Earlier this year, the Ambarvale Hotel reopened with its own on-site microbrewery after a massive 12-month renovation. Since then, it has begun pumping out its own Pete's pacific ale and Woodhouse lager — and, to celebrate, it's hosting its first-ever beer festival. Dubbed South West Beer Fest, it'll see 13 of the best breweries from around the country (and beyond) descend on the pub for one afternoon. Panhead Brewery, Six Strings, Stone & Wood, Feral, Willie the Boatman, Stockade, Hop Nation and Akasha are just some of the labels that'll be on site slinging their wares on Sunday, August 18. While entry is free, you will need to purchase some (very reasonably priced) drink tokens. You can pre-purchase eight for $25, or snag eight on the day for $30. As well as many, many beers, the pub will be serving up eats from Goodtime Burgers, El Topo Cantina and its own smoker, and there'll be live music from the Sweet Jelly Rolls from 2–5pm, followed by a DJ. South West Beer Fest runs from midday–6pm.
Dust off your best flapper dress or pinstriped suit, because a monthly prohibition party is headed to Sydney shores. The Blind Barber is a speakeasy-style pop-up by the Beyond Cinema folk — who also brought The Greatest Showman circus soirée to a secret Sydney location, an extravagant Great Gatsby party to a mansion in northern Sydney, the Mad Hatter's tea party to the Botanic Gardens and recreated Titanic on Sydney Harbour. Now, the group will throw its first non-film-inspired party, and it'll go down every month starting on Friday, November 1. There will be casino tables to gamble at, bootleg cocktails to sip on and dancing all night long — with live bands playing jazz and throwback 1920s hits. And you can expect to bump into some of the period's most notorious characters, gangsters and crooks while you're at it. As with all Beyond Cinema events, lavish dress-ups are a must — for this one, think flapper dresses, bob hairdos, feather boas, pinstriped suits and suspenders. While the party's exact location will be kept under wraps (as usual), we do know that it'll be near North Sydney in an underground space, with plenty of secret rooms and tunnels to explore. Entry is $30 per person, or you can nab a spot at a three-course feast at secret underground chamber for $100. The November edition of the Blind Barber will be the first in a monthly series of these secret parties.
The only thing better than the launch of a new restaurant is when that restaurant celebrates with a food giveaway. That's the case with Parramatta newcomer Kukula's, which will be serving up 300 pita pockets on Friday, August 2 — for free. The venue fuses Sri Lankan and Portuguese cooking, with glazed and grilled chooks aplenty, plus ribs, sizzling paella and heaps of pita options, of course. That pita giveaway will run from 4.30–7.30pm (or until sold out). Diners can choose either the grilled chicken or veggie patty classic, stuffed with lettuce, diced cucumber and diced tomato. If you want to add on to your freebie, a limited menu of snacks will be available for purchase, too — think hummus with olives, coleslaw and sweet potato fries. As with any giveaway, get in early or miss out.
Provided you're not lactose intolerant (or you are, but have your lactase at the ready), chances are that melted cheese is at the top of your winter favourite food list. Well, Swissôtel has something to fulfil your ooey gooey cheese dreams well past the cold weather and into the end of the year. The alpine-inspired hotel on Market Street is hosting Swiss fondue for two (or more) every Thursday, Friday and Saturday night this winter. The team at Swissôtel has developed a fondue based on traditional recipes featuring emmental and gruyere melted together with white wine and garlic and delivered to your table in a warm pot for $34 per person. Upon request (and for an extra charge), chefs will add other flavours like gorgonzola and truffle to enhance the dip. Now, cheese connoisseurs will know that the biggest factor to consider with fondue is what bite-sized sides you'll coat with the decadent cheese blend. You'll have your pick of the classics like baguette and vegetables, but Swissôtel is also serving up some next level dip-ins if you're willing to shell out some extra cash: spiced meatballs, salami, potato rosti, prawns and more. With copious amounts of savoury tastes, you may need something sweet to balance out the night. Swissôtel is also offering a milk chocolate fondue option for $25 with sides like marshmallows, pound cake and strawberries for your dipping pleasure. There's a list of beverages, too — with mulled wine, peach schnapps and calvados to name a few — to pair with your fondue for a flavour-filled evening. This is a cosy date night or crafty dinner option with mates. We suggest following the tradition where the person that loses their bread in the pot buys the group drinks. Dip responsibly, friends. Images: Jesse Jaco.
The Clock always does something big for negroni week, and this year is no different. The Surry Hills stalwart will be home to an extended party from June 16–30. It'll feature a dedicated negroni room that will host masterclasses, painting sessions, vintage artwork and one big ol' birthday bash on Thursday, June 27. The party will centre on a negroni ice luge slinging ice-cold versions of the cocktail, plus the requisite birthday cake. If boozy luges aren't something you're familiar with, think cocktails poured down an ice slide into your mouth. You can learn how not to use one by watching Jason Bateman in the Office Christmas Party. But, we'll let you Google that yourself. At the bar, a five-strong negroni list will be on offer all month long, too — and each has been created in partnership with Solotel sister venues, including Barangaroo House, Aria and Opera Bar. There will also be a barrel-aged version up for grabs, available exclusively in the negroni room.
Chippendale's newly opened Peach Black Gallery is rolling out an eclectic program for its first series this winter. The Winter Collective will see the art gallery host a trio of concerts in partnership with Cadencia Productions, each taking place on the last Wednesday of the month. Up first on June 26 is a performance by La Yumba, which fuses Argentinian tango with Colombian folklore music. Then, on July 31, the Miriam Lieberman Trio will take the stage with a West African kora (a 21-string harp). Rounding out the program is the award-winning Flamenco trio Arrebato Ensemble on August 28. Each concert will run for one hour from 6.30pm, making it easy to sneak in a bit of after-work culture before heading home or out around town. Tickets cost just $30 a pop and include your first drink, or snag entry to all three performances for $80. Run by Sydney artist Matteo Bernasconi, Peach Black Gallery opened in February and is set to become a welcomed addition to the suburb's already thriving small gallery scene. Image: Miriam Lieberman.
International headline acts are fun and all, but if you like your festivals with a little more adrenaline, this one's for you. The inaugural Seal Rocks Adventure Festival is crashing onto the mid-NSW coast later this month. Descending on Seal Rocks Treachery Camp, about 90 minutes north of Newcastle, it's set to deliver a weekend of hands-on blood-pumping fun over the weekend of May 17–19. The program of this boutique BYO camping festival is jam-packed full of activities, balancing out an after-dark schedule of live tunes and film screenings. By day, you'll have the chance to battle your mates in an interactive game of Archery Attack, learn some new moves in a circus skills workshop, go deep with a free-diving short course, and flit between rock climbing, surfing, slacklining, yoga and zorbing — yep, this one involves crashing around a field in a giant bouncing bubble. There'll be a disco-themed 'doofercise' workout class to kick things off each morning, classes to teach you how to start fire with just a couple of sticks, and an ongoing challenge to see who can fit the most humans on a giant stand-up paddleboard. Booze is BYO, but vendors like The Perfect Paella, Dr Drool and Tim's on Treach will have pop-ups to help fuel your adventures — and a restaurant will pop-up on the Saturday night for a four-course Saturday feast. Or, you can boost your own cooking skills at a pizza making class. By night, there'll be moongazing tours and campfires, while the stage heats up with local acts like Thunder Fox, The Regime, Elaskia and Belle Badi. And if you're after more inspiration, there's the Adventure Film Festival, emceed by Alice King in the Talking Tent each night. Adult camping tickets clock in at $340, which gets you an entry pass, a campsite and access to as many of the weekend's activities as you can handle. Groups of mates and families are welcome, and capacity is capped at 500. There are glamping and cabins options, too, for those who want a little more comfort at the end of a long day of adventuring (and have extra cash to spare).
Although the weather outside is starting to tempt us with cosy nights in, Glenmorangie is giving us six reasons to toss a scarf on and head out to enjoy some fine single malt scotch. World Whisky Day is just around the corner (Saturday, May 18) and the Scottish distillery has partnered with six cocktail bars across Sydney to celebrate. But, rather than just honouring the one day, these bars will be continuing the celebrations for the entire month, with each venue reworking the classic highball — Glenmorangie Original 10 with soda, tonic or ginger ale and a touch of fresh orange juice. Forget the cold altogether and pretend the warm weather is still around with the strong coconut flavours of Duke of Clarence's twist on a pina colada, the Dampier Highball, or with Maybe Sammy's 1950s Vegas-inspired High Fashionable, with lemon, banana and salted coconut soda. If you're in the city, Esquire Drink + Dine will be serving up a simple but calming highball with Glenmorangie, white grapefruit and chamomile. Meanwhile, Darlinghurst cocktail bar, Mister Pocket, will be honouring the classic whisky cocktail with its Long Neck Highball, which heroes grapefruit and agave. Alternatively, take a seat on Barangaroo House's Smoke rooftop and sip on its Aussie-centric tipple, The Kinsmen, with macadamia, wattle, finger lime and lemon myrtle. For something a little more exotic, Kittyhawk's Japanese-inspired Nomihoudai will hit the spot with its black plum, houjicha (Japanese green tea) syrup and shiso flavour profile. Image: Smoke, Cole Bennetts.
Autumn might be mushroom season, but we bet you've never seen fungi quite like the ones that have just sprouted at Cockle Bay Wharf. The towering three-to-six metre tall 'shrooms are glowing in all colours of the rainbow. The 12 LED structures are the work of Aussie light sculpture artists Amigo & Amigo — a crew with a penchant for infusing public spaces with their playful, colourful creations. The monstrous mushies are gracing Darling Harbour as part of this year's Vivid festivities, and while you can't eat them, you will find a special menu of glowing cocktails to enjoy while you're there exploring. There are ten limited-edition drinks to choose from, each clocking in at $12 and served in a keepsake LED martini glass. Try Blackbird Cafe's peach, raspberry and elderflower Blue Heart Bliss, the triple-rum Smoked Zombie from Hunter & Barrel, or maybe Pontoon Bar's Star Wars-inspired take on the Sex On The Beach, the R2D2. The mushrooms light up from 6pm each night and the majority of bars are open from 11am–11pm. To check individual opening times, head to the Cockle Bay Wharf website.
With winter starting to set in, you'll probably be searching for ways to ward off the chills on a night out. Well, how does eating and drinking your way through four courses of gourmet eats and top-notch whisky sound? That's what Glenmorangie had in mind for its collaboration with Kingsleys Woolloomooloo. The special set menu, Grain to Glass, will take you on a culinary journey — with a harbourside view to boot. The special menu, which kicked off on May 18 (International Whisky Day) and will run until the end of June, begins with the mellow original Glenmorangie whisky served with tonic. You'll then make your way through four dishes — each paired with a signature Glenmorangie drop. Every course represents a stage of the whisky making process, from malt — think 12-year-old Quinta Ruben alongside Sydney Rock oysters with Ovaltine sauce — to distillation, with caramelised brioche, date ice cream and hazelnut brittle with the world's first whisky made from a unique 'chocolate' barley malt. The Grain to Glass menu costs $130 per person. To make a reservation, visit the website. Images: Jasper Avenue.
"They don't make 'em like they used to," is the kind of lament you've probably heard your parents utter; however, when it comes to poster art, the complaint might just be true. Promoting bands, gigs, albums, shows, parties, clubs, public protests, social issues and more, a vibrant array of colourful signage filled Sydney's many public spaces back in the 70s — and now the National Art School Gallery has the exhibition to prove it. Running from Friday, August 30 through till Saturday, October 12, Paper Tigers: Posters from Sydney's Long 70s will display more than 200 pieces of printed visual culture from the era, spanning everything from music, art, film, theatre and cabaret to feminism, gay liberation and politics. Some of the posters on display were created by now-celebrated artists, including Martin Sharp, Marie McMahon, Chris O'Doherty (as Reg Mombassa), Paul Worstead and Garry Shead. Others are credited to anonymous artists and designers. Either way, they're bright, vibrant, experimental and creative. The retro showcase will particularly hone in on Darlinghurst, giving attendees a lively snapshot of what the area was like four decades ago. Think art school balls, Oxford Street's first queer clubs and Radio Birdman's residency at the Oxford Hotel — all relived in poster form. Curated by ex-Rolling Stone Editor Toby Creswell and Lesa-Belle Furhagen (who co-founded publishing company Terraplanet with Creswell), the exhibition also forms part of the new Sedition Festival, which is all about arts, politics and how they intersect in issues that are relevant today. Paper Tigers: Posters from Sydney's Long 70s launches with a party from 6–9pm on Thursday, August 29, and is then open from Monday–Saturday from 11am–5pm. Images: Cabaret Conspiracy at Maxy's (1979), Karen Hall and Ruth Walker; Get Wet, Cover print for Mental as Anything (1979), Paul Worstead; 3rd Annual Christmas is False Consciousness Eve Party (1978), Chips Mackinolty.
What starts with one of the most acclaimed movies of the year, showcases a glorious award-winning performance and features the trashy erotic drama to end all trashy erotic dramas (plus a documentary about the latter, too)? That'd be the 2019 Queer Screen Film Fest, aka the film fest that the folks at Queer Screen put on each September to help bridge the gap between last year's Mardi Gras Film Festival and next year's. Hitting up Event Cinemas George Street between Wednesday, September 18 and Sunday, September 22, QSFF will kick off with sumptuous period romance Portrait of a Lady on Fire, the latest film from Girlhood's Céline Sciamma — and it's all winners from there as well. Spinning a story about a queer filmmaker battling work and health issues, Pedro Almodóvar's semi-autobiographical Pain and Glory nabbed Antonio Banderas the best actor prize at this year's Cannes Film Festival. And both lurid Austrian effort Nevrland and Argentinian drama End of the Century have picked up gongs at other overseas fests. Something that hasn't ever scored the right kid of the awards is multiple Razzie recipient Showgirls, and QSFF is screening it in all of its gyrating glory. Prepare for some of the worst sex scenes in the history of cinema, very little in the way of clothing (or acting chops), plus a conversation about eating dog food. The Paul Verhoeven film will be paired with doco You Don't Nomi, which explores the cult status that's surrounded the Las Vegas-set flick since its first release back in 1995. Other highlights include documentary Killing Patient Zero, about the man accused of bringing AIDS to North America; Seahorse, which follows a gay transgender man's decision to get pregnant; and Vita & Virginia, starring Gemma Arterton and Elizabeth Debicki as Vita Sackville-West and Virginia Woolf. There's also Benjamin, which is directed by British comedian, actor and TV presenter Simon Amstell, in QSFF's closing night slot.
September 16 marks the anniversary of Mexican Independence — and while the holiday generally doesn't get as much attention (read: margarita parties) as Cinco de Mayo, this year you can celebrate it with a taco feast. Potts Point's Chula is hosting an all-you-can-eat taco and bottomless margarita brunch on Saturday, September 14 — so best start making room in your stomach now. You'll be able to tuck into as many tacos and down as many margaritas as your tum can handle. There'll be five different tacos — filled with fish, barbecued chicken, pork, stewed beef and veggies — and two types of margaritas. The festivities kick off at noon and will continue until 2pm. The tacos and margs will cost you $99, so make sure you rock up early and get your fill. Image: Kai Leishman.
A Christmas-themed bar is setting up shop in The Rocks this month when the Christmas in July Village rolls into town. Here, you'll be able to sip boozy hot chocolates, karaoke to Christmas classics and dance to electro takes on carols from Thursday, July 11 through Sunday, July 14. The hot chocolate cocktails will include the Mont Blanc (white chocolate spiked with vodka and topped with whipped cream and candy) and the Gingerbread (milk chocolate and Grand Marnier topped with cream and gingerbread crumble). Mulled wine will also be up for grabs (of course). Every night from 6–8pm, 'Santa' will be on the decks spinning electronic takes on Christmas tunes. And, from 8–10pm, the bar will turn into a karaoke den, with all of your favourite Christmas carols to choose from. The pop-up bar will be located on Atherden Street — right next to the Christmas in July Village, so you can head over to eat freshly roasted chestnuts and heart-warming snacks when you're done. Santa's House pop-up bar will be open from Thursday–Saturday 11am–11pm and Sunday 11am–9pm.
OK Democracy, We Need to Talk is Campbelltown Art Centre's response to the recent election. The exhibition brings together 12 newly commissioned works by local artists, who posed interventions on ideas of democracy and were encouraged to talk to journalists on how tokens of the free world can be presented to its inhabitants. The pieces include a series of works by Deborah Kelly that both pay homage to John Lennon and Yoko Ono and make statements on Australia's environmental politics, and Lara Thoms' video portrait of Harper Nielsen, the nine-year-old that caused a stir among politicians when she refused to stand for the national anthem at her school in 2018. Western Sydney's own Abdullah MI Syed has even created a series of garments out of real bank notes. In addition to the exhibition, the gallery will host a free day-long symposium on July 27. Developed by UNSW Art and Design lecturer Simon Hunt — perhaps better known for his 1990s satirical character Pauline Pantsdown — the day will include panels, workshops and performances that further explore topics from the exhibition.
We've passed the winter solstice and the temptation to hibernate is growing ever stronger — so, you probably need a little something extra to tempt you off the couch. Handily, online reservation platform The Fork has a winning idea up its sleeve: it's offering a huge six weeks of dining specials nationwide. Kicking off on Monday, July 1, The Fork Festival will see over 250 top restaurants across the country offering sit-down meals for half the usual price. Yep, 50 percent off your total food bill, folks — think of it as the proverbial carrot luring you out of the house. To snag a half-price meal, you just need to make a reservation through The Fork website or app at one of the participating eateries for any service (breakfast, lunch or dinner) during the six weeks. There are some great venues coming to the party, too. In Sydney, you'll find discounted eats at the likes of Pilu at Freshwater, Queen Chow Manly, Potts Point wine bar Monopole, Din Tai Fung (Chatswood, Central Park, Miranda), waterside spot Berowra Waters Inn, Fratelli Fresh (Alexandria and Crows Nest) and Surry Hills' Caffe Bartolo. Find the full list here. You might want to revisit an old favourite or you could get a little adventurous and road-test somewhere new. Either way, there's ample time to squeeze in a fair few discount feasts before the festival wraps up on August 11. Image: Caffe Bartolo by Kitti Gould.
The working day is done, and you're ready to relax with a cold one. On Thursday, September 26 and Friday, September 27, if you head to Chippendale's Central Park, you can also sip a couple of brews for free. From 4–8pm each day, the inner-city spot will play host to a beer keg-filled kombi, which'll be pouring free samples — and each person can grab two freebies. The giveaway is part of an Australian road trip by hotel chain Four Points by Sheraton, with the kombi hitting the road, travelling around the nation and sharing the brews. You'll also be able to meet local brewers, enter a competition to win a trip to New Zealand, and score a special beer and wings deal at Four Points by Sheraton Sydney if you're still feeling thirsty — or hungry — afterwards.
Once a year, Alliance Française brings the best of French cinema to Sydney — the latest and greatest, the flicks that won't make it to our shores otherwise, and a smattering of classic fare as well. If you're particularly keen on the latter, it also runs a second festival, too, which is completely devoted to stellar movies from years gone by. Returning for its fourth year, the 2018 Alliance Française Classic Film Festival will hone its focus on the inimitable Jeanne Moreau. A shining light of French cinema since the 1950s, she starred in such as Louis Malle's Elevator to the Gallows, Luis Buñuel's Diary of a Chambermaid and Joseph Losey's Eva — and the iconic Jules and Jim by Francois Truffaut. With Moreau sadly passing away in 2017 at the age of 89, the festival will showcase six of her best features across its four-day Sydney program, with French New Wave highlight Moderato Cantabile also on the lineup, alongside The Old Lady Who Walked in the Sea from her work in the 90s. The fest hits Palace Norton Street and the Hayden Orpheum Picture Palace at Cremorne between Thursday, September 6 and Sunday, September 9.
This is not a single event, but rather a collection. The Regional Centre for Culture is an initiative from Creative Victoria aiming to celebrate the land and culture of which the Dja Dja Wurrung and Taungurung peoples are traditional custodians. Across an entire year, it's highlighting local events and experiences throughout the region so you can fill almost every day with a cultural adventure. Among the plethora of offerings are special events, such as a day dedicated to sustainable housing; exhibitions, including the Paul Guest Prize for contemporary drawing at Bendigo Art Gallery; and the magnificent BendArts Festival, a week-long affair of shows, workshops and performances. There's also Demolish, a theatrical performance exploring the intangible connection between landscape, life and the future. The show will take place at Bendigo Showgrounds from December 11–15. Rosalind Park is the hub for many of Bendigo's program highlights including Yapenya, a free ceremonial song and dance event on Saturday, November 17; and Poppet, an interactive performance on Rosalind Park's poppet head, using light projection, shadow puppetry and aerial dancing on Saturday, October 20. But these are very much the tip of the iceberg. The Regional Centre of Culture invites you to meander through its many, many happenings. You can plan ahead using one of the pre-designed itineraries.
When the end of October rolls around, the Hayden Orpheum will be asking quite the iconic question: do you like scary movies? And, if you don't, don't worry. They'll also be pondering another query: if frightening flicks aren't for you, do you like like horror-themed comedies? From the sinister and unnerving to the amusing and quirky, the northside cinema's Halloween lineup has everyone covered, even those that aren't fond of jumps and bumps. Across three days in the lead up to the spookiest time of year, they'll be unleashing an anarchic zombie sequel, an unsettling 60s classic and an amusing 80s great as part of their Halloween Special. Army of Darkness gets things started with a chainsaw and some comedy on October 26, for those keen on some Evil Dead fun 25 years after this third instalment's initial release. Then October 28 sees Rosemary's Baby hit the big screen again, fifty years after it first premiered. Finally, rounding it al out on All Hallow's Eve itself is the zany antics of Beetlejuice in a 30th anniversary session. Hitting up all three nights is a nostalgic movie buff's idea of Halloween heaven.
Thanks to the advent of the mighty Internet, talented people all over the planet are turning their gifts into jobs. But, even if you're the cleverest cookie the world's ever seen, you'll struggle to succeed without a decent dose of business nous. These days, that means understanding a bunch of new and rapidly evolving mechanisms — from coding and design to UX (user experience) and content marketing. That's why Samsung has put together Days of Note, a month-long series of free (yes, completely free) workshops dedicated to you. All in all, you can benefit from more than 130 hours of instruction from experts and industry leaders, without paying a cent. In partnership with General Assembly, the initiative is organised in three stages. Week one covers beginnings, with sessions like Success in the Digital Age and Design Thinking 101. In week two, you'll kick into gear with workshops that take you from Problem to Prototype and show you How to Win at UX. Come week three, you'll be ready to dive into selling your idea with a Content Marketing Workshop and an Introduction to Coding. Along with the free workshops, there's also a free event series. On Thursday, September 20, get tips to boost your mobile productivity from the likes of Fingerprint for Success CEO Michelle Duval and Dropbox Head of Sales APAC Dean Swan. A week later, prepare to scale and grow your business, thanks to advice from The Iconic co-founder Adam Jacobs and Finder.com co-founder Fred Schebesta, among others. Online registration is essential for all workshops and events — head here to sign up.
There's escaping the city for an afternoon, and then there's driving 20 minutes down a dirt road to a secluded river and hopping into a canoe. In this canoe, it's quiet, very still. The Kangaroo Valley's bushland surrounds you, ascending on either side of the waterway, creating a landscape that's punctuated only by the occasional kingfisher flapping by or a solitary trout breaking the surface with a small splash. And I haven't even mentioned the best bit: this canoe is filled with wine. And snacks. So as you're floating down the river — minimal paddling is necessary — you'll be able to pop a bottle of local sparkling and tuck into a few canapés. As you might have guessed, this isn't an ordinary off-you-go oar-bearing experience. This one is part of WildFEST, the returning three-day celebration of the food, drink and wilderness of NSW's Southern Highlands. Led by experienced paddler Travis Frenay, the Canoes, Champagne and Canapés experience will lead you along the Kangaroo River in a custom-built double canoe, through the sunken forest and past a convict-built sandstone wall. Travis has an insane amount of knowledge on the area and will be able to answer pretty much anything you throw at him. There will be three sessions a day (8.30am, 11.30am and 2.30pm) on October 5, 6 and 7. The whole thing sets off from Beehive Point and takes around two to three hours. Prices are on the heftier side at $195 each, but includes all food, wine and equipment. Plus, this part of the Valley isn't highly accessible for people without their own gear, so it's a great (and bloody delightful) way to explore the area on the water. Note: if weather conditions suggest your rusty old sedan won't make it there and back, the organisers may provide transport down the dirt road. But if it's dry, you're all good. It's part of the adventure.
Sydney's famous late-night venue Cheers Bar is the perfect spot for sports of every kind. Along with huge daily discounts on food and drink, Cheers offers an upstairs mezzanine area with loads of pool tables, high tables and lounge seating. It all makes for a killer bookable venue for functions and events. Cheers Bar has gone through many interpretations over its storied history. Originally a single-level bistro in the basement of the Westminster House Building, the Harvey family purchased the upper two levels (then an amusement parlour) to create the current venue. In 1997 with the Sydney Olympics on the horizon, its identity as a premier sports bar was cemented – providing the impetus for Cheers to live up to its motto: "Where Good Sports Meet". The sports venue remembers its bistro days with its versatile menu featuring modern Australian classics alongside Asian fusion dishes. Think pan-seared salmon with Asian greens, nasi goreng, pizzas and, pork bangers and mash. Keep an eye out for the daily specials. Never a day goes by without some sports on the schedule. From international leagues to local sports matches, there's always action on the massive screens throughout the venue.
As well as giving popular culture some of its most beloved characters of the past few decades, the Harry Potter franchise has also conjured up a whole heap of astonishing critters. The Boy Who Lived himself studied them at Hogwarts, all thanks to textbook Fantastic Beasts and Where to Find Them. Then, to the joy of Potter-loving muggles everywhere, that tome became an actual IRL text in 2001. Every Wizarding World fan knows that that book followed the original Harry Potter novels in making the leap from the page to the screen, resulting in a first film in 2016, then 2018 sequel Fantastic Beasts: The Crimes of Grindelwald and also 2022's Fantastic Beasts: The Secrets of Dumbledore. But if you're more interested in the actual fantastic beasts than a movie plot spun around them — and in natural history in general — exhibition Fantastic Beasts: The Wonder of Nature has you covered. First announced in 2020, then premiering at London's Natural History Museum, this is all about critters that fly, scamper and scurry through the Harry Potter and Fantastic Beasts realm on the page and screen; however, it's also about real-life creatures, specimens and artefacts, too. The exhibition combines beasts from the natural world, the mythical world and the Wizarding World, and was always slated for an international tour. Now, it's Australia's turn to see it, with the showcase displaying at Melbourne Museum from Friday, May 19–Sunday, October 8. Visitors to Fantastic Beasts: The Wonder of Nature will see legendary beasts placed alongside specimens and historic objects, while also venturing through elements from cinema's last two decades. Unsurprisingly, there'll also be a hefty focus on Newt Scamander, the Wizarding World's famed magizoologist as played Eddie Redmayne (The Good Nurse). You'll see items from the Natural History Museum's scientific collections, custom-made Wizarding World models, props from the flicks and original artworks from Bloomsbury Publishing. And, you'll also also wander through a celebration of real-life scientists trying to understand the planet's animal inhabitants. In London, the exhibits included a tiger, a Galápagos marine iguana and a giant oarfish (the planet's longest bony fish) alongside an Erumpent horn and the dragon skull from Professor Lupin's classroom. Patrons were also able to compare the camouflage tactics of a jaguar to those of the Demiguise. Images: Trustees of the Natural History Museum London.
There's no need to try to understand it: John Farnham's 1986 anthem 'You're the Voice' is an instant barnstormer of a tune. An earworm then, now and for eternity, it was the Australian song of the 80s. With its layered beats, swelling force and rousing emotion, all recorded in a garage studio, it's as much of a delight when it's soundtracking comedy films like the Andy Samberg-starring Hot Rod and the Steve Coogan-led Alan Partridge: Alpha Papa as it is echoing out of every Aussie pub's jukebox. Making a noise and making it clear, 'You're the Voice' is also one of the reasons that Farnham's 1986 album Whispering Jack remains the best-selling homegrown release ever nearing four decades since it first dropped. But, as John Farnham: Finding the Voice tells, this iconic match of track and talent — this career-catapulting hit for a singer who'd initially tasted fame as a teen pop idol two decades prior — almost didn't happen. Whispering Jack also almost didn't come to fruition at all, a revelation so immense that imagining Australia without that album is like entering Back to the Future Part II's alternative 80s. Writer/director Poppy Stockwell (Scrum, Nepal Quake: Terror on Everest) and her co-scribe Paul Clarke (a co-creator of Spicks and Specks) know this, smartly dedicating a significant portion of Finding the Voice to that record and its first single. The titbits and behind-the-scenes anecdotes flow, giving context to a song almost every Aussie alive since it arrived knows in their bones. Gaynor Wheatley, the wife of Farnham's late best friend and manager Glenn, talks about how they mortgaged their house to fund the release when no label would touch the former 'Sadie (The Cleaning Lady)' crooner. Chris Thompson, the English-born, New Zealand-raised Manfred Mann's Earth Band musician who co-penned 'You're the Voice', chats about initially declining Farnham's request to turn the tune into a single after the latter fell for it via a demo. A whole documentary about 'You're the Voice' might've been indulgent even for the biggest Farnham fans — a short doco about its role in the aforementioned Hot Rod needs to be made ASAP, however — but that's not Finding the Voice from start to finish. Stockwell and Clarke take the birth-to-now approach, although they're really building towards Farnham finding that smash, and exploring why it was such a jolt of lightning for the musician's life and legacy. With editors Scott Gray (Mortal Kombat) and Steven Robinson (The Endangered Generation?) stitching together a wealth of archival material, the journey begins in earnest with the plumber's apprentice with the impressive pipes, the novelty track he was never all that fond of, and the immediate success and screaming girls that followed. Pop music history is littered with teenage sensations who didn't enjoy more than one hit song or two, which might've been Farnham's fate; through several pivots and comeback attempts, it did indeed appear his destiny. Finding the Voice doesn't take the pressure down, or avoid the lows before the highs: the singles that charted but couldn't shake the 'Sadie' vibes, the mismanagement before Wheatley, the RSL gigs with bandmates who couldn't play, the lack of interest in the UK and the frequent rejection at home. It doesn't avoid the frustrations before 'You're the Voice' and Whispering Jack gave Farnham more than a touch of music stardom paradise, either, or the yearning to be something other than 'The Cleaning Lady' guy. The film weaves in the then-Johnny's time doing stage musicals, including 1971's Charlie Girl, which started his romance with dancer and his now wife-of-five-decades Jill. It steps through his Little River Band era, and the passion and statement of intent resonating in their Farnham-sparked tune 'Playing to Win'. In addition to its ode to its namesake, Finding the Voice was always going to double as a trip through Aussie rock history as well as a homage to former The Masters Apprentices bassist Glenn Wheatley, who died in 2022 due to COVID-19 complications ‚ and it's a balancing act that's handled expertly. Many a music biodoc has mined untold treasures from bygone footage and the shared memories that go with them, a format that Finding the Voice doesn't challenge. The unearthed clips also survey a glorious range of hairstyles — the famous golden flowing 80s mullet is merely one, the five-time TV Week King of Pop era gifting others — while context comes via family, friends, colleagues and admirers offering their thoughts and recollections. After Glenn's passing, Gaynor proves a key source, also illuminating her role in both Farnham and her husband's careers. Jill Farnham and sons Robert and James assist with fleshing out the man behind the mane and music, with Farnham's children noting how sheltered they were from his tough times. And singing his praises? Jimmy Barnes and Daryl Braithwaite, neither voicing any envy — yes, this is briefly a Farnsy-and-Barnsey flick — plus everyone from Celine Dion and Robbie Williams to Richard Marx and Olivia Newton-John. The one that Farnham always wanted professionally — and wanted to emulate the Grease star's overseas triumphs — Newton-John joins Finding the Voice's chorus via voiceover only. Given her death in 2022 as well, the documentary is also a tribute her way without stealing the spotlight from its main figure. With Farnham's own recent health battles with cancer and a respiratory infection well-documented, he too is only heard recently and seen via materials from across his career. That might've left a gaping hole at the movie's middle, but Stockwell ensures that it never feels like a lost opportunity. Cannily, not pointing the camera the 'Age of Reason', 'Two Strong Hearts', 'Chain Reaction' and 'Burn for You' singer's way helps the filmmaker be judicious with her talking-head interviews, and find freedom beyond merely making a hagiography or a glossily authorised bio. It also reinforces two core contrasts: that great music is eternal, but even superstars are only flesh and blood; and that the tunes that last seem like easy hits, but so often spring from a lifetime of hard work. Accompanying the blast-from-the-past visuals, the adoring-but-never-fawning discussions and the exhaustive then-till-now chronicle is the expected stacked roster of Farnsy hits. Finding the Voice was never going to sit in silence, and nor has anyone who has ever heard 'You're the Voice'. Among its astute choices, the film also veers into concert footage — and seeing the power ballad performed by a leather pants-clad, sleeveless tank-wearing, unmistakably sweaty Farnham in pre-unification West Germany, one of the two countries beyond Australia where it reached number one on the charts (the other: Sweden), is a pure seeing-is-feeling moment. How long can we appreciate this Aussie icon? Always, as long as we're all someone's daughters and sons, as the triumphant and insightful Finding the Voice understands.
Put on your dancing shoes — it's time to tear up the floor. The Abercrombie is hosting a huge celebration for the trendsetters, trend chasers, music buffs, and simply for those who like to party. As part of Vivid Sydney, the renowned venue and the perpetually fresh record label NLV Records are teaming up to bring you a proper all-nighter. From 9pm til 5am on Saturday June 10, the Abercrombie will be pumping with back-to-back sets by NLV Records' artists, from recent signees to ones who know and love the stage. Founded by producer and DJ Nina Las Vegas, the aim of the exciting event is to promote the voices of marginalised voices, providing them with a platform to succeed. As one of the homesteads of hyperpop, the record label has been recognised as a trailblazing imprint since its initiation onto the scene in 2015 with a focus on diversity and inclusivity of artists. This year, the scope of genres and tunes is widening with Afrobeats, dancehall and forward-thinking rap all making an appearance. The stacked lineup will feature the likes of Anna Lunoe, FOURA, Big Skeez, Kota Banks and the event founder and curator herself: Nina Las Vegas. The full program of artists is yet to be announced so stay tuned. Stay up to date with any extra details or grab your tickets from the event's page.
Winter and comfort foods always go hand in hand, but fans of doughnuts should find the start of the frosty season particularly delicious. Each year, to kick off June, National Doughnut Day arrives. And, when the date hits, free round orbs are often on the menu. In 2023, on Friday, June 2, Donut King will be handing out freebies — and keeping Australians happy with their eponymous blend of sweets and carbs. The chain is known for its hot cinnamon doughnuts, and that's exactly what it'll be giving away at every store Australia-wide. Donut King hasn't advised exactly how many doughnuts are up for grabs, and it is a while-stocks-last affair. That said, the brand is intending to serve up a whole heap of its number-one treat to customers in exchange for zero cash, beginning at 1am AEST — if that's when your local store opens — and running through until 11.59pm AEST. The big caveat, other than the first-in-best-dressed rule: there's a limit of one free hot cinnamon doughnut per person. Also, you do have to hit up a Donut King shop in-person, with the giveaway not available for deliveries. To snag yourself a freebie, folks in Sydney can make a date everywhere from Chatswood and Top Ryde to Leichhardt and Hurstville. View this post on Instagram A post shared by Donut King (@donutking_au)
Back in 2019, Sydney fine-dining institution NEL introduced tastebuds to a whole new culinary world: a decadent Once Upon a Time degustation inspired by all things Disney. Unsurprisingly, it provided a magical meal and proved a massive hit, returning in 2020 and 2022 with themed dishes created by the Surry Hills' restaurant's created by Executive Chef and namesake Nelly Robinson. Come winter 2023, it'll be back again for a fourth chapter. Amid NEL's creative spreads, this one now feels like a tasty tale as old as time — repeatedly popping up amid KFC-inspired dinners, Moulin Rouge!-themed and Christmas degustations, and one heroing native Australian ingredients as well. But whenever it unleashes its 11 courses upon plates, the Once Upon a Time serves up new and fresh dishes riffing on the Mouse House's favourites. Accordingly, even if you've been before, you haven't feasted your way through the latest menu. An alfredo linguini that nods to Ratatouille? Yes, that twist on the classic dish — and flick — featuring a lasagne-style structure layered with confit vegetables, pasta sheets, béchamel, mozzarella cheese foam and basil dust is on the lineup. So is The Tugley Wood, which combines mushrooms and fresh Australian truffle to nod to Alice in Wonderland. And when things get sweet, there's a honey-soaked sponge with a nest of honey curd topped with bee pollen, then served in a honey pot, that Winnie-the-Pooh would clearly covet. As for what else will be bothering your appetite in the best possible way, discovering the full range is part of the fun of heading along — no matter whether you're a Sydneysider with more than a few nights' experience tucking into Robinson's creations or a Disney fan keen to make a date on a future interstate trip. The Once Upon a Time menu's fourth chapter will start serving on Tuesday, May 30 and run for eight weeks only, with bookings available now. Price-wise, this childhood-inspired feast will require an adult salary, costing $185 per person, with beverages matched for an extra $165. Reserving a spot ASAP for dinner Tuesday–Saturday from 5.15pm is recommended — this unsurprisingly always books out.
Making his latest body-horror spectacle an eat-the-rich sci-fi satire as well, Brandon Cronenberg couldn't have given Infinity Pool a better title. Teardowns of the wealthy and entitled now seem to flow on forever, glistening endlessly against the film and television horizon; however, the characters in this particularly savage addition to the genre might wish they were in The White Lotus or Succession instead. In those two hits, having more money than sense doesn't mean witnessing your own bloody execution but still living to tell the tale. It doesn't see anyone caught up in cloning at its most vicious and macabre, either. And, it doesn't involve dipping into a purgatory that sports the Antiviral and Possessor filmmaker's penchant for futuristic corporeal terrors, as clearly influenced by his father David Cronenberg (see: Crimes of the Future, Videodrome and The Fly), while also creating a surreal hellscape that'd do Twin Peaks great David Lynch, Climax's Gaspar Noe and The Neon Demon's Nicolas Winding Refn proud. Succession veteran Alexander Skarsgård plunges into Infinity Pool's torments playing another member of the one percent, this time solely by marriage. "Where are we?", author James Foster asks his wife Em (Cleopatra Coleman, Dopesick) while surveying the gleaming surfaces, palatial villas and scenic beaches on the fictional island nation of Li Tolqa — a question that keeps silently pulsating throughout the movie, and also comes tinged with the reality that James once knew a life far more routine than this cashed-up extravagance. Cronenberg lets his query linger from the get-go, with help from returning Possessor cinematographer Karim Hussain. Within minutes, the feature visually inverts its stroll through its lavish setting, the camera circling and lurching. As rafters spin into view, then tumble into the pristine sky, no one in this film's frames is in Kansas anymore. The couple's temporary home away from home boasts luxury extending as far as the eye can see, but affluent holidaymakers are fenced in by barbed wire and armed guards from the surrounding country. They're deep-pocketed westerners in an exclusive resort haven in an otherwise poor, religious and conservative country, and local protesters aren't afraid to interrupt their paid-for idyll. Still, James and Em are vacationing to hopefully cure his six-year stint of writer's block, after he's struggled to back up his debut novel The Variable Sheath — and that text, which was published thanks to Em's media-tycoon father, struggled to make a literary impact at all. Amid their languid stay, and as Em can barely tell if James is awake or asleep, neither are expecting fellow guest Gabi (Mia Goth, Pearl) to gush praise; "I loved your book," the outgoing stranger and actor tells him, then invites them to dinner with her husband Alban (Jalil Lespert, Beasts), then for an illicit drive and picnic beyond the gates the following day. An unsettling sensation hangs in the air as Gabi pushes her new pals to share her company, relishes being the centre of attention and steals an explicit moment with James on their forbidden jaunt. Writing as well as directing, Cronenberg mists uncertainty and menace in the air earlier, when the hotel hosts a festival celebrating the upcoming monsoon season — an event where masks resembling melted faces are a key costume choice. There's feeling unconvinced about another traveller, hesitant about diving into uncharted waters and anxious about breaking the rules in a foreign land, though, and then there's the ordeal that soon springs from a tragic accident, arrest, death sentence and wild get-out-of-jail-free situation. In Li Tolqa's criminal justice system, the well-to-do can pay to have doubles created to face their punishments. The two caveats: these doppelgängers will have the same memories and their originals must watch their grisly end. "Where are we?" isn't the only line of enquiry splashing through Infinity Pool; "what would you do?", "what will people resort to for self-preservation?", "how cheap is someone else's life?", "why does death frighten us?" and "what happens when there's truly no consequences for anything?" rain down just as heavily. So does the obvious: in this scenario, how does anyone ever know if they're the OG version of themselves or the copy? Em is shaken and can't wait to leave, but the smirk that spreads slowly across James' face while he's witnessing his likeness' demise betrays his intrigue. The movie itself is curious, too — and it, like its audience, knows that humanity's worst impulses are about to pour out. Indeed, in kaleidoscopic and hypnotic sequences overflowing with sex, drugs and violence, as body parts intermingle and bodily fluids flow freely, and while unthinkable cruelty becomes a tourism experience for those who can afford it, the younger Cronenberg showers his film in a sometimes-psychedelic, often-gruesome onslaught of can't-look-away chaos. In pictures both brilliant and brutal — and literally filled with pictures earning the same description — the uncompromising Cronenberg keeps bleakly cosying up to futility. When famous flesh is not just the pinnacle of a society but consumed ravenously and incessantly, as seen in Antiviral, how can existence be meaningful? When bodies are hijacked to do someone else's bidding, as Possessor explored, that same query is inescapable. And when the powerful and privileged treat living and dying as a game dictated by their wallets, what about humanity matters? Getting terrifying with the blood and guts of being alive is clearly in Cronenberg's genes, but his specific mutation also repeatedly ponders existing as a meat market. He isn't subtle about his off-screen parallels, but he doesn't need to be; his ideas and imagery have proven visceral, piercing and haunting not once, not twice, but three glorious times now, including in this dread- and tension-dripping feature that brings a twisted mix of The Prestige, The Forgiven, Dual, Triangle of Sadness, Battle Royal and The Purge to mind. Skarsgård is no newcomer to on-screen mayhem, with 2022's The Northman instantly cementing itself as one of his best-ever performance and films. He's equally magnetic as an initially unwitting participant in Infinity Pool's feast of carnal and primal desires, and more than one iteration of James at that; surrendering with bewilderment to hedonistic madness suits him, as does playing awkward, unsure and tentative alongside that. Fresh from such stunning work in X and Pearl, and with that slasher trilogy's third effort MaXXXine on the way, Goth's casting is just as crucial. If Gabi wasn't as mysterious and seductive as she is ominous — so, if she wasn't an alluring but sinister femme fatale — the whole movie would threaten to wash away. And, if she couldn't flip from enticing to merciless so suddenly and seamlessly, Infinity Pool wouldn't be the entrancing nightmare about soulless sound, fury, sex, bodies, life and death signifying nothing that it so deeply and intoxicatingly is.
If there's one thing that a film about Adam Driver fighting dinosaurs shouldn't be, it's average. Only ridiculously entertaining or ridiculously terrible will do, and those two outcomes needn't be mutually exclusive. The appeal of 65 is right there in that four-word premise, as it was always going to be, because getting the intense White Noise, House of Gucci, Annette and Star Wars actor (and BlacKkKlansman and Marriage Story Oscar-nominee) battling prehistoric creatures is that roaringly ace an idea. He should brood, and his dino foes should stalk, snap and snarl. That is indeed what happens thanks to writer/directors Scott Beck and Bryan Woods, who penned the first A Quiet Place, plus have horror movies Nightlight and Haunt on their past helming resumes. But for a flick that isn't required to offer anything else and knows it — well, other than laser guns to shoot at said dinosaurs, because not even the man who plays Kylo Ren can confront a Tyrannosaurus rex or pack of raptors barehanded — 65 doesn't possess enough B-movie energy. Beck and Woods have taken the very B-movie path story-wise, though. As 65's trailer made plain, this is a Frankenstein's monster of a film mashup, stitching together limbs from a stacked pile of other sources to fuel its narrative. The Jurassic Park and Jurassic World franchise, the Predator series, the Alien and Prometheus saga, Logan, The Last of Us, The Man Who Fell to Earth and, yes, A Quiet Place: they each earn more than a few nods, and never with subtlety. So too does Planet of the Apes, but the fact that 65 is set on earth all along isn't a late-picture twist. What else would the title refer to? That said, Beck and Woods begin their movie elsewhere, taking time-travel 65 million years backward out of the equation. Instead, Driver's pilot Mills ends up on our pale blue dot from a civilisation out there in space, and one more advanced during earth's Cretaceous period than humankind is today. Again, these aren't surprises. Text on-screen points all of this out from the get-go or close enough. When the title card arrives bearing the number-slash-moniker 65, that the film takes place all those years ago, and that Mills is now on the third rock from the Milky Way's sun, is written out on-screen as well. Kudos to the filmmakers for not focusing their movie on the tease; a lesser flick, and not in the so-bad-it's-good way, would've been fine with wholesale ripping off Planet of the Apes but just journeying in the opposite temporal direction. Rather, even with the Rod Serling-esque concept — The Twilight Zone creator and presenter also penned the OG Apes' screenplay, as loosely adapted from the page — 65 is about what happens next with full knowledge of where it's set. The narrative from there is obvious, with or without any other context. Whatever you think will happen in 65 sight unseen, or from the trailer, does. Mills tries three things: to survive, to fend off those pesky dinosaurs and to get home. But, he isn't alone. He's transporting others as part of a long-range mission when his ship crashes on what's to him an unknown planet, and young Koa (Ariana Greenblatt, In the Heights) also lives post-impact — after their vessel is hit by an undocumented asteroid, sending them plummeting in the first place, and then after it smashes into earth, tearing apart and scattering its two halves 12 kilometres apart. The piece that Mills and Koa are in can't blast off, of course, and the planet's most frightening-ever residents are keen on a meal as the duo of interlopers attempt to use their wits and weaponry while walking from one section to the other. If you know earth's basic history and how things turned out for the dinosaurs, as we all do, there's no prizes for guessing what else occurs in 65. With startling its audience off the cards, ample pressure falls on the film's ability to engage through character, chaos or both — too much pressure, it proves. Everything is passable. Everything is firmly by the numbers. Nothing is wild, weird or wonderful. That applies to the family thread that runs through the film, after Beck and Woods showed their fondness for the ties of blood, monsters and the end of the world with A Quiet Place. Mills' well-paying gigs have long spirited him away from his wife (Nika King, Euphoria) and daughter (Chloe Coleman, Avatar: The Way of Water), the latter of whom has serious health conditions, making 65's protagonist a Star Wars-esque absent dad. So, when he's tasked with caring for Koa out of proximity and necessity, that job sparks an emotional reaction and connection. Movies about crashing somewhere strange and scary, being ushered into new worlds filled with threats and endeavouring to adapt all work as birth metaphors — we've all been there — an idea that lingers in 65's quiet moments. What does it mean to be thrust into an unfamiliar realm, learn of its ever-present perils and try to endure? How do we learn resilience, resourcefulness, who we are and what's truly important? These questions aren't unrelated, and they're also at the core of this feature. 65 doesn't dig fossil-level deep, however. It's always a dinos-versus-people sci-fi thriller. Actually, make that dinos-versus-humanoid aliens, given that Mills and Koa hark from a long time ago in a galaxy far, far away (no, not the George Lucas-started ones) as they're grappling with beasts brought to the screen with standard-at-best (and never Prehistoric Planet-standard) CGI. 65 would be a far worse film without Driver; switching out its star wouldn't make it an extinction-level event, but the whole 'Adam Driver fights dinosaurs' concept is alluring for a reason. Since singing "please don't shoot me into outer space" in Inside Llewyn Davis, he keeps being shot there, or from there, on-screen — and approaches each instance, as he has everything from Girls and Frances Ha to Paterson and The Last Duel, with blistering commitment. If this was a grander, gorier or sillier movie with Driver's performance at its centre, it might've been something special. There's glimmers here, glistening like a dinosaur's teeth. The version that treads forth is watchable, but also the most basic version of what it is, what viewers want and why it exists: yes, Adam Driver fighting dinosaurs.
As part of the flurry of streaming services always competing for our eyeballs, FanForce TV joined the online viewing fold during the COVID-19 pandemic as a pay-per-view platform. The service runs all year round, of course, but it goes the extra mile for National Reconciliation Week, which is when it hosts the First Nations Film Festival (previously known as the Virtual Indigenous Film Festival). In 2023, that event will take place between Tuesday, May 30–Saturday, June 3, all solely online. The returning fest will focus on something different on each of the five days, starting with the Richard Bell-focused documentary You Can Go Now, then moving onto documentaries Alick and Albert and The Lake of Scars. There's also shorts by up-and-coming First Nations talent, plus anthology feature We Are Still Here as the fest's big finale. At this at-home screen celebration, you'll enjoy watching your way through an array of Aussie content focused on Indigenous stories, spanning both dramas and documentaries — and exploring race relations in the process. Viewers can tune in on a film-by-film basis, or buy an all-access pass to tune into everything. Movies screen at set times, running twice each day: at 1pm and 7pm AEST.
Here's one of the absolute best things about being a movie lover: you're never short on stuff to watch. And, because where you see something can have a big imprint on your viewing experience, you're rarely lacking great places to get your cinema fix. Sydney's latest: The Rocks Laneway Cinema. This pop-up outdoor picture theatre did its thing all summer long, but its March season before it says farewell for the rest of autumn and winter is truly something special. On four Wednesday nights from March 8–29, it's playing a 'Girls Rule' lineup — for free, with no bookings required. From 7.30pm each week, you can lock your eyes on the big screen and enjoy a movie fave celebrating talented ladies, all timed to kick off on International Women's Day. When it comes to the films flickering across the screen in Atherden Street, it's an impressive retro lineup. The program starts with 80s favourite 9 to 5 — what a way to see a movie! — then moves on to Legally Blonde, Clueless and Thelma and Louise. If you're the kind of cinemagoer that needs snacks and sips, too, the venues around laneway will have plenty to eat and drink on offer. That means making a date with spots such as Libano Mexicano, Caminetto Restaurant, P'Nut Street Noodles and The Mercantile Hotel. Obviously, you'll need your wallet for whatever tempts your tastebuds. Images: Anna Kucera / Cassandra Hannagan.
The Southern Hemisphere's first-ever Ace Hotel opened in Sydney back in May of last year. As expected, it's offering super-sleek accommodation in the heart of the city, but the Ace also boasts a range of extra-curricular adventures, including dining options like the top-notch lobby bar and Mitch Orr's stunning new restaurant Kiln, and residencies from the likes of Summer Camp and FBi Radio. The latest pop-up to hit the hotel will be an independent record label market in its laneway cafe Good Chemistry. Put together by Melbourne's Efficient Space, the one-day market will arrive at the cafe from midday until 5pm on Sunday, April 2. On offer will be a range of vinyl, cassettes, books and t-shirts from an array of independent Australian record labels. Getting in on the action will be the likes of Altered States Tapes, Bedroom Suck, Butter Sessions, Efficient Space , Moonshoe, Music In Exile, Pure Space and Research Records. Sweetening the deal will be a few special items available on the day including one-off releases, early pre-releases and test pressings. Adding to the atmosphere is a drinks list curated by natty wine specialist Mike Bennie of P&V. Entry is free if you want to come down and get your hands on some rare and exciting music while supporting the little guys of the Australian music industry. You can RSVP at the Ace Hotel website. View this post on Instagram A post shared by Efficient Space (@efficient_space) Top image: Nikki To
UPDATE, April 24, 2023: Slowdive are no longer on the Daydream bill, after drummer Simon Scott was injured. This article has been updated to reflect that change. Float on, festival fans: come April, Australia's newest excuse to see a heap of bands in one spot will make its way along the country's east coast. That touring event: the just-announced Daydream, which joins the country's ever-growing roster of excuses to see and support live music. Daydream is hitting the Hordern Pavilion in Sydney on Saturday, April 29 with quite the roster of indie-rock talent — headlined by Modest Mouse three decades after the Washington-born group first got together. Don't listen to the title of the band's acclaimed 2004 album, though — this is good news for people who love good news, not bad. Joining Modest Mouse on the bill are Australian favourites Tropical F*ck Storm, and the roster keeps going from there. The lineup varies slightly per city, with Beach Fossils and Cloud Nothings also taking to the stage at all stops, plus Majak Door in Sydney. [caption id="attachment_817946" align="alignnone" width="1920"] Somefx[/caption] Top image: Modest Mouse by Matthewvetter via Wikimedia Commons.
Sydney film buffs, you're in for a treat with the launch of the first-ever Inner West Film Fest. Held across multiple days from Marrickville to Newtown, Enmore to Leichhardt, film lovers will be spoiled for choice with this cinematic reflection of the Inner West community. The three-day festival lineup is jam-packed with documentaries, award-winning Australian films, international film premieres, a movie poster exhibition and much more. One of the many highlights is the 35mm retro screening of the Aussie gem Erskineville Kings at Dendy Newtown. Shot on location in Erskineville, Newtown and surrounds, it features of one the first silver screen performances of national treasure Hugh Jackman. The opener? A free outdoor screening of the Australian film Sweet As at the Marrickville Golf Club. This flick tells the story of Murra (Shantae Barnes-Cowan), a 16-year-old Indigenous girl, as she embarks on a journey of self-discovery. Palace Norton Street will play host to a short film competition and showcase, where many of the films have been created by Inner West residents and shot in the area — promising a reflection of the vibrant community. Love a talent contest or fancy yourself the director of the next film classic? Submit your film pitch for a chance to be a part of the "Australian Idol for filmmakers" — hosted by Australian production company Breathless Films. You could even walk away with a two-month residency at the Newtown studio. Grab your popcorn and choc top and celebrate the artistry of Aussie film at the inaugural Inner West Film Fest. Inner West Film Fest hits various locations from Friday, March 31 until Sunday, April 2. For more information, head to the website.
Everyone has a type of food that they just can't get enough off. We all have several if we're being completely honest. So, perhaps you adore sausages — or maybe you've never met a schnitzel that you can say no to. You could get salivating over meat platters, fancy feasting on ribs or get in a flap about chicken wings as well. If one of the above dishes is your favourite, so much so that you're keen to tuck into all that you can manage, The Bavarian has you covered Monday–Friday between Monday, March 20–Friday, March 31. Each weekday, it's serving up a different bottomless deal. Arrive hungry, whichever you pick — and especially if you opt for all of them. So, Mondays are all about non-stop snags (frankfurters, kielbasas and cheese kranskys with mash, rye bread and bier jus) for $28, while Tuesdays go all in on schnitties for $32 (with parmigianas, classic schnitzels and one with mushroom sauce to choose from). On Wednesday, the regular $35 all-you-can-meat platter special is still on — aka a glorious way to spend hump day. Come Thursday, there's ribs, ribs and more ribs (slow-cooked and coffee-and-spiced barbecue pork ribs, in fact, with coleslaw and fries) for $56. And on Friday, $20 gets you non-stop wings with either hot buffalo or barbecue sauce. In terms of caveats, you'll need to note a few, including the need to buy a full-priced drink to get each deal. The Bavarian also has a five-percent service fee, and you can't combine your chosen special with another offer, get it to take away or bring any leftovers home with you after your sitting. In New South Wales, you'll find The Bavarian at Charlestown, Rouse Hill, Castle Hill, Shellharbour, Tuggerah, Manly, Penrith, Miranda, Macarthur, Green Hills, Entertainment Quarter, York Street, World Square, Wetherill Park, Chatswood and Wollongong.
Watching a film by French writer/director Bertrand Bonello can feel like having a spell cast upon you. In movies such as 2016's Nocturama and 2019's Zombi Child, that's how magnetic and entrancing his blend of ethereal mood and dreamy imagery has felt. So it is with The Beast, too, another hypnotic feature that bewitches and also probes, because none of these three Bonello flicks ask their viewers to merely submit. Rather, they enchant while raising questions about the state of the world, whether digging into consumerism and anarchy, hierarchies of race and class, or the role of humanity in an increasingly technology-mediated society. The latter is the domain of the filmmaker's loose adaptation of Henry James' 1903 novella The Beast in the Jungle — a take that, as its author didn't and couldn't, perceives how the clash of humanity's emotions and artificial intelligence's data-driven analysis is fated to favour the cold and the calculating. In 2044, the very fact that people are guided by their feelings has rendered them unsuitable for most jobs in The Beast's AI-dominated vision of the future. Played with the mastery of both deeply conveyed expression and telling stillness that's long characterised her performances, Dune: Part Two, Crimes of the Future and No Time to Die's Léa Seydoux is Gabrielle, who is among the throngs relegated to drone-like drudgery in this new world order. To shift her daily reality, where she reads the temperature of data cores, she only has one path forward: a cleansing of her DNA. It involves spending sessions immersed in a black goopy bath to confront her emotions and past, a procedure that she's told will rid her of her trauma and baggage. Crossing paths with Gabrielle at the treatment centre, Louis (1917 and True History of the Kelly Gang's George MacKay) has the same choice. Bonello begins The Beast with the opposite of stolidness, with green-screen acting as Gabrielle reacts to directions uttered her way by an off-screen voice, and with her eyes widening and voice screaming at a monster who'll be added in the post-production process. It's a stunning introduction. Seydoux is transfixing from this moment onwards, but the entire range of her portrayal from cool and collected to uncertain and then terrified is captured in mere minutes. Bonello also thrusts fear, a key theme of James' book and this picture alike, to the fore — as well as the notion of being petrified of something intangible. The scene recognises that that which makes our blood run cold doesn't always exist, and queries how we make the panic in our heads and hearts feel real. It also turns Gabrielle into a doll behaving at someone else's behest, revealing a motif that'll continue to pop up while examining how much agency we have when imagined nightmares can so easily control us. The Gabrielle that starts off the movie isn't and is the Gabrielle going all Under the Skin-meets-Eternal Sunshine of the Spotless Mind in 2044. Wafting around a surreal atmosphere that recalls David Lynch's Mulholland Drive and Inland Empire as well, The Beast flits between parallel Gabrielles in different times, as she does while submitting to purification. Sometimes she's the Gabrielle of the feature's present. Then, she's a past-life Gabrielle in France in 1910. Rounding out the trio: another prior version in 2014 in Los Angeles. In the 20th century, the character is a pianist whose husband owns a doll-making factory. In the early 21st century, she's an actor and model housesitting a gleamingly lavish mansion while doing the audition rounds to get noticed. Louis dwells in all three as well, orbiting around her — as a romantic option who isn't afraid of pursuing a married woman in the Belle Époque era just before the Great Flood inundated Paris, then a misogynistic 30-year-old virgin broadcasting his lifted-from-actuality diatribes online in the 2010s just as the La Habra earthquake hits, then a man drawn her way and facing the same haunting feel-or-thrive dilemma that has Gabrielle in a tub. In The Beast in the Jungle, the tale's namesake is the lurking belief pulsing through James' protagonist that calamity awaits. 1910's Gabrielle has confessed the same concerns. The novel and the film each plunge into a potential self-fulfilling prophecy, then: if we expect doom and gloom, and we base our decisions upon its arrival, do we destine ourselves for it? In response, a seize-the-day message washes through the two iterations of this story; however, the timing that Bonello uses for his triptych's chapters gives The Beast a telling push and pull. One person's catastrophising is another's being prepared — and, as existence today means grappling with the sci-fi dystopian notions of AI and climate change becoming real, the filmmaker, who co-scripts with Benjamin Charbit (Spirit of Ecstasy) and Guillaume Bréaud (Eat the Night), sees that seeming irrationally wary of the possible worst-case scenario doesn't preclude a life-altering disaster from happening. Bonello doesn't just want to observe The Beast's recurring loops — like dolls, pigeons and telling fortunes as well as 'Evergreen' by Roy Orbison repeat — but to make the emotions that spring, as well as the battle with even having them, seep into his viewers. Not just Seydoux but Mackay are excellent choices to make good on this aim, each gifted at a very particular task: relaying the full swell and swirl of feelings that comprises every variation of Gabrielle and Louis human for better and for worse, and also makes them distinct, while spying the echoes between them in each era. Around his two leads, production design, costume design, hairstyling and makeup are crucial. The film veers from period romance to psychological thriller and then sci-fi horror across its trio of intertwined parts, and every craft choice — Josée Deshaies' (Passages) lingering cinematography included — enforces the distinction. And yet, Seydoux and Mackay could've unleashed their potent performances solely against green backgrounds with the same look throughout and had the same impact. To watch The Beast is to experience the premonitory unease, and the back-and-forth between the hope of joy and the dread of the unknown, that colours its tales within tales and its hops from genre to genre. This is a film with chaos and change at its core, but that spots the anchors and emotions that remain the same no matter what portrait of life is unfurling. First with android doll Kelly (Saint Omer's Guslagie Malanda, also exceptional), 2044's Gabrielle frequents a hidden-away nightclub where the theme cycles between a specific year night by night. One evening, it's 1972. Another, it's 1980. On yet another, it's 1963. There Bonello goes, finding a way to distill his film down to its essence yet again, as his opening sequence does — because what is navigating being alive and falling in love if not never knowing what any given day or night will bring, regardless of the time or impending ruin, then trying to face that fact? If technology steals that truth away, The Beast posits, our nature is conjure up a way to take solace in it anyway.
Treating yo'self to tastebud-tempting dishes is what winter is all about — and for one entire month, Salt Meats Cheese is serving up a rather appetising menu that'll do the trick. That'd be its Every Day We're Truffling — Truffle Month lineup, with truffles popping up in all kinds of dishes. Yes, that includes truffle cocktails. Before 2022, SMC only celebrated truffles for a week of the year. But, to the delight of your stomach, it has since expanded the deliciousness across all of July, which remains the case in 2024. Accordingly, from Monday, July 1–Wednesday, July 31, the Italian chain will be adding truffles to crostini, arancini, lasagne, ravioli and pizza — so that's five Italian staples covered. There's also a truffle duck breast dish, and you can add shaved truffles to any a la carte menu item for $12 as well. For dessert, there's truffle cheesecake and panna cotta, aka your new favourite type of cheesecake and panna cotta. You'll need something to wash all of the above down with, so truffle negronis and truffle sours are also on offer. Every Day We're Truffling is taking place at all SMC venues during its month-long period, which spans Circular Quay and Cronulla in Sydney, although the menu may vary per venue. The Circular Quay outpost is also hosting truffle cooking classes at 10am and 2pm on Sunday, July 14. And if you're wondering why the Italian chain has suddenly gone truffle crazy, it's to celebrate the Australian truffle season — which is as good a reason as any.
A quarter of a century ago, M Night Shyamalan started coaching audiences to associate his surname with on-screen twists. Now that The Sixth Sense writer/director's daughter Ishana Night Shyamalan is following in his footsteps by making her first feature, decades of that viewer training across Unbreakable, Signs, The Visit, Split, Glass and more laps at The Watchers' feet. The question going in for those watching is obvious: will the second-generation filmmaker, who first worked as a second-unit director on her dad's Old and Knock at the Cabin — and also penned and helmed episodes of exceptionally eerie horror TV series Servant, on which her father was the showrunner — turn M Night's well-known and -established penchant for surprise reveals that completely recontextualise his narratives into a family trademark? Viewing a Shyamalan movie from The Sixth Sense onwards has always been an exercise in piecing together a puzzle, sleuthing along as clues are dropped about how the story might swiftly shift. It's no different with The Watchers, which Ishana adapts from AM Shine's novel and M Night produces. The younger filmmaking Shyamalan leans into the expectations that come with being her dad's offspring and picking up a camera, making a supernatural mystery-thriller horror flick and living with his brand of screen stories for her entire life. That said, while it's easy to initially think of The Village when The Watchers sets its narrative in isolated surroundings where the woods are filled with threats, and also of Knock at the Cabin given that its four main characters are basically holed up in one, Ishana demonstrates her own prowess, including by heartily embracing her source material's gothic air. This is a tale with a Mina at its centre, after all, because Shyamalan isn't the only name attached to The Watchers that means something in horror. As gothic stories in the genre long have told, it's also a tale of being haunted — here, by the monsters that lurk among the trees in a mysterious patch of western Ireland, and also by the kind of loss and sorrow that reshapes entire lives. As Ishana dials up the foreboding while dancing with fantasy, too, The Watchers proves a reckoning with identity as well. Yearning for the ability to define your own sense of self is another familiar gothic notion (Mary Shelley's Frankenstein puts it among the ideas at its centre), and also a fitting theme and statement for a person who's leaping into a field where they're immediately standing in someone else's shadow. Hours from Galway, shade also looms as The Watchers kicks off. As captured with a moody gaze by cinematographer Eli Arenson — and an eye for the claustrophobia that can simmer in expansive natural spaces, as he also splashed around in 2021's Lamb — warm rays barely filter through the forest even when the sun is high in the sky. In a state of near-perpetual twilight, the woodland possesses an otherworldly and ominous feel. A man (Alistair Brammer, Ancient Empires) is spied trying to flee its sprawling cover; however, the signs about not being able to turn back keep proving accurate. Birds flutter in a swooping and circling flock, the thicket buzzes with its own noise — both with unease as dense as the canopy above — and the picture advises that this location is absent from maps and a beacon for lost souls. A command of atmosphere bubbles through the movie from the outset, then, even before Mina (Dakota Fanning, Ripley) wanders through the same grove. She's entering rather than trying to leave — at first. An American artist working in a pet shop in a biding-her-time fashion, the 28-year-old is tasked with a normal albeit time-consuming delivery, but then her car breaks down and her phone dies shortly after driving into the greenery. Prior to Mina hitting the road, The Watchers dapples her everyday existence with a disquieting vibe. In her life in the Irish city, she's plastering literal wigs and metaphorical masks over her unhappiness while avoiding calls from her sister Lucy and grappling with the death of their mother 15 years earlier. En route to being stranded in a bunker called The Coop, which is sat in a tract where no one should go down to the woods by dark, she's also already feeling as caged as the parrot that she's about to try to ferry to a Belfast zoo. The Coop is no ordinary cabin in the woods, not that many on-screen are, with kudos deserved by The Watchers' production designers. Mirrored glass lines one of its walls, letting interested eyes peer in unseen (their audible reactions provide a soundtrack as well) as the motley crew that is Madeline (Olwen Fouéré, The Tourist), Ciara (Georgina Campbell, Barbarian), Daniel (Oliver Finnegan, We Are Lady Parts) and now Mina navigate their new routine. Each strangers going in and each trapped, they're all endeavouring to survive the creatures that demand to observe them eating, watching an old dating-style reality TV series and sleeping every evening — and, without their captors realising, to ascertain how to escape a place that appears impossible to exit. There are rules to enduring. There are grim consequences for not abiding by them. No one has made it out to seek help and returned, the stern Madeline cautions. When a reflective surface plays such a pivotal part, it's hardly astonishing when a film trades in parallels, including with an IRL world that's frequently becoming one giant online performance (to stress the point, one of The Watchers' most-striking shots shows how Mina and company inhabit a stage for their keepers). As well as absorbing her father's fondness for spinning unsettling tales, Ishana has inherited his ambition, clearly, as she also works in Celtic lore and the impact of colonialism. While it's one thing to aim big and another to thoroughly wrestle everything that you're eager to explore and touch upon into one movie, her directorial debut sports an instantly intriguing premise that draws viewers in effectively, a flair for imagery and tension, and an excellent lead. When Fanning is playing the feature's protagonist as someone who can't see anything but her own pain — who can't see the forest for the trees, aptly — she wears Mina's fragility and vulnerability like a second skin. When her character is forced to confront being put on display, she's just as mesmerisingly relatable.
A new Japanese spot is touching down at Barangaroo House this May, slinging Japanese snacks, sandwiches and bowls from the ground floor's House Bar. Rekōdo Katsu Kanteen is upstairs restaurant and listening bar Rekōdo's little sister. To commemorate its grand opening on Wednesday, May 15, the casual eatery will be giving out free sandos (sweet potato, prawn or chicken katsu) to the first 100 guests from 1pm. Headed up by Barangaroo House Head Chef Michael Dabbs, the menu spotlights Japanese comfort food. Standouts include the market sashimi with pickled ginger and wasabi, crispy eggplant with pickled chilli, and soft-shell crab baos topped with pickles and hot sauce. For something more substantial, there are options like bang bang chicken salad, wagyu donburi with wagyu tataki, and a wafu salad with your choice of protein. Of course, the main sandos are available in the form of prawn and crab katsu with cabbage and tartar sauce, pork katsu with an omelette and bulldog sauce, two chicken katsu options, and a vego-friendly sweet potato miso katsu. Rekōdo Katsu Kanteen will open to the public on Wednesday, May 15. Head to the website for more details.
If you're a fan of art that gives back, this is the event for you. Barnardos Australia — an organisation dedicated to brightening the futures of Aussie kids — is hosting a fundraising art show in Darlinghurst, and all of its proceeds will be donated to safety and prevention programs for children. Taking place at the National Art School's Cell Block Theatre from 6–10pm on Thursday, May 16, the mixed-media event is set to feature never-before-seen artworks from up-and-coming local artists and established creatives, with a lineup that includes Liz Payne, Sindy Sinn, Kitiya Palaskas, Mikael Lindeberg and Gemma O'Brien. [caption id="attachment_953139" align="alignnone" width="1920"] Fearless, oil on canvas, Nat Anderson.[/caption] The theme of the show is 'Fearlessly Optimistic', in relation to the work that Barnardos does to contribute to the future happiness of Australian children, and how we are all able to make an impact for the better. Expect to find sculptures, photography, painted canvas and prints among the pieces on display at the fundraiser, as well as performances by musical group Zaki Duo and a live artwork by artist Claudia Akole, which will be completed throughout the event. Tickets are priced at $50, which will include entry, canapes, beverages and live entertainment, and are available at the website. As for the artwork itself, if you're looking to purchase any of the exclusive pieces appearing at the art show, they'll be auctioned online. Bidding will open on Thursday, May 9 and will close at 10pm on Thursday, May 16. [caption id="attachment_953140" align="alignnone" width="1920"] Stars, Liz Payne.[/caption]
An unusually high number of hospitality venues have been shutting up shop in Sydney of late, which is all the more reason to celebrate the opening of a new one. The team at Madam Ji, Darlinghurst's colourful new contemporary Indian diner, is getting the party started on the restaurant's opening night with $5 cocktails, from 5pm until close on Friday, July 5. Eight marvellous mingles are on Madam Ji's signature cocktail list, including some theatrical showstoppers like the Smokin' Banana, which combines rum, banana liquor and cardamom and is served under a smoke-filled glass cloche, and the Miss Rebellious, which features a fruity mix of banana rum, mango purée and coconut cream, served in a mist-filled coconut shell. If you're peckish, you can also get your fill of delicious pani puri bombs — crispy shells of fried semolina with a spicy filling — for just $2 each all night. But if you can't make it for this debut shindig, you can also book a table for Madam Ji's bottomless brunch, which pairs a multi-course menu of the restaurant's top dishes with free-flowing house wines for two hours for $79 per person, or with free-flowing cocktails for $99 per person. Madam Ji is the passion project of lifelong friends and hospo veterans Rakshit Sondhi and Maninder Singh, who were born in India but learned the tricks of their trade in top Sydney venues and hotels. The restaurant's a la carte menu mixes tried-and-true favourites and radical fusions, ranging from classics like butter chicken and biryani to inventive riffs like creamy burrata spiked with spicy tadka and kingfish ceviche dressed with curry leaf oil. Images: Katje Ford
Who doesn't love a Sunday roast to get you through the colder months? While there are plenty of places in Sydney where you can find a classic roast, St Leonards is now home to one of the most unique iterations of the weekend tradition. Josh and Julie Niland's newest restaurant Petermen brings the couple's boundary-pushing approach to seafood to the North Shore — and it's just introduced a weekly roast with a difference. As should be expected with the Nilands, the fruits of the sea are the stars here. Diners can choose between three different roast options: crown roast Aquna Murray cod with bread sauce, dry-aged Mooloolaba yellowfin tuna ribeye with pepper sauce and rolled Mooloolaba swordfish loin with barbecue apple sauce. Each roast is designed to be shared between two guests and comes with a heap of impressive sides. In place of your steamed unseasoned veggies, you'll find crunchy Murray cod fat potatoes, a head of fresh vegetables sourced from local growers and Yorkshire pudding, of course. You can also add decadent Manjimup truffle as an indulgent extra. As part of the festivities, Petermen is also hosting a weekly raffle. Each Sunday lunch, all bookings will be entered into a draw to win a $150 selection of goods from Fish Butchery including seafood sausages, pies and chops — Josh Niland's version of a meat tray. The three-course Sunday roast will set you back $140 per person, so it is pricier than your meat and two veg from the local pub. This is a truly one-of-a-kind roast, however.
When you're celebrating Korean cinema for three months, as the Art Gallery of New South Wales is from July–October, how many Bong Joon-ho movies do you program? Every film curator would love to show every title that the Oscar-winning director has made, but that'd only showcase a fraction of the stunning flicks that the nation has gifted viewers. So, at Flowers in Hell: A Korean Cinema Retrospective, three of Bong's works have made the cut: Parasite, of course, alongside 2003's exceptional murder-mystery Memories of Murder and 2009's maternal portrait Mother. Because this film season is unfurling its wares in chronological order, Bong's trio of inclusions come at the end. Before then, as the showcase runs from Wednesday, July 19–Sunday, October 22, awaits a treasure trove of standout films. Movies from seven-plus decades of cinema are on the lineup, with more than 20 getting a-flickering — each one free to attend. 1949's A Hometown in Heart kicks off the program, giving audiences a rare glimpse of a surviving film from the era. Next comes 1958's The Flower in Hell, starring Choi Eun-hee and directed by her husband Shin Sang-ok. When the lineup hits the 60s, don't miss lusty thriller The Housemaid — it's a masterpiece in its own right, and also influenced Parasite. Other must-sees include Lee Chang-dong's Peppermint Candy from 1999, decades before recent hit Burning; two Hong Sang-soo titles, with the prolific filmmaker's In Another Country and Claire's Camera both starring incomparable French actor Isabelle Huppert (EO); and a Park Chan-wook triple. If you haven't seen the Decision to Leave director's Sympathy for Mr Vengeance, Oldboy and Lady Vengeance, aka The Vengeance Trilogy, on a big screen, this is your hammer-swinging chance. Films screen at 2pm on Wednesdays and Sundays, and also at 7.15pm on Wednesday evenings — and some have multiple sessions, while others only pop up once.
Horror franchises like their doors to stay open: years may pass, stars and filmmakers may come and go, but every popular series eventually waltzes back onto screens. That's been true of Halloween, Scream, Candyman, A Nightmare on Elm Street, The Texas Chain Saw Massacre, Friday the 13th and more. It's also accurate of Insidious, which is up to five features in 12 years and returns after its longest gap to-date. For viewers, half a decade has elapsed since this supernatural saga last hit cinemas in 2018's underwhelming Insidious: The Last Key, one of two prequels alongside Insidious: Chapter 3 (because that was the only way to keep bringing back MVP Lin Shaye). For Insidious' characters, though, Insidious: The Red Door takes place nine years after the events of Insidious: Chapter 2. That flick was the last until now to focus on Josh (Patrick Wilson, Moonfall) and Renai Lambert (Rose Byrne, Platonic), plus their haunted son Dalton (Ty Simpkins, The Whale) — and it's their tale the franchise leaps back into. Not only starring but debuting as a director, Wilson makes Insidious: The Red Door an answer to the question that no one, not even the most dedicated horror fans, has likely asked: how are the Lamberts doing after their demonic dalliances? The portrait painted when the movie begins is far from rosy, with Josh and Renai divorced, Dalton resenting his dad, and something niggling at both father and son about their past. Neither the Lambert patriarch nor his now college-bound boy can remember their experiences with unpleasant entities in the astral plane, however, thanks to a penchant for handy hypnotism. So, Insidious: The Red Door poses and responds to another query: what happens when that memory-wiping mesmerism stops working? Seasoned Insidious viewers already know what's in store: ghosts and evil spirits jump-scaring their way back into Josh and Dalton's minds and lives, and also into Insidious: The Red Door's frames. In the saga's mythology, such beings hail from a form of purgatory known as The Further and can't easily be suppressed. Accordingly, when Dalton's university art professor (Hiam Abbass, Succession) encourages him to dive into his subconscious, then splash what he sees onto a canvas, it's obvious where Scott Teems' (Firestarter) script is going. When the snappy Josh tries to glean why his brain is so foggy and his mood so peevish, he too has an unpleasant awakening. For the elder and younger Lambert men alike, first comes snippets of creepy visions, then unshakeable sights, then astral projection to get the Lipstick-Face Demon and The Bride in Black to stop. "If only this portal had remained shut" isn't only something that Josh and Dalton are thinking in Insidious: The Red Door. Early, often, and until the weary and creaky film comes to an end, audiences share that wish. The picture keeps its central pair largely apart, one navigating his cursed chaos in his otherwise empty home, then endeavouring to reconcile with Renai (although Byrne is still woefully underused), and the other at school with new pal Chris (Sinclair Daniel, Bull). Splitting them up just plays like a quest to lengthen the movie's duration — extra running time that isn't put to good use. This isn't a meaningful exploration of trauma's lingering impact, the current genre go-to, as much as it wants to be. Similarly, it doesn't cause Wilson or Simpkins to turn in anything but workmanlike performances, either. Plenty of horror franchises are resurrected with by-the-numbers instalments — that's become as much of a horror convention as constantly reviving spooky series again and again — but this is dispiritingly routine and repetitive, and also rarely even barely scary. It doesn't help that the better Insidious fare, aka the first two that sported Aquaman and Malignant's James Wan behind the camera, weren't ever exceptional. What they boasted was effectiveness in executing their bumps, capitalising upon their uneasy sights, slowly building their suspense and tension, and ramping up the unsettling atmosphere. Wan did start both the Insidious and Saw sagas with The Invisible Man's Leigh Whannell, and The Conjuring Universe solo. Whannell has penned every Insidious screenplay until now, and helmed 2015's Insidious: Chapter 3. The duo produces this time around, while Whannell came up with the story behind Teems' script. As a filmmaker, Wilson is happy to go through the motions rather than try much new. He's also fond of closeups, which might stem from spending the bulk of his career in front of the lens. As a horror veteran — on-screen, he's a mainstay of The Conjuring movies as well, as last seen in The Conjuring: The Devil Made Me Do It; he popped up in Annabelle Comes Home, the third feature in that series' spinoff series, too — he's reluctant to attempt to put a new stamp on one of his franchises. He knows where and how to sprinkle in unnerving figures and faces in the peripheries, and to elicit jumps, but only by sticking to the Insidious template. His best fright? It plays with and preys on medical anxiety, because anyone that's ever had an MRI has harboured fears about getting stuck in the claustrophobic machine — no forces from The Further needed. Although it also doesn't work, the biggest and most interesting swing that Wilson takes comes over the closing credits, when Insidious: The Red Door busts out a version of late-80s track 'Stay' by Shakespears Sister. Swedish metal band Ghost are behind the cover, and Wilson himself sings on it. That truly is something that no other Insidious chapter has offered. Wan and Whannell genuinely couldn't have foreseen inspiring it, unlike sparking a wave of post-Saw torture porn, or the many movies about sinister kids, jinxed items and paranormal investigations that the Insidious films have influenced. Still, that isn't what any Insidious chapter should be best known for, let alone justify keeping the franchise's hatch open — but sixth flick Thread: An Insidious Tale, which'll broaden out the Insidious Universe with Mandy Moore (This Is Us) and Kumail Nanjiani (Welcome to Chippendales) starring, plus Jeremy Slater (Moon Knight) writing and directing, is already in the works.
Think watching a movie under the stars is a summer activity? Think again. Braving the elements to catch a film in winter comes with its own rewards: snuggling up next to your nearest and dearest, enjoying the brisk night air and sipping hot mulled wine, for example. As part of the broader Bastille Festival, the Tallowoladah Lawn outside of the MCA will become a pop-up openair movie theatre again in 2023. That means settling in for a flick with a view not just of the screen, but vantages out over the Opera House and Sydney Harbour as well. Screening 11 sessions over four days between Thursday, July 13–Sunday, July 16 for $19 a ticket, Le Mulled Wine Cinema lets attendees get cosy in 100 chairs (with blankets, of course), and offers up a glass of mulled wine and some raclette to complete the outdoor film-watching experience. As for what you'll be watching, if the movies aren't French, they have ties to France in some way. Think: Wes Anderson's The French Dispatch, Sofia Coppola's Marie Antoinette, the Audrey Tatou-starring Amelie, Pixar's Ratatouille, Marion Cotillard's Oscar-winning performance in La Vie En Rose and La Famille Bélier, which was remade in the US as Academy Award Best Picture recipient CODA.
If you're a devourer of books and words, you can look forward to feasting on a hefty lineup of talks, workshops, panels and other literature-loving events when the Emerging Writers' Festival returns for 2023. While the days of all-digital instalments are behind us, the fest won't just be hosting a jam-packed program of IRL sessions — handily, especially for folks outside of Melbourne, a stack of them will also be accessible online. Running from Wednesday, June 14–Saturday, June 24, this year's edition has events for all varieties of lit-lover and writing enthusiast. Opening night features a session on truth telling by Naarm's Sofii Belling-Harding, Yaraan Bundle, Lay Maloney, Patrick Mercer and Elijah Money; the return of the National Writers' Conference will deliver a day of panels, workshops and pitching sessions; Voiceworks will celebrate its latest issue; and a dinner at Willows and Wine will get you sharing erotica prose and poetry. For fans of all things spooky, Scream Scenes will tell eerie tales with matching cinema projections at Thornbury Picture House. Sports writing, spoken word, writing TV, intergenerational stories, radical memoirs, the intersection of hip hop and literature: they all get their time to shine, too. You can also up your own writing skills with an array of masterclasses and workshops — and, for the online crowd, learn about digital ecologies, the ethics of drawing from real life, pitching, researching fiction, genre fiction and more.
Art and design market The Finders Keepers is returning for its pre-Christmas iteration, bringing shoppers the latest and greatest from its stellar lineup of Australia's most creative makers. The Eora edition is hitting Moore Park for the second weekend in December, taking over Hordern Pavilion from Friday, December 8–Sunday, December 10. Joining the creatively charged stalls is a tasty range of food and beverage offerings — all the makings of a prime day to get out, have a chat with artists and support the local creative industry. At the core of Finders Keepers is a focus on helping you discover and connect with the next wave of independent and emerging artisans. So, you can expect to find everything from jewellery, fashion and ceramics to leather goods and body products. Pick up colourful picnic rugs from Peek Neek, add to your summer headwear with Declan Byrne's Fry Baby hats, elevate your home cooking with Ziggy's Wild Foods and nab some adorable ceramics from Shelby Sherritt. While you shop you can also snack on food from Yulli's, Brooklyn Boy Bagels, Agape Organics, Emmys Gozleme, Sonoma Bakery and Merry Pops. Plus, there will be free coffee from Allpress Espresso, DJs soundtracking the weekend and a bar, so that you can browse with a drink in your hand. Images: Samee Lapham.
A Hottest 100 at this time of year? What a treat! Triple J's annual countdown is getting a second workout for 2023, thanks to a special iteration focusing entirely on the station's popular segment Like a Version. Over the years, the weekly segment has produced some iconic moments, from the previous Hottest 100-winning rendition of 'Elephant' by The Wiggles to Childish Gambino's take on 'So Into You' (which has amassed a mighty 41-million views on YouTube). These are the moments that the general public has poured over and selected their favourites from, the results of which will be rolled out from midday on Saturday, July 15. https://www.youtube.com/watch?v=1xLIcyWg3mg And, is it really a Hottest 100 countdown without a party? While the usual list is unveiled in peak summer shindig season, this collection of covers is equally an excuse to get together with some friends for a catch-up over the radio — just in winter this time. One venue that's getting in on the action and hosting a get-together is Public House Petersham, which will be broadcasting the countdown in its beer garden from number 100 all the way down to the winner. The Stanmore Road favourite is known for its parties, with one of Sydney's best beer gardens playing host to live music and DJs throughout the year. If you're on the hunt for a Hottest 100 party, head down from midday if you want to nab a spot and enjoy the full countdown, or roll in later in the arvo to listen to the top 20 with a craft beer or natty wine in hand.
Birds chirp, rainbows form and the sun shines a little brighter when the Sydney Dog Lovers Festival comes around. And in 2023, it's returning for another year of pats, licks and parades on the weekend of Saturday, August 26–Sunday, August 27. Once again, it'll take place at Sydney Showgrounds — and yes, the dedicated puppy cuddle zone is returning. The Sydney Dog Lovers Festival will see thousands of dedicated pooch fans celebrating the noble four-legged monarch of human companionship. There'll be dozens of furry friends available for adoption from dozens rescue groups across NSW in the adoption zone, where you can learn up on what's actually involved with the process. Plus, DockDogs will be back, featuring a competitive long jump and high jump for talented dogs who want to flop into a pool of water. Dogs, amiright? But hold up — you came here to cuddle pooches. We're getting there. Punters can make their way to the Pat-a-Pooch zone to cuddle up to a wide range of Australia's most loveable and popular breeds from puppy to adult dogs — we're talking uppity dachshunds to fluffball samoyeds. This has undeniably been the main attraction of previous year's events, and gives kitten cafes a run for their money. There's plenty more happening over the two days of furry friended fun, including appearances from celebrity vet Dr Katrina Warren. Not sure which type of pooch is perfect for you? Sign up to find your pawfect match, at sessions where you'll be paired with your ultimate dog breed. Already found your tail-waggin' soulmate? Get some expert tips on training, behaviour, first-aid and nutrition in handy seminars.
