscape sometimes left in its natural state, and sometimes blighted by humanity's footprint. And, while moseying through a town, he stops to neigh at fish in an aquarium. As with everything in EO's frames, that moment of communion between mule and goldfish is visually and emotionally striking. It also says oh-so much about Skolimowski's determination to let his eponymous critter just be an animal — more than that, about his success at achieving that feat, and also why. Viewers can read into EO's staring towards the glassed-in fish, and his braying, as an exchange between different types of creatures controlled by humans. The audience can also take it as a comment on the cages that people place around the animal kingdom, and how rare it is for them to be free of such influence. Or, it can be observed as simply a donkey reacting randomly because that's what a donkey, and all life, often does. The broader movie itself operates in the same fashion. It serves up ebbs and flows where one thing happens, then another, then more still, while so clearly and movingly knowing that that's just how being alive goes, and also always witnessing how EO's story takes the path it does because of humanity's dominance over the natural world. EO might boast the incomparable Huppert among its cast, but its stars to whinny about are Tako, Hola, Marietta, Ettore, Rocco and Mela. Skolimowski thanked them each by name when the movie shared the 2022 Cannes Film Festival's Jury Prize — coming in only behind Palme d'Or-winner Triangle of Sadness, then Grand Prix-recipients Close and Stars at Noon — and the care and notice that the veteran Le Départ, Deep End and The Shout filmmaker gave on the Croisette to the six donkeys who play EO is mirrored on-screen. This wouldn't and couldn't be so emotive, immersive and absorbing a film as it is if it didn't truly bask in its mules' presence with pure affection. For the feature's 87 minutes, this is their world, and EO's. For that running time, viewers see EO's donkey protagonist as animals are so scarcely seen: as everything, no matter the good and bad turns that come their way, and the life-and-death course they chart as we all do; as heroes in their own story, too. As a piece of contemplation about the relationship between humans and life around us, EO also brings documentary Gunda to mind. It's just as revelatory and wrenching as that dialogue-free, black-and-white farmyard doco — but, as set to an ever-changing, sometimes-pulsating score by Paweł Mykietyn (a veteran of Skolimowski's 11 Minutes and Essential Killing), it firmly makes the most of its sounds and colours. Everything clashes and crashes around EO, hues, textures, noises, tunes, camera angles and vantage points among them. In one especially stunning scene with an entrancing beat, the donkey scampers through and observes the woodland, green lasers from gunsights beaming bright in the dark of night against the leafiness and its inhabitants. The effect is otherworldly, as is the entirety of this haunting and touching film as it peers at life so often ignored, undervalued and exploited on this very earth.
Talk about a perfect name: if you're going to start a new music festival that revolves around The Smashing Pumpkins, then calling it The World Is a Vampire is a no-brainer. This exciting addition to Australia's festival scene is being sent to drain all of your attention this autumn, when it heads around the country with one helluva bill. Billy Corgan and his band members will be there, of course, and so will fellow alt-rock legends Jane's Addiction. Naturally, you can expect the rollicking classic that is 'Bullet with Butterfly Wings' to get a spin. As well as hearing fellow Pumpkins greats such as 'Disarm', '1979', 'Tonight, Tonight', 'Today' and 'Zero', the Perry Farrell-led Jane's Addiction will be on hand to bust out 'Been Caught Stealing', 'Jane Says' and the likes. How many 'Zero' shirts will you see at the fest? Oh so many, as at every Pumpkins gig. Also on the bill: Australia's own Amyl and The Sniffers, RedHook and Battlesnake, plus yet-to-be-announced local acts opening each stop. And this fest has stops. It'll be singing about rage and rats in cages at Sydney's Hordern Pavilion on Tuesday, April 18 and Wednesday, April 19, alongside trips to Penrith, Newcastle and Wollongong. Each show also features professional wrestling, including matches between Billy Corgan's NWA (National Wrestling Alliance) and the WAOA (Wrestling Alliance of Australia). Wrestlers will take to the ring in-between the bands — and yes, Corgan does own the alliance that bears his name.
Lean, mean and a Nazi-killing machine: that's Sisu and its handy-with-a-hunting-knife (and pickaxe) protagonist alike. This stunningly choreographed Finnish action film's title doesn't have a literal equivalent in English, but means stoic, tenacious, resolute, brave and gritty all in that four-letter term; again, both the movie and the man at its centre fit the description. Former soldier Aatami Korpi (Jorma Tommila, perhaps best-known internationally for 2010's Rare Exports: A Christmas Tale) has one aim. After he strikes gold and plenty of it in Lapland's far reaches, he's keen to cash in. For someone who has already lost everyone and everything to World War II, that requires transporting his haul; however, the year is 1944 and German troops still lurk even as the combat winds down. Accordingly, getting those gleaming nuggets from the wilderness to a bank means facing a greedy and unrelenting platoon led by Helldorf (Aksel Hennie, The Cloverfield Paradox), who can spy a payday and an exit strategy for himself. Before anything yellow shimmers, Nazi-filled tanks are sighted, a single shot is fired or a blow swung, Sisu explains its moniker as "a white-knuckled form of courage and unimaginable determination". Text on-screen also advises that "sisu manifests itself when all hope is lost." As a film, Sisu may as well be shorthand for John Wick meets Inglourious Basterds meets Django, the iconic 1966 spaghetti western that Quentin Tarantino riffed on with Django Unchained, too — plus all of that meets the work of legendary spaghetti western director Sergio Leone as well. The carnage is that balletic. The Nazi offings are that brutal, roguish and inventive. And valuing deeds over dialogue as a lone figure dispatches with nefarious forces against an unforgiving landscape, and no matter what they throw at him, is firmly the setup. "He is one mean motherfucker that you don't want to mess with," the Nazis are told of Sisu's one-man death squad after they cross paths, the Germans think that their numbers will win out, and Aatami swiftly and savagely shows their folly. Of course, Helldorf and his underlings don't heed that advice. They're heading to Norway, destroying villages and also transporting a wagon filled with Finnish women they've taken captive, such as the spirited Aino (Mimosa Willamo, Memory of Water) — and the nihilistic Helldorf is soon fixated on the gold at any cost. That's a bad choice for the Nazis but great news for audiences. Enter: minefields proving deadly and also coming in handy, oh-so-many limbs going flying, the most grisly way to breathe underwater that's possibly been seen in cinema, taking the battle onto boats and planes, and Aatami continually demonstrating why he's earned such a fierce reputation. The latter doesn't take kindly to Nazis, as no one should, nor to being attacked, having his gold stolen and, like Keanu Reeves' best character of late, seeing his dog threatened. Sisu writer/director Jalmari Helander also helmed dark festive action-comedy Rare Exports, giving seasonal flicks a memorably twisted spin. Then, although to much lesser success, he cast Samuel L Jackson (Secret Invasion) as a US President evading terrorists-slash-hunters in the woods in 2014's Big Game. Here, he knows which footsteps he's treading in — Mad Max: Fury Road also springs to mind in Sisu's staging, setting and elements of its story — and also how to make his film its own extravagantly bloody and entertaining spectacle. There's ticking boxes, and then there's colouring them in with your own hues and designs so that yes, they've been marked off but in your distinctive manner. Sisu works through everything that audiences think will happen, even winkingly signposting via named chapters splashed across the frame with western-esque font, and yet it's no mere exercise in lazily fulfilling a checklist. Helander is too willing to get as OTT and pulpy as he can manage, to get as immersed in the film's playfully and gruesomely engrossing violence as he's able to, and to keep one-upping the creative and downright novel kills at Aatami's hands. In every case, he's giddily going for broke — and frequently getting in close via cinematographer Kjell Lagerroos (another Memory of Water alum). Sisu casts its solo hero against a sprawling setting that's oppressive in its immenseness in classic western style. The colour palette is colder, though; the feature surrounds Aatami with visible, inescapable, ever-present and grey-tinged desolation, as reality dictates of war movies. Helander paints this intense, grim and devastating big picture, while also seeing the gore and dirt and sweat intimately and intricately. What would the John Wick franchise be without Reeves? Django without the great Franco Nero (who popped up in John Wick: Chapter 2) in his breakout role? A Fistful of Dollars and its sequels without Clint Eastwood (Cry Macho)? The question now: what would Sisu be without the irrepressible Tommila? Every single one of the films just mentioned boasts a sublime mix of perfectly chosen stars and directors doing their utmost — brothers-in-law Tommila and Helander among them. With so few words uttered, Tommila's physical performance has to convey everything. So, a stare screams with ferocity, a gaze at Aatami's dog bubbles with emotion and a twitch is never just a twitch. Watching silent protagonists dispensing with a constant onslaught of foes also gets audiences mirroring the characters, aka surveying the scene for even the slightest change or sign given that even the smallest details can alter so much. As villains get slain again and again — and Aatami keeps weathering what's blasted his way — Sisu unleashes its barrage with weight. That isn't only because the atrocities of the Second World War should never be forgotten. All those lingering views of messy and madcap carnage? They don't just notice Aatami's actions, but show what he goes through as he persists and subsists. This is a film about survival as much as it's about payback. It has stakes and makes them plain, even as it's as blatant a good-versus-evil movie as they come. It's grounded in the past, stripped down to bangs and smacks and crunches that pack a visceral and emotional punch (smashes and crashes, too, with meticulous sound design that makes every pop and snap echo), and pulled off with cartoonish flair. Sisu is many things, just like the term itself in its native Finland — and impossible to stop watching is one of them.
What's better: free KFC, or bites to eat other than chicken being double-breaded and fried just like the Colonel's finest? The answer: a place that does both. Sydney is getting one, albeit temporarily. But hit up The Original Crispery, as the two-day-only world-first pop-up is called, and you'll nab a burger without spending a cent — and also get the chance to enjoy an entire menu that's been given the KFC treatment. Have you always thought that vegetables such as broccolini and asparagus would taste better if they were coated and fried just like KFC chicken? Cheesecake, too? Peanut butter and jam sandwiches? They're some of the items on the menu at The Original Crispery — and, like the burgs, they're also free. The place: 118 Crown Street, Darlinghurst. The dates and times: 10am–7pm on Friday, May 17 and 10am–5pm on Saturday, May 18. Everyone who drops by will get one free original recipe burger and one other free item from the menu, as suitably "crispified" as the fast-food chain is calling it. Why? Whenever a pop-up like this happens, it's always to promote something. This time, the brand is spreading the word about its permanent new original crispy burger series being added to the menu at KFCs Australia-wide, where every burger fillet is double-breaded. It hits outlets on Tuesday, May 14. As for what else is on offer at The Original Crispery, you'll have to show up to find out. Until then, dreaming up a list of other foodstuffs that KFC can crisp up will pass the time and make you hungry.
In 2022, beloved social enterprise Two Good Co opened a cafe and convenience store in Darlinghurst's Yirranma Place. The venue provides Sydneysiders with tasty breakfast and lunch options, as well as products from local ethically minded businesses such as The Bread & Butter Project, Kua Coffee and Gelato Messina — all while raising funds to help Two Good's goal of supporting vulnerable women by providing pathways out of crisis living. Each month at the cafe, the crew brings in a well-known and well-loved chef or culinary team to create special one-off menu items. Kylie Kwong, Maggie Beer, Peter Gilmore and Matt Moran have all been on curating duties in the past, and the month of October 2023 sees the pleasure fall on food writer and award-winning restaurateur Mat Lindsay. Lindsay is known for his acclaimed restaurants, Ester and Poly, as well as his ever-popular cookbook, Ester. A purveyor of all things simple, seasonal and flavourful, Lindsay brings an inventive approach to Two Good Co's monthly menu. Available throughout October, the menu features two no-fuss lunch items and a little sweet treat. Item number one is an elevated tuna melt, which packs a punch. Linsday's take on the familiar fave features melted cheese and tuna paired with cornichons, capers and chilli sandwiched between two slices of thick white toast. Also available: a fresh cauliflower, egg and upland cress salad boasting slices of crisp green apple, celery, creamy mustard, punchy paprika and topped with an apple cider vinegar dressing — perfect for a light spring meal. Rounding out the offerings is a decadent lunchtime dessert — indulge in a slice of burnt cheesecake for smooth, velvety goodness with balanced sweetness and a touch of smoke. If you want to sample the menu, just head over to 262 Liverpool Street at some point this month.
They're basic: joy, sadness, fear, disgust and anger, that is, the five emotions that swirled inside human heads in Pixar's 2015 hit Inside Out. In nine-years-later follow-up Inside Out 2, that quintet of feelings isn't enough to cope with being a teenager, which is where anxiety, envy, ennui and embarrassment come in. The newcomers arrive with the onset of puberty, literally overnight. They have no time for simple happiness; they've levelled up some of the emotions adjacent to sorrow, fright, dismay and fury, too. Although its now 13-year-old protagonist Riley Andersen (Kensington Tallman, Summer Camp) isn't actively choosing how to manage her feelings because her feelings themselves are doing that for her, Inside Out was always an all-ages ode to mindfulness, as is its sequel — and discovering how to accept and acknowledge apprehension, unease and nerves is here, like in life, a complicated balancing act. In the Inside Out world, feelings are characters, led in Riley's noggin by the radiant Joy — who, with Amy Poehler (Moxie) shining with Leslie Knope-esque positivity in the voice-acting part, is one of Pixar's best-ever cast figures. In an ideal inner world, they all get along. But workplace comedy-style, getting viewers thinking about Parks and Recreation again, that's never the case. Joy, Sadness (Phyllis Smith, Barb and Star Go to Vista Del Mar), Fear (Tony Hale, Quiz Lady), Disgust (Liza Lapira, The Equalizer) and Anger (Lewis Black, The Last Laugh) have their routine down pat when Inside Out 2 kicks off. They can handle everything from high-stakes hockey games, complete with a stint in the sin bin, through to learning that Riley's best friends Grace (Grace Lu, Fight Krewe) and Bree (debutant Sumayyah Nuriddin-Green) will be going to a different high school. Then their status quo is upended by the Inside Out equivalent of new colleagues storming in. It's true IRL and in this family-friendly animated follow-up to 2016's Best Animated Feature Oscar-winner: when anxiety bubbles up, it pushes to the fore. This Anxiety (Maya Hawke, Stranger Things) has a firm plan for Riley 2.0 — and also Envy (Ayo Edebiri, Bottoms), Ennui (Adèle Exarchopoulos, The Animal Kingdom) and Embarrassment (Paul Walter Hauser, The Afterparty) by her side. Where Joy and the crew had to help their human navigate moving from Minnesota to San Francisco in the first film, Anxiety takes the reins at hockey camp, where impressing the coach (Yvette Nicole Brown, Act Your Age) that she's hoping to play for is just one concern. Facing being a new kid at a new school all alone again, Riley is also eager to befriend team captain Valentina (Lilimar, Batwheels). With Anxiety calling the shots, nothing else, not even old besties, matters. From the moment that the workplace setup clicks in your head — not Riley's, nor her mother (Diane Lane, A Man in Full) and father's (Kyle MacLachlan, Fallout), which the film also briefly dives into — it's impossible not to see how it shapes the franchise's character dynamics. As it told its coming-of-age story, the initial Inside Out used the scenario to provide an effective metaphor for how our emotions can jostle, which Inside Out 2 builds upon with its fresh faces. Pixar pictures have been for adults as much as kids since the debut Toy Story almost three decades ago. Aptly and knowingly, the June Squibb (Thelma)-voiced Nostalgia quickly makes an appearance here. Experienced Pixar storyboard artist and now first-time feature director Kelsey Mann knows the audience, clearly, as do returning screenwriter Meg LeFauve (My Father's Dragon) and new Inside Out scribe Dave Holstein (the creator of TV series Kidding). In telling a tale that acknowledges how calmly recognising one's feelings and thoughts, aka the mindfulness holy grail, is so deeply difficult, they put that dilemma in easy-to-relate terms that everyone that's ever had a job has encountered. At the company's finest, a Pixar flick works on all levels, speaking to reality's version of Riley as a kid, teen and — not that the Inside Out realm has gotten there yet in its narratives, but it no doubt will if more sequels happen — as a grown-up. Accordingly, as much as the job comparison, anxiety's influence and the mindfulness angle age Inside Out 2 up, and smartly and thoughtfully, it's never at the expense of the movie's playfulness or sense of adventure for its youngest viewers. The brain contains multitudes in Pixar's rendering, sending Joy and the OG gang out of headquarters again to trek through personality islands, discarded negative recollections, the parade of future careers, the memory vault and more, all of which break down the complex emotionally intelligent and psychological concepts that underpin the story into fun setpieces. One such inspired move, which is also a perfect encapsulation of how the mind and personalities change in adolescence: the sar-chasm, a ravine that changes the tone of innocuous comments to mockery and widens with each phrase uttered. Several times now including in 2020's Soul, which trades emotions for souls (as well as Poehler for her Saturday Night Live, Baby Mama, Sisters and Wine Country co-star Tina Fey), Pixar has achieved the careful, expertly fine-tuned balance that is grappling with weighty ideas in an accessible way. There's an unsurprising been-there sensation to Inside Out 2, though, as it hits similar beats to Inside Out, just scaled up for a slightly older character. That's art reflecting life, however; the years pass and more emotions spring up, but the chaos continues. And while this new stint with Joy and co immediately follows the also-comparable Elemental in the studio's filmography, the sense that Pixar is repeating itself is no stronger than has long lingered in the company's pictures as its whole "what if X thing had feelings?" scenarios — which everyone well and truly knows has underpinned its narratives since the beginning — have kept receiving a workout. When a movie is this heartfelt and astute in tandem, and when it's made by an outfit known for that winning combination again and again, it plays less like an echo of past glories and more like Pixar embracing what it does best. Inside Out 2's rainbow-hued animation is flawless, and also enchantingly engaging. Although not all of Inside Out's ace cast returned — Bill Hader (Barry) and Mindy Kaling (The Morning Show) are missed as Fear and Disgust — the still Poehler-led ensemble remains stellar guide to the intricacy of dealing with one's emotions. Hawke is especially excellent at conveying the always-on pressure of anxiety. Edebiri and Exarchopoulos nail how it feels to be driven by twinges of longing and listlessness, respectively. There's no need to learn to accept this sequel: its delights are instant.
As Fleabag knew, and also Sherlock as well, Andrew Scott has the type of empathetic face that makes people want to keep talking to him. Playing the hot priest in Phoebe Waller-Bridge's (Indiana Jones and the Dial of Destiny) acclaimed comedy, he was the ultimate listener. Even as the Moriarty to Benedict Cumberbatch's (The Wonderful Story of Henry Sugar) Holmes, and with a game always afoot, conversation flowed. All of Us Strangers puts this innate air — this sensation that to be in Scott's company is to want to unburden yourself to his welcoming ears — at its tender and feverishly beating heart, this time with Paul Mescal (Foe) as one of his discussion partners. Dreamy and contemplative, haunting and heartfelt, and also delicate and devastating, the fifth film by Weekend and 45 Years writer/director Andrew Haigh, which is his first since 2017's Lean on Pete, is stunningly cast with Scott in seeing-is-feeling mode as its isolated screenwriter protagonist alone. That Scott is joined by Mescal, Claire Foy (Women Talking) and Jamie Bell (Shining Girls) gives All of Us Strangers one of the finest four-hander casts in recent memory. Awards bodies clearly agree, with nods going around for everyone (alongside wins for Best Film and Best Director, the British Independent Film Awards gave all four of the feature's core cast members nominations, with Mescal scoring the Best Supporting Performance trophy, for instance). Haigh isn't merely preternaturally talented at picking the exact right actors to play his on-screen figures, but it's one of his most-crucial skills, as every performance in his latest shattering picture demonstrates. It comes as no surprise that Scott, Mescal, Foy and Bell are all excellent. It's similarly hardly unexpected that Haigh has made another movie that cuts so emotionally deep that viewers will feel as if they've been within its frames. Combine these stars with this filmmaker, though, and a feature that was always likely to combine its exceptional parts into a perfect sum is somehow even more affecting and astonishing. That been-there vibe, like everyone watching has been Scott's Adam or Mescal's Harry — or Foy and Bell as the former's mum and dad — contributes to an ethereal atmosphere: anyone who has ever wondered where their memories and dreams end and reality commences, as we all do daily in an emotional sense, understands. So it is that Adam is caught between the past, the present and perhaps the future as he works on a new project, which gets him peering back at his childhood. Like sleepwalking, he's pulled to his 80s-era home where he discovers the parents that he lost just before he was 12 awaiting. They look the same as they did the last time that he saw them, but he's definitely an adult. What does a fortysomething queer man who grew up in the period, never had the chance to tell his mother and father who he was, and has a lifetime's worth of truths to share and grief to process, say and do when he gets a fantastical opportunity? That's one of All of Us Strangers' strands. Amid Adam's dancing with his nostalgia, this adaptation of Taichi Yamada's novel Strangers also flits from his family to his romantic relationships. He experiences almost everyone's biggest wish when Mescal's Harry comes knocking on his door with a bottle of whisky in hand in the apartment block that they both dwell in. They're the London building's only two residents, in fact. One lonely spirit recognises another and, after an initial rejection on Adam's side — he's that accustomed to being on his own — passion springs. In his flat and in ketamine-induced reveries at clubs, Adam and Harry see possibilities and find solace. They have deep-and-meaningful "this is why I am why I am" chats. They sink into their new idyll, as All of Us Strangers' audience does into the poignant flick. Despite what the movie's title proclaims about humanity even within its closest bonds, they try intensely and sincerely not to be outsiders to each other. With the Pet Shop Boys' version of 'Always on My Mind' and Frankie Goes to Hollywood's 'The Power of Love' on the soundtrack also aiding in setting a swooning mood, this is an intimate tale that innately and sensitively appreciates being consumed by the events, traumas and absences that've shaped you — and just as intuitively and compassionately recognises not just the perspective-altering delights but also the comforts of falling for someone. But Haigh doesn't stop there. Making a ghost story, a love story and a queer portrait in one, his film is characteristically layered. It also feels like the continuation of dialogues started in his past work, capturing what it means to be a gay man as per Weekend, to navigate life coloured by tragedy as in 45 Years and to yearn for a guiding hand as Lean on Pete did. Shooting scenes in the house that Haigh himself grew up in also helps build a movie that immaculately matches its aesthetics with its emotions. The decades-gone-by cosiness of Adam's time with his mum and dad is pivotal as All of Us Strangers conveys a certainty applicable to all parents and children: no matter how old the latter get, we all become kids again around the people who brought us into this world, frozen in time in our heads and hearts while weathering the passing years externally. As well as making ample and telling use of reflections and windows, Living cinematographer Jamie Ramsay heroes cooler tones whenever Adam is alone, but warmer hues when he has company. That touch ensures that embracing the fact that existing means co-existing with our histories like we're glimpsing reminders everywhere, as the feature does, observes the joys along with the sorrows and struggles. Penned in 1987 and translated into English in 2003, Yamada's Strangers has earned the cinematic treatment before courtesy of 1988 horror film The Discarnates by the late, great Nobuhiko Obayashi (who gave the world one of Japan's all-time entries in the genre with 1977's House). There's never any question that All of Us Strangers is Haigh's movie, however — or that his iteration is a wonder that reckons with heartbreak and hope in tandem. That's the power of the British filmmaker's output, including TV's Looking and The North Water. Whichever screen he's crafting stories for, the end results always linger on the mind. Scott's staggering — and subtle, and anchoring — portrayal is one of the latest pieces of proof. Mescal's unforgettably naturalistic supporting turn, plus the chemistry between the pair, provide others. No one leaves All of Us Strangers as an alien to its lived-in emotions, either — or, as Haigh so perceptively knows, goes into it that way to begin with.
There's nothing like a bit of hometown rivalry to get people fired up, particularly in sport. The palpable tension, hysterical fans and nail-biting action erupting throughout a sporting stadium keeps punters on the edge of their seats from start to finish in any enemy showdown. And that's exactly what you can expect when one of Sydney's greatest sporting derbies takes place this July. On Saturday, July 30, you and your crew can catch all the suspenseful action in person when the Sydney Swans take on the Greater Western Sydney Giants at the Sydney Cricket Ground (SCG). The game is set to kick off at 2.10pm and Concrete Playground readers can secure discounted tickets to the category two–five seats. Simply use the code DERBY at checkout to grab four tickets for $99 and save yourself $50. Got heaps of mates who love footy? No problem. You can nab up to 20 tickets per transaction using this offer. Get in quick if you want to take advantage of this discount though as the offer is limited. The Swans are currently sitting ahead of the Giants on the ladder, but last time the two teams met at the SCG the Giants came out on top by two points. With masses of hopeful fans cheering on their respective teams in the stadium, this could be anyone's game. Keen to head along and barrack for your team? Round up your fellow AFL fanatics for a suspenseful afternoon of sport at the SCG. For more information and to book tickets to this must-see-live game, visit the website.
Music panel shows weren't invented when Spicks and Specks and Rockwiz started airing in Australia back in 2005, but the two series became Aussie icons quickly. Seemingly everyone watched one, the other or both, with the pair earning a devoted following by realising a pivotal fact: as well as seeing musicians live, audiences also love watching them banter, bust out their smarts and just generally connecting over music. Also taking that idea and running with it is Georgia Mooney's Supergroup, which originally debuted in Sydney in 2019 and is now taking its live variety show on the road. It's inspired by Spicks and Specks and Rockwiz, obviously; focuses on stellar songwriters; and also includes live music and interviews as well. If that sounds like your kind of night out, music fans in Sydney can rediscover Supergroup's wonders at the Factory Theatre on Sunday, August 14 and Thursday, August 18, with an impressive lineup that includes Josh Pyke, Ngaiire and Martha Marlow on the first night, then Tim Minchin, Hannah Joy from Middle Kids and Ziggy Ramo on the second. Here's how it works: on each evening, the guests come together to form a band, with support from the Supergroup House Band. They'll only play together for that one night, with each high-profile songwriter taking turns to perform songs while their colleagues join in. And it's all spontaneous — with no rehearsals and absolutely zero prior planning. That means that guests get an experience that's never been seen or heard before, and won't ever happen again with the same songwriters and tunes, either. "There is something quite magical about it," says All Our Exes Live in Texas' Mooney. "It is communal and whimsical and musical in the purest sense. I have a feeling this tour will take that to a new level. It's going to feel incredibly poignant to connect again in this way, after the two years we've all had."
Here's a job that no one would want: choosing just eight of Martin Scorsese's movies to celebrate. Palace Cinemas have done just that, though. How the chain's team whittled down the iconic auteur's efforts to just that many, we don't know — but Sydneysiders can now see the results on the big screen at the Chauvel. Film buffs, get ready for Scorsese Season — because who needs spring or summer anyway? This retro showcase will run on Friday nights at 6.30pm from Friday, November 4–Friday, December 23, and it's all must-sees all the way. Given that the selection includes the seminal gangster flick Mean Streets and the Joker-influencing The King of Comedy, viewers are in for some Scorsese gold (and yes, Robert De Niro is as much of a feature as the director, with Taxi Driver, Raging Bull, Goodfellas and Casino screening as well). For those after a slice of Scorsese's later-career flicks — and his collaborations with Leonardo DiCaprio — then The Departed well and truly ticks that box. Rounding out the lineup: concert film The Last Waltz, aka one of the best examples of the genre you'll ever see
When you're a major literary showcase, you're dedicated to not only celebrating words but examining the topical ideas they discuss, and you've weathered the considerable pandemic-inspired ups and downs that every event has over the past two years, what do you focus your next big fest on? If you're Sydney Writers' Festival, you embrace the chaos and uncertainty that's been inescapable of late — all thanks to a whopping 2022 program on the theme 'Change My Mind'. As Artistic Director Michael Williams explains, this year's SWF "is underpinned by a sense of urgency and a dedication to change. It is a response to a world where public debate is increasingly polarised and toxic." "Change My Mind is an invitation, a challenge and a promise of intent. Because uncertain times — a world divided and ruptured, at odds and in crisis — requires a willingness to be open-minded, and a commitment to generosity and reciprocity," Williams continues. That's what SWF will be skewed towards when it runs across Monday, May 16–Sunday, May 22, hosting almost 400 writers and thinkers across 234 events around the city. And, that theme for the year is particularly timely, too, given the event's proximity to the federal election. Taking to stage to get chatting: The Promise Booker Prize-winner Damon Galgut, To Paradise's Hanya Yanagihara, and Becoming Abolitionists writer — and human rights lawyer and activist — Derecka Purnell, who lead the international contingent of guests. Other global speakers will do the honours via livestream, which is how Rebecca Solnit (Orwell's Roses), Art Spiegelman (Maus) and Jennifer Egan (The Candy House) join the bill, alongside Claudia Rankine (Just Us), Julian Barnes (Elizabeth Finch), Sarah Winman (Still Life), Torrey Peters (Detransition, Baby) and Johann Hari (Stolen Focus), A trio of overseas-based Aussies will be doing the same: Warren Ellis, chatting about Nina Simone's Simone's Gum, and video-linking in ahead of his Australian tour with Nick Cave later in the year, plus Yassmin Abdel-Magied (Talking About A Revolution) and Steve Toltz (Here Goes Nothing). Free events are a big part of the program as well, with almost a quarter of the entire lineup costing zip to attend. Images: Prudence Upton.
A trip to the museum is always a winner. A free trip to the museum even more so. The Australian Museum — adjacent to Sydney's Hyde Park — is currently offering free entry to its magnificent permanent collections, so you can make fascinating discoveries, explore ancient cultures or simply delight in perusing the never-fail, out-there gift shop with ease. And now, they're taking the experience one step further with another run of Nights at the Museum. Until the end of June, Thursdays at the museum will mean opening hours extending into the night, musicians performing under soaring ceilings and a changing lineup of activities for you to get involved in. Did Lego Masters inspire you to get back on the blocks? Advance your Lego-making repertoire with 2.5 million coloured bricks at Jurassic World by Brickman — or head to Brickman Up Late for exclusively grown-up Lego fun. Make sure to keep an eye on the website for more program announcements. Examine clams and tusk shells in the malacology collection or wonder at wingspans both large and small in the entomology halls, then grab a drink from the pop-up bar as you bop to tunes from some of Sydney's best musicians. Expect a different performance each week, from the tropicana beats of Rufino and the Coconuts to the Sydney Youth Orchestra honouring the mastery of John Williams. In the April school holidays, bring your minis down for Dino Rave, where feet will be stomped and roars heard as DJ Yo Levins spins beats for groovers both alive and extinct. And in May, the resilience and strength of First Nations Peoples will be celebrated at Ngalu Warrawi Marri. When the weather cools off, Vivid Ideas will take up residence to bring boundary-pushing conversation and innovation to our ears. With the restaurant and gift shop keeping their doors open well into the night too, you're guaranteed all the good bits of a museum trip — at an after-dark time slot. Nights at the Museum will take place on Thursdays from 5–9pm till the end of June. Entry is free, with tickets required for select events. For more information, head to the website. Images: Anna Kucera
If there's one thing that sells a culinary experience to us that has nothing to do with the actual food or drinks we'll be consuming, it's the location. And, if the location is outdoors, under the stars and near a body of water, consider us sold. At the Barrington Coast Long Table Dinner that's exactly what you'll get. On Saturday, March 26, hatted First Nations chef Clayton Donovan will be at the helm of this one-off experience, curating an incredible dinner that champions produce local to the Barrington Coast region. Donovan has said the menu will tell a story of the region — "the place where the leaves touch the waters from the mountains to the sea" — and you can expect native ingredients to be incorporated throughout. The Barrington Coast Long Table Dinner will all take place at Yalawanyi Ganya (the Mid Coast Council Building) in Taree from 6pm. Tickets are $150 and the exclusive event is capped at 80 people. For more information and to book, the website.
It's one of the city's best-known landmarks, so when the Sydney Opera House illuminates its sails, it stands out. You've seen the venue lit up for Vivid, to launch Mardi Gras and to support bushfire relief — and, as part of Badu Gili, the nightly showcase of First Nations artwork that was first launched in 2017. The harbourside spot is decking out its sails with projections every night until the end of March for its new Badu Gili series. This time around, Badu Gili: Wonder Women is back, focusing on the work and stories of six female First Nations artists. Curated by Coby Edgar, the Art Gallery of New South Wales' Curator of Aboriginal and Torres Strait Islander Art, Badu Gili: Wonder Women is a creative collaboration between the Opera House and AGNSW to mark the latter's 150th anniversary. As the sun sets each day, the Opera House's eastern Bennelong sail will illuminate with a vibrant six-minute animated projection. The animation will repeat three more times each night — approximately every hour, but the timing changes every evening depending on the season, events at the Opera House's Forecourt and daylight savings. The visual component of Badu Gili — which translates to 'water light' in the language of the site's traditional owners, the Gadigal people — will also be accompanied by a return of Badu Gili Live. The free outdoor music series will run throughout February and March, with performances each Saturday night and a pop-up bar run by the National Centre of Indigenous Excellence Kitchen. [caption id="attachment_753266" align="alignnone" width="1920"] Ken Leanfore[/caption]
Films about war are films about wide-ranging terror and horror: battles that changed lives, deaths that reshaped nations, political fights that altered the course of history and the like. But they're also movies about people first, foremost and forever: folks whose everyday existence was perpetually shattered, including those lost and others left to endure when hostilities cease. Quo Vadis, Aida? is firmly a feature about both aspects of war. It homes in on one town, Srebrenica, in July 1995 during the 1992–95 Bosnian War, but it sees devastation and a human toll so intimate and vast in tandem that heartbreak is the only natural response. A survivor of the war herself, writer/director Jasmila Žbanić (Love Island, For Those Who Can Tell No Tales) knows that combat and conflict happens to ordinary men and women, that each casualty is a life cut short and that every grief-stricken relative who remains will never forget their magic ordeal — and she ensures that no one who watches Quo Vadis, Aida? can forget the Srebrenica massacre, or the fact that 8372 civilians were killed, either. A teacher-turned-interpreter, the eponymous Aida Selmanagic (Jasna Đuričić, My Morning Laughter) is Žbanić's eyes and ears within the demilitarised safe zone established by Dutch UN peacekeepers. The film doesn't adopt her exact point of view aesthetically — we see Aida, and plenty; Quo Vadis, Aida? wouldn't be the same without the tenacity and insistence that radiates from her posture and gaze — but it lives, breathes, feels, roves and yearns as she does. What she translates and for who around the UN base varies but, as she roves, she's primarily a channel between innocents scared for their lives and the bureaucracy endeavouring to keep the Bosnian Serb Army away. She visibly feels the weight of that task, whether speaking for the injured, scared and hungry all crammed into the facility or passing on instructions from her superiors. Aida has a mother's and wife's motivations, however: above all else, she wants her husband Nihad (Izudin Barjović, Father), a school principal, to be with her and to be safe — and the same for their sons Hamdija (Boris Ler, Full Moon) and Sejo (Dino Barjović, Sin), obviously. It's a mission to even get them in the base, with Colonel Karremans (Johan Heldenbergh, The Hummingbird Project) and his offsider Major Franken (Raymond Thiry, The Conductor) determined to not show any appearances of favouritism, especially with so many other refugees pleading to be allowed in outside. But Aida hustles, including getting Nihad sent to negotiations with Serbian General Ratko Mladić (Boris Isaković, Last Christmas) as a town representative. And as the General's brash, cocky, swaggering troops start escorting out the base's inhabitants and putting them onto buses depending upon their gender following those talks, Aida makes every desperate move she can to save her family. Quo Vadis, Aida? equally chronicles and shares Aida's reaction to the chaos and trauma around her. With Nihad, Hamdija and Sejo's lives at stake, the peacekeepers that Aida is helping refusing to assist by expanding the protections she enjoys to her loved ones, and the UN making moves that bow to Mladić — refusing to act otherwise, more accurately — Žbanić's film was always going to bustle forward in lockstep with its protagonist's emotional rollercoaster ride. That said Quo Vadis, Aida? is also an exacting movie in laying bare the complexities bubbling within the base, and the broader scenario. Unflinchingly, it sees how ineffective the UN's actions are, as ordered from far away with no sense of the reality on the ground. It recognises how outnumbered the peace effort is in Srebrenica, too. It spies the ruthlessness of the General and his forces, as was destined to happen when given even the slightest leeway. And it also spots how determined Aida is to safeguard her family, all while hurrying around thousands of others in the same precarious circumstances but without the possibility of anyone even trying to pull strings in their favour. Unlucky not to win the Best International Feature Oscar in 2021, and also nominated for the Best Director BAFTA the same year — losing to Another Year at the former and to Nomadland's Chloé Zhao at the latter — Quo Vadis, Aida? is a taut, rigorous, resonant, unshakeably potent balancing act. Žbanić's narrative works with such a wealth of moving parts, and such a mass of complications within everything that the storyline juggles, that the result is an intricately packed powderkeg of a movie. And, it's a relentless onslaught, always hurtling along like its lead. Quo Vadis, Aida? doesn't flit by too quickly or fail to give attention to everything that needs it, though. Rather, it's an urgent picture poised around something that happened more than a quarter-century back, but will forever demand to be given weight and gravity — as the murder of so many people always should. Žbanić's regular cinematographer Christine A Maier perfects her own balancing act as well, her imagery rushing with Aida but eschewing lensing with anything but a grim, plain, naturalistic air. To look at, the combination is intense and also grounded, evoking the sensation of stepping into the scene as closely as possible. As edited by Cold War and Never Gonna Snow Again's Jarosław Kamiński, similarly with a pace and rhythm to match Aida's, the film is also tense to a heart-pounding, sweat-inducing, nerve-shredding degree. Quo Vadis, Aida? takes its title from the traditional Christian story that states that the apostle Peter, fleeing crucifixion in Rome, passed the risen Jesus and asked him "whither goest thou?"; in Latin, quo vadis? The answer he received: to Rome to be crucified again. Viewers don't need to know that tale going in to feel the depth of the movie's probing, but Žbanić couldn't have given her feature a more meticulous moniker. Amid the empathy and clear-eyed candour that marks the unforgettable Quo Vadis, Aida? again and again — as Aida peers through the barbed-wire fencing keeping not-so-fortunate townsfolk out, speaks words on behalf of Karremans and Franken she knows will prove false, and begs for anyone's assistance — Đuričić is remarkable. She's fierce, brave, resolute and resilient while wading through practicalities, horrors and stolen moments of hope alike, and every fibre of her being conveys Aida's torturous emotional journey. Traversing every move with her, and every feeling, is simply a foregone conclusion. That's as true in Quo Vadis, Aida?'s epilogue, too, which layers the film's despair and outrage with a survey of the reality for the genocide's survivors. Žbanić once again walks an unnerving tightrope with mastery: whither goest thou indeed.
North Sydney rooftop bar Green Moustache is transforming into a pink-hued floral oasis for spring to give you a dose of cherry blossom season with an activation running throughout October and November. The spring celebration includes a collaboration with Roku Gin for a limited-edition cocktail menu. Highlights of the cherry blossom-inspired drinks list include the Roku Garden, a combination of gin, creme de violet, lemon juice and egg white reminiscent of a gin sour; and the Spring in Osaka, which pairs Haku vodka, Skura syrup and lemon. You can book yourself in for a bottomless brunch which Green Moustache runs every Saturday and Sunday from 11.30am at $75 per person which includes a grazing board of cured meats, cheeses and olives, plus salt and pepper squid, ligorio cavatelli with smoked chorizo and two hours of bottomless rosé, prosecco and beer.
In Sydney bottomless brunches, lunches and dinners come in many shapes and sizes. From affordable affairs with reserved spreads, to next-level rooftop lunches that will set you back $100+ per head. While eastern suburbs spot Rocker has bottomless brunches on Thursday–Sunday, its Sunday afternoon special Rocker Sundays sets itself apart with a fun summer-ready selection of food and drinks alongside live tunes. Round out your weekend with a feast of share plates for you and your friends accompanying free-flowing bottomless rosé for $75 per person. On the menu, you'll find tasty treats like Sydney rock oysters, cauliflower hummus and fermented potato flatbread, burrata, and sweet pumpkin. Top the whole meal off and really embrace the warmer weather with happy hour deals on the restaurant's frozen margaritas. The weekly special is on offer each Sunday afternoon with happy hour running from 5–7pm. If you're heading earlier in the day, you can hit up Rocker's classic bottomless brunch which includes unlimited mimosas and house wine, plus a heap of Rocker favourites including oysters, roast chicken with celeriac puree, and chocolate fondant for $85 per person. Top image: Katje Ford
Penélope Cruz didn't score an Oscar this year for Parallel Mothers. Her husband Javier Bardem didn't win one for Being the Ricardos, either. And, just a couple of years ago, Antonio Banderas also didn't nab a shiny Academy Award for Pain and Glory — but the three acclaimed actors are all winners at the 2022 Spanish Film Festival. The annual cinema showcase spotlights not just Spanish but also Latin American cinema, and it's back for another Aussie tour throughout April and May — hitting up Sydney's Palace Norton Street, Palace Verona, Palace Central and Chauvel Cinema from Tuesday, April 19–Sunday, May 15. On the bill: 34 movies that hail from both regions, or tie into them in one way or another, including several with Cruz, Bardem and or Banderas at their centre. Kickstarting this year's Spanish Film Festival with the Cruz- and Banderas-starring Official Competition must've been the easiest programming choice in the fest's history. A filmmaking satire, it casts Cruz as a famous director entrusted to bring a Nobel Prize-winning novel about sibling rivalry to the screen, and enlists Banderas as a Hollywood heartthrob. Throw all of that together and it's clearly film festival catnip, as the movie's berths at overseas fests such as Venice, Toronto and San Sebastián have already shown — and it'll enjoy its Australia premiere as the Spanish Film Festival's opening night pick. The aforementioned — and sublime — Parallel Mothers is also on the lineup after releasing in Aussie cinemas earlier this year, if you missed it then. And, so are two Cruz-Bardem collaborations: Jamón Jamón, the pair's first film together, which marks its 30th anniversary in 2022, and 2017's Loving Pablo, which sees Bardem play Pablo Escobar. Of course, the Spanish Film Festival spans plenty of movies that don't star Spanish cinema's best-known acting names, too — with 2022 Goya-winning political drama Maixabel, fellow Goya-recipient Mediterráneo: The Law of the Sea, psychological horror flick The House of Snails, road-movie comedy Carpoolers, and the coming-of-age-focused Once Upon a Time in Euskadi also on the program. Or, there's Girlfriends, about childhood pals reuniting; dramatic thriller The Daughter, which hones in on a pregnant teen; mother-daughter drama Ama; the Himalayas-set Beyond the Summit; and The Cover, about a pop star impersonator. From the Cine Latino strand, ten films hail from the likes of Argentina, Mexico, Uruguay and the Dominican Republic — including rom-com The Big Love Picture, thriller Immersion, the footballer-centric 9 and Goya-winner (yes, another one) Forgotten We'll Be. Plus, the lineup also includes Language Lessons, which is directed by and starring Natalie Morales (The Little Things), and also features Mark Duplass (Bombshell) — with the pair navigating an online setup to play a Spanish teacher and her student. And, there's sessions of the Spanish-language version of Disney's Encanto as well.
Some films are long, slow and serious. Others are brief, quick and fun. There's a place for the former, of course; however, Radical Reels champions the latter category, combining the most action-packed mountain movies it can find into a compilation of high-octane shorts. Radical Reels is the adrenaline-loving little brother of the Banff Mountain Film Festival, the prestigious international film competition and annual presentation of short films and documentaries about mountain culture, sports, and environment. From the most recent festival's batch of submissions, a subset of daring displays have been singled out for not just one evening at the cinema, but two — one at the Hayden Orpheum, the other at the Randwick Ritz. Between Wednesday, October 19–Thursday, October 20, Radical Reels will approach the very edge of action sports and natural highs: the wild rides, long lines, steep jumps, and skilled stunts, as well as the rugged playgrounds thrill-seekers explore on their mountain bikes, paddles, ropes, skis, snowboards and wingsuits. 2022 highlights include ski flick Maneuvers; Always Higher, about high diving; Arves-En-Ciel, focusing on walking between two rock towers on a slackline; and the wingsuit flying-centric Trustfall. Expect the world's best extreme athletes getting fast and furious — and expect quite the thrilling ride from the comfort of your cushy cinema seat, too. Top image: Arves-En-Ciel.
Whether you're catching a stone-cold classic or a brand-new release, if you're heading out of the house to see a movie, your picture-watching location is important. Everyone has their favourite cinemas — and, beyond the tried-and-trusted spots, plenty of pop-up venues keep getting in on the flick-screening action. Still, it isn't every day that you get to watch recent and retro features in an 18-metre dome. That's currently on the agenda in Wollongong thanks to the Winter Warmer Cinema Dome, which runs through until Sunday, August 28. Even if you're not usually the kind of movie to hit the road just to see a movie, this is one cinema-fuelled getaway you'll remember. On the bill at MacCabe Park: Top Gun: Maverick, aka a big-screen must-see that'll have you feeling the need for speed; the Marvel antics of Thor: Love and Thunder; and Baz Luhrmann's Elvis, thank you, thank you very much. You can also catch nostalgic sessions of Mean Girls, The Holiday, Frozen 2, Love Actually, Ice Age, Harry Potter and the Prisoner of Azkaban and Grease, with tickets costing $30 per adult. And as well as the Cinema Dome, snacks are also on offer, because it wouldn't be a trip to the movies otherwise. And, the full Winter Warmer setup includes dining igloos and a winter market from Thursday, August 25–Sunday, August 28.
Back in 1988, when John Waters wrote and directed Hairspray, he couldn't have known what'd follow. The cult filmmaker's flick was a modest hit to begin with, but really became a sensation on home video in the early 90s. The film's star Ricki Lake, who made her big-screen debut playing 60s teen Tracy Turnblad, also became one of the decade's big talkshow hosts. That's a wild path for any movie to take, but Hairspray's story doesn't end there. A theatre adaptation followed in 2002, as did eight Tony Awards. Then came a new 2007 movie based on that stage musical. Yes, Hairspray has lived many lives — and in its latest, it's coming to Sydney. In its on-stage, all-singing, all-dancing guise, it'll spin the dance-loving Turnblad's tale of teen dreams and making a difference at Sydney Lyric from late summer, kicking off on Sunday, February 5, 2023. Turnblad has one specific fantasy, actually: to dance on The Corny Collins Show. And when she makes it, it changes her life — but she has more change to fight for, too. The story unfolds in 1962 in Baltimore, Maryland, where racial discrimination is an everyday part of life. So, Turnblad uses her newfound fame to advocate for a different future for everyone. Hairspray's Sydney run is a local staging of the original Broadway production, and with director Jack O'Brien (Charlie and the Chocolate Factory) and choreographer Jerry Mitchell (Kinky Boots) guiding the show. Appearing on-stage in the new Aussie version, which comes to Sydney after premiering in Melbourne: Shane Jacobson, swapping Kenny's overalls, his numerous TV hosting gigs and appearing in seemingly every Australian movie made over the past decade for the role of Edna Turnblad, Tracy's mother (which was played by the inimitable Divine in Waters' movie, Harvey Fierstein on Broadway and John Travolta in the 2007 film). He's joined by Carmel Rodrigues as Tracy, Todd McKenney as Wilbur Turnblad, Rhonda Burchmore as the villainous Velma Von Tussle and Rob Mills as Corny Collins. Images: Jeff Busby.
Putting a spring in your step on an average Tuesday isn't the easiest thing to achieve. The last weekend is well and truly over, the next one seems forever away and you haven't even hit hump day yet. Putting some spice in your life is simple from 5pm on Tuesday, August 23, though. Your zesty escape: Salt Meats Cheese's Spice Meats Cheese dinner, a one-night-only affair that's all about drinks and dishes that pack a punch. On the menu: four courses of chilli-, nduja- and Sriracha-filled Italian dishes, starting with a spicy antipasto platter featuring chilli-marinated olives, spicy pecorino, sopressata, hot tromba and a homemade spicy capsicum dip. You'll also tuck into spicy beef polpette topped with Sriracha, spicy 'nduja and hot sopressa pizza, and a spicy rigatoni alla vodka made with Archie Rose's native botanical vodka. To wash it all down with, there are four cocktails to choose from — with your pick included in the $55 price. Sip a chilli-topped spritz, opt for a Tabasco margarita, or see what a cosmopolitan tastes like with a bit of that same hot sauce, too. Some are made with Archie Rose's native botanical vodka as well, including the Rhuby Tuesday, which includes fig and rhubarb syrup. Fancy more drinks? They'll cost you $18 a pop after your first one. Bookings for the Spice Meats Cheese dinner are essential — and Sydneysiders can hit up Salt Meats Cheese at Circular Quay and Cronulla.
Record stores aren’t just retail outlets. They’re alternative schools for the musically challenged, sites of identification and rebellion, and burning hot crucibles for new bands — if not entire movements. For a while, however, we feared that the digital revolution would turn all of that into a relic of the past — a thing relegated to nostalgic, drunken reruns of Empire Records, High Fidelity and Good Vibrations. To an extent, the fear was justified. We’ve seen quite a few legendary institutions kick the bucket. Bondi, for example, lost one of the few remaining portals into its more bohemian past when its Campbell Parade record store closed. But as the old adage goes, you can’t keep a good man, woman or album collection down, so record stores have been making a serious comeback. And to keep the punters off downloads and onto discs, they’ve been doing things in even quirkier, bigger ways than ever before. One of these is annual international Record Store Day, now in its sixth year. On Saturday, April 19, music shops all over the world will host live gigs, interviews, special sales and much-anticipated new releases. In Sydney, The Record Store Darlinghurst, will be transforming into one enormous turntablism showcase featuring Broke, Raine Supreme, Clockwerk, Katalyst, Speedracer and Morphingaz. The party will continue after 6pm at Play Bar. Utopia, Kent Street, will be selling more than 100 exclusive RSDA titles and giving away all kinds of goodies, from Golden Tickets to The Enmore to box sets. At Repressed, you can expect a bunch of exciting new releases, including the Oh Sees' latest album and reissues from Dead Moon. And if you’re spending Record Store Day at the Royal Easter Show, catch ambassador Marcia Hines singing at WOW Music at 1pm.
In today's unpredictable world of infighting, internets and readily available guitar tabs, it's more probable than ever before that the biggest fan of a band will end up actually in the band. Ron Wood joining the Rolling Stones, Robert Trujillo joining Metallica, and now Jon Davison joining English progressive rock legends Yes (that's right, Yes) as their latest vocalist. "I'm still a Yes fan," he says from somewhere in Los Angeles. "I can't help it, these things happen. In instrumental sections where I'm holding back, I get caught up in thinking 'wow, here are these amazing musicians I've always admired just a few feet away from me — and I have a better view that anyone in the audience!'" With the sprightly American as frontman, the 50-million selling princes of prog are heading to Australia to perform their two finest releases, Fragile and Close to the Edge, from start to finish. I've played with bands for which these albums were like holy texts, and Davison doesn't dispute it. "Close to the Edge is, I think, based on the teachings of Siddhartha — a soul's journey through many lifetimes. It's very beautiful but there's a lament in it, about what the soul must endure, the challenges and the hard lessons we face as we go on. That's how I interpret it." There has been a "touch of the metaphysical" in most of Yes' output, and Davison still decodes their evocative and often cryptic lyrics from the stage. "It's not always a clear meaning. I approach the lyrics more emotionally I guess, but there are parts of songs that I very much relate to. 'And You And I' is heart-expanding, and I love 'Starship Trooper'. Those uplifting ones." Dotted throughout Fragile, meanwhile, are tracks focused on individual band members, the vocal showcase being 'We Have Heaven' — a gloriously overdubby affair. "I'm working on my own version of it now actually, in my home studio. I won't do any of [founding member of Yes] Jon Anderson's tracks, but I'll loop my voice a lot, and possibly Steve and Chris will do some other vocals too. We're going to make it as much of a live track as it can be." Anderson was an expectedly huge influence for Davison while he was finding his own voice, though they haven't become acquainted at any Yes parties yet. "I haven't had the privilege of actually meeting him, but a few who know him quite well say we would be good friends. I hope it happens eventually." The upcoming album will be the band's first with Davison, and they're champing at the bit to keep being, well, progressive. "I was very much encouraged by the others not to try to reference anything in the past, because then you compare and end up restricting yourself creatively. We've been aiming to only move forward and break new ground. Even in their heyday the band were making mindblowingly distinct albums, and we're aiming for that now. There's a real freshness to it; it moves in a new direction and accurately reflects this five-member line-up, just as it should." Despite being the lone American in a band comprised of people old enough to be his English dads, Davison is unfazed. "It's surreal but I seemed to fit in right away. They're very accommodating. What we share in common, of course, is the music — we both speak that language, despite our ages." And in a perfect world, would he sing in any other of his favourite bands? "I'd love to be a part of early Genesis. I wouldn't mind being Freddie Mercury for a day either, that would be pretty exciting." https://youtube.com/watch?v=_RJYxDfsvdg
It seems so easy these days to make new friends and contacts — online. Twitter, Facebook, LinkedIn, Tindr, Grindr: it's all as easy as a swipe right or a follow. But what about that old-fashioned, chaotic mess of serendipity that is meeting people in real life? That, you're probably doing far less often. What do you even say to start chatting to a stranger without sounding creepy, weird, desperate or simply too networky? Some tips from communication expert and social coach Russy Ross from the Social Collective should get you on your way. He’s coming to Redfern’s Work-Shop HQ to run a class by the name of The Coffee Shop Networker: The Art of Meeting People, Anywhere, Anytime. You walk in there with a pen, a notebook and the fiercest case of social awkwardness since Napoleon Dynamite. You walk out with the tools to turn on your charisma, ease and smarts, whenever you need them. Russy Ross will demonstrate that approaching people and keeping a conversation flowing is a much easier and more enjoyable task than you think.
This article is sponsored by our partners, Jameson Irish Whiskey. If you thought St Patrick’s Day was all four-leaf clovers, fiddlers and little people, you can think again. This year, Jameson Irish Whiskey and Ivy are teaming up to present Sydney’s first ever St Patrick’s Live. It’s a global festival that uses Ireland’s national day as an excuse to throw parties in cities all over the world — from Prague and Stockholm to Buenos Aires and Mumbai. Rather than resorting to a watered-down, touristified version of Irish culture, it aims to deliver a more authentic St Pat's Day celebration — as you might experience it in contemporary Ireland — complete with live bands and street stalls. Needless to say, world headquarters are firmly grounded in Dublin. This is the very first time, however, that St Patrick’s Live has made it to the Asia-Pacific region. In Sydney, the centrepiece will be a four-act live music lineup that's rather unlike what you're accustomed to seeing on 'themed' Irish pub programs. Party starters are Furnace and the Fundamentals, followed by Aussie hip-hop faves The Thundamentals. Then there’ll be guaranteed dance floor madness with Hot Dub Time Machine and Yolanda Be Cool. DJ Shantan Wantan Ichiban, who FBi listeners might know from Stolen Records, will be doing the hosting. Once you’ve worked up an appetite, you’ll be able to partake in some serious indulgence at the onsite markets, where you’ll discover a tempting selection of Jameson-inspired beverages and eats. Several independent fashion designers and craftspeople will also be peddling their wares, including triple-scented soy wax candle specialists Seer Footwear, Birichino Bikes and The Dining Dead, who turn cutlery into handmade jewellery. St Patrick’s Day Live will happen at Ivy on Sunday, March 16, between 3pm and 9pm. Tickets, at $50 a pop, are on sale now. Please enjoy Jameson responsibly.
It is with a triple bill as spectacular as it is diverse that the Sydney Dance Company erupts into its 45th year. Interplay opens with the measured elegance of 2 in D Minor, an exquisite physical imagining of Bach's solos for the violin, before exploding into the formidable visceral chaos of Raw Models. Utilising the entire company, L'Chaim rounds out the evening with a colourful comment on the life and art of the modern dancer. Artistic director Rafael Bonachela's own choreography in 2 in D Minor lends a stunning physicality to the music of Johann Sebastian Bach. Prodigious violinist Veronique Serret gives voice to Bach's extraordinary Partita 2 in D Minor, while the soloists, duos and trios of dancers around her lend it a compelling physical form. The staging is simple and powerful. Fluorescent white light cuts through an oppressive darkness, while dancers dressed in homogeneous black suits evoke the anonymity and uniformity of the urban worker. Bonachela plays poetically with the fluctuating relationship between music and dance. Weaving agonisingly beautiful solos, Veronique is alternately obeyed, feared and ignored by the dancers: is she directing or describing them with her music? Electronic interludes by composer Nick Wales expose the harsher undercurrents of Bach's masterpiece and of the dancers themselves, whose movements become raw and animalistic without losing any of their grace. With the commencement of Raw Models, the animal within the dancer finally takes over. A reimagining of Jacopo Godani's well-received 2011 work, Raw Models fuses a bold, industrial electro-acoustic score with Godani's intensely primal choreography to create a stark portrait of "how weak, fragile, empty and programmable we are". Raw Models allows just enough softness into its dissonant landscape to underscore the humanity of its powerful contortionists bathed in alien green light. Godani's masterful, futuristic creation is an unnerving expression of the battle between who we are and who everybody else expects us to be. Finally, Gideon Obarzanek's L'Chaim is a kaleidoscope of colour and symmetry. Based on the Socratic notion that "an unexamined life is not worth living", L'Chaim exposes its dancers to the questioning of an initially unidentified voice in the audience. Is it a casting agent? A choreographer? Or is it you, interrogating the dancers to find the meaning that their movement holds in your own life? David Woods' comedic script is fresh and fun and will have you laughing out loud but also makes a darker comment on the dancer as a replaceable commodity. This is thrown into starkest relief with the question to the eldest member of the cast, David Mack at 32: "How long do you have left, David?" Accessible, provocative and entertaining from start to finish, Interplay's triumphant triple bill will delight contemporary dance connoisseurs and newbies alike, and makes clear why the Sydney Dance Company remains Australia's darling after 45 jam-packed years in the business. $30 Under 30 tickets are available Tuesday - Thursday.
