UPDATE: MAY 11, 2020 — Hills Bros is reopening for dine-in service from Friday, May 15. When the talent behind Reuben Hills and Paramount Coffee Project expanded to the CBD, it was great news to those that work around Martin Place. As well as serving up the seasonal house blends that has given Reuben Hills its good rep, it's also slinging an interesting menu to match. Fuel up before work with avo toast with Vegemite 'dust', chicken tacos or the brown rice congee. Plus, the cafe sometimes stocks Short Stop doughnuts. Fitted out with concrete-slab benchtops, striking black marble panelling and wooden stools, Hills Bros carries on the tradition of sleek design found in its Surry Hills siblings inside a Martin Place office building. Doors open from 7am every weekday so you can head down to Hills Bros for a quick brekkie, sit-down brunch, or afternoon snack.
Everyone loves a good food collaboration, especially when it involves a couple of longtime favourites. And Melbourne's latest joint culinary creation is a doozy; the brainchild of Mexican-accented restaurant group Fonda and the masters of soft, fluffy bao at Wonderbao. They've joined forces on a new limited-edition bao-centric menu to star at all Sydney and Melbourne Fonda stores until the end of July. On it, you'll find two pillowy steamed bao varieties; loaded with your pick of crunchy zucchini ($9) or crisp fried chicken ($10), along with chipotle aioli, cabbage, pickled carrot and onion. Also on offer is the newly launched Mexi-bun, which features classic Mexican flavours piled into a pillowy Asian-style bun. With a filling of Fonda's beef chilli con carne, these beauties are deep-fried until golden, then teamed with a queso dip and the Jane Fonda Salsa. A serve of two Mexi-buns will set you back $17. The Fonda x Wonderbao menu is only available for dine-in — you can make a booking at your local Fonda eatery online.
Since opening his up-market Greek diner The Apollo in a smart corner premises on Potts Point's Macleay Street back in 2012, Jonathan Barthelmess' empire has not only gone interstate but international, with a second Sydney eatery, two venues in Brisbane and The Apollo's sister restaurant in Tokyo. Now, Barthelmess and his team are turning their attention back to the Harbour City, with a new Greek concept set to open in Surry Hills later this year — his sixth venue. [caption id="attachment_907763" align="alignnone" width="1920"] The Apollo, Potts Point. Image: Nikki To[/caption] Olympus will be a 200-seat garden restaurant in the dining precinct of the mammoth Surry Hills Village development nearing completion on Cleveland and Baptist Streets. It will offer an airy contrast to The Apollo's intimate, candle-lit vibes while serving a similarly modern-Hellenic menu inspired by Barthelmess' recent visits to Greece. Long-time collaborator and award-winning interiors maven George Livissianis will be overseeing the look of the new space. In addition to delivering the sleek, sophisticated design of The Apollo, he is also responsible for the minimalist yet colourful decor of Barthelmess's Japanese diner Yoko Dining in Brisbane. [caption id="attachment_692660" align="alignnone" width="1920"] Surry Hills Village[/caption] Barthelmess is not the only restaurateur laying claim to a share of this enticing new dining destination. House Made Hospitality, who are preparing to open four new venues in the $60-million renovation of the Sofitel Sydney Wentworth in the CBD, are also set to deliver three eateries on Wunderlich Lane — the name of Surry Hills Village's hospitality hub. The development will also feature The Eve, a 102-key boutique hotel, as well as high-end retail outlets and more than 100 apartments. The Surry Hills Village development has been under construction since 2021 on the former site of the Surry Hills Shopping Village (aka 'murder mall', so named after an urban myth about a fictional slaying). It is due to open in November 2024. [caption id="attachment_934025" align="alignnone" width="1920"] Surry Hills Village[/caption] Find Olympus on 2 Baptist Street, Surry Hills, from November 2024. Head to the venue's website for future updates. Top image: Nikki To
One of the most prominent events of its kind outside of China, the Golden Koala Film Festival is back for another year. Heading to Riverside Theatre, this annual festival will once again showcase a selection of critically acclaimed Chinese movies in time for Sydney's Chinese New Year celebrations. Opening night is director Chakme Rinpoche's ATA, following sightless child Tianyu, who dreams of another life different from the disabled ping-pong champion career planned out for him. Then, he vanishes. Also on the bill is Oscar-winning documentary filmmaker Ruby Yang’s new film, My Voice, My Life, which sees a misfit group of Hong Kong-based high school students in what's essentially a version of Glee. All films in the program will compete for the prestigious Golden Koala Award, which is bestowed by a jury of Australian filmmakers. Best of all, because the festival is designed to promote Chinese cinema, all the screenings are super affordable — when did you last go to the movies for $15? By Tom Clift with Shannon Connellan.
When your nine-to-five plays out like a well-oiled machine, it can sometimes feel like each week is a little same-same. But Sydney is brimming with a fine bounty of things to experience and explore each and every day. So aside from casual laziness and a little lack of inspiration, there's really nothing stopping you from squeezing some adventure and spontaneity into your schedule. We've teamed up with Mazda3 to help you celebrate the little things that bring a sense of adventure to life. Shake things up, as we give you seven different detours to take each week in Sydney. From Monday to Sunday, enrich your everyday with one completely achievable activity that inspires you to take the scenic route as you go about your daily routine. This week, go to town on some bottomless mussels and frites, unleash your inner artists at a burlesque life drawing class and catch a flick followed by a Japanese degustation. Plus, we've got your future detours sorted for the next few weeks here. All require no more effort than a tiny break from the norm — what's your excuse for not trying them all?
Four decades back, concert film history was made. In December 1983, David Byrne walked out onto a Hollywood stage with a tape deck, pressed play and, while standing there solo, began to sing 'Psycho Killer'. Then-future The Silence of the Lambs Oscar-winner Jonathan Demme directed cameras towards the legendary Talking Heads' frontman, recording the results for Stop Making Sense. The best way to celebrate the 40th anniversary of the event behind the greatest concert film ever made arrived in 2024, and in cinemas. That'd be watching it on the big screen, of course, with cult-favourite independent film and TV company A24 — and Madman Down Under — releasing a complete restoration of Stop Making Sense. What's the second-best way to celebrate the occasion and the movie? Catching that new 4K version at home now that it's on Madman's documentary streaming service DocPlay from Thursday, June 13. Wearing big suits is optional. Now able to burn down your house — not literally, naturally — the 4K restoration premiered at last year's Toronto International Film Festival, and also had a date with SXSW Sydney's Screen Festival in 2023. So, no it isn't the same as it ever was: Stop Making Sense is now even better. The film isn't just iconic for how it starts, which definitely isn't how concerts usually kick off. From there, as captured at Hollywood's Pantages Theatre in December 1983, David Byrne, Tina Weymouth, Chris Frantz and Jerry Harrison put on one helluva show in support of their previous year's album Speaking in Tongues. Expect a lineup of hits, a playful approach, Byrne's famous oversized attire and even heftier stage presence, and the feeling that you're virtually in the room. Indeed, everything about this energetic and precisely executed documentary, which records the set from start to finish, couldn't be further from the standard concert flick. As 'Once in a Lifetime', 'Heaven', 'Burning Down the House', Life During Wartime', 'This Must Be the Place (Naive Melody)', 'Genius of Love' and more get a whirl, each element of the movie is that fine-tuned, and every aspect of the band's performance, too. And if it feels like Byrne was on-screen not that long ago, that's because his Spike Lee (Da 5 Bloods)-directed solo concert flick American Utopia did the rounds of Aussie cinemas back in 2020 — and proved one of that year's absolute best films. Check out the trailer for Stop Making Sense's 4K restoration below: Stop Making Sense is available to stream via DocPlay from Thursday, June 13, 2024. Images: Jordan Cronenweth, Courtesy of A24.
From beloved institutions like Ciaro to fresh new digs Famelia, Enmore's got a lot going on. It was even made Sydney's first Special Entertainment Precinct, granting it special licensing designed to encourage nightlife. As a result, new neighbourhood spots setting up in the area is not uncommon — and the latest to hit the streets of Enmore is a charming new bar called Teddy's. After operating much-loved Sydney stalwarts for 15 years, the Damianakis family have ventured into fresh territory with Teddy's, the new addition to their beloved corner pub The Warren View Hotel. Located at the top level of the pub, the Stanmore Road newcomer maintains the rustic appeal of its ground-floor sibling with a modern fit-out reminiscent of a classic cocktail bar. The newly refurbished space features red velvet seats, camel-coloured leather couches, a luxe wall-to-wall bar and a cosy fireplace perfect for braving those cold winter nights. "[It's] generous, warm and unconceited — a space where everyone is invited to join us for an unforgettable experience that combines old fashioned charm with modern hospitality," said Tanya Damianakis. The venue also features a stellar lineup of beverages, all of which are sourced from independent local distilleries within Australia. Supporting local producers is at the forefront of the new arrival's ethos, with all-Australian beer and wine lists celebrating craft brewers and small-batch producers. "We want our customers to feel content, satisfied, well-catered to, recognised and welcomed when they leave our venue. We believe in generosity, warmth and authenticity, and these principles shine through in every aspect of Teddy's," said Venue Manager Sarah Scharfenberg. Head in for a drink and you'll be met with cocktails featuring a fresh, fruity twist alongside a list of top-notch local wines, an array of spirits and non-alcoholic beverages. Plus, you'll be able to pair your sips of choice with elevated share plates including Aussie pub classics like calamari and sausage rolls, as well as charred octopus and coconut pannacotta for dessert. Teddy's is open above The Warren View Hotel at 2 Stanmore Road, Enmore. It's open 5pm–midnight Wednesday–Saturday and 5pm–10pm Sunday.
Since hitting Broadway five years ago, notching up 11 Tony Awards, nabbing the Pulitzer Prize for Drama and just becoming an all-round pop culture phenomenon, Hamilton was always going to make the leap to cinemas. So, it's no wonder Disney leapt at the opportunity. The Mouse House was originally meant to bring Lin-Manuel Miranda's historical hip hop musical to cinemas in October 2021 — via a filmed version of the stage production, rather than a traditional stage-to-screen adaptation — but it's doing us all a solid in these rough times and fast tracking it to streaming. And it lands this winter. Hamilton fans around the world will be able to watch the filmed version of the original Broadway production on Disney+ from July 3 (the day before Independence Day in the US). That's a whole 15 months ahead of schedule. Shot at the Richard Rodgers Theatre on Broadway back in 2016, this cinematic screening of Hamilton is still a big deal. Actually, given the fact that it features the original Broadway cast — including Miranda in the eponymous role — it's a huge deal. Everyone who missed out on the opportunity to see tale of American Founding Father Alexander Hamilton live as it toured the US or on London's West End will be able to do the next best thing, with Hamilton jumping on the popular trend of screening filmed versions of plays and musicals in cinemas. In addition to Miranda — who stars, and wrote the musical's music, lyrics and book — this filmed version of the production features Daveed Diggs (Velvet Buzzsaw) as Marquis de Lafayette and Thomas Jefferson, Leslie Odom Jr. (Murder on the Orient Express) as Aaron Burr, Christopher Jackson (When They See Us) as George Washington, Jonathan Groff (Mindhunter) as King George, Renee Elise Goldsberry (The House with a Clock in Its Walls) as Angelica Schuyler and Phillipa Soo (the Broadway version of Amelie) as Eliza Hamilton. Once you've watched the small-screen version, you can get excited about seeing the stage production, too, as it's finally set to arrive in Australia in March 2021. Under the circumstances — and with international travel still banned for the foreseeable future — it's possible that this could be delayed, though. Hamilton is just the latest film to be fast-tracked to streaming, with other big-name flicks, such as Birds of Prey, The Invisible Man and Disney's Onward, also hitting small screens ahead of schedule. You can check out 12 of our favourites over here. While you're eagerly awaiting Hamilton to hit Disney+, you can watch (and rewatch) the trailer: https://www.youtube.com/watch?v=DSCKfXpAGHc Hamilton will hit Disney+ globally on July 3, 2020. Updated June 22, 2020.
Uniting Martin Scorsese, Robert De Niro and Leonardo DiCaprio on the same feature-length film for the first time ever, Killers of the Flower Moon felt like a culmination before a frame had been shot, let alone seen. Scorsese and De Niro have worked together for five decades, with a wealth of highlights such as Taxi Driver, Raging Bull, The King of Comedy, Goodfellas, Cape Fear and Casino to their names. Scorsese and DiCaprio have done the same for two, starting with Gangs of New York. Marty and Bob have known each other since they were 16, too, and it was the latter who told the former about Leo 20-plus years back after De Niro and DiCaprio made This Boy's Life together. Finally, then, one of cinema's golden triangles has connected all of its sides, apart from De Niro and DiCaprio playing themselves in Scorsese's 2015 comedy short The Audition. Doing the linking: a tale of murder, greed and betrayal that tells of the atrocities committed against the Osage Nation a century ago, relaying a chapter of US history that's conveyed on-screen with all the gutwrenching horror and heartbreak that it demands. And, as this story unfurls, watching Killers of the Flower Moon feels like joining the dots in another way as well. Even if Scorsese hadn't enlisted his two favourite actors, plus phenomenal Certain Women star Lily Gladstone as the film's heart, soul and spirit — and also continued his frequent collaborations with editor Thelma Schoonmaker, now-late composer Robbie Robertson and cinematographer Rodrigo Prieto — the 26th feature on his resume ties together much that's recurred throughout his filmography for more than half a century. Killers of the Flower Moon is a kind of gangster movie, as Goodfellas, Casino and The Irishman also are. It's unshakeably a crime flick, boxes that Mean Streets and The Departed also tick. Viewers can see the threads to the iconic filmmaker's past works about faith and spirituality, including The Last Temptation of Christ, Kundun and Silence. Greed and corruption have long featured across Scorsese's work, as seen in everything from Gangs of New York to The Wolf of Wall Street. This is a relationship drama as well, which brings The Age of Innocence to mind. As the movie makes plain almost immediately, and then repeatedly across its 206-minute running time, it's also more unsettling than Shutter Island. Ask Scorsese if Killers of the Flower Moon feels the same way to him, as Concrete Playground did, and he explains that piecing together threads that've been weaved throughout his career wasn't what overtly appealed to him. "I never thought of it that way," he notes. Instead, he advises that it was both the real-life stories and journalist David Grann's 2017 non-fiction novel Killers of the Flower Moon: The Osage Murders and the Birth of the FBI that steps through them that caught the filmmaker's interest. [caption id="attachment_923847" align="alignnone" width="1920"] Marion Curtis / StarPix for Apple[/caption] In Scorsese's instantly engrossing and deeply haunting film, those accounts of Indigenous Americans slain by white men chasing oil-fuelled wealth — and power and control, too — filter through the romance of World War I veteran Ernest Burkhart (DiCaprio, Don't Look Up) and Osage Nation member Mollie Kyle (Gladstone, Reservation Dogs). The pair meet when he seeks a job from his cattle rancher uncle William King Hale (De Niro, Amsterdam) upon returning from combat. Sparks fly immediately and their love is real, but Hale's pushing of Ernest in Mollie's direction isn't driven by wanting his nephew to be happy and follow his feelings. And, as too much surrounding the self-proclaimed 'king of the Osage' Hale does, it has consequences with a body count. Scorsese shared his thoughts on making his latest masterpiece with Concrete Playground during an international press conference for Killers of the Flower Moon, where he also answered questions about the biggest challenge in bringing the film to the screen, casting Gladstone, teaming up De Niro and DiCaprio, and how he approaches faith in his work. Not covered: the Oscar-winning director's new Letterboxd account, but you can check that out for yourself, then watch your way through his movie picks — such as what he recommends pairs well with his features. ON HOW KILLERS OF THE FLOWER MOON CONNECTS WITH SCORSESE'S PAST WORK "I just was attracted to the material, but then really became attracted to it because when we were doing research and meeting all the Osage people out in Oklahoma, the Osage Nation, in Gray Horse. They gave us a big dinner, and people got up and spoke about their ancestors, their great-grandfathers and grandmothers, and uncles and aunts, and that sort of thing, who were affected by this, who were killed during that period — and the fact that they never said anything about it, the generation of today and their parents, they kept it quiet. And now this book came out by David Grann, and now a film's being made. So naturally they had some caution as to me directing the film because of the nature of the films I've made in the past, like the violence in Goodfellas, etcetera. But it took a few meetings, and it took some conversation, and just basically being open-hearted with each other and trusting each other, with Chief Standing Bear and myself, and some of the other members of the Osage community. When I discovered that most of it really hinged on this love story between Mollie and Ernest, that's when I locked in on the project for real, in a sense. I was going another way at first. But in going the other way, meaning from the outside in, from Bureau Investigation in, I found that it was too reminiscent of films that I'd made in the past. It would've been good, I think, but I'd already been there — but what really got me was that what if this trust is betrayed through love? That has to do in the marriage, has to do with these two people who really love each other, and the husband is very weak. I thought that was interesting. And I have a feeling that relates more to The Age of Innocence than to some of my other films." ON THE CHALLENGES OF MAKING KILLERS OF THE FLOWER MOON "I think the biggest challenge was balancing the narrative parts of the story with the emotional aspects. I think what I mean by 'the narrative parts', there are some plot points that had to be connected — and that is with the Bureau of Investigation coming in and trying to figure out who was doing what, and what Bill Hale eventually did, and what he eventually accomplished, and what he tried to accomplish, and how he tried to clean up his steps, clean up everyone around him by getting them killed or whatever. But the real core of the picture was between Mollie and Ernest. And so, the emotional core of the film really had to revolve around them because all the plot points could be easily, easily absorbed as long as they connected. If it was just done on a narrative plot, it would be good, I think. But in my mind it would've been more like films that I've seen like police procedurals, which I enjoy watching, but I don't know if I could make. So, the biggest challenge was balancing the emotional complexity of the relationship between Mollie and Ernest, knowing that the two of them were in love, basing this on information we got from the Osage people themselves, who were descendants of them. They pointed out to us: "don't forget — this isn't a matter of straight villains and victims; these people were all either best friends or in love, and yet all this happened." And so that was the biggest challenge: to keep balancing that." ON CASTING LILY GLADSTONE "Ellen Lewis, who does my casting, had worked with Rene Haynes. They had worked on a television series that had a lot of Native American actors in it [2017's Godless]. And so she put out the feelers there, Ellen, and ultimately saw Kelly Reichardt's film Certain Women. In that film, Lily has quite, quite a sequence in it. Before the COVID pandemic hit, we were really concerned about could we get somebody who could play Mollie effectively. And Ellen, whom I've worked with since Goodfellas, since 1989, she said to me, 'I think we might be okay'. And she showed me Certain Women, the film. I thought that Lily was marvellous in it. Then we got to meet, but we could only meet on Zoom because the pandemic was beginning. And from that one Zoom call, we had to wait another almost year before we could come back together again on another Zoom, get Leo on the Zoom, discuss Mollie, discuss all of that. But during that year we worked on Mollie's character. And the whole point being, of course, that their story, Mollie and Ernest, is sort of a metaphor for the entire picture, the entire world that we're depicting and this horrendous situation that occurred at that time. So what I found from Lily was perfect cinema face. I mean, she could be saying nothing, but you feel everything going on behind her eyes, and in the positioning of her face, the way she moves. But there's so much going on inside of her, and it's reflected in a very still way. She doesn't have to provoke it. She also is very strong on Native American views and activism, and helped us steer the project as best we could in the proper direction in terms of Native Americans and European Americans." ON FINALLY GETTING ROBERT DE NIRO AND LEONARDO DICAPRIO TO SHARE THE SCREEN IN A SCORSESE FEATURE "With them, the thing is that I've known Robert De Niro since we were 16 years old. So he knows where I come from, and he knows my old friends, and I know his. And we found that when we started working together on Mean Streets and particularly Taxi Driver, we found that we shared the same sensibilities, or similar interests — and also that he was a fearless kind of actor. And the key element, aside from being a genius actor, was that we trusted each other. I trusted him for many different reasons, beyond the creative issues because there were a lot of political issues, too, at that time: making films for studios, studios would take the film away from you, actors would come in and re-cut them. He would never do that. He would never insist on something if I didn't feel it was right. We had an understanding that all he needed from me was to really listen to him and sometimes show me what he wanted to try. And we got to trust each other very strongly on that. Years go by, we wound up making Raging Bull and The King of Comedy. And then it took a while again before we got to make another picture: Goodfellas. But then, we hadn't worked for 19 years before we worked on this film — before we worked on The Irishman, I should say. And he had introduced me to Leo DiCaprio 20 years ago. He said 'he's a very young actor, and he's very, very good'. And I got to know Leo, and we did Gangs of New York together. But on The Aviator, a film we did after, I found similarities, in a way. I don't say same style — a very different style — but he had the openness, and he had the trust. And he had a crazy fearlessness in the same way as De Niro. Despite the fact that we're 30 years difference, there is that trust and enjoyment working together. Really, there's a love there between the three of us. So, it also happened that suddenly they came together on this movie." ON SCORSESE'S APPROACH TO FAITH IN HIS FILMS "I think, first of all, it's not an immediate dismissal of other faiths. As much as my roots are in Roman Catholicism of the mid-20th century here in New York, I have my differences with that. But I also, in supporting my own faith, or trying to support my faith, I found it interesting to learn about other religions, other faiths, philosophy as much as possible, taking it seriously. I don't mean superstition. And yet, even in superstition, the very act of the ritual itself reflects faith. For example, if you take Roberto Rossellini's film Stromboli, there's a great sequence in it where they fish for the tuna — and before they fish for the tuna, they all say a prayer, and then there's the slaughter of the tuna. It reflects something that is a need for spirituality in having to survive as a human being. The lack of spirituality. They need spirituality going deep down into the roots, primeval roots, before you can even find the sustenance to continue to live, you see? And so, somehow that is a gift: to find the food. That's a gift from god. And so for me, that's always something that is to be respected. People feel that way about the world around them, and to be respectful of the world around them. It's more like a blessing of being alive despite all the problems. I find that with many different groups of people, and many different ways of thinking. For me, it comes down to respect and dignity for what other people believe. You may not believe that, but it comes down to that. I think a world that's like in this film, it's a world of corruption that has no roots in morality or spirituality. They [Hale and company] think they do. You can say 'well, they have religion', but that's not spirituality, you see, and so anything goes. The most important thing is winning. The most important this is getting as much money as you can, especially if some civilisation is on its way out anyway. 'As much as I love them,' Bill Hale says. 'I love them. They're great people, but they're gonna die off.' So, this is something that fascinates me and makes me think 'is that part of me, too?'. In other words, am I capable of that kind of behaviour? I'm not saying killing. I'm talking about complicity in it, by being quiet about it. So that's where all of it comes together. I think maybe that's why I was attracted to it." Killers of the Flower Moon opened in cinemas Down Under on Thursday, October 19. Read our review.
IMAX theatres are the cutting edge of the film industry, and no IMAX screen in the southern hemisphere can really hold a candle to IMAX Melbourne. It's kitted out with IMAX Laser 4K resolution, the only IMAX 1570 film projector in the country and the largest 1.43:1 cinema screen in the southern hemisphere. All that makes it the perfect home for Big Best IMAX Festival, which has set a Saturday, January 31 opening date for its 2026 return. The festival puts the biggest and best of Hollywood, both new and old, front and centre on the IMAX screen, with reruns of recent releases and remastered classics alike for eager theatre attendees — presented in Australia's only IMAX 70mm film prints and IMAX 4k Laser. This year, the program is led by Christopher Nolan classics like The Dark Knight trilogy, Interstellar and Oppenheimer. They're joined by award season frontrunners from 2025, including Ryan Coogler's Sinners and Paul Thomas Anderson's One Battle After Another — and blockbusters like F1: The Movie and Denis Villeneuve's award-winning Dune and Dune: Part Two ahead of the release of Dune: Messiah later this year. Other entries to the program include a Blade Runner and Blade Runner 2049 double feature, George Miller's Mad Max: Fury Road in 3D and Francis Ford Coppola's divisive Megalopolis. Several classic films will get the remastered IMAX treatment, including The Matrix, 2001: A Space Odyssey, Apocalypse Now, Se7en, Back to the Future, The Shining, Princess Mononoke and more. [caption id="attachment_1061503" align="aligncenter" width="1920"] Director/Producer/Co-Writer Christopher Nolan on the set of INTERSTELLAR, from Paramount Pictures and Warner Brothers Pictures, in association with Legendary Pictures.[/caption] The Christopher Nolan entries are a special standout, as Nolan is known to create films with IMAX theatres in mind. His last release, Oppenheimer, has a film reel that's 18km long and weighs over 270kg, seeing it in IMAX 1570 is an extremely rare treat. His upcoming release, The Odyssey, will be the first film in history to be entirely filmed on IMAX cameras, the film reel is supposedly even longer than Oppenheimer, and IMAX Melbourne will be the only theatre in the southern hemisphere to screen the film on IMAX 70mm when it releases in July. Tickets to BBIFF 2026 go on sale from Wednesday, January 14 at 1pm for IMAX Big League members and 3pm for the general public. Visit the IMAX Melbourne website for more information. Images courtesy of Warner Brothers via Museums Victoria
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. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from January's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW ARCHIVE 81 Australian Malignant, The Conjuring and Saw filmmaker James Wan doesn't direct any episodes of Netflix's new sci-fi/horror series Archive 81, but he does lend his executive producing skills to the podcast-to-screen show — and it's easy to see why. The immediately creepy found-footage effort slots in seamlessly among the fright-inducing fare that's helped make his career, all while taking its time to dole out its scares, shocks and eeriness. It's also plain to see why Resolution, The Endless and Synchronic directors Justin Benson and Aaron Moorhead helm two episodes, too, thanks to their already-demonstrated affection for mind-bending, genre-twisting tales that play with space and time. That pedigree alone makes Archive 81 a must-see for movie buffs, and so does the fact that the series also doubles a love letter to everything strange and out-there that's ever been captured on celluloid. Usually devoting his time to unearthing lost gems or just trawling through old video tapes looking for recorded treasure, film archivist Dan Turner (Mamoudou Athie, Black Box) gets an unexpectedly lucrative job offer: restoring Hi8 footage shot by college student Melody Pendras (Dina Shihabi, Altered Carbon) back in 1994. He has to agree to live in a remote compound, under video surveillance, to take the gig — and he'll be sifting through material that Melody filmed in the Visser, an odd New York apartment building where she was looking for her mother but started to notice otherworldly things afoot. Much of the thrill of the impeccably made Archive 81 stems from its multi-layered mysteries, including what's actually happening back in the 90s, the real motives behind Dan's well-paying position and why the two time periods seem to start bleeding together. Developed, produced and mostly penned by The Boys alum Rebecca Sonnenshine, it makes for tense, trippy and often daring viewing, even when things get a tad silly in the supernatural department. The first season of Archive 81 is available to stream via Netflix. THE TOURIST If making TV shows and movies bubbles down to a formula, it doesn't take much to glean how The Tourist came about. Starring Jamie Dornan as a man caught up in a mystery in Australia's sprawling outback, this six-part series jumps on several popular trends — saddling a famous face with battling the Aussie elements chief among them (see also: the film Gold, which plonks Zac Efron amid the nation's dusty, yellow-hued expanse). Dornan's trip Down Under also plunges into a familiar thriller setup, with memory loss playing a key role. Memento famously did it. The Flight Attendant did as well. Combine the two, throw in all that striking scenery that constantly defines Australia on-screen, and that's the template beneath this well-greased, cleverly plotted, easy-to-binge newcomer. Adding another TV role to his resume alongside The Fall, Death and Nightingales, New Worlds and Once Upon a Time — and another part to his eclectic filmography, given that he's been in the vastly dissimilar Synchronic and Wild Mountain Thyme in the past year, and looks set to get an Oscar nomination for Belfast — Dornan plays an Irish traveller in Australia. The character's name doesn't matter at first, when he's using the bathroom at a petrol station in the middle of nowhere. But after he's run off the road by a steamrolling long-haul truck, he desperately wishes he could remember his own moniker, plus everything else about his past. Local Constable Helen Chalmers (Danielle Macdonald, French Exit) takes a shine to him anyway; however, piecing together his history is far from straightforward. His other immediate questions: why is he in the middle of Australia, why does a bomb go off in his vicinity and why is he getting calls from a man trapped in an underground barrel? The Tourist is available to stream via Stan. Read our full review. THE HOUSE Not to be confused with well-cast but decidedly unfunny Will Ferrell and Amy Poehler-starring comedy of the same name, The House dedicates its weird and wonderful stop-motion animated frames to three tales all set in the same abode. In the anthology film's first chapter, a poverty-stricken family mocked by richer relatives luck into a deal with an architect, which results in the movie's central dwelling being built — and its new inhabitants getting more than they bargained for. In the second part, a developer, who also happens to be a rat, finalises his renovations and readies the place for sale; however, two odd prospective buyers won't leave after the first viewing. And in the third section, the home towers above an apocalyptic future flooded with water, with its owner, a cat, struggling with her fellow feline tenants. Each of The House's films-within-a-film hail from a different creative team, boast different voice casts and splash around their own aesthetics — and they're all a delight. The constants: the titular structure, the fabric-style look to the animation (even as each director comes up with their own take) that makes you want to reach out and touch it, and mix of creativity and emotion in its dark-skewing stories. This is a movie that questions the comfortable mindset that bricks and mortar are expected to bring, and where where just trying to get by is recognised as the struggle it is in a variety of wild and inventive ways. And as for that vocal talent, Matthew Goode (The King's Man), Mia Goth (Emma.), Helena Bonham Carter (The Crown), Susan Wokoma (Truth Seekers) and Pulp frontman Jarvis Cocker all do ace work. The House is available to stream via Netflix. THE TENDER BAR Playing Batman has rarely been about smiles and laughs, but spending time in the cape and the cowl was particularly grim for Ben Affleck. He wasn't the best Bruce Wayne or Dark Knight, and he couldn't have looked more miserable. He hasn't seemed to have had a great time on-screen for a while, in fact, other than his OTT recent performance in The Last Duel. He's a charismatic dream in The Tender Bar, though, with coming-of-age drama enlisting him as the supportive uncle and surrogate dad to the film's lead character and still giving him top billing. With the Sad Affleck memes and the chaos frequently surrounding his personal life, it can be easy to forget how charming an actor the elder Affleck brother can be — and this is also his best performance since 2014's Gone Girl, and by far. That uncle, Charlie, tends bar and helps his sister (Lily Rabe, The Undoing) bring up her son JR (debutant Daniel Ranieri) given that the boy's radio DJ dad (Max Martini, The Purge) is happily and drunkenly mostly absent from their lives. It's the self-taught Charlie that sparks JR's desire to become a writer, too, with The Tender Bar based on real-life novelist and journalist JR Moehringer's memoir. There's much that's familiar about the overall narrative, but George Clooney — in filmmaker mode, but without also appearing on-screen as he did with The Midnight Sky — recognises that a comfortable story told well, and with warmth, affection and thoughtfulness, can still strike a chord. The performances he gets out of Affleck, the engaging young Ranieri, plus Tye Sheridan (The Card Counter) as the college-aged JR, also help considerably, as do the moments between the former and his two main co-stars that firmly fit the film's title: tender. The Tender Bar is available to stream via Amazon Prime Video. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK THE AFTERPARTY Only Murders in the Building isn't the only new comic murder-mystery series worth streaming from the past few months. Joining it is The Afterparty, which also sports a killer cast — this time Sam Richardson (Detroiters), Ben Schwartz (Space Force), Zoe Chao (Love Life), Ilana Glazer (Broad City), Ike Barinholtz (The Mindy Project), Dave Franco (If Beale Street Could Talk) and Tiffany Haddish (The Card Counter) — and a savvy spin on an oft-used gimmick. Rather than skewering true-crime podcasting, this quickly addictive comedy from writer/director Christopher Miller (The Lego Movie) toys with the reality that every tale differs depending on the perspective. Whodunnits always hinge upon that fact, and Miller has also clearly seen iconic Japanese film Rashomon. And, considering that its big murder takes place after a school function, there's a touch of Big Little Lies at play, too. With his directing partner Phil Lord, Miller has made a career out of getting smart and funny with familiar parts, however, and that doesn't change here. The setup: at the afterparty following his 15-year high-school reunion, obnoxious autotune-abusing pop star Xavier (Franco) winds up dead on the rocks beneath his lavish mansion. Enter the determined Detective Danner (Haddish), who starts grilling his former classmates one by one to find out who's responsible. Her interrogations start with the sensible Aniq (the always-great Richardson), who was hoping to finally make a move on his schoolyard crush Zoe (Chao) — and after his version of events, Danner hears from Zoe's macho ex Brett (Barinholtz) in The Afterparty's second episode, then from Aniq's best bud Yasper (Schwartz, riffing on Parks and Recreation's Jean-Ralphio without being quite as ridiculous). The cast is top-notch, the writing is clever, there's much fun to be had with its genre- and perspective-bending premise, and the throwaway gags are simply glorious. The first three episodes of The Afterparty are available to stream via Apple TV+, with new instalments dropping weekly. PEACEMAKER Simply being better than its terrible predecessor couldn't make The Suicide Squad a great movie; however, the DC Extended Universe is still betting big on James Gunn's over-the-top vision for its supervillains. Yes, just like Marvel, the comic-book company has its own sprawling big-screen franchise filled with interconnected films — and now, thanks to spinoff streaming series Peacemaker, that caped crusader-focused world also extends to the small screen, too. John Cena (Fast and Furious 9) returns as the titular character, and feels more comfortable in the role this time around. Gunn is back as the show's creator, writer and main director, helming all but three of the first season's eight episodes. And the tone is still devil-may-care with irreverence and flair, aka the filmmaker's usual mode, complete with rampant helpings of raunch and gore. If you loved The Suicide Squad, this is all clearly great news. Even better: if you weren't fussed overly or at all about Gunn's sequel-slash-do-over and now understandably approach the idea of a TV offshoot with caution, Peacemaker still proves plenty of fun. It follows its central figure after the events of the film, where he's spared from going back to prison by being dragged into another black-ops government squad on a super-secret mission — and while Gunn isn't doing anything new here, he's found a better balance for his brash and raucous approach in this entertaining series than in the flick that preceded it. Casting the radiant Danielle Brooks (Orange Is the New Black) as one of the agents overseeing the egotistical, frequently dancing, often half-naked, always-comic Peacemaker is also a masterstroke. The first five episodes of Peacemaker's first season are available to stream via Binge, with new instalments dropping weekly. SERVANT Ted Lasso is the Apple TV+ series that's been scoring all the praise and love for the past few years, and rightfully so — but the platform's M Night Shyamalan-produced Servant is also one of its winners. Perched at the complete opposite end of the spectrum to the warm-hearted soccer comedy, this eerie horror effort spends the bulk of its time in a well-appointed Philadelphia brownstone where TV news reporter Dorothy Turner (Lauren Ambrose, The X-Files) and her chef husband Sean (Toby Kebbell, Bloodshot) appear the picture of wealthy happiness, complete with a newborn son, Jericho, to fulfil their perfect family portrait. But as 18-year-old nanny Leanne Grayson (Nell Tiger Free, Too Old to Die Young) quickly learned in Servant's first season, there's nothing normal about their baby — which, after the tot's death, has been replaced by a lookalike doll to calm the otherwise-catatonic Dorothy's grief. That's how the series began back in 2019, with its second season deepening its mysteries — and Leanne's place with the Turners, even as her own unconventional background with cult ties keeps bringing up questions. With the just-started third season, the household is once again attempting to pretend that everything is normal and to also keep Dorothy unaware of the real Jericho's fate, even with a flesh-and-blood infant now back in her arms. But in a slowly paced series that's perfected its unsettling and insidious tone from episode one, serves up a clever blend of atmospheric and claustrophobic thrills mixed with gripping performances, makes exceptional use of its setting and also features Rupert Grint in his best post-Harry Potter role yet, there's always more engrossing twists to rock the status quo. The first two episodes of Servant's third season are available to stream via Apple TV+, with new instalments dropping weekly. EXCELLENT FILMS FROM THE PAST FEW YEARS TO CATCH UP ON BLACK BEAR Aubrey Plaza's resume isn't short on highlights, but Black Bear sits right at the top alongside her instantly iconic turn as Parks and Recreation's April Ludgate and her also-excellent performance in Ingrid Goes West. She does deadpan like few other actors currently working, and can convey more with her eyes and otherwise expressionless face than most of her colleagues can with their entire bodies — but she's asked to use every acting tool in her arsenal in this two-part affair. She always plays a woman called Allison, but her character is initially introduced as a former actress-turned-filmmaker decamping to a scenic lake house in upstate New York's Adirondack Mountains, with getting some writing done (and finding the inspiration to do so) her aim. She's easily distracted by her hosts, though, with Gabe (Christopher Abbott, Possessor) showing Allison a little too much attention amid his bickering with his pregnant partner Blair (Sarah Gadon, True Detective). In the movie's second half, everything changes, including all that the audience knows about the characters, their jobs and their relationships with each other. Now the film takes place in the same spot, but in the middle of a movie shoot that's proving as chaotic as the initial Allison's attempt at a relaxing stay. Helming his third feature, writer/director Lawrence Michael Levine (Wild Canaries) leans heavily upon his cast — especially Plaza; Allison is told she's hard to read, and that's a key part to the twisty narrative — but he's also trusted himself with an astute, insightful and playful deconstruction of art and authenticity. There are no weak links at any moment, including in the feature's seesawing between dark comedy and dramatic thrills, and the distinctive aesthetic he applies to the film's two parts. Plaza is astonishing, unsurprisingly, but Abbott and Gadon are similarly impressive in a movie that isn't easily forgotten. Black Bear is available to stream via Netflix. THE RIDER The past two years have been nothing short of spectacular for filmmaker Chloé Zhao. She directed the best feature of 2020, aka Nomadland, then became only the second woman ever — and first woman of colour — to win the Best Director Oscar. And, mere months after achieving that historic feat, she gave the Marvel Cinematic Universe its most ambitious movie yet (and its most gorgeously and naturalistically shot) courtesy of Eternals. But the writer/director's career didn't start here, and also didn't start being phenomenal with Nomadland. A hit on the festival circuit in 2017 and 2018 (the latter in Australia), The Rider wasn't her first excellent film either (that'd be 2015's Songs My Brothers Taught Me), but the empathetic modern-day take on the western genre instantly cemented her as a talent to watch In this rodeo drama, Brady Blackburn (real-life cowboy Brady Jandreau, playing a version of himself) just wants to hop back onto a horse. He's also a gifted trainer, and this line of work is what he's compelled to do. Watching him struggle with life without his only passion makes for soulful and heart-wrenching viewing, as Brady wades through the aftermath of an in-ring incident that almost killed him. Shot with lyrical images that find tenderness in the story, suffering and situation, The Rider proves a case of art imitating life after Jandreau went through the same scenario himself after meeting Zhao back in 2015 — and she turns the results into a feature that's partly a specific character study and partly a universal tale of chasing and losing a dream, then trying to come out of the other side. Also starring members of Jandreau's family, and told with devastating intimacy, the end result boasts a heart as big as America's sweeping plains. The Rider is available to stream via SBS On Demand. A BELOVED SITCOM TO BINGE — AND CHECK OUT ITS NEW SEASON IT'S ALWAYS SUNNY IN PHILADELPHIA Since 2005, one sitcom has devoted 162 episodes to the world's worst bar owners, spanning their attempts to run a watering hole, their constant bickering with each other and everything else that life has thrown their way. That show is It's Always Sunny in Philadelphia, of course. As well as now being the longest-running live-action sitcom ever made, it's a gem filled with the devious, darkly amusing and downright odd antics of the Paddy's Pub gang. Those pals — as played by Charlie Day (Pacific Rim: Uprising), Glenn Howerton (AP Bio), Rob McElhenney (Mythic Quest), Kaitlin Olson (Hacks) and Danny DeVito (Jumanji: The Next Level) — usually fail at everything they attempt, and the show never pretends otherwise. Indeed, with a nihilistic and irreverent sense of humour that's all its own, it's one of the least sensible yet also savagely smart shows currently airing. Season 15, which is now on Disney+ alongside the 14 seasons before it — bringing its eight-episode run our way quite swiftly after it aired in America in December last year — sees Charlie, Dennis, Mac, Dee and Frank keep doing what they've always done, and keep pouring out comedy gold in the process. It's the show's first season since COVID-19, so it finds ways to work the pandemic into its always-outrageous setups. Given the American political landscape since 2019, when the previous season aired, It's Always Sunny has much to mine there as well. And, a trip to Ireland, aka hallowed ground for the longterm owners of an Irish pub, also fills half of its episodes. Even this far in, the show never stops surprising, pushing every boundary it can and being sidesplittingly hilarious — and long may it continue, with another three seasons already greenlit. All 15 seasons to-date of It's Always Sunny in Philadelphia are available to stream via Disney+. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October, November and December last year — and our top new TV shows of 2021, best new television series from this year that you might've missed and top straight-to-streaming films and specials as well. Top image: Quantrell D Colbert/Netflix.
We're living in unprecedented times and, thanks to Pantone's colour experts, we now have the hue to match. Every year, the Pantone Colour Institute selects a shade that it thinks will both set the trend for and sum up the 12 months ahead — and for 2022, it's even created a new colour to take the honours for the first time ever. 2022's Colour of the Year: Very Peri, aka Pantone 17-3938, a brand-new shade that's been described as "a dynamic periwinkle blue hue with a vivifying violet red undertone". Pantone is never short on words for its picks of the year, and has also dubbed this purplish blue as "inquisitive and intriguing" and "displaying a carefree confidence and a daring curiosity that animates our creative spirit". Very Peri is meant to represent transformation, too, as well as the fusion of the physical world and the digital space — all concepts very relevant to forging onwards during the pandemic. Pantone Colour Institute Executive Director Leatrice Eiseman also called it "a spritely, joyous attitude and dynamic presence that encourages courageous creativity and imaginative expression." Introducing the Pantone Color of the Year 2022, PANTONE 17-3938 Very Peri, a dynamic periwinkle blue hue with a vivifying violet red undertone blends the faithfulness and constancy of blue with the energy and excitement of red. Learn more: https://t.co/eNIwkTq2K8 pic.twitter.com/hBfiDusFKU — PANTONE (@pantone) December 9, 2021 Explaining the decision to come up with a new colour, rather than hone in on an existing one, Pantone Colour Institute Vice President Laurie Pressman said that "the Pantone Colour of the Year reflects what is taking place in our global culture, expressing what people are looking for that colour can hope to answer." She continued: "creating a new colour for the first time in the history of our Pantone Colour of the Year educational colour program reflects the global innovation and transformation taking place. As society continues to recognise colour as a critical form of communication, and a way to express and affect ideas and emotions and engage and connect, the complexity of this new red violet infused blue hue highlights the expansive possibilities that lay before us." Expect to see all things Very Peri popping up around the place when the new year hits, with Pantone suggesting how they can be used in fashion and accessories, home decor, design and beauty, too. The new shade takes over from 2021's two colours of the year, Ultimate Gray (Pantone 17-5104) and the vibrant yellow Illuminating (13-0647). The year before, Pantone went with Classic Blue, while 2019's colour was Living Coral, 2018's was Ultra Violet and 2017's was Greenery. To find out more about Very Peri — and to check out all the previous Colours of the Year — head to the Pantone website.
Sometimes one pizza isn't enough. Sometimes your stomach is a ravenous bottomless pit. Sometimes you need all-you-can-eat. Luckily, Sydney is not lacking in this department — there are restaurants offering all-you-can-eat sushi, pizza and pasta every day of the week. And we've wrapped up our favourites, so you can satisfy your insatiable cravings, no matter what day it is.
After conquering the western peaks, this craft beer favourite is taking on the Big Smoke. Mountain Culture Beer Co has continued to expand at an extraordinary pace since its launch in the Blue Mountains in 2019, but this latest venture, located just three kilometres from Sydney's CBD, is the brewery's first foray into a broader hospitality offering. Mountain Culture experienced a rocky first 18 months after opening its first brewery in Katoomba just prior to the COVID-19 lockdowns, but after surviving these early trials, the company bounced back and quickly outgrew its initial site, opening a second production facility in Emu Plains to meet booming demand. Since then, the business has been going from strength to strength and currently holds the title of fourth-largest independent brewer in Australia, also winning the coveted GABS Hottest 100 two years in a row. With this third venue, located within a converted warehouse in Redfern, Mountain Culture continues to bring their innovative brews to an adoring fan base. Revamped to be the perfect home for its growing popularity, the space has retained an industrial feel while incorporating custom metal work into the bar and lighting fixtures. Barrels of Mountain Culture's popular brews line the walls but leave plenty of room for visitors to mingle over a freshly poured frothy. Offering its Award-winning core range along with 16 rotating brews straight from Mountain Culture's innovation program, visitors can purchase every beer offered on tap or for takeaway, including weekly limited releases. The Redfern venue has also launched the brand's barrel program, where a variety of exclusive beers will be aged in and blended from disused barrels including ex-Bourbon and Australian Rum. For those looking for a bite, the modern Australian lunch and dinner menu offers familiar dishes as well as a new late-night kebab menu. "This venue represents a pivotal moment for our brand. We're not just opening a new venue; we're doing it the Mountain Culture way, with a focus on creating something new and exciting," says Mountain Culture co-founder and CEO, DJ McCready. We'll drink to that.
If you thought tea drinking was reserved solely for your grandma's weekly knitting circle, think again. The team at T Totaler are turning the brewing scene on its head. They'll hit shoppers at the Strand Arcade from November 27 with workshops and a range of tantalising herbal concoctions. Anyone familiar with T Totaler's flagship Newtown store will delight in the apothecary-inspired experience at the brand's latest pop-up space. Twenty-five unique blends — sourced 100 percent from locally grown produce — will be bottled up with care into recycled amber medicine jars, making for some seriously sweet stocking stuffers this silly season. For those unsure where to begin on their brewing adventure, stop by one of T Totaler's alchemy or blending workshops to learn the tools of the trade. From classic hot brews to cold drip teas, these guys are sure to teach you a thing or two on how to transform your morning cuppa.
Marrickville Bowlo combines bowling with live music — and is a bona fide inner west institution. Gigs are held most Friday, Saturday and Sunday nights and run the gauntlet from local rock to blues and soul to DJs that get the whole venue having a boogie. During the day, it's all about the bowls. While it does host competitions, the venue's barefoot bowls is a more casual affair, and costs just $15 per person for around two hours of game time. Instructions are even thrown in. Should your sweet victory (or close losses) make you hungry, pop into the bowlo's bistro for a feed. The menu includes hearty pub classics like burgers, nachos, steaks and potato wedges. The kitchen stays open until 8.30pm, so you can grab a snack before a gig, too. Image: Kate Murphy.
Big relaunches. Amusing takes on huge pop-culture hits. An interactive — and cocktail-fuelled — theatre experience that spreads across multiple rooms. A nod to Kate Bush, too, because it wouldn't be a fringe festival without it. In Sydney throughout September 2025, all of the above are on the agenda. So is a free street party to get things started, and more than 460 events filling spaces around the Harbour City. The fest: Sydney Fringe, which is unveiling its first lineup under new CEO Patrick Kennedy across Monday, September 1–Tuesday, September 30. Given his theatre background — including his own Patrick Kennedy Theatre Machine, and working on marketing and publicity for the likes of Mary Poppins, & Juliet and The Phantom of the Opera — it should come as no surprise that reopening a venue is on his inaugural program. Indeed, when Darlinghurst's Eternity Playhouse hosts shows again for the first time in more than a year, it'll do so as part of Sydney Fringe Festival's 2025 Off Broadway Hub. [caption id="attachment_856144" align="alignnone" width="1920"] Bruce Glikas 2021[/caption] That's where you'll find the well-timed Stranger Sings! The Musical Parody spoofing the Netflix hit through song, and getting Sydney laughing along with its 80s nods just a few months before the series starts unveiling its final season. Fittingly, Eternity Playhouse will also welcome Kate Bush Unmoored, which hails from the folks behind Radiohead Uncovered. In total, 2900 artists are involved in the 2025 lineup, which is taking over four precincts and ten festival hubs — the return of the Yagali First Nations Hub at the PACT Centre for Emerging Artists and the Queer Hub at Qtopia Sydney among them, plus the Dance Hub settling into Sydney Dance Company's Neilson Studio again and the Cabaret Hub moving to Marrickville Town Hall. Expect everything from Adam Nobilia reading from Australia's Least Wanted, his memoir about spending ten years working as a Special Education Teacher at Long Bay Jail, then, through to LA-based drag queens Lorelei and Annie Biotixx with their variety show Queen Out (Verb), a mix of drinks and live performance with Dorothy in Oz, and local and international talents unleashing new dance pieces. If you've been to a multisensory Broad Encounters experience before — so A Midnight Visit, Love Lust Lost or Maho Magic Bar, for example — you'll be excited about When Night Comes. This time, the Union Bond Store at 6–8 Atherden Street is your destination, and you'll be sipping tipples and watching theatre all at once. That aforementioned free shindig in the streets has a date with The Rocks at the beginning of the fest, complete with live tunes, while Bondi Pavilion is the place to champion contributions from artists living with disability, neurodivergent talents and creatives who are deaf. Wright & Grainger's Orpheus and Helios, circus at The Entertainment Quarter, open access literature festival Parramatta's Lit!, gothic revenge drama Way Back When: they're on the program, too. [caption id="attachment_1012584" align="alignnone" width="1920"] Jeff Busby[/caption] "I'm thrilled to be stepping into the role of Sydney Fringe's next CEO, and I am dedicated to advancing the festival's vision to be celebrated as one of the world's leading fringe festivals, placing independent artists and cultural creators at the heart of Sydney. I look forward to driving organisational sustainability, fostering a values-driven team culture, and delivering transformative experiences for audiences and artists alike," said Kennedy, announcing the lineup. "The 2025 program is our most expansive yet and we're thrilled to be bringing artists and audiences together across more venues and precincts than ever before. From the return of major hubs to the highly anticipated reopening of the Eternity Playhouse, this year's program pushes boundaries and spotlights new voices, inviting Sydneysiders to rediscover their city through unforgettable experiences in every corner." [caption id="attachment_1012583" align="alignnone" width="1920"] Dream Syndicate[/caption] [caption id="attachment_1012582" align="alignnone" width="1920"] Jason Matz[/caption] Sydney Fringe Festival 2025 runs from Monday, September 1–Tuesday, September 30. For further information and tickets, head to the fest's website. Top image: Daniel Boud.
Picture this: it's the end of a busy first quarter, and you're unwinding at a dreamy Californian-inspired ranch in Byron Bay's hinterland among rolling hills and wellness workshops you can dip in and out of. Known for its infrared sauna studios at seven locations across Victoria and New South Wales, Nimbus Co is launching a four-day wellness retreat at the fabulous Sun Ranch. With nods to 1970s nostalgia, the sprawling accomodation layers in amenities like a floating sauna and ice bath, a pool straight out of a Palm Springs resort, and a riding club offering horseback trail tours. For Nimbus co-founder Neil O'Sullivan, PAUSE Retreat is a space designed to help people "step out of autopilot and burnout" culture. Wellness experiences are spread across 55 acres of rewilded farmland, inviting weekenders to reflect on their routines, rest with intention, and hopefully, pick up practical tools that can support their wellbeing long after the retreat. "Australia, whilst being the lucky country, is also now one of the most burnout-prone countries in the world due to high workloads, financial stress, and pressure for wellbeing. It's time we did something about that." After settling into one of the poolside suites, private one-bedders or boutique barns that fit up to four, expect workshops designed to soothe frazzled nerves. Boutique wellness studios like Peaches Pilates bring sound healing, pilates and yoga into the mix — and of course, Nimbus Co will be running infrared sauna and ice bath sessions. Zen guided meditations, nature walks or runs through the breathtaking countryside, and yoga and pilates classes fill the mornings, while afternoons are dedicated to inspiring mind-body masterclasses led by accredited experts, such as fertility educator and clinical nutritionist Ema Taylor. Communal mealtimes are a great way to connect with other guests — alongside hands-on cooking workshops by local plant-based caterer and cookbook author Cade McConnel — and evening reflection sessions around a large firepit under the stars. Images supplied
After screenwriter and TV showrunner Damon Lindelof played a pivotal part in bring Lost to screens, but before he revived Watchmen as a phenomenal miniseries, he was behind HBO's The Leftovers. Based on Tom Perrotta's 2011 book of the same title, the applauded show only ran for three seasons; however, it has been a constant topic of conversation since its 2014 premiere for good reason — namely, because it is thought-provoking, absorbing, exceptionally acted and, well, just excellent. The Leftovers is also grim, too. Starring Justin Theroux, Carrie Coon, Liv Tyler and Christopher Eccleston, it follows the aftermath of a world-changing event, with two percent of the planet's population disappearing in an incident known as 'the sudden departure'. That's 140 million people gone without a trace, and it has quite the impact — including on Kevin Garvey (Theroux), a small-town chief of police. And, while plenty happens in the show that makes it a must-see, the fact that much of its third season takes place in Victoria is a definite point of interest.
Messinaville, aka Messina's Marrickville HQ, is ground zero for all things gelato. Still, its in-house restaurant and wine bar, Erin, takes a slightly more savoury approach, serving farm-to-table dishes using ingredients produced on its regenerative Erindale farm. For the next instalment of its monthly Meet the Winemaker series, the crew is leaning into this holistic perspective, hosting Joel and Pierre from the innovative natty-wine shop DRNKS alongside Daniele Piccinin, a respected natural winemaker swinging through Australia far from his agrarian homebase of Veneto, Italy. Taking a leading role in Italy's natural wine movement, Piccinin's office of choice is Muni — a seven-hectare, calcareous vineyard perched on a verdant hillside. Specialising in durella, pinot nero and chardonnay, each bottle brims with organic and biodynamic methods, showing how winemaking doesn't have to disrupt the earth. From 6.30pm on Thursday, November 20, guests can savour a flight of five Piccinin wines for $20, accompanied by an optional food pairing specially created for the event. Plus, DJs will be spinning tunes in Messinaville's spritz garden, while the full à la carte dining menu is ready and waiting should you feel the need to indulge even further.
Tucked away down Scott Street, Yuzu is an understated sushi joint that stands out from the crop of Pyrmont eateries. It's a cosy, affordable restaurant that locals love. The menu favours light and fresh plates, perfect for pre-theatre dining. The quality of food and attention to detail is consistently above and beyond expectation — the nigiri plates look like works of art. The Yuzu team has a strong commitment to sustainable, seasonal produce, too. Its menu changes constantly, so the sharable plates are always fresh and innovative.
Circular Quay is changing rapidly as more and more new restaurants flock to Sydney CBD's waterfront area. Since the end of lockdowns, the Harbour City has seen the expansive Hinchcliff House kick off the slew of new openings in Quay Quarter Lanes, a heap of cheerful hole-in-the-wall restaurants arrive at Sydney Place and the revival of Jacksons on George as a huge multi-concept venue. All of that is just the tip of the iceberg — and Lotus Dining Group has now gotten in on the action with the arrival of Pearl. Pearl is a flashy new Cantonese eatery that has opened in Quay Quarter Tower alongside other new rivals like Belles Hot Chicken's expansive eat-in-only diner and the recently unveiled Martinez. It has also been joined by a sibling venue downstairs — a Circular Quay outpost for Lotus Dumpling Bar, which offers the group's signature eats in a more casual setting. Pearl shines by taking what's worked at spots like The Gardens by Lotus and turning the sense of luxury up a notch. The menu from Director of Culinary Cheung Shui Yip and Executive Chef Steve Wu lets big flavours and Cantonese favourites shine. "Cheung and I are excited to launch the Pearl menu, made up of three main elements: dim sum, barbecue and seafood. We want to showcase high-end Cantonese dishes with great Australian produce," says Wu. Must-try dishes include the dry-aged and twice-cooked Peking duck pancakes served with a side of crispy duck skin, wok-fried lobster in XO sauce, the Pearl prawn dumplings, and a side of the spiced and wok-fried green beans for good measure — all of which are available on the deluxe $128 per person set menu. There's also a more affordable $88 per person banquet, which still features plenty of culinary delights, including Sydney rock oysters, wok-fried beef flank, steamed coral trout, kingfish sashimi, and prawn dumplings with an egg-white cloud and flying fish roe. "Making dumplings is a labour of love for the whole team," continues Wu. "I hope guests enjoy the steamed mud crab xiao long bao. We peel it all by hand and mix it with house-made pork skin jelly before rolling them into perfect parcels." "We treat our produce with care and respect. The pork goes through ten different cooking steps, and our Peking duck takes three days to prepare and cook to ensure a perfectly crackling skin." A la carte is, of course, an option as well, as is popping in just for a drink — with the sweeping balcony calling out for after-work catch-ups complete with views of the Sydney Harbour Bridge. If you've got a birthday or Christmas party on the horizon, Pearl also has you covered — there's both a semi-private and a private dining room, which you can book for an intimate experience a stone's throw from Wynyard and Martin Place. Pearl is now open at 50 Bridge Street, Quay Quarter Building, Sydney — access is via Young Street. It's open for lunch from 12–2.30pm Tuesday–Friday and dinner Tuesday–Saturday from 5.30pm.
Finding greatness in Bong Joon-ho's Parasite isn't difficult. The perceptive class-clash and eat-the-rich story, the array of pitch-perfect performances, the acclaimed director's stunning mastery of tone, the insightful and revealing production design: they're all examples in this Oscar- and Cannes-winning South Korean masterpiece. Another instance comes courtesy of composer Jung Jae-il's score, which soundtracks the film with tunes both disquieting and baroque. It's no wonder that accolades came Jung's way, too, including from his homeland's Grand Bell Awards. Hearing Jung's contribution echoing as Parasite screens is the best way to appreciate it, of course — and watching him perform it live in Australia with Orchestra Victoria will dial what's already a spectacular experience up a few notches. For the first time, the composer is heading Down Under, all thanks to 2025's Melbourne International Film Festival. The event's commitment to honouring the art of screen composition via screenings that pair live tunes and movies is continuing, and two Parasite in Concert sessions are set to be among this year's fest highlights. At 2pm and 8pm on Saturday, August 23 at Hamer Hall in the Victorian capital, Jung is taking to the keys. He's also conducting Orchestra Victoria as he plays. Seeing Parasite on a big screen is already a treat, no matter how many times you've watched it before; however, giving the picture the concert treatment is something extra special. Jung isn't just known for Parasite. If you've felt the tension emanating from Squid Game's score, then you've also appreciated the composer's efforts. Prior to Parasite, Jung collaborated with Bong on Okja, then did so again afterwards on this year's Mickey 17. The tunes in Hirokazu Kore-eda's Broker hail from him as well, as does the score for MIFF 2025 title Twinless.
Finding greatness in Bong Joon-ho's Parasite isn't difficult. The perceptive class-clash and eat-the-rich story, the array of pitch-perfect performances, the acclaimed director's stunning mastery of tone, the insightful and revealing production design: they're all examples in this Oscar- and Cannes-winning South Korean masterpiece. Another instance comes courtesy of composer Jung Jae-il's score, which soundtracks the film with tunes both disquieting and baroque. It's no wonder that accolades came Jung's way, too, including from his homeland's Grand Bell Awards. Hearing Jung's contribution echoing as Parasite screens is the best way to appreciate it, of course — and watching him perform it live in Australia with Orchestra Victoria will dial what's already a spectacular experience up a few notches. For the first time, the composer is heading Down Under, all thanks to 2025's Melbourne International Film Festival. The event's commitment to honouring the art of screen composition via screenings that pair live tunes and movies is continuing, and two Parasite in Concert sessions are set to be among this year's fest highlights. At 2pm and 8pm on Saturday, August 23 at Hamer Hall in the Victorian capital, Jung will take to the keys. He'll also be conducting Orchestra Victoria as he plays. Seeing Parasite on a big screen is already a treat, no matter how many times you've watched it before; however, giving the picture the concert treatment is something extra special. It's only happening in Melbourne, if you're located elsewhere in Australia and needed more motivation — beyond the 26 films the fest has already announced for 2025 — to attend this year's MIFF. Jung isn't just known for Parasite. If you've felt the tension emanating from Squid Game's score across its two seasons so far — with the third arriving before June 2025 is out — then you've also appreciated the composer's efforts. Prior to Parasite, Jung collaborated with Bong on Okja, then did so again afterwards on this year's Mickey 17. The tunes in Hirokazu Kore-eda's Broker hail from him as well, as does the score for MIFF 2025 title Twinless. "Composing the score of Parasite for director Bong Joon Ho was a life-changing experience for me, and it's a work I'm incredibly proud of. I'm so excited to conduct and perform this original score live in concert for the first time in Australia with the talented Orchestra Victoria as part of Melbourne International Film Festival," said Jung about MIFF's Parasite in Concert events. "This isn't just a film with live music, it's something far more rare. To see Jung Jae-il perform and conduct his own score, live, brings an intimacy and immediacy you can't replicate," added Melbourne International Film Festival Artistic Director Al Cossar. "It's exactly the kind of experience that belongs on a festival stage. In collaboration with Orchestra Victoria, we're proud to present something that speaks directly to MIFF's mission to bring audiences the story of the world through unforgettable screen experiences," Cossar continued. Parasite in Concert joins two sessions of almost-100-year-old masterpiece The Passion of Joan of Arc with a new score by Julia Holter on the music-and-movies side of Melbourne International Film Festival's 2025 program so far. As for what else they'll have for company beyond the already-revealed titles, the fest's full lineup is unveiled on Thursday, July 10. Check out the trailer for Parasite below: Parasite Live in Concert takes place on Saturday, August 23, 2025 at Hamer Hall, Arts Centre Melbourne, 100 St Kilda Road, Southbank — with tickets on sale from 11am on Thursday, June 12, 2025 via the venue website. The 2025 Melbourne International Film Festival runs from Thursday, August 7–Sunday, August 24 at a variety of venues around Melbourne; from Friday, August 15–Sunday, August 17 and Friday, August 22–Sunday, August 24 in regional Victoria; and online nationwide from Friday, August 15–Sunday, August 31. For further details, including the full program from Thursday, July 10, visit the MIFF website.
What would Bondi be without its breakfast joints? The suburb seems to have 'em on every corner, with each one better than the next. From the health-conscious to the all-day spots slinging buttermilk pancakes and top-notch cuppas, these beachside institutions serve some of the best breakfasts in all of Sydney. Here are our picks of the best of the bunch. An honourable mention goes out to Porch and Parlour, which is currently closed due to a fire incident. It deserves a spot on this list and we're hoping for a speedy reopening.
With 13 locations across Sydney and Newcastle, XS Espresso is a raging success for good reason. And it all started in Wetherill Park, where the original location still stands. This local stalwart offers an expansive menu featuring eats that are anything but XS in size — from OTT brunch plates to decadent desserts and milkshakes. Favourites include buttermilk chicken and cinnamon waffles, topped with maple bacon, creamy slaw, melted cheese and a secret spicy sauce; pancakes piled with strawberry, banana, vanilla ice cream and Belgian chocolate; and croissants stuffed with mac 'n' cheese, sujuk and a poached egg. There's also the truffle oil eggs benedict and a massive brekkie burger to contend with. Whatever you order, you won't be leaving this place hungry.
It's all well and good to poke fun at what's wrong with Melbourne. Its shitty weather, the lack of beaches and the fact that no one thinks it's a priority to have a rail link to the airport (sorry about that one). You will have to bring an umbrella, pack a jacket as well as well as your sunglasses and ride an expensive bus into the city, but you will not be disappointed. Melbourne is so much more than bad weather, and once you get past the trams and laneways, you'll see a side to the city that isn’t — and can't possibly be — translated through tourism ads. Because perfect weather is overrated anyway, maybe I can coax you away from your golden circle for a trip down south. Once you work out the transport system, the city's grid is easy to navigate and you can work your way northside to southside, east to west. To ensure you won’t waste time sipping bad coffee in sleepy suburbs, let this guide be your compass. Explore all the diverse pockets of the city, from Brunswick to Balaclava and back again. CITY: CBD, Docklands, Southbank Devoid of any notable landmarks, the CBD is subtle and charming. Little Bourke Street houses a cluster of serious coffee — get a takeaway from Patricia (standing room only) or walk a few blocks up to Brother Baba Budan and Manchester Press. Keep going and you'll hit Chinatown, where Shanghai Village is where you gotta go for copious amounts of dumplings (it's also BYO). If you want fine dining (or just clean cutlery), join the queue at Chin Chin or order tapas at the newly-reopened Bomba. Some of the city's best breakfasts can be found at Cumulus Inc. and The Grain Store, and for sweet treats your ice cream go-to is Spring Street Grocer and the signature salted caramel crepe from Creperie Le Triskel. See what exhibition is showing at the Ian Potter Centre, and make sure you head out to Southbank to check out open-air arts space and bar, Testing Grounds. We're all about the rooftop bars, with some of the best being at Rooftop Bar in Curtin House and Goldilocks, which is a smaller, cosier alternative. Weather permitting, the Queen Victoria Night Market is always busting during summer, and literally no one can turn down a drink under a bridge right on the Yarra at Ponyfish Island when the weather's warm. Go to: Flinders Lane, Little Bourke Street (Chinatown), Cathedral Arcade See: Ian Potter Centre, Queen Victoria Market, Testing Grounds Eat: Shanghai Village, Chin Chin, Bomba, The Grain Store, Cumulus Inc., Spring St Grocer, Creperie Le Triskel Coffee: Manchester Press, Brother Baba Budan, Patricia Something Stronger: Goldilocks, Ponyfish Island, Shebeen, Rooftop Bar, Trunk, Mesa Verde NORTH: Fitzroy, Collingwood, Carlton, North Melbourne, Abbotsford Just a quick tram ride out of the CBD and you'll hit the inner north. Aside from the bearded men and creative not-so-sub culture, this pocket of the city is also known for its high-grade cafes, pop up food vans and ridiculously successful restaurants. Lately, the only place you want to open a restaurant is Smith Street, Fitzroy — where you can slurp noodles at Shop Ramen, down a famous Huxtaburger or get to Rockwell and Sons for Fried Chicken Wednesdays. Further over on Brunswick Street you'll find the cult of Vegie Bar, and be sure to make a trip to De Clieu or Everday Coffee for a killer brew. Over in North Melbourne, Auction Rooms has unanimously been voted Melbourne's best brunch and Beatrix's cakes are worth travelling for. Get one of the best views of the city from Naked in the Sky, sip the city's best cocktails at the Everleigh or make a night of it with live music at Brunswick's Howler. On a weekend, grab a coffee and stroll around the Rose Street Artists' Market or, if it's hot, join the rest of the northsiders heading to Edinburgh Gardens for a picnic and beers. Don't miss a visit to Abbotsford Convent and their Shadow Electric Cinema on summer nights. Go to: Smith Street, Brunswick Street, Gertrude Street, Sydney Road See: Edinburgh Gardens, Abbotsford Convent, Rose Street Artists Market, Juddy Roller Eat: Auction Rooms, Beatrix, Huxtaburger, Neighbourhood Wine, Rockwell & Sons, Vegie Bar, Shop Ramen Coffee: Everyday Coffee, Storm in a Teacup, De Clieu, Cafe Rosamond Something Stronger: Naked In The Sky, The Everleigh, Rum Diary, Howler SOUTH: South Melbourne, St. Kilda, Balaclava Crossing south of the river is a whole different ball game. Here, palm trees replace terrace houses and the asphalt horizon becomes the sea — yes, the sea. Get the best view of the bay from Captain Baxter's lush rooftop at St. Kilda Sea Baths or over a more casual burger at NSHRY up at Albert Park. Head up to Balaclava's Carlisle Street for some rooftop pho and rice paper rolls at Uncle, tacos at Si Senor or a drink at The Local Taphouse. Tucked behind a Coles carpark you'll also find Monk Bodhi Dharma serving their own roast and sustainable vegetarian and vegan fare. Also a must-visit is Melbourne institution St Ali and the South Melbourne Market, where you have to line up for a South Melbourne dim sim and fresh Turkish gozleme from Koy. Go to: Coventry Street, Carlisle Street See: South Melbourne Market, St. Kilda Sea Baths Eat: Uncle, Koy, NSHRY, Si Senor, Hannah Coffee: Monk Bodhi Dharma, Giddiup, St. Ali, Clement Something Stronger: Newmarket Hotel, Captain Baxter, The Local Taphouse EAST: Richmond, South Yarra, Windsor, Prahran Leafy and tailored, the east is the ying to the north's yang — and Chapel Street is the vein that pumps blood its suburbs. From South Yarra's boutiques to the Windsor-end bars, you can go Vietnamese at Saigon Sally, Mexican at Fonda or Japanese at Mr. Miyagi. Drink impeccable cocktails at The Woods of Windsor or something with house-infused bacon vodka at Sweetwater Inn. Richmond links the inner north with the east, and Church Street is home to top brunch at Top Paddock and I Love Pho on Victoria Street is the closest you'll get to Vietnam without crossing borders. And, disappear from the city with a stroll in the Royal Botanic Gardens or in the gardens at Como House, where you'll also be able to have a very lovely Devonshire tea at The Stables. Go to: Chapel Street, Victoria Street, Swan Street, Greville Street, Church Street See: Royal Botanic Gardens, Como House Eat: I Love Pho, Fonda, Saigon Sally, Touchwood, The Stables, Meatmother, Mr. Miyagi, Top Paddock Coffee: Little Big Sugar Salt, Pillar of Salt, Dukes Coffee Roasters Something Stronger: The Woods of Windsor, Sweetwater Inn, Borsch, Vodka & Tears WEST: Kensington, Footscray, Flemington Traditionally the west isn't a destination for tourists or even for locals who reside on the opposing side of the city. While it isn't renowned for fine dining and sleek bars, the west is rich in culture and has managed to maintain a sense of local community. Take the train out just two stops to Footscray, where you can lose yourself in the multilingual chatterings and exotic ingredients at Footscray Market. Between Footscray and neighbouring Seddon, you'll find some of the best (and cheapest) African food, as well as well-known cafes such as Common Galaxia and West 48. Also easily accessible by train is one of Melbourne's best-kept brunch secrets, The Premises, and the best laksa in town at Laksa King. It's a side to the city not usually seen, but the burgeoning food and arts scene is sure to put the west on the map. As the locals say, the westside is the bestside. Go to: Macaulay Road, Victoria Street (Seddon) See: Footscray Market, Footscray Community Arts Centre Eat: The Premises, Laksa King, West 48, African Taste, Union Food & Wine Coffee: The Rusty Fox, Guerilla Espresso, Common Galaxia Something Stronger: White Rabbit Records Other helpful hints You will have to buy a myki card to use public transport — they cost $3 and you load up money on it. More information here. Download the PTV Journey Planner app (super useful). Look at CP Melbourne’s bar and restaurant directory for more eating and drinking. Images thanks to Farbenfrohe Wunderwelt, Manchester Press, Nicolas Boullosa, NSHRY, Fernando de Sousa & Shantanu Starick from Pixel Trade
Anyone with a curious impulse in their heart and a phone in their hand can eat well on holiday. But to eat great? For that, you'll need to do a bit of prep and make some bookings at these pilgrimage-worthy restaurants on NZ's South Island. They've made their name on farm-to-table feasting, seafood that's travelled basically a negative number of food miles and foraging in fields home to hobbits and elves. People want in. The South Island is full of mountains to climb, artsy small cities to explore, glassy lakes to gawp at — all perfect ways to work up and appetite for these culinary experiences and then the perfect diversions while you digest the meal of the year. [caption id="attachment_687223" align="alignnone" width="1920"] Rodney F.[/caption] FLEUR'S PLACE Fleur's Place is a beautiful fishing shed turned cosy restaurant tucked away in the seaside village of Moeraki, right on the waterfront at the old jetty. This little gem is not to be missed if you're a fan of the freshest catches out of the sea. Fleur's showcases the best of New Zealand produce with signature dishes such as green-lipped mussel pots, hearty seafood soup, fish (literally caught and delivered straight off the boat to the back kitchen of Fleur's) and, if you're lucky, some rare finds such as abalone. Fleur's gets incredibly busy, so it's best to book a table before you go. Really there's nothing that beats eating fresh seafood while watching the waves hitting the shores of Moeraki. It's also around a ten-minute drive from the world-famous Moeraki Boulders, so why not kill two fish with one stone. 169 Haven Street, Moeraki. RIVERSTONE KITCHEN While Oamaru might be known for its blue penguins and steampunk, it also serves amazing food that attracts connoisseurs from all around the world via Riverstone Kitchen. After rising through the ranks of illustrious London kitchens and serving as head chef at Brisbane's E'cco Bistro, Bevan Smith came here and opened up shop on his family's farm with wife Monique in a remote patch of NZ countryside. Now, it's a pilgrimage site, open for breakfast, lunch and dinner. As is right, given the set-up, the ingredients that start in these fields end up in the restaurant's dishes (which in turn end up in the kitchen's renowned recipe books). Meat comes courtesy of the neighbours. Try the dreamy cheese soufflé ($22) paired with apple and hazelnut salad or a venison massaman curry with roast cauliflower, peanuts and crispy shallots ($36). 1431 State Highway 1, Oamaru. GATHERINGS After working on an organic vegetable farm in North Canterbury, chef Alex Davies launched the Gatherings pop-up concept where the food he cooked represented a taste of the region, the time and place. The concept has since evolved into a permanent restaurant and living wine bar focusing on sustainable, local and seasonal cuisine. The overarching theme is to highlight the connection of what we eat and the planet that we live on. From its original plant-based tasting menu, Gatherings has pivoted towards family-style eating — and introduced sustainably-caught fish in the process. The takeaway 'Fish Supper' was introduced post-COVID-19 lockdown as a way to keep the wheels in motion. The concept has now become the restaurant's main offering, as a more affordable option for the community in trying times and to allow diners to feast as a family or friend unit. Southland's Gravity Fishing supplies the catch to order (and nothing more), which means that repeat diners will likely have an entirely different experience every visit. Diners have the option to order a whole fish for the table and buy smaller Canterbury-centric dishes around it. 5/2 Papanui Road, Merivale, Christchurch. AMISFIELD Located in Central Otago, Amisfield is a specialist producer of pinot noir and aromatic white wines, with a two-hatted bistro on-site. Basically, it's your one-stop portal to a world of amazing wine and food. Your meal unfurls by way of a 'trust the chef' degustation menu of three to seven courses ($140, $60 for matching wines), stopping off at the likes of titi (muttonbird) with seaweed and konini berries and hidden truffles in edible soil. The hyper-seasonal menu is the work of executive chef Vaughan Mabee, who earned his stripes working at Danish restaurant Noma. Another factor giving Amisfield its edge? Mabee works with a dedicated forager, who helps keep his stores packed with little-known local ingredients that invigorate the cooking each night. Amisfield provides the ultimate gastronomic experience against probably one of the most beautiful backdrops in New Zealand. Bookings are essential. 10 Arrowtown-Lake Hayes Road, Frankton, Queenstown. ARBOUR The philosophy of Arbour is "eat, sip, gather". It's a modern and elegant restaurant that champions local produce in its carefully crafted three-, four- or seven-course offering ($79–99). Diners can get an authentic taste of the region through fresh and simple ingredients that are married together in creative ways. So you'll see beef sirloin cooked with parsnip and smoked potato dumpling; john dory smoked and paired with leek, black truffle and 63-degree egg; and corn 'porridge' with various alliums, hazelnut and bacon. Here in the colder months? Head indoors, where Arbour has a 'prep bench' experience ($139 per person) that offers you the seven-course tasting menu, along with the dinner theatre of watching the kitchen in full flight. You'll want to catch owner-operators Bradley Hornby and Liz Buttimore in action — the latter is 2017 Cuisine Good Food Awards Restaurant Personality of the Year, after all. 36 Godfrey Road, Fairhall, Blenheim. Start planning your trip to New Zealand's south with our guide to the South Island journeys to take here.
When Cake Wines Cellar Door closed down in June 2019, it left a sizeable hole in Redfern's Eveleigh Street Creative Precinct. Thankfully, that gap has now been filled by another of the site's tenants, with Henry Lee's opening a new bar and restaurant. While the existing Henry Lee's cafe is still open for brunch and bites daily until 3pm, its sibling venue now serves up share plates and cocktails from 6pm from Thursday–Sunday. Thanks to a soft opening last week, it's already open and trading, with executive chef Antonio Saco (ex-Merivale) overseeing the kitchen. If you're keen on stopping by for a tipple, the three-page drinks list includes 26 vinos (complete with a couple of Cake Wines' tipples), a range of craft beer and ciders, a small selection of spirits and a ten-strong cocktail offering. It's the latter that's a highlight, especially the margarita with a black salt rim and the rhubarb-infused vodka and tonic. For folks having a few beverages with a friend, there's also an absinthe fountain. Food-wise, Saco's menu features both a cheese-heavy grazing board and a charcuterie board, as well as fresh Coffin Bay oysters served with mirin, lemongrass and sake salsa. Or you can get stuck into garlic labneh with rosemary and olive crumb, raw tuna tostadas with avocado mousse, and three-mushroom ravioli with shaved truffles. As for the small dessert range, it includes a whiskey, hazelnut and macadamia crumble with orange sponge and caramel, plus a combination of lime yoghurt mousse, sweet vegetable coulis, raspberry sponge, meringue and mascarpone ice cream. Showcasing local and passionate producers continues to be one of Henry Lee's aims, so while you're tucking into all of the above, you'll be enjoying bread from Brickfields Bakery, brews from The Grifter Brewing Co and Moo Brew, and gin and vodka from Hartshorn. You'll also be soaking up the bar and restaurant's rustic atmosphere, with Atelier Andy Carson charged with making the most of the building's existing character. Think plenty of light, an undone feel, and the use of construction and industry materials. The venue also celebrates a rotating lineup of artists-in-residence, with Margie Doyle doing the honours first up and creating bespoke pieces for the site's launch. Down the track, Henry Lee's Bar & Dining will also join forces with its courtyard counterpart for boozy brunches, with other events also planned once the weather warms up. And if you fancy taking a few drinks home with you after dinner, the venue also has a hotel license, which means that all of its wines and beers are available to takeaway.
Good weather and good vibes are on the way, which means the adventure lovers are gearing up for sunshine escapades. If your gear is in dire need of a revamp, iconic sustainable lifestyle brand frank green is here with the solution of three prize packs now up for grabs. frank green aims to end single-use plastic waste by crafting stylish and functional solutions that are built to last. Each of the lucky winners will score two Ceramic Reusable Bottles (grip finish) with Grip Lids, two 3-in-1 Insulated Drink Holders and two Stainless Steel Bowls with Glass Lids. The one-litre Ceramic Reusable Bottle is made for adventures — in the wild and in the city — and for this prize pack, it comes with the newly launched easy-to-grab Grip Lid, which is compatible with all frank green cups and bottles. The bottles also have a durable powder coat for added grip — so no bottles slipping from sweaty hands here. If you want your cold drinks to stay cool or hot drinks to stay hot, the bottles are triple wall vacuum insulated to retain temperature. Plus, because the bottles have a ceramic lining inside, they don't take on any of the flavours of your beverages, whether it's tea, coffee, infused water or anything else. The 3-in-1 Insulated Drink Holder keeps your bevvy ice-cold for longer. You can use it as a stubby holder or a tumbler, or add the included splash-proof lid and stainless steel straw to use it as a next-level cold-brew cup while you are road-tripping to your next adventure. Keep yourself nourished on your adventures, and pack snacks or meals in plastic-free, reusable Stainless Steel Bowls with Glass Lid. They are airtight with a soft-touch silicone seal and lightweight enough to pack in your day pack or to use as your daily lunchbox — to the envy of the office. So, if you and a mate or your partner are keen on adventuring this summer, fill out the form below to be in with a shot of upgrading your gear. [competition]917837[/competition]
Aluka describe themselves as a “Melbourne-based band of ladies who enjoy making music, knitting and interpretative dance". Their musical collaboration was borne out of a tight friendship. Discovering a shared passion for hanging out together and singing, but less of one for learning instruments, they decided to go a cappella. Five years later, Aluka have performed and recorded with the likes of Missy Higgins, Lisa Mitchell and Clare Bowditch and have made an appearance at the Sydney Opera House. Now they're on their way to Sydney to launch debut LP Space. Involving tricky shifts in timing, unexpected spurts of body percussion, and complex harmonies, Aluka's songs challenge the conventional a cappella mould. In making their CD, the girls travelled all around Victoria, searching for sonically satisfying recording spots. A chook shed, a swimming pool, a bunker from the Second World War, several bathrooms and a particularly resonant stairwell all played host to the experimental trio.
In the US, The Bear releases each summer. When winter comes Down Under, however, so does another chance to feast on one of TV's best current series. The above was true in 2022, when the Jeremy Allen White (The Iron Claw)-, Ayo Edebiri (Inside Out 2)- and Ebon Moss-Bachrach (Hold Your Breath)-led show premiered. It remained the case in 2023 and 2024 as well. 2025 is continuing the trend, with The Bear locked in for a June release. The date in America: Wednesday, June 25, 2025, which makes it Thursday, June 26, 2025 in Australia and New Zealand. As in past years, The Bear will be available for binge-viewing ASAP, dropping its entire season — ten episodes this time — in one hefty helping to continue streaming's tastiest southern-hemisphere winter tradition. Season four of the series has been in locked in since before season three even aired, and will continue to chart what happens when a sandwich diner levels up in a big way, becoming a fine-diner that's angling for a spot among Chicago's very best restaurants. So far in the show's narrative, White's Carmy, Edebiri's Sydney, Moss-Bachrach's Richie and their friends and colleagues initially focused on getting their beef-slinging eatery (where season one's action took place) running smoothly, then switched their attention to transforming the site into an upscale fine-diner (with that process fuelling season two) and ensuring that, too, worked as it should (as seen in season three). If you need more details about The Bear to date, its debut season jumped into the mayhem when Carmy took over the diner after his brother's (Jon Bernthal, The Accountant 2) death. Before returning home, the chef's resume featured Noma and The French Laundry, as well as awards and acclaim. Then, in season two and three, Carmy worked to turn the space into an upmarket addition to his hometown's dining scene, with help from the restaurant's trusty team — including a roster of talent also spans Abby Elliott (Cheaper by the Dozen) as Carmy's sister Natalie, aka Sugar, plus Lionel Boyce (Shell), Liza Colón-Zayas (Cat Person), Edwin Lee Gibson (Unprisoned) and IRL chef Matty Matheson among the other staff. Season four will throw new challenges at The Bear crew, continuing to raise that perennial question along the way: what should you cling to when you're chasing greatness, and in life in general? Also popping up in the series so far: everyone from Jamie Lee Curtis (The Last Showgirl), Molly Gordon (Theatre Camp), Will Poulter (Warfare), Olivia Colman (Paddington in Peru) and Bob Odenkirk (Lucky Hank) to John Mulaney (Poker Face), Joel McHale (Yellowjackets), John Cena (Jackpot!), Josh Hartnett (Trap) and Noma's René Redzepi. There's no trailer yet for The Bear season four, but check out the trailers for seasons one, two and three below: The Bear season four will stream via Disney+ in Australia from Thursday, June 26, 2025. Read our reviews of seasons one, two and three. Via Variety. Images: FX / Disney+.
The Witcher wasn't Freya Allan's first acting role. But within a mere two years of her debut on-screen credit, she was in a streaming smash. The Netflix series arrived just as Game of Thrones ended, falling into the big wave of fantasy efforts endeavouring to capitalise upon the genre's Westeros-fuelled renewed TV popularity. It did just that, sparking two more seasons that've already aired, a fourth in the works — to be co-led by Liam Hemsworth (Land of Bad), who takes over from Henry Cavill (Argylle) — and both animated and live-action spinoffs. The Witcher also thrust Allan, the show's Crown Princess Cirilla of Cintra and one of its three central characters, to fame in a huge way. The English actor isn't done with her time as Ciri yet, but she's now added a new first to her resume: her first lead film part. In fact, Baghead is only her second movie stint, after co-starring in 2021's Gunpowder Milkshake. One thing remains familiar, as it did when she appeared in miniseries The Third Day as well: Allan and the supernatural keep being linked. While that connection isn't purposeful on her part, the two-time Saturn Award-nominee — the accolades handed out by the Academy of Science Fiction, Fantasy and Horror Films, with Allan twice in contention for Best Performance by a Younger Actor in a Television Series — can see why it keeps happening. "I think once you show a certain thing, people go 'oh, she's the girl that can do that'. And it's harder to break out of a certain box," Allan tells Concrete Playground. "But it's always a work in progress." [caption id="attachment_944097" align="alignnone" width="1920"] Susie Allnutt, Netflix[/caption] Baghead tasks her with getting otherworldly by talking to the dead in an eerie pub. Iris Lark, Allan's character, inherits the Berlin watering hole when her estranged father Owen (Peter Mullan, The Lord of the Rings: The Rings of Power) passes away. She didn't know about the bar's existence otherwise but, as encouraged by a disquieting solicitor (Ned Dennehy, The Peripheral), she's soon signing up to take it over. Inside, the run-down inn offers more than anyone could ever bargain for. In its basement exists an entity that can give patrons quite the deal: for two minutes, it will gift whoever sits in a chair opposite it the chance to spend time with a loved one that they've lost. It boasts Talk to Me vibes, but the premise initially fuelled Alberto Corredor's 2017 short that's also called Baghead. The full-length version is the director's feature debut. At the movie's centre sits two key elements: the "what would you do?" question, as part of its grappling with grief; plus Allan as the twentysomething woman tussling with that very query — which Iris only learns about after the mourning Neil (Jeremy Irvine, Benediction) arrives with cash for his own date with the pub's other inhabitant — and then experiencing the consequences. Taking the horror heroine route to the silver screen is a tried-and-tested path. After Baghead, however, Allan will next hit picture palaces in 2024 in Kingdom of the Planet of the Apes, the fourth film in the latest Planet of the Apes franchise. "Apes for me is my proudest project I've done so far. I just think that everyone involved is just superb at what they do. All the actors, I watched most of the film the other day, and they just killed it. So I feel very proud of it and I'm just excited for people to see it, and I hope that they can appreciate everyone's hard work," Allan advises. We also chatted with Allan about her response to Baghead's setup, what she'd do in the same situation, how she chooses projects, her relationship with horror and taking on her first lead part — and The Witcher, of course. On How Allan Would React If She Was Given the Chance to Talk to the Dead for Two Minutes "I would. Well, I wouldn't in this film, because there's a lot of risk factors involved. But in general, if I could talk to my grandparents, I definitely would. It was two years ago we shot it, but I'm sure we must have had a conversation about it at some point while shooting. I feel like it's the inevitable question." On Allan's Initial Response to Baghead's Premise — and How She Prepared for the Part "My first response as Freya, I was drawn to that element. I think grief is such a topic that everyone can really associate to and has experienced. And so I think that's immediately something that's very easy to connect to, and is such a prevalent part of life. You can't really escape it. So I think that's profound. I just came up with a backstory and made sure I had all the details I needed, and all the questions answered that I needed. And in regards to when she lost her parents, and understanding a bit more about peoples' experience in the foster-care system where she's come from. And having just lots of conversations with people and their experiences around grief as well, even talking to my mum about it, and Alberto and the other cast as well — just having those constant conversations." On the Challenge of Taking on Her First Leading Film Role "It doesn't necessarily feel totally different to The Witcher in terms of the pressure. I think I have the same pressure on every job I do. It never really goes, whether you have a smaller part or a larger part. And also, it very much felt like I was a part of a team with Ruby [Barker, from Bridgerton] and Jeremy, who played Katie [Iris' best friend] and Neil. So, it felt like we were there to support each other." On What Appeals to Allan About New Projects — Including Baghead "It depends. I think I definitely was at a place of still wanting to learn. I mean, I want to learn on every job I do, obviously — it's just a natural part of leaving a job, you always feel like you've learned even more for the next job. I saw this as a great opportunity for that. It was my first lead in a feature and it was a great ground to learn in order to go into other projects with more experience. And I would say from here, I love to do some stuff which is completely stripped back and has no supernatural at all." On Starring in a Horror Movie But Not Being an Obsessive Horror Fan "I feel like it's an inevitability for every actor. You can't really be an actor and not have done a horror film — and actually it's, like I say, a great ground for learning a lot of things, because a lot of it actually does really revolve around physicality and building a heart rate. And you begin to realise how much physicality plays into being an actor. That really helped me for for other things. But no, I'm not immediately a horror fan — I don't know everything about horror films, but I definitely have had great experiences of watching certain horror movies. I really do think that they can be the perfect film for cinema, to go and have a have a real experience with your friends, and be scared and have a snack." [caption id="attachment_944098" align="alignnone" width="1920"] Susie Allnutt, Netflix[/caption] On Allan's Journey with The Witcher So Far "When I got that role, that was huge for me and it was so exciting. That character is always going to be hold a very dear place in my heart, and I feel very lucky to have specifically played her. I think she really gets to have such an arc throughout the whole show by the end. But obviously, you do begin to want to do new things as well. So I think when it comes to an end, it will be a bittersweet thing of saying goodbye to a character that I'm hugely grateful for, but also being excited to do new things." Baghead opened in cinemas Down Under on Thursday, February 22. Read our review.
It's no secret that most new year's resolutions fall by the wayside by mid-January. But there's one goal that's worthy of a year-round effort — and that's to cut back on meat. It's well documented that eating less meat is good for the environment, so that should probably be reason enough for most of us to introduce more plant-based meals into our lives. But the truth is that most of us need a couple of selfish incentives to really get the ball rolling — thankfully, vegetarian options have plenty of those, too. Firstly, plant-based meals are just as tasty as their meat-laden siblings (we promise), but they're also often a bit cheaper and, anecdotally speaking, fill you up without giving you that too-full bloat we know all too well. To get the creative juices flowing, we've teamed up with Yumi's to put together a list of cracking plant-based dinner ideas that you can easily whip up mid-week, or as a weekend feast with friends. [caption id="attachment_817040" align="alignnone" width="1920"] Melanie Dompierre (Pexels)[/caption] EGGPLANT PARM Heading to the pub for a parmi or parma (depending on where you are, of course) is one of life's little joys, but did you know you can make an eggplant version at home that pretty well involves the same ingredients you know and love in the pub staple (minus the chicken) but stays true to its Italian roots? Essentially a layered Italian bake (picture a lasagne without the heavy lifting), an eggplant parm sees slices of grilled eggplant sandwich a fresh tomato pasta sauce and finely-grated parmesan, and is topped with mozzarella and pangrattato to add some crispiness. Alternatively, you could even try this fun mushroom-based parm for something a little different. Of course, if you want to go vegan then you simply need to switch to a dairy-free cheese alternative — vegan parmesan definitely stacks up against the real deal. [caption id="attachment_817045" align="alignnone" width="1920"] Alesia Kozik (Pexels)[/caption] SOUTHERN-STYLE CAULIFLOWER Cauliflower is a perfect gateway for any person considering a plant-based lifestyle. Its ability to soak up flavours and maintain its structural integrity during the cooking process makes it a no-brainer when making vegetarian versions of fan favourites, including Southern-style wings. You have a couple of options when making cauliflower 'wings' and your decision will largely depend on how much effort you're willing to put in. If you've got some time or are cooking up a feast for your mates, then whipping up a sweet and smoky marinade to mimic a buffalo wing is a great shout. For a simpler take, these sriracha-spiced spiced cauliflower bites are ideal, and can be eaten for lunch the next day on a sandwich, salad or even as a taco. [caption id="attachment_817052" align="alignnone" width="1920"] Ketut Subiyanto (Pexels)[/caption] MUSHROOM BOLOGNESE Did you grow up with a weekly spag bol night? We all love mum's (mom's?) spaghetti, but just because you're going meat-free you don't need to miss out. Adapting your bolognese to be vegetarian every once in a while is perhaps one of the easiest and most satisfying meat-to-vegetable swaps you could make. The combination of the meaty mushrooms and fragrant herbs sitting pretty on a pile of comforting spaghetti will always be a thing of pure joy. Of course, it's going to taste a little bit different when you swap meat for lentils and mushrooms (so you can't trick your mates into thinking they're eating meat) but at its heart, this version is just as delicious and warming a dinner. FALAFEL BOWL Gone are the days of having to hunt down falafels from a specialty store (or even making your own) — Yumi's are serving up a great range of ready-to-eat falafels, which you can find in all major supermarkets. Falafel bowls are the probably simplest plant-based meal to prepare, and a great jumping-off point if you're new to the meat-free world. Simply fill a bowl with all of your favourite salad ingredients (fresh herbs, tomato, cucumber and olives, for example) and top with falafels, which are best enjoyed after a 30-second zap in the microwave. We also highly suggest you mix through a generous dollop of Yumi's Classic Hommus or flavoured dip to amp up your dressing. After something a little more indulgent? Trade the HSP for an FSP — a smashed falafel snack pack that will satisfy at any time of the day. [caption id="attachment_817058" align="aligncenter" width="1920"] Alesia Kozik (Pexels)[/caption] CHICKPEA AND TEMPEH CURRY A curry is perhaps the quintessential winter dinner. Not only are they often nice and spicy, but they're also loaded with flavour and warm you from the inside out. Choosing a curry that combines filling vegetarian ingredients like protein-rich chickpeas and tempeh with a flavoursome sauce is the key to creating a satisfying dinner you'll want to make again and again. For the uninitiated, tempeh is similar to tofu in the sense that it's made from soybeans, but unlike tofu, it's much firmer and is made from fermented soybeans. The firmness and nuttier flavour are what makes tempeh ideal for curries because it won't disintegrate into mush when you cook it in the sauce, and. You can grab it at your local supermarket and simply cut it into cubes before adding it to your favourite curry recipe. JACKFRUIT TACOS The best gotcha in the vegan world is making jackfruit tacos for a friend who vehemently believes a meal isn't a meal unless there's a truck-tonne of meat. From the same family as the fig tree, jackfruit is native to the Western Ghats of southern India, Sri Lanka and the rainforests of Malaysia, so it's fairly common in these nations' cuisines. Arguably the best way to trick your friends into thinking they're eating pulled pork, though, is to whip up a batch of jackfruit tacos. You'll struggle to come by a jackfruit in the produce section of your supermarket, but you'll definitely find canned unripe, green or young jackfruit in the canned vegetable section, and it works best for this recipe anyway. The main difference between preparing jackfruit (versus pork) is that you drain the can and shred it prior to cooking it in your sauce. If you find any large, woody chunks, simply chop these up before cooking. For more meat-free dinner inspiration, check out the full range of Yumi's falafels, veggie bites and dips.
Good news hasn't been easy to find among Australia's music festival scene in 2024, but Strawberry Fields is bucking the trend. The annual fest on the banks of the Murray River is only just dropping its lineup now, on Monday, July 8, but it's already almost at ticketing capacity. Some events are all about who's taking to the stage. Some boast a setup and setting worth spending a weekend in no matter which acts are on the bill. Strawberry Fields doesn't skimp on talent, of course, but its location is a hefty drawcard all by itself. That spot: Tocumwal in New South Wales, where the regional weekend-long party sports not just multiple stages pumping out tunes in leafy surroundings, but also a bush spa. Having a soak between sets is worth entry alone. So far, 95 percent of Strawberry Fields' tickets have been snapped up — a huge feat that was achieved in a mere three hours — but more are going on sale from 9am on Tuesday, July 9. If you're lucky enough to secure your attendance from now, you won't be locking in a music-fuelled getaway across Friday, November 15–Sunday, November 17 sans lineup. The just-unveiled roster of acts is massive, including DJ EZ, KiNK, Daddy G from Massive Attack and Seun Keuti & Egypt 80 just for starters. Some will make the Wildlands stage their temporary home, such as Sam Alfred, SWIM, DJ Theo Parrish and DJ TSHA among the other names. Others, like Jaubi, KOKOKO! and Soichi Terada, will hit up The Grove stage. The Deep Jungle stage will welcome Circle of Live's Australian debut, plus DJ Paula Tape, Sébastien Léger and Township Rebellion. And over at expanded The Beach stage for 2024, which will indeed get you making shapes while in the river, Physical Therapy leads the charge. Also, a showcase from Japan's underground scene is sure to be a highlight. Beyond the tunes, a new amphitheatre is part of this year's fest, focusing on performance art, lifestyle and chilling out; the bush spa now boasts a sauna; and a special projection art installation will pay tribute to Nick Azidis. Also, the Moroccan Bedouin lounges and tea ceremonies will be running in the festival's Mirage Motel space again, plus the glamping options are back to make your weekend as lavish and as low-maintenance as possible. For another year, if you happen to be born on this year's festival dates, you can register to score a free ticket. Happy birthday to you indeed. Tickets for locals come at a discount, too, costing half the regular price if your postcode is in the Berrigan Shire. In addition to all of the above, Strawberry Fields lays claim to being one of the country's most-sustainable festivals, doing the environment a solid while unfurling its fun. It is powered by biodiesel fuel as well as solar power, its rewash revolution system has diverted over 200,000 single-use plastics from landfill, composting toilets are provided and all transport is carbon offset via Treecreds. Strawberry Fields 2024 Lineup: DJ Afrodisiac Aldonna Babycino Bertie Byron Yeates College of Knowledge DJs Daddy G (Massive Attack) x Don Letts Dameeeela DJ EZ DJ Pgz featuring Ecstatic Mob Dr Banana Ed Kent Emmyk & Tilly Hiroko Yamamura Jordan Brando B2B Luke Alessi Kia Kim Ann Foxmann Laura King Livwutang Lovefoxy Marie Montexier Mikalah Watego Minyerra Mothafunk Naycab Niks Nooriyah Paula Tape Physical Therapy Pnny Poli Pearl Rainbow Disco Club featuring Kikiorix, Sisi, Kuniyuki (live) Rona. B2B Dima Sam Alfred Sébastien Léger Simona Castricum Sky High Trio Soul Clap Stev Zar Suze Ijó SWIM Theo Parrish Township Rebellion TSHA U.R.Trax Vanna Zjoso Live Alisa Mitchell Cinta Circle of Live featuring Kuniyuki, Sebastian Mullaert and Sleep D Evening News Harvey Sutherland Immy Owusu Jaubi Jupita Kaiit Karo X Kee'ahn KiNK Kobie Dee Kokoko! Mandeng Groove Mildlife Miss Kaninna Pataphysics Sachém Sarita Mcharg Seun Kuti & Egypt 80 Sinj Clarke Soichi Terada Tarabeat x Mz Rizk Versace Boys Viken Armen Wulumbarra Xmunashe Zfex & Ausecuma Beats Zourouna [caption id="attachment_887378" align="alignnone" width="1920"] Will Hamilton-Coates[/caption] [caption id="attachment_887377" align="alignnone" width="1920"] Will Hamilton-Coates[/caption] Strawberry Fields 2024 will take place at Tocumwal, New South Wales, from Friday, November 15–Sunday, November 17. The final release of tickets go on sale at 9am on Tuesday, July 9. Head to the festival website for further details. Strawberry Fields images: Duncographic.
For audiences, Carême is a series to savour: a mix of culinary spiciness, historical intrigue and espionage antics, all whipped together with plenty of sauces in the kitchen and ample sauciness in its characters' private lives. For star Benjamin Voisin (The Quiet Son), the new Paris-set French Apple TV+ series, which debuted on Wednesday, April 30, 2025, is a project that sees him step into a real-life chef's shoes, required dedicated training at a famous school of cuisine, but also gave him the freedom to channel rock stars and invent the show's version of Antonin Carême with few limits. The result for viewers is delicious to watch — and, for its star as well, it's delectable to dive into. Carême's namesake has a claim to fame that the series unsurprisingly plays up. In Napoleonic times, long before Julia Child, Nigella Lawson, Anthony Bourdain, Marco Pierre White and many, many others earned the moniker, he was world's first celebrity chef. The book Cooking for Kings: The Life of Antonin Carême, the First Celebrity Chef is the show's basis — and that tome's author Ian Kelly, who is also an actor (see: The King's Man, The Children Act, Downton Abbey), co-created the streaming drama. Helping behind the camera to bring it to the screen: filmmaker Martin Bourboulon (The Three Musketeers: D'Artagnan and The Three Musketeers: Milady), one of the series' three directors alongside Laïla Marrakchi (The Eddy) and Matias Boucard (the cinematographer on Bourboulon's Eiffel, and also here). The 19th century has just arrived and Carême isn't even in his twenties when the show begins, with its protagonist learning his craft and initially discovering his aptitude for baking — and much beyond — in the kitchen of his adoptive father. He's already showing his ambition for far more, too. Then comes a horrific personal turn of events that sees Antonin's status quo crumble. Also arriving: a wholly unexpected invitation to cook for Napoleon (Frank Molinaro, Class Act). But being the personal chef to such a figure sparks another gig, after clergyman-turned-politician Charles Maurice de Talleyrand-Périgord (Jérémie Renier, The Astronaut) gets Carême spying on the Bonapartes. Liaisons with Joséphine (Maud Wyler, En haute mer), wowing diners with vol-au-vents, undercover quests and basically the period's version of MasterChef are all soon headed his way, amid a romance with Henriette (Lyna Khoudri, The Empire), the lady-in-waiting to Talleyrand's mistress Catherine (Sigrid Bouaziz, Irma Vep) — plus a complicated relationship with fellow kitchen whiz Agathe (Alice Da Luz, And the Party Goes On), and also unwanted interest from police chief Fouché (Micha Lescot, Je le jure). A decade into his career, Voisin adds Carême to a resume that's hopped between the stage and screen — and, with the latter, between both its big and small guises — but now gains what'll always be one of his standout performances. That's no simple feat, given that he was nominated for Most Promising Actor at the 2021 César Awards for his exceptional effort in Summer of 85, won the same category at that year's Lumiere Awards, then collected the César in 2022 for Lost Illusions. Jumping into the past keeps proving a recurring theme for Voisin, and often to the century when Carême was cooking up a storm; not only is that true of Lost Illusions, but also with The Happy Prince beforehand and The Mad Women's Ball afterwards. [caption id="attachment_1001934" align="alignnone" width="1920"] Marc Piasecki/Getty Images for Apple TV[/caption] Those rockers that helped Voisin find his take on Carême? "Mick Jagger and Lenny Kravitz," he tells Concrete Playground. What did Voisin learn from the experience of making the series? That answer spans both what the charismatic actor discovered about his chosen field and what he put into his character. "I learned that it's very pleasant," he explains of leading a TV series. "I'd done theatre, stage theatre, and you're there for an hour and a half in front of the audience. But I also did a few movies — there you are there for two hours, a movie is two hours. But here, there is so much time to distill the emotion. On a movie, sometimes I'm asked to go quick into an emotion and out of it again, to be able to face the audience again. Onstage, you only have an hour and a half to tell a story. You don't know that much. In film, you have more time. In series, you have even more time. That, I found great," he advises. "And on Carême's character, I thought it was exciting to be able to offer this — on the one hand, there's this arrogance, but also later on as the series evolves, there's a whole episode about vulnerability and depression and doubt, and then the initial arrogance changes because of that episode." We also chatted with Carême's lead about why portraying the show's eponymous figure appealed to him, the process of learning more about Antonin, whether playing someone thrust to fame at a young age was something that he could connect with, the culinary preparation involved, his run of period-set roles and more. On What Appealed to Voisin About Portraying Antonin Carême "What I liked was the way in which this character, who has trouble with his emotions and he could be something of an introvert, he shows up with self-confidence that's almost arrogance — and you see over the eight episodes how that turns into what chefs should have, that is self-confidence, but also being able to listen to his team. That came out clearly. But I thought his combined love for politics and food, you could see how slowly but surely this young man was going to grow up into an adult. That's what I liked about Carême's character." On Learning More About Carême, and His Role Both as a Chef and in Politics "Well, you know Napoleon, of course — and Talleyrand, two famous characters. I mean, Talleyrand was Napoleon's Foreign Minister and he was Careme's boss, as it were. But that made it even more exciting, because it means I don't need to have a head-on responsibility. You know the character Napoleon. You know how he walks, his gait. As with Careme, you know nothing, so I had a free hand. I read some quotes. I didn't need to read much too about him — a few quotes here and there, to build the character. When he says that things should be as beautiful as they taste, for me, that's plenty to get into the character. But then regarding the body language, the hairstyle, it was great to be able to just make it up and create. We went for the costumes into Mick Jagger or Lenny Kravitz — and nothing to do [with Carême], it makes no sense, but that was my pure imagination. But I thought it was great in this series to have that free hand — I mean, on the one hand, you respect the period, but then you have the freedom to reinvent it." On Whether Voisin Could Connect with Playing Someone Thrust to Fame and Recognition at a Young Age "That's the whole thing, isn't it? This is Napoleon's chef, isn't it — and so, of the greatest public figure? So I do my little series, my little story. It's a huge difference. The one thing I wasn't so keen about — the fame, it was more ambition. There you have this young man who accepts — or young woman — who accepts him or herself as they are, but then there could be criticism and everything, but the main thing is to go to the end of your journey. That's what I could identify with. At the end of the day, you don't want to regret anything, and that reflects my own career in film. People say 'why go theatre?' when I was a kid, and I just believed in it and I went head on, and that enabled me to work without the safety net. And that's the connection, maybe, with the character." On the Preparation Required to Make the Culinary Side of the Role Appear Real On-Screen "You need to work on that, of course. We worked with the actual chef, Christoph, who also teaches in a famous school of cuisine. The school is called Ferrandi, the Ferrandi School of Cuisine. I was able to work with him for two months running, and joined his team and his mates. And he asked me to work not just on basic requirements for the part itself, but many other things in cooking and cuisines, so that my gestures should be really independent. When I go for poultry or whip cream or whatnot, I should know exactly how to go about it. And then my first connection with the part is also costumes. I wanted to have Carême's costumes one month ahead of shooting, so I could identify with that and use it as an apron or something more elegant. I had to be familiar with that. I could see shoes as being very tight, to create some pressure — and you need to go quick, so when you have your feet hurting, it creates even more pressure. That's the sort of thing." On Balancing Carême's Confidence, Impulsiveness, Passion and Seductiveness with His Vulnerability and Yearning, All as He Matures Across the Season "For every character, when you grow up into adulthood and you become a full-fledged person — I mean, Carême, he mourns his parents, so that's pretty evident, but when you leave home, you have to face that. So there is this journey. I don't know if I have a balancing act. Everybody has to find a balancing act. Any human being has got to go through that." [caption id="attachment_1001935" align="alignnone" width="1920"] Marc Piasecki/Getty Images for Apple TV[/caption] On Voisin's Run of Period-Set Roles, Not Only with Carême But Also Lost Illusions, The Mad Women's Ball and The Happy Prince "Something happens to me. You think that actors pick their parts, but it's directors that make choices, and then within the directors' choices I make my choice. I probably have a face for a period movie. I don't know. Maybe I don't fit in in modern times. But it's true, the best parts I was ever offered were in period movies — which I love, because the reason we do this is to wear a suit, a costume, the period costume and stuff, and that makes it more pleasant for an actor. And I love for the audience watching to be suddenly immersed in a period and go back 200, 300, even a thousand years back — I find it exciting as a viewer, but as an actor it's even more exciting." Carême streams via Apple TV+.
The zombie apocalypse has evolved. When just 28 days had passed, survivors faced a nightmare. Little had improved when 28 weeks had gone by. Now, following 28 years of chaos, Jodie Comer (The Bikeriders), Aaron Taylor-Johnson (The Fall Guy), Ralph Fiennes (The Wonderful Story of Henry Sugar), Jack O'Connell (Back to Black) and Alfie Williams (His Dark Materials) are dealing with the aftermath of a society ravaged by a horrific infection for decades. Yes, the trailer for the aptly named 28 Years Later is here. Although 2030 will mark 28 years since viewers were treated to one of the best zombie movies ever, aka 28 Days Later from filmmaker Danny Boyle (Yesterday), you'll be watching a new flick from Boyle in the same franchise in 2025. First confirmed at the beginning of 2024, the movie has dropped its first full sneak peek to help close out the year — complete with Teletubbies, towers of skulls and bones, a possibly familiar-looking zombie, and the grim reality after days became weeks and then years of coping with the new status quo. 28 Days Later has already spawned one follow-up thanks to 2007's 28 Weeks Later, but Boyle didn't direct it. Screenwriter Alex Garland, who also penned Sunshine for Boyle, then hopped behind the camera himself with Ex Machina, Annihilation, Men, Civil War and TV series Devs, wasn't involved with 28 Weeks Later, either. But they're both onboard for the third film in the series, which is the start of a new trilogy. The saga's fourth feature 28 Years Later Part II: The Bone Temple has already been shot, in fact, with Candyman and The Marvels' Nia DaCosta directing. The setup this time around: almost three decades after the rage virus initially seeped through humanity after escaping from a biological weapons laboratory, some survivors have etched out a life on a small island. Elsewhere, quarantine remains a key way of tackling the infection. With that starting point — and with unease dripping through the first trailer, complete with stunning imagery — expect Boyle and Garland to dig into the terrors that linger when two of the island's residents venture over to the mainland. With 28 Days Later among the movies that helped bring Oppenheimer Oscar-winner Cillian Murphy to fame, the actor is an executive producer on 28 Years Later. That mightn't be all that's in store for him, though, if you pay close attention to the trailer. In the original film, he played Jim, a bicycle courier who wakes up from a coma in a deserted hospital 28 days after an outbreak changed the world forever. Marking Boyle and Garland's first proper collaboration after Boyle adapted Garland's best-selling novel The Beach for the big screen two years prior, 28 Days Later still ranks among the best work on either's resume — and on Murphy's as well, even if it didn't win him any of Hollywood's top shiny trophies. Set in the aftermath of the accidental release of a highly contagious virus, the film's images of a desolated London instantly became iconic, but this is a top-notch movie on every level. That includes its performances, with then-unknowns Murphy and Naomie Harris (the Bond franchise's current Moneypenny) finding the balance between demonstrating their characters' fierce survival instincts and their inherent vulnerability. If you wondering why 28 Months Later wasn't made, it was talked about for years, but the time has now passed unless the new trilogy includes a flick set between 28 Weeks Later and 28 Years Later. Check out the first trailer for 28 Years Later below: 28 Years Later releases in cinemas Down Under on Thursday, June 19, 2025.
Celine Song understands the power of a moment. Past Lives, her debut feature, is filled with scenes and meetings — minutes and mere seconds, too — that are so potent they're almost overwhelming. Making the leap to cinema from the stage, the playwright-turned-filmmaker has crafted a quiet, patient, contemplative and deeply felt romantic drama that knows intimately how emotions can swell to bursting point in something as simple and commonplace as a glance, walk, Skype call or drink at a bar. One of the movies that had 2023's Sundance Film Festival talking, plus everywhere from Berlin to Sydney to New Zealand since — and is destined to be showered in awards love, too — Past Lives is well-aware of what it's like to spend oh-so-many moments wondering what could've been or still might, and about what's meant to. Arriving after focusing on the stage, getting experimental with Chekhov live and online with The Seagull on The Sims 4 and writing for the initial season of streaming series The Wheel of Time, Song's first effort as a filmmaker springs from a specific moment, in fact — and one that she also recreates on-screen with her characters Nora (Greta Lee, Russian Doll), Hae Sung (Teo Yoo, Decision to Leave) and Arthur (John Magaro, The Many Saints of Newark). Past Lives takes inspiration from the writer/director's own experiences in a number of ways. "I would say it's an adaptation of my life, or inspired by," she tells Concrete Playground. It was the power of a moment sat in a New York bar with her American husband and Korean childhood sweetheart, however, that helped put the picture in motion. "I wasn't sure if there was a movie in it, but I think that what I really did feel is that it did feel like a significant and special moment, and a very revelatory moment in my own life," Song shares, chatting in August when she was in Australia for the Melbourne International Film Festival. "I feel like living your life as an ordinary person, I think that there are moments in your life where your life suddenly feels completely extraordinary — and it's totally epic, too. Then you just suddenly feel the total sheer scale of your life expand." "That kind of was this weird moment where I was like 'huh, nobody in this bar probably knows this or feels this, but I think that I just am feeling so massive sitting here in this little bar with these two people'," Song continues. "I think that it made me feel like 'maybe this is something that might connect with other people?'. And then, more and more, I learned that it does connect with a lot of people, and that honestly has made me feel less lonely more than anything." Past Lives begins with Nora, Hae Sung and Arthur sipping and chatting as fellow bar patrons observe, guessing about who the trio are to each other. From the outset, the film connects with that powerful moment in Song's own existence, with the three figures that'll wander through her feature's frames coping with love and life, and with viewers doing their own watching and pondering as well. From there, the movie heads backwards, first to Nora (Moon Seung-ah, Voice of Silence) and Hae Sung's (Leem Seung-min, Good Deal) time together as pre-teens, before the former and her family move to Canada. Then, it jumps forward twice in 12-year increments, checking in wth the pair — and Arthur once he enters Nora's life — as time passes on and distance stretches their youthful bond. As this tender and heartbreakingly honest picture unfurls, Past Lives' audience doesn't just experience an affinity with folks realising that they're having a moment, but with the "what if?" questions in life, being torn between the past and the present, and trying to work out who you truly are. With its title drawn from the Korean concept of in-yeon, aka the fate that connects anyone who crosses paths, Past Lives' viewers feel a date with destiny as well. Getting swept away by Past Lives is easy; making it play that way wasn't, of course. Song chatted us through the details, including subjectivity, authenticity, getting the personal to feel personal to everyone else, and the ins and outs of casting when you're taking cues from your own life. ON MAKING SONG'S FIRST FEATURE "I wish that I could give you some a lofty thing that I was trying to do. But honestly, I think because it was my first movie, it was just getting through the day and getting a movie made more than anything. I think that every day, the number-one goal that you're facing is just 'okay, how do I make this movie — how do I get through today, and get the footage and get the performances I need?'. That really was the primary drive. I wish I had big, lofty dreams for things, but it was so much more like I was like learning how to do it as I go because it was my first movie. That really was so fully occupying me that it was hard actually for me to feel like I could have any goals beyond making the movie." ON TAKING INSPIRATION FROM REALITY, AND FROM SONG'S OWN STORY "It really does start from that amazing subjective place — that is the part that is the autobiographical moment, which is that moment in the bar. But then, of course, in turning it into a script there is an objectification of the subjective moment, where it becomes a script that you're writing. And then from there, there's another layer of objectification, where you, with hundreds of people who are working on the movie, turn it into a film — which is then a whole other set of objectification. And, part of it is the subjectivity of the actors, for example: they come into the picture and you're working with the actors to create these characters. So, by the time that I was making the movie properly and then finishing the movie and all that, I really was looking at the thing as making this movie. I think that at that point I felt pretty distant from the aspects of the movie that were that started from an autobiographical place. But now that what I really love is it's kind of full circle now — the audience is coming to meet this movie, and they're actually then able to experience it subjectively. They feel like it connects with them autobiographically on their own, too. I think that's the process of making personal work, and I think that's really what the process was for this. I really do think of it as a very personal film because of that. And the words I would usually use, I would say it's an adaptation of my life, or inspired by, or something like that." ON MAKING A PERSONAL FILM THAT FEELS PERSONAL TO AUDIENCES, TOO "That's always the dream and goal for it, because I feel like I have to believe that if I'm being as honest and authentic with the experience of what it's like to be a person, I just know that there is an audience that's going to also connect to it like that. I've really treated it very much as a test of how real can I be with the audience, and how real can the filmmaking be. Of course, I'm talking about the truth of the thing, rather than the facts, because some of it is about the truth of what it's like to be a person. As long as it is communicated in the best way, as clearly as possible — I think I used the word 'clearly' often, as you want to be able to tell the story as clearly as possible — at the end of it you really do want the audience to come along for this journey. And even though it's really specific, I think that the dream is that you're able to see yourself in it and you're able to connect it to your own life. This movie doesn't have conventional ideas of spectacle. We don't have wild costumes. We don't have VFX. We don't do anything that is outside of what is likened to human experience. So I think some of it just had to be relying on the authenticity of performance, and that's where the story is going to be. That's how the story was going to connect with the audience — they're going to feel how real the movie is going to be, the way that the movie is going to reach everyone. I've been finding that no matter what walk of life you come from, you're going find something in the movie that you feel connected to." ON MAKING AN AUTHENTIC "WHAT IF?" STORY WHEN EVERYONE SHARES THAT TRAIN OF THOUGHT "That really is the the part that is difficult about making a movie where you can really feel connected to it. It's going to live and die on if the audience will come along for the journey and believe it, and believe the characters and believe the story. I think without question, that's where you're going to be able to see very, very high emotional standards. We do, of course, all experience 'what could have been?'. Sometimes it's the person, but sometimes it's a city — and sometimes it's a lifestyle or a job. If you ever have had an experience like that, I think you're going to connect to the movie." ON THE INTRICACIES OF CASTING WHEN YOU'RE TAKING CUES FROM YOUR OWN LIFE "I don't think that I was looking for actors who were going to play basically those people [IRL]. I was looking for people who were going to play the characters that I've written. So something that I wanted is to make sure that none the actors thought that what they were trying to do is to replicate people who exist. I wanted then to come with me in finding the characters that we're trying to to pick for the screen, because it's a completely different thing altogether — characters in movies are very different than people in real life. People in real life, it's not so clear what their arc is. In our lives, I don't think that we know what our arc is in our real life, because we don't live in narrative. We live in a life, compared to characters in a film who have to live in a narrative, because that's what we're going to be watching. Without question, the actors were not being asked to replicate real people. What they were being asked to do is the scenes, and part of the thing that I was looking for in the actors is, first of all, are they great actors? The way that I wanted to make the movie, sometimes I would ask the actors to just do the whole scene — which is, of course, something that comes from my background as a playwright — and I really wanted them to be able to do the whole scene if I asked them to. That's something that only actors that are really excellent actors are able to do. So, that was the first thing that I was looking for. The other thing I'm looking for is what I would call a soul match to the characters, where I really wanted the actors to have some deep kind of soul connection to the characters — it has to do with the way they're talking about the characters, but it's also, more importantly, the engine or the fire that a character has to have. It is something that the actors themselves could have — that the heart of Nora is going to be found in Greta's heart as well. I think you could really feel that in the film, where Nora is showing up but it's not just that Greta is playing Nora. I know that for the film, the only way that this movie can work is that Greta had become Nora. That's what's both amazing about casting and also what's very difficult." ON THE RESPONSE TO PAST LIVES SO FAR — AND THE SUNDANCE EXPERIENCE "You just hope for the best for the movie that you're making kind of in secret. I really did think about it as something that was a bit of a secret between me and everybody who was working on the movie. Then, as for how the world was going to receive it, that's been an amazing part — it's just nothing but joy and like excitement. I remember at Sundance, I'd been working on the movie again in secret with the people who worked on the movie with me for many years. Then I remember waiting at the backstage of Sundance, knowing that it's going to be in the in the public's hands from this moment on. I remember really feeling in that moment like everything's going to change, and this is going to be a moment where I'm going to have to let go of control or let go of everything. It really was like wandering into the unknown. I think that every time that there has been such a warm response, which is how it been, it's just such an exciting thing — because great word of mouth means that more people are going to come see the movie, and I think that's always the dream for it. You want to be able to share this thing that you made." Past Lives opened in cinemas Down Under on August 31. Read our review. Images: courtesy of A24.
What does Brisbane have in common with music superstars Beyoncé, Björk, Lady Gaga and Rihanna, and also Oscar-winners Cate Blanchett and Tilda Swinton? An appreciation for fashion designer Iris van Herpen. The avant-garde Dutch talent has dressed them all, including creating the breathtaking Heliosphere dress that proved a showstopper on Beyoncé's Renaissance tour. The latter gigs haven't made it Down Under, but the Australian-exclusive Sculpting the Senses exhibition at the Queensland capital's Gallery of Modern Art will take you into the world of the haute couture figure who played a part in it. Fashion lovers have until Monday, October 7, 2024 to explore one of GOMA's big showcases for 2024, which continues to plunge the South Brisbane site into an enchanting and ethereal realm after Fairy Tales, its huge summer exhibition, did the same. Pieces by van Herpen can't be mistaken for designs by anyone else, sitting at the intersection of couture, art and design, while also exploring technological advancements such as 3D printing. In that field, she's widely considered the first to make a garment this way. [caption id="attachment_966401" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including Fractal Flows dress, from the 'Sensory Seas' collection 2020 by Iris van Herpen with collaborator Perry Hall; and Cosmica gown, from the 'Shift Souls' collection 2019 by Iris van Herpen with collaborator Kim Keever / © Iris van Herpen / Photograph: C Callistemon © QAGOMA.[/caption] From gowns to accessories, a massive 130 of van Herpen's pieces are now on display in the River City. Across nine chapters — some nodding to the dreamlike sheen that accompanies the designer's pieces, others focusing on skeletal structures, inspirations, and how the sea and the cosmos are an influence — Iris van Herpen: Sculpting the Senses steps through the work of a creative who boasts stints alongside Alexander McQueen and Claudy Jongstra on her resume. It was almost two decades back, in 2007, that the Maison Iris van Herpen came to life in Amsterdam. Evoking her studio, complete with a cabinet of curiosities, is also part of GOMA's celebration. In this section of the exhibition, attendees will also see a space dedicated to fashion shows and unpack the various development stages of a dress. Hitting Brisbane after a run in Paris, co-organised by the Musée des Arts Décoratifs, and boasting the organisation's Dr Cloé Pitiot and Louise Curtis on curatorial duties alongside QAGOMA's Nina Miall and Jacinta Giles, Iris van Herpen: Sculpting the Senses takes its name seriously. This is a feast for the eyes, clearly, but also comes paired with a soundscape by Dutch sound artist Salvador Breed — not just a collaborator of van Herpen's, but her partner — to enhance the experience. [caption id="attachment_966406" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' at the Gallery of Modern Art, Brisbane / Photograph: C Callistemon © QAGOMA[/caption] Among the specific fashion gems featured, the exhibition draws from 2010's water-themed 'Crystallization' collection, which took its cues from water being splashed at models; 2020's 'Sensory Seas', with hydrozoa such as the bluebottle an influence; and 2012's 'Micro' and 'Hybrid Holism', each teeming with microscopic detail that mimics the natural world — just for starters. Elsewhere, van Herpen's designs use X-rays, MRIs, neuroscience, mythology, alchemy, biotech, NASA's James Webb space telescope and more as guides. In one clear highlight, 2019's cape-slash-dress Hypnosis, she deploys a kaleidoscopic pattern in inky black to touch upon the mind's movement between the conscious and unconscious — and, in the process, also fashions up an optical illusion. [caption id="attachment_966399" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including Iris van Herpen / Netherlands b.1984 / Philip Beesely (Collaborator) / Canada b.1956. Hypnosis cape-dress, from the 'Hypnosis' collection 2019 / Laser-cut duchesse satin, mylar, tulle. Radiography dress, from the 'Magnetic Motion' collection 2014 / Laser-cut and thermally expanded PETG, silicone, microfibre. Iris van Herpen / Netherlands b.1984 / Shift Souls dress, from the 'Shift Souls' collection 2019 / Laser-cut Komon Koubou, silk organza, mylar. Courtesy: Iris van Herpen atelier / © Iris van Herpen / Photograph: C Callistemon © QAGOMA[/caption] Visitors will equally spy a range of complementary pieces surrounding van Herpen's designs, weaving in Yayoi Kusama, Cai Guo-Qiang, Japanese art collective Mé and Kohei Nawa, for instance. Megan Cope, Philip Beesley, Anne Noble, Damien Jalet, Casey Curran, Rogan Brown, Ren Ri and Courtney Mattison also have works in Iris van Herpen: Sculpting the Senses, as does the Living Architecture Systems Group. Natural history objects add yet another layer. The dramatic staging, especially when van Herpen's work is set against a black background, achieves the same. Similarly featuring: installations, videos and photographs. Designs by van Herpen are unsurprisingly no stranger to galleries and museums, with New York's Metropolitan Museum of Art, Paris' Palais Galliera and Melbourne's National Gallery of Victoria among the institutions to include her work in their collections. [caption id="attachment_966414" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses'. (l) Iris van Herpen / Netherlands b.1984 / Shelee Carruthers (Collaborator) / Australia b.1977 / Hydrozoa dress, from the 'Sensory Seas' collection 2020 / PETG, glass organza. (r) Iris van Herpen / Netherlands b.1984 / Hydromedusa dress, from the 'Sensory Seas' collection 2020 / Printed organza, laser-cut Komon Koubou, mylar, tulle. Courtesy: Iris van Herpen atelier / © Iris van Herpen / Photograph: C Callistemon © QAGOMA[/caption] [caption id="attachment_966412" align="alignnone" width="1917"] Installation view of the Cabinet of Curiosities in 'Iris van Herpen: Sculpting the Senses', Gallery of Modern Art, Brisbane / © Iris van Herpen / Photograph: J Ruckli © QAGOMA.[/caption] [caption id="attachment_966409" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including: Tim Walker (Photographer) / United Kingdom b.1970 / Iris van Herpen (Designer) / Netherlands b.1984 / David Altmejd (Sculptor) / Canada b.1974 / Duckie Thot (Model) / Australia b.1995 / Kiki Willems (Model) / Netherlands b.1996 / Fashion: Iris van Herpen 2018 / Exhibition print / Courtesy: Tim Walker Studio. Kohei Nawa / Japan b.197 / PixCell-Double Deer #4 2010 / Mixed media / Purchased 2010 with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through the Queensland Art Gallery Foundation. Iris van Herpen / Netherlands b.1984 / Airborne dress, from the 'Aeriform' collection 2017 / Laser-cut crepe, mylar, tulle / Courtesy: Iris van Herpen atelier. © The artists / Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966411" align="alignnone" width="1917"] Iris van Herpen: Runway films 2017-23 (installation view, 'Iris van Herpen: Sculpting the Senses') / Video, colour, sound, 57:51 minutes (total, looped) / Editor: Simona Gol / Music selection: Salvador Breed / Courtesy: Iris van Herpen Atelier / © Iris van Herpen / Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966407" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses'. (l) Iris van Herpen / Netherlands b.1984 / Water dress, special project 2010 / Heat-moulded PETG / Collection: Groninger Museum, Netherlands / © Iris van Herpen. (r) David Spriggs / Canada b.1978 / Origins 2018 / PET film, acrylic Plexiglas, LED, acrylic paint, metal / Collection: Dr Pierre Miron / © David Spriggs. Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966405" align="alignnone" width="1917"] Haruka Kojin / Japan b.1983 / Contact Lens (installation view, 'Iris van Herpen: Sculpting the Senses') 2023 / Acrylic lenses, wire / Courtesy: The artist and SCAI THE BATHHOUSE, Tokyo / © Haruka Kojin / Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966400" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including: Iris van Herpen / Netherlands b.1984 / Kim Keever (Collaborator) / United States b. 1955 / Cosmica gown, from the 'Shift Souls' collection 2019 / Organza, tulle / Iris van Herpen / Netherlands b.1984 / Azari dress, from the 'Carte Blanche' collection 2023 / Laser-cut crepe de Chine, silk organza, tulle. Courtesy: Iris van Herpen atelier / © Iris van Herpen / Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966396" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including (l-r) Foliage dress, from the 'Ludi Naturae' collection 2018 by Iris van Herpen with collaborators Delft University of Technology and Stratasys Ltd.; Gaia gown, from the 'Roots of Rebirth' collection 2021 and Ammonite dress, from the 'Seijaku' collection 2016 both by Iris van Herpen; and Explosion Process Drawing for Dragon or Rainbow Serpent: A Myth Glorified of Feared: Project for Extraterrestrials No.28 1996 by Cai Guo-Qiang / © The artists / Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966410" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including (front) Cosmica gown, from the 'Shift Souls' collection 2019 by Iris van Herpen with collaborator Kim Keever / © Iris van Herpen / Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966397" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses'. (l) Iris van Herpen / Netherlands b.1984 / Entangled Life gown, from the 'Roots of Rebirth' collection 2021 / Hand-pleated silk organza, embroider thread, tulle, wire / Worn by singer-songwriter Lorde performing at Radio City Music Hall, New York, 2022 / Courtesy: Iris van Herpen Atelier / © Iris van Herpen. (r) Yann Arthus-Bertrand (Director and photographer) / France b.1946 / Michael Pitiot (Director) / France b.1970 / Wim van Egmond (Photographer) / Netherlands b.1966 / Terra 2015 / Video, colour, Dolby Digital, 98 minutes, France, French, English subtitles / Music: Armand Amar / Voice: Vanessa Paradis / Production: Hope Production / Courtesy: Hope Production. Photograph: C Callistemon © QAGOMA[/caption] [caption id="attachment_966408" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including (l-r) Contact 2023 by 目[mé]; Hydrozoa dress, from the 'Sensory Seas' collection 2020 by Iris van Herpen with collaborator Shelee Carruthers; Mirror of the Mind dress, from the 'Micro' collection 2012 and Hydromedusa dress, from the 'Sensory Seas' collection 2020 both by Iris van Herpen / © The artists / Photograph: C Callistemon © QAGOMA.[/caption]Iris van Herpen: Sculpting the Senses displays at the Gallery of Modern Art, Stanley Place, South Brisbane, from Saturday, June 29–Monday, October 7, 2024 — for more information, head to the venue's website. Top images: Iris van Herpen / Netherlands b.1984 / Daniel Widrig (Collaborator) / United Kingdom b.1977 / Materialise (Collaborator) / Belguim est.1990 / Crystallization top and skirt, from the 'Capriole' collection 2011 / 3D-printed polyamide using selective laser sintering, eco-leather, cotton, nylon thread / Purchased thanks to the patronage of Doctor and Madam Léon Crivain, 2018 / Collection: Musée des Arts Décoratifs, Paris. // Courtney Mattison / United States b.1985 / Malum Geminos 2019 / Glazed stoneware and porcelain / Courtesy: The artist. // Iris van Herpen / Netherlands b.1984 / Nicholas Koscinski (Collaborator)/ United States b.1992 / Futurama gown, from the 'Meta Morphism' collection 2022 / 3D-printed Bluesint (upcycled polyamide) using selective laser sintering, silver, silk, organza, tulle / Courtesy: Iris van Herpen atelier. // © The artists / Photograph: C Callistemon © QAGOMA Installation view of 'Iris van Herpen: Sculpting the Senses' including (front l-r) Symbiotic asymmetric dress, from the 'Shift Souls' collection 2019 by Iris van Herpen; Fractal Flows dress, from the 'Sensory Seas' collection 2020 by Iris van Herpen with collaborator Perry Hall; and Cosmica gown, from the 'Shift Souls' collection 2019 by Iris van Herpen with collaborator Kim Keever / © Iris van Herpen / Photograph: C Callistemon © QAGOMA. Installation view of 'Iris van Herpen: Sculpting the Senses'. (l) Iris van Herpen / Netherlands b.1984 / Holozoic dress, from the 'Hybrid Holism' collection 2012 / Eco-leather, Swarovski crystals / Courtesy: Iris van Herpen atelier / © Iris van Herpen. (r) Tim Walker (Photographer) / United Kingdom b.1970 / Iris van Herpen (Designer) / Netherlands b.1984 / David Altmejd (Sculptor) / Canada b.1974 / Duckie Thot (Model) / Australia b.1995 / Kiki Willems (Model) / Netherlands b.1996 / Fashion: Iris van Herpen 2018 / Exhibition print / Courtesy: Tim Walker Studio / © Tim Walker. Photograph: C Callistemon © QAGOMA. Installation view of 'Iris van Herpen: Sculpting the Senses'. (l)目[mé] / Japan est.2012 / Contact 2023 / Mixed media / Courtesy: The artists. (r) Iris van Herpen / Netherlands b.1984 / Shelee Carruthers (Collaborator) / Australia b.1977 / Hydrozoa dress, from the 'Sensory Seas' collection 2020 / PETG, glass organza / Courtesy: Iris van Herpen atelier. Photograph: C Callistemon © QAGOMA. Installation view of 'Iris van Herpen: Sculpting the Senses' including (front) Cosmica gown, from the 'Shift Souls' collection 2019 by Iris van Herpen with collaborator Kim Keever / © Iris van Herpen / Photograph: C Callistemon © QAGOMA.
Butter has expanded its streetwear and fried chicken empire, opening a third location on the lower north shore. First announced late last year and welcoming in customers since around Christmas, the Chatswood Chase location boasts Butter's signature combo of fried chicken, sneakers and serious champagne. And, it also has something entirely new for the brand: charcoal chicken. The last 12 months have been big for charred chook, with Henrietta opening in Surry Hills and both Frango and El Jannah launching their first-ever drive-thrus. Now, the lower north shore has gotten in on the action. Like Butter's existing Surry Hills and Parramatta stores, the Chatswood Chase shop has a lineup of hard-to-find sneakers from brands such as Raised by Wolves, Hypebeast and Smile + Wave. You'll find them on shelves lit up with neon lighting, alongside Butter's own branded merch. There's a full bar, too, with cocktails including margaritas, sours, spritzes, negronis and boozy iced tea — and a sizeable range of champagne. Executive Chef Julian Cincotta has brought the original Butter food menu over to the lower north shore but with a few added extras — so you can order the same chicken sandwich with pickles and the '3 Pac' box of fried chicken and hot sauce. But there are also new menu items, such as a bigger range of beef burgers, salads and charcoal chook. The smoky chicken is rubbed with Butter's signature red spiced pepper, marinated for 48 hours and cooked over fire. And, it's served with garlic sauce (like El Jannah). As enjoyed at Butter's other stores, the dessert menu goes heavy on Ben and Jerry's ice cream — and, stopping by from 3–6pm is recommended. That's when 'Butter hour' takes place, with $3 wings, $6.50 spicy mini sandwiches, $6 Young Henry's beers and $10 alcoholic slushies. Butter is now open inside Chatswood Chase at 345 Victoria Avenue, Chatswood. Images: Cole Bennetts.
For everyone who has ever had a cringeworthy boss, annoying co-worker or soul-crushing office job, one sitcom franchise has understood for more than two decades now. It was back in 2001 that the original UK version of The Office arrived, introducing the world to the literally paper-pushing David Brent. And, in 2005, an American series featuring the also-awkward Michael Scott hit the small screen as well. More international takes on the show have followed, including an in-the-works Australian series that'll mark the 13th iteration beyond Britain to-date. Next, so might a big return, with the US version reportedly set to score a reboot. Might, could, apparently, rumoured, possibly, hopefully: they all fit this news, which Puck dropped in the wake of Hollywood's current writers' strike looking like it is nearing its end. "Greg Daniels is set to do a reboot of The Office," the publication noted in its wrap-up of where things stand now that the Writers Guild of America has reached a provisional deal with the Alliance of Motion Picture and Television Producers. That sentence, naming the US version of The Office's creator (who has also been behind Space Force and Upload), is all there is to go on for now; however, it hails from an outlet that's all about insider conversation in Hollywood, Silicon Valley, Wall Street and Washington. As for how a restocked take on the Dunder Mifflin-set The Office might work, who'd star, if any of the OG cast will return, if it'll still feature Scranton in Pennsylvania, how many desk supplies might get put in jelly and all the other burning questions that everyone has right now, there's no answers as yet. On its first go-around, the American The Office proved one of the rare instances where a TV remake is better than the original. It was also immensely easy to just keep rewatching, as fans have known since the 2005–13 show finished its run. Of course, that's what you get when you round up Steve Carell (Asteroid City), John Krasinski (Tom Clancy's Jack Ryan), Jenna Fischer (Splitting Up Together), Rainn Wilson (Weird: The Al Yankovic Story), Mindy Kaling (Velma), Ed Helms (Rutherford Falls), Ellie Kemper (Happiness for Beginners), Craig Robinson (Killing It) and more in the same show, and let all of them break out their comedic best. As for The Office Australia — which comes after everywhere from Canada, France and Germany to Israel, India and Poland have similarly given the idea a go — it's on its way in 2024 thanks to Prime Video. In the Aussie series, it will be Hannah Howard's turn to become the manager that no one wants but everyone has worked for. Played by actor and comedian Felicity Ward (Wakefield), she'll oversee a packaging company called Flinley Craddick. And, when she receives news that head office is shutting down her branch — with everyone working from home instead — she's determined to keep her team together. Obviously that won't go smoothly, or there'd be no sitcom antics to be had in The Office Australia. Joining Ward is a hefty cast spanning Edith Poor (The Lord of the Rings: The Rings of Power), Steen Raskopoulos (The Duchess), Shari Sebbens (Preppers), Josh Thomson (Young Rock), Jonny Brugh (What We Do in the Shadows), Pallavi Sharda (The Twelve), Susan Ling Young (Barons), Raj Labade (Back of the Net), Lucy Schmit and Firass Dirani (House Husbands). There's no sneak peek yet at whatever the US reboot of The Office pans out to be, and no trailer yet for The Office Australia, either. But, in the interim, you can check out a couple clips from the US version below: The rumoured reboot of the US version of The Office doesn't have a release date yet — we'll update you with more information when it is announced. The Office Australia will stream via Prime Video sometime in 2024 — we'll update you with an exact launch date when one is announced.
That moment when you don't know if a film franchise has become more juvenile, or whether it's you that's grown up. This was the uncomfortable experience of watching Kick-Ass 2, and after days of quiet contemplation, I've come to the conclusion: it's not me. Based on the comics by Mark Millar and brought to the screen by Matthew Vaughn (Layer Cake, Stardust), the first Kick-Ass film was a high point in the 'real superhero' wave — a funny counterpoint to the likes of Watchmen. Catching bits of it on TV recently, I thought it seemed only more razor-sharp. The new Kick-Ass 2 disappoints by pitching way too low. There is, for starters, an insane number of dick biting jokes. And it's not a running gag. It seems almost unbelievable that an objective party read the script and didn't think to say, 'hey, how about we stop at separate dick biting joke no.3'? Impotence, race and sexuality are also targets of choice. It seems new writer and director Jeff Wadlow has decided his audience is teenage boys, and no one else. Plot-wise, Kick-Ass 2 picks up about three years after its predecessor. Dave Lizewski (previously weedy, now hunky Aaron Taylor-Johnson) has hung up the Kick-Ass wetsuit, while the orphaned Mindy MacCready (Chloe Grace Moretz), aka Hit Girl, keeps her ongoing training a secret from her guardian, her dad's good friend, Sergeant Marcus Williams (Morris Chestnut). But when Dave gets restless and Mindy gets obedient, their crime-fighting status is reversed, and for camaraderie Dave instead joins the superhero team calling themselves 'Justice Forever' (led by a well prosthetised Jim Carrey as Colonel Stars and Stripes) to rid the streets of evil. The devoted amateurs are no match, however, for the coming storm from Dave's spoilt and abandoned schoolmate Chris D'Amico (Christopher Mintz-Plasse), who's graduated from being Red Mist to the moniker the Motherfucker and who has Kick-Ass obsessively in his sights. It's a unique mix of unimpressiveness at work in this film. On top of the lumpen humour, there's also extreme violence and schlock sentimentality that together are supremely weird. Kick-Ass 2's one redeemer is Hit Girl. If the whole film had been 'Hit Girl Goes to High School', it would have been great. She's always been a special character that challenges every idea we have of girlhood, and the Professional-meets-Mean Girls-like scenes of her dealing with dating, dance club, the popular crowd and bullying are smart, fresh and compelling. The film also deals well with her sexuality, now she's 15. Her costume remains fabulously unsexy and practical, so that's how we view her fights, but she's given room to explore some of her own sexual feelings. In what's possibly the film's best scene, a One Direction replica band plays, and we see that even the disciplined teen warrior is unable to resist their charms. Later, she has a quick perv at a shirtless Dave. This is a character whose impact will carry on, even if there's no Hit-Girl movie in multiplexes. https://youtube.com/watch?v=YWozxV3fsAU
It happened with The Nutcracker, Mary Poppins Returns, Aladdin, Maleficent: Mistress of Evil, Frozen II, Cinderella and Beauty and the Beast, just to name a few past Disney movies, and it's occurring again for Snow White: to immerse everyone in the world of the Mouse House's new film beyond cinemas, The Grounds of Alexandria in Sydney has given itself a temporary makeover. Expect social media feeds to be filled with snaps of this enchanted garden, plus the themed dishes now on the menu for the next couple of months — and expect Harbour City locals and visitors alike to flock in. How have all things Snow White taken over? With scenery that looks like it's been transported out of the film — greenery aplenty, plus woodland creatures as well — and everything from red apple mocktails to sweet treats inspired by the movie on offer. Yes, there's a magic mirror on the wall. And also yes, you'll spot more than a few apples. You've got until Sunday, May 25, 2025 to head by, and to sip that Evil to the Core drink (made with red apple, raspberry and citrus) at The Cafe, The Garden and The Potting Shed at The Grounds of Alexandria. Food-wise, Waiting on a Wish (a toasted almond sponge with pear cream and blackberry compote) is on the menu in The Cafe and the Poison Apple for two (spiced caramelised apple, dulcey crèmeux and mascarpone cream) is available in The Potting Shed over the same period. The film in the spotlight releases in cinemas on Thursday, March 20, starring Rachel Zegler (The Hunger Games: The Ballad of Songbirds & Snakes) as Snow White and Gal Gadot (Heart of Stone) as her evil stepmother. Marc Webb (The Only Living Boy in New York, Gifted, The Amazing Spider-Man and The Amazing Spider-Man 2: Rise of Electro) is behind the lens. Remaking Disney's 1937 animated hit, Snow White joins list of the company's cartoon classics given a live-action or photorealistic do-over. See also: The Jungle Book, Maleficent and its sequel, Cinderella, Beauty and the Beast, Dumbo, Aladdin, The Lion King, Lady and the Tramp, Mulan, Pinocchio, Peter Pan & Wendy and The Little Mermaid so far, with Lilo & Stitch and Moana also to come. It's been a great time to be a pop-culture fan in Down Under of late, and to take that love beyond the screen, following multiple Squid Game pop-ups, plus a Stranger Things experience on the way. Snow White at The Grounds runs at The Grounds of Alexandria, Building 7A, 2 Huntley Street, Alexandria, Sydney until Sunday, May 25, 2025 — head to The Grounds of Alexandria's website for further details. Images: Scott & Co.
Can a pair of glasses really help a world-renowned superhero become unrecognisable? If you've always queried that detail in Superman's story, rest assured that James Gunn has thoughts, too — as the full trailer for the writer/director and DC Studios co-CEO and co-Chairman's Superman makes plain. The latest sneak peek, following an initial teaser late in 2024 and an almost five-minute glimpse earlier in 2025, begins with an interrogation. Lois Lane (Rachel Brosnahan, The Marvelous Mrs Maisel) is doing the questioning, and a normally close-kept secret is clearly not a factor in this take on the Kryptonian. As Lois and the Man of Steel (David Corenswet, Lady in the Lake) dig into what makes a hero — and how accountable they need to be — the just-dropped trailer also offers looks at Superman's other battles. Lex Luthor (Nicholas Hoult, Nosferatu) features, naturally. So do Superman's efforts to stop wars and save everyday folks, and take on other villains. The new sneak peek has arrived just two months before the film hits cinemas, racing onto the big screen Down Under on Thursday, July 10, 2025. Gunn has penned, helmed and produced Superman. In his DC roles, he's also overseeing the new DC Universe. His picture will be followed by Supergirl: Woman of Tomorrow in 2026, as directed by Dumb Money's Craig Gillespie and starring Milly Alcock (House of the Dragon) — after she also plays the part in Superman. Clayface will release in the same year as well, working with a script from Doctor Sleep and The Fall of the House of Usher's Mike Flanagan. Alongside Corenswet, Brosnahan, Hoult and Alcock, Superman features Gunn regular Nathan Fillion (Deadpool & Wolverine) as Green Lantern and Anthony Carrigan (Barry) as Metamorpho, plus Isabela Merced (The Last of Us), Frank Grillo (Tulsa King), Skyler Gisondo (The Righteous Gemstones) and Wendell Pierce (Elsbeth). As always in the Super, The Suicide Squad, and three-time Guardians of the Galaxy filmmaker's work, Gunn's brother Sean (Creature Commandos) is among the ensemble. An angle for this Superman: Gunn's take on the character is a superhero who believes in humanity's goodness — even if presumably Lex Luthor tests that idea, and even if he draws queries about why he does what he does. If it feels like Superman has been missing for cinemas for a while — well, in these superhero movie-heavy days, that is — that's because it's been eight years, since Justice League. That's when Zack Snyder's film initially arrived in its theatrical version (Zack Snyder's Justice League, aka the Snyder Cut, debuted on streaming in 2021). Check out the new Superman trailer below: Superman releases in cinemas Down Under on Thursday, July 10, 2025. Read James Gunn's thoughts on the initial trailer.
Introducing Sketch Chair, a project from London and Lisbon's design studio Diatom. Sketch Chair is a software program allowing anyone and everyone to design their own chairs, regardless of how design-savvy they may be. The program uses a 2-D drawing interface that incorporates a physics engine which automatically tests the stability of a creator's design. Users can even simulate sitting in the chair with a customised virtual version of themselves to guarantee the highest level of comfort. Once a chair design is completed, a cutting pattern for the pieces of the chair is sent to the digital fabrication machine. The parts of the chair are then created and delivered so users can assemble their designs on their own as well. All custom designs come in lightweight but sturdy pieces that are easy to assemble - no glue required. https://youtube.com/watch?v=Q36rJMjM1OU
Need a little more spice in your life around Valentine's Day? Gelato Messina has combined forces with the well-loved Asian sauce brand, Lee Kum Kee, to create two bold new flavours. And for one day only this weekend, it's your chance to score free scoops at this Sydney pop-up. Sure, classic flavours like chocolate, vanilla and strawberry are staples for a reason, but that doesn't mean you shouldn't experiment from time to time. After months of testing, Messina and Lee Kum Kee are ready to release their limited-edition flavours into the wild, celebrating Chinese New Year and the power of sugar and spice. Your first option is caramel and soy sauce gelato with Premium Soy Sauce brownies. As decadent as it sounds, Lee Kum Kee's sauce pairs with Messina's signature dulce de leche to take it to even smoother, richer heights. Next, coconut & kaffir lime gelato with peanut topping and Chiu Chow Chili Oil peanut crisps delivers a tangy and refreshing hit. If you're a spice fan, drizzle a little more of this classic sauce on top. Ready to scoop? Get down to the forecourt outside the Queen Victoria Building from 11.30am–2.30pm on Saturday, February 15 to see what this unexpected collaboration is all about.
When Chris Sheldrick, Hannah Kim-Sheldrick, Josh Kim and Aileen Zhang started working on Banksia Bakehouse in 2018, they didn't think they'd be launching the CBD bakery in the middle of a pandemic. But, they have — and, despite the current lack of foot-traffic, the Grosvenor Place spot is creating a buzz. Open from 7.30am Monday–Friday, Banksia is located underneath Rosetta in eye-catching surrounds. Named after and inspired by native Australian flora, the bakery and cafe is all brown leather banquettes, white curves and hanging foliage. While the interior design is impressive, it's hard to tear your eyes away from the open kitchen, where pastry chefs are whipping up towering cakes, flaky pastries and fairy tale-like apple desserts. [caption id="attachment_779738" align="alignnone" width="1920"] Kitti Gould[/caption] For lunches and brunches, you'll find croissants, cruffins, Oreo meringues, croque monsieurs and savoury pies, currently available in mushroom stroganoff, Mexican chicken and beef brisket. To drink, there's coffee roasted by The Grounds. Cakes, while rotating often, include the likes of a tiramisu tarte, lemon meringue tear drop, piña colada mousse cake and the aforementioned apple delight. You can get those in single-serve portions and, for celebratory occasions, whole towering cakes such as caramel toffee, black forrest, cookies and cream cheesecake and strawberry sponge numbers. Each comes elegantly decorated and are available in a range of sizes. The big'uns can be pre-ordered online and start at a very reasonable $50. Images: Kitti Gould
