Flailing limbs, diving bodies and general mayhem: these are just a few things you can expect to witness at the forthcoming Royal Headache show at the Imperial Hotel in Sydney. With a reputation for wild live shows at any venue, large or small, the Sydney four-piece is playing a one-off gig to launch their new 7" EP for their undying local fans. Mosh-pit insanity ensues. These past 12 months have seen Royal Headache garner a huge following, a bit of hate, but mostly praise. Touring with the likes of The Black Keys, The Black Lips and others, they’ve come a long way for a self-managed band who like to do things "on their own terms". Forming in 2008, the R.I.P. Society outfit released a self-titled album in 2012, a treasure trove of lo-fi punk gems, which received high praise from local and international media. Royal Headache now leads the pack of garage-punk outfits in this new phase of indie rock. Straight Arrows, Daylight Robbery (CHICAGO), Model Citizen and Warm Feelings will also be performing on the evening.
What better way to celebrate the birth of our majesty the ultimate Queen than at a Bash called Gay, swathed in the get-up of an infant fetishist. Coincidently on the very same weekend every good patriotic Aussie citizen uses the ageing of our venerable queen as an excuse to get thoroughly trolleyed, Absolut Vodka’s infamous night of unbridled mayhem, Gay Bash, turns a whopping four years old (apparently that’s, like, infinity in gay years). With a theme like 'fourth birthday’ and an OshKosh B'Gosh dress code that would have you mugging a pram-dweller for their threads, there’s likely to be some pretty weird, slightly creepy caper on the night. Brace yourselves for clowns, grown men in nappies, fairy bread, lolly bags, pony rides, tantrums and, um, 'traumatic memories'. The soundtrack to the antics will come courtesy of some of Sydney’s finest dukes and dames of the decks including Sirens, Perfect Snatch, Nina Las Vegas & Bad Ezzy, Bloodfart, Levins, Sex Azza Weapon, Booms, U-Go-B, National Treasure, Radge, Pete vs Toby DJs, Nolan Nolan, Meryl Streeptease, Bitch Science, Berko, Goldie & Willard and oh so many more. Given the enormity of this landmark occasion and that every kids birthday party worth its fairy bread needs space to play, the event will take place over two floors of the iconic Oxford Hotel: the Underground and The Polo Lounge. So, if you’re nostalgic for the days when drooling in public was acceptable and screaming to lung capacity got you just about everything you wanted, then don a terry-towelling jumpsuit, come play with the rest of the crazy crew and get involved in a night of serious regression.
It sucks when life admin gets in the way of having fun. After all, who wants to be paying for bills when they could be at a bar? For some, getting a haircut definitely falls under the category of life admin. Well, unless you go to Mister Chop Shop in Surry Hills. The crew here is dedicated to turning your visit into an enjoyable and relaxing experience. It starts with an in-depth consultation to determine what look you're after and any problem areas you may have. It also involves getting a coffee, beer or whisky to sip on while your barber works away. If you've been procrastinating your particular visit for some time (back to that life admin issue), we suggest booking in for one of the packages, like the 75-minute Bearded Dapper Deluxe, which includes a shampoo, cut and style, beard shaping and a blade finish, for $115. Prefer to be clean shaven? Opt for The Barefaced Dapper Deluxe, an 80-minute service which includes a shampoo, cut and style and a hot shave for $130.
Texas Chainsaw Massacre-style BBQ brisket, creepy costumes and freaky roaming performers will be haunting Centennial Park this Halloween night. A Moveable Feast is inviting a select number of Sydneysiders to gather in the moonlight for a high-end Halloween banquet, complete with drinking, fine dining and spooky live entertainment. And as for costumes? Think slasher movie chic. The exclusive monster bash will take place from 7pm to 11pm on October 31 amidst the shadows of Centennial Park's pine forest (or 'Sleepy Hollow' for the night). Getting in isn't easy though — a seat at the table will cost you $65, but you have to be invited first. That means schmoozing one of the 'Heads of Clan', each of whom are given 28 invitations to hand out as they see fit. You can apply to become a Head of Clan by emailing hello@amoveablefeastevents.com.au — but you'd best be quick about it. Assuming you manage to get your hands on an invitation, there are two different dinner options which can be pre-ordered online. The 'Epicurean Halloween Harvest' ($200 for two people) includes iberico jamon, petuna smoked ocean trout, Texas Chainsaw Massacre-style BBQ brisket and slow roasted Voodoo lamb shoulder, while the 'Vegetarian Thriller' ($170 for two people) features a thyme, cherry tomato and goats curd tart and a bleeding grilled aubergine stack. Both options also come with Children of the Corn on the cob, sweet pumpkin pie and pecan crunch, edible cotton candy art, and doughnuts by Glazed, among various other tasty treats both savoury and sweet. You can also pre-order booze, or purchase it from the bar on the night. The guest code is listed as scary glam, fashionably creepy or strangely wonderful, which should give you ample room to manoeuvre. That being said, we'd probably recommend wearing something in which you can comfortably bust out a few dance moves — since odds are they'll be blasting 'Thriller' at some point before the night is out.
Cute cabins overlooking misty valleys, good coffee shops set in landscaped gardens, hatted restaurants with cracking fireplaces and invigorating walks through wild bushland. You get the picture — winter is the time for getting cosy. And, the Blue Mountains is just the place to do so. A 90-minute drive from Sydney, it makes a weekender — or even an overnighter — with your favourite person easily doable. And, while there are plenty of places to get snug and have a hearty meal, the rugged landscape, ancient rainforests and crisp blue skies make for an even better getaway. The Blue Mountains makes for a great winter escape for those wanting some awe-inspiring vistas as well as cosy creature comforts. So, put on those winter woollies, pack the car and beeline for the Mountains. Here's our guide to a toasty and romantic weekend away. FRIDAY EVENING (AFTER WORK) Drive 90 minutes from Sydney CBD and you'll first hit Lawson. Here, you'll find the warm and inviting Mesa Barrio, an all-day eatery inspired by Greek tavernas and Italian wine bars. Head chef Will Cowan-Lunn (ex-Rockpool) serves up seasonal dishes using local produce, including veggies from nearby Blackheath Vegie Patch, seafood from Katoomba's Fish & Fowl and free-range meats from Oberon's Crack Willow Farm. The lamb backstrap with a side of cumin and fennel roasted pumpkin is sure to warm you up. Push on another 15 minutes and you'll end up in Leura, where there are a bunch of cosy stays. To have a magical valley all to yourself, book this blissful studio, with large north-facing windows that let the morning sun in. Or, immerse yourself in trees at this bush cabin, which comes with a loft-style bed, private deck and heating. It's also tiny, so you'll have no choice but to cosy up. If you're after something grander, The Shed is kitted out with a fireplace and claw foot bath. SATURDAY MORNING For your morning cup of joe, head to Sorensen's Glasshouse. Set in eight acres of landscaped gardens, Sorensen serves up Reuben Hills coffee and some beautiful morning views to boot (and you don't even have to go outside to see them). Then, make tracks to Lily's Pad Cafe for breakfast and sit in the heated courtyard while you munch on a bacon and egg roll or a house-baked treat, like the pear, apple, walnut and fig bread. By now, you're ready to dive into the bush, so jump onto the hop-on-hop-off Blue Mountains Explorer Bus and head to Katoomba's Scenic World to take a ride on the Scenic Railway. This feat of engineering, which hurtles into the gorge at a physics-defying 52-degree incline, is the steepest passenger railway in the world. You can ride downwards or upwards — or both. Should you choose a one-way trip, then return via the 1,000-strong Furber Steps, which pass through the rainforest and by waterfalls and offer breathtaking vistas of Mount Solitary. If you've ascended the steps, stroll along the Prince Henry Cliff Walk, which follows the cliff edge to Echo Point, home of the famous Three Sisters. SATURDAY AFTERNOON Now, having worked up an appetite, jump back on the bus and head into Katoomba town centre. It's time to visit 8 Things — a light-filled, small restaurant. There are just eight items on the menu, with each dish representing a country. Right now, offerings include Tokyo ramen, Brussel mussels cooked in white wine and butter and Mexican tacos with lamb shoulder. Plus, it's BYO (so, it's lucky you're catching the bus). Once you've refuelled, it's back into the great outdoors to conquer the Scenic Walkway. This 2.4-kilometre adventure plunges you into an ancient rainforest, dotted with towering trees, giant ferns and lyrebirds. Should you work up a thirst along the way, then try the crystal-clear mountain water at Marrangaroo Spring. Afterward, see the Mountains from a different perspective aboard the Scenic Skyway. Built in 1958, this cable car travels across a 720-metre wide gorge, overlooking 360-degree views of Katoomba Falls, the Three Sisters and Jamison Valley, from a 270-metre height. In 2004, the original car was replaced by a high-tech vessel with a glass floor. Once you've reached the other side, you can return the way you came or keep exploring. SATURDAY EVENING After your day of adventuring, head to Blackheath and prepare for a feast at Fumo. It opened in 2017 and scored its first chef's hat this year. Owner and head chef Joe Campbell creates Asian-inspired dishes, like kangaroo tataki with koji mayonnaise, yuzu kosho, ice plant, pickled pine mushroom and onsen egg and red-cooked duck with green papaya salad, tomato candlenut relish, turmeric and kaffir lime sauce. There are just 35 seats, so count on feeling nice and warm here. After dinner, head to Mount Victoria to see a movie at Mount Vic Flicks. Run by local couple Kirsten Mulholland and Adam Cousins, this 1930s-style cinema used to house the town hall and still keeps the same convivial vibe. The program ranges from classics to new releases and the choc tops are homemade. If you want to stay close by, check into Bank House, a stunning Victorian terrace that's had a $1 million restoration, complete with an open fireplace, gorgeous antique furnishings and heavenly gardens. SUNDAY MORNING Make a late, leisurely start before stopping in at Anonymous Cafe in Blackheath. For tea lovers, there's a massive selection, including fancy drops like single estate Chinese peony white tea. Oh, and coffee drinkers — they serve Campos here. The all-day breakfast menu features hearty, comforting dishes, like brioche french toast with honey-baked pear, buttered almonds, fig syrup and mascarpone and a brekkie burrito packed with braised beans, black rice, grilled corn and chickpeas, salsa, sour cream and a fried egg. Or, if in Lawson, stop by Black Cockatoo Bakery for some freshly baked treats. Owner and head chef Alex Rivière (ex-Sean's Panorama) whips up organic, naturally leavened sourdough, as well as focaccia, pastries and more. Stay and sip a filtered coffee or fill your bag to keep you fuelled as you walk around town or do any last-minute sightseeing. SUNDAY AFTERNOON It's time to wind your way home. But, it's Sunday, so be sure to take things slowly. On your way back through Katoomba, swing by Australia's first dedicated feminist gallery — Platform Gallery in Katoomba. The space is dedicated to emerging artists, with a new exhibition every three weeks in the main gallery. Plus, there's a monthly feminist book club and a bunch of events, including talks and workshops. Then, swing by Carrington Cellars and Deli to stock up on some goodies to take back home. Then, before you head back to the big smoke, be sure to catch a last peek of the Three Sisters at sunset. Top image: The Three Sisters, Blue Mountains.
The Winery Fashion Markets are a bit like having several incredibly stylish friends who allow you to raid their wardrobes (which are enviably full of international and Australian designer labels) behind a Surry Hills wine bar. The Winery has taken to transforming the laneway behind their bar into that marketplace once a month. Some of Sydney's leading fashion identities — bloggers, stylists and fashion publicists — will be selling their own pre-loved clothes. Confirmed for the August 28 iteration are Shannon Thomas (Désordre), Edwina Robinson (Aje), Sylvia Jeffreys (the Today show), Violeta Tentomas (West 14th) and Bonél PR. Plus, prettying up the surrounds are flowers by Think Flowers Company, and Botanica will be serving up fresh cold-pressed juices.
Much has been celebrated about the post punk and new wave scenes of New York, LA and London, but what of Australia? The exhibition Circa 1979: Signal to Noise, presented by Modular Records with the Sydney Festival, seeks to address this by uncovering and sharing information about the experimental local arts scene of 1979-1985. A time period when the avant garde, early electronica and "little band" scene was simmering in warehouses, crumbling estates and being pressed onto small editions of vinyl to released by new independent labels. With the growing interest in this scene, as evidenced by the Can't Stop It: Australian Post Punk compilations released by Chapter Records and a sell-out cinema program with a similar slant in 2009's Melbourne International Film Festival, it's high time we take a look at the creative movement in a panel and gallery setting. Particularly at a point in local underground culture in which many of the venues and small labels that support the modern-day counterparts to this scene are closing down around us. It's not just history but a contemporary call-to-arms. Before we delve into this extraordinary piece of local history, the inimitable John Cale will present the Keynote Address at the opening party (tickets $30), discussing his own experiences during the late 70s and early 80s in the endlessly interesting New York art and music world, his work with Andy Warhol and his time in the Velvet Underground and as a solo musician. John Cale also performs in concert at the Enmore Theatre as part of the Sydney Festival. The first of its kind, an exhibition of historical ephemera including fanzines, album art, photography and previously unseen films will be on display at the Seymour Centre. Alongside this curated work, Circa 1979 brings together influential figures to discuss their experiences and look at the legacy, over a series of three free panel sessions on January 16th, all at Seymour's Everest Theatre. Session 1: World Domination - The Australian Post Punk Movement 12pm. Moderator: Marty Wirth Presenter: Julian Knowles Panelists: Michael Tee, Jaimie Leonarder, Roger Grierson, Andrew Penhallow, Clinton Walker Session 2: Postmodern vs. Modern debate on Remixing and Recycling 1:30pm. Moderator: Marty Wirth Presenter: Tom Ellard Panelists: Steve Malinder, Julian Knowles, Phil Turnbull, Ross Harley Session 3: Experimental Film & Video 3pm Host: Jaimie Leonarder Presenters: Jaimie Leonarder, Ross Hartley, Ian Andrews, Tom Ellard, Stephen Jones Image: Voigt 465 https://youtube.com/watch?v=KofUP7jPkMc
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.
Since 1983, a bestselling book about a young boy, his grandmother and a powerful witch with an evil plan has been delighting readers of all ages. And since 1990, fans have not only been rifling through the pages of Roald Dahl's The Witches, but watching the Anjelica Huston and Rowan Atkinson-starring film based on the novel. Because just about everything gets remade these days, viewers will soon have another screen version of the book to watch, too. Yes, a new film is on its way, this time featuring Anne Hathaway as the Grand High Witch. If you can't remember the story or you just need a refresher, The Witches focuses on a boy who finds himself in the same hotel as a convention of witches — who happen to seriously, strongly and viciously hate children. This time around, the tale is set in 1960s-era Alabama, where its protagonist (Jahzir Kadeem Bruno, Atlanta) and his gran (Octavia Spencer) face off against Hathaway's seemingly glamorous villain and her coven of similarly child-despising followers. Directed by Robert Zemeckis (Back to the Future, Who Framed Roger Rabbit) from a script cowritten by the filmmaker with Kenya Barris (Girls Trip) and Guillermo del Toro (The Shape of Water), The Witches also stars Stanley Tucci — and features the voice of Chris Rock as the film's narrator. And, based on the just-released first trailer, the above cast and crew have combined for quite the dark and funny all-ages-friendly battle between humans and the occult. Roald Dahl's work is rarely far from our screens for long — it has only been a few years since The BFG hit cinemas, plus Netflix is currently making a heap of animated series based on the author's books, including several Charlie and the Chocolate Factory-related shows by Taika Waititi — but just when The Witches will be available Down Under is yet to be announced. In the US, it was just revealed overnight that the movie will no longer release in cinemas, and will be heading to streaming service HBO Max instead; however, the movie's Australian distributor Roadshow also tweeted afterwards that it'll release in cinemas here soon. Check out the trailer below: https://www.youtube.com/watch?v=9nlhmJF5FNI The Witches doesn't yet have a release date Down Under — we'll update you when one is announced.
Art of either great or dubious origins. Airport facilities where items can be stored — art masterpieces included — without their owners abiding by taxation rules. Both played parts in Christopher Nolan's Tenet; however, it's no longer the only recent thriller to include the two. The Lost Leonardo doesn't feature a phenomenal heist of a disputed piece from a freeport, but it is as tense and suspenseful as its 2020 predecessor. It also tells a 100-percent true tale about the artwork dubbed the 'male Mona Lisa'. Exploring the story of the Salvator Mundi, a painting of Jesus that may hail from Leonardo da Vinci, this documentary is filled with developments far wilder and stranger than fiction (sorry not sorry Dan Brown). And while there's little that's astonishing about the film's talking heads-meets-recreations approach, it still couldn't be more riveting. Although the Salvator Mundi itself is thought to date to the 15th century, The Lost Leonardo only jumps back as far as 2005. That's when the High Renaissance-era piece was sold for US$1175, and when Alexander Parrish and Robert Simon, art dealers eager to dig up sleepers — works from renowned masters that've been mislabelled or misattributed — suspected there might be more to it. The pair tasked restorer Dianne Modestini with tending to the heavily overpainted and damaged work, which revealed otherwise unseen details in the process. Cue a now-prevailing theory: that the Salvator Mundi sprung from da Vinci's hands. That's a shattering revelation given that, despite the prominence that the Mona Lisa and The Last Supper enjoy, the list of surviving works attributed to da Vinci barely hits 20 — and that's with questions lingering over his involvement in quite a few. Uncovering one of his previously unknown paintings was always going to be huge as a result; locating it in such a way, and for so cheap, only bolsters the extraordinary tale. Debates over the painting's provenance have continued for the past 16 years, although that's not the only reason that The Lost Leonardo exists. The piece has increased in fame over the last decade thanks to two factors, including the Salvator Mundi's inclusion in a 2011–12 da Vinci exhibition at the National Gallery, London, placing it alongside the author's accepted works — and its sale for US$75 million in 2013, then for US$127.5 million, and finally again in 2017 for a whopping US$450.3 million. Its unglamorous discovery, the ongoing argument over authenticity, the legitimacy gained by exhibiting in one of the world's most influential galleries, that it's now the most expensive painting ever sold: these details are unpacked and analysed by writer/director Andreas Koefoed (At Home in the World) via his array of interviewees — and so is the fact that, when that mind-blowing sale occurred, Saudi Arabia's Crown Prince Mohammed bin Salman was the secretive buyer. It's little wonder that the filmmaker has chosen to unfurl the ins and outs of these remarkable events as if he's joining the dots and puzzling together the pieces right in front of viewers' eyes, making The Lost Leonardo a detective story of a doco. It isn't a new approach, let alone a unique or unusual one, but it savvily relies upon the combined force of a ripping yarn and rollicking storytelling. Within all those twists and turns also sits a vital examination of art, money and power. That works by artists such as da Vinci can end up lost at all is a marker of art's links to wealth and class, and of pieces being controlled by the rich behind closed doors to the detriment of the artistic greater good and public access. The same notions play out in the jaw-dropping Christie's auction, as bids rise to more than double the expected amount (which still would've made it the most expensive painting ever sold) and it becomes evident that the Salvator Mundi won't be purchased by a gallery for public display. The frenzied atmosphere, which the auction house stages like a piece of theatre, is all about control and status. Letting the world see a masterpiece isn't even an afterthought. An entire documentary could be made about that auction alone, and the techniques deployed to turn it into such a production. Case in point: a Christie's promotion that showed the emotional reactions of art lovers peering at the piece — ordinary folks all visibly moved, and also Leonardo DiCaprio. The reality that art is a business couldn't be painted on a larger canvas. That art is about prestige, too. In getting these points across, Koefoed's choices aren't always subtle — Sveinung Nygaard's (Huss) score would suit a heist film, there's a slow-drip pace to the documentary's early sections to ramp up the intrigue, and sparking a future fictionalised feature based on The Lost Leonardo feels like a clear aim — but everything about the film is always entertaining and effective. Here's hoping that certain-to-arise dramatisation turns out more like American Animals than The Goldfinch; the former was based on a true story, the latter on a Pulitzer Prize-winner for fiction, but the details here are so juicy, gripping, layered and important that they deserve to be told with the greatest care. As one interviewee puts it, it's the tale of finding a spaceship with unicorns on one's lawn. As the whole cast of talking heads explains — dealers, academics, restorers, art critics and buyers alike, vocal naysayers included — it's the story of commerce usurping creativity and history, regardless of the mystery behind the potential da Vinci work. Perhaps there'll even be a sequel: an NFT of Salvator Mundi now exists, because of course it does.
Japan might be the land of the rising sun, but the sun isn't something we want to face before coffee. Luckily, Japan does a damn good brew, mixing the best of the American filter scene with antipodean flatties and lattes. We drank our way around the country to find the best buzz this side of hitting the high notes in some J-pop karaoke. ONIBUS COFFEE, TOKYO Let the smell of coffee draw you down an alleyway behind Naka-meguro Station, where you'll find one of the best flat whites in Tokyo. Even better? The magic happens in a Tiny Homes–esque white box house that will blow up your Instagram feed. This is the flagship roaster for Onibus Coffee, and, apart from serving punters, the shop also uses its 15-tonne roaster to pump out beans for Onibus' other shops around Tokyo, including the made-for-Instagram About Life Coffee Roasters in Shibuya. SWITCH COFFEE, TOKYO Switch Coffee, in the backstreets of Meguro, might look like a regular coffee shop. But one sip into the smooth calcium kick of one of their lattes — or, even better, the espresso tonic (espresso shot + tonic water = magic) — and you'll be planning the rest of your Tokyo stay around how many times you can get back to Switch. It's all the work of one man; owner Onishi roasts and brews all of the coffee, and he does different beans day to day — so you've got even more reason to go back and try them all. OBSCURA COFFEE, HIROSHIMA When you think of Hiroshima, you probably don't think of coffee. But that doesn't mean you have to resort to following hipster dudes around town to find a good cup of joe — just head straight to Obscura Coffee. After starting in Tokyo, Obscura has opened a coffee shop in the centre of Hiroshima. The space is cleanly white, almost monastic in appearance. But what's being worshipped here are coffee beans, which Obscura roasts in their Tokyo laboratory and ships down to Hiroshima. Fittingly, a taste of Obscura's perfectly brewed iced coffee is almost a religious experience — it's really damn delicious. [caption id="attachment_613844" align="alignnone" width="1920"] % Arabica by Takumi Ota[/caption] % ARABICA, KYOTO This tiny converted Japanese house with huge windows, minimalist finishes and street seating next to a wide river with overhanging mountains might just be the prettiest coffee shop in the world. But people don't just come to this spot in Arashiyama on the outskirts of Kyoto (and its sister cafe in the city's main temple district) for the Insta props. The house-roasted coffee has a very smooth and slightly dark finish, resulting in perhaps the best iced coffee in town (and it looks prime against the white house for All The Photos). MORIHIKO, SAPPORO Sapporo's coffee scene feels like it landed via the filter coffee capital of the world, Portland, as flat whites have retreated and left the field to milk-free coffee. So don't waste time trying to find a flat white — do like the locals do and head straight to Morihiko. This local coffee chain has a few branches across Sapporo, each one with its own personality. We went from a coffee doughnut paired with American press at the grungy warehouse DxM to a delicate chiffon cake matched with French press at the ivy-covered enchanted house of Morihiko. It's almost enough to stop you ordering a flat white ever again. BROOKLYN ROASTING COMPANY, OSAKA When people talk about coffee in Osaka, Brooklyn Roasting Co. is generally the first name that crops up. It might be because this is another place in a stupidly idyllic spot — this time next to a flower shop on a river overlooking a ceramics museum in Kitahama — but it's also because of the coffee. Now, your coffee experience might be totally different from our coffee experience, and that's because the cafe cycles through different house-roasted beans every day. But we can guarantee it will be good. Go for an iced coffee or an Americano (don't go anything shorter than a latte). TORANOMON KOFFEE, TOKYO Toranomon Koffee is the last remaining Tokyo shop by the owner of the late and much-lamented Omotesando Koffee in Harajuku. We'll be straight up with you: this shop isn't as cool as Omotesando. Even though Toranomon has a nifty set-up of plywood frames and test tubes filled with coffee, well, there's no hiding it — Toranomon is in a huge office building. In the embassy district. On the fancy Ginza line. There. We've told you everything! Now, let's move on to the coffee. Omotesando did the best espresso in town, and Toranomon may very well keep that mantle, with a smooth, full-bodied shot, and no traces of the bitterness and burnt coffee that's often called an espresso in Japan. ALLPRESS ESPRESSO, TOKYO We know, we know — Allpress technically hales from New Zealand, and they have cafes across both NZ and Australia. But with queues of up to an hour on an average weekend day, Allpress has been well and truly embraced by Tokyoites. You'll find both the cafe and the roaster in a sizeable warehouse in the coffee zone of east Tokyo (other coffee notables Blue Bottle and Arise are just around the corner). Once you've managed to get in the door, try the freshly roasted beans in a standard NZ variety flat white, or the more Tokyo-friendly Americano iced coffee. As well as caffeinating the thirsty hordes, Allpress is pumping out beans to cafes around Tokyo, including fellow export Frankie Espresso Melbourne in Shimokitazawa (the latest venture from the good sorts who first brought you Melbourne's Little Ramen Bar). [caption id="attachment_613875" align="alignnone" width="1920"] Kars Alfrink via Flickr[/caption] CAFE DE L'AMBRE, TOKYO Like a sommelier is to wine, so the baristas at the old-school Cafe L'Ambre are to coffee. This really is a temple to the bean — owner Ichiro Sekiguchi has been roasting coffee since the 1940s. The main difference about the beans here? Some of them have been aged for 20 years (or more). Pick your bean blend from the menu, and sit back and watch the show — the process is strictly hand-drip. When your coffee is in front of you, take a sip. Yup. That's one of the best coffees you've had in your life. DONGREE COFFEE, KYOTO This little one-man coffee stand is proof that you don't need a killer social media manager (or much online presence at all) to be the best at what you do. Dongree doesn't roast any beans — the back of their stall is a tiny shop selling a beautiful hodge-podge of wares — but rather showcases a rotating selection from the best Kyoto roasters. Order an iced coffee and you'll be asked to select your beans, before said beans are lovingly weighed, ground, placed in the filter and slowly hand watered until, drip by drip, the best coffee in Kyoto slowly forms in the cup. It's worth hunting down.
Enjoying dinner and a show is a time-honoured theatre-going tradition, but when winter arrives in the Harbour City in 2023, one menu item mightn't prove so popular. If you've seen Sweeney Todd: The Demon Barber of Fleet Street on the stage before, or caught the 2007 Tim Burton-directed movie adaptation, then you'll know which dish to avoid when it comes to the Sydney Opera House. In this Steven Sondheim-penned musical thriller, meat pies are packed with quite the unwanted ingredients. This murderous tale of slitting throats, then stuffing body parts into baked pastries will play the famed waterside venue from Saturday, July 22–Sunday, August 27, in a production by the Victorian Opera and New Zealand Opera. Sydneysiders have had to wait for their chance, with the show already unleashing its gothic story upon Melbourne, Perth and Adelaide, as well as touring New Zealand. Whether you're a local keen to spend time with music theatre's iconic villain and his partner-in-crime Mrs Lovett, or you're an interstate resident eager to see it again, expect a killer show. [caption id="attachment_899819" align="alignnone" width="1920"] Daniel Boud[/caption] As part of an 18-person cast, Ben Mingay is taking up the razor and polishing people off as the titular Sweeney, while Antoinette Halloran will join him as Lovett. The production also includes a nine-piece orchestra helping to perform classic tracks such as 'No Place Like London', 'The Ballad Of Sweeney' and the always-fitting 'The Worst Pies in London'. Current State Opera South Australia Artistic Director Stuart Maunder, who is destined for the same role at the Victorian Opera from October 2023, will direct this season of Sweeney Todd: The Demon Barber of Fleet Street. "We've wanted to bring this musical thriller to Sydney for a very long time, so premiering it at the Sydney Opera House is an experience every bit as thrilling as the musical itself," he advises. "There's no doubt that Sydneysiders will embrace this most theatrical tale of horror, which for all its blood and gore, tells a universal human story; revenge, obsession and lust, yes, but also of pain, yearning, even love." Sweeney Todd: The Demon Barber of Fleet Street doesn't just date back to the late, great Sondheim's Tony-winning Broadway and West End smash. Before that, it was a play in 1973 — and it had hit stages, screens and pages, prior, too. The homicidal barber first appeared in the 19th century, in 1846–47 penny dreadful serial The String of Pearls: A Romance, and has just kept slashing his way through popular culture since, novels, ballets, radio plays, comics and TV shows included. Sweeney Todd: The Demon Barber of Fleet Street plays Sydney Opera House's Drama Theatre from Saturday, July 22–Sunday, August 27. Head to the Sydney Opera House website for further details — and pre-sale tickets from 8am on Tuesday, May 9, then general sales from 9am on Friday, May 12. Production images: State Opera South Australia.
Maybe you hop on the ballot the moment that it opens each year. Perhaps you wait to find out who'll be behind the mic before trying to nab tickets. Either way, Golden Plains dropping its lineup is always big news. In 2025, get ready to see PJ Harvey, Fontaines DC, 2manydjs and Kneecap — and also Wet Kiss, Durand Jones & The Indications, Magdalena Bay, Osees and Thelma Plum. And yes, that's just the beginning. "Something special in the soil this season. In the water, in the manna gum, in the air, the ether, the atmosphere, the troposphere. And it has all landed right here, in a wonderland designed and refined over 30-odd years for the sole purpose of hosting something truly remarkable," said the festival team, announcing the lineup. "Right size, same shape, ample time, abundant space." Come Saturday, March 8–Monday, March 10, 2025, it'll be time to dance among the autumn leaves in regional Victoria again, at the Meredith Supernatural Amphitheatre in the same place that Meredith Music Festival also calls home. And now that the lineup is here, you still have the chance to put your name down to get tickets. This round of Golden Plains will mark the fest's 17th year. The ticket ballot has been a part of the event since its debut — and this year's is now open until 10.17pm AEDT on Monday, October 21, 2024, which means that clicking ASAP is recommended. [caption id="attachment_976058" align="alignnone" width="1920"] Theo Cottle[/caption] Catering to 12,000 punters each year across three days and two nights, the fest has long proven a favourite for its one-stage setup, which skips the need for frantic timetabling. And, like Meredith Music Festival, its sibling, Golden Plains is also known for the Aunty crew's star-studded bills. If you're wondering how the roster of talent has shaped up in past years, 2023's fest boasted Bikini Kill, Carly Rae Jepsen, Soul II Soul and Four Tet, while 2024's featured The Streets, Yussef Dayes, King Stingray and Black Country, New Road — and plenty more. [caption id="attachment_976059" align="alignnone" width="1920"] Kira Puru[/caption] Golden Plains 2025 Lineup PJ Harvey Fontaines DC 2manydjs Wet Kiss Durand Jones & The Indications Magdalena Bay Osees Kneecap Thelma Plum Grace Cummings Bahamadia Hermanos Gutiérrez Ela Minus Bonny Light Horseman Adriana Mulga Bore Hard Rock CCL Teether & Kuya Neil Skeleten Zjoso Jada Weazel Elliot & Vincent Storytelling with Uncle Barry Sun Ra Arkestra Golden Plains returns to the Meredith Supernatural Amphitheatre from Saturday, March 8–Monday, March 10, 2025. Head to the festival's website for further details, or to enter the ticket ballot before 10.17pm AEDT on Monday, October 21, 2024. Golden Plains images: Chip Mooney and Ben Fletcher.
In the guise of her character Jess, Drew Barrymore is crying when Miss You Already starts — and the audience likely will be when the film finishes. Tissues are necessary for what overwhelmingly and shamelessly qualifies as a weepie. Expect tears from a movie that knows how to wring them out of you. Expect to know that's exactly what it is trying to do, too. Barrymore's American in London is the more down-to-earth life-long BFF of outlandish Brit Milly (Toni Collette), their friendship as firm as it is frenetic. They've been there for each other since meeting in primary school, but when Miss You Already opens, Jess is in labour and yearning for her pal before talking viewers through their shared history. That colourful past takes a turn for the catastrophic when Milly is diagnosed with breast cancer, much to the distress of Jess; Milly's rock 'n' roll-roadie-turned-family-man husband, Kit (Dominic Cooper); and their two young children. At the same time, Jess is struggling with trying to get pregnant through fertility treatment with her partner Jago (Paddy Considine). As has constantly happened throughout their years of closeness, when it comes to life-changing drama, Milly's situation trumps her own. If the combination of gal pals, a potentially terminal condition and baby craziness hasn't already given it away — and it should've — Miss You Already is solidly aiming for sometimes gently funny, often waterworks-inducing chick flick territory. That the film stems from the real-life experiences of actress and writer Morwenna Banks (perhaps best known for TV's Saxondale and Skins) helps ensure that its sentiment and depiction of illness doesn't feel fake, even if it comes on thick and paints by the numbers. Indeed, director Catherine Hardwicke moves on from the teen-focused fare of Thirteen and the first Twilight film to offer up an account of the ups and downs of female friendship, with the latter prominent when trouble and tragedy strikes. Her approach is brightly shot to look like fondly Instagrammed memories, though it also barely lingers on anything but the obvious as it flits between Vine-like vignettes. Heartstrings are tugged across the usual moments — news both good and bad, hospital visits focused on life ending and beginning, a road trip to Yorkshire's Moors, and fights and fancy occasions among them — yet every new occurrence seems like the filmmaker is ticking off a checklist. With no hunks in sight here, what the film boasts instead is chemistry between the two leads. The plot points might be routine, but the bond the talented duo of Barrymore and Collette cultivate comes across as authentic. In fact, none of the cast puts a foot wrong, including a brief but well-played appearance by iconic actress Jacqueline Bisset as Milly's TV star mother. They're Miss You Already's most effective element, other than using all the life, death, love, loyalty and friendship pressure points to manipulate salty moisture into streaming from your eyes.
We normally associate Boxing Day releases with feelgoodery, dogoodery, comedy and special effects. Which is why it seems sort of hilarious when a film like Short Term 12 pops up at that time of the holiday season, determined to make its quiet realism heard. The SXSW Film Festival winner was number one on Buzzfeed's list of 'movies you probably missed in 2013 but definitely need to see', so if you get in quick, you can make it the no.1 movie you outsmarted Buzzfeed on instead. Short Term 12 is the kind of film that feels like a well-edited version of real life — though probably not a life that is familiar to you, if you grew up in safe, loving circumstances. Compulsively watchable and super emotional, it revolves around the kids and their barely adult supervisors at a temporary foster care facility. The plot is nebulous, but the anchor is social worker Grace, played by Brie Larson, who you probably remember from United States of Tara and who puts in an incredible, name-making performance here. Short Term 12 is funny, heartbreaking and brave filmmaking. Writer and director Destin Cretton is able to leap tall towers of everyday humour and humanity and then drop you into a pit of total, gut-wrenching sadness in a single bound. A definite must-see — so you may as well see it on us. Short Term 12 is in cinemas on December 26, and thanks to Madman Films, 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 https://youtube.com/watch?v=rETaWDZ57v0
The NSW Government announced that 'affirmative consent' will be a legal requirement, as part of a number of changes for the state's sexual assault laws. Announced yesterday, Tuesday, May 25, the amendments enact recommendations initially made in November last year in a review by the NSW Law Reform Commission — and will legislate that affirmative consent needs to be actively communicated, and can't be presumed. As part of the proposed changes, a person will need to say or do something to communicate in the affirmative in order to give consent. And, if a partner doesn't do something to ascertain that consent — verbally or via an action — it will not be reasonable for them to assume that consent has been given. The changes to the Crimes Act 1900 are designed to both simplify and strengthen existing sexual assault laws in order to better protect and deliver justice for victims and survivors. Consent will still need to be given freely and voluntarily, a requirement that the amendments are also designed to strengthen. Announcing the planned reforms, Attorney General Mark Speakman explained that "this means we will have an affirmative model of consent, which will address issues that have arisen in sexual offence trials about whether an accused's belief that consent existed was actually reasonable." He continued: "no one should assume someone is saying 'yes' just because they don't say 'no' or don't resist physically. Steps should be taken to make sure all parties are consenting." The LRC's November report recommended 44 changes, all of which are supported by the NSW Government — by either adopting them in full or in principle. A bill covering the reforms will be introduced to NSW Parliament later in 2021. https://twitter.com/SaxonAdair/status/1397013547809316864 Responding to the news, Rape & Sexual Assault Research & Advocacy Director and survivor advocate Saxon Mullins called the reforms a big leap forward for the state. "After so many years fighting for this, it's almost hard to believe we'll actually have affirmative consent laws in NSW. I know there's so much more to do in this space, but this is a huge win for survivors, and I'm so grateful for all the survivors and academics who've paved the way for this to happen." A sexual assault survivor herself, Mullins has been advocating for changes to the state's consent laws since her own case was dismissed in 2017, with the LRC's review initially sparked by media coverage of her story. For more information about NSW's planned changes to the state's sexual consent laws, head to the Department of Communities and Justice website.
UPDATE, December 2, 2020: Disobedience is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video. There's a moment in every Sebastian Lelio film that cuts to the core of the writer-director's protagonists; that lets audiences peer into their hearts and souls. As seen in Gloria and A Fantastic Woman, it's usually a contemplative pause amidst a hectic frenzy — one heightened not only by the filmmaker's empathetic gaze, but by the stellar talent he's always pointing his lens towards. In Disobedience, this moment comes early. Photographer Ronit Krushka (Rachel Weisz) segues from busy days taking pictures to frantic nights finding comfort in bars, clearly masking her true feelings behind a carefully controlled facade. And so she sits for mere seconds, catching her breath, her eyes darting around as she looks towards the camera, and her hands ripping at her shirt with frustration and yearning. If Ronit is inwardly restless just going about her regular New York routine, then she's almost jumping out of her skin when she's called back to North London upon the death of her rabbi father. The Orthodox Jewish community she once belonged to is barely cordial, with the traditional greeting "may you have a long life" cutting like a weapon. But childhood friends Dovid (Alessandro Nivola) and Esti (Rachel McAdams), now married and still devout, welcome Ronit into their home, black sheep though she may be. Grief about her dad and guilt over their estrangement aren't the primary source of Ronit's distress, however. Nor is the rebellious, defiant reputation she's instantly given upon her homecoming. Rather, it's the torrid relationship that Ronit shared with Esti when they were teenagers — and the rekindled feelings sparked by her return. Adapted by Lelio and co-writer Rebecca Lenkiewicz (Ida) from Naomi Alderman's 2006 novel of the same name, Disobedience isn't a film about romance with religious tension layered on top, or one about religion with romance thrown in. Matters of affection and matters of theology are both involved, but characterising this complex, nuanced and soulful movie as one or the other does it a disservice. This is a story that recognises the many competing factors that shape a person's identity and choices, as well as the ongoing tussle between being true to oneself and meeting the expectations of others. Accordingly, desire, duty and faith intertwine in a picture that charts the influence each has had upon each member of its central love triangle. And make no mistake: while the film follows its two female protagonists as they try to follow their hearts amidst oppressive circumstances, Disobedience is a love triangle as much as it's a lesbian love story. The sensitivity Lelio brings to the forbidden romance is also applied to Dovid, a rabbi-in-training who embodies the fundamentalist principles blocking Ronit and Esti's bliss, yet proves just as torn about what's right. A lesser film would paint him as the villain, but that's the kind of easy depiction Disobedience shies away from at every turn. Although the movie delves into a cloistered world that's set in its ways and unwilling to change, nothing about its characters, their emotions or their struggles is anywhere near as straightforward or clear cut. There's a reason that Lelio favours shades of grey, visually, after all. Weisz, McAdams and Nivola are similarly multifaceted — so much so that, in the ultimate compliment to each actor, their respective characters feel as though they could walk right off the screen. The blend of steeliness and vulnerability Weisz brings to the bulk of her work courses through Ronit's veins, with the star also one of the movie's producers. Nivola plays Dovid as decent but conflicted, weathering every narrative beat with quiet poignancy. But it's McAdams who is in rarely-seen form. Earlier this year, she stole the show while showcasing her comedic chops in the vastly dissimilar Game Night. Now, she dons a kosher wig to lay bare the devastating pain of a woman torn between her head and her heart. https://www.youtube.com/watch?v=NnCLTbLKfv4
With Sydney's current cluster of COVID-19 cases continuing to expand, the New South Wales Government is implementing a number of new restrictions in an effort to stop the spread. And, when they come into effect at 4pm today, Wednesday, June 23, they'll also mark a change to Sydney's mask mandate — because the rules surrounding donning face coverings are expanding again. Today, Wednesday, June 23, NSW Premier Gladys Berejiklian announced that folks in the Greater Sydney area will need to wear masks in all indoor non-residential settings, including workplaces. They'll also need to wear them at organised outdoor events, such as sports matches and concerts. That's an expansion on the last change to the mask rules, which only came into effect yesterday. At present, face masks are already compulsory on public transport across Greater Sydney, as well as indoors in public settings citywide as well. So, if you live or work in the area — or visit — you already need to wear a mask inside in hospitality venues, shops and any indoor situation where you aren't eating or drinking, as well as on public transport. Basically, unless you're at home, you need to mask up indoors. All of these mask requirements — the rules announced yesterday, and the new expansion today — will remain in place until at least 12.01am, on Thursday, July 1 in Greater Sydney, the Central Coast, Blue Mountains, Wollongong and Shellharbour. As it always does, NSW Health has been updating the COVID-19 venues of concern list, and will continue to do so as more places keep being identified. Anyone who has visited these venues during the times specified are required to get tested and self-isolate as per NSW Health's instructions. To find out more about the status of COVID-19 in NSW, head to the NSW Health website.
Have you ever looked at Sydney Tower, the Harbour City's tallest structure, and wondered what it'd look like with 40-kilometre-long laser beams shooting out of it? When Vivid Sydney arrives for 2024, you'll no longer need to just ponder that question. The answer comes via Global Rainbow, which will project a fan of light from the tower courtesy of US artist Yvette Mattern. Vivid always boasts light installations and openair art as one of its key pillars, but the annual festival just might outdo itself with this year's display in the heavens. Across 23 nights between Friday, May 24–Saturday, June 15, in what marks the event's 14th year, Vivid has a plethora of other ways to liven up the New South Wales capital on its just-revealed 2024 lineup. Whether you'd like to hear tunes by Air, Budjerah and Yasiin Bey, or see artwork by Archibald Prize winner Julia Gutman on the Sydney Opera House's sails, or feast your way through a night food market, you'll be catered for at the winter showcase of music, luminous sights, culinary events and conversation. The theme: humanity. "Humanity is at the core of everything we do, and this year Vivid Sydney is diving deep into what makes us uniquely human," said Vivid Sydney Festival Director Gill Minervini. "We have curated a diverse program that explores the human spirit, designed to foster connections, spark imagination and showcase the multitude of ways creativity enriches our lives. Everyone is invited to be part of this global event in the world's most beautiful city to connect, create and celebrate." The Vivid Light program doesn't just include lengthy lasers and Gutman's Echo, but also the return of Lightscape to the Royal Botanic Garden Sydney so you'll be able to mosey through lit-up leafiness again. Plus, Reg Mombassa is turning the Customs House facade into a tribute to Aussie road trips, while Guan Wei's works will deck out the Museum of Contemporary Art's exterior. Our Connected City will light up the Sydney Harbour Bridge, as well as The Rocks, Circular Quay, the Sydney Opera House and a range of buildings in the CBD. If you head to Barangaroo, you'll be able to see two dazzling displays. First, the Stargazer Lawn will welcome a circular projection of the brolga's mating dance called Nest from Leila Jeffreys and Melvin J Montalba. Also, Sinclair Park's Stateless will get 4000 solar-powered LED candles glowing amid the sandstone blocks at Barangaroo Reserve. Vivid Music, the fest's music festival within the broader festival, is anchored by a heap of must-see gigs at the Sydney Opera House — French favourites Air celebrating their 1998 debut album Moon Safari chief among them. After playing Vivid 2019, Underworld are back to bust out 'Born Slippy (Nuxx)' again at more Australian-exclusive shows. Arca, Sky Ferreira, Fever Ray, Snoh Aalegra, Devonté Hynes with the Sydney Symphony Orchestra: they're all on the bill, too, as are parties from House of Mince, Mad Racket and Astral People. Budjerah is one of the highlights on Tumbalong Nights' free lineup, which also features grentperez, Mallrat, sunwoojunga and Silica Gel. And Yasiin Bey, who was formerly known as Mos Def, has a two-night stint at Carriageworks, where he'll work through his tunes and influences. Other standouts on the music program include working the Machine Hall Precinct into the mix, which is where Deerhoof, Underscores, Jen Cloher, No Fixed Address and Ngulmiya will play — and where Trackwork, The Huxleys and CLUB 4A will throw shindigs. Mary's Underground will again host the Vivid Sydney Supper Club. Back at Carriageworks, the venue will welcome Tirzah, Yves Tumor, Electric Fields and X CLUB as well. At Vivid Food, Vivid Fire Kitchen will go all in on barbecue in its new location at The Goods Line. Vivid Residence and Vivid Chef Series will also be back, but with details still to be revealed. Kyiv Social's Plates with Purpose: A Taste of Ukraine is a ten-course degustation that will make you feel like you're sat at a Ukrainian family's table. And, don't miss the chance to hit up the VividPlace Food Trail, which'll turn Sydney Place and Bulletin Place's laneways into a night food market each night of Vivid. There's also Our Shared Humanity at Refettorio OzHarvest, with Christine Manfield, Darren Robertson, Mitch Orr and more whipping up three-course vegetarian menus using rescued produce — plus Aurorae at Bennelong Bar, Bennelong's pop-up snack and cocktail bar. Also, A Culinary Canvas by Danielle Alvarez celebrates women in the Australian food and wine scenes in Sydney Opera House's Yallamundi Rooms. [caption id="attachment_945243" align="alignnone" width="1920"] Destination NSW[/caption] If you're eager to dissect the current state of the world, that's where Vivid Ideas comes in — and, in 2024, After the Fact especially. It's a new nightly chat through the news cycle, with the panel of guests set to rotate, but keeping the topics up-to-the-minute the aim. Or, if you're keen to embrace Vivid's overarching theme, Golden Age of Humanity will feature Kylie Kwong, Kate McClymont and other influential Aussie introducing films that typify humanity to them over nine evenings. Plus, at AI Will Destroy Humanity: A Future Science Debate, what the future might hold for humankind gets a comic spin. Add in the participatory A THOUSAND WAYS: An Encounter by New York company 600 Highwaymen, the Kings Cross- and Darlinghurst-focused Sex Work: A legal and social history, and Say My Name: The Humanity of Names — which is all about monikers that are unfairly considered tricky — and there's much to get you thinking. Two other such chances: Window Dressing, with Liesel Badorrek getting audiences peering into folks' ordinary lives via eight windows in a Frank Gehry building on The Goods Line; and Shifting Perspectives, featuring dancers performing around 24 mirrored plinths. [caption id="attachment_945240" align="alignnone" width="1920"] Shifting Perspectives, Saige Prime[/caption] Vivid Sydney runs from Friday, May 24–Saturday, June 15 at various locations around Sydney. Head to the festival website for further details and tickets. Top image: Destination NSW.
Vivid is one of the best times of the year to be in Sydney — and also one of the most crowded. The festival of light, music and ideas has returned for 23 days from May 25 to June 16, and its tenth-anniversary program is sure to draw the biggest crowds yet. Want to see all of those glorious CBD light shows without packing into the streets like sardines? We know the best spots where you can get in on all the Vivid action — drink in one hand, phone in the other snapping shots from a unique vantage point. We've also partnered with our mates at Samsung to ensure we've selected bars with the primest of views, so you can use that new Galaxy S9 and S9+ with it's specially developed low light camera to snap the best evening shots. So whether you're into authentic margaritas with views of the Harbour Bridge, DJ sets with a front row seat to the new Luna Park installations or glowing gin cocktails with rooftop panoramas of those illuminated Opera House sails, we've picked out five of the best spots to hit for epic Vivid sights. MCA ROOFTOP BAR The MCA Cafe's rooftop boasts quite possibly the best Vivid vantage point the city has to offer — sans the heaving crowds. Panoramic sights of nearly all the festival highlights are visible from here (apart from the MCA itself, of course), so it's an ideal spot for snapping wide-angle pics. This year, Bombay Sapphire will be running the pop-up bar, which is open on Wednesdays, Fridays and Saturdays from 5–9pm during the festival. Here, you can sip on glowing gin cocktails while taking in unobstructed views of the Opera House light show. The MCA has also extended its Lights on Later program to coincide with the Vivid hours; so in between drinks up at the bar, you can catch the last days of its 21st Biennale exhibition, running until Monday, June 11. THE GLENMORE Since being refurbished back in 2012, The Glenmore terrace has become one of our go-to spots all year 'round — especially during Vivid. The heritage-listed pub's rooftop offers 180-degree views over Sydney Harbour, featuring up-close sights of the Harbour Bridge light show. Tuck into some pub grub favourites and raise a glass to snagging one of Sydney's very best views of the festival. Our tip? Get in early (pre-sunset) so you can get a front row seat to all the glowing action come sundown. SMOKE No matter what you decide to snack on, this is really food with a view, as Smoke at Barangaroo House was designed to lead the eye out over the harbour. Thanks to Vivid Sydney, it's a prime location for a little light spotting. Barangaroo becomes a magical bushland of lights with The Liminal Hour, featuring the fiery six-metre high Marri Dyin, Eora for 'great woman'. You'll also surely catch a glimpse of the Australian National Maritime Museum rooftop, which will be projecting the underwater delights of BBC Earth and David Attenborough's Blue Planet II. Between sips of an Autumn Spritz — which blends Martini Riserva Abrato with pink grapefruit, St Germain elderflower liqueur, juniper and prosecco — you'll also be able to aim your lens at floating light boats and the beams of Skylark, an interactive custom-built laser, controlled out of nearby Pier 8. GOLDIE'S MUSIC HALL AT SYDNEY OPERA HOUSE Along with the Sydney Opera House's massive Vivid lineup comes its annual pop-up bar. This year, Goldie's Music Hall has taken over the northern foyer — brought to you by the team from Newtown's The Midnight Special. Themed 60s and 70s, the bar features a black and gold fit-out complete with beaded lampshades, plush furnishings and peacock chairs. DJs including Gonz, Mama Disquo and Rusty and Boonge will be spinning playlists of funk, soul and R&B, while you relax with signature cocktails like the Golden Years (a boozy concoction of cognac, rye whiskey and amaretto with whisky barrel bitters and orange zest), plus craft beers from The Grifter and Young Henrys, liquor from Poor Toms and Archie Rose and decadent small bites. Of course, you also get prime viewing of the Harbour and can snap all the waterside shots you want from the comfort of the bar. Goldie's is open daily from 6pm–late and runs until Monday, June 4. BLU BAR AT SHANGRI-LA Set on the 36th floor and fitted with floor-to-ceiling windows, the Shangri-La Hotel's Blu Bar boasts sky-high panoramas of the Harbour. So, if you want some sprawling overhead shots of Vivid, this is the place to be. From here, the technicolour lights dance below while you enjoy the late-night menu with an extensive cocktail list, featuring both classics and inventive signatures (like the chamomile sour or a yuzu-thyme vodka concoction), plus refined bar snacks that you can nibble on while watching the show below. Escape the crowds, opt for exclusive sights from some of the best bars with Vivid views and snap some seriously professional-looking shots on the new Samsung Galaxy S9 and S9+, designed especially for low light. Images: Cole Bennetts.
"Opening a seafood restaurant on the sands of Cronulla Beach has always been a dream, and when this location became available, I knew it was the right spot for Bobby's," says Adam Micola, the co-owner of The Shire's brand-new beachfront diner. The welcoming restaurant arrives from the team behind Bangor Tavern, pulling from the flavours and aesthetics of the Mediterranean while celebrating seafood just metres from rolling waves and white sand. "Named after my father, we wanted to create a space that the Cronulla community and visitors to the area can enjoy in more ways than one. Whether you are dressed up for a birthday or catch-up with friends, or coming straight off the sand in your towel, Bobby's has all times of day and all occasions covered." The venue opens its doors at 7am each day, accommodating surfers and early-morning beachgoers with coffee and breakfast bites. Around lunchtime, the full menu is rolled out, and things really begin to fire up. Executive Chef Pablo Tordesillas (Totti's, Otto) and Head Chef Shaun Baker (Bills, Pier, Yan Restaurant) have created a menu of fresh ocean-to-table creations, leaning on staples of modern Australian diners and bold Mediterranean dishes. There are plenty of crowd-pleasing options that are sure to be hits over summer — think: oysters, prawn rolls, barramundi burgers and cuttlefish linguine. Fish and chips and rump steak are on offer for those who like to have their own main. Or, if you're in the mood to share, you can order a whole snapper or spatchcock for the table, then pair it with a series of share-friendly starters. As for the drinks, the Mediterranean theme continues here with hospo mainstay Alex Cameron moving over from French standouts Franca and Armorica to curate a list of European wines and cocktails designed to pair well with seafood on a hot Cronulla day. Limoncello spritzes and a pineapple and lime negroni both grace the cocktail list, while the Horn Iced Tea freshens up its Long Island counterpart with the addition of Aperol and prosecco. Bobby's is located at 6R The Esplanade, Cronulla. It's open 7am–4pm Monday–Wednesday and 7am–late Thursday–Sunday. Head to the restaurant's website to view the full menu and make a booking.
Vivid Sydney is returning this May and the Fort Denison Restaurant is getting in on the act with its very own Dinner DeLIGHTS. This long-NYE favourite has a unique vantage point within the city's harbour and history to showcase the yearly spectacle, as our skyline again plays canvas to projections of light, music and ideas. For $99 a head, the Fort Denison Restaurant is offering an all-encompassing harbour evening, including: a two-course meal, return boat fares, an intimate talk with a Vivid Sydney special guest, entry to the park and a guided tour of Australia's only Martello tower from the NSW Parks and Wildlife Service. No word on who said special guest/s will be, but the event is known for celebrating local and international creative minds. The ferry service will be running from Circular Quay, giving guests the opportunity to immerse themselves in Vivid's light walk before they settle into their harbour views of the famous light show over dinner. Dinner DeLIGHTS will run on Fridays and Saturdays throughout the 18-day festival, 24 May to 10 June, and for the festival's closing night from 6.15pm to 9.45pm, with additional return ferries shuttles available throughout the evening. For more information head to www.fortdenison.com.au, or email reservations@tecatering.com.au to secure your booking. Places are limited.
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
Following 11 years at Merivale's Sushi E, chef Nobuyuki Ura is moving to grand new digs. His eponymous restaurant, to be named Ura San, will open in The Rocks with panoramic harbour levels and next-level Japanese fare. Come mid-year, you'll find Ura within the 19th century sandstone magnificence of the Campbell's Stores building at Campbell's Cove, overlooking Sydney Harbour, the Bridge and the Opera House. The historic site is currently undergoing a $32 million restoration, and Lauren Cohen of Altis Architects will transform the 280-seater space into a paean to contemporary Japanese design, while celebrating its heritage-listed features. At its heart will be an open counter made of ash timber and black stone. Here, you'll be able to watch Ura and his masterful team in action as they create a traditional omakase menu. "When you go into a high-class sushi restaurant in Japan, omakase represents the best meal you can get," says Ura. "It means 'I'll leave it to you'". 'You' refers to the head chef. At Ura San, you won't pore over menus and make pain-staking decisions. You'll put yourself in Ura's trustworthy hands. "I go to the fish market every morning, to get the best fish...today, the tuna might be very good. Maybe tomorrow it'll be the scampi," San says. "All the produce and ingredients I use are the best — of the highest quality in Australia, New Zealand and Japan." [caption id="attachment_707018" align="alignnone" width="1920"] A render of what the revamped Campbell's Stores site will look like.[/caption] So there'll be no predicting the menu. But you can count on Ura's expertise. Before working at Sushi E, he was head chef at the now-closed Kamogawa on Sussex Street for over six years. Before that, he headed Suntory on Kent Street for eight years, in the space that now belongs to Tetsuya's. Behind the bar, there'll be a selection of top-notch Japanese sake and whiskey. Ura is planning on showcasing some of his native country's finest winemakers and distillers. But, you'll also find an impressive list of Australian wines. In addition to the open counter, the restaurant will house five distinct dining bays and a private dining room featuring a 20-seater marble table. If you're only dropping by for a cocktail and snacks, you'll be welcome to hang out in the more casual lounge bar. Ura San is owned by Eddie and Bill Younes, a father and son team embarking on their first hospitality venture. "They've been eating my food for 13 or 14 years," says Ura. "Around three and a half years ago, we started talking about opening a restaurant together one day." That day has arrived. Ura San is scheduled to open in mid-2019 at Level 2, Bays 4-8, Campbell's Stores, 7– 27 Circular Quay West, The Rocks. Image: Nikki To.
For home-style cooking that'll transport you to a family dining table in Lebanon, look no further than Baba Ghanouj. The Parramatta outpost of this restaurant (which has sibling venues in Dural, Castle Hill and Kirrawee) boasts a broad menu of traditional plates, desserts and imported drinks. The warm space is ideal for group outings, with large tables set among dramatic arches and chandeliers. Even more charming is the outdoor dining area where you can enjoy your next date night on a tree-lined street under draped strings of fairy lights. The menu is divided into cold and hot mezza, small pans, salads, mashawi (grilled skewers) and wraps (available until 4pm). For the mains, choose from plates such as chilli prawns with tahini, red capsicum, onion and vermicelli rice; pan-fried barramundi with coriander, lemon, paprika and garlic; or slow-braised lamb with spices, rice, nuts and yoghurt dip. Banquet options are available for couples or groups, which include 9–12 mezza and three meats. If that's still not enough and you can't find your favourite Lebanese dish on the menu, have a chat to the kitchen and they'll prepare it for you. Baba Ghanouj is open mornings every day and until 11pm on Tuesday–Sunday, so you can drop in for breakfast, lunch or dinner and satisfy any cravings between meals.
While festivals and concerts around the world have been cancelled and postponed (Bluesfest, Dark Mofo, gigs at the Sydney Opera House and Splendour in the Grass to name a few), a bunch of Sydney mates have created their own virtual gig: Room 2 Radio. Dubbed Sydney's first online nightclub, this party is letting you get your groove on even if you're stuck at home. Bringing the club to your bedroom, this online boogie kicked off in March and sees local DJs perform on your screens every Friday. This week, the night is aptly dubbed Pretty over it and will see the likes of Johnny Lieu playing early 2000s garage and bassline bangers, DJ, R&B artist and FBi Radio host Latifa Tee and eclectic Sydney-based selector Papi Chulo. So, expect more than just a video of someone hitting play on Spotify. Room 2 Radio is scheduled to run every week until further notice, with each week's program being announced via Facebook. To add to the good times, there'll be disco lights, drink recommendations and a live chat going so you can socialise with other partygoers. Room 2 Radio even played a sneak peak set to get things started, which you can check out here. Is this the future of nightlife? Who knows in these wild times, but at least for now we can party together, at home. To check out upcoming programs, head here. Updated, July 31, 2020.
With a swag of popular ACT cafes under its belt, and a long, award-filled history to boot, Canberra's largest specialty coffee roaster Ona has finally taken on Sydney, opening a cafe in Marrickville. The acclaimed coffee brand's baristas and brews are often recognised as some of the best at the annual Melbourne International Coffee Expo. It also has a passion for top-quality, sustainably sourced coffee and it's eager to share the love. Step inside the Sydney cafe and you'll notice a huge central coffee bar, where you can engage with the baristas and letting you watch your cuppa being made. The bright, minimalist cafe space is a coffee-lover's heaven, offering espresso, filter and milk-based options, with a rotation of blends and single origins to choose from. [caption id="attachment_779137" align="alignnone" width="1920"] Cassandra Hannagan[/caption] True coffee nerds will be all about the Marrickville store's special reserve coffee menu, offering dosed coffee beans that have been frozen and vacuum-sealed at their optimum freshness, effectively hitting pause on the ageing process. Those in the mood for food will find a simple, approachable lineup of cafe-style fare, including creations like the tomato stracciatella with grapes, olive, basil oil and rye, and a kingfish smørrebrød topped with lemon aioli, capers and pickles. Images: Cassandra Hannagan
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. From the latest and greatest to old favourites, here are our picks for your streaming queue from February's haul of newbies (yes, we're assuming you've already watched News of the World and Malcolm & Marie). BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW https://www.youtube.com/watch?v=AZ9cCFrCBxI IT'S A SIN More than two decades after creating Queer as Folk, Russell T Davies gives the television landscape another excellent queer drama. The screenwriter and television producer has been busy over the intervening period thanks to everything from Doctor Who to Years and Years — and he also has 2015's Cucumber to his name, too — but It's a Sin is one of the very best things on his lengthy resume. Stepping back to the AIDS crisis of the 80s and early 90s, the five-part miniseries follows a group of friends chasing their dreams in London. Ritchie (Olly Alexander, Penny Dreadful) heads to the city to become an actor, and to avoid telling his stern parents that he's gay. Roscoe (Omari Douglas) flees his parents' home when they keep threatening to take him back to Nigeria. Colin (Callum Scott Howells) arrives for an apprenticeship at a high-end tailor shop, but soon finds himself seeking an escape from his lecherous boss. Given the era, there's no doubting where the story will head. It's a Sin is as joyous and vibrant as it is soulful and heartbreaking, though. Ritchie, Roscoe and Colin not only cross paths, but form a makeshift family in their modest flat, with the former's college friends Jill (Lydia West, Dracula) and Ash (Nathaniel Curtis) rounding out the quintet. Neil Patrick Harris and Stephen Fry also feature, but they're never It's a Sin's stars — because, in series that looks and sounds the period part at every moment, the show's five main players are simply phenomenal. It's a Sin is available to stream via Stan. https://www.youtube.com/watch?v=4lkCCo63nhM I CARE A LOT She may not end up with many shiny statuettes for her efforts, but Rosamund Pike's Golden Globe nomination for I Care a Lot is well-deserved. The Radioactive and Gone Girl star is stellar in a tricky part in a thorny film — because this dark comic-thriller isn't here to play nice. Pike plays Marla Grayson, a legal guardian to as many elderly Americans as she can convince the courts to send her way. She's more interested in the cash that comes with the job, however, rather than actually looking after her charges. Indeed, with her girlfriend and business partner Fran (Eiza González, Bloodshot), plus an unscrupulous doctor on her payroll, she specifically targets wealthy senior citizens with no family, gets them committed to her care, packs them off to retirement facilities and plunders their bank accounts. Then one such ploy catches the attention of gangster Roman Lunyov (Peter Dinklage, Game of Thrones), who dispatches his minions to nudge Marla in a different direction. She isn't willing to acquiesce, though, sparking both a game of cat and mouse and a showdown. Dinklage makes the most of his role, too, but I Care a Lot is always the icy Pike's movie. Well, hers and writer/director J Blakeson's (The Disappearance of Alice Creed), with the latter crafting a takedown of capitalism that's savagely blunt but also blisteringly entertaining. I Care a Lot is available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=Sw_iVa6bZgs WHY ARE YOU LIKE THIS Named after a meme, and focusing on characters that can hardly be described likeable but are nonetheless instantly recognisable, Australian sitcom Why Are You Like This takes aim at 21st century life. Its three main figures are all twentysomethings endeavouring to navigate a never-ending onslaught of personal and professional problems, such as getting fired, battling with colleagues, money troubles, hiding boyfriends, losing moon cups and trying to spark a workplace revolution but ending up getting other people fired — so, yes, they're just like the rest of us. Penny (series co-creator Naomi Higgins, Utopia) wants to be an ally to everyone. Her bestie Mia (Olivia Junkeer, Neighbours) matches that determination with both self-assurance and a self-serving mindset; if she's sticking up for anyone, it's always herself. Rounding out the trio is Penny's housemate and aspiring drag queen Austin (Wil King), whose glittery outfits and super-sized personality can't always hide his internal crumbling. Across the show's six-episode first season, these three friends keep trying to stand out in their own ways. They also keep demonstrating both their best and worst traits. As satirical as it is candid and relatable, Why Are You Like This knows that everyone and everything is awful, and leans in. And, in terms of the series' style of comedy, the fact that Higgins created the show with lawyer and illustrator Humyara Mahbub and Aunty Donna's Mark Samual Bonanno says plenty. Why Are You Like This is available to stream via ABC iView. https://www.youtube.com/watch?v=CqXhMYjasHM ROCKS Not only thoughtful, empathetic and heartfelt, but also offering a very familiar genre a fresh perspective, coming-of-age drama Rocks explores the life of British Nigerian teenager Olushola Omotoso (engaging debutant Bukky Bakray). She's given the eponymous nickname by her friends, and she's forced to call upon a hardy type of fortitude when her mother (Layo-Christina Akinlude, I May Destroy You) leaves suddenly, entrusting the 15-year-old to care for her her younger brother Emmanuel (D'Angelou Osei Kissiedu). This situation isn't new for the siblings, so they soldier on. But, approaching the film with a tender but also forthright touch, director Sarah Gavron (Suffragette) and screenwriters Theresa Ikoko and Claire Wilson (Gangs of London) don't sugarcoat their story. As Rocks tries to rustle up enough money to by, endeavours to evade social workers chasing her and Emmanuel around town, attempts to maintain a routine for her brother and also deals with her own schoolyard struggles, the film repeatedly demonstrates that a feature can be both honest, unflinching, bittersweet and charming all at once. Indeed, it also illustrates that when a movie manages to be all of those things — as well as immersively shot, superbly performed and keenly showing a far more expansive snapshot of British life than often seen on-screen — it's something special. Rocks is available to stream via Netflix. https://www.youtube.com/watch?v=cbZU_76SPdI CLARICE When The Silence of the Lambs became one of the most talked-about movies of 1991 — and won the 'big five' Oscars: Best Picture, Best Director, Best Actor, Best Actress and Best Adapted Screenplay — it was always going to earn a follow-up. But, the three films that did just that all cared far more about psychiatrist and serial killer Hannibal Lecter than FBI Agent Clarice Starling, as did the Mads Mikkelsen-starring TV series Hannibal. Accordingly, television crime procedural Clarice feels as if it's righting a three-decade-old wrong. Set a year after the events of The Silence of the Lambs, it follows its eponymous figure (Australian actor Rebecca Breeds, Three Summers) as she returns to the field. She's still shaken by the case that made her famous, and she'd much rather stay behind the scenes than lead the charge, but she's brought to Washington DC to join a high-profile taskforce that hunts down serial killers and other predators. Clarice is made by US network television, not cable, so it happily sticks to an obvious formula; however, case-of-the week programs like this have remained a TV mainstay for a reason. Breeds capably steps into Jodie Foster's shoes, the series as a whole sinks into its unsurprisingly grim mood, and stories about women reclaiming their own space after trauma, as this is, aren't as common as they should be. Clarice is available to stream via Stan. https://www.youtube.com/watch?v=2B7m-ARHz0c FAKE FAMOUS No one could've known how timely Fake Famous would be, especially in Australia. Arriving in a month where much of the nation's social media usage has pivoted from Facebook to Instagram, it explores influencer culture on the latter platform, all thanks to an experiment by journalist-turned-filmmaking first-timer Nick Bilton. Interested not only in people famous for being famous, but in the way that Instagram in particular has heightened the phenomenon, the writer/director endeavours to create three influencers of his own. He holds auditions, selects candidates, gives them makeovers, sets them up with a crew to snap their photos and shoot their videos, and buys them bots to follow, like and comment on their posts. His aim: to take his three chosen Los Angeles residents from everyday Instagram users with dreams of online stardom to the type of social media celebrities who've turned their virtual existence into a full-time job (and have the statistics and the swag sent to their door to prove it). Mixed in with insights about social media and influencers in general, the result is a fascinating film — especially in seeing how Bilton's three central figures handle the process. That remains true of this slickly made, perkily toned documentary even if there's little that's overly new here for anyone with an ongoing interest in or knowledge of the subject. Fake Famous is available to stream via Binge. https://www.youtube.com/watch?v=u9XJ1AxrAcs THE VIRTUES Director and screenwriter Shane Meadows has a fantastic track record, spanning everything from Dead Man's Shoes to This Is England — as well as the multiple TV shows inspired by the latter. Fellow screenwriter Jack Thorne is no stranger to working with Meadows, also thanks to the This Is England franchise; however his individual resume includes Dirt Music, Radioactive, The Secret Garden, Enola Holmes, The Eddy and His Dark Materials over just the past couple of years. So, the pair's involvement in The Virtues immediately marks it as a miniseries to watch. So does its star Stephen Graham, yet another veteran of This Is England. Here, all three combine for a four-part drama that's bleak, raw, frank and devastating — and, once you've started watching, it's also impossible to tear your eyes away from until the credits roll on the final episode. After it finishes, it's downright impossible to forget, in fact, a claim that can't be made of most television shows. Graham plays Joseph, a labourer who's barely getting by. When his ex-partner and his young son move to Australia, he hits the bottle, has a big night, and wakes up certain that he has to head back to Ireland and confront his troubled past. So starts an emotional journey that's never easy — not for a single second — but is also never anything less than astounding. The Virtues is available to stream via Stan. RETURNING SHOWS TO CHECK OUT WEEK BY WEEK WELLINGTON PARANORMAL Three of the best comedic actors currently on TV all star in New Zealand-made sitcom Wellington Paranormal. Playing Officer O'Leary, Officer Minogue and Sergeant Maaka, Karen O'Leary, Mike Minogue and Maaka Pohatu spit out devastatingly hilarious deadpan line readings. They need to in this mockumentary series, which follows a squad of Wellington cops who investigate the supernatural — as the show's title so succinctly explains — but every episode of the series so far has demonstrated just how perfect these three actors are for their job. That includes the just-arriving third season of the program, which once again sees the team tackle cases of the paranormal variety (and, yes, of the often silly and always amusing kind as well). This batch of instalments starts with an invisible foe, then ponders what might be lurking in the woods, with laughs heartily ensuing. A spinoff from Taika Waititi and Jemaine Clement's excellent 2014 movie What We Do in the Shadows — well, one of the film's spinoffs, given that a very funny US TV series also called What We Do in the Shadows also exists — Wellington Paranormal aces its concept again and again. This time around, Clement directed half of the season's episodes, while Rhys Darby reprises a familiar role. Wellington Paranormal's third season starts streaming via SBS On Demand from Wednesday, February 24, with new episodes added each week. CULT CLASSICS TO REVISIT AND REDISCOVER https://www.youtube.com/watch?v=XhulR_kJf7Y PARKS AND RECREATION She's the government worker we all wish could be in charge of, well, absolutely everything — and she's the Indiana city of Pawnee's most devoted employee and biggest fan. We're talking, of course, about Leslie Knope, Amy Poehler's super passionate waffle-loving character in iconic sitcom Parks and Recreation. Willing to work hard in any situation and always ready to lean upon her friends and co-workers, Leslie knows how to handle almost anything. In one particular fifth-season episode of the Nick Offerman, Rashida Jones, Aziz Ansari, Chris Pratt, Aubrey Plaza, Adam Scott and Rob Lowe-costarring series, that also includes grappling with a pandemic. Created by The Office's Greg Daniels and Brooklyn Nine-Nine's Michael Schur, Parks and Recreation may have only come to the end of its seven-season run back in 2015, but the sitcom has been an instant classic from the get-go for one reason: focusing on relatable characters, the minutiae of their lives and the time working in local government, workplace-based comedy has never felt more kind-hearted, or — thanks to the show's penchant for letting its main players talk directly to the camera — so inclusive. And while Parks has done the rounds of streaming platforms, hopping from one to another over the years, its arrival on Netflix is as good a reason as any for a rewatch (not that anyone ever needs an excuse). All seven seasons of Parks and Recreation are available to stream via Netflix. https://www.youtube.com/watch?v=5zaQgbACc1E THE MUPPET SHOW Created by Jim Henson, first seen on TV in the 50s and boasting eight movies to their name, The Muppets are easily the most loveable felt and foam creations in pop culture history. They're also the driving force behind the best variety television series that's ever reached the small screen: The Muppet Show, which ran for five seasons between 1976–81. Forget all those other efforts hosted by humans over the years, because nothing is as absurd, surreal and delightful as this puppet-fuelled program. And, whether you grew up watching reruns over and over, have always wanted to check it out or somehow weren't aware that the series even existed, it's now available on Disney+ in full. Yes, it's time to play the music and light the lights — and to revisit this Muppets-starring favourite. You won't just be checking out the comic stylings of Kermit the Frog, Miss Piggy, Fozzie Bear, Gonzo and the Swedish Chef (and their songs and skits, too), of course. The Muppet Show is also famed for its guest appearances, so get set to spy everyone from Elton John and Mark Hamill to Martin, Liza Minnelli, Alice Cooper, Julie Andrews, Diana Ross and Gene Kelly. All five seasons of The Muppet Show are available to stream via Disney+.
Wherever you are in Australia, you're never far from nature. But, when you really need to unwind, your best bet is to find somewhere remote — preferably, a place where emails, phone calls and bosses can't reach you. Plus, you should find some serious natural beauty on which to feast your weary eyes. To that end, we've taken a good look around the nation at some of the most spectacular spots — from the coral-filled waters of Queensland's Heron Island to the empty beaches of NSW's Mimosa Rocks National Park to the granite boulders of Tasmania's Bay of Fires. And just like us, Stoneleigh Wild Valley is all about celebrating the wondrous work of nature. The New Zealand winery follows a wild fermentation process for its wines resulting in flavours that are rich in complexity. So, together, we've scoped out five spots around the country where you can unwind — perhaps even with a glass of vino in hand. Next time you're planning a weekend getaway, make tracks to one of these beauties. Your overworked body and fatigued brain will thank you. [caption id="attachment_728904" align="alignnone" width="1920"] Tourism and Events Queensland.[/caption] HERON ISLAND, QLD 72 kilometres off Gladstone lies Heron Island, one of the Great Barrier Reef's most unspoilt islands. Just 800 metres long and 400 metres wide, it's mostly national park — fringed with white sands and, beyond that, coral reef. Between November and March every year, green turtles and loggerhead turtles (both threatened) nest here and you're welcome to watch them, as long as you stick to turtle watching guidelines. Any time of year, expect to meet seabirds a-plenty, plus many a sea critter if you go on a snorkelling or scuba diving excursion. There's just one place to stay: the eco-friendly Heron Island Resort, where you can choose from private rooms surrounded by pisonia forest, suites with incredible sunset views and a beach house with room for up to four guests. [caption id="attachment_728989" align="alignnone" width="1920"] Aragunnu Walking Track via Destination NSW.[/caption] MIMOSA ROCKS NATIONAL PARK, NSW Found on the NSW South Coast, around five-and-a-half hours' drive south of Sydney, Mimosa Rocks National Park is a land of empty beaches, rocky headlands and forests filled with wildlife. If you're keen to immerse yourself in nature, pitch your tent at a beachside campground, such as Aragunnu or Picnic Point. Prefer the comfort of four walls? Book the heritage Myer House. Either way, be sure to take a dip at Moon Bay, go for a stroll along Middle Lagoon Walking Track and check out the surf at Nelson Beach. [caption id="attachment_728931" align="alignnone" width="1920"] Lisa Kuilenburg.[/caption] BAY OF FIRES, TAS Bay of Fires takes its name from its flaming colours. Granite boulders covered with bright orange lichen frame the coastline and, in contrast with the deep blue of the sea, create an extraordinary effect. The bay stretches for 50 kilometres along Tasmania's northeast coast, from Binalong Bay in the south to Ansons Bay in the north. Get back to nature in a tent at a free campground, sleepover at a luxe glamping site or sink into comfort at a B&B. Wherever you sleep, make sure you spend some time exploring on foot — whether you conquer the four-day Bay of Fires Walk or stick to day hikes. [caption id="attachment_688566" align="alignnone" width="1920"] Trevor King via Destination NSW.[/caption] LORD HOWE ISLAND, NSW Take some time off the mainland at Lord Howe Island, a rugged paradise that's a two hours' flight east of Sydney with a population of just 382. To spend your entire break wrapped up in nature, embark on the Seven Peaks Walk, a five-day, 45-kilometre hike that takes in banyan forests, coastal cliff faces and magical beaches. If that sounds too long, there's a bunch of day walks to try, too. Alternatively, go snorkelling in clear waters, laze about on beaches or paddle board around. And forget all about crowds: no more than 400 visitors are allowed on the island at once. [caption id="attachment_719735" align="alignnone" width="1920"] Visit Victoria.[/caption] THE GRAMPIANS, VIC Clear your head with some invigorating mountain air in The Grampians, a mountain range three hours' northwest of Melbourne dotted with waterfalls, wildflower meadows and dizzying peaks. Begin your adventures at MacKenzie Falls, one of Victoria's biggest waterfalls, before heading to mystical Silverband Falls, surrounded by lush ferns and flowers. For views that go on forever, drive to Boroka Lookout, Reeds Lookout or Mount William, which, at 1167 metres, is the highest peak in the range. Or, if you're keen to get moving, take a hike. A good place to start is The Pinnacle, accessible by a variety of walking tracks, which range from 2.1 to nine kilometres. Enhance your adventure through nature with Stoneleigh Wild Valley, whose 2017 sauvignon blanc recently won gold at the New York International Wine Competition 2019. Top image: Lord Howe Island.
To those whose days don't truly start until there is caffeine in their system, take note. Kickaboom, a cheery cafe in Glenbrook, lives up to its quirky name putting a pep in your step with premium brews and tasty bites. On appearance alone Kickaboom is a far cry from the 'greasy spoon' eateries that populate the lower Blue Mountains area. The venue is sleek and modern, with polished concrete floors, white tiles and indoor greenery. It would not look out of place in a trendy inner west suburb. The similarities don't end there, either. The drinks menu is a lengthy affair featuring Mörk hot chocolate; a turmeric, ginger and honey latte; and a Speculatte (a hot milk beverage made with a Dutch spiced biscuit). But coffee is the main game here. For milk-based coffees, expect the OG blend by Reuben Hills. Meanwhile, black, filter and single origin offerings change regularly, often featuring roasts from Seven Seeds, Wood and Co and Sample. The cafe also hosts regular events for coffee fiends including Aeropress tutorials, latte art competitions and talks on coffee sourcing and farming. And with an award-winning barista at the helm, you'd expect nothing less. Kickaboom owner Dylan Johnson has been in the coffee game for 15 years. Most recently, he was head barista at Paramount Coffee Project during which he nabbed the Australian Aeropress Champion in 2014. A lifelong Blue Mountains resident, Johnson chose to stay local for his own venture but he brought with him the boundary-pushing energy from the city. And, in fact, even further afield, with inspiration from his travels dotted throughout the menu. Herein lies another element that sets Kickaboom aside — the food is not your run-of-the-mill cafe fare. Southeast Asian influences are evident in the black sticky rice bircher and sticky pork bibimbap. The fried chicken waffle brings the American vibes (via Paramount Coffee Project). There's plenty of choice for vegan and gluten-free diners, too, with the miso eggplant toastie with vegan béchamel and house-made harissa proving to be one of the most popular menu items. The quality is there too — the kitchen staff have lengthy stints at fine-dining establishments, such as Darlinghurst's now-closed Onde and Ester, on their resumes. Produce is locally sourced from the Hawkesbury region and many ingredients are made from scratch, including soft serve, syrups, butter, almond and macadamia milks and baked treats. Whether you're a local or day-tripper, Kickaboom will certainly set your day on the right track.
Interpersonal relationships are all about compromise. I'll cook, you clean. I'll be designated driver this weekend, you can do it next weekend. Still, quite possibly the biggest source of compromise – or conflict – is choosing where to go for dinner. Fortunately for residents of and visitors to south Sydney, this is all about to change. The culprit? Highfield Caringbah, the Sutherland Shire's first "vertical pub", offering up a bevy of themes and dining options under one roof. With their newest offering, the Feros Group have quite literally built on the success of Ugly Pizza and Huxley's Sports Bar. Both existing venues remain on the ground floor at the MacKay street site, with new venues The Public House and The Botanical opening up top. No-fuss joint Ugly pumps out its New York-style pizzas for dine in or takeaway. Huxley's, meanwhile, serves as a shrine to the USA, offering up diner staples – burgers, hot dogs, mac'n'cheese – to an overlapping soundtrack of American sports playing on dozens of TVs. On the middle floor, The Public House sticks to standard Aussie pub traditions: a TAB, domestic and craft beers on tap, and a menu featuring good old schnitties and steaks. And if you're looking to add a touch of elegance to the evening, rooftop hangout The Botanical offers a dedicated cocktail bar, a living green wall and food prepared on a Japanese-style Robata grill — not to mention spectacular views of the city skyline. Find Highfield Caringbah at 22-24 MacKay Street, Caringbah. For more information, visit their website.
For the past 30 years, the Terminus Hotel, a 177-year-old pub in Pyrmont, has been an enigma to passersby, its facade overgrown with vines, its windows boarded up and its doors bolted. Yet, back in the 1840s, it was one of the city's most boisterous drinking spots. Situated at the very end of the tram line (hence the name), the pub was a favourite stop for workers keen for a beer — or several — after a hard day's yakka. In 2016, business partners David Mathlin and Binu Katari decided to bring the old girl back to life. Downstairs, drop an elbow on the marble-topped Tram Bar and order a craft beer, such as a signature Terminus Lager or a French sparkling wine. Alternatively, head into the cosy courtyard. Either way, you'll be able to watch the open glass-walled kitchen in full flight. Upstairs, there's a classy cocktail bar named after Vera Dempsey, a tough, buxom woman who ran the Terminus in the 1930s. The light-filled space spills out onto a roomy, sun-dappled terrace, with a retractable rooftop, for when those all-too-familiar Sydney downpours suddenly hit. And, should you just so happen to find yourself partying like it's the 1840s, you can stay the night in one of the Terminus's cute boutique budget rooms, bookable via Airbnb. Heading up the kitchen is Turkish-born chef Bektas Mustafa Ozcan, who's worked at Anason, Chiswick and Jamie's Italian. His menu features both fancied-up Aussie pub classics and moreish Mediterranean share plates. There are three ways to eat at the Terminus. If you're peckish, go for a bar snack, such as a rolled cigar 'borek' (pastry filled with mushroom and three cheeses) or grilled sumac-cured calamari with chickpeas and sorrel. If you're starving — but don't want to share — choose a poshed-up pub classic, like fried flathead with chips and aioli or the mighty Terminus burger. And, if you're ready to settle in with some friends, order share plates. The slow-roasted, oyster-cut lamb shoulder with smoky eggplant caviar and pickles is hard to go past. Meanwhile, the cocktail list is made up of creative takes on classics. The Terminus Sour, for example, is Chivas 12 Whisky and Pernod Absinthe, shaken with fresh lemon juice and house-made thyme syrup, then strained over ice. Then there's the Blood Orange Margarita: Altos Plata tequila, Solerno Blood orange liqueur and Campari shaken with fresh lime juice and a dash of agave syrup, then strained. You're welcome to drink your favourite cocktail wherever you like, but, if you're looking for the best spot to linger and chat, climb up the staircase to Vera's. Images: Kitti Smallbone
Size matters. So too, does timing. It's safe to say that in the wake of the sprawling Avengers: Infinity War, Ant-Man and The Wasp is precisely the kind of modest, self-contained movie the team at Marvel needed to make. Set shortly before The Avengers' dust-up with Thanos, the film acknowledges its place in the Marvel Cinematic Universe yet cleverly distances itself from intergalactic conflict by instead focusing on three very intimate human stories. The first concerns Scott Lang, aka Ant-Man, played again by the seemingly ageless Paul Rudd. Thanks to his exploits in Captain America: Civil War, he now finds himself subject to house arrest and attempts to while away his two-year sentence by both establishing a security consultancy company and creatively entertaining his young daughter. The second picks up with Lang's two (now former) partners: Hope van Dyne aka The Wasp (Evangeline Lily) and her father Dr. Hank Pym (Michael Douglas) as they attempt to rescue Hope's long-lost mother from the mind-boggling Quantum Realm. The third follows a pair of villains: superhuman Ghost (Hannah John-Kamen) and black marketeer Sonny Burch (Walton Goggins), each of whom seeks to steal Pym's quantum tech for themselves. That's the sum of it. There are no aliens here, no space ships or wormholes. There aren't even many lives at stake. Instead, Ant-Man and The Wasp mostly concerns itself with the preservation and/or restoration of fading relationships. The small-scale (no pun intended) storytelling proves a welcome reprieve from the MCU's growing complexity, while the filmmakers also smartly retain the innovative action and laugh out loud comedy from their character's first big screen outing. The danger for this franchise was always going to be the Honey I Shrunk The Superhero dynamic getting old. Thankfully, the creative minds behind Ant-Man and The Wasp continue to deliver the unexpected in almost every major sequence, tinkering with the size of everything from cars to buildings to Pez dispensers. As Lang, Rudd very much holds court again, his disarming awkwardness acting as the perfect foil for the more stern performances of Lily and Douglas. Not every joke lands, and a few of the one-liners seem crowbarred in, but the tone remains impressively consistent throughout, almost to the point of feeling like a straight-up comedy (thanks in no small way to another scene-stealing turn from Michael Pena). Goggins, too, is as reliable as ever as the Southern Gentleman rogue, while John-Kamen's Ghost offers the film its necessary dramatic streak without ever descending into two-dimensional villainy. Later appearances by some other big names (whose identity we'll preserve for the sake of surprise) lend additional gravitas to an already impressive cast, and even Stan Lee's inevitable cameo brings a laugh instead of the usual eye roll. Unsurprisingly, Ant-Man and The Wasp also addresses the shocking finale to Infinity War, although it does so in a neatly inconclusive way, allowing for much speculation and very little certainty. In all, it's a well calculated step by Marvel and a timely reminder that superhero movies can tell compelling human stories without resorting to world-ending CGI chaos. https://www.youtube.com/watch?v=8_rTIAOohas
The centrepiece of the 2018 Biennale of Sydney was Ai Weiwei's 60-metre inflatable boat, a critique and exploration of the global refugee crisis. This year, when the Biennale returns to art galleries across Sydney, the lineup of 100-plus artists will be examining another poignant issue close to the heart of Australia: First Nations sovereignty and intergenerational trauma. Running from Tuesday, June 16 until Sunday, September 6, the 2020 Biennale is entitled Nirin, which means 'edge' in the language of western NSW's Wiradjuri people. This year's theme is timely, for two reasons: the 2020 blockbuster falls on the 250th anniversary of Captain Cook's voyage to Australia — and it will be helmed by a new First Nations artistic director, famed Sydney-born, Melbourne-based interdisciplinary artist Brook Andrew. Andrew has selected an impressive lineup of artists and creatives — many of them First Nations — from around the world to exhibit at the Art Gallery of NSW, Woolloomooloo's Artspace, Campbelltown Arts Centre, Cockatoo Island and the MCA. The National Art School, which was originally part of the program, will remain closed to the public for the foreseeable future, so the Biennale is currently looking to relocate its works to a new space. On the just-announced program, you'll find the Southern Hemisphere premiere of Arthur Jafa's Golden Lion-awarded work The White Album, Wiradjuri artist Karla Dickens's immersive work symbolising the disproportionate number of incarcerated Indigenous Australian women and a large-scale political protest piece by Pitjantjatjara artist Kunmanara Mumu Mike Williams (who passed away last year). [caption id="attachment_764834" align="alignnone" width="1920"] Hannah Catherina Jones, 'Owed to Diaspora(s)' (2020), courtesy the artist. Photo by Zan Wimberley. Installation view.[/caption] Cockatoo Island will be home to a wide range of works, including Ghanaian-born artist Ibrahim Mahama's sprawling installation of coal sacks; Tony Albert's interactive greenhouse, where you'll be invited to write and plant messages; and Tlingit/Unangax̂ artist Nicholas Galanin's excavation work that'll 'dig up' the land beneath the shadow of Hyde Park's Captain Cook statue. Elsewhere, Ahmed Umar's ceramic sarcophagus will be shown at the MCA; DJ Hannah Catherine Jones will perform an audiovisual work inspired by pop-culture, poetry and provocative imagery; Andrew Rewald's evolving community garden; and Leisa Reihana's multi-channel video installation and film will explore the history of Māori and South Pacific Islander peoples. Running at a later date will be Nirin Wir: a program of free and ticketed events taking place all over the city, from the Blue Mountains to La Perouse. You can listen to in-depth conversations between First Nations artists and other artists at the multi-location Aabaakwad, head to Cockatoo Island for 4ESydney Hip Hop Festival, watch an all-Indigenous Australian cast discuss Australia's 60,000-year history and debate the question "To cook Cook or not?" at Sydney Town Hall and join a performative walking tour of Parramatta Female Factory Precinct or a guided bushwalk through Dharawal National Park with Aunty Deirde Martin. Favourite events such as the Bankstown Poetry Slam and Sunday family day will also return for the festival. Dates for Nirin Wir are yet to be announced, but we'll be sure to keep you posted. Top images: Ibrahim Mahama, 'No Friend but the Mountains' (2012–20), Cockatoo Island, courtesy of the artist; Barbara McGrady, installation view, Campbelltown Arts Centre,c courtesy of the artist. Photos by Zan Wimberley.
UPDATE: July 13, 2020: 2040 is available to stream via DocPlay, Binge, Foxtel Now, Google Play, YouTube and iTunes. When An Inconvenient Truth ostensibly turned a PowerPoint presentation into an Oscar-winning film, the world took notice. An impassioned overview about the biggest threat to the earth that humanity is ever likely to face — that is, climate change — will do that. But it also set a precedent for eco-conscious documentaries, stressing the undeniable, existence-shattering doom and gloom of the situation. The reasoning is simple, not to mention completely justified: what else but the worst possible scenario could convince everyone to drastically alter their ways? (As history has shown to the planet's detriment, not even that is proving enough.) Arriving 13 years later, after a sequel to Al Gore's movie and countless other environmental docos too, 2040 adopts a different approach. This time, it's both personal and positive. Of course, the fate of this giant rock we all live on has always been personal, however director Damon Gameau frames his plea for change as a letter to his now-four-year-old daughter, hypothesising how the state of the environment could potentially improve in the next 21 years for her benefit. It's a smart, savvy move, asking viewers to similarly think about the world they want to leave for loved ones, kids and future generations in general — while offering solutions that, as based on technology available today, could genuinely make an impact. Gameau previously put himself front and centre when he made That Sugar Film, acting as the doco's own Super Size Me-style sucrose-guzzling guinea pig. That movie was not only a record-breaking box-office smash, becoming the highest grossing non-IMAX Australian documentary in history at the time, but also sparked a widespread dietary movement. Once again venturing around the world to speak to the brightest minds on his chosen subjects in episodic segments, the actor-turned-filmmaker certainly makes a compelling case in 2040. Choosing his examples wisely, each technology he champions basically sells itself. From community-level solar electricity grids in Bangladesh and self-driving cars in Singapore, to marine permaculture off the US coast and innovative agriculture practices in Australia, it's impossible not to see how Gameau's proposed solutions would enact considerable, much-needed change. To make his points crystal clear — and to firmly demonstrate how they could make a difference — he intermittently cuts to an idealised version of the future, complete with actor Eva Lazzaro playing his daughter, to literally show how life in the year 2040 could look. While these crystal ball moments sometimes overplay their earnestness and attempted humour to the point of becoming clunky, they tie into another of Gameau's key skills as a documentarian: presentation. Global warming is a daily topic of conversation for many, as it should be, and yet a constant stream of news headlines and cries from scientists can be all too easy for both the masses and their elected representatives to ignore. In addition to its unfettered optimism, 2040 packages its segments in engaging ways, whether discussing alternative energy solutions by placing its talking heads atop a towering wind turbine, or using animated dioramas. It's another technique brought over from the similarly bright, breezy, accessible yet informative That Sugar Film, and once again, it works. Also effective is 2040's overall aim, with the film staring climate change in the face, slapping on a smile and striving to get people motivated about such a crucial matter. The doco provides an upbeat top-level view, as well as an easy-to-glean list of talking points — favouring the bigger picture, plus a few case studies, over the bleak current-day political, social and economic reality. And yet, that's also what leaves a strange sensation. 2040's vision of the future is so welcome, but it's also just that: a vision. Even if you're not innately cynical about the world, there's a difference between knowing what's possible and thinking that it'll actually happen. 2040 trades in hope, which will never fail to be important, however there's still no escaping reality. https://www.youtube.com/watch?v=p-rTQ443akE
Everyone should play tourist in their own town. For fans of horror movies in the Harbour City, everyone should see Sydney's historic spots in a whole new light while a frightening flick rolls and Haus of Horror throws a party. That's the immersive cinema outfit's setup, and it has both the winter solstice and the Old Darlinghurst Gaol in its sights next — plus getting eerie with the American remake of The Ring. In the past, for over a year, Haus of Horror has popped up everywhere from Parramatta Gaol and Camperdown Cemetery to Cockatoo Island, showing The Exorcist, the OG Scream, Beetlejuice, A Nightmare on Elm Street and more. Now, before you truly get into the winter spirit, you'll see The Ring inside a cellblock with a full moon in the sky outside. You have two sessions to choose from, both on Saturday, June 22 (technically a day after 2024's winter solstice, but this kind of event was always going to be more fun on a Saturday instead of a Friday). So, either head through the doors at 5pm for a 7pm screening, or mosey through at 7.15pm for a 9.15pm showing. Either way, a date with Samara is only a portion of the party. Prior to the movie flickering through the projector, you'll be given time to explore the site — a place that dates back to the 1820s, housed prisoners from 1841–1914, then became a technical college and later the National Art School. The old gaol has turned the former women's prisoner wing into a theatre, which is where you'll be watching. If you need to peel your eyes away from the screen, look out for remnants of the space's previous use etched onto the walls. Haus of Horror is also setting up scare zones, a photo booth, and markets selling handmade and vintage wares. A fortune teller will get clairvoyant with attendees, a DJ will be spinning tunes, good vendors will have bites to eat on offer and a bloody-themed cocktail will be available at the bar. The crew behind the event is calling this their inaugural winter solstice shindig, aiming to turn it into an annual tradition — meaning that 2024 is the only time that you can say that you were there when this party began. Haus of Horror's Winter Solstice Party featuring The Ring takes place on Saturday, June 22, 2024. Head to the Haus of Horror website for tickets and further details.
The first of Red Rock Deli's Secret Suppers has been and gone, with MasterChef Australia 2010 winner Adam Liaw kicking things off in May. The exclusive supper series — running until September at secret locations across Sydney and Melbourne — sees some of Australia's most talented chefs whipping up mouth-watering, three-course feasts inspired by Red Rock Deli's new limited-edition range. And when we say exclusive, we mean it — only 20 lucky guests get to tuck into each lavish dinner. On Wednesday, May 15, Malaysian Australian chef Adam Liaw put up an Asian-fusion feast. After guests were picked up from Central Station's Grand Concourse entrance and whisked away to a mystery location, Liaw dished up plates inspired by Red Rock Deli's Thai red chilli and creamy coconut chips. In the first course, Liaw made chilli the hero with a Korean bo ssam of pork, prawns and herb kimchi, while his dessert of coconut and lychee pavlova with mango sauce incorporated the creamy texture of coconut. But it was the melt-in-your-mouth braised ox cheeks in red chilli and coconut curry that was the real winner — to recreate it at home, check out the recipe here. If Liaw's dinner is anything to go by, the upcoming suppers will be quite something. Duncan Welgemoed of Adelaide's famed African-inspired wood fire joint, Africola, is up next. The dinner will take place on Thursday, June 20 and will be inspired by Red Rock Deli's flame grilled steak and chimichurri flavour. To nab tickets for Sydney's upcoming Red Rock Deli supper, enter the ballot here to be given the chance to purchase tickets. Images: Conrad Coleby and Kitti Gould.
Titles matter. A film with a good one can intrigue, inspire and entice audiences from far and wide, just as a bad one can turn you off faster than a date swearing at a waiter. The grey area is when things get literal. Everything's okay so long as it's just a case of 'does what it says on the can' — your Ghostbusters, your Ferris Bueller's Day Off, your The Pianist — but what about when it gives something away? That poor choice of words can destroy all semblance of mystery for a movie. It's why studios ultimately didn't go with: 'Bruce Willis Is a Ghost', 'Don't Trust the Gimp with the Limp' or 'It's...His...Sled'. With that in mind, the decision to title Peter Berg's new film Lone Survivor would seem a miscalculation. "Four Navy SEALs go into Afghanistan to target a Taliban leader, but how many make it out ali- oh, wait, it's one. Just one. A 'lone survivor'. Says so right there on the poster. And yet, despite having directed Battleship, Peter Berg's no idiot. Mindful that the details of this true (and widely publicised) military mission were already known to many, he realised the most compelling question was not 'how many would survive?' but rather 'how did ANY of them survive?' That disastrous mission was Operation Red Wings, and the reason for its failure was essentially the SEAL team's decision to not kill three unarmed farmers who'd stumbled across their position. For the (moral) armchair general, it's a no-brainer. Rules of engagement and all that. But in the moment, knowing that to let the civilians go was to guarantee an attack by the Taliban and fail the mission… the ethics of combat became a lot murkier. Mark Wahlberg, Emile Hirsch, Ben Foster and Taylor Kitsch play those four imperilled SEALs, and from the moment they elect to abort the mission, Lone Survivor becomes a heart-in-mouth, hug-yourself-for-two-hours, ball-breaker of a film. Pursued through inhospitable mountains by several hundred Taliban and cut off from their support, the feats of those four soldiers quite simply defy belief. That's where the film's opening titles come into play: a montage of real-life footage from the SEALs' infamous 'Hell Week' training program that effectively acts as a 'proof of concept' for what you're about to see (if you're interested: youtu.be/sg2vF4UQMmQ). This is a war movie at its most confronting; it terrifyingly captures the confusion, brutality, chaos and intensity of combat in a way not seen since 1998's Saving Private Ryan. It's a suffocating sort of tension, and whilst there's no question the movie suffers from some clumsy jingoism, the experience is so tactile and overwhelming, you frequently find yourself ducking in your own seat. The author and journalist Sebastian Junger observed after his embedment in Afghanistan that "War is a lot of things and it's useless to pretend that exciting isn't one of them." From an adrenaline standpoint that might well be the case, but in every other respect, from every other possible viewpoint, it's an inescapable waking nightmare that you'd never wish upon anyone. If that doesn't ring true for you, go see Lone Survivor. https://youtube.com/watch?v=yoLFk4JK_RM
These days, you pretty much know what you're getting going into a Michael Moore film: snappy (if also convenient) editing, some cringeworthy stunts, and a broad comparison of America's woes compared to all those other countries doing it better. You watch Sicko and you leave feeling a little bit glum, a little bit entertained, and convinced universal healthcare would be better for the United States, but that it's probably never going to happen because of big business and dirty politics. Then you watch Where To Invade Next and you leave feeling a little bit glum, a little bit entertained, and convinced that US drug and prison policy would be worth overhauling, but that it's probably never going to happen because of big business and dirty politics. Fahrenheit 11/9 kicks off in exactly the same fashion, but oh man does it shift gears and deliver something unexpected by the end. You leave feeling a little bit entertained, a whole lot glum, and entirely convinced that nothing short of democracy itself (to the extent it exists at all within the United States) is at risk of collapse because of, yes, big business and dirty politics. And no, that's not even close to hyperbole. This is a fine return to form for Moore, pulling a remarkable bait and switch such that his ultimate point comes at you just as you're beginning to question if he even has one. He achieves this by constantly changing Fahrenheit 11/9's subject matter and tone, beginning with an amusing recap on the smug and almost jovial certainty with which everyone from the Democratic National Committee to the Republican Party to the media (including Fox) and even the Trump camp itself assumed Hilary Clinton had the 2016 election in the bag. Like Showtime's excellent The Circus, this section of the film carries with it an uncomfortable blend of dramatic irony, on account of us knowing how it all ended up, coupled with an ongoing dismay that, well, that's actually how it all ended up. But then it changes tact and jumps to Flint, Michigan, where the contamination of the city's water supply led to an ongoing lead poisoning crisis. And then it jumps again, this time to school shootings. Then it's Ivanka Trump. Then Bernie Sanders and Hitler, and you find yourself wondering what the hell is this guy doing? What he's doing is establishing a pattern, using small-scale examples examined with deep journalistic scrutiny, and then stepping back and applying that insight to national, global and even historical events. The litany of unfathomable scandals in Flint are used not only to shock us, but to reveal how Governor Rick Snyder's corporate influences first emboldened, then enabled, his wholesale suspension of democracy in the state (effectively a coup d'état in Moore's opinion). That it's unfathomable is the point: these successions of outrages, whilst shocking, do not in isolation feel like a crisis point to anyone other than those hapless few affected. Combined, though, they serve to steadily erode matters of far-reaching significance like voter confidence and trust in the three branches of government. The takeaway is, if it can happen in a town like Flint with the world watching on and still nobody does anything, then it can happen in your town, too. And then your state. And then your country. But back to the whole Hitler thing. Ordinarily, thanks to Godwin's Law, you'd assume it's at that precise moment when Moore's point, however salient, loses all credibility. Instead, courtesy of some unsettlingly frank interviews with experts like Yale History Professor Timothy Snyder, we realise Moore isn't saying Trump is Hitler 2.0. Rather, he's showing that the current apathy and perhaps even amusement with which everyone from the experts to the press to the voting public dismisses or downplays each of Trump's outrageous comments and racist, bigoted, sexist or protectionist policies, is precisely what happened in Weimar Germany. It's just puffery until it's not. Just a weather balloon until it's not. Just a joke, until there's nothing funny about it at all. And that's the same for Fahrenheit 11/9. It starts out quite amusing, but by its conclusion there are no more cheeky edits from Moore, nor any sniggers from the audience. It's a straight-up slap in the face, softened only by buying into Moore's unbridled enthusiasm for the activist youth movement in America (led by the likes of the survivors of the Parkland school shooting) and the surge of independent candidates and representatives poised to shake the foundations of the DNC. There are still some unnecessary stunts from Moore, along with some broader-than-usual bows drawn, but they're fleeting enough to have no impact on his broader message. The Flint section alone makes Fahrenheit 11/9 a film worthy of your time, but it's the whole that makes it so affecting. https://www.youtube.com/watch?v=SZeLvaflLLc
With all of the natural beauty of Barrington Tops National Park surrounding you, it can be hard to get a sense of the region as a whole. So, if you're in the area, it's definitely worth your while to check out one, if not several, of the many scenic lookouts that offer an all-encompassing view of this stunning landscape. Devils Hole lookout sits at an altitude of 1400 metres and offers breathtaking views of the dense forestry and undulating mountains beyond. There is a picnic area and a walk, both that are accessible via an easily-traversed wheelchair track. Nearby, there's also the epically titled Thunderbolts lookout, and a bit further, Careys Peak. Image: Peter Beard
A new venue from Sydney hospitality giant Merivale is on its way to the collective's Ivy precinct. MuMu is the latest venture from beloved local chef Dan Hong and will operate as a sibling venue to his hugely popular Ms G's. Like Ms G's, MuMu will be serving up south-east Asian street food-inspired dishes. Ms G's has been serving up its fresh takes on classic south-east Asian dishes in Potts Point for over a decade, garnering a cult following among Sydneysiders. Now, fans of the restaurant and fans of Dan Hong can rejoice, with MuMu's set to open for lunch, dinner and late-night eats next month. [caption id="attachment_639414" align="alignnone" width="1920"] Ms G's[/caption] While the restaurant doesn't have an opening date yet, it's expected to open on George Street in December this year and will be serving its exciting feeds and tipples seven days a week from midday until 2am. Patrons can expect a menu that shares similarities to Ms G's offering. A lively cocktail menu will also be on offer, with a slushy machine pouring Ms G's fan-favourite yuzu slushies. The upcoming Merivale opening will form part of the expansion plan of its Ivy Precinct, which hosts some of the CBD's best restaurants and takeaway spots. The precinct has grown rapidly over the last few years, with four venues announced for the area back in 2019, including the likes of Bar Totti's, Little Felix and Jimmy's Falafel. The inner-city row of venues also plays host to Uccello, Bar Topa, Ash St. Cellar, and the titular Ivy. MuMu will open in the Ivy Precinct at 330 George Street, Sydney in December 2021. It will be open 12pm–2am Monday–Sunday. Top image: Merivale
Solotel, the 30-venue strong hospitality empire whose portfolio includes Matt Moran's five restaurants, bought Newtown's Marlborough Hotel three months ago. And the group's latest move is a major sprucing up of Tokyo Sing Song, the beloved underground entertainment space beneath the Marly, where, after midnight on a Friday or Saturday, pretty much anything can happen — from drag and cabaret to live bands to club nights. The biggest change is that there's more room — for people, for dancing and for shows. "Tokyo Sing Song has been a King Street institution for a while," says Adam Lewis, Solotel's group entertainment manager. "The space has an incredible history and a lot of wonderful art. We wanted to make sure we did everything we could to make it as good as it could be, so it could host as much great entertainment as possible." If you haven't been down for a while, the first thing you'll probably notice is the new carpet, which doesn't carry the olfactory history of every beer that ever was drunk at the Marly. "The old carpet was pretty unpleasant, in terms of smell," says Lewis. "That was one of the biggest complaints we had." On top of that, the furniture has been reconfigured, to eradicate bottle necks and open up the dancefloor. Plus, there's a roomier stage and a louder, crisper PA. This trio of changes allows for a greater diversity of performances and bigger club nights. One of these is Ricardo's, which started earlier this year in a Portuguese club in Marrickville and is now Tokyo Sing Song's first permanent resident. Every Friday night, DJs from around Sydney and interstate drop by. What hasn't changed is the overall aesthetic and the free-spirited, open-ended feel. In fact, Lewis is hoping to bring in more eclectic programming and different artists from around Newtown and the inner west. Ultimately, he'd like to turn the venue, which now opens on weekends only, "into a week-long, reliable dancefloor." Consider us significantly on board. Find Tokyo Sing Song downstairs at the Marlborough Hotel, 145 King Street, Newtown. Open Friday 10pm–6am and Saturday 10pm–5am. Images: Katje Ford.
Having an after-work tipple at a physical bar is just one of many social happenings that have been paused as measures to contain COVID-19 ramp up. But one South Australian alcohol company is keeping the spirit alive — albeit virtually — with its newly launched Digital Happy Hour. The crew behind Applewood Distillery and Unico Zelo wines is here to turn your isolation frown upside down, with interactive tasting sessions live streamed nightly from 5.30pm AEDT. Available via the Unico Zelo Facebook page, Digital Happy Hour will see Founder Brendan Carter crack open and discuss a different bottle of wine each night, with viewers invited to join in with questions and comments of their own. Expect funny stories, banter aplenty, blind-guessing wine, "shit wine invention" reviews and lots of down-to-earth wine chat. Then at 6.30pm AEDT, head over to the Applewood Facebook page for a nightly spirits-focused live stream with Brand Ambassador Henry Hammersla. He'll be sharing some fun cocktail recipes for you to recreate at home — such as the much talked about Quarantini — as well as taking questions about all things booze. And as far as the actual drinking goes, Unico Zelo has you sorted with its Iso-Vino Care Package — a mixed dozen wines you can get delivered to your door, with free shipping. Or perhaps you'd prefer to stock up with Applewood's Isolation Gin Pack, featuring three of its signature gins for $199.99. Head over to Unico Zelo Facebook page at 5.30pm AEDT and Applewood Distillery's at 6.30pm nightly for Digital Happy Hour and Iso-Cocktails.
If your idea of a cracking Sunday session is one that involves a gorgeous rooftop, some BYO bubbles and a tasty high tea dished up by some of Sydney's most-loved bakeries, your spring is looking very fine indeed. Every Sunday, from October 28 until December 2, the cacti-filled rooftop — part of Surry Hills' wellness hub Paramount Recreation Club — will play host to a high tea headed up by the Flour Market crew. Dubbed Higher Tea, the series will see some of the city's finest pastry masters team up to deliver an eight-course tasting menu of sweet and savoury delights, to be enjoyed with stunning CBD views as the backdrop. Pick from two weekly sessions (11.30am-1.30pm or 2-4pm) and venture on up with at least three mates, to enjoy eight courses of scones, cucumber sandwiches and a parade of sweet treats from favourites like Bakedown Cakery, Shortstop, Grumpy Donuts, Brickfields and Treat Dreams. Vegan and gluten-free options are available on request, too. There'll be coffee by Supreme and tea from Byron Bay's Mayde, or you can really step up the celebrations and bring along your own bubbly — corkage is included in the $55 ticket price. Higher Tea runs from 11.30am–1.30pm and 2–4pm every Sunday.
Many of us find ourselves wanting to stay home a lot more during the winter months, but the rain and colder temps certainly don't stop our calendars from filling up with social events, do they? There's always a birthday, date night or long overdue catch up happening, so get out of those winter trackies and off the couch — it's time to eat something you haven't ordered from Deliveroo. And if you need even more reason to get off the couch, thanks to the Suncorp Platinum Credit Card*, you can earn points for every dollar you spend on everyday essentials like that birthday card you should probably get, that bouquet for their mum or the dinner you're about to plan. Read on and add these five cosy eateries with set menus to your list — bonus: each spot will cost you less than $100 a head.
If you love cheese, Formaggi Ocello won't leave you disappointed. It has a whopping selection of more than 200 cheeses, from well-loved French classics to lesser-known imports, as well as an impressive stock of cured meats, cheese equipment, truffle products, condiments and other deli delights. Fellow gourmands are invited to join monthly in-store cheese and wine nights, where owners Sogna and Carmelo Ocello pull out six farmhouse cheeses with matching wines. If you'd rather just pop in for a wine, you can do that, too — aperitivo hour runs daily from 4pm and you get a free cheese tasting plate when you buy a glass of wine. Images: Caitlin Morahan.
Taking over Kogarah's Belgrave Street from Friday, June 27–Sunday, June 29, the Uncontained Arts Festival returns to South Sydney with another massive program. Now entering its fifth edition, expect a sprawling open-air gallery featuring three days of immersive installations, interactive art, live music, delicious food and more. Free to attend, this family-friendly event has become a popular creative showcase in recent years, attracting over 25,000 people ready to get absorbed by a series of bold creative experiences. Think silent discos, live mural-making, neon paint life-drawing and an LED tunnel — each more kaleidoscopic than the last. "I encourage everyone to visit Kogarah during Uncontained for some free winter fun," says Georges River Council Mayor Elise Borg. "Since our first festival in 2021, Uncontained has grown to become a landmark event in our community." While much of the program is yet to be revealed, a handful of sneak peeks are bound to excite. Artists Samuel Kim and Lawrence Liang will present their ANINA installation — a vibrant zen cat inspired by Tibetan Buddhism that responds to nearby sound, movement and rhythm. Meanwhile, Anastasia Parmson's I Drew a Line and Called it Home invites guests into an intimate space consisting entirely of three-dimensional black-and-white drawings. Alongside drawing workshops powered by UV lights and vinyl DJ soundtracks, the program also features tasty bites and brews, like Drippin Desserts' crispy doughnut fries and the Mediterranean street-food flavours of Teta's Pitas. Plus, on the opening night, the bar will be adorned with an impressive Uncontained ice sculpture. Don't worry, there's plenty of heating and seating so you can still cosy up on a cool evening. "It is more than just a festival — it's a vibrant celebration of artistic expression, imagination, and connection," Borg describes. "With something for everyone, it invites people of all ages and backgrounds to explore, create, and be inspired together." Uncontained Arts Festival runs from Friday, June 27–Sunday, June 29 at Kogarah Town Square, Belgrave Street, Kogarah. Head to the website for more information.
Western Sydney could use a love letter right now, and that tribute arrives in Here Out West. The product of eight up-and-coming screenwriters from the area, it celebrates a place that has spent much of the past year garnering attention for a reason no one wanted: thanks to the tighter rules applied to the region during Sydney's four-month stretch of stay-at-home conditions in 2021, it was home to New South Wales' strictest lockdown of the pandemic to-date. Thankfully, COVID-19 isn't this movie's focus. Instead, as told in nine languages — Arabic, Bengali, Cantonese, Kurdish, Tagalog, Turkish, Vietnamese, Spanish and English — and helmed by five female filmmakers, Here Out West dwells in everyday lives. It champions by seeing and recognising, and by trumpeting voices that have always been there but are infrequently given a microphone. Of course, as thoughtful and meaningful as Here Out West is — and as welcome a move it makes with sincere multicultural representation in Australia — it really shouldn't stand out as much as it does. There shouldn't have needed to be a concerted effort to champion western Sydney voices to make a film like this. It shouldn't grab attention as a rarity, either, and it shouldn't feel so timely because of the events of the last 12 months. Here Out West does all of these things because it's an outlier in Australia's homegrown filmic output, but it also clearly makes a case that's already apparent and inherent anyway: that presenting more than just the stereotypical image of Australia, and opting for a genuine picture of the country as it actually is instead, should always be the baseline and status quo. Opening shots of suburban houses and looping highways set the scene: viewers aren't journeying to an Aussie beach or the nation's parched outback expanse, aka two of the prevailing visions of this sunburnt, sea-girt continent on-screen. Rather, Here Out West unfurls its octet of intertwined vignettes in spaces far more ordinary — not to downplay the importance of surveying western Sydney, but to clearly note that these are its daily playgrounds. It's here that mothers have babies, neighbours look after the kids next door, grandmothers worry about their grandchildren, dads struggle to connect with their sons, and sport and food are among the ways that people come together. It's here that adults bicker among themselves over love, and with their parents about their futures. It's where lives begin and end, and where folks with dreams both big and modest also try to start anew. And yes, all of these scenarios are covered by the film's narrative. Initially, Here Out West spends time with Nancy (Geneviève Lemon, The Tourist), who takes care of her eight-year-old neighbour Amirah (debutant Mia-Lore Bayeh), but wasn't actually planning to help out today. She has a newborn granddaughter to meet — one that the authorities are planning to take away, so Nancy makes a drastic decision that'll ripple throughout the community across the movie's one-day timeframe. In the film's second segment, hospital carpark security guard Jorge (fellow first-timer Christian Ravello) is brought into the wider story, and also gets a snapshot chapter of his own. His instalment then intersects with friends Rashid (Rahel Romahn, Moon Rock for Monday), Dino (Thuso Lekwape, Book Week) and Robi (Arka Das, Babyteeth), who run through the streets arguing about Rashid's cousin. Next, their section links in with Ashmita (Leah Vandenberg, The Hunting) and her dying Bengali-speaking father back at the local hospital. Returning to specific spots comes with territory, because it comes with living anywhere; paths cross, people are drawn to the same busy and central locations, and some facilities — such as Here Out West's pivotal hospital — are always a hive of activity in any community. That truth continues to drive the film as it meets Kurdish refugees Keko (De Lovan Zandy) and Xoxe (Befrin Axtjärn Jackson), who are hoping to make a new beginning that still involves his penchant for music and her skills hand-weaving carpets, before jumping to Tuan (Khoi Trinh) and his brother Andy (Brandon Nguyen), who possess varying ideas about what it means to be Vietnamese Australian. Then comes a glimpse at nurse Roxanne's (Christine Milo, It's a Cult!) day as she works a double shift and misses her family in The Philippines. And, there's also Winnie (Gabrielle Chan, Hungry Ghosts) and Angel (Jing-Xuan Chan, Neighbours) as the mother and daughter close their Chinese restaurant for the last time. The common threads linking Here Out West's chapters are the ties that bind everyone: family, place and hope. But writers Nisrine Amine, Das (who acts as well as pens his section of the film), Bina Bhattacharya, Matias Bolla, Claire Cao, Dee Dogan, Vonne Patiag and Tien Tran find their own takes on the movie's common elements, sometimes by drawing from experience — and, unsurprisingly, the feature frequently feels personal. That sensation connects each of the picture's segments, too, with every section peering intimately at western Sydney residents, their lives and their emotions, and showing both the specific and the universal in the process. That isn't a revolutionary overall approach, and has long made so many stories strike a chord on pages, stages and screens, but the way that Here Out West uses such sparks of recognition is equally astute and moving. As directed by feature first-timers Fadia Abboud, Lucy Gaffy and Julie Kalceff, as well as the more seasoned Ana Kokkinos (Blessed) and Leah Purcell (The Drover's Wife The Legend of Molly Johnson), Here Out West also charts a route that most anthologies do — because not every part matches the last or next. Each of its eight vignettes bring engaging people to the screen, and function as perceptively drawn character studies, but there's more to some than others. That's as fitting as the movie's naturalistically shot look, however, because that too reflects the reality that Here Out West so determinedly channels. Some tales are slight, others are immense and plenty sit in-between, but in this powerful, authentic, diversity-celebrating ode to western Sydney, they're all worth telling and sharing.
From magnificent caves to luxurious private islands, regional Queensland has plenty to offer for your next road trip. And the best part about taking a drive around the state is dropping into local cafes, restaurants, pubs and shops to fill up your boot with produce from the region. In the spirit of supporting local businesses en route, we've teamed up with Canadian Club and Empty Esky to bring you a list of must-visit locations in the Capricorn region, including in Rockhampton and Yeppoon. Read on to find a few of our favourites and create your own epic itinerary, too. Some of the places mentioned below may still be closed due to COVID-19 restrictions. Please check websites before making any plans. EAT AND DRINK If you're starting in Yeppoon, the first place on your list should be Flour. Its oven-to-table approach has made the place a household name. Its menu is adapted seasonally with a few fan favourites sticking around all year, like its Farmhouse Brekky with angus flank steak, maple chilli bacon, mushrooms, poached eggs and grilled tomatoes on ciabatta. For a good quality brunch, Whisk on Yeppoon's James Street has absolutely mastered the mid-morning meal. It has an extensive dine-in and takeaway menu, so you can take your eggs benny burger to the beach ten minutes' away if you choose. Menu favourites include the aforementioned benny burger, Nutella-loaded doughnut fries and a smoky maple bacon hot dog. It has a menu for furry friends too. For dinner, pop into Keppel Bay Sailing Club. What started out as a community of passionate sailors and volunteers has evolved into five venues that cater for everyone. At the Clubhouse you'll find seafood dishes, pasta, burgers and salads, as well as refreshing Canadian Club and Dry on tap. Our picks are the crumbed prawns and its range of charcoal brioche bun burgers. Venture inland for high tea with a modern twist at Riverston Tea Rooms in Rockhampton. Located in an old-style building, the venue has traditional tea rooms offering both scones and sandwiches, as well as a diverse breakfast and lunch selection. Not to mention an incredible selection of baked goods available from the cabinet, from gluten free orange almond cake to baklava torte. See out your evenings at the riverside The Criterion Hotel Motel in Rockhampton. The Hotel is known for its sensational steak, great selection of beverages (including Canadian Club) and central location on the Fitzroy River. Dine in knowing that you're joining the likes of Queen Elizabeth II, the English cricket team and Rod Laver, who've all eaten dinner here over the years. [caption id="attachment_798839" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] DO Explore the backdrop of Rockhampton in the glorious Mount Archer National Park. Situated just over nine kilometres east of Rockhampton, the park covers 4250 hectares of open forest and woodland communities, where you can find everything from eucalyptus-filled rainforests to spectacular views of the Fitzroy River from the Nurim Circuit Elevated Boardwalk. Keep an eye out for birdlife — black cockatoos and owls call the park home. For a magnificent natural wonder that will have you seriously impressed, head to the Capricorn Caves. Located 23 kilometres north of Rockhampton, the caves make for an easy day trip from the town and there are a range of tours on offer. The most popular is the 45-minute Cathedral Cave Tour, which covers ancient geological history, cave acoustics and crosses a suspension bridge. The tour is $30 for adults or you can grab a family pass for $75. The more adventurous among us should try the Capricorn Explorer ($50) and Adventurer tours ($65) that will have you exploring secret vaults and hidden passages, guided by headlamp only. [caption id="attachment_798838" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] If a tropical escape is more your vibe, then you can't go past a stay at Great Keppel Island. The somewhat hidden island paradise is just 15 kilometres off the coast from Yeppoon. The island offers a range of activities including snorkelling and kayaking. Billy and his team at Keppel Water Sports will have you exploring all day, with a bunch of options for the whole crew. When you're after a more chilled day out, follow the advice of the Empty Esky team and seek out this lagoon in the centre of Yeppoon. It's the perfect place to cool off from the harsh Queensland heat. There's a 2500-square-metre lagoon pool, a children's play area, a lap pool and a swim-up infinity edge with views out to Great Keppel Island. Entry is free and you can swim in peace knowing the pool is patrolled daily, including during public holidays. For a truly Queensland tourist experience, cuddle up with Australia's favourite furry friend at Cooberrie Park Wildlife Sanctuary. If koalas aren't really your style you can have a go at holding a crocodile or parrot. Situated in Yeppoon, the sanctuary boasts more than 300 animals, 25 acres, barbecue facilities and a swimming pool. Keep an eye out on the website for COVID-19 restrictions if you're keen to get up close to the animals. [caption id="attachment_798840" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] STAY When it's elegance and heritage that you crave, you can't go past Hotel Denison in Rockhampton. Built in 1886, the boutique hotel is brimming with history. Offering 18 luxury suites, the hotel has managed to maintain its heritage-listed appearance while still remaining modern. A ten-minute walk will take you to the CBD's range of restaurants and mall strip, making it the perfect place to stay when you're exploring Australia's Beef Capital. Or, consider Capricorn Camel Camp, just east of Rockhampton. It is guaranteed to make your friends seriously jealous. You'll get to camp close to the camels and enjoy the option of a sunset camel ride on the private property. Plus, the camp is also home to alpacas, calves and goats. It's a bring-your-own gear kind of experience and it'll set you back just $25 per night for two guests. For something a little more luxurious, there's beach-style accommodation surrounded by palm trees at Yeppoon Surfside Motel. The motel is a favourite of the Empty Esky crew and it has a range of sleeping options and each self-contained room has an ensuite, air-conditioning, cooking facilities, free wifi and queen-size beds. Opt-in for the ultimate holiday experience of having brekkie delivered to your room. Rooms here start at $155 per night. For a unique and memorable experience, why not stay at Pumpkin Island? Situated 14 kilometres from the coast of Yeppoon, the tiny private oasis is a blissful retreat and an opportunity to unwind and connect with nature. Accommodation options include five eco-friendly self-catering cottages or two beach bungalows, starting from $306 — and your days are filled with snorkelling, kayaking, or lounging around on the long stretches of white sand. For more road trip inspiration, check out these guides from Canadian Club and Empty Esky. Top image: Pumpkin Island via Tourism and Events Queensland
Step inside Luna Park Sydney's big top and you might now see a rollercoaster and a hot air balloon. Underwater creatures could await, or fantastical critters, futuristic lights like you're zooming through space, skulls, eyes, spiders and geometric architecture. In fact, expect all of the above to greet you, plus an array of colours and trippy visuals, as you experience Dream Circus. Announced in November 2023, opening just before Christmas, and now welcoming in locals and tourists alike, this immersive $15-million experience has revamped Luna Park Sydney's big top to make you feel like you've walked into a movie. Intergalactic landscapes, webs, space scenes, nefarious monsters and, yes, a circus setup: they're just some of the other sights that Dream Circus can and does display with its 360-degree projections, holograms, motion-activated LED screens and lighting. When it opened 88 years ago at Milsons Point, Luna Park Sydney wasn't the world's first Luna Park, or even Australia's. But around multiple closures, reopenings and revamps, it's remained one of the Harbour City's go-to tourist spots. Its latest reason to stop by also features surround sound and spatial audio mapping to engage your ears as well as your eyes, and is Sydney's first permanent immersive-experience attraction — and a world-first type of attraction as well. Attendees enter a narrative journey, where characters and a spectacle for the senses combine. So, you'll follow Pedro, the showman managing other performers. As the aforementioned list of visuals makes plain, just don't expecting the tale that unfurls to stick to reality. In the 3000-square-metre big top, Dream Circus' sights fill a surface area of over 3500 square metres — with Artists in Motion, TDC and Auditoria, who have ABBA Voyage, King Kong on Broadway, works at Vivid and Walking with Dinosaurs to their names, behind it. Luna Park Sydney expects people to flock to see the results, predicting that 50,000 people will check it out over summer. The new attraction helps the site embrace the future, while still loving its status as an art-deco amusement park that dates back almost a century. "The launch of the Dream Circus marks the beginning of the transformation of Luna Park Sydney," said Luna Park Sydney CEO John Hughes. "Sydney has some of the best creative talent in the world, and we have been so fortunate to work with more than 140 creative practitioners and technologists to create something unique and of great value to Sydney." Find Dream Circus at Luna Park Sydney, 1 Olympic Drive, Milsons Point — visit the park's website for more information and tickets.
