In late 2020, it was announced the Sydney Gay and Lesbian Mardi Gras was moving its legendary parade to the Sydney Cricket Ground for 2021 in a bid to keep the event COVID-safe. This is the first time in the event's 42-year history it won't be taking place on Oxford Street — but that doesn't mean the local businesses aren't still getting involved in the celebrations. Thanks to additional funding from the City of Sydney, the Darlinghurst Business Partnership's annual Oxtravaganza event is bigger and better than ever this year. Between Thursday, February 19 and Sunday, March 7, the streets and businesses of Darlinghurst are coming alive with live performances, parties, special discounts, a self-guided art walk and much more. Popular LGBTQIA+-friendly venues, including Stonewall, Universal, Claire's Kitchen and Trade, are hosting cabarets, burlesque shows and drag performances across the two weeks leading up to the parade. And, on the night of the parade — Saturday, March 6 — The Oxford Hotel, Universal, Darlo Bar and Kings Cross Hotel will host viewing parties. Meanwhile, local retailers are offering some epic deals across clothes, accessories, shoes and more, so you can get your look sorted for the big night. And surrounding bars and restaurants are also helping to keep the good times rolling with special menus and discounts across the two-week period. Pop into Wings and Tins for $5 schooners or La Farmacia for $5 Mexican lagers. Meanwhile, Darlo institution Bill & Toni's is serving big bowls of spag bol for a tenner and Brick Lane is offering 15-percent off if you dine between 5–6pm. Finally, Sydney brewery Young Henrys has special Karma Kegs set up at a bunch of nearby bars (Kinselas Hotel, Courthouse Hotel, Darlo Bar, The Oxford, The Strand and Universal) with all proceeds from beer sales going to The Gender Centre. Images: Robert Knapman Photography
If George Clooney can float around in space in Gravity and Matt Damon can get stranded on Mars in The Martian, then Brad Pitt can race buggies on the moon in Ad Astra. Another Ocean's 11 star, another intergalactic movie — and another big-screen sci-fi spectacle, obviously. Pitt plays Roy McBride, an Army Corps engineer who is determined to soar into the stars and beyond, all to follow in his father's (Tommy Lee Jones) footsteps. His dear old dad went missing on his own space mission in mysterious circumstances, and if Christopher Nolan's Interstellar taught us anything a few years ago, it's that searching for family and blasting out of this world seem to go hand-in-hand. Donald Sutherland, Liv Tyler and Loving's Ruth Negga also feature, with Ad Astra marking the latest release from The Immigrant and The Lost City of Z filmmaker. The latter is definitely cause for celebration, with the director's previous movies proving thoughtful, detailed, exquisitely performed dramas. Take all that to space — in a film that's been delayed a few times due to the extensive visual effects work required — and hopefully it'll soar. For a while, it's been a good time to watch great movies about big-name stars in space; just this month, Robert Pattinson blasts off in High Life, too. But if you're a Pitt fan, the next few months are shaping up to be particularly exciting — before he rockets to the outer edges of the solar system in Ad Astra, he'll be stepping back to the 60s in Quentin Tarantino's Once Upon a Time in Hollywood. Watch the first trailer for Ad Astra below: https://www.youtube.com/watch?v=Tm3h6iWmIEw Ad Astra releases in Australian cinemas on September 19.
Dreaming of La Dolce Vita? From Wednesday, October 26 through to Saturday, November 26, Disaronno will be transforming CBD bar Jackalberry into a lush Amalfi-inspired haven — reprieving newly returned Italo-travellers from holiday nostalgia and treating those who stayed on home soil. Expect the watering hole — which sits pretty on the lobby level of Hyatt Regency Sydney — to deliver a not-quite-to-scale Trevi Fountain set against picturesque scenes from some of Italy's most iconic cityscapes, a menu packed with meals you'd tuck into at a traditional trattoria (like homemade gnocchi di manzo brasati) and cocktails that spotlight both the syrupy smoothness of the celebrated amber liquid and the creative flair of Jackalberry's expert mixologist. Plus, with the snap of a pic, visitors can go into the draw to win a chic prize pack that will see them stay at the lush Hyatt Regency Sydney, dine at Jackalberry, and take home two Disaronno fizz glasses and a $1000 Gucci gift card. An excellent example of the sweet life, no? Jackalberry will be transformed into an Italian escape thanks to Disaronno from Wednesday, October 26 till Saturday, November 26. Head to the website for more information and to nab a booking.
When season five of Stranger Things arrives, it'll bring with it a big ending, wrapping up the Netflix hit for good after the next batch of episodes. Yes, everything from Succession to Barry is also saying farewell these days, but Stranger Things won't be completely dropping off the radar — it has spinoffs to slip into your streaming queue, including a just-announced new animated series. Back in 2022 when Stranger Things creators Matt and Ross Duffer revealed that their sci-fi show was working towards its endgame, they also said that they had more stories to tell in this fictional — and sometimes Upside Down — realm. Instantly, we all knew what that meant. Netflix doesn't like letting go of its hits easily, after all, so the quest to find a way to keep wandering through this franchise was about as surprising as Jim Hopper's (David Harbour, Violent Night) usual gruff mood. "Seven years ago, we planned out the complete story arc for Stranger Things. At the time, we predicted the story would last four to five seasons. It proved too large to tell in four, but — as you'll soon see for yourselves — we are now hurtling towards our finale. Season four will be the penultimate season; season five will be the last," the Duffers said at the time. "There are still many more exciting stories to tell within the world of Stranger Things; new mysteries, new adventures and unexpected heroes," the Duffers continued. Cue the upcoming Stranger Things cartoon, which doesn't yet have a name, but will boast the Duffer brothers as executive producers. Obviously, it's headed to Netflix. "We've always dreamed of an animated Stranger Things in the vein of the Saturday morning cartoons that we grew up loving, and to see this dream realised has been absolutely thrilling," the siblings said, announcing the new show. There's no word yet on when the animated series will arrive, what it'll focus on and who'll be among its voices. If you're devoted to the OG cast, start crossing your fingers that some or all of Harbour, Millie Bobby Brown (Enola Holmes 2), Finn Wolfhard (Guillermo del Toro's Pinocchio), Noah Schnapp (Waiting for Anya), Winona Ryder (The Plot Against America), Charlie Heaton (The Souvenir: Part II), Joe Keery (Free Guy), Gaten Matarazzo (The Angry Birds Movie 2), Caleb McLaughlin (Concrete Cowboy), Sadie Sink (The Whale), Natalia Dyer (Things Seen & Heard) and Maya Hawke (Do Revenge) are involved. Netflix did just reveal that it's getting the Scott Pilgrim vs the World cast back together to voice an anime continuation of that beloved flick, after all. There's no sneak peek at the animated Stranger Things series as yet, either, but you can check out the trailer for season four below: The Stranger Things animated series doesn't yet have a release date, but we'll update you when one is announced. You can the OG series via Netflix. Read our review of season four. Images: courtesy of Netflix.
A secret password, golden glitter and burlesque-meets-art — if you're after a party so revelrous, that it's almost scandalous, look to Sydney Contemporary's Night Cap series. With the Old Clare Hotel as the pad for the series running every Wednesday, Friday and Saturday during the art fair, expect several evenings of arty debauchery as you rub shoulders with golden coated artists, sip bubbles and celebrate one of Sydney's best annual art events. On Friday, September 8, international speculative superstar Uji Handoko Eko Saputro aka Hahan, whose work is a mix of eclectic, energised euphoria, will host an extremely VIP event — a VVVVVVVVVIP event, actually. Guests will be showered in gold glitter before ending up front and centre for live performances throughout the space. Yes, a secret password is required, so sign up in advance to avoid being left out in a less glittery world. We've also snagged a 20% discount on Sydney Contemporary tickets for you, our lovely readers. You're welcome.
Road trips are an idealised summertime activity. If you do it right, you come away with good friends and esoteric stories which will never be understood properly by people who weren't there. But it's equally possible for road trips to turn hellish and monotonous. That's not what you want - that's not what anybody wants. So Concrete Playground has compiled a list of tips to help you on your way and make sure you have the kind of road trip which will remind you of the wind and sunshine in your hair, shared memories and in-jokes. Some of it might seem like common sense, but common sense can sometimes be what first deserts you when somebody suggests driving ten hours across the country to go to a music festival or a particularly nice beach. 1. WheelsSo this seems a superfluous point, but if you're going to go on a road trip you need a car, and if you don't have one then you've got yourself a problem. Once you've got the car, make sure it's one that everybody knows how to drive. Nobody likes being the only manual driver in a car full of stricken automatic-only drivers. You should also do all the practical things like get the oil, tyres and water checked before you leave, and make sure you've got back-ups in case of emergency, especially if you're trying to look like you know your stuff about cars. Bigger cars are better for road trips, especially if you've got friends with ample hips or ridiculously long legs. And for the love of God make sure the car has air con. Otherwise everybody is going to be sweaty, sunburnt and have a mouth full of insects every time you drive through a field. 2. A Worthwhile DestinationJumping in a car and heading nowhere might sound very Kerouac-esque for an hour or so, but in the end you're going to want to be heading somewhere. Holiday houses and camping grounds are all good, although there's a high likelihood a music festival might be your destination this summer. If that's the case, be patient and anticipate that you will have to wait in a queue for six hours on a backed up country road and be forced to pee in the bushes in direct view of many headlights. However, the best destination of all is a beach, one of the pristine and near unpopulated ones which grace our fair coast. 3. MapsGetting lost is not half the fun. The person who claims this needs to be ejected immediately from the vehicle. You probably have a GPS, but bear in mind that the GPS is not infallible. Let me present you with an example: on a road trip last year, we in the car got bored with the standard GPS and, just outside the Gold Coast, switched our guide to a New Zealander named Paul. All was going well until Paul started sabotaging our trip with his crafty non-instructions and we ended up taking a two hour detour through peak-hour Brisbane. Paul was not our friend after that and shameful slurs against New Zealand ensued. In these situations you need a map. A map in this instance is defined as a proper map you purchase from anywhere good maps are sold, not a scrawled set of lines copied from Google Maps your barely literate friend drew on the back of phone bill. 4. CrewBe wise and consider precisely which of your friends and loved ones you're going to enjoy being in a cramped confined space with for potentially several days. There's nothing more tedious and depressing than realising you can't stand the people you're friends with. It's also a good idea to make sure there's not going to be anybody overly-familiar with their sense of personal space, particularly if they have personal hygiene issues. Once you've got that down, make sure that there's not going to be any major conflict before you start, because there's nothing more awkward than finding yourself on a road trip with a couple who have recently broken up and still have unresolved issues. Solve all those problems, and you're cool. 5. ConversationOnce you've exhausted your witty high school stories, politics, childhood traumas and the ever-fascinating subject of who's having sex with whom, complex philosophical questions are always a good bet. Questions such as 'which of your legs could you do without' and 'would you rather punch Kyle Sandilands or Miranda Devine in the face' are good starting points. For those who are not on driving duty and decide the time has come to pilfer beers from the esky, be aware that the designated driver will soberly wish for your death if you do anything crazy-drunk like throw up, sing repetitively for more than ten minutes or attempt to give a ride to a stranger with no shoes. 6. MoneyMoney is a general necessity in all areas of life, but when we say 'money' here we mean the multi-coloured pieces of paper marked with numbers the ATM is wont to dispense. This is crucial because ATMs can be scarce on the ground in the bush, and on a road trip sharing is of the utmost importance. Assign the most organised member of your group the job of keeping an account of how much petrol and food everybody is paying for, and bear in mind that if you haven't chipped in for all the Tim Tams then you do not deserve to eat all the Tim Tams and then subsequently complain about a sore stomach. 7. SnacksIt's a given that everyone is obliged to bring a lot of sugar on a road trip. Minties, Snakes and all things that once delighted you in children's birthday party bags are right and necessary when on the road. Hop chips with tomato sauce sold by old ladies with facial hair in country towns are also awesome. Eating options on the highway tend to be a choice between Maccas or Maccas, so if that's going to bother you, pre-make some delicious healthy things which won't spill too badly and stop every hour or so to picnic. Otherwise, it's uncanny how the shops saying 'Best Pies in Grafton' actually do sell the best pies in Grafton. Moreover, if you're going a long distance you're going to be in dire need of caffeine. Somebody could be really organised and bring instant coffee, a saucepan, a makeshift stove and water, or you could just take a thermos. 8. MusicIf you've got one of those whatsits that plug your iPod into the car's stereo system, you're sweet. If you don't have one of those, however, you're going to want a couple of good mixtapes, or, more accurately, mix CDs. The person in charge of making mixtapes should keep in mind what everyone else will like, what is easiest to sing along to, and attempt not to impress others with their obscure tastes because it never works out as well as you'd hope. Sixties pop songs, eighties power ballads and nineties rap should all be considered in the choice of music. Most importantly, don't make too many tapes. Fifteen hours worth of music is just tiring. You want to have songs that are going to remind you of the trip for years to come, an underlying theme for your future reminiscing, if you will. Anything more and you may as well just put the radio on. 9. Ridiculous ApparelQuestionable fashion choices are a mandatory on the road. Nothing makes you feel more alive than climbing out of the car at a truckstop wearing something outrageously fluoro and swaggering inside to get yourself a rainbow Paddlepop. Furthermore, there is no more appropriate occasion for a man to sport short shorts. Stupid sunglasses and hats are fun, but bear in mind they might enrage Mick Taylor-types on the roads. And remember that while no shoes are alright in the car, you don't want anything on the floors of country rest stops and bathrooms touching your bare skin. 10. SunscreeenOften overlooked when in the relative shelter of a moving car, sunscreen is necessary for anybody with an arm in close proximity to a window. You don't want to get sunburnt, and unevenly sunburnt at that, while sitting in the car. More to the point, nothing will ruin your holiday more than being so sunburnt you have to wear shapeless kaftans with long sleeves and not being able to sleep at night because it hurts so bad.
Translating to 'love lounge' in Spanish, Salón del Amor is a monthly Sunday session at Redfern's Norfolk Hotel, which pulls together top-notch curators of both music and vibes. If your New Year's resolutions included getting out and about, catching more music and soaking in some more rays in 2023, this laidback dance party is an easy way to start ticking things off. Now in its fifth iteration, the event series places fresh faces from Sydney's music scene behind the decks in the pub's sun-lit courtyard, with sets spanning groove-heavy pockets of electronic music — think: lounge, Italo disco and softer sides of techno. "I try to base the lineups on giving DJs that might not otherwise have many gigs out a chance to play on a full house system and get a bit of momentum to start out with," organiser Tex Lee says. The lineup arriving at the Norfolk on Sunday, January 29, starting at 2pm, will feature Lee himself under his alias Luther, as well as Taffie and Oliver Kleyn. Adding to the Spanish energy of the day, you can also head next door to the adjoined wine and vermouth bar La Salut if you're looking for a Catalan-inspired detour. The 40-seat venue boasts a wine list of over 200 bottles alongside tasty bar snacks.
UPDATE: July 13, 2020: Animals is available to stream via Binge, Foxtel Now, Google Play, YouTube and iTunes. In the space between ignored dreams and shirked responsibilities, that's where Animals' Laura (Holliday Grainger) and Tyler (Alia Shawkat) largely live. Devoted friends to the point of codependency, and just as dedicated to their Dublin routine of drinking, debauchery and doing the bare minimum at their barista gigs, they've seen no reason to change their ways for the past decade. But, as Laura suddenly realises, they're not getting any younger. The pair's thirties are here. The book that Laura has supposedly been penning since the two first met remains little more than an idea. And, her younger sister (Amy Molloy) has traded partying for pregnancy on purpose. Tyler is near-aggressively happy with the status quo, however Laura's epiphany hits like the wine and MDMA the duo are so fond of — and leaves an unshakeable hangover. Directed by Australian filmmaker Sophie Hyde (52 Tuesdays), and scripted by British writer Emma Jane Unsworth based on her own book, Animals finds its joined-at-the-hip protagonists at a crossroads. Glued together by choice for so long, they're now coming unstuck. Forget romantic turmoil; this is a tale of platonic heartbreak and existential malaise spiralling into an inescapable whirlpool. Animals isn't the first film to understand that drifting away from a friend is just as painful as ending a love affair, but it joins a relatively sparse dramatic subgenre. Indeed, there's a refreshing forthrightness to the story, taking Laura and Tyler's pseudo-couple status as a given. While jokes are made about wives, marriages and separations, particularly once Laura starts seeing more of her new musician boyfriend Jim (Fra Fee) and spending less time with her increasingly petulant bestie, they're hardly necessary — just how crucial the pair have been to each other for a third of their lives is constantly written across their faces. Girl meets girl, sparks fly, they live wildly and become each other's ride-or-dies — that's not a scenario that often gets such thoughtful big-screen attention. The importance of depth and detail in this situation, especially in leapfrogging any and all female friendship cliches, really can't be underestimated. Whether or not Hyde and Unsworth have overtly drawn upon their own respective experiences, the end result resonates with a lived-in air. Authenticity isn't just something their characters are searching for; it seeps from the movie. Frolicking or fighting, embracing firmly or steadfastly ignoring each other, the dynamic between Laura and Tyler feels like it could've moseyed out of any shared flat filled with retro furniture, piles of clothes and too many empty bottles (and, thanks to stellar production design and costuming work, it looks that way too). That said, Animals does come with a caveat, or a strength that could initially be seen as a flaw. Played to perfection by the two leads, the movie's main characters seem as genuine as the circumstances they're navigating, as well as the relatable emotions they're displaying. Unsurprisingly, that means they're not always wholly pleasant to spend time with. They needn't be, of course. They shouldn't be, in fact. No mere mortal is bearable every second of every day. Again, this warts-and-all approach is refreshing, not to mention teeming with meaning. Shawkat's Tyler can come across as abrasive and performative, and Grainger's Laura as uncertain and unfocused, with the picture calling out, sifting through and challenging common millennial stereotypes through these traits. There's no judgement here, but rather a commitment to seeing things like they are — even if the film styles its frames in a somewhat dreamlike way at the same time. As steeped in truth as Animals proves, bleak, stark reality isn't the name of its game — visually, at least. When you're caught in the hustle and bustle of life, it can be surreal. When you're reflecting on past choices, agonising over future paths and wondering if your most important relationship to date will survive the present, the right answer rarely stares you plainly in the face. With all of that in mind, Hyde gives her movie a flavour of hectic exuberance, with ample assistance from editor and cinematographer Bryan Mason. That mood couldn't be more influential, including when Animals leans into its more obvious developments and sentiments. In the easy, hard, routine and thorny moments alike, questioning everything you know and navigating a quarter-life crisis should feel energetic, jittery and a little uncanny, after all. https://www.youtube.com/watch?v=_FN_zr4rQzY
UPDATE, July 9, 2021: The Farewell is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Amazon Video. Ask someone how'd they prefer to shuffle off this mortal coil, and you'll likely receive the most cliched of answers: to pass peacefully in their sleep. That's certainly better than any alternative (other than somehow managing to live forever), although it's rarely realistic. Still, if you could give a loved one that gift, sparing them the pain of knowing that the end was near, would you? If they were diagnosed with terminal cancer, had mere months or weeks left to live, and invasive medical treatment would only cloud their remaining days, is it better to let them carry on blissfully unaware? Whether such choices are tender mercies or rob one's nearest and dearest of the chance to say goodbye sits at the heart of The Farewell, a sensitive and stirring drama set within a culture where keeping impending death from the unwell is commonplace. Drawing deeply on her own experience, writer-director Lulu Wang also uses this complicated issue as fuel to contemplate identity, belonging, tradition and cultural displacement. Born in China and raised in New York, Billi (Awkwafina) is firmly ensconced in the Big Apple. An aspiring writer, she's constantly hoping for grants to fund her work, is perennially behind on her rent and largely relies on credit cards to get by. But when her father Haiyan (Tzi Ma) and mother Jian (Diana Lin) deliver the news that her beloved paternal grandmother, Nai Nai (Zhao Shuzhen), has stage four lung cancer, Billi is determined to journey back to China — even when her parents advise her not to go. She's conflicted, however, about her family's decision not to tell their mentally spritely, physically ailing matriarch about her condition. Instead, they're all making the trip under an elaborate cover story, rushing Billi's cousin Hao Hao (Chen Han) to marry his Japanese girlfriend Aiko (Aoi Mizuhara). Such subterfuge is standard in her homeland ("when people get cancer, they die," the Chinese saying goes, referring to the impact such an illness can have on one's will to live), but it rubs against the western sensibilities that've been instilled in Billi since moving to America. One of Wang's most affecting and astute moves, of which there are many, is to task her cast with conveying this moral and emotional dilemma in their every expression and movement. In an intuitive portrayal that's worlds away from her scene-stealing, over-the-top turn in last year's Crazy Rich Asians, Awkwafina lives, breathes and wears Billi's internal turmoil. When the character is plastering on the happiest face she can to hide the truth from Nai Nai, her hunched shoulders reveal her pain. When she's trying to have a quiet, genuine moment with the woman she knows will soon be gone — a vibrant, irrepressibly bossy old lady who bustles about like a near-unstoppable force of nature — sorrow lingers in her eyes. This isn't just Billi's burden, but one shared even by those who support the decision to keep Nai Nai in the dark, sparking stellar performances across the board. Guilt and regret seeps from recognisable Chinese American star Ma (Wu Assassins), playing the son who travelled across the globe to pursue a better life. Chinese Australian actor Lin (The Family Law) tussles with Jian's own difficulties, caught as she is between a crumbling husband and an angry daughter. And as Hao Hao, Han may barely utter more than a few sentences as he endeavours to contain his sadness, but he's always a tense ball of visible discomfort. Favouring the same approach in all facets of the film, Wang styles The Farewell with naturalism at the fore. Dialogue flows freely, often from Nai Nai as she snaps out wedding plans and comments on Billi's appearance as a grandmother is known to, but a picture truly speaks a thousand words here. Collaborating with cinematographer Anna Franquesa Solano, the sophomore filmmaker tells her tale free from any rose-coloured fondness. This is a warm movie, however it steadfastly depicts its central situation, setting and struggle as they are. In practical terms, that means realism and nuance — Billi and her family exist within the film's Changchun locale, and its day-to-day minutiae is baked into every scene, and yet her visiting protagonist doesn't play tourist, for example. The same description applies to the movie's handling of its illness storyline, which is never squeezed for easy sentiment or used as weepie fodder. Wang also finds the right balance between organic humour and earnest emotion, never overstating one or the other — a tactic that particularly resonates when Billi begins to question the existence she was given in America, as well as the links to her broader family and heritage she feels it has robbed her of. All of these choices reinforce The Farewell's takeaway message: that in life and death alike, there is no simple path. There are no clear-cut answers, either, including when you're tossing up whether to tell someone they're dying or keep that knowledge from them. Far from treating these notions as obvious, Wang navigates the many complexities that prove her point with a lived-in maturity. She has literally been there, seen that and emerged to tell the tale, after all. As a result, what could've been a straightforward tearjerker in other hands benefits from her personal and poignant touch, and never heads down the blatant route. This is a subtle, thoughtful and heartfelt film that serves up a continual array of surprises — the kind that can and do get thrown in everyone's way, because that's what grappling with life's ups, downs, comings and goings is like. https://www.youtube.com/watch?v=A0yh_ZIqq0c
Over the past couple of years, there have been times when we've been unable to explore beyond the boundaries of our own LGA, so the thought we could take flight and venture to another planet seemed like absolute fantasy. But, with arts and culture venues starting to open again, Sydneysiders now have the opportunity to marvel at the wonders of the galaxy at Neighbourhood Earth — a multi-sensory, interactive exhibition now on at the ICC Sydney. Concrete Playground was lucky enough to attend the Australian premiere of Neighbourhood Earth, which was also the first event held in the ICC post-lockdown. From the first moment walking into the arena, it was apparent that the organisers had ensured the experiential exhibit fully captures the sheer enormity of intergalactic exploration. Read on to learn what to expect from your other-worldly adventure at Neighbourhood Earth. [caption id="attachment_834979" align="alignnone" width="1920"] Elliott Kramer[/caption] BE BLOWN AWAY BY THE IMMENSE SCALE OF THE EXHIBITION The open spaces and high ceilings of the convention centre are perfect for recreating the cavernous feelings of outer space, and giant curved screens cover many of the walls. The entrance hall features an incredibly detailed scale model of the earth suspended from the ceiling (strategically placed so your focus is immediately drawn to Australia) while videos of stars, galaxies and clouds of nebulae travel past on the screens. Sydney is the ninth city worldwide to host Neighbourhood Earth, and the first outside of China and the USA. The immersive and educational experience was developed by Toto Creative, an Australian design agency behind such events as the DreamWorks How To Train Your Dragon Live Spectacular. In collaboration with M Live, NASA and the US Space & Rocket Centre, Neighbourhood Earth showcases rare space artefacts, provides family-friendly entertainment and lets you marvel at what exists beyond our atmosphere. [caption id="attachment_835001" align="alignnone" width="1920"] Elliott Kramer[/caption] WALK THROUGH A REPLICA CROSS-SECTION OF THE INTERNATIONAL SPACE STATION Once you're in the grand expanse of the exhibition, it's difficult not to feel excited. There are scale models of some of the most important equipment in the history of space exploration, from the Hubble Telescope to Ingenuity — the small helicopter which, earlier this year, became the first craft to make a controlled flight on another planet when it completed several short journeys on the surface of Mars. Those particularly interested in the inner workings of space travel will be enthralled by some of the more technical pieces. There are ingenious, tailor-made gizmos like scratch-resistant lenses and ear thermometers, all developed with life on the International Space Station in mind. In fact, you can even walk through a replica cross-section of the International Space Station, see the myriad of dials and buttons, then gaze out of the porthole, imagining you're orbiting thousands of kilometres above the earth. Of course, an exhibit like this needs some hands-on experiences, and Neighbourhood Earth certainly delivers. Want to find out if you can fuel a rocket and initiate a successful launch? Reckon you can apply just the right amount of force to ensure a satellite stays within a planet's gravitational field? Can you lift a five kilogram bag of sand when it's subject to the gravitational forces of Jupiter? Or guess what you'd weigh on Mercury? You'll have the opportunity to get the answers to all these questions and more at Neighbourhood Earth. [caption id="attachment_835000" align="alignnone" width="1920"] Elliott Kramer[/caption] LET YOUR CHILDHOOD SENSE OF WONDER TAKE YOU TO INFINITY AND BEYOND Over a million people visited Neighbourhood Earth during its incarnations in both the US and China, and you'd imagine they were all blown away by the exhibition's pièce de resistance: the cinematic dome. The dome is a fully immersive audiovisual experience, with screens displaying stunning footage of the solar system. You'll be awestruck at the sheer magnitude of exploration that's ongoing with thousands of photos of planets and stars being beamed back to earth on a regular basis. Plus, in these times of climate change catastrophe, it's heartening to learn that a series of missions to Mars have already identified seven separate potential landing sites for future exploration. What Neighbourhood Earth portrays is the pure scale of what lies beyond our home planet. While the actual enormity might be truly unfathomable (like the fact that the little red spot on Jupiter is actually the size of Earth), for those of us who aren't billionaires or mates with Elon Musk, this is the closest we're going to get to experiencing it first-hand for the foreseeable future. Those who are fascinated by space travel tend to fall in love with it during childhood, when that sense of wonder and excitement is yet to be diluted by responsibility and cynicism. Neighbourhood Earth is specifically engineered to let you revisit those feelings and to make you dream to infinity and beyond. Want to experience Neighbourhood Earth for yourself? For more information and to book, visit the website. Images: Elliott Kramer
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE What a difference Mads Mikkelsen can make. What a difference the stellar Danish actor can't, too. The Another Round and Riders of Justice star enjoys his Wizarding World debut in Fantastic Beasts: The Secrets of Dumbledore, taking over the part of evil wizard Gellert Grindelwald from Fantastic Beasts: The Crimes of Grindelwald's Johnny Depp — who did the same from Fantastic Beasts and Where to Find Them's Colin Farrell first, albeit in a scripted change — and he's impressively sinister and engagingly insidious in the role. He needs to be: his fascist character, aka the 1930s-set movie's magical version of Hitler, wants to eradicate muggles. He's also keen to grab power however he must to do so. But a compelling casting switch can't conjure up the winning wonder needed to power an almost two-and-a-half-hour film in a flailing franchise, even one that's really just accioing already-devoted Harry Potter fans into cinemas. Capitalising upon Pottermania has always been the point of the Fantastic Beasts movies. Famously, this series-within-a-series springs not from a well-plotted novel, where the eight Boy Who Lived flicks originated, but from a guide book on magical creatures. That magizoology text is mentioned in the very first HP tome, then arrived IRL four years later, but it was only after the Harry Potter films ended that it leapt to screens. The reason: showing the Wizarding World's powers-that-be the galleons, because no popular saga can ever conclude when there's more cash to grab (see also: Star Wars and Game of Thrones). For Fantastic Beasts, the result was charming in the initial movie and dismal in its followup. Now, with The Secrets of Dumbledore, it's about as fun as being bitten by a toothy textbook. Nearly four years have passed since The Crimes of Grindelwald hit cinemas, but its successor picks up its wand where that dull sequel left off. That means reuniting with young Albus Dumbledore, who was the best thing about the last feature thanks to Jude Law (The Third Day) following smoothly in Michael Gambon and Richard Harris' footsteps. Actually, it means reuniting Dumbledore with Grindelwald first. And, it involves overtly recognising that the pair were once lovers. The saga that's stemmed from JK Rowling's pen isn't historically known for being inclusive, much like the author's transphobic statements — and it's little wonder that getting candid about such a crucial romantic connection feels cursory and calculating here, rather than genuine. The same applies to The Secrets of Dumbledore's overall message of love and acceptance, which can only echo feebly when stemming from a co-screenwriter (alongside seven-time HP veteran Steve Kloves) who's basically become the series' off-screen Voldemort. Referencing Dumbledore and Grindelwald's amorous past serves the narrative, of course, which is the real reason behind it — far more than taking any meaningful steps towards LGBTQIA+ representation. Years prior, the two pledged not to harm each other, binding that magical promise with blood, which precludes any fray between them now. Enter magizoologist Newt Scamander (Eddie Redmayne, The Trial of the Chicago 7) and his pals. Well, most of them. Newt's assistant Bunty (Victoria Yeates, Call the Midwife), brother Theseus (Callum Turner, Emma), No-Maj mate Jacob (Dan Fogler, The Walking Dead), Hogwarts professor Lally (Jessica Williams, Love Life) and Leta Lestrange's brother Yusuf Kama (William Nadylam, Stillwater) are accounted for, while former friend Queenie (Alison Sudol, The Last Full Measure) has defected to Grindelwald. As for the latter's sister Tina (Katherine Waterston, The World to Come), she's spirited aside, conspicuously sitting Operation Avoid Muggle Genocide out. Read our full review. AMBULANCE Michael Bay movies, Michael Bay movies, whatcha gonna do? Since the action-film director leapt from commercials and music videos to his big-screen debut Bad Boys more than a quarter-century back, there's only been two options. Slickly and unsubtly dripping with gleeful excess, his high-concept flicks embrace explosions, chases, heists, shootouts, jittery chaos and perpetual golden-hour hues with such OTT passion that you surrender or roll your eyes — having a blast or being bored by the bombast, basically. Too often, the latter strikes. That proved true of all five of his Transformers films, which are responsible for more cinematic tedium than any filmmaker should legally be allowed to crash onto screens. That his pictures are lensed and spliced as if lingering on one still for more than a split second is a heinous crime usually doesn't help, but it's what Bay is known for — and yet when Bayhem sparkles like it mostly does in Ambulance, it's its own kind of thrilling experience. Following a high-stakes Los Angeles bank robbery that goes south swiftly, forcing two perpetrators to hijack an EMT vehicle — while a paramedic tries to save a shot cop's life as the van flees the LAPD and the FBI, too — Ambulance is characteristically ridiculous. Although based on the 2005 Danish film Ambulancen, it's Bay from go to whoa; screenwriter and feature newcomer Chris Fedak (TV's Chuck, Prodigal Son) even references past Bay movies in the dialogue. The first time, when The Rock is mentioned, it's done in a matter-of-fact way that as brazen as anything Bay has ever achieved when his flicks defy the laws of physics. In the second instance mere minutes later, it's perhaps the most hilarious thing he's put in his movies. It's worth remembering that Divinyls' 'I Touch Myself' was one of his music-clip jobs; Bay sure does love what only he can thrust onto screens, and he wants audiences to know it while adoring it as well. Ambulance's key duo, brothers Will (Yahya Abdul-Mateen II, The Matrix Resurrections) and Danny Sharp (Jake Gyllenhaal, The Guilty), are a former Marine and ostensible luxury-car dealer/actual career criminal with hugely different reasons for attempting to pilfer a $32-million payday. For the unemployed Will, it's about the cash needed to pay for his wife Amy's (Moses Ingram, The Tragedy of Macbeth) experimental surgery, which his veteran's health insurance won't cover — but his sibling just wants money. Will is reluctant but desperate, Danny couldn't be more eager, and both race through a mess of a day. Naturally, it gets more hectic when they're hurtling along as the hotshot Cam (Eiza González, Godzilla vs Kong) works on wounded rookie police officer Zach (Jackson White, The Space Between), arm-deep in his guts at one point, while Captain Monroe (Garrett Dillahunt, Army of the Dead), Agent Anson Clark (Keir O'Donnell, The Dry) and their forces are in hot pursuit. Everything from Armageddon, Pearl Harbour and The Island to 2019's Netflix flick 6 Underground has trained viewers in what to expect from Ambulance — plus the movies name-checked in Ambulance's frames, obviously — but Bay is also the filmmaker who gave cinema 2013's exceptional Pain & Gain. His latest doesn't reach the same savvy heights, and it's both boosted by its hearty embrace of Bayhem and occasionally a victim to it, but it's rarely less than wildly entertaining. As the director's best efforts have long shown, he boasts a knack for heist-style films. Capers about break-ins of various sorts, even into Alcatraz, suit Bay because they're typically about chasing hefty scores no matter the cost. Ambulance was made for only $40 million, which is a fifth of most Transformers movies and somehow around half of non-Bay-directed recent release Morbius' budget, but bold moves with eyes on a big prize aren't just fiction in Bay's orbit. Read our full review. MEMORIA When Memoria begins, it echoes with a thud that's not only booming and instantly arresting — a clamour that'd make anyone stop and listen — but is also deeply haunting. It arrives with a noise that, if the movie's opening scene was a viral clip rather than part of Thai filmmaker Apichatpong Weerasethakul's spectacular Cannes Jury Prize-winning feature, it'd be tweeted around with a familiar message: sound on. The racket wakes up Jessica Holland (Tilda Swinton, The Souvenir: Part II) in the night, and it's soon all that she can think about; like character, like film. It's a din that she later describes as "a big ball of concrete that falls into a metal well which is surrounded by seawater"; however, that doesn't help her work out what it is, where it's coming from or why it's reverberating. The other question that starts to brood: is she the only one who can hear it? So springs a feature that's all about listening, and truly understands that while movies are innately visual — they're moving pictures, hence the term — no one should forget the audio that's gone with it for nearly a century now. Watching Weerasethakul's work has always engaged the ears intently, with the writer/director behind the Palme d'Or-winning Uncle Boonmee Who Can Recall His Past Lives and just-as-lyrical Cemetery of Splendour crafting cinema that genuinely values all that the filmic format can offer. Enjoying Memoria intuitively serves up a reminder of how crucial sound can be to the big-screen experience, emphasising the cavernous chasm between pictures that live and breathe that truth and those that could simply be pictures. Of course, feasting on Weerasethakul's films has also always been about appreciating not only cinema in all its wonders, but as an inimitable art form. Like the noise that lingers in his protagonist's brain here, his movies aren't easily forgotten. With Weerasethakul behind the lens and Swinton on-screen, Memoria is a match made in cinephile heaven — even before it starts obsessing over sound and having its audience do the same. He helms movies like no one else, she's an acting force of nature, and their pairing is film catnip. He also makes his English-language debut, as well as his first feature outside of Thailand, while she brings the serenity and magnetism that only she can, turning in a far more understated turn than seen in the recent likes of The French Dispatch and The Personal History of David Copperfield. Yes, Weerasethakul and Swinton prove a beautiful duo. Weerasethakul makes contemplative, meditative, visually poetic movies, after all, and Swinton's face screams with all those traits. They're both devastatingly precise in what they do, too, and also delightfully expressive. And, they each force you to pay the utmost attention to their every single choice as well. As Jessica, Swinton plays a British expat in Colombia — an orchidologist born in Scotland, residing in Medellín and staying in Bogota when she hears that very specific din. After explaining it in exquisite detail to sound engineer Hernán (Juan Pablo Urrego, My Father), he tries to recreate the noise for her, but only she seems to know exactly what it sounds like. At the same time, Jessica's sister Karen (debutant Agnes Brekke) is in hospital with a strange ailment. Also, there's word of a curse that's linked to a tunnel being built over a burial ground, and Jessica consults with an archaeologist (Jeanne Balibar, Les Misérables) before heading from the city to the country. Grief echoes as strongly through Jessica's life as the bang she can't shake, and she wanders like someone in a dreamy daze, whether she's roaming around an art gallery or crossing paths with a rural fisherman also called Hernán (Elkin Díaz, Besieged). Read our full review. NOBODY HAS TO KNOW Before Belgian actor and filmmaker Bouli Lanners started gracing screens big and small — writing and directing projects for the former as well — he trained as a painter. If you didn't know that fact, it'd be easy to guess while watching Nobody Has to Know. He helms and scripts, as he did 2011 Cannes award-winner The Giant, plus 2016's The First, the Last. He acts, as he has in everything from A Very Long Engagement and Rust and Bone to Raw and Bye Bye Morons. But it's the careful eye he brings to all that fills Nobody Has to Know's frames that immediately leaves an impression, starting with simply staring at the windswept Scottish scenery that provides the movie's backdrop. It's picturesque but also ordinary, finding visual poetry in the scenic and sweeping and yet also everyday. That's what the feature does with its slow-burning romantic narrative, too. On a remote island, Philippe Haubin (Lanners) has made a humble home. Working as a farmhand, he stands out with his arms covered in tattoos and his accent, but he's also been welcomed into the close-knit community. And, when he's found on the beach after suffering a stroke, his friends swiftly rally around — his younger colleague Brian (Andrew Still, Waterloo Road), who spreads the word; the latter's aunt Millie (Michelle Fairley, Game of Thrones), who ferries him around town; and her stern father Angus (Julian Glover, The Toll), who welcomes him back to work once he's out of hospital. But Phil returns with amnesia, which unsurprisingly complicates his daily interactions. He doesn't know what Brian means when he jokes about Phil now being the island's Jason Bourne, he has no idea if the dog in his house is his own, and he has no knowledge of any past, or not, with Millie. As a filmmaker, Lanners splits Nobody Has to Know's attention between Phil and Millie as they're drawn to each other — through natural chemistry, thanks to her kindness in helping him learn to navigate his life again, and courtesy of secrets and twists that speak to emotional truths even if they involve lying. And, it's due to finessed performances on both parts that the film always resonates with both tenderness and authenticity, befitting its restrained but still affecting tale of pain, guilt, regrets, isolation, identity and yearning. He plays a man who quickly made an imprint in a new place, but has a past he's been fleeing, and now finds himself facing them both anew. She plays a woman cruelly nicknamed 'the Ice Queen' because she's single, quiet and of a certain age, and remains just as eager to unearth her true self. Indeed, as she copes with Phil's new situation, she makes a bold leap to follow her heart. In lesser hands — with lead actors who weren't so adept at understatement, or didn't possess as convincing natural chemistry; with a writer and/or director more fond of leaning into melodrama; with a cinematographer other than the poised Frank van den Eeden (Patrick, Girl), too — Nobody Has to Know could've been relegated to a movie-of-the-week-style weepie. Thankfully, that isn't Lanners' film, which cannily eschews the easy for the deep and evocative. He takes as much care with the feature's sensitive pace, reflecting how tentatively his characters have been willing to embrace their real feelings, as he does with that painterly scenery that makes the utmost of the Scottish islands of Lewis and Harris, and with key performances that convey a lifetime of worries without uttering a word. His is a picture that builds in impact, quietly but unmistakably, like taking the time to truly stare at and soak in everything about a piece of art hung on a gallery wall. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3, March 10, March 17, March 24 and March 31. You can also read our full reviews of a heap of recent movies, such as Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke and Sonic the Hedgehog 2. Top image: ©Kick the Machine Films, Burning, Anna Sanders Films, Match Factory Productions, ZDF/Arte and Piano, 2021.
With the return of The Big Design Market this September, so too comes the return of our inner art and design guru. Coming to Sydney for its fourth year, the three-day independent design extravaganza will take place at Barangaroo's precinct, The Cutaway. It'll feature more than 200 Australian and international stallholders, with everything from homewares and ceramics to clothing, jewellery and stationery — all of which are ethically made. Plus, this year, the market has stepped up its game, with the introduction of The Big Design Mentor: a well-known Aussie designer, offering advice, guidance and insights to five designers who have stalls at the event. For the inaugural mentor, the market has selected celebrated Sydney artist and designer Ken Done. Should you grow hungry mid-shop, you can grab a bite to eat from local favourites such as Shortstop, Fishbowl, Esti Garcia chocolates and Smoking Gun Bagels. Thirsty, too? You'll also find Rabbit Hole Organic Tea and Archie Rose among the many stalls, plus Tassie's Moo Brew and Willie Smith's Organic Apple Cider as well as Victoria's St Ali coffee, Billy Van Creamy ice-cream coming and Innocent Bystander wines from the Yarra Valley. There'll also be a specially commissioned, 45-metre mural by South Australian artist and jewellery designer, Maylin Evanochko of Mazdevallia, which will serve as a colourful backdrop to an already (very) vibrant fair. The Big Design Market will be open on Friday, September 20, from 10am–9pm; Saturday, September 21, from 10am–6pm; and Sunday, September 22, from 10am–5pm. Entry is $5 per person. To check out the full lineup, head this way.
It's hard to imagine sharing anything else with a complete stranger on public transport than the very seat you both happen to sit on. But the Bibliotaxi project based in Sao Paulo, Brazil, makes sharing things on public transport sound not half-bad. The concept behind Bibliotaxi or 'library in a car' was developed by Instituto Mobilidade Verde, or Green Mobility Institute, and combines their causes of sustainability and mobility. The project also aims to encourage 'sharing' in the city of Vila Madalena. Taxi passengers who enter a Bibliotaxi are free to leisurely peruse the books inside the taxi and even borrow (and return) the books if it becomes too hard to part with once their destination is reached. What a great way to revive books. Perhaps the awkward taxi conversation may become more interesting and informed in Sao Paulo, now that there is a library at the passenger's disposal. [Via PSFK]
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS Somewhere in the multiverse, Doctor Strange in the Multiverse of Madness is terrific. In a different realm, it's terrible. Here in our dimension, the 28th film in the Marvel Cinematic Universe teeters and twirls in the middle. The second movie to focus on surgeon-turned-sorcerer Dr Stephen Strange (Benedict Cumberbatch, The Power of the Dog), it's at its best when it embraces everything its director is known for. That said, it's also at its worst when it seems that harnessing Sam Raimi's trademarks — his visual style, bombast, comic tone and Evil Dead background, for instance — is merely another Marvel ploy. Multiverse of Madness is trippy, dark, sports a bleak sense of humour and is as close as the MCU has gotten to horror, all immensely appreciated traits in this sprawling, box office-courting, never-ending franchise. But it stands out for the wrong reasons, too, especially how brazenly it tries to appear as if it's twisting and fracturing the typical MCU template when it definitely isn't. Welcomely weirder than the average superhero flick (although not by too much), but also bluntly calculating: that's Multiverse of Madness, and that's a messy combination. It's apt given its eponymous caped crusader has always hailed from Marvel's looser, goofier and, yes, stranger side since his MCU debut in 2016's plainly titled Doctor Strange; however, it's hard to believe that such formulaic chaos was truly the plan for this follow-up. Similarly, making viewers who've long loved Raimi's work feel like their strings are so obviously being pulled, all for something that hardly takes creative risks, can't have been intentional. It's wonderful that Multiverse of Madness is clearly directed by the filmmaker who gave the world Army of Darkness and its predecessors, the Tobey Maguire-starring Spider-Man movies and Drag Me to Hell. It's fantastic that Raimi is helming his first feature since 2013's Oz the Great and Powerful, of course. But it's also deeply dispiriting to see the filmmaker's flourishes used like attention-grabbing packaging over the same familiar franchise skeleton. Multiverse mayhem also underscored Multiverse of Madness' immediate predecessor, for instance — aka 2021's Spider-Man: No Way Home. That's the last time that audiences saw Stephen Strange, when he reluctantly tinkered with things he shouldn't to help Peter Parker, those actions had consequences and recalling Raimi's time with Spidey came with the territory. Strange's reality-bending trickery has repercussions here as well, because Wanda Maximoff (Elizabeth Olsen, Sorry for Your Loss) isn't thrilled about her fellow super-powered pal's exploits. Yes, Multiverse of Madness assumes viewers have not only watched all 27 past MCU movies, but also its small-screen offshoots — or WandaVision at least, where the enchantress that's also Scarlet Witch broke rules herself and wasn't still deemed a hero. Multiverse of Madness begins before its namesake and Wanda cross paths after their not-so-smooth moves, actually. Strange's latest escapade kicks off with monsters, moving platforms, a shimmering book, and a girl he doesn't know and yet wants to save. It's a dream, but said teen — America Chavez (Xochitl Gomez, The Babysitters Club) — is soon part of his waking life. Hailing from another dimension and possessing the ability to hop through the multiverse, she's still being chased. Interrupting Strange's brooding at his ex-girlfriend Christine's (Rachel McAdams, Eurovision Song Contest: The Story of Fire Saga) wedding, rampaging critters reappear as well, while a sinister tome called The Dark Hold also factors in. The mission: save the girl and all possible worlds, aided by Strange's old friend and now-Sorcerer Supreme Wong (Benedict Wong, Nine Days), and via a run-in with nemesis Mordo (Chiwetel Ejiofor, Locked Down). Read our full review. PETITE MAMAN Forget the "find someone who looks at you like…" meme. That's great advice in general, and absolutely mandatory if you've ever seen a Céline Sciamma film. No one peers at on-screen characters with as much affection, attention, emotion and empathy as the French director. Few filmmakers even come close, and most don't ever even try. That's been bewitchingly on display in her past features Water Lillies, Tomboy, Girlhood and Portrait of a Lady on Fire, any of which another helmer would kill to have on their resume. It's just as apparent in Petite Maman, her entrancing latest release, as well. Now 15 years into her directorial career, Sciamma's talent for truly seeing into hearts and minds is unshakeable, unparalleled and such a lovely wonder to watch — especially when it shines as sublimely and touchingly as it does here. In Sciamma's new delicate and exquisite masterpiece, the filmmaker follows eight-year-old Nelly (debutant Joséphine Sanz) on a trip to her mother's (Nina Meurisse, Camille) childhood home. The girl's maternal grandmother (Margot Abascal, The Sower) has died, the house needs packing up, and the trip is loaded with feelings on all sides. Her mum wades between sorrow and attending to the task. With melancholy, she pushes back against her daughter's attempts to help, too. Nelly's laidback father (Stéphane Varupenne, Monsieur Chocolat) assists as well, but with a sense of distance; going through the lifelong belongings of someone else's mother, even your spouse's, isn't the same as sifting through your own mum's items for the last time. While her parents work, the curious Nelly roves around the surrounding woods — picture-perfect and oh-so-enticing as they are — and discovers Marion (fellow newcomer Gabrielle Sanz), a girl who could be her twin. The Sanz sisters are identical twins IRL, and why they've been cast is right there in Petite Maman's name. Spelling out anything further would be saying more than is needed going in; flitting through the story's intricacies alongside Nelly is one of its many marvels. Like all kids, she's naturally inquisitive about her parents' upbringings. "You never tell me about when you were children," she complains to her dad, who counters that, actually, he and her mother do. Like all kids, she's also keenly aware of the special alchemy that comes with following in your mother and father's youthful footsteps, all just by being in the house and roaming around the woods where her mum grew up. There's nothing as immersive in helping to understand why one of the people that brought you into the world became who they are. Indeed, it's no surprise that Sciamma and her cinematographer Claire Mathon (Portrait of a Lady on Fire, Spencer) shoot the film in golden and glowing autumnal hues. Nelly has questions for Marion, too, and vice versa; however, spending time in each other's company, watching the connection that springs and embracing every emotion it evokes is Sciamma's plan for the quickly thick-as-thieves pair. Explanations about what's happening are unnecessary; only the experience itself, the mood and the resonance it all holds are what matters. So, the girls do what kids do, whether amid all that ethereal greenery or inside Marion's home, decked out in vintage decor as it is, where Nelly meets her new pal's mother. The two girls play, including in a teepee-like hut made out of branches. They write and perform their own play, costumes and all. They share secrets, talk about their dreams for the future, make pancakes, bust out boardgames, and also float through their new friendship as if they're the only people who matter — in that intimate, serious and earnest way that children do with their friends. Read our full review. THE DROVER'S WIFE THE LEGEND OF MOLLY JOHNSON Leah Purcell's resume isn't short on highlights — think: Black Comedy, Wentworth and Redfern Now, plus Lantana, Somersault and Last Cab to Darwin (to name just a few projects) — but the Goa-Gunggari-Wakka Wakka Murri actor, director and writer clearly has a passion project. In 2016, she adapted Henry Lawson's short story The Drover's Wife for the stage. In 2019, she moved it back to the page. Now, she brings it to the big screen via The Drover's Wife The Legend of Molly Johnson. Only minutes into her searing feature filmmaking debut, why Purcell keeps needing to tell this 19th century-set tale is patently apparent. In her hands, it's a story of anger, power, prejudice and revenge, and also a portrait of a history that's treated both women and Indigenous Australians abhorrently. Aussie cinema hasn't shied away from the nation's problematic past in recent times (see also: Sweet Country, The Nightingale, The Furnace and High Ground); however, this is an unforgettably potent and piercing movie. In a fiery performance that bristles with steeliness, Purcell plays the eponymous, gun-toting and heavily pregnant Molly. In the process, she gives flesh, blood and a name to a character who wasn't allowed the latter in Lawson's version. In this reimagining, Molly is a 19th-century Indigenous Australian woman left alone with her four children (and one on the way) on a remote Snowy Mountains property for lengthy stretches while her husband works — and that situation, including the reasons behind it and the ramifications from it, causes ripples that shape the course of the film. Two of the key questions that The Drover's Wife The Legend of Molly Johnson asks couldn't be more obvious, but something doesn't have to be subtle to be potent and perceptive. Those queries: what impact does being marginalised twice over, as both a woman and a First Nations Australian, leave on the feature's protagonist? How has it forged her personality, shaped what she cares about and cemented what she's capable of? It's during her spouse's latest absence that the film unfurls its story, not with a snake but rather strangers trotting Molly and her children's way. New sergeant Nate Clintoff (Sam Reid, The Newsreader) and his wife Louisa (Jessica De Gouw, Operation Buffalo) decamp from England — both well-meaning, and the latter a journalist who even protests against domestic violence, but neither truly understands Molly's experience. Also darkening her door: her husband's pals (Dead Lucky's Anthony Cogin and Wakefield's Harry Greenwood), who make the male entitlement and privilege of the time brutally apparent. And, there's no shortage of other locals determined and downright eager to throw their might, morals and opinions around, be it the resident judge (Nicholas Hope, Moon Rock for Monday), the minister (Bruce Spence, The Dry) or his unwed sister (Maggie Dence, Frayed). As Purcell impresses in her stare and stance first and foremost, Molly doesn't let her guard down around anyone. The Drover's Wife The Legend of Molly Johnson has the parade of supporting characters to show why, and to illustrate the attitudes its namesake has been forced to stomach silently her entire life. She sports physical markers, too; from the outset of this moody and brooding film, there's no doubting that violence is a familiar and frequent part of Molly's existence. But Aboriginal fugitive Yadaka (Rob Collins, Firebite) is one of the few figures to venture in her direction and earn more than her ferocious gaze. He's on the run from murder charges, although he states his real crime bluntly: "existing while Black". Around the Johnson property, he strikes up a warm camaraderie with Molly's eldest boy, 12-year-old Danny (newcomer Malachi Dower-Roberts) — and, in another of the script's point-blank strokes, he's soon the closest thing to an ally his wary host has ever had beyond her children. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on February 3, February 10, February 17 and February 24; and March 3, March 10, March 17, March 24 and March 31; and April 7, April 14, April 21 and April 28. You can also read our full reviews of a heap of recent movies, such as Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke and Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era and Wheel of Fortune and Fantasy.
Bitter Phew was established in 2014 as a joint venture between Aaron Edwards and Jay Pollard. At a time when craft beer was not the powerhouse it now is, these two set out to pour rare, interesting and specialised beers from all over the world. Bitter Phew boasts 12 taps of seriously impressive brews which are constantly changing. It also has one of the biggest bottle selections in the city. It's a smart, small bar vibe in the front and a quaint 'keg garden' in the back. And now, the crew has also taken over the space downstairs to create SuperPhew. The offshoot is skewed toward high profile natural wines, with a list curated by Jordan Blackman. The venue allows patrons to enjoy a drink or food from either in both, so you can escape the hustle and bustle of city life and indulge in something a little special next time you're on Oxford Street.
In Sydney, we're blessed with an abundance of excellent places to eat. Whether it's a spot for date night, somewhere to catch up with your crew or just to break up your mid-week routine, you generally don't have to go far to find a great meal. Harris Park, a buzzing multicultural neighbourhood with a friendly village-like atmosphere, is certainly one such place. It punches above its weight when it comes to great places to eat in this suburb that sits just south of Parramatta. In partnership with the City of Parramatta, we've put together this list of the six must-try dishes in Harris Park. BYO stretchy pants. BUTTER CHICKEN DUMPLINGS Where to find them: Momozz, 104-108 Wigram Street What they are: Some of the greatest combinations in life are often the most unexpected. Did ice cream and fries walk so freshly steamed momos luxuriating in butter chicken sauce could run? Possibly. This signature serve from bustling diner Momozz is one of those dishes that makes you wonder why nobody thought of it sooner. Your choice of veggie or chicken momos are steamed to order, before being tossed in the restaurant's special butter chicken sauce — which itself hits the sweet, earthy and creamy notes you want it to — and finished on the plate with a generous helping of raita to bring the flavours together. We'd say these packages of pure pleasure do what they say on the tin, but that'd be underselling them. MEETHA PAAN Where to find it: Durga Paan and Falooda House, 3/14-20 Station Street East What it is: As one of the most ubiquitous snacks in the subcontinent, paan is everywhere in India — but it's a lot harder to track down in Australia. For the uninitiated, paan is a betel leaf stuffed with an assortment of ingredients and folded up into a bite-sized morsel (a lighting-fast yet hypnotic process which can elicit an ASMR response in some viewers), typically consumed as a post-meal treat or palate cleanser. Paan has such a legacy in India that it's endorsed by Ayurveda practitioners thanks to its being rich in carotene, calcium and vitamins, and also makes an appearance in the Kama Sutra. You can try the delicacy at Harris Park's Durga Paan and Falooda House, one of the very few spots in Sydney dedicated to the treat (and a TikTok favourite, too). There's a sweet (meetha), savoury (sada) and chocolate version available, but we love the sweet version. It's a texture-laden flavour bomb in which a fresh betel leaf envelops a colourful array of crunchy tidbits, dried fruits, fennel seeds, sweet chutney and desiccated coconut. Durga has also become known for its fire paan, which is by no means a hyperbolic misnomer. ZNOUD EL SETT Where to find it: SweetLand Patisserie, 55 Wigram Street What it is: This legendary Lebanese dessert — also known as a lady finger — is a bona fide indulgence. Especially popular during Ramadan as a post-iftar treat, these creamy and crispy pastries are a perfect pairing for a cup of coffee or tea. The version from family-owned SweetLand Patisserie is an excellent rendition of the classic dessert. Expect a beautifully rich and delicately flavoured ashta — which is similar to clotted cream — encased in layers of filo pastry which is wrapped into a finger-sized cigar, baked until perfectly golden and doused in a fragrant rose and orange syrup. It's then finished with a dollop of ashta and a drizzle of crushed pistachio. Stopping at just one might be a challenge. DAHI PURI Where to find it: Chatkazz, 14-20 Station Street East What it is: The clue's in the name here, folks. Think of dahi puri as the zingy cousin of the much-loved chaat pani puri. This one-bite wonder might be less well known than pani puri, but it is still definitely worthy of your attention. And Harris Park institution Chatkazz is one of the few places in town where you can get it. So, how does it differ from its similarly named sibling snack? The base of puffed, deep-fried bread filled with a layer of boiled potato is the same, but that's where the similarities end. Dahi puri sees hearty chickpeas packing out the crunchy base which is then topped with yoghurt, various chutneys, sev for extra crunch and finished with a pomegranate seed for an extra bit of depth. A true delight. MANGO KULFI Where to get it: Rocket Kulfi, 84/65 Wigram Street What it is: Perhaps one of the subcontinent's best-loved desserts, kulfi is often thought of as India's answer to ice cream — but that's not quite the case. Where ice cream is whipped before being frozen, kulfi is not, and the result is a more solid, dense dessert that's more like a frozen custard. Its density also causes it to melt more slowly than ice cream, making for less sticky fingers (at least in theory). As its name would suggest, Harris Park go-to Rocket Kulfi specialises in the frozen treat and uses a traditional recipe to create its range of classic and contemporary flavours. You'll likely want to work your way through the whole list of flavours, but you can't go wrong with the sweet, creamy mango. Bonus: the icy-pole sticks are made with 100% pure Australian milk and are also free of gelatin, artificial flavours and preservatives (Apk Ticket). LAMB CHOWMEIN Where to get it: Chulho, 59-61 Wigram Street What it is: Nepal's incredible cultural and geographic diversity means that its cuisine is really more like several cuisines under the one proverbial banner. There are a few dishes that are enjoyed throughout the mountainous, landlocked nation though — and chowmein is one of them. Thought to be introduced to Nepal by Tibetan settlers, chowmein has become one of the country's most popular and ubiquitous fast food items. The Nepali take on the Chinese stir-fried noodle dish doesn't stray too far from the version you've likely already had, but that doesn't mean it's not worth your time. Wigram Street restaurant and live music venue Chulho prepares its version with expertly cooked thin egg noodles wok-fried with a medley of fresh vegetables, soy sauce and a secret homemade sauce that adds a whack of umami. We love the lamb version, with the tender protein adding a layer of subtle sweetness to the palate. To discover more excellent eats and things to see and do in Harris Park, head to the website. Images: Nikki To
All That Jazz isn't one of Damien Chazelle's films. It hit cinemas in 1979, six years before the Whiplash and La La Land filmmaker was born, so it can't be. But the Oscar-winning writer/director sure has taken those three words to heart. With the exception of his last flick until now, 2018's Neil Armstrong biopic First Man, Chazelle adores all that jazz — and he adores pumping it through his movies, too. So, returning to the big screen after making jazz club drama The Eddy for Netflix in 2020, of course he's heading back to an era in history known as the jazz age. Babylon dances through Hollywood's Golden Age with a jazz (what else?) soundtrack, following Margot Robbie and Brad Pitt as they wreak havoc throughout Tinseltown. Robbie (The Suicide Squad) plays Nellie LaRoy, a 1920s actor. After winning an Oscar for Once Upon a Time in Hollywood — set in a different era of Los Angeles' past — Pitt (Bullet Train) plays Jack Conrad, an industry veteran. As the decade comes to an end and Hollywood changes, the two characters have much to grapple with in this tale of ambition and excess. As the just-dropped first trailer makes plain, they have plenty of parties to attend, too — decadently staged affairs that look right out of The Great Gatsby, or at least as if Chazelle is channelling his inner Baz Luhrmann. And if you weren't already thinking that anyway, up pops Tobey Maguire in only his fifth movie role since The Great Gatsby. (Also on his resume since then: the wholly unrelated 2014 TV series The Spoils of Babylon). Since capturing Hollywood's attention back in 2014 with Whiplash, Chazelle hasn't been known for holding back — and in a trailer that opens with Robbie and a table of drugs, ends with her fighting a snake, gleams with golden sights in-between, and splashes around so much alcohol that you're forgiven for feeling a little boozy while watching it, that's clearly the case with Babylon. The official plot synopsis promises to "trace the rise and fall of multiple characters during an era of unbridled decadence and depravity in early Hollywood" — and if that's your tempo, the end result hits cinemas in January 2023. Also among the cast: a massive who's who of Hollywood today, including Diego Calva (Narcos: Mexico), Jean Smart (Hacks), Jovan Adepo (The Stand), Li Jun Li (Sex/Life), PJ Byrne (The Boys), Lukas Haas (Widows), Olivia Hamilton (First Man), Max Minghella (The Handmaid's Tale), Rory Scovel (Physical), Katherine Waterston (The Third Day), Red Hot Chili Peppers' Flea (Obi-Wan Kenobi), Eric Roberts (The Righteous Gemstones), Ethan Suplee (Dog), Samara Weaving (Nine Perfect Strangers) and Olivia Wilde (Don't Worry Darling). Check out the trailer for Babylon below: Babylon releases in cinemas Down Under on January 19, 2023. Images: courtesy of Paramount Pictures.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE INNOCENTS Thanks to his Oscar-nominated work co-penning The Worst Person in the World's screenplay, Eskil Vogt has already helped give the world one devastatingly accurate slice-of-life portrait in the past year. That applauded film is so insightful and relatable about being in your twenties, and also about weathering quarter-life malaise, uncertainty and crisis, that it feels inescapably lifted from reality — and it's sublime. The Innocents, the Norwegian filmmaker's latest movie, couldn't be more different in tone and narrative; however, it too bears the fingerprints of achingly perceptive and deep-seated truth. Perhaps that should be mindprints, though. Making his second feature as a director after 2014's exceptional Blind, Vogt hones in on childhood, and on the way that kids behave with each other when adults are absent or oblivious — and on tykes and preteens who can wreak havoc solely using their mental faculties. Another riff on Firestarter, this thankfully isn't. The Innocents hasn't simply jumped on the Stranger Things bandwagon, either. Thanks to the latter, on-screen tales about young 'uns battling with the supernatural are one of Hollywood's current favourite trends — see also: the awful Ghostbusters: Afterlife — but all that this Nordic horror movie's group of kids are tussling with is themselves. Their fight starts when nine-year-old Ida (debutant Rakel Lenora Fløttum) and her 11-year-old sister Anna (fellow first-timer Alva Brynsmo Ramstad), who is on the autism spectrum, move to an apartment block in Romsås, Oslo with their mother (Blind's Ellen Dorrit Petersen) and father (Morten Svartveit, Ninjababy). It's summer, the days are long, and the two girls are largely left to their own devices outside in the complex's communal spaces. That's where Ida befriends Aisha (Mina Yasmin Bremseth Asheim) and Ben (Sam Ashraf), albeit not together, and starts to learn about their abilities. One of The Innocents' most astonishing scenes — in a film with many — springs from Ida discovering what the sullen, bullied Ben can do solely with his brain. Indeed, one of Vogt's masterstrokes is focusing on how she reacts to the boy's telekinesis, as demonstrated by flinging around a bottle cap. Ida is almost preternaturally excited, and she's lured in by the thrall of what Ben might be able to do next, even though she can visibly sense that something isn't quite right. Another series of unforgettable moments arises shortly afterward when her new pal, lapping up the attention from his only friend, cruelly and sickeningly shows off without even deploying his superpowers. It's a deeply disturbing turn in a movie that repeatedly isn't afraid to find evident terrors in ordinary, everyday, banal surroundings, and Ida's response — horrified, alarmed, yet unwilling to completely cut ties — again says everything. Vogt doesn't shy away from intimating something that society often doesn't, won't or both: that childhood and innocence don't always go hand in hand. En route to their new home in the film's opening sequence, Ida is already spied pinching the non-verbal Anna just to glean what she'll do. Later, as conveyed in economical imagery lensed by stellar cinematographer Sturla Brandth Grøvlen — who already has Another Round, Last and First Men, Shirley, Rams and Victoria to his name, and uses blood here with haunting precision — she's seen escalating that pain-fulled experimentation in a gutwrenching fashion. This side to the girl's personality isn't played as a twist or shock, and neither are Ben's skills and proclivities, or the friendly Aisha's telepathic powers (including the ability to communicate with Anna). Instead, The Innocents is positively matter of fact about what its pint-sized characters are capable of, and also steadfastly avoids trading in simplistic ideas of good and evil, or offering up neat rationales. Read our full review. HOW TO PLEASE A WOMAN When Magic Mike stripped its way into cinemas a decade ago, it didn't just turn Channing Tatum's IRL background into a movie and give his chiselled torso oh-so-much attention; it understood that women like sex, boast libidos and have desires, too. Its sequel, Magic Mike XXL, doubled down on that idea, and winningly so — even if the saga dances with a notion so blatant that it definitely shouldn't feel revelatory to see it thrust front and centre in a big-budget Hollywood film. There's no trace of Tatum in How to Please a Woman, and it has nothing to do with the saucy franchise that has a third flick on the way, but this Aussie comedy nonetheless follows in Magic Mike's footsteps. Here, women also like sex, boast libidos and have desires, and that's something that the stuck-in-a-rut Gina (Sally Phillips, Off the Rails) turns into a lucrative business. When first-time feature writer/director Renée Webster begins her sunnily shot, eagerly crowd-pleasing leap to the big screen — following helming gigs on TV's The Heights and Aftertaste — Gina's relationship with sex is non-existent. She has long been wed to lawyer Adrian (Cameron Daddo, Home and Away), but he still thinks that having a tumble on their last holiday years ago is enough bedroom action to keep their marriage going. Gina's resigned to that fact, too, until her ocean swimming club pals book her a stripping surprise for her birthday. Tom (Alexander England, Little Monsters) shows up at her door, starts gyrating and undressing, and says he'll do whatever she wants. Although her friends are later horrified — and its their eagerness to truly take Tom up on his offer that inspires a brainwave — Gina asks him to clean her house instead. Men doing housework shouldn't be revolutionary or subversive either, but How to Please a Woman still uses it as a doorway to exploring other female yearnings that are often left unsatisfied. It's as cliched a move as Webster makes — and her movie makes plenty — but it's also part of the film's devotion to celebrating what women genuinely want. Here, a comedy can be overt, easy and obvious (all things that Gina's sex life isn't), and also delightfully well-intentioned in embracing a fact of life that's rarely given much attention, especially if women past their 30s are involved. Indeed, when a suddenly unemployed Gina, devastated by being the only one downsized out of the insolvency firm she dutifully works for, spots a removalist company she thinks she can save — by turning it into a male escort service, covering scrubbing and shagging alike, and both if customers would like — How to Please a Woman is both broad and joyous. There's a caper attitude to Gina's operations from there, after convincing Tom's removals colleagues Anthony (Ryan Johnson, Doctor Doctor), Ben (Josh Thomson, Young Rock) and Steve (Erik Thomson, Coming Home in the Dark) to widen their professional repertoire. She's skirting the law, Adrian's none the wiser, and the customers (including characters played by Blacklight's Caroline Brazier, Mystery Road's Tasma Walton, Rams' Hayley McElhinney and The Heights' Asher Yasbincek) keep coming. Sometimes, those between-the-sheets antics are clumsy, and Gina's new stable of prostitutes need a few pointers. That applies to getting their paying clients' homes spick and span, too. And, it also covers How to Please a Woman overall, which is always cosier and less risqué than its sex-positive, age-positive and female-focused premise implies. It also leans on the expected rather than takes risks, but remains wonderfully cast — especially Phillips — and gleefully wears its message about finding happiness by knowing what you need and going for it. LAST SEEN ALIVE Perhaps the most positive thing that can be said about Last Seen Alive is this: it's definitely a Gerard Butler-starring kidnapping thriller. That isn't meant as praise, though; rather, the film simply manages to be exactly what viewers would expect given its star and premise. There's clearly far less cash behind it than the also-terrible trio of Olympus Has Fallen, London Has Fallen and Angel Has Fallen — or Geostorm, Den of Thieves, Hunter Killer and Greenland among the Scottish actor's career lowlights over the past decade, either. There's visibly less effort, too, and more of a phoning-it-in vibe. The second collaboration between actor-turned-filmmaker Brian Goodman (What Doesn't Kill You) and producer/writer Marc Frydman after 2017's Black Butterfly, it plays like something that a streaming platform's algorithm might spit out in an AI-driven future where new movies are swiftly spliced together from pieces of past flicks. Yes, among Butler's output and with its abduction storyline, it's that derivative. Butler plays Will Spann, a real estate developer who already isn't having a great day when the film begins — but it's about to get worse. He's driving his unhappy wife Lisa (Jaimie Alexander, Loki) to her parents' home, where she's keen to decamp to find herself and take a break from their marriage, and Will is desperate to convince her to change her plans en route. His charm offensive isn't working when they stop at a petrol station mere minutes away from their destination, and he has zero charisma for anyone when Lisa unexpectedly disappears while he's filling the tank. Fuming that local police detective Paterson (Russell Hornsby, Lost in Space) hasn't just dropped everything immediately, and that he also has questions about their relationship, Will decides to chase down any lead he can himself. Meanwhile, Lisa's unsurprisingly wary parents (Queen Bees' Cindy Hogan and Master's Bruce Altman) direct their suspicions his way. Perhaps the most backhanded compliment that can be given to Last Seen Alive is this: it'd make a better Liam Neeson movie. Both Frydman's script and Goodman's execution feel like they're aiming for Taken; instead, even this year's dismal Blacklight looks better. With Butler in the lead, Will comes across as overbearing and insufferable rather than concerned and committed to doing whatever it takes — and nothing that the character does makes much sense as a result. He refuses to let the cops investigate because, basically, he's played by an angry Butler. He can't even wait at the petrol station that Lisa disappears from for seemingly the same reason. When he gets a tip about a suspect, he takes matters into his own hands rather than tells Paterson because, you guessed it, he's played by an angry Butler. Accordingly, the entire movie is little more than an exercise in answering the same question over and over again: what would a jerk of a character played by an angry Butler do in any given situation? It doesn't help that Last Seen Alive is shot as if the bane of every recently made television's existence, motion-smoothing settings, were already set in-camera. There's low-budget naturalism and then there's the flat, dull, soap opera-style look that this film sports. And, the special effects used for explosions simply demonstrate how vast the gap between unconvincing CGI and the real thing can be. Similarly doing the film no favours: the complete and utter absence of tension that stems from its central casting, and also its eagerness to prove as generic as possible. Little that Spann does is logical, but it's also ridiculously predictable because it's exactly what has to happen with Butler in the part. That he's easily and quickly overshadowed by Ethan Embry (First Man) in a thankless supporting role says everything it needs to. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on February 3, February 10, February 17 and February 24; and March 3, March 10, March 17, March 24 and March 31; April 7, April 14, April 21 and April 28; and May 5 and May 12. You can also read our full reviews of a heap of recent movies, such as Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke, Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era, Wheel of Fortune and Fantasy, Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara and This Much I Know to Be True.
Deciding what to do with your spare time can be a difficult task. And it only gets more challenging when you're deciding between live music, incredible food, luminous lanterns and vibrant art activations — like at the upcoming Sydney Lunar Festival. Luckily for you, we consider ourselves experts in having a good time and have pored over the the festival program to bring you our top picks. Whether you want to master the art of dumpling making or to go on a self-guided treasure hunt around Haymarket, there are plenty of excellent ways to celebrate the Year of the Tiger in the CBD. So, if you're wondering what should be at the top of your list, read on to find our favourites from the festival. NIK ADDAMS: Branded Content Manager Did you ever think you had the chops to win The Amazing Race but the idea of your private disagreements with a loved one being televised was too embarrassing to actually apply? Well, for Lunar New Year in 2022, you can go on your very treasure hunt — sans broadcast rights — at the Chinatown Bites and Culture treasure hunt experience. To get involved in the self-guided treasure hunt, you'll need to download the app. Then, simply follow the clues, decipher the riddles and complete the tasks along the trail to unlock the hidden treasure. It'll make a fun addition to your next date night and a great way to reacquaint yourself with city. COURTNEY AMMENHAUSER: Branded Content Manager When it comes to selecting an excellent festival event to attend, I look for variety. And, if you head to Lunar Lanes, that's exactly what you'll find. On Saturday, January 29, the bustling streets of Haymarket will be filled with live music, DJs, roving performances, art activations and delicious food, of course. There'll even be a luminous, ten-metre-long LED dragon on the loose, winding its way through the streets to add to the lively street festivities. You'll be spoilt for choice when it comes to dinner options, too. For me, I'll be heading to Ho Jiak for a feast followed by a cocktail at Bancho Bar. MELANIE COLWELL: Branded Content Editor I set myself quite a few cooking challenges in the depths of lockdown to evade boredom in last year — I rolled pasta, I fed my sourdough starter, I baked way too many cookies. But I never managed to perfect the art of dumplings. I tried. Oh, how I tried. But those tiny little morsels of joy are trickier to master than they may appear. But master them I will, with help from the legends at The Gardens by Lotus. The two-hour dumpling masterclass sees you making mushroom spring rolls, chicken sui mai and a surprise LNY-inspired dumpling in the glorious heritage-listed teahouse in the Chinese Garden of Friendship. There'll be libations throughout (read: bottomless rosé) and a take-home kit so you can impress your mates with your newfound skills. BEN HANSEN: Staff Writer Chat Thai is an iconic takeaway spot that I often turn to when in need of some next-level Thai food. The Sydney chain is celebrating the Year of the Tiger with a special lucky Lunar New Year menu available across all five of its standout venues. Whether you're dining at Neutral Bay or Chatswood, you'll find a selection of dishes designed to promote happiness throughout the new year. The menu will be split into four sections — wealth, longevity, prosperity and fortune — each featuring tasty dishes pulled from the Chat Thai handbook. Highlights include the crab fried spring rolls on the wealth menu, fried garlic pork belly to promote prosperity, fried snapper stir-fry promoting fortune and an array of noodle dishes on the longevity menu. SUZ TUCKER: Editorial Director Hello Kitty might be my favourite media franchise (apologies to Star Wars!). With her benevolent low-affect, pinafore 'fit and comforting inability to age, hers is an empire where cult and mass collide. I am very much looking forward to getting fully immersed in dead-eyed cuteness when Darling Square gets taken over as Hello Kitty Town. There will be art works. There will be products. There will be cosplay. There will be Hello Kitty branded food specials in the restaurants. And it's running until the end of April. Slap a bow on me and call me kawaii, this is going to be good. For more information on Sydney Lunar New Year, visit the website. COVID-19 safety plans are in place for all City of Sydney Lunar New Year events and all NSW Health regulations will be followed. The City of Sydney strongly encourages all visitors to be vaccinated and to wear masks. If you're feeling unwell, please stay home.
Nestled on a corner terrace in Chippendale is an unassuming Abercrombie Street wonder. Offering Korean fried chook in a range of flavours — some of which are special one-offs, alongside loaded burgers and at an affordable price point — Joy is a must-try addition to your fried chicken hit list (or try our lineup of the best fried chicken in Sydney). Owner Kay Hwang is a Sydney hospitality stalwart. Hwang moved to Australia from South Korea 19 years ago before professionally training and opening Sergeant Lok in The Rocks in 2020. The pandemic became the catalyst for Hwang to step away from Sergeant Lok and shifted focus to a life-long love: fried chicken. According to Hwang, the concept behind Joy Korean Fried Chicken is about a great fried chicken spot where customers can order smaller amounts — like one or two pieces instead of having to go the whole bird. That's exactly what you can get: crispy fried chicken pieces on the bone for $4.50–5.90 a pop, plus 180-gram serve boneless pieces, accompanied by coleslaw and pickles. From here you face the tough decision about what flavour you choose. Your options include sweet and spicy, honey soy, lemon and parsley, and bulgogi, with special edition limited-time flavours popping up on the menu regularly. If you're looking for a heftier meal, hungrier patrons can get all flavours available in burger form or go for the Joy Box combo of fried chicken, a burger, coleslaw, pickles, chips and a drink for under $20. A real bargain.
"For never was a story of more woe," said William Shakespeare of Romeo & Juliet. To be accurate, he had the iconic play announce that itself in its second-last line. In the four centuries since the famed tale was first penned, never was there a tragic romance that's better known, either. Few works have been adapted and performed as much as this story of the warring Montague and Capulet families, and the heartbreak that ensues when their children fall in love — but Benjamin Millepied's Romeo & Juliet suite still stands out. Sydney audiences can now discover why for themselves, with the world-famous choreographer's take on Shakespeare's star-crossed lovers making its Aussie debut. Playing exclusively at the Sydney Opera House from Wednesday, June 5–Sunday, June 9, the ballet is filling the Joan Sutherland Theatre and other spaces with a mix of dance, theatre and cinema that defies genres, as well as a modernisation of the narrative that sees love first, not gender. Three versions comprise the suite, each with a different couple. On the production's first night and its Saturday matinee, an all-male pairing will bring Romeo & Juliet to life. On the second evening and the Saturday night, two female dancers will play the lead parts. And on the Friday and Sunday, a male-female duo will take to the stage. Millepied's Romeo & Juliet hails from the LA Dance Project, which he co-founded and acts as its Artistic Director. The company's ensemble are performing on the opera house's stage and also throughout the building, which is then broadcast live back to the audience inside the Joan Sutherland Theatre. So, the Romeo & Juliet suite plays with form, too — and even if you think you've seen every iteration of R&J before, this one is unique. Bringing the ballet Down Under for the first time marks Millepied's latest project in Australia. His last: making his film directorial debut with Carmen, which starred Melissa Barrera (Abigail) and Paul Mescal (All of Us Strangers), reimagined Prosper Mérimée's novella and Georges Bizet's opera, and shot in the outback New South Wales town of Broken Hill. The dancer, choreographer and filmmaker's resume before that spans joining the New York Ballet as a teen, choreographing and co-starring in Black Swan, a stint as Paris Opera Ballet's Director of Dance and creating the sandwalk for Denis Villeneuve's versions of Dune. Images: Julien Benhamou, Paul Bourdrel and Josh Rose.
The Concrete Playground team is out on the streets soaking up the Sydney Fringe. Here's what we've found so far — this diary will be updated as the festival progresses. Adventures in Hair 18 and 15 September, The Switchbox, Factory Theatre; 2 October, The Container, Factory Theatre Adventures in Hair is a wonderfully original and clever piece of writing with an incredibly nonsense plot about the quest for a new viceroy for 1622 Macau. It had absolutely nothing to do with hair but certainly lots to do with adventure and whilst there were some criticisms to be had — some scenes involved too much standing still and the hat donning was unpolished — these could be ignored due to the energy brought by the trio of Ciaran Magee, Michael Richardson and Laurence Rosier Staines. They were clearly enjoying what they were performing on stage and it was infectious, with the entire audience laughing even if they weren't always sure why. -MW Fully Committed 26-28 September, New Theatre Sixty minutes. Forty characters. One actor. Becky Mode's Fully Committed is a rollicking, fast-paced one-man satire revealing the not-so-fine underside of fine dining. It depicts one day in the working life of Sam Peliczowski, whose day job is phone reception for a four-star Manhattan restaurant. It's a highly challenging script, demanding on-the-mark timing, deft switching of personas and intensely focused energy. Actor Nick Curnow, under the direction of Alexander Butt, does it tremendous justice, natural and believable as the pressured-to-the-hilt Sam and laugh-out-loud funny as his cast of persistent customers and unhelpful co-staff. As The Brevity Theatre Co.'s debut production, Fully Committed suggests that the Australian theatre scene can celebrate an exciting addition. -Jasmine Crittenden Jane Austen Is Dead 16-23 September, New Theatre Jane Austen is Dead is the best play I have seen at the Sydney Fringe in the years I have been attending. Having been neatly polished in Edinburgh, New Zealand and Melbourne, it arrived in Sydney with not a theatrical crack to be seen. Mel Dodge's captivating performance as 33-year-old "spinster" Sophie, youthful and desperate Mary as well as her countless past suitors fuse together brilliantly and her integration of Austen's archetypal male suitors into the play is effortless, so much so that you certainly need not be an Austen fan to comprehend and enjoy the show. Sophie's final realisation that she is happy in her own company is fitting, as we were all happy to be in Dodge's for the hour. -MW Once again the phrase 'boat peeps' makes its way into my review notes. #SydneyFringe @JazzTwemlow — Anita Senaratna (@anitasenaratna) September 14, 2013 2013 - When We Were Idiots 6-15 September, starting at The Pie Tin Newtown In 2013- When We were Idiots, comedian Xavier Toby dons a penguin suit (not a tuxedo, a literal penguin suit) and pretends that he and the audience are from the year 2113, wandering the streets of Newtown reflecting on all the stupid things people did and believed in in the year 2013. The show is part interactive stand-up. part hilarious walking tour and actually does contain a lot of cool historical facts about Newtown. Toby covers lighthearted stuff like onesies, fast food and consumerism (because apparently in the year 2113 people only wear one outfit until it wears out — a statement met with some dismay by female audience members) but also touches on things like gay marriage, boat people and Tony Abbott. It's one of those things you could go to every single night and have a different experience, because a lot of the humour comes from the interactions with the public along the way and the audience participation elements. Site specific/interactive art is on the rise, but so far this hasn't really spilled over to comedy. It's a unique approach to stand-up (or rather, walk-around) comedy and it would be interesting to see if this inspires other comedians to try similar formats. -Anita Senaratna -When We Were Idiots MotherFather - DoctorDoctor 18-20 September, The Fusebox (Factory Theatre) MotherFather are the two best improvisers in the country at the moment, confirmed by their current status as national Theatresports champions. However, watching them in an hour-long format you can witness their true brilliance in all its hilarious glory. Bridie Connell and Tom Walker excel in an arena where they can flesh out their characters, showcase their ability to rap and generally just entertain — Tom’s description of a pet as a partner that you can hold in one hand will leave this reviewer laughing every time he pats a dog. The chemistry they have as a performing duo results in not a beat being missed, compelling the audience to immerse themselves in the entire hour. Whilst their run is at an end, you can still catch Tom’s absorbing physicality in his solo show, Muscle Clown. Matthew Watson, writer The venue theming could do with a little work, but it's great to see @sydneyfringe with a lively outdoor hub like Emerald City this year. — Rima Sabina Aouf (@rimasabina) September 20, 2013 101 Vagina 17-22 September, TAP Gallery Sigh, if only sex-education made a class excursion to the 101 Vagina Book Exhibition compulsory. It's a tonne more helpful to the prepubescent than 'hair will grow places' and is all about flipping off the taboo that surrounds the female body. Philip Werner's series has donned the walls of Tap Gallery with 101 photos of vaginas (otherwise known to the diagram savvy as vulvas), each accompanied by a message, story or poem. Part of Sydney Fringe, this is one we all need to see one or even 101 times. Expect a little high-fiving your awesome body along the way. -Rachel Eddie, writer 101 Vagina The Defence 4-14 September at PACT Centre for Emerging Artists If the Sydney Fringe Festival is a lucky dip, The Defence is the $10,000 winning scratchie someone kindly dropped into the mix. By Chris Dunstan and his cohorts from theatrically prodigious University of Wollongong, it explores the shifting shape of misogyny over the centuries. Nested like a Russian doll, The Defence contains a bombastic, gender-swapped play about the psychology of playwright and notorious woman-hater August Strindberg (whose Miss Julie is concurrently playing at Belvoir), the rehearsals for which are constantly interrupted so the male director and his two actors can workshop the scenes. Needless to say, its greatest indictment is reserved for today's educated young men, who may be able to deconstruct gender at essay length but still manage to do and say some vile and unaware things. Funny, confident and unflinching, The Defence is incredibly smart but never feels like hard work. -RSA THE DEFENCE was the best @sydneyfringe show I've seen. Funny, unflinching and full of astute observations about misogyny today. Encore pls. — Rima Sabina Aouf (@rimasabina) September 18, 2013 The Defence Jude the Obscure 4-14 September at PACT Centre for Emerging Artists This show has the best premise ever, end of story. Writer/performer Alice Williams plays Australian comedian Judith Lucy, in space, in the the future, doing a catalogue of "little known material" from her oeuvre. It's an odd and marvellous meeting of Williams' academic, questioning brain ("inspired by the fatalism of [Lucy's] comic persona", she looks at the "themes of destruction and failure" from Lucy's comic material from a "universal perspective") and a novelty mode of interrogation. Appropriating the stand-up form and mimicking Lucy brilliantly, Williams takes us on an absurd, punchy adventure that knows its limits and ends within 40 minutes. Confronted by the majesty of space and the horror of complete isolation forever more, Lucy is wry and pragmatic, and we're left to wonder, is that for the best? It's all done with total love, and we hope somewhere out there, Lucy herself is getting a kick out of it. -RSA Jude the Obscure Bushpig 10-13 September, Seymour Centre Sound Lounge The pinnacle of one-woman showmanship right here. Hannah Malarski is a NIDA playwriting grad with a gift for creating vivid characters through both writing and performance, with director, designer and dramaturg Jack Richardson helping give the piece solid form. It's a transfixing little number that evokes the bewildering feeling of living in the world sometimes — particularly if you're from a country town as small as the fictional Funnel, and particularly if you've just left for the big smoke to forge a career in television, as has our dear titular character, Bushpig. The journey has Malarski morphing from corpulent Aunt Vivian to a mystical gardening show host, a disingenuous talent agent, a bratty boy, a vocally challenged cat and plenty more besides. It goes to a weird place you in no way could have imagined at the outset. Rima Sabina Aouf, editor @sydneyfringe @annalieseszota Disney reimagined, just the way I’d’ve liked it as a kid. And wow, what a voice! http://t.co/36WAfOAMW8 — Madeleine Butler (@MadBut) September 12, 2013
Her Banana's delicate handmade jewellery is the perfect way to treat yourself — or gift a friend, if you have the self-control. The small boutique store and studio focuses on minimalist designs that have a timeless quality, showcasing a collection of reasonably-priced rings, earrings and necklaces made of stirling silver and 14k gold. This is the sort of understated jewellery that will transcend seasonal trends. There's also the alluring opportunity to personalise your own piece, through lettering, length, engraving — or just about anything else you can think of. Visit the King Street shop and studio to purchase your own dainty design; or bring your special someone and not-so-subtly peruse the custom-designed engagement ring section together. Whatever your intention, staff go the extra mile to ensure you walk out the door happy.
If you're the sort of person who likes to eat meat until you start shaking with the meat sweats and can (m)eat no more, then a festival very relevant to your interests is coming to town. Meatstock Festival, a two-day celebration of all things animal, is setting up its smoky self in the Sydney Showgrounds on the weekend of Saturday, August 21–Sunday, August 22. Not just your regular food festival, Meatstock also features live tunes. Sure, there'll be less music than there is at Woodstock, but there will be 200 percent more tasty meat-related foods. The food stars of the show usually span the likes of Burn City Smokers, Limp Brisket, Black Barrel BBQ, Hoy Pinoy and more. Try some of each, or make your way through all of the food stalls and then fall into a sweaty, cholesterol-heavy heap — don't say we didn't warn you. Finally, for a little old-fashioned rivalry, the festival will be running its Butcher Wars, which will basically be a bunch of hopefully unbloodied people running around competing and wielding various knives. There's also Barbecue Wars too, heating up the grill in more ways than one. What a weekend.
In the world of photography there are few trends as divisive as the rise and rise of Instagram and Hipstamatic. Battle lines have been drawn between those who view the advent of such filter apps as a positive democratising force, spreading the artistry of photography to the masses, and on the other side, those who think they're just a refuge for teenage poseurs and their collections of cats. New York artist and photojournalist Benjamin Lowy has become an unintentional figurehead for the former, thanks to his stunningly evocative photographs of war-ravaged North Africa and the Middle East. Lowy, whose work has graced the cover of TIME Magazine (the first photo taken from a phone to do so) and been featured at London's Tate Modern, has spent the last five years making Afghanistan his second home, creating his first body of work made entirely with Instagram and his ever-resilient iPhone. For Lowy, the decision to use his iPhone was made more out of convenience than out of any great artistic or journalistic ambition. He found that the burden of lugging around his camera meant that his initial passion in photography was "losing some of its mystical wonder", and when he reverted to the phone, he found a fresh perspective on the world around him. "I've been shooting with my phone for years and posting it online. I didn't see it as art, it was just another form of self-expression," Lowy told us. "I started finding myself being able to express myself a little more viscerally and easily because [the camera] was in such a small package." As a wartime photojournalist Lowy found that the ubiquitous images of "raids, explosions, suicide bombers" had increasingly desensitised people to the horrors of war. When he first began using his iPhone, Instagram resembled more of a passing fad than a cultural mainstay, and Lowy thought that this brave new world of photography may go a long way in getting people to sit up and take notice. "When you think of Iraq or Afghanistan, people saw those same images day in and day out," he says, "and because people kept seeing those images all the time it was easier to tune them out. So my idea throughout the course of my career has been to constantly experiment with images and aesthetics in order to gain the public's attention." While these images are often filled with the explosive and dynamic moments of war, what is much more unique about these photographs is their depiction of everyday life in Afghanistan. They show us a foreign land that although ravaged and decimated by war is eerily familiar to our own world. "It is a different place from the place we all know and we all call home but at the end of the day people are all the same," Lowy said. "Our blood is all red, when we wake up in the morning we want to have our cup of tea or coffee and send our kids to school and live peacefully ... The simple things that make humans humans are all the same regardless of where you live." Lowy's iAfghanistan exhibition is on display in the State Library of NSW, Macquarie Street Foyer, from May 17 to July 22 as part of the Head On photo festival. We've featured a small selection of our favourites below. Images courtesy of Head On photo festival and © Benjamin Lowy.
Since opening its first shop in Taiwan in 2006, Gong Cha has already grown to 1500 stores globally. And, because that's clearly not enough, the brand also operates the first boba tea shop at sea. Gong Cha's luxury cruise liner — dubbed the Majestic Princess — sails all around the world, from Alaska and Europe to Tahiti and the Panama Canal. It also offers guests 15 different teas to choose from, including a trio exclusive to the cruise. If you'd rather get your Gong Cha fix on land, you can choose from a whopping 36 stores in Sydney, stretching from Campbelltown to Castle Hill to Penrith and everywhere in between. It's a big menu, so newbies should go for one of the top ten — which includes milk tea with pearls, mango and jellies, matcha red bean and milk foam green tea. Plus more unusual items like rosella plum tea with white pearls and lemon-roasted melon with basil seeds.
Every quarter, Australia's Bureau of Meteorology releases its climate outlook for the coming season, signalling to the country just what type of weather might be in store. For the winter just gone, for example, it advised that we were in for hotter and wetter-than-average conditions. And, for both spring and summer, it's now predicting plenty of warm-weather rain. BOM's spring forecast was actually released at the end of August, noting two key points. First, it advised that there's a high likelihood of above-average rainfall across this period. Secondly, it noted that temperatures are likely to be average or even slightly below average in the nation's south, and warmer than usual in the country's north. Since then, however, the Bureau has issued two further statements about spring and summer's weather — with the latest stressing that there's an increased chance of flooding and cyclones. Thanks to BOM's severe weather outlook, it's sensible to expect damp conditions from October through until April, as a result of La Niña. The news follows an announcement at the end of September, when the Bureau revealed that the coupled ocean-atmosphere phenomenon was now active in the Pacific Ocean, and was likely to remain that way until at least the end of 2020. Some La Niña events can last around a year. When it comes to flooding, BOM advises that because La Niña is expected to bring more rain to Australia's east and north, the risk of widespread flooding increases. It also notes that rain has already been hitting some drought-affected areas. https://twitter.com/BOM_au/status/1315493814958583808 In regards to tropical cyclones, it predicts that there's an increased risk in the country's north. "On average, Australia sees nine to 11 tropical cyclones each year, with four crossing the coast. With La Niña this year we are expecting to see slightly more tropical cyclones than average, and the first one may arrive earlier than normal," said Bureau climatologist Greg Browning. BOM also advised that there's average potential for heatwaves and severe thunderstorms across the coming months. In good news after last year's catastrophic bushfire season, the Bureau is forecasting average fire conditions for the rest of 2020 and the beginning of 2021, too, as linked to the wetter weather. "This fire season, we're expecting wetter than average conditions in eastern and northern Australia, so long-running large bushfires are less likely; however, a wetter spring can lead to abundant grass growth, which could increase fire danger as it naturally dries during summer," noted Browning. If you're wondering what all of the above means, temperature-wise, it depends on the state. Queensland is never cool once spring and summer hits, but above-average temps are particularly forecast for the state's northern half. In New South Wales and Victoria, higher-than-average temperatures are predicted, with longer and more humid heatwaves possible in NSW's south and across the entirety of Victoria. The latter also applies to South Australia, although it might be in for fewer days of extreme heat. Western Australia can expect higher-than-average temperatures across the state, especially in the northeast. For further details about the Bureau of Meteorology's spring and summer forecasts, check out its spring outlook and severe weather outlook.
Because you're reading this, we know you're not someone who received a pet for Christmas, only to decide it wasn't for you. We know you're one of the good folks. You're probably wishing that you did receive a loveable animal as a gift, even if you already have one — or several — that you adore. We understand your yearning, and so does the RSPCA. And, to find permanent homes for pups, cats, bunnies, guinea pigs and even Sheepy the Sheep surrendered into its care from all over the country, it's lowering the adoption fee to $29 this weekend. The weekend-long initiative is called Clear the Shelters and will run from Friday, February 21 until Sunday, February 23. Although you can't put a price on the happiness a new four-legged friend will bring, it's hoped that the low adoption fee will encourage people who have been thinking about adding a pet to their fam (and have considered it thoroughly) to make the commitment this week. Last year, the RSPCA found new homes for 2654 pets Australia-wide. [caption id="attachment_761823" align="alignnone" width="1920"] Jane is available for adoption in Tuggerah, Animal ID: 473147[/caption] This year, Clear the Shelters will run across Australia in all states and territories except Tasmania. The adoption fees — which usually range from $20–600 — help cover some of the costs of vaccines, training, desexing and microchipping for the animal. Whether you're in NSW, Victoria, WA or Queensland, there are hundreds of animals that need a new home full of love and pats. There's more to pet adoption than overdosing on cuteness, of course, as making the commitment to care for an animal is serious business. RSPCA's Clear the Shelters runs nationally (except Tasmania) from February 21–23. You can pre-register over here. Top image: Lady Danger is available for adoption in Sydney, Animal ID: 472000.
Get ready for a hot cultural injection of all things art, performance and conversation, because Art Month Sydney is back for another year from March 1–25. The month-long, city-wide festival curated by Kate Britton has got something for everyone — from divaz and dogs to free shows, films and full-day immersive experiences. So clear your schedule, gather your art pals and flex your conversation muscles at this program packed with incredibly talented local and international artists coming to you by way of galleries, art precincts, studios and artist spaces around the city. To help you sift through the arty month, we've rounded up the top ten things to put in your diary for the upcoming cultural fete. [caption id="attachment_657656" align="alignnone" width="1920"] Katthy Cavaliere: nest 1, 2010. Courtesy the Estate of Katthy Cavaliere.[/caption] COLLECTORS' SPACE Have you ever wondered which works your favourite local artists have hanging on their walls, but didn't want to risk going to jail for breaking into their house in the middle of the night? Well before you get your catsuit on, head to Collectors' Space This famed exhibition offers you a glimpse into the personal art collections of MVP artists and curators like Abdul Abdullah, Tony Albert, Tess Allas, Daniel Mudie Cunningham and Emma Price, all without having to take the B&E route. Art Month Artistic Director Kate Britton says of the intimate exhibition, "Collectors' Space looks beyond the accumulation of objects and explores the relationships each collector has with the works in their care and the artists who created them". MAY SPACE, March 1–17. THE OTHER ART FAIR Fancy living the life of a hotshot art collector but don't really know where to start? Well, thankfully The Other Art Fair has returned for a fourth year to cater to all your art buying needs. Mosey on down to the Australian Technology Park on the last weekend of Art Month, where you'll be able to meet the artists and chat to them about their work and creative processes, then purchase work directly from their sweet little art hands. The fair will feature works by 100 of Australia's best independent and emerging artists, as well as a number of free artist talks and behind-the-scenes tours. Australian Technology Park, March 23–25. [caption id="attachment_635944" align="alignnone" width="1920"] Katje Ford.[/caption] BLACK DIVAZ AT THE BEARDED TIT This year marks the 40th anniversary of Mardi Gras and the first year in our history we aren't forced to debate whether or not everyone should be afforded the same right to marry the person they love. So needless to say, the Month of Rainbows is going to be a big one. To celebrate how far we've come as a nation in the past year, The Bearded Tit is holding a show dedicated to the inaugural Miss First Nations Drag Pageant that took place in September 2017 and the making of Black Divaz, the documentary that captured the story of the pageant. The glittering event saw six queens from around the country journey to Darwin to compete for the crown. The intimate Bearded Tit show is a celebration of the personal journeys that each of the contestants undertook to arrive in all their glittering glory on that stage, sharing behind-the-scenes moments and insights into the making of the doco. The Bearded Tit, January 25 to March 3. [caption id="attachment_653206" align="alignnone" width="1920"] DNSW.[/caption] INNER WEST OPEN STUDIO TRAIL Slap on some sunscreen and your trendiest duds, and head to the Inner West Open Studio Trail for two full weekends of exploring the secret studios and creative spaces nestled around Newtown, Enmore and Marrickville. For two weekends in March, these artist spaces and studios will swing open their doors and feature group exhibitions, artist talks and a showcase of performance works. Make a day of it by spending a few hours chatting to the local makers and talented creators, taking in art and stopping off at a few breweries and pubs along the way for a couple cheeky bevs. Various locations in the inner west, March 9–11 and 17–18. [caption id="attachment_652451" align="alignnone" width="1920"] Kitti Smallbone.[/caption] LIFE DRAWING AT THE TOMM BASS PRIZE It's impossible to soak up all the incredible work on display during Art Month without thinking, "maybe my life would be infinitely improved if I quit my 9–5, invested in a beret and became a full-time artist." But before you commit to kicking your job to the curb, why not sample the artist lifestyle by spending a few hours life drawing at historic Juniper Hall with artist Monika Scarrabelotti. Open to everyone from duds to Da Vincis, spend an evening learning how to draw from life, surrounded by the inspiring works of the 2018 Tom Bass Figurative Prize. Juniper Hall, March 8 and 15. [caption id="attachment_653317" align="alignnone" width="1920"] Kimberley Low.[/caption] THE YEAR OF THE DOG EXHIBITION 2018 is the year of the pup, and though many would argue every year is the year of the dog, this year it's official. So to celebrate our furry best friends, The Robin Gibson Gallery has curated a family-friendly exhibition dedicated to all things pooch — featuring works by Geoff Harvey, who's well known for his found-object sculptures; ceramics by Karen Choy; sculptures by Richard Byrnes, who brought us the Inner West dog bollards; and pooch-themed paintings by Brett Whiteley, Guy Gilmour, Peter Baka, Ted Hillyer, Zoe Tweedale and many more. Robin Gibson Gallery, February 17 to March 7. [caption id="attachment_657821" align="alignnone" width="1920"] Kyle Levett: Bionic Junk Sculpture.[/caption] EXPRESS YOURSELF 2018 Anyone who works in marketing knows that unlocking the secrets of what the youth thinks is cool will put you on the fast track to making a billion dollars. So rather than spending your time loitering around Instagram smying (yes, we just made up this word, and yes, it means social media spying) on unsuspecting kids, why not see first hand what the next generation really think about the world by visiting Express Yourself. A collection of work from Northern Beaches HSC students curated by Ross Heathcote and Katrina Savage, the exhibition will feature works by super promising young artists using various media from paper to digital media to film. Make sure to memorise their names, because we'll surely see a lot more of them in years to come. Manly Art Gallery & Museum, February 23 to April 1. [caption id="attachment_657849" align="alignnone" width="1920"] Julie Vulcan: Redress #6 hinc illae lacrimae. Photograph by AnA Wojak.[/caption] THE OPEN BODY If you prefer your artwork to be of the performative variety, look no further than The Open Body, an all-day performance event curated by artist Tom Isaacs. Featuring highly emotive works by Kate Brown, Stella Chen, Tom Isaacs, Robbie Karmel, Danica Knezevic, Vivienne Linsley, Alex Talamo, Malvina Tan, Julie Vulcan, Yiorgos Zafiriou and Mariia Zhuchenko, the collection of challenging physical works will explore the body as a theme, addressing the notion of self, visibility, representation and the way we interact with others. The event will take place at Scratch Art Space in Marrickville, which is conveniently located across the road from Batch Brewing Co. for all your post-art show liquid needs. Scratch Art Space, March 18. PARRAMATTA ARTIST STUDIO TOUR Not all events during Art Month are clustered around the CBD. In its tenth year, this Parramatta artist hub is opening to the public and putting on a big old show complete with live music and artist talks. Having seen many incredible young creators pass through on their way to great successes, this leading production space offers both domestic and international residencies, enabling a whole lot of wildly ambitious projects. Artists in the PAS 2018 program include Khadim Ali, Tom Blake, Jessica Bradford, Rosie Deacon, Chris Dolman, Emma Fielden, Rebecca Gallo, Caroline Garcia, Anthony Macris, Emily Parsons-Lord, Lisa Sammut, Shireen Taweel, Garry Trinh and Justine Youssef. Parramatta Artist Sutdios, March 24. [caption id="attachment_657845" align="alignnone" width="1920"] Get To Work.[/caption] PRESENT EXHIBITION There are so many incredible local artists it's impossible to keep track, especially when they're not always exhibited in local gallery spaces. The new initiative Present aims to up your artist knowledge ante with a curation of challenging works by a handful of slick contemporary artists who are killing it despite not having gallery representation, including Kalanjay Dhir, Caroline Garcia, Get to Work, Samuel Hodge, Claudia Nicholson and Athena Thebus. According to Art Month Artistic Director Kate Britton, the new show aims to "connect artists working outside the realms of commercial gallery representation with new audiences". Darren Knight Gallery, March 3–31. Art Month Sydney takes place across the city from March 1–25.
One of Sydney's favourite outdoor cinema spots is back for summer — with a new name. What was St George Openair Cinema, is now Westpac Openair, but, don't fret — it still has the same spectacular panoramic views of the city, the Opera House and the Harbour Bridge. Every movie that graces the cinema's big screen has to hold its own against these stunning sights glittering away behind it. Thankfully, boasting everything from a highly anticipated Charlize Theron, Nicole Kidman and Margot Robbie flick to a British crime thriller with Matthew McConaughey and Hugh Grant, the 2020 program achieves that feat. And the whole lineup hasn't even dropped. Kicking off on January 9 and running until February 21, the Mrs Macquaries Point cinema's new season commences with a gala preview of Bombshell. Based on a real story about the takedown of a Fox News CEO for sexual harassment, the star-studded drama sees Theron, Kidman and Robbie portray some of the real (and fictionalised) women that brought him down. While you're waiting for the film to hit this stunning big screen, you can watch The Loudest Voice on Stan — a TV series starring Russell Crowe and Naomi Watts based on the same story. It's just one of the movies making sure it'll be starry not only in the sky above, but on the 350-square-metre screen rising from the harbour. Also on the first lineup announcement is Guy Ritchie's The Gentlemen, which sees McConaughey portray the head of a marijuana empire, and the star-studded Little Women — Greta Gerwig's adaptation of the Louisa May Alcott novel features Saoirse Ronan, Emma Watson, Laura Dern, Meryl Streep and Timothée Chalamet. Off-screen, expect culinary stars to join the fold as well. While this year's food and booze partners have not yet been announced, we've been told there'll be an "array snacks, share plates, meals, fine desserts cocktails, wine, beer and spirits " available each and every night during the cinema's 2020 run. When tickets become available on Tuesday, December 10, they're likely to go quick. Last summer, more than 40,000 tickets sold within the first two days of pre-sale — so put it in your diary ASAP. Westpac Openair 2020 runs from January 9 to February 21, 2020. Tickets are on sale from 9am on Tuesday, December 10, with pre-sale tickets available for Westpac and St George customers from 9am on Friday, December 6. We'll update you when the full lineup drops on November 29. Image: Fiora Sacco
Witnessing the candid demise of Sandy Sonnenberg is painful; the once wide-eyed, nervous yet poetic Jew boy from Princeton has turned slobbering, self-hating squatter in a Paris warehouse. Sandy has been driven thus not by anyone but himself. Echoing Harvey Milk themes of the marginalisation and shame surrounding homosexuality in America in the 1960s, Jon Robin Baitz's The Paris Letter brings this anxiety back to life in full colour, despite the austere chocolate-box set and thin-spread cast of five over nine roles. Young Sandy (Caleb Alloway) attempts to suppress his true identity by seeking pop-psychiatric help from Dr Schiffler (Nicholas Papademetriou), who tells him he needs to change the way he thinks about the pleasure-pain factor and this will solve all his problems. Ironically, mature-age Sandy is played by the same actor, Nicholas Papademetriou, a rather telling casting choice. We are guided in this romp through the auspices of time by the silver fox narrator, Anton (Peter Cousens), clad in a kitsch suit with a matching peach shirt and socks and a rose in his pocket, who delivers sad truths with a smile and glittering eyes. He then resigns to side stage in order to observe the action between young Anton and Bert (Damian Sommerlad), who both parade their sculpted bodies, embrace violently and masterfully exchange punchy Brooklyn chitchat with young Sandy's wife (Susie Lindeman). But while The Paris Letter is a dialogue about gay pride, it is also about prioritising love over fear. It says that real love, whether it was shared all your life or only between November 1962 to February 1963, should be dealt with honestly because it has the potential to affect your life's trajectory. Even how it concludes itself.
Beloved Paddington Italian restaurant Lucio's has been serving up bowls of handmade pesto pasta and seasonal produce to Sydneysiders since 1981. But, after nearly 40 years of service, Lucio's is shutting up shop this month, with the restaurant's final service scheduled for the end of January. In order to share one of the venue's best-loved elements with the public, and celebrate its history and enduring legacy, Lucio's is hosting an auction in which it will be selling off more than 200 of the artworks that have lined its walls over the years. Art has always been an essential piece of Lucio's puzzle, with the restaurant located in the site of the former Hungry Horse Art Gallery and Restaurant, and Lucio himself saying, "the combination of great food, great service and great art on the walls is, in my view, one of the best dining experiences you can imagine". The auction will take place on Sunday, March 21 at Bonhams Sydney on Woollahra's Queen Street and will be simulcast to the auctioneer's Melbourne location in Armadale. Lucio's is fully booked for every service until its closure. But, if you have a function coming up, private dining packages for large groups are available on Tuesday, Wednesday and Thursday lunch for the remainder of January with a minimum spend of $8000. Alternatively, Lucio's front room wine store and gourmet deli The Thirsty Horse is open for walk-ins Tuesday–Saturday up until the restaurants close. More information on the auction will be posted to Bonhams' website in coming weeks. [caption id="attachment_797084" align="alignnone" width="1920"] Lucio at The Thirsty Horse[/caption]
Grab your diary. Call your mates. Reserve your horse. Secret Garden has just announced its tenth anniversary dates for 2018. And we're happy to tell you that Australia's beloved, grassroots, made-for-mates-by-mates festival will be taking place over 48 hours, across Friday, February 23 and Saturday, February 24. You have less time, however, to scrape your cash together. Ticket sales kick off at 9am on Thursday, September 28. If you're a regular gardener, you'll know that they sell out pretty damn quickly, so don't dilly dally. Good news is, though, that, were you at the festival in 2015, 2016 or 2017, you're in for a sweet surprise in the form of pre-sales. To find out exactly what that involves and when it'll be occurring, keep a close eye on your inbox. As usual, we won't know anything about the lineup or festival program until tickets are sold out. But, we can tell you that, as always, Secret Garden will bring you an immersive experience, a long way out of the city, within a magical natural setting transformed into a wonderland. You'll find yourself wandering through a forest maze, getting lost in massive installations, discovering unexpected pop-up performances and coming across tucked-away parties in custom-made rave caves. Maybe even getting married. All we know for sure? As always, you're invited to wear your craziest, most dressed up fancy dress. Start planning. Secret Garden will run from February 23–24, 2018. Tickets on sale 9am Thursday, September 28. More details on the festival's (insanely awesome) website. Image: Tim Da Rin.
If you're not fond of clowns, find yourself scurrying past sewers and simply can't stand red balloons, there's probably one big reason for your phobias. Maybe you read Stephen King's horror tome IT, which first hit bookshelves back in 1986. Perhaps you saw the 1990 miniseries, which turned Tim Curry from The Rocky Horror Picture Show's Frank N Furter into the transdimensional evil entity known as Pennywise. In 2017, you might've seen the IT movie on the big screen, too, then backed it up in 2019 with sequel IT: Chapter Two. Whichever fits, your fears are about to get another workout — via your streaming queue, and if you dare. HBO has officially greenlit a prequel series set in the world of IT, and in King's go-to town of Derry, Maine. Fittingly called Welcome to Derry, it'll step through the locale's scares before the terror that viewers have already seen and experienced. Returning to oversee the show is filmmaker Andy Muschietti, who helmed the most recent two movies and next directs DC Extended Universe flick The Flash. So far, the rest of the details are scare, including the exact storyline, all cast members, when it'll arrive and how many episodes there are to look forward to. But Muschietti will direct multiple instalments, including the first. Also, the show is still based on King's novel, and will expand Muschietti's vision from his two features. "As teenagers, we took turns reading chapters of Stephen King's IT until the thick paperback fell to pieces," said Muschietti and his sister Barbara Muschietti, who'll also work on Welcome to Derry, announcing the news. "IT is an epic story that contains multitudes, far beyond what we could explore in our IT movies. We can't wait to share the depths of Steve's novel, in all its heart, humour, humanity and horror." "I'm excited that the story of Derry, Maine's most haunted city, is continuing, and I'm glad Andy Muschietti is going to be overseeing the frightening festivities, along with a brain trust including his talented sister, Barbara. Red balloons all around!" added King. If you've somehow missed all things IT so far, it follows the exploits of maniacal clown Pennywise, as well as the folks he's rather fond of terrorising. In the recent movies, Bill Skarsgård (Barbarian) put on the demonic makeup. In the first film, his targets were all kids. In the second, those teens — the Losers Club — were all grown up and still getting spooked. It's too early for a Welcome to Derry trailer, but you can watch the IT and IT: Chapter Two trailers below: Welcome to Derry doesn't yet have a release date, including Down Under — we'll update you when one is announced.
Sometimes, a block of Cadbury Dairy Milk will do — but if you're looking for a nice little gift for a sugar-loving family member, it just doesn't cut it. For those times, head to Belle Fleur Fine Chocolates at the Rozelle end of Darling Street. For over 30 years, chocolate-making expertise has been passed down over four generations to create new and inventive flavours and designs. For instance, the 'Aussie' which is "a unique Aussie salted flavour in a smooth ganache, enrobed in dark chocolate", aka it's Vegemite-flavoured. There are plenty of options for more conservative chocoholics as well, including the many truffles, pralines and caramels (yes, including salted). Even if eating chocolate isn't your thing, check out the shop, as it often features large chocolate replicas of famous buildings, tool sets or even hamburgers. Updated March 2024
It's Thursday and you gotta do something to get through that last bit of the workaday week. So, why not go degustating at Tetsuya's? This is one of the priciest, fanciest feasts around, with flavours beyond your imaginings that make splashing out worth your while. Since 1992, Tetsuya's hasn't spent a year without a Chef's Hat — or two or three. Head chef and owner Tetsuya Wakuda arrived in Australia from Japan in 1982 at the age of 22, with nought but a suitcase and a passion for food. He opened Tetsuya's seven years later, and in 2000, transported it to its current lodgings, a glorious heritage-listed building with beautiful dining rooms and a stunning Japanese garden at its centre.
UPDATE, October 9, 2021: Free Guy is available to stream in Sydney via Disney+, and is also screening in Sydney cinemas when they reopen on Monday, October 11. If Free Guy was a piece of home decor, it'd be a throw pillow with a cliched self-empowerment slogan printed on the front. You know the type. It might catch your eye the first time you spotted it, but it'd look almost identical to plenty of other cushions you can buy at absolutely any department store. It'd make you think of other, nicer pillows, too, but its phrasing and design wouldn't be as resonant or appealing. And, while its attractive font would tell you to believe in yourself, stand out and make each moment count, it'd still simply spout the usual well-worn sentiments that keep being served up as store-bought tonics for weary souls. Yes, Free Guy is a big-budget, star-led movie that primarily exists to answer two not-at-all pressing questions: what would The Truman Show look like if it starred Ryan Reynolds, and how would that 1998 classic would fare if it was about massive online video games instead of TV? But it's firmly Hollywood's equivalent of mass-produced soft furnishings emblazoned with self-help platitudes and designed to sit on as many couches as possible. Clearly cast for his generically affable on-screen persona — you almost always know what you're going to get when he's leading a film, as the Deadpool and Hitman's Bodyguard franchises keep attempting to capitalise upon — Reynolds plays Free City bank teller Guy. His daily routine involves greeting the same goldfish upon waking, putting on the same blue shirt, picking up the same coffee en route to work, and having the same chat with his best friend Buddy (Lil Rel Howery, Judas and the Black Messiah) when their place of employment is held up multiple times each and every day. Guy is completely comfortable with his ordinary lot in life. He knows that things aren't like this for 'sunglasses people', the folks who tend to wreak havoc on his hometown, but he doesn't challenge the status quo until he decides that the shades-wearing Molotov Girl (Jodie Comer, Killing Eve) is the woman of his dreams. To have a chance with her, he's certain he needs sunglasses himself — and when he snatches a pair off the latest robber sticking up his bank, it's Guy's first step to realising that he's actually a non-playable character in a video game. Sporting an upbeat mood best captured by its frequent use of Mariah Carey's 'Fantasy', Free Guy enjoys its time in Free City — which is also the game's title. There's a story behind its NPC protagonist's story, however, with the movie splitting its focus between its Grand Theft Auto-esque virtual world and reality. In the latter, coder Millie uses the Molotov Girl avatar, which she needs to search for evidence for a lawsuit. Years earlier, alongside her pal Keys (Joe Keery, Stranger Things), she created an indie open-world game that was purchased by tech-bro hotshot Antwan (Taika Waititi, The Suicide Squad), then sidelined — and, while Keys now works for Antwan, Millie is certain that Free City rips off their game. Proving that will require Guy's help, especially as he starts breaking his programming, making his own decisions and becoming sentient. Something that Guy doesn't glean once he begins thinking for himself: that he's the protagonist in a derivative big-screen action-comedy. Free Guy also borrows from The Matrix, The Lego Movie, Groundhog Day, They Live!, Wreck-It Ralph and Black Mirror. Pilfering from terrible fare as well, it even cribs from the abysmal Ready Player One. And, in reminding viewers that Disney is behind this flick via its purchase of 20th Century Fox, and that the Mouse House also serves up all things Marvel and Star Wars — as if anyone had forgotten — it sits in the same space as the horrendous Space Jam: A New Legacy. There isn't a second of Free Guy that feels original or authentic, in fact, even as it keeps stressing the importance of taking your own route through life. Director Shawn Levy (the Night at the Museum franchise) and screenwriters Matt Lieberman (The Addams Family) and Zak Penn (a Ready Player One alum) are happy with their throw cushion-level message. They're just as content not to practice what they preach. Their villain even blatantly embodies the cash-hungry corporate mindset that thinks leveraging the same ideas is better than developing new ones — there's a whole monologue about it — and it'd be much too generous to think that's a tongue-in-cheek inclusion. There's a bit of winking and nodding in Reynolds' casting, though, and welcomely so. Again, viewers typically know what to expect when he's the star of the show — and as well as aggressively synthesising a heap of better movies into one script, Free Guy endeavours to forcefully coast by on its leading man's likeable presence. If it wasn't entertaining-enough to see him play this kind of part, Hollywood would've stopped doing it. That said, now three decades into his acting career, audiences can also spot the formula behind most of his roles. Free Guy wants you to do exactly that, and to know that Reynolds is putting his usual charm to work as a guy that's meant to be the epitome of usual, which is by far the smartest thing about the film. The man in the spotlight doesn't let anyone down in the process, but that's different to carrying a feature that's anything more than average. Indeed, other than Comer's naturalistic performance, nothing that's around Reynolds busts free of its usual bounds either, and that can't be by design. You can't print by-the-numbers romantic subplots and slick-but-standard action scenes on home furnishings, of course — and you definitely shouldn't do the same with buzzword-heavy dialogue — but that's always Free Guy's chosen level.
The City of Sydney has granted approval to the Development Application for Central Place Sydney, a $3 billion pair of commercial towers set to be built above Central Station. Introducing 130,000 square metres of floor space to Sydney's CBD, Central Place will play a key role in the new Tech Central precinct, which is set to transform the bustling train station into a world-class hub for tech-based businesses. This billion-dollar precinct was first announced in 2020, with former NSW Premier Gladys Berejiklian labelling it the "Silicon Valley of Australia" at the time. Central Place will be comprised of 35- and 37-storey towers joined by The Connector, an eight-floor street-level building. These high-rises are being billed as "the new home for tomorrow's game changers", facilitating workplaces for an estimated 15,000 employees and creating over 700 jobs during construction. "Our development has been designed to create a place where work and lifestyle can blend seamlessly, create an exciting new destination for Sydney and leverage what is already on offer as a thriving tech and innovation neighbourhood emerges," Project Director of Central Place Sydney Kimberly Jackson says. There's also a push for sustainability in the construction of Central Place Sydney. The project has a net-zero emissions target and 80-percent waste diversion from landfill target. "Central Place Sydney will set the benchmark in sustainability for commercial developments of this scale in Australia. The building will feature workplace environments that integrate nature, maximise daylight, has provisions for natural ventilation, and be supported by renewable energy to achieve our net zero emissions in operations target," Jackson continues. "We are working with start-ups and neighbouring universities to explore innovations in technology and circular economy, all intended to support the development ambitions for carbon reduction and provide the best possible workplace experience for tenants and customers." Tech Central will sit alongside a range of sweeping transformations to Central Station. In August, it was announced that 60,000 square meters of public space would be introduced to the site, with sections of the station would be transformed into parks, restaurants, shops and affordable housing. Alongside this, the Eddy Avenue Plaza is also set to become a dining and entertainment precinct reminiscent of Spice Alley. Frasers Property and Dexus, the organisations behind Central Place Sydney, are aiming to begin production on the high-rises in 2023, with a projected completion date set for 2027. Central Place Sydney has received DA approval from the City of Sydney. You can find all the details on the project on the Frasers Property website.
To be a character in a Luca Guadagnino film is to be ravenous. The Italian director does have a self-described Desire trilogy — I Am Love, A Bigger Splash and Call Me By Your Name — on his resume, after all. In those movies and more, he spins sensual stories about hungry hearts, minds and eyes, all while feeding his audience's very same body parts. He tells tales of protagonists bubbling with lust and yearning, craving love and acceptance, and trying to devour this fleeting thing called life while they're living it. Guadagnino hones in on the willingness to surrender to that rumbling and pining, whether pursuing a swooning, sweeping, summery romance in the first feature that put Timothée Chalamet in front of his camera, or losing oneself to twitchy, witchy dance in his Suspiria remake. Never before has he taken having an insatiable appetite to its most literal and unnerving extreme, however, but aching cannibal love story Bones and All is pure Guadagnino. Peaches filled with longing's sticky remnants are so 2017 for Guadagnino, and for now-Little Women, Don't Look Up and Dune star Chalamet. Biting into voracious romances will never get old, though. Five years after Call Me By Your Name earned them both Oscar nominations — the filmmaker for Best Picture, his lead for Best Actor — they reteam for a movie that traverses the American midwest rather than northern Italy, swaps erotic fruit for human flesh and comes loaded with an eerie undercurrent, but also dwells in similar territory. It's still the 80s, and both hope and melancholy still drift in the air. Taylor Russell (Lost in Space) drives the feature as Maren, an 18-year-old with an urge to snack on people that makes her an unpopular slumber-party guest. When she meets Chalamet's Lee, a fellow 'eater', Bones and All becomes another sublime exploration of love's all-consuming feelings — and every bit as exquisite as Guadagnino and Chalamet's last stunning collaboration. First seen newly arrived in a small Virginia town, Maren sneaks out to attend that aforementioned sleepover, which there's zero chance her strict single dad (André Holland, Passing) would've allowed her to attend. Following a swift, grisly chomp on a freshly manicured finger, it's clear why, and evident why Maren's exasperated father doesn't want to stay around in the aftermath. He moves her to Maryland first, leaving her with a cassette spouting backstory, including that her bloodthirsty tastes date back to her toddler days, and to munched-on babysitters — plus a birth certificate bearing her mother's (Chloë Sevigny, Russian Doll) name. So springs a road trip to Minnesota, searching for that estranged mum and more answers. Then, travelling through Ohio brings Maren to the creepy yet earnest Sully (a memorable Mark Rylance, The Phantom of the Open), who shares her hankerings and says he could smell her from blocks over. Next, in an Indiana supermarket, she crosses paths with Lee. Sporting confidence aplenty — "when you weigh 140 pounds wet, you gotta have a big attitude," Lee tells Maren — Chalamet makes an imprint from his first scene. Indeed, that initial moment with Russell leaves an imprint itself, too, resembling Andrea Arnold's American Honey as much of Bones and All does. Inverting the dynamic that worked so well for him in Call Me By Your Name, the internet's boyfriend isn't the thirsty newcomer. Instead, he's the seasoned hand, one half of Bones and All's dreamy but dangerous couple, and always second to Russell's astonishing work as Maren. Both actors turn in subtle, evocative and rousing performances that sting with rawness, naturalism and deeply stomached pain while soothing through their chemistry amid the gristle. As a result, whenever they're together, they're as inviting a treat as the feature serves up. Still, in yet another powerful performance, Russell repeatedly shows why her exceptional breakout turn in Waves wasn't a one-off. As Guadagnino and his now three-time screenwriter David Kajganich (A Bigger Splash, Suspiria) adapt Camille DeAngelis's award-winning 2015 novel, Russell and Chalamet also navigate a coming-of-age search for belonging — an outsider story with actual teeth, and one that isn't afraid to use them. When Maren first gets chewing, she's making a rare friend, only for her world to dissolve by being herself. After her meat-cute with Lee, then seeing his unapologetic approach needing to eat, she finally starts to feel like she fits in. Yet whether she's facing the reality of killing to feed or getting queasy over a fireside encounter with a perturbing eater (Call Me By Your Name's Michael Stuhlbarg) and someone who has willingly chosen the cannibal life (Halloween Ends director David Gordon Green), she keeps grappling with who she is. Maren yearns to connect — and does with Lee, although unsurprisingly shies away from Sully's too-keen offer of companionship — but also has to learn to deal with her appetite, the stark realities of her situation, and the line between predator and prey, none of which she can ignore. If 70s classic Badlands met teen vampire tale Let the Right One In while driving across middle America under the magic-hour sky — and with Duran Duran, Joy Division and New Order as a soundtrack — Bones and All would be on that exact road. Visually, it adores the former, as gorgeously and expressively lensed by cinematographer Arseni Khachaturan (Beginning). The atmospheric score by Nine Inch Nails' Trent Reznor and his film-composing partner Atticus Ross (Academy Award-winners for The Social Network and Soul) has a nervy and layered feel reminiscent of the latter, however. Combining such sumptuous imagery with the affecting score might seem like a stark contrast. Mixing the feature's aesthetics with the narrative's innate horrors, because there's no escaping the gruesome subject matter, blood and all, might appear the same, in fact. But Bones and All's pieces always swirl together in a vivid, affecting, like-you're-there fashion. That's another Guadagnino trademark, as seen most recently in his teens-in-Italy series We Are Who We Are. Bones and All's precise premise hardly matches anyone's lived experience but, even with the film rippling with a tense and disquieting air that never subsides at its headiest and most lyrical of moments — yes, a movie can be tender, a thriller and queasy at once — its underlying feelings couldn't be more relatable. Guadagnino and his committed cast consistently make their decisions with that in mind, tearing into the universal, unavoidable truth that to be human is to wrestle with primal needs and wants. Raw, Fresh, Yellowjackets and The Neon Demon have all sunk their gnashers into cannibalism on-screen in recent years, and well, but Bones and All proves the kind of picture that truly makes you understand the term haunting. Intense, impassioned, frantic and fragile all at once — because teenage love always is, and life in general — it's a flick so rich, lingering and piercing in its emotions, characters and ideas that it gnaws on you after viewing.
Operating under the motto "Marriage equality for everyone, no matter the flavour.", the Ice Cream Truck of Love is set to travel Australia's eastern seaboard, handing out free scoops and spreading its message of marriage equality. Launched by Adrian Fernand, Aussie tastemaker and etiquette blogger, the Truck of Love was initially inspired by a truck with opposite intentions. Earlier in March, an anti-gay-marriage truck took to the streets of Queensland, opposing homosexual marriage on its "Queensland Election Prayer Rally Tour". In order to complete its trek down the coast, and hopefully through the rest of the country, the Truck of Love is in need of donors and volunteers who are willing to share some of their sweet time. https://youtube.com/watch?v=rWDhM1YzdtU
Little in cinema gets bigger than Godzilla, even if the iconic kaiju's size can change from movie to movie. Soon, little on streaming will be as giant as the famous creature, either, with new American series Monarch: Legacy of Monsters on its way. Slotting into the Monsterverse — aka the US franchise that also includes 2014's Godzilla, 2019's Godzilla: King of the Monsters and 2021's Godzilla vs Kong, with Godzilla x Kong: The New Empire joining in 2024 — Monarch: Legacy of Monsters arrives in November. If you're a fictional movie or TV character facing a towering critter, any amount of Godzilla is usually too much Godzilla. If you're a creature-feature fan, however, there's no such thing as too much Godzilla. Monarch: Legacy of Monsters not only expands its own saga, but comes just as Japanese film Godzilla Minus One is about to hit as well, although the latter doesn't yet have a Down Under release date. In Monarch: Legacy of Monsters, which stampedes onto Apple TV+ from Friday, November 17, the Monsterverse is going the episodic route via a story set across generations and 50 years. It's also expanding its kaiju story with help from Kurt Russell (Fast and Furious 9) — and Wyatt Russell (Under the Banner of Heaven), too. The IRL father-son pair play older and younger versions of the same figure, with army officer Lee Shaw drawn into the series by a couple of siblings attempting to keep up their dad's work after events between Godzilla and the Titans in San Francisco in the aforementioned 2014 film. Monarch: Legacy of Monsters also involves unpacking family links to clandestine outfit Monarch, events back in the 50s and how what Shaw knows threatens the organisation. So, there'll be monsters and rampages, and also secrets, lies, revelations and mysteries. Giving audiences two Russells in one series is dream casting, as both the just-dropped first teaser in September and the newly released full trailer now shows. Also appearing on-screen: Anna Sawai (Pachinko), Kiersey Clemons (The Flash), Ren Watabe (461 Days of Bento), Mari Yamamoto (also Pachinko), Anders Holm (Inventing Anna), Joe Tippett (The Morning Show), Elisa Lasowski (Hill of Vision) and John Goodman (The Righteous Gemstones). Behind the scenes, Chris Black (Severance) and Matt Fraction (Da Vinci's Demons) have co-developed Monarch: Legacy of Monsters, while Matt Shakman (The Consultant, Welcome to Chippendales) helms the opening pair of episodes — and all three are among the series' executive producers. Check out the full trailer for Monarch: Legacy of Monsters below: Monarch: Legacy of Monsters streams via Apple TV+ from Friday, November 17, 2023.
Cave hotels, tree-house hotels, and hotels next to natural wonders: the bedroom-pros at Mr & Mrs Smith have seen it all (well, we’re still waiting for our first spaceship hotel, but hey). Here are 10 of Smith’s most interesting places to pass a night, picked just for Concrete Playground. 1. LONGITUDE 131° by VOYAGES, AUSTRALIA What: Safari-style desert campWhere: Up close to Uluru What could possibly be any more awe-inspiring than waking up to views of the world’s biggest monolith, Uluru? It’s remote, for sure, but Longitude 131° by Voyages can be reached via a flight to Yulara, where guests are greeted by a member of staff in a four-wheel drive. The villas are called ‘tents’, but you can banish memories of uncomfortable camping trips from your school days. These impressive specimens are on stilts, with ensuite bathrooms and fully automated blinds. Tours of the national park are included in the rates and the curvy pool is kept ice-cold at all times – perfectly refreshing after unforgettable treks up Uluru. 2. HAPUKU LODGE AND TREE HOUSES, NEW ZEALAND What: Architectural meets arborealWhere: Deer-dotted pastures and peaks Simultaneous views of mountains, the sea, olive grove and a deer-park… where else other than New Zealand? A top-spot for whale-watching, Hapuku Lodge and Tree Houses is a true get-away, with fully equipped villas nestled high amongst the tree-tops, so you can coo at the local birds (or just kiss your lovebird). The lodge’s knockout 600-hectare grounds, between the towering Kaikoura Seaward Mountains and surf-lashed Mangamaunu Bay, include the family farm’s oil-producing olive grove and deer stud. For a cool canopy experience, the modern, wood-clad Tree House Rooms, set in a manuka grove remote from the main lodge, are a must. 3. SIX SENSES YAO NOI, THAILAND What: Rustic-chic castawayWhere: Yao Noi island hillside Perched on a cliff-side over-looking Phang Nga Bay, Six Senses Yao Noi makes each night feel like an adventure. A selection of nine different types of villa are available, each with stylish interiors, some with pools, and every one offering the best views we’ve ever clapped eyes on. Privacy-seeking couples or families would do well to book a Hideaway Two-bedroom Pool Villa, which has two levels, an open-air bathroom, private ensuite and its own infinity pool. 4. OHLA, BARCELONA What: Classic Catalan coolWhere: Beside Barrio Gotico With a neoclassical exterior but minimalistic interiors, Ohla Hotel in Barcelona never quite makes up its mind. Originally the palace of the first Count of Barcelona, then a department store and police office, and now a hotel renovated with assistance from artist and sculptor Frederic Amat, Ohla is an eclectic mix of history. Hundreds of ceramic eyeballs adorn the outside walls of the hotel, thanks to Amat. The rooms have wooden floors and refrain from over-decoration; in-room massages are available on request. 5. GORAH ELEPHANT CAMP, SOUTH AFRICA What: Bastion of imperial glamourWhere: Stunning South African savannah The wilderness of Addo Elephant National Park is right on the doorstep of Gorah Elephant Camp. Combining Victorian colonial style with classy mod cons, the tent-like suites have thatched canopies, four-poster beds, private deck and panoramic views of the savannah. The Gorah house itself is a mid-18th-century heritage manor, and serves as the main building on the site. Unabashed luxury abounds in the tents themselves: expect silk-soft Egyptian cotton linen and glossy toffee wooden floorboards. 6. SAFFIRE, TASMANIA What: Elemental sanctuaryWhere: Curving Coles Bay coastline Saffire must confuse the seagulls swooping overhead: is it a giant starfish? A huge silver oil spill? A resting spaceship? If only we could tell them: no, it’s a stingray-shaped sanctuary with eye-widening architecture, an excellent restaurant, a pampering spa and a prime natural location (iconic Wineglass Bay is just minutes away). If you fancy your own private courtyard plunge pool, snaffle one of the four Private Pavilions (rooms 1 to 4, aka Mayson, Amos, Dove or Baudin), which include cat-swingingly spacious living and bedroom areas, a kitchen, dining zone and front deck. Saffire's chef can even come and cook for you in-room. 7. GILI LANKANFUSHI, MALDIVES What: Water worldWhere: Lapis lazuli lagoon Be prepared to come home feeling lonely, or with a Mr Friday stuffed illegally in your suitcase: this hotel’s service is flawless, and every villa comes with a Ms/Mr Friday who will look after you so well, you won’t want to leave them behind. You’re not allowed shoes here, and you won’t find any newspapers, but these are the only limits at this beautiful beachside hotel, which must prompt proposals left, right and centre. Gili Lankanfushi’s villas are all overwater: we like the 210sq m Villa Suites best. They’re open-air, apart from the bedroom (which is also the only bit with air-con; everywhere else gets a sea breeze) and have a large living room with day beds and an overwater sundeck with stairs leading to the ocean. 8. QT SYDNEY, AUSTRALIA What: Theatrical temptressWhere: Sydney's happening heart This super-central design diva is carved out of the historic State Theatre and Gowings department store buildings, blending Gothic, art deco and Italianate architecture with quirky-but-cool interiors. Door gals dressed in saucy uniforms, buzzy drinking and dining, and a hip day spa? We're smitten. Sexy, sassy and stylish, QT Sydney has her party shoes on and is ready to dance. Helmed by chef Paul Easson under the creative direction of Sydney restaurateur Robert Marchetti, Gowings Bar & Grill is an edgy, European-style all-day brasserie, which lures diners with its fresh Australian produce (sourced from artisan providores), so-now culinary techniques (we're talking wood-fired rotisseries and ovens) and smart list of up-and-coming wines. 9. SEXTANTIO LE GROTTE DELLA CIVITA, ITALY What: Boutique BedrockWhere: Matera’s grand canyon If Fred Flintstone were looking for a romantic crash-pad for him and Wilma, he could do a lot worse than check into this cave hotel, set in the ancient stassi (stone settlement) of Matera, a mysterious, overlooked patch of Basilicata in southern Italy, flanked by the Ionian and Tyrrhenian seas. Sextantio le Grotte della Civita has a prehistoric birthday and old-world charm: bed sheets and furniture are antique; candles flicker in corners; bath products feature olive oil and packaged simply, and there’s a tasting room set in the old church. Whole families once bedded down in each cave, so expect buckets of space. 10. SAMODE PALACE, INDIA What: All that glittersWhere: Fairytale desert fort Mirror-tiled walls, mural-lined walls, marble swimming pools and antique-filled suites: Samode Palace in the heart of Rajasthan, Jaipur, sounds like the stuff of far-flung fairy tales, but it’s deliciously real. This blue-blooded getaway began life 300 years ago as a maharaja's mansion, so it’s had a while to perfect its poise; modern additions include a gym, sauna, steam room, day spa and boutique. (Of course, kings and queens need to keep in touch with their subjects, so there’s free WiFi in the central courtyard and business centre.) Wander through the Sheesh Mahal, a series of glittering rooms, each more breath-snatching than the last. Once a royal reception space, it's now used for chichi cocktail sessions.
If the last couple of years in pop culture are to be believed, it mightn't be a great idea to go away with a character played by Cristin Milioti. In three of the always-excellent actor's most recent high-profile roles, she has decamped to idyllic surroundings, only to find anything but bliss awaiting. Palm Springs threw a Groundhog Day-style time loop her way in its titular setting. Made for Love saw her trapped by sinister futuristic possibilities. In The Resort, which hails from Palm Springs screenwriter Andy Siara, she now has the ten-year itch — and a getaway to Mexico that's meant to soothe it slides swiftly into a wild mystery. In this instantly twisty comedy-thriller — which brings its first three episodes to Stan in Australia on Friday, July 29, and TVNZ On Demand in New Zealand, then drops the remaining five weekly — Miloti plays Emma, spouse to William Jackson Harper's (The Good Place) Noah. After a decade of marriage, they're celebrating at the Bahía del Paraíso in the Yucatán, but they're really trying to reignite their spark. At this stage in their relationship, he recoils at her bad breath, she makes fun of him falling asleep on the couch, and they're rarely in sync; even when they're floating along the resort's lazy river, cocktails in hand, they want different things. And, they each tackle their matrimonial malaise in wildly dissimilar ways. She wants to find herself above all else, while he's desperate to reconnect. What they both find is a missing-persons case from 15 years ago, after Emma goes tumbling off a quad-biking trail, bumps her head and spies an old mobile phone. It belongs to Sam (Skyler Gisondo, Licorice Pizza), a guest at the nearby but now-shuttered Oceana Vista Resort, who was on holidays over Christmas 1997 with his parents (IRL couple Dylan Baker, Hunters, and Becky Ann Baker, Big Little Lies), as well as his girlfriend Hannah (Debby Ryan, Insatiable). As Emma learns via Sam's photos and text messages, all wasn't rosy in his romantic life. After running into fellow guest Violet (Nina Bloomgarden, Good Girl Jane), his SMS history skews in her direction. But the pair promptly disappeared, and any potential clues were lost when a hurricane struck and destroyed their getaway spot. Initially, Emma and Noah could've waltzed right out of The White Lotus, which also saw a sunny and sandy holiday turn sour — and surveyed couples looking to reignite their love, or solidify it, but getting caught up in thorny feelings and a murky death, too. When Emma takes to solving Sam and Violet's disappearance with the kind of enthusiasm she clearly hasn't shown towards Noah for years, she could been on loan from Only Murders in the Building as well. And, the more that the obsessed Emma and the reluctant Noah investigate, the more than The Resort has in common with Palm Springs. No one relives the same day again and again, but showrunner, writer and executive producer Siara displays the same sense of playfulness. Can bonding over a 15-year-old cold case fix a flailing marriage? Did a holiday romance end in tragedy all that time ago? They're The Resort's two key questions. It has more, many uttered by Emma and Noah as they track down every tidbit they can, but they're not the only people interested. In the series' flashback timeline, Oceana Vista Resort's head of security Baltasar (Luis Gerardo Méndez, Narcos: Mexico) tries to get to the bottom of things, while Violet's father Murray (Nick Offerman, Pam & Tommy) is understandably frantic. Also part this layered tale: Gabriela Cartol (Hernán) as knowing concierge Luna, Ben Sinclair (Thor: Love and Thunder) as erratic resort owner Alex, plus Parvesh Cheena (Mythic Quest) and Michael Hitchcock (Barb & Star Go to Vista Del Mar) as two married Teds dissecting their own long-running nuptials. The Resort's three main threads — a marriage in peril, holidays gone wrong and crime-inspired sleuthing — are as familiar as scenarios get on-screen in the past few years. Indeed, picturesque vacations taking turns for the worst have become a pandemic-era staple, as M Night Shyamalan's Old, the Tim Roth-starring Sundown, the aforementioned The White Lotus and fellow TV series Nine Perfect Strangers have all demonstrated. Siara moulds his addition to the landscape knowingly, though. He approaches all three of his well-worn setups with an understanding of why they're popular, and with a roguish eagerness to zig and zag all over the place. One of the show's biggest thrills comes from seeing just where it'll veer off to next, even while working with such recognisable beats. Surprises arise not just for Emma, Noah, Sam, Violet and company, but for The Resort's audience. Something that won't astonish: how quickly bingeable the series becomes, even though it's drip-feeding out its later episodes. Like Emma and Noah, getting drawn deep into the mystery is easy. Like Sam and Violet, too, getting caught up in the excitement comes just as naturally. The need to piece together puzzles kicks into gear while watching — something that Siara also cultivated on the tonally similar, criminally cancelled-too-soon Lodge 49, and rang true of producer Sam Esmail's Mr Robot as well. It helps that The Resort always looks enticing, not just via locations bound to inspire travel yearnings, but in the detail that resonates in its jungles, caves, hotel bars and lavish penthouses alike. The show's four directors, including Sinclair (High Maintenance), Australian filmmaker Ariel Kleiman (Partisan), and Daniel Garcia and Rania Attieh (Two Sentence Horror Stories), ensure that everything seen on-screen is lively, fascinating and probing in tandem. As guides through The Resort's many turns — as audience surrogates as well — Milioti and Harper are supremely well-cast, even if both have played these types of characters before (for the latter, see: season two of Love Life). The series could've focused solely their way and unearthed ample treasures, stirring insights into love and loss among them. That said, the same is true of the reliably engaging Gisondo (who keeps building on a resume that also spans Santa Clarita Diet and The Righteous Gemstones) and Bloomgarden as Sam and Violet find their own riddle to solve. Offerman's determined father adds poignancy, plus another excellent turn to his his name, but it's Méndez who best embodies The Resort. Sometimes he's tasked with teasing out minutiae and intrigue, sometimes he's delightfully goofy, and he's always impossible to look away from. Check out the trailer for The Resort below: The Resort is available to stream in Australia via Stan and in New Zealand via TVNZ On Demand. Images: Marisol Pesquera / Peacock.
Disneyland might have called dibs on being the happiest place on earth, but New York is certainly one of the tastiest. The city's culinary spread has long drawn visitors from far and wide, and it's now amassing a hefty collection of food museums. First came the Museum of Food and Drink. Then, the Museum of Ice Cream joined the mix. The only thing that could come close to topping that is a place dedicated to chocolate, right? French-born, US-based chocolatier Jacques Torres certainly thinks so, expanding his chocolate-making empire to include New York's first museum dedicated to everyone's favourite sweet treat. The 5000-square-foot Lower Manhattan establishment takes visitors through the entire choc experience. Yes, that involves learning about its history — and, it also includes eating the tasty, tasty substance in question. On the educational side of things, Choco-Story New York: The Chocolate Museum and Experience with Jacques Torres details the origins of all things chocolate dating back to Mayan and Aztec civilisations, and explains the method behind turning cacao beans into the delectable morsels we know and love. As for snacking — aka the reason everyone wants to stop by — nine premium tastings, other samples, hand-ground hot chocolate, melt-in-your-mouth chocolate truffles and chocolate-making workshops are all on offer. This isn't the world's first-ever chocolate museum, however. Among the array of weird and wonderful odes to edible delights (yes, a currywurst museum really exists), plenty of others have done the same thing. Basically, Homer Simpson's dream of a land of chocolate is slowly becoming a reality, with other choc havens found in Canada, London, Bruges, Hamburg, Vienna, Spain, the Netherlands, New Zealand and even Tasmania. Unsurprisingly, it's a long list.
Did you know that it's illegal to store an ice cream in your back pocket in Alabama? One dare not imagine the horrifying tragedy that must have engendered this law. The destruction of such a very fine pair of acid-wash Levi's. The cruel, undeserved fate of the ice cream. Ludicrously entertaining, yes, but this is just one of infinite madcap laws that have been passed in the US over time, and now a young photographer is cleverly drawing attention to them through a series of images titled I Fought the Law. Recent School of Visual Arts grad, 22-year-old Olivia Locher, is working through every American state in turn, selecting the weirdest law of each to express as a photograph. Known for her colourful work and currently seeking Kickstarter funding for a fairly bizarre and intriguing cult-inspired film featuring lean girls in matching underwear, Locher has chosen the literal route for representing the unusual laws, and you can scope them all out here. Below we have included some of Locher's chronicle of what's verboten, to act as a kind of visual warning manifesto. Back that fixie away from the diving board, hombre, because in Cali it's absolutely forbidden to ride a bicycle in a swimming pool. Enjoying more than two dildos in the privacy of your own Arizonan home? The cops are onto you. (But this instructional video may prove helpful, should you choose to defend your hobbies). Meanwhile, in enlightened Wisconsin, serving apple pie without cheese is an illegal act. Why? Why should this be so? Does cheese even taste any good with apple pie? The boys in blue don't care for your existential line of inquiry. Coins can't legally be placed in human ears on the island of Hawaii, and Texan children are denied the legal right to get a weird haircut. Little Bobby wants a groovy mullet? Cuff 'im. Via PSFK
As anyone who's seen the doco Amy knows, during Amy Winehouse's troubled final years, the media was excruciatingly obsessed with her drug and alcohol issues. But, a new exhibition, arriving in Melbourne later this year, is bringing us another perspective. Titled Amy Winehouse: A Family Portrait, the show covers four concepts: faith, fashion, music and London life. Expect to see loads of never-before-seen-in-public objects, such as family photos, dresses (including the dazzling Luella Bartley number that Winehouse wore at Glastonbury 2008), cookbooks, stories, records and musical instruments. Acting as soundtrack will be a mixtape Winehouse put together at the age of 13. The exhibition was conceived and curated by Amy's brother, Alex, and sister-in-law, Riva, in collaboration with the Jewish Museum of London. Since premiering in London in 2013, it's travelled to San Francisco, Vienna, Tel Aviv and Amsterdam, and, right now, it's at the London museum, Camden. Amy Winehouse: A Family Portrait arrives at the Jewish Museum of Australia, St Kilda, on October 22 and will show until March 22, 2018. Image: Rama via Wikimedia Commons.
Here comes the sun, doo-doo-doo-doo. Welcome back to the warm half of the year, folks, and boy, has it started strong. With some real scorcher days already under our belts and many more to come, people all over Sydney are busting out the breezy linens and sunscreen in earnest. Let's not forget that spring is a time of celebration, so we've teamed up with Stockland to tell you about the busy few weeks ahead in Sydney and beyond. SHADES OF SUMMER AT STOCKLAND Spring and summer overlap in certain areas, but especially when it comes to fashion and style. Anyone in need of a wardrobe refresh should make a booking at Stockland Green Hills, Merrylands, Shellharbour or Wetherill Park for one of the three Shades of Summer workshops. These expert-led sessions cover many style basics and will help you shop for a new fit with equal amounts of intention and inspiration. Shades of Summer will spread across a variety of workshops. Makeup artist and stylist Amy Chan will go through common skin issues and how to choose your ideal remedial products. Styling and colour workshops hosted by professional stylist Caitlin Stewart will equip you with an understanding of what colours suit you scientifically. You can then utilise that knowledge at DIY lip gloss workshops to blend a base with a custom colour suited to your skin tone and take the product home. All workshops require a booking, and you can find the centre-specific dates here. This is only the tip of the iceberg for what's on at Stockland, you'll also find pre-loved clothes drop-offs, free summer fashion guides that tell you where to find the hottest products, seasonal makeup guides, a giveaway for a $1000 gift card and much more. Visit your local Stockland website to find out the details. PARRAMATTA LANES The weekend of October 14–15 will be packed with events across Sydney and beyond, so we've got something for you to attend no matter where you find yourself on the coast. Parramatta Lanes is a top choice for anyone in the mood for celebrations. This annual event runs from Wednesday, October 11 to Saturday, October 14 and brings free festivities across the realms of food, drink, music and art to the Western Sydney hub of Parramatta. Foodies will find a stall for every cuisine and flavour they so desire, including Sydney crowd favourites Koi Dessert Bar and FirePop and festival debuts from Kampung Laksa, Japanese Pizza Okonomiyaki and Sri Daskin Food. Once you've had your fill, follow the sound of music to performances from Fazerdaze, Carla Wehbe, Tokyo Vendetta, Mali Jose, a dedicated K-Pop stage and more. Keep an eye out for the free public artworks and a dedicated Pup Culture zone for your four-legged companions to join the fun. [caption id="attachment_790427" align="aligncenter" width="1920"] Natasha Webb via Department of Planning, Industry and Environment[/caption] GO CAMPING AND BUSHWALKING The months of spring (when we're between the occasional day of extreme heat) are arguably the best parts of the year to get out and explore Australia's landscapes. From the beach-adjacent hillsides of the Ku-ring-gai Chase National Park in Sydney's north to the dense wilderness of the Royal National Park to the south, camping and walking opportunities are everywhere you look. Consider a trip south to Budawang National Park to escape the big smoke. This secluded bush kingdom stretches from steep mountains to rushing rivers northwest of Batemans Bay. Trails cater from day walks to overnight adventures, with the standout being a famously steep ascent of The Castle. A classic choice further north is Munmorah State Conservation Area, wedged on the coast just southeast of Lake Macquarie. The setting makes it ideal for walking, camping, picnics, fishing or all of the above, and the park is easily accessible to the public year-round. [caption id="attachment_920859" align="aligncenter" width="1920"] Beau Pilgrim[/caption] RAW CHALLENGE DOYALSON If camping or bushwalking is on the right track for what you need but doesn't hit the nail on the head, consider levelling up to the Raw Challenge Doyalson. It's the same basic idea of walking outdoors, except there's more encouraged running, some natural obstacles like water and mud, then many manufactured obstacles. Raw Challenge is the place for chaotic physical fitness this October, with 60+ obstacles over seven kilometres on Saturday, October 14. From precarious wooden balance beams and three-storey angled rock climbing walls to 35-kilometre-per-hour slides and 50-metre pits of thick mud, this is no ordinary walk in the park. Thankfully, the pressure is only as high as you choose it to be. General racers can pick and choose their pace and skip as many obstacles as they'd like, while elite ticket-holders face a punishment of 15 burpees for every obstacle they miss. However you conquer it, Raw Challenge is just about having fun. Post-challenge, you can enjoy a shower, hot food, cool drinks and live tunes with your fellow participants. [caption id="attachment_837425" align="aligncenter" width="1920"] Georgia Moloney[/caption] YOURS AND OWLS FESTIVAL 2023 After taking a year off due to 2022's La Niña weather cycles, Yours and Owls (known by some as Gong Christmas) is back in force for a 2023 edition. Instead of being at the mercy of the elements in Stuart Park, the event is kicking off a new multi-year venue partnership with University of Wollongong. The expansive uni campus offers a range of opportunities for the festival organisers, who have sworn to use every available oval, ground and laneway throughout UOW. It's the beginning of a new era for Yours and Owls, and if the lineup is anything to go by, the 2023 festival will be unmissable. Spread across Saturday, October 14, and Sunday, October 15, will be performances from Flight Facilities, Chet Faker, Ocean Alley, Hilltop Hoods, Oliver Tree, Pendulum and over 60 other groups. Of course, the festival's dance hall, Das Smelthaus, is back for 2023 in a new UOW home with shows from Club Angel, DJ PGZ, Sam Alfred, Lauren Hansom, and more planned. [caption id="attachment_920860" align="aligncenter" width="1920"] Terrigal Ocean Tours[/caption] GO WHALE WATCHING Twice a year, the beautiful creature that is the humpback whale passes close to coastal NSW. The spring season is one of the busiest for whale migration, where family pods migrate south to the chilly waters of Antarctica, with young calves primarily born in the Pacific Islands swimming close to mum. The spring season comes to a close by November, but one of the most ideal locations to spot the whales is up close and on the water. One stretch of the route where whales venture closer to the coast is off of Terrigal on the Central Coast, where you can get a closer look thanks to Terrigal Ocean Tours. This family-owned and operated business has been showing the extraordinary ocean diversity of Terrigal Haven and Broken Bay, scouting for whale pods in season and exploring the local seal colonies and beautiful hidden beaches in the area out of season. For more information on Stockland Shades of Summer, visit your local Stockland website. For more spring events and activities, keep it right here on Concrete Playground.
If all you want for Christmas is a trip to a part of Australia like no other, then there's no need to ask Santa for tickets in your stocking. You can, of course, but for five days from Thursday, December 8—Monday, December 12, discounted fares to the Northern Territory are on offer as part of Jetstar's big pre-Christmas flight sale. Treat yo'self to an early festive holiday booking and get a jump on your 2023 vacation planning all at once, with $89 flights to Uluru up for grabs. That's how much it'll cost to get to the Red Centre from Melbourne, but you'll also only pay $109 one-way from either Sydney or Brisbane. [caption id="attachment_840264" align="alignnone" width="1920"] Tourism NT[/caption] For NT visitors keen on scoping out Darwin instead, all fares are under $150, with prices varying depending on the departure point. For Brisbanites, the starting price is $109, while Adelaide residents can get $129 fares, and Sydneysiders and Melburnians can book $149 flights. If it feels like these kinds of sales pop up often, that's because they have been lately. 'Tis the season after Black Friday and Cyber Monday, after all. That said, no travel aficionado will ever complain about too many opportunities to nab cheap flights. The usual Jetstar caveats apply: all sale fares are one-way, and they don't include checked baggage — so you'll need to travel super light or pay extra to take a suitcase. [caption id="attachment_813586" align="alignnone" width="1920"] Darwin Festival, Elise Derwin[/caption] And if you're wondering what to do when you're there, fares are on sale for trips between May and September 2023, which means checking out Darwin's BASSINTHEGRASS music festival headlined by Tones and I, Baker Boy, Amy Shark and Ocean Alley — or enjoying the Darwin Aboriginal Art Fair, Country to Couture, the Telstra National Aboriginal and Torres Strait Islander Awards, the National Indigenous Music Awards and Darwin Festival. Or, obviously, there's Uluru itself, all of the tours and experiences around the sacred spot, and Bruce Munro's dazzling Field of Light. [caption id="attachment_847444" align="alignnone" width="1920"] Tourism Central Australia[/caption] Jetstar's 'post-Chrissy recovery' sale runs from 12am AEDT on Thursday, December 8 till 11.59pm AEDT on Monday, December 12 — or until sold out, if snapped up earlier. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Whether you want to stay rustic and pitch a tent, find the best spot to park your hippie van or lounge around in a luxe, beachfront bungalow sipping margaritas, there's a place on the Coral Coast for you. Here, we take a look at five of the best accommodation options between Perth and Exmouth — from the lush yet earthy Novotel Ningaloo to the friendly Kalbarri Seafront Villas to the laidback Dongara Tourist Park. LUXURY: NOVOTEL NINGALOO, EXMOUTH Novotel Ningaloo's primary bragging point is that it's the only accommodation on Sunrise Beach. But rather than imposing itself on its pristine surroundings, the resort aims to blend in effortlessly. That means earthy colours, natural materials and organic shapes. Rooms feature king-size beds, spa baths, high ceilings and private balconies, and vary from standard doubles to two-bedroom bungalows. Go for the latter if you're after uninterrupted ocean panoramas. Hit the onsite restaurant and bar for sunset meals and cocktails. HOME AWAY FROM HOME: KALBARRI SEAFRONT VILLAS These neat villas are located on the Kalbarri waterfront. They come with free use of dinghies, so you can explore the Murchison River at your leisure, and should you need any tips, your friendly hosts will help you out. Accommodation varies from studios to villas to a two-storey townhouse, with most rooms offering excellent water views. Plus there's an outdoor pool and a barbecue area. As far as value for money goes, this is one of the best options on the Coral Coast. HOMEY HIDEAWAY: OCEANSIDE VILLAGE, DENHAM, SHARK BAY If you were any closer to the water, you'd be sleeping in a submarine. Oceanside Village is on absolute beachfront, meaning that your door is literally 20 metres from the surf. Accommodation consists of free-standing, self-contained villas. Opt for one-bedroom or get fancy with the two-bedroom arrangement, complete with private balcony and panoramic views. Free Wi-Fi, free Foxtel, barbecue facilities and a pool are all part of the deal. COMFORT: BROADWATER MARINER RESORT, GERALDTON Stroll just 50 metres from Broadwater Mariner Resort and you'll find yourself at peaceful Champion Bay, a favourite swimming spot among Geraldton locals. The resort's 107 guest rooms are beautifully decorated and dotted among landscaped gardens. Choose accommodation to suit you — from studios to spacious, three-bedroom apartments. Next door, the L'attitude 28 Restaurant offers a menu inspired by local produce and a long wine list, with an emphasis on vintage and boutique drops. BUDGET: DONGARA TOURIST PARK Bring a tent, roll up with your caravan or book into a deluxe cabin — whichever way you want to holiday, Dongara Tourist Park can make it happen. You'll find its acres of green, rolling grass right on the coast at Port Denison, 3 kilometres south of the cute, sleepy village of Dongara. The marina is just three minutes away, for easy launching of boats, and during lobster season, you can buy fresh crustaceans direct from local fishers. If, however, you'd rather someone else do the cooking, there's a great restaurant just a short walk away.
Discover a world of Indonesian flavour that totally eclipses your basic Bali beach feed, when the Shangri-La kicks off its inaugural Taste of Indonesia food festival today. Cafe Mix will become the ultimate Indo dining destination, hosting sumptuous buffet spreads at lunch and dinner daily until the event wraps up next Saturday, August 12. They've brought in the big guns, too, with guest chefs Nur Budiono and Marjono from Jakarta's own Shangri-La flying in to work their culinary magic in the kitchen. Expect a parade of rich and vibrant plates as the pair shares a snapshot of authentic, regional fare and sends tastebuds island-hopping across their homeland. Fiery bursts of chilli and spice throughout national dishes like beef rendang, soto ayam, and gado gado are guaranteed to make you forget all about the chilly winter temperatures outside. Just be sure to leave room for the feast's final chapter, so you can get acquainted with traditional desserts like surabi (coconut milk pancakes) and onde onde (coconut-coated rice cakes). Get your 'Taste of Indonesia' at Cafe Mix, from Friday, August 4 to Saturday, August 12. The buffet lunch is on offer from 12–2.30pm for $55 per person, and the buffet dinner is available from 6–10.30pm for $85 per person.
