If you're planning to spend 12 days in the Harbour City's cinemas this winter, Sydney Film Festival's full 2025 slate of movies is jam-packed across Wednesday, June 4–Sunday, June 15. A few highlights on the program are also part of Vivid Sydney 2025, falling within the citywide arts, light, music, food and ideas celebration as well. A celebration of Warren Ellis was always going to be huge news — and worthy of a spot on both festival's bills. There's two parts to it, both on Sunday, June 8: a screening of Justin Kurzel (The Narrow Road to the Deep North)-directed documentary Ellis Park, about the iconic musician establishing an animal sanctuary to protect endangered species in Sumatra, then An Evening with Warren Ellis at City Recital Hall. At the first, at the State Theatre, audiences will obviously see the film. Afterwards, its subject — a Nick Cave & The Bad Seeds collaborator and Dirty Three founder, as well as a pivotal force in movie scores, including on The Proposition, The Road, Far From Men, Mustang, Hell or High Water, The Velvet Queen, The New Boy, Back to Black, Kid Snow and newly minted Oscar-winner I'm Still Here — will chat about the doco, and also put on a short musical performance. You'll need separate tickets if you want to attend both the movie and the in-conversation session.
Private galleries: They can seem small, detached, too far away to trek to and too quiet to enter without drawing the attention of hawkish assistants who measure the depths of your pockets as you squirm in their talons. Thankfully, Art Month Sydney is back to systematically bust each one of these preconceptions as it unites over 80 galleries and artist-run initiatives in four weeks of celebration, collaboration and bigger-than-oneself thinking. Now in its second year, Art Month works by devoting each week in March to a separate Sydney arts precinct: Danks Street, Waterloo and Redfern (March 1-6); Chippendale, Newtown, Marrickville and the CBD (March 7-13); Darlinghurst, Surry Hills and Potts Point (March 14-20); and Paddington and Woollahra (March 21-27). You're encouraged to gallery hop the area-of-the-week, particularly on Thursday nights for Art After Work, during which galleries stay open till 8pm and the designated bar takes in weary art appreciators afterwards, and on Saturdays, when a packed schedule of gallery talks will lure you from one venue to the next in line. This year introduces ARTcycle as a guided, leisurely and extra romantic group transit option. The thing to book well in advance (like, now) is the Creative Conversations series, last year's big hit, which pits visual artists in conversation with artists of other stripes to see what light they can shine on each other's world. The 'Thread for Thought' session will look at the convergence of art and fashion with Akira Isogawa, Lindy Lee and Adam Laerksen, while 'Igniting Passions' will pour in Adam and Max Cullen, Pat Corrigan, Giles Alexander and Guy Maestri and stir. Before the month of March is out, make sure you've wandered the stretch of Macleay Street, Potts Point to take in its spruced-up store windows, been welcomed into Marrickville's thriving ARIs, squeezed into the White Rabbit's theatrette for Animation Overload and a good deal more.
Want to see what glitter and blood look like combined? Inventive Aussie horror The Loved Ones has recently scooped a handful of film festival prizes, so it's being released to some hype. The points of difference to the average slasher are its investment in character (so you care when someone has a cordless drill pointed at their head), its reverence to Australian film history and its female baddie. Never fear, the character development doesn't stop the lead, deep and dero high-schooler Brent (Xavier Samuel), being kidnapped a mere 10 minutes in. He's made the mistake of politely declining an invitation to the school formal from the quiet, childish Lola Stone (Robin McLeavy). Now Lola and her too-devoted father (John Brumpton) are determined that she and her quarry have the perfect night — a perverted prom where her dress is too shocking a pink, Kasey Chambers features too heavily on the soundtrack and an array of household tools are used contrary to their instructions. Tuxedoed, trussed up and tormented, Brent will have to decide whether he cares more for life or death, and, robbed of his voice early in the game, Samuel does a great job communicating this journey through scrabbles and cries alone. That said, there's a reason we call this genre 'torture porn', and although its great to see the gender roles reversed, it may also be the reason you really feel every squick of this grotesquery. https://youtube.com/watch?v=LqtDoEne-Is
Haven't yet feasted your eyes on Wes Anderson's latest flick, the stop-motion animated delight that is Isle of Dogs? Loved it and want to see it again? It was one of our picks from this year's Berlinale, where it opened the fest and won best director, so we understand. The film has just hit DVD and to celebrate Stanley's in Darlinghurst is screening it for free — and, even better, you can bring your own pupper. The screening will kick off at 7pm, and is bound to turn Stanley's heated courtyard into an isle of dogs — just without the water. And while you can always take your pooch to hang out at Stanley's, there's no better time to take them to than this. The Darlinghurst bar will also be serving up an Isle of Dogs-themed menu for the occasion, with drinks such as a tequila- and grenadine-spiked Pink Chihuahua, the Bloodhound — the bar's take on a Caesar — and Indy Loves Iggy with gin, rhubarb and kombucha. It'll be available from July 15–29. If your dog is called Spots, then you have to go. The film follows a boy's visit to the titular land mass to find his beloved Spots, after all. The adventure that follows features the voices of a host of Anderson regulars and other ace talent — think Bill Murray, Jeff Goldblum, Bob Balaban, Greta Gerwig, Tilda Swinton, Bryan Cranston, Scarlett Johansson, Edward Norton and Frances McDormand — and proves as gorgeous as you'd expect. You'd be barking mad to miss it.
When Vivid comes to Sydney, the city comes alive, and this year's festival is bringing even more to Sydney thanks to its inaugural food program. Joining the influx of events on this year's lineup is Mary's HERE NOW festival. This day-to-night pop-up is a total newcomer to the festival's annual itinerary with a massive celebration of abundance, food, wine, art and tunes. This event has found a home at Macquarie Place Park, the patch of green right outside of Mary's Underground in Circular Quay — showcasing the state's finest hospitality vendors alongside exhilarating artists on Sunday, June 11. The festival's eats and drinks have been co-curated by P&V Wine and Liquor Merchants' Mike Bennie with renowned Chat Thai and Boon Luck Farm founder Palisa Anderson. Together, they've pulled together a huge lineup of acclaimed chefs and beverage producers who will be on hand cooking up a storm — and sampling their beloved alcoholic and booze-free sips. A few highlights from the chef lineup include Morgan McGlone (Copains, Sunday, ex-Belles Hot Chicken) Annita Potter (Viand), Shaun Christie David (Colombo, Kabul and Coyoacán Social), Josh Lewis and Astrid McCormack (Brunswick Head's two-hatted restaurant Fleet), Alex Prichard (Icebergs Dining Room and Bar) and Nick Hill (Porcine). Accompanying them will be the P&V Baller Bar, plus drinks from Wildflower Brewing, Sabi Wabi, Black Snake Distillery, Heaps Normal, Benson & the Mooch, Lily Fields Distilling Co, Ghiddy and Frankly, Wine by Bob. [caption id="attachment_901909" align="alignnone" width="1920"] Whole Beast Butchery[/caption] When it comes to the tunes, Sudanese superstar Gordon Koang leads the lineup, with Danté Knows and EGOISM joining him, alongside DJ sets from Eluize, Champs, ChelseyDagger and Reenie. HERE NOW runs from 3–9pm, and tickets for the 18+ event include entry and a complimentary drink token — and can be purchased online. If you aren't ready for the night to end early, Mary's Underground will be hosting a post-festival after party with live performances from 9pm. [caption id="attachment_901911" align="alignnone" width="1920"] Gordon Koang[/caption] Updated Tuesday, May 23.
Thank you, Germany, for giving us yet another reason to splurge on our favourite fermented beverage. Oktoberfest is getting an Aussie do-over for the third year running, as Oktoberwest takes over Sydney's inner west for a day of beer, live music and food truck eats. The Factory Theatre will be turned into a beer hall for the day on Saturday, October 12. Inside, you'll find Young Henrys, Willie The Boatman, Wayward, The Grifter, Batch, Stockade, Philter, Sauce and Malt Shovel Brewery all providing their best limited edition brews. All up, there will be 40 beers to try. Oh, and of course there'll be tunes. Over 20 bands and DJs will take the stage, including Melbourne's The Bennies and local psychedelic four-piece The Laurels. So you can sit back with your pint and enjoy the music, or get involved in the pool comp, beer bingo, an arcade game battle or a go in the dunk tank. In short, there's a lot to do. Luckily, pizzas, Jamaican-style burgers and jerk chicken and German sausages will keep you going throughout the day.
They say you have a second stomach for dessert, but we'd be leaving both of your tummies free for this. Sweet tooths, prepare yourselves. The Shangri-La Hotel Sydney's Sweet Street dessert festival is back, and it's time to dig in. The festival is returning for its fifth year on Friday, June 29, and the hotel's executive pastry chef and high tea aficionado Anna Polyviou is promising a night of wickedly decadent desserts. MasterChef fans will know Polyviou as the mohawk-sporting sweets queen that makes even the most solid of confectionery-competent contestants shake in their boots. Needless to say, girl knows her dessert. Ever the 'food porn' advocate, she'll be serving up eye-widening creations like Popping Caramel (milk chocolate, popping crunch and passionfruit caramel) and Matcha Match (matcha, crunchy cornflakes and strawberry). It should go without saying that they'll taste bloody good too. The lineup also features the stars behind some of Sydney's most renowned dessert items, including watermelon cake creators Black Star Pastry, Uncle Tetsu and his fluffy Japanese cheesecakes and mister macaron himself, Adriano Zumbo. Butter, Koi Dessert Bar, Kirsten Tibballs, Petite Desserts, MakMak Macarons and Petal Met Sugar will also be slinging their sweets. Tickets are $85 per adult (and $45 per child), and you'll get bang for your buck because it gives you eight tokens to redeem desserts at any stall. And if the thought of downing eight sweet treats doesn't have you clutching your stomach in pain, try your hand at the dessert-eating competition. You never know, you could be a cake-guzzling champion in the making. Sweet Street kicks off at 6pm on Friday, June 29. For more information and to purchase tickets, visit the website.
War, what is it good for? That's a question Britain's Ministry of Information was tasked with answering in the 1940s. As English soldiers battled the Nazis across Europe, and the Germans dropped bombs on London during the Blitz, selling the merits of the Second World War to the broader public became increasingly difficult. When lives are being lost en masse and buildings are crumbling around you, the slogan "keep calm and carry on" — which was coined by the British government in 1939 — starts to seem a little less reassuring. In Their Finest, Ministry filmmakers aren't just concerned with making rousing cinema. They're also keen to ensure that plausible dialogue comes out of the mouths of their female characters. This inspires them to hire Catrin Cole (Gemma Arterton) as a low-paid writer. Though keen, industrious and excellent at her job from the outset, she comes in particularly handy when bureaucrat Roger Swain (Richard E Grant), producer Gabriel Baker (Henry Goodman) and head writer Tom Buckley (Sam Claflin) set their sights on adapting a true tale about two sea-faring sisters. The ladies in question took their dad's boat to help with the Dunkirk rescue efforts, or so the story goes. But when Catrin has a chat with the heroic twins, she discovers that reality is a little less exciting. Still, you know the old adage: you can't let the facts get in the way of a good story. Propaganda filmmaking mightn't seem a likely candidate for a poignant exploration of the power of movies, a tender account of people trying to get by in tough times, and a romantic drama all rolled into one. Nevertheless, audiences who stick with Their Finest's initially awkward-seeming concept will be justly reward. There's plenty of sweetness, satire and insight inside — and a gentle yet clear rallying cry against sexism as well. Indeed, director Lone Scherfig (An Education) and screenwriter Gaby Chiappe understand full well that pleasing the cinema-going crowds and smartly championing the power of women in the workforce aren't mutually exclusive goals. In adapting Lissa Evans' 2009 novel Their Finest Hour and a Half, they take the obvious approach, but do so with handsome period flair, an ample amount of heart, and an ability to seamlessly jump between comedic to serious moments. Take Bill Nighy's involvement, for instance. The veteran actor plays just that, although his character is convinced he should be seen as a young romantic lead rather than older uncle. He's initially rolled out for laughs, but the movie doesn't treat him as a joke. Delving deeper into what its motley crew is facing as the war rages on around them sits at the very heart of this surprisingly nuanced film. And while Nighy doesn't ever steal the spotlight from the spirited Arterton, he provides a warm, witty and winning example of the kind of multi-layered movie the pair both find themselves making. https://www.youtube.com/watch?v=qmRzbnnToiw
The brainchild of Grégoire Bertaud, Mal Higgs and Angus Farrell, The Drink Hive has a clear, noble goal (other than the obvious selling of booze) to bring quality craft and artisanal products to thirsty punters in a sustainable manner, and at a decent price — Higgs and Bertaud, the official co-owners of the shop, work closely with various producers to ensure that this goal is met. They even have refillable beer and wine stations pouring quality drops. The Drink Hive is located in Rosebery's food precinct Saporium, which brings sustainable eating, organic ingredients and local businesses together in one place. The Drink Hive slots right into this niche, as Bertaud says that he's "excited to offer Sydney a local and sustainable approach to craft alcohol products at a price affordable to everyone."
Cooking can be many things. For some, it's merely a means to an end; for others, it can be meditative to the point of being therapeutic. But no matter which side of the fence you fall on, there are days when we just can't be bothered doing it. And the same is true of professional chefs — after all, if you do something for a living there surely comes a point where you just don't feel like doing it in your spare time, right? But where do chefs eat in their downtime? We've teamed up with UberEats to ask four Sydney hospo stars — Nelly Robinson of progressive fine diner Nel, Kenneth Rodrigueza of Donut Papi, Eddie Stewart of Tokyo Lamington and Josh Raine of Tetsuya's — about their top local picks for those times they feel like handing over the reins to someone else. [caption id="attachment_697668" align="alignnone" width="1920"] Bella Brutta, Kitti Gould[/caption] GO-TO MEAL FOR A HANGOVER Nelly Robinson: "It has to be pizza. If I could be bothered driving it would be Bella Brutta or Westwood, but Rocketboy [also] hits the spot. My go-to is [a] tomato base, cheese, sopressa, pepperoni, ham, peri-peri chicken and potato. Oh, and the garlic bread is a must — it's not your standard!" Kenneth Rodrigueza: Spice and rice is nice for Rodrigueza the morning after a big night. His pick: spicy sashimi tacos and eel and prawn futomaki from Kujira in Ashfield. "The rice absorbs the excess alcohol in your stomach (not sure if this is scientifically proven) and the spicy sauce of the tacos wakes you up." [caption id="attachment_642395" align="alignnone" width="1920"] Loaded by BL, Kimberley Low[/caption] Eddie Stewart: The burg is the word for Stewart when it comes to hangover cures. "Loaded by BL always has my back after a not-so-amazing-feeling morning. [My order is] the Blame Canada with a side of poutine." Josh Raine: Raine's go-to for a hangover was also once the location of a special occasion. "I love Erciyes Restaurant so much that a few friends and I shared a birthday dinner there a few years ago. My favourite dish is the Erciyes Special Pide, which is cheesy, meaty goodness and served up with a chicken iskender kebab. My girlfriend also rates the homemade lentil soup and Turkish bread." GO-TO MEAL FOR A DATE NIGHT Nelly Robinson: "For date night, it would definitely be Indian from Delhi 'O' Delhi. You can't go past the samosa, chicken tikka, dahl, butter chicken, poppadoms and a naan." Kenneth Rodrigueza: "When you CBF cooking, you always go to the restaurants that are consistent because you don't want to ruin a good night with a bad dinner. My go-to is Bar Asia in Annandale. It's very consistent with every dish but my favourite is its beef rendang, [which is] a slightly modern [version of] home-style cooking that reminds you of your parents' cooking — except you paid for it and it was delivered to you." Josh Raine: "For us, it's Northeastern Family Chinese in Waterloo. We order the Sichuan hot spicy sauce chicken with curry fried rice — it's really epic every time." [caption id="attachment_622418" align="alignnone" width="1920"] El Jannah[/caption] GO-TO MEAL FOR A NIGHT OF NETFLIX AND CHOW Nelly Robinson: "It's El Jannah for me. I love the rotisserie chook with garlic sauce, tabouleh and pita. Also, the crispy chicken burger is amazing — I add cheese at home as well." Kenneth Rodrigueza: "If you're watching a movie while having dinner, you don't need any cutlery to distract you. When I get bored of a normal burger, I switch it up to a Japanese-style burger from Gojima, which uses sushi rice covered in seaweed as a bun. The signature sauce is to die for." [caption id="attachment_694684" align="alignnone" width="1920"] RaRa, Luisa Brimble[/caption] Eddie Stewart: "My go-to comfort dish for a Netflix night is Johnny Gio's Pizza — pizza and Netflix is the ultimate ritual. I always go for the pepperoni or the meatball." Josh Raine: "My go-to comfort dish for a couch night is RaRa Ramen. I love the tonkotsu with housemate black garlic and chilli. Also, the vegan ramen is super tasty." [caption id="attachment_716742" align="alignnone" width="1920"] Mapo, Kitti Gould[/caption] GO-TO DESSERT Nelly Robinson: "We don't often order dessert but when we do, Serendipity's Death by Chocolate, which you can get from Rocketboy Pizza, is delish." Kenneth Rodrigueza: "I always explore new and interesting flavour combos whenever I crave desserts. Hakiki's feta and rockmelon gelato, Peanut Butter Bar's cheesecake and Panntea's French cake milk tea with pearls are my faves." Eddie Stewart: "Mapo Gelato — always. I reckon I can have a whole one-litre tub to myself, it's the best gelato in town. Oh, that gives me an idea — we need to collab on a lamington gelato, maybe with fior di latte or matcha?" Josh Raine: "It has to be Rivareno Gelato. You can't go wrong in the slightest with any of the flavours — it has experimental flavours but if in doubt, go for the classics. The caramello salato and matcha green tea, in particular, are incredible." Don't feel like cooking tonight? Jump on UberEats to discover a new local favourite. Right now, the delivery platform is offering discounts on a heap of restaurants around Sydney from Monday to Wednesday — find out more here.
In March, the 22nd Biennale of Sydney unveiled more than 700 artworks by over 100 artists at various exhibition spaces across the city. Unfortunately, thanks to the COVID-19 pandemic, outbreak and subsequent social distancing measures, the citywide arts festival had to change its plans and people could only experience the festival via its digital program, Nirin Online. In exciting news, the Biennale has extended its program and you'll be able to visit the Biennale of Sydney at the Art Gallery of NSW, Campbelltown Arts Centre and Artspace from June 1 — and at Cockatoo Island and the Museum of Contemporary Art from June 16. Campari, official partner of the 22nd Biennale of Sydney, has collaborated with artists Eric Bridgeman and Bhenji Ra to create the Galleria Campari — a creative space on Cockatoo Island where you can chat about the festival over a Negroni or Campari Soda from June 16 to September 6. You can also explore Galleria Campari online. [caption id="attachment_771765" align="alignnone" width="1920"] Bhenji Ra's 'Kamay Kalayo (Hands of Fire)'[/caption] Because not everyone will want to, or be able to, travel to Cockatoo Island, Campari has also taken its Biennale Artist Series online. It includes interviews and playlists from artists like Melbourne-based DJ MzRizk and Sydney-based rapper and drummer DOBBY. Every week a different artist will share their story. Coming up on Friday, June 5, Sydney multidisciplinary artist Bhenji Ra will be sharing her creative practice via Instagram, hosted on the Biennale Instagram page, at 8pm. In addition to hearing from the artist, you can also enter a competition to win one of her artworks (pictured above), valued at $999. Register your details before the competition closes at 5pm on Saturday, June 6. The picture is based on a physical art installation by Bhenji Ra, 'Kamay Kalayo (Hands of Fire)', which Campari will be auctioning off on Wednesday, June 10 to raise money for charity that'll support Biennale artists. Find out more, here. Images: Galleria Campari at Cockatoo Island; artist Bhenji Ra.
It isn't called the big screen for nothing — and, when you head to the pictures, that's typically what you spend a couple of hours peering at. But you won't just be staring at a giant rectangle at Wonderdome, Sydney's new pop-up cinema experience. In a blend of film, music and art that takes its cues from planetariums, you'll be sat in a dome watching movies that've been specifically designed to take up the whole 360-degree space that's towering above you. When Wonderdome hits Entertainment Quarter between Saturday, December 4–Sunday, January 30, it'll offer Australia's largest-ever 360-degree projection cinema. The structure itself is a geodesic steel dome that spans 21 metres in diameter, and is filled with multiple projectors, as well as a 7.2 surround sound system. To watch, you'll recline on throne-style beanbags and stare up at the movie. Given that the projection sprawls all around you, it's been likened to virtual reality — but without the goggles. The 22-film lineup includes the dazzling Coral Rekindling Venus, which sees Emmy Award-wining Australian filmmaker Lynette Wallworth focus on fluorescent coral reefs, bioluminescent sea creatures and rare marine life; National Geographic's David Attenborough-narrated Flying Monsters, about flying dinosaurs; the climate-focused Dynamic Earth, which benefits from Liam Neeson's vocal work; and Carriberrie, which focuses on Indigenous Australian dance and song. Fulldome cinema is also known for its psychedelic and eye-popping visual displays, which is where Samskara, from artist Android Jones, comes in — plus Labyrinth, which is filled with squares, streets, passages, corridors and rooms; and Luminokaya, which lets you explore Cambodian temple complex Angkor Wat. Snacks-wise, you'll be able to grab something to eat and drink either before or after each Wonderdome session, with the menu including jaffles, chips, slushies, chocolates and ice creams. Plus, there'll be a gin bar, as well as a lineup of craft beers. Wonderdome's Entertainment Quarter season will also accept New South Wales' Dine & Discover vouchers, if you have some left — or you're eager to get your hands on more when two extra vouchers become available for NSW residents over the age of 18 sometime this summer. Tickets go on sale from 11am AEST on Wednesday, November 17 via the Wonderdome website.
Jacob Boehme is no stranger to the combination of theatre, dance and even puppetry to create his own multidisciplinary performances, and his latest dance work Blood on the Dancefloor is another shining example of this. A man of Narungga and Kaurna descent, after his diagnosis with HIV in 1998, Boehme took his plight to his elders, looking for answers. This limited performance at Carriageworks is the culmination of his search, a physical monologue that explores the human connection of blood to memory, to the land, to our history, and to each other. This is one of 15 next-level events to see at Sydney Festival. Check out the whole list.
At the end of each year, the Australian Ballet rests its commitment to the groundbreaking and the contemporary, and visits the comforts of festive fantasy. Even for a devotee of the abstract in dance such as myself, by December I ache to be lost in snow falling from the glittering heavens of the Sydney Opera House ceiling. This year's choice for an end of year spectacular is The Sleeping Beauty, and it couldn't be more perfect for the season.Choreographed in 2005 by Stanton Welch after the original 1890 work of Marius Pepita, this production of The Sleeping Beauty is as enchanting as one could hope. A narrative piece, this ballet involves fairies, spells, elves, trolls and at the heart of it all, a princess. A battle wages between the winter fairy Carabosse accompanied by her motley tribe of ne'er-do-wells and the Lilac Fairy with her magical sisters of the elements to bequeath the role of Herald of Spring on the newborn Princess Aurora. Hilarity does not ensue. On the occasion of Aurora's sixteenth birthday, Carabosse tempts the princess with the black rose whose thorns give the beauty her titular sleep. Until her true love manages to plant her a kiss, winter shall reign forevermore.Carabosse and her entourage of owls and elves almost steal the show, with her bubbling cauldron and stunning sequinned cape that serves to hide her true identity and sweep dramatically across the length of the stage, the audience gasping all the while. The dancer's icy splendour and powerful movements make it difficult to root for the reemergence of spring. Aurora, the sole dancer clothed in a tutu for the entire production, portrayed by delightful senior artist Amber Scott in the performance I saw, dances en pointe more often than not. High up on jaw-dropping tippy-toe, she rules the stage with her lithe grace even in sleep, occasionally shown up by the humorous palace cats, who roll and loll and preen, quietly scene stealing.The set and costumes, designed by the famed Kristian Fredrikson, are inspired by Thai and Bollywood cinema aesthetics, combined with elements of the noble Russian setting of the initial ballet. Colourful as Christmas wrapping paper, they sit well with the occasionally overwhelming power of the original Tchaikovsy score. A series of painted scrims are used to great effect, displaying simultaneous action. Confusingly, however, the 'good' fairies are clothed in muted tones that are sometimes hard to distinguish against the white of the 'wicked'. It's a small gripe in an otherwise magical production.The final ballet of 2009, The Sleeping Beauty marks a welcome end to a troubling year in history; for a few hours at least, one can believe in the phrase "happily ever after."
When Darth Vader told Luke Skywalker that they're more than just mortal enemies, it became one of the most famous lines of dialogue in movie history (and one of the most mis-quoted). If you've seen Star Wars: Episode V — The Empire Strikes Back, you'll know that it's a powerful, memorable moment that changes the shape of the entire space saga. Even if you haven't, you know what we're talking about. Now, imagine just how epic it'll feel when you're watching the flick on a big screen and listening to John Williams' iconic score played by a live orchestra. Yes, The Force is strong in Sydney once more, with Sydney Symphony Orchestra staging the next in its Star Wars screening and performance on July 27 and 28 at the ICC Sydney Theatre. Jedis, wookiees and droids alike can expect a night of tussles between the Rebels and the Empire, Luke learning his true parentage, Han flirting with Leia and getting frozen in carbon, Chewbacca being awesome, R2-D2 being adorable and C-3PO being annoying (well, he is). Plus, it's the flick that marks the first appearance of Lando Calrissian and the first time 'The Imperial March' is heard. If you're thinking that it's a great time to be a Sydney fan of the George Lucas-created franchise, then you're right.The Last Jedi is still fresh in everyone's memories, Solo: A Star Wars Story is only two months away and these types of special events keep on coming — we've got a good feeling that Return of the Jedi will eventually get the same treatment as well. Image: Robert Catto.
The latest Studio Ghibli film is being screened in both subtitled Japanese and dubbed English, but it doesn’t really matter which one you end up seeing. Any Ghibli venture is known primarily for the captivating animation that made the Japanese production house’s previous films Spirited Away and Howl’s Moving Castle so enchanting to both adults and children alike. Arrietty is based on Mary Norton’s classic children’s novel The Borrowers and, though the film stays relatively true to the story, its dreamy mien is entirely Ghibli. Rather than being slapped in the face with 3D shticks the viewer is drawn into the secret world of Arrietty through painterly animation with a hint of hand-drawn nostalgia. The 14-year-old, 10-centimeter-tall protagonist lives with her Mother and Father under the floorboards of a sprawling mansion set in a magical, overgrown garden. Their tiny home is filled with things “borrowed” from the humans who live above them, from Arrietty’s clothes peg hair clip to the sugar cube that leads to her being noticed for the second time by the human boy Sho. The subsequent relationship between the two characters leads audiences through a magical and moving exploration of concerns that are both fantastical (the kidnapping of Arrietty’s mother) and entirely human (Sho’s impending heart operation). Debut Ghibli director Hiromasha Yonabayashi previously worked as an animator on Spirited Away and Howl’s Moving Castle, so he wasn’t entirely unprepared to fill the enormous shoes left by Hayao Miyazaki. Arrietty might not possess the sheer whimsicality of previous Ghibli endeavours — in fact a 10-centimeter-tall teenager actually seems believable compared to a hand-held fire demon or a faceless cloaked spirit — but it is the simple things like water droplets trickling off giant leaves, a flawlessly detailed dolls house and the relationship between Arrietty and Sho that will make all that inevitable gushing praise from loyal Ghibli fans entirely justified.
Perhaps your dog's happy bark or cat's "feed me" meow regularly brightens up your day. Maybe when you're walking around Sydney, you pay extra attention to any chirping birds that you can hear. Whichever fits, you'll be able to listen to quite a few more animal sounds in Barangaroo during this year's Biennale of Sydney, with the three-month-long art event set to host the Australian premiere of The Great Animal Orchestra. Some performances have spot-on names and this is one of them, with the immersive work by soundscape ecologist Bernie Krause and London-based collective United Visual Artists featuring noises from 15,000 animal species, all recorded by Krause in 1300 wild habitats over the past 50 years. Including sounds from tropical grasslands, savannahs and Arctic tundra, the piece is designed to take listeners on a rare journey into the natural world — and to get the audience not only appreciating the beauty and the intricacy of all of these non-human sounds, but to realise what could be lost as the planet changes. Keeping your ears peeled is just one part of of The Great Animal Orchestra, however, with United Visual Artists pairing Krause's soundscape with vivid visualisations. The imagery draws upon each animal's contribution to the overall piece, including critters from vulnerable habitats in Africa, North America, the Pacific Ocean and the Amazonas. Sydneysiders will be able to experience the results for free during the Biennale of Sydney, with The Great Animal Orchestra setting up at Barangaroo's Stargazer Lawn from Saturday, March 12–Monday, June 13 — but with timed and ticketed entry. Expect to have company; in its Paris season, the installation saw more than 200,000 people head along, while it has also proven popular everywhere from Shanghai, Seoul and London to Milan and Boston. If you're wondering exactly what you're in for, Krause, who has a history of working with The Doors and on film scores such as Francis Ford Coppola's Apocalypse Now, explains that "this is the tuning of the great animal orchestra, the planet's deeply connected expression of natural sounds and rhythm. It is likely that the origins of every piece of music we enjoy and word we speak come, at some point, from this collective voice. When we lived closer to the natural world, we sang as part of that animal chorus. Now we have a disconnect, we are not quite as healthy, vibrant or aware of the world around us." José Roca, Artistic Director of this year's 23rd Biennale of Sydney, described it as "stepping into a soundproofed black-box theatre whose walls spring to life with overlapping electrocardiograms, representing different species' sounds." Originally commissioned by commissioned by Fondation Cartier pour l'art contemporain (Cartier Foundation for Contemporary Art), the installation will also include a shallow reflecting pool — "which translates the deepest sounds of the ocean," Roca notes — as well as cushions for sitting on while you take in the sensory experience. The 2022 Biennale of Sydney will run across the same dates as The Great Animal Orchestra, popping up in venues including The Cutaway at Barangaroo Reserve, the Art Gallery of New South Wales, Circular Quay, Information + Cultural Exchange, Museum of Contemporary Art Australia, National Art School in partnership with Artspace, The Rocks and Walsh Bay Arts Precinct including Pier 2/3 across the city. This year's theme, Rīvus, means 'stream' in Latin — and yes, that pool and those ocean noises give this certain standout a H2O-centric skew, too. The Great Animal Orchestra will run from Saturday, March 12–Monday, June 13 at Stargazer Lawn, Barangaroo — open from 10am–5pm daily, and also from 5–9pm on Wednesday evenings. Admission is free, but bookings are required. For further information or to register, head to the Biennale of Sydney website. Images: Mark Pokorny
The 2010 Biennale of Sydney with its theme The Beauty of Distance — Songs of Survival in a Precarious Age addresses nature and its existence, one of the facets of our world that can’t speak for itself (or at least, can’t speak in words that everyone can hear). Two of Australia’s leading contemporary artists, Fiona Hall and Janet Laurence, take centrestage in the environment debate with their works in Sydney’s Royal Botanic Gardens, a site loaded with colonial significance and layered with the Western notion of capturing and containing flora. Laurence’s WAITING — A Medicinal Garden for Ailing Plants (2010) calls to mind the regal authority of having one’s own medicinal garden, but the perspective is overturned: the plants are in their own waiting room, sick and needing help. In another subversive action, Hall has installed several hives of Sugarbag bees in the gardens. These bees, native to Australia, smaller than the recognised European bee and stingless, are in dwindling in numbers in the Sydney area but are being slowly reintroduced. Hall’s The Barbarians at the Gate (2010) comments not only on the threat to native species by the introduction of foreign ones, but the patterned beehive boxes representing different nations also speaks volumes on xenophobia in our society. Also on show is Choi Jeong Hwa from Korea with the Unbearable Lightness of Being (2010). Image: Breeding Ground by Fiona Hall.
Collaboration champion Tokyo Lamington is celebrating native ingredients via a month-long team-up with the Ace Hotel's welcoming laneway cafe Good Chemistry. If you haven't had the chance to swing past the ground-floor venue of the sleek new Surry Hills hotel, you're missing out on a charming cafe by day, neighbourhood wine bar each Thursday–Saturday night, and the host of a produce market every Saturday morning. If you needed any more of an excuse to head into Good Chemistry, all this month, you'll find three limited-edition Tokyo Lamington lamington flavours at the cafe, each packed with native Australian ingredients. Fans of a standard lamington can opt for the Native OG, made from vanilla sponge, raspberry and Lilly Pilly jam, vanilla cream, chocolate sauce and toasted coconut — simple and classic. The honey macadamia flavour covers roasted macadamias, honey cream and a gluten-free sponge with white chocolate, macadamia cookie and coconut; and the Australian gin and tonic lamington features a Four Pillars Olive Leaf Gin-soaked sponge, native spice cream aniseed, dessert lime, ginger lime, Davidson plum, cinnamon cream, gin and tonic jellies, strawberry gum, white chocolate and coconut. The trio of lamingtons are available at Good Chemistry until Tuesday, May 30 in packs of three ($26) or on their own ($9). If you're feeling truly indulgent, you can also order a lamington-flavoured gin and tonic, which incorporates the ingredients from the G&T dessert into a delightful boozy beverage. Images Nikki To
You've heard of bottomless brunch, Paint 'n' Sip and colourful cocktail creation workshops. But what if you could combine the light-hearted fun of clay moulding with the buzz of a boozy brunch? Here's your chance. INDU is teaming up with Sydney-based leisure brand Crock'd to host an exclusive pottery workshop, complete with bottomless drinks and an enticing grazing table for $150 per person. Come Saturday, October 14, the local Sri Lankan- and southern Indian-inspired restaurant will transform one of its spaces into INDU's Kiln Room to host a day of clay-moulding activities. Head over to Angel Place to put your pottery-making skills to the test — you'll be crafting your very own incense holders while sipping on crisp G&Ts at this two-hour workshop. Plus, the seasoned pottery kit-providing team from Crock'd will be present to keep a watchful eye over participants and offer their expertise and guidance so that you won't be thrown too far into the deep end. The underground eatery will provide a curated grazing table filled with flavour-filled bites to fuel the creatives, serving up the likes of tuna croquettes, Ceylon-spiced and Sichuan peppercorn-coated chicken, and pani puri with whipped goat cheese and a green herb chutney to pair. The moreish snacks will be available alongside free-flowing G&Ts for the duration of the workshop. To secure your spot at this bottomless pottery workshop, head over to the event's booking page.
While the typical haunted house might feel a bit cliché, Halloween wouldn't be the same without it. This year, The Taphouse is giving the tradition a new spin: the three-storey pub will be fully decked out as a ghost-filled haunted house, and the drinks menu is getting a spooky makeover too. Each floor of the Haunted Taphouse, including sour beer and natural wine bar Odd Culture, will have its own theme — and roving performers — so you can make your way up through a haunted crop field to the asylum and rooftop graveyard. Once you've finished exploring, enjoy one of ten special candy-themed beers, including a banana Chupa Chups milkshake IPA, gummy worms sour ale and pumpkin spice stout. Or, if beer isn't quite your thing, The Taphouse will be pouring and shaking Halloween cocktails — think test-tube shots, jelly eyeball shots and blood-bag cocktails. Kicking off from 6pm on Halloween night, you can catch the pub's spooky transformation until Saturday, November 2.
The Archibald is to art writers what a solar eclipse is to human vision. Without fail, it captures the attention of art journalists all over the country. Some writers quickly articulate their dislike and even distrust of the prize (perhaps there is elitism here?). Other writers are like moths to the flame, keen to interject on any controversy that prevails. This year, that controversy seems to be circulating around the number of female artists (just seven) that have been selected in the final spread. I wonder what JF Archibald envisaged of the prize way back in 1921. From the outset it has been controversial; stoushes have gone on over definitions of portraiture, subject matter and the profiles of the artists themselves. But try to ignore all that. These are artistic depictions of those deemed to be important Australians, by some of our most distinguished painters. Winning turns someone’s life on its head, and at the same time sends the price of their work through the proverbial roof. This year that person is Sam Leach (who also took out the concurrent Wynne Prize for Proposal for landscaped cosmos) with his portrait of comedian Tim Minchin, topping a list of 34 finalists whittled down from 849 entries. Go down to the AGNSW, have a look, and pick your own winner.
Spice is big business, and people want their tastebuds more than tickled. If you're a spice lover, it's the perfect time to participate in "The Hottest Day on the Central Coast". This free event celebrates all things capsaicin. Come down to Memorial Park in The Entrance on Sunday, June 15, to peruse the food trucks, taste spicy chilli products and — the biggest draw of them all — take part (or watch) in a chilli-eating competition. If you prefer your meals a little lower down the Scoville scale, there's plenty of milder food for you to enjoy, as well as a selection of wines and beers. Plus, there's live music throughout the day and a range of market stalls, meaning there's plenty for spice lovers and haters alike.
The single greatest cult film this side of The Rocky Horror Picture Show screens at the Hayden Orpheum for a monthly late-night engagement. Described by critics as "the Citizen Kane of Bad Movies", with one critic comparing the film to "being stabbed in the head", Tommy Wiseau's The Room is an indescribable mess of plot holes, non-sequiturs, blurry camerawork and soft-core sex scenes, topped off by some of worst performances ever put to film. So naturally, we're recommending you go and see it. Of course, the truth is that no one really sees this movie. Rather, they experience it. Screenings of The Room are fully interactive, with audience members screaming lines of dialogue, dressing up like their favourite characters and hurling plastic spoons at the screen. This behaviour is actively encouraged by The Orpheum — in fact, they'll even be providing cutlery at the door. The cinema bar will be open ahead of each screening, something you should probably take full advantage of.
Every Wednesday and Thursday night this autumn and winter, Handpicked Wines is hosting a series of Raclette Suppers at its cellar door in the Chippendale, bringing a taste of Europe's après-ski culture to Sydney. Melted cheese, served fresh from the wheel, is poured over plates of potatoes, confit mushrooms, heirloom tomatoes, cornichons and rocket. Cured meats such as Prosciutto di San Daniele and Jamón Ibérico de Bellota are optional extras. With the Handpicked Wine Maker's Flight, visitors can pair their cheese with wines from some of Australia's most renowned wine regions, including Margaret River, Coonawarra and Yarra Valley. According to Handpicked's Sydney Cellar Door Manager Andrew Robinson, the events "bring our team's passion for regionality onto your plate, with cheese and meat sourced from some of our favourite producers around the world. Combine it with our incredible wines from some of Australia's best-loved wine regions, and it's a match made in heaven." The dining event runs from 5.30–8.30pm every Wednesday and Thursday until the end of winter, and costs $20 per person without any additions. Walk-ins are welcome, but bookings are recommended at the website.
Sweat, stretch and sip at Handpicked Wines on a Saturday. The Kensington Street cellar door will get you out of bed on Saturday morning with a one-hour yoga session followed by a wine tasting. Think of it as a post-practice reward. Or don't, because we all know you don't need a reason to drink Riesling. It's the ultimate combo for yogis and wine-lovers — either way, it'll teach wine lovers how to love yoga, and vice-versa. Lead by a Handpicked sommelier, this event will leave you feeling both stretched and slightly buzzed. It's happening every Saturday until August 19 from 11.30am to 1pm. Handpicked is also running Raclette Tuesdays at the moment if you want to back up your session with gooey cheese.
Bringing together skilled orchestral musicians from across Australia, Alternative Symphony takes the same approach as Britain's acclaimed orchestral group No Strings Attached. And, for its next big shows, the troupe is set to perform the work of hip hop greats with a classical slant. On Friday, December 11 at Moore Park's Max Watts, the Alternative Symphony will give the hits of Notorious B.I.G. and 2Pac the orchestral treatment, all while guest vocalists step in to reimagine verses. The rappers, considered two of the most significant and influential emcees of all time, were famously the focal points of the East Coast–West Coast hip hop rivalry, which spawned an endless supply of antagonistic diss tracks. At this one-off orchestral experience expect to hear hits like 'California Love', 'What's Beef?', 'Changes', 'Mo Money Mo Problems' and 'Thugz Mansion' played on violins and saxophones. https://www.youtube.com/watch?v=5wBTdfAkqGU The Alternative Symphony has previously tackled the songbooks of Dr. Dre and Daft Punk. Tickets are available from Oztix or head to the event's Facebook page for further details.
When Midnight Special starts, TV news reports splash Roy Tomlin's (Michael Shannon) face across the screen. He's wanted for kidnapping eight-year-old Alton Meyer (Jaeden Lieberher), with the film swiftly showing him and his accomplice Lucas (Joel Edgerton) holed up in a motel with the kid. They're about to leave, but when Roy picks up the goggle-wearing Alton to carry him outside, the boy clings to him lovingly. That's not typical abductor-captive behaviour — and this isn't your typical film. A host of questions spring up, as audiences find themselves asking who, why and what's really going on. A cult leader (Sam Shepard) gives two men four days to find Alton shortly before FBI agents interrupt his evening sermon. By the time beams of light shine from Alton's eyes, and a storm of fiery space debris showers down upon him, it's clear we're in entirely uncharted territory. That's by design. Midnight Special asks its characters and viewers alike to wonder, but refuses to flesh out too many details or offer up easy solutions. Indeed, as filmmaker Jeff Nichols tells Roy and Alton's tale — tracking their drive through America's south, picking up Alton's mother (Kirsten Dunst) along the way, and attracting the attention of NSA officer Paul Sevier (Adam Driver) — he seems to have stolen Fox Mulder's catchphrase. He wants to believe, or, more accurately, he wants to tell tales about people who place their faith in something, in the hope that audiences will too. His three previous features may appear a diverse bunch; however 2007's Shotgun Stories, 2011's Take Shelter and 2012's Mud all focused on figures who chose to trust in a force other than themselves, be it vengeance, apocalyptic dreams or the power of love. Now, with Midnight Special, he veers into science-fiction to explore the conviction that comes from a parent's bond with their child. It's an ambitious task, but if anyone is up to it, it's Nichols. With a command of visual and emotional storytelling, he crafts a film that's a road movie, chase thriller, intimate drama and otherworldly adventure all in one, yet remains united in tone and mood. Everything from the cinematography to the evocative score feels heartfelt and mysterious. And then there's the pitch-perfect performances, particularly from the filmmaker's continued main man Shannon, who provides yet another quietly haunting portrayal. Of course, Nichols' latest offering doesn't just follow in his own footsteps, even though he's clearly carving out his own niche. Courtesy of its supernatural narrative, it also conjures up thoughts of '70s and '80s sci-fi fare. Think John Carpenter's Starman and Steven Spielberg's Close Encounters of the Third Kind and E.T. A lingering sense of awe emanates from not only the writer-director's material, but from the genre greats that inspire him. It's no surprise that the movie that results proves as enigmatic as it is enchanting, delivering Nichols' fourth knockout in a row.
When Renee Bennett (Amy Schumer) glances in the mirror, her own loathing stares back. She hates what she sees. She hates how she's viewed by the world. Painstakingly trying to follow YouTube hair and makeup tutorials, she yearns to meet society's beauty standards. "I've always wondered what it's like to be undeniably pretty," Renee tells a model friend (Emily Ratajkowski) at the gym. When her dream receptionist job is advertised — at the Fifth Avenue head office of her cosmetics brand employer, a step up from her current Chinatown workplace — she's certain she won't get it due to her appearance. Wishing for a permanent makeover, Renee even throws a penny into a fountain during a storm in desperation. That doesn't work, but then she hits her head during cycling class and suddenly loves her reflection. In I Feel Pretty, the twist is right there in the title — Renee's appearance doesn't change, just her perception. Now certain that she's the total package, she oozes confidence, takes risks and enjoys the life-altering changes that come with her boosted self-esteem. She not only gets the job, but gets to work with her idol, company CEO Avery LeClaire (Michelle Williams). She assumes that the kindly Ethan (Rory Scovel) is hitting on her at the dry cleaners, asks him out and they start dating. Charting Renee's transformation, seasoned rom-com writers-turned-directors Abby Kohn and Marc Silverstein (He's Just Not That Into You, The Vow, How to be Single) craft a typical "make a wish" flick, but set their sights on body image. The film even includes a glimpse of Big, in case the Tom Hanks-starring '80s hit didn't instantly spring to mind. Helming their first feature, Kohn and Silverstein have a very specific aim: discarding society's narrow concept of hotness, showing that a little self-belief goes a long way, and fashioning an empowering comedy as a result. An important goal, it's one that Schumer has spent her stand-up and on-screen careers championing. It's there in her comic routine, in countless Inside Amy Schumer sketches and in Trainwreck as well, but I Feel Pretty doesn't belong in the same company. Here, there's an enormous gap between the film's intentions and its execution. Specifically, the view the movie celebrates doesn't quite match its contents. Trying to have its body-positive cake and eat it too, I Feel Pretty says it's what's on the inside that counts while demonstrating the opposite. The film presents a character who's only successful and happy when she thinks she's attractive, and when she thinks that the world agrees — and while viewers can see that Renee still looks the same, it invites them to laugh when she acts like she's a supermodel. You could argue that the movie chuckles with rather than at her, but she's rightly glowing with pride instead of giggling. You could also suggest that the film is making fun of Renee's over-the-top behaviour, which involves sidelining her lifelong best buds (Aidy Bryant and Busy Philipps) and generally acting like a diva. However, the number of times that another character reacts like Renee isn't physically all that paints a very different picture. Take one particularly problematic scene as an example. On her first date with Ethan, Renee decides to enter a seedy bar's bikini contest. Ethan suggests that she doesn't really fit the part, doing so with subtlety. But the MC doesn't share his tact, appearing shocked when Renee takes to the stage, and later describing her as "the kind of woman who could handle herself in a knife fight". The way the scene is staged and shot reinforces his view, encouraging the audience to guffaw heartily at the premise (because a woman who doesn't look like a conventional swimsuit model baring some flesh is apparently funny?) while also offering up plenty of incredulous reactions from the on-screen audience. Sure, everyone eventually appreciates Renee's gusto, complete with cheers and applause. But if what's on the outside doesn't matter in the film's opinion, why milk the situation for easy laughs first? That's I Feel Pretty's whole approach. Served up in bright and shiny packaging, and layered over a formulaic story, the movie's mixed messages don't end there, although it's never mean or ugly — just muddled. The idea that Schumer isn't desirable is ridiculous, but the comedian is actually at her best when she's earnestly engaging with Renee's feelings of inadequacy. It's a side she doesn't often show on-screen, and it suits her. Williams' rare foray into comic territory is similarly impressive, with the acclaimed actress playing the more exaggerated part, illustrating that everyone has insecurities and stealing every scene she's in. Indeed, as proved the case with Tilda Swinton in Trainwreck, Schumer is upstaged by her co-star. Well, that and the film's superficial nature. A flick about peering beneath the surface, I Feel Pretty ultimately ignores its own advice. https://www.youtube.com/watch?v=A-FMymitzf8
It's been three years since Australia's cinema scene welcomed the American Essentials Film Festival — and while a fest dedicated to US flicks might seem obvious, this event sets its sights much further than Hollywood's usual suspects. Given that mainstream, megaplex-friendly movies reach our shores every week, the Palace-run showcase instead curates a lineup of other American titles, delving into films from the US indie realm. Screening in Sydney from May 8 to 20, the 2018 fest has a particular fondness for emerging practitioners, with artistic director Richard Sowada noting "the obvious talent from some of the filmmakers in the early stages of their feature film careers," as well as "the deep and obvious respect even some of these newer filmmakers have for the traditions of storytelling in American cinema." With that in mind, this year's event kicks off with The Boy Downstairs, a Zosia Mamet-starring effort from debut feature writer-director Sophie Brooks, which proved a hit at the 2017 TriBeCa Film Festival. The opening night pick also highlights one of the festival's other trends — thanks to its focus on American cinema, it boasts plenty of familiar faces on screen. Standouts include Nicolas Cage and Selma Blair battling a murderous rage in horror-comedy Mom and Dad, Helena Bonham Carter and Hilary Swank recreating a landmark '80s case for patients' rights in 55 Steps, and war effort The Yellow Birds, featuring Solo: A Star Wars Story's Alden Ehrenreich, Ready Player One's Tye Sheridan, plus Toni Collette and Jennifer Aniston. There's also two star-studded flicks about sons and their fathers: Humour Me, which pairs up Jemaine Clement and Elliott Gould in a deadpan comedy, and Kodachrome, which takes Jason Sudeikis and Ed Harris on a road trip to a photo processing laboratory. Other notable titles range from Stuck, which brings the train-set off-Broadway musical of the same name to the cinema; to Outside In, director Lynn Shelter's latest featuring Edie Falco as an ex-high school teacher; to mob drama Gotti, starring John Travolta as the mob boss and screening in Australia just hours after its Cannes Film Festival premiere. On the documentary front, How They Got Over takes a far-reaching documentary into African-American gospel quartets in the '30s and '40s, while RBG examines the life and career of US Supreme Court Justice Ruth Bader Ginsburg. For the fest's retrospective section, Los Angeles is in the spotlight courtesy of classics Chinatown, Heat and Shampoo, as well as '70s masterpieces Killer of Sheep and Wattstax.
In the early hours of July 18, 1969, a car veered off a bridge on Chappaquiddick Island in Massachusetts. Ted Kennedy was driving, while Mary Jo Kopechne sat in the passenger's seat. He was a US senator, and a brother of slain American president John F. Kennedy. She was a former aide to Ted's other assassinated sibling, politician and aspiring presidential nominee Robert F. Kennedy. Along with Bobby's past campaign staff plus a few friends, they'd been partying in the lead up to the Apollo 11 moon landing, with Ted on the cusp of running for the country's highest office. But then he swerved into a tidal channel — and although he managed to swim to safety as the vehicle sank into the water, he left Kopechne drowning inside the car. More than that, he fled the scene and didn't report the accident until ten hours later. Featuring Jason Clarke as the youngest Kennedy son and Kate Mara as Kopechne, Chappaquiddick explores this controversial chapter in US political history — one that, due to the fallout, would ensure that Ted never followed JFK all the way to the White House. Directed by filmmaker John Curran (Tracks), the movie presents a sombre account of a man caught between complicated extremes on several levels. Teeming with insecurity about living in his brothers' shadows, he was already trapped between his own ambitions and the expectations of his stern father (Bruce Dern). After the incident, he's torn between doing what's right and doing what's best for his career and reputation. Or is he? With the bulk of the movie focusing on the aftermath of the accident, detailing the response to the situation as the hours and days pass, Chappaquiddick doesn't paint Ted in a favourable light. The film might pitch its protagonist as a conflicted man stuck in complex circumstances, but the script is also smart enough to realise that its underlying scenario is actually rather simple. Here, a guy does the wrong thing, but doesn't want to own up to it because it'll have considerable repercussions. It's as straightforward as Curran's efficient, unassuming directorial style, with the picture visually indistinguishable from plenty of other solemn takes on true political tales. Consequently, what ultimately eventuates is less a movie that unpacks a moral quandary, and more an incisive, quietly scathing portrait of power's corrupting influence – among other subjects. Indeed, it's to the credit of Curran and first-time screenwriters Taylor Allen and Andrew Logan that the movie sets quite a number of topics in its sights, all with pertinent parallels to today. Chappaquiddick depicts the calculating cover-up instigated by the Kennedys, leaving cousin Joe Gargan (an effective against-type Ed Helms) as the lone voice of reason. Thanks to the real-life fact that Ted kept his senatorial spot until his death in 2009, it also offers a reminder that even the most serious of scandals can't completely damage someone with enough privilege and authority. Further, the movie demonstrates the forgiving nature of the constant news cycle, where today's lead story becomes tomorrow's footnote when something else comes along. In Ted's case, a small step for man and a giant leap for mankind (something that JFK helped set in motion) couldn't have come at a better time. With a poised facade that can't completely mask his struggles, Ted remains an intriguing character, largely thanks to Clarke's strong performance. Tasked with playing a figure who's neither sympathetic nor the most ruthless person in the film (an honour reserved for Dern's grimacing patriarch, and a role that's slightly overplayed), the Australian actor is saddled with a delicate balancing act. Luckily, it's one that he handles well, with his stint as a troubled local representative on the excellent, underappreciated TV series Brotherhood proving a fantastic training ground. Chappaquiddick might work best as an indictment of everything from political dynasties to impropriety among elected officials to society's short attention span — not to mention the treatment of women by the rich and powerful — but the movie also serves up a solid character study. It's no Jackie, of course, but then again, few things are. https://www.youtube.com/watch?v=Snmc-Gc69Fk
The Australian Museum is celebrating Aboriginal dance, art, storytelling and song for the month of March in its new exhibition Weave: Festival of Aboriginal and Pacific Cultures. The month-long program will include performances, films, talks and hands-on workshop featuring respected Elders and artisans in the Aboriginal community. The program centres on the Gadi exhibition, which explores the rich Aboriginal culture in Sydney through historical and contemporary material, along with artifacts from the museum's collections — some of which have never been displayed to the public before. The exhibition will feature master weaving and Meet the Elders workshops, the latter of which will focus on the on-site creation of a four-metre long woven canoe. Once completed, this major sculptural installation will be dedicated to Sydney's Aboriginal fisherwomen. Weave will feature the world premiere of Carriberrie, which is narrated by award-winning actor and dancer David Gulpilil. The 3D virtual reality documentary takes viewers on a journey of ceremonial dances from Uluru to Moa, through to a modern-day performance by Bangarra Dance Theatre. Visitors will also have the opportunity to join an Aboriginal meditation ceremony and attend talks which are co-presented as part of the museum's Culture Up Late series. Ticket prices vary, though many exhibitions are free with museum admission ($15). Weave is a part of Australian Museum's 2017–2020 strategy, which pledges commitment to ingrain Aboriginal and Torres Strait Islander voices, values and knowledge across the museum.
The Australian Centre for Photography is good at covering the globe — exposing us to troubled corners, far-flung heartbreak and curious cultural rituals. And this upcoming exhibition from highly esteemed photographer Gohar Dashti is likely to be no exception. Iran will be made up of selected works from two larger series. Part of the Head On Photo Festival, Dashti’s compelling photographs uncover the impact of revolution and war on the collective Persian psyche. Capturing barren landscapes that are sparsely populated, she reflects on big themes in subtle and sophisticated ways. That said, her work is not without humour. Often she constructs fictional scenarios that are imbued with wit and whimsy.
Love a hyperlocal brew? Two-step your way to Inner West Country Fest – a three-weekend celebration of music, food and community spread along the Inner West Ale Trail, home to 18 of the best independent brewers in the country. Held across Saturday, May 10–Sunday, May 11; Saturday, May 17–Sunday, May 18; and Saturday, May 24–Sunday, May 25, each weekend will burst to life with rodeo-ready vibes, from country and southern hip-hop tunes to smoked meat feasts, laneway dance parties and vinyl markets. Best of all, the entire program is walk-in friendly and completely free, with an array of highlights providing the perfect opportunity to kick up your boots. Launching the festivities on Saturday, May 10, is the Pickled Monkey Brewing Co., hosting a hot chilli-eating contest presented by Burnin' Bites Down Under. Then, Sauce Brewing Co. takes over on Sunday, May 11, with the Dance Country Party, where DJ Levins will host a disco-country dancehall extravaganza. On Saturday, May 17, Young Henrys teams up with First Nations creative collective Awesome Black for Mindjiigari Ngurru — From Sky to Country. With live music, cultural dance, basket weaving and storytelling, this powerful event sees ten First Nation artists and DJs celebrate inclusivity, cultural exchange and connection to Country. Meanwhile, the festival's second weekend also features the Awesome '80s Party at The Bob Hawke Beer & Leisure Centre. As for the final weekend, Future Brewing hosts Inner West chef Mitch Orr and pitmaster Jo Chewy on Saturday, May 24, for the Country Cookout, serving up crowd-pleasing cuisine. Then, the event goes out with a bang under the stars, as Wayward Brewing Co. shuts down its laneway for the Hoedown Throwdown Laneway Party, teeming with live bands, late-night dancing, a Texan-style BBQ menu and laid-back cornhole games.
The intractable bond between mother and child is scrutinised in Ana Kokkino’s heart wrenching new film. A multi-narrative tale based on the play Who’s Afraid of the Working Class?, Blessed brings together an impressive cast of child and adult actors to weave together a confronting portrait of love, loss and the meaning of home. The film’s structural separation into two parts – The Children and The Mothers – underscores the emotional schism that divides each child from their mother. Homelessness, sex, alcohol and theft are but symptoms of this underlying malaise. Beginning with the children, Kokkino asks much of her child actors, most of whom tackle their harrowing storylines with conviction – albeit occasionally appearing a little forced. Cillian Murphy look-alike Eamon Farren is a stand out as the sexually exploited Roo, while Harrison Gilbertson lays himself emotionally bare as little-boy-lost, Daniel. Blessed moves on to more assured ground with the mothers. Deborah-Lee Furness, Miranda Otto and newcomer Victoria Haralabidou flex their fine acting muscles with impressive nuance. While William McInnes inverts his masculine gravitas as a disaffected husband, struggling to turn a blind eye. Wayne Blair and Monica Maughan deserve special mention for their affecting reminiscence on a mixed race adoption, however it is Frances O’Connor who steals the show. As the neglectful, unredeemable Rhonda, O’Conner is utterly captivating, and her climactic scene is delivered with an unforgettable, visceral power. This is obviously not a light-hearted trip to the cinema. Indeed it may well test your threshold for dysfunctionality. And yet while Kokinno is fearless in her pared down, naturalistic approach to the film, Blessed is perhaps better suited to the more intimate arena of the stage.Blessed Trailer @ Yahoo!7 Video
Whether you have a big birthday coming up, relatives in town or are a longtime Sydneysider who hasn't yet played tourist in your own city, this deal is pretty exciting. BridgeClimb is turning 21 on Tuesday, October 1, and is celebrating by throwing back to its debut 1998 season and offering tickets for just $98 — for one day only. In case you haven't checked the prices lately, the full Harbour Bridge climb is currently set at a whopping $308, with twilight climbs up to $374 and dawn climbs at $388. Even the short sampler climb is $174. But, all climbs booked on October 1 will be priced at $98, whether it's a pre-sunrise, daytime, twilight or nighttime booking. And, for a bit of fun, a 1998 playlist will be looping at the summit throughout the day and night. So expect to listen to Britney Spears, Celine Dion, Fatboy Slim and Five's 90s banger 'When the Lights Go Out' while looking out over the Harbour. Tickets go on sale at 9am this Thursday, September 12 and will absolutely sell out super quick — so make sure you're ready. Image: BridgeClimb Vivid
The Adventures of Alvin Sputnik: Deep Sea Explorer won over Sydney Festival audiences in 2011 with its charming, low-fi futuristic world wrought through live action, animation, puppetry, and song. Now that production's creators return with It's Dark Outside, which uses similar ingredients to tell the tale of an old man suffering from dementia. His Sundown Syndrome, which makes him wander off as evening approaches, here becomes a poetic Wild West landscape where puffs of cloud escape from him and a butterfly-net-wielding tracker is hot on his heels. For anyone who's watched a loved one succumb to Alzheimer's or fretted over the inadequacy of their own memory, it's sure to be a moving 60 minutes. Tim Watts, Arielle Gray, and Chris Isaacs are masterfully delicate puppeteer-performers, and Rachael Dease provides a haunting score. It's Dark Outside is part of Sydney Festival's About an Hour series of shows, each $35. Read our list of the 12 best things to see at the Sydney Festival in 2013 here.
If you've been looking for a New Year's event that won't break the bank, you owe You Am I big time. The Aussie rock outfit are staging a car park takeover at The Vic for a free one-off gig dubbed The Ramblin' Gamblin' RoadStop Revue. Aside from welcoming the New Year, the day is for You Am I and the Addison Road venue to cheers their fans and patrons for their support. And cheers them you shall, because the limited edition Brew Am I pale ale from Young Henrys brewery will be on offer, with a spit roast barbeque to line your stomach. So roll out of bed before noon this NYD and hope that loud music won't make your head more sore; Snowdroppers, Abbe May, Courtney Barnett, Phil Jamieson, Love Junkies and The Mountains will also be taking to the stage. Who says you get what you paid for? Check out what else we rate during New Year's Eve and New Year's Day in Sydney.
UPDATE, December 23, 2021: Don't Look Up released in select Australian cinemas on Thursday, December 9, and will be available to stream via Netflix on Friday, December 24. Timing may be everything in comedy, but it's no longer working for Adam McKay. Back when the ex-Saturday Night Live writer was making Will Ferrell flicks (see: Anchorman: The Legend of Ron Burgundy and Step Brothers), his films hinged upon comic timing. Ensuring jokes hit their marks was pivotal to his scripts, crucial during editing, and paramount to Ferrell and his co-stars. Since 2015, McKay has been equally obsessed with timeliness. More so, actually, in his latest film Don't Look Up. As started with The Big Short, which nabbed him a screenwriting Oscar, his current breed of politically focused satires trade not just in laughs but in topicality. Skewering the present or recent state of America has become the filmmaker's main aim — but, as 2018's Vice so firmly illustrated, smugly stating the obvious isn't particularly funny. On paper, Don't Look Up sounds like a dream. Using a comet hurtling towards earth as a stand-in, McKay parodies climate change inaction and the circus that tackling COVID-19 has turned into in the US, and spoofs self-serious disaster blockbusters — 1998's double whammy of Deep Impact and Armageddon among them — too. And, he enlists a fantasy cast, which spans five Oscar-winners, plus almost every other famous person he could seemingly think of. But he's still simply making the most blatant gags, all while assuming viewers wouldn't care about saving the planet, or their own lives, without such star-studded and glossily shot packaging. Although the pandemic has certainly exposed stupidity on a vast scale among politicians, the media and the everyday masses alike, mining that alone is hardly smart, savvy or amusing. Again, it's merely stating what everyone has already observed for the past two years, and delivering it with a shit-eating grin. That smirk is Don't Look Up's go-to expression among its broad caricatures — in the name of comedy, of course. Trump-esque President Orlean (Meryl Streep, The Prom) has one, as does her sycophantic dude-bro son/Chief of Staff Jason (Jonah Hill, The Beach Bum). Flinging trivial banter with fake smiles, "keep it light and fun" morning show hosts Brie Evantee (Cate Blanchett, Where'd You Go, Bernadette) and Jack Bremmer (Tyler Perry, Those Who Wish Me Dead) sport them as well. But PhD student Kate Dibiasky (Jennifer Lawrence, X-Men: Dark Phoenix) and her astronomy professor Dr Randall Mindy (Leonardo DiCaprio, Once Upon a Time in Hollywood) aren't smiling when she discovers a Mount Everest-sized comet, then he realises it's on a collision course with earth and will wipe out everything in six months and 14 days. And they aren't beaming when, with NASA's head of planetary defence Dr Teddy Oglethorpe (Rob Morgan, The Unforgivable), they try to spread the word. The world is literally ending, but no one cares. Conjuring up the premise with journalist/political commentator David Sirota, McKay turns Don't Look Up into a greatest-hits tour of predictable situations bound to occur if a celestial body was rocketing our way — and that've largely happened during the fights against climate change and COVID-19. The President's reactions stem from her clear-cut inspiration, including the decision to "sit tight and assess" until it's politically convenient or just unavoidable, and the later flat-out denial that anything is a problem. The character in general apes the same source, and bluntly, given Orlean is initially busy with a scandal surrounding her next Supreme Court nominee, and that her love life and the porn industry also spark headlines. The insipid media and social media response, favouring a rocky celebrity relationship (which is where Ariana Grande and Kid Cudi come in), is also all too real. The list goes on, including the memes when Dibiasky gets outraged on TV and the worshipping of Mindy as an AILF (Astronomer I'd Like to Fuck). A Steve Jobs/Jeff Bezos/Elon Musk-style tech-company head (The Trial of the Chicago 7's Mark Rylance, putting in the movie's worst performance) also gets involved — poking fun at putting capitalism ahead of the planet's best interests — as does a stoner skater (Timothée Chalamet, The French Dispatch) enamoured with Dibiasky. The list goes on here as well, because Don't Look Up is as overstuffed as it is toothless. Satire is meant to use irony and exaggeration to highlight failings and flaws, but McKay pads out the bulk of his 138-minute film with first draft-style sketches and figures that say the bare minimum, then hops quickly from one to the other in the hope that something lands. Yes, amid its on-screen text explanations, montages of stock clips, a superfluous pop song and overactive editing, Don't Look Up has a comic timing problem, too. And the scenes it does hover on, including the grating White House confrontations, could've easily been cut in half. McKay has zero faith in the world's ability to face existential and apocalyptic threats (understandably), and no hope his audience would notice if he didn't slickly spoon-feed surface-level commentary (insufferably), but he places plenty of responsibility upon DiCaprio, Lawrence and Morgan. The film's key trio aren't given much to work with, but everyone else — aside from the underused Melanie Lynskey (Yellowjackets) as Mindy's wife June — plays a one-note gag. Mindy is sweaty and swayed by attention; Dibiasky is defined by her two nose rings, flame-hued hair and the Wu-Tang Clan lyrics she's introduced singing; and Oglethorpe is the only competent government employee. It's a credit to all three actors that they turn in convincing performances and make their characters the most compelling part of Don't Look Up, although no one is anywhere near their best. The entire planet definitely isn't at its finest in Don't Look Up, which is the whole overstressed point; however, in weakly holding up a mirror to truths everyone's already painfully familiar with, it didn't need to embody the same concept itself. Forget following in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb's footsteps, or Wag the Dog's, or mustering up an iota of Succession's astuteness (McKay is one of the latter's executive producers) — Anchorman felt shrewder and more incisive. Maybe Don't Look Up might've worked if it had pre-dated the pandemic. It undoubtedly would've been improved by ditching the puffed-up snark, as its closing scenes demonstrate; it's a far better movie when it switches to earnestness and even takes a few cues from Lars von Trier's immensely superior Melancholia, as unearned as the tonal change proves. Perhaps a humanity-is-damned flick that crashes itself is McKay's ultimate joke, though, because that's just the doomed world we find ourselves in. Image: Nico Tavernise/Netflix.
If you've ever sat in the theatre and thought, 'those actors are just too damn far away', then Griffin's Really Intimate Theatre is for you. For one day only, Griffin Theatre Company are taking to the streets around Circular Quay to offer unassuming passers-by a one-on-one theatre experience inside their specially built pop-up venue. The shows are free, go for five minutes and involve one of a rotating cast of Griffin's finest performers. Kind of like a theatre world equivalent to 'Five Minutes in the Closet'. Architect Jon King has stepped into to design the cosy, two-person venue. To experience a Really Intimate Theatre, simply look for Griffin's representative at East Circular Quay on the promenade in front of the Quay Grand Hotel (on the way to Sydney Opera House) between 10am – 2pm on Saturday, May 9.
As the days grow warmer and summer draws closer, it's time to shake off the winter blues and discover somewhere new. To help you out, we've teamed up with Citi to share our favourite dining spots for spring. Whether it's a long lunch in the sunshine or a balmy evening drop-in at one of Sydney's best restaurants, this list will take you on a culinary tour of Australia, Europe and Asia. Through its special dining program, Citi has partnered with more than 400 restaurants — from high-end hatted restaurants to local cafes and trendy wine bars — to offer complimentary wine for all Citi customers this spring. Dine and pay with your Citi card and receive a bottle of wine for free — what better way to welcome the warm weather? KID KYOTO, CBD Pair alternative 90s rock music with Japanese dining, and you get Kid Kyoto, the latest venue from the hospitality group behind Indu and Mejico. Set on Sydney's Bridge Street, the venue offers grungy vibes with a hit of Tokyo izakaya. Neon-lit song lyrics span the exposed brick walls and the moody lighting makes it a spot to be seen, or not, if that's what you prefer. The menu reads like a set list, starting with an intro of gyoza and concluding with an encore of yuzu and miso desserts. If you're feeling adventurous, opt for the Trust Us menu and let the chefs send out anything from smokey edamame with pepperberry salt, to Black Hole Sun Pressed Pork served with apple jam and daikon salad. Use your Citi card to pay, and choose a complimentary bottle of McW Alternis tempranillo or vermentino to pair with the meal. MARTA OSTERIA, RUSHCUTTERS BAY A summer trip to Italy may feel like a distant memory, but if it's the food you're missing make the short commute to Marta Osteria in Rushcutters Bay. Inspired by the streets of Rome, Marta's menu is traditional yet fresh and full of flavour. And, a year on from opening, the venue boasts an impressive crowd of regular patrons. Order an array of antipasto such as the fried zucchini flowers, gnocchi fritti — fried gnocchi, need we say more? — and octopus salad, before committing to the main event of cacio e pepe with pecorino romano or traditional Roman pinza dough. No trip to Marta is complete without indulging in a little Italian dessert and the signature Martamisu with layers of mascarpone cream, coffee soaked hazelnut shortbread and rich chocolate sauce will convince even the fullest of stomachs. Book a seat on the patio and enjoy an ice cold bottle of Chant Du Midi rosé or Mionetto Prosecco DOC as the sun starts to dip into the horizon. [caption id="attachment_662803" align="alignnone" width="1920"] Alana Dimou.[/caption] PAPER BIRD, POTTS POINT Following the closure of Redfern's much-loved Moon Park, the restaurant team returned last year to open up a new venue in Potts Point, Paper Bird. With a focus on East Asian flavours, the menu takes diners on an elaborate journey from Korea to China and Japan in a matter of hours. The signature Korean fried chicken brined in shrimp paste and buttermilk may have left the menu earlier this month, but the rest of the menu certainly holds its own regardless. Whether it's a congee for breakfast, a kimchi and emmental toastie for lunch or an array of share dishes for dinner paired with a bottle of Nobody's Hero pinot gris or pinot noir from the Marlborough region — the versatile menu will have you coming back for every meal. RESTAURANT MOON, DARLINGHURST Upon first glance, Restaurant Moon may appear to be another neighbourhood gallery-bar hybrid, but behind the unassuming exterior lies an experimental collaboration between European and Thai cuisine. Ex-Longrain chef Aum Touchpong Chancaw brings together his love for molecular gastronomy and Thai cuisine with dishes such as duck confit with panang curry and roast pumpkin or fresh betel leaf with smoked salmon, caramelised coconut and chilli. If it's a show stopper you're after, order the Groot After Moon dessert with matcha mousse, strawberry consomme and a chocolate and passionfruit sorbet — but get in quick because they only make four serves a day. To complement the variety of cuisines, Moon stocks a vast array of vino, including Nobody's Hero pinot gris and Partisan by Jove tempranillo, which are free if you're a Citi cardholder. STANTON & CO, ROSEBERRY Located in a renovated warehouse in Sydney's inner south, Stanton & Co draws inspiration from New York's Meatpacking District — think red rusty trusses, mottled brick detailing and dark wooden floors. With a focus on Aussie-Japanese share dishes, you get the most out of this venue by going with a group. Start with soy truffle oysters, miso butter edamame and charred octopus with quinoa before tucking into tender slow-cooked lamb shoulder and artichoke or Moreton Bay bug tempura with ponzu mayo. If you're keen for a meal and a show, grab a seat near the open kitchen or catch some rays on the nearby sun deck while sipping a glass of Coombe Farm Yarra Valley chardonnay or Mount Pleasant Philip shiraz. Finish off the experience with a photogenic liquid lemon meringue for dessert. HO JIAK, HAYMARKET In the midst of Sydney's bustling Haymarket sits a restaurant that may have well been plucked straight out of Malaysia's Penang. With a tell-tale queue that snakes around the corner on a regular basis and wafts of rich mie goreng and spicy char kway teow floating from the premises, there is no doubt this place serves up flavourful fare. Ho Jiak is the brainchild of head chef and owner Junda Khoo, inspired by a childhood of cooking with his grandmother in Penang. Get your hands dirty and order the traditional charcoal-marinated chicken skewers with peanut sauce or a steaming bowl of Hainan chicken laksa, then wash it down with a bottle of Framingham Marlborough sauvignon blanc or McW Alternis petite sirah. Relax, the wine is on Citi. Make your next dinner even better by using your Citi card at one of the participating restaurants to get a complimentary bottle of wine with your meal.
To celebrate the release of the second season of the medieval fantasy saga Game of Thrones to Blu-Ray, DVD, and digital download, head chef and owner of Gastro Park Grant King is again offering Sydneysiders a chance to acquire their own firsthand experience of the Seven Kingdoms and beyond through a specially designed five-course feast. The Potts Point restaurant is renowned for its gastronomic playfulness in technique and plating, so you can expect more than a leg of boar and goblet of wine. Last year's first-season equivalent featured 'fallen eyeballs and bleeding stag', 'a soup of crushed skills and raven's feet', and a dessert of 'dragon's egg and liquid gold'. The Game of Thrones series, based on the book Song of Ice and Fire by George R.R. Martin, has developed somewhat of a cult following since its release in April 2012, and viewers simply can't get enough of the mystical land filled with dragons, swords, bloodshed, romance, and deceit. If you'd do anything to get a taste of the majestic settings of Westeros, Essos, or Qarth or have always wanted to join the throes of our beloved Starks, Lannisters, and various other fantastical characters, then Gastro Park is your place to be. Indulge your tastebuds and your imagination in this entirely Game of Thrones-inspired five-course meal, on for a limited time only. Last year King's banquet sold out almost instantly and proved to be a raging success, meaning you should hurry and book your seats before you miss out (specify you're booking in for the feast when you call them on 02 8068 1017). Explore the second season of the medieval world with all your senses with his brand-new menu, this time in honour of the dramatic Battle of the Blackwater, sure to be as or even more delightful than the last. The culinary experience is available from 14 March to 25 April at the cost of $100 per person. 8 March 2013: Photos of the new feast have just come in. Check them out here.
The Museum of Contemporary Art Australia's super-popular art workshop program is back. Inspired by the gallery's popular Sundown Sketch Club, these two-hour Wednesday evening sketching workshops are led by Sydney-based artist Will French and will take place throughout August. The classes focus on still life drawing, with participants using a range of fine art materials and getting a few tips from French along the way. The ever-changing installation is inspired by the 17th-century champagne-making houses and cellars in France, which are UNESCO World Heritage listed. And the evening is capped off with nibbles, cheese, Ruinart blanc de blanc and a backdrop of Sydney Harbour. There'll also be an olfactory challenge each night, too, with the winner taking home a bottle of Ruinart. The first workshop will take place on Wednesday, August 7, with sessions following on August 14, 21 and 28, all running from 6.30–8.30pm. Tickets are $75 and beginners are welcome. Just make sure to book ahead as these events have sold out (quickly) in the past. Image: Anna Kucera
The National Art School is Australia's most important art institutions. From its home in the old Darlinghurst Gaol, the independent fine art school fosters local and international artistic talents through its short courses, residency and scholarship initiatives and jam-packed roster of exhibitions. In 2006, the school refurbished the historical A-Wing of the former gaol, which was built in 1841, and unveiled the National Art School Gallery. It is here that graduate and post-graduate student exhibitions are held, plus up to four major exhibitions each year.
There’s death, leaping and sword-brandishing aplenty, but it takes more than that to coax a reluctant king back onstage. Edward II is not a monarch particularly revered by history. Sandwiched between Edwards I and III, both admired in their own right, Edward II was a man undeniably born to greatness. Upon his ascension to the throne, however, he ruled as one who had had it thrust upon him and, moreover, did not particularly warm to the task. Unfortunately, something similar might be said of Sport for Jove’s latest offering, directed by Terry Karabelas. This ensemble definitely mean business but are unable at crucial moments to wring the gravitas or complexity from their characters that the play demands. When Edward ascends the throne, England is at a precarious point in its history. Wales is recently conquered, the Scots continue to resist conquest and the French, though dormant of late, are always a decent chance of popping in for a skirmish. Nevertheless, Edward makes clear, much to the dismay of his advisors, that his royal priorities lie much closer to home, more specifically in the region of his pants. Edward’s first order of business is returning his exiled lover, Piers Gaveston, to court. From there, Edward eschews his office in order to engage in a thoroughly adolescent affair while England goes to pot and his scandalised coterie gossip and scheme. Virtually everyone meets a sticky end. Christopher Marlowe — with a script as full of historical omissions, conflations and embellishments as any of Hollywood’s dalliances with history — gives Edward a proper flogging over the two-hour duration. This Edward is a lacklustre shirker, unable to govern his own desire, let alone a fledgling empire at war. Julian Garner captures this quality but has difficulty managing Edward’s descent into abject despair. James Lugton’s Mortimer and Georgia Adamson’s Isabella are a solid duo throughout — the former gravely hopping over a few corpses on his way to the top, the latter a spurned queen who turns to Mortimer for love but ends up clinging to him for power. A moody lighting design by Ross Graham and sound by David Stalley frequently get the wobblier scenes over the line. Cold and warm lighting are used very effectively in establishing significant location changes, from a chilly morning at the docks to a candlelit convent. Strains of choral music that drift from the medieval murk imbue the work with a sense of sadness and portent, while the soundscapes of battle and cannon attacks evoke an urgency and fear that seem to be largely lacking in the performances. Karabelas’s direction produces some great moments; Isabella’s refusal to accept the candle that Edward offers her at his coronation nicely foreshadows their marital problems, while Gaveston chancing a kiss with Isabella in the corridors feels quite spontaneous and real. Ultimately, though, Edward II feels like it needs more room to breathe. There is epic tragedy to be had here, but death and mourning, love and treachery all whizz past in what I suspect is an effort to keep the duration to two hours.
When it comes to fashion, the key to achieving an effortlessly cool aesthetic is nailing your basics. Having a few quality cuts of denim in your selection that transition between seasons and transcend trends makes choosing what to wear each day a whole lot easier. And denim doesn't really get much better than that available from Aussie label Ksubi. The brand has been producing its edgy designs for close to two decades and has built up quite the reputation both at home and abroad. This weekend, Ksubi is transforming its Oxford Street store into a massive warehouse sale with some pretty epic discounts to boot. From Friday, May 4 to Sunday, May 6, the brand will be hawking its premium denim, tees and dresses for as little as $30. The pop-up sale will be open on Friday from 7am–5pm, Saturday from 9am–5pm and Sunday from 10am–5pm. Nothing will be over $80, so find those gaps in your wardrobe and move quickly.
In February 2012, on the eve of the release of Polica's debut album Give You the Ghost, Justin Vernon (Bon Iver's frontman) told Rolling Stone, 'They're the best band I've ever heard'. A month later an appearance at SXSW inspired The Huffington Post prediction: 'This band is going to be huge'. Now Polica, originally from Minneapolis and formed out of soft rock group Gayngs, are bringing their dreamily melodic and percussively exhilarating live show to the Antipodes. While so many indie beats-based acts fall prey to monotony, a refreshingly creative energy drives Polica's sound. Vocalist Channy Leaneagh glides over undulating synths, deft bass lines and compelling polyrhythms, delivered through a combination of R&B-influenced electronica and two drum kits. The product is a constantly shifting and exquisitely melancholic, yet uplifting, soundscape that certainly has Bon Iver addicted. https://youtube.com/watch?v=h6WgWCIkH9U
Chef Darren Robertson's reputation precedes him — those who do not already know him from his time at the tremendously luxe Tetsuya's or as one of the main minds, and palates, behind Australian restaurant group Three Blue Ducks, will surely recognise him as the newly appointed judge on My Kitchen Rules. Now, the famed chef is poised to open his new 100-seater in Bondi — Rocker will open this Friday, June 9 in the former site of The Hill Eatery. The name refers to the nose-to-tail of a surfboard, which ties in with both the style of cooking Robertson is known for and with the surf-crazed Bondi community. This local vibe is echoed in the fitout, which includes timber floorboards alongside concrete panelling and navy blue tiling and table surfaces that give the space a nautical feel. "We utilised a lot of existing materials to create an industrial yet warm vibe that combines coastal elements with hanging greenery," says Robertson. With Rocker, Robertson is again collaborating with Bondi local Cam Northway (Sweet & Chilli) and the project has moved fast since we first chatted about the restaurant back in March. Running the kitchen day-to-day is Stuart Toon, who has a decade of experience as a butcher working with Jamie Oliver. The precise, seasonal menu will be distinguished by regular specials and fresh ingredients. The coffee bar is currently open seven days a week, offering up single origin brews with takeaway toasties, pastries and cakes. For more substantial breakfast options, think locally grown pomelo and rhubarb bircher and brekkie bowls, along with a white bread sandwich of maple-cured bacon topped with brown sauce — which happens to be Robertson's favourite item on the menu. "I know it sounds quite simple but the bacon sandwich is truly, truly amazing," says Robertson. "It's not glamorous, but we're really excited about it." The all-day lunch and dinner service will start from noon, with 'smalls' including parfaits, oysters and salads, as well as Welsh rarebit croquettes. For 'bigs', think pasta dishes like clams with sea lettuce and a wintry beef cheeks and tendon ragu with orange and thyme. Diners can also expect a fresh fish of the day and a rotating steak cut on offer. Desserts included a cheese platter with roasted fig jam and pumpernickel crisps and a parsnip ice cream with white chocolate ganache and roasted chestnuts. On the drinks side, sommelier Chris Morrison (ex-Bistro Guillaume) is at the helm, creating a wine list that is a mix of old school and new school wines from young and exciting winemakers. The short cocktail list will included a house Negroni on tap and a Dark and Stormy made with kombucha, ginger and in-season finger limes. Local craft brewers 4 Pines and Young Henrys and Byron favourite Stone & Wood will appear on tap. It all sounds almost too good to be true, but, from Robertson, the proof is in the pudding. Rocker is located at 5/39-53 Campbell Parade, Bondi. The coffee bar is now open seven days a week from 7am until noon and the restaurant will open on Friday, June 9. Open Wednesday through Friday from noon until late and open for brunch Saturday and Sunday from 10am until late.
For more than a decade, the Melbourne-based Human Rights Arts and Film Festival has been exploring human-rights issues through cinema. Exactly how this annual fest covers its subject matter and where it screens has varied over the years, however. Past iterations have included stints around the country, and some fests have solely remained in the Victorian capital. Across Thursday, May 4–Tuesday, May 9, 2023's lineup is only hitting cinemas in-person in Melbourne, but has a date with viewers elsewhere thanks to its online component. In its physical form, HRAFF opens with Kash Kash — Without Feathers We Can't Live, a documentary from first-time filmmaker Lea Najjar about her hometown of Beirut. For folks elsewhere, or for those who can't make it along on the night, it's one of the movies on the event's digital bill as well. From a lineup that includes work from Iran, Brazil, Ireland, Lebanon, Venezuela, South Sudan, Mexico, the US, Canada and more, Melburnians can also look forward to North Circular, which highlights the importance of music in culture in Ireland; Dark Days, telling the tale of a community living in New York City's underground train tunnels in the 90s; and Uýra: The Rising Forest, about trans non-binary Indigenous artist Uýra. From Venice 2022, Alice Diop's Saint Omer is an absolute must-see, with the documentarian drawing from true events to craft a drama about a young Parisian journalist and novelist attending murder trial, then wading through the complexities it surfaces within her own family history. In The Last Daughter, Wiradjuri woman Brenda Matthews charts her experience being taken from her family as a toddler, growing up with a white foster family, then being returned to her parents. And in closing night's Fashion Reimagined, designer Amy Powney's efforts to create a sustainable collection are in the spotlight. Viewers watching on from home can also enjoy The Endangered Generation?, which boasts narration by Laura Dern (Jurassic World Dominion) as it explores the fight against climate change — plus the world-premiere of We Eatin' Good, which sees Matisse Laida and Nisha Hunter get recipes for food and life alike from members of Melbourne's queer community. To take care of the 'arts' part of its name, HRAFF is hosting two exhibitions as well: Real Job, which ponders how the labour of visual artists is so often neglected; and A Wholesome Gang, a storytelling photo series by South Sudanese Dinka woman Awak Rech Kongor (and shot and edited by artist Joshua Sims).
