When you're looking for a change of pace, Queensland's outback reaches might just be the perfect place to take some time out and get into the wild. But where should you start exploring the seemingly endless expanse of red dirt and rolling hills? Located about 800 kilometres west of Brisbane, the charming community of Cunnamulla fits the bill. Boundless opportunities await for you and your travelling buddies to embrace this rural heartbeat of Australia, thanks to its enchanting river systems, soaring sand dunes and historic outback stations. Meanwhile, Cunnamulla also has just enough creature comforts to ensure a relaxing stay. In partnership with Wild Turkey, we've picked out seven ways to experience this fascinating rural region. [caption id="attachment_841312" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] VISIT A TRADITIONAL OUTBACK STATION AND EXPERIENCE LIFE ON THE LAND Whether you're a city slicker or certified survivalist, enjoying life on an outback station is an unforgettable experience. Fortunately, the areas surrounding Cunnamulla are home to a number of historic farmlands that welcome visitors for outdoor adventures and backcountry camping. One such example is Franc Villers Station, which features serene unpowered camping sites alongside a picturesque dam. Here, you're welcome to fish, swim or just relax in the country air. Meanwhile, Nulla Station offers camping along the Warrego River right beside a wildlife reserve, with a network of tributaries and rocky outcrops offering self-guided explorations. [caption id="attachment_841313" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] KAYAK, FISH OR SWIM IN THE MIGHTY WARREGO RIVER The Warrego River gives life to this dusty part of the country, stretching for more than 1000 kilometres and supporting the region's remarkable flora and fauna. Running through central northern New South Wales and southwest Queensland, this alluring intermittent river system is best experienced up close — and Cunnamulla is one of the best spots from which to do just that. Bringing along a kayak or canoe ensures you catch a glimpse of the shifting landscape, which traverses through wide-open plains and dense timber forests. The Warrego is also great for fishing, with freshwater species like silver perch and Murray cod known to inhabit the biodiverse waterways. [caption id="attachment_844554" align="alignnone" width="1920"] Elliott Kramer[/caption] GO SANDBOARDING ON NATURAL RED SANDHILLS Cunnamulla might be 850 kilometres from the nearest beach, but that doesn't mean you can't enjoy some of the country's best sandboarding adventures in the heart of the outback. While the climb to the top of these natural lofty dunes is a little tough, your efforts will be well rewarded with a thrilling ride down the slopes. A selection of local tour companies transport travellers to and from the nearby sand dunes, and also provide all the gear you need to surf these granular waves. Plus, the dunes offer awesome views of the surrounding landscape, ensuring you can fully appreciate the scale of the outback. TEE OFF AT THE CUNNAMULLA GOLF CLUB If you're planning to head to Cunnamulla, you don't have to leave your favourite set of clubs behind. The Cunnamulla Golf Club offers 18 challenging holes that ensure you practice your game overlooking the great outback expanse. However, don't expect the Augusta National when you arrive. This remote golf course is landscaped using dirt fairways and sandy 'greens', meaning you might have to give your swing some extra oomph. Sections of the course are lined with river gums and coolabah trees, so keep an eye out for local wildlife using the course as a thoroughfare from the nearby Warrego River. [caption id="attachment_844043" align="alignnone" width="1920"] Mark Gillow (Flickr)[/caption] TAKE A STROLL AND GO WILDLIFE SPOTTING AT THE CUNNAMULLA BUSHLANDS The Cunnamulla Bushlands are perfect for a relaxed wander that puts you amongst the region's incredible natural beauty. This site is divided into ten ecological sections, with a charming one-kilometre walk that ensures you experience each one. Right at the end, you're rewarded with a peaceful place to sit in the wetlands. Here, striking native animals also run wild. You won't have any problem finding kangaroos with Cunnamulla recognised as having one of the largest populations in Queensland. Plus, the area is also known as a great place to see emus taking a stroll. [caption id="attachment_841311" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] TAKE IN HISTORY AND CULTURE ON THE CUNNAMULLA HERITAGE TRAIL Cunnamulla and the surrounding Shire of Paroo are steeped in history with the land occupied by the Gunya people long before the township's foundation. Nowadays, you can explore this history through the Cunnamulla Heritage Trail, which documents tales about the characters and buildings that forged this captivating outback community. There's great insight into the town's folklore throughout the trail. For instance, the Robber's Tree was climbed by wannabe bandit Joseph Wells as he tried to escape the police after he attempted to pillage the Queensland National Bank in 1880. Meanwhile, the towering bronze figure of the Cunnamulla Fella captures the spirit of 1950s bush characters recounted in Slim Dusty's namesake tune. [caption id="attachment_841310" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] CAMP OUT AT CHARLOTTE PLAINS STATION AND COOL OFF IN ITS ARTESIAN SPRINGS Cunnamulla offers visitors a range of comfortable accommodation options. But if you're looking for a unique outback stay, resting up at Charlotte Plains Station will deliver something special. Spanning a mind-boggling 70,000 acres, this massive property offers endless ways to reconnect with nature. While hundreds of working sheep and cattle are dotted across the farm, parts of the property have been transformed into idyllic countryside retreats, with powered camping sites, bungalows and more. With guests invited to shear sheep, search for stunning wildlife and bathe overlooking an ancient bore, this outback experience is like no other. Top image: Tourism and Events Queensland
There are heaps of Thai restaurants across Sydney, but Macquarie Park's Khao Pla is in a league of its own. The restaurant serves up modern dishes that span culinary regions from all over Thailand. Chef Pla Rojratanavichai uses only the freshest produce, much of which is sourced locally. The kitchen regularly turns out a menu of inventive specials, including king fish sashimi with tom kha dressing and deep fried whole fish with green mango salad. Some of the fan-favourites include twice-cooked pork ribs tossed in tamarind sauce and topped with a generous amount of spring onion as well as the raw beef larb with roasted chillies and ground rice. We also can't overlook the spicy and rich tom yum goong with prawn and lemongrass and the wok-fried crispy pork belly with curry paste and kaffir lime leaf. These are must-orders. The classic stir fries also make the cut, as do pad thai, pad see ew and staples like duck red curry, braised beef massaman and chicken green curry. Basically, come with a bunch of mates and order one of everything. Like any good restaurant, the desserts are especially exciting, with the black sticky rice with Jasmine tapioca, jack fruits, Thai milk tea ice cream and sugarcane sauce a highlight. The Roselle is also damn good — a lime curd and coconut meringue with lychee and roselle syrup. You've also got the roti banana served with Nutella and smoked coconut sorbet for those wanting something special. Enjoy your family-style dinner in bustling surrounds with exposed brick walls, hanging greenery and old black-and-white photos as wallpaper. It's a popular spot, so be sure to book ahead — or check out Khao Pla's second location in Chatswood.
Pitt Street's Enigma Room offers two immersive experiences that promise to transport you into the middle of films like Looper and Inception. The former is titled Temporal Tangle, in which players are employed by the Future Directions Bureau to track down agent Fox and preserve the 21st-century timeline. The latter, In Memorandum, sees your team try to save a woman in a coma by travelling into her consciousness — while trying to avoid being permanently stuck in her memories.
Right now, if Australians want to spend a day carving up the snow, there are a few prerequisites. Frosty weather is a must, and so is getting to one of the country's ski resorts — but that could change from 2025. For Sydneysiders, that snowbound routine usually involves jumping in a car for at least five hours, heading to one of New South Wales' ski spots. Jumping on a train to Penrith, where a new $400-million indoor Winter Sports World has been proposed for the city, will be much, much easier. The centre has also received Penrith Council's official endorsement and is now waiting on NSW Department of Planning and Environment approval — and the team behind it has just unveiled how it'll look. The resort's features have been highlighted before, including a 300-metre indoor ski slope, a winter wonderland play area, a competition area for snow spots, and both ice and rock climbing facilities. And yes, to answer the key question, Winter Sports World will indeed use real snow. Visitors will be able to learn to ski onsite, as part of the resort's positioning as a feeder site to outdoor snow fields. The idea: that you'll learn the ropes indoors, then later head out of town to try the real thing. A food and drink precinct featuring bars, restaurants and cafes, and a 120-room hotel have also been included in the proposal — all with snow views. The just-released designs show how Winter Sports World will appear from the outside, however, complete with touches by Sydney architecture firm Collins & Turner to resemble the venue's' alpine inspiration. The 300-metre-plus northern facade is set to glow at night, takes inspiration from snow clouds on a hill and will apparently look like a blizzard, while the centre's public area and curved lower-level facade will resemble melting ice. Ice shard details are also set to feature. Due to be built in Jamisontown on the corner of Jamison Road and Tench Avenue, Winter Sports World will include water streams, networks of paths and eight-metre-high message sticks as well, with telling First Nations' stories about living on Dyarubbin part of the design. After winning the design competition for the gig, Collins & Turner collaborated with local First Nations artist Jamie Eastwood, landscape architecture JLA Landscape Architects, environmental design consultant and engineers Atelier Ten, facade/structural engineer Eckersley O'Callaghan and lighting design Electrolight. The development, which sought public feedback in 2020 and is being put forward as a new major attraction for the area, is part of the Penrith City Council's plan to double visitors and tourism revenue in the area by 2025. Once built, the facility is hoped to provide a boost to Australia's Winter Olympians and their training, providing a venue for alpine skiing, freestyle skiing and snowboarding. The Winter Olympics haven't traditionally been one of Australia's sporting strong suits — the national team first competed in 1936 and didn't win its first medal until 1994. The proposal for Winter Sports World has been in the works since November 2018, with site owner and developer Peter Magnisalis lodging a development application with the NSW Department of Planning and Environment this month. For more information about Winter Sports World, head to the proposed venue's website. Images: artists' impressions of Winter Sports World.
MOP's two current shows are stained with colours. Reko Rennie's Black Magic takes a leaf from Warhol, presenting four big linen canvases of spray paint cans, deified on a luminescent background of purples, or greens, or silvers, and black. The can is outside the art in a seemingly infinite space teeming with adoration or divinity. Staring at the frames, the background falls away and the cans hover in the centre of your field of view. In the cans' labels, the space goes on. At the back of the room is the glowing neon-lit Black Magic, with its neon colours shimmering the same hues as the screen prints around it. Rennie's work shimmers and beguiles, inviting you into a world where the bright lights never fail, and inanimate things buzz with energy and meaning. Even if you're never quite sure what the meaning is. Rennie is an indigenous artist who came to more mainstream art via graffiti, a journey summed up in the Message Stick titles of his images' long, thin cans of spray paint. Mark Titmarsh and Todd Robinson's Public Fitting is paint-splattered, a series of clothes spattered with acrylic paints. The clothes hang empty and abandoned in the centre of their gallery. Greens, greys and reds deform dresses shirts, shoes and coats, dripping down onto spotted cloths. The colours deform and enhance the outfits, much like Titmarsh's solo catwalk, which runs down one side of the gallery splaying paint on the covers of books - blue, red & pink splotches - like well-loved volumes in an painter's studio. Image by Rekko Rennie.
After being sold for more than $9 million in 2017, the Verandah is back with not one but two newly energized spaces. Owners Simon Tilley and Nick Wills have updated the 17-year old spot with an escapist jungle theme that'll have you ready for an island holiday. The new layout consists of two different settings fit for an array of occasions: a sit-down restaurant with Social at Verandah and the Verandah Bar for after-work drinks and nibbles. Notes of lush greenery and tropical getaway vibes are woven throughout the two spaces for a consistently cool atmosphere. Plus, the space has gained AHA Chef of the Year Brad Sloan who's curated a menu focused on native produce. Social at Verandah is the go-to spot for a dinner date or a meal with friends. Settle in for creative fares and a foliage-surrounded atmosphere featuring an intriguing mural by Chris Nixon. When it comes to food, the menu offers an array of different flavours and cuisines. Start with oysters ($4 each) or kangaroo tartare ($21) for entrees, then dive into a nettle gnocchi ($32) or a wagyu steak ($35). The Verandah Bar continues the tropical holiday theme with plants hanging from the roof and curved banquets. It's curated a food menu that adds flare to classic bar fares, like the pepperoni pizza with pork belly ($20) and Faloumi Burger ($17): a haloumi and falafel hybrid. The drinks menus for both spaces feature a global wine and spirits list, whiskey and gin choosings and tasty cocktail pitchers, like the White Peach Sparkling Sangria ($38) — perfect for sharing with friends.
It is nearly that time of year again: festival season. Time to gather your crew, put your (flat) dancing shoes on and enjoy some long-awaited, sunshine-soaked music. And with Parklife coming up early in the season in October, we know just the place to kick off your festival fun. Parklife began as a small music festival eleven years ago and since then has grown to become a music festival institution. While the festival has grown, the idea behind it has always remained the same - good people, good music and a darn good party. And this year the party will be no different, with headllining acts Digitalism, Duck Sauce, Gossip, Mylo, The Ashton Shuffle and more. The good folk at Bacardi will be in charge of the drinks, and are offering Concrete Playgrounders the chance to get their hands on one of three VIP double passes (each valued at $474) so that you can enjoy the festival in style. The double VIP pass includes entry for two to the Garden Bar, where you can escape the crowds and enjoy an open bar of mojitos and pina coladas, a massage in the lounge, VIP toilets with no queues and a chance to meet your favourite artists at the bar. For a chance to win one of three double VIP passes, just make sure you're subscribed to Concrete Playground then email hello@concreteplayground.com.au telling us in 25 words or less who would you like to get together with this year at Parklife. https://youtube.com/watch?v=r_5zCtDfc8A
It was a sad, sad day when The Vanguard closed its doors and left a collective hole in the hearts of music-loving Sydneysiders. Luckily, we don't have to wait long until the space is revamped as Leadbelly, a new bar and restaurant that will offer live gigs Thursday through Sunday — for free. Live music junkies Luke O'Donohoe and Zac Davis — who are also the co-owners of Tipple Bar & Bistro in Surry Hills — are the new owners of the Newtown venue, and jumped at the chance to open their second venue in the iconic King Street space. "We want to keep the legacy of Vanguard alive," says O'Donohoe. "They've done so much with the local music scene over the years." Their love of music runs deep, which is obvious from the venue's nomenclature. Named after the notorious musician Lead Belly who, as well as being the grandfather of blues guitar in the 1920s, 30s and 40s, was also a convicted murderer. Go figure. "The actual venue will pay homage to music itself," says O'Donohoe. "We don't think there's enough free live music in the city and it will be a point of difference for us." The venue hopes to pull in enough on the bar and restaurant side of things to keep the free acts coming. On the libations note, we've been assured that the cocktails and food will be top notch. Bar manager and 'Olympic' bartender Ben McFarlane (who's worked in various venues for both Merivale and the Urban Purveyor Group) will head up the seasonal cocktail list, while the food will have a bit of Southern U.S. flare. Think Louisiana-style po' boys and in-house smoked brisket. They'll also be slinging pizzas from their very own oven. While the official opening date is still up in the air, you can definitely expect Leadbelly to be up and running for September's King Street Crawl, which will act as perfect welcome to the Newtown neighbourhood. Their local ties will also extend to the prevalent craft beer scene — but not just with the usual suspects Young Henrys and Wayward. The bar will have its very own Leadbelly Lager, specially made for the venue. Yup, this place will fit right in. Leadbelly is set to open in August at 42 King Street, Newtown. Image: Google Maps.
It's official: the sprawling venues atop Westfield Sydney are finally opening. Kicking off the launches is Babylon, a Middle Eastern-inspired restaurant, bar and terrace with a cool 800 person capacity. Take the lift up to this massive 1200-square-metre space, where an impressive calibre of hospitality vets are waiting to wine and dine you. Head Chef Arman Uz (Efendy) has created a menu that takes inspiration from his Turkish roots, as well as from the street eats of Israel, Lebanon, Cyprus and Egypt. His extensive 30-dish bar menu features the likes of duck gozleme, ground lamb pide, harissa chicken wings and meze aplenty — including hummus with wattleseed dukkah, charred Turkish chillies with molasses and smoked eggplant salad with woodfired capsicum. The restaurant alone seats over 200 and centres on a custom-built mangal (Turkish grill) and two rotisseries. Expect both eastern Mediterranean and Middle Eastern influences on the menu here, with share plates split between flora, fauna and ocean. There's 12-hour braised lamb neck served with Turkish dumplings and chilli butter, 72-hour sous-vide wagyu tri-tip with roasted eggplant purée and pan-fried snapper with tzatziki, pistachio and baharat rice. Enjoy it all with the house-made bread, which comes paired with za'atar spiced butter. [caption id="attachment_727047" align="alignnone" width="1920"] Steven Woodburn[/caption] Then there's the 330 capacity bar, lead by bar manager David Nutting (Restaurant Hubert, Eau de Vie). He's offering six Middle Eastern-inspired cocktails, including the Beykoz (vodka and sweet vermouth mixed with house-made watermelon soda, hibiscus and rose hip) and the Smoke & Baklava (mezcal with baklava caramel syrup). Plus, two batched cocktails: the Baharat Fashion — dark rum washed with Baharat butter, banana liqueur and chocolate bitters — and the Martini Alla Turk, a dry gin martini with rosemary vermouth and roasted cumin seed. This is all joined by a 250-strong whisky list, 400 spirits and 300 different wines, the latter thanks to sommelier Simon Howland (Nomad, Catalina). [caption id="attachment_727039" align="alignnone" width="1920"] Steven Woodburn[/caption] The fit-out is the work of Queensland architects Hogg & Lamb and Woy Woy interior stylists Stewart + Highfield. As the venue's name suggestions, it takes inspiration from the metropolis of old, with the rooftop terrace modelled on the Hanging Gardens of Babylon. It's many opulent features include Italian travertine archways, velvet upholstery, spotted gum timber and marble finishes throughout — used in the dark gold bar, verde fusion tabletops and black stone terrace floor. Babylon is the second Sydney venue for Mantle Group Hospitality, which also opened James Squires' high profile microbrewery, The Squire's Landing, in Circular Quay last year. And it'll be joined on the Westfield rooftop by the group's third venue Duck & Rice this week. We'll share the full details on that one with you shortly. Babylon is now open at Level 7, Westfield Pitt Street, Sydney from 10am–midnight daily.
It's the first film from Andrea Arnold in almost a decade, since 2016's Cannes Jury Prize-winning American Honey. It boasts Barry Keoghan in his first big-screen role since Saltburn made him a megastar. ("He could pretty much have done anything he wanted and he stuck with my small, low-budget film, so that's pretty spectacular," Arnold tells Concrete Playground.) It gives Franz Rogowski another exceptional part for his ever-growing resume (see also: Victoria, Happy End, Transit, A Hidden Life, Undine, Great Freedom and Passages). It unearths a stellar new talent in British Independent Film Award Breakthrough Performance-nominee and first-time actor Nykiya Adams. It sports a soundtrack filled with British sing-alongs, complete with a nod to its most-famous face's film past worked in among Blur's 'The Universal', The Verve's 'Lucky Man' and Coldplay's 'Yellow'. Bird is worth watching for each of these reasons alone — as well as for Arnold's blazing empathy, a hallmark of her work since her Oscar-winning short film days, and also the brilliant naturalism that always beams through in the cinematography by her regular collaborator Robbie Ryan (a two-time Academy Award-nominee for The Favourite and Poor Things). It's also a must-see for letting audiences discover how Arnold has spun a tender and moving coming-of-age fable that blends social realism with magical realism from a unique starting point: "it was an image of a naked tall man with a long penis standing on a tall building at night in the mist," she advises. "I think it's a metaphor." Bird began the same way that Andrea Arnold's work always does: with a distinctive picture. While every film, be it a short, feature or documentary, trades in visuals, of course, the writer/director's creative process for each of her projects commences with an image that comes to her, and that she's then driven to unlock. Such was her kick-off point when she started penning a movie that now sits beside Red Road, Fish Tank and Wuthering Heights on her resume as well — plus episodes of Transparent and I Love Dick, the entire second season of Big Little Lies and heartbreaking doco Cow. Rogowski portrays the titular character, who is indeed sighted on a rooftop. Adams is Bailey, the movie's 12-year-old protagonist. Keoghan plays Bug, her single dad, who she resides with in a north Kent squat — also with her brother Hunter (fellow first-timer Jason Buda) — and whose new engagement shatters Bailey's status quo. Arnold layers Bird with journeys and searches to belong. It's true for the girl at the feature's centre, who feels like the already-chaotic existence that she's living with Bug and Hunter is crumbling. It's accurate of Bird, the mysterious stranger on a quest that's tied to his past, too. Bug's impending nuptials, Hunter's own romantic situation: it applies to them also, as it frequently has to other characters across the helmer's filmography. Chatting with us in 2016, American Honey star Riley Keough described that picture as "like an experience, rather than like a film" and "really getting to that sort of place in people's souls"; again, that applies across every Arnold project. In her Oscar-awarded short Wasp, Arnold's focus is a single mother trying to start a new relationship. Red Road follows a CCTV operator who spots someone that she knows on surveillance footage, Fish Tank charts the change in a 15-year-old's life when her mum begins seeing a new boyfriend, Wuthering Heights obviously adapts Emily Brontë's gothic great about Catherine and Heathcliff, and American Honey heads on a US road trip. A female dairy cow earns the filmmaker's attention in Cow. Each unfurls a different narrative, even if dysfunctional families and growing up are familiar themes. "None of the stories are directly connected, but I'm quite interested in those kind of families, I guess," Arnold notes. "Maybe because my own family was quite sort of chaotic as a child." Her work is linked by a sentiment that's summed up wonderfully in an unforgettable line in Bird, too: "no one's no one". That piece of dialogue was pivotal for the director. Arnold is adamant about that fact, as she was about ensuring that the line made it into Bird. As she keeps demonstrating a devastatingly evocative and effective knack for seeing working-class reality with clear eyes while equally spying the world's beauty wherever her characters can snatch it, Arnold likes to let her films speak for themselves rather than unpacking their meaning — "I really believe in cinema being something that you give to the audience to have their own experience with," she says; "you want the audience to go to the bar afterwards and argue about what they think it meant, 'I think it meant this' or 'I think it meant that', 'no, no, what about that scene, because that scene means that'" — but she's aware of how crucial those four words are. Bird's evolution from that first image of a man on a building, delving into magical realism, casting Keoghan, discovering Adams, guiding naturalistic performances out of her actors, her approach to the film's soundtrack, making three-dimensional movies about the working class: we also spoke with Arnold about all of the above. On How Bird Evolved From Arnold's First Vision of a Man on a Rooftop in the Mist "Every time I write, I have an image that I then treat like a puzzle. It's like a mystery. The image is a mystery. Who's the man? Why is he naked? Why is he in mist? Why is he standing on a building? Is someone looking at him? Is he an alien? How old is he? The image encourages me to ask lots of questions, so it becomes a puzzle that I then have to solve. And usually what happens is, I know that if the image really keeps annoying me, like it keeps coming into my head, that it's something I need to explore. So I go off and I start making notes, and I start thinking about what are the answers to some of the questions, and that starts me thinking about scenes and possible other images and characters. And then I just build it from there, really. Which takes years sometimes. Not like every day, but it doesn't always make sense straight away, and I start digging around and 'yeah, that makes sense' and 'that doesn't make sense'. I keep — I think I started Bird years ago, five years ago or something, but then I did Cow and did other things, and so I came back to it. If I'd made it straight away five years ago, I think it would be a completely film to the one I made just now, actually. I think it would have been an interesting, different film. Because in five years, you change and you grow, and you do other things and your ideas change. So it depends on the kind of person I am at the time — and actually, interestingly I wasn't sure I should do it. Because I felt like somehow, the image, although I started with the image, that maybe I didn't need to really go there. But then I just kept going and did. And then I think some of the magical realism came out of that because I was pushing the idea more than I perhaps would have done. Maybe five years ago, there would have been no magical realism, but now there is." On Bird's Flight Into Magical Realism "It came naturally out of the process of writing. I didn't have any other films in mind. I love films like Pan's Labyrinth, for example. I think that's an amazing film, but it's not a film that I ever thought was anything like my films or anything to with me. When I saw that film, which I loved, I never thought 'oh, yeah, that I'm going to do that' or 'that's something to do with me' — I loved it for what it was, for its own creation. I never even thought about it. When I started writing, it just started coming naturally — the storytelling, my imagination just went there. So I just let it. It was liberating. I thought 'well, it's a film, I can make anything happen'. It's like magic, isn't it? You can do what you like. To me, it would seem like a natural progression from what I already do. Because I think, all the nature things I film, to me they're magical anyway. If you put a camera on something like a dragonfly, for example, that's about as alien and as magical as you can get. If you look at anything that we, all these things we have naturally in our lives, that are around — look at a worm. What an amazing thing a worm is, right. If you want look at a worm, film a worm and study it, you'd be thinking 'wow, that's like an alien. That's a strange thing. Does it move? How does it work? How does it live?'. I find all the things around us magical anyway. I literally find them fascinating. I find a snail, for example — you just have to look at those things and it's magical anyway. So to me, what I did just didn't seem so weird. It didn't seem so strange to me. It felt normal. It felt like an extension and natural progression of what I'd already done." On the Importance of the "No One's No One" Line — and How It Also Echoes Across Arnold's Other Work "That line just came while I was writing and I just thought 'oh god, that just sums up everything I care about. That just sums up absolutely everything'. And I was absolutely adamant. Because sometimes when you're filming scenes — my scripts end up being quite layered, I think, and I lose so much from my scripts when we film, because filming is so clunky compared with when you do layers in a scene. I might layer a scene with all sorts of things, and of course you film it and sometimes it's like driving a tank across your scenes. It's hard to achieve some of the subtleties that I put in my in my script. Sometimes I think 'maybe I should just write, because then I can have all the things that I want in there'. So often I'm improvising — or not, no I'm not improvising, I'm allowing things from the script, I let them go because I just have to, because the situation, the timing. Sometimes they have lots of non-actors, they don't remember a line or they don't always say it like it is. So often, the scene becomes sort of an echo of what I wrote, but not totally what I wrote. But that line, I was absolutely adamant that we didn't lose it. I was like 'it doesn't matter what'. And we had to hurry in that situation, because we didn't have much time to film in the station and we had some other issues that day. So we ended up with very little time to film on the station and outside the station, but I was absolutely like 'we're putting the camera there and we're going to get that line, that's got to be there'. It's my favourite line. And I think you're right, thank you for spotting that — it is something that I really care about and I think probably is across my work, and that is something I believe." On Casting Barry Keoghan as Bug "My casting comrade Lucy Pardee, who I work with — who's an amazing woman and who I've worked with for years — she knows me really well. She knows my worlds really well. She completely understands them. I've known her for many years. And she thinks about people she thinks will fit in my world. She mentioned him very early on, like ages before Banshees came out. And I met him just before The Banshees of Inisherin came out. And I hadn't seen him very much, actually, but she sent me a picture of him and I was like 'wow, I love the way he looks' — and he looked like he could fit straight in. Then I saw him in a couple of things, just small roles in things, and then I went to meet him. I don't always need to see them in another film necessarily. I like meeting people. And I'll always go on meeting. I feel like that's the genuine feeling that you get, from meeting a person. And I met him — he came down from Scotland when I was in London, and we had a meeting, and I just loved him the minute I met him. I think I offered it, we offered it, to him the next day. But that was quite a long time before we started — but I never ever faltered. I don't think I met anyone else for Bug, actually. I think I just met him and I was like 'yeah, totally'. But that's thanks to Lucy because she just knows me so well, so she picks people that she knows what I'm going to respond to and who feel like they go in my world. And then Banshees came out, of course, and I went to see it, and I just loved him in that. He was so fantastic in that. I was like 'yeah, we definitely made the right choice, without a doubt'. But I'd cast him before that came out so. And then, of course, he was in Saltburn. And then he went stratospheric. I actually thought 'he's never going to stay with our film', because he could do anything he wants now. But he did. So that was beautiful. He stuck with us." On Knowing That Adams, Who Only Auditioned to Get Out of a Class at School, Was the Film's Bailey "The first audition was with Lucy, the casting director, and then Lucy took her along to another — when she saw her, she brought her along to meet me after. So when I met her, she just came on a Saturday. We do the auditions up near where everybody lives, so they don't have to travel very far. So we were up in the area, and she came on that Saturday. I think she'd been playing football that day. She does football and stuff. She's very physical, very sporty. I think she did it to get out of a design and technology class, didn't she? I think that's the story. I think I heard her say that the other day — I didn't know that until I heard her say that. She did the audition more to get out of a lesson than she did because she wanted to be an actor. She just did it to get out of something. So I think even, I don't know when she came to see me, I'm not sure that she was still that not sure about this thing. I think I remember her walking in like 'yeah, what is, what is this thing?'. But I remember waking up when I saw her. I felt like she had a presence. And that I really took note of, I kind of thought 'oh, this this kid has got a presence'. It wasn't quite the sort of the kid that I'd written or been looking for, exactly. She was different. But I noted her and she woke me up, and I think you've got to pay attention to those feelings. That never left me, so she ended being the Bailey." On Guiding Naturalistic Performances Out of Bird's Cast "I shoot chronologically, which I think is a huge thing, and I particularly love it. I do that mostly for the people who haven't acted before, because I think it gives them some sense of where they are, and then they don't have to jump in and out of the chronology — they're not having to do a scene from the end and then a scene from the beginning. It gives them some sense of their journey. Then, because I do that, I do that with all the actors as well, of course — and then I don't show them the whole script. I give them scenes bit by bit. And then I think the actual day-to-day directing is, for me, every person I'm working with is an individual and your relationship then is an individual relationship — and different actors, different people who haven't acted before, need you or there's different ways in which you work with each of them. So there's not one way, I don't think, that I work with anybody. But I try to have relationships with everybody with, and for that to be like a living, growing, evolving thing that is something that we do as we go along." On the Use of British Anthems in the Soundtrack "Every character, I make a playlist for. So that was on Bug's playlist, these sort of very blokey anthems. I mean, 'Yellow' is a song that I absolutely love anyway. I try, all the songs I use, I try, even though the character's songs, I still want them to be songs I love — and I usually don't pick any song that I don't love. Most songs in my films, I love. And even if they're particular character songs, I still want to love them. So I try to find songs that I love for every character. So 'Yellow' is, I think, a fantastic song and. And 'The Universal' is a fantastic song. And 'Lucky Man'. They're all on Bug's playlist. Bug had that kind of playlist, sort of anthems, because I think he likes to sing and he likes to be loud, and he likes to sing these songs. He knows all the words. Then I made playlists for everyone else. I made a playlist for Bailey, but her music got drowned out by Bug's — every time I tried to have a song that was Bailey's song, it didn't happen because she's in the house and Bug takes over. So that happened naturally, actually. That wasn't an intention. I didn't mean for that to happen, but it did happen. And actually now, I realise it happened naturally because of the character and because of the way the world was. So that was something that was sort of a truth that happened, even though I planned something different — the truth came out. And then what happened is because we had Burial do some of the soundtrack, and I've never worked with someone doing a soundtrack before, so this was a new experience for me — but his music became more like Bailey's internal world. So she had her own music, but it wasn't songs. It wasn't songs that she would have on a playlist. It was more her internal world." On Making Three-Dimensional Films About the Working Class "I grew up in a working-class family and in that kind of area, so I very much feel that's something I very much understand and feel deeply connected to. So I don't have any judgment of anybody. I don't have that in my bones. So I think that's just going to come out in what I do. I don't have any sort of — I don't need to do anything because that's just how I feel. But I think like that about everybody. I think we should all respect and be kind and caring towards each other. I feel the world doesn't — I feel like that about everybody. I try not to judge anyone when I first meet anyone, or to judge anything or anybody. I try not to. I guess, of course, we probably all do on some level, but I try not to. And I just don't have that in my bones, so it's not going to be there in the film, I don't think. I don't think I'm making political — it's not a political gesture, not really. It's more about the people, I think. And it's more about trying to show people in three-dimensional ways. It's a privilege for someone like me who comes from that working-class background to be a filmmaker. What a privilege. What an amazing place I'm in that I've come from a working-class background, but here I am making films — what an amazing thing that is. And to me, I see that as quite a responsibility. And it's almost I feel like I need to really try to present it — I mean, obviously I'm making a film from my point of view, and that I'm not trying to make a wide political gesture, I'm just trying to make one from my point of view, in a way I understand, and that's all I try to do. I don't try to pretend I know everything, or I have great, sweeping view — obviously I wish the world was a more equal, fairer place for people. And there's plenty of wealth in the world to go around, isn't there? I'd like it that people weren't struggling to eat or to have somewhere to live. Originally in the film, I put the family — because of lockdown here and COVID, nobody went to work, and London at the moment has masses and masses of buildings, it has sprouted up like some sort of Blade Runner futuristic thing. And all the people that didn't go to their offices every day didn't want to go back into the offices. And I thought 'oh, there's all of these empty buildings now, all of these big office blocks, empty — why don't put all of the people that don't have homes there? There's so many people without homes. The homeless situation, it seems to be getting worse in every single country. When I go to America, they say the homeless thing is incredibly awful there. There are tent cities, and there are avenues and streets full of people living in tents and cars. I'm thinking 'but you've got all these empty buildings. You've got all of these office blocks that no one's working in. Why don't we just put everybody in there?'. So originally in the film, I put the family them in there. But we couldn't find a building like that to film in, so we didn't end up filming there. But the intention was there. My heart was there. So there's all these little things that I do care about that I put in the film, but I wouldn't say it's a big, sweeping political gesture. It's more about the people, more about trying to tell a small world in a way that I see as being true, as true to me. It's my truth — I'm not saying it's everyone's truth or a universal truth, it's just a truthful thing for me. There's things I care about in the film always. Everything I care about. But I would say I'm not trying to make a massive statement." Bird opened in cinemas Down Under on Thursday, February 20, 2025. Images: Robbie Ryan / Atsushi Nishijima.
Ask a few people when they fell in love with David Attenborough documentaries and you might receive an array of answers. Or, everyone might point to Planet Earth. The landmark 2006 series won both awards and love aplenty when it had the world's most-famous natural historian and broadcaster narrate a look at this pale blue dot we call home. Indeed, it was such a success that Planet Earth II followed in 2016, and now Planet Earth III arrives this year. In Australia, the third instalment in the franchise (because everything is now a franchise) starts screening and streaming from Sunday, November 26. Viewers heading to Channel 9 and 9Now can look forward to more spectacular glimpses at the rock from the sun, more time getting to peek at its creatures and more of Attenborough's guiding voice. Eight episodes will peruse the planet, each sending viewers to a different environment or focusing on a specific topic. The series starts with a look at the earth's coasts, including what happens where the land meets the sea, before diving deep into the ocean. From there, it's onto vast deserts and grasslands, then to the place where a tenth of all species live: freshwater. Next up is a wander through forests, before Planet Earth III embraces the extremes that its namesake has to offer. In episode seven, humanity's impact upon the planet is in the spotlight. Then, the series wraps up with a chapter devoted to meeting some of the folks in conservation who are fighting to save the earth. "In this new series of Planet Earth, we travel to the most astonishing wild places, see mysterious creatures, witness rare, spectacular wonders and reveal breathtaking animal dramas," said Attenborough during production, on location near Down House, Charles Darwin's family home. "The natural world continues to surprise us, but since Darwin's time it has changed beyond recognition, being transformed by a powerful force — us. We will see how animals are adapting in extraordinary ways to survive the new challenges they face. At this crucial time in our history, we must now look at the world through a new lens." Five years in the making, and boasting Planet Earth II and Prehistoric Planet's Mike Gunton as an executive producer, the latest must-see from BBC Studios Natural History Production also brings back a big name for its music: Hans Zimmer (The Creator), who has teamed up with Bleeding Finger Music's Russell Emanuel and Bastille's Dan Smith on the show's score. And those astonishing visuals, as glimpsed in the trailer for the series (and expected if you've watched Planet Earth and Planet Earth II)? You've got everything from drones and deep-sea submersibles to high-speed cameras, as placed in the oceans, in deserts, inside caves and in jungles, to thank. Check out the trailer for Planet Earth III below: Planet Earth III will start screening and streaming via Channel 9 and 9Now from 8pm on Sunday, November 26.
The 34th film in the Marvel Cinematic Universe, and the only one arriving in 2024, is giving the sprawling pop-culture franchise something that fans have been waiting for for years. Deadpool will officially enter the MCU. So will X-Men hero Wolverine. The movie? Announced in 2022, Deadpool & Wolverine has a date with cinemas this July. In the just-dropped first trailer for the flick, which arrived during the 2024 Super Bowl, the Merc with a Mouth obviously knows exactly what to say. "Your little cinematic universe is about to change forever" advises Wade Wilson (Ryan Reynolds, Ghosted) when he's brought into the Marvel fold by the Time Variance Authority. His way of describing himself now that he's in the MCU? "Marvel Jesus", of course. One won't stop cracking wise. The other prefers to say as little as possible. Naturally, they're about to become the Marvel Cinematic Universe's favourite big-screen odd couple. Reynolds has been playing Deadpool since 2009's X-Men Origins: Wolverine, so this isn't the first time that him and Hugh Jackman (Faraway Downs) are teaming up as their famous characters — but, again, it is the first time in the MCU. Before now, Jackman has already busted out the adamantium claws in nine movies, starting with 2000's X-Men and running through to 2017's Logan, which was poised as his swansong in the role. But when you've been playing a part for that long, in that many flicks, what's one more go-around? After a non-Wolverine gap spent starring in The Greatest Showman, The Front Runner, Bad Education, Reminiscence and The Son, Jackman is clearly ready to get hairy again. That Deadpool & Wolverine is part of the MCU, the comic-to-screen realm that's been going since the first Iron Man flick and will likely never ever end, isn't a minor detail. The two characters have always been Marvel characters, but because of rights issues behind the scenes, they've stayed in their own on-screen sagas. But when Disney (which owns Marvel) bought 20th Century Fox (which brought the X-Men and Deadpool movies to cinemas so far), those business issues disappeared. Deadpool & Wolverine arrives six years after 2018's Deadpool 2. It also marks a reunion in another way. Behind the lens: director Shawn Levy, reteaming with Reynolds after Free Guy and The Adam Project. Check out the Deadpool & Wolverine trailer below: Deadpool & Wolverine will release in cinemas Down Under on July 25, 2024. Images: courtesy of Marvel Studios. © 2024 20th Century Studios / © and ™ 2024 MARVEL.
Staging the stories of holocaust survivors can be tricky business, particularly when pivoting between multiple generations. But theatre can also be a therapeutic means of exorcising the demons of history and finding glimmers of optimism. Written and performed by Olivia Satchell, My Name is Truda Vitz at the TAP Gallery, is a musical and semibiographical play that manages to strike the right levels of light and shade. Directed by Pierce Wilcox, it is a profoundly personal tale that sees a modern-day Sydneysider step into the shoes of the grandmother she never met. In many ways, this production occupies the imaginative space of what could have been. In terms of the facts, Truda Vitz, a Czech-Viennese Jew, fled Austria upon the outbreak of World War Two and lived as an Enemy Alien in England for several years. However, Satchell invents fictional details, bridging the gaps between actual events and elusive recounts in order to enrich the legacy of her grandmother. As the branches of her family tree unfurl, Satchell meditates on the effects of transgenerational trauma. Everything is in first person as she subtly shifts between characters, re-enacting past conversations and rehearsing new ones. However, she is most relaxed in her own skin, speaking candidly and self-reflexively about writing and performing the play as well as anticipating its reception. The transitions between scene and character are aided by musical interludes. An assured cellist, Satchell plays mournful, nostalgic and upbeat pieces that redirect the mood and allow space for reflection. The instrument is also well-utilised as a prop. As Satchell handles it with utmost care, the cello becomes a convincing human companion, whether it be a dance partner or a sleeping body. Satchell’s tightly worded script is rich with dates and details, roaming between Vienna, London, Sydney and Dunedin. This may account for the occasional stumble or a slightly laboured delivery at times. Nevertheless, there are plenty of poetic phrases and memorable anecdotes scattered throughout. For example, Satchell affectionately speaks about Truda's habit of adding jam to strong coffee. There's also the way she describes the aged hands of Truda’s dying mother as “fingers dipped in the sun” while tenderly cradling the cello. Played out against Isabella Andronos's elegant set design, it is a touching image. Driven by a spirit of curiosity, the bravery of Satchell’s script and performance is commendable, not only for its theatrical scope but also for its personal interrogation. At one point, she admits that although Truda's lover, David, may not have actually read her Goethe's love poems, somewhere they were read to someone. In this way, My Name Is Truda navigates the twists and turns of familial and romantic love. It speaks to our perpetual need to be affirmed and make sense of who we are and where we come from.
Fourth Village Providore has been a staple of the Mosman community since 2008, featuring a veritable medley of authentic Italian fine foods. Now the time has come to refresh its offering, with the relaunch of Fourth Village Panini Bar & Café. Serving as the latest chapter of this family business, diners can expect a welcoming communal experience where the simple pleasures of Italian cuisine ring through every dish. Bringing a new dynamic to the menu, panuozzo is set to be a standout favourite. Born on the outskirts of Naples decades ago, this classic Italian street food is where pizza meets panini. Made with woodfired pizza bread and stuffed with sumptuous ingredients, Fourth Village is offering delicious combinations like salami and mortadella with stracciatella alongside veggie options such as chargrilled Mediterranean vegetables. Drawing from the business' huge range of high-end goods, the menu extends into house-made focaccia, fresh burrata salads, pastries, woodfired pizzettes and Italian gelato. There's also a selection of tempting desserts, with Fourth Village renowned locally for its panettone french toast. Plus, it will undoubtedly be hard to resist a slice of tiramisu whenever you stop by for a coffee and panini. "While our restaurant has been a special place for many years, reopening as Fourth Village Panini Bar & Café has been a heartfelt evolution of our family's passion for sharing the authentic flavours of Italy with our community," says Dominic Quattroville, whose parents Peter and Annette founded the business. "The café brings a fresh and inviting space where everyone can enjoy our family recipes and traditions in a casual setting." The Quattroville family's culinary story dates back to 1997, when they purchased 100 acres of farmland in the Lower Hunter region. Now, the property's 3,500 olive trees are responsible for some of the finest table olives and handcrafted olive oils, whether you prefer Spanish Manzanillo, Greek Kalamata or Italian Frantoio. While olives were the initial focus, soon Fourth Village expanded into condiments, balsamic dressings, pickled vegetables and more. "Most importantly, this new chapter honours our family's commitment to genuine Italian hospitality, where every guest is treated like family. We're creating a space where people can drop in any time of day, whether it's for a morning coffee and pastry, a relaxed lunch with friends, or a quick afternoon gelato," says Quattroville. Fourth Village Panini Bar & Café is open Wednesday–Thursday and Sunday from 8am–2pm and Friday–Saturday from 8am-3pm at 5a Vista St, Mosman. Head to the website for more information.
"It's more like a doughnut-ice-cream-sundae tortilla hack," says chef Julian Cincotta. The cofounder of Butter in Sydney is usually found racing between restaurants, serving Butter's famed fried chicken and its sought-after cinnamon doughnuts. But, following a chat with Concrete Playground, Cincotta thought it was high time he joined TikTok to give that #TortillaHack a crack. "I've got quite a sweet tooth," he says. "I hadn't seen any sweet takes on the tortilla hack challenge, so this is my version. I think it's deliciously ugly — and pretty fucking tasty." Cincotta's remix isn't fine dining by any stretch of the imagination. It's exceptionally messy to eat, as you'll see from his pics, and supremely easy to make at home — "simplistic elegance at its best," he says. Cincotta's top tip is not to melt the ice cream too much: "make sure it's straight out of the freezer. It's all about that hot-cold sensation with a sweet-savoury bite." And, if you can't get your hands on a couple of Butter's cinnamon doughnuts, you can use any other doughnut, "but they won't be as good," he jokes. "Book an Airbnb and come to Sydney especially." Watch Cincotta's TikTok video to see just how OTT it is. Then, give it a go using the recipe below. [embed]https://vimeo.com/528663156[/embed] RECIPE 2 cinnamon doughnuts 2 scoops of Ben & Jerry's Strawberry Cheesecake ice cream 2 Cadbury Creme Eggs 1 flour tortilla METHOD Lay a tortilla on a chopping board. Use a knife to slice the wrap from the centre to the outer edge. Place two doughnuts on the left-hand side of your tortilla wrap. Add two scoops of ice cream to the top right-hand side of the tortilla. Add two Creme Eggs to the final section. Smash the creme eggs with the palm of your hand. "You could use a spoon or knife, but it's best to get your hands messy," says Cincotta. Fold the tortilla quarters starting from the bottom right-hand corner working anticlockwise. Toast the tortilla in a sandwich press without melting the ice cream too much. Finish with whipped cream, sprinkles and/or chocolate sauce. MORE FOOD PORN Cincotta didn't stop at dessert tortillas. He also remixed the TikTok trend to create a charcoal chicken tortilla with shredded chicken, garlic sauce, lettuce, shoestring fries, gravy, cheese slices and mayo. See the video here. Or, watch how he takes a BLTC and adds fried chicken and thousand island dressing, here. As Cincotta says, "There are no rules. If you want to put a cheeseburger in a tortilla, put a cheeseburger in a tortilla. It's all about personal taste and creativity." Follow Butter on TikTok. Top image: Videohead/Raghav Rampal
Restaurant Hubert is introducing a weekend lunch service from Saturday, February 5. The renowned French restaurant from hospitality group Swillhouse is bringing its beloved Three Martini Lunches to Saturdays, so you can get your days off started with a luxe French banquet. All the trimmings of a Restaurant Hubert feast will be on offer during Saturday sittings including the full a la carte menu, $11 martinis, specialty steaks and, of course, a healthy dose of jazz performed live in the Huberts dining room. After all, what better way to celebrate getting through another week of work than with a prime beef tartare, escargots in XO butter or caviar service. [caption id="attachment_701146" align="alignnone" width="1920"] Daniel Boud[/caption] The announcement comes at the conclusion of last month's Jazz January program which saw live jazz musicians perform in the CBD restaurant for all 31 days of January. And, if all your Saturdays are booked up with post-lockdown catch-ups for the foreseeable future, you can also head along to Hubert's Magnums and Movies which is running all the way until Monday, June 6. The annual celebration of food, wine and cinema will see attendees treated to a set menu dinner, magnums of wine, a showing of a classic film and plenty of popcorn in the restaurant's Theatre Royale. This year you can catch beloved movies from near and afar including Marie Antoinette; Priscilla, Queen of the Desert; and Lost in Translation. Bookings for Restaurant Hubert's weekend lunches are available from midday on Saturdays via the Swillhouse website or walk-ins are welcome if the restaurant isn't fully booked up. Restaurant Hubert is located at 15 Bligh Street, Sydney. It is open for lunch from midday Wednesday–Saturday and dinner from 5pm Monday–Saturday.
First there was payWave, then there was Cardless Cash (thank you, Commonwealth), and also PayPal Here, which allows you to pay for coffee and things via Bluetooth from your PayPal account. These got us closer to the minimalist, tech-driven dream — a cashless, cardless (and, effectively, wallet-less) society — but not quite there. That's all set to change though, with Apple switching on their mobile payment system, Apple Pay. Launching today with payments provider eWAY, Apple Pay will make poor buying decisions even more effortless, with one-touch payments online, within apps and IRL — if you have an iPhone and use AMEX, that is. At the moment, Apple Pay can only be used on the Apple Watch or iPhone 6 and above, by those with a directly-issued American Express credit card. Which would seemingly rule out most people under 50. But I digress. Already in use in the US and the UK, the Australian launch comes in a rather inevitable move towards doing everything on that little pocket-sized piece of machinery you call your iPhone. For the moment, Apple Pay is accepted at around 21,000 retailers, including David Jones, Coles, Woolworths and Zara. You can even pay for your Uber ride with it and, most deliciously, your late-night pad Thai deliveries from Eat Now. To use Apple Pay, you'll need to add your card to the Wallet app. Then, just use the iPhone's Touch ID to make in-app purchases, or hold your phone near the contactless reader in-store. If Australia is to follow suit of the US, Visa and MasterCard should be accepted by Apple Pay in the near future. At least, let’s hope so. That extra bit of plastic in your pocket is weighing you down.
One of Australia's most celebrated artists is the subject of a new exhibition on its way to Sydney after a premiere at Melbourne's National Gallery of Victoria. Co-presented by NGV Australia along with the Art Gallery of New South Wales, John Olsen: The You Beaut Country celebrates the incredible work of the eponymous painter, who for more than 50 years has captured the breathtaking Australian landscape in a way that few other artists ever have. On display at AGNSW from March 10 until June 12, the exhibition is focused primarily on Olsen's output from the 1960s, after the artist spent three years travelling around Europe. Alongside these works visitors will find a number of more recent pieces, including paintings, prints and watercolours. As always, the exhibition will be complemented by a number of gallery events, including a public conversation with the artist hosted by the Gallery's director Dr Michael Brand, guided tours and artmaking workshops that draw on Olsen's art for inspiration.
Redfern's historic post office building is set to get a new lease on life, with plans to transform it into a dedicated Aboriginal and Torres Strait Islander cultural hub. Having bought the 136-year-old heritage site at the beginning of November, City of Sydney has now announced plans to put it to good use as part of its Eora Journey project, celebrating the cultures of Indigenous communities in the area. The CoS's Aboriginal and Torres Strait Islander advisory panel helped to select the site, which is just a stone's throw from many key Aboriginal organisations, including the Aboriginal Medical Service Redfern and the Aboriginal & Pacific Art gallery. "Redfern has always been recognised nationwide as the epicentre of the Aboriginal rights struggle," explains former co-chair of the panel, Millie Ingram. "Our history should be on display for all people to learn and know about Aboriginal Australia and its history, before and after 1788." The Eora Journey, meaning 'the people's journey' in local Gadigal language, incorporates four different CoS projects, with the creation of this new knowledge and cultural centre to complement other ongoing works. They include building recognition through seven major public art projects, implementing a focused economic action plan, and developing a signature Aboriginal event to celebrate Aboriginal and Torres Strait Islander culture and heritage. The post office's current tenants will remain there until later next year, while CoS consults with local Aboriginal and Torres Strait Islander communities on ways to best use the cultural hub. Image: Dan Hocking
A future path of degeneration seems set: first you reduce your social life to interacting with Little Robot Friends instead of humans, and then inevitably, you start drinking with robots. Hopefully one-night stands with robots don't follow, but a yearly event in San Francisco doesn't seem too worried about this outcome. BarBot, a fundraiser hosted by the Robotics Society of America (launched all the way back in 1978 when robots were considerably less adept at shaking Martinis) takes its cues from Austrian cocktail-robot event Roboexotica. Inventors bring their mechanised bartenders to the event, demonstrating the many weird ways a robot can create and present an alcoholic beverage. Nerds still know how to party, y'all. It's a natural marriage when you think about it: cocktails require a very precise measure of different ingredients, and robots can be programmed to carry this out flawlessly. A robot-mixed drink might lack the flair of human interpretation, but chances are it'll be pretty good, and why shouldn't cocktails be automatically dispensed from a robot like coffee from a coffee machine? Monday morning would never be the same. Now in its seventh year, the two-day BarBot is growing in popularity, with 3000 drinks mixed for up to 2000 human attendees over the course of each evening. So who makes the barbots? Everyone from IBM top research brass to engineering students, and the diversity of entrants is reflected in the different ways their machines work, with spinning transparent cylinders of liquid, flashing lights and clever ornamentation. This year some bots were upwardly-mobile, touring the floor to tantalise guests with their offerings, while others utilised touch screens and one even took drink order specifications via dance moves on a DDR mat. Sense of humour is key: there was a requisite R2D2 and a steampunk barbot, and in the video you will see delightful classical statues pee out bespoke booze for one very lucky punter. Through this kind of fun interaction between people and technology, the RSA hopes to foster education and enthusiasm for the development of robotics. Via Gizmodo.
Have you ever really looked at your keyboard? Are there some key placements that actually make no sense to you at all? We all learn the key positions by rote when we learn how to Internet, but Apple — along with a lil Aussie company — are about to potentially change that forever. The tech giant (who just launched their new MacBook Pro yesterday) have been working with Sydney-based startup Sonder Design to incorporate their dynamic keyboard technology into the laptops you know and love. They announced that, from 2018, their laptops will feature dynamic e-ink keyboards. What the heck is an e-ink keyboard, you ask? It's a keyboard that changes the content on its keys according to what you're doing on your device. It's designed to customise your shortcuts, allow you to type in multiple languages, prioritise the peach emoji for lightning-quick butt references and generally make the keyboard work for you (as it should — c'mon people, its 2016). Why hasn't anyone thought of this before? Well, QWERTY currently has a stranglehold on the marketplace. There's a lot of conflicting stories regarding the QWERTY keyboard's rise to prominence. Some people believe Christopher Sholes designed it to slow keyboard typists down so their typewriters wouldn't jam (they say it's designed to alternate letter between each hand). Others claim it was designed with the help of telegram transcribers and has only once since been challenged in efficiency, by the Dvorak keyboard. Most likely however, it's a perfect example of a human invention that was in the right place at the right time. QWERTY was popular at the time Remington and Sons began to mass produce typewriters. And once typists knew one system, retraining them was a big waste of time. But this preamble about the history of keyboard is to give some context to what Sonder are doing with their new keyboard. Thanks to ~technology~ we've moved way beyond the restrictions of the typewriter — theirs is supposedly the "world's first" keyboard to use e-ink to make it dynamic. It's a big win for the Aussie tech company and, frankly, any technology that brings us closer to emojis is a win for us. Via The Wall Street Journal.
The portions are huge in this ramen eatery tucked away in Chinatown's Eating World. Add to that the fact that the collagen-rich pork broth is produced by boiling over 100 kilograms of pork bones on a daily basis, and you have yourself a bowl of ramen quite unlike any you've had before, with a thick and salty broth that goes down surprisingly well. The menu is simple, with two of the dishes being rice-based and the rest being soup-based. Try the tonkotsu ramen, served with slices of pork and seaweed in the aforementioned broth, which is so thick, it's practically gravy. The simple ingredients mingle well with each other and result in a flavour which is unique yet classic. And combined with the low prices and generous portions, there are more than enough reasons for Gumshara to be a staple in the diets of many a penny-pincher. Just keep in mind that their menu is take out only, so don't try to plan a romantic sit-down evening there.
Spoiler warning: this interview incudes specifics about The Survivors if you haven't watched the full series before reading. "Being new," Thom Green offers. "If it's fresh. If you haven't tackled it before. That's always a good drawcard, right?". "I really love a strong perspective in storytelling," adds Shannon Berry. "Good team, good filmmaker," pipes back in Green. "If it's someone you've always wanted to work with, whether that be a director or producer, a writer, an actor or an actress, that's always another good keyword or a key factor when picking a job," he furthers. And for Berry, too, " I think well-written". She continues: "I love reading scripts. Scripts are the baseline for everything, and I think when you get a script and it's just really good and you can really imagine everything, that's what's super exciting. It's reading a script and you go 'I cannot wait to see how this turns out' — or 'I cannot wait to be a part of it'." These are some of the pivotal elements that Green and Berry, co-stars in The Survivors, look for in a new project. With the six-part Netflix adaptation of Jane Harper's 2020 novel of the same name, they've ticked those boxes. Green comes to the series with a packed resume that already spans Beneath Hill 60, Dance Academy, Halo, Downriver, Eden, Of an Age, Ladies in Black, Exposure and Apple Cider Vinegar, to name just a few of his previous credits. Berry is an alum of Offspring, Romper Stomper, The Wilds, Foe, Winner, High Country, Fake, Watson and more. The pair have encountered all of these crucial aspects before, then, but bringing an adaptation of such an acclaimed author's work to the screen — a writer whose Aaron Falk books have proven huge hits on the big screen as The Dry and Force of Nature — was always going to stand out. In The Survivors, Green plays Sean Gilroy, one of two of characters who lost their older brothers to a tragedy 15 years prior. When Toby Gilroy and Finn Elliott attempted to rescue the latter's sibling Kieran (Charlie Vickers, The Lord of the Rings: The Rings of Power) from flooding coastal caves during a storm and didn't make it home, the scenic Tasmanian town of Evelyn Bay was forever changed. Kieran left quickly. Sean remained. Their respective parents — Damien Garvey (Nugget Is Dead?: A Christmas Story) and Robyn Malcolm (After the Party) portray Brian and Verity Elliott, Martin Sacks (Darby and Joan) is Julian Gilroy — are understandably still haunted by their grief a decade and a half later. As the anniversary of the incident approaches, Kieran comes home, his partner Mia Chang (Bridgerton season four's Yerin Ha), another ex-local, plus their new baby with him. The pain of a loss like this won't ever subside. The town's close-knit community hasn't been telling itself the full story, though. Everyone knows that someone else went missing on the same day that Toby and Finn drowned, but 14-year-old Gabby Birch's (Eloise Rothfield, How to Make Gravy) disappearance isn't treated in the same way. Berry plays recent arrival Bronte, who is staying with Gabby's sister Olivia (Jessica De Gouw, The Union), has become close with her fraying mother Trish (Catherine McClements, Apple Cider Vinegar) and is so furious that the teen's absence keeps being overlooked that she begins investigating it herself. With Kieran's return at its core, The Survivors charts the past lingering over and colliding with the present in multiple ways, then, including when there's another tragedy and the police start searching for a killer. [caption id="attachment_1008349" align="alignnone" width="1920"] Graham Denholm/Getty Images for Organic PR.[/caption] With George Mason (Black Snow), Miriama Smith (End of the Valley), Johnny Carr (Strange Creatures), Julian Weeks (Prosper) and Don Hany (Neighbours) also among the cast, Australia's newest Harper adaptation is filled with folks grappling with trauma, no matter where their tale starts or ends. Some have lived it for much of their lives. Others are determined to interrogate it. In their roles, Green and Berry are tasked with tackling the reality in different ways. Sean might appear externally laidback, but he's clearly deeply impacted by the events of 15 years ago. Bronte views Evelyn Bay, plus Gabby's disappearance and Finn and Toby's deaths, with outsider eyes — and, while making friends and settling in, even if only briefly, is driven to do what she can to redress a wrong. Being cast in The Survivors was an exciting prospect for both Green and Berry for an array of reasons — those key factors listed above and more. Green was already a fan of the book, while Berry revelled in the experience of reading it knowing that she'd be stepping into its tale. What does being part of a series like this mean to the two Australian talents? What did they initially see that they could bring to Sean and Bronte? When an intimate dynamic among a tightly bound community teeming with secrets and complicated family dynamics is so pivotal, how do you cultivate that with your co-stars? They're some of the other topics that we dug into with Green and Berry, alongside leaving an imprint in a limited time, the sense of responsibility that accompanies translating Harper's novel to the screen, the long-running appeal of murder-mysteries in Australia and more. On Being a Part of a Tasmania-Set Mystery Series About Tragedies Past and Present Colliding — and One That Adapts a Jane Harper Novel Shannon: "Well, this was my first time going to Tassie. I've never been to Tassie before. So it was amazing to come with the show. And I was just so excited to work with so many Aussie legends. And I've worked before with both Cherie Nowlan [The Irrational] and Ben Lucas [Nautilus], the directors, so it was really exciting to come back together with them again. And I think just it's really amazing to tell Australian stories and to film them here, and to show how beautiful our country is. Tasmania is just such a beautiful place, it kind of became a character within itself. And that's what I really loved about it." Thom: "I think for me, I loved the book. I absolutely adore the book. So that was a huge reason why I wanted to do it. Tasmania as well. I love Tasmania. And then it was the cast. It was the cast, and Cherie and I had worked together on Dance Academy so many years ago, and so that was also — there were so many factors on why I wanted to come do this. But I think that it was the book, mainly, because I was such a big fan. I was like 'I've got to be a part of this'." On Green and Berry's Starting Points with The Survivors on the Page — and Their Approaches to Helping Bring the Book to the Screen Thom: "I read it the year it came out — and then when I was cast in this, I didn't actually go back to the book. I knew the story, but I think I was actually drawing more from stuff I'd seen, to give it my own flavour. So that was building the wardrobe, and the hair and makeup, and you're building all that. So I didn't go back to the book. I didn't try to draw anything from that. I decided to take a step back and do my own thing, so hopefully it did it justice." Shannon: "I read the book. I had read The Dry previously, so I was familiar with her work. Love The Dry. But I had not read The Survivors until I found out that I was cast on the show. So that was super exciting. I think it's such a rare experience to read a book for the first time and see your character's name and go 'that's me' — which was just a really cool, really cute experience. And I'm a huge reader. I love to read. So it was just really special to read it and imagine myself in that world and imagine all the potential. And I think it's been absolutely amazing to watch it. It makes me giddy to think about." Thom: "Yeah, it's one of those things as well, like you can do jobs and sometimes the experiences can be less than glamorous — and this was actually so much fun. We all just got along so well as well, so it just makes it, you go into work each day enjoying it, and then you're wrapping for the day and everyone's hanging out with each other. And it reads on the screen." Shannon: "100 percent." Thom: "It always reads on screen." On Building the Show's Close-Knit Character Dynamic with the Rest of the Cast Shannon: "I feel they made it so easy. It got to the point where I knew I wasn't going to be working on it for a whole lot of time, and meeting you all, I then got very jealous that I wasn't going to be able to spend as much time with you guys [to Thom] as the rest of them — because everyone was just so lovely and so welcoming, and it very quickly really did feel like a family vibe. I always feel that when I step into Aussie spaces with Aussie cast and crew. Everyone's just absolutely the best. So I did feel quite jealous when all of my stuff was done and I had to leave you guys to your own devices." Thom: "I think a good indicator is that, what, it's been 14 months since we wrapped, and George Mason was Facetiming me yesterday from Perth, from his next job, to have a yarn. So that's just a good indicator of how well we all got along." [caption id="attachment_1008351" align="alignnone" width="1920"] Graham Denholm/Getty Images for Organic PR.[/caption] On What Green and Berry Were Excited to Bring to Sean and Bronte Thom: "I think that I felt very comfortable talking to Tony [Nowhere Boys, Glitch, Stateless, Clickbait and Fires' Ayres, who is behind The Survivors' streaming adaptation] and to Ben and to Cherie about the complexity of Sean. So that I felt I was able to bring — from my first take, I remember thinking 'I think I know how to do this'. And you kind of do your take and you sort of go 'well, this is what I think'. And Tony came back and said 'that's what we think as well'. So talking to Ben, there's so many layers. Everyone, every single character in this story, has layers. But I think that was what I felt — that's the part I'm quite happy with what I did, was that vulnerability and intelligence." Shannon: "I think with me, I really enjoyed relating to Bronte. We both moved out really young, moved across the country to a different place, and had to make our own friends and find our own way. So that was really exciting, reading the book, to relate to her in that way. And also talking with Cherie a lot about her art project, and she's so passionate about what she does, and I really relate to her in that sense as well. So it was really exciting to talk about her shared passions and how that drives her in this universe. And I just really related to that a lot. So that was super exciting, to remind me of my young days." Thom: "I'm going to say as well, but for Shannon, Shannon wasn't with us the entire time. So when an actor has to come on, and only come in to do a day or two, and then knock it out of the park and get on the plane and leave — that's a testament to Shannon." On the Task of Conveying the Impact of Trauma in Layered Performances Thom: "It takes a lot. You've got to really sit with the script for a while, I think. It sounds really morbid to think, but if you've dealt with it, you can draw from that — if you dealt with it your personal life. Some people don't like to do that. Some people do. I like to — I do sometimes. I feel like it helps. But I think it just takes a lot of time of sitting with the director and really fleshing out each layer, as I was previously mentioning — fleshing out each single layer and just building on top of it. So when you get on the set and you're setting up for the take and you look at the director, you go 'okay, now what do we need to remember? This, on top of this, on top of this, on top of this'. And then as long as you're thinking, it usually shows in your eyes and your body. That's how I approach it." Shannon: "Yeah, taking it with the instinct on the day. You've done all your research." Thom: "Yeah. Yeah. Exactly right. You're letting it go. How about you?" Shannon: "Yeah, I agree. I agree with everything that you said. Because a lot of Bronte exploring Evelyn Bay and this, she has this whole relationship with Trish that we never get to see in the show but is so prevalent and so alive throughout conversations — I think a lot of it was, yeah, sitting with the script and thinking a lot about 'what would those conversations have been like?' What would their relationship have been like?'. And having that in the back of my brain. So then, when I went in on the day thinking about where I had met these people before, even where I'd met Sean, when we meet each other, and thinking about how I met Ash [Mason's character] — I think it was just doing a lot of prep, and I write a lot of diaries for characters that I do sometimes. So I wrote a lot in Bronte's POV about where I met those people and what we had done together, and then coming in with that. And then just going on the day with instinct." Thom: "Then, I think on top of that as well, so if you've seen very strong series that deal with it and seeing what works — like what affects you when you watch it? What part of the show do you like? You know, in shows you might watch. So that's another visual to draw from, going 'okay, well that works on camera for that type of genre' — especially for this, the mystery, the murder-mystery genre in particular. You watch some of your favourites, there's too many titles to name right now, but watching what you enjoyed the most of that and going 'okay, can I use that? Can I take a little bit from that and a little bit from that, and put it all together in my little tool chest?'." On Leaving an Imprint and Making the Most of Your Character's Scenes When They're So Pivotal to the Narrative Shannon: "I think before doing the show, it reminded me a lot of Twin Peaks — it reminded me a lot of Laura Palmer. So I was privately calling myself the Laura Palmer of the show. But I think it was definitely a challenge to make sure that — I think the most important thing, for me rocking up, was making sure that I had a strong sense of self within her. And that I had a strong sense of who she was, what her dreams were and why she was there. And yeah, I think it was just made really easy by the fact meeting everyone and getting to work with you [to Thom] and getting to work with everyone, it was easy for her to feel fleshed out and like I belonged — which I think made it a whole lot easier." [caption id="attachment_1008350" align="alignnone" width="1920"] Graham Denholm/Getty Images for Organic PR.[/caption] On Expressing a Laidback Air, Alongside Pain and Vulnerability, in a Storyline That's Keeping Audiences Guessing Thom: "It's so difficult trying to, that balancing act. I still remember days on set with Cherie — and particularly with Cherie with her episodes, and going 'we need to do this again because of A, B and C', and then having to say 'well, we don't, we can't show our hand too early. We can't show this. We can't show that'. So trying to mask certain things. We're trying to throw a curveball. I kept saying to Cherie my biggest thing was trying to mask one aspect with another, and that was trying to help throw people off for the whole thing. But you're 100-percent right, just trying to convey that, it's really tricky. You really need to go through each episode and see where your character's come from, where they're going, and make sure you're following that line, that throughline, the entire way through. Otherwise, people who watch it will go 'that doesn't make sense. Why was this person doing this after doing this?'. I think in the end, I think we did pretty good. I think we did pretty good with keeping that balance. But it's hard to say, right? You watch something and you're like 'could have done this, could have done this'. It's very, very hard — I think, probably the hardest I've had to do that." On Whether Any Pressure Comes with Starring in an Adaptation of a Well-Loved Novel From an Author Whose Other Books Have Already Sparked Hit Films Thom: "I think so. Definitely. The Dry was so successful. And you've got Eric Bana — then you've got Force of Nature with Anna Torv. And then it's like, then you're like 'alright, now it's Shannon and Tom and The Survivors'." Shannon: "I think at the end of the day, you just want to make sure you're walking away, when you're doing the job and then also when you finally get to see it, that you have that feeling of doing it justice." Thom: "Yeah, you're right." Shannon: "And that you feel like you've done the best that you can." Thom: "Yeah, 100 percent." Shannon: "I think I'm really happy. Are you happy? [to Thom]" Thom: "I'm happy. But we had a good team. Like Tony, and Andy Walker [The Survivors' producer, Deadloch], were ... " Shannon: "Amazing." Thom: "I think at times, I don't know about you but for me, it only really dawns on me, I think, when someone like yourself [to Concrete Playground] raises that or brings that up. On set, it didn't feel like that. On set, it just felt like we were making a cool project with our friends and a cool crew. And then afterwards, you go 'oh yeah, shit, that's right. This is — yeah, we're in good company here'." On Why Murder-Mysteries Seem to Strike Such a Chord in Australia — Whether We're Making Them, Watching Them or Both Thom: "It's like when that time — was it like 2010? — when Nordic noir really blew up with Trapped. And I inhaled Trapped and Fortitude, all on SBS On Demand, and it was like then it exploded. And then The Bridge was also happening at the same time, and the American adaptation. And there was Broadchurch. So it was all happening elsewhere, and I think Aussies just flocked to it. As to say why, are we just perverse? Do we just want to watch it?" Shannon: "I think maybe also, I think Australia as an environment is so vast, and I think it's just such an excellent backdrop, too, to a lot of murder-mystery." Thom: "Yeah." Shannon: "Like you think of really good shows like Mystery Road, and there's all of that desert. We always just have such beautiful landscapes for such devastatingly twisted stories, which I think there's something to be said in that contrast." Thom: "I can't understand like the psyche, why we all love it — but I mean, I inhale them. I absolutely inhale them from everywhere, from each country. So I think now, it's like we've got some cracker series that are murder-mysteries, and I'm sure there's more to come. But as to saying why, like why we and devour them so much, I don't know. But hopefully people ... " Shannon: "Devour this one." Thom: " … devour this one the same." On What Green and Berry Make of Their Respective Paths to The Survivors Thom: "My foundation is coming from — I mean, my first job was a murder-mystery, actually, now that I'm remembering. It was actually a murder-mystery for Channel Ten back in the day. But for stuff like Dance Academy, I started with young-adult television, and then I think mine was quite diverse. I went from that to the Halo series for Microsoft in Canada. And it was like guns and aliens. And then it's Of an Age, this romantic, queer love story set in Melbourne. And now it's this murder mystery, which is so, at times, can be quite confronting. Diverse, I think, is the keyword there." Shannon: "I think I agree. It's been — I love working in Australia, and I'm so lucky to have done so many Australian things in my time. And yeah, I think I'm just really lucky to be able to sit here and say 'yeah, I'm an actor. I did it'. I'm from Perth originally, so it was always that feeling of isolation being in Perth and wanting to do acting. But I've just been really lucky. And I've been really lucky to do a lot of incredible things, meet so many incredible people. And then, yeah, getting to work with Cherie and Ben both on The Wilds, separate seasons, and coming back to work with them again, was just such a treat. I've just been really lucky. I think that's the main word, lucky. I'm so honoured to be able to do a lot of things in Australia and beyond." The Survivors streams via Netflix from Friday, June 6, 2025. Images: courtesy of Netflix © 2025.
December might be the merriest and jolliest time of the year, but the end of March and the bulk of April is Melbourne's funniest period. That's when the Melbourne International Comedy Festival arrives, tasking comedians from around the globe — including plenty of local talents — with getting the city laughing. When attendees aren't giggling at a world-famous name, they're discovering the amusing folks who'll become tomorrow's rib-tickling stars. From Wednesday, March 26–Sunday, April 20, 2025's MICF is here to get the Victorian capital chuckling, complete with a hefty lineup. By the numbers, this year's festival features 1000-plus performers — more than 130 of them from overseas — putting on 690 shows, and also 182 stages running in 133 venues. And then there's the type of gigs on offer, from solo stand-up to galas, cabaret to circus, and everything from sketches and improv to plays and all-ages fare as well. One of the big highlights full lineup — which started being announced in 2024 — is the Australian debut of Fantasmas star and creator Julio Torres, who is playing exclusively in Melbourne. Also on the bill: Mark Watson, Sara Pascoe, Danny Bhoy, Rhys Darby, Ruby Wax, Paul Foot, Nazeem Hussain and Zoë Coombs Marr, plus Michael Hing, Melanie Bracewell, Broden Kelly, Claire Hooper, Joel Creasy, Andrew Hansen, Lizzy Hoo, Wil Anderson, Jenny Tian, John Safran, Jimeoin, Reuben Kaye, Ray O'Leary and Sh!t-faced Shakespeare doing A Midsummer Night's Dream. The list goes on, including Adam Kay, Flo & Joan with One Man Musical, Desiree Burch, Rahul Subramanian, Sumukhi Suresh, Tom Allen and Buffy Revamped, which relives seven seasons of the series in 70 minutes as told by Spike. From there, the talents still keep coming, with Amy Gledhill on the bill fresh from winning the Edinburgh Comedy Awards 2024 Best Show prize, Jin Hao Li also on the roster after being nominated for Best Newcomer at the same accolades and 2023 Edinburgh Festival Fringe Award-winner Ahir Shah making the trip as well. Chloe Petts, Chris Parker, Guy Montgomery, Guy Williams, Urzila Carlson, Pierre Novellie, Rosie Jones, Anirban Dasgupta, Urooj Ashfaq, Charlene Kaye, Sarah Keyworth, Arj Barker, Carl Donnelly, Elf Lyons, Iliza Shlesinger, Kai Humphries, Kemah Bob, Schalk Bezuidenhout, Sofie Hagen: they're also among the international contingent. Back with Aussie humour, Alex Ward, Amy Hetherington, Becky Lucas, Bron Lewis, He Huang, Luke Heggie, Tommy Little, Luke McGregor, Mary Coustas, Sammy J, Yon from Tripod, Cameron James, Dave Hughes and Geraldine Hickey keep the list going — and, of course, have a whole heap of other homegrown company. And if you're looking for shows and events with a theme or twist, a David Bowie tribute, comedy whisky tasting, rooftop laughs, an improvised movie mashup, a murder-mystery, a comedy musical about op shops and a Jane Austen-inspired cabaret are on offer. Or, you can head to RocKwiz live, a Shrek burlesque, comedy pub crawls, a true-crime comedy walking tour and a 90s-loving game show. As proves the case every year, this is an event for comedy-loving Melburnians and visitors to the city to get excited about, then plan their entire schedules around. Adding to the fun, the fest's gala is back, taking place at the Palais Theatre to open the year's guffaws, while the Opening Night Comedy Allstars Supershow, The Annual Great Debate, Aboriginal Comedy Allstars, Asian Allstars Gala and Upfront's focus on female and non-binary artists are all making welcome returns. To discover your next favourite comedians, the lineup also features RAW Comedy, Deadly Funny and the Class Clowns National Grand Finals. [caption id="attachment_996219" align="alignnone" width="1920"] Jonathan Birch[/caption] "The world's biggest comedy festival is here and we couldn't be happier. We're ready for surprises, brilliant takes on serious issues and serious silly-ness for all who need it," said Melbourne International Comedy Festival Director Susan Provan, launching the event for 2025. "Hundreds of venue staff are swinging into action to support all our Australian and visiting faves and Melbourne's bars and cafes are ready to make sure everyone is fed and watered. It's the best time of year in our beloved city. Melbourne does fun like no other." The 2025 Melbourne International Comedy Festival runs from Wednesday, March 26–Sunday, April 20. Head to the festival's website for further details and tickets. Images: Nick Robertson / Ian Laidlaw / Nicole Reed.
Half a century ago, one of the greatest science-fiction films of all time made its cinematic debut. It might hail from a genre filled with plenty of excellent flicks — both then and now — but 2001: A Space Odyssey still remains one of sci-fi's best and most iconic efforts. And, one of the best and most iconic movies ever made, too. With Stanley Kubrick at the helm, adapting Arthur C. Clarke's short story The Sentinel with the author himself, it's easy to see why. Really, this isn't your usual jaunt into space. It was a mindblowing, groundbreaking feat at the time — and come May 24, Sydney audiences will get the chance to watch the film in all of its original glory. While 2001: A Space Odyssey has remained a favourite pick for retrospective screenings around the city for years, the latest release will feature an 'unrestored' 70mm print of the movie — that is, it'll look just like it did 50 years ago. The version about to do the rounds was created using a true photochemical film recreation from the original camera negative without any digital tricks, remastered effects or new edits. After premiering at this year's Cannes Film Festival, it'll screen at the Hayden Orpheum for a limited two-week run, so you'd best open the pod bay doors, HAL, and hurry along. Update Wednesday, July 18: Due to the popularity of the initial screenings of 2001: A Space Odyssey, the Hayden Orpheum has announced it will be showing the sci-fi classic in its original 70mm form again this July. The film will be screened just twice more on Saturday, July 28 and Sunday, July 29 at 3pm.
Barangaroo House is giving you more reason to stop by for an afterwork bev this August. Harbourside restaurant and vinyl bar Rekōdo is welcoming a series of sonic residencies from acclaimed Australian record labels to switch up those Wednesday nights. From 6pm every Wednesday in August, you will find some of the top names in the Australian music industry in charge of the Rekōdo decks — with residencies from the likes of Planet Trip, Elefant Traks, Utopian State, Future Classic and I OH YOU. Enjoy your nightly dose of sensational mixing with a side of Japanese-inspired food. Head Chef Tara Chua will be curating a limited-edition menu featuring fried cheese sandos, togarashi popcorn, and wagyu hotdogs – food you can easily snack on between trips to the dance floor. [caption id="attachment_871572" align="alignnone" width="1920"] Rekodo, Steven Woodburn[/caption] On drinks we have Creative Bar Manager Jai Lyons and Otis' Connor O'Brien. Cocktails will be music-inspired and minimal-waste, creatively using leftover kitchen produce to create some seriously innovative flavours. The Another One will have you repeating DJ Khaled's iconic catchphrase after you taste the blend of Tenjaku whisky, mezcal, blood orange, Japanese-inspired Mexican mole, egg foam and lemon. The series is set to honour the Australian music scene while creating an immersive experience where food, drink, music work together to create the perfect vibe for your Wednesday night. You can check out the full program and lineup here. Images: Steven Woodburn
Kurumba is Surry Hills' breezy two-level Sri Lankan restaurant from the crew behind The Fold in Dulwich Hill. The beloved Inner West diner closed in 2023 so The Fold team could move into this ambitious new Crown Street space. Upstairs at Kurumba, the dining room spotlights traditional Sri Lankan eats. The team's also mixing things up with Sydney menu staples like Sydney rock oysters, Western Australian lobster and smoked brisket. Downstairs, there's a casual bar where you can snack on hoppers over a glass of vino. Highlights from the main dining room include smoked brisket pan rolls, kajugama tiger prawns in a chilli cashew butter and crispy pork belly curry. If you're okay with splurging a little, Kurumba's signature dish is the lobster kottu — a chopped roti, vegetable and lobster-head curry. The set menu is a great way to attack the meal, especially for groups. The $85 per person option runs through the pan rolls, hot butter soft-shell crab, three different curries and tempered cauliflower, all paired with hoppers and rice. Or you can go big with the $125 premium menu, adding the signature lobster kottu and oysters topped with calamansi, coconut water and coriander root to the fold. If you've got the space, there's only one way to round out your meal at Kurumba. While a few desserts are on offer, the falluda soft serve is a must-try, adding rose syrup, crystallised pistachio and crispy vermicelli to the nostalgic sweet treat.
"Once upon a time there was a little girl who was trapped. This is the story of her great escape." So begins the trailer for the latest version of a Roald Dahl classic, the book-to-stage-to-screen Matilda the Musical — and it's bringing its imaginative story about an extraordinary child, her impressive abilities and her horrible school to Netflix on Christmas Day. For the past few years, the streaming platform has been obsessed with one very particular golden ticket that Matilda the Musical springs from: the beloved works of British author Dahl. Back in 2018, Netflix announced that it was bringing 16 of the writer's classic novels to the service in animated form. And, it revealed that there'd be two new series from Taika Waititi based on Charlie and the Chocolate Factory, too. In 2021, it also advised that it had snapped up the Roald Dahl Story Company (RDSC) itself. So, plenty of Dahl-penned tales are now getting the Netflix treatment, with the service's library set to expand in a big way. That spans everything from Charlie and the Great Glass Elevator, Matilda and The Twits, all as animated television shows, plus The BFG, Esio Trot, George's Marvellous Medicine, The Enormous Crocodile, The Giraffe and the Pelly and Me, Henry Sugar, Billy and the Minpins, The Magic Finger, Dirty Beasts and Rhyme Stew. Yes, it's a long list — and yes, Matilda the Musical is obviously on it. [caption id="attachment_873641" align="alignnone" width="1920"] Roald Dahl's Matilda the Musical. Alisha Weir as Matilda Wormwood in Roald Dahl's Matilda the Musical. Cr. Dan Smith/Netflix © 2022[/caption] If you've seen the Tony and Olivier award-winning show in theatres since 2010 — complete with original music and lyrics by Tim Minchin — you'll know what's in store. If you read the novel before that, you'll also already have plenty of fondness everyone's favourite book-loving schoolgirl with telekinetic abilities. In the movie as onstage, the narrative remains the same as Dahl's original 1988 text, but with songs and tunes that are all supremely on its wavelength. Once again, Matilda Wormwood (Alisha Weir, Darklands) is a curious, bright, quiet, observant and imaginative girl — and tiny — but has terrible parents (Venom: Let There Be Carnage's Stephen Graham and Amsterdam's Andrea Riseborough). So, she escapes into novels as they feast on TV and try to stump up cash via dodgy schemes. But that isn't welcomed by her mum and dad, in her first lesson in being bullied — something that, at school, Matilda will no longer stand for. [caption id="attachment_873640" align="alignnone" width="1920"] Roald Dahl's Matilda the Musical. Alisha Weir as Matilda Wormwood in Roald Dahl's Matilda the Musical. Cr. Dan Smith/Netflix © 2022[/caption] At Crunchem Hall, Matilda finds a source of support and inspiration in Miss Honey (Lashana Lynch, No Time to Die), but it's also where the star student meets another foe. That'd be the villainous Miss Trunchbull (Emma Thompson, Good Luck to You, Leo Grande), who is as mean as can be — and needs Matilda to teach her a lesson. Minchin's songs and lyrics make the jump to the movie version, of course, while Tony Award-winning director Matthew Warchus — who did the honours with Matilda the Musical on the stage — helms. And yes, this is the second movie based on Dahl's Matilda, after a 1996 version initially adapted the book for cinema (not as a musical, though), and featured Mara Wilson as the titular character. Check out the full trailer for Matilda the Musical below: Matilda the Musical will be available to stream via Netflix on December 25. Images: Dan Smith/Netflix © 2022.
Photographer Allan Teger has created a series of images where human bodies have been cleverly used as landscapes. His Bodyscapes series, first created in 1975, uses miniature figurines against a backdrop of a person, and the viewer is given the illusion that the bodies are in fact surfaces from nature. Each image is a single shot on traditional film. The black-and-white images include horses riding down hills, which are in fact the curves of a human back and bottom. Furthermore, a man playing golf is actually looking to sink his ball into a bellybutton. Teger's creative use of props and lighting make these images captivating and rather realistic. Indeed, he is able to create a real sense of vastness, distance and space using just the human canvas.
There's no shortage of delicious fare wherever you go in New South Wales, but there aren't many spots where you can feast on two-hatted dishes while gazing at the Tasman Sea. Paper Daisy Restaurant, within Halcyon House, near Cabarita Beach on the Tweed Coast, is one of them. Here, Executive Chef Jason Barratt (ex-Circa, The Prince, Attica) is in the kitchen whipping up ocean-inspired combinations. Start with lobster, white radish and granny smith apple, before moving onto kingfish baked in local kelp, sweet corn, smoked onion and dried prawn. Then for dessert, pear with spiced date, almond and roasted fennel ice cream. Images: Destination NSW
Much has happened on Sydney's Cockatoo Island/Wareamah, which has housed a prison, ship-building facilities, a reform school and a wartime boat repair port in its time. In recent years, the patch of land in the middle of Sydney Harbour has also hosted a film festival and haunted history tours — and now Haus of Horror is combining elements of both for its next immersive cinema screenings. The movie-loving outfit has been popping up around the Harbour City for over a year, screening The Exorcist and the OG Scream in a haunted prison with sessions at Parramatta Gaol, taking Beetlejuice to Camperdown Cemetery in Newtown and more. Next comes two evenings of A Nightmare on Elm Street on Cockatoo Island on Friday, February 16 and Saturday, February 17, with attendees catching a themed ferry over, then exploring the site. When sunset hits, Freddy Krueger will start stalking. If you believe the stories about Cockatoo Island's ghosts, you'll be in a particularly eerie place for this date with the horror-movie villain created by the late, great Wes Craven. You'll also be watching the film in its 40th-anniversary year. And, as is Haus of Horror's custom, pressing play on the film in a notable — and notably disquieting — spot is only the start of it. These folks take the immersive part of the setup extremely seriously. Whether or not you choose to don a striped jumper for the occasion, your ticket includes the chartered ferry to over and back, departing from Barangaroo; moseying around not only the island but the unsettling installations that the Haus of Horror crew sets up around the Turbine Hall and Bolt Wharf; listening to a live DJ as part of the pre-show entertainment; and special guests roaming around, and also a photobooth to immortalise your memories. A bar will be serving drinks, and there'll be snacks on offer — but you'll be paying for those separately. "Haus of Horror is honoured to reimagine this historic space. We're more than just a movie with a view; we're an immersive experience where you can step inside the film and find adventure at every turn," explains Haus of Horror's Felicity Heath. "Haus of Horror collaborates with historic gaols, graveyards and locations to bring excitement-filled immersive events. We're proud to be Australia's number-one immersive cinema." Haus of Horror's two-day 'A Nightmare on Elm Street' event on Cockatoo Island takes place on Friday, February 16 and Saturday, February 17. Head to the Haus of Horror website for tickets and further details.
The chilly season has arrived, the perfect time of the year for getting cosy next to a bar's fireplace with a dram of your favourite whiskey in hand or a delicious wintry cocktail. We've got the perfect shout for you as the temperatures drop: the Gold Rush Cocktail. Maker's Mark Bourbon and Beechworth Honey have come together to create this cocktail, a sweet symphony of Australian honey and bold characters of the bourbon. It's a riff on an old-fashioned but with a locally grown twist. It's a very straightforward recipe that you can find here. At first glance, it might seem odd that an American distillery and an Aussie beekeeping family have come together. But, when you scratch underneath the surface they have a lot of similarities. To celebrate the partnership, we've rounded up a selection of cosy underground and hidden bars where you can enjoy the Gold Rush cocktail. Some venues have even made their own version of the cocktail.
2013 is an exciting time to be a Whovian, what with all the 50th anniversary celebrations and a new Doctor on the way. But if you need a Doctor Who fix to keep you going 'til the Christmas special, make like David Tennant and say 'Allons-y!' to this event. For the past year, Ben McKenzie (the one from Dungeon Crawl, not the one from The OC), John Richards (Outland, Boxcutters podcast) and Petra Elliott have been hosting Splendid Chaps, a monthly podcast/panel discussions dedicated to each Doctor, with special guests and musical performances. This month, the podcast comes to an end with a celebration of the eleventh Doctor, Matt Smith, and a general discussion about the future of the show. They'll be joined by comedians Justin Hamilton and Stella Young, and there'll be live music from Keating! composer Casey Benetto and their house band, The Time Lads. Described as "part intellectual panel discussion and part nerdy Tonight Show" (The Age), the podcast's been getting some great reviews despite only having been around for a year, and they've been listed as one of Melbourne's ten best podcasts. There'll also be prizes, a stand-up Dalek and apparently the hosts have "a little extra something up their sleeves" to farewell the podcast. Good news for Sydney Whovians, too — Splendid Chaps is coming to Sydney on November 30!
Every last trilby-wearing tween celebrity, former President's daughter and your smug, smug US-based friends will be rubbing their paws together after this morning's Coachella festival lineup announcement. Running over two weekends from April 13–22, the Californian festival has delivered their usual jaw-dropper of a lineup — even if we did already know one of the headliners. After withdrawing from the 2017 festival upon announcing her pregnancy, Beyoncé will take to the stage in 2018, and she has The Weeknd and Eminem as big-name company. Elsewhere, a bonafide metric fucktonne of squealworthy buds fill out the rest of the bill — HAIM, St Vincent, SZA, alt-J, Fleet Foxes, Tyler the Creator, The War on Drugs, David Byrne and even Jamiroquai, to name a few. Homegrown Aussie legends heading over and representing include Vance Joy, Alison Wonderland, Tash Sultana and Rolling Blackouts Coastal Fever. Anyway, let's be honest, you haven't truly read any of those words — you'll be wanting this: Coachella runs over two weekends, from April 13-15 and 20-22 in Indio, California. Tickets go on sale at 11am PST on Wednesday, January 3. For more info, visit coachella.com. Top image: Roger Ho ©Coachella 2017
With an abundance of islands ripe for exploration, the Philippines is a vacationer's dream. Snorkel alongside giant sea turtles, discover secret lagoons, eat sea urchin fresh from the shell, hike a volcano — these are just a few of the things on offer at this Southeast Asian wonderland. However, picking where to spend your holiday can be quite tricky. And for those looking to branch out from the tourist haunts and discover some lesser-known islands, the research and planning can take its toll. That's a helluva lot of islands to Google, after all. Well, to help you jet setters out, we've teamed up with Cebu Pacific Air and pulled together a list of stunning islands to visit on your next trip. Since the airline is offering budget flights from Sydney and Melbourne and then to 36 locations throughout the country, it's never been easier to get there and island hop around the Philippines. CORON Surrounded by iridescent turquoise waters, Coron Island is home to arguably the most picturesque surrounds in the Philippines. Located at the northernmost point of Palawan, visitors must fly into Francisco B. Reyes Airport in order to access the remote island. From here, there is a range of ways you can immerse yourself in these crystal-clear waters — kayaking among limestone karsts, island hopping in a local banka boat, swimming in volcanic lagoons at Kayangan Lake or shipwreck diving. The latter is centred around the remains of sunken World War II Japanese battleships and is considered the best wreck diving in Southeast Asia. For those not certified to dive, snorkelling around the pristine Apo Reef is also impressive. Smaller islands to visit include Diatoy Island, Dimalanta Island and Malpagalen Island. And after a long day of exploring, relax back on land at the Maquinit hot springs, just a short tricycle ride north of town. Closest airport: Francisco B. Reyes (AKA Coron) SIARGAO Siargao is synonymous with surfing in the Philippines. The island is accessible via a flight from Manila or Cebu and surfers travel the world 'round to catch the famous Cloud 9 wave. If you're not an expert, no problem; Siargao also caters to learners and Lanuza in Surigao del Sur is home to heaps of surf camps for beginners. So, even newbies can hang ten. But the allure of this island goes well beyond surfing. For day trips, check out the Magpupungko rock pools, which are exposed at low tide and allow you to cliff jump into clear waters. Closer to town is the Tayangban Cave pools, in which you can swim through a dark cavern aided only by torchlight, before emerging into a peaceful lagoon. Nearby island hopping destinations include Daku and Guyam islands — the latter of which is home to the white sand 'secret beach', another much-loved surf spot. And the island's nightly parties don't hurt its appeal, either. Closest airport: Sayak (AKA Siargao) El NIDO, PALAWAN The island of Palawan is home to some truly stunning sites, and you can drive from the northern tip to the southern tip in around ten hours. But there's so much to see and do, that you could spend weeks here and still have more to explore. If you're coming for a short visit, we recommenced choosing one region to focus on and El Nido is an ideal place to start. Situated at the northern end of Palawan Island (just south of Coron Island), the region includes a cluster of islands just off the coast that makes it ideal for island hopping. Expect dramatic rock formations, 'secret' lagoons and that breathtaking azure water Palawan is known for. For larger-than-life limestone, head to Secret Beach on Matinloc Island, which is surrounded by limestone cliffs and hidden from the outside. Divers can choose from more than 30 dive sites, including The Dilumacad in Helicopter Island — a 12-metre deep, 40-metre long tunnel that's filled with rare tropical fish and other sea life. And hikers can explore Taraw Peak or the Mantinloc Shrine and find some incredible vistas. Closest airport: Puerto Princesa with Cebu transfer to El Nido SAMAL ISLANDS, DAVAO For the extreme-sport fanatics, Samal offers heaps of options, including windsurfing, jet-skiing, water-skiing and ATV rental. It's also relatively easy to access, with Samal and its smaller sister island Talikud, just a short boat ride from Davao City, which you can easily reach by flight from Cebu. Along with adrenaline-charged activities, Samal is home to many experiences not found on other Filipino islands. Take a deep plunge into the Hagimit Falls or go caving in the intricate Balete, Mangongawong or Baga cave systems. A swim around the Vanishing Island in Barangay Tambo is another must — but plan carefully, the island disappears during high tide. Requisite water experiences like kayaking, boat rides and snorkelling are on offer, too. Plus conservation diving within the 150-hectares of the Coral Garden and Marine Reservation Park offers a chance to see some rare species in a protected habitat. And, if land animals are more your thing, you can hang out with more than two million bats living inside the Monfort Bats Conservation Park. It's Batman's secret lair, we're sure of it. Closest airport: Francisco Bangoy International (AKA Davao International) MASBATE Tourism has yet to truly take off in Masbate, which makes it all the more appealing. It's the kind of place you don't want to share for fear of it changing. The province consists of three major islands, along with Ticao (extreme solitude) and Burias, and their combined beaches redefine the term 'pristine'. Port Vega Beach is considered a rival to Bantaya's Sugar Beach, and its remoteness is definitely a plus. The island has no end to its exotic beaches, perfect for relaxing with a tipple in hand. If you're keen for an adventure, the 18-metre-high Catandayagan Falls and its pools and caves offer hours of fun. Or take a boat ride to Halea National Park, where you'll spend the night at either the island's only resort or camping on the beach. Wake up to entrancing green-blue waters and snorkel among the brightly coloured fish, then wander around the nature preserve to see the breathtaking tropical flora. Closest airport: Moises R. Espinosa (AKA Masbate) CARAMOAN ISLANDS The remote Caramoan Islands are located 3.5 hours northeast from the tiny Naga Airport — accessible from Manila — in the province of Camarines Sur. The island is considered a 'secret paradise' as it's relatively new to tourism — sounds like our kind of place. It's home to a 4000-hectare limestone forest rich in natural diversity and perfect for those who love to get among nature. Land adventures include limestone rock climbing and cave exploration. Meanwhile, water sports like kayaking, snorkelling and scuba diving allow you to explore the lagoons, reefs, waterfalls and smaller islands (including Guinahoan Island and Matukad Island, which, according to locals, are home to an enchanted lagoon). But, honestly, a relaxing day on the beach is just as attractive an option here. Closest airport: Naga BANTAYAN, CEBU Though Cebu City was once considered a beach town, it's now a built-up metropolis that rivals Manila. So, in order to see the true wonders of the Cebuana region, you have to venture outside of the main island and onto the smaller ones that surround. One such island is Bantayan, which is easily accessed from Cebu City. Compared with crowded Cebu, the beaches around Bantayan are secluded and pristine — especially Paradise Beach in Santa Fe, though Sugar Beach, Alice Beach and Maricaban Beach each have their own appeal. Inland, check out Madrilejos' Kota Park — this Spanish fort was built in the 1790s and has since been reclaimed by nature. Once you've finished exploring the site, head to Kota Beach where you can walk along a sandbar deep into the sea. Go farther afoot, and check out the Obo-ob Mangrove forest. To catch all the sites, bicycle rentals are available for around 200 pesos per day (roughly $5). For even more island hopping, Silion Island and Hilantagaan Island are close by, with a half-day tour costing around 700 pesos (about $20). Closest airport: Mactan-Cebu International MALAPASCUA North of Cebu, Malapascua Island is a haven for divers thanks to its marine sanctuary — and well worth the trek to get there, which can involve taxis, buses, boats and your own two feet. Its most famous dive site, known the world over, is Monad Shoal, which allows divers to swim with sharks at sunrise. (Let's hope they're like Bruce from Finding Nemo and not Jaws.) Day or overnight trips to Kalanggaman Island offer more sights for snorkelling and diving, but a trip to Malapascua shouldn't be limited to diving. Motorcycle tours or rentals around the main island cost around 700 pesos per day (about $20) and are a great way to see all that the island has to offer. Rides will take you past Lapus Lapus and Langub white sand beaches, Los Bamboos for cliff jumping and rock formations and the lighthouse for unbeatable sunsets. Afterwards, relax back on Bounty Beach where there are plenty of restaurants, bars and nighttime activities to get stuck into. Closest airport: Mactan-Cebu International BOHOL Bohol offers the ideal combination of jungle and beach holiday for those who love a bit of both. Catch a flight to the new Bohol-Panglao Airport, and head to Panglao Island's main beach, Alona. (It's considered a mini-Boracay, only much cleaner and less crowded.) From here, you are afforded a throng of exploration options, with diving, snorkelling and island hopping easy to organise with your accommodation or with local tour guides along the beach. Make sure to visit Balicasag Island — where you can snorkel with large sea turtles — and eat freshly shucked sea urchin in the Virgin Islands. Inland, trekkers can rent ATVs and explore the Chocolate Hills — mysterious, chocolate-coloured hills. Afterwards, take a cruise through the emerald-green Loboc River or opt for an adrenaline rush with a 200-metre-high, 480-metre-long zipline. You can even do all three activities on one day trip from Alona. You'll be back at your beach-side accommodation just in time to enjoy live music and cocktails as the sun sets. Closest airport: Bohol-Panglao (AKA New Bohol International) Ready for an adventure to the Philippines? Book with Cebu Pacific Air for affordable international flights from Melbourne and Sydney.
Adelaide's beloved Fringe festival is undoubtedly one of city's main highlights throughout February and March. If you do plan to head down south for the event make sure you carve out some time to explore the city beyond the riches of Fringe. The South Australian capital boasts a storied history, exceptional wine regions and stunning beaches, so we've put together eight adventures that'll give you a taste of what the region has to offer. While some of these venues will play host to events during the festival, they're open to visitors year-round, so you can experience these classic Adelaide sites long past the Fringe. [caption id="attachment_935120" align="alignnone" width="1920"] Dan Marks[/caption] POPEYE RIVER CRUISES Head on down to the Riverbank Precinct to experience the joys of cruising along the River Torrens / Karrawirra Parri. Enjoy the river in style with Popeye River Cruises, which offers an informative sightseeing cruise or a Devonshire Tea Cruise. For something a little stronger than Earl Grey, opt for the High Tea Cruise, Kangaroo Island Spirits Gin Cruise or Chalk Hill Wine Tasting Cruise. During Fringe the Popeye will transform into the lively Dream Boat, with local bevvies on offer and Endless Grooves on the decks. ADELAIDE CENTRAL MARKET Home to world-renowned wine and food producers (including gourmet icon and national treasure Maggie Beer), South Australia has long been considered an epicurean haven. Discover some of the region's top providores and local traders under one roof at Adelaide Central Market. This fresh produce market is one of the largest in the Southern Hemisphere. Open Tuesday to Saturday, the place buzzes with locals and visitors alike. Dive deeper with a guided tour on the history of the market, or, if you prefer to roam on your own, let Fringe ambassador Adam Liaw and co-host Katie Spain lead you on a self-guided audio tour. DAY TRIP TO HAHNDORF A short 30-minute drive out of Adelaide takes you to Hahndorf — a unique German village in the heart of South Australia. The charming settlement traces its history back to the early 19th century and features restaurants slinging German fare, various wineries and breweries, artisan stores with German crafts, charming galleries and German-style architecture. For a cultural fix, uncover the stories of the First Nations Peramangk people and German settlers at the Hahndorf Academy or visit Hans and Norah Heysen's artist studios at The Cedars. MIGRATION MUSEUM Delve into South Australia's diverse history at the Migration Museum. The museum sheds light on migration patterns and stories through artefacts, artworks, photographs, clothing and technology, providing insights into the valuables that mattered most to migrants and how they contributed to the new place they called home. While you're there, check out some of the Fringe shows at the museum, too. ADELAIDE BOTANIC GARDEN With six Fringe shows hosted in the sweeping Adelaide Botanic Garden — including the spectacular Natural Wonders — it's likely you'll find yourself here anyway. So why not take some extra time to explore the expansive grounds dedicated to celebrating the diversity of native and international plants. Check out the Santos Museum of Economic Botany to get to the roots of the plants and their various uses. And if that inspires you to do some gardening of your own, the Diggers Garden Shop is on hand with plenty of heirloom seeds and plants. DAY TRIP TO THE FLEURIEU The Fleurieu is one of Australia's most breathtaking coastlines (and that's really saying something). Just a forty-minute drive from Adelaide, you can easily spend a day luxuriating around the coast, from sipping wines in the globally renowned McLaren Vale region to swimming in the pristine waters. For a low-key, hassle-free way to see the region, join along for the Willunga Wander tour by Hither and Yon. The self-guided tour includes a planned trail, three tastings and a wine glass souvenir to bring home. [caption id="attachment_935049" align="alignnone" width="1920"] Ben Macmahon[/caption] SILVER SANDS BEACH CLUB While you're in McLaren Vale, stop by for a drink at the Silver Sands Beach Club on Aldinga Beach. Perch in a primo waterfront location, enjoying the view of the sparkling waters while you sip on a schooey or cocktail. The kitchen slings a broad selection of seafood-centric dishes and pub cravings, including pizza, burgers and schnittys. It's also well worth the drive to check out the Fringe shows they're hosting, including a Fleetwood Mac tribute band that'll have you rocking out by the seaside and side-splitting comedy act Granny Flaps. ADELAIDE GAOL If true crime is your thing, visit the Adelaide Gaol to learn about the history of the city's prisons since the early 19th century. Explore mugshots from the archives, an art installation based on infamous tales, an archaeological dig site and an interactive exhibition with artefacts — you'll even be able to try on some handcuffs and leg irons, which serve as a stark reminder to stay on the good side of the law. Book your FringeTIX now at the Adelaide Fringe website.
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.
