If you've always longed to learn how to weave coconut fronds, cook with native ingredients or meet a dingo up close, here's your chance. As part of NAIDOC Week, Barangaroo is hosting Women of Craft: a showcase of traditional Aboriginal and Torres Strait Islander women's arts, crafts, cooking, music and knowledge. And it's completely free. All day long on Sunday, July 8, you'll get the chance to watch demonstrations, take part in free workshops and see traditions in action. The morning will kick off at 10am with a cleansing smoking ceremony, followed by a sand circle dance by Buuja Buuja Butterfly Dance Group. Next up will be a string of workshops. Learn how to weave coconut fronds, banana leaves and lomandra, all under the guidance of experts including Mimi Aboriginal Arts, Sylvia Nakachi and Hannah Gutchen. Then, discover the intricacies involved in making shell jewellery with Julie Freeman and her son Clive Freeman. Meanwhile, expert forager Jody Orcher and Bush Tukka Guide author Samantha Martin will be leading a bunch of food workshops and demos. Their focus is homestyle cooking using native ingredients, so you can expect to leave armed with a stack of recipes to whip in your kitchen. Every event happening at Women in Craft is free and there's no need to register. All you have to do is turn up.
The Royal Botanic Garden is known for its serenity and breathtaking scenery during the day. But there's a spookier side to the garden that people rarely get to see. Twice a month, Ghostly Garden will open up the gates after hours for an exclusive night of frights. Prepare yourself for creepy tales of the garden's past as you walk through the eerie grounds. After the sun goes down, a guide will take you on an adventure through the garden and tell you about the spirits that haunt your surroundings. BYO torch. This is a rare chance to see the Royal Botanic Garden in another light — or lack of. Ghostly Gardeners will meet at the Woolloomooloo Gates where they'll start a twilight journey with the ghosts of the garden. And we suggest comfy shoes so you're ready for any amount of walking through — or running away on — uneven terrain. Updated: June 22, 2019.
So, your home's in need of a sprucing but you're dreading the thought of trawling through endless shelves or pages of products to get the bits and pieces you need. Thankfully, Top3 has your back this weekend, hosting a hefty warehouse sale in Crows Nest, from Friday, August 3, until Monday, August 6. Making life a little easier and minimising those tough decisions, Top3's online store runs to a unique concept, only featuring three quality items within each product range. It heroes original designs from all corners of the globe. And for this sale, the team's pulled together a sprawling array of discontinued lines, floor stock and sample pieces, all going cheap at 30-70 percent off. Score one-off bargains on goodies for your kitchen, bedroom, bathroom and bar, across top brands like Georg Jensen, Missoni Home, MoMA, Basil Bangs, Normann Copenhagen, Noritake, Snurk and Design House Stockholm. Top3 Warehouse Sale is opening from 12–5pm Friday, 10am–5pm Saturday, 10am–4pm Sunday, and 10am–5pm Monday. Not all items in the top image are for sale.
It's safe to say Gami Chicken and Beer has secured its status as one of Melbourne's go-to fried chicken joints, slinging its signature, Korean-style chook from 12 locations across the city. After opening first Sydney only last month, it's about to launch its second, opening in Castle Hill in early August. And, to celebrate, Gami is giving Sydneysiders a few very good reasons to jump on board, handing out a whopping 1000 pieces of its boneless fried chicken — for free. These fried chicken morsels — RSPCA-approved and rocking Gami's signature blend of 17 herbs and spices — will be up for grabs from noon–12.30pm and again from 5.30–6pm, on both Thursday, August 2 and Friday, August 3 at the new location. The chain has yet to mention any restrictions, such as one piece per person, so we suggest heading in with an empty stomach. Once you're hooked, you're probably going to want to schedule a return visit pretty quick, to try other Gami favourites like the chicken spare ribs, the vegetarian chicken and the aptly named Potato Heaven, featuring three layers of cheesy potato goodness. Gami's fried chicken giveaway will run from noon–12.30pm and again from 5.30–6pm on both Thursday, August 2, and Friday, August 3.
Trivia nights mean gathering your mates around, enjoying a few beverages and trying to convert your respective stores of knowledge into glory. At this particular trivia night, you'll do all that, but there'll be a particular emphasis on your pals. Given that the topic of the evening is a certain sitcom about a band of best buddies, celebrating your chums is the thing to do. Yes, Friends is in the spotlight at the Ess's next battle of pop culture tidbits. If you haven't yet heard of the Ess, it's the brand spankin' new rooftop bar atop Macquarie Park's Governor Hotel. With its neat cocktail list, Japanese charcoal grill and Friends trivia, we're liking it already. If you think you know everything there is to know about the show that caused viewers to agonise over whether Ross and Rachel would get together, wish that Joey and Chandler lived next door and get their hair cut like Jennifer Aniston, here's your chance to prove it. Prizes are on offer for the winning team and there'll be complimentary dessert, $9 cocktails, $6 classes of sparkling wine and $1 dumplings, too. Remember, though, it has been 14 years since Friends was on TV, making the contest not just a test of trivia, but a workout for everyone's memories. No one told you that watching endless television reruns could turn out this way. Entry is free, and you can book your spot here.
This free Sydney Fringe party will invade Kensington Street Festival Village with music, theatre performers, art and food for five magnificent hours from on Saturday, September 8. You'll be watching a bunch of Sydney's best street artists create new commissions — three on the wall and several others that'll go up for auction on the day — in real time to raise money for charity. As they paint, live musicians will perform a spontaneous soundtrack, inspired by the works in progress. When it's time for a bevvie, head to the pop-up festival bar for a G&T from Gin Lane or a glass of vino from Handpicked Wines. As far as eats go, you'll be spoilt for choice. Heaps of Kensington Street's vendors will serve up snack-size offerings — think sammies from A1 Canteen, Italian fare from Olio and French food from Bistrot Gavroche. It will all wrap up around 8pm, but an after party will continue until the early morn at The Gladdy around the corner.
Get your laughs at Marrickville's Factory Theatre when Sydney Fringe Comedy takes over from Tuesday, August 28 to Sunday, September 30. More than 100 Australian and international acts will appear, with five venues hosting up to 20 shows every night. Watch out for Aaron Chen in The Crushing Defeat and Public Humiliation of Aaron and Cassy Workman in Giantess, a fable about a kidnapped six-year-old whose only hope of salvation is a giant – which happens to double as an exploration of struggling with gender identity. Meanwhile, Break Out NZ will bring together accomplished Kiwi comics David Corroes, Donna Brookbanks and Jamie Bowen. These funny guys are just the tip of the iceberg; check out the rest of the massive program over here — most tickets are a steal at $10–$15.
Playing a 13-year-old in Atonement, Saoirse Ronan changed lives with a series of lies. As a twenty-something newlywed in On Chesil Beach, she slings the truth, but its piercing impact is just as sharp. Both roles stem from the pen of British author Ian McEwan and, while Ronan's career hasn't lacked highlights during the 11 years between the two, both demonstrate the depth of her talents. In the Brooklyn and Lady Bird star's hands, the two distinctive yet relatable characters are much closer than they might initially seem: a petulant, misguided teen misconstruing the facts as a way of coping with her own feelings, and a kind, exacting woman sharing what's really in her heart in an effort to do the same. Mere hours after saying "I do", Ronan's Florence has her whole married life in front of her. It's 1962, she's honeymooning by the pebbly shore of Dorset with her new husband Edward (Billy Howle), and when to have dinner seems like the duo's biggest worry. And yet, before darkness falls on their first night away, their wedded bliss will prove short-lived. First, they're playfully disagreeing about music choices. Next, they're trying to stay polite around interrupting wait staff. Soon, they're awkwardly trying to consummate their nuptials — which, instead of bringing the couple closer together, only drives them apart. Where romantic splendour becomes matrimonial sorrow, that's where On Chesil Beach finds its story. With a bittersweet mood painted across its frames, the film burrows into the heart of a fresh but fraught relationship — one that's just getting started, but is already saddled with heavy expectations and weighty complications. That said, this isn't a simple case of opposites attracting and then imploding, or of two besotted paramours following their feelings instead of their thoughts, although both ring true in some fashion. Classical violinist Florence is sweet and driven, from a middle-class family, and has a very clear view of her future. Edward is an English graduate with no set career path, harking from a much more modest background, and fond of rock and roll. What plagues the couple, however, is a dilemma that everyone faces at some point in their lives: the consequences of truly being honest with each other. As Florence and Edward's marriage wilts faster than the flowers that Florence undoubtedly carried down the aisle that same day, an intimate tale begets an intimate picture. Indeed, it's fitting that On Chesil Beach heralds the filmmaking debut of theatre and television director Dominic Cooke, with conversation — and the gaps between the sometimes passionate, sometimes tentative chatter — reigning supreme. Still, marking just the fourth time that prolific novelist McEwan has adapted his own work for the screen, the movie benefits from one of the writer's trademarks. Conveyed here through flashbacks to various points during the couple's courtship, On Chesil Beach never forgets that every single moment, act and discussion is the culmination of a lifetime's worth of desires, woes, emotions and experiences. Unsurprisingly, the resulting film is filled with complex characters not only navigating a difficult situation, but brandishing intricate histories. Meticulously and delicately directed by Cooke with an eye for the blandness of routine British life, the scenic glory of the movie's titular location, and the growing space between his protagonists, On Chesil Beach is also a film that's vastly improved by its stars. As astute and insightful as McEwan's narrative is, it's the performances that give texture to a tale that otherwise works better on the page — including in its ending. That Howle more than holds his own against three-time Oscar-nominee Ronan is no minor achievement, and together they make this thorny fictional romance seem devastatingly real. https://www.youtube.com/watch?v=I9ChbMk1e6Y
The Giant Dwarf loves to bang on — so much so, they're dedicating two whole weeks to celebrating the art of it. After launching in 2017, the Redfern theatre's YACK festival is set to return for a second stint, bringing together a selection of Sydney's funniest, smartest and most provocative comedians, podcasters and panellists. The little festival will feature big laughs with a great lineup of people who like to have a good ol' chinwag. We're pretty excited to see Zoë Coombs Marr (as herself, not in character), Bob Franklin and Danielle Walker, the latter of whom you might recognise from Get Krack!n. Or, hear about failed jokes, bad gigs and unfulfilled ideas from SBS Viceland's Michael Hing and The Feed's Victoria Zerbst — and discover the secrets, joys and all-round allure of satire from The Weekly's James Colley and Black Comedy's Nakkiah Lui. The Freudian Nip School of Performing Arts Annual Showcase Evening will also make a comeback; themed storytelling night Story Club will hit YACK as part of its tenth year, this time focusing on the theme 'when we were young'; and The Chaser's Julian Morrow will host a slide night for current affairs junkies — and that's just the lineup so far. Judging by the state of world affairs, two weeks of non-stop laughing at YACK will be just what the doctor ordered, so head over to the Giant Dwarf website for tickets. The festival will run from October 19 to November 4.
The 40-year-old Oxford Street institution that was the Midnight Shift will finally reopen this weekend under its new name: Universal. And it's launching onto the scene with a three-day party that climaxes at the Heaps Gay Shift Resurrection. The massive blow-out is the wrap up party for Sydney Fringe Festival and will go down on Sunday, September 30, from 9.30pm–4am. It'll span the venue's two floors and feature over 30 multi-genre artists, including live music, DJ sets, drag performances and roaming artists. Live musical acts include South Africa's Fortune Shumba and Sydney's own producer CLYPSO and electro-group FLORIAN, plus DJ sets by Love Deluxe, Rachel Maria Cox and Girlthing. There'll also be artistic and drag queen performances by the likes of Matthew Grant, Three Piece Feed, Trixxie Killder and Millie Sykes; pole dancing by David Aeon and FUR; and visuals by Xanthe Dobbie, Fresh Jams TV and Subvrt Magazine. Universal will officially open this Friday, September 28, with the launch of its new monthly party FAB — featuring live performances, DJs and drag shows. And Saturday, September 29, will see the reveal of the venue's new weekly event Satori, which features artists, light projections, live music, drag and more. Image: Joshua Jasper.
If you're already planning summer road trips, here's one that gives you music and beaches. Happening in the pretty North Coastal twin towns of Forster-Tuncurry on Saturday, January 12, Grow Your Own will bring together a stack of Aussie talent. Leading the program are Sydney rockers DMA's and The Preatures, alongside Hockey Dad, who hail from Windang, just south of Wollongong. Also travelling from down south is Totty, who recently signed to the Dune Rats label, while singer-songwriter Mallrat will come down from Brissie to perform a set from her debut EP, In The Sky. Look out, too, for Jack River (aka Forster local Holly Rankin) who is not only performing, but running the event as festival director. "We're deeply excited to present Grow Your Own's biggest line up yet, with acts coming from all over the country as well as many from our own backyard," she said. "Our homegrown ethos runs through every cell of the festival, right down to the fences and the food." In between getting down to the music, check out a myriad of art installations, bars and offerings from local growers and producers. Tickets go on sale this week and come in at under $100. Images: Ben Everden.
Pakistani activist and history's youngest Nobel Prize laureate, Malala Yousafzai is heading Down Under, for two exclusive talks in Sydney and Melbourne this December. She'll appear as part of The Growth Faculty's thought-provoking Women World Changers speaker series — the same event that brought Hillary Clinton to Australia and New Zealand in May this year. Yousafzai was just 11 when she first launched her campaign to promote education for girls, penning a blog from her home city in Pakistan's Swat Valley. At 15, she survived an attack by the Taliban, and in 2014, went on to become the youngest person ever awarded the prestigious Nobel Peace Prize. Her remarkable story continues, as she sticks with the fight for education rights for every girl in the world. The activist co-founded the Malala Fund and currently studies at the University of Oxford. Now, for the first time, the inspirational 21-year-old will share her experiences with Australian audiences, speaking at the ICC on Monday, December 10.
The MCA's free music series Sounds on the Terrace is back for the sixth year running. And, once again, the gallery is teaming up with Young Henrys. The Newtown brewers will curate the music lineup and, you guessed it, add a healthy dose of craft beer to the drinks list. The rooftop sessions returned on Wednesday, September 5, kicking off with Sydney hip hop/jazz producer Godriguez and seven-piece soul band New Venusians. The last after-dark session for 2018, taking place on Wednesday, December 5, will feature performances by local Sydney acts Not a Boys Name, Fiction Writer, Ben Panucci, Froyo and China Beach. It's no coincidence that Sounds on the Terrace is concurrent with the MCA's Lights on Later program either. In between sipping on Young Henrys' summery The Lagertia cocktail — a combination of beer and tequila — and snacking on tostadas created by the MCA Cafe, you can take a wander through the gallery, which, until March 3, 3019, will house an Australian-first retrospective of famed South African photographer David Goldblatt's works. While Wednesday, December 5, signals the end of Sounds on the Terrace for 2018, it'll be back in early 2019 — we'll update you with more information soon.
For the past 11 years, the Sydney Underground Film Festival has walked on the weirder, wilder side of cinema, and 2018 is no exception. In fact, with its 12th program including everything from a time-travelling New Zealand comedy to a bloody Christmas flick to Nicolas Cage at his most unhinged, this year might just be more over-the-top than ever. Returning to Marrickville's Factory Theatre from Thursday, September 13 to Sunday, September 16, SUFF kicks off with what could just be the next great (and greatly hilarious) Kiwi effort. Mega Time Squad stars What We Do in the Shadows' Jonny Brugh, and follows a small-time crook who steals an ancient time-travel device, only to be forced to face the demonic consequences — as happens in madcap NZ movies, obviously. Then, at the other end of the festival, get ready to go full Cage on SUFF's closing night. Sure, you've seen Nicolas Cage do plenty of strange things on screen, but Mandy dials his antics up a few notches and then some. Charting a lumberjack's quest to save his girlfriend from a creepy cult and a trio of satanic bikers, it features a vodka-swilling, revenge-seeking, angrily growling Nicolas Cage that really has to be seen to be believed. Throw in lurid visuals and an intoxicating soundtrack, and it demands to be experienced in a cinema. In between SUFF's two big events sits 25 other features, 13 documentaries, four shorts programs, eight workshops and the return of the late-night cereal cartoon party, so prepare to get comfy across the festival's four-day run. Feature highlights include the Aubrey Plaza and Jemaine Clement-starring An Evening with Beverly Luff Linn, Ethan Hawke stepping behind the camera with music biopic Blaze, the violent vengeance of French effort Revenge and Sion Sono's undead extravaganza Tokyo Vampire Hotel. Or, there's also Guy Maddin's San Francisco mashup The Green Fog, stylishly sensory spaghetti western homage Let the Corpses Tan, and the hypnotic Madeline's Madeline — with the latter about a teenage acting student channelling her woes into her work, complete with a incredibly memorable lead performance. On the documentary front, SUFF-goers can step into a varied array of subjects, including folks who believe the earth is flat, the world's first all-girl punk group, legendary exploitation filmmaker Larry Cohen and another director who has made more than 180 movies in 20 years. The list goes on, but this year's fest wouldn't be complete without the man, the myth and the enigma that is Bill Murray — or a documentary about him, more accurately, although he will be in the country later this year.
This week, sink your teeth into some of that Christmas In July spirit as the team at Cracker Barrel mark the occasion with an interactive winter wonderland at Sydney's Central Station. From 2–7pm today until Saturday (excluding Thursday), commuters can indulge in some serious Christmas cheer, thanks to a crew of jolly elves and a whole lot of free cheese. Not only can you have your photo snapped in front of a giant Christmas card, you'll have the chance to take home one of the 10,000 novelty-sized Christmas crackers being given out by Cracker Barrel over the week. Each comes filled with a couple of paper Christmas crowns, a few requisite cheesy Dad jokes, a box of Captain's Table crackers and — most importantly — a block of Cracker Barrel's signature cheddar. The perfect entree to that Christmas In July feast you've been planning. While you're enjoying Cracker Barrel's winter escape, be sure to enter the Christmas In July competition for the chance to win $5000 in flights.
If your festival budget this year is a little skint and you've resigned yourself to missing out on seeing bands on hills in your gumboots this summer, don't fret just yet. EDGE is a new — and free — arts and cultural festival program launching in Sydney's inner west. EDGE will include a cacophony of arts, music, light projections and performance events throughout its 2018 and 2019 run. While the events for next year have not yet been announced, the festival's inaugural event is a four-day celebration taking places this September. And it's starting with a free opening night party in Ashfield Town Centre on Thursday, September 6. Headlining will be diverse fusion band Worlds Collide, accompanied by sound installations, light projections and dance performances happening throughout the evening. The celebration will continue for the rest of the weekend, too, with pop-up performances in Ashfield Town Hall, Sydney Sacred Music Festival, sound and light-filled exhibition Ritual Lanterns by Jayanto Tan and a folklore flower trail, Bloom. Ashfield Town Centre will also light up with Three Generations, from September 6-9, giant projections of local people and their stories, done by Esem Projects. EDGE will expand during the course of 2019 — beginning in Ashfield and spreading to more of Sydney's inner west — with hundreds of local artists and performers jumping onboard. If you want to register your interest, you can here. Image: Bec Taylor
Prepare to add another activity to that growing list of summer must-dos: Merivale and Summer Bright are holding a slew of A+ Sunday afternoon shows on Coogee Pavilion's rooftop. And the best part? They're all free. Returning to the beachside venue for a third year, the Sunday Sundown sessions will be held over 13 Sundays from December 3 to February 25. Melbourne's Miami Horror will kick things off with five DJ sets in December before Linda Marigliano and producer Swick take over in January. February's sessions will be helmed by the inimitable Client Liaison. This year the set times have been pushed back to 5–7pm so you can see the sun set over Coogee mid-performance. Here are the details. SUNDAY SUNDOWN 2017–18 PROGRAM December 3, 10, 17, 24, 31: Miami Horror (DJ set) January 7, 14, 21 and 28: Linda Marigliano + Swick February 4, 11, 18 and 25: Client Liaison (DJ set)
Tarantino fans, it's the moment you've all been waiting for — and it just might be even better than the world-famous Jackrabbit Slim's twist contest. In a massive overnight movie marathon (dusk till dawn included), Palace Chauvel Cinema is showing its love for the filmmaker responsible for making everyone think twice about Madonna's 'Like A Virgin', Royales with cheese, getting sword-wielding vengeance and getting caught in Minnie's Haberdashery during a snowstorm. With more enthusiasm than the man-in-question's fondness for rapid-fire dialogue, retro soundtracks and paying homage to every film he's ever seen, Tarantino Fest will train the James Street cinema's projector on some of QT's finest from 1pm on December 9. The next 19 hours or so will be filled with flicks helmed by Tarantino, written by Tarantino and/or starring Tarantino. On the agenda: Reservoir Dogs, True Romance, Pulp Fiction, Jackie Brown, From Dusk till Dawn, both volumes of Kill Bill and The Hateful Eight, in that order. Breaking out your best yellow jumpsuit, bathrobe, Hawaiian shirt, daggy tee and shorts combo, or flight attendant's uniform is heartily recommended. And if you want to dance to 'Stuck in the Middle with You' or 'Girl, You'll Be a Woman Soon' in the foyer, we're guessing that no one will stop you.
"Goodbye Christopher Robin," announces the title of this treacly biopic. Goodbye subtlety and and emotional nuance, too. A true tale about Winnie-the-Pooh author AA Milne, his son, and the loveable bear that made them both famous, this is a movie that doesn't trust its audience to laugh or cry without being told when and how much. Eeyore's constant moping and Tigger's bouncy zest seem almost restrained in comparison. The handsomely staged effort sets its sights on a shell-shocked Milne (Domhnall Gleeson) in the wake of the First World War. He's rattled by London life following his experiences on the battlefield, much to the dismay of his socialite wife Daphne (Margot Robbie). A move to the country doesn't seem to help matters either — or at least it doesn't until a stint in the surrounding forest without Daphne or live-in nanny Olive (Kelly Macdonald), when the writer and his eight-year-old son Christopher Robin (Will Tilston) imagine a whole new world with the help of some stuffed toys. If it worked for Peter Pan and Mary Poppins, then it can work for Winnie-the-Pooh. Or at least, that's what director Simon Curtis (Woman in Gold) appears to think. Indeed, as Finding Neverland and Saving Mr. Banks did before it, Goodbye Christopher Robin presents itself as a behind-the-scenes origin story, but soon proves more interested in riding an easy wave of affection. Given that everyone's favourite fictional bear is involved, there's ample love flowing, of course. Alas, though the movie's approach is well-intentioned, the end result remains noticeably heavy-handed. An overwrought score, uninspired cinematography and pacing that pauses for impact every time something notable happens are just a few of the film's particularly grating elements — although arguably the biggest problem is the mismatch between the script and the way it's been executed. Screenwriters Frank Cottrell-Boyce (The Railway Man) and Simon Vaughan aren't afraid to take the narrative to darker corners, touching on the trauma of war, the difficulties of marriage and motherhood, the struggle of having your childhood suddenly opened to the public, and the distance that can grow between a father and a son. Sadly, Curtis would rather skip nostalgically past the bleaker material, or wring it to inspire easy waterworks. Filmmakers underestimating their viewers isn't new. Nor is spoon-feeding plot developments and signposting sentiment, pairing a cute kid with a grumpy adult, or leaning on pop culture commodities. Goodbye Christopher Robin is guilty of all of the above — but, more than that, it's guilty of squandering its potential. As the great performances from young Tilston and the suitably conflicted Gleeson both show, there's plenty of emotion and drama to be found in the Milnes' story without smothering it in honey. As Winnie himself would say: "oh bother." https://www.youtube.com/watch?v=jb6gC-G2-6c
Perhaps it was timed to coincide with the centenary of the Russian Revolution, but Griffin Independent and Little Ones Theatre appear to have pulled off a serious coup here. Merciless Gods is short story collection by Christos Tsiolkas, author of The Slap and a man renowned for not being afraid to jab at the darkest and most shameful aspects of Australia's national character. Upon publication, the anthology was widely praised, but also described as "out there" and "shocking", with reviewers teasing fictional worlds governed by brutal sex, murder and random violence. Difficult subject matter on the page and not an obvious candidate for a theatrical reworking. Nevertheless, Dan Giovannoni, of Melbourne queer theatre collective Little Ones Theatre, has managed to prise Tsiolkas' savage stories off the page and craft them into a fierce script. By all accounts, the performance adds another, very visceral layer to the already charged stories, without overlooking the vein of human tenderness running beneath.
Music. Art. Maker stalls. Street food. DJs. Workshops teaching some ace skills. Birthday parties can be pretty fancy these days, but most five-year-olds don't get to enjoy all of the above. Of course, COMMUNE isn't like most, well, anything. Their Erskineville and Waterloo spaces are all about creativity, bringing people together and having a collaborative, artistic good time — so it should come as no surprise that their celebration of five years in business offers all of that. Taking place from midday on December 2, the COMMUNE Block Party will turn its Waterloo warehouse precinct into an overflowing shindig, complete with a lineup of their curated pals from across their existence to date. That means lyricist OKENYO, DJs Levins and Franco, and hip hop selectors Flex Mami and DJ Nes, plus Goodgod's Jimmy Sing, roots reggae act The Strides, seven-piece Ghanaian drumming and dance outfit Karifi Ensemble — and more. On the learning side of things, you can discover how to spin tracks with DJ James De La Cruz, make your own electronic music with Heaps Decent or get your hip hop dance on with Groove Therapy and Feras. A group exhibition and art installation, locally made and vintage markets, and food and drinks aplenty are also part of the fun. Early bird tickets are now on sale, starting from $35 + booking fee, with taking part in the classes adding another $20–30 to the price.
Russian punk band Pussy Riot were famously jailed for "hooliganism motivated by religious hatred" following an anti-Vladimir Putin protest in 2012, and the three band members spent over a year in prison. Since her release, Maria Alyokhina has continued to make music as well as founding an independent media outlet in Russia, and now returns to Australia with Riot Days. A 'punk opera'/documentary/performance art piece about her arrest and imprisonment, it is a ferocious call to arms for the resistance. "Freedom doesn't exist unless you fight for it every day," Alyokhina says. "The choice is very simple – to act or to stay silent. What we are showing is just one small example."
The way the festival scene is going, the summer of 2016/17 is going to be epic. The latest in the series of boutique festivals to join the summer calendar is Tell No Tales, a one-day techno bonanza inspired by the hedonism of the European summer festival scene. The lineup gets on board with the European theme too. They've released the first round of artists (yeah, you read right — this is only the first round) including Ricardo Villalobos, a Chilean-born and Berlin-based minimalist techno god who's been dominating the scene for nearly 20 years; Pan-Pot, another Berlin-based outfit; Audion, a techno mainstay who's just dropped his first album in ten years; Agents of Time, an Italian trio who stick strictly to analogue; and Nastia, a Ukrainian DJ who's rocketed to fame in the last few years. The festival will off in Melbourne before coming up to Theatre of the Horse at Randwick Racecourse on Sunday, December 4. The first release of tickets have sold out already, so keep your eyes peeled for a second round. Image: Stephen Arnold.
One of the most important films of 2016, Chasing Asylum tears back the curtain on Australia's brutal immigration policies. Directed by Eva Orner, the Oscar-winning producer of Taxi to the Darkside, this confronting documentary explores the human cost of mandatory detention, combining interviews with whistleblowers — who risked jail to speak out — and sickening hidden camera footage from inside detention centres on Manus and Nauru. "I think we all need to stand up and say enough is enough," Orner told us in May. "I just read this thing where Malcolm Turnbull said, 'Let's not get misty-eyed about offshore detention.' People are lighting themselves on fire. Children are being sexually abused. People have died." One Day Entertainment and the Factory Theatre are presenting a special screening of Chasing Asylum, with all proceeds from the night going to the Refugee Advice and Casework Service. Tickets are now sold out, but watch the Factory Theatre's Facebook page for announcements. Read our interview with Chasing Asylum director Eva Orner here.
Heralded as a scathing indictment of contemporary Russian society, Declan Donnellan takes Shakespeare to Moscow in this collaboration between Moscow's Pushkin Theatre and UK-based Cheek By Jowl, examining of the very nature of the society we live in, and the relationships we build. Shakespeare's classic focuses on the characters of an inept ruler, a corrupt official and a novice nun, demonstrating the inequalities and shortcomings of society. Donnellan's version is performed entirely in Russian (with subtitles, don't fret), transposing this idea onto the cultural canvas that is modern Russia. Plus, we can't wait to hear someone say, I'll pray a thousand prayers for your death in Russian. This is one of 15 next-level events to see at Sydney Festival. Check out the whole list.
It was the scary sensation of 1999; a documentary-style freak-out that audiences were led to believe was real. A low-budget hit that reignited faux found-footage as an inexpensive but successful method of frightening filmgoers, without The Blair Witch Project, Paranormal Activity and a spate of other imitators might never have existed. And while the original movie already spawned one follow-up back in 2000, it was really only a matter of time before a new sequel wandered out of the woods and back into cinemas. You could be forgiven for not knowing much about Blair Witch, however. Filmed in secret under a fake name, its true nature was only revealed in July. Other than the involvement of director Adam Wingard and writer Simon Barrett (aka the folks behind playful horror effort You're Next and stylish action thriller The Guest) this initial misdirection is arguably the most intriguing part of a film that knows it has big shoes to fill, and tries to do so as faithfully as possible. Blair Witch treads a familiar path quite literally, sending a new group of camera-wielding college students back into the Black Hills Forest, albeit with some updated tech. For James Donahue (James Allen McCune), the creepy camping trip is personal, since it was his older sister Heather who disappeared in the original film. When his life-long quest to find out what happened leads him to an online video posted by fellow interested parties Lane (Wes Robinson) and Talia (Valorie Curry), he rounds up his pals Lisa (Callie Hernandez), Ashley (Corbin Reid) and Peter (Brandon Scott) to head off in search of answers. Decking everyone out with earpiece cameras and a short-range drone, Lisa films their trip for a class project. The on-screen characters mightn't expect the series of events that follows, but audiences certainly will. Immersed in their haunted surroundings, the crew soon starts hearing strange noises and begin to spy spooky stick figures suspended from the trees. When they inevitably try to flee, they end up getting lost and start walking around in circles. And yet, while Blair Witch mightn't chart new narrative ground as it constantly nods to its predecessor, it does conjure the requisite bumps and jumps. The range of visual sources at the film's disposal certainly helps, with Wingard employing urgent, erratic point-of-view shots, as well as lingering glimpses of the sea of trees captured by drone camera from above. Re-teaming with The Guest cinematographer Robby Baumgartner, enlisting seasoned television editor Louis Cioffi, and composing the score himself, where Wingard fares best is in evoking an unnerving mood. It doesn't always matter that you can see where the story is headed if you remain uneasy and anxious in the moment, with the sound design particularly unsettling. However that still only takes Blair Witch so far. When the third act drops its atmospheric ambiguity for more overt shocks, the movie suffers. Obvious dialogue and by-the-numbers performances likewise dull an otherwise effective rehash.
Archie Rose Distillery and The Tilbury Hotel have joined forces to come up with a brand new gin. It's called — wait for it — The Tilbury, and to celebrate the hotel is inviting you to sample the very first batch at a one-off sit-down gin dinner. For 85 bucks, you'll score three courses alongside three matching cocktails. So it's a pretty sweet deal — especially given that head chef James Wallis, who's Michelin accredited, will be whipping up the dishes. You'll be kicking off with 'textures of spring' (bloody Mary, gem hearts, roasted capsicum, raw carrot, basil gel, confit tomatoes), which will be followed by a sea trout ceviche with horseradish mousse, wild rice, saffron crisps and coriander gel, or confit pork belly with date, Earl Grey, pak choi and soy caramel. And, to finish, take your pick of pear and almond tart, or fig and lemon ice cream. Meanwhile, Archie Rose's Lachlan Beange will be designing the gin cocktails around the dishes. Arrive early or hang around afterwards to spend some time on The Tilbury's Luchetti Krelle-designed deck, which has just reopened for spring.
Sparkling wine is often relegated to pre- or post-degustation status. But, at this long, long dinner, you'll be sticking to bubbles all evening long. Because it's in sparkling varieties Prosecco, Lambrusco, Franciacorta and Spumante that chef Paola Toppi has found inspiration for each of the six courses in this special one-off dinner held as part of the Bolle Italia sparkling wine festival and Good Food Month. All in all, you'll get to try no fewer than 11 Italian drops. The feasting and sampling will take place under the watchful eye of Bar Machiavelli's black and white projections. Formerly a tyre factory, the restaurant is now a paean to Italian culinary excellence, from the fresh house-made pastas to the cracking wine list. The dinner costs $145 per person but includes six epic courses and 11 (yes, 11) sparkling wines. You will be rolling out of there.
The time is nigh to snap up some ridiculous discounts at the shopping extravaganza that is Fashion Weekend Sydney. Head over to the Royal Hall of Industries to shop from over 100 designers selling their wares for up to 70 percent off. Both Australian and international labels will be represented, and there are some serious fashion steals to be had. Once you've done your shopping, head to one of many runway shows happening over the weekend. Fashion from the likes of Bec & Bridge, Winston Wolfe and Lover will strut down the runway, and you'll be tempted to buy those very clothes right afterwards (because you can). Head to The Beauty Hub after the runway shows and get your hair or eyelashes did, then go to the Photo Studio and get it all documented for free. Then, best to top things off with a glass of bubbles from the Henkell Wine Bar — ahh, the #fashionlife. Tickets and more info at fashionweekend.com.au. [competition]590917[/competition]
For a long while, people have been raising issue with the lack of gender diversity in the music festival scene. Women often occupy tiny stages and small percentages of festival lineups. Up-and-coming female and LGBTIQ musicians struggle to achieve non-gendered recognition. But finally, there's a local collective taking action. Local record label Sad Grrrls Club launched their first Sydney showcase last year, and now they're doing it again at the Factory Theatre in Marrickville on Saturday, October 8 — and they've pulled together a stellar non-male lineup. The event is designed to be a safe space, free from the kind of harassment that can make festivals so draining for those that don't identify as males. The event motto is: "Be good to each other and have fun". Right on. Check out the full lineup below. SAD GRRRLS FEST 2016 LINEUP Le Pie Coda Conduct Twin Caverns Missing Children Bad Bitch Choir DJ Claire Knight (fingertips) Bow and Arrow Julia Why? Dawn Laird Egoism Astrid Zeman Jackie Brown Jr La Vif Morning TV Annaïs Paris CLEWS YON PLUME DJs Plus Acoustic Artists: Emma Dean Music (QLD) Stellar Addiction Hannah Robinson Music Ess-em Fingermae FRUIT Antonia Susan Dog Dirt
Some of the biggest queer film titles of 2016 are headed to Sydney this week, as part of this year's annual Queer Screen Film Fest. Running from September 20-25 at the Event Cinemas on George Street, the latest edition of this LGBTQI-themed film fest will showcase 11 feature films along with a selection of international shorts. But you'd best get your movie-loving skates on, because tickets are already selling fast. This year's program features a fantastic mix of titles from all around the world. Park Chan-wook's critically acclaimed South Korean thriller The Handmaiden screens ahead of its limited theatrical release next month. It's one of two South Korean films on the program, with the other being Lee Dong-ha's charming documentary Weekend, about the country's only gay men's choir. Other standouts include the gruesome horror-comedy You're Killing Me, music doco Danny Says, and indie rom-com The Intervention. And if you do miss out on something, don't despair just yet – a select number of titles will also screen in the Blue Mountains in late October.
"Never go back" should be the default mantra for any movie studio with a surprise hit on its books. Rare as it is to bottle lightning once, capturing it a second time is nigh on impossible – which is why the list of memorable sequels is usually countable on just one pair of hands. 2012's Jack Reacher was a better than expected offering from Paramount, combining top-notch action with a few well placed comedic beats. Unfortunately, it's part of a million-book series by author Lee Child, meaning that the moment it did decent business, a follow-up was all but inevitable.. Jack Reacher: Never Go Back sees Tom Cruise again assume the role of the celebrated soldier turned drifter with the habit of getting in trouble. This time around he finds himself coming to the aid of an army officer accused of espionage (played by How I Met Your Mother's Cobie Smulders). Everyone seems to want her dead, so the pair need to figure out who's behind the apparent setup before they're both executed by dogged assassins. An alternate name for the movie would be Cobie Smulders Gets To Run Alongside Tom Cruise: A Lot, because that constitutes a significant part of both the plot and the action. There are a couple of key problems with this film. Firstly, Cruise plays Reacher with preposterous amounts of simmering menace, something that proves entirely unnecessary given the character is already so ridiculously calm and capable against any number of threats. In the original movie they got the balance right – at times, Cruise even playfully gave advice to the people he was fighting. But here he just glares and threatens before beating everyone up, thereby robbing the film's action scenes of any personality. Apologists will say that's how Reacher is written, but even in the books he shows moments of dry wit amidst the bitterness. Secondly, there's very little here by way of interesting plot. It ultimately feels like a double episode of NCIS, only with even less action or intrigue. Add to that the frequent schmaltz, particularly between Reacher and a young girl whose life he saves, and you end up with a dull, predictable and corny piece of cinema that rolls back all the good work of its predecessor. https://www.youtube.com/watch?v=aoCP_JHzBUM
Have you ever wondered why the Mad Hatter is so mad? No, of course you haven't. One of the wonders of Lewis Carroll's Alice's Adventures in Wonderland is that it doesn't try to explain the headwear enthusiast's mental state — it just accepts him for who he is and lets him get on with his tea party. Movie adaptations have done the same to date, including Tim Burton's 2010 live-action effort Alice in Wonderland. Alas, Disney is intent on sharing the origin stories of every classic literary figure it can think of, leaving Alice Through the Looking Glass to explore Hatter's background. In fact, with Alice (Mia Wasikowska) out in the real world, sailing the seas and attempting to save her mother's house, it's the plight of Hatter (Johnny Depp) that actually brings her back to the fantastical Underland. This time he's the one who's lost much of his muchness, thanks to his newfound belief that his long-gone family might still be alive. To help her truest friend, Alice visits Time himself (Sacha Baron Cohen), then goes jumping back through Hatter's history. His past isn't his alone, with his tale intertwined with the feuding antics of Red Queen Iracebeth (Helena Bonham Carter) and her White Queen sister (Anne Hathaway). As such, Alice Through the Looking Glass is both a prequel and a sequel. Given that its predecessor made more than a billion dollars at the global box office, the reason for the film's existence is obvious — as is the determination of director James Bobin (The Muppets) to follow in Burton's footsteps wherever he can. More peculiar is the decision of writer Linda Woolverton to turn Alice into a little more than an observer in the story, making her character the least interesting part of the movie in the process. As a result, Wasikowska is left largely watching on, even if she does ensure Alice seems suitably older and wiser. And while Depp receives top billing, he's carefully deployed — a little of his all-too-familiar wackiness goes a long way. With Bonham-Carter cartoonish and Hathaway mostly placid, it's left to Baron Cohen to bring the liveliness the film so badly needs. Sadly, despite his best efforts and never-ending supply of time-based puns, Alice Through the Looking Glass is never the energetic adventure it so desperately wants to be. That said, Bobin's movie is never boring — only misguided. Trying to ape Burton's over-the-top sensibilities was always going to be difficult, but simply shifting focus to the kookiest figure, throwing together similar set-pieces and asking most of the cast to repeat their previous performances isn't the way to go about it. Even the candy-coloured visuals don't shine as brightly this time around. That the film's most striking imagery stems from scenes of decay says more than it probably should.
There's no disputing one of the best episodes of The O.C. is 'The SnO.C.' — the one where Harbour High's winter dance is themed like an opulent winter wonderland to make up for the lack of actual winter in California (but not the lack of social events). And just like Newport, Sydney doesn't get gifted with a blanket of snow during the cold months — which is why Daniel San has decided to throw their own winter-themed bash. The waterfront Manly Japanese-inspired bar will once again host their Winter Wonderland party on Sunday, June 12. Taking place on their sweet Rooftop Dojo overlooking the Manly foreshore, the party will feature lots of drinks, a lineup of local DJs and everything to make you feel like you're sipping cocktails in a ski lodge. Presuming Sydney's unseasonably warm weather continues, this is set to be the warmest snow party ever. Things kick off at 7pm, and entry is free. If you want to head along, just RSVP here.
The best joke in The Boss is the one that no one talks about. Whatever Michelle Darnell (Melissa McCarthy) is wearing, her outfit includes a turtleneck jumper pulled up over her chin. Whether it's meant to be slimming or is simply an eccentric style option, it looks as ridiculous as it sounds — and while there's no avoiding the silly sartorial sight that greets viewers every time the protagonist graces the screen, the unusual clothing choice is actually among the film's most subtle elements. The fact that it remains hilarious while never earning a mention or explanation is refreshing, particularly in a movie that takes every other chance it can to either state or rely upon the obvious. At the beginning of the film, which McCarthy co-wrote with her director husband Ben Falcone, Darnell is a self-made titan of business. After wheeling and dealing her way to the top, she's the 47th wealthiest woman in America, and at the filling stadiums, splashing cash around and dispensing self-help advice stage of her career. Alas, all it takes is an insider trading charge and a stint in prison for her fame and fortune to disappear. With nowhere to go upon her release, Darnell turns to her former assistant Claire (Kristen Bell) to help get her life back on track — and seizes upon a brownie-selling opportunity inspired by Claire's young daughter Rachel (Ella Anderson). The Boss is an awkward film, and not just because it pairs a predictable storyline with clumsily inserted scenes of outlandish behaviour. It's the kind of movie in which school girls brawl with their mothers in the street, and swearing and physical antics are presented as the height of comedy. Yet the bulk of the awkwardness stems from McCarthy herself. Arguably The Boss ranks alongside The Heat and Spy as one of the actresses better starring roles, but with Identity Thief and Tammy also on her resume, that's not saying much. As committed as she remains to doing whatever it takes to garner laughs, there's no escaping the feeling that she's done it all before. The fact is, audiences may well be getting tired of watching McCarthy bear the brunt of violence, become the butt of jokes and deliver expletive-filled dialogue. Showcasing rather than stretching the energetic performer's many talents is the movie's main aim, however it actually fares best in quieter, less exaggerated moments. There's an astuteness and understanding in the ever-changing dynamic between McCarthy and Bell, even if the latter frequently threatens to steal the show from the former. Dissecting the ways women can both come together and tear each other apart, their exchanges provide The Boss with its much-needed heart. Of course, such moments of depth are few and far between, as is demonstrated by McCarthy's other main adversarial relationship with an over-the-top Peter Dinklage as her ex-boyfriend turned rival. That the end result proves a jumble of earnest sentiment, too-easy gags, one-dimensional characters and inconsistent absurdity is hardly surprising. But at least there's always those unexplained turtlenecks to keep you chuckling.
As temperatures (finally) begin to drop and sidewalks become blanketed with layers of leaf-litter, its time to take things indoors. But rather than skipping straight to the wintery ritual of cozying up in front of the fireplace of your neighbourhood pub, we've found you the perfect autumn watering hole. A Surry Hills institution, The Winery welcomes the team from champagne house Perrier-Jouet for a residency you'll want to get along to. Le Jardin by Perrier-Jouet brings drinkers a Garden of Eden-inspired pop-up bar, complete with lush indoor greenery and plenty of champagne flowing. Grab a flute of Perrier-Jouet for $15, or wrangle together a crew and split a bottle for $89. Opening their doors from 5pm Thursday and Fridays, as well as Saturdays and Sundays from 3pm, Le Jardin is the grown-up garden party you've always wanted to be a part of. With The Winery's resident DJs hitting the decks every Friday too, you've got plenty of reason to head along to this charming hidden gem. Le Jardin at The Winery is open Thursday to Sunday nights until May 31.
As far as folklore villains go, Baron Samedi is one of the most mysterious. He's an ancient spirit (or Loa) of Haitian Voodoo, the leader of the Guédé, guardian of the afterlife, and associated with magic and death. He's got a skull-like face and donned in a top hat, black tail coat, dark glasses (prepared for burial, Haitian-style). Now, he's returned from the underworld. This week Baron Samedi Spiced announced its arrival on Australian shores with a super stealthy gig by triple j Hottest 100 winners The Rubens — but that's not the only feisty fun this new spicy spirit has in store. There's a reason that the beverage — made with Caribbean rum and spices such as vanilla, cacao, cinnamon and native Haitian spice Vetiver — takes its name from Loa; it's a dash of cheekiness and mystery, all rolled into one. It's the spirit that sums up yours, and it's also the reason to head to Surry Hills every Friday and Saturday night until June 4. Baron Samedi will be taking over The Beresford both nights from 7-11pm for four weeks and, should you dare to step inside, you'll enter a shadowy rum-fuelled underworld rife with magic, music and lots of tastings. Indulge in vanilla, cacao and cinnamon-flecked cocktails served by colourful characters, and get sucked into an evening of dark adventure. That it all kicks off Friday the 13th couldn't be more fitting. Sounds intriguing, doesn't it? Well, it should. Whether the Baron Signature (with ginger beer, fresh lime and bitters), the Baron Iced Tea (with rooibos tea, lemon, star anise and mint) or Hoodoo Voodoo (with Cinzano Rosso vermouth, pomegranate, blackberries and lemon) takes your fancy, you'll be one of the first in Australia to taste them.
At the heart of Queen of the Desert sits Gertrude Bell, a real life historic figure who was anything but ordinary. A writer, photographer, traveller and more, Bell bucked traditional gender roles, blazed a trail for women working in international politics, and ultimately played a key part in establishing the modern borders of Iraq and Jordan in the years following WWI. Sadly, while the film that tells her tale doesn't ignore those achievements completely, its primary concern instead seems to be her love life. That's how an account of Bell (Nicole Kidman) and her time in the Middle East becomes an episodic effort tied to the men she fell for and worked with. After begging her aristocratic father to send her anywhere outside of England, she is dispatched to Tehran to stay with her diplomat uncle (Mark Lewis Jones), and swiftly succumbs to the charms of embassy secretary Henry Cadogan (James Franco). When their courtship ends, Bell takes to the desert, forming a platonic bond with T.E. Lawrence (Robert Pattinson). And largely via letters, she also connects with Charles Doughty-Wylie (Damian Lewis), a married British consul stationed in Damascus. Writing and directing his first fiction feature since 2009's My Son, My Son, What Have Ye Done, Werner Herzog wants to have his cake and eat it too. He obviously intends to depict Bell as a fiercely independent woman, and yet he can't resist indulging in overwrought relationship melodrama. While such a contradiction might reflect life (and suit Herzog's fascination with existential contrasts, as seen in his other films such as Rescue Dawn and Grizzly Man), Queen of the Desert just can't seem to strike the right balance between empowered adventure and lovelorn longing. Instead, the film becomes a sweeping but standard epic, hoping to blend the emotion of The English Patient and the spectacle of Lawrence of Arabia, and ultimately proving as formulaic as that sounds. At least the latter inspiration provides striking, sun-drenched imagery, with the film at its best when it's charting a lush visual excursion across the plains. As for its worst — well, that's where the performances come in. In the cast's defence, there's a big difference between bad acting and portrayals that are stifled by bad material. Kidman, Franco and Pattinson are all serviceable, but simply aren't given the room they need to turn thinly drawn characters into something more. Kidman certainly tries in one of her most committed efforts in recent years, yet as she flits between yearning and determined, the true spirit of Bell never shines through. Accordingly, Queen of the Desert feels more like routine historical romantic fodder rather than a genuine biopic. Given the woman at its centre, that's hardly a satisfying outcome.
No matter how much time you've dedicated to learning Beyoncé's dance in 'Formation', chances are you can appreciate a good dance move here and there. But today's pop culture choreography didn't just appear on TV screens and dancefloors around the world by magic. Before they became a part of everyone's best routines, it is highly likely that they were conjured up by the next generation of contemporary choreographers and performers. In fact, we'd bet on it. Eight such artists are currently on display at the Melbourne semi-finals of the 2016 Keir Choreographic Award, which commissions and presents new choreographic works in a competitive context. In the biennial award's second edition, Aussie practitioners Sarah Aiken, James Batchelor, Chloe Chignell, Ghenoa Gela, Martin Hansen, Alice Heyward, Rebecca Jensen and Paea Leach will battle it out for the prestigious prize and a very tidy $30,000. On the jury is Brussells-based performance theorist Bojana Cvejić, curator and critic Pierre Bal-Blanc, US choreographer Sarah Michelson, the inaugural recipient of the Award Atlanta Eke and founder of the foundation, Phillip Keir. The four selected finalists will then travel up to Sydney to perform over three days at Carriageworks, with evening performances on May 5, 6 and 7, along with an afternoon performance on May 7. You can even get involved by voting for the Audience Choice, which awards one of the artists $10,000. So you won't just be witnessing trail-blazing performances of music and movement, you'll also be getting a glimpse of (and participating in) the future of dance. And it might just help with your Beyoncé moves. Images: Gregory Lorenzutti for Dancehouse.
Calling all future Weirs and De Heers: been putting off world domination for too long? It's time for action. And the Australian Film Television and Radio School (AFTRS) is offering you the nudge you need. On June 6, the school will kick off its Three Week Film School For 15 non-stop days, you'll pack more learning into your brain than Mary Poppins can objects into her magical carpet bag. Pro filmmaker Laura Dudgeon, whose film Comfortable won Best Film and Best Director at the World of Women Film Festival, will be leading you through the important (but not boring) bits of film history. She'll teach you how to come up with brilliant ideas and let you in on the secrets of how to become a Brothers Grimm-level storyteller behind the camera. Once you've mastered all that, she'll also run you through the people side of the business — after all, you can't do much without a killer cast and crew. You'll learn how to boss actors around while keeping lighting and design teams in sync with your vision. Finally, with your new knowledge and skills at the ready, you'll have a go at making your own film, from pre-production to shooting to post-prod. Look out, Flickerfest. The course will kick off on Monday, June 6 and will run for 15 days between the hours of 9am and 5pm. For more info and to enrol, visit AFTRS Open. Book by Thursday, May 12, you'll get 20 percent off the full price by entering the promo code WINTERSPECIAL when you go to pay.
When We Will Rock You initially ventured beyond Britain, Australia was the musical's first stop. The year was 2003, and the Ben Elton-directed effort proved as much of a success here as it did in the UK. Spinning a show around Queen's hit songs, the production said it would rock us — and boy did it live up to that promise. That's the crazy little thing about jukebox musicals: with the right tracks, tale and talent, they can make audiences feel like they're the champions of the world. Who doesn't want to see a narrative set to their favourite tunes, and sing along as it all unfolds? Yes, this is real life. No, it's not just fantasy (although the resulting story of Galileo Figaro, Scaramouche and Killer Queen is, of course). Yep, the three iconic characters are back as We Will Rock You returns to Australia for the first time in more than a decade — and the iconic sounds of 'Radio Ga Ga', 'Under Pressure', Another One Bites the Dust' and 'Fat Bottomed Girls' do as well. With Gareth Keegan, Erin Clare, Casey Donovan and Brian Mannix among the cast, the new production is certain to break free of all expectations. Our tip: find somebody to love to take along. Image: Jeff Busby.
Celebrate the Year of the Rooster by feasting like a pig at Spice Temple this Chinese New Year. From January 23 until February 5, the restaurant will be offering a special banquet menu devised by Neil Perry and Head Chef Andy Evans, featuring ingredients meant to promote good fortune in the coming year. Priced at a pretty reasonable $95 per head, banquet dishes include raw tuna with spicy orange and iceberg ("prosperity"), stir-fried wagyu brisket with lucky money dumplings and baby eggplant ("longevity"), roast pork belly ("harmony") and caramel ice cream with praline ("love"). Matching wines are also available, for an extra $55 per person.
Rabbits: not traditionally a symbol of environmental responsibility or sustainability. Nevertheless, two blindingly white critters, looking like they've barely escaped an evil magician's clutches, have been chosen as the mascots of Penrith City Council's inaugural health and environment festival. But we digress. Real Festival is kicking off in Penrith this weekend at the Tench Reserve on the banks of the Nepean River. It's a night and day of workshops, food, music and art to promote sustainability and healthy living. Activities range from ornithology to kayaking (with ornithayaking for the experienced). Gardening Australia's Costa Georgiadis will be doling out gardening tips, while Black Pebble and Charlie Darling will be running classes on how to resurrect busted up furniture and how to become an eco-aware kid, respectively. Some of Sydney's most popular food trucks, like Knafeh Bakery, will also be on hand to make sure getting closer to nature doesn't become a Lord of the Flies situation. The festival is free, but a lot of the activities require bookings. All you need to do is hop onto the Council's website and follow the white rabbits.
With spring firmly established, Kensington Street Social is kicking off its Social Sunday series, starting this Sunday 13 November. Spend your afternoon drinking, feasting and listening to live music. The first step is to choose your beverage of choice. For just 35 bucks, you'll get a stream of bottomless sparkling, or, for $16, a glass of frosé. Next up, you'll want to cast your eye over the new Social Sunday menu. Tasty morsels include Kangaroo Island scallop with blood orange ponzu, green apple and shiso; tataki hiramasa kingfish with dill and kale togarashi; and beef tartare with beetroot jam, oyster emulsion, horseradish and wasabi leaf. Finish off with dessert in the form of marinated blueberries with almond cream, warm chocolate mousse and milk crisp. Once the feasting's done and dusted, you're invited to shift into the Old Clare, where you'll be settling in for live tunes, and, yep, you guessed it, more drinks.
Enough of the Dan Brown franchise. It was fun while the going was good, but, please…no more. The original film, The Da Vinci Code, ended up being surprisingly watchable, with director Ron Howard combining rollicking pace and genuine intrigue to keep audiences' hearts pumping from go to woe. Even the sequel, Angels and Demons, proved solid enough, albeit a film distinguishable from its predecessor more by scale than originality. By Inferno, however, it's more than clear that the well has truly run dry. Again we find our hero Robert Langdon (Tom Hanks) in Italy, accompanied by a much younger female companion (Felicity Jones). Together they solve riddles and anagrams as they scramble from monument to monument, whilst dodging assassins from a mysterious organisation and passing implausibly through both heavy security and lines of queueing tourists. It's Dante this time, not Da Vinci, but the rest feels far, far too familiar. Even the film's ticking time bomb is again an actual time bomb, with only its contents (a world-destroying virus instead of anti-matter) being the point of differentiation. Hanks, fresh off his fantastic work in Sully, oscillates between looking bored, tired and confused – and not just because the script calls for it. The rest of the cast, meanwhile, seems far too blasé for a group possessed of the knowledge that the end of the world may be just a few short hours away. So are there any redeeming features? No, not really, although the film does raise one interesting idea: international audio guides for tourists narrated by Academy Award winner Tom Hanks. The only moments of note in the movie are those where, once again, Hanks's character offers clumsily inserted pieces of historical trivia into the narrative. They're crow-barred in, but remain undeniably interesting, and when coupled with Hanks' avuncular tone you can't help but indulge in the ad hoc history lessons. If Ron Howard needs a new project, we'd suggest just strapping a go-pro to his favourite leading man and letting him roam wild in the galleries and gardens of the world's grandest estates, pointing out tidbits and factoids as they arise. https://www.youtube.com/watch?v=RH2BD49sEZI
The annual Beerlympics at the Lord Raglan may not be the most hoity toity Sydney Craft Beer Week event, but it is one of the most fun beer events you'll get into all year. Beer games will include coaster toss, corn hole and handball, with heaps of amazing craft beer on hand, of course. Go ahead and channel your inner American college kid for the day.
Consider yourself a bit of a wine expert? Can you swish with the best of them? Can you hold long conversations about tasting notes and ageing barrels? Or are you more in the Leslie Knope school of thought when it comes to wine sampling — couldn't tell you the difference between a Cab Sav and a Merlot, but it's tasty and I'll go with it? Wherever you sit on this spectrum, Mental Notes promises to have something for everybody on the wine enthusiast scale. Returning for their second event on October 25, Paddington Town Hall will be hosting winemakers from all over Australia and beyond, giving keen wine-drinkers the opportunity to taste a cheeky wine, or three. With over a hundred wines available for the tasting, you can drink your way through the country's vineyards, and learn a trick or two from the winemakers themselves. If this wasn't already a pretty sweet deal, there will also be a smattering of food stalls on the day to complement (read: soak up) some of that sweet wine goodness thanks to Mary's. Hosted by Joel Amos (DRNKS) as well Kenneth Graham and Jake Smyth of Mary's and The Unicorn fame, there will also be a casual bar operating during the wine tasting — with a wine list that will be changing every hour — because, can you ever really have enough booze at a wine event?
If you haven't yet had a gander at Harold Park's just-opened Tramsheds, here's your excuse. Every Thursday in October for Good Food Month, various eateries at the new foodie hotspot will be hosting their take on Food Tales. In other words, they'll be telling you all the stories — old and new — about the dishes they serve up. Ever wondered where pasta comes from or what eating it means to the Italians? Curious about how sustainable fishing works and why it's important? Not sure how Gelato Messina started and when it got so damn big? Get yourself along and find out. While you're there, check out the Shoot The Chef photography exhibition. Image: Steven Woodburn.
It should've been so easy. Everybody loves Christmas films that revel in the raucous side of the season, as the likes of Bad Santa (forget the sequel) and The Night Before demonstrated. Everyone loves Office Space-style workplace comedies as well. Combine the two, throw in a host of funny folks, and the jokes should write themselves… shouldn't they? Perhaps that's the problem with Office Christmas Party — maybe directors Josh Gordon and Will Speck (The Switch, Blades of Glory), as well as the six different writers involved with conjuring up the story and screenplay, just assumed that's what would happen. They certainly thought that sticking to a formula as bland and straightforward as the film's title would work, and that mentioning beloved pop culture brands and figures such as Fast and Furious, Mad Men, David Bowie and Prince would rustle up some added affection. Alas, the last time office-based festive antics proved such a mess, it was in Die Hard. We all know how that turned out: fantastic as far as action flicks are concerned, but not so well for the people trapped inside Nakatomi Plaza. Here, a Chicago building inhabited by the local branch of a computing firm provides the site of the chaos. Head honcho Clay Vanstone (T.J. Miller) wants to throw the kind of annual party his dad, the former company head, would've been proud of — not the non-denominational holiday mixer with a gouda-stacked cheese platter that HR rep Mary (Kate McKinnon) is putting together. When his sister and interim CEO Carol (Jennifer Aniston) not only cancels the shindig, but threatens to lay off almost half of his staff, Clay and his chief technical officer Josh (Jason Bateman) spring into action. They plan to woo a possible big-shot client (Courtney B. Vance) by throwing an epic rager, with an inappropriate eggnog delivery system, a basketball star and all-round debauchery included. Great party movies, like the recent Tina Fey/Amy Poehler vehicle Sisters, make you wish you were there. Bad party movies usually make you cringe — and no, that's not what Office Christmas Party actually wants to do. Frankly, it's attempting too much already. With X-Men: Apocalypse's Olivia Munn, Workaholics' Jillian Bell, Saturday Night Live's Vanessa Bayer and The Neon Demon's Abbey Lee also among the cast, the film isn't short on subplots involving professional and romantic troubles. As if that weren't enough, a revolutionary new way to access the internet also plays a significant part in proceedings. Mixing an over-stuffed story, predictably bad behaviour, and Santa suits and Christmas lights aplenty, Office Christmas Party proves the type of supposedly outrageous comedy that feels like it was designed by committee. To be fair, that is how most real-life workplace gatherings of the sort come together, and they don't have the scene-stealing McKinnon to liven things up. Still, a party that's only enjoyable when one specific person pops up will always remain a drag, be it off-screen or on.
Watsons Bay Boutique Hotel is the hero of old-world seaside charm. Its stripy umbrellas, schoolyard benches and Breton-striped wait staff make it the perfect place to while away a summer afternoon with a drink. The Beach Club has sprawling outdoor seating, a fresh-not-fancy menu and a view so palm-tree perfect it could be a postcard. Every Sunday from February 5 to March 26, Watsons Bay Boutique Hotel has a summer-perfect Aperol Spritz pop-up bar and drink special. Finish off what has been an amazing summer season by heading down to Watsons Bay on the weekend and grabbing a $10 Aperol Spritz in the sunshine. The drink special runs all day, there will be summer DJs to set the mood and a pop-up lifeguard tower to get the perfect photo. We can't think of a more perfect lazy Sunday. On Sunday March 5, Messina are teaming up with Aperol and Watsons Bay Boutique Hotel to create an Aperol-flavoured gelato. You can sample it from 2pm-5pm in the sunshine.
