If you've been saving your money the last couple months and are wondering where to spend it, head down to the Makers and Shakers Market on Saturday, October 12. Making its return to Sydney, it'll feature 60 high-quality stalls, so you'll definitely find something you like. The market provides an open platform for local makers to sell their handmade wares, gourmet foods and lifestyle products. Stallholders change with each market, but you can expect to start your shopping with a coffee or kombucha, then look for stunning ceramics. Next, perhaps scope out some chunky, colourful jewellery — before finishing up by adding a little plant life to your home. That's just a taste of the kind of goodies on offer. While you're wandering the stalls, you can tackle your post-shop hunger as well. The market will run from 9am–3pm, and tickets are $2 and kids under 12 are free. Image: Alana Dimou.
Striking feats of cinema by Yorgos Lanthimos aren't scarce. Sublime performances by Emma Stone are hardly infrequent. Screen takes on Mary Shelley's Frankenstein have been a constant since the birth of moving pictures. For Lanthimos, see: Dogtooth and Alps in the Greek Weird Wave filmmaker's native language, plus The Lobster, The Killing of a Sacred Deer and The Favourite in English. With Stone, examples come in her Best Actress Oscar for La La Land, supporting nominations before and after for Birdman or (The Unexpected Virtue of Ignorance) and Lanthimos' aforementioned regal satire (which made him a Best Director contender, too), and twin 2024 Golden Globe nods for their latest collaboration Poor Things as well as TV's The Curse. And as for the greatest gothic story there is, not to mention one of the most-influential horror and sci-fi works ever, the evidence spans traditional adaptations, plus debts owed as widely as The Rocky Horror Show and M3GAN (Blade Runner, The Fly, Re-Animator, Weird Science, Edward Scissorhands, Ex Machina, Upgrade, Little Joe and The Creator are also on the lengthy list). Combining Lanthimos, Stone and Shelley results in a rarity, however: a jewel of a pastel-, jewel- and bodily fluid-toned feminist Frankenstein-esque fairy tale that's a stunning and dazzling creation. As zapped to life with Lanthimos' inimitable flair, a mischievous air and Stone at her most extraordinary, Poor Things isn't just unique despite building on three shining successes — it's a treasure that's as audacious as it is subversive, and as breathtakingly willing to get wild as it is downright brilliant. Emotions, ideas, empowerment, twisting Shelley and Promethean myth into a pointed skewering of the societal expectations placed upon women, a committed ensemble, entrancing touches in every frame, a score that's equally jarring and jaunty, a dreamily macabre vibe, furious fearlessness: this film is alive with them all. That a tale about reviving the dead to grapple with mortality and the yearning to thwart it keeps inspiring new riffs has always been fitting, with each new storyteller undergoing that same process in their way, but this version is a lightning bolt. With cascading black hair, an inquisitive stare, incessant frankness and jolting physical mannerisms, Poor Things' star becomes Bella Baxter in this suitably weird and wondrous adaptation of Alasdair Grey's award-winning 1992 novel, as penned by Australian screenwriter Tony McNamara (The Great, and another Academy Award-nominee for The Favourite). Among the reasons that the movie and its lead portrayal are so singular: as a character with a woman's body that's been resurrected with a baby's brain, Stone plays someone from infancy to adulthood, all with the astonishingly exact mindset and mannerisms to match. Putting her comedic skills to excellent use but ensuring that Bella is never a joke, she does so while making each move, choice and feeling as organic as birth, living and death. The entire scope of Poor Things' protagonist is the kind of wish that actors mightn't realise they have because it's so remarkable. With Bella all impulses and curiosity at first, then buzzing with sexual desire and devotedly pursuing autonomy — and with a frenetic-but-stiff doll-like gait that's a marvel to watch, plus say-anything speech patterns — Stone turns the opportunity into an exquisite masterclass. The time and place when Poor Things kicks off: a fantastical steampunk vision of Victorian-era Europe. Although the film begins in colour as a woman ends her own life, Lanthimos and cinematographer Robbie Ryan (also back from The Favourite, and also with an Oscar nod to his name thanks to that flick) swiftly switch to black and white to meet what becomes of the suicidal person's body. It's due to the London-based, scar-faced Scottish doctor Godwin Baxter (Willem Dafoe, Asteroid City) that Bella exists; even if she didn't call him God, he's been playing it, including with household pets and other animals. His new human creature toddles around, aiding with his unorthodox surgeries and indulging whatever takes her fancy — smashing plates, smacking visitors, and enjoying new discoveries and sensations with literal childlike glee. But regardless of her father figure's intentions or wants, freedom, horniness, the quest for independence and agency, wanting to know more than the protective world he's left her in and a lust for adventure all beckon. Accordingly, while Godwin tries to marry Bella off to kind and sincere medical student Max McCandles (Ramy Youssef, Ramy), she hatches other plans. With Poor Things joining Call Me By Your Name in its carnal use of fruit, Bella discovers "working on myself to get happiness" and "furious jumping" — that'd be masturbation and fornication, with her debut experience with the latter returning the movie's hues as well — and runs off to the continent with caddish lawyer Duncan Wedderburn (Mark Ruffalo, She-Hulk: Attorney at Law) instead. Lisbon, a cruise that stops in Alexandria and Paris await. So does a survey of all that living can hold for women, both for the feature's reawakened force and viewers. Lanthimos' fascination for tearing into humanity's social constructions and pretences to expose its realities gets electrified again, as does his concurrent obsession with battling such structures and systems by forming insular worlds, and the need to escape that then springs. Portugal brings hot air balloons, a bewitching all-timer of a dance scene, just some of the flick's acrobatic thrusting, an attempt to enforce civic niceties and Bella steadfastly refusing to be anything but herself. The boat ride introduces books, friendship and the first real female advice that she's received via Martha (Hanna Schygulla, who came to fame half a century back for her work with Rainer Werner Fassbinder). It also sees cynicism and the world's suffering enter her understanding courtesy of Martha's companion Harry (Jerrod Carmichael, On the Count of Three). In France, a lack of cash finds her in the employ of madam Swiney (Kathryn Hunter, Andor) and leaning into socialism with fellow sex worker Toinette (Suzy Bemba, Everything Is Well). And when the past makes a comeback, it's with bullying and misogynistic power dynamics (and with Sanctuary's Christopher Abbott in a key role). As in The Favourite, the hefty use of fish-eye lenses has it: this lavish, libidinous and happily lewd deadpan delight isn't interested in the same old view of liberation, sex, life's transience and conflicts, defying the accepted order and patriarchal control that everyone has seen before, let alone a regular coming-of-age jaunt or a by-the-book Frankenstein iteration. While it splices together nods to gothic horror nakedly, it isn't routine or a patchwork there, either. As Bella goes on a radical, rebellious, gorgeously rendered, gloriously funny and generously insightful odyssey, Poor Things doesn't sport a standard perspective on anything, in fact. As seen in the efforts of a tour-de-force Stone, her co-stars, Ryan, composer Jerskin Fendrix (a film first-timer), editor Yorgos Mavropsaridis (Lanthimos' go-to since 2005's Kinetta), production designers Shona Heath (another feature debutant) and James Price (The Nest), and costumer Holly Waddington (also The Great), it eschews sticking with the typical everywhere. Richness abounds, then. The only thing that's paltry: even clocking in at 141 madcap and magnificent minutes, that Poor Things doesn't run forever.
Have you ever, ever had the theme tune from a 90s Australian television show lodged in your brain for decades? For anyone who watched the first two seasons of Round the Twist when they originally aired — or anytime afterwards, or the third and fourth seasons in the early 2000s as well — the answer is always yes. Audiences have author Paul Jennings to thank for the series, which initially adapted stories from his novels Unreal!, Unbelievable!, Uncanny and more. Musician Andrew Duffield also deserves gratitude, given that he composed the earworm of a main song. In 2024, Paul Hodge and Simon Phillips join the list, too, but for Round the Twist as no one has ever seen it before: as a stage musical. Hodge understands the power of that catchy theme. It's one of the influences, unsurprisingly, for the sound of the stage production from Queensland Theatre and Queensland Performing Arts Centre that's enjoying its world-premiere season at QPAC in Brisbane until Sunday, December 8, 2024. He also knows how deeply that the tune has burrowed into an entire generation of 90s kids' minds. "I said to Andrew Duffield, who wrote it, I said to him just before the rehearsal period 'how do you feel to know that you can just penetrate people's minds simply by them hearing 'have you ever…' and then it's stuck in their head for the rest of the day?" he tells Concrete Playground. "He was like 'oh yeah, it's fun. It's great'." Before he had musical-comedies Clinton the Musical and Joh for PM on his resume — and opera Riot as well — Hodge grew up as a fan of the lighthouse-dwelling Twist family and their supernatural-tinged adventures. If he hadn't, the idea to pen the musical of Round the Twist wouldn't have sprung for the writer and composer, who was inspired by randomly recalling a line from season-two episode 'Smelly Feet'. Phillips describes himself as too old to have known anything about the television series at the time, but helms yet another 90s Aussie classic making the leap from the screen to the stage. Previously, he's directed stage versions of Priscilla, Queen of the Desert and Muriel's Wedding. "I'm churlish that I missed out on Strictly Ballroom," he jokes. Fans have had since 2021 to look forward to the result of Hodge and Phillips' efforts with Round the Twist, when the musical was initially announced. This wasn't the first time that someone had approached Jennings and the Australian Children's Television Foundation, which produced the TV series, about bringing the Twists to the stage with tunes — but it was the first time that they gave the tick of approval. Hodges credits Jennings' stories first and foremost, including for having fun making the musical, and for a production that he hopes will be both entertaining and moving for theatregoers. "I think what Paul is really good at is that, as well as obviously his stories are fun and silly and bizarre, he understands what it's like to be a kid," Hodges advises. "There's this story of this kid coming to him at one of his book signings saying 'how do you know what it's like to be me?'. And I think that he understands also the not-so-fun parts of being a kid — what it feels like when you're embarrassed or you're scared, and things like first kisses and those kind of things. He looks at those moments and milestones of growing up, and portrays them in a very fun and silly and bizarre way. Because he has that understanding, his stories have a lot of heart in them, and that's what I've tried to maintain in the musical." How did Hodge approach his task as a fan of both Round the Twist and Jennings? "As a kid, I read Paul's short stories and then I watched the TV show, and it's fun going back and doing that again as an adult. The musical is based on the first two seasons, which were the ones that Paul wrote, and so I have now watched those — rewatched them — so many times now," he shares. "If there was any kind of Round the Twist trivia, I'm sure I could win them for the first two seasons." For Phillips, he looked at his perspective as bringing fresh eyes to something so adored by so many. "Initially, it was a long time before I watched the TV programs. I tried to read the script as if it was a fresh new work that no one had ever seen before, which indeed of course it was, but that didn't have the references. And then at a certain point you go 'I'm not quite sure why this is there', and the answer is 'because it's one of the most-beloved moments in the TV program' — and that's a good enough reason," he says. "But it also went through the process of gradually having a few of the favourite moments from the TV program getting lost in the storytelling. Because we realised that for this story to feel coherent, it just couldn't have everyone's favourite bit from the TV program, or it would have been a) four hours long and b) have no individual plot of its own." There were essentials that Hodge absolutely had to include, however. "I think I always knew that the 'Smelly Feet' episode, "up the pong!", would have to be in there, because that was the origin of it. It's interesting that for each of the Twist kids, I knew there was an episode that I felt had to be in there. For Bronson, it was 'Smelly Feet'. For Pete, it was 'Without My Pants'. And for Linda, it was 'Nails'. Those were the ones that had really stood out for me as a kid for each of the Twist kids." Hodge and Phillips also chatted with us about the musical's origin story, getting the green light from Jennings, the adaptation process, whether taking on something with decades of affection behind it was daunting, why Round the Twist endures and introducing it to a new generation — and more. On How Round the Twist The Musical Finally Came About Paul: "Apparently I wasn't the first to have the idea, but the Children's Television Foundation has said no previously. But the way it came about was that I had been trying to think of something that I could write for my whole family to come to, because I have a lot of nieces and nephews, and I wanted something that all the generations of the family could come to — my parents and my siblings and nieces and nephews. There's an episode of Round the Twist where Bronson, the youngest Twist kid, he's trying to save up the smell of his feet, basically, for six months, to then try to use it as a weapon. And when whenever he uses this power — he's using it for a good purpose — then he says 'up the pong!'. About eight years ago, my mum was changing my nephew's nappy one day, and she said 'ohh, that's a pongy nappy'. And my brain immediately went 'up the pong!'. Which, I think, also shows the enduring power of Paul Jennings' stories, for something from my childhood to come back to me in adulthood like that. When happened, then I went 'oh, Round the Twist, that's the thing that I should do'. And so then I then approached the Children's Television Foundation and Paul Jennings about adapting it, and the Children's Television Foundation said 'we've been approached before and said no, but we're going to say yes to you'. I feel very privileged and humbled that Paul and Jenny Buckland of the ACTF and Andrew Duffield, who wrote theme song, have placed their trust in me to tell these stories." Simon: "My analysis would be that it took someone, i.e. Paul Hodge, who had been the right age to watch the show to grow up and sufficiently develop the skillsets to write the musical. Because it was so of its time and of its audience. The 90s was its heyday, and so I feel that both in the writing of it and in the audience space for it, it's great that there's something that is there for the mid-30s to mid-40s generation who grew up on Round the Twist. But I, of course, didn't really know anything about the TV series, because I'm too old. And I think that's another reason why it took a while for the show to find producers — because the people who were in a position to support it financially probably also slightly missed the show, and didn't view it with the same affection as the generation who had really grown up on it. And so I started merely talking to Paul during COVID, who I'd met a couple of times before, when everyone was locked down — and I started really talking to him about the shape of the show and reading it for him and giving him some feedback. Then it started to find its feet after COVID. And indeed, with some fantastic assistance from the RISE funding, which got its workshopping process, that's what managed to get it up from the page to something that we could start really rehearsing on the stage proper." On Getting the Green Light From Paul Jennings and the Australian Children's Television Foundation Paul: "I think it was partly grasping why Paul's stories are so great. I think it was also that I could give a reason of why it should be a musical — not just coming in and going 'ohh, anything can be a musical'. Because I think with any story, the first question you have to ask if you're adapting something into a musical is 'why does this story sing?'. Lots of stories can sing — it's just people need to find the way to make that happen. To me, why I said this story sang was because in the way that Round the Twist works, all the episodes are kind of unrelated, because they're all each based on a Paul Jennings short story. But, over the course of a season, generally there's a thin thread that goes through the season and then pays off in the final episode of the season. In the first season, that thread is that they are hearing mysterious music that's coming from the top of the lighthouse, and then that pays off in the final episode. And in that final episode, they end up singing to resolve the plot. So I said that to me, already this story sang. Music was already a part of it, and singing was an incredibly important part of that finale of the first season. I think that was one of the reasons of why, to me, this story sang — and was one of the reasons that they gave it the green light." On Starting the Adaptation Process — By Watching Round the Twist, Of Course Paul: "I watched and continued to rewatch the show many times. And then, because there's 26 episodes in the first two seasons, it was a decision of going 'okay, what episodes am I going to include in the musical?'. So that was a process of partly going ' well, the finale episodes of the first two seasons are the ones that have an overarching arc to them, and the first episode of the series is obviously important in setting everyone up', so I assumed that I would be incorporating those. The I worked out my own thing of going 'what were my favourite episodes as a kid?'. Also, I trawled the internet to see if my episodes checked out as the same as other people's, what their favourites were. Then it was then trying to work out how to put all those together. And the thing that is holding the other important part of the music side of the musical —also of the TV show — is the theme song. So in the musical, the nursery-rhyme lyrics to the theme song are riddles that the Twist kids are trying to solve — and they are related to the different plots. So that's the thing that's holding these different episodes together as they're trying to work out this mystery. Over the process of writing, it's been a process of pulling all these disparate episodes together and shaving away each of the episode stories to its core element, and then merging different things together. When I sent the first treatment to Paul, then we had a conversation where I was saying 'well, in this episode there's a ghost that haunts a toilet, which is the first episode, Skeleton on the Dunny', and then there's this episode also where there's a ghost that haunts the toilet — and I've merged those two into one, and I've merged them also with this other idea'. And Paul was saying to me, 'well, that's the exact same type of thing that I was doing when I was adapting the books into the TV show'. So it was good to know that we were following the same process." On How to Tackle Directing a Musical with Such Adored Source Material Simon: "You essentially have to approach it in its own terms, based on its own musculature. You have to say 'what is this that we're making?', but you also fly in the face of certain elements from the original show at your peril. And this is that weird combo, because it's been books and a TV show, but the way that people relate to it, the characters have been semi-formed in people's minds via the TV show. Sometimes, I think when you're doing an adaptation of a film or something that has originated in celluloid, and you're putting it on stage, the ghosts of the people who originally played it is very strong in your audience's minds. I guess we have the advantage from the TV show that people also read it in book form and got their own individual images. And the casting changed inside the TV series anyway, so there's no single person where you could say 'that actor is in our minds Pete Twist' because he was a few different actors. So that helps us." On Not Being Daunted by Round the Twist's Page-to-Screen-to-Stage Path — and Huge Fandom Paul: "I think I'm more excited about it. I approach it from the point of view of a fan. Like, I am a huge fan of Round the Twist and that's how I've been writing it. It's as a fan and going 'if I was seeing a Round the Twist musical, what would I want to see on stage as a fan?'. So it's more been a process of going like 'ohh, people are going to love this bit'. It's been fun. And it's been important to me that it maintains the spirit of the original TV show. That's why I wanted to make sure that Paul and the ACTF and Andrew Duffield have been involved in the process as we've gone along." Simon: "It's more a great wave to surf — that you actually feel supported by the energy that its origins give you. And indeed, this is why so very many musicals that are made are adaptations of existing work: it gives the musical a launching pad, it gets it off the starting blocks with a little bit of an advantage, I think." On the Inspiration for the Musical's Songs Beyond the Iconic Theme Paul: "The theme song was the touchstone for the sound of the show in general. I wanted it to feel like it was all one whole and the theme song didn't feel separate from the rest of the score. So I used the feeling of the music in the TV show also a touchstone. And I wanted it to be definitively Australian, so I was listening to a lot of Australian pop and rock music, and I was listening to a lot of Triple J. I remember going back through the Hottest 100 one year, and going 'okay, these songs feel like they're the vibe of what I'm looking for'. I would just be listening to a lot of Australian music to try to make sure that the music in the show felt Australian." On Taking the Audience on a Tonal Rollercoaster Ride, as the TV Show Did Simon: "Part of the challenge, actually an interesting challenge of it, is that its tones are multifarious. So that's a balance, although music always helps with getting those maybe slightly illogical or over-sudden mood shifts that are required in a piece like this. Music is a fantastic tool in terms of immediately changing the audience's emotional sensibility depending on how the music's telling them to feel. In the end, the story is really quite moving, I think. It ends up having a big message about healing and restoring and mending the past. It's kind of a madcap farce in its first half in many ways, and then it becomes quite strong with heartfelt family elements to it in the second half of the show." On Why Round the Twist Struck Such a Chord with Audiences When It First Aired — and Since Simon: "I did have an opinion about that. I've been trying to articulate it a bit. I think there are, as always, many reasons, but I feel like it's very strongly to do with Paul Jennings' particular genius for identifying the inner hopes, fears and ambitions of children and teenagers, and speaking to those things in a way which was uncensored on behalf of saying the right thing for their parents. And so really quite often, the episodes of Round the Twist the TV series are dealing with really quite, in a way, risque or what would now be quite inappropriate ideas. But they're exactly the things that are going through teenagers' heads. And whatever you say, you can't stop teenagers having those anxieties and wishes and hopes, because they're teenagers, and their lives are changing, their bodies are changing. That was part of the real secret of the success, that it dared to be irresponsible about a whole number of different, quite erratic things. And then the other side is the imaginative — you can't help feeling that in another time and another place someone would have said 'but this doesn't make sense'. That was never an issue for Paul Jennings or the people who put his stories into TV. They were perfectly happy for it to have its own sense, its own illogical sense of logic, and stand or fall on that. I feel that was its secret ingredient in a way." On Conveying the Idea That Strange Things Do Happen — and It's Okay for Life to Be Strange, and for You to Be Strange Paul: "That's very important. And that was one of the things that I said to Paul when I was first approaching him and the ACTF about adapting the TV series, I said like that I feel like his stories are all 'weird things happen and it's okay to be weird. It's okay to be different'. One of the other main parts of the musical is, because sometimes it was quite scary in the TV show, there's this idea that I think is quite important that as well as it's okay to be weird, it's okay to be scared. Everyone gets scared. Even adults get scared." On Introducing Round the Twist to a New Generation Paul: "I am very excited by it. I always designed it as something that the whole family could come to, and that's why I think what is exciting to me is that the generation that grew up watching it will now be able to bring their kids and introduce their kids to the musical. So it's very, very exciting to me to have it for a new generation. And I think it shows the importance of telling Australian stories, and that they are good and they are worthwhile, and they should be supported and told — because these stories started out as books, and then they've become a TV show and now a musical. It shows the enduring power of those stories and how they were each passed down into different generations. Now I'm very excited that the new generation's going to get to experience these stories." Simon: "It pains one to say it, but you never really know what you've got as a show until you put it in front of that audience, however much your fingers may be crossed. You've honed it. This is the frustration of anyone who's worked on making a new musical, including the people whose musicals we see coming in from Broadway, fully honed and perfectly resolved — behind every one of those great musicals are three failed musicals and a lot of blood, sweat and tears. I think that you put a musical up there and our hope is that, this coming back to what we're talking about before, my job of trying to think about it as something that people who know nothing about Round the Twist might be coming to see — it has to have an energy and its own compelling narrative that takes them on a new and exciting, and hopefully equally eccentric, ride, as the TV series originally did." Round the Twist The Musical plays the QPAC Playhouse, Cultural Precinct, corner of Grey and Melbourne streets, South Bank, Brisbane until Sunday, December 8, 2024. Head to the Queensland Theatre and QPAC websites for tickets and further details.
The films we like to classify as big, dumb fun haven't had a great run of things so far in 2018. They've made money, definitely, but the balance has been out. Be they clangers like Pacific Rim: Uprising or mindless popcorn offerings like Rampage, there's been a lot of big and even more dumb, but the fun has been noticeably absent. The latest contender, Skyscraper, fares a little better, although ultimately its preposterous script and story render it little more than a passing diversion. Set in Hong Kong and starring Hollywood's most bankable star Dwayne 'The Rock' Johnson, Skyscraper is a thriller centred around The Pearl, the world's tallest and (supposedly) safest building. Johnson plays Will Sawyer, a former FBI agent turned high-rise security expert who finds himself in the midst of a convoluted terrorist plot to steal a valuable flash drive by setting fire to The Pearl in order to flush out its billionaire owner. Allusions to both Die Hard and Towering Inferno have been embraced by the film's distributor, so much so that they even created homage movie posters. Sadly, Skyscraper possesses neither the wit and gritty action of Die Hard nor the suspense of Inferno to see it come close to either. As always, Johnson does his level best to keep the film entertaining. But he's robbed of his usual charm-fuelled asides, left instead to deliver bizarre non-sequiturs like "if you can't fix it with Duct Tape, y'aint using enough Duct Tape" (this also ranking as perhaps cinema's most unexpected product placement). The movie's villain, too, is entirely forgettable – and whilst it might be unreasonable to hope for another Hans Gruber, writer-director Rawson Marshall Thurber could at least have endeavoured to give us something a little meatier than the generic hired gun he serves up. Refreshingly, Neve Campbell appears as Johnson's wife, who proves a far more capable action-movie heroine than the traditional spouse-in-distress. Multilingual, combat-trained and a surgeon, she's the first to clue in to the terrorists' plot and doesn't back down when the guns are pointed in her direction. And then there's that jump. Every poster, promo spot and trailer has focussed on Johnson's physics-defying leap from a towering crane into the blazing building. Every part of the sequence is ludicrous, from the impossibly short space of time it takes for Johnson to ascend the crane in a free-climb, to the Olympic gold medal everything a leap of that magnitude would win, to the police shooting at him from a helicopter despite him being unarmed and no threat to anyone. Of course, in the end he does land the jump and the crowds both on screen and off cheer in unison. It's an A+ example of big, dumb and fun existing in perfect harmony. The great shame is how few of these moments exist in Skyscraper despite a setting of such scale and design offering so many more possibilities. At the end of the day, there's not much of Skyscraper that holds up to any real level of scrutiny. Still, as a park your brain at the entrance type distraction, it mostly gets the job done. https://www.youtube.com/watch?v=t9QePUT-Yt8
Freelancers, come in from the cold. If you're tired of dodging daggers from café owners, ferreting around for power points and battling snail-paced Wi-Fi, then get yourself to Glebe. The Works is a new three-level co-working space — and its bottom floor is a cafe dedicated to drop-in freelancers. Co-owned by Young Entrepreneur of the Year Kris Spann and The Courthouse Hotel owner David Milton, The Works Kiosk is the stuff of freelancers' dreams. We're talking super-speedy internet, power points and USB chargers at every table, a meeting room and — wait for it — a private, soundproof booth, where you can Skype without annoying everyone within earshot. "We created the kiosk specifically for freelancers, entrepreneurs and creatives who aren't comfortable in cafes and don't necessarily want to go to libraries," Kris Spann says. "We wanted to provide them with a safe space, where they could work without worrying, as well as meet and network." There's seating for 27 people, arranged for solos, as well as small groups. And to keep you fuelled up while you're brainstorming, discussing, planning or writing, they have the most important things on-hand: coffee and snacks. Allpresso Espresso is served all day, as is a simple food menu of smoothie bowls, quiches and pastizzis. If you're familiar with the space at 62 Glebe Point Road, you'll know that antiques and oddities shop Halchemy Design is also on the ground floor. It's separated from the Kiosk by an acoustically-treated wall. On the second level is a light-filled, 150-capacity event space, available for talks, launches, exhibitions, screenings and so on. "There's not really a similar venue in Glebe," Kris says. "So, we think it fills a hole." Meanwhile, the third floor is taken up by a co-working space, filled with permanent creative tenants, including MusicNSW, Musicland, Over the Moo, The Fifth Estate, Sendle and Swaz Creative. There's also a bunch of hot desks, which, pending interest, will be available come spring. Sound like you? Email cowork@theworksglebe.com.au. The Works Kiosk is located on the ground floor of The Works at 62 Glebe Point Road, Glebe. It's open Monday to Saturday, from 8am till 4pm. If you're interested in hiring a hot desk 2-3 days a week email cowork@theworksglebe.com.au or visit theworksglebe.com.au.
Greek. Gypsy. Spanish. Portuguese. Senegalese. Afro-Peruvian. Mexican. Bulgarian. Balkan. Cafe Carnivale has a pretty full program this year. As a taster of globe-spanning goodness to come, it's brought together a collection of musicians to launch the 2011 Carnivale program with Fiesta! at Eastside Arts. The Cafe has been running ten years now, having grown out of the music program of the now-departed Carnivale festival. Sometime Mariachi Victor Valdez — recently seen supporting chicano músicos Los Lobos at the Sydney Festival — will play his surprisingly strong solo Mexican music on the harp. Mandie Vieira promises Fado — soulful Portuguese sound not unlike Flamenco singing — while Mousa Diakite will show off his hard-earned styles steeped in music from Mali and the Ivory Coast. Also present will be the Gypsy bass of John Maddock, Monsieur Camembert regular Eddie Bronson, and Uruguayan performer Jose Barroso. Cafe Carnivale musical director Justo Diaz completes the lineup, a talented musician himself, he has a staggering knowledge and collection of international instruments, many of which will join him on stage. So if you crave duende or other musical passions, get along to Eastside and join the party.
By now, the folks behind Beyond Cinema are real pros at throwing a fine film-themed shindig. They've thrown an extravagant Great Gatsby party at a mansion in northern Sydney, held a Mad Hatter-style tea party in the Royal Botanic Garden and recreated Titanic on Sydney Harbour — and this November, Baz Luhrmann's Moulin Rouge! is getting the immersive theatre treatment. This time around, guests will be carried away to a cabaret club in 1899 Paris. At Harold Zidler's world-famous house of risqué entertainment, you can expect dancing, singing and absinthe drinking. These events generally don't focus on the actual film screening, but usually there's the option to purchase a film ticket at an additional cost if you want to relive the whole heartbreaking whirlwind of Satine and Christian. The exact details of the event are still scarce, but if you've seen the film 608 times, you'll know what to expect. Fancy dress is, of course, a must. The exact date and location has not yet been revealed, but you can sign up to be the first to get these details — along with pre-sale tickets — over here. Or, if you're keen to book similar tickets right now, another Beyond Cinema is already set to transport you to 19th century France with an immersive singalong screening of Les Miserables this December. Beyond Cinema's Moulin Rouge! event will be held sometime in November at yet-to-be-revealed Sydney location. You can sign up for more info here.
Living through bushfires, drought, a pandemic and economic depression — sounds familiar, right? Australian impressionist painter Arthur Streeton might have lived a hundred years ago, but his worldview was impacted by all-too-familiar cycles of environmental, economic and political upheaval. If you don't know much about Streeton, you'll have the opportunity to get to know one of Australia's most loved landscape painters through 150 of his works — including some that haven't been shown since the 1920s — in a new retrospective exhibition at the Art Gallery of New South Wales. Head curator of Australian art Wayne Tunnicliffe took a deep dive into the Gallery's collection to uncover not only the beloved paintings hanging on the Gallery's walls, but also works within the collection that have been stored away for over 100 years. Born in 1867, Streeton's art practice evolved over six decades. Within the exhibition, you'll see that evolution and an enduring passion for Australia's natural beauty; there are his sun-drenched landscapes from the 1880s, bright, joyful depictions of Sydney Harbour from the 1890s and his bucolic paintings of the 1920s and 30s. [caption id="attachment_784956" align="alignnone" width="1920"] Arthur Streeton, 'From McMahon's Point — fare one penny' (1890), National Gallery of Australia, Canberra[/caption] He painted familiar, and often beautiful, locations in New South Wales, from Coogee and Manly beaches to the Blue Mountains and upper Hawkesbury River. His skill at capturing light, land and sea contributed to Australia's take on impressionism. His peers — artists Tom Roberts and Charles Conder — were part of a new art movement, the Heidelberg School, that was a distinctly Australian take on the global art movement. The exhibition, which runs from November 7–February 14, will feature 150 works from both public and private collections — including paintings, drawings and watercolours. It's the most significant retrospective of Streeton's art ever presented, and includes works from the artist's time in Egypt, England, Italy and in France during the second world war. As well as his final works, which show Streeton's increasing focus on environmental concerns — on his return to Australia, Streeton became more vocal about conservation and exhibiting works showing our destruction to the natural world. Tickets to 'Streeton' cost $22 and you can buy timed-entry tickets online now. If you have already purchased untimed and undated tickets for 'Streeton', your tickets will be honoured for any date and time until February 14, 2021, excluding opening weekend. For $35, you can upgrade to a Gallery Pass, which gives you access to 'Streeton' and the 'Archibald, Wynne and Sulman Prizes 2020'. Top images: 1. Arthur Streeton, 'Early summer – gorse in bloom' (1888), Art Gallery of South Australia, Adelaide, Gift of Mrs Andrew Tennant through the Art Gallery of South Australia Foundation 1982. 2. Arthur Streeton, 'The Land of the Golden Fleece' (1926). Private collection, Sydney. Photo: Jenni Carter, AGNSW.
Lots of bands get accused of having an eclectic range of influences. The Unthanks, instead, get accused of being the eclectic influence. Their reach covers not only musos like Elvis Costello and Radiohead, but has also helped inspire a revival of lo-fi clog dancing. Part of a musical current unwraping live music from the electric, this Northern English band's current lineup is a ten-piece big band — five of whom are touring here to Sydney to perform at the Festival's Spiegeltent. Formerly Rachael Unthank and the Wintersets, a complicated set of line-up changes over the years brought the band to settle on its shorter name. Sisters Becky and Rachel Unthank (their real surname, it means 'squatter') grew up around folk songs and folk festivals, drawing their musical influences together into a modern act. Their rich geordie voices intertwine tightly on stage, at times the amplification dropped so completely that you can hear a seat creak or the pages turn in a reporter's notebook. While their songs are often grim or heartbreaking, it's some work to be sad when the voices are so sweet.
Since 2011, DJ Tom Loud's travelling dance party Hot Dub Time Machine has ripped up stages the world over, offering a rolling crossfade of the last six decades of pop-music. And three years ago he launched Wine Machine, a series of al fresco get-togethers on some of the country's most-loved wine regions. The Wine Machine events were a success and the tour will be returning to Hunter Valley's Roche Estate for a second year on Saturday, March 14. The boutique event will run from early afternoon through to after dark. Leading the music will be one of Hot Dub's signature sets, which will see audiences dancing their way from 1954 to today, as the DJ mixes best-known songs from each year. He'll be joined on stage by NZ alt-rockers The Naked & Famous, indie four-piece The Jungle Giants, Aussie dance legends Bag Raiders and Brisbane DJ Young Franco. You can check out the full lineup below. Backing up the tunes, there'll be a tasty lineup of eats, craft beer and, of course, some sensational vino from these Australian wine regions. Safe to say, it's probably the rowdiest event these wineries will host all year. WINE MACHINE 2020 LINEUP Hot Dub Time Machine The Jungle Giants The Naked & Famous Regard Northeast Party House Bag Raiders Young Franco Alice Ivy Don West Danny Clayton Updated January 17, 2020.
Gelato Messina first introduced its cookie pies to the world in 2020, and tastebuds across Australia thanked them. Then, it kept bringing the OTT dessert back when we all needed an extra dose of sweetness across the year. In fact, the dessert fiends have been serving them up for exactly 12 months now. That's a milestone worth celebrating, which Messina is doing by releasing a new birthday cake cookie pie. Chocolate chips are involved, as they usually are, but this dessert also includes a layer of vanilla custard, plus birthday cake crumbled on top. Yes, sprinkles feature as well. Of course they are. Hang on, a cookie pie? It's a pie, obviously, but it's made of cookie dough. And it serves two–six people — or just you. You bake it yourself, too, so you get to enjoy that oh-so-amazing smell of freshly baked cookies wafting through your kitchen. This time, you'll enjoy the scent of vanilla and birthday cake as well. The new pies will be available for preorder from 9am on Monday, April 12 — which is your chance to get yourself a piece of the pie. On its own, the indulgent birthday cake cookie pie will cost $25. But to sweeten the deal, the cult ice creamery has created a few bundle options, should you want some of its famed gelato atop it. For $35, you'll get the pie and a 500-millilitre tub, while with a one-litre tub or a 1.5-litre tub, it'll cost $41 and $45 respectively. The catch? You'll have to peel yourself off the couch and head to your local Messina store to pick up your order. They'll be available for collection between Friday, April 16–Sunday, April 18. You can preorder a Messina birthday cake cookie pie pie from Monday, April 12, to pick up from April 16–18.
In the pandemic's early days, Disney skipped cinema releases for three films — Soul, Luca and Turning Red — due to lockdowns, restrictions, and picture palaces either temporarily closing or having capacity limits. Instead, all three movies went straight to streaming platform Disney+. Wish you'd gotten a silver-screen experience while viewing this trio — or any one of them? Enter the new Pixar Film Fest to give you that chance. From Thursday, February 22–Wednesday, March 13, for a week apiece at various locations around Sydney, it's debuting Soul, Luca and Turning Red in cinemas for the first time Down Under. Oscar-winner Soul sports a premise that resembles Inside Out, which has a sequel arriving on the big screen in 2024. Instead of emotions having emotions, souls do. Rather than Amy Poehler (Moxie) doing voice work, Tina Fey (Mean Girls) does. And director Peter Docter (Up) helmed them both. But Soul is definitely its own feature — and takes quite the existential trip as it follows aspiring jazz musician-turned-music teacher Joe (Jamie Foxx, The Burial) after an accident where his soul leaves his body.It's releasing in cinemas from Thursday, February 22–Wednesday, February 28. Next up is Turning Red, which'll get projectors whirring from Thursday, February 29–Wednesday, March 6. The setup: what'd happen if the Hulk was a teenage girl, but became a super-cute red panda? Or, finding a different riff on the ol' werewolf situation, what if emotions rather than full moons inspired a case of not-quite-lycanthropy? Rounding out the lineup is Luca, which is similarly about transformation. This one takes place in Italy over a gorgeous summer, also spins a coming-of-age tale and nods to Frankenstein as well. Here, teenage sea monsters Luca (Jacob Tremblay, Orion and the Dark) and Alberto (Jack Dylan Grazer, Shazam! Fury of the Gods) just want to fit in, but know that the village they decide to call home wouldn't accept them if they don't take on human form. Cinemagoers can catch it from Thursday, March 7–Wednesday, March 13.
Sydney boy Oliver Tank has been absolutely killing it in the past couple of years since winning FBi Radio's Northern Lights competition in 2011, which saw him fly to Iceland to perform his first overseas show. Comparisons to Bon Iver and James Blake were perhaps inevitable, and to a certain extent Tank exists in that same broad 'electronica with emotions' sub-genre that those two artists dabble in. But Tank's electronica goes far deeper than a passing association to create intricate, densely layered music that has more in common with Boards of Canada or Jon Hopkins. Tank is a rapidly rising star — in 2013 he supported James Blake at the Opera House as well as playing a bunch of shows all over the country. Headlining a room the size of The Metro is a challenge, but having seen Tank perform to hundreds of people at FBi's 10th birthday festival, I have no doubt he can handle it.
"The text of this edition of the play differs somewhat from the text on the school curriculum," declares the program for Belvoir's Summer of the Seventeenth Doll. Whether it's because of this or because so much is obscured by that first reading through the fog of school-age naivete, but watching this production of the Ray Lawler-penned Australian classic, one thing suddenly becomes clear: Seventeenth Doll is about sex. Lots of sex, plus relationships, growing up, blindness to change, and the fantasies we sustain to make our lives liveable. Basically, although we may relegate the play to a time of outdated and cringe-inducing Australian parochialism, the characters and story of Seventeenth Doll are strikingly, achingly contemporary. It's 1953, the 17th summer seasonal sugar cane cutters Roo (Steve Le Marquand) and Barney (Dan Wyllie) will be returning from Queensland to bunk in Olive's Carlton home for the lay-off. Olive (Susie Porter) calls it her "five months of heaven every year". Onlookers would say it wasn't "a decent way of living". Each year they party and piss their savings away, and although the fourth member of their merry band, Nancy, has recently gone off, married and left them, Olive has recruited widower Pearl (Helen Thompson) to take her place and is determined that this summer should be no different. Summer of the Seventeenth Doll is an exceptionally well-written play. As well as all the randy-ness (always gripping and relatable), the tension created by the missing Nancy hangs heavy in the air and provides a graceful catalyst for the events that unfold. Open up the script and the language is dense as Old English, only furnished with an expansive ockerism. Yes, it features at least one boorish Aussie larrikin, but he's deconstructed, long before we made a habit out of doing that sort of thing. It's worth our being reminded of why this story is a part of the Australian literary canon. Although Seventeenth Doll will get its due adaptations one day (ooh, with boom-time miners? Touring indie rockers?), you can't beat seeing it like this, with its full richness and realism brought out by director Neil Armfield. There's an intricately decorated home interior set by Belvoir artistic director Ralph Myers, a covetable wardrobe of '50s wiggle dresses and pussy-bow blouses, and a bewitching deployment of that most underutilised sense, smell. The cast deliver lines that could have been obscured by a nearly dead language with clarity and feeling, and the performances are stellar, particularly Porter's super-sympathetic portrayal of the sometimes desperate Olive, the uptight and awkward comedy Thompson brings to Pearl, and Robyn Nevin's wonderfully scene-stealing presence as Olive's matter-of-fact mother, Emma. We like to get swept along in nostalgia for 1950s America. The Australia of that era may be dowdier, but this production says it's time we gave it a fair go.
How safe do these two activities sound to you? (a) Walking through a crowded urban centre with your phone screen five inches from your nose. (b) Walking alone through deserted areas of The Rocks at night. Well, surprise! You're about to do both, and you'll survive without a bruise on you. This is The City of Forking Paths, the Biennale of Sydney's first 'legacy' work that the City of Sydney gets to keep. It's really something. By Canadians Janet Cardiff and George Bures Miller, it's a 'video walk' that leads you on an artist-hijacked journey through some familiar (and not so familiar) places. This is an interesting use of the technology. Unlike what we typically think of as augmented reality, the app does not supplement the world you're walking through; it replaces it, with footage shot earlier by the artists. Some shots appear as ordinary, observational documentary; some are staged interventions into normality. Combined, they create a poetic in-between place that has you thinking about The Rocks' history, its present, your relationship with technology and your relationship with the world around you — despite, or because of, your removal from it. By keeping step with Cardiff's breathy, introspective narration, you keep step with the visuals (more or less). Don't worry about bumping into people; it turns out, people will amiably duck out of the way of oblivious weirdos who can't lift their eyes from their phones. Cardiff and Miller have been developing their sound walks for decades now, and it feels like they have been able to reach new levels of fullness in their practice with today's technologies. The rambling, exploratory, almost stream-of-consciousness nature of their work remains (although that's not to say anything's an accident; the sound and video production is immaculate and precise). By engaging the visual sense so totally, however, they've been able to create a truly exceptional feeling of immersion. Cardiff's monologue becomes your monologue. If you're lucky, it rattles you completely and allows you to step beyond yourself. In order to get the full effect, you really must follow the instructions for intended use and keep the device held up vertically in your line of sight, aligning it with your peripheral vision as much as possible. You also need good-quality, noise-cancelling headphones, as the sound design is essential to the work, and your dinky earbuds won't cut it. As easy as it might be to download the app direct to your phone (it's Android and iPhone compatible), you're probably best off borrowing an iPod Touch set from Customs House, where headphones from sponsor Harman/Kardon are provided. Live actively in your city and give this artwork a go. Don't let it fall to tourists alone. It's a remarkable piece with more stress-releasing power than after-work drinks. And with The Rocks destined to look quite different a few years from now, it's an artwork with a potent, evolving legacy. The City of Forking Paths is GPS-activated and time-locked and will only function from Customs House after dusk.
New year, new summer sandwiches. That's the vibe at much-loved Japanese chain Motto Motto, as the crew has revealed its new Sando Sets made for the warm weather and on-court tennis action. Available for the special price of $15 from Saturday, January 10–Sunday, January 11, smash an elevated milk-bread creation, paired with signature Japanese seaweed-salt fries. Three exclusive options make up the Sando Sets, including a new-and-improved version of Motto Motto's chicken katsu order. Expect golden panko-crumbed chicken breast topped with creamy kale slaw and tonkatsu sauce. Plus, the orange-yuzu crispy fish is a sweet-and-sour delight, served with heaps of kale slaw and a slice of lemon. Finally, sando lovers can wrap their hands around the curry prawn sandwich. Here, five juicy prawns are smothered in rich Japanese curry and kale slaw, offering a comforting combination of spice and crunch bound to ace your next summer lunch. Yet the new menu also features two more stars ready to win over your taste buds. Those are Motto Motto's existing summer exclusives, giving you five tasty options to munch on. Get stuck into the tuna avo, a fan-favourite featuring creamy tuna, Japanese mayo, cucumber salad and sliced avo. Meanwhile, the double egg sando tops a silky egg salad with a soft-boiled number, ensuring harmonious flavour and texture.
If you know your Bingo Bronson from your Al Dente Dentist, your 6 on the party scale from your 10, this one’s for you. NYC’s best main squeezes and partners in crime are paying Goodgod’s pop culture trivia a visit — and word is it’s going to be at least an 8.5. There are major and minor prizes (including Belly Bao food and punch jugs) up for grabs throughout the night, but in the end there can only be as many winners as there are Wholefoods in Brooklyn (one). Does this call for an impromptu marathon in preparation? Maybe. (We’re not condoning sickies, but Ilana might.) Goodgod trivia is free to enter and starts 8pm. But if you’ve attended previously, you’ll know tables at this thing can go fast. So beat the #FOMO, get there early, and chow down on some Belly Bao (brain food Abbi and Ilana would approve of) while you wait.
As that sweaty, gamer dude with greasepaint dripping from his nose that you bumped into on the bus who was cosplaying Emperor Palpatine en route to Oz Comic-Con said: Let the nerd flow through you. Despite sounding like one of the most horrendous pick-up lines of all time, he had a point. Nerd culture is inescapable, and unless you want to look back on a life haunted by the zeitgeist, it's time to get on board. Dragon Friends is a Dungeons and Dragons game played live on stage by some of Sydney's best comedians. While that may sound niche, the kicker is that none of the comedians have played D&D — the cult tabletop fantasy role playing game — before. DM'd by Dave Harmon, the creator of Australia's largest real world zombie survival game, Zedtown, together with Story Club co-creator and regular Chaser collaborator, Ben Jenkins, are Dragon Friends. And it's silly, unashamedly nerdy, and utterly delightful. The core cast of comedians/D&D newbies is compromised of triple j presenter and Good Game Well Played host, Michael Hing, BuzzFeed Australia's Alex Lee, national Theatresports champion Simon Greiner, and one third of the Axis of Awesome, Benny Davis. Having just performed at PAX Australia in Melbourne — where they were joined on stage by Lawrence Leung and none other than Senator Scott Ludlam — Dragon Friends won't be little known for long. If this piques your interest, you can catch up on the adventure so far via their podcast.
If you listen carefully, you might just hear the sound of a light- to medium-bodied red wine sloshing around a glass. That's because the world's favourite celebration of pinot noir is finally returning, with the news Pinot Palooza will make its comeback in just a few short months. In its 10 years of life, the Melbourne-born wine tasting festival has become a global affair, with an estimated 65,000 tickets sold, worldwide. But once COVID hit in 2020, it saw the popular event shelved for two-and-a-half years. Now, that hiatus is finally over, with a huge tenth-anniversary edition of Pinot Palooza set to hit Melbourne, Brisbane, Sydney and Auckland in 2022. The comeback tour kicks off this autumn, returning to the festival's homeland of Melbourne with a couple of wine-filled days at Port Melbourne's Timber Yard from May 6–7. Brisbane Showgrounds are up next, hosting Pinot Palooza from May 20–21, before Sydney gets its shot on June 17 and 18. The festival then crosses the ditch for its Auckland edition from October 15–16. While the wine-sipping fun will play out similarly to before, across three sessions at each event, there is one big new addition in store — a dedicated Tasmanian hub set to showcase a curation of wine, spirits, cider and cheese from over 20 top Tassie producers. As always, you'll spend your event session swirling and sampling a huge array of pinot noir from across Australia, New Zealand and the world. Word is, over 70 winemakers are coming to the party. Also like before, there'll be pop-up bars and food stalls to keep you busy in between sips, with favourites Burn City Smokers, Taco Truck and Nama already confirmed for the Melbourne edition. Pinot Palooza 2022 will hit Melbourne on May 6–7, Brisbane on May 20–21, Sydney on June 17–18 and Auckland on October 15–16. To nab tickets or find out more, jump over to the website.
If anything is going to get us over our cultural cringe, it must be this serious, big-budget-ish adaptation of the Tomorrow series, a collection of YA novels that's as dear to generations of young Aussie hearts as almost any imported phenomena. And it's a whole lot bloodier than Twilight. The adventures, penned by John Marsden, filled seven instalments between 1993 and 1999 and later a spin-off, The Ellie Chronicles. In case you missed it, Tomorrow, When the War Began follows Ellie Linton (Caitlin Stasey, far away from Neighbours) and her motley band of teenage friends, all residents of the fictional country town of Wirrawee, who venture out on a camping trip to a very remote location. There, they swim, flirt, billy-cook two-minute noodles and observe a fleet of small planes passing overhead in the dead of night. Returning to a deserted, damaged town, they discover that the planes were part of an invading force that has chosen coastal Wirrawee as a strategic base from which to wage war on Australia. With their families imprisoned at the town showgrounds, scant access to information and their lives in peril, the group become guerrilla resistance fighters. If the premise asks you to suspend belief, it rewards you for your effort. Although it's bookended by some stilted dialogue and inappropriately upbeat end credits, the film gets the important things right: explosions and emotional resonance. Tomorrow, When the War Began remains a universalising rather than a narrowing experience, which asks its audience to confront the violence of war and relate to young people living under occupation. Writer/director Stuart Beattie (Pirates of the Caribbean, Australia) makes not-heavy-handed moves to make sure this comes across; Ellie's silent reflection over a mural of Australia's colonial settlement is one particularly poignant moment in a narrative where the invaders' nationalities are deliberately obscured (although, in a movie, they do have to have faces, and, yes, they're Asian). It's amazing that this film balances the genres of rollicking buddy adventure and war drama while hurtling along at quickening speed and without needing to cling to nationalism or blokiness to find its course. And the explosions: well, they're great. Save your cynicism; this is one to get excited about. https://youtube.com/watch?v=f_KhErNyiq8
One seminal pop musician. One major public event. Two 'where-were-you-when-it-happened' tragedies, made even more tragic by a subliminal sense of shame, the sneaking suspicion that we had contributed to the demise of a pop icon and the disintegration of an American dream by supercharging them with social importance. In his confronting new exhibition, Daniel Askill juxtaposes the death of the 'King of Pop', Michael Jackson, with the atrocities of 9/11. His premise is that we have created a world of false idolatry where images, scenes and people zoom in and out of focus depending on popular perception, rather than inherent importance. Askill's recurrent theme — explored in We Have Decided Not to Die and Artefacts From The Fifth Ritual — is that contemporary culture has become a profit driven industry which blatantly and unapologetically follows the same rules of production as any other producer of commodities. Askill contends that the growth of capitalism and the growth of mass entertainment are inextricably intertwined, leading to an indiscriminate whorl of 'modern worship.' Through a large-scale, looping installation, Askill uses slow motion video tableaux to replicate the way major events are played out in mass media. Modern Worship deals with how social fragmentation undermines any sense of cultural community because, in Yeats' words, the "centre cannot hold". Through his art, Askill exposes how human tragedies become hyper-reality, and how cultural exploitation is so much a factor in the destruction of public ideals.
Sydney's love affair with natural wines shows no sign of slowing and we couldn't be happier about it. The latest venue to showcase the funky wines is newcomer Ode Bar; it's offering an Australian twist on European-style dining with minimal intervention wines, Italian-inspired share plates and an upcycled fit-out. At the helm is head chef Ben Abiad, who most recently led the kitchen at Potts Point's 350-label strong Dear Sainte Éloise (Concrete Playground's Best New Bar 2017 Winner). His impressive resume also includes Love, Tilly Devine, Sean's Panaroma and Mecca, plus co-founding Brickfields Bakery. Joining Abiad as co-owners are managers Jeremy Moyle and Jerome Wallcroft and designer Benedict Maurice — who are all Sydney hospo vets and have overlapped across many of the same venues. With this venture, they're "blurring the boundaries between wine bar and restaurant", starting with an extensive wine list from all-natural winemakers — using minimal intervention with no additives, fining, filtration or added yeasts. "The big difference we've found through seeking out these producers is it's not a story about one amazing wine maker using technical methods in the cellar; rather, it's a story about an amazing group of farmers that are growing the best fruit they can, to express the earth where it was grown, and what happened during that season," says Moyle. Ode aims to put the farmers on display and focuses on producers who are reviving native grape varieties. All four owners have spent time harvesting on vineyards, too, so their appreciation of good wine goes deeper than just time spent in hospitality. This produce-driven mentality extends to the kitchen, where Abiad's seasonal menu draws from his roots in Italian cooking. Like at Dear Sainte Eloise, it's a concise menu that's meant to be shared over a few glasses of wine. There's a clear focus on chargrilled cooking, with dishes like grilled scallops with a rosemary and anchovy sauce; grilled octopus with 'nduja and lardo; and smoked mussels on toast, topped with aioli and pickled celery (a dish reminiscent of the Dear Sainte Éloise menu, too). Mains centre on house-made pastas, which, at the moment, are used in heartier winter dishes like beef cheek ragu cavatelli, or gnocchi in a creamy gorgonzola and walnut sauce. On weekends, Ode is also slinging simple European-style brekkie from 9am — think sweet and savoury croissants, pastries and danishes by Clovelly's Tuga Pastry, plus soft-boiled eggs on toast and coffees by Mecca, of course. The fit-out follows a commitment to the au naturel, too, with the team building everything from scratch using mostly recycled materials. These include 200-year-old Blue Gum timber — salvaged from Botany Bay's La Perouse wharf — which became the bar top, tables and chairs, plus the majority of the back bar. Ode Bar is now open at 251 Bondi Road, Bondi. Opening hours are Tuesday through Thursdays from 3pm to 11pm; Friday from noon to 11pm; and Saturday through Sunday from 9am to 11pm.
A shadowy old house. A strange little boy. An unexplained object that won't go away. There's nothing particularly revolutionary about The Babadook; it's simply a matter of execution. Taking time-honoured plot points that in lesser hands would seem cliched, Queensland director Jennifer Kent has managed to craft a film that feels both entirely original and utterly terrifying. Featuring both a gripping lead performance by Essie Davis and one of the most creepifying monsters to ever stalk your dreams, The Babadook sets a bar by which future local horror films will be measured. Davis plays Amelia, the overwhelmed, widowed mother of a seven-year-old problem child named Samuel (newcomer Noah Wiseman). A maladjusted and volatile lad with a penchant for producing homemade weapons, Sammy is quite the handful for his mum, who's still haunted by the trauma of losing her husband in a car-wreck while driving to the hospital on the night of her Samuel's birth. One evening, while putting Samuel to bed, Amelia finds a mysterious new book on the boy's bookshelf. Written in Dr Seuss-style rhymes, the story it tells is of a strange, spindly-fingered creature named Mr Babadook. Although innocent at first, the stanzas grow steadily more menacing. Of course, by the time Amelia clues on to the fact that this might not be suitable bedtime reading, the damage has already been done. In an age when 'scary' is so often mistaken for 'bloody', Kent gives us a reminder of the power of anticipation. With next to zero onscreen violence, The Babadook is the kind of slow-burn horror movie that gets under your skin and raises the hairs on your neck; the kind of horror movie that has you bracing yourself for the next scare yet still catches you off guard when the monster finally rears its ugly head. A stop-frame creation that lurks in the shadows, the eponymous Babadook moves with a slithering unreality that seems to freeze the blood vessels in your brain. You know he can't exist. And yet he does. The terror comes also from our empathy with Amelia and Sam. Present in just about every scene, Davis is phenomenally good as Amelia, a worn-down figure who becomes increasingly erratic, and then monstrous herself, as the Babadook's presence grows stronger. More than once, the film implies that the creature may just be a product of Amelia's frazzled mind, pushed to the brink by the death of her husband and the constant demands of her son. In truth, that might be the most frightening suggestion of all. Kent doesn't quite stick the landing, unfortunately. Ambiguity is one thing, but the ending here is just plain unclear. Even so, an unsatisfying coda doesn't undo what came before. To anyone who can handle their heart in their throat, consider The Babadook highly recommended. To anyone who can handle their heart in their throat, consider The Babadook highly recommended. https://youtube.com/watch?v=IuQELNFtr-g
JANIS, just like its namesake Janis Joplin, promises to be big, loud, here, change, make and take, and talk to the past and the future. What’s it all about? Discussing the gender inequality in the arts. And who's the woman behind it? Kelly Doley. She started it up to look at female art practice, including curating, writing and art projects. So female voices in the art world to be “heard a little louder and to take up more space in the artworld, and subsequently, in the annals of art histroy.” The first JANIS, titled JANIS#1 showing at Alaska Projects will exhibit the works of cross-disciplinary artists, including Kelly Doley’s own works. The other female artists involved are Sarah Contos who looks at themes of disillusionment and unfulfilled desire — with a cheeky twist, Hannah Furmage, Zoe Robertson, Marian Tubbs and Justene Williams. And alongside this exhibition, a published work will include writing from Brown Councillor Diana Smith and Amanda Rowell. Oh yeah, and did we mention there will be a special beer served on the night inspired by Janis Joplin called Crude Oil? Doesn't sound like a light beer. Opening night: Wednesday, February 6, from 6-8pm. The exhibition is open Saturdays and Sundays 1-6pm.
Fresh from making two of his last four films in Australia — Lion and Hotel Mumbai — Dev Patel is heading somewhere completely different. Stepping back to medieval times, he's jumping into the fantasy genre, messing with Arthurian legend and swinging around a mighty sword, all thanks to the dark and ominous The Green Knight. Based on the 14th-century poem Sir Gawain and the Green Knight, The Green Knight casts Patel as Sir Gawain. Nephew to King Arthur (Sean Harris), he's a knight of the Round Table and fearsome warrior. The character has popped up in plenty of tales, but here, he's forced to confront the green-skinned titular figure in an eerie showdown. As the poem explains, the Green Knight dares any other knight to strike him with an axe, but only if they'll then receive a return blow exactly one year and one day later. Just how closely this film adaptation will stick to that story is yet to be seen — however the just-dropped first teaser certainly looks more than a little moody, brooding and creepy. Patel is in great company, with The Green Knight also starring Alicia Vikander, Joel Edgerton and Dunkirk's Barry Keoghan. Games of Thrones' Kate Dickie pops up as Guinevere, while her co-star Ralph Ineson — whose also known from the Harry Potter flicks, The Witch and the UK version of The Office — plays the Green Knight. And, it's the latest film by an impressive — and always eclectic — writer/director, with David Lowery's filmography spanning everything from Ain't Them Bodies Saints and Pete's Dragon to A Ghost Story and The Old Man and the Gun. Check out the teaser below: https://www.youtube.com/watch?v=VoJc2tH3WBw The Green Knight will release in the US sometime over America's summer, but it doesn't yet have a release date Down Under — we'll update you when it does.
Alongside its huge Japan Supernatural: 1700s to now exhibition, the Art Gallery of NSW is hosting another exceptional show this summer — and this one's free. From Saturday, November 9 until February next year, the gallery is dedicating an entire exhibition to celebrated contemporary Australian artist Ben Quilty and his work over the past 15 years. Simply entitled Quilty, more than 70 pieces will showcase his work from the early 2000s onwards — including his intimate looks at his own reflection, his time spent as an official war artist in Afghanistan, poetic visions of the Australian landscape and his response to other topical events, including the last American election. Quilty's expressive portraits, both of himself and of others — such as executed Bali Nine drug smuggler Myuran Sukumaran — are quite a striking sight. His Rorschach paintings are too, unsurprisingly. And, they're designed not just to catch the eye, but to explore the dark undercurrent of violence and themes of displacement. Including paintings inspired by his visits to Lebanon, Syria and Greece, the exhibition marks the first major survey of Quilty's artistic output in a decade. On Wednesday, November 13, Quilty will be in conversation with ABC Radio presenter Robbie Buck in a special edition of Art After Hours. After the talk, you can catch some live tunes, too. Image 1: Photograph: Daniel Boud. Image 2: Ben Quilty. Rorschach after von Guérard. 2009. Oil and synthetic polymer paint on linen (12 panels) / 230.0 x 804.0 cm (overall). Acquired 2009, TarraWarra Museum of Art. Courtesy the artist. Photograph: Jeremy Dillon.
Venues present and past have been hidden around the city. Shops a-plenty dominate its broader boulevards and narrow lanes. But what Sydney-siders really want is to get our hands on the roads themselves. Openings for bridges and tunnels, runs — fun or marathon — even picnics have been eagerly snapped up as excuses to get our rubber on their asphalt. But until recently we didn't get much of a chance to stick around. Who would have thought that we'd get the chance for, not just one but two city street parties in the same month? On Australia day, the Rocks will host a whole day of free music down the sharp hills and smart alleyways of one of Sydney's oldest disreputable neighbourhoods. A long list of artists includes the Hungry Kids of Hungary, the funereal Christa Hughes and the Honky TonkShonks and any amount of choral singing. At five there's a flashmob singing Bury Me Deep in Love by the Triffids, with which you can join in. So while some may go for other festivals, ferry races or more somber bites of history, why not spend your shoe leather tapping along to the action on the Rocks' sweetly cobbled streets? Original image by Kat Clay.
It's time for another madcap, star-studded, pastel-hued adventure with Wes Anderson. Hooray! The follow-up to Moonrise Kingdom, The Grand Budapest Hotel follows Gustave H (Ralph Fiennes), a manager at the swanky eponymous establishment and his devoted lobby boy, Zero Moustafa. The suave Gustave is a hit with the mature lady guests, and when one of them dies, he is suspected of murder and theft. So he and his precious sidekick make a run for it, and the story unfolds into the whirlwind of adventure, mystery, romance and, of course, comedy that captivate us with Anderson's films. It looks like Anderson won't be abandoning his colourful, dreamy sets; dry, poker-faced humour; and eccentric characters anytime soon. The usual suspects in the cast include Willem Dafoe, Edward Norton, Bill Murray, Owen Wilson, Jeff Goldblum, Adrien Brody and Jason Schwartzman. Tilda Swinton, Jude Law and Saoirse Ronan are also thrown in, making The Grand Budapest Hotel one Anderson's most dynamically cast films yet. The Grand Budapest Hotel is is in cinemas on Thursday, April 10, and thanks to Twentieth Century Fox, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=1Fg5iWmQjwk
A celebration of flavour all too overlooked comes to the Newtown Hotel on April 9 in the form of a cheese making and cider tasting workshop that might become one of the trendiest pairings since Jennifer Lawrence’s face literally met the red carpet. In conjunction with Cornersmith Picklery (the education space/grocery store addition to the much-loved Marrickville cafe of the same name) and Young Henrys Brewery located just around the corner, this intimate night school, held in the upstairs cinema area, asks you to get your hands dairy by having a crack at making your own cheese while sipping on the aforementioned local beer and cider. Cornersmith’s resident cheese-maker Kristen Allan will be on hand to guide you through crafting ricotta, labneh and even yoghurt, while Dan and Kristen Hampton from Young Henrys will be there to enlighten you on the booze. Plus it will all kick off with a sampling of Cornersmith products around the communal table.
Rarely have I been given reason to reassess my opinion of Gordon Gekko, the ruthless stockbroker of Oliver Stone’s 1987 film, Wall Street. Rarer still has been the opportunity to consider his philosophy of rampant acquisition to the detriment of all else as anything approaching moderate. Melissa Bubnic’s Boys Will Be Boys, directed by Paige Rattray for Sydney Theatre Company, gave me both of these things. The play’s setting is a currency trading firm where the smiles are fake, the money is real and any part of your back that isn’t impervious to daggers probably needs your attention. Attempts to picture Gekko in this office conjured only various images of Michael Douglas’s head on a stick. This play is fast and mean and left me the bewilderment of the recently scammed. Priya (Sophia Roberts), a young businesswoman, is looking to become involved in finance. She talks the talk, but Astrid (Danielle Cormack), her mentor and an old hand at the currency trading game, recognises a dangerous naivete sitting alongside Priya’s potential. As she learns the ropes and cuts a few throats, Priya, like so many before her, realises that her material gains are unlikely to offset the staggering losses she is experiencing in the markets of morality and self-respect. At the same time, Astrid is negotiating a complicated relationship with a prostitute, Isabelle (Meredith Penman). Their deepening connection prompts many a conversation comparing their chosen professions and the pragmatic and fickle nature of both. A portrait of their boss, Arthur (an insanely charismatic Tina Bursill), looking the spitting image of David Bowie, coolly surveils the office as the real McCoy stalks in and out intermittently. David Fleischer has done an excellent job designing the office; fluorescent lights and cheap ceiling panels are offset by the stylish layout of the room, which has a professionally spartan quality to it (think corporate Zen garden). The cast is all female, though the characters are not. While Rattray has suggested that we are seeing "despicable women acting like men", there is very little of the adolescent machismo that tends to permeate similar male-dominated narratives here. Instead, there is an unrelenting, if not always overt savagery, focussed by pointed humour that refuses to dissipate the tension. "I remember you before Botox, that’s how old I am," and other zingers ricochet around the space, threatening to start small blazes where they land. Breaking up the office politics are Astrid’s occasional forays into cabaret, which are really a series of snide, irony-laden commentaries on society’s (mis)perception of the modern woman. Her broad accusations of female stereotyping are driven home by the rest of the cast, who during these intervals, shed complex characters to become flouncing, leotard-clad chorus girls. Boys Will Be Boys is fantastic — a tight and merciless show. Give these people your money; they know how to get the most out of it. Images by Brett Boardman.
Created in 1983, run by artists and housed in Woolloomooloo's historic Gunnery Building since 1992, Artspace hosts a range of exhibitions that explore the spectrum of artistic disciplines. Residencies are expertly curated with a focus on the contemporary, meaning that you'll always experience something to challenge your preconceptions of what art can be. In its lifetime, Artspace has been home to presentations by names as diverse as Marco Fusinato, Justene Williams and Chicks on Speed. And, with its commitment to boundary-pushing works and reciprocal relationships with its artists, you can bet that future exhibitions and the artworks gracing its walls will be just as thrilling.
Stay tuned. More info on its way.
When blissed out, soon-to-be-married American couple Nica (Hani Furstenberg) and Alex (Gael Garcia Bernal), set off on a hiking adventure in Georgia's remote Caucasus Mountains, they have little idea that their seemingly idealistic world is about to be profoundly challenged. To all appearances, the two share an unshakeable connection — spiritually at ease yet sexually charged. Nica is spirited and independent, and Alex adores her. They toy with language games, compete playfully over who is fastest or strongest, and are in free pursuit of their mutual wanderlust. Local guide Dato (Georgian actor and real-life expert mountaineer Bidzina Gujabidze) leads them through one breathtaking scene after another. Then, halfway through the film, a single event (not to be delineated here, for fear of giving too much away), corrupts the couple's bond, raising questions of trust, betrayal, and guilt. The Loneliest Planet, loosely based on Tom Bissell's short story Expensive Trips Nowhere, continues the minimalist style established in Russian-born, American-raised director Julia Loktev's second feature, Day Night Day Night(2006). Dialogue is sparse and we learn next to nothing of the specific details that conventionally define character — history, family, education, career, values and so forth. Nearly everything that we do know, we discover through action and we interpret through the camera's positioning. Loktev is a big fan of the long shot. Numerous scenes portray Nica, Alex and Dato "together alone", united by their common journey yet divided, both spatially and emotionally. The deeper the trio move into Georgia's rugged, unpredictable wilderness, the more vulnerable and exposed they appear. Cinematographer Inti Briones successfully captures the striking undulations of the landscape, contrasting shadowy valleys with verdant grassy hills and creating ominous campfire scenes through single source lighting. Loktev's intention is to carry us into the film's mental and physical world, one in which time seems to stretch on forever and all conviction has been thrown into doubt. We identify Nica and Alex as representative of a 'type' — the earnest backpacker, keen to escape insular Western existence but overwhelmed when 'the wild' presents them with more than they'd bargained for. Nica demonstrates the behaviour of a self-sufficient, modern woman, yet Alex's failure to meet her expectations causes bitter disappointment. The film explores some of the grey areas arising from the breakdown of traditional dichotomies: West versus Other, male versus female, impulse versus duty. However, while Loktev's aims are admirable, her approach is risky. The limited development of the characters threatens to undermine our emotional engagement and the snail-paced tempo can seem laboured at times. Just as lovers ensconced in a romantic affair might potentially struggle with the vagaries of reality, a filmmaker engrossed in a concept may run the risk of occasionally losing sight of the viewer's experience at the point of reception. https://youtube.com/watch?v=SIIMFHcC1Fc
Mark Ronson's newly released memoir Night People: How to Be a DJ in '90s New York City is officially being adapted into a feature film. As first reported by Variety, the Grammy- and Oscar-winning producer's story of New York nightlife will be brought to the big screen by Plan B, the production company co-founded by Brad Pitt. The studio has been behind acclaimed projects including Moonlight, F1 and Beetlejuice Beetlejuice, as well as Netflix's Emmy-winning series Adolescence. In a recent interview with Rolling Stone AU/NZ, Ronson said the deal only came together a fortnight ago after Plan B co-president Jeremy Kleiner reached out. "He just loved the book," Ronson explained. "He was like, 'I think this could be a great film.' And for me, I'm kind of a modest guy. It's my life. I was just so happy to be finished with the book. But it's a brilliant era, and they make such brilliant films. I'm so excited to see what they want to do with it." The exact direction of the movie is still up in the air — whether it will follow a biopic-style arc or take looser inspiration from Ronson's stories. "I actually don't think they've even decided yet, so it could be whatever," he said. "I think whoever the director is, the visionary who comes into it, [they are] gonna definitely lead that as well." Ronson also revealed he'll likely have input on creative decisions — including casting. "I think so, yeah. Only if it's Timothée Chalamet will I agree on this picture," he joked. "[Plan B] make such great films and I'm just down for whatever they wanna do." Night People: How to Be a DJ in '90s New York City is out now, and you can find more details via Penguin Random House. Images: Getty
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are eight that you can watch right now at home. FOE Pondering the end of the earth also means pondering the end of people. When the planet that we live on withers to the point of becoming uninhabitable, humanity doesn't just suffer big-picture consequences as a species — existentially, the basic facets of being human are upended as well. So explores and interrogates Foe, the haunting third feature from Australian director Garth Davis (Lion, Mary Magdalene), as well as the latest adaptation of Canadian author Iain Reid's books after 2020 movie I'm Thinking of Ending Things. The pair teamed up to pen the script to a dystopian thriller that looks every inch the stark sci-fi part, using Victoria's Winton Wetlands as its shooting location to double for America's midwest circa 2065, and yet is always one thing above all else: like Killers of the Flower Moon, too, this is a relationship drama. This time, in his second film in a row made Down Under alongside Carmen, Paul Mescal (All of Us Strangers) plays half of Foe's key couple, opposite his Irish compatriot (plus Atonement, Brooklyn, Lady Bird and Little Women Academy Award-nominee) Saoirse Ronan. The pair trade their natural lilts for American accents as Junior and Hen, holdout farmers in a world and at a time where there's little hope in the field, their actual fields or for the future. As a title card explains, days on the third rock from the sun are numbered. Also noted in that opening text is the setup moving forward, relocating the population to space stations. And, as Blade Runner did decades ago, simulated humans are also entwined in this new status quo. Junior and Hen's marriage is one of lived-in routine, concise exchanges and loaded looks, then — of resignation and malaise, with life's realities tampering down the high-school sweethearts' spirits mere years into their wedded bliss. He works at a poultry factory, she waits tables at a diner, and the bleak expanse surrounding their farmhouse sports rows of symbolism; Foe's central couple cling to the wish that the inherited land and their love alike hasn't turned fallow, no matter the signs otherwise. With such barrenness lingering, car lights outside their home one night and then a sharp knock at the door were always going to feel like more than just an ordinary visitor. The cause is anything but an average passerby: government consultant Terrance (Aaron Pierre, Old) has come with conscription orders for the OuterMore project, which is building the off-world installation that earth's residents will soon need to live on. Foe streams via Prime Video. Read our full review, and our interview with Garth Davis. THE MARVELS More Marvels, less Marvel: that could've, would've, should've been the path to making The Marvels more marvellous as it teams up Carol Danvers aka Captain Marvel (Brie Larson, Lessons in Chemistry), Ms Marvel's Kamala Khan (Iman Vellani in her big-screen debut) and WandaVision's Monica Rambeau (Teyonah Parris, They Cloned Tyrone). Unsurprisingly for a Marvel Cinematic Universe movie that goes heavy on the first word in the ever-sprawling franchise's moniker, this 33rd cinematic instalment in the series has a glaring Marvel problem. Thankfully, as it proves fun enough, likeable enough and sweet, but also overly saddled with the routine and familiar, it never has any Captain Marvel, Ms Marvel or Monica Rambeau issues. When there's too much Marvel-ness — too much been-there-done-that formula, too hefty a focus on smashing pixels together over spending time with people and too strong a sense that this is merely another chapter in the saga's assembly line, and also dutifully setting up what's next — The Marvels struggles, even as the shortest MCU feature yet. When the main trio get the luxury of being together, just seeing them revel in and react to each other's company is a delight. When there's also singing, dancing, a hearty sense of humour and/or Flerkens involved, the film soars. Perhaps befitting a movie with three lead characters, this is a Goldilocks attempt at a picture that tries as overtly as a fairy-tale figure to get its balance just right. Filmmaker Nia DaCosta (Candyman) and her co-scribes Megan McDonnell (also WandaVision) and Elissa Karasik (Loki) can't quite find and keep their midpoint, however, due to all of the weight and demands that come after 15 years of the MCU, those 32 prior flicks, plus nine seasons of eight Disney+ TV shows since 2021 — and the many nods and references required in those directions. Marvel has cottoned on to how clunky this can be, and how exhausting to watch; the company has marketing streaming series Echo under the banner 'Marvel Spotlight' to signal that viewers can enjoy the story as a standalone experience without needing to have done copious amounts of MCU homework. If only The Marvels had been allowed to spin its tale the same way, even with Carol, Kamala and Monica's established histories across the franchise, and permitted to lean further into what makes it stand out from the rest of the Marvel crowd. The Marvels streams via YouTube Movies, iTunes and Prime Video. Read our full review. NAPOLEON When is a Ridley Scott-directed, Joaquin Phoenix-starring trip to the past more than just a historical drama? Always, at least so far. Twice now, the filmmaker and actor have teamed up to explore Europe centuries ago, initially with Gladiator and now 23 years later with Napoleon — and where the Rome-set first was an action film as well, the second fancies its chances as a sometimes comedy. This biopic of the eponymous French military star-turned-emperor can be funny. In the lead, Phoenix (Beau Is Afraid) repeatedly boasts the line delivery, facial expressions and physical presence of someone actively courting laughs. When he declares "destiny has brought me this lamb chop!", all three coalesce. Scott (House of Gucci) not only lets the humour land, but fashions this muskets-and-cannons epic as a satire of men with authority and dominance, their egos, and the fact that ruling a country and defeating other nations doesn't cancel out their pettiness and insecurities. As it's off with Marie Antoinette's (Catherine Walker, My Sailor, My Love) head, it's in with Napoleon's revolutionary stirrings in Scott and screenwriter David Scarpa's take (with the scribe returning to cut the powerful down to size after the director's All the Money in the World, just as Walker apes another famous figure after playing Anna Wintour in House of Gucci). Also in: Napoleon's tinkering with facts, which'll later see its namesake and his troops fire at the pyramids. Devotion to historical accuracy isn't the movie's aim. Like The Castle of blasts from the French past, it's more interested in the vibe of the thing — said 'thing' being how Napoleon Bonaparte, later Napoleon I, follows his yearning for glory and adoration above all else. Scott stitches together a selection of his own recurrent obsessions, too, such as Phoenix sulking, savaging the quest for command and influence, Gallic days of yore as seen in his debut The Duellists and the unrelated The Last Duel, and unfettered ambition's consequences as per The Martian and Prometheus, then tops it with the requisite bicorn hat. Napoleon streams via YouTube Movies and Prime Video. Read our full review. CAT PERSON "Margot met Robert on a Wednesday night toward the end of her fall semester." So starts the only thing that everyone was reading, and also talking about, in December 2017. Published by The New Yorker, Kristen Roupenian's Cat Person is a short story unparalleled in its viral fame. A piercingly matter-of-fact account of a dating nightmare, the piece of fiction became a literary and online phenomenon. Cat Person didn't just spark discourse about modern romance, relationship power dynamics, 21st-century communication, age gaps and more; it monopolised them, as fuelled by the internet, of course, and arriving as the #MeToo movement was at its early heights. Releasing it as a book, still as a 7000-word piece, came next. Now there's the film that was always bound to happen. As a movie lead by CODA's Emilia Jones, Cat Person can count the Twitter-to-cinema Zola as a peer in springboarding from digital phenomenon to picture palaces, and it too aims for a specific vibe: the feeling that the world experienced while first roving their eyes over the details on their phone, tablet or computer screen. Cat Person and Zola have another glaring similarity: enlisting Succession's Nicholas Braun to infuse his Cousin Greg awkwardness into a wild tale. Here, he's the Robert that Margot encounters while "working behind the concession stand at the artsy movie theatre downtown when he came in and bought a large popcorn and a box of Red Vines", as Roupenian's story explains in its second sentence — and as filmmaker Susanna Fogel, the director of The Spy Who Dumped Me and one of Booksmart's writers, shows on-screen. Actors' performances don't exist in a vacuum for audiences. Unless you somehow missed the four-season Roy family shenanigans, plus all the rightly deserved attention around it, going into Cat Person unaware of Braun's best-known role is impossible. Self-consciousness, haplessness and discomfort are expected twice over of the man that Margot sells snacks to, then. Much follows. Cat Person streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Susanna Fogel. DICKS: THE MUSICAL When it starred Lindsay Lohan (Falling for Christmas) making her film debut in dual roles in the late 90s, and when Hayley Mills (The Wheel of Time) was doing double duty back in the 60s as well, The Parent Trap told of identical twins who were separated at birth when their mother and father divorced. Each parent gained custody of a baby, then raised the child separately. Never did the sisters cross paths until a summer camp years later, where they realised their connection, then hatched a plan to reunite their family by posing as each other back home. The tale springs from the page, with German novel Lisa and Lottie also inspiring adaptations in its homeland, Japan, the UK, India and Iran. The Olsen twins' It Takes Two owes it a debt, too. But there's never been a version of this story like Josh Sharp (Search Party) and Aaron Jackson's (Broad City) iteration, as first seen onstage in Fucking Identical Twins and now in cinemas as Dicks: The Musical. So absurdly its own ridiculous, raucous, irreverent and raunchy thing, calling Dicks: The Musical exuberantly unhinged — or anything, really — doesn't do it justice. Before this A24 release brought its sibling antics to the big screen with singing, dancing, Megan Mullally (Party Down) and Nathan Lane (Beau Is Afraid) as its long-split parents, Borat and Brüno director Larry Charles behind the camera, Brisbane-born Saturday Night Live star Bowen Yang as drama-loving gay God and Megan Thee Stallion busting out a mid-movie tune, Fucking Identical Twins was a two-man production that premiered in 2014 to must-see success. Created at Upright Citizens Brigade, which was co-founded by Amy Poehler (Moxie), the then half-an-hour affair first filled a basement and now rises to share its delirium with the film-watching world. Leading the way in every guise: Sharp and Jackson, who definitely aren't twins let alone brothers, don't look a thing alike, yet know how to take audiences on a helluva wild ride. Dicks: The Musical streams via YouTube Movies and iTunes. Read our full review. SILENT NIGHT There's no swapping faces in John Woo's latest English-language action-thriller. Instead, the iconic Hong Kong filmmaker brings guns, chases and a quest for revenge to the festive genre. As anyone who rightly considers Die Hard among the pinnacle of Christmas movies already knows, seasonal cinema offerings don't need to drip in schmaltz, holiday humour, or Santas and reindeers to be an end-of-year present. Still, in making his first Hollywood effort since 2003's Paycheck, the director behind Hard Target, Broken Arrow and Face/Off in the 90s — plus Mission: Impossible II in 2000 — keeps the ties of family gleaming in Silent Night. That said, from the moment that the picture opens with a man in a Rudolph-adorned jumper, fuzzy red pom-pom and all, in a battle on Texan back streets with gang members who've just torn his brood apart on Christmas Eve, Woo also goes the brutal route. Silent Night's name echoes in several ways. Recalling a tune that's all about the jolliest time of the year is just one. Setting scenes in a period when halls are decked with boughs of holly is merely another. If protagonist Brian Godlock (Joel Kinnaman, The Suicide Squad) gets his wish, there'll be no more noise — let alone violence and bloodshed — from the criminals responsible for killing his young son (Alex Briseño, A Million Miles Away) with a stray bullet from drive-by crossfire as the boy rode his new bike in the front yard. Woo's main stylistic conceit comes to fruition instantly, however, because Silent Night largely avoids dialogue. Aided by meticulous sound design, that choice isn't a gimmick purely for the sake of it. Rather, Robert Archer Lynn's (Already Dead) script has Brian lose the ability to speak in the introductory sequence's fallout. Silent Night streams via YouTube Movies, iTunes and Prime Video. Read our full review. NYAD When most sports films bring real-life exploits to the screen, they piece together the steps it took for a person or a team to achieve the ultimate in their field, or come as close as possible while trying their hardest. Nyad is no different, but it's also a deeply absorbing character study of two people: its namesake Diana Nyad and her best friend Bonnie Stoll. The first is the long-distance swimmer whose feats the movie tracks, especially her quest to swim from Cuba to Florida in the 2010s. The second is the former professional racquetball player who became Nyad's coach when she set her sights on making history as a sexagenarian — and reattempting a gruelling leg she'd tried and failed when she was in her late 20s. It helps that Annette Bening (Death on the Nile) plays the swimmer and Jodie Foster (The Mauritanian) her offsider, with both giving exceptional performances that unpack not only the demands of chasing such a dream, but of complicated friendships. Also assisting: that Nyad is helmed by Jimmy Chin and Elizabeth Chai Vasarhelyi, directors making their feature debut beyond documentaries after The Rescue, Meru and winning an Oscar for charting Alex Honnold's El Capitan climb in Free Solo. Extraordinary efforts are this filmmaking pair's wheelhouse, clearly. Nyad and Stoll fit that description easily, as do Bening and Foster. With the latter, who brings shades of Michael J Fox (Still: A Michael J Fox Movie) to her portrayal, Nyad also provides a reminder of how phenomenal the Taxi Driver, The Silence of the Lambs and Panic Room star is on-screen, how charismatic as well, and how missed she's been while featuring in just four films in the past decade (the just-arrived fourth season of True Detective thankfully places Foster at its centre). Understandably, the movie's main actors have been earning awards attention. The picture around them never stops plunging into what makes both Nyad and Stoll tick — and keep shooting for such an immense goal, even as setback after setback comes their way — with Chin and Vasarhelyi experts in conveying minutiae. Whether or not you know the outcome, Nyad is rousing and compelling viewing, floating on excellent work by its four key creative talents. Nyad streams via Netflix. THE EXORCIST: BELIEVER When they were making All the Real Girls, Pineapple Express and Your Highness together, plus Eastbound & Down, Vice Principals and The Righteous Gemstones as well, did filmmaker David Gordon Green and actor Danny McBride chat about creating their own versions of all-time horror masterpieces, in flicks that act as direct sequels to the OG films and ignore all of the past sequels, and also work as reboots sparking a new trilogy? Thanks to the recent Halloween films, this natter seems likely. In fact, now that Green and McBride have also given The Exorcist a spin, this kind of talk appears a certainty. So, writer/director Green was possessed with a new demonic screen story with McBride and Halloween Kills' Scott Teems, then penned a devil-made-me-do-it script with Camp X-Ray's Peter Sattler. The result is The Exorcist: Believer, a 50-years-later return to head-twisting dances with evil — this time with a prologue in Haiti rather than Iraq, the bulk of the action set in Georgia instead of Washington, DC's Georgetown, and two girls not one in need of faith's help to cast out malevolent fiends. Green and McBride's swap from Michael Myers to Pazuzu also already has its own trinity in the works. As it apes the original movie's structure, there's a touch of trickery in starting The Exorcist: Believer in Port-au-Prince: the city's 2010 earthquake is used to get the plot in motion, a move that lands queasily, clunkily and exploitatively. Perhaps Green and company thought that slipping into a real-life tragedy's skin then wreaking havoc was a fitting piece of mirroring; instead, that choice should've been exorcised. Photographer Victor Fielding (Leslie Odom Jr, Glass Onion: A Knives Out Mystery) is holidaying with his heavily pregnant wife Sorenne (Tracey Graves, On Ten) when the earth rumbles, leading to him becoming a single father — but not before the baby is blessed in utero by a local healer. Cut to 13 years later, where teenager Angela (Lidya Jewett, Ivy + Bean) is introduced rifling through her mother's belongings, then convincing her grief-stricken dad to let her have an after-school date with her classmate Katherine (debutant Olivia O'Neill). She doesn't tell him that they'll be trying to contact Sorenne via a seance in the woods, though, an event that ends with a disappearance, something unholy afoot and needing help from Chris MacNeil (Ellen Burstyn, Law & Order: Organised Crime). The Exorcist: Believer streams via YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April, May, June, July, August, September, October, November and December 2023, too. We kept a running list of must-stream TV from across 2023 as well, complete with full reviews. And, we've also rounded up 2023's 15 best films, 15 best straight-to-streaming movies, 15 top flicks hardly anyone saw, 30 other films to catch up with, 15 best new TV series of 2023, another 15 excellent new TV shows that you might've missed and 15 best returning shows.
Neil Perry and Rockpool have been inextricably linked since 1989, but they won't be for much longer, with the famed restaurateur announcing his sudden retirement from the Rockpool Dining Group earlier this week. Perry has stepped down from his role as culinary director for the hospitality group, which began as Rockpool Est. 1989 in Sydney's CBD. While the inaugural Rockpool restaurant closed its doors after 30 years in 2016, it spawned Rockpool Bar & Grills in Sydney, Melbourne and Perth, and grew into the Rockpool Dining Group, which currently has over 80 venues across the country under 16 different restaurant brands. The fast expansion of the group in recent years has been partially thanks to its merger with the Thomas Pash-led Urban Purveyor Group (UPG) in 2016. From 2017–2020, the group grew from 17 venues and $150 million in revenue to 85 and $400 million. Despite the group's success, Perry and Pash were set to part ways this year. Perry, with the help of financial backers, planned to reacquire the premium restaurants in the group's portfolio — Rockpool Bar & Grill, Rosetta, Spice Temple and R Bar, under the name Rockpool Group — while the remaining casual brands, including El Camino Cantina and The Bavarian, were maintained by UPG under the new name Pacific Concepts. [caption id="attachment_689482" align="alignnone" width="1920"] Rockpool Bar & Grill in Sydney[/caption] That decision, however, was announced on March 2 — just weeks before the COVID-19 hit Australia, forcing the mass closure of restaurants across the country and crippling the hospitality industry. As a result, according to The Australian Financial Review, Perry's plan fell apart. While staying on as consultant and a major shareholder of the Rockpool Dining Group, Perry will no longer be an active part of the company, a statement on the chef's departure said. Instead, he'll be focusing on his charitable endeavours, including the recently launched Hope Delivery, which provides meals for those in need. "It will never be easy to move on from the restaurants I founded, and I do so with a heavy heart, but as the business and the sector set their sights on new beginnings, it is the right time for the next generation to have the opportunity afforded to me over 40 years ago," Perry said in a statement. For more information about Rockpool Dining Group and which restaurants have reopened, head to the group's website. Top image: Neil Perry and Tom Pash
After a horror run over the last three years, another major cancellation has hit the Australian festival scene. This time, The Grass Is Greener has been forced to cancel its new Canberra and Geelong gigs, and four of its acts won't be appearing at the remaining Gold Coast and Cairns dates. 2023 was slated to be a big year for the fest, which made its debut in Cairns back in 2016. This year, it was due to expand outside the Sunshine State, including heading to Canberra and Geelong as part of its planned four-date run — and, it had locked in multiple international headliners. The festival has sadly had to scale back last-minute, citing a range of reasons including weather forecasts, rising costs and the event industry post-COVID. "The reason for cancellation doesn't rest upon a single factor. Rather, it's related to the culmination of multiple elements that have affected not only us but our industry partners and siblings across the entire event industry in the COVID/post-lockdown period," a statement from The Grass Is Greener team reads. [caption id="attachment_856350" align="alignnone" width="1920"] Curdin Photo[/caption] The statement continues: "From an event standpoint, especially heading into these new markets, a festival team relies on certain milestones to enable us to run events successfully. What's more, the weather warnings we're receiving from Canberra and Geelong have also played a large role in this decision. While the shows were selling slower than predicted, we still had full intention of seeing them through — loss or otherwise. However, when coupled with the chance that sites might not even be built due to the impending weather, we knew we had to make a call as soon as possible." While this is sad news for those in the ACT and Victoria, it's not all doom and gloom. The festival will still be going ahead in the Gold Coast on Saturday, October 22 and Cairns on Saturday, October 29 with the likes of YG, PNAU, Alok, Wafia, Boo Seeka and Wongo. ONEFOUR, Ty Dollar $ign, Zhu and Maya Jane Coles have dropped off the bill, however, and won't be playing the Gold Coast or Cairns. [caption id="attachment_856349" align="alignnone" width="1920"] Mitch Lowe[/caption] Refund information for folks with tickets for the two cancelled dates will be made available in the next 7–14 days, or Canberra and Geelong ticketholders can use their tickets to gain access to the Gold Coast and Cairns festivals. The festival's statement also mentions that tickets will be valid for YG's Melbourne sideshow on Monday, October 31. YG was billed to appear with Ty Dolla $ign at his Margaret Court Arena show on that date. Be sure to check the festival and YG's Instagram pages for up-to-date info on this sideshow. [caption id="attachment_812356" align="alignnone" width="1920"] PNAU. Image: Pat Stevenson[/caption] THE GRASS IS GREENER 2022 LINEUP: Alok Aluna Boo Seeka Brux Crush3ed Little Fritter Wongo Market Memories Mood Swing & Chevy Bass Pnau Sidepiece Sticky Fingers TDJ YG + more THE GRASS IS GREENER 2022 DATES: Saturday, October 22 — Doug Jennings Park, Gold Coast Saturday, October 29 — Cairns Showgrounds, Cairns The Grass Is Greener has cancelled its Geelong and Canberra dates. It will now hit the Gold Coast and Cairns with reduced lineups this month. Head to the festival website for more information. Top image: Mitch Lowe.
Art and beer are truly important things. Australian art and Australian beer? Even better. The Australian Heritage Hotel in The Rocks will be celebrating its 100th birthday this Friday with a specially brewed craft beer and its inaugural Aussie Art Prize. The Australian relocated to its current address on Cumberland Street in the 1900s after being ruined by The Plague. The Plague is just the worst. The Hotel has operated and remained undisturbed for 100 years, becoming one of the oldest and most iconic establishments in Sydney — and one of the original drinking spots in the country. The Australian has always been a proud supporter of local brewers, launching the Annual Australian Beer Festival in 2004 and stocking over 130 boutique Australian brews. As part of the big ol' beery festival, the lovely crew at The Australian brewed and released their own special edition Rocks Lager to mark the centenary. Attendees of the festival were encouraged to brew a one-off heritage beer in honour of the 100 year milestone. Plus, for the 100-year date, The Australian is encouraging local artists to submit their interpretations of the theme 'Icons of the Rocks'. Cheers.
Just over two weeks ago, the Australian Government announced a ban on non-essential mass gatherings of more than 500 people. Tonight, Sunday, March 29, that number has dropped to two. During an announcement made after the latest national cabinet meeting, Prime Minister Scott Morrison said that any public gatherings should be limited to two people, excluding family members. If you're not with those you live with — your parents, children or partner, for example — you should only be with one other person. The previous limit was ten. States and territories will decide if this is an enforceable limit. On-the-spot fines are currently in place in NSW, Victoria and Queensland, for individuals and businesses not following other COVID-19 containment regulations, such as self-isolation and unlawful mass gatherings. It was also announced that public playgrounds, outdoor gyms and skate ramps will close from Monday, March 30. The new two-person limit on public gatherings does not apply to weddings (which have a current limit of five people) and funerals (which have a limit of ten), but it does apply to group bootcamps. The Prime Minister also reiterated that Australians should only be leaving their homes for one of four reasons: shopping for what you need — such as food and other essential supplies — "as infrequently as possibly"; for medical care or compassionate reasons; to exercise, in-line with the new two-person limit; and for work or education if you cannot work or learn remotely. Another new announcement made tonight and set to be expanded on by individual states and territories over the coming days is a moratorium on evictions for the next six months. Which means that individuals and businesses cannot be evicted from their residential or commercial properties for not paying rent. The Australian Government also urges anyone that does leave their house to follow its social distancing guidelines. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Kimberley Low
Streaming platforms have become one of modern life's certainties, with new instances continuing to pop up all over the place. In fact, this year along will see two huge players giving Netflix, Amazon and the like a run for their money — not only Apple, which will release Apple TV+ in the second half of 2019, but Disney as well. First revealed last year, Disney+ will boast a swathe of high-profile content, including new Star Wars and Marvel TV shows, plus all of your favourite Disney animated movies in one place. Now the service has announced a US launch date of November 12, as well as "plans to be in nearly all major regions of the world within the next two years." Just how long viewers Down Under will have to wait is yet to be seen; however given the array of titles heading to the platform, here's hoping it's sooner rather than later. With Disney recently merging with competitor Fox, Disney+'s US range is hefty — not only spanning Disney, Marvel, Star Wars and Pixar, but National Geographic and the entirety of The Simpsons, too. During its first year of operation, it's due to release more than 25 original series and 10 original films, documentaries and specials. And, to make its catalogue available from US$6.99 per month, in both HD and 4K, and "on a wide range of mobile and connected devices, including gaming consoles, streaming media players and smart TVs". [caption id="attachment_689920" align="aligncenter" width="1920"] Marvel Studios[/caption] In the Marvel sphere post-Avengers: Endgame, new series Loki, WandaVision and The Falcon and The Winter Soldier will all focus on their eponymous characters — Tom Hiddleston's trickster Loki, Elizabeth Olsen's Wanda Maximoff and Paul Bettany's Vision, and Anthony Mackie's Falcon and Sebastian Stan's Winter Soldier, with all of the actors retaining their roles. A Hawkeye series with Jeremy Renner is also in the works, as is animated program Marvel's What If…, which'll take inspiration from the comics of the same name, asking the titular question about important Marvel Cinematic Universe moments. Fans of Star Wars can not only look forward to the $100 million live-action series The Mandalorian from The Lion King, The Jungle Book, Iron Man and Iron Man 2 director Jon Favreau (and with Thor: Ragnarok director Taika Waititi helming an episode), but look forward to it soon — it'll launch when the platform does in the US. Also zooming to screens from a galaxy far, far away is a spinoff from Rogue One about Diego Luna's Rebel spy Cassian Andor. Set before the events of the film, it — like all of Disney+'s big-name series — will also feature the star reprising the character. Elsewhere, two new Toy Story-based projects — animated short series Forky Asks a Question and one-off short film Lamp Life — are on their way, well-timed to hit after the release of Toy Story 4. If you just can't let it go, a Frozen 2 making-of special will also feature, about the sequel headed to cinemas later this year. And, because everyone loves Jeff Goldblum, National Geographic's The World According to Jeff Goldblum will involve the actor delving into the fascinating stories, science and facts behind seemingly familiar objects. Going big when it comes to bringing the company's well-known properties to the new streaming platform, a High School Musical TV series, another show based on Monsters, Inc. and a live-action Lady and the Tramp movie will also be on the bill. On the classic front, Fox titles like The Sound of Music, The Princess Bride and Malcolm in the Middle have been named as part of a lineup of more than 7500 television episodes and 500 films — alongside "the entire Disney motion picture library" according to CEO Bob Iger, which should be available "at some point fairly soon after launch". Viewers can also likely expect Disney and Fox's recent flicks to be made available on Disney+, and for subsequent cinema releases due to hit the service within a year of their big-screen release. https://www.youtube.com/watch?v=FrXNtj84owc Disney is also reportedly contemplating buying a bigger stake in existing streamer Hulu according to Variety, which would give it full control over that platform. Like the timing of Disney+'s international rollout, just how the purchase might affect the company's new service hasn't been revealed. In Australia, a big batch of the aforementioned existing Disney content is currently available on Stan, spanning both movies and TV series — but you can reasonably expect that that arrangement will be impacted by Disney+, whenever it does finally hit locally. Top image: Marvel Studios.
Continuing its support of groundbreaking female artists, CURVY will launch its eighth collection in exhibition and hard-copy form this May. Both the book and the exhibition feature the works of women artists the globe over, spanning over 40 countries from Israel to Ecuador. Each year, CURVY offers readers and attendees the opportunity to witness the latest batch of creative female talent. This year's exhibition will kick off the Semi-Permanent 2012 program in an incredible artistic display. Select works will be available for sale at this one-night event, as well as the CURVY 8 book itself ($40).
A solid fixture in the Art Month calendar is Collectors' Space, which offers the chance to catch a sneaky glimpse into some covert private collections. From IT professionals to celebrity chefs, it’s a diverse bundle of participants this year. Clinton Bradley, Kylie Kwong and Nell, Sue Cato, Max and Gaibrielle Germanos, and Noel McKenna will be sharing their hidden treasures. Brimming with personal stories and passions, this annual showcase (and its mini program of talks and events) ought to inspire the investor in you. In addition to Collector’s Space, there will be a variety of Buy Art tours taking punters behind-the-scenes of commercial galleries and providing key pointers on how to get cracking. This event is one of our top ten picks of Art Month. Check out the other nine here.
The world is grey and there are few absolutes. That slavery is abhorrent, however, is not a matter for debate. It is a black and white issue based on the black and white issue that ought never have been an issue in the first place. For some reason, though, cinema — so often the most effective form of public debate — has either largely steered clear of it or, at best, touched upon it with altogether reckless abandon (Django Unchained). Not so, 12 Years A Slave. In its own right, Steve McQueen's new movie is an extraordinarily accomplished and captivating piece, yet in the wider context of American history, both literary and filmic, it is nothing short of revelatory. Adapted from the 1853 memoir of the same name, it chronicles with undaunting authenticity the story of Solomon Northup, a free man of the north who was abducted under the pretence of observing the Fugitive Slave Act, then secreted across the Mason-Dixie line where he was sold into slavery for the next 12 years. Playing Northup is British actor Chiwetel Ejiofor in an assured and career-defining role. Subjected to countless closeups by McQueen, Ejiofor's every expression speaks volumes, with his near-impercetible parting of lips or minisucle tilt of his shoulders marking the difference between irrepressible joy and despairing submission into subservience. There are no weak links in the packed cast that also boasts Michael Fassbender, Paul Giamatti, Benedict Cumberbatch, Paul Dano and Brad Pitt (who produced the film); however, it is newcomer Lupita Nyong'o who best supports Eijofor as 'Patsey' — his fellow slave and the subject of a violent, destructive infatuation by their master, Epps (Fassbender). This is an unquestionably difficult film to watch; uncomfortable and unsettling for reasons that extend far beyond what transpires on screen. The enslavement of Northup — an educated, respectful and respected family man — feels an affront at every stage: he is conned, drugged, kidnapped, blackmailed, transported in secret, beaten and betrayed — even by those who were smart enough to recognise he was clearly never meant to be there. And therein lies perhaps the most discomforting layer of all, because, of course, no one was meant to be there. Slavery was the affront, and the realisation that Northup's tragedy feels somehow more unjust than (for want of a less despicable expression) those of the 'normal slaves', is at once confronting and embarrassing. This imagined distinction between 'slavery' and 'unfair slavery' is as redundant as Todd Aiken's 2012 reference to 'legitimate rape', yet in 12 Years a Slave the sense that gradations of cruelty exist visits you repeatedly. There are good slavers and bad, you feel; cruel overseers and kinder ones, despicable racists and the just mostly despicable. In his short carrer McQueen has already established himself as a director both prepared and determined to capture honest and unflinching representations of life, no matter how unattractive. Both Shame and Hunger cast their lights upon dark areas of the human condition, yet in 12 Years A Slave McQueen somehow goes even further. One extended scene, for example, involves an uninterrupted and excrutiatingly graphic lashing that was so horrific it momentarily warranted turning away from the screen. As my eyes met those of my neighbour, it was clear we were far from alone in doing so, yet our temporary retreat from the film was in no way an indictment upon it. It should be unbearable to watch, and it is, but you must persist, because in 12 Years A Slave McQueen has crafted an enthralling, thoughtful and necessary modern classic. https://youtube.com/watch?v=z02Ie8wKKRg
UPDATE: June 18, 2020: Queen & Slim is available to stream via Google Play, YouTube and iTunes. Queen & Slim starts with a Tinder date in a diner, as a criminal defence attorney (Jodie Turner-Smith) and a Costco employee (Daniel Kaluuya) exchange small talk. Sparks hardly fly but, when the next day breaks, they've gone from swiping right to driving across the country together — after a ripped-from-the-headlines altercation with a white police officer (Sturgill Simpson) that turns them into fugitives, complete with their faces splashed across newspapers and televisions. So, having fled from Ohio to New Orleans with every cop in the area on their trail, of course the titular characters are greeted with an obvious comparison. When Queen's uncle Earl (Bokeem Woodbine) agrees to give the pair a temporary place to hide, he comments, "well, if it isn't the black Bonnie and Clyde". From a stranger, another reference is slung the duo's way: "are y'all the new Black Panthers?". The debut feature by music video director Melina Matsoukas — a Grammy-winner for her work on Rihanna's 'We Found Love' and Beyonce's 'Formation' — Queen & Slim wears its nods on its sleeves, and its topicality as well. Combining an all-too-frequent real-life situation with cinema's "lovers on the run" genre, it's a statement piece that not only conveys an attention-grabbing story, but explores the constantly relevant issue of race relations in America. The movie's big-screen predecessors haven't been short on societal and political commentary. Whether charting true events in Bonnie and Clyde or skewering mass media sensationalism in Natural Born Killers, this field is full of films with something to say. And Queen & Slim joins a long line of recent features interrogating subjects such as racism, prejudice and police brutality in the US, too, including the Kaluuya-starring Get Out, plus The Hate U Give and If Beale Street Could Talk. But in blending its various parts into one provocative and passionate package, this is a supremely stylish and powerful addition to its various filmic folds. They're never actually called by the eponymous names — and their real monikers aren't revealed until late — but Queen and Slim's fortunes change when they're pulled over for a minor traffic infringement. As the script by Master of None star Lena Waithe makes clear, their troubles also begin because of their skin colour. Soon the cop has been shot, Queen is injured and Slim is driving away as fast as possible. He actually wants them to turn themselves in but, thanks to her job, she's adamant that they'll never be treated fairly no matter what they do next — which means that they may as well abscond. Initially, Queen and Slim are ordinary folks victimised by institutional discrimination, then forced to fight back. Soon, they're public enemy number one to law enforcement but heroes in the black community, which helps as they attempt to escape to Cuba via Florida. Given that it focuses on two people dashing across the US, Queen and Slim is a road movie; however it has as much time for the many faces the central pair meets along the way as it does for the scenery, and for their growing bond with each other too. With this in mind, some choices don't completely work — crosscutting a sex scene with a "black lives matter"-style protest in support of the two fugitives, for example — but generally, Matsoukas and Waithe convincingly capture how racial prejudice makes an imprint. From the inciting incident and panicked neighbours calling the cops on people of colour, to riots and other displays of solidarity, Matsoukas and Waithe cover a broad and necessary spectrum of scenarios. Perhaps 'cover' isn't the right description. It's accurate, yet Queen and Slim never feels like it's assembling its array of episodic escapades by ticking its way through a list. Rather, this is a feature that wanders through a snapshot of African American life in a feverish and heightened fashion, all while seething with anger and intensity, pondering trauma and history, and never forgetting that, in its own way, it remains a date movie. In mood rather than meaning or political substance, Quentin Tarantino-written 90s crime flick True Romance casts a shadow. Queen & Slim exudes the same kind of cool, and the same type of affection for its thrown-together couple. And, as sleek and expressive as anything she's done before, Matsoukas's glossy visuals — as lensed to dream perfection by Tat Radcliffe ('71), and paired with the film's velvet, tiger stripe and snakeskin-heavy fashion choices — feel cut from a similar cloth. To some, it might seem jarring to see Queen & Slim's story unfold with such eye-catching, intoxicating imagery. Earl's scantily clad girlfriends certainly stand out, but they also encapsulate one of the movie's main messages: about judging based on appearances only. The same can be said of the white couple (Flea and Chloë Sevigny) who help Queen and Slim. Actually, the same applies to the entire film. Telling an outrage-filled tale in a visually gleaming way, Queen & Slim's potency never falters, with no small amount of credit due to British model-turned-actor Turner-Smith and the always impressive Kaluuya. They're not just dynamic but dynamite as the reluctant outlaws — and, crucially, they turn in raw, textured performances that ensure their characters are people first, and victims, heroes, potential martyrs and countercultural symbols second. https://www.youtube.com/watch?v=mRMPdhQBlWs
Maybe you have a bit of a soft spot for a good Christmas Panto. Or maybe you'd like to treat the little people in your family to some fun. Either way, you can head along to the Sydney Story Factory for The Quartercorn, Mr Sinister and the Stolen Fairy Tales, a show written and performed by the children and adult volunteers from the centre. Directed by Uma Kali Shakti and written by last term's Thursday after-school class, the play follows two schoolkids who, on their first day at a new school, discover all the other students are fairytale characters with a serious case of memory loss. There's a Princess, a villain called Mr Sinister, a magical creature called Quartercorn and NAPLAN testing. There's singing and hopefully a few opportunities to heckle the bad guy and shout out "He’s behind you!" All profits will go towards the creative writing workshops at the factory. The show is on Thursday and Friday at 6pm, plus Saturday at 2.30pm.
So you've wrangled some IKEA furniture together and propped a few struggling houseplants in the corner, but your walls are still looking tragically bare. Whether you've just moved into a new place or been in the same apartment for years, art is something that's often left to the bottom of the homewares list. The Other Art Fair Sydney is here to help you inject some colour and energy into your space. The international festival is all about making art inclusive and accessible, with artworks for as low as $100. The multi-day fair will be returning to The Cutaway in Barangaroo for another year from Thursday, October 12 to Sunday, October 15 with a lineup of 120 independent artists, DJs, performances and food and drink options. To celebrate the return of this art-filled affair, we've teamed up with The Other Art Fair to give away a luxe staycation for two. The winner will score two tickets to opening night on Thursday, October 12 along with a $250 voucher to put towards whatever art catches their eye. They'll also get $50 worth of food and drink vouchers to spend while they're there. Then they'll get to kick back in style with a night at the waterside Ovolo Woolloomooloo. [competition]915083[/competition]
They're globe-hopping, ass-kicking, world-saving spies, but women: that's it, that's The 355. When those formidable ladies are played by a dream international cast of Jessica Chastain (Scenes From a Marriage), Lupita Nyong'o (Us), Penélope Cruz (Pain and Glory), Diane Kruger (In the Fade) and Fan Bingbing (I Am Not Madame Bovary), the tickets should sell themselves — and Chastain, who suggested the concept and produces, wasn't wrong for hoping that. Giving espionage moves the female-fronted spin that Bond and Mission: Impossible never have isn't just this action-thriller's quest alone, of course, and nothing has done so better than Atomic Blonde recently, but there's always room for more. What The 355 offers is an average affair, though, rather than a game-changer, even if it so evidently wants to do for its genre what Widows did for heist flicks. The film still starts with men, too, causing all the globe's problems — aka threatening to end life as we know it via a gadget that can let anyone hack anything online. One nefarious and bland mercenary (Jason Flemyng, Boiling Point) wants it, but the CIA's gung-ho Mason 'Mace' Browne (Chastain) and her partner Nick Fowler (Sebastian Stan, The Falcon and the Winter Soldier) head to Paris to get it from Colombian intelligence officer Luis Rojas (Édgar Ramírez, Jungle Cruise), who's gone rogue and is happy to sell; however, German operative Marie Schmidt (Kruger) is also on its trail. The French connection goes wrong, the two women get in each other's ways, but it's apparent — begrudgingly to both — that they're better off together. They need ex-MI6 cyber whiz Khadijah Adiyeme (Nyong'o) to help, while Colombian psychologist Graciela Rivera (Cruz) gets drawn in after making the trip to stop Luis going off the books. No stranger to covert affairs or formidable women after penning Mr and Mrs Smith, but helming only his second movie following the awful X-Men: Dark Phoenix, director/co-writer Simon Kinberg spreads the action across several continents — including a foot chase in Marrakesh and an auction in Shanghai, which is where Lin Mi Sheng (Fan) joins the story. Scripting with TV veteran Theresa Rebeck (Smash), his big setpieces all play with the film's gender focus, mostly dissecting how women are so often overlooked in various situations; the indifference given wait staff, the invisibility of women in male-dominated societies and the way they're meant to be pure eye candy at black-tie occasions all earn the movie's ire. But these sentiments, like everything else in the feature, are blatant and straightforward at best. The mood the movie vibes with: "James Bond never had to deal with real life," as Cruz is given the misfortune of uttering. From that aforementioned opening scene through to almost every supporting part, it also never escapes attention that men still run The 355's world. That doesn't just include the obvious, because yes, that's sadly the reality we all still live in and the film is making a statement about that very fact; they're everywhere and everyone in the film, other than its central quintet. Whether to further push Chastain and co to the front or to hammer home what it's like to be a woman in this male-centric life, it doesn't leave any room for ladies who aren't these 'strong female lead'-style super spies. Also glaring: that every single one of Mace, Marie, Khadijah, Graciela and Lin's backstories are defined by men, from other halves of the boyfriend, husband or friends-with-benefits varieties to fathers, mentors, children and patients. The 355 should be better — with its dialogue, clearly; with its girl-power, girl-boss, girls-can-do-anything messaging; and at celebrating more than five women, or even showing them. (If you were going to pick five ladies to do the job, though, this casting is spot-on.) It could use a sense of style and charm beyond Nyong'o's suits and the gang's personality-matched auction outfits, and its over-edited action scenes put Kinsberg two for two with tanking a crucial part of his directorial efforts to-date. Women can star in mediocre action movies as well, however. That isn't meant to be the picture's big push for gender parity, but The 355 is also exactly what seemingly millions of bland men-led actioners have been serving up for decades upon decades. It packages it up in an Ocean's 8-meets-Bourne approach, or a more self-serious Charlie's Angels, but these run-of-the-mill flicks have long been everywhere, just without as much oestrogen. The Bond and Mission: Impossible franchises have their own, too. Great idea, winning intentions, stellar cast, generic execution: even by paying all that lip-service to how hard it is to be a woman (especially thanks to those truisms, in fact), that's also The 355. It's lucky that its pseudo–Fox Force Five are so watchable, and so committed to making the most of their thinly written parts, including in their fight choreography — and yes, if only they were gifted some of the fun that Pulp Fiction conjured up about that fictional series, or of Kill Bill, which essentially saw Quentin Tarantino bring the idea to life. A sequel mightn't eventuate for Chastain, the particularly great Kruger, Nyong'o and Cruz, and also Fan to get another spin at the worthy concept, but the groundwork is laid anyway, because that's just one espionage-movie trope in a list of thousands that's delivered here. The 355 is ordinary instead of awful, thankfully, and sometimes it's slightly better than that. But it's also haunted by all those should'ves and could'ves, and by being oh-so-basic with its killer lady spies, their battle against misogyny and their quest to claim some much-needed on-screen space.
Sydney's city skyline is set to welcome a dazzling new addition, as work officially kicks off on a 50-storey glass skyscraper they're calling Quay Quarter Tower. The tower, which will be located at 50 Bridge Street, is part of a $2.7 billion development AMP Capital has planned for a 11,000-square-metre Quay Quarter Sydney precinct, just near Circular Quay. The precinct will be made up of residential space, shops, restaurants, cafes and bars. The building clocks in at a soaring 200-metres tall and is designed by Danish architects 3XN. And, if plans are anything to go by, it's set to be one impressive-looking tower, featuring five "shifting glass volumes" set on top of each other, with atrium space and some cracking views across the Harbour. At the base of the tower, there'll be an urban green space and a 5000-square-metre lifestyle, services and food retail precinct. On top of that, it will be mostly office space. If all goes to plan, it's expected to be completed by late 2021. According to the Sydney Morning Herald, Quay Quarter Tower is just part of an estimated $4.8 billion worth of projects currently being built around the CBD. Via smh.com.au
Does a cocktail, meal or cup of coffee taste better when it's served up in stunning surroundings? It shouldn't, but interior design is still a pivotal part of the hospitality experience. So recognises the Australian Interior Design Awards, which also highlights spectacular decor in shops, workplaces, homes and public settings — and the annual gongs have just revealed 2024's shortlisted venues. Now in its 21st year, AIDA has found more than a few bars, restaurants, cafes, houses, offices, retailers and the like that it considers supremely stylish. This year's shortlist includes 222 projects from around the country (plus a few overseas that spring from local talent), which is a record for the awards. Not all of them are hospo joints, of course; however, the next time that you're keen to hang out in chic digs while you get sipping and eating, you'll have more than a few choices. And, the same goes for whenever the urge to browse and buy strikes, too. [caption id="attachment_949107" align="alignnone" width="1920"] The Wolf Dining and Bar, Brock Beazley[/caption] Hospitality design contenders include Capella, Longshore, Bar Besuto and Hanasuki in Sydney; Reine and La Rue, The Ritz-Carlton, The Lyall, Antara 128, Enoteca Boccaccio and Purple Pit in Melbourne; and The Wolf Dining and Bar and the revamped Gerard's in Brisbane. South Australia's Pinco Deli, Fugazzi Basement and Evergreen Cafe also made the cut, as did Ember Bath House, Lawson Flats, Canteen Pizza and Yiamas in Western Australia. In the retail design category, Dissh Bondi, Sydney's LeTAO and Gelato Messina Newtown are up against Melbourne's Pidapipó Laboratorio and G McBean Family Butcher, to name just a few places on the shortlist. And, the public design field includes UQ Brisbane City, Art Gallery of New South Wales' library and members lounge, and stage three of Geelong Arts Centre. [caption id="attachment_929402" align="alignnone" width="1920"] Capella Sydney, Timothy Kaye[/caption] The rundown goes on in all fields, which means that — as proves the case every year — there's no shortage of strikingly designed new, revamped and refurbished places demanding your attention around around the country. This year's winners will be announced in-person at a dinner the Sofitel Wentworth in Sydney on Friday, June 14. [caption id="attachment_922655" align="alignnone" width="1920"] Antara 128, Haydn Cattach[/caption] [caption id="attachment_905603" align="alignnone" width="1920"] Longshore, Jason Loucas[/caption] [caption id="attachment_927271" align="alignnone" width="1920"] Enoteca Boccaccio, Peter Clarke[/caption] [caption id="attachment_928198" align="alignnone" width="1920"] LeTAO[/caption] [caption id="attachment_949111" align="alignnone" width="1920"] Gelato Messina Newtown, Jack Fenby[/caption] For the full Australian Interior Design Awards 2024 shortlist, head to the AIDA website. Top image: Como Restaurant by Cieran Murphy.
