Just down the road from the local shops in Mosman, the Sunflower Lounge offers up healthy eats with a sunny, retro vibe. Alongside an extensive breakfast and lunch menu — think croque monsieurs with a three-cheese bechamel, quinoa lunch bowls and hot smoked salmon sandwiches — this cafe serves up brews with Paul Bassett's single origin blend. Plus, if you catch the ferry to Mosman, you can work up a proper appetite on the way or take a break and take in the views of the harbour foreshore in Reid Park. After you've had your fill (and if you're up for a longer walk), you can head up to Cremorne village, refuel at one of the local cafes or catch a flick at Hayden Orpheum Picture Palace.
Libertine Parfumerie, a leading destination for niche and luxury fragrances, invites scent lovers to an immersive day of olfactory discovery at Ace Hotel Sydney this September. Known for introducing some of the world's most prestigious perfume houses to the Australian market, Libertine is bringing its expertise out of the boutique and into an elevated series of masterclasses at the stylish Surry Hills hotel. Three unique experiences will take place across the day. Kicking things off is the Creed Discovery Masterclass, where ticketholders will be among the first to discover the historic house's newest fragrance alongside an edit of the 265-year-old brand's most celebrated scents. The Gourmand Masterclass may spark delicious sensory overload by pairing food-inspired perfumes with eight creative mini desserts. Finally, the Perfume & Cocktails Masterclass is an after-dark exploration of fine fragrance and mixology, where eight mini cocktails (including two mocktails) are matched with complementary perfumes, served with a selection of canapés. All sessions will be led by Lucy Borland, an internationally renowned fragrance expert with over 30 years' experience in the beauty and fragrance industry. Each guest will be welcomed with bubbles on arrival before embarking on their chosen sensory journey. Tickets also include a $69 voucher to redeem on purchases made during the event, plus a luxurious gift with purchase on qualifying perfume buys. Whether you're a seasoned perfume connoisseur or just fragrance-curious, this is a rare opportunity to explore the artistry of perfumery in a luxurious, experience-driven setting with one of Australia's foremost experts.
Thanks to home cocktail kits, how-to books and amassing a hefty spirits collection, anyone can whip up a top-notch boozy beverage without leaving the house. But sometimes you want that tipple shaken and stirred for you, and you don't want to venture too far. Enter UberEats new Bar in a Car, aka a travelling tavern that's brought to your door — but is only cruising the streets for a few days. Sydneysiders and Melburnians, this drink-sipping experience can be yours in January, with Bar in a Car hitting the road in both cities. Book in a slot and you won't just get cocktails poured in your driveway, however. You'll also score Stefano Catino of Sydney's Maybe Sammy — which is frequently named one of the best bars in the world — doing the honours by hosting onsite masterclasses. "On Uber you can go anywhere or get anything — including amazing experiences to share with your family and friends,"said Catino. "The Bar in the Car is the perfect way to extend summer at home for one last hurrah before you have to head back to the grind." Bar in a Car is doing the rounds in Sydney from Thursday, January 19–Tuesday, January 24, including two days in Manly, two in Bondi, one in Summer Hill and one in Parramatta. Then, it makes the trip to Melbourne from Saturday, January 28–Sunday, January 29, focusing on Richmond and St Kilda for one day each. Inside the vehicle, it truly does look like a tiny bar — a miniature neighbourhood pub, in fact. The Bar in a Car has taken over a former military vehicle and can fit in six, with sessions running from 3–9.30pm daily for $40. A huge caveat: booking ASAP is recommended, with some timeslots already sold out. If you nab a Bar in a Car visit, you'll receive a 30-minute cocktail experience, nibbles to snack on, limited edition goodies and a cocktail kit of your choice to make afterwards — spanning Messina choc hazelnut martinis, Brix spiced spritzes and The Gearshift, which is made with Hellfire Bluff's sloe gin. UBEREATS BAR IN A CAR SCHEDULE: SYDNEY: Thursday, January 19–Friday, January 20 — searchable in Manly Saturday, January 21–Sunday, January 22 —searchable in Bondi Monday, January 23 — searchable in Summer Hill Tuesday, January 24 — searchable in Parramatta MELBOURNE: Saturday, January 28 — searchable in Richmond Sunday, January 29 — searchable in St Kilda The UberEats bar in a car is hitting up Sydney from Thursday, January 19–Tuesday, January 24 and Melbourne from Saturday, January 28–Sunday, January 29. Hit up the UberEats app to book.
Despite the challenges of the past couple of years, the Sapphire Coast continues to be a much-loved holiday destination thanks to its stunning coastline, beautiful national parks and friendly locals. There's also a booming arts and culture scene in the region for you to explore if you time your trip right. To help you decide when to explore this picturesque part of the world, we've picked eight cultural highlights happening in the region that will give you plenty of reasons to plan a trip sooner rather than later. WANDERER FESTIVAL For an event in its first year, Wanderer Festival has one hell of a lineup. From international acts like Curtis Harding and The Dandy Warhols to breakout Aussie stars like Confidence Man and Jack River, the festival features a diverse group of artists. It's not all about the music, though. This multi-day event will also feature comedy, cabaret and circus alongside delicious local artisan produce at its idyllic location. There's also a strong focus on sustainability, with festival organisers implementing a 'leave no trace' policy to ensure there's minimal impact on the natural environment. Keen to head along? It's all happening from Friday, September 23 till Sunday, September 25. [caption id="attachment_861448" align="alignnone" width="1920"] David Rogers Photography courtesy of Sapphire Coast Destination Marketing[/caption] GIIYONG FESTIVAL Meaning 'come to welcome' in the local First Nations language, Giiyong is a festival that showcases and celebrates First Nations culture across music, dance, comedy, film, workshops and the spoken word each April. Since its inception in 2018, the festival has evolved into a Regional Tourism Award-winning event that hosts nationally renowned names such as Briggs and Baker Boy while continuing its community links. There aren't many arts festivals that include a local primary school dance group on its lineup, but it's performances like this that make Giiyong the memorable festival that it is. FAR SOUTH FILM FESTIVAL The Far South Film Festival shines a light on regional and remote filmmakers from across Australia. For this year's iteration, the festival is taking a hybrid approach, meaning films can be viewed online or in the theatres in Merimbula from August 19–31. From music videos to short films and feature-length productions, the program's highlights include a recording of a dance performance billed as "a pirouette through the turbulence of life," a spoken-word examination of female familial relationships, and a documentary about the Snowy Hydro scheme. MERIMBULA FESTIVAL AND YARN BOMBING Yes, it does look like we're recommending two completely unconnected events under one heading here. However, that's most certainly not the case. Merimbula Festival and Yarn Bombing is one of the most unusual but original attractions on the Sapphire Coast. The two-week event will take place from Saturday, August 20–Sunday, September 4. Organised by the Merimbula Historical Society, the festival begins with a day of food, stalls and displays in the local museum. Then, over the following fortnight, the museum grounds and surrounding areas will be adorned by a host of crocheted, knitted and woven art. Everyone is encouraged to add a little colour to the area to help wrap the town in wool for winter. [caption id="attachment_861449" align="alignnone" width="1920"] Ben Marden courtesy of Sapphire Coast Destination Marketing[/caption] COBARGO FOLK FESTIVAL Having celebrated its 25th event earlier this year, the Cobargo Folk Festival is a long-established name on the folk and roots festival calendar. The event has been organised by the local Yuin Folk Club since 1996 and is staffed entirely by volunteers. In fact, any money the festival does make goes straight back into the local community. Folk musicians are known to break out into song at any opportunity, so you're just as likely to see a top-quality set in the middle of the campground as you are on one of the main stages. You've got a bit time to get organised for this must-do event — next festival is scheduled to take place from Friday, March 3 till Sunday, March 5, 2023. ART MONTH SAPPHIRE COAST This Sapphire Coast celebration kicks off with an art fair at the NIMO Motel on Friday, July 29, showcasing works from the best and brightest local artists. Following this, an entire month of events exploring visual art, dance, theatre and music at various venues across the region will take place. There are also partnerships with local eateries and accommodation providers, with the whole month geared towards helping visitors make the most of what the Sapphire Coast has to offer. Want to check it out? Book in a trip to the Sapphire Coast from Friday, July 29 till Wednesday, August 31 to see it for yourself. [caption id="attachment_861447" align="alignnone" width="1920"] Sapphire Coast Destination Marketing[/caption] SCULPTURE BERMAGUI Sculpture is one art form that really encourages us to consider our surroundings. And when those surroundings are the picturesque landscapes of Sapphire Coast, it's nothing but a treat. If you're a fan of Sydney's Sculpture by the Sea, Sculpture Bermagui will be a welcome addition to your Sapphire Coast holiday itinerary. Browsing the gallery of previous years' festivals shows a gorgeous landscape augmented by stunningly crafted artworks. You've got a bit of time to sort out your schedule to attend the event, the next one kicks off in March 2023. MERIMBULA JAZZ FESTIVAL Since 1981, the Merimbula Jazz Festival has been delighting jazz aficionados from the local region and beyond thanks to its roster of talented artists and its fiercely independent ethos. From the very beginning, the volunteer-run festival has prided itself on providing equal opportunity for jazz musicians and steering clear of paid advertising. Alongside the incredible independent music events at the festival, you can expect market stalls and a lakeside lantern walk and more. Want to head along? It takes place on the Queen's birthday long weekend each June, so you've got ample time to get prepped for next year's event. Keen to take a break on the Sapphire Coast? Want to pair it with Wanderer Festival? To peep the full lineup and book tickets, visit the website.
Music is about more than just a great tune — it also has the power to inform and inspire action. That's the idea behind the Environmental Music Prize — a $20,000 prize launched in 2022 awarded to artists exploring ideas around sustainability and conservation in their music. With voting open until Sunday, December 14, the public is invited to have their say on the tracks that get them reflecting on the importance of nature. Just choose three choice tunes and share them with your pals to help spread the word about music that speaks to the kind of world we want to live in. [caption id="attachment_1052482" align="alignnone" width="1024"] Debbie Hickey/Getty Images[/caption] "Music reminds us of what's at stake, but it also gives us hope," says Prize Founder Edwina Floch. "These songs capture the beauty of nature, the spirit of Country and the resilience of communities rising to protect it. Together, they form a powerful soundtrack for now." With the 30 finalist songs now revealed, each is jam-packed with lyrical meaning and taken to even greater heights with evocative music videos. Think King Stingray's Through the Trees, Angie McMahon's Mother Nature or DOBBY's Dirrpi Yuin Patjulinya, alongside dozens more. "Music connects where other messages can't," explains Floch. "By voting and sharing these songs, fans can help amplify the voices of artists shaping a more sustainable culture, because change begins in the stories we tell and the songs we sing." With this year's prize announced on Wednesday, December 17, the highest voted artist will join much-loved past winners like King Gizzard & The Lizard Wizard and Xavier Rudd. Both donated the money to grassroots conservation initiatives, giving even more meaning to their songwriting prowess. Voting for the 2025 Environmental Music Prize closes on Sunday, December 14. Head to the website for more information.
To the uninitiated, costume shops and sports might seem like an odd pairing. But to anyone who has ever been to a Rugby Sevens tournament, you'll know that there's just something about dressing up as a Smurf that makes the competitive, festival atmosphere of the event that much more addictive. This February, when the best international players of Rugby Sevens descend on Parramatta for the HSBC Sydney 7s, the last thing you want is to be the only person at the party without a killer costume. So, we've pulled together a list of seven of Sydney's most well-stocked costumeries to get you all decked out for the big event. These joints will have you covered from masks to Mad Hatter get-ups — there's no particular theme this time around, so you've got free reign on your fancy dress outfit (but let's steer clear of cultural appropriation).
Gone are the days when discount shopping meant losing hours rifling through a dark, dusty warehouse for a hidden gem. The outlet stores themselves aren't extinct — in fact, they're thriving. They just look a little different now. Case in point: Incu's new outlet store. The multi-brand boutique, which twin brothers Brian and Vincent Wu first opened in 2002, recently unveiled its new outlet store in Rosebery, and it's a beauty. Incu enlisted Akin Atelier to design the chic minimalist space with light timber, ceramic tiles and plenty of light. Here, you can expect to find the same high-end international and local labels that are stocked in Incu's main stores — like Acne Studios, Rag & Bone, Saturdays NYC and Comme des Garçons — but it's all past-season collections at massively reduced prices. Images: Akin Atelier
Whether focused on steak joints, restaurants in general, bars, hotels, beaches or places to travel to, there's no shortage of rankings proclaiming the standout spots to spend your time, or just to live overall. Another one seems to pop up almost daily. In fact, one more has just joined the ever-growing array, and it's a hefty addition, with the first-ever Oxford Economics Global Cities Index naming the top 1000 cities worldwide. Use it as a must-visit list, a guide if you're thinking about a big move or to add fuel to one of Australia's enduring pastimes: arguing over which Aussie city tops the rest. According to the index, Melbourne earns the honours this time, coming in ninth globally. But just as the Melbourne-versus-Sydney debate starts firing up again, the latter didn't do badly at all, sitting in 16th. Australia has six cities in the top 51, with Perth ranking 23rd, Brisbane in 27th place, Canberra taking out 44th and Adelaide just missing the top 50. The nation scored seven cities in the top 100 and also in the full 1000, thanks to the Gold Coast placing 81st. To make its selections among the planet's largest 1000 largest cities — which you'll find in 163 different countries — Oxford Economics looked at five broad factors: economics, human capital, quality of life, environment and governance. It also outlined a top ten for each category, with Down Under spots earning some more love there. While no Aussie cities placed in the top ten for economics, environment or governance, Sydney came eighth in human capital, which considers educational attainment, universities, population growth, age profiles, the diversity of the population and corporate headquarters among its indicators. The second-best place in the world for quality of life, which takes into consideration life expectancy, income per person, income equality, housing expenditure, recreation and cultural sites, and internet speed? Canberra, the only Australian city in the top ten there. The Gold Coast placed 95th, Perth 135th, Brisbane 146th, Adelaide 152nd, Melbourne 185th and Sydney 230th. Over in New Zealand, Auckland placed highest at 59th on the complete list of 1000, followed by Wellington at 69th and Christchurch at 87th. All three ranked NZ cities also earned a position in the environment top ten (which covers air quality, emissions intensity, natural disasters, and temperature and rainfall anomalies) and took out the three top spots in the governance top ten (where institutions, political stability, business environment and civil liberties are assessed). Back to the overall rundown, New York emerged victorious over the other 999 cities in the index, followed by London in second. Returning to the US, San Jose came in third. After Tokyo in fourth and Paris in fifth, the next three places were again American cities, with Seattle, Los Angeles and San Francisco receiving the nod. And rounding out the top ten after Melbourne is Zurich. For more information about the Oxford Economics Global Cities Index for 2024, head to the organisation's website.
Stephen King's literary output contains multitudes. Horror, which the author has been best-known for since his 1974 debut Carrie, is just one genre on his bibliography. Accordingly, a life-affirming tale about the fact that we all also contain multitudes — Walt Whitman's poem Song of Myself is naturally quoted — isn't a surprise from the writer. Filmmaker Mike Flanagan bringing King's novella The Life of Chuck to the big screen might've been less expected, though, if the director behind recent TV must-sees The Haunting of Hill House, The Haunting of Bly Manor, Midnight Mass and The Fall of the House of Usher wasn't again exploring characters not initially appreciating, then slowly dawning upon the fact, that the choices they're making aren't necessarily ones that are making them happy. Flanagan has adapted King's work before, first with 2017 film Gerald's Game, then with 2019 The Shining sequel Doctor Sleep. Neither was a fantasy/drama that celebrates life's wonders and small joys — and just relishing existing for the time that we each have in general — however. That's The Life of Chuck through and through, with Flanagan's characteristically perceptive version of the King story that was first published in 2020 compilation If It Bleeds proving one of the most-heartwarming viewing experiences of 2025. Consider the 2024 Toronto International Film Festival's People's Choice Award-winner if not an antidote then a helpful reminder whenever minor annoyances blight your days: this picture understands that revelling in the delights, not the dramas, is a more-fulfilling mindset. Being a part of the film's cast was an instant yes for Karen Gillan (Douglas Is Cancelled), who initially starred in Oculus for Flanagan. The 2013 horror movie brought the Scottish actor to the US before playing Nebula in the Marvel Cinematic Universe and rolling the dice in the Jumanji franchise joined her resume. And yes, The Life of Chuck immediately stood out, she tells Concrete Playground. More than that, the picture's thoughtful examination of relishing tiny, everyday wins and treasures, and discovering what and who truly light up your life, is "such an interesting thing to dive into just as a human being," Gillan advises. "It's a great question to ask yourself." "I found myself asking myself this in preparation for the film, and after having watched the whole film. I asked myself 'how am I spending my precious time on this planet in the way that I want to?' and 'am I doing the things that make me truly happy?'. And 'if it were to all end tomorrow, what would I go and do that I've been too scared to do?'. And it was such an interesting way to reflect on how I'm living my life. So I just found it really moving on just a human level." [caption id="attachment_1017401" align="alignnone" width="1920"] Amy Sussman/Getty Images[/caption] In The Life of Chuck, Tom Hiddleston (Loki) portrays the titular character, as do Jacob Tremblay (Queen of Bones), Benjamin Pajak (Honeypot KK) and debutant Cody Flanagan at various stages, all as the flick steps through its namesake's existence in reverse. The movie begins as the end of days approaches, with society crumbling with it. Think: the internet disappearing forever, the sea enveloping cities, ordinary routines proving pointless and the hospital where Felicia Gordon, Gillan's character, works being inundated with those unsurprisingly unable to face the fast-ticking clock put on everything they know. Confusion reigns, including about a particular new development that Felicia's schoolteacher ex Marty Anderson (Chiwetel Ejiofor, Bridget Jones: Mad About the Boy) also notices: TV and billboard advertisements filled with Charles Katz's image and thanking him for his "39 years of service", and radio ads as well. While there's nothing like being forced to confront your mortality to spark a reassessment of what's important in life, who matters, and how you want to spend the time that you have and direct your energy towards, that idea echoes in The Life of Chuck's following chapters, where nothing apocalyptic lingers in the narrative's timeline. And, it buzzes and hums in a movie that is anything but standard in digging into a concept that is no stranger to the screen. Spontaneously answering the call to dance, developing and embracing your passions, carving out time for life's pleasures where you can, treasuring your loved ones: in a picture also featuring Mark Hamill (The Sandman) as Chuck's grandmother and giving Ferris Bueller's Day Off great Mia Sara (Dorothy and the Witches of Oz) a rare screen part as his grandmother, these moments and realisations are essential. Everyone from Annalise Basso (Blind River), David Dastmalchian (Murderbot), Harvey Guillén (Companion) and Matthew Lillard (Five Nights at Freddy's) to experienced Flanagan cast members such as Kate Siegel, Rahul Kohli, Samantha Sloyan and Carl Lumbly (all most recently in his The Fall of the House of Usher), plus also Violet McGraw (Doctor Sleep), similarly get their time to shine in The Life of Chuck. Gillan receiving hers also added to her parts beyond Guardians of the Galaxy and MCU fare — to a filmography already overflowing with them, of course, going back to her first on-screen role in Rebus; then to The Kevin Bishop Show, The Well, playing Amy Pond on Doctor Who and more in the UK; and also the Jumanji films, NTSF:SD:SUV, Selfie, 7 Days in Hell, In a Valley of Violence, Gunpowder Milkshake, Dual, Late Bloomers, her feature directorial debut The Party's Just Beginning and other titles since. It is indeed refreshing when Gillian isn't donning the Nebula makeup for a role. "I would say that the biggest difference is that I just kind of feel like I'm at the spa every morning when I'm not in the Nebula makeup. Because the Nebula makeup is intense. And it's so cool and it's so worth it, but they've got the scalpels and stuff. It's not one of those spa-like experiences. And then any other job, it just feels so luxurious in comparison," she shares. "So I love playing Nebula, but it is really nice to just have a normal face." We also spoke with Gillian about reteaming with Flanagan, playing someone trying to look after everyone else as the world disintegrates, fleshing out a complicated relationship alongside Ejiofor in their brief screentime together and The Life of Chuck as a source of inspiration — and also being a King fan starring in a King movie, swinging from big franchises to more-intimate projects and the film's feeling of quiet urgency, among other topics. On the Unique Prospect of a Film That Celebrates Life and Its Wonders, the Multitudes That We All Contain and Treasuring the Small Moments "The script completely stood out to me. So I've worked with Mike Flanagan before, on a movie called Oculus. He's actually the whole reason that I moved from Scotland to America. And so it was one of my first roles in Hollywood. So when I got the call for this project, I was ready to sign up having not even read the script because I was so excited about working with him again. And I love all the Stephen King adaptations that I've seen. So it was a bit of a no-brainer. But when I actually read this script, it was like 'this is like nothing else I've ever read before'. It's so unique — even just the structure of it. It's told in reverse and the whole first chapter is the end of everything, and then you learn that that's all a metaphor for one man's life, Chuck. And it was just such a beautiful exploration into an ordinary man's life, and really focusing on those smaller moments that don't usually get screentime in movies — and showing the beauty of those moments." On What Excited Gillan About Stepping Into Felicia's Shoes "There were so many things about the character that I thought was really interesting. I really was intrigued by the fact that she had taken on this caretaker position in everyone's lives around her. And I kind of filled in a whole backstory as to why that would be the case — because it's not really explored so much in the short story or the film. But it was a really interesting character to dive into, because she's this real caretaker-type, and you can see that in her relationship with her ex-husband Marty. But then we throw her into the end of the universe, the end of everything, and you can just see how much she's still trying to fulfil that position and keep everybody going — and maintain optimism when everyone is just giving up around her. And I thought that was such a beautiful character trait." On Fleshing Out a Complicated Relationship Alongside Chiwetel Ejiofor in Their Brief Amount of Screentime Together "We didn't actually do so much reading the scenes with each other or anything like that. We just spoke and had conversations, and we did that both separately with Mike Flanagan to really flesh out characters and backstories, and then talked together. But the first thing that we ever shot together was the long phone call scene, and it was his side of the phone. So we made sure that we were present for each other — and so I hid in a bedroom upstairs and would just call him on the phone, and then we would film his side of the scene. So I was just in some random person's bed in the house, no one else was there in the house that we were in, just kind of talking to him on the phone. And that brought such a sense of authenticity to the whole thing. And then he did the same thing for me when I filmed my side of the conversation. What was nice about that was having not done it over and over again prior to that — like, the first time he properly heard that scene would have been through the telephone." On If a Film About Life's Quiet Wonders and Being the Centre of Your Own Universe Gets You Thinking About Those Ideas in Your Own Life "Yeah, it's so true. And this film really reminded me of that. And I found myself being really filled with gratitude for all the little things that sometimes you can take for granted. And yeah, I think honestly, it was just such an existential experience watching the film when it was all finished. I came away from it crying, but they were happy tears. And I just think that's so rare that film does that to its audience." On the Film's Tonal Balance — Proving Heartfelt and Sweet, But Also Clear-Eyed About the Truth That Life Is Fragile and We're All Only Here for a Short Amount of Time "I think you just have to trust Mike. He has it. And all I really tend to do is just try to approach each scene from the most-truthful place possible — and ask myself the question 'how would I genuinely feel if this was happening?'. And then what I do is I think of a time when I genuinely felt that emotion, and try to access it so that I don't really have to act — if that makes any sense — because I'm generally feeling something. And that's all I'm focused on. I'm not necessarily like 'how does this fit into the bigger picture?'. I think that, for me, is the director's job, and I'm just there to bring some authenticity and to genuinely feel things." On Starring in a Stephen King Adaptation When The Shining Is One of Your Favourite Films "I know — a non-horror one, which feels even more rare and unique. It was just mindbending. I'm like 'what? I'm in a Stephen King thing?'. That just seems like, to me, as big as it gets. And actually he loved the film, which was so cool — because I know that he wasn't a fan of The Shining, and he loved The Life of Chuck. And I got to meet him, and he came and supported the film, and came to the premiere at the Toronto Film Festival — and I met him and I was pregnant, and he told me to have a good one, and I'm never going to forget that." On the History Among the Cast and Crew of The Life of Chuck — and Not Just Gillan and Mike Flanagan's History Together "So I had such a good time on Oculus. Really, that's one of the best experiences I've ever had on a film. And then I found myself really wanting to have that experience again. Because I visited set, I visited Mike when he was filming The Haunting of Hill House, the series. And I was looking around and I saw all the same crew members as Oculus, and I was like 'I want to do this again'. And I was like 'put me in something'. And then he did. And it's The Life of Chuck. And it was just so great to reteam with him and see how he's evolved, and actually how he's exactly the same — which is mainly how I experienced it. He hasn't changed that much, even though his career has gone into the stratosphere. He's still the same old Mike. But he has evolved in ways as a filmmaker, and that's really cool to see. I just loved it. I had the best time." On the Ease That Comes with Repeat Director Collaborations "Definitely. It's just like any person that works with a new colleague or one that they've got a shorthand with. It's exactly that. You sort of have to feel each other, figure out each other's rhythms a little bit, get on the same frequency — and it's just so nice when you don't have to do that introductory period every single time. You can just dive back in. Some of the directors I've worked with have very distinctive ways of working, and sometimes you have to recalibrate and be like 'okay, so this director likes to give notes over a giant megaphone thing. This one is going to want me to improvise. This one's going to want me to stick to the script'. And so it's nice to just know what you're getting into again. And also they know how you work and can get the best out of you — because the best directors, in my opinion, are different directors to each actor, because each person needs something slightly different. And so it's nice when they really understand how I work as an actor." On the Impact That Working with Flanagan the First Time on Oculus Had on Gillan's Career "It really did bring me over to the States. It literally got me a visa to be able to stay in the States, which meant I was available for auditions and that's how I managed to have a career over in the States. So it just kickstarted everything for me. And it was a massive challenge for me as an actor to lead a film. I was young at the time and it was quite a demanding role. And so that made me have to level up and up my game. And so for my development as an actor, it really helped me get a lot better." [caption id="attachment_888782" align="alignnone" width="1920"] Marvel Studios. © 2022 MARVEL.[/caption] On Being Able to Swing Between Big Franchises Such as Guardians of the Galaxy and the Marvel Cinematic Universe, Plus the Jumanji Films, and More-Intimate Projects "That just feels like such a treat as an actress. I'm like 'that's so great to not be completely pigeonholed, and to get to do projects of all different sizes and genres'. I mean, that's my dream. I would hate to be bound by typecasting or anything like that. [caption id="attachment_756013" align="alignnone" width="1920"] Jumanji: The Next Level[/caption] I think I'm just looking for great characters and great stories, and it truly doesn't matter if it's a $200-million film or $200,000 film. It's like 'I don't care'. It's about making good cinema at the end of the day, and I just feel really lucky that I've had a variety of experiences." On If You Tap Into Something in Particular to Bring The Life of Chuck's Feeling of Quiet Urgency — That Life Needs to Be Lived Urgently to Be Lived Fully — to the Screen "I would say so. I was definitely asking myself questions about how I'm living my life. And I started to have these visuals — like, 'imagine if I just had an hourglass with the sand falling through it for my whole life, what level of the sand would it be at?'. And it's something so wild to think that it's constantly dwindling away. And you kind of forget that as you go about your day to day, and you think 'oh, that's not going to happen to me' and 'that's never coming' — but it is. None of us are getting out of this. And so, yeah, I think it's first of all really important to remember from time to time in your life. And I really had to think about that in terms of the character and what she would do in the moments where she knew that those were her last. Who does she want to reach out to? And I think what I learned is so much of the stuff that we focus on in our lives would just fall away in those final moments. Like, we think we focus on accolades, achievements, money — and none of that matters at the end of it all. What matters is being around the people that you love and love you. And that's definitely what I've found in the character." The Life of Chuck opened in Australia cinemas on Thursday, August 14, 2025 and in New Zealand cinemas from Thursday, July 31, 2025.
Melbourne isn't the only patch of Victoria that's gaining a new place to celebrate creativity in 2025, and adding something different and welcome to Australia's cultural scene in the process. While the state's capital city is set to become home to the Australian Museum of Performing Arts in December, championing the nation's contribution to music, theatre, opera, circus and dance in a city that's never short on any of those artforms, Halls Gap at the foothills of Gariwerd/Grampians National Park is gaining the National Centre for Environmental Art before winter is out. Again, the venue's focus and its location match perfectly. If you're going to open an Aussie-first gallery that's dedicated to works about the natural world, doing so in stunning surroundings is a must. The National Centre for Environmental Art is the brainchild of the Wama Foundation and, as it hones in on artistic narratives heroing the earth, will form part of the organisation's new art and environment precinct. When it begins ushering patrons through its doors — at a yet-to-be-revealed midyear 2025 date — the National Centre for Environmental Art will launch as stage one of the broader hub, alongside the Gariwerd/Grampians Endemic Botanic Garden, plus new artwork around the grounds. From there, immersing art within the landscape will continue to be a highlight of stage two, which will also boast a sculpture trail. So, you'll be enjoying the site's affection for both creativity and nature indoors and out. Inside, Western Australian artist Jacobus Capone will be in the spotlight at the centre's debut exhibition, with End & Being contemplating the planet's warming, the crisis as a result and the influence that humans have had upon the situation. The Fremantle-based artist creates everything from paintings and video installations to photos and performances — and will take visitors to Bossons Glacier at Mont Blanc in France without leaving Victoria, all by documenting a performance staged above and beneath the icefall. [caption id="attachment_1006306" align="alignnone" width="1920"] Astrid Muller[/caption] "Our program, encompassing new commissions, group exhibitions and nationally touring shows, will be rooted by a spirit of inquiry. Our take on the genre of environmental art is expansive, offering ample space for both playful exploration and deep contemplation," explains Wama Foundation CEO Pippa Mott of the National Centre for Environmental Art's aim. "Jacobus and I are deeply honoured to be part of Wama's inaugural exhibition and to present a project that, like Wama, seeks to foster a dialogue between art, humanity and the environment," added curator José Da Silva, who is also UNSW Galleries' Director and previously was part of the Queensland Art Gallery and Gallery of Modern Art's team in Brisbane, including leading the Australian Cinémathèque. "Capone's work, with its profound sensitivity to environmental change and human vulnerability, speaks directly to that mission, and has guided our decisions to present this particular project." [caption id="attachment_1006309" align="alignnone" width="1920"] Astrid Muller[/caption] [caption id="attachment_1006310" align="alignnone" width="1920"] Jacobus Capone and Moore Contemporary[/caption] [caption id="attachment_1006311" align="alignnone" width="1920"] Jacobus Capone and Moore Contemporary[/caption] Find the Wama Foundation and The National Centre for Environmental Art at 4000 Ararat-Halls Gap Road, Halls Gap, Victoria, Australia sometime from winter 2025 — head to the Wama Foundation website for more details.
WOMADelaide is returning to Adelaide's Botanic Park/Tainmuntilla from Friday, March 6 to Monday, March 9, 2026 — and the festival's first lineup announcement has landed, featuring 49 artists from around the globe. Headlining the 29th edition are Yothu Yindi, Obongjayar and Marlon Williams, with a program that will span from Bhutan to the Kimberleys, Cuba to Ukraine, and far beyond. View this post on Instagram A post shared by WOMADelaide (@womadelaide) Yothu Yindi will celebrate 35 years of Tribal Voice, while London-based Nigerian artist Obongjayar — known for his feature on Fred again..'s hit 'adore u' — will bring his blend of Afro-funk to Adelaide. Marlon Williams will perform alongside Kapa Haka group Ngā Mātai Pūrua, and Indian-American artist Ganavya will showcase her fusion of spiritual jazz and South Asian classical music. Other highlights include 82-year-old First Nations gospel singer Kankawa Nagarra, Cuban Grammy-nominee and Buena Vista Social Club alumnus Roberto Fonseca, Palestinian DJ Sama' Abdulhadi (returning after seven years), and soul sensation Jalen Ngonda, fresh from his Glastonbury debut. The festival will also feature Australian exclusives, including Belgian choreographer Anne Teresa de Keersmaeker's groundbreaking Rosas danst Rosas, Ukrainian-Canadian project Daughters of Donbas, French electronic act Orange Blossom, and Bhutan's first-ever representatives, the Bhutan Balladeers. They join previously announced acts including Yolngu rapper and dancer Baker Boy, US singer-songwriter Iron & Wine, Irish folk group Beoga and Pacific Break winner Mantis from Vanuatu. Since its debut in 1992, WOMADelaide has become one of Australia's most beloved festivals, celebrating music, arts and dance from across the world. The 2026 event will also see the return of Taste the World, WoMarkets, KidZone, Planet Talks and The Sanctuary Restaurant, alongside Around the Park performances scattered throughout the site. "Few festivals in the world are able to showcase the breadth and diversity of music, arts and dance on such a large scale while appealing to all ages and tastes," says WOMADelaide Director Ian Scobie. "It's a glorious opportunity to discover new sounds and embrace artists you love." WOMADelaide 2026 will run from Friday, March 6 to Monday, March 9 at Botanic Park/Tainmuntilla in Adelaide. Head to the WOMADelaide website for tickets and the full lineup. Images: Supplied
Scaling the Sydney Harbour Bridge is a breathtaking experience — both because of the stunning views and the 1332 steps it takes to reach the summit. But to fully appreciate this icon and the surrounding region, you need to understand the Indigenous culture and history it stands within. Burrawa, meaning 'upwards' or 'above' in local language, is a bridge climb led by Indigenous tour guides. As you ascend the Coathanger, your guide will explain the significance of Indigenous landmarks around the harbour, share local Dreamtime stories and detail the history of prominent First Nations figures, like Bennelong, Barangaroo and Patyegarang, who interacted with early European colonists, sharing knowledge, language and resistance. Images: Destination NSW
When temperatures soar, sometimes heading to your nearest beach is the only way to get relief. But when seemingly everyone else in Sydney has the same idea, the thought of battling the crowds for a tiny patch of sand suddenly doesn't sound so appealing. According to new research from Country Road, more than 10 percent of Aussies say a blocked beach view is their biggest pet peeve at the beach. Fortunately, the lifestyle brand is here to help, hosting a free one-day towel takeover on the notoriously bustling Balmoral Beach. Happening from 9am–1pm on Saturday, November 15, beachgoers will discover 100 Country Road towels laid out on the sand featuring uninterrupted views. This way, visitors can enjoy the stunning scenery, no cabana required, while scoring a free towel to take with them on every beachfront adventure this summer and beyond. Conceived as a tongue-in-cheek response to frowned-upon beach habits — think overly loud music, shaking out sandy towels and crowding the view when no one's around — this is your chance to relish one of Sydney's top shorelines without any annoying distractions ruining the serenity. [caption id="attachment_838835" align="alignnone" width="1920"] Andrew Gregory, Destination NSW[/caption]
If there's one thing the crew at this play-on-words beachside cafe is famous for, it's grilling some serious burgers (and being snapped on Instagram the city over). There are at least 16 different versions to choose from at Bare Grill, covering everything from the classics to chicken, vegetarian and fish — so whatever your preference, you've always got at least a few options. And if you think delicious cheesy towers like these don't come cheap, then you'd be mistaken, because The Original — with a beef patty, American cheddar, gherkins, caramelised onions, American mustard and ketchup served on their famous Bare Grill-branded bun — will only set you back $10. If you're feeling particularly famished you might want to tackle The Grizzly Bare: four beef patties, American cheddar, bacon, Bare sauce and a side of fries for $25. But the fun doesn't stop there. If your goal in life is to claim victory in a man versus food comp, then the 'Death by Burger' challenge ($45) has your name on it. All you have to do is swallow ten beef patties, ten slices of American cheddar, ten pieces of bacon, Bare sauce, two buns and a large chips in half an hour. If you do it, you'll become the third person in Bare Grill's history to complete it, and you'll score yourself a T-shirt and a free meal. Glory is a bonus. However, we can't give all the glory to the burgers alone, because their fries ($4 small) are damn good too. Perfectly golden chunks of potato smothered in a seasoning so good you can't stop eating — that is, until you see a basket of their 'epic' fries ($15) come out of the kitchen. That's when food envy sets in. Waffle fries are smothered in pulled pork, cheese, spiced aioli, Carolina sticky BBQ sauce, bacon and shallots. It's basically a meal in itself, so we'd recommend ordering smaller items to go with it, or nothing at all. And then there are the signature and extremely indulgent Gaytime and Malteser Bare shakes, which have to be seen (on Instagram) to be believed. Jam-packed with confectionery, syrups and ice cream; these guys certainly know how to shake things up. But don't be fooled into thinking this is just another fast food joint. There's also ribs ($30 for half a rack), seafood and salads on the menu for those not necessarily feeling burgers. And with the picturesque Bare Island fort as the backdrop, it's no coincidence this local gem is bright and relaxed with openair bar seating and shades of yellow and turquoise. Even little touches like newspaper-printed burger wrappers make for an old-school Aussie seaside experience. And even if you haven't been to Bare Grill yet, but don't want to bus it to La Perouse, then you're in luck, because their second cafe in Surry Hills is proving to be just as popular. Images: Katje Ford.
What do Byron Bay, Busselton, Bali and Bangkok all have in common? Alongside everywhere from Launceston, Newcastle, Uluru, Cairns, Darwin, The Whitsundays, and the Gold and Sunshine Coasts through to Singapore and Phuket, you can nab a cheap flight there and back as part of Jetstar's latest sale. This time around, fares start at $33. The one catch: you'll need to be a Club Jetstar member (but you can sign up now to get in on the bargains). There always seems to be an airline sale popping up, but this one has a heap of discounts on a huge number of fares, with 100,000 flights on offer. You do need to get in quick, however, as it's running for just 48 hours. The cheapest domestic price, $33, gets you between Sydney and Ballina/Byron, but Launceston–Melbourne is only $43, Brisbane–Whitsunday Coast and Newcastle–Melbourne are both $49, Gold Coast–Sydney is $50, Sunshine Coast–Sydney starts at $52 and Hobart–Melbourne begins at $58. To get from Brisbane to Cairns, you'll pay $76 — and from Sydney to Uluru is $105, Melbourne–Busselton / Margaret River is $135 and Darwin–Sydney is $156. The list goes on, including for overseas jaunts, where the Perth–Singapore route starts at $139, Melbourne–Singapore begins at $189, Adelaide–Bali is $215, Sydney–Phuket kicks off at $279 and Brisbane–Bangkok starts at $285. If you're keen, the sale runs from 12pm AEDT on Wednesday, March 19–11.59am ADST on Friday, March 21, 2025 — or until sold out, if snapped up earlier. And yes, if you're eager for a holiday at reduced prices, you'll want to get in quick. Travel periods vary, but you should find dates betwen late-March 2025–early-February 2026 across the full spread of specials. You'll pay extra for checked baggage if you need it, however, or you'll want to travel super light. Club Jetstar membership costs $65 a year, which you can join online while making a flight booking, and also gives you 20-percent off checked bags and seat selection. [caption id="attachment_976497" align="alignnone" width="1920"] Jesse Shaw Photography[/caption] The Club Jetstar March member-only sale runs from 12pm AEDT on Wednesday, March 19–11.59am ADST on Friday, March 21, 2025 — or until sold out, if snapped up earlier. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
In Stay of the Week, we explore some of the world's best and most unique accommodations — giving you a little inspiration for your next trip. In this instalment, we take you to the five-star, adults-only Tokoriki Island Resort in Fiji. We love this place so much that we teamed up with the resort to offer an exclusive five-night travel deal — including a discounted room rate, complimentary massages and a bunch of extra goodies. WHAT'S SO SPECIAL? There are so many islands in Fiji to choose from when holidaying to this tropical part of the world, but this particular private island offers up a totally kids-free travel experience. And, Tokoriki Island Resort is all about luxury — with the proof in the countless awards the spot's won for its lavish offering. If you're looking to really treat yourself on your next vacay, staying here is sure to do the trick. THE ROOMS The entry-level accommodation at Tokoriki Island Resort comes in the form of small beachfront bures. These 60-square-metre freestanding rooms look fairly rustic, but come with aircon, modern furnishings and a gorgeous outdoor tropical shower surrounded by lush gardens. You even have a cheeky hammock outside your bure for post-swim hangs with a book and glass of vino in hand. Then there are the upgrades: go for your own bure with a private plunge pool or one of the larger villas that come with or without a pool. No matter which accommodation you choose, you'll be surrounded by nature and have uninterrupted views across the surrounding beaches and coves. THE DINING When you're staying on a private island, you are fully dependent on your accommodation to provide food — so it better be good. Thankfully, these guys don't miss a beat on the dining front. For breakfast, we recommend ordering the floating champagne breakfast. When lunchtime rolls around, head to the restaurant, dine on your own balcony or get the team to make you a beach picnic hamper. This stellar offering is nothing compared to the long list of dinner options. Get around the à la carte menu championing South Pacific and Asian cuisines — using locally sourced ingredients — or splash some cash on one of the extra-special dining experiences. There's the four-person teppanyaki feast, the champagne and sashimi degustation out on the jetty or the romantic private sunset dinner. Each and every meal served at this luxury Fiji resort comes with a side of sweeping beachfront vistas. You really won't get tired of these views. [caption id="attachment_877271" align="alignnone" width="1920"] Brook Sabin, Cloud 9 floating bar courtesy of Tourism Fiji.[/caption] THE LOCAL AREA Tokoriki is one of the many picturesque Mamanuca Islands in Fiji — and it has been privately owned for over 25 years. That means you won't find hordes of tourists here. It's a sanctuary surrounded by wild natural surrounds. And it's pretty easy to get to as well. If you jump in a chopper from the main airport on Nadi, you'll arrive in about 15 minutes. Or if you go by boat (which is included in the deal we are slinging on Concrete Playground Trips), it will take about an hour. Once you're here, you can explore the long white-sand beaches and lush rainforest or jump on a boat and tour around the neighbouring islands. There are over 20 islands located in this tropical archipelago, with a few floating bars also dotted about for good measure. It's in a prime position for guests who want to do a little island hopping in Fiji. THE EXTRAS This is a five-star tropical island resort, meaning you'll find extras aplenty. You can do the usual snorkelling around the local reefs or learn to scuba dive, or you can do something a little different — think fishing trips on a catamaran, small-group tours to nearby islands and a series of bespoke couple's activities. And if you book our five-night stay at Tokoriki Island Resort, you're set to receive loads of extras. This includes complimentary massages, cocktail tastings, daily afternoon tea, snorkel trips around the local reef and return transfers by boat. It's all sorted for you — just book your flights, pack your bags and get ready for one incredibly luxurious holiday in Fiji. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world.
Staircases are structures which most of us use everyday without a second thought. But like most pieces of design, a healthy dose of intelligence and inventiveness can always be injected. With a little creative flair, staircases can become the focal point of a room, a structure of dual purpose with storage capabilities, or even a type of artistic sculpture, which goes above and beyond and it's simple architectural function. Here are ten of the most innovative and incredible staircases in the world. Jagged Wooden Staircase This staggered staircase is a highly effective use of space as it not only includes storage areas within each step, but the size of the rise is also twice that of the run. Despite appearing somewhat dangerous, these stairs made by Swedish architects Gabriella Gustafson and Mattias Stahlbom are actually both comfortable and safe. Storybook Staircase Adding the spines of your favourite storybook classics to your household staircase is a fantastic and original way to add some flavour to an otherwise boring structure. Share your stair-climbing adventures with Tom Sawyer, Peter Pan or Mowgli to ensure you never have a dull ascent of the stairs again. Lello Bookshop Staircase This beautifully ornate staircase appears in the Lello Bookshop in Portugal. The smooth lines of the stairs and railings glide seamlessly over each other as they part and rejoin and fold over each other to create a magnificent grand staircase. Tate Modern Slide Staircase Carsten Höller is an incredibly unique designer who has undertaken many exciting and interactive projects such as flying machines, frisbee houses, and sliding staircases. The above photo depicts Höller's spiral staircase at the Tate Modern Exhibition in London as part of the Unilever series. Höller is interested in the spectacle of watching people spiral down these 'slides for adults', as well as the 'inner spectacle' one has as they hurtle down the delightful structures. Light Bulb Staircase Captured perfectly by Dennis Fischer, this staircase is a marvel of art, architecture and ingenuity. Bookshelf Staircase This white bookshelf staircase provides the perfect storage space for books and ornaments. Rather than having the awkwardly sized cupboard under the stairs or a wall of wasted space, this bookshelf is a much more effective and aesthetically pleasing solution of what to do with the area beneath a staircase. Void Staircase Chic, clean and seemingly floating in mid-air, this void staircase designed by Guido Ciompi provides a novel way for guests at The Gray Hotel in Milan to ascend and descend stairs. Whilst also providing its functional purpose, the staircase is a pioneering design that is becoming much more popular in residential settings. Spiral Staircase to Nowhere This spiral staircase in Munich goes exactly where its name suggests. Wall Stairs Not only an effective use of space, these wall spaces are also a clever way to block off upstairs areas from unwanted visitors. The disappearing staircase design from Aaron Tang arose when he was asked to 'define what a door was and could be'. Undulating Steel Staircase The fluid strips of hot-rolled steel in the flagship Longchamps store in New York City were designed by Thomas Heatherwick, who is renowned for his unorthodox solutions to architectural problems. Here, he aimed to attract shoppers to the above-street-level store through the striking steel strips flowing smoothly upstairs. Tansu Cabinet Staircase This organic staircase is a seamless integration of functional stairs with a wooden cabinet set. The structure assimilates perfectly to the warm decor of the room, thanks to the inspired design by Dan Morsheim from Dorset Custom Furniture. Flying Roller Coaster Staircase This roller coaster staircase is a a public art sculpture in Duisberg, Germany named 'Crouching Tiger and Turtle'. The intricate structure takes visitors on a wild spin - and pretty intense workout - over and around the steel and zinc construction to take in the sights of the surrounding area. We can thank Ulrich Genth and Heike Mutter for this innovative design, which took eight weeks to assemble.
Stay tuned. More info coming soon. Images: Destination NSW
A new Korean fried chicken shop has arrived at a corner terrace in Chippendale, offering a range of flavoursome fried chook as well as affordable loaded burgers and special one-off chicken flavours on Abercrombie Street. Owner Kay Hwang is a Sydney hospitality stalwart, moving to Australia from South Korea 19 years ago before being professionally trained and opening Sergeant Lok in The Rocks in 2020. During the pandemic, Hwang stepped away from Sergeant Lok and shifted focus to a life-long love: fried chicken. According to Hwang, Joy Korean Fired Chicken was born from a love of snacking. The idea for the shop was based on a longing for a fried chicken spot where customers could order just one or two pieces instead of a whole or half chicken. That's exactly what you can get here at the new Chippendale opening — crispy fried chicken pieces for $4.50–5.90 a pop, plus boneless pieces in 180-gram serving sizes, both accompanied by coleslaw and pickles. Your hardest decision at Joy is deciding what flavour to get. The regulars on the menu include sweet and spicy, honey soy, lemon and parsley, and bulgogi. Plus, Hwang is always concocting exciting new limited-time flavours, adding a cranberry flavour for Christmas, and with a jalapeño green goddess flavour in the works. Hungrier patrons can place their chicken on a bun, with all of the flavours available in burger form, or combine it all into a joy box which includes fried chicken, a burger, coleslaw, pickles, chips and a drink for under $20. Plus, if you're having some fellow fried chicken lovers over, you can opt for the Party Meal, a packaged deal featuring 12 fried chicken pieces, four chips, six drinks and sides for just over $70. Hwang promises that Joy has more exciting flavours coming soon, so make sure to keep your eyes on the shop's Instagram so you don't miss out. Joy Korean Fried Chicken is located at 67 Abercrombie Street, Chippendale — open from 11.30am–2pm and 5.30–9pm Monday–Friday.
If you know your Alessi’s from your Starck’s, then you must be attending Brisbane Indesign, and if you’re attending Brisbane Indesign, then surely you will be talking the talk and schmoozing the greats at the Brisbane Indesign after party. Held at the uber shmick Oh Hello!, design lovers will be getting together and letting their hair down after a big two days at Brisbane’s ultimate design event. Originally know as The Monastery Night Club, Fortitude Valley’s reining nightclub for the past 10 years, the venue has since been transformed into a creative hotspot. Designed by two of Brisbane’s most talented creative’s, interior designer Alexa Nice and artist/ founder/ owner of Australian street wear label Grand Scheme’s Jimmy Bligs, Oh Hello! has been fit out with milk crate seats, vintage cushions, wall projections, LED lanterns and hand painted walls. It’s not just the design aesthetic that draws in the people, but the amazing array of signature cocktails on offer served in old-fashioned jam jars. All in all, Oh Hello! is sure to be the perfect spot to knock back some killer cocktails, mingle with like-minded creatives and soak up some excellent aesthetics. Registered guests gain free entry, so make your way to Fortitude Valley at 7pm.
Again and again, fans of slasher films have seen the one about the unhinged murderer butchering teen victims. They've seen more than one, in fact. It's a horror convention: take a bunch of young adults, then dispense with them person by person as a killer works through childhood trauma. Penning and helming his first feature — his short Z Is for Zygote was included in The ABCs of Death 2, and he did special effects work on Psycho Goreman, too — writer/director Chris Nash knows the basics of his chosen genre as much as any other diehard viewer. He's just as aware of the great, and greatly influential, flicks gone by such as Halloween and Friday the 13th. He's well-versed in their tropes in storytelling and in form alike. Making his full-length debut with a picture called In a Violent Nature, he's also clued up on what happens when someone sinister gets a-stalking in scenic surroundings. Plot-wise, Nash isn't trying to break the mould with his account of Johnny (Ry Barrett, Massacre at Femur Creek) and the folks who are unlucky enough to fall across his path. But the filmmaker asks a question: what if a rampaging slaughterer's terrors came not with a score heralding their every menacing move (even when those tunes can become iconic, as John Carpenter's Halloween music has), but with the ordinary silence of everyday life in nature punctuated only by noises just as commonplace, and then by the sounds of a killer at their insidious worst? In its imagery, In a Violent Nature adds another query: what if the audience wasn't biding its time with those likely to perish, tension dripping from not knowing when and where the murderer would strike, but was stuck at the side of the force causing such gruesome mayhem as the inevitable approaches? There's seldom any escape from a slasher; however, Nash finds a new way to take that idea literally. Let's call it the bang-and-whimper method of tackling the genre, because lives cease here with each given as much attention. Johnny still metes out big kills that create a din and sear themselves into memory. One inventively grisly death in particular can never be erased from brains, and ensures that everyone watching is incapable of contemplating its setting or the pastime involved in the same way ever again. Another sequence suggests that it's going a similar way, but becomes unforgettable for the fact that it holds back on grim expectations. And, of course, mewls of pain are hardly new to horror. Here, though, Nash's commitment to the film's ambience gives both its bangs and its whimpers extra impact. This is the way that the world ends for Johnny's prey: not with just a bang or solely a whimper, but with the haunting, echoing combination of the two that compels In a Violent Nature's viewers to reckon with them in the moment. Nash's understanding of horror at its most stock-standard commences with In a Violent Nature's opening, where wandering campers chat while stumbling across a grave beneath an old fire tower. A gold locket hangs in plain sight, which leads Troy (Liam Leone, Eli Roth Presents: A Ghost Ruined My Life) to pocketing the jewellery, opting for the kind of stupid decision that people in a slasher flick love. Yes, it'll come back to taunt him. So awakens Johnny from the earth. So stirs his ire as well. But how the audience might anticipate that this plays out from the above description isn't ever how the feature stages it. The focus is rarely on those potentially awaiting a date with the heavens, to the point that their faces aren't the picture's most-common sight. Neither is Johnny's, whether or not it's under a smoke helmet. Nature isn't merely a location, but the expanse that fills cinematographer Pierce Derks' (Frankie Freako) frames — sometimes in close shots, sometimes sprawling. As Johnny sets off, there's not a shred of doubt lingering that he'll indulge his violent urges — the reasons for which get a backstory layered in, details that are knowingly by the book — via a relentless frenzy. Nash and Derks aren't in a hurry, largely lurking behind their killer with patience as he turns the wilderness into his hunting ground. He walks. He slays. Sometimes the results are splattered across the screen with slaughterhouse-esque gore and guts. Sometimes a savvy cut by editor Alex Jacobs (V/H/S/85) conveys what has happened instead of getting blatant and bloody. The camera remains static more than it roves, and peers on from long-held wide shots more than it zooms forward. Johnny's temperament is expressed by the pace of his stride, which becomes In a Violent Nature's metronome of unease. Masked characters, not the actors who play them, tend to carve their place in common pop-culture knowledge out of horror movies. Michael Myers is the household name, for instance, as much as Nick Castle (Halloween Ends) should be. Barrett deserves the same recognition, making Johnny a petrifying presence even when so frequently spied from a few footsteps back. That said, he isn't carrying the film alone on-screen. The travellers that meet the figure's hooks and other weaponry start out disposable, but leave an impression the longer that they survive, Andrea Pavlovic (Our Mother's Secret Affair) especially. That'll ring familiar, too; to take the risks that Nash does, and to test if a slasher flick can work the way he wants it to — and it can — he leans into the template everywhere else possible. It was a Sundance sensation to kick off 2024, proved a box-office hit in America for independent studio IFC Films and now has a sequel in the works, but a movie like this, with the output of director Terrence Malick (A Hidden Life) as much of a touchstone as the Friday the 13th and The Texas Chain Saw Massacre franchises, is a gamble. Both of the latter two horror sagas earn clear nods, yet there's no mistaking In a Violent Nature's lyrical skew thanks to its ever-present greenery and naturalistic soundtrack. Combine the two and scares still spring, laced with dread that gushes like a limb lopped off by a log splitter. While it's frightening to ponder that ghastly turns of fate can and do occur randomly, as regular slashers capitalise upon, it's bone-chilling to confront that truth when it's presented as an inherent, innate, matter-of-fact certainty of existence. In a violent nature indeed.
This September sees one historic Sydney hotel transformed into a multi-faceted gallery space, when it plays host to the next edition of contemporary art fair, Spring 1883. From Wednesday, September 11, to Saturday, September 14, 26 acclaimed art galleries from across Australia, New Zealand and the USA will descend on the Establishment Hotel to deliver an intimate art experience. Far from your average art fair, Spring 1883 will showcase an array of surprising installations and shows, incorporated throughout the hotel's rooms, penthouse suites and even its gymnasium. As you wander the site, you'll stumble upon a curation of various works from the likes of Sydney's Cement Fondu, Melbourne's John Street Studios, {Suite} and Mercy Pictures out of New Zealand and New York-based Dutton gallery. Brisbane's The Renshaws will make its Spring 1883 debut with a solo exhibition by Michael Georgetti, while Sydney's own artist-run space Fires will curate the Project Room: a group show by five Aussie artists taking over the Establishment's gym. Spring 1883 runs from Thursday and Saturday midday–7pm, and Friday midday–8pm. Image two: Fires, 'The Sundowner' (2019). Photo by Uri Auerbach
2018 is nearly upon us, so it's time for a revamp. Freshen up your aesthetic for the new year with bedding, kitchen and bathroom textiles from IN BED. The online store is hosting a Christmas pop-up from December 14 to 24, so you'll have ten whole days to snatch up some goods and manifest your dream life through décor. Homewares from Tara Burke, Anglepoise, Wingnut + Co and more will be available. If you fancy a drink, be it alcohol or coffee, IN BED will also be hosting a series of events during the pop up — including Christmas drinks on December 14 from 4pm to get thing started, and complimentary coffee on December 16, with gingerbread treats. The pop-up runs 10am to 4pm daily and will stay open until 7pm on Thursday, giving you plenty of time to pick up some linens and homeware for Christmas
ARIA-winning artist and bighearted Sydney legend Sarah Blasko will play an intimate gig at Giant Dwarf in Redfern on World Refugee Day, Friday 20 June. With all ticket sales going straight to the Refugee Council of Australia, Blasko's fundraiser is a direct response to the federal government's funding cuts to the RCOA, announced as an addition to the recent budget. After the release of her stunning fourth album I Awake to critical high-fivery in 2012, Blasko is breaking out of creative hibernation to play for a cause. "I'm emerging from what I'll affectionately call my 'fifth album writing cave' to play this special show at Giant Dwarf (the latest venture from the Chaser team) during Refugee Week. I'm an ambassador this year and The Refugee Council need financial support now more than ever to continue their positive work within refugee communities in Australia," said Blasko. "They are also an important force in lifting the veil on our country's treatment of asylum seekers. So, come watch me sing for the night and you'll be supporting them. I promise at least one new song and special guests." After a whopping 33 years of operating, the RCOA found more than half a million dollars of funding cut from their budget — after Immigration Minister Scott Morrison found his portfolio was funding the organisation. "It seems extraordinary that our organisation — which has been doing this work through thick and thin for 33 years — has been singled out for this treatment," Paul Power, chief executive of the RCOA told ABC radio. "This in many ways illustrates the state of the relationship between the non-government sector — particularly organisations working on asylum issues — and the government at the moment." This isn't the first time Blasko has used her fame for a good cause. Last year, the multi ARIA-winning artist teamed up with eBay to open a temporary online store in support of charity organisation Bowel Cancer Australia (after losing her mother to bowel cancer 14 years ago). All proceeds from her personally donated auctioned clothing, books, homewares, vinyl and bric-a-brac went directly to the organisation. Blasko will be joined onstage with some special yet-to-be-announced guests, alongside her solid session buddies. Tickets are available from Giant Dwarf's website. https://youtube.com/watch?v=IyzF4dRpqow
If you're looking to escape the heat this summer, you'll find plenty of relief waiting down a hidden staircase beneath boutique CBD hotel QT Sydney. On offer: compelling flicks, bespoke Four Pillars cocktails and sweet, sweet air-con, all at the new QT Cinema Club. Officially launching today, Tuesday, December 1, the site's subterranean 30s-era theatrette and accompanying speakeasy bar has been transformed into one of the coolest movie-watching destinations in town. And it's available for private bookings, hosting up to 28 people per session. Film-wise, QT Cinema Club will screen a broad-ranging program of classics, action films, romance flicks and horror, curated by Four Pillars own avid film buff and co-founder Matt Jones. There's a big retro vibe to the catalogue — and you can pick between enjoyable throwbacks such as Dirty Dancing and Lost in Translation, romance flicks like Before Sunrise and Strictly Ballroom, and the sci-fi joys of Blade Runner and Back to the Future. Among the 50-movie lineup, there's also action fare such as Mad Max and Reservoir Dogs, and horror films like The Shining and The Cabin in the Woods. To enjoy alongside your chosen flick, you'll find a lineup of specially crafted cocktails made with different varieties of Four Pillars gin, with each carefully matched to a specific movie genre. There are sips like The Last Action Cocktail, which is designed to celebrate the high-energy adventure flicks; Couple Seating, as inspired by romance; and Planet of the Grapes, as made with the distillery's famed Bloody Shiraz Gin. Of course, you can rest assured that these are some very high-end movie beverages, given that last month Four Pillars took out the title of World's Best Gin Producer for the second year running. QT Cinema Club guests have a choice of two plush cinematic packages, starting with the $79 per person 'Debut' option, which includes bottomless gin-salted popcorn, one Four Pillars cocktail, a movie screening and $25 QT Sydney room credit. More drinks and snacks are available to purchase once you're there, too. Alternatively, you can opt for the $149 per person 'Blockbuster' package, which will get you the same set-up — but with all five different Four Pillars cocktails — in addition to curated snacks from the hotel's Parlour Cucina and a Parlour Lane choc top. Find QT Cinema Club beneath QT Sydney, at 49 Market Street, Sydney. To book, visit the hotel's website.
Insta-worthy eats and drinks are one thing, but a world-class food scene isn't built on the edible stuff alone. There's also a stack of gorgeous design work behind the most memorable hospitality venues and it's this very aspect that's celebrated at the annual Eat Drink Design Awards. As Australia and New Zealand's only hospitality design awards program, the Eat Drink Design Awards recognise hospo design gems across both countries, from restaurants, bars, and cafes, through to temporary spaces. While the 2017 award winners won't be chosen by the jury until November, the shortlist was revealed today and, as expected, it's packed full of all those cafes, bars, and restaurants your inner style nerd has been drooling over this past year or so. Local nominees for Best Bar Design include ACME&Co's Merivale project Charlie Parker's, George Livissianis' work on The Dolphin Hotel and SJB + TRD for The Buena. The CBD's Edition Roasters is among the projects shortlisted for Best Cafe Design, while the likes of Fred's, 12-Micron, Cairo Takeaway, Mode at the Four Seasons, Jade Temple and Long Chim are being considered for the Best Restaurant Design gong. Other categories being selected include Best Installation Design, Best Identity Design, and Best Retail Design. The winners will be announced on Tuesday, November 14 in Melbourne. For the full list of nominees, visit their website. Jump over to The Eat Drink Design Awards website to see the full lineup of nominees.
Boasting an outrageously talented cast of young actors, including River Phoenix, Jerry O’Connell, Wil Wheaton, Corey Feldman, Kiefer Sutherland and John Cusack, few films have captured the magic or intransigence of youth better than Rob Reiner’s nostalgic coming-of-age drama Stand By Me. Adapted from Stephen King’s autobiographical novella The Body, Stand By Me takes place in the summer of 1959 in a small, out of the way town in Oregon. With a full weekend at their disposal, four young boys embark on an adventure through the back roads of their community in search of a dead body rumoured to be hidden in the nearby swamp. It’s a sort of ‘road movie on foot’, complete with significant rites of passage, ridiculous childhood hijinks and, occasionally, some deeply tender moments. Richard Dreyfuss features as the film’s narrator, reminiscing from the perspective of one of the boys now in his middle age. “I never had any friends later on like the ones I had when I was 12,” he observes at one point. “Jesus, does anyone?” – and therein lies the heart of Stand By Me. Each of the four boys carries with him the shame of some social stigma, be it abusive parents, physical deformity or simple obesity, yet as a group they’re confident and unassailable, loved unconditionally by each other in a way not found back home or by the township. Filmed almost thirty years ago, Stand By Me remains a poignant, moving and uplifting testimony to the capacity for friendship and the joy of childhood adventure. The team behind the much-anticipated event Downtown Drive-In has announced Carriageworks in Sydney’s Eveleigh, just three kilometres from the Sydney CBD, as the location for its three-night season, which will run from November 29 to December 1, 2012. A seldom-used section of the 120-year-old heritage listed building will form the perfect backdrop for the Back Roads USA season of films. The films to be screened include On The Road, Planes, Trains and Automobiles, Raising Arizona, Stand By Me and Vanishing Point. Downtown Drive-In will also feature a custom menu with individual items designed by The Dip, Sydney’s favourite American-style diner, playfully paying tribute to the films and shared Americana settings and atmosphere. Major sponsor Audi will supply a range of luxury cars for the ultimate drive-in experience. The cars will also feature razor-sharp sound from audio partner Bang & Olufsen. Entry into Downtown Drive-In will cost $50 for vehicles of up to four people. Walk-in deck chair seating is also available near the screen, at $25 per person. For more information on the film schedule, drive-in experience and participating partners, visit www.downtowndrive.in
Just when you thought you were all Harvest sideshow-ed out, along comes Beck and announces his only Australian gig outside of his frenetically anticipated headline one. The exceptionally talented and artistically scrupulous musician will play the Sydney State Theatre on Wednesday, 14 November. It will be the closest thing you will get to a sonic run-down of his almost 20-year career, and even though cramming two decades of musical innovation into one show is almost as unrealistic as attempting to write about it, it will be worth every cent of however much tickets end up being when they're released next Friday. Since releasing catchy, off-kilter anthem "Loser" back in 1994 Beck has proved his mastery of music via eight studio albums and many more boundary-pushing collaborative projects. His latest release is so good it's actually inaudible to human ears. What you probably can hear, however, is the sound of your bank account groaning under a heavy but very good-sounding weight. That you should ignore. https://youtube.com/watch?v=VkCg-3nxT8E
Before Batman squared off against Superman and the Avengers started fighting amongst themselves, another group of not-so-average folks brought their battles to the big screen. Since 2000, the X-Men franchise has charted the many clashes and intermittent truces of Professor Charles Xavier, his friend-turned-nemesis Magneto, and their respective groups of disagreeing mutants. Sixteen years later, they've graced nine films, including the original trilogy, two Wolverine spin-offs, two other excursions into the characters' backstories and this year's smash hit Deadpool. With such a sizeable history, of course their latest conflict seems familiar. But it also feels every inch its own. Indeed, there has always been a specific vibe to the X-Men movies: outcast-oriented dramas mixed with bombastic action, while always retaining a distinctive emotional core. Director Bryan Singer is at the helm of his fourth instalment, while writer Simon Kinberg is back for script number three. It should therefore come as no surprise that the '80s-set X-Men: Apocalypse once again charts outsiders looking to find their place in a makeshift mutant family. Ten years after the main events of X-Men: Days of Future Past, Professor X (James McAvoy) yet again locks horns with Magneto (Michael Fassbender), with the recently unearthed Apocalypse (Oscar Isaac) — an ancient, god-like being considered the first-ever mutant — the cause of their latest conflict. The former is intent on stopping the new threat, re-teaming with CIA agent Moira Mactaggert (Rose Byrne) and later shape-shifting mutant Mystique (Jennifer Lawrence). The latter, in the wake of his own personal tragedy, once again embraces his destructive streak and sides with the fresh force of global devastation. With teenage incarnations of Nightcrawler (Kodi Smit-McPhee), Jean Grey (Sophie Turner) and Cyclops (Tye Sheridan) also featured, X-Men: Apocalypse doesn't lack in subplots, characters or attempts to set up future sequels. Nor does it miss any opportunity to thrust a CGI-heavy fray to the fore, or to sprinkle in a few much-needed doses of humour – particularly when returning favourite Quicksilver (Evan Peters) is involved. Instead, the one thing absent is the added element the film so obviously strives for: a heightened sense of grandeur. Conveying the personal stakes motivating the main players may not be an easy feat in such a busy effort, yet it's something the movie achieves in a touching manner. Dialling up the gravity of the entire situation proves far less simple or successful. Sadly, the titular villain is the main culprit weighing the feature down. If X-Men: Apocalypse shines whenever the usual suspects share screen time, it lags when the newfound enemy starts making big speeches. In stark contrast to the actor's typical output, poor Oscar Isaac is barely allowed to make a mark, with his makeup and digitally altered voice sapping his natural charisma. Thankfully McAvoy and Fassbender continue their stellar form across their trio of prequel films, while Peters once again threatens to steal the show. When you're watching them, you're in vintage X-Men territory, even if the movie desperately wants to be something more.
The history of cinema is haunted by oh-so-many movies about oh-so-many ghost-riddled abodes, and the often-troubled and bereaved folks dwelling within them. The first clever move The Night House makes is recognising it's floating into busy spectral waters, then ensuring its tension stems from its living, breathing protagonist as much as the frights and fears she's forced to face. The film's second stellar step: casting Rebecca Hall (Godzilla vs Kong) as that central figure. An always-welcome addition to anything she's in — see also: Professor Marston and the Wonder Women, Christine and Tales From the Loop in just the past few years — she plays her tormented part here with brooding sorrow, reluctant vulnerability and a sharp, smart edge. She knows that grappling with loss involves being jolted in many different directions, and being subjected to bumps and jumps of the emotional kind, and that it's never easy to surrender to. Indeed, many of The Night House's surprises come from Hall as Beth, a schoolteacher whose life has been turned upside down by her husband Owen's (Evan Jonigkeit, The Empty Man) unexpected suicide. Clearly normally a no-nonsense type whether she's guiding pupils, dealing with their parents or navigating her personal life, she probes and questions everything that comes her way. As a result, her reactions — including just to herself — are constantly complex, thorny and compelling. Since Owen's passing — using a gun she didn't know he had, and tainting a rowboat usually tethered to the lake house he built for them himself — Beth has cycled through the familiar stages of mourning. When she returns to work to her colleagues' astonishment, including her close friend Claire's (Sarah Goldberg, Barry), she's blunt with the oblivious mother of one of her students. At drinks, she also shocks her co-workers by discussing Owen's suicide note, admitting her home now seems different and obsessing over how much she really knew her husband. That last written missive ties back into one of Beth's past traumas, and her own dealings with the end that awaits us all. When she's alone at night, she's not sure that she can trust what she sees and hears, or tell whether she's awake or dreaming. Filling her time by sorting through Owen's things, she's also unsure what to make of the eerie sketches and books about the occult that sit among his possessions. And, she's thrown even further askew when she finds photos of brunette women that could be her doppelgängers; plans for a home just like hers, but mirrored; and a cascade of tidbits that cast her memories of her marriage into disarray. Also among The Night House's savvy moves: understanding that grief really does change everything. Not only has Beth's life lost one of its brightest lights, but everything Owen once illuminated now keeps being cloaked in shadows he's not there to extinguish. She can't ask him about what she's uncovering, or feeling, or what it's digging up inside. She can't rely upon him, either, or keep trusting what she thought she'd already learned about him during their marriage. And, as being touched by death tends to evoke, she's spiralling down an a well of existential malaise. All ghost and haunted house movies are about confronting mortality, as are a long list of horror staples — zombies, vampires, serial killers, monsters and the like — and The Night House has a strong sense of terror about the the fact that life doesn't extended forever. Director David Bruckner (The Ritual) and screenwriting duo Ben Collins and Luke Piotrowski (Super Dark Times) infuse their film with foreboding, with Beth's demons, and also with a heightened state of anxiety. Cultivating an unsettling atmosphere via creepy sights, just as unnerving sounds and music cues, and Hall's showcase performance, they fill 108 minutes with the unease that lingers in us all, but that we spend the majority of our days burying deep inside. That horror craftsmanship — the bristling, needling score by Ben Lovett (The Wolf of Snow Hollow); the exactingly timed sonic assaults that litter the sound design; the sinuous and disorienting cinematography by Elisha Christian (Max Richter's Sleep) — is expertly calibrated. The Night House is a movie made with horror style as well as smarts, and it's meticulously engineered to coax the desired response out of its audience. Looking for what's not there, and also what loiters when in spaces defined by their emptiness, is one of the movie's visual charms. Bruckner enjoys teasing, too, knowing that viewers will always want more time studying Hall's face and winding through Beth's labyrinthine home, and yet never falling too in love with one or the other. And, while there's never any guessing who the camera and the film adore, he populates The Night House with well-weighted portrayals all over. There are no cartoonish bit-parts and supporting performances, with Vondie Curtis-Hall (Harriet) bringing concern and sincerity as Beth's neighbour, Stacy Martin (Vox Lux) giving a source of mystery flesh and blood, and Goldberg as nuanced as Barry fans will recognise. So many of his choices are nicely judged; however, when it comes to The Night House's plot twists, Bruckner is less careful about becoming prey to indulgence. Even though they're grounded in relatable, palpable sentiments, stirrings and musings, some of the movie's developments feel muddled, and also threaten to undercut the fine-tuned work going on elsewhere. Some of the repeated nightmarish symbols get splashed across the screen one or two too many times as well, although a love of all things hellishness is next leading Bruckner, Collins and Piotrowski to remaking Hellraiser. Here, when The Night House ruminates over psychological, existential and atmospheric horrors, it's as gripping as Hall always is. When it's less focused on being haunted by absence, and by death, it's a sillier, less shrewd and involving movie. While set in a house by a lake, it never stoops to Keanu Reeves and Sandra Bullock sending each other love letters, thankfully — but it also steps back from being as bleak at the last minute as it needed to be.
In a brief, early sequence, Dead Men Tell No Tales appears to achieve something quite remarkable. Immersing Captain Jack (Johnny Depp) in a bank heist, it feels like the filmmakers have cottoned onto something that helmers of previous Pirates sequels never managed to grasp: a little bit of Sparrow goes an awfully long way. Yes, even here, the rum-swilling pirate remains as ridiculous as ever. But as his crew drags a safe through the streets while he tries to evade capture, you at least get the feeling that his latest adventure will be about more than just him. Sadly, it doesn't last. The truth is, time has not been kind to Depp since the first Pirates of the Caribbean hit back in 2003 and earned him an Oscar nomination. Or, to be more accurate, Depp has not been kind to Depp. Audiences have been accosted by his Sparrow shenanigans not only in Dead Man's Chest, At World's End and On Stranger Tides, but in almost everything else he's made in between. From Alice in Wonderland to The Lone Ranger to the nigh unwatchable Mortdecai, Depp's penchant for outlandish overacting has kept him firmly in the same mode. If it was beginning to grate a decade ago, it's positively painful now. Point is, make sure to enjoy this movie's early moments while they last. While the fifth film in the franchise ostensibly endeavours to switch its gaze to the next generation, the fact remains that an overabundance of Sparrow threatens to sink the whole ship. The wobbling seafarer finds himself in demand, with young upstart Henry Turner (Brenton Thwaites) and mysterious astronomer Carina Smyth (Kaya Scodelario) both requiring his help in their hunt for Poseidon's trident. Meanwhile, ghostly pirate hunter Salazar (Javier Bardem) is also on Sparrow's trail, hungry for revenge. Captain Barbossa (Geoffrey Rush) pops up, as do a few family ties, although the plot isn't really the main focus of this dip back into choppy waters. Just as amusement park attractions are more about thrills and theme than narrative, so too is Dead Men Tell No Tales. Taking the helm after impressing with the ocean-faring Kon-Tiki, directors Joachim Rønning and Espen Sandberg soon lose control of their vessel, serving up bland nautical action alongside their predictably unbearable protagonist. Given that this franchise has been surfing a downwards trajectory from the outset, we shouldn't really be surprised by the failure of this latest outing. An initial burst of energy, a couple of new faces and Bardem reliably playing the villain are all promising signs, but they're not enough to turn sea trash into treasure. Hold onto your hats though, me hearties, as it seems the franchise won't be walking the plank just yet. Like plenty of other big-budget sequels of late, Dead Men Tell No Tales appears as though it's just treading water for another installment. Next time, maybe follow Sparrow's lead and load up on rum. https://www.youtube.com/watch?v=8dhAxBe3uqk
Russia’s nomination to the 2014 Foreign Language Oscar race is every bit as slow and imposing as its title would suggest. Ostensibly named for the enormous blue whales whose bones scatter the shoreline of the small coastal town of Pribrezhny, the name Leviathan more readily refers to the unfeeling, unyielding behemoth of the Russian bureaucracy that devours everything in its path. Acclaimed director Andrey Zvyagintsev does a masterful job capturing the misery of life under such a corrupt and broken system. Of course, whether that’s something you actually want to watch is a different question entirely. Don’t get us wrong: there’s plenty to appreciate about Zvyagintsev’s latest feature. Chief among them would be the raw, brutish performance of Aleksey Serebryakov. A mainstay of the Russian screen industry, Serebryakov plays Kolya, a quick-tempered auto mechanic who runs afoul of Pribrezhny’s mayor (played by Roman Madyanov), who wants to seize the valuable headland currently occupied by Kolya’s house. In order to fight back, Kolya calls on Dimitriy (Vladimir Vdovichenkov), a friend from his days in the army and now a high-powered lawyer in Moscow. Through Kolya’s struggle, Zvyagintsev presents viewers with a scathing critique of contemporary Russian society — a grim, vodka-soaked landscape of dodgy politicians with little concern for the citizens who put them in office. It’s compelling for a time, in a depressing sort of way, watching the poor, emasculated Kolya gain inches only to be set back miles. Those hoping that the prevalence of religious imagery might signal a David and Goliath ending are likely to leave the cinema disappointed. The hopelessness of Kolya's situation is reflected in the work of cinematographer Mikhail Krichman, who favours wide lenses, static camera work and a colour palette overpowered by greys. Unfortunately, as Leviathan plods past the two hour mark, you too may begin to feel overpowered. For all his insight, Zvyagintsev isn’t trading in a particularly nuanced brand of bleakness, his message driven home with all the dull, repetitive pounding of a sledgehammer, or waves crashing endlessly on the shore. Leviathan is arduous by design. But that’s little conciliation when you’re struggling to sit through it.
Any good 'twist movie' carries with it two inescapable truths: joy to behold, bitch to review. The best to which a critic can aspire is circumspection bordering on indifference, tempered like a card shark sitting on an unbeatable hand. That task becomes even more formidable when the twist itself provides the basis for the entire plot. In those cases, as it is with Steven Soderbergh's latest (and supposedly last) film Side Effects, even just stating what the film's about in the broadest possible terms discloses more than can ever be justified. Ultimately, there's little more that can be said beyond "This film is great and you really ought to see it." And yet, sufficient as that review might be, in this instance Side Effects' name and tagline — "One pill can change your life" — helpfully offer at least a permissible insight into the movie's umbrella theme: prescription drugs. Its main character Emily (Rooney Mara) flits back and forth from one antidepressant to the next like they were competing brands of cereal, forever in search of that consequence-free panacea to her daily "poisonous fog bank rolling in". Her well-intentioned psychiatrist (Jude Law) dutifully doles out each prescription, just as eager to cure her melancholy yet also candidly advocating certain medications over others in exchange for those companies' generous consultancy fees. However, just as Side Effects appears to be establishing itself as the fictionalised version of similarly themed documentaries like Generation RX and Prescription for Disaster, it takes such a sudden and monumental shift that the audience audibly gasped in our screening. From that moment on, Soderbergh (who also filmed and edited the movie under pseudonyms) has you questioning and requestioning everything you see and hear, grasping for clarity, and staving off paranoia like the very characters before you. If indeed this is to be his swan song, then we can take solace in knowing he's left us with another gripping, intelligent, and complex psychological thriller befitting both his status as an auteur and his extraordinary back catalogue of films.
The natural wine scene is no stranger to a great party, although those festivities were in pretty short supply last year. But this winter, it's all kicking off again with a bang, as new natural wine shindig Huge Moves takes over the legendary Icebergs Dining Room and Bar. Join in the fun on Monday, June 14 — which is a public holiday — as Joel Amos (Drnks) and renowned sommelier James Hird (co-founder of Rootstock) host this huge tasting party dedicated to celebrating top-notch natural vino from around Australia and beyond. Across two sessions (11am–2pm and 3.30–6.30pm), attendees will have the chance to sample an expansive curation of wine from the likes of Little Reddie, Giorgio De Maria and Momento Mori, all while chatting to some of the industry's leading producers, growers and importers. Then, over in the Icebergs Bar, the fun continues into the night — with DJs and plenty more opportunities to mingle with the experts. There'll be plenty of snacks available from the Icebergs kitchen, which you can match to drops from the day's exclusive wine rotation, starring top festival picks. And if you really fall in love with something, you'll find a pop-up bottle shop from Drnks slinging a range of bottles to go. Tickets cost $65.
Surry Hills restaurant Nomad has just as much street cred for its wine as it does for its next-level Middle Eastern cuisine. As well as having an extensive wine list and an in-house cellar door, the restaurant also has a monthly wine delivery service. And now its adding another notch to its vinous belt, launching its very own wine school. Kicking off on Saturday, July 21, the restaurant will run a series of monthly classes, diving deep into all things wine, hosted upstairs at neighbouring China Heights Gallery. Sessions, which will run for 5.5 hours one Saturday a month, will be capped at 20 students and led by Nomad's Director of Wine Simon Howland. They'll cover everything from wine tasting 101 to an exploration of how climate and geography can impact the final product, with a focus on Australian wines. The classes will also involve some actual wine tasting (naturally) with participants getting to sample around 12 wines throughout each class. And, there'll be food — a seasonal lunch and an afternoon cheese feast will both be provided courtesy of the Nomad kitchen. Those wanting to take a slightly smaller bite out of Howland's wine knowledge can opt instead for one of the monthly weeknight masterclasses, which'll clock in at a tidy 90 minutes. Each of these relaxed sessions will hone in on a particular theme — think, What is Natural Wine? and Festive Wines — presented via a guided tasting of six wines, with cheese and charcuterie. Nomad's Saturday Wine School classes cost $250 a session and Weekday Masterclasses are $150 each. To book into a class, email simon@nomadwine.com.au. NOMAD WINE SCHOOL SCHEDULE SATURDAY WINE SCHOOL Saturday, July 21 Saturday, August 18 Saturday, September 1 Saturday, October 6 Saturday, November 3 WEEKDAY EVENING MASTERCLASSES Tuesday, July 24: Nomad Winter Wines Tuesday, August 14: What is Natural Wine? Monday, September 3: Nomad Spring Selection Tuesday, October 9: Winemaker or Vineyard, Who Really Makes the Wine? Tuesday, November 26: Nomad Festive Wines
Jaan Tallinn, founding programmer of Kazaa and engineer of Skype, knows technology well. It's because of this that Tallinn knows exactly how rapidly it's expanding. Soon, technology won't just be tablets and smartphones and little luxuries for consumers; Tallinn argues that this explosive growth in technology has replaced human evolution in the way that it will shape our world — the intelligence stairway. At some point, technological developments will be self-sustaining — that is, that they will no longer require the input of humanity — and this can lead to a Skynet-esque situation. There are two solutions to this. The first is not really a solution; it's more clinging to the hope that the self-spawning robots will follow Asimov's Three Laws of Robotics. The second is much more practical, and involves a mass coordination of technological development to limit the growth of artificial intelligence to prevent this. Think about it: this is a real threat. It's a little bit cool, but mostly frightening.
Several of Sydney's villages are getting on the Good Food Month bandwagon with their own events, from Paddo's William Street Festival to Newtown's Good Food Fair. The good folks of Potts Point are inviting you to join them for a small bar hop. You'll spend the evening roaming from one bar to another, sampling signature cocktails, fine wines and craft beers, matched with tasting plates. The first hop is sold out already, but tix are still going for the second. Your adventure will include stops at Jangling Jacks, where the drinks are named after legendary locals, speakeasy-inspired Parson's in leafy Kellett Street and and Waterman's Lobster Co. where the lobster rolls are named according to US states. Tickets cost $95 and include a drink and a snack at each of the three venues.
Throw on the best gown your local op shop has in stock, because Heaps Gay and Vivid Sydney are throwing a fancy schmancy party. Taking over Sydney Town Hall on the Queen's Birthday long weekend, the inaugural Heaps Gay Qweens Ball has been billed by its organisers as "the experience of a lifetime". There'll be music by the likes of Electric Fields, Yo Mafia, Handsome and Imbi the Girl, as well as art, burlesque, drag shows, an homage to the Sydney leather scene and a whole lot more. Oh, and did we mention the whole thing is sponsored by Young Henrys and 42 Below? Needless to say, there'll be libations aplenty, as the party kicks on well into the night.
Swords, sandals, speeches and spectacle: in a Ridley Scott-directed epic, all are to be expected. It comes as no surprise that Exodus: Gods and Kings has each in abundance. Men fight, moral dialogue dominates, and 3D computer-generated imagery delivers everything from palaces and now-fallen monuments to parted seas and giant waves. What might come as a surprise is that Scott’s latest round of swinging steel fares better than it perhaps should. The veteran helmer’s vision of the tale from the Old Testament Book of Exodus falls between his lauded Gladiator and less applauded Kingdom of Heaven. Repetition reigns in an over-extended, blood-soaked effort, but so does a strong sense of character and contemplation. For those unfamiliar with biblical narratives, the story of Moses swaps between sides in one of the greatest tussles in Judaism. In Egypt circa 1300 BC, a punishing regime saw the empire’s 400,000 Hebrew inhabitants worked to death as slaves — a system that had been in place for over 400 years. Moses (Christian Bale) grew up alongside Pharaoh-in-waiting Rhamses (Joel Edgerton), unaware of his true heritage. Upon discovering he belongs to the people his friend so willingly exploits, he is exiled, but remains unwavering in his quest for change. So far, so standard — at least where film depictions of the oft-covered pseudo-sibling-rivalry circumstances are involved. Indeed, standard is an apt description for a feature that goes through the motions in relaying its well-documented plot points. Moses and Rhamses argue. God sets Moses on a mission. Plagues — a river of blood, frogs, locusts and more — try to convince Rhamses of the right decision. Bale’s involvement, as culturally questionable as his and other casting may be, provides a stirring central performance and a strong protagonist. In channelling the conflict at the heart of the story, he broodingly expresses the impact of Moses’s many battles — with himself, his origins, his identity, and the notion of faith. In an effort that muses at length about these issues, he offers an eloquent manifestation of the inherent struggle. The film suffers whenever he isn’t on screen, though such instances are rare. Elsewhere, the rest of the cast doesn’t fare as well, more as a result of a script tinkered with by four writers than anything else. With eyeliner aplenty, Edgerton simmers with corruption and confusion, and Ben Mendelsohn hams it up (in an unlikely Animal Kingdom reunion). Ben Kingsley is quiet but convincing as a symbol of the oppressed, but many other big names — Aaron Paul and Sigourney Weaver, most notably — are given little to do. The less said about the squandering of talented actresses such as Golshifteh Farahani and Hiam Abbass, the better. Thankfully, among the clumsiness and the bulging roster of familiar faces, Exodus: Gods and Kings finds the midway point between the overblown and unnecessary, and the interesting and epic. Come for the biblical action, stay for the powerful lead performance, and witness an average but still engaging take on a famous tale.
Much has been written about Sydney's newest ARI, Alaska Projects. Having only been around for four months (and already nominated for a SMAC Award, which must have happened within the first week of the Alaska launch date) it seems that Sydney loves to feel like it is oh-so-underground. You know, an artspace in a carpark — so effing cool. And with 400 people along to Samuel Hodge's opening last week it looks as though the people speak volumes. But then again, anywhere where you can drink and smoke and look at art and be in a carpark sounds pretty good to me. We all want to feel like we live in New York sometimes. I may sound a little cynical and to tell you the truth, prior to visiting Alaska Projects I was. ARIs come and go but Alaska has just a touch of magic in the form of director, Sebastian Goldspink. As MCA VSO alumni (you may also remember him from here) he really has the gift of the gab and unlike most jaunts to art galleries in this city (ARI or otherwise) a visit to Alaska is met with the warm, extended hand of Seb, "Hi. Have you been to Alaska before? Do you know Sam's work? Let me talk you through the show." Which is suitably refreshing. And welcoming. And inclusive. And not at all the usual blank stare of nonchalance that you would expect from a gallery director running a space in a carpark in Kings Cross. Anyway, if you venture down to Alaska over the next week you will find the sprawling archive of Samuel Hodge’s Euro-hued post-Vice photographs. As a commercial photographer who also sees himself as a visual artist many of the photographs are outtakes from fashion shoots and other banal made moody everyday moments. A couple are particularly striking, the rest didn’t change my life, but might change yours. Either way, I would well recommend searching out Alaska on a Sunday afternoon when the Level Two car park doubles as the backpacker car market. Expect to exit the lift and be faced with some sort of Buffy vampire lair — backpackers nestled at plastic tables, munching on rice crackers, practicing their sideways glances of 150, 000 kms. 2 bedder conversion. New tyres. 3 months rego. Gold, Charlie, gold. Samuel Hodge runs until Sunday 22 January. Alaska Projects is open Thurs-Fri 6-8pm and Sat-Sun 1-6pm.
Behind the mysterious billowing silk that marks Spice Temple's iconic entrance is a shrine to the chilli to which every lover of the sweet burn must make pilgrimage, and there's never been a better time to do so than Wednesday, May 28. Masters of the chilli Neil Perry and Andy Evans are presenting a one-night-only Some Like It Hot dinner, showcasing the fiery fruit in dried, fresh, salted, pickled and fermented forms in a menu that's set to sizzle. From crispy chicken laced with heaven-facing chillis to red braised pork belly with dried chillis and quail eggs to whole fried chillis with lap yuk and Sichuan black beans, one thing's for sure: this dinner is not for the faint of heart. Since even the most seasoned aficionados will feel the fever-pitch heat, there's a carefully matched boutique beer flight and a flavoursome green apple granita to cool you right back down. For bookings or further details contact Donna Tsakonakas at Spice Temple Sydney on (02) 8078 1888 or visit rockpool.com.
We might be in our last month of summer, but that doesn't mean the good times need to end any time soon. So, to help you round out the sunny season with a bang, fun Aussie clothing brand Barney Cools has teamed up with local hospitality group The Sydney Collective to bring you four epic Sunday sessions. First up, Watsons Bay Boutique Hotel will be throwing down an afternoon of tunes this Sunday, from 4–8pm, with local legend POOLCLVB as a special guest behind the decks. Tickets will cost you a cool $49, but you get a Red Bull cocktail on arrival, plus fish and chips and a pizette to line the stomach. And, of course, that covers the tunes and stunning water views, too. There'll also be a bunch of Barney Cools giveaways going around, so you could also land yourself some new threads. Snap up tickets here. Then, on February 14, head to Manly's Daniel San with your date or mate for an untraditional — and less stuffy — Valentine's Day. The lineup will see Barney Cools' disk-spinners playing some hot tracks from 3–7pm. Tickets to this Sunday soiree cost $45 and include a selection of sushi rolls, plus a tropical, Red Bull-infused cocktail. You can nab tickets here. Following that, there'll be more DJs playing at south Sydney institution Northies from 3–7pm on February 21. These tix start at a reasonable $10, which, yes, also includes a Red Bull cocktail. And again you can expect some giveaways and epic ocean views. Head here for tickets. Then, finishing up the series from 3–7pm on the last day of the month, will be a session at Mona Vale's Park House. Held in the Truck Stop, the event will see more chair-dancing, more Red Bull cocktails on arrival and more Barney Cools giveaways. Tickets are sold in tables of four ($156), six ($234) and 12 ($468), so round up the crew to farewell summer with an arvo of cold ones and killer tunes. Get your tickets here. Barney Cools Endless Summer Series runs every Sunday in February.
Usually when you head to a food truck gathering, only the folks doing the cooking stay inside their vehicles. But nothing is all that usual at the moment, so the Bella Vista Hotel has launched a Food Truck Drive-Thru — where attendees head along and pick up plenty of delicious dishes from meals-on-wheels kitchens, all while remaining inside their cars. Running every Thursday–Sunday evening until Sunday, June 28, this foodie event features ten food vendors, with the likes of Fire and Brimstone BBQ, Burger Head, Pizza-ology and Cluckn Chicken slinging their wares. All you need to do is drive up, add your car to the line and scan a QR code to order. Then, your food will be brought to you, ready for you to take home. Unlike food truck gatherings before the COVID-19 pandemic, you can't hang around at this one — you'll just need to grab your food and head off, with no onsite eating permitted. But, you will be able to collect everything from pizza, burgers and chook pieces to gozleme, cakes and cannoli. There'll also be shake-and-serve cocktails on offer, plus long neck beers. Just remember to bring your card, as all transactions are cashless. The Bella Vista Hotel Food Truck Drive-Thru runs every Thursday–Sunday until Sunday, June 28 — open Thursdays–Saturdays from 5–9pm and Sundays from 5–8pm.
Known as 'The Man Who Shot the Seventies', Mick Rock is the photographer behind some of rock's most iconic images, embodying rock 'n' roll by more than just name. Beginning his career in 1972 as the official photographer of David Bowie, Rock was the man who chronicled the rise and fall of Ziggy Stardust. Throughout the seventies, he continued to photograph some of music's most influential stars, creating album covers for Lou Reed's Transformer, Syd Barret's The Madcap Laughs, Iggy and the Stooges' Raw Power, Queen's Queen II and the Ramones' End of the Century. Rock also shot and produced several music videos, including 'Life on Mars', 'Space Oddity' and 'Jean Genie'. His work captures the spirit and defines some of the most groundbreaking bands in music history. Recently Rock has worked with the Yeah Yeah Yeahs, Johnny Marr, the Chemical Brothers and Kate Moss, and his retrospectives on Glam Rock and the psychedelic-era have been acclaimed worldwide. This month Blender Gallery is presenting Mick Rock - EXPOSED!, a retrospective of Rock's work across the past four decades. https://youtube.com/watch?v=cYMCLz5PQVw
At first, Mike Mills' semi-autobiographical new indie flick, Beginners, seems like just another kooky romantic comedy featuring a lot of bad timing and translation gags. Think Amelie, except with Ewan McGregor in the main role and a gay subtext. But this time the comedy has a bittersweet edge; a recurrent note of sadness which reminds you that no one ever gets an unlimited amount of days, months or years in which to sort out the vagaries of their relationships. As a wise Jack Russell terrier, whose telepathic pronouncements punctuate the storyline, is at pains to point out to Oliver, the protagonist, it is never too late to find a sense of joie de vivre – and to doggedly hang onto it. In 2003, when the film begins, Oliver (Ewan McGregor) is sorting through the possessions of his father Hal (Christopher Plummer), who has just died of cancer. Oliver is a habitually dejected graphic designer with a talent for self-sabotage in relationships; he has a tendency to explain himself through self-consciously twee statements like, "My personality was created by someone else and all I got was this stupid t-shirt." In voiceover, Oliver reveals that after a forty-five year marriage his hitherto 'straight' father had come high-kicking out of the closet and enjoyed a lively liberated five years in the Southern Californian gay scene. Mills grafts a conventional love story onto Oliver's tricky journey of grief and self-realisation when he meets the lovely French actress Anna (Mélanie Laurent), at a costume party. Oliver and Anna embark on a whimsical but wary relationship, complete with tears, laughter, sharp-worded recriminations – and random roller-skating through the rococo halls of a ritzy Los Angeles hotel. Oliver's memories of his father and the perfunctory kisses that peppered his parents passionless marriage, inform his hesitant approach to Anna; through flashbacks, writer-director Mills' explores the effect of the profound social changes of the past fifty years on people's sense of 'right' and 'wrong'. Beginners is visually stunning and the storyline, while sentimental, is seldom sappy. Olivers' self-destructive nature inevitably leads him to spurn Anna when she gets too close, but the idea that you can leave someone without going anywhere is intriguing, intelligent and powerfully realised by the consummate cast. https://youtube.com/watch?v=KplqiAHYnHo
First, they realised that folks liked to strut their stuff on the dance floor in their own way — free from judging eyes, glaring sources of illumination, restrictive outfits and the need to learn specific steps. So it should come as no surprise that No Lights No Lycra have hit the jackpot with their next idea. Now, knowing that there's more to the season of roses and chocolates than the usual romantic gestures, they're throwing an anti-Valentine's Day dance party. Taking over the Paddington Uniting Church Hall from 7.30pm on February 14, Feelin' Myself — The Anti V-Day Party is a space for everyone to come together and show their love through movement. Just what kind of affection you're expressing and celebrating as you listen to a mix of breakup and better-off-alone tunes, well, that's up to you. If you're attached, you can both hit the floor and avoid all of the usual Valentine's Day cliches — sure, you'll have to nab a ticket in advance, but there's no fancy outfits, worrying about a restaurant booking, trying to snag the best picnic spot or the like. If you're solo, you can groove with your gang or bust a move alone, free from the usual romance overload.
In 1981, SBS broadcast Women of the Sun, a historical production in more ways than one. Exploring the lives of four Aboriginal women from the 1820s to the 1980s, it earned acclaim for not just delving into female Indigenous experiences of the past, but for becoming the first television program ever to do so. 35 years later, Winyanboga Yurringa follows in the show's footsteps, this time bringing the female connection to country to the stage — and into the 21st century. Written and directed by playwright and recipient of the 2015 NSW Aboriginal Art Fellowship Andrea James, the performance draws on real-life stories to explore what's known in Aboriginal culture as women's business. Cue contemplations of identity, appearance, belonging, finding partners and tackling prejudice. The play depicts a revelatory camping trip as the six main characters interrogate their links with their homeland, heritage and with each other, as guided by their auntie, sister and cousin Neecy. It's a complex and compelling theatre work starring Kylie Coolwell, Alexis Lane, Angeline Penrith, Tessa Rose, Pamela Young and Matilda Brown. Presented by Carriageworks and Moogahlin Performing Arts. Image: Bindi Cole.
