2013 marks the first year of the Sydney Intercultural Film Festival, a celebration that aims to connect Sydneysiders with the stories, sounds and tastes of the many cultures of the world. The festival runs from November 13–17 with events and screenings at multiple venues across the city. The hub of the festival will be in Haymarket’s Belmore Park, which will be transformed into Cinema Park for five days of entertainment. The park will host screenings of films from 33 countries including China, India, Vietnam, Korea, Japan, Poland and Australia. The festivities also include music, arts and comedy performances; film workshops, demonstrations and seminars; signing and interactive sessions with celebrities and filmmakers; kid’s rides; costume competitions; raffles and prize giveaways; and more than 100 international food, merchandise and entertainment stalls. Whether you’re a film fanatic or culture crazed, there is something for everyone at Cinema Park. And you certainly know the food will be good. Cinema Park is open from 10.30am-9.30pm. Image: K.P. Jayasankar behind the camera.
BYOB. Nope, it's not Bring Your Own Booze. It's Bring Your Own Beamer. That's beam of light, not the flashy car that bankers like. German artist Raphael Rozendaal started these one-night-only exhibitions across the globe, and it's all about beaming images from screens. Portable projection. Computers. Moving images. And all just for one night. This is the first time the beamers have come across to Sydney, and this one, curated by Susan Bui, promises to be an explosion of colour, sound, chaos and energy. The artists will transform Archive Space's walls, ceiling and floors with art installations that project light and sounds from all angles. And the artists? David Manley, Lisa Sammut, David Greenhalgh, Liam Ambrose, William Bennett, Katrina Stamatopoulos, James Nguyen, Ari Zainal, Optic Soup, Bryden Williams, Daniel Connell Eric Davidson and Haidee Ireland as well as Bui are all flashing a little of what they've got.
2013 is an exciting time to be a Whovian, what with all the 50th anniversary celebrations and a new Doctor on the way. But if you need a Doctor Who fix to keep you going 'til the Christmas special, make like David Tennant and say 'Allons-y!' to this event. For the past year, Ben McKenzie (the one from Dungeon Crawl, not the one from The OC), John Richards (Outland, Boxcutters podcast) and Petra Elliott have been hosting Splendid Chaps, a monthly podcast/panel discussions dedicated to each Doctor, with special guests and musical performances. This month, the podcast comes to an end with a celebration of the eleventh Doctor, Matt Smith, and a general discussion about the future of the show. They'll be joined by comedians Justin Hamilton and Stella Young, and there'll be live music from Keating! composer Casey Benetto and their house band, The Time Lads. Described as "part intellectual panel discussion and part nerdy Tonight Show" (The Age), the podcast's been getting some great reviews despite only having been around for a year, and they've been listed as one of Melbourne's ten best podcasts. There'll also be prizes, a stand-up Dalek and apparently the hosts have "a little extra something up their sleeves" to farewell the podcast. Good news for Sydney Whovians, too — Splendid Chaps is coming to Sydney on November 30!
Cosmic bass visionary Flying Lotus (aka Steven Ellison) specialises in crafting a whirlwind of sounds you've never heard in combination before. Praised as the most revered producer of his generation, he is the supreme genre-traverser and genre-creator. Before sneaking down south to showcase his mind-melting magic at Golden Plains Festival, he will be treating Sydneysiders to the years-in-the-making audiovisual spectacular Layer 3 at the Opera House on March 9, 2014. Over the years, Ellison has carved out a unique brand of ambient hiptronica that folds together the pulse of contemporary urban life with sci-fi futurism. With his hypnotically off-kilter beats, Flylo's musical palette is meticulously designed. He creates immersive soundscapes that voyage through downtempo jazz, pulsing electronica, and 1990s trip-hop. In an interview with the UK magazine The Wire, he described his recent album Until the Quiet Comes as a more pared back attempt at "a children's record, a record for kids to dream to." And true, there is a sense of musical wanderlust embedded in this record, with its thick dreamy textures and mystical harmonies. Ellison has had a busy year collaborating with Odd Future's Earl Sweatshirt and Kendrick Lamar, as well as curating the soundtrack for Grand Theft Auto V. Thus, we are truly fortunate to have scheduled in a session of head-spinning avant-garde electronica. This one-off performance will be a swirling array of video-game funk and room-rupturing beats, translating basslines into cinematic beauty. It is fair to say that no-one can do what Flying Lotus does. Simply unmissable. Tickets will go on sale at 9am on November 15, 2013, from the Sydney Opera House website. https://youtube.com/watch?v=rbuQuvoc0YE
The upcoming Sydney Festival has got some pretty weird and wonderful acts on the bill. But few will be have as little accompaniment and yet be quite as astonishing as Tom Thum. Hailing from Brisbane, Thum has been described as a “beatboxing virtuoso”. A one-man sound system, Thum performs with only a microphone and his voice, producing music that ranges from hip hop to Soft Cell to the sound of trumpets in New Orleans circa 1938. Gaining recent popularity with a string of world tours and accumulated accolades with his 'Tom Tom Crew', this is Thum’s first solo appearance to date. And it looks to be him at his best — a kaleidoscope of impossible beats, phenomenal notes and sounds that just generally evoke an entire orchestra worth of instruments. Want more Sydney Festival events? Check out our top ten picks of the festival. Image by Conan White.
Like beer? Like a bit of hip-hop? Think the two together sounds like the perfect combination? Then this may be right up your alley. Sydney hip hop movers-and-shakers Big Village have teamed up with Newtown brewers Young Henrys to create a limited release beer, Big Village Brew. Okay, so no idea how it'll taste. But we'll deal with that later; the launch party at Factory Theatre sounds like a good night out, with a pretty busy line-up of live acts including Triple J darlings Suburban Dark featuring Jeswon (of Thundamentals), P.Smurf (Daily Meds) and Rapaport (Loose Change). While you're sampling this newly designed tipple, you'll also be treated to some local support acts, including Tenth Dan and a couple of inner-west hip hop veterans in Reverse Polarities. Tickets can be bought online at the Factory Theatre site. Pre-sale tickets are $10, tickets at the door are $15. https://youtube.com/watch?v=poLJLqAh5dY
One of Melbourne’s foremost artists, Jon Campbell is heavily influenced by a "lefty, westie, working-class view", fusing together art, music, national identity and popular culture. Campbell’s current solo exhibition, Bewdyful, is a continuation of his exploration of suburban Australia and its unique vernacular. Blazing with punchy phrases and cheeky one-liners, the glossy finish of enamel paint on plywood evokes a strong pop aesthetic. The luminous and colourful phrases are painted in Campbell’s hand-crafted font. Some works channel the slick veneer of advertising, whilst others are more along the lines of hasty signage or graffiti. They range from listing the band members of Crazy Horse, framed by a border of sunny yellow spray paint, to the poignantly simple Sad Times, a lonely little phrase almost engulfed by its grey background. A personal favourite is the humorous catch phrase typically uttered by the bigoted 60-something, I’m not racist, but... a sly poke at Australia's xenophobia and condition of self-denial. There are also loud suburban moments as represented by Friday Night Dilemma, featuring the words ‘Fish and Chips or Pizza?’, as if directly plucked from the living room banter of blue-collar Australia. It is as though an animated verbal exchange is taking place in the gallery space. The overall atmosphere of the exhibition is joyous and upbeat; though some of his works may be boisterous, they are never mean-spirited. There is also a musical sensibility imbued in Campbell’s practice. Paying homage to Bob Dylan, he has been known to replicate the iconic ‘cue-card’ routine both in painting and performance. These music-based acknowledgements are endowed with cultural codes and attitudes. His works, laden with nostalgia, are manifestations of a generation, a sub-culture, a time and place. What comes out of Campbell’s paintings is the visceral feeling of a sun-scorched afternoon filled with backyard boozing. Unlike the blatancy of an Australia Day parade, Campbell’s brand of patriotism resides in the unassuming Australian backyard, equipped with a stubby holder and cricket bat. You might have also heard about the Jon Campbell art tram that was recently unveiled as part of the Melbourne Art Fair. Dressing up the old burgundy and gold with a lurid pop overcoat, it is one of a handful of mobile murals that will be rolling around the city for the next six months.
Attached to the awesomely named Eat Your History exhibition that spreads across the Sydney Living Museum properties, is the My Food History talks series. Yup, chatting and food. Two of the best things in life. The exhibition looks at Sydney’s foodie culture (way before pop-ups and food trucks) of the years spanning 1788 up to the 1950s. Think convict-style cuisine at Elizabeth Farm right up to something a little more posh at Elizabeth Bay House. And the talks reflect this, ranging from curator conversations to chefs talking about the history of their families’ cookbooks, their culinary roots, their Aussie restaurants and more. Anna Wong talks about Chinese food alongside host Barbara Sweeney (Sydney Morning Herald food writer) on January 15, Darren Simpson (UK’s Young Chef of the Year aged 21) explores his culinary roots in Northern Ireland on October 16, and hatted chef David Tsirekas chats about his Greek heritage (relating to food, naturally) on November 13. TV chef Adam Liaw (December 11), Martin Teplitzky (February 5) and Brescian-born chef Alessandro Pavoni (March 5), also feature in the series. It’s time to have a chat with your good mate, food.
Four decades after their formation in New York City, Television are coming to Australia for the first time ever. These days, however, their interviewers aren't permitted to ask about punk or CBGB. "Music, art, literature and culture" are the preferred topics. In a recent interview with FasterLouder's Dan Stewart, Tom Verlaine said that he's developed a thing for Chinese film, but can't find anyone in China willing to fly him over for a gig. Their interview content might have changed, but Television are still playing the music that made them famous. That includes their debut, the classic Marquee Moon. NME included it on their list of the '60 Most Important Albums of NME's Lifetime', saying with lavish praise, "It would not be an overstatement to say that Marquee Moon is to the '70s what The Velvet Underground & Nico was to the '60s." Television will play at All Tomorrow's Parties' Release the Bats in Melbourne and Fly By Night, Fremantle, before heading to The Enmore (where Ed Kuepper will appear as a special guest) and then to MoNA's The Void. https://youtube.com/watch?v=jlbunmCbTBA
Even lifelong vegans are likely to learn something when Silvereye’s Sam Miller and Urbane’s Alejandro Cancino get together for an animal-free dinner on 23 February. The two chefs will create no fewer than fifteen courses, without using so much as a drop of honey or a splash of milk. Those familiar with Cancino should know that he’s a committed vegan. Meanwhile, Silvereye has a number of winning vegan dishes on its menu already, including crowd-pleasers like 'Tommy's Turnip' and 'Beetroot and Blackcurrant'. You can expect them to make an appearance. The fifteen courses will consist of six snacks, six savoury dishes and three desserts. You’ll score this epic feast for $150 a head. Add matching wines for $90 or go ultra-healthy and make it matching juices for $65.
Ever wondered why all of Merivale's venues look so spiffing, yet still manage to retain their uniqueness? Want to know how a sommelier makes decisions when putting together a wine list? Not sure why your Instagram posts aren't attracting as many hits as Kim Kardashian's? Can't figure out why you're so addicted to chocolate? If you're a questioner, seeker, sampler or Instagrammer, March Into Merivale's Show and Tell Mondays are for you. Every week, an expert — or a bunch of experts — will get together to talk about what they do and why they're so good at it. And you won't just be using your ears at these sessions — they'll be offering you samples of their wares too, be it chocolate, wine or some hands-on Insta tips. There will be five sessions, held each week during March into Merivale 2016. SHOW & TELL MONDAYS FEBRUARY 15: Chocsessive — Lorraine's Patisserie FEBRUARY 22: Wine Not? — J&M FEBRUARY 29: #Instaskillz — Subtype Store MARCH 7: Style Me Merivale — Ivy Ballroom MARCH 14: Chocsessive — Lorraine's Patisserie
If you love the cinema but hate paying a small fortune to attend (it's the large popcorn bucket — gets you every time), this film series is for you. The Art Gallery of New South Wales are hosting an epic three-month film series for the 20th Biennale of Sydney — and it's completely free. Between March 23 and June 8, they'll be showing a programme of films in the Gallery's Domain Theatre, all curated around the theme of performance. Performance in film has changed considerably over the years. And while we now applaud realistic performances, a snapshot of life and story with no cracks in the fourth wall, well-loved films of the past tend to shatter the fourth wall with all-singing, all dancing performances mid-act. The films chosen demonstrate the power of performance and how it can subversively portray themes of culture, class and gender in a myriad of different ways. Titles screening throughout the film series include An American in Paris, The Wizard of Oz, and The Red Shoes, amongst others. Films will screen on Wednesdays and Sundays from March 23 to June 8, on Saturdays on April 9 and 23 and May 21, and on Monday, March 28. See the full program here. Image: MGM.
If you're a fan of Imogen Heap's keyboard sound or the arrangements on Coldplay's Viva la Vida and/or the Monsters soundtrack, then you might not know it, but you're a fan of the work of Jon Hopkins. The musician-composer-arranger-producer extraordinaire has definitely made a sizeable mark on the music production business. In fact, the success of Hopkins's international collaborations has had a habit of overshadowing his solo work. Up until now, that is. His fourth album, Immunity, released in June this year, provoked some serious critical attention – Pitchfork, bestowing upon it a coveted 8.5, went so far as to predict Immunity's likelihood to 'catapult [Hopkins] to stardom in his own story'. This month Hopkins will bring his trio to Australia to play the Meredith Music Festival and sideshows in Perth, Melbourne and Sydney. He was last here in 2009, performing at the Sydney Opera House as part of the Luminous Festival curated by Brian Eno. https://youtube.com/watch?v=Y8eQR5DMous
Director Emmanuelle Bercot takes Catherine Deneuve on a wild ride across the French countryside in this eccentric and funny — if somewhat higgledy-piggledy — road trip meets family comedy. Deneuve is Bettie. Crowned Miss Brittany in her glory days, she’s now the middle-aged manager of a failing restaurant and caregiver to her interfering mother (Claude Gensac). When her non-committal lover takes up with an attractive 25-year-old, she jumps into her golden Mercedes and cuts loose. As the melancholic strain of Rufus Wainwright’s ‘This Love Affair’ rolls out, we know that we’re not about to see Deneuve in her signature ice-maiden guise. Even though Bercot invented Bettie specifically for the French icon, she certainly wasn’t limited by a temptation to typecast. One of On My Way’s many charms is its exploration of Deneuve’s warmer, more vulnerable side. Bettie’s spontaneous departure carries her on a string of outrageous adventures. The bumming of a cigarette from a solitary, timeworn farmer leads to an unexpectedly intimate conversation. In a sleazy nightclub, an infatuated young local named Marco (Paul Hamy) employs an excess of caipirinhas in a rather uproarious attempt at seduction involving an enormous pink afro. Finally, a phone call from an enraged, bitter daughter (Camille) means that Bettie winds up with company — in the form of her grandson, Charly (Nemo Schiffman). On one hand, the scattershot narrative construction, the haphazard unravelling of characterisation and occasional improbabilities run the risk of losing momentum. The depiction of Bettie’s troubled relationship with her daughter, for example, never penetrates beyond a fairly simplistic sketch. On the other, the script is pleasingly fresh and witty — light on it might be, but it’s thankfully devoid of contrived, overworked passages. A raw, real-life feel permeates throughout, intensified by Guillaume Schiffman’s (The Artist) adoption of a handheld shooting style and the casting of Deneuve alongside relative unknowns and even non-professional actors. Indeed, much of On My Way’s appeal lies in Deneuve’s embracing of such an atypical role — even when confused, waterlogged and run ragged by the vagaries of the road, she still oozes charisma.
That staple of summer, Maltesers Moonlight Cinema, is back for its 18th season of open-air cinema. And they've put together another cracking program to tickle the cinematic tastebuds of old and young alike — from advance screenings of the hottest blockbusters to cult classics, blood-rushing action flicks to heart warming rom-coms. Centennial Park will be the Sydney venue for the series. After the daytime bustle of joggers, personal trainers and cyclists, hire a beanbag or simply sprawl out on the grass under the stars with a loved one. Don't forget to indulge in some delicious snacks and perhaps a few beverages to complete your cinematic experience. It's the perfect way to unwind after a hard day and usher in those balmy summer nights. There's also the option of 'Gold Grass' tickets, which gets you a bean-bed in the front rows and designated waitstaff. New releases include the much anticipated return of Ron Burgundy in Anchorman 2: The Legend Continues as well as sneak previews of big Boxing Day releases The Railway Man and The Secret Life of Walter Mitty. Sometimes its the classics that can be most fun, however. Embrace your inner dag and negotiate how much a set of jousting sticks should cost with the much-loved and highly quote-able Aussie comedy The Castle. Or roll out the picnic rug and share a meal fit for Jehovah over Monty Python's 1979 gut-buster, The Life of Brian. If there's one thing Moonlight Cinema has proven itself more than capable of, it's cherry-picking the most enjoyable moments in cinema and creating a relaxed and sociable atmosphere to boot. Tickets will go on sale from November 7.
In response to recent events surrounding the culpability of surveillance networks, UTS's newest exhibit offers a curious perspective on 21st century surveillance methods. Trace Recordings is a collection of works by 11 artists who use a variety of media to examine modern surveillance mechanisms and explore how they affect our behaviour and perceptions of public and private spaces. Using both analytical and playful methods, Trace Recordings examines the scale and intricacy of surveillance technologies from an artistic perspective. Works range from top-secret NSA listening stations to Stranger Visions, Heather Dewey-Hagborg's series of sculptures that went viral after she modelled their features off DNA from discarded chewing gum. Following the exhibition opening are a number of public events, including a panel discussion, UTSpeaks lecture, and interactive workshops such as CV Dazzle, an experimentation with makeup styles to distort facial recognition software. If you’re a fan of crime scene investigation dramas, this is your chance to step into one. The exhibition opening is from 6-8pm on October 22. Other events are at various times. For more info, see the UTS website
Richard Curtis is the master of the rom-com. The man behind Love Actually, Four Weddings and a Funeral and Notting Hill, he's the king of date nights out and girlie evenings in. He's also the man behind About Time, his latest offering starring the relative unknown Domhnall Gleeson as Tim and the new queen of cute romantic leads (since Julia Roberts hung up her heels), Rachel McAdams. The film begins on the completely ridiculous premise, explained by Tim father (the ever superb Bill Nighy ) that the men in their family can travel in time. Tim takes this skill and uses it, not for monetary gain, nor to try and right the wrongs of the past, but rather to help him get a girlfriend. It then goes on to become a love story which is rather quickly resolved into being the perfect romance, with the aid of the occasional trip into the past. Questions about the butterfly effect and other pesky time travel issues are swept under the carpet in favour of smooching in front of buskers and dancing in the rain (which has never been timed more perfectly than in a Curtis film). And most of the time, you let them. Despite the film lacking a keen eye for detail in the plot, every attempt at stepping back and casting a critical eye over the film is thwarted by the soundtrack, Nighy's charm and Gleeson's unbelievably adorable wave. These elements all conspire in drawing you more comfortably into your seat so you can smile at the antics, laugh at the jokes and cry when the heartstrings are so professionally plucked by the virtuoso Curtis. So while the set-up is flimsy, the minor characters caricatures and the love story all too quickly resolved, there are enough moments of mirthful giggling and nostalgic smiling to keep you plodding along over every jolting plot hole. And with the added bonus that the main man is a ginger? About time that happened really. https://youtube.com/watch?v=7OIFdWk83no
Before he’d even set foot in Australia, Tim Crouch’s work had played to rapturous audiences throughout the country, from Belvoir Street to the Perth and Melbourne Festivals. Crouch is an internationally acclaimed theatremaker based in the UK, where he creates his own work as well as directing for the Royal Shakespeare Company, and it’s Shakespeare that’s the subject of his show in the 2014 Sydney Festival. In his one-man piece at Carriageworks, I, Malvolio, Crouch drags the “notoriously wronged” steward from Twelfth Night out into the limelight. When I, Malvolio first opened in a Brighton school as part of that city’s festival, Crouch was also asked to make an “adult” version of the same work — now he adapts the piece on the fly in every show, depending on who’s in the house. “If there’s lots of adults the level of interaction becomes more mature and complex, with a younger audience the text changes slightly," he says. "There’s quite a lot of improvisation in this piece, but there’s also quite a lot of strictly scripted words, and it’s in the spaces where the improvisation exists that the piece changes depending on the audience.” His plays for older audiences typically have a strong ideological bent, pushing against the boundaries of theatre’s capabilities. But he’s found that younger audiences are often more attuned, present and receptive. In this respect, he characterises children and teenagers in a similar way to audiences at festivals, where most if not all of his international work is produced. “Festivals are melting pots,” says Crouch, “They are meeting points, because work from around the world gathers in those places. Everyone is much more porous — the audience come back at you more deeply.” I, Malvolio is the fourth in a sequence of five works that began in 2003 with I, Caliban, but Crouch never set out to make a “series”. In these pieces, he liberates characters like Caliban, Banquo and Cinna from the margins of Shakespeare’s plots, letting them take centre stage in their own fluid, transfigured adaptations. He’s keenly aware of the responsibility these works owe to their “host plays”, but each one is still a freestanding work in its own right. “It’s important that they don’t sit in the shadow of the Shakespeare play they come from; they have to be pieces with their own integrity.” Crouch believes that this kind of balance allows an Elizabethan playwright’s distinctive voice to resonate with a modern audience, invoking Harold Bloom’s belief in Shakespeare as the inventor of understanding of what it means to be human. “A character like Malvolio is still an archetype that exists in contemporary consciousness,” he says, “and it’s good for a young audience to understand there’s a continuum from that time to now, and how we think about ourselves as human beings. We can still trace our way back.” Check out our top ten picks of the Sydney Festival for more events. Want to see the adults-only showing of I, Malvolio? It's on January 18 at 10pm. The other shows are suitable for people of most ages (11+). Image by Matthew Andrews.
If you like your beats smooth and your drops sweaty, Paradisco is where it's at. Selling out Melbourne’s Liberty Social late last year, this Herculean electronic effort comes straight from the creators of No Dice Paradise. The good vibes-lovin' team has joined forces with Knock Knock Magazine and Paradise for an epic interstate meeting of beats-cranking minds. From Melbourne, there's electronic AV duo friendships, who've just released new single 'My Luv is Bad 4 U'. Representing fused hemispheric influences (via Sydney, Brooklyn and London) is Phondupe, the duo creating dark, jittery trip-hop via Skype correspondence and online long distance production. After recording in NYC with New York native Justin Dean Thomas, the pair have released a killer new EP by the name of Greenhouse. Keeping things local are the hip hop chilltronics of Embassy, the downtempo grooves of Twin Caverns and brand new three-piece World Champion, who dub Can, The Rapture and Primal Scream major influences. Green as it gets, the threesome will release their new single via Home In The Sky later this year. At just ten clams (that's $2 a set or about 1.2 glasses of vino), it's an absolute steal to get low and check out some of some best new beats-dropping talent out.
If it's ethereal indie folk you're after, Dustin Tebbutt is your man. His music is described by his record label as "the music for your autumns and winters" which, in our opinion, couldn't be more accurate. The haunting isolation that comes through his high echoey vocals and crisp acoustic guitar certainly create feelings of isolation and introspection. Well, it's a good thing he's coming to town as the temperature is starting to drop. Tebbutt's latest national tour is for his latest EP, Bones, and it's gorgeous. First single 'Bones' is much like what we saw on debut EP The Breach; incredibly entrancing music that has the ability to transport its listeners far away from anyone or anything. If you enjoy the thoughtful sounds of Bon Iver or Sigur Rós, then Dustin Tebbutt is a local boy you definitely shouldn't miss. https://youtube.com/watch?v=OysNiYXWga0
Got the itch to have a boozy weekend getaway without the time or the means to actually get all that far? Look no further, for in May returns the Pyrmont Festival, boasting a packed bill of wine tastings, art exhibits and dining experiences and building Pyrmont's profile as a creative, cultural and dining precinct. The festival highlight is set to be a two-day outdoor event at Pirrama Park (17-18 May), with live music, cooking demos and art installations. Taste over 120 different wines and sample delicious morsels at the 50+ food stalls, all while having the opportunity to meet and greet the makers of each fine drop. There are, however, eight more days of smaller festivities on top of that. A fusion of city and country, Pyrmont Festival highlights the best of both the Pyrmont and Mudgee regions. It features over 50 dynamic restaurants, bars, winemakers and artists, along with names such as Huntington Estate, Burrundulla Vineyard and Lowe Wines. From May 16-25, check out the Mudgee Sculpture Garden and Progressive Dining Walk, as well as some pretty special dining experiences at the likes of Flying Fish and Blue Eye Dragon.
Director Terry Gilliam goes back to the future in the third and final chapter of his so-called Orwellian triptych. An existential tragedy in the guise of a sci-fi black comedy, The Zero Theorem explores many of the same dystopian concepts seen in Brazil in 1985 and 12 Monkeys a decade later. This is unmistakably the weakest of the trio, although in fairness the other two are amongst the best science fiction films of each of their respective decades. It's a messy and sometimes frustrating film, full of big ideas that don't always get the treatment they deserve. You certainly can't fault Gilliam's ambition though, nor the quality of the pieces with which he's working. Christoph Waltz, minus his eyebrows, plays an agoraphobic computer programmer by the name of Qohen Leth. Employed by the omnipresent ManCom Corporation, Leth's sole duty is crunching the numbers on the Zero Theorem, an intricate mathematical equation that, if solved, will prove that life in inherently meaningless. For the shut-in Leth, whose nightmares are already dominated by a terrifying black hole, the task soon transforms into an obsession. Theorem sees Gilliam, a satirist at heart, aim his guns squarely at the commercial establishment. Bucharest masquerades as futuristic London, a city in which advertisements will literally chase you down the street. Visually, the director draws on everything from Metropolis to Lewis Carroll, not to mention, of course, a healthy dose of Nineteen Eight-Four. The world he creates is full of absurd whimsy, yet a lingering sense of oppression always remains. It an environment we only see in glimpses, however. The bulk of the film takes place in Leth's home, a dank, rat-infested, fire-damaged church. It's here that he toils, the Quasimodo of the future, observed via surveillance camera perched atop a headless statue of Christ. It's not what you'd call a subtle visual, but then again, no one ever accused Gilliam of being subtle. Nor would you call him a particularly focused filmmaker. At times there's a sense he's throwing everything at wall in the hope that some of it will stick. Questions of faith, purpose and reality are interesting in their own right, but never quite coalesce into an entirely satisfying whole. In his first true starring role, Christoph Waltz gives a fantastic performance that's quite different to what we've seen in his collaborations with Tarantino. French actress Melanie Thierry, meanwhile, seems likely to break out as Leth's potential love interest, a mysterious cyber-seductress named Bainsley. Their dynamic gives the film some much-needed emotional stakes. Yet the plot that surrounds the relationship remains oddly lacking in momentum. The Zero Theorem is nowhere near Gilliam's best. At the same time, in a lot of ways it feels like his most definitive film, in that it represents all of his good and bad tendencies simultaneously. It's as bold and intriguing as it is cluttered and confused. In the end, it contains just enough interesting elements to justify the cost of a ticket. https://youtube.com/watch?v=rae7_O_6EtU
Sport for Jove is fast becoming Sydney's favourite Shakespearean theatre company, with success lying in the company's originality and unique clarity of storytelling. And Twelfth Night, or What You Will is no exception. In what is a remount of their 2012/13 outdoor festival season hit, the company's Twelfth Night rendition is highly acclaimed. Set amidst the idyllic beaches, sweat and ice-cream of a family's summer holiday, this is a version infinitely close to home, exploring issues of self-obsession, asylum seekers, same-sex love and happiness that are so inherent of our world today. Starring Abigail Austin, Megan Drury and Anthony Gooley, this is Shakespeare at its most topical, in the same year that marks the playwright's 450th birthday. "As usual, Sport for Jove makes Shakespeare wonderfully accessible," writes Stage Milk. "Twelfth Night is a must see”. Twelfth Night plays in repertory with All's Well That Ends Well. Image: Takaya Honda.
So you want to attend Fashion Week Australia but still haven't thought of a good enough way to sneak into the exclusive, closed-to-the-public shows? You can stop drawing up your plans now, as Mercedes-Benz Fashion Week Australia is introducing Weekend Edition — an event that is accessible to anyone who purchases a ticket. It's on at Carriageworks throughout the weekend so all fashionistas can experience the best of Fashion Week. Some of the best looks featured on the runway during Fashion Week Australia will make an appearance at the Weekend Edition. This is your chance to see the latest collections from Alex Perry, We Are Handsome, Serpent and the Swan and more. In addition to the Best of Fashion Week Australia, tickets to the Weekend Edition include access to Sunday Style sessions where you'll learn how to turn off-the-runway pieces into everyday looks from industry professionals, bloggers and stylists. Select runway styles will also be available for Weekend Edition attendants to buy. There will be seminars and workshops throughout the weekend, including talks from street-style star Margaret Zhang and Maybelline New York's makeup director Nigel Stanislaus, who will share secrets about the looks he created for the runway at Fashion Week Australia.
Cough, presented by Unhappen, is a playful poke at the tendency to overprotect kids, stamping out the happy chaos of childhood. This phenomenon of bubble-wrapping feels all too common these days, and where better to study its effects than the contemporary childcare centre. Playwright and former childcare worker Emily Calder’s colourful script is stitched together from firsthand experiences. Whilst some scenes venture into the fantastical, others strike a more realistic chord, mirroring that painfully familiar fussy parent. The plot revolves around a trio of children and their parents, played by the same actors. However, harmony is disrupted when a fourth friend enters their circle, the domineering and highly imaginative Frank. He becomes the mischievous ringleader, inventing an evil monster named Brian, with giant gnashing teeth and an appetite for small boys and girls. The fear this instils in his playmates feeds back into the temperamental angst of their parents. And as the play unfolds, pet peeves escalate into hysterical anxieties. A magnetic performer, Vanessa Cole plays first-time mother, Isabella (and daughter, Isla). Oozing passive aggressiveness, she is the pulsing heart of parental angst. Constantly quizzing the childcare workers, her condescending quips are perfectly placed, as is her intent and borderline manic gaze. Tim Reuben plays struggling single father Clive (and son, Finlay). Initially composed, he is consumed by a pedantic hatred of dirt, raging obsessively against the centre's sandpit. Melissa Brownlow plays the rationalising Jules (and her rebellious daughter, Jess). However, surrounded by the toxic anxieties of Clive and Isabelle, her endearing optimism breaks down. And finally, Tom Christophersen plays the slippery Frank. He makes for the perfect creepy kid, brimming with wild stories and demonic energy. Also, his commitment to a violent coughing fit is simply hilarious. A key strength of this production is the dynamic and inventive staging. Through craft materials, puppets and plastic balls aplenty, the childhood pursuit of make-believe is magnified and honoured. Constant clouds of smoke frame the set, building to a particularly mesmeric scene featuring light and bubbles. Led by director James Dalton, the creative team has stretched the limits of a small space to create a visually immersive experience. There are some sharp turns into the surreal towards the end, as seemingly negligible worries quickly transform into legitimate danger. Though these plot developments are a little hard to keep up with, the concluding scenes are rewarding. If you think about a cough, it’s generally symptomatic of something else. In this case, anxiety is the nasty contaminant that spreads throughout the group. Its infectiousness acts to unpick the networks of trust that bind the characters together. Calder's play explores the premature imposition of adulthood on children, yearning for the joy of fantasy. Combined with bold directorial decisions and a committed cast, it is hoisted to new heights. Image by Lucy Parakhina.
Who says Easter egg hunts are just for kids? Watsons Bay Boutique Hotel is hosting an egg hunt unlike any other on Easter Sunday, with their inaugural aqua egg hunt for children and kids at heart alike. Suit up in your best snorkelling gear to find eggs littered on the sandy floor of Watsons Bay and win prizes like free seafood platters or a weekend stay at the Watsons Bay Boutique Hotel, among many others. More fun is on tap for the adult crowd throughout the weekend, with DJs spinning music all weekend long and Sydney band The Silver Lining playing post-egg hunt on Sunday. Don't miss out on the Good Friday feast at the Beach Club, with everything from lobster to paella being cooked up by executive chef John Pye. Watsons Bay Boutique Hotel is also testing out their own water taxi service over the long weekend, offering rides across the harbour for $12 per person. Arrangements must be made in advance.
Australian hip hop could be called underrated. More often than not it doesn't get the attention and accolades it deserves; why not give it a chance? Consistently pushing the genre toward the Australian mainstream, Sydney's Chance Waters is returning with a brand new single and a national tour to back it up. His blend of pop, hip hop and a splash of doo-wop makes for feet-tapping tracks that will have you dancing deep into the night. Which night? Saturday, April 12 at Oxford Art Factory. Returning to his hometown for the Sydney leg of his excellently titled A Transit Officer Beat Up My Brother So I Wrote a Funny Song About Him tour, Waters will perform new material from his forthcoming third album to be released later this year, featuring upcoming new single 'The Ticket Inspector' as well as recent Triple J favourites 'Young & Dumb', 'Looking For Something' and 'Bonnie'. Special guest Brendan Maclean will join Waters in support, geared to warm things up with tracks from his Paul Mac-produced EP Population, home to the crowdfunding YouTube triumph 'Stupid'. Maclean has taken to Facebook to suggest "glitter, colour and fantasy wear" as appropriate audience garb for the gig, with dancing shoes highly recommended by the Concrete Playground team. Although two of the tour dates have been postponed (at Melbourne's Howler and Brisbane's Alhambra Lounge), the Sydney show is locked down and ready to hit Oxford Art Factory with full force. https://youtube.com/watch?v=k3u_YRY-PSw
Here's your chance to thank a major enabler of your binge TV habit. The man responsible for bringing you 3720 hours of glee, revulsion, frustration and satisfaction, Breaking Bad creator Vince Gilligan, is coming to Australia. He'll be making one exclusive appearance at the Sydney Town Hall as part of the Sydney Writers' Festival (an early part; he's here May 1 while the rest of the festival kicks off May 19). The discussion will zero in on Gilligan's creative process and presumably provide a platform for all your Better Call Saul-related questions. Even though Gilligan might be the most 'read' writer at the festival, there's plenty else in the program announcement to warrant attention and ticket-getting. Big international names include that other confounding New Zealand prodigy, 2013 Booker Prize winner for The Luminaries Eleanor Catton (who is, we're constantly being reminded, 28). There's also right-of-passage author Irvine Welsh, journalist/press freedoms fighter Jeremy Scahill, Super Sad True Love Story writer/famous blurbist Gary Shteyngart, and Eimear McBride, who in 2013 threw out the laws of grammar and emerged with the bizarrely comprehensible A Girl Is a Half-Formed Thing. The Sydney Writers' Festival is on May 19-25 (apart from lone wolf Vince). Tickets are on sale from 9am on Friday, April 4, via the festival website. Update 11 April: After selling out the first Vince Gilligan event within two days, the Sydney Writers' Festival have added another, to take place directly after the first (9.30pm) at the same venue. The second event will be in-conversation between Gilligan and Benjamin Law; 7pm attendees get Adam Spencer. For tickets, go here.
Two actors are situated in the middle of a room that becomes the intimate stage for Ross Mueller's Construction of the Human Heart. Performed at the TAP Gallery in the Upstairs Theatre and presented by the independent Apocalypse Theatre Company, the play focuses entirely on the words of the characters. Centred around two playwrights named Him and Her, Construction of the Human Heart examines loss and grief, and how these two people use words to shield themselves from these feelings. The play glimpses into their psyches and looks at the meaning behind what they say, creating a dark and surreal comedy. Director Dino Dimitriadis's goal when conceiving his staging of the play was to be able to properly compensate actors Michael Cullen and Cat Martin, playing Him and Her respectively. From there, the crowdfunding campaign for Construction of the Human Heart was born. Using Pozible, they reached their funding goal on March 6.
Western Sydney is no stranger to art: it got the best of this year’s Kaldor Projects, and owns some stompingly good exhibitions out at the Campelltown Art Centre and Casula Powerhouse. But despite that history, Sleepers Awake is probably still the first time someone has tried to land a second moon on it. British artists Heather and Ivan Morison are restaging a English marshlands piece that sees them suspend a brilliant, floating lunar body over the Bungarribee parklands. Sleepers Awake will keep the park illuminated ’til dawn nine nights, the spectacle accompanied by entertainment and visiting food trucks from 5.30–7.30pm each evening. It’s a program that promises nine straight nights of hip hop, film, opera and, you know, a whole second moon to help keep you up well past your bedtime. Bungarribee will be open 24 hours during Sleepers Awake. Though the park is accessible by public transport, a car will probably be the best way to go, especially later into the night.
You know those pub debates you have about the believability, continuity and just plain awesomeness of your favourite movies and TV shows? Now you can sit and watch the professionals go at it instead. The Stickler is a new format of show at the Giant Dwarf which features comedians and experts debating the finer points of a beloved cinematic endeavour. In the first edition, The Castle will be picked apart in front of one of its writers, Santo Cilauro, who will also reveal tidbits and trivia you never even knew you were dying to know. The former President of the NSW Court of Appeal The Hon Keith Mason AC QC will cover the legal side of the Castle equation, explaining the nebulous legal concept that is 'the vibe'. Movie buffs Mark Sutton and Zoe Norton Lodge opine, while 'lapsed lawyer' and MC Julian Morrow negotiates the discussion (and the price of the jousting sticks).
From psychic shopfronts to vintage vaudevillian, it's a strange but compelling world down here. Currently at Chalk Horse are two solo exhibitions by local artists: Tara Marynowsky's beautiful and ethereal creations and Kate Mitchell's exploration of chance encounters. Marynowsky's small-scale works in Venus of Venus are more than simply pastel shapes on pretty paper. There is something slightly darker looming beneath their quiet elegance. Over the past few years, her work has been influence by her passage into motherhood and its accompanying joys, pains and anxieties. Her figures are softly outlined and filled in with ghostly watercolour, giving them a spiritual or translucent quality. Some are limbless, while others look like an assemblage of limbs, as opposed to cohesive bodies. With breasts sprouting out of odd places and nipples fringed with flower petals, there is a sense of maternal care and nurturing. Another aspect of her practice is making additions and alterations to vintage postcards. With eyes embedded in hairnets and veils, clown lipstick, coloured noses, and sharp eyelashes, the women appear slightly vaudevillian, becoming both demure and demonic. In playing with these old cliches of beauty and etiquette, she undercuts them with a sinister humour. In stark contrast, Kate Mitchell's Future Fallout is a continuation of her performative storytelling and cartoonish happenings. A 47-second film plays on loop, showing Mitchell cycling up to a ‘psychic shop’. As she tries to enter, the set falls down and she hurriedly cycles away again. It as if there is a thwarted narrative here — we assume something is going to happen, but the expected action abruptly falters and changes direction. Another work, It’s in the Bag, features a glowing orb inside a takeaway bag. This could be a comment on the neatly commoditised ‘new age’ culture of today. There’s also Fell Into It, an intimate little work that might easily be skimmed over as it looks more like stylised wall text. Mitchell narrates a chance encounter with a past murderer who tells his story and then instructs her to carry two rocks (apparently embedded with “quartz and gold”) on her person for seven years. This is a peculiar offering from a stranger with a dark past, yet it as if there is now a contract that exists between them. Interestingly, different temporal states are woven together in this work: each person's past, the present of the agreement, and the unknown future. Mitchell playfully meditates on chance and futurity, occupying the space between intent and outcome. Her art navigates through life's twists and turns, probing material realities and the ethical choices we make.
Catharsis is crucial in filmmaking, as Jon Favreau clearly knows. The writer, director and star emerges from big-budget cinema to return to the smaller side of Hollywood, seemingly purging his demons and addressing his disappointments in the process. Favreau started his stint behind the lens with Made, and last helmed the underwhelming Cowboys & Aliens, but is best known for Iron Man and Iron Man 2. This journey informs Chef, complete with commentary on the perils of fame, the difficulties of criticism in the digital age, and the creative corruption that comes with working for the big end of town. The parallels are easy and obvious. In Chef, Carl Casper (Favreau) has toiled from humble beginnings to become Los Angeles' premier culinary artist, but a decade working for a profit-focused restaurateur (Dustin Hoffman) sees his menus branded safe, not daring. A scathing review by a prominent food blogger (Oliver Platt) calls out his creative malaise, swirling into a storm of negative press and social media that ushers him out of a job. At first, Carl resists the encouragement of his ex-wife (Sofia Vergara) to start his own food van. Soon, he's rediscovering his passion for cooking and reconnecting with his ten-year-old son, Percy (Emjay Anthony), in a road trip across the continent. With the heavy-handed correlations between Favreau's own fortunes and his on-screen alter ego evident, Chef is the filmmaker's opportunity to assemble something reduced in stature but substantial in content. Every aspect of the film reinforces the connection, not just in the narrative that shouts its thematic similarity, the informal aesthetic that rallies against special effects-driven efforts or the indulgent running time, but also in the brief appearances from fellow Marvel alumni Robert Downey Jr and Scarlett Johansson, worlds away from their franchise outings. Though the statement of Chef could have easily overpowered any involvement with the characters, Favreau fleshes out Casper's relationship with the idolising Percy in the film's strongest emotional arc. Understated performances also sell the fictional scenario beyond its autobiographical subtext, with the filmmaker leisurely affable in a rare lead role, and youngster Anthony empathetic but not overly sentimental. Laidback turns from Bobby Cannavale and John Leguizamo round out the likeable cast. As blunt and predictable as it always is, Favreau's offering proves appetising in the undemanding manner of the food trucks it covets — and repeatedly invites the comparison. Fine ingredients abound, including finessed visuals of enticing meals on par with the best food-centric efforts; however, poise and polish are swapped for a handmade feel and celebratory outcome. Gourmet filmmaking this isn't, but nor is it a fast food confection. Instead, the therapeutic and thoughtful Chef serves up palatable passion that's pleasantly rough around the edges. https://youtube.com/watch?v=PZ6e51-ie7w
It's been five long years since the much-loved comedy variety (read: total pisstake) show The Chaser's War on Everything has been on air. Since then, we've dealt with bits and pieces of the Chaser boys in the form of Yes We Canberra and The Hamster Wheel and The Hamster Decides, but rarely do these shows have the same spontaneity or gall of the original (well, except for that one time). To cure this, Chris Taylor and Andrew Hansen are taking to the stage for an Australia-wide tour of their particular brand of crazy. Because hey, Mark Scott can't make apologies for what happens in a theatre and Today Tonight are unlikely to report on it. In this live showcase of sketches and songs, Taylor and Hansen will be testing the limits of the live form and bringing all their craziest material into play. Fingers crossed for bits as good as 'The Eulogy Song' or that time Chris Taylor pretended to leave his wife on Sunrise. https://youtube.com/watch?v=dXHleozgQ18
Debaucherous dance duo Flight Facilities have been major players on the local EDM scene for some time now. Their infamous club banger 'Crave You' is guaranteed to get even the biggest of party poopers in a merry mood. It's so big, even Kylie Minogue has got in on the action. And now, after what seems like an eternity, Hugo Gruzman and James Lyell have finally seen fit to release an entire album. After bursting on the scene four years ago, they're hitting the road on their first national album tour. Down To Earth is here. Of course, this debut LP promises more of what the fans already love, with standout tracks like 'Two Bodies' building on their already stellar repertoire in a big way. Another of their quality summer tunes, 'Sunshine' even got Reggie Watts on board. But the good news doesn't stop there. This tour will see them paired with Client Liaison. Sporting '80s synth pop, oversized aviators and tan suits aplenty, these Melbourne boys will make the perfect sidekicks.
Just when you thought one night stands couldn’t get any more awkward, Australian outfit Unhappen arrive for the Sydney premiere of Rob Hayes' Awkward Conversations With Animals I’ve Fucked. Having debuted at Melbourne Fringe earlier this year, what you see is what you get with this one. In a series of connected monologues, Bobby speaks to a succession of cuddly critters — from the domestic to the exotic — that have all been the object of his affection. Awkward Conversations is billed as a dark comedy, but the groundswell of critical favour that surrounded its first outing in Hayes' native England speaks to the work's deeper layers of meaning and sophistication. While the subject matter is fertile ground for crude humour, it's also a situation that allows the writer to explore complex issues involving consent, zoophilia, and the role that sexual identity can play in isolating individuals from society. It's worth seeing out of morbid curiousity alone.
Edmond Rostand’s 1897 portrait of 17th-century real-life poet and all-round badass Cyrano De Bergerac is a giant of a play awash with velvet pantaloons, enduring love and, of course, one crucial prosthetic nose. Each night, makeup supervisor Lauren Proietti creates a masterpiece. Her version of the nose is a good bulbous sort: robust, gnarly and believable. Richard Roxburgh wears it with a quixotic defiance that makes you want one yourself. Despite Cyrano’s commitment to truth, he can’t quite get past regarding himself as a hideous monster — an old-school, less green, more eloquent Shrek. Cyrano spends most of his life as a self-assured, uncompromising poet, but when he falls in love with his distant cousin Roxane (Eryn Jean Norvill), he comes undone. He continues to pine for her despite her affections for the more handsome, but significantly dimmer Christian (Chris Ryan). Their dual wooing of Roxane is a fabulous comedy of errors. It’s no exaggeration to say that Roxburgh as Cyrano is outstanding, walking a delicate line between cavalier and humble. Matching Roxburgh in the excellence stakes is Josh McConville as Comte De Guiche. His speech detailing the trail of small compromises that have led to his worldly success is compelling and disarming. De Guiche’s conviction that Cyrano’s personal integrity is far more valuable than worldly possessions is excellent and may see hoards of Sydneysiders quitting their day jobs. The rest of the cast is vibrant, none more so than Julia Zemiro playing Sister Claire. She seems to be constantly amused at finding herself on stage. Alice Babidge’s set is simple and dynamic, a wide open space with a peripheral balcony that provides ample space for multiple thrilling sword fights directed well by fight director Nigel Poulton. Babidge’s set comes alive in a final striking shower of autumn leaves. Adapted and directed by the Sydney Theatre Company's artistic director, Andrew Upton, this Cyrano is big, shiny and moving.
May 23 marks the second outing of Other Worlds Zine Fair, an alternative space for comic book artists and zine makers to showcase and sell the fruits of their creativity. Originally a boycott action against Transfield Holdings' sponsorship of the 2014 Sydney Biennale, Other Worlds continues to provide local and international artists autonomy from suspect corporate support. The main zine fair is at Glebe Town Hall, with over 70 independent artists present, and this year the program has expanded into a three-day series of events and workshops throughout the inner west. Participating venues include The Rizzeria's Leichhardt printshop and Monster Mouse Studios at Marrickville. Other Worlds also seeks to generate discussion and raise awareness of the impact of detention centres in Australia and includes initiatives such as The Refugee Art Project among its participants. Those interested in supporting Other Worlds' corporate-free status should jump to their Pozible campaign.
It's the yearly exhibition that leaves us with jaws on the floor; the 59th annual World Press Photo exhibition is coming to Australia for another year. Beating 97,912 submissions by 5692 photographers from 131 countries, Denmark's Mads Nissen took out the top spot for 2014 Photo of the Year for his intimate, poignant portrait of Jon and Alex, a gay couple in conservative St Petersburg, Russia. After almost six decades of beautiful and devastating photojournalism, the WPP contest continues to be one of the world's most important platforms for art, journalism and humanising the headlines. The World Press Photo exhibition can be seen at Sydney’s State Library of NSW, May 23 – June 21; WA Museum in Perth, July 4 – 26; and Brisbane Powerhouse, August 8 – 30. Before the exhibition makes its way to Australia, take a look through some of the landmark images that caught the eye of the WPP judges; from an orphaned rhino in Kenya to Lionel Messi at Brazil's World Cup, Istanbul's anti-government protests to a young Kamilaroi girl in Moree, New South Wales. With many of the photographs documenting the more saddening news headlines, they're often not easy images to look at, but it's the work of these photojournalists that wakes up an otherwise ignorant world.
Underground Japanese post-punk and semi-improvised Rainbow Chan on a feedback loop in the depths of Alaska Projects' Kings Cross carpark is probably the soundtrack you need to change up that otherwise-surely-dull Sunday afternoon. That's what's on offer at Musical Alaska #20, the next in a series of experimental music events from Sydney's favourite artist-run initiative. The Musical Alaska series involves an ever-evolving ensemble of local musicians come together under the guise of the Alaska Orchestra. It gives them a chance to experiment and people a chance to open their ears and minds to things they've never heard before. Chan, the classically trained saxophonist and electropop artist who has become a fixture of the Sydney music scene, is curating #20, and word is that the evening will be an exploration of the 'Fourth World' of music — imaginative, hybridised world music dealing with cross-cultural identity and going beyond ideas of the First and Third Worlds. Expect Rainbow Chan arrangements of that '80s Japanese post-punk we mentioned, a specially commissioned set of her own, and nothing traditional.
The last time Courtney Love popped by was 1999, when she headlined Big Day Out with Hole. Since then, the 50-year-old has released solo albums America's Sweetheart and You Know My Name/Wedding Day, as well as Hole's fourth record Nobody's Daughter (albeit without Melissa Auf der Maur, Patty Schemel and Eric Erlandson). This month, she's treating us to her very first Antipodean solo tour. Recent appearances in the UK have been triggering rave reviews. One Guardian critic described her as "enjoying her rock resurrection, leaping from vitriolic to vulnerable, often in the same breath", while The Daily Telegraph experienced 75 minutes of "slightly unhinged" and "thoroughly entertaining... raw pop punk". Rumours continue to bubble concerning a possible Hole reunion. In a recent Pitchfork interview, Love revealed that they're not necessarily without foundation. "I'm not going to commit to it happening, because we want an element of surprise," she said. "It's next year's concern, but we've hung out, we've sat down, we've met, we've jammed." https://youtube.com/watch?v=Rg_ECFpSceA
They say humans only use 10 percent of their brain capacity. Of course, 'they' are idiots, because even someone operating at just 10 percent would be able to plug that persistent non-fact into Google and discover: it's utter rubbish. Speaking of rubbish, Lucy — the new film by French director Luc Besson (The Fifth Element, The Professional — opens this week. Here's the gist: Lucy (Scarlett Johansson) is a no-hope American student in China who ingests a new party drug that inexplicably boosts her brain capacity from 1 percent to 20 percent. The initial symptoms include: pain, inverted roof crawling and the (again inexplicable) immediate development of expertise in martial arts, small arms fire and quantum mechanics. She also gets shot and doesn't care. Kids: stay in school, because — apparently — smart people don't feel bullets. With her now enhanced brain, Lucy concludes she'll need more of the drug to stay alive and hence comes to blows with the Korean drug baron determined to instead spread it on the streets. And...that's...pretty much it. Lucy gets smarter, drug baron gets stabbier and the police remain phenomenally absent and/or ineffectual. Lucy begins by posing a question to the audience: "Life was given to us a billion years ago. What have we done with it?" 89 minutes later it concludes in a similar fashion: "Life was given to us a billion years ago. Now you know what to do with it". Wrong. Seriously, I've no idea what the message of this film was. Assuming it wasn't 'take drugs', then it could only have been the line driven by Morgan Freeman's philosopher character Professor Norman: that people with knowledge should pass it on. However, that's already what we do as humans, so actually, we've not learned anything from this film at all. The concept of wildly enhanced cerebral activity is an excellent one, and was similarly explored in 2011's Limitless. However, neither it nor Lucy felt confident enough to let the science or ethics of the issue be the sole focus. Both kept the chemistry to a minimum and instead padded their scenes with periodic action sequences and flashy special effects. It's precisely what Dustin Hoffman was referring to several years ago when he publicly bemoaned the lack of intelligent science fiction films and called for smarter scripts. The irony of movies like Lucy is that studios believe the only way to ensure box office success for stories about intelligence is to dumb them down to an almost unintelligible level. https://youtube.com/watch?v=MVt32qoyhi0
Masters of Vietnamese cuisine and market regulars Bar Pho are extending the love (in the form of pho) to Surry Hills location The Foundry with a pop-up canteen. The brainchild of Tina Do, Bar Pho emphasises authentic street-style Vietnamese food with an Australian twist. The canteen is offering authentic Vietnamese dishes, alongside locally crafted beer by the kegful, courtesy of Young Henry's. The menu is varied, including barbecue sesame pork skewers, lemongrass pork chops, Vietnamese omelettes and the dish that started it all — the humble pho. There's also a Vietnamese-inspired cocktail stall, courtesy of Trolley'd. Cruise through the chilly winter evenings with some warm pho and some Vietnamese style booze in this cosy Surry Hills location. Your hours of pho fun are: Friday and Saturday evenings 4pm – 8pm Sundays 12pm – 8pm
Joan, Again, the new play written and directed by Paul Gilchrist (Christina in the Cupboard, Rocket Man) for subtlenuance, centres around the peasant girl turned warrior-saint Joan of Arc. Or does it? Does it matter? Gilchrist's protagonist is either returning from the dead or masquerading as a French icon, and both writer and character realise that when it comes to identity theft, your probability of success can depend greatly on the improbability of the genuine article. A modest crucifix, a crude table and bench, a sprinkling of hay and warm, rustic lighting establish a yard in a small French town. The visit of a Cardinal (Lynden Jones) on his way to Paris is complicated by the arrival of a young woman (Sylvia Keays) claiming to be Joan of Arc, back from the dead ten years after her execution. The ensuing debate about the veracity of the girl's story splits the house's inhabitants between those who take her at her word and those who demand that the mysterious visitor repent and tell the truth. Hiding in plain sight is the 'mouse', Therese (Kit Bennett), who has more to contribute on the subject of divinity than her colleagues suspect. Helen Tonkin is unflappable as the prickly, no-nonsense atheist Isabelle and provides a nice counterweight to the self-satisfied malevolence of Jones' Cardinal. David Kirkham’s perpetually terrified Felix is also quite enjoyable, staying on stage just long enough to deliver a nervous disclaimer or apology before scampering out of sight again. Keay's Joan, though, is a hard one to read. In accordance with the script, she doesn’t give much away, surely a curious tactic to use against people so well-versed in her exploits as a charismatic military leader. The speed with which she allays the suspicions of the majority of the characters, regardless of their credulity, rings somewhat hollow. In addition to the vaguely Crucible-esque vibe of the piece, with truth obscured by a rising tide of religious hyperbole, I found Joan, Again strongly reminiscent of a medieval morality play, in which the soul of the protagonist is contested by stereotypical forces of good and evil. On the one hand, Gilchrist’s script presents a witty, if overly long exploration of deception, identity and hypocrisy, with each character contributing a different angle on the subject. On the other, this approach makes for very little character or plot development, a factor exacerbated by the large cast and static staging of the piece. As the play continues, the characters lose dimension and humanity, becoming archetypes, facets of a debate rather than people. Although flawed, Joan, Again is a nice jumble of history, myth and religion and an interesting study on the cult of personality in the mediaeval era.
Feeling an urge to witness some rollicking rock 'n' roll? Sydney dudes Gang of Youths will sort you out. Earmarked with that buzzed-up title of 'ones to watch' last year when they formed, Gang of Youths have since played a sizeable bunch of headline shows, tangled amongst support gigs for the likes of The Jezabels, Frightened Rabbit, Vampire Weekend and most recently Foster the People. The ferocious five-piece are back this month with a few more dates up their sleeves for the riff-starved, showing off their latest single, 'Poison Drum'. In the accompanying music video, Gang of Youths power through the colourful streets (and supermarket aisles) of LA armed with their instruments and some succulent-looking noodles. Did we mention they're yet to release their debut album? Fear not, Gang members. Recorded with Kevin McMahon (The Walkmen, Real Estate, Titus Andronicus), the group's first LP is in its final stages and due for release sometime this year. https://youtube.com/watch?v=yqi2dT5rRtw
Everyone's favourite half-giant of few words is coming to Australia to host a series of Game of Thrones-themed rave parties. Kristian Nairn, who plays the simple and loveable Hodor, is a legit house DJ — minds are boggled as to why this sort of party hasn't been thrown sooner. Thankfully touring company Falcona have jumped on the house-loving GoT favourite and we can party like we've finally found the three-eyed raven. As the name suggests, Rave of Thrones will be a series of GoT-themed parties in large-scale Australian venues — and dress ups are mandatory. Break out the faux fur, your finest armour or dye your hair silver-white; just leave your Valerian steel at the door. We're expecting to see Starks dancing with Lannisters, Tyrells and Tullys sharing mead, while Wildlings and White Walkers unite forces in the name of rave. These parties are likely to attract a larger crowd then the Red and the Purple wedding combined (and will presumably be way less murdery), so make sure you snap up some tickets faster than one of Ygritte's arrows heading for Jon Snow's heart. Nairn has recently been in Melbourne for Oz Comic-Con with Daniel Portman (aka Podrick Payne), so we're thanking the Old Gods and the New that he'll be returning to us shortly. Nairn will be joined by audio visual artist Ego who will be cranking out GoT-themed projections, and the night will include "surprise guests and garnishings" — we're not sure exactly what that entails just yet. HODOR! https://youtube.com/watch?v=cxjw-w-V5k4
If you’ve been wondering how to tell chocolatey accents from nutty tones, why it is that the coffee you brew at home’s never as good as the one from your favourite cafe, or how you can turn your lattes into artworks, July is your month. In the lead-up to Aroma Day, Sydneysiders will get the chance to spend an hour or two expanding their coffee-related skills and knowledge via a series of workshops. Some focus on tasting and cupping, others on roasting and brewing and others still on coffee's illustrious history. There’s pretty much something for everyone, whether you’re a beginner who can’t differentiate a dark roast from a smooth blend or a connoisseur who’s ready to become an officially credited barista. Highlights include the 'Coffee Appreciation Course', where you’ll come to understand why you prefer one barista over another (assuming, of course, that it’s their brewing ability we’re talking about); 'Brew Camp', which will teach you the skills necessary to perfecting the pour over brewing method; 'Chocolate - Bean to Bar', during which you'll get to taste a whole bunch of different chocolates under the guidance of expert local chocolatiers; and Latte Art with ASCA, where 2011 NSW barista champ Alex Stathis and 2011 NSW latte art winner Jibbi Little will show you how to froth and drip like a master. To book your spot in a workshop, visit the Aroma Festival website.
In 2007, Dublin-born writer-director John Carney released his low-budget indie musical Once to widespread critical acclaim. Seven years later he returns to the genre with Begin Again, a similarly plotted follow-up, just with a far bigger budget and cast. The additional gloss and star power runs somewhat contrary to the film's subject matter, about two unlikely collaborators making music on the cheap. Still, with leads this charismatic, it's difficult to go wrong. In a role that recalls his likeable loser persona from The Kids Are Alright, Mark Ruffalo plays washed-up New York record executive Dan. Once a successful music producer, he's long become disillusioned with the biz, pissing off everyone who matters and getting fired from the company he helped found. His personal life is in a similar state of disarray — when you need to borrow beer money from your teenage daughter (Hailee Steinfeld), it's a sign that things aren't exactly going great. While drowning his sorrows in a bar in the East Village, Dan hears a melancholy performance from Gretta (Keira Knightley), who we soon learn is the recently ditched girlfriend of up-and-coming British pop-star Dave Kohl (played in a fun, self-deprecating turn by Maroon 5 front-man Adam Levine). Convinced that she's got what it takes, Dan approaches Greta with a record deal. The catch is that neither of them has any money, so they'll have to record it live on the city streets. More than once, there's a sense that Carney wants to have his cake and eat it too. The film is highly critical of the music industry — embodied by Levine's sell-out Kohl — and champions the DIY approach of independent artists for whom music is about a lot more than money. It's a message that felt perfectly suited to the micro-budget Once but seems a little bit at odds with the A-list names and glossy production values found here. Begin Again is also a far perkier film than Carney's previous work, gliding over more serious plot points, such as Dan's apparent alcoholism, with relentless, fairytale positivity. Yet only a cynic would begrudge the film its optimism. Even as you're aware of the script's somewhat hypocritical construction, it's hard not to be won over by its considerable warmth and charm. Ruffalo and Knightley have wonderful chemistry, and the fruits of their partnership are a joy to hear come to life. The songs, like the rest of the film, are cutesy but ultimately enjoyable. And who knew Knightley could sing? https://youtube.com/watch?v=zqRL2dY5-us
Singer, songwriter and all round rock demigod J Mascis is one of the most crucial figures in the international rock scene. He's also the definition of hair envy, the lead guitarist of Dinosaur Jr and pretty rad skater. Now, as one of the most in-demand musicians of our time, he’s heading to our neck of the woods to show off some crazy good guitar and swish his hair around like it’s nobody’s business. J Mascis is to Dinosaur Jr what Sting is to The Police, The Slash is to Guns N' Roses and George Michael is to Wham (yep, Wham comparison, right there). As a separate entity, he rocks a unique sound that ranges from the loud and riff-heavy, to something far more fine-lined and docile. This 2015 tour comes off the back of his second and latest solo album, Tied to a Star. He'll be fittingly supported by longtime Aussie rocker Adalita for the Brisbane, Melbourne, Gold Coast and Sydney legs of his Australian tour.
Being an artist in 2015 is a tough gig. What with trying to be true to your creative self while trying to make ends meet in an increasingly commercial society. Not to mention, living up to the pretty specific political and social ideals that society has come to expect of its artists. Artists are the real architects of change and all that jazz. But are those expectations fair? What of those other works that are unexpectedly politically incorrect or offensive? Is there a right or wrong when it comes to art? Guardian art critic, lecturer and ABC presenter Andrew Frost will lead a panel in exploring these and other hot issues surrounding art and ethics in the first of a new series of talks events hosted by The Ethics Centre (formerly St James Ethics Centre). Joining Frost in this discussion will be Australian contemporary artist Lindy Lee, artist and founder of blog CoUNTess, Elvis Richardson and major collector and media commentator Sue Cato. The event promises drinks, nibbles and lots of serious thoughts.
