Sometimes, your tastebuds crave something special. They hanker for the kind of dish you're not going to eat every day, aka a treat yo'self type of culinary experience. Here are three things that they probably demand in that situation: lobster, truffles and champagne. If that's your idea of an indulgent meal, Lobster & Co has you sorted between Tuesday, February 8–Friday, February 18, which is when it's popping up in Sydney at the ICC Forecourt in Darling Harbour. From 11am–3pm and 5–9pm daily, you'll only really find those three aforementioned items on the menu, too, because it's solely serving up lobster rolls with truffle fries and glasses of champagne. You'll pay $50 a pop for the food combo, which features a whole confit lobster tail sourced from The Geraldton Fishermans Coop in Western Australia, as served on a caramelised brioche bun with buttermilk fennel slaw, plus a side of parmesan truffle fries. As for the champers, that'll cost you $20 extra. Images: Karon Photography.
Four decades ago, the nephew of a famous film director took his first big-screen acting gig playing a character so minor, he didn't even get a name. Six years later, the star in question nabbed a Golden Globe nomination. Before the century was out, he won an Oscar. These days, he also has eight Razzie nominations, too. But if ever an actor has straddled the vast chasm between the ridiculous and sublime, it's the one and only, always-inimitable, ceaselessly fascinating Nicolas Cage. Cage has crooned Elvis songs for David Lynch, married Elvis's daughter in real life and acted opposite himself in Adaptation. He took to the skies with criminals in Con Air, named one of his sons after Superman, and starred into two of the worst Marvel-affiliated movies ever thanks to Ghost Rider and its sequel. The list goes on — and in his 40 years in the business, Nicolas Cage has amassed 100-plus screen credits. Sometimes, he's hunting down the person who stole his pet pig, and also turning in one of his best-ever performances. At other times, he's wordlessly fighting demonic animatronics. In his latest flick, he simply plays himself. We could continue, but everyone knows that talking about Nicolas Cage isn't anywhere near as great as watching Nicolas Cage, although both are mighty fun. Also, for some reason, it just feels better to use his entire name. Don't just take our word for it about any of the above, however — take Palace Cinemas', which is celebrating all things Cage across a 13-week retro season. Starting on Thursday, April 14, then running at 6.30pm every Friday from April 22–July 8, the chain's Palace Central venue is going all in on Nicolas Cage mania. As part of the Palace Encore program, this Cagefest has been dubbed the Calendar of Cage, and has amassed quite the showcase of Nicolas Cage's work. But, let's be honest — they really could've picked any of his flicks and it'd be amazing. Still, this is one peach of a lineup, all ready for fans to eat up for days. Attendees will get into the mood with the long-locked glory of newbie The Unbearable Weight of Massive Talent, then watch Cage think he's a bloodsucker in Vampire's Kiss, swoon over Cher in Moonstruck, get his Coen brothers on in madcap comedy Raising Arizona and go on the run with Laura Dern in Wild at Heart. Also included: jailbreak drama The Rock, unhinged thriller Mandy, and the sublime Martin Scorsese-helmed Bringing Out the Dead, plus the aforementioned Adaptation, Pig and Willy's Wonderland as well. Tickets cost $15 per film (and $10 for members) for all sessions except on Thursday, April 14 — which is when The Unbearable Weight of Massive Talent screens as a sneak peek with a beer on arrival, and costs $24/$18 for members. Obviously, the memories you'll have seared into your brain forever will be priceless. And a word of warning: spending this long staring at Nicolas Cage's various crazy grins won't be easy to shake.
Call this 'The One with Familiar But Still Exciting News': Friends! The Musical Parody is bringing its comedic, song-filled take on a certain 90s sitcom to Sydney in 2022. Yes, this announcement has been made before, and more than once. The show has even opened its umbrellas in some parts of the country already. But we all know how the past two years have turned out — so the fact that the production is doing the rounds again should still make your day, week, month and even this year. This time around, Friends! The Musical Parody will be there for audiences at Riverside Theatres in Parramatta from Friday, June 10–Saturday, June 18. So, get ready to spend time with the show's versions of Ross, Rachel, Chandler, Monica, Joey and Phoebe — hanging out at their beloved Central Perk, of course, and sitting on an orange couch, no doubt. The musical starts with caffeinated catch-ups, but then a runaway bride shakes up the gang's day. From there, you'll get to giggle through a loving, laugh-filled lampoon that both makes good-natured fun of and celebrates the iconic sitcom. Yes, no one told you that being obsessed with the Courteney Cox, Jennifer Aniston, Matthew Perry, Matt LeBlanc, Lisa Kudrow and David Schwimmer-starring show about six New Yorkers would turn out this way — with on-stage skits and gags, recreations of some of the series' best-known moments, and songs with titles such as 'How you Doin?' and 'We'll Always Be There For You'. And no, no one told us that being a Friends aficionado would continue to serve up so many chances to indulge our fandom 17 years after it finished airing, either.
Easter in Sydney doesn't just mean chocolate, hot cross buns and whatever other sweet treats the city's eateries happen to come up with at this time of year — it also means the Sydney Royal Easter Show. And, while you won't find the latter at El Camino Cantina's Tex-Mex joints around town, the chain is getting into the spirit of the event with its limited-edition margarita menu, which it has dubbed 'the Royal Rita Show'. For its latest batch of creative flavours, El Camino Cantina is serving up Jelly Belly, Warhead, Chupa Chup and Kinder Surprise margs. There are Trolli Lolli and Rainbow Nerd versions, too. Basically, it's the candy and booze combination you obviously didn't know you'd someday want when you were a kid. These lolly-flavoured ritas are on offer from Tuesday, April 5–Saturday, April 30, costing $20 for a 15-oz glass, $24 for the 20-oz size and $35 for a tasting paddle of four 220-millilitre glasses. And if you'd like to pair them with tacos, you'll find a Royal Rita Show food menu on offer as well; think tacos with popcorn chicken, chorizo and potato hash, slow-cooked barbecue brisket, and prawns with bacon. In Sydney, you'll find both the margs and tacos tempting your tastebuds at El Camino in The Rocks, Entertainment Quarter, Manly and Miranda.
Even just watching on from Sydney, the past week's catastrophic wet weather across northern New South Wales and Queensland has been impossible to ignore. It's been a lot to take in, actually, thanks to record rainfalls in Brisbane, relentless deluges hitting from the the two states, and floodwaters destroying homes and businesses. Accordingly, it might've left you wanting to do your part to help out. In Sydney, getting involved can include having a few drinks, all by throwing your support behind a fundraising effort by Surry Hills' Bar Suze. The late-night Sydney haunt is helping the flood-relief cause in two ways: in-person at a big wine-fuelled five-hour event on Sunday, March 6, and online via a raffle. You'll want to swing by Foveaux Street between 1–6pm to sip rare natural wines, mix them up with Poor Toms gin and tonics, and tuck into Bar Suze snacks. Whatever you choose to eat and drink, all of the proceeds will go to flood-relief funds for folks impacted by the weather in NSW and Queensland. At the event, the venue will also be drawing a raffle, with more than 25 prizes on offer — and all of the proceeds from the $50-each tickets will also go to the flood relief fundraising effort, too. Prizes include a dinner for two at Bar Suze, as well as a one-night stay at the soon-to-open Ace Hotel Sydney in Surry Hills, a two-evening trip to a Byron hinterlands retreat that sleeps 12 — and boasts its own saltwater pool and outdoor cinema — plus an In Bed linen set, hair salon vouchers, a Coffee Supreme subscription, and a bar tab at Redfern's The Woolpack. There are also prize packs on offer from DRNKS, Cocktail Porter, Pepe Saya Butter, Worktones and Lo-Fi Wines — and the list goes on. The raffle is open to everyone, and tickets can be bought online, too — so that's how you can get involved if you can't make it along on Sunday. You just need to get buying before 5pm AEST on Sunday, March 6, with the raffle drawn live at Bar Suze that evening. As for all of those proceeds, they're going to on-the-ground initiatives in the Northern Rivers and Queensland. At the time of writing, Bar Suze is supporting Flood Relief Cook Up — Northern Rivers region, Bundjalung flood relief and Northey Street City Farm flood relief — with more worth initiatives likely to be added. Images: Nikki To.
When Flee won the World Cinema Documentary Grand Jury Prize at the 2021 Sundance Film Festival, it collected its first accolade. The wrenchingly affecting animated documentary hasn't stopped notching up deserving acclaim since. A spate of other gongs have come its way, in fact, including a history-making trifecta of nominations for Best International Feature, Best Documentary and Best Animated Feature at this year's Oscars, becoming the first picture to ever earn nods in all three categories at once. Mere minutes into watching, it's easy to glean why this moving and compassionate movie keeps garnering awards and attention. Pairing animation with factual storytelling is still rare enough that it stands out, but that blend alone isn't what makes Flee special. Writer/director Jonas Poher Rasmussen (What He Did) has created one of the best instances of the combination yet — a feature that could only have the impact it does by spilling its contents in such a way, like Ari Folman's Waltz with Bashir before it — however, it's the tale he shares and the care with which he tells it that makes this something unshakeably exceptional. Rasmussen's subject is Amin Nawabi, an Afghan refugee using a pseudonym. As his story fills Flee's frames, it's also plain to see why it can only be told through animation. Indeed, the film doesn't cover an easy plight — or a unique one, sadly — but Rasmussen renders every detail not just with eye-catching imagery, but with visuals that flow with empathy at every moment. The filmmaker's protagonist is a friend of his and has been for decades, and yet no one, not even the director himself, had ever previously heard him step through the events that the movie chronicles. Amin is now in his 40s, but he was once a kid in war-torn Kabul, then a teenager seeking asylum in Copenhagen. His life to-date has cast him in other roles in other countries, too, on his journey to house-hunting with his boyfriend as he chats through the ups and downs for his pal. That path — via Russia and Sweden — is one of struggle and acceptance. It's a chronicle of displacement, losing one's foundations and searching for a space to be free. It's also an account of identities fractured and formed anew, and of grasping hold of one's culture and sexuality as well. Flee explores how global events and battling ideologies have a very real and tangible impact on those caught in their midst, a truth that the feature's hand-drawn look underscores at every turn. And, it's about trying to work out who you are when the building blocks of your life are so tenuous, and when being cast adrift from your family and traditions is your status quo. It's also an intimate portrait of how a past that's so intertwined with international politics, and with the Afghan civil war between US-backed rebels and the nation's Soviet-armed government, keeps leaving ripples. Plus, Flee examines how someone in its complicated situation endures without having a firm sense of home, including when acknowledging he's gay after growing up in a place where that wasn't even an option. Clearly, Flee is many vivid, touching, devastating things, and it finds an immense wealth of power in its expressive and humanistic approach. There's a hyperreality to the film's animation, honing in on precisely the specifics it needs to within each image and discarding anything superfluous. When a poster for Jean-Claude Van Damme's Bloodsport can be spied on Amin's 80s-era Kabul bedroom, for instance, Rasmussen draws viewers' eyes there with exacting purpose. There's impressionistic flair to Flee's adaptive style as well, with the movie firmly concerned with selecting the best way to visually represent how each remembered instance felt to Amin. A scene set to A-ha's 'Take on Me' presents a fantastic example, especially given that the Norwegian group's pop hit is famed for its animated music video — something that Rasmussen happily toys with. Flee uses its music cues bewitchingly well across its entire duration. The sounds of Swedish duo Roxette are never unwelcome echoing from screens large and small, as everything from Pretty Woman and Long Shot to Euphoria have capitalised upon, and the use of 'Joyride' during a plane trip is a sublime masterclass in emotional juxtaposition. And, when the movie lays bare its most stunning sequence in a club where Amin wholeheartedly embraces his sexuality, it's immaculately soundtracked to Daft Punk's 'Veridis Quo'. Flee isn't the first feature to lean on that particularly enchanting song to such strong effect, after Eden did as well, but the tune's use here is nothing short of divine. Of course, any movie can whip up a killer soundtrack, but it's how these songs are deployed to so perfectly encapsulate exact slices of Amin's life that's repeatedly phenomenal. We all listen to music to help us process the world, and our traumas. We're all drawn to images to aid in doing the same, and we each have recollections of life-changing events that are tied to pop culture — the songs we heard, the movies we loved and the like. Flee is as skilful as films come at conveying this sensation, which is a coming-of-age staple. Yes, that's another genre that this animated documentary biography, which boasts actors Riz Ahmed (Sound of Metal) and Nikolaj Coster-Waldau (Game of Thrones) among its executive producers, also slots into commandingly. How astoundingly it achieves everything it sets its mind to is breathtaking, especially the feat that it its number-one aim: giving Amin's plight the attention, justice, respect and room to resound that it deserves, all while making it clear that this is just one of countless refugee stories with similar complexity. Evocative from its first glimpses to its last (including when it weaves in IRL footage from news clips and protests), Flee overflows with individual successes, be it scenes that glow with potency, animation choices that express a world of feeling, pitch-perfect needle drops or the pure details of Amin's life. Every description they earn applies to each second of this poignant and shattering feature, too, which manages something truly extraordinary overall. To peer into Amin's eyes, as painted here with nothing but lines, shapes, colours and pixels, is to feel like you're staring deeply at the flesh-and-blood Amin. Flee takes us home to him, while mirroring the reality that home has been a constantly shifting concept for its subject, and for everyone else who has shared even part of his journey. No wonder this film proves so innovative, sincere, heartbreaking, harrowing and poetic in tandem, and also simply astonishing.
Yirrkala artist Naminapu Maymuru-White has brought her captivating style of painting and love of the arts to her first solo exhibition since 2007. Coming from a strong family of Yolŋu artists, Maymuru-White has made waves for decades by presenting the artistic methods of the Yirrkala community while carving out her own way of expressing herself. Now open at free Zetland gallery Sullivan+Strumpf, Milngiyawuy—The River of Heaven and Earth unveils a significant body of work from Maymuru-White featuring 26 individual pieces taking up both floors of the exhibition space. Included in the exhibition are larrakitj (memorial poles), bark paintings and the acclaimed artist's largest work to date, spanning 2.5 square metres. The pieces displayed tell stories of the Milky Way and its spirits. The stars in the works represent souls of two Guwak men and Maymuru-White's ancestors past, present and future. Milngiyawuy, The River of Heaven and Earth is running until Saturday, March 12 and entry is free. The Sullivan+ Stumpf gallery is open 10am–5pm Tuesday–Saturday. If you can't make it to the gallery, you can also view the exhibition on the gallery's website. Top image courtesy the artist, Buku-Larrnggay Mulka, Yirrkala and Sullivan + Strumpf
Five Sydneysiders are in for a treat each Wednesday this month, with Hendrick's Gin's new Cucumber Concierge hotline helping juniper enthusiasts craft a cucumber-garnished gin and tonic at home. On each Wednesday in March between 4–5pm, gin lovers in one Sydney area can call the hotline — 1800 HG CUKE — for their shot at Hendrick's latest giveaway. The first five callers will speak with Hendrick's Chief Cucumber Officer (yes, that's a thing) and receive a free crate of cucumbers and Henrick's Gin delivered to their location. Hendrick's Gin hopes that their first ever end-of-summer Gin O'Clock promotion will help Sydney residents craft their own gin and tonics at home complete with a garnish of fresh cucumber, which they say is imperative to sipping Hendrick's Gin. The program began on Wednesday, March 9, and will continue on March 16 for Sydneysiders from Milsons Point to Oxford Falls, Dee Why and Manly. Gin O'Clock will then move to the northwest suburbs (from Ryde to Davidson and Hunters Hill) on March 23, and finally end with areas within Pyrmont, over to Earlwood, North Strathfield and Balmain, on March 30.
Greenery is the new objet d'art, so get ready to redecorate. For two days only, designer garden pot company The Balcony Garden is giving you the perfect excuse to spruce up your plant-scape with a massive online sale. For just the second time, the purveyor of handmade plant pots (which is also 100-percent carbon neutral) will be holding a virtual warehouse sale. From the comfort of your own home, you can score between 50- to 90-percent off a huge range of designer pots and planters that will only be available via the sale website. Once you've nabbed your bargain, you'll need to book a time to pick up your goods from the Frenchs Forest warehouse between 7–18 March. No lines, no masks, no worries. The sale kicks off at 8am on Thursday, March 3 and ends at 10pm on Friday, March 4, so make sure you don't miss out. To get your next plant pot bargain, head to the The Balcony Garden's Virtual Warehouse Sale website. Keep up to date with all things The Balcony Garden via Instagram.
Summer is here and despite the wetter than usual weather, there are still plenty of sunny afternoons primed for soaking up some rays with a refreshing beverage in hand. All of the above combines at the latest iteration of Opera Bar's Rose All Day Festival, returning after a few years off and running until March 6. Throughout the now-extended festival, the harbourside bar with an incredible view of the Bridge will be thinking and drinking pink. Expect frosé, spritzes, pét-nat, cocktails and rosé still and sparkling, with varieties from Provence's AIX, Mojo, Days & Daze, Bandini and Nick Spencer all on offer. Opera Bar's seafood and pizza-focused menu will be on offer to pair with your pink fizzy beverages, and live music will be popping up across the ten days. Tickets cost $30, and include three pink drinks for you to claim at any point. After that, you'll have to purchase your drinks as you go.
What's more believable — and plot twists follow: a pre-teen playing a 33-year-old woman pretending to be a nine-year-old orphan, with a hormone disorder explaining the character's eerily youthful appearance; or an adult playing a 31-year-old woman pretending to be a lost child returned at age nine, again with that medical condition making everyone else oblivious? For viewers of 2009's Orphan and its 13-years-later follow-up Orphan: First Kill, which is a prequel, neither are particularly credible to witness. But the first film delivered its age trickery as an off-kilter final-act reveal, as paired with a phenomenal performance by then 12-year-old Isabelle Fuhrman in the pivotal role. Audiences bought the big shift — or remembered it, at least — because Fuhrman was so creepy and so committed to the bit, and because it suited the OTT horror-thriller. This time, that wild revelation is old news, but that doesn't stop Orphan: First Kill from leaning on the same two key pillars: an out-there turn of events and fervent portrayals. Fuhrman (The Novice) returns as Esther, the Estonian adult who posed as a parentless Russian girl in the initial feature. In Orphan: First Kill, she's introduced as Leena Klammer, the most dangerous resident at the Saarne Institute mental hospital. The prequel's first sighted kill comes early, as a means of escape. The second follows swiftly, because the film needs to get its central figure to the US. Fans of the previous picture will recall that Esther already had a troubled history when she was adopted and started wreaking the movie's main havoc, involving the family that brought her to America — and her time with that brood, aka wealthy Connecticut-based artist Allen Albright (Rossif Sutherland, Possessor), his gala-hosting wife Tricia (Julia Stiles, Hustlers) and their teen son Gunnar (Matthew Finlan, My Fake Boyfriend), is this flick's focus. Like their counterparts in Orphan, the Albrights have suffered a loss and are struggling to move on. When Leena poses as their missing daughter Esther, Allen especially seems like his old self again. As also happened in Orphan, however, the pigtail- and ribbon-wearing new addition to their home doesn't settle in smoothly. Orphan: First Kill repeats the original movie's greatest hits, including the arty doting dad, the wary brother, taunts labelling Esther a freak and a thorny relationship with her mum. Also covered: suspicious external parties, bathroom tantrums, swearing to get attention and spying on her parents having sex. And yes, anyone who has seen Orphan knows how this all turns out, and that it leads to the above again in Orphan, too. Thankfully, that's only part of Orphan: First Kill's narrative. Twists can be curious narrative tools; sometimes they're inspired, sometimes they're a crutch propping up a flimsy screenplay, and sometimes they seesaw between both. Orphan: First Kill tumbles gleefully into the latter category, thanks to a revelation midway that's patently ridiculous — although no more ridiculous than Orphan earning a follow-up in the first place — and also among the best things about the movie. It's a big risk, making a film that's initially so laughably formulaic that it just seems lazy, then letting a sudden switch completely change the game, the tone and the audience's perception of what's transpired so far. That proved a charm for the thoroughly unrelated Malignant in 2021, and it's a gamble that filmmaker William Brent Bell (The Boy and Brahms: The Boy II) and screenwriter David Coggeshall (Scream: The TV Series) take. Working with a story by David Leslie Johnson-McGoldrick (The Conjuring: The Devil Made Me Do It) and Alex Mace (who earned the same credit on the original), it's one of their savviest choices. Another crucial decision that would've shattered the film had it gone the other way: getting Fuhrman back. Given she's now definitely an adult, it's downright preposterous to buy her as passing for nine, Lizzie Borden dresses and all — but with the jig already up for viewers before this flick even begins, that visible discrepancy adds another sinister layer to everything Esther gets up to. Yes, Bell and cinematographer Karim Hussain (Firestarter) are toying with everyone watching just like their evil protagonist does, not only with the Albrights but with unconvinced Detective Donnan (Hiro Kanagawa, Pachinko) and doubtful Dr Segar (Samantha Walkes, Murdoch Mysteries) as well. Fuhrman makes you want to go along with the gambit; she's again a force to be reckoned with as the malevolent, manipulative miniature psychopath, playing her part with equal parts steely determination and calm-faced derangement, and with the help of camera angles and practical effects to keep up the act. Bell knows that Orphan's twist is now as familiar as those in The Sixth Sense, The Planet of the Apes and Soylent Green. He also knows that Orphan is more famous for how it ends than being a genre standout otherwise, which it isn't. And, he knows that viewers are aware that Fuhrman is now an adult portraying an adult impersonating a child, rather than a child portraying a woman professing to be a kid. That also works emotionally for Orphan: First Kill, laying the groundwork for its own change of direction. In Orphan, Esther always resembles a brattish girl, even when she drops her disguise, and sympathising with her adoptive mother's anguish comes easily. Here, she's clearly an adult, and wondering why her ruse seems to work so smoothly also comes with the territory. Orphan didn't just boast one big performance, of course, and neither does Orphan: First Kill. More Julia Stiles in all things is always welcome, including when she's dealing with demonic tykes as she also did in The Omen remake. The twist she's saddled with here is inescapably silly, but Stiles has a glorious amount of fun with it — and helps answer the question that hangs over the film's first half (that'd be "why is Julia Stiles in this?"). She isn't quite enough to justify Orphan: First Kill's existence, and nor is Fuhrman repeating her first big success, the new surprise development that the whole picture hinges on, all the callbacks or the whole origin-story vibe. The world didn't really need to know why Esther likes blacklight paintings or where she first got her ribbons, which adds zero depth to the franchise. Attempting to evoke empathy for the murder-happy figure doesn't strike the chord it's meant to, either. But that revelation is still worth discovering, and Fuhrman and Stiles' performances are still worth watching, in a movie that knows it's a lurid and needless second effort — and happily leans in.
It's hard to pick which is more horrifying in Happening: the graphic scenes where 23-year-old literature student Anne Duchesne (Anamaria Vartolomei, How to Be a Good Wife) takes the only steps she can to try to regain control of her life, or the times she's repeatedly told by others, typically men, to accept a fate that only ever awaits her gender. Both hit like a punch, by design. Both are wrenching, heart and gut alike, and neither are surprising for a second. Also leaving a mark: that few care that Anne's future is now threatened in this 2021 Venice Film Festival Golden Lion-winner, because that's simply a consequence of having sex for women in France in 1963, the movie's setting. There's another truth that lingers over this adaptation of author Annie Ernaux's 2001 memoir of the same name, which uses her own experiences at the same age, time and in the same situation: that in parts of the world where pro-life perspectives are entrenched in law or regaining prominence, Happening's scenario isn't a relic of the past. Late in the movie, Anne describes her circumstances as "that illness that turns French women into housewives". It's a blunt turn of phrase, but it's accurate. It also speaks to how writer/director Audrey Diwan (Losing It) and co-scribe Marcia Romano (Bye Bye Morons) approach the film with the clearest of eyes, declining to indulge the idea that forcing unwanted motherhood upon young women is a gift or simply a duty, and likewise refusing to flinch from showing the reality when the personal freedom to choose is stripped away. This is a feature made with the fullest of hearts, too, compassion evident in every boxed-in Academy ratio frame that rarely leaves Anne's face. It spies the appalling options before her, and sees the society that's okay with stealing her choices. And, it stares deeply at both the pain and determination that've understandably taken up residence in Anne's gaze. The second of Ernaux's works to hit screens of late after the also candid and moving Simple Passion, Happening begins with hope, with Anne and her Angoulême college dormmates Hélène (Luàna Bajrami, The Hill Where Lionesses Roar) and Brigitte (Louise Orry-Diquéro, Occidental) getting ready for a dance. They're filled with the excitement that comes with believing anything could happen — there's fun to be had, men to meet and lives to be changed — but, once there, it's obvious that these kinds of nights always follow the same pattern. Their university's resident mean girls glare on in judgement when Anne even talks to a guy, but she doesn't let that stop her. She isn't one to weather their bullying, gossip and slut-shaming, including once she discovers she's expecting three weeks after a casual fling. The only thing that terrifies the ambitious and bright working-class student: losing the ability to live the life that she's been working towards. The alternative is highly illegal, so much so that securing help from medical professionals, friends and family is overwhelmingly difficult. Delivering the surprising pregnancy news, Anne's family doctor (Fabrizio Rongione, Azor) is sympathetic to the stark scenario facing his patient, knowing the stigma that'll come her way for being an unwed single mother, and that her dreams of teaching will be derailed. Still, given that prison is the punishment for illicit terminations, he shuts down any notion of lending a hand. Even chatting about abortion hypothetically with Hélène and Brigitte before they know she's with child earns the same dismissive response. The baby's father (Julien Frison, Lover for a Day), a visiting student, just wants the situation handled, and asking a flirtatious classmate (Kacey Mottet Klein, Farewell to the Night) for assistance just ends with him hitting on Anne; she's already pregnant so he figures she'll be up for it and there'll be no consequences. Diwan's film is patient and precise as it marks the passing time with text on-screen, each successive week making Anne's situation more precarious and her hopes of avoiding parenthood less likely. It's a straightforward touch, but such overt tracking helps achieve Happening's key aim: immersing viewers in Anne's distressing emotional, physical and psychological rollercoaster ride. She knows what she wants, and what she definitely doesn't. As weeks flit by, though, and every potential avenue for support either crumbles or deepens her struggle, the ordeal takes its toll. Anne persists, searching for acquaintances of friends of friends who can guide her in the right direction in whispers, and Happening is committed to depicting the loneliness, hurt and despair that follows. Whether involving injections, knitting needles, secret procedures and stifled anguished cries, or just the grim tenor of her words and posture, the result is harrowing and unsettling. Vartolomei's on-screen credits date back more than a decade, but this is a career-catapulting performance — and film-defining. She's saddled with a mammoth task, with cinematographer Laurent Tangy (OSS 117: From Africa with Love) rarely peering elsewhere, and she ensures that every feeling coursing through Anne's veins reverberates through the lens. Vartolomei is furious, agitated and panicked all at once. She's resolute and resourceful as well, and also frightened and exhausted. Her inner state gets its own echo in the mood-setting score by Evgueni and Sacha Galperine, who also made 2021 TV miniseries Scenes From a Marriage sting with tension, but she'd leave the same heartbreaking impression if Happening didn't feature a note of music. And while her portrayal is all her own, it's as instinctual as the last exceptional performance in the last phenomenal award-winning drama about abortion, aka Sidney Flanigan's in 2020's Never Rarely Sometimes Always. It doesn't escape attention that Diwan almost plays it coy with period details; if you didn't know going in that Happening is set in the 60s, it isn't quick to point it out. The fashion nods that way — in having Anne frequently seen in the same dusty red top, the film also uses costuming to convey her modest background and urgent focus on much more important things than clothing — and there's a clear lack of phones, of course. Expressing that this type of tale still rings true today is another of the movie's objectives, however, and it's as compelling a move as Diwan makes. Happening is haunting and shattering, immaculately crafted, unwavering in its honesty, and as confronting as it needs to be, and it wields all of the above with passion and purpose. And yes, picking what's more horrendous — Anne's many physical traumas, or the contempt that women are held in for having uteruses, liking sex and seeking agency over their futures — is impossible.
When Australia's last Blockbuster store closed its doors back in 2019, it marked the end of an era — especially if you spent your childhood and teenage years trawling through racks of VHS tapes, renting as big a stack as you could carry, then gluing your eyes to the TV every weekend. Every Aussie city also has its own stories about losing beloved independent video shops and, if you're still a fan of physical media in the streaming era, you might even have a few ex-rental bargains from closed-down stores sitting on your shelves at home. It's these fond feelings for a part of life that's now gone that live cinema performance Coil aims to tap into, all while paying tribute to all the long-lost spots that once celebrated and nurtured cinephilia. Video stores were more than just places to rent tapes — they were havens of filmic discovery, sources of inspiration and thriving local communities — and that's all baked into this production. Coil made its world premiere at this year's Mona Foma, then hit up PACT in Erskineville in February — and now it's playing the Sydney Opera House. Head along from Wednesday, June 8–Saturday, June 11 to see the latest work from re:group, a collective of artists based between Hobart, Wollongong and Sydney, with Coil staging its show in a set that recreates a 90s-era video shop. The focus: telling a tale of nostalgia, loneliness, friendship and viability that pays homage to those gone-but-not-forgotten spaces and celebrates the communities forged within them. It's a performance designed to ponder questions — including what we've lost now that we browse online sites for flicks instead of physically walking the aisles. And if you're wondering how a live cinema performance with a one-person cast works, Coil takes place live on stage before its audience, but deploys video design that lets its lone performer play every character in cinematic scenes. You'll be watching all of that happen, with the show combining verbatim interview material with real-time filmmaking — all to make the kind of performance that you definitely won't see on streaming. Images: Rosie Hastie.
From a feminism-inspired ceramic car to a parcel made of pottery, The Powerhouse Museum's Clay Dynasty will show you all you need to know about Australia's recent ceramic history. Featuring over 400 objects by 160 different artists, the Powerhouse Museum's Clay Dynasty exhibition is a comprehensive look at the museum's extensive ceramics collection. The first major exhibition to celebrate the evolution of Australian studio ceramics, the exhibit features contemporary pieces, as well as works from more than 50 years of pottery history. This exhibition includes 70 new works of Australian pottery, including for the first time ever a collection of pottery made by Indigenous makers in the late 1960s at the Bagot pottery in Darwin. There are no bookings required and the exhibit is free to explore. Clay Dynasty sits alongside other Powerhouse offerings like Eucalyptusdom, which creatively examines Australia's relationship and history with Eucalyptus, and the museum's Electric Keys exhibit showcasing their 22-instrument strong keyboard collection. Clay Dynasty is running at the Powerhouse for the entirety of 2022, with the pottery being packed away on January 29, 2023.
Can you think of a better Sunday than being surrounded by some adorable greyhounds, enjoying a couple of top-notch craft beers and raising money for a good cause? Yulli's Brews is bringing together oh-so-many of our favourite things on Sunday, May 29 for the Greyt Masters Art and Ales auction. A bunch of super adorable greyhounds from Greyhound Rescue have all put their creative hats on and painted some colourful artworks that are being auctioned off to raise money and some much-needed funds for the organisation which rescues, helps rehabilitate and re-home greyhounds from the racing industry. "Greyhounds are invited to participate in creating artworks as a form of enrichment. Enrichment activities are excellent to help rescued hounds develop confidence and decision-making skills," Greyhound Rescue states on its website. The live auction will be happening at Yulli's Alexandria brewery from 2pm. Yulli's wide range of craft brews will be on hand at the brewery, and the pups will also be in attendance for some much-deserved pats and cuddles. If you can't make it on the day, you can bid online for your favourite greyhound-made masterpiece.
Throughout June, Circular Quay gig haven Mary's Underground will be hosting a series of three boundary-pushing and immersive music experiences. The Going Under series will see lineups curated by GLO, Deepa and Ayebatonye deconstruct their experiences of Sydney through music and performance. Each event will take over the underground venue for one Thursday in June, all during the return of Sydney's lights and arts festival Vivid Sydney. The series kicks off on Thursday, June 2 with Planet Abundance, a night celebrating afro-futurism and Black joy from Ayebatonye and friends. The renowned DJ, producer and creative director of Irregular Fit will be joined by Astronafrica, CMJ, Gerald Wala, Jane and Sam Alfred. Expect sets void of genre that celebrate the Black history of dance music. On Thursday, June 9, GLO will lead the charge with Cultural Re-Set. Across the night's four performances, the lineup featuring Pookie, Temgazi and Sevy, exploring black diasporic experiences through storytelling and music spanning R'n'B, pop, hip hop and dance. Closing out the series, FBi Radio favourite and Honey Point member Deepa will be heading up a night that celebrates South Asian communities and musicians with a huge lineup of local party starters featuring Uncle Kal, Ramashon, Cinnamonkween, Gayatrigger and two back-to-back set from Nausheen and Randev, as well as DJ Mistry and Rakish, Scalymoth. Each event has a different ticket pricing system, starting as low as $18. Head to the Mary's Underground website for all the details on each of the Going Under events.
Keen to get your culture kicks after dark? Want to welcome the weekend with incredible art, live DJ sets, creative workshops and front row-seats to Vivid Sydney? At the Museum of Contemporary Art, you can do all that via its MCA Late program. The best bit? It's free to enter. MCA Late will take place on Fridays throughout June, with a fresh lineup of acts popping up at the beloved cultural institution. The Sounds on the Terrace music program will take over the rooftop with an impressive lineup of musicians including Handsome, Astronafrica and Narae who'll be bringing blissful beats to the breezy sky-high stage. It's not just music that you can enjoy — there are workshops, panel discussions and live performances aplenty, too. You can catch a spoken word and musical performance by Ayeesha Ash and a dance performance by Suara Indonesia Dance Group at the venue on June 17. Want to get your hands dirty? Try a clay-based workshop led by Ebony Russell on June 24. Here, you'll use plaster casts to create 3D constructions inspired by Mason Kimber's work in the MCA Collection: Perspectives on place exhibition. Then, you can take home for firing or deconstruct them for future clay exploration. Keen to head along? Make sure you book your tickets to secure your spot. Love a thought-provoking talk? Join Amy Claire Mills, Sue Jo Wright and Eugenie Lee for an artist panel discussion on June 17 or catch an artist talk with Bonita Ely on June 24. [caption id="attachment_857046" align="alignnone" width="1920"] Chela, MCA Late: Sounds on the Terrace, 21 May 2022, photograph: Joseph Mayers[/caption] While you're there, check out MCA Collection: Perspectives on place or discover something new at the visiting exhibitions. MCA Late is the ideal way for culture lovers to welcome the weekend. For more information and to check out the full program, visit the website. Top images: Emuri, MCA Late: Sounds on the Terrace, 27 May 2022, photograph: Lexi Laphor; Muggera, MCA Late, 8 April 2022, photograph: Ash Penin; Violin performance by Skye Mc Nicol, MCA Late, 2022, photograph: David Collins; The role of the artist in public life: A panel discussion presented as part of the UK/Australia Season, MCA Late, 2022, photograph: David Collins; Tactile Workshop: Working with clay led by Ebony Russell, MCA Late, 2022, photograph: Joseph Mayers; and Queer PowerPoint, MCA Late, 15 May 2022, photograph: Ash Penin.
Talented pooches have been barking their way to big screen stardom since the birth of the medium, and Cannes Film Festival even gives out awards for ace pupper performances. In Australia for a few years now, we also celebrate the intersection of canines and cinema — via our very own dog-themed movie showcase. At the Top Dog Film Festival, doggos and puppers cement their status as humanity's favourite film stars in a touring program of pooch-centric shorts. For more than two hours, dogs will leap across screens in a curated selection of heartwarming flicks about humanity's best friend. Over the last few years, the lineup has included films about dog-powered sports, dogs in space, dogs hiking through the desert, senior dogs and more. The festival hits Sydney's Hayden Orpheum Picture Palace on Sunday, August 14 and Ritz Cinemas in Randwick on Sunday, August 21 as part of its 2022 run, and rushing after tickets the way your best four-legged friend rushes after a frisbee is recommended. Given how much we all love watching dog videos online, not to mention attending pupper-centric shindigs in general, this event is certain to be popular. You'd be barking mad to miss it, obviously.
The month-long foodie festival Taste of the Beaches has returned this year, encouraging Sydneysiders to eat, sip and be merry by the beach. For the whole month of May — kicking off on Saturday, April 30 — the entire northern beaches region is getting in on the action, spanning an exciting array of restaurants, cafes and food outlets in the area. The lineup includes pop-ups on the sand, food truck parties and craft brews, as well as a whole heap of different dining experiences, which means that Sydneysiders can choose their own path through the multi-suburb event. Be sure not to miss the Food Truck Party at Winnererremy Bay which will be happening only once on Saturday, May 21. Grab some mates and a picnic blanket and enjoy some delicious eats from an amazing range of local food trucks. Also on the agenda, Manly Oval will be looking a little different on May 28-29 with the Taste of Manly taking place. This event will bring together all your favourite local Northern Beaches restaurants, cafes, brewers, distilleries and wineries in one spot. Plus, you will get to check out local talent with live music setting the vibe. And, from the list of special dining options, you can head to The Cumberland for an organic l'artican raclette night, and taste your way through five regions of Italy at Pizza at Yours. Head to Market Lane for paella and mulled wine at Spanish Sunsets, learn how to make your own non-alcoholic cocktail at Seadrift Distillery and sample some hot wings and tins at the Tinnie Masterclass.
Diehard gin lovers had best gather round because the Sydney Gin Festival is back again. From Friday, October 28–Sunday, October 30, 62 of Australia's biggest names in the craft gin distillery world are transforming the WINX Stand at Royal Randwick into a gin-sipping fiesta. Each will be serving up their own suite of signature tipples, so expect plenty of local creations infused with native botanicals, and locally-sourced fruits and berries. Purists can also get their hands on classic dry gins, but hey, you've come to the festival to discover something new — why not challenge your juniper-loving pallet a little? Don't miss the likes of newcomers Hickson House in the Rocks, Prohibition Liquor Co, Kangaroo Island distillery, Cape Byron and Barossa Distilling, as well as much-loved award-winners including Archie Rose, Turner Stillhouse and Never Never Distilling. Of course, you won't have to drink all this gin straight. All G&Ts sampled at the event can be paired with tonic mixers or soda from Long Rays. Guests will also score a tote bag and their own tasting glass included in the ticket price. The Sydney Gin Festival runs October 28 (5.30–8.30pm), October 29 (5.30–8.30pm) and October 30 (12–3pm). Tickets are $70 a session with special four-ticket bundles available for $120.
Every March, 18 AFL teams dream of one thing: holding the men's premiership cup high on the last Saturday in September. Every Aussie Rules fan knows the reality, however. Only one club can win the season's final match, and only two can hit the turf to contest it. In 2022, those two teams are Sydney and Geelong. Maybe you love the Harbour City's hometown favourites. Perhaps you despise their opposition. You could be hurting because one of them just knocked your club out of the finals race or, somehow, the two teams might be among the clubs you neither adore nor hate. Whichever applies, if you're an AFL fan then you'll be watching the Swans and Cats battle it out for men's competition's ultimate piece of AFL silverware — and you can now do so on the silver screen. Big game, big screen: that's the plan at the Randwick Ritz, and it's kicking goals. If you can't be at the game itself, where else was going to do Buddy Franklin justice? Even better: entry is free, although you do need to book a spot. The session kicks off at 2pm on Saturday, September 24, and you'll require your wallet for whatever you want to eat and drink. Choc tops with the footy? Why not. Top image: Jenks24 via Wikimedia Commons.
Attention parents: while it might feel like the last school holidays just finished, we're here to inform you that they're fast approaching once again, meaning it's time to start thinking up ways to entertain the little ones. Although a break in the school-run routine is always welcomed, all those hours usually headlined by a teacher now have to be filled. Maybe you can't take work off, maybe you need a child-free day or maybe you just want to find an activity your mini will be sure to have a ball at — or in this case, throw a ball at. Don't worry, we're here to help. This spring, a stacked lineup of activities will be running at Sydney's Olympic Park ready to turn your little athletes into Olympic hopefuls — or perhaps just help them blow off some steam. From Saturday, September 24–Sunday, October 9, your school-aged children can attend sporty sessions at the Quaycentre, Aquatic Centre and Archery Centre. If they're always shooting, kicking and bouncing a ball around the house, save your ceramics by giving them an outlet. Do they think they're the next Ben Simmons or Patty Mills? Let them work toward their NBA dreams at My Hoops, where they'll run through skill development, drills and games run by none other NBL champion and former professional basketballer Bruce Bolden. Paige Hadley, Australian Diamond and Sydney Swifts netballer, will have young sights set on becoming quick-footed WAs or deftly defensive GKs over the afternoon Captain's Class session. Meanwhile, Hot Shots keeps it up top with a full-day table tennis program. Want to get the whole family swim-safe ahead of summer? Get their confidence in the water skyrocketing with the Swimming Intensive Program. If you're looking for options out of the pool, then the All-Day Holiday Recreational Program delivers exactly what it says on the tin: recreation all day in the Splasher's Playground, with activities including AFL, tee-ball, cricket and arts and crafts. And if you've always dreamed of being the next Katniss Everdeen, grab the whole family and book in for a Sharp Shooters session, which is available for all ages — parents and grandparents are more welcome for a fun family day out. If the kids are more set on running wild than engaging in lessons these school holidays, we don't blame them. Let them battle it out during a Laser Tag session, where they'll plot with their teammates, hide behind blockade bunkers and walls, and aim to defeat the opposing team in thrilling battles. While you're more than welcome to watch, we're guessing you might need a few hours to yourself — so make the most of the many cafes, bars and restaurants nearby. After all, you're safe in the knowledge your little ones will be fully supervised the whole time, so you can enjoy a latte and magazine in peace. Bookings are now open for the spring school holidays program at Sydney Olympic Park. Head to the website to check out the full lineup of activities and book your child a spot.
Cinephiles of Sydney, choose your soundtrack: at the 11th Antenna Documentary Film Festival, are you going to get Australian punk tunes stuck in your head or Italo disco? Docos about both are on the bill, as part of a wide-ranging lineup that spans 52 titles, all showcasing the possibilities of factual filmmaking. Antenna has already held a festival in 2022, its tenth back in February; however, usually it's an October affair. Because the past couple of years have thrown that schedule out of balance with lockdowns, restrictions and the like, the event is doubling up to get back on schedule. Yes, homegrown doco Age of Rage: The Australian Punk Revolution, plus the Aussie premiere of Italo Disco: the Sparkling Sound of the 80s, are among the highlights. There's no shortage of viewing options between Friday, October 14–Sunday, October 23 — or places to get the fest experience, with Antenna popping up at Dendy Newtown, Palace Chauvel, Palace Verona, MCA Australia, Powerhouse Museum, the Ritz in Randwick and Event Cinemas Parramatta. The fest is also bringing back its day-long industry chat about the medium, which'll cover topics such as streaming's impact upon feature-length documentaries and the use of deep-fake technology. The overall theme, as it is in every iteration of the fest: that there's really nothing quite like a true story, whether it's a wild, chaotic, so-strange-it-can-only-be-true kind of tale or an informative, eye-opening yarn. For this festival run, Antenna is making that plain with titles such as opening night's Retrograde, which hails from Academy Award-nominated filmmaker Matthew Heineman (Cartel Land, City of Ghosts) and captures the situation on the ground in Afghanistan as American troops pull out. Or, there's Fairytale by Russian Ark filmmaker Alexander Sokurov, which uses deepfake archival footage to imagines a reunion in purgatory between Hitler, Stalin, Churchill and Mussolini. Other standouts include Chilean effort My Imaginary Country, which looks at the Santiago uprising of 2019; Outside, about Roma, who became the poster boy of the Ukrainian revolution as a 13 year old; McEnroe, with the tennis player himself stepping through his career; and 107 Mothers, which tells the tales of 107 incarcerated women. Or, there's Senses of Cinema, about film movements challenging the mainstream in Australia's history; Riotsville USA, focusing on the fictional town built by the US military back in the 60s to use a training ground; Last Stop Before Chocolate Mountain, which surveys California's Bombay Beach; and How to Save a Dead Friend, about teens in Russia. Plus, The Hole heads into the Bifurto Abyss in Southern Italy, which was once considered the deepest cave on Earth, and Blue Island explores Hong Kong after its 2020 national security law. And, likely not for the squeamish, De Humani Corporis Fabrica sees filmmakers Lucien Castaing-Taylor and Verena Paravel (Caniba, Leviathan) use microscopic cameras, X-rays, ultrasounds and endoscopic images to take a deep look inside the human body.
Defiant, powerful and passionate at every turn, Muru depicts a relentless police raid on New Zealand's Rūātoki community. Equally alive with anger, the Aotearoan action-thriller and drama shows law enforcement storming into the district to apprehend what's incorrectly deemed a terrorist cell, but is actually activist and artist Tāme Iti — playing himself — and his fellow Tūhoe people. If October 2007 springs to mind while watching, it's meant to. Written and directed by Poi E: The Story of Our Song and Mt Zion filmmaker Tearepa Kahi, this isn't a mere dramatisation of well-known events, however. There's a reason that Muru begins by stamping its purpose on the screen, and its whole rationale for existing: "this film is not a recreation… it is a response". That the feature's name is also taken from a Māori process of redressing transgressions is both telling and fitting as well. Kahi's film is indeed a reaction, a reply, a counter — and a way of processing past wrongs. In a fashion, it's Sir Isaac Newton's third law of motion turned into cinema, because a spate of instances across New Zealand over a century-plus has sparked this on-screen answer. Muru's script draws from 15 years back; also from the police shooting of Steven Wallace in Waitara in 2000 before that; and from the arrest of Rua Kēnana in Maungapōhatu even further ago, in 1916. While the movie finds inspiration in the screenplay Toa by Jason Nathan beyond those real-life events, it's always in dialogue with things that truly happened, and not just once, and not only recently. If every action causes an opposite reaction, Muru is Kahi's way of sifting through, rallying against and fighting back after too many occasions where the long arm of the NZ law, and of colonialism, has overreached. Played by Cliff Curtis (Reminiscence) with the brand of command that he's long been known for — and with the unshakeable presence that's served him through everything from The Piano, Once Were Warriors and Whale Rider through to The Dark Horse, Fear the Walking Dead and Doctor Sleep — Police Sergeant 'Taffy' Tawhara sits at the heart of Rūātoki's us-and-them divide. A local cop, he has the nation's laws to uphold, but he's also beholden to the community he hails from. His homecoming is recent, with his father (Tipene Ohlson) ailing and undergoing dialysis. So far, it has also been quiet. On the day that Muru begins, Taffy drives the school bus, takes the Aunties for medical checkups at the local mobile clinic and does what everyone in the valley does in their own manners: watches out for and tries to support 16-year-old Rusty (Poroaki Merritt-McDonald, Savage), the nephew of fellow officer Blake (Ria Te Uira Paki, The Dead Lands), who has the role of Rūātoki's resident wayward teen down pat. When Rusty smashes up shop windows that night, Taffy takes the call, then makes Iti's Camp Rama his second stop. A gathering of locals that champions survival skills and Tūhoe culture, it's designed to foster and reinforce the area's identity, which Taffy thinks Rusty can benefit from — even if that evening marks the sergeant's first attendance himself. But Camp Rama has also been under surveillance by the NZ police's special tactics group, with haughty leader Gallagher (Jay Ryan, The Furnace) and his quick-tempered second-in-command Kimiora (Manu Bennett, The Hobbit) deciding that Iti and his friends are a threat to national security. The highly armed tactical unit descends upon the community the next day, aided behind the scenes by colleagues Maria (Simone Kessell, Obi-Wan Kenobi) and Jarrod (Byron Coll, Nude Tuesday), overseen by an MP (Colin Moy, Guns Akimbo) determined to make a statement, and ignoring Taffy's pleas that their mission is mistaken. From the outset, Kahi flits between the two halves of Muru's narrative, letting their clash echo from the feature's frames. Daily life in the valley isn't idyllic, but everyone's wellbeing is a communal responsibility, as seen in the way that Blake pitches in to help with pāpā while Taffy is out driving, as well as the fondness shown for Rusty by school kids and elders alike. Among law enforcement, displaying force and strength rather than flexibility or care is the only focus — to explosive ends once the raid starts. His film isn't subtle, but Kahi proves both unflinching and perceptive in contrasting empathy with its utter absence. A case in point: the evocatively shot (by cinematographers Chris Mauger, Herb — Songs of Freedom, and Fred Renata, Dawn Raid) and tensely edited (by Hacksaw Ridge Oscar-winner John Gilbert) moments when the cops surround the school bus, tracking Rusty on his horse. The children see ninjas, the adults see life changing forever and the police simply see targets. If Muru didn't come layered with real-life context and a wealth of history, it'd still make for taut, intense and gripping viewing; as an action-thriller, it's sharp, tightly wound and skilfully executed, and teems with lively chases — by foot, car, horse and air alike — as well as loaded confrontations. Undercutting IRL trauma by boiling it down to a Hollywood formula isn't Kahi's intention, though, or the end result that pulsates across the screen. Muru is all the more riveting because it's so deeply felt, so steeped in generations of shattering violence, and so willing to ponder what compassion and justice truly mean. It also bubbles with the sensation that the movie wouldn't even need to exist in a better world, because the events that it's interrogating wouldn't have happened. This is a reckoning on several levels, including with that truth. As set against Rūātoki's scenic greenery, Muru is always a complicated picture, clearly — and that includes its choice to work in fiction instead of remaining glued to facts. Sometimes, though, spinning a story rather than sticking to actuality can be more potent, more emotionally authentic, and also brim with more feeling, as it instantly does here. Of course, there's no avoiding Iti, the feature's constant reminder that reality underscores even Muru's most imaginative narrative leaps. As himself, he's one part of a fine-tuned cast — weighty performances by Curtis, Merritt-McDonald, Ryan and Kessell stand out — but he's also Muru's beacon. Fury, understanding, hope, honouring the past, striving for a different future: in this dynamic film and in Iti's eyes, they all both ripple and linger.
Looking to hit the dance floor this long weekend? Sydney party crew Cosmic Boogie is celebrating its one-year anniversary of good times at its Chippendale home The Lord Gladstone with a massive 12-hour party. A crew of 11 different DJs have been compiled to take over the pub from 3pm on Saturday, October 1 all the way until 3am that night. Dance floors will pop up both inside the Gladdy's main bar and out in the courtyard, with the DJs serving up hours of party-ready tunes. Jameson has also come on board, offering up a range of drinks specials throughout the day including pickleback shots. Entry is free between 3–6pm, and just $10 after that. Or, if you pick up a Cosmic Boogie t-shirt you'll be granted free entry all night long.
If you're a fan of basketball, talented Aussies shooting hoops and one of the biggest local names in the game in the 21st century, then this one's a slam dunk: Patty Mills is coming home to chat about his career. The Brooklyn Nets point guard returns to Australia for the first time since helping score the Boomers their first-ever Olympic medal — and shooting 42 points himself in the crucial bronze-winning match — to tour the nation throughout September. Keen to hear the man himself discuss his success, life, learnings and everything in-between in the flesh? The four-time Olympian will be taking to the stage in Sydney, at ARA Darling Quarter Theatre on Sunday, September 11, for an in-conversation session. If you know some budding basketballers who are eager to follow in the Indigenous Aussie's footsteps, he's also hosting basketball camps while he's back Down Under — but for players aged between 12–17. At the onstage component of Mills' tour, the star player will speak from the heart about his journey — which has taken the Kokatha, Naghiralgal, Duaureb-Meriam man from growing up in Canberra to rising through the basketball ranks, and also becoming Australia's first Indigenous Olympics flag bearer. "It's been a huge couple of years and I feel privileged to have the opportunity to go back to my roots to deliver an immersive experience to be felt and enjoyed both on and off the court," said Mills. "It was also important that this tour allowed me to share parts of me that I've never been able to share before. Getting up close and personal with my own hopes, challenges and achievements has allowed me to embrace opportunity to the fullest and by sharing my own journey, I hope to inspire others out there, especially our youth, who are on their own path of self-discovery." Tickets go on sale on Thursday, September 8. Top image: Erik Drost via Flickr.
Back To The Future hinted that hoverboards would be the preferred mode of transport in 2015. And, while the fantasy didn't quite eventuate, this month's Micromobility Expo will play its part to transform fuel-guzzling vehicles, pricey petrol pumps and traffic jams into a thing of the past. With "tiny transportation" a growing trend, the first-ever Australian expo dedicated to all things electric will set the wheels in motion (pun intended) to make the movement more accessible than ever. You just need to head to the Kensington Room at Sydney's Royal Randwick Racecourse on Friday, November 25, between 10am to 5pm or Saturday, November 26, from 10am to 4pm to get on board. Whether you've already embraced the e-bike life or are an electronic scooter sceptic, Micromobility Expo will give you a power intro into lightweight modes of transport and their undeniable perks. As well as the chance to sit in on free seminars and chat with experts about the benefits of electric micro-vehicles (like the fact that they're adaptable, affordable enough to deal with rising costs of fuel and offer environmentally-friendly solutions to address climate concerns), you'll have the opportunity to test drive one for yourself. In fact, you'll find over 30 companies hosting rides on their e-bikes, electric skateboards, e-scooters and cargo bikes on three test tracks within the Royal Randwick grounds. Marty McFly's hoverboards may not have made the move from fiction to fact just yet, but with some pretty impressive innovations on offer at Micromobility Expo, you may not have to completely write off floating on wheels just yet… Pre-register now for free admission at the Micromobility Expo website. Otherwise score tickets for $20 at the door, on the day.
Fancy a trip to Japan without heading to Japan? Well, Sydneysiders, Maho Magic Bar has you covered. Part of the upcoming Sydney Festival — and courtesy of the creative folks at Broad Encounters — the Japanese-inspired bar and performance space is bringing its dazzling show to Tumbalong Park in Darling Harbour from Friday, January 6, 2023 till Sunday, January 29, 2023. The best bit? The magic happens tableside, with mind-bending magicians — straight from Japan's magic bars — roving the room as you sip. What else can you expect? Well, it's a bar, performance space and show all in one. Bright lights set the mood, cherry blossoms hover above, and sake and shōchū lead the drinks menu (though there's beer, wine and booze-free options, too). Designed to replicate a night out in Shinjuku, your experience will be one of hedonistic wonder. [caption id="attachment_854729" align="aligncenter" width="1920"] Nathanial Mason[/caption] The ace thing about the setup: whether you adore magic or don't think it's your thing, you'll still in for a ripper night. The atmosphere (and the drinks and those lights) are a massive part of the allure, though prepare to have your mind swayed by the roll call of stand-out magicians. Busting out illusions: the "princess of illusion" Kaori Kitazawa, daring close-up magician Sarito, the bearded Jonio, smooth operator Shirayuri and your host for the evening, Sho. If you're ready to immerse yourself in the magic of Japan (literally), you'd better be quick to grab your tickets. 'Maho Magic Bar' is on from Friday, January 6 till Sunday, January 29, 2023. For more information and to grab your tickets, head to the website. Top images: Kate Prendergast (first), Trentino Priori (second) and Nathanial Mason (last three).
Sydney's lavish CBD hotel QT is bring some fun to the silly season without the next-day headache by running a pop-up non-alcoholic cocktail bar in its laneway. The collaboration between QT Sydney and Lyre will run every Thursday, Friday and Saturday up until Saturday, December 18, serving up classic cocktail favourites without the booze. From 4–10pm each day that the bar will be pouring drinks, Sydneysiders can head to George Street and choose from a menu of alcohol-free cocktails. Anyone who still wants a caffeine kick in their cocktail, can opt for the Coffee Originale and Parlour Cucina coffee espresso martini. Other non-boozy drinks on offer include negronis, margaritas and summer spritzes — all available to enjoy onsite or take away to sip as you're doing your Christmas shopping at Pitt Street Mall. Fans of non-alcoholic drinks will be familiar with Heaps Normal already, who've also supplied some of its Quiet Deeds XPA for the bar.
Reg Livermore's one-man cabaret show, Betty Blokk-Buster Follies, certainly caused a stir when it debuted at the Balmain Bijou in 1975. In fact, The Sydney Morning Herald wouldn't even send a critic to review the performance, though The National Times went so far as to say it was "the greatest thing since Rice Bubbles." The reception for the last night of its original Sydney run was so overwhelming that Livermore said he "wished [he'd] been in the audience himself." Now, in a world premiere with former Home and Away actor Josh Quong Tart, the character of Betty is back to shock, provoke, amuse and, most of all, entertain. Betty Blokk-Buster Reimagined will run throughout Sydney Festival in the Spiegeltent. Image: Daniel Linnet.
A landmark in Aboriginal musical theatre, Bran Nue Dae won awards and fans across the country during its original tour in the 1990s. A winner of a Sidney Myer Performing Arts Award, the beloved musical is celebrating the 30th anniversary of its debut with a run at Riverside Theatre, allowing audiences old and new the opportunity to spend time with Willie as he makes his way home from mission school. A coming of age story set in 1960s WA that's choc-full of musical numbers, Bran Nue Dae is likely to delight audiences today just as much as it did three decades ago. Image: Ben Symons.
Lacking a little fizz in your life lately? Thankfully, a crew of local booze legends are teaming up to deliver a drinks festival with a serious amount of sparkle to see you safely through to summer. P&V Wine + Liquor Merchants and Mary's are joining forces with The Unicorn, taking over the pub on Saturday, November 30, for the second iteration of What A Fizzer — a tasting party dedicated to their favourite bubbly beverages. Head along to quaff your way through an expert curation of over 100 beers, wines and ciders — from champagnes and small-batch local sparklings to pét-nats and wild-ferment brews. Tickets start at an easy $50, which will score you tastings of everything on show, as well as a snack pack of Mary's goodness, starring a beef or vegan burger, and a P&V tote. If you're looking to invest in some take-home fizz, you'll also find a pop-up P&V bottle store, stocked full of fizzy drops at discounted prices. The main event runs from 1–5pm, though the fun will continue well into the night, thanks to a special Unicorn x Mary's collaboration menu, secret cellar list and a swag of entertainment.
Why drink at one watering hole, when you can head to two, three, six or more? That's always been the motivation behind everyone's favourite boozy journey, aka a pub crawl. And, it's the exact same type of thinking behind the Urban Wine Walk. Taking another wander around Sydney, it's the bar-hopping excuse every vino lover needs — if you need an excuse, that is. From midday until 4pm on Saturday, November 9, you'll saunter around Newtown and Erskineville — and between the likes of The Imperial, The Bank Hotel, Bloodwood, Corridor Newton, Sydney Park Hotel and more — sampling wines and having a mighty fine time. As for the tipples, they'll be taken care of by a range of local and national producers. Tickets cost $75 and places are limited. This moving cellar door will not only serve up more than 35 wine tastings, but also your own tasting glass — plus a voucher for another beverage, and a guide to help you plan your mosey between bars. Image: Sydney Park Hotel, Alana Dimou
With its sweeping Sydney views and good times vibes, Opera Bar remains a firm favourite among tourists and locals alike. And, now that the warm weather has (mostly) returned, the harbourside venue is giving you even more to love with the launch of In Bloom. Available till November 3, it's a new drinks menu dedicated to alcoholic soft serve and gin spritzes. Start off perusing the menu of five different Bombay Sapphire spritzes (all $18), served all day and late into the night. Varieties include the Summer Blush (cherry blossom and grapefruit), the Violet Fizz (white vermouth, violet and orange blossom) and the Tea Dreams (chai tea, hibiscus, ginger and lime). If you're feeling peckish, you can order something off the all-day bar menu, with snacks including Sydney rock oysters, tiger prawns, pizzas and fried chicken with jalapeño mayo. Dessert-wise, the new Bombay Sapphire-based frozen treats are the real drawcard. The gin soft serves are available in two flavours: tonic with lemon and cherry violet. They'll set you back $12 a pop and are the equivalent to about one standard drink. And, at sunset each day, live acts will take the stage to serenade you into the night. Opera Bay is open from Monday–Thursday, 10am–midnight; Friday, 10am–1am; Saturday, 9am–1am; and Sunday, 9am–midnight.
Everyone loves digging into a bowl of hearty, cheesy, carby pasta. And who doesn't like pizza? Not to mention gelato, particularly when Sydney starts warming up. That's why Fratelli Fresh is ringing in spring with a fresh — and extremely tasty — offering: Festa Italiana. So, you and your mates can kick back — with a spritz in hand — and tuck into an Italian feast. Available every Friday through Sunday, Festa Italiana is the perfect excuse to get the group together. For $79 per person, you'll be enjoying a three-course share-style menu. Better yet, the deal gets you two hours of espresso martinis, wine, beer and Aperol spritzes, too. Once you've worked your way through Fratelli's signature antipasti board loaded with tomato bruschetta, olives, buffalo mozzarella, focaccia and cured meats, you can tuck into a selection of classic pizzas and pasta dishes. Think the likes of margherita pizza, lamb ragu with penne, tagliatelle with Sicilian mussels and gnocchi served with pancetta, peas, spinach and creamy goats cheese. To top it off, you'll also get two scoops of house-made gelato, with flavours such as chocolate, raspberry, creamy vanilla and more on offer. If you're looking to get a bunch of mates together, then Fratelli Fresh is just the spot for your next big do. You'll be sipping and eating to your heart's content — without breaking into the piggy bank. Plus, with six locations across Sydney, you won't have to go out of your way to make your next reservation. Find your local here.
Sydneysiders, it's time to crack open your piggy bank, fumble for coins in your wallet and look for loose change under your couch. That's all you'll need to nab yourself a chicken schnitzel on Wednesday, October 30, with Rashays serving them up for $1. Available all day for one day only, the special includes a hand-crumbed schnitty, a serving of chips and plenty of mushroom sauce — a dish that's been on the Australian chain's menu since it opened 21 years ago. A few caveats apply, as tends to be the case with these kinds of deals. You can only order one schnitzel meal per person, they're only available for folks dining in, and you'll have to walk in and try your luck because the eatery won't be taking bookings. You can't order through a third-party app, such as UberEats, and the schnittys are only available while stocks last. To get your fix, you'll need to head to one of Rashays' 23 NSW stores, including ones in the western suburbs — such as Liverpool and Penrith — further north in Dee Why and Top Ryde, and one near the CBD in the Harbourside Shopping Centre. All proceeds from your schnitz fix will go to a good cause, too, with Rashays donating funds from the day to Miracle Babies — a foundation that helps premature and sick newborns, their families and the hospitals that look after them.
Halloween is just around the corner, and with it comes the perfect excuse to don a costume and have a spooky time. And, if you're looking for a night of downright scares, Luna Park has got you sorted. Once again, Halloscream has taken over Luna Park with five nights of frightening scares — and it's definitely not for the faint of heart. This year's theme, Hell on the Harbour, has new and returning attractions to get your heart racing. Make your way through the four mazes — escape from Aussie bandits in Outlaw or look for a missing girl in the mirror-filled Séance maze — explore the horror-filled Mystery Manor, and keep an eye out for the devil and his demons performing a Satanic Possession Ritual. Facing fears is sure to build up an appetite, so pick up some Halloween-themed eats and drinks for a well-deserved break. While the haunting kicked off last weekend, there's still time to get to Luna Park from Thursday, October 31–Saturday, November 2. Tickets for Halloscream come with unlimited rides, so prepare your vocal chords for a cracking night.
The inner west's much-loved Newtown Festival returns this November, with a huge day of community, art, music and food. Brainchild of the Newtown Neighbourhood Centre (NNC), the event's main aim is to raise funds and drum up support for those doing it tough in the area. It's also a great excuse for people to get together and show some love for a unique pocket of the world. Taking over Camperdown Memorial Park on Sunday, November 10, this year's outing sees the return of a bunch of festival favourites, including the Heaps Gay Karaoke Closet (a tent dedicated to dress ups and lots of karaoke, of course), the Eco Village and the ever-popular Sassy Treats Dog Show, celebrating all of those four-legged festival-goers. There'll be a sprawling collection of over 200 stalls, selling everything from food to fashion, more than 100 live, roaming performers and a music lineup showcasing artists who've each got their own strong connection to the Newtown community. You'll catch The Delta Riggs, Godtet, Lola Scott, The Buoys and the Sorcha Albuquerque Organ Trio, as well as a few more, too. In the lead up to the festival, NNC will also host a series of gigs, live street art performances and open air movie screenings. More details on that is dropping soon — we'll let you know when it does. Newtown Festival's $5 entry fee, collected at the gates, goes directly to the NNC, which provides support services for disadvantaged groups in the local community. Newtown Festival runs from 9.30am–5.30pm Image: James Simpson and Kirsten Muller
Wake in Fright and Mad Max 2 have a lot to answer for. While one remains a flat-out Australian masterpiece after almost half a century and the other belongs to our best dystopian action franchise, they've spawned more than their fair share of imitators. Many Aussie films have aped their visions of broken, isolated, male-dominated worlds. Quite a few have also used their shooting location, Broken Hill. It's easy to understand why: examining toxic masculinity's extremes is a juicy subject, and the outback town on the far-western edge of New South Wales' dusty expanse cuts a striking sight on the big screen. When layered one over the other, the seemingly endless array of scrubby nothingness that encircles the remote spot appears to pulsate with oppressive desolation. The third film in four years from director Heath Davis (after 2016's Broke and 2018's Book Week), grimy crime thriller Locusts is happy to trot out the above template once again. There's another thoroughly recognisable element at play as well, one that also pops up in Wake in Fright and other Aussie flicks like The Cars That Ate Paris and Welcome to Woop Woop: the outsider wandering across this desert landscape and discovering its hostility for himself. Here, that task falls to slick technology bigwig. Ryan Black (Ben Geurens), who returns to the drought-stricken ex-mining town of Serenity Crossing after the death of his estranged dad. Complete with a far-from-cosy reunion with his brother (Nathaniel Dean) and the old girlfriend-turned-single mum and stripper (Jessica McNamee) he long left behind, everything about this scenario ticks a heap of familiar boxes. Thugs, drugs, broken dreams, family secrets — throw in Cold Chisel on the pub radio (they sang about Broken Hill, aka the Silver City, in 'Khe Sanh'), and Locusts always plays out as expected. When a group of inhospitable locals make it clear that Ryan isn't welcome, but still demands he settle his father's debts, it seems as if first-time screenwriter Angus Watts is stamping squares on a generic movie bingo card. The more twists and turns that pop up, the more that this feels true, with Locusts' various plot developments wavering between convenient and flimsy. Flashes of a man yelling at a kid with a gun earn the same description, although they're clearly designed to ramp up the tension. And as for a hefty late revelation that tries to keep things topical, it feels tacked-on rather than meaningful. Why do films continually wade through such well-worn terrain? It makes for easy, B-movie-style genre fare and, in Australia, we sure do have the backdrop for it. In Locusts and Heath Davis' case, the movie also taps into a theme that the director keeps pondering across his career. While they're set in vastly different circumstances and brandish incredibly different tones, Broke and Book Week also follow men thrown out of their depth by the vagaries of life, then scrambling to recover. Locusts is his least convincing example to-date, however. That said, Geurens' somewhat dull lead performance aside, the film does overflow with suitably scruffy, stern, grizzled men (including Peter Phelps, Broke's Steve Le Marquand, Book Week's Alan Dukes and late actor Damian Hill in one of his final screen performances) who look and feel as rough and tough as all the dirt and bush that's constantly in sight. Filling the movie with sun-dappled shades of earthy reds, murky browns and parched yellows, cinematographer Chris Bland (another Broke and Book Week alum) not only has Locusts' best job, but does Locusts' best job. While Broken Hill doesn't look anywhere near as captivating in real life as it frequently does on the screen, it's hard to point a camera at its rusty vistas without finding a fittingly moody shot. So, Bland does this often. Once again, this fits the picture's contemplation of struggling men laid bare in forbidding surroundings, but the heavy emphasis on the landscape does stand out. For the film's characters, the town's post-apocalyptic scenery is a barrier that stops them from moving on. For the film itself, it's yet another crutch used by an inescapably familiar feature that repeatedly leans on obvious elements. https://www.youtube.com/watch?v=FD_gvewa9JU&feature=youtu.be
Carriageworks is always up for surprising happenings. And, this month, things are going next level, thanks to Liveworks Festival of Experimental Art 2019. For 11 days, every nook and cranny of Carriageworks will be full of experimental art hosted by Performance Space — from installations and performances to chats, workshops and parties. Don't miss a performance by Indigenous duo the Stiff Gins — Nardi Simpson and Kaleena Briggs combine music and theatre in a sonic response to Indigenous objects held in museums across the planet. And Alyx Dennison (formerly one half of act kyü) will play songs from her first solo album Popfrenzy/Caroline as well as a bunch of newer songs. Then, grab a seat at Live Sparks for an afternoon of free talks. You'll be hearing from performance artist Betty Grumble, Wiradjuri performer Joel Bray, musical duo Stereogamous (Paul Mac and Jonny Seymour), among others. Plus, there'll be a pop-up gin bar, which will host a series of after-hours gigs, intelligent conversations and interactive experiences, so you can continue your exploration of creativity with a cocktail in hand. Image: Choy Ka Fai, 'Unbearable Darkness'.
Whether you're looking for something to eat or drink after a hectic day at the office, you're keen on doing a spot of after-work browsing and buying, you might want to mosey along to Mosman's OctoberFeast Night Market. Running from 4.30–9pm on Thursday, October 24 and taking place at Mosman Square and Village Green, it's the latest night market put on by Mosman Council — who also host similar events at Easter, Christmas and in the middle of winter. On the agenda: international cuisine, spanning Nepalese, Spanish, Vietnamese, Turkish and Dutch fare; a licensed area serving up tipples; plus stalls selling artisan wares. Tastings will be on offer — or you can grab a bite and a drink, then shop for clothes, jewellery, homewares and other handcrafted goods, all while listening to live tunes and wandering through a fairy-lit space. Entry is free, with the market forming part of the biennial Festival of Mosman, which runs from October 18–27.
Catch the world premiere of a music and dance show set within the parklands of Prince Alfred Square. ENCOUNTER was developed by 16 young dancers and 48 musicians of the Western Sydney Youth Orchestra, and it tells the stories of various young people from western Sydney and regional Australia. It's said to be joyful and full of youthful spirit. The free performance, directed by Emma Saunders together with author Felicity Castagna, composers Amanda Brown (from the 80s band The Go-Betweens) and Jodi Phillis (from the band The Clouds) and conductor James Pensini, runs at 6pm for two hours over three nights during Sydney Festival. Image: Heidrun Lohr.
When you see a flag flapping in the wind, do you feel pride? Ownership? Oppression? Throughout this year's Sydney Festival, there'll be a large-scale art installation of 250 flags representing Australians' diverse views on land and country, belonging and possession. The free artwork at Barangaroo Reserve is just the beginning, as the festival is asking participants to submit their own images of their connection to land via an online portal.
Australia's best aperitivo hour, Delfino Aperitivo, is getting into the festive spirit for its last session of 2019. On Sunday, December 22 from 5–8pm, The Dolphin's Wine Room is serving up $5–7 festive drinks and tasty snacks from Head Chef Tom Deadman. And, to help with all of your last-minute Christmas shopping, the sparkly bar is transforming into a bottle shop for the afternoon, too. It'll be selling an extensive range of rare bottles and "rare Xmas bangers" chosen by Head Sommelier Marie-Sophie Canto and Wine Director James Hird, as well as bottled cocktails from award-winning bartender Matt Whiley. Even if you've finished your shopping, we think picking up a few more tasty drops for upcoming public holidays, NYE and summery picnics is a smart move. Now in its third year, Delfino Aperitivo is known for bringing together some of the country's most exciting chefs, sommeliers, winemakers and booze-shakers to cook and pour tasty snacks and drinks all between $5–7. This year has seen the likes of Belles Hot Chicken's Morgan McGlone, the team from Melbourne's Leonardo's Pizza Palace and the Restaurant Hubert crew descend on the Surry Hills bar for the afternoon. We can't wait to see 2020's lineup. Miracle on Crown St #1 runs from 5–8pm.
There are few greater, more indulgent and Instagrammable things to do than kicking back with a bubbly and judgementally watching dachshunds parade around in lifeguard costumes in a pub beer garden. Well, not on Sunday, February 23, anyway. Back by popular demand (of course it is) for a special Mardi Gras edition, the dog show is taking over The Beresford's leafy courtyard with an afternoon of games, entertainment and a big ol' parade. Boutique dog store Dogue will be giving out prizes to the best performing pups, and there'll be a doggy market and a photo booth where you can get a family pic for free. Bring along your own pooch (and enter them into Best in Show if they're agreeable) or just head along to nab some cuddles. The festivities kick off at 11am and — best of all — all profits from food and drinks made between then and 3pm will be donated to WIRES Wildlife Rescue.
You know that feeling of unbridled joy and energy you get in the opening scene of The Lion King when you scream "naaaants een-vwen-yaaaaaaa ma-ba-gee-chi-ba-va" (or some variation thereof) as baby Simba is hoisted up by Rafiki? That's why you should pay to see the Spice World: The Movie at the cinema. Even though you've seen it a million times, you have it on DVD and blu-ray (for some reason), and on a USB drive that's permanently in the TV, you should still buy a ticket. The sheer thrill that you'll feel when a cinema full of adult women all scream "you gotta, you gotta, you gotta, you gotta SLAM SLAM SLAM SLAM" will be an experience like no other. The joy of sharing, nostalgia, sing-screaming, and choc tops are all rolled into one event for this sing-along screening of Spice World. https://www.youtube.com/watch?v=BmSBtOHzGPM It all takes place at the Hayden Orpheum at 8.45pm on Friday, April 24, so snap up a ticket while you can.
All of the pizza, none of the animal products — that's what's on the menu at Salt Meats Cheese. If you're a vegan and you usually find yourself holding back at all-you-can-eat pizza evenings, the Italian chain of eateries has you covered. Next occurring on Tuesday, February 11, SMC's regular bottomless vegan pizza feast is in full swing again for 2020 — and as in previous years, it includes unlimited vegan pasta as well. All you need to do is book a table in advance for the Broadway, Circular Quay, Dee Why and Cronulla stores, with sittings available from 5pm. The pizza and pasta free-for-all will set you back a highly affordable $25, and while you'll also have to buy a drink, you can choose from both boozy and non-alcoholic options. For an extra $5, you can also opt for all-you-can-eat gluten-free vegan pizza too. Finding decent slices that cater to dietary requirements is hard enough, let alone devouring as many as you feel like in one sitting, so expect this to be popular.
Sydney's seen a few ball pits roll through in the past few of years. There have been pink ones in dessert 'museums', beach-themed pop-ups and pits filled with one million balls. Now, one of the CBD's underground bars is bringing back its own ball-filled playground. For three nights this January, Side Bar is hosting the ultimate adults-only Ball Pit Party. The party will run from 8pm all the way through till 3am every night across the long weekend of January 24–26. During this seven-hour event, the basement of the eight-story Pitt Street heritage building will be filled with over 250,000 glowing balls, confetti canons, neon cocktail buckets and a lineup of Sydney DJ favourites. Tickets will be available on the door, but if you want to plan your night of balls and booze ahead of time, queue-jump tickets are on sale now for $15.
Nothing inspires those carefree summer feels quite like a spot of outdoor cinema — especially when the flicks are free. This January marks the return of Darling Quarter's ever-popular al fresco film screenings, delivering 17 nights of outdoor movie magic for young and old (and in between). Taking over the precinct's Village Green from January 9 to 25, the annual Night Owls Film Festival will this year kick off at 6pm nightly with a special family-friendly program — think kids' entertainment, a series of short films and a family feature film from 6.45pm. If your inner child (or actual child) loves flicks like Toy Story 4, Aladdin, The Lego Movie 2: The Second Part and Pokemon Detective Pikachu head along then. But come nightfall on weekends, it's the big kids' turn, with a program of grown-up movies screened from 8.30pm on select evenings. Titles such as Avengers: Endgame, Bohemian Rhapsody and Yesterday are all on the lineup, rounding out with Crazy Rich Asians as the closing night film. Be sure to bring along your picnic rug and accompany your cinema experience with eats from one of the many nearby vendors — Thai, sushi, pizza, Brazilian barbecue and gelato are all a short stroll away.
The Argentinian barbecue masters at Surry Hills' Porteño are flame grilling for a serious cause this month. The group is hosting a big ol' fundraiser in the form of one massive four-hour feast. The charity dinner will be held at the OG Porteño venue on Cleveland Street (now Porteño Events) and honours the group's suppliers — many of whom have been affected by Australia's recent catastrophic bushfires. While the menu has not yet been revealed, you can expect a range of Porteño's signature charcoal-grilled meats, delivered directly from the open barbecue and custom-built woodfired oven by chefs Ben Milgate, Elvis Abrahanowicz and Elvis's dad Adan. Think morcilla, chorizo, suckling pig and wagyu steaks, all served alongside fresh salads and paired with wines aplenty. That drinks list, created by owner Joseph Valore, will include heaps of local producers — including Frankly Bob Wines, Jilly Wines and Mallaluka Wines, plus wine distributors Franc About Wine and Puncheon Bottles. And all drinks are included in the ticket price, too. It'll go down on Monday, January 13 from 6.30pm and cost $195 all up (including booking fee) — and every cent will be donated to the charities involved in the crisis. For those who are unable to attend but still want to donate, the Porteño group recommends Red Cross, Vinnies, Salvation Army, NSW Rural Fire Service or WIRES. For fans of the space, this degustation is also one of the last dinners being held at Porteño Events before the group gives up the digs for good. Just one more reason you should grab a ticket already.
