Sydney's underground is a hotbed of creativity, with events like WINGS Independent Fashion Festival leading the charge. Serving as a distinct alternative to traditional fashion weeks, this eclectic affair sees fashion collide with music, art and digital culture in immersive and unfiltered ways. Taking over the Plaza Hotel from Thursday, May 8–Friday, May 9, festival Co-Founders Alvi Chung and Daniel Neeson have reimagined its grand interior with three levels of haute design. Combining full-scale runway shows with large-scale installations, creative lighting design and immersive performance art, this diverse setting will provide the ideal platform for emerging designers. Featured on the runway will be the chainmail creations of Melbourne's Catholic Guilt, the sustainable tailoring of Speed and the mystic silhouettes of Joteo. Plus, Amiss sees duo Vanessa and Joshua Gray blend tech and textile, while Jody Just presents his modern streetwear, worn by celebs like Post Malone and The Kid Laroi. Besides fashion, expect live music performances from genre-bending electronic acts, Maggz and Solsa, alongside local punk, alt-electronic and noise groups, such as G.U.N, Cold Heat and Agony. If you're lucky enough to get backstage, acclaimed chef Sam Bull (Icebergs, Prince of York) curates the experience, bringing top-notch cuisine to the party.
"Tropical futurism" is not a term often (if ever) heard. However, according to House Made Hospitality, this is the vibrant aesthetic of Island Radio, one of two venues by the group at Wunderlich Lane, the newly minted hospo and retail hub at Surry Hills Village. So, what is tropical futurism? If Island Radio represents the prime example, it's an eye-popping mix of daring colour, jungle foilage and a whole lot of moonlight. This 140-seat eating house and noodle bar is located within one of the only original buildings to be retained on the footprint of this sprawling development on the border of Surry Hills and Redfern. The heritage-listed Bank of NSW building has been transformed by Émilie Delalande from Etic as two distinct spaces. As guests enter, they find themselves in the noodle bar — an informal, walk-ins-welcome space where diners can enjoy an affordable menu inspired by Southeast Asia's vibrant hawker markets. There are heartier eats on offer, such as Singapore white pepper mushroom bakmi and wagyu beef rendang, alongside snacks like corn fritter lettuce cups and Filipino barbecue pork skewers. The cocktail list adds some tropical whimsy with drinks like the Poolside in Langkawi featuring passionfruit red mill tropic rum, lemongrass, passionfruit, coconut and frosty fruit bubbles, or the Junglebird, a spiced rum mingle with tamarind, pineapple, lime and a splash of Campari. For a more substantial feed, diners can head through to eating house. The space, designed by Delalande, blends a contemporary yet beachy vibe with bold hues that nod to island life while maintaining a base note of urban chic. Vivid orange banquettes, midnight blue floors and ceilings and bright yellow tiles cladding the two open kitchens, all illuminated by a constellation of fibreglass pendants resembling the moon, combine to create a playful, uplifting space. Heritage elements like pressed metal ceilings, exposed rafters and the original safe repurposed as a cool room add yet another layer of interest, weaving in the history of the building. The menu, devised by Executive Chef Andrianto 'Andy' Wirya, formerly of Queen Chow and Mr. Wong, focuses on discovery and sharing. Drawing inspiration from street markets of Singapore, Indonesia, the Philippines, and Malaysia, the dishes blend familiar flavours with unexpected twists. Highlights include Malaysian chicken skewers with sesame satay sauce, Sate Padang with smoked ox tongue and Singaporean White Pepper Lobster Noodles. There are also small plates like the Island Radio Salad, Malaysian King Prawn Roti, and Toasted Rice Bread with Sambal Butter to complement the larger offerings. Banquet menus offer an affordable way to experience the full breadth of Island Radio's dining offering. The kiosk is a savvy addition that offers convenient takeaway options for diners on the go, including pandan & coconut bread, and roti flatbread with pickled onions, cabbage, and your choice of sambal matah pork, Malaysian satay chicken, or sweet & sour eggplant. "Island Radio is a departure from what we've done before," says Justin Newton, Director of House Made Hospitality. "We wanted to bring a big dose of energy - through the visuals, the music, and, of course, in the food and drinks. We always aim for our venues to feel approachable and warm, and while Island Radio has that, it's also our most playful restaurant yet. We're excited to see how both Island Radio and Baptist Street Rec. Club will add to the buzz in Wunderlich Lane and connect with the communities in Redfern and Surry Hills." Images: Steven Woodburn
AH Shop Salon, housed in the heritage-listed old Newtown Post Office building, is part salon, part store, and part co-working space for local creatives. It's easy to see why the community loves it. First of all: the stunning space is airy, open, and filled with natural light and greenery. Secondly, the salon, which was founded in 2015, is now filled with dedicated hairstylists and beauty experts who care about their customers first and foremost. Treatments range from hair cut, colour and keratin treatments to facials, custom intravenous infusions and lash treatments. The space also stocks dozens of top-tier beauty and lifestyle brands, including Helmut Lang, Murad, Christophe Robin and Maison Balzac. You'll find everything you need to look and feel good in one place. Images: Arvin Prem Kumar
If you live in Sydney and you like movies, you know what happens each June, with Sydney Film Festival unveiling its yearly cinematic treasures. The huge citywide event takes over plenty of the Harbour City's picture palaces, spreading the love around town. But at the new Inner West Film Fest, all that fun at the flicks will be focused on one area. "Sydney's Inner West is one of Australia's most inclusive, creatively and culturally vibrant communities, home to artists, musicians, writers, actors, cineastes, and filmmakers, and host to the country's best live music venues, restaurants, bars and cinemas," said Dov Kornits, Inner West Film Fest's co-founder and director — and also a film industry veteran thanks to magazine FilmInk. "The only thing the Inner West was missing was its very own film festival." With film lecturer Greg Dolgopolov, Kornits' new venture will run for three days from Friday, March 31–Sunday, April 2 at various Inner West spots, including a free opening night at the Marrickville Golf Club, plus sessions afterwards at Palace Cinemas Leichhardt and Dendy Cinemas Newtown. That launch slot belongs to Sweet As, a Western Australian-made hit on international film festival circuit, which tells an outback-set coming-of-age story. Written and directed by Indigenous filmmaker Jub Clerc (The Heights), it'll enjoy its Sydney premiere at IWFF, leading a lineup filled with movies bowing in Australia for the first time — and classics. Fans of The FP, rejoice — the apocalyptic riff on Dance Dance Revolution, and a glorious cult hit, is now up to its fourth instalment. Called FP 4EVZ, it's a big highlight of the program, and a sign of how eclectic the fest is willing to get. Other drawcards include Still Working 9 to 5, which looks back on Dolly Parton, Jane Fonda and Lily Tomlin's 80s hit while surveying what has and hasn't changed for women since; a special retrospective screening of the Hugh Jackman-starring Erskineville Kings, which is set in the Inner West; and Sergio Leone's masterpiece — well, one of them — Once Upon a Time in the West. In total, 15 features will play, including a top-secret mystery movie that you'll only find out what it is when you show up. And, the full lineup includes shorts, an Aussie movie poster exhibition, pitching sessions and filmmakers chatting about their work. Inner West Film Fest runs from Friday, March 31–Sunday, April 2 around Sydney's Inner West — head to the festival's website for further details.
At this point, Maybe Sammy not appearing on The World's 50 Best Bars' prestigious annual rankings would be a shock. The personality-packed retro cocktail lounge in Sydney's CBD has earned a spot on the coveted list six years in a row. However, while its previous rankings have earned it the laurel of the nation's best bar, that honour has this year been given to a different watering hole — Caretaker's Cottage in Melbourne. The Little Lonsdale Street bar ranked 21st on this year's list, moving up two spots from its 2023 position of 23rd place. It was also awarded the Michter's Art of Hospitality Award — a gong also previously won by Maybe Sammy — which recognises the bar with the most outstanding service in the world. [caption id="attachment_922565" align="alignnone" width="1920"] Caretaker's Cottage[/caption] Maybe Sammy dropped in the rankings this year from 15th to 26th position, breaking its five-year streak as not only Australia's best bar but also Australasia's. One other Australian bar, Byrdi, also earned a spot on the list, in 35th position, breaking into the top 50 for the first time after only making the 100-strong longlist last year, ranking 61st. The judging panel praised Caretaker's Cottage's owners, veteran bartenders Rob Libecans, Ryan Noreiks and Matt Stirling, for not only opening the bar but also working there too. "They don't shout the pedigree of Caretaker's Cottage to the world, preferring to call it a simple, local pub, and in vibe and design it's very much a neighbourhood joint," the judging notes said. [caption id="attachment_743915" align="alignnone" width="1920"] Maybe Sammy, Trent van der Jagt[/caption] The judging panel said Maybe Sammy "has remained [Sydney's] most talked-about bar since it opened in early 2019, lighting up a dreary stretch of street in Sydney's sandstone district, The Rocks," also spotlighting the bar's signature combination of "theatrics and attentive, fun service". Byrdi was praised for its hyper-local focus, with the judging panel noting that the La Trobe Street venue "might very well be the most Australian bar in existence". The judges also highlighted the bar's technical prowess: "There is foraging and fermenting and vacuum distilling – and the drinks are high-concept creations. As for the service, there is a loquaciousness here, a laid back, casual sensibility that, despite all the hard work, experience and knowledge, is determined to show their guests a good time." [caption id="attachment_921792" align="alignnone" width="1920"] Byrdi, Haydn Cattach[/caption] The bar crowned the world's best, announced at a ceremony in Madrid on Tuesday, October 22, was Mexico City's Handshake Speakeasy, with the judges hailing the subtle complexity of the menu: "At first glance, the drinks list is minimalist, but given that head bartender Eric Van Beek uses advanced culinary techniques in prep, each drink is more complex than meets the eye." To see the full list of this year's rankings, head to The World's 50 Best Bars website.
Neil Perry and Rockpool have been inextricably linked since 1989, but they won't be for much longer, with the famed restaurateur announcing his sudden retirement from the Rockpool Dining Group earlier this week. Perry has stepped down from his role as culinary director for the hospitality group, which began as Rockpool Est. 1989 in Sydney's CBD. While the inaugural Rockpool restaurant closed its doors after 30 years in 2016, it spawned Rockpool Bar & Grills in Sydney, Melbourne and Perth, and grew into the Rockpool Dining Group, which currently has over 80 venues across the country under 16 different restaurant brands. The fast expansion of the group in recent years has been partially thanks to its merger with the Thomas Pash-led Urban Purveyor Group (UPG) in 2016. From 2017–2020, the group grew from 17 venues and $150 million in revenue to 85 and $400 million. Despite the group's success, Perry and Pash were set to part ways this year. Perry, with the help of financial backers, planned to reacquire the premium restaurants in the group's portfolio — Rockpool Bar & Grill, Rosetta, Spice Temple and R Bar, under the name Rockpool Group — while the remaining casual brands, including El Camino Cantina and The Bavarian, were maintained by UPG under the new name Pacific Concepts. [caption id="attachment_689482" align="alignnone" width="1920"] Rockpool Bar & Grill in Sydney[/caption] That decision, however, was announced on March 2 — just weeks before the COVID-19 hit Australia, forcing the mass closure of restaurants across the country and crippling the hospitality industry. As a result, according to The Australian Financial Review, Perry's plan fell apart. While staying on as consultant and a major shareholder of the Rockpool Dining Group, Perry will no longer be an active part of the company, a statement on the chef's departure said. Instead, he'll be focusing on his charitable endeavours, including the recently launched Hope Delivery, which provides meals for those in need. "It will never be easy to move on from the restaurants I founded, and I do so with a heavy heart, but as the business and the sector set their sights on new beginnings, it is the right time for the next generation to have the opportunity afforded to me over 40 years ago," Perry said in a statement. For more information about Rockpool Dining Group and which restaurants have reopened, head to the group's website. Top image: Neil Perry and Tom Pash
The more time that anyone spends in the kitchen, the easier that whipping up their chosen dish gets. The Bear season two is that concept in TV form, even if the team at The Original Beef of Chicagoland don't always live it as they leap from running a beloved neighbourhood sandwich joint to opening a fine-diner, and fast. The hospitality crew that was first introduced in the best new show of 2022 isn't lacking in culinary skills or passion. But when chaos surrounds you constantly, as bubbled and boiled through The Bear's Golden Globe-winning, Emmy-nominated season-one frames, not everything always goes to plan. That was only accurate for Carmen 'Carmy' Berzatto (Jeremy Allen White, Shameless) and his colleagues on-screen, however; for viewers, the series' debut run was as perfect a piece of television as anyone can hope for. Excellent news: season two is better. Streaming via Disney+ Down Under from Wednesday, July 19 — arriving a month after it hit the US, making Australian and New Zealand audiences wait for a repeat reservation just like last year — The Bear season two serves up another sublime course of comedy, drama and "yes chef!"-exclaiming antics across its sizzling stretch. Actually make that ten more courses, one per episode, with each new instalment its own more-ish meal. A menu, a loan, desperately needed additional help, oh-so-much restaurant mayhem: that's how this second visit begins, as Carmy and sous chef Sydney (Ayo Edebiri, I Think You Should Leave with Tim Robinson) endeavour to make their dreams for their own patch of Chicago's food scene come true. So far, so familiar, but The Bear isn't just plating up the same dishes this time around. At every moment, this new feast feels richer, deeper and more seasoned, including when it's as intense as ever, when it's filling the screen with tastebud-tempting food shots that relish culinary artistry, and also when it gets meditative. For Carmy, Syd, the former's sister Natalie aka Sugar (Abby Elliott, Indebted), and lifelong pal Richie aka Cousin (Ebon Moss-Bachrach, No Hard Feelings) — plus The Beef and now The Bear's baker-turned-pastry chef Marcus (Lionel Boyce, Hap and Leonard), veteran line cooks Tina (Liza Colón-Zayas, In Treatment) and Ebraheim (Edwin Lee Gibson, Fargo), and resident Mr Fixit Neil Fak (IRL chef Matty Matheson) — it's all systems go from the instant that the show's second season starts. With his James Beard Award and experience at the world's top restaurants, Carmy has never been one to take things slowly or calmly. Relaunching the space that he inherited after his brother Mikey's (Jon Bernthal, We Own This City) death is no different, even after Carmy found $300,000 in cash sealed tins of tomatoes to close out season one. In cooking, money just buys ingredients and equipment. Here, while The Beef team has scored itself a hefty stash, those funds can't quite purchase enough. Swiftly, Carmy and Syd enlist Sugar as their project manager so that they can focus on conjuring up the new restaurant's customer-courting spread — and they're asking the Berzattos' uncle Cicero (Oliver Platt, Chicago Med), their main investor, for extra aid just as promptly. Creator Christopher Storer (Ramy, Dickinson and Bo Burnham: Make Happy), also the dramedy's frequent writer and director, brings the heat and the bedlam early. He tests and stresses his kitchen-obsessed characters in their favourite surroundings, where they spent the opening season just surviving. Season two pushes them towards thriving by growing and learning, though, complete with new insights into Carmy and company, plus new ways to drizzle out their hopes, wants, fears and hungers. The Bear's smorgasbord of havoc continues, then, but paired with savouring what quieter moments everyone can manage to stick on their forks. When Carmy runs into his old friend Claire (Shiva Baby and Booksmart's Molly Gordon), who is now a doctor, he finds something to enjoy beyond being a chef for the first time in far too long (certainly the first time in the show's narrative). Their relationship blossoms, taking the workaholic's focus away from his about-to-open restaurant. That causes struggles, too, but The Bear has always appreciated life's unexpected alchemies. When Carmy ditches plans to hop around town with Syd to glean culinary inspiration for the menu, for instance, she's initially peeved. Then her tasting tour of the Windy City, which is also a visual tour of some of its famous places and names for viewers, proves both revelatory and rewarding. The clock keeps ticking, with Cicero's extra cash speeding up the opening date. The deadline: 12 weeks. Whenever The Bear is at The Bear, the non-stop pressure-cooker energy blisters like grabbing a steel-handled saucepan off the stove with your bare hands. Season one was exceptional at thrusting its audience into the hustle and bustle of working in hospitality as if they were really there, warts, woes and all. Season two doesn't falter on that front. But when The Bear isn't at The Bear, it lets its usually frantic figures make themselves over, including by sending Marcus to a Noma-esque venue in Copenhagen under the tutelage of Luca (Will Poulter, Guardians of the Galaxy Vol. 3) and getting Richie to spend a week learning the upscale ropes at one of the city's best restaurants. This season's performances as a result: exquisite. Marcus' trip to Denmark spans an entire episode, the only chapter in the show's 18 across both seasons to-date that isn't directed by either Storer or executive producer Joanna Calo. Instead, Ramy Youssef steps in, invests the lived-in feel that's so much a part of his own impressive series, and revels in the eye-opening minutiae of being a visitor in a new place learning fresh skills. Storer is back at the helm of Richie's dedicated instalment, but it too benefits from broadening its horizons and getting out of its comfort zone. So does Cousin. In his typically abrasive way, he isn't happy about being sent away, taking it as punishment. In one of The Bear's finest exchanges yet, however, he has his entire perception altered in a touching conversation that adds Oscar-winner Olivia Colman (Secret Invasion) to the season's guest stars. Well-known names must've been lining up to join The Bear: fellow Academy Award-recipient Jamie Lee Curtis (Halloween Ends) also features, likely nabbing herself a 2024 Best Guest Actress Emmy, alongside Bob Odenkirk (Lucky Hank), Sarah Paulson (Ratched) and John Mulaney (Bupkis). That smattering of talent appears in a double-lengthy episode that jumps back to the past, demonstrates how chaos would've been in Carmy's blood regardless of if he became a chef — including when food is involved — and is as nerve-shredding and brilliantly acted as the series gets. You can't just taste the same bites over and over again, season two's detours advise. You're chomping into history whenever you sink your teeth into anything, this particular episode also conveys. The Bear burns brighter thanks to both trains of thought and, even with season one stetting such a high bar, couldn't be more appetising and satisfying. Long may it keep spending time in streaming's kitchen, bettering something that's already proven perfect. Check out the trailer for The Bear season two below: The Bear season two streams via Disney+ Down Under from Wednesday, July 19. Read our full review of season one. Images: Chuck Hodes/FX.
When Dark Mofo announced its 2023 lineup, it promised a sleepover. The Tasmanian festival also promised everything from a Twin Peaks-inspired ball to Soda Jerk's latest film; however, slumbering at the gleefully weird, wild and wonderful winter event was always going to stand out. Usually, Dark Mofo attendees are doing anything but catching 40 winks, instead staying up all night and making the most of the jam-packed program — not popping on their pyjamas and bunking down for the evening. The sleepover comes courtesy of Max Richter's SLEEP, which returns to Australia for a new eight-and-a-half-hour overnight stint. The session kicks off on Wednesday, June 14, greets the day on Thursday, June 15 and, unsurprisingly, is already sold out. Fancy playing along — well, kipping along — at home in your own bed? Dark Mofo is now making that happening with a live broadcast of the entire Australian-exclusive performance. [caption id="attachment_659938" align="alignnone" width="1920"] Mark Allan[/caption] If you're new to Richter's and to SLEEP, attendees get some shuteye while Richter's compositions play. The former usually happens on beds at venues around the world, and the latter is based on the neuroscience of nodding off. In the past, Richter's SLEEP performances have been held at the Sydney Opera House, Philharmonie de Paris and Grand Park in Los Angeles, as well as at New York City's Spring Studios, London's Barbican and Amsterdam's Concertgebouw. There's even a documentary about it that'll instantly get you excited if you aren't already. [caption id="attachment_659957" align="alignnone" width="1920"] Rahi Rezvani[/caption] Lucky Dark Mofo ticketholders will be dozing at MAC2, but everyone else can join in and get the SLEEP experience by tuning into Edge Radio for the night. The live broadcast will start at 11.59pm on Wednesday, June 14, running until 8am on Thursday, June 15, so don't go planning an early start at work that morning. What makes SLEEP so unique? It isn't just a case of Richter and the American Contemporary Music Ensemble performing all night in different spots around the globe. The piece is informed by the neuroscience of sleep and takes its moniker seriously. Accordingly, it features slow-paced movements to help listeners tune out everything but the music as they slip into slumber — and to slow down their own pace in general. Yes, it's basically a lullaby — and it's enchanting. Here's a glimpse of SLEEP from its stint at the Sydney Opera House in 2016: Max Richter's SLEEP will broadcast live from Dark Mofo 2023 from 11.59pm on Wednesday, June 14–8am on Thursday, June 15 via Edge Radio. Dark Mofo 2023 runs from Thursday, June 8–Thursday, June 22 in Hobart, Tasmania. For more information, head to the festival's website. You can also check out our wholesome-to-hedonistic guide, which'll help you stack your Dark Mofo itinerary based on the level of chaos you're after — and our Dark Mofo picks for last-minute planners. Top image: Max Richter - SLEEP im Kraftwerk Berlin am 15.03.2016. Foto: Stefan Hoederath.
Once you see the wallpaper in Decision to Leave, it's impossible to forget it. That patterned surface, nodding to both the mountains and the sea, isn't why Park Chan-wook's film is the best of 2022 — except that it is in a way. The level of detail shown, how perfectly it encapsulates and expresses almost everything about the immaculate and evocative thriller, the stunning shots that rove over it: this is masterful, powerful, sensual and sensational cinema. This is filmmaking at its greatest, too. As every year does — sans worldwide shutdowns and lockdowns, of course — 2022 saw hundreds of movies make their way to cinemas Down Under. Some were downright terrible. Oh-so-many were average. But more than a few were truly exceptional, like Decision to Leave. This year's cream of the cinematic crop spanned everything from spectacular music documentaries through to multiverse madness, and included volcano love stories and a cannibalistic Timothée Chalamet as well. Formidable talents doing what they do best, beloved veterans getting astonishing showcase roles, the best action-musical of this and many other years, not one but two ace Colin Farrell flicks: they're all included as well. Here's our overview of the year's silver-screen wonders — aka 2022's 15 best movies. DECISION TO LEAVE When it's claimed that Decision to Leave's Detective Hae-joon (Park Hae-il, Heaven: To the Land of Happiness) needs "murder and violence in order to be happy", it's easy to wonder if that statement similarly applies to Park Chan-wook, this stunning South Korean thriller's filmmaker. The director of Oldboy, Thirst, Stoker and The Handmaiden doesn't, surely. Still, his exceptional body of on-screen work glows when either fills its frames — which, in a career that also spans Joint Security Area, Sympathy for Mr Vengeance, Lady Vengeance and English-language TV miniseries The Little Drummer Girl, among other titles, is often. To be more accurate, perhaps Park needs to survey the grey areas that loiter around death and brutality, and surround love, lust, loss, and all matters of the brain, body and heart that bind humans together, to find cinematic fulfilment. Certainly, audiences should be glad if/that he does. In Decision to Leave, exploring such obsessions, and the entire notions of longing and obsession, brings a staggering, sinuously layered and seductively gorgeous movie to fruition — a film to obsess over if ever there was one. In this year's deserved Cannes Film Festival Best Director-winner, reserved insomniac Hae-joon is fixated from the outset, too: with his police job in Busan, where he works Monday–Friday before returning to Ipo on weekends to his wife (Lee Jung-hyun, Peninsula). That all-consuming focus sees his weekday walls plastered with grim photos from cases, and haunts the time he's meant to be spending — and having sex — with said spouse. Nonetheless, the latest dead body thrust his way isn't supposed to amplify his obsession. A businessman and experienced climber is found at the base of a mountain, and to most other cops the answer would be simple. It is to his offsider Soo-wan (Go Kyung-Pyo, Private Lives), but Hae-joon's interest is piqued when the deceased's enigmatic Chinese widow, the cool, calm but also bruised and scratched Seo-rae (Tang Wei, The Whistleblower), is brought in for questioning amid apologising for her imperfect Korean-language skills. Read our full review. MOONAGE DAYDREAM Ground control to major masterpiece: Moonage Daydream, Brett Morgen's kaleidoscopic collage-style documentary about the one and only David Bowie, really makes the grade. Its protein pills? A dazzling dream of archival materials, each piece as essential and energising as the next, woven into an electrifying experience that eclipses the standard music doco format. Its helmet? The soothing-yet-mischievous tones of Ziggy Stardust/Aladdin Sane/The Thin White Duke/Jareth the Goblin King himself, the only protective presence a film about Bowie could and should ever need and want. The songs that bop through viewers heads? An immense playlist covering the obvious — early hit 'Space Oddity', the hooky glam-rock titular track, Berlin-penned anthem 'Heroes', the seductive 80s sounds of 'Let's Dance' and the Pet Shop Boys-remixed 90s industrial gem 'Hallo Spaceboy', to name a few — as well as deeper cuts. The end result? Floating through a cinematic reverie in a most spectacular way. When Bowie came to fame in the 60s, then kept reinventing himself from the 70s until his gone-too-soon death in 2016, the stars did look very different — he did, constantly. How do you capture that persistent shapeshifting, gender-bending, personal and creative experimentation, and all-round boundary-pushing in a single feature? How do you distill a chameleonic icon and musical pioneer into any one piece of art, even a movie that cherishes each of its 135 minutes? In the first film officially sanctioned by Bowie's family and estate, Morgen knows what everyone that's fallen under the legend's spell knows: that the man born David Jones, who would've been 75 when this doco hit screens if he was still alive, can, must and always has spoken for himself. The task, then, is the same as the director had with the also-excellent Cobain: Montage of Heck and Jane Goodall-focused Jane: getting to the essence of his subject and conveying what made him such a wonder by using the figure himself as a template. Read our full review. THE BANSHEES OF INISHERIN In The Banshees of Inisherin, the rolling hills and clifftop fields look like they could stretch on forever, even on a fictional small island perched off the Irish mainland. For years, conversation between Padraic Súilleabháin (Colin Farrell, After Yang) and Colm Doherty (Brendan Gleeson, The Tragedy of Macbeth) has been similarly sprawling — and leisurely, too — especially during the pair's daily sojourn to the village pub for chats over pints. But when the latter calls time on their camaraderie suddenly, his demeanour turns brusque and his explanation, only given after much pestering, is curt. Uttered beneath a stern, no-nonsense stare by Gleeson to his In Bruges co-star Farrell, both reuniting with that darkly comic gem's writer/director Martin McDonagh for another black, contemplative and cracking comedy, Colm is as blunt as can be: "I just don't like you no more." In the elder character's defence, he wanted to ghost his pal without hurtful words. Making an Irish exit from a lifelong friendship is a wee bit difficult on a tiny isle, though, as Colm quickly realises. It's even trickier when the mate he's trying to put behind him is understandably upset and confused, there's been no signs of feud or fray beforehand, and anything beyond the norm echoes through the town faster than a folk ballad. So springs McDonagh's smallest-scale and tightest feature since initially leaping from the stage to the screen, and a wonderful companion piece to that first effort. Following the hitman-focused In Bruges, he's gone broader with Seven Psychopaths, then guided Frances McDormand and Sam Rockwell to Oscars with Three Billboards Outside Ebbing, Missouri, but he's at his best when his lens is trained at Farrell and Gleeson as they bicker in close confines. Read our full review. DRIVE MY CAR Inspired by Haruki Murakami's short story of the same name, Drive My Car's setup couldn't be simpler. Still recovering from a personal tragedy, actor and director Yusuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to helm a stage version of Chekhov's Uncle Vanya in Hiroshima — but the company behind it insists on giving him a chauffeur for the duration of his stay. He declines, yet they contend that it's mandatory for insurance and liability reasons, so Misaki (Toko Miura, Spaghetti Code Love) becomes a regular part of his working stint in the city. Friendship springs, slowly and gradually, but Murakami's name is one of the first signs that this won't follow a standard road. The other: Japanese filmmaker Ryûsuke Hamaguchi, who makes layered, thoughtful and probing reflections upon connection, as seen in his other efforts Happy Hour, Asako I & II and Wheel of Fortune and Fantasy. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours, but it's a patient, engrossing and rewarding trip. It's a gorgeously shot and affectingly performed one, too, whether taking to the road, spending time with its central pair, or chronicling Yusuke's involving auditions and rehearsals. Another thing that Hamaguchi does disarmingly well: ponder possibilities and acceptance, two notions that echo through both Yusuke and Misaki's tales, and resonate with that always-winning combination of specificity and universality. Drive My Car is intimate and detailed about every element of its on-screen voyage and its character studies, and also a road map to soulful, relatable truths. Read our full review. PETITE MAMAN Forget the "find someone who looks at you like…" meme. That's great advice in general, but it's mandatory if you've ever seen a film by Céline Sciamma. No one peers at on-screen characters with as much affection, attention, emotion and empathy as the French director, with her talent for truly seeing into hearts and minds shining again in Petite Maman. In Sciamma's latest delicate and exquisite masterpiece after Tomboy, Girlhood and Portrait of a Lady on Fire, she follows eight-year-old Nelly (debutant Joséphine Sanz) on a trip to her mother's (Nina Meurisse, Camille) childhood home. Nelly's grandmother (Margot Abascal, The Sower) has just died, and the house needs packing up. While her parents work, the curious child roves around the surrounding woods — and discovers Marion (fellow newcomer Gabrielle Sanz), who could be her twin. Sciamma is exceptionally talented at many things, creating richly detailed and intimately textured cinematic worlds high among them. She doesn't build franchises or big fantasy realms, but surveys faces, spaces, thoughts and feelings — exploring them like the entire universes they are. That approach pulsates through every frame of Petite Maman like a heartbeat. The film itself resembles a gentle but soul-replenishing breeze in its rustic look and serene pacing, but it thrums with emotion and insight at every moment. It's a modern-day fairy tale, too, complete with a glorious twist, with this radiant, moving, smart and perceptive movie musing deeply on mothers, daughters and the ties that bind. Read our full review. EVERYTHING EVERYWHERE ALL AT ONCE Imagine living in a universe where Michelle Yeoh isn't the wuxia superstar she is. No, no one should want to dwell in that reality. Now, envisage a world where everyone has hot dogs for fingers, including the Crouching Tiger, Hidden Dragon icon. Next, picture another where Ratatouille is real, but with raccoons. Then, conjure up a sparse realm where life only exists in sentient rocks. An alternative to this onslaught of pondering: watching Everything Everywhere All At Once, which throws all of the above at the screen and a helluva lot more. Yes, its title is marvellously appropriate. Written and directed by the Daniels, aka Swiss Army Man's Daniel Kwan and Daniel Scheinert, this multiverse-hopping wonder is a funhouse of a film that just keeps spinning through wild and wacky ideas. Instead of asking "what if Daniel Radcliffe was a farting corpse that could be used as a jet ski?" as their also-surreal debut flick did, the pair now muses on Yeoh, her place in the universe, and everyone else's along with her. Although Yeoh doesn't play herself in Everything Everywhere All At Once, she is seen as herself; keep an eye out for red-carpet footage from her Crazy Rich Asians days. Such glitz and glamour isn't the norm for middle-aged Chinese American woman Evelyn Wang, her laundromat-owning character in the movie's main timeline, but it might've been if life had turned out differently. That's such a familiar train of thought — a resigned sigh we've all emitted, even if only when alone — and the Daniels use it as their foundation. Their film starts with Evelyn, her husband Waymond (Ke Huy Quan, Indiana Jones and the Temple of Doom's Short Round and The Goonies' Data) and a hectic time. Evelyn's dad (James Hong, Turning Red) is visiting from China, the Wangs' daughter Joy (Stephanie Hsu, Shang-Chi and the Legend of the Ten Rings) brings her girlfriend Becky (Tallie Medel, The Carnivores) home, and IRS inspector Deirdre Beaubeirdra (Jamie Lee Curtis, Halloween Ends) is conducting a punishing audit. Then Evelyn learns she's the only one who can save, well, everything, everywhere and everyone. Read our full review. NOPE Kudos to Jordan Peele for giving his third feature as a writer/director a haters-gonna-hate-hate-hate name: for anyone unimpressed with Nope, the response is right there. Kudos, too, to the Get Out and Us filmmaker for making his third bold, intelligent and supremely entertaining horror movie in a row — a reach-for-the-skies masterpiece that's ambitious and eerie, imaginative and expertly crafted, as savvy about cinema as it is about spectacle, and inspires the exact opposite term to its moniker. Reteaming with Peele after nabbing an Oscar nomination for Get Out, Daniel Kaluuya utters the titular word more than once in Nope. Exclaiming "yep" in your head each time he does is an instant reaction. Everything about the film evokes that same thrilled endorsement, but it comes particularly easily whenever Kaluuya's character surveys the wild and weird events around him. We say yay to his nays because we know we'd respond the same way if confronted by even half the chaos that Peele whooshes through the movie. As played with near-silent weariness by the always-excellent Judas and the Black Messiah Oscar-winner, Haywood's Hollywood Horses trainer OJ doesn't just dismiss the strange thing in the heavens, though. He can't, even if he doesn't realise the full extent of what's happening when his father (Keith David, Love Life) suddenly slumps on his steed on an otherwise ordinary day. Six months later, OJ and his sister Emerald (Keke Palmer, Lightyear) are trying to keep the family business, which dates back to the 1800s, running. The presence lurking above the Haywoods' Agua Dulce property soon requires just as much attention, though. Just as Get Out saw Peele reinterrogate the possession movie and Us did the same with doppelgängers, Nope goes all in on flying saucers. So, Emerald wants the kind of proof that only video footage can offer. She wants her "Oprah shot", as well as a hefty payday. Soon, the brother-sister duo are buying new surveillance equipment — which piques the interest of UFO-obsessed electronics salesman Angel Torres (Brandon Perea, The OA) — and also enlisting renowned cinematographer Antlers Holst (Michael Wincott, Veni Vidi Vici) to capture the lucrative image. Read our full review. BONES AND ALL To be a character in a Luca Guadagnino film is to be ravenous. The Italian director does have a self-described Desire trilogy — I Am Love, A Bigger Splash and Call Me By Your Name — on his resume, after all. In those movies and more, he spins sensual stories about hungry hearts, minds and eyes, all while feeding his audience's very same body parts. He tells tales of protagonists bubbling with lust and yearning, craving love and acceptance, and trying to devour this fleeting thing called life while they're living it. Guadagnino hones in on the willingness to surrender to that rumbling and pining, whether pursuing a swooning, sweeping, summery romance in the first feature that put Timothée Chalamet in front of his camera, or losing oneself to twitchy, witchy dance in his Suspiria remake. Never before has he taken having an insatiable appetite to its most literal and unnerving extreme, however, but aching cannibal love story Bones and All is pure Guadagnino. Peaches filled with longing's sticky remnants are so 2017 for Guadagnino, and for now-Little Women, Don't Look Up and Dune star Chalamet. Biting into voracious romances will never get old, though. Five years after Call Me By Your Name earned them both Oscar nominations — the filmmaker for Best Picture, his lead for Best Actor — they reteam for a movie that traverses the American midwest rather than northern Italy, swaps erotic fruit for human flesh and comes loaded with an eerie undercurrent, but also dwells in similar territory. It's still the 80s, and both hope and melancholy still drift in the air. The phenomenal Taylor Russell (Lost in Space) drives the feature as Maren, an 18-year-old with an urge to snack on people that makes her an unpopular slumber-party guest. When she meets Chalamet's Lee, a fellow 'eater', Bones and All becomes another sublime exploration of love's all-consuming feelings — and every bit as exquisite as Guadagnino and Chalamet's last stunning collaboration. Read our full review. RED ROCKET It might sound crazy, but it ain't no lie: Red Rocket's *NSYNC needle drops, the cost of which likely almost eclipsed the rest of the film's budget, provide a sensational mix of movie music moments in an all-round sensational picture. A portrait of an ex-porn star's knotty homecoming to the oil-and-gas hub that is Texas City, the feature only actually includes one song by the Justin Timberlake-fronted late-90s/early-00s boyband, but it makes the most of it. That tune is 'Bye Bye Bye', and it's a doozy. With its instantly recognisable blend of synth and violins, it first kicks in as the film itself does, and as the bruised face of Mikey Saber (Simon Rex, Scary Movie 3, 4 and 5) peers out of a bus window en route from Los Angeles. Its lyrics — "I'm doing this tonight, you're probably gonna start a fight, I know this can't be right" — couldn't fit the situation better. The infectiously catchy vibe couldn't be more perfect as well, and nor could the contrast that all those upbeat sounds have always had with the track's words. As he demonstrates with every film, Red Rocket writer/director/editor Sean Baker is one of the best and shrewdest filmmakers working today — one of the most perceptive helmers taking slice-of-life looks at American existence on the margins, too. His latest movie joins Starlet, Tangerine and The Florida Project on a resume that just keeps impressing, but there's an edge here born of open recognition that Mikey is no one's hero. He's a narcissist, sociopath and self-aggrandiser who knows how to talk his way into anything, claim success from anyone else's wins and blame the world for all his own woes. He's someone that everyone in his orbit can't take no more and wants to see out that door, as if *NSYNC's now-22-year-old lyrics were specifically penned about him. He's also a charismatic charmer who draws people in like a whirlwind. He's the beat and the words of 'Bye Bye Bye' come to life, in fact, even if the song wasn't originally in Red Rocket's script. Read our full review. AFTER YANG What flickers in a robot's circuitry in its idle moments has fascinated the world for decades, famously so in Do Androids Dream of Electric Sheep?, Blade Runner and Blade Runner 2049. In writer/director/editor Kogonada's (TV series Pachinko) After Yang, one machine appears to long for everything humans do. The titular Yang (Justin H Min, The Umbrella Academy) was bought to give Kyra (Jodie Turner-Smith, Queen & Slim) and Jake's (Colin Farrell, The Batman) adopted Chinese daughter Mika (Malea Emma Tjandrawidjaja, iCarly) a technosapien brother, babysitter, companion and purveyor of "fun facts" about her heritage. He dotes amid his duties, perennially calm and loving, and clearly an essential part of the family. What concerns his wiring beyond his assigned tasks doesn't interest anyone, though, until he stops operating. Mika is distressed, and Kyra and Jake are merely inconvenienced initially, but the latter pledges to figure out how to fix Yang — which is where his desires factor in. When a feature so easily recalls other films and television shows, and so emphatically — Ex Machina and Black Mirror also come to mind here — it isn't typically a positive sign. That isn't the case with After Yang. Adapting Alexander Weinstein's short story Saying Goodbye to Yang, Kogonada crafts a movie that resembles a dream for the overwhelming bulk of its running time — it's softly shot like one, and tightly to focus on interiors rather than backgrounds — and that makes it feel like a happily slumbering brain filtering through and reinterpreting its wide array of influences. Another picture that leaves an imprint: Kogonada's own Columbus, his 2017 wonder that also featured Haley Lu Richardson (The White Lotus), who pops up here as a friend of Yang's that Jake, Kyra and Mika know nothing about. It isn't the shared casting that lingers, but the look and mood and texture, plus the idea that what we see, what we choose to revel in aesthetically and what makes us tick mentally are intertwined; yes, even for androids. Read our full review. HAPPENING It's hard to pick which is more horrifying in Happening: the graphic scenes where 23-year-old literature student Anne Duchesne (Anamaria Vartolomei, How to Be a Good Wife) takes the only steps she can to try to regain control of her life, or the times she's repeatedly told by others, typically men, to accept a fate that only ever awaits her gender. Both hit like a punch, by design. Both are wrenching, heart and gut alike, and neither are surprising for a second. Also leaving a mark: that few care that Anne's future is now threatened in this 2021 Venice Film Festival Golden Lion-winner, because that's simply a consequence of having sex for women in France in 1963, the movie's setting. There's another truth that lingers over this adaptation of author Annie Ernaux's 2001 memoir of the same name, which uses her own experiences at the same age, time and in the same situation: that in parts of the world where pro-life perspectives are entrenched in law or regaining prominence, Happening's scenario isn't a relic of the past. Late in the movie, Anne describes her circumstances as "that illness that turns French women into housewives". It's a blunt turn of phrase, but it's accurate. It also speaks to how writer/director Audrey Diwan (Losing It) and co-scribe Marcia Romano (Bye Bye Morons) approach the film with the clearest of eyes, declining to indulge the idea that forcing unwanted motherhood upon young women is a gift or simply a duty, and likewise refusing to flinch from showing the reality when the personal freedom to choose is stripped away. This is a feature made with the fullest of hearts, too, compassion evident in every boxed-in Academy ratio frame that rarely leaves Anne's face. It spies the appalling options before her, and sees the society that's okay with stealing her choices. And, it stares deeply at both the pain and determination that've understandably taken up residence in Anne's gaze. Read our full review. THE STRANGER No emotion or sensation ripples through two or more people in the exact same way, and never will. The Stranger has much to convey, but it expresses that truth with piercing precision. The crime-thriller is the sophomore feature from actor-turned-filmmaker Thomas M Wright — following 2018's stunning Adam Cullen biopic Acute Misfortune, another movie that shook everyone who watched it and proved hard to shake — and it's as deep, disquieting and resonant a dance with intensity as its genre can deliver. To look into Joel Edgerton's (Thirteen Lives) eyes as Mark, an undercover cop with a traumatic but pivotal assignment, is to spy torment and duty colliding. To peer at Sean Harris (Spencer) as the slippery Henry Teague is to see a cold, chilling and complex brand of shiftiness. Sitting behind these two performances in screentime but not impact is Jada Alberts' (Mystery Road) efforts as dedicated, determined and drained detective Kate Rylett — and it may be the portrayal that sums up The Stranger best. Writing as well as directing, Wright has made a film that is indeed dedicated, determined and draining. At every moment, including in sweeping yet shadowy imagery and an on-edge score, those feelings radiate from the screen as they do from Alberts. Sharing the latter's emotional exhaustion comes with the territory; sharing their sense of purpose does as well. In the quest to capture a man who abducted and murdered a child, Rylett can't escape the case's horrors — and, although the specific details aren't used, there's been no evading the reality driving this feature. The Stranger doesn't depict the crime that sparked Kate Kyriacou's non-fiction book The Sting: The Undercover Operation That Caught Daniel Morcombe's Killer, or any violence. It doesn't use the Queensland schoolboy's name, or have actors portray him or his family. This was always going to be an inherently discomforting and distressing movie, though, but it's also an unwaveringly intelligent and impressive examination of trauma. Read our full review. CRIMES OF THE FUTURE It takes a brave filmmaker to see cancer and climate change, and think of art, evolution and eroticism in a possible future. It takes a bold director to have a character proclaim that "surgery is the new sex", too. David Cronenberg has always been that kind of visionary, even before doing all of the above in his sublime latest release — and having the Scanners, Videodrome and The Fly helmer back on his body-horror bent for the first time in more than two decades is exactly the wild and weird dream that cinephiles want it to be. The Canadian auteur makes his first movie at all since 2014's Maps to the Stars, in fact, and this tale of pleasure and pain is as Cronenbergian as anything can be. He borrows Crimes of the Future's title from his second-ever feature dating back 50-plus years, brings all of his corporeal fascinations to the fore, and moulds a viscerally and cerebrally mesmerising film that it feels like he's always been working towards. Long live the new flesh, again. Long live the old Cronenberg as well. In this portrait of a potential time to come, the human body has undergone two significant changes. Three, perhaps, as glimpsed in a disquieting opening where an eight-year-old called Brecken (debutant Sotiris Siozos) snacks on a plastic bin, and is then murdered by his mother Djuna (Lihi Kornowski, Ballistic). That incident isn't unimportant, but Crimes of the Future has other departures from today's status quo to carve into — and they're equally absorbing. Physical agony has disappeared, creating a trade in "desktop surgery" as performance art. Also, a condition dubbed Accelerated Evolution Syndrome causes some folks, such as artist Saul Tenser (Viggo Mortensen, Thirteen Lives), to grow abnormal organs. These tumours are removed and tattooed in avant-garde shows by his doctor/lover Caprice (Léa Seydoux, No Time to Die), then catalogued by the National Organ Register's Wippit (Don McKellar, reteaming with Cronenberg after eXistenZ) and Timlin (Kristen Stewart, Spencer). Read our full review. FIRE OF LOVE What a delight it would be to trawl through Katia and Maurice Krafft's archives, sift through every video that features the French volcanologists and their work, and witness them doing their highly risky jobs against spectacular surroundings. That's the task that filmmaker Sara Dosa (The Seer and the Unseen) took up to make this superb documentary about the couple's lives — although, as magnificent as this incredibly thoughtful, informative and moving film is, it makes you wonder what a sci-fi flick made from the same footage would look like. There's a particular sequence that cements that idea, set to the also-otherworldly sounds of Air, and featuring the Kraffts walking around against red lava in their futuristic-looking protective silver suits. The entire enchanting score springs from Air's Nicolas Godin, and it couldn't better set the mood; that said, these visuals and this story would prove entrancing if nary a sound was heard, let alone a note or a word. For newcomers to the Kraffts, their lives make quite the tale — one of two volcano-obsessed souls who instantly felt like they were destined to meet, then dedicated their days afterwards to understanding the natural geological formations. More than that, they were passionate about analysing what they dubbed 'grey volcanos', which produce masses of ash when they erupt, and often a body count. Attempting to educate towns and cities in the vicinity of volcanoes, so that they could react appropriately and in a timely way to avoid casualties, became a key part of their mission. This isn't the only doco about them — in fact, German director Werner Herzog has made his own, called The Fire Within: A Requiem for Katia and Maurice Krafft — but Fire of Love is a gorgeous, sensitive, fascinating and affecting ode to two remarkable people, their love, their passion and their impact. It also benefits from pitch-perfect narration, too, courtesy of actor and Kajillionaire filmmaker Miranda July. Read our full review. RRR The letters in RRR's title are short for Rise Roar Revolt. They could also stand for riveting, rollicking and relentless. They link in with the Indian action movie's three main forces, too — writer/director SS Rajamouli (Baahubali: The Beginning), plus stars NT Rama Rao Jr (Aravinda Sametha Veera Raghava) and Ram Charan (Vinaya Vidheya Rama) — and could describe the sound of some of its standout moments. What noise echoes when a motorcycle is used in a bridge-jumping rescue plot, as aided by a horse and the Indian flag, amid a crashing train? Or when a truck full of wild animals is driven into a decadent British colonialist shindig and its caged menagerie unleashed? What racket resounds when a motorbike figures again, this time tossed around by hand (yes, really) to knock out those imperialists, and then an arrow is kicked through a tree into someone's head? Or, when the movie's two leads fight, shoot, leap over walls and get acrobatic, all while one is sat on the other's shoulders? RRR isn't subtle. Instead, it's big, bright, boisterous, boldly energetic, and brazenly unapologetic about how OTT and hyperactive it is. The 187-minute Tollywood action epic — complete with huge musical numbers, of course — is also a vastly captivating pleasure to watch. Narrative-wise, it follows the impact of the British Raj (aka England's rule over the subcontinent between 1858–1947), especially upon two men. In the 1920s, Bheem (Jr NTR, as Rao is known) is determined to rescue young fellow villager Malli (first-timer Twinkle Sharma), after she's forcibly taken by Governor Scott Buxton (Ray Stevenson, Vikings) and his wife Catherine (Alison Doody, Beaver Falls) for no reason but they're powerful and they can. Officer Raju (Charan) is tasked by the crown with making sure Bheem doesn't succeed in rescuing the girl, and also keeping India's population in their place because their oppressors couldn't be more prejudiced. Read our full review. Looking for more 2022 highlights? We've picked plenty. Check out our thoughts about 15 exceptional films that hardly anyone saw in cinemas in 2022, add 30 other 2022 big-screen highlights to your catch-up list and see which 15 straight-to-streaming movies were this year's best. From 2022's TV offerings, we've also thrown some love towards the 15 best returning TV series of the year, 2022's 15 best new shows and 15 other excellent TV newcomers from the past 12 months that you might've missed.
We all joke about pulling a 'don't you know who I am' card on a joint, but when Big Time rockers pull it on a tiny, tiny Seattle cafe there's some dramatic head-shaking to attend to. After finishing a gig this weekend in Seattle, Rage Against the Machine's guitarist Tom Morello attempted to skip the queue at Seattle's 5 Point Cafe — to no avail. According to Grub Street, 5 Point was at capacity when the Rage legend waltzed up to the front of the line and demanded entrance, after the cafe team "who's told bigger rock stars than him no," gave him the ol' hell no. Like any self-respecting, hospitality-burned celeb, Morello decided to get on his 4am Twitter soapbox. Having long supported worker's rights and wage raises, Morello thought now was the perfect, out-of-context time to drop this rant: Five Point restaurant in Seattle is the WORST. Super rude & anti-worker. Shittiest doorman in the Northwest. Prick. Spread the word. — Tom Morello (@tmorello) September 27, 2014 After his early-morning "so, ner" went rampaging online for a spell, restaurant owner David Meinert didn't let the guitarist have the last say, taking to Facebook with a response to the "tweet from our pal": "For the record Tom Morello — The 5 Point is totally pro-worker. We try to pay more than any other small restaurant, and on top of the higher pay, we offer health insurance, paid sick days, paid time off, retirement and profit share. Sorry if you had an issue with our staff, but typically our staff is awesome, and when they are not, it's usually a reflection of the customer. Act like a prick = get treated like a prick. "I have to say, your attacking a small business without knowing anything about it, or addressing your problem with them directly before you go on a public rant, pretty much sucks. Just lost a ton of respect for you, and I've been a fan for years, both of your work in Rage and your work for workers rights since. "PS — rock stars don't get special treatment at The 5 Point. We couldn't give less of a shit. Sorry. "And PSS — I'm the owner of the 5 Point and have worked to raise the minimum wage in Seattle and support the same nationally, worked to get paid sick days law in Seattle, and am supporting a City sponsored retirement plan for employees of small businesses. I hope you do the same for your employees on the road..." "PSSS — turns out he and his crew didn't get let in as the place was at capacity and there was a line. No one was being let in. According to our doorman who I totally trust, Tom and his crew were all totally rude. Quote from the door guys "I knew who he was, we had no room, his whole party was being rude. He wanted a special room in the back. Clearly had no ideas what it is like inside. I've told bigger rock stars than him no." Since his kneejerk reaction, Morello had time to come up with some kind of 'forgiveness' — with conditions. Willing to forgive the Seattle Evil (Egg) Empire 5 Points Cafe doorman powertrip if good guy owner D Meinert fully embraces #15Now min wage — Tom Morello (@tmorello) September 29, 2014 Meinert has somewhat relented and offered this on Facebook an hour ago: "Hey all, about this Tom Morello thing... I think Tom was in the wrong, and his tweet was offensive and pissed us off, BUT, Tom stands up for workers and uses his fame for some very good causes, almost always for those most in need. Yes he's very rich, yes he was on a big corporate record label. But every other interaction I've had with him has been cool. I would far rather people be enraged about the issues Tom is trying to bring up than wish Tom ill. So if you want to get pissed, be pissed that companies like iHop or Darden are spending millions to fight raising the minimum wage, and are supporting politicians who want to oppress women, minorities and workers, in order to get higher corporate profits. If everyone spent as much time posting about these issues as they have about Tom, we'd all be better off." Pancake Gate update: Luv&respect the workers.Glad to sit down w/owner next time in Sea, happy about his commitment to pay raise for workers — Tom Morello (@tmorello) September 30, 2014 So Morello's put his manners back in and Meinert's smoothed things over. And we can absolutely get behind Morello's famously Damn The Man activism, any day of the week. Perhaps next time ranting about workers' rights and equality is best done when you're not rock-starring your way past a queue? Via Grub Street and Stereogum.
As our evening ferry pulls toward Cockatoo Island, it's obvious this is isn't going to be any ordinary weekend camping trip. First to catch our eye is an enormous sign in dazzling lights: "YOU CREATE WHAT YOU WILL". George Bernard Shaw's prescient words, captured here by artist Nathan Coley, announce that the 19th Biennale of Sydney has taken over the island. The installation glitters anomalously against a background of rust-enveloped cranes, abandoned shipyards and colonial residences that speak to the UNESCO World Heritage site's history as a penitentiary and industrial hub. Upon disembarking, we check in for our night of 'glamping' (that's glamorous camping). The glamour relates mainly to the fuss-free nature of the event: our tent has been pre-erected and equipped with comfy trundle beds, warm blankets and an esky that doubles as a bedside table. With cafes, restaurants and bars dotting the island and breakfast packs (from $15) that can be cooked up in the communal barbeque space, all we've needed to bring along are cooking and eating utensils and some warm clothes. The 125-strong tent village includes both glamping (from $125 per night) and camping (from $89) options, the latter being slightly smaller and sans-bed, as well as some empty sites for those who prefer to BYO (from $45). Our tent is right at the water's edge, looking over the sparkling Parramatta River to the leafy shores of Woolwich. It's easy to while away the twilight hours watching the boats sail by and chatting with the families and couples settling into the tents around us. At nightfall, we make our way to the Island Bar, a cheerful beach-themed oasis that leans into the irony of its location on a beachless industrial island by setting up shop within a charming array of shipping containers. The cocktails are summery and potent and are accompanied by tasty pizzas from the container-kitchen. With most campers asleep, we grab our lantern and take a late-night stroll around the island. The looming water tower and deserted power station make for delightfully spooky landmarks against the night sky. The glittering vistas of the Harbour Bridge and the Balmain and Birchgrove peninsulas are a constant distraction that we somehow manage to put up with. In the morning, we wolf down our breakfast pack of eggs, sausages, bacon and bread rolls ($30) and start game-planning to ensure we catch everything at the Biennale. The mixed-media installations and interactive sculptures are all loosely arranged around the defining principle of this year's Biennale: 'you imagine what you desire'. You are invited, exhorted and at times compelled to interact with the artists' work and to allow your imagination to pick up where they've left off. The most impressive works are those that embrace their unique surroundings and breathe life into the island's eerie structures. We sit within a crumbling, soon-to-be demolished house to watch Maison, a painstaking stop-motion film by Augustin Rebetez and Noe Cauderay about a house that devours itself and the curious characters within it. Susan Norrie’s Dissent plays footage of Japanese anti-nuclear protests within the old power station; on our way in, a Biennale volunteer cautions us not to touch any of the instruments as their surfaces may still contain heavy metals. Another compelling audiovisual piece, Ignas Krunglevicius’ Interrogation is a powerful psychological creation that utilises text, colour and electronic sound to convey the subtleties that can be lost in the process of police questioning. Among many video pieces, the physical works stand out: in Bush Power, Gerda Steiner and Jorg Lenzlinger bring together colourful bric-a-brac and outdated exercise machinery to create absurdist childlike contraptions that become symbiotic systems when set in motion by the viewer/participant. After a full day of creative stimulation (and excellent snacks from the Bamboo Dumpling Bar pop-up that overlooks the “Google search engine train”), we’re ready for the ferry ride home. We’ll be back in 2016 for the 20th Biennale, possibly with a group of ten to rent out one of the beautifully refurbished heritage houses, and ready for a new adventure on this eccentric and magnificent concrete playground. The 19th Biennale of Sydney is on until June 9, 2014. To book your trip and check out all the glamping options, visit the Cockatoo Island website. The writer stayed courtesy of the Sydney Harbour Federation Trust.
Since Euphoria last hit screens in 2022, 2023 added Saltburn to Jacob Elordi's resume, then 2024 Down Under brought Priscilla. In 2025, viewers will be watching the Australian star in The Narrow Road to the Deep North. The Australian-made five-part miniseries was initially announced a couple of years back, then unveiled a few sneak-peak images last year. Now, Prime Video has locked in the show's streaming debut for April. Put Friday, April 18, 2025 in your diary, and consider your Easter long-weekend viewing sorted. The Narrow Road to the Deep North will premiere at this year's Berlinale first, getting a rare cinema showing, before bringing its page-to-screen tale to streaming. Before all of the above projects, and also before the three Kissing Booth films helped boost his career first, Elordi scored his initial on-screen acting credit beyond short films in Aussie movie Swinging Safari. Since then, however, the Brisbane-born talent has largely focused on working overseas. So The Narrow Road to the Deep North is a rarity of late on his filmography, with the actor returning home to make the drama. The series adapts Richard Flanagan's Booker Prize-winning novel of the same name. Also featuring among the show's starry lineup of talent: Olivia DeJonge (Elvis), her The Staircase co-star Odessa Young (My First Film), Limbo and Boy Swallows Universe's Simon Baker; Heartbreak High's Thomas Weatherall, Love Me's Heather Mitchell and Belfast's Ciarán Hinds — as well as Show Kasamatsu (Tokyo Vice), Charles An (Last King of the Cross), Essie Davis (One Day), William Lodder (Love Me), Eduard Geyl (Born to Spy) and Christian Byers (Bump) The project's impressive talent extend behind the camera, with The Narrow Road to the Deep North hailing from Snowtown, True History of the Kelly Gang and Nitram collaborators Justin Kurzel and Shaun Grant. Kurzel directs, while Grant is on adaptation duties — and both are also executive producing. [caption id="attachment_927127" align="alignnone" width="1920"] Jon Kopaloff/FilmMagic for HBO via Getty Images, supplied by Prime Video.[/caption] Elordi shares the role of Dorrigo Evans with Hinds, playing the younger version of the character in a tale that jumps between different time periods. The Narrow Road to the Deep North's protagonist is a Lieutenant who becomes a prisoner of war on the Thailand-Burma Railway. His story encompasses becoming a surgeon and war hero, and a life-changing stint of falling in love with Amy Mulvaney (Young). DeJonge and Baker feature with Elordi and Young in the show's 40s-set segments, where World War II obviously casts a shadow. Hinds hops in when the series gets to the 80s, which is where Mitchell, Weatherall, Kasamatsu and An will pop up as well. [caption id="attachment_947836" align="alignnone" width="1920"] HBO[/caption] [caption id="attachment_919075" align="alignnone" width="1920"] Saltburn[/caption] The Narrow Road to the Deep North will stream via Prime Video from Friday, April 18, 2025. Images: Prime Video.
Christine Dean is the alter ego of Christopher Dean, an artist working across two genders over a period of four years. This exhibition at Alaska Projects will look at the spectrum of gender codes and the two problematic polarities of male and female. Curator Daniel Mudie Cunningham came up with the idea of pairing Dean’s early career pink monochromes with a later suite of multicoloured text paintings. In particular, the monochrome is loaded with gender-based assumptions; the colour pink is typically identified as feminine, while the monochrome style of painting is part of a masculinised history of modernism. One thing is for sure: these vibrant works will brighten up your favourite grey cement gallery. Stop by for the opening night on July 8 and you can also check out Christmas in July – a group show that will unpick the superficial and sincere aspects of this loved and loathed festive gathering.
Boasting boutique accommodation, a poolside bar and an all-day bistro, Paddington's Oxford House added Bubsy's Wine and Record Bar to its offerings in 2023. It landed on Oxford Street with a P&V-curated wine list, Maybe Sammy leading the charge with the cocktails, Automata's Clayton Wells in charge of the food and a rotating list of special guests taking charge of the soundtrack. Soft lamp-lit ambience and velvety red carpets set the mood at the Paddington haunt, acting as a counterpoint to the venue's upbeat next-door neighbours, the bustling El Primo Sanchez, as well as the summer-ready Oxford House pool bar. With an intimate atmosphere and exciting drinks list, we're predicting Busby's will be an ongoing hit on Valentine's Day. Known for making eccentric drops more approachable, P&V's Mike Bennie has helped create an expansive wine list spanning bottles from Australia, France and Italy. [caption id="attachment_924013" align="alignnone" width="1920"] Parker Blain[/caption] Maybe Sammy's Paolo Maffietti has similarly ensured the cocktail list isn't too intimidating, sticking to just five signature drinks that are designed to complement the minimal-intervention vino. Sip on an Abbey Road — a combination of citrus gin, vermouth blanco, Davidson plum and champagne — or opt for the tequila, grappa and ginger wine mix of the Megatone. Public Hospitality's Group Creative Culinary Director Clayton Wells rounds out the offerings at Busby's with a snack menu you'll find difficult to turn down. Sydney rock oysters are topped with blackberry vinegar and roasted kelp oil, while the chicken liver parfait is partnered with spiced pineapple and liquorice. Then, there's the other key component of this wine and record bar: the music. Inspired by tuned-filled haunts around the world, Busby's is known to host residencies from beloved figures of Sydney's music scene. Go there with high expectations and be delighted to have them met. [caption id="attachment_924014" align="alignnone" width="1920"] Parker Blain[/caption] Images: Parker Blain and Jonny Valiant.
It pays to be curious on Clarence Street. By heading down a seemingly unremarkable laneway, you'll arrive in a courtyard where some of Sydney's best drinking can be found. Yet another surprise awaits through an unmarked backdoor and down a nondescript stairwell, where the jazzy, low-lit The Baxter Inn resides. There's also the understated rear entrance of the gin-soaked speakeasy, The Barber Shop. However, the third venue to call this courtyard home has nothing to hide. Named after the fellow who would go on to become King William IV, The Duke of Clarence wears its mock-Tudor heart on its sleeve. Styled as a ye olde British tavern, it's the kind of boozer where Charles Dickens might have penned Great Expectations over a couple of ales and a pork pie. The fit-out is not merely theatrical — it's also authentic. Everything from the floorboards to the leather couches and bar stools have been handpicked and shipped over from pubs and churches in the UK. The result is a cosy drinking den, complete with a library and a roaring fireplace, that feels like you're stepping back in time. Behind the bar you'll find cask ales, an extensive whiskey offering, over 500 spirits, numerous imported and local wines, and (in a rare deviation from the otherwise consummate pub-ness) a list of innovative signature cocktails. Like any gastropub worth its salt, the dining is as impressive as the drinking, with a food offering that is unmistakably British, yet elevated. The fish finger sandwich is a drastic improvement on the stodgy Birds Eye original, with fresh fish in a crisp batter coated in a light tartare sauce and served between pillowy fingers of white bread, crusts removed. Another Blighty classic, the scotch egg, retains a deliciously oozy centre, wrapped in a generous casing of pork and veal mince, spiked with fennel, chilli and punchy English mustard. Coming to The Duke of Clarence and not having the roast dinner with all the trimmings is a crime, especially as it's available every day and slathered in a lip-smacking slick of house-made gravy. Only have time for a quick bite? The ploughman's lunch — a board topped with vintage cheddar, a pork pie, freshly sliced leg ham, grilled bread, crackers and pickles — is a choose-your-own-adventure feed that is as quick as it is tasty. Image credit: Kitti Gould
The Gold Coast has long been one of Australia's most reliable family holiday destinations, and for good reason. Few places pack in the same mix of adrenaline-pumping theme parks, wildlife encounters, outdoor adventures and family-friendly accommodation. Whether you're travelling with thrill-seekers, animal lovers or kids who just want to stay by the pool, the Gold Coast makes it easy to build an itinerary that keeps everyone happy. This guide rounds up the best family-friendly deals and experiences, so you can Get Up and Gold Coast on your next holiday. [caption id="attachment_1069893" align="alignnone" width="1920"] Movie World[/caption] Make Some Memories A family holiday doesn't have to mean slowing down. If your family thrives on excitement, the Gold Coast delivers it in spades. The classics include Village Roadshow Theme Parks: Warner Bros. Movie World, Sea World and Wet 'n' Wild, where you can enjoy five consecutive days of holiday fun for $169 per person. Australia's biggest theme park, Dreamworld, also suits families with kids of all ages. The big kids can make some memories on King Claw and Steel Taipan rollercoaster, while the little ones can have fun on the Deep Sea Dodgems and the Big Red Boat Coaster. For families looking to get more bang for their buck, you can book two-day tickets for $99 per person that offer access to Dreamworld, SkyPoint, and Whitewater World. [caption id="attachment_1069891" align="alignnone" width="1920"] Timezone[/caption] If a day (or five) in the theme parks still hasn't scratched the adrenaline itch, consider iFly. Located in the heart of bustling Surfers Paradise, iFly lets kids (and brave parents) experience the thrill of indoor skydiving in a safe, controlled environment. Fly from as little as $69 per person and use the promocode EXPGC when booking the iFLY Basic or iFLY Value Package for a discount. Also in Surfers Paradise is the world's largest Timezone, a reliable hit that features arcades, laser tag, bowling, bumper cars, and glow-in-the-dark golf. Set on the water, GC Aqua Park in Southport is a unique, family-friendly experience designed for splash-filled fun, an inflatable course perfect for kids who love to jump off their energy in the Gold Coast sunshine. [caption id="attachment_1069889" align="alignnone" width="1920"] GC Aqua Park[/caption] Nature and Wildlife Adventures Water parks and thrill-seeking aside, there are a number of experiences on the Gold Coast that are rich in connection, nature, and fun. Currumbin Wildlife Sanctuary is a beloved day out for families to learn more about animals and the sanctuary's conservation efforts. Enjoy close encounters with the kids' favourite animals, shaded walking trails, and an overall educational day out. Currumbin Wildlife Sanctuary also hosts Astra Lumina, a cosmic light and sound experience that's set in the sanctuary's bushland. Embark on an enchanted after-dark experience, and discover the wonder of the stars thanks to a projection and moving soundscape. It's a multi-sensory experience (and one that won't be forgotten quickly). Use the promo code GETCWS for $10 off day passes to Currumbin Wildlife Sanctuary. Use the code GETAL5 for $5 off Astra Lumina tickets. [caption id="attachment_1069894" align="alignnone" width="1920"] Astra Lumina[/caption] [caption id="attachment_1069890" align="alignnone" width="1920"] Elite Holiday Homes[/caption] Where to Stay Accommodation on the Gold Coast caters exceptionally well to families, whether you want all-inclusive ease or simply a place to sleep in between adventures. Paradise Resort is made for travelling with kids, combining pools, activities and kids' clubs with dining that takes the pressure off parents. It's been voted Australia's Best Family Resort for the 15th year in a row and is packed full of activities, including an ice-skating rink, waterpark, miniature train, and more, all within metres of Surfers Paradise Beach. If you stay for three or more nights, Paradise Resort offers daily breakfast for everyone, lunch and dinner for the kids, $200 activities credit, one kids club session per child and more. For families travelling with larger groups, Elite Holiday Homes offers spacious, luxury holiday homes with family-friendly pools and Gold Coast views. If camping or cabin-style stays are more your speed, NRMA Treasure Island Holiday Resort and Gold Coast Tourist Parks deliver an easy balance of affordability and convenience, with easy access to beaches and the Gold Coast's main attractions. If you prefer your accommodation as a central base that's close to holiday activities, look to Novotel Surfers Paradise or voco Gold Coast. Both hotels offer family-friendly discounts, such as kids eating free and, for Novotel, a $100 Timezone voucher to enjoy when staying two nights or more. Use the code LOVE and receive 30% off Elite Holiday Homes when booking for a minimum of four nights. NRMA Treasure Island Holiday Resort Kids stay and play free, save up to 15%* off accommodation. Free daily coffees, free pedal-kart hire and a $10 games room credit. [caption id="attachment_1069888" align="alignnone" width="1920"] Gold Coast Tourist Parks[/caption] On the Gold Coast, you can spend one day riding rollercoasters, the next spotting kangaroos, and the following afternoon doing absolutely nothing by the hotel pool, all without long drives or rigid itineraries. With all of these options in close proximity to one another, a family-style Gold Coast holiday is a no-brainer. Image Credit: Supplied
After a particularly devastating bushfire season, the Blue Mountains community is calling everyone to come #BacktoBilpin. The community and its local businesses have been hit by not only the fires, but also by a drop in tourism during what should have been one of the busiest times of the year. While, devastatingly, some 80 percent of the Blue Mountains World Heritage area has been burned, there's still plenty of areas to explore, wildlife to spot and fresh produce to devour. So, put that esky in your boot, get out of Sydney and head to the land of the mountain apple. For this trip, you won't be going through Katoomba and Leura, but taking the historic Bells Line of Road. Here, you'll find tasty food, warm hospitality, cute cabins and many outdoor activities throughout Bilpin and its neighbours Kurrajong, Berambing and Mount Tomah. Here's our guide for what to check out while you're there. EAT AND DRINK [caption id="attachment_760286" align="alignnone" width="1920"] Hillybilly Cider by Destination NSW[/caption] Bilpin is all about them apples. There are probably more orchards here than people. Set out on a drive along the Bells Line of Road, stopping for fresh apples, juice, cider and pie along the way. Keep an eye out for the big Bilpin Fruit Bowl, where you can pick your own fruit or enjoy a hot-from-the-oven apple pie (or peach if you're really lucky) and a glass of fresh juice. Stop for a tipple at Hillbilly Cider and Bilpin Cider (both of which offer non-alcoholic options for the deso drivers), pick some more fruit at Pine Crest Orchard and have a burger for lunch at Maggie Lou's Bite. The Hive just up the road in Berambing is definitely worth a stop for some Bilpin bush honey and a good coffee. For more substantial bites, there are plenty of options in the area, most of which come with spectacular views of the Blue Mountains and the foothills. In nearby Kurrajong, stop at The Village Kitchen for brekkie and a squiz at the on-site art gallery — this cute little spot also offers dinner on Fridays and Saturdays, and often has live music to set the tone. For dinner, Kurrajong Heights is home to Archibald Hotel — which serves up modern gastropub classics with a side of sweeping Sydney views — and Lochiel House, for something a little more refined. Try the pan-fried ricotta gnocchi with pickled mushroom, and the miso-glazed lamb rump with local apple kimchi. The Potager Mount Tomah is right in the heart of the Blue Mountains Botanic Garden (which was thankfully saved from the fires) and a must-visit. The restaurant has an unrivalled aspect, from its terrace draped in wisteria vines — perfect for brekkie or lunch whilst out for a day exploring the gardens. DO [caption id="attachment_760285" align="alignnone" width="1920"] Mount Wilson by Destination NSW[/caption] While Bilpin is best-known for its produce, there's plenty more to explore. And while no one will judge you for spending the entire weekend ticking off every farm gate on this Hawkesbury Harvest Experience list, it would be a shame not to get out in nature. We know you're already planning a trip to The Potager, so the Blue Mountains Botanic Garden in Mount Tomah should definitely be on your must-visit list. While much of the vegetation surrounding the garden was affected by the bushfires, much of the Living Collection was able to be saved, including some of the garden's rarest plant species. The garden has become a safe haven for much of the area's wildlife, so there are lots of birds around and new blooms to be seen. A lot of the hikes around the Grose Valley and north of the Bells Line of Road are still closed due to safety reasons, but Walls Lookout is now open and has a must-see view. Take the turnoff for Pierces Pass Picnic Area just past Mount Tomah, park your car, and walk down to the lookout (it's an hour return) for breathtaking vistas over the Megalong Valley. If you don't mind the hour drive from Bilpin to the Blackheath area, we also recommend a visit to Govetts Leap Lookout, Evans Lookout and the Grand Canyon track. [caption id="attachment_760280" align="alignnone" width="1920"] Mount Tomah by Destination NSW[/caption] Although the glow worm tunnel walking track in Wollemi National Park is currently closed, you can still see the magic little creatures with a Blue Mountains Glow Worm Tour on private property near Mount Tomah and Bilpin. If you've got time to spare and want to do even more to help the local community, you can register to volunteer for bushfire recovery with NSW National Parks and Wildlife Service or spend a day helping rebuild the Zig Zag Railway, which was still being restored following the 2013 bushfires when it was again burned over Christmas and New Year. [caption id="attachment_757913" align="alignnone" width="1920"] Eden Farm Escape[/caption] STAY One of the remarkable things about Bilpin is that it never feels like you're only 90 kilometres from the hustle and bustle of the city, it's a proper nature retreat. Escape to Rustic Spirit for a weekend in a secluded bushland cabin or treetop pavilion on the edge of the Wollemi National Park. You can also book a package with inclusions like couples massages, meals, picnic hampers and champagne. If you'd prefer a farmstay on a 90-acre property, Bilpin's Eden Farm Escape is offering 50 percent off its rates if you can get there in February 2020. Make yourself at home on a lush five-acre hobby farm in Mount Tomah. Spend some time with the animals that have also found refuge at Tomah Retreat (like Flora the pig), taste some of the fruit, nuts and vegetables grown in the garden, and find peace in the living labyrinth. And, to live your best Instagram life, Wollemi Love Cabins are almost too beautiful to be believed. Spend a night under the stars in a luxury teepee that comes complete with a spa bath ensuite, or be right among the trees in a private cabin or studio with a bath right out in nature on the deck. Top images: Destination NSW.
Wanting a little romantic indulgence? Make a bee-line straight for Onsen Hot Pools where there aren't even the words to describe how heavenly it is. Located just ten minutes from Queenstown, perched on the cliffs within a stunning mountain range, this onsen gives you a chance to soak in the breathtaking scenery while you soak in warm 38-degree waters. As you recline in the cedar pool with your choice of tipple, the retractable roof will open up to reveal cascading views across the Shotover River by day or the mesmerising star-filled sky by night. It's the epitome of relaxation. Each pool room can accommodate up to four adults, so you can share with family and friends or keep it strictly 'lovers only', just you and bae. For extra indulgence, book in for an onsite massage. We suggest the 120-minute experience which includes a massage and facial followed by herbal teas and raw-pressed refreshments in the lounge. Go on, you deserve it.
Because my father cannot tell me this story himself, my mother often tells me about my father’s journey to Australia as a Vietnamese boat person. She talks about this era in fragments: some are told in vivid detail, so much so that I suspect that she is exaggerating. Some are both inspiring and terrifying and help me appreciate my life in Australia. Some are left unsaid because she does not know. It’s this missing link that I look for in stories about boat people from Vietnam — stories that only my father could have told me. Escape From Vietnam is a collection of thirteen photographs from the Archive of Vietnamese Boat People that do exactly this. While seemingly few in number, the collection covers much of the lives of Vietnamese boat people in their journey to freedom. From floating in rickety, overcrowded fishing boats to building shanty towns out of wood and plastic salvaged from the ocean; from constructing primary schools to receiving vocational training; from performing wedding rites to marching in funeral processions. While each photograph differs in time and place to the next, all point toward a brighter future. Here, boat people gamble away all they know, hoping for a glimpse of a brighter future. People who once lived in mansions huddle under huts made out of coconut palm fronds on the Philippines’s Luband Island; huge families for whom space was once no issue cram their lives into five cardboard boxes. Yet, even without this material wealth, the most striking thing about ‘Escape From Vietnam’ is the dignity that its subjects retain. Even when 40,000 people are crammed into a square kilometre on Bidong Island in Malaysia, even in conditions where 200,000 or more perished to drowning, hunger, thirst, malaria, and cholera, chins are held high and eye still bring smiles from the homeland. Every person brings a story, and all of these stories form a culture. And, when a boat of Vietnamese people brandish the flag of South Vietnam upon rescue by the relief organisation Cap Anamur, it’s clear that they have embedded their journey into their culture – one defined by hope, sacrifice, endurance, and new beginnings. Escape From Vietnam is a powerful collection whose opening marks Refugee Week. It celebrates the triumph of the human spirit against all adversity by focusing on the plight of just one culture of the people who sought a better life here. It is a reminder of the rich histories and unfathomable struggles that each person carries every day. Image 3 Refugee camp on Bidong Island Malaysia 1981 provided by the Australian National Maritime Museum.
We're all familiar with the joys of popping into one of Sydney's cafes for a late morning (or, let's be real, afternoon) brunch on Sunday. But during the week, it's sometimes overlooked in favour of a few more snoozes and a couple of extra minutes in a warm bed. We're all about those zzzs, but it's no excuse for skipping the most important meal of the day — especially if you work or study in the city. Brekkie options are boundless in the CBD, with cafes opening early during the week, ready to ply you with good food and even better coffee to start your morning. So for the sake of nutrition, productivity, and your tastebuds, we've put together a list of Sydney CBD's best breakfast spots during the week. Take a moment to sit down, read the news and digest before you get locked into the weekday grind. Recommended reads: The Best Coffee Shops in Sydney's CBD The Best Cafes in Sydney The Best Bagels in Sydney The Best Bakeries in Sydney
Cinemas may be closed around the world at present but, thanks to the proliferation of streaming platforms over the past few years, film buffs can still get their movie fix from the comfort of their own couches. If you're a fan of going to your local picture palace for more than just the flicks, though, you might be currently missing some of the other elements that come with heading out to see a movie — enjoying the communal viewing experience, attending premieres and listening to Q&A sessions afterwards, for example. Enter FanForce TV, the new streaming offshoot of theatrical distributor FanForce, which usually organises screenings of new films as driven by community demand. If you're part of a local group looking to screen a particular movie to support a specific cause, it also helps you host your own sessions. Like plenty of other businesses, FanForce has been forced to adapt to the current COVID-19 situation — so it's now shifting its setup online. Just launched — and available not just Down Under, but globally — FanForce TV lets you rent movies you'd like to watch on a pay-per-view basis. So far, so standard; however the streaming platform will also live stream Q&As, complete with live chats so you can join in from home. You'll be able to talk to fellow viewers, and direct your questions at filmmakers and expert panellists — and, if you're still eager to host your own virtual screening of a specific flick for a particular group, you can do so via FanForce TV's 'Home Premiere' function. Film-wise, the current FanForce TV range includes Oscar-winner Parasite, eco-conscious documentaries 2040 and The Biggest Little Farm, and Aussie music flicks Mystify: Michael Hutchence and Gurrumul — plus Adam Goodes-focused doco The Australian Dream, the puppy-fuelled Pick of the Litter, eerie true-crime tale Ghosthunter and even Banksy's Exit Through the Gift Shop. The list goes on, spanning docos on college sexual assault The Hunting Ground, organ transplant Dying to Live and outback dirt-racing Finke: There and Back as well, among other titles. https://www.youtube.com/watch?v=dmahNqD3Dvw More films are set to join the service, too, such as Sydney-shot comedy Standing Up for Sunny, whales in captivity documentary Blackfish and — with accompanying Q&A sessions — moving Aussie doco In My Blood It Runs. If you not only like watching movies, but recommending them, FanForce TV also boasts an affiliate program that'll pay customers cash for directing their friends to watch a particular film. For further details — or to stream a movie or organise your own online community screening — visit the FanForce TV website.
When a bakery has earned fame around the world from chefs and publications alike, and lines outside its stores are a common sight, it probably doesn't need to give customers any additional motivation to drop by. But Lune — home of "the croissant that should act as the prototype for all others" according to Yotam Ottolenghi, and "the finest you will find anywhere in the world" as per The New York Times — has never been one to rest on its laurels. Monthly specials, seasonal treats, a cookbook: they've all helped extend the brand's experience. Now Lune's new loyalty program is giving pastry fiends another reason to head in. The Kate Reid co-founded bakery wants you to not only keep enjoying its croissants, pains au chocolat, cruffins, morning buns and more — it wants to reward you for doing so. Enter the Lune passport, which launched on Monday, April 7, 2025, and works on zont miles. You'll collect one for every dollar that you spend on food in a Lune outpost — which are located in Armadale, Fitzroy and the CBD in Melbourne; South Brisbane and Burnett Lane in Brisbane; and Rosebery and Martin Place in Sydney. Rack up those zont miles and you'll be eligible for discounts, with each 200 points reached giving you $10 off your next purchase. The program also gives members exclusive perks and bonuses, as well as priority access and gifts. Double days and double hours will see you earning twice as many zont miles, for instance, and you'll also score a free traditional croissant on your birthday. To sign up, you have options. Hop online, or scan the QR code at Lune's stores or on the top of your receipt if you've just made a purchase. There's no physical card, with the passport operating digitally. To use it, you just tap it at the counter when you're making an order. Everyone receives 50 zont miles for signing up and making their first purchase, plus 25 points for subscribing to Lune's newsletter. While you'll nab one point per $1 spent on dishes from the food menu, you'll get two points per $1 on Lune retail items. "We're super excited to finally announce the Lune passport loyalty program. It feels like a fitting way to reward and thank all our guests who have supported us over the years, and also a lovely way to introduce those that are brand new to Lune," said Reid, announcing the initiative. For more information about the Lune passport, head to the brand's website — or to its stores at Armadale, Fitzroy and the CBD in Melbourne; South Brisbane and Burnett Lane in Brisbane; and Rosebery and Martin Place in Sydney. Images: Peter Dillon.
When you catch yourself daydreaming about a seaside wellness escape, you're probably picturing Thailand, Vietnam or Indonesia. Yet Cambodia's Song Saa Private Island is one such dreamy destination where the idea of wellbeing has been baked in from the very beginning. Founded by Melita Koulmandas and Rory Hunter, the idea to transform the island began in 2006, when the pair came across its rubbish-covered shores while sailing an old fishing boat. Now, 20 years later, this award-winning resort lives and breathes its holistic philosophy amid the Koh Rong Archipelago. Situated within a protected marine reserve — the work of Koulmandas and Hunter's Song Saa Foundation — guests are drawn to the resort's diverse collection of immersive, water-connected rituals that deliver immense relaxation and rejuvenation. The cuisine is equally considered, highlighting seasonal Khmer flavours across multiple restaurants and bars. And with dinner served in a different spot every night, you can experience them all. Spanning two tiny islands — Koh Ouen and Koh Bong — the former is home to 24 scenic villas, each offering its own vistas. For instance, some perch above the pristine waterfront, where others have stunning ocean or jungle views. Plus, there's a single Royal Villa, an expansive two-bedroom stay complete with a breezy terrace, a kitchen, a spacious dining area and unmatched Gulf of Thailand views. Off-grid seclusion? You might just happen to lose your return ticket. Yet where Song Saa rises above is its commitment to wellness. Crossing the footbridge to Koh Bong, this speck is dotted with myriad tranquil corners, hosting all manner of restorative experiences. Taking place in sanctuaries such as an over-water sala, a treehouse retreat, a jungle-side gym, a herbarium and a wellness centre, the selection of bathing rituals and Buddhist-inspired signature treatments includes salt room sound therapy, Khmer herbal steam and shirodhara, an ancient Ayurvedic practice. These relaxing endeavours extend to Song Saa's curated adventures, with the islands and their surrounding waters ripe for roaming. On the most peaceful end of the spectrum, experiences like morning yoga, private meditation and massages are unmissable. Yet it's also possible to get the blood pumping slightly faster by snorkelling the island's coral reef, taking a PADI-certified scuba diving trip or hopping aboard a bioluminescence boat journey that invites guests to discover phosphorescent plankton. There are also thoughtful ways to get immersed in the local culture. Guests are welcome to join the Song Saa Foundation's team as they visit the neighbouring Prek Svay Village or take part in a mission to deliver medical goods and supplies to people throughout the archipelago. With the resort heavily involved in uplifting the lives of locals — 95 percent of the team is Khmer — this luxury experience is not only a stellar high-end escape but also helps empower the local community through Song Saa's enduring conservation initiatives and education programs. Song Saa Private Island is now available for bookings, situated a 45-minute speedboat ride from Sihanoukville Port. Head to the website for more information. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox. Images: Supplied.
Group getaways can often be social highlights of the year. But, between the group chat admin, Airbnb cleaning fees and boring, overpriced hotel rooms, deciding where to stay on a friend's trip can suck the fun right out of it before you've even arrived. In Bendigo, a new type of accommodation has landed, designed with group getaways in mind. Tasman Holiday Parks Bendigo has just launched its fleet of vintage-style caravans that are full of personality. Nicknamed Patty, Selma, Thelma and Louise, these four retro caravans are designed for travellers seeking accommodation with character. While the caravans look perfectly vintage on the outside, the insides are decked out with comfortable, modern amenities, including a queen bed, private bathroom, and kitchenette. Each caravan also comes with its own vinyl record player, lawn games, and access to a private fire-pit precinct to help you switch off and connect with your mates. The campsite includes access to a communal resort pool, laundry facilities, a camp kitchen, and a games room. Ultimately, the glamping caravans help you and your mates focus on making memories — all without the hassle of pitching your own tent or sleeping in a swag. The caravans are best suited to small groups, including low-key hen getaways, couples' trips or a quiet family holiday. Plus, given the parks' central Bendigo location, holidaymakers also have easy access to the Victorian city's incredible food and wine scene, galleries and botanic gardens. So, if you're looking for a glamping-style holiday that's full of character and a chance to log off and make some memories, consider booking a stay at Tasman Holiday Parks brand new vintage caravans in Bendigo. Book your stay now. Image Credit: Supplied
In Japan, travel usually unfolds in two rhythms — the blur of neon-lit nights or a meditative drift through the countryside. If you've already experienced an adventure to the Golden Triangle and beyond, perhaps your next visit should relish a little more stillness. One such route virtually guaranteed to evoke the reset you deserve is the Shikoku Ohenro Pilgrimage — a 1200-kilometre spiritual circuit that has been trekked for over a thousand years. Forging a path between 88 Buddhist temples around the island of Shikoku — the smallest and least populated of Japan's four main islands — it offers a chance to leave behind the noise of daily life. Now, a walk that stretches for over a thousand kilometres might not be your idea of relaxation. And while this journey through the countryside is intended to take 30 to 60 days on foot, in reality, you can take as long as you like. In fact, the idea is that you choose how to break it down, with some travellers returning over several years to complete the entire stretch. What's more, it's perfectly acceptable to use a little modern transport to get around. During their walk, many pilgrims, called Ohenro-san, adopt a similar attire to that of Kobo Daishi, the revered 1st-century monk who founded many of the temples along the route and is considered the trek's spiritual father. Marked with the characters dogyo ninin — meaning "two travelling together" in Japanese — you're invited to really get into the vibe by donning a white robe, a traditional sedge hat and a wooden staff for your journey. Of course, there's no shortage of highlights along the way. Passing through the Iya Valley, you'll navigate its steep forested gorges. Meanwhile, you'll cross the famed Kazurabashi Bridge — woven from mountain vines — navigate the Shimanto River and have the chance to complete a spiritual climb up Mount Ishizuchi — considered one of Japan's most sacred peaks, featuring incredible views across the Seto Inland Sea. "People's motives for making this pilgrimage vary, some come for spiritual reasons to pray for healing or in memory of those who have passed away, while others choose this journey for self-reflection or to find oneself," says Japan National Tourism Organization's Naoki Kitazawa. "Whatever the reason, this healing journey will leave you a changed person." Keen to take on the Shikoku Ohenro Pilgrimage? Head to the website for more information. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox. Images: Supplied.
Total lunar eclipses occur regularly, if a little infrequently, but the next total lunar eclipse is set to be something special. The blood moon eclipse, when the moon turns a deep red before disappearing completely in the shadow of our own planet. Set to occur on Tuesday, March 3, this will be the final total lunar eclipse until December 2028 — so Sydney Observatory is going all out to help you see it. For the momentous lunar occasion, Sydney Observatory is teaming up with Nagoya City Science Museum in Japan, simultaneously observing the event from two continents and connecting the two via livestream for audiences in both nations. While you can see the eclipse from anywhere — weather permitting — you may as well see it from Sydney's highest natural point for the full effect, right? Explaining the science behind the phenomena, Dr Andrew Jacob, Astronomer and Curator at Sydney Observatory, said, "From any one location on Earth, you will see a Total Lunar Eclipse about once every 2.5 years, if the weather allows. Everyone on the night side of the Earth can see this eclipse when it happens. When the Moon is in the darkest part of Earth's shadow only red light reaches it, which will cause it to change colour." With the grounds open from 8–11.30pm for ticketholders — you'll also have the added benefits of viewing it through telescopes alongside members of the Sydney Skywatchers Society, the broadcast view from Nagoya and the professional astronomers guiding you through with all the astronomical knowledge you'll ever need. While you're there, you have reign of the grounds, and your free ticket will also grant you access to Sydney Observatory's exhibitions, including a celestial photography worthy of the stars in Southern Sky Observatory and an exploration of the history of First Nations astronomy in I Put The Stars on The Ground. If you can't make it on the night, the eclipse is scheduled to peak at 10.33pm, and you can watch the livestream on YouTube. The Blood Moon Eclipse is taking place from 8–11.30pm on Tuesday, March 3 at Sydney Observatory. For more information or to book tickets, visit the website. Images: Jay Evans/supplied
Whether you tuned in the 90s and early 00s as it aired — staying up late in Australia to catch it on free-to-air TV on a weeknight, or taping it to view afterwards — or binged it via DVDs or streaming later, Buffy the Vampire Slayer has never been a television series that audiences watch casually. Jane Schoenbrun and Brigette Lundy-Paine, writer/director of A24 hit I Saw the TV Glow and one of its stars, have both OG fandom and more-recent obsessions covered. Schoenbrun calls the show their "first love", they explain to Concrete Playground. Lundy-Paine only started viewing it for I Saw the TV Glow but misses it now when they're not watching it, they also tell us. Schoenbrun, Lundy-Paine and audiences everywhere have Buffy to thank for a movie that's cast its own glow since its Sundance Film Festival premiere — and across stops at the Berlin International Film Festival, SXSW in Austin, Sydney Film Festival and Melbourne International Film Festival since, too, before reaching Australian theatres in general release. Earning its praise as an instant trans cinema cult classic, the pair's collaboration doesn't just take inspiration from Schoenbrun's affection for a pop-culture phenomenon about a high schooler that the undead feared. One of the standout films of 2024, and from A24's adored roster of flicks overall, it's the source of all-consuming passions itself, while also contemplating that very topic. With their 2021 debut feature We're All Going to the World's Fair, Schoenbrun has already pondered how screen fixations can help mediate identities. Two movies in, they have a niche — and a pivotal one. Their films examine the space where fandom and pop-culture obsessions overlap with alienation, dissociation and dysphoria. They explore how they filtering who you are through an internet or TV fixation can assist in processing those emotions and states, and aid in unlocking something that you mightn't have had the tools to recognise otherwise. Two features in, Schoenbrun has earned their own adjective as well: their films are positively Schoenbrunian. It isn't just the common themes that mark We're All Going to the World's Fair and I Saw the TV Glow as works from the same inimitable voice, but also a shared dreamlike aesthetic, plus a knack for poetic and revealing dialogue. Watching their movies feels like plunging in, being enveloped and experiencing everything that their characters do; it's no wonder that the filmmaker's fare, especially their sophomore picture, is so easy to obsess over. Where We're All Going to the World's Fair follows a teenage girl making connections through an online horror challenge, with the feature digging into dysphoria along the way, I Saw the TV Glow does indeed have a television show at the centre of its plot. In the 90s, teens Owen (Dungeons & Dragons: Honour Among Thieves' Justice Smith, plus Let the Right One In's Ian Foreman as the younger version) and Maddy (Lundy-Paine, Atypical) strike up a friendship over the Buffy-meets-Goosebumps style supernatural series The Pink Opaque. The show is their escape from their adolescent reality, and a coping mechanism — one that Owen, especially, didn't know that he needed. It's also where these new friends feel like they finally see their real selves. Then Maddy disappears suddenly, The Pink Opaque is cancelled just as abruptly, and the 00s come calling. I Saw the TV Glow jumps further forward, too, as it uncovers the different ways that Maddy and Owen embrace — or don't — their authentic identities. The parallels with the egg-crack moment, the term used when someone realises that they're trans, are as bright and clear as the light emitted from every screen that bathes the movie's main duo in The Pink Opaque. Schoenbrun is always about showing rather than telling, though, and about viewers stepping into Maddy and Owen's emotional state with them rather than simply being informed about it. Again basking in 90s nostalgia on the big screen after 2020's Bill & Ted Face the Music — where they played Billie Logan, daughter to Keanu Reeves' (John Wick: Chapter 4) Ted — Lundy-Paine was drawn to the raw feeling evident in Schoenbrun's script, as well as their shared perspectives and experiences. We spoke with both Lundy-Paine and Schoenbrun about TV devotions, inspirations, Schoenbrun thematic and stylistic go-tos, telling personal tales, 90s nostalgia and more. On Falling in Love with Buffy the Vampire Slayer — Then and Now Jane: "I was just obsessed. I had other TV obsessions, but Buffy was the biggest one that I'll ever have. When I think back a bit on it, and I mean this quite literally, I think of Buffy as my first love. The amount that I put into that show emotionally, the amount of headspace it took up, each week waiting for the next episode to air, reading about it online — it was just a total obsession. And in many ways, I think — and the film is exploring this as well — it was a coping mechanism, a way for me to express myself in fiction, in a place that felt safe and outside of the quote-unquote real world. How did I fall in love with Buffy? I was flipping channels on the TV in my parents' bedroom, where I would be relegated when they were watching something on the main TV. And I remember coming across a rerun of the episode from the first season called 'The Pack'. It was the summer after the first season aired, and I was like 'I'm watching this show again next week' — and it just developed from there. I'd say by the second season, it was my favourite TV show. And by the third season, I was spending a lot of time with Buffy. I had tapes. I made my own tapes. I had the episode guides. I posted online about it. It really became almost this like space for me to hide and I just loved it so much. I remember when it was ending, thinking 'oh my god, this is like losing family'." Brigette: "I watched up to season five of Buffy before we started [I Saw the TV Glow], and I just totally fell in love with it. I miss it when I'm not watching it now. I fell in love with the community, and the idea that magic was real — that there was no question. I feel like I watched it kind of as Maddy, but I'll always love it as Brigette with the respect of it isn't mine completely, because I didn't watch it when I was young, but I really love it." On How Schoenbrun Obsessing Over Buffy — and Also Admiring Twin Peaks — Inspired I Saw the TV Glow Jane: "I think the experience that the film is trying to talk about — and it's doing this not only in a plot about 90s television, but through the aesthetics and tropes of 90s genre television — is a youth spent in front of the screen. I was a young queer kid growing up in the American suburbs, and the main thing that got me through that, or the main source of romance and mystery and joy in my life in this place where I think I not only couldn't be myself but I wasn't really being given any information to help me understand myself, the main place that I went looking for myself was in the screen. This is ultimately why I think like a show like Buffy or Twin Peaks became an obsession, because it was somewhere where I could catch a flicker of something more mysterious, something more magical. And I do think in many ways this was a queer experience. The movie, I think, talks about this very specific kind of parasocial relationship with fiction about fandom, about obsession, about searching for truth in fiction before you're ready to look inside yourself. And it's doing this using these genre cues that I learned from rewatching my Buffy tapes obsessively. It's a movie about people who love a show like that, but it's also very much a movie that's set in the heightened world of a Buffy or a Twin Peaks or an X-Files." On Lundy-Paine's Equivalent of Buffy or The Pink Opaque Brigette: "I think the first show that I really loved the way that Maddy and Owen loved The Pink Opaque was The OC. I watched it after it had been released, so I would record reruns from the soap channel. But I was really obsessed with the characters, and I felt like they were my friends — and it was the most devastating thing I've experienced when Marissa died in season three." On Making Films About Mediating Our Lives, and Coping with Alienation and Dysphoria, Through Fandom and Pop-Culture Fixations Jane: "I remember feeling like I've always been an artist, and I've always told myself stories and written screenplays or fan fiction, or anything that I could to be creative. It's a need that I have. But I had so much shame for the longest time about what kind of art I could make that would be authentic and not just a rip off of the things that I love, that would speak from a perspective in a place that that was deeply personal, and that could only come from who I was and where I came from. And a lot of that shame was repression. But there was this moment that was sort of in tandem with my coming out and my artistic awakening, where I kind of realised this cheat — which was they say 'write what you know', but what I know is watching. What I know is staring at a screen. And I think I'm enough of a self-reflective person to understand that that experience isn't all good or all bad, but that it is rife with mystery and ambiance and loneliness, and connection and love and sadness. And it can feel scary and alienating. It has political resonance, and it has personal resonance — and it's sort of the thing that we all do that we don't talk about in our art. It mediates our lives so deeply at this point, that in exploring that and not just exploring that from a political perspective but from my own life staring at a screen, and the way that it intertwined with who I was and what I was hiding from in myself, this just became, like I said, a cheat code of sorts to finally unlock my personal voice as an artist. I find the screen as a symbol just very compelling, both thematically and aesthetically, and it's something that I can return to over and over again without repeating myself so far. I find myself just wanting to dig deeper and deeper into that abyss." On Starring in a Movie That Is So Personal and Specific to Its Filmmaker Brigette: "One of the things about Jane that is so exciting is that they're able to communicate these really, really deep experiences and personal feelings in a way that other people feel a part of. I think that was one of the reasons the film was able to get made, was that in meeting after meeting they told their story, and they talked about what it meant for an egg to crack, which is the term of a trans person realising that they're trans. But also for myself, I had been experiencing the same things or very similar things to Jane, and that was one of the things we connected on when we first spoke — and I think one of the reasons that we trusted each other to make this movie together and to be fully vulnerable for it." On How Lundy-Paine Came to Be Involved in I Saw the TV Glow Brigette: "My good friend for a long time, Sam Intill, they sent me the script because they'd met Jane after seeing Jane's first film at Sundance, and they'd come on to produce this second one in its very, very early stages. And Sam connected Jane and I, and Jane and I just got along really, really well right away. We have a very similar sense of humour and experience, our perspectives of what making movies and what Hollywood meant to us — and the rules that we both wanted to break, and the experiences that we both wanted to help convey to the audience. So that was, I think, maybe two years before production. And then it was pretty locked in for Jane and I that we wanted to work together, and it was just a long process of Jane convincing A24 that that I would play the part. I had done a TV show, but I'm not a huge name and I think that was tricky for A24 to believe. But Jane was like 'no, it it has to be us. It has to be me and Brige'. And I was very grateful for that. And I had the script for a long time because of it, so I was able to like get really deep and comfortable with the words." On Lundy-Paine's First Reaction to the Script, What Resonated the Most and What They Saw That They Could Bring to the Film Brigette: "I think I was just so moved by how real it felt — and how it almost felt like mythology. The emotions of it were coming from such a raw place. And I really liked the way that Jane plays with the sort of shallow, cliched teen dialogue and then moves into a realm of almost subconscious communication to explore the actual meanings of what they're talking about. I think I felt the colours of the film really strongly. I felt this blue and pink neon electric sensation, and I also just knew that it was a character that I really wanted to have in my body, and I was really anxious to get to know her. I think I knew that arc very well. If I was different than Maddy myself — but I know, and I really wanted to free myself in the same ways that she did. So I was able to pull from my own angst and fear and love, and obsession with the stories and the worlds that that Maddy finds safety in." On Schoenbrun's Dreamy, Hazy, Like-You're-in-the-Characters'-Heads Aesthetic Jane: "Film as a dream was something that I was really interested in from the earliest stages of thinking about a language as an artist, like the idea of the experience of sitting in a dark room and seeing this thing — the only thing you can see. I had and still have these recurring dreams where I'll be watching something and then all of a sudden I will be inside of it. There were just these repetitions of interest in the process of travelling from watching something to being synonymous with the screen. There's a shot in We're All Going to the World's Fair where we slowly zoom in on a screen until the screen is no longer a screen, and it's our screen. This feels very trance-like to me. This feels like the process of falling asleep or dreaming. It feels very oneiric, and it's just fascinating to me because I think film is a medium so interested in time and space. Another big influence is the experimental film Wavelength, where we spend the entire movie just slowly moving across the room towards a painting. I find it like such a simple reminder of the power of the medium and perspective in the way that the third eye of the screen can help us understand space in a way that our own eyes can't. I just like it. There's a deepness and a mystery to it that I find myself continuing to chip away at. I could speculate about why I'm drawn to it. I read a really great book of queer trans film theory called Shimmering Images — Eliza Steinbock, I believe. I read this after I had made We're All Going to the World's Fair and it was an entire book of theory written about trans people's aesthetic connection to the shimmer, to liminality, to a space that is very transitory in its essence, and that we find some comfort in that space of transitory self because we relate to it. But I think there are so many resonances and so many reasons why I'm fascinated by haze, and by the screen and liminality and lo-fi aesthetics." Brigette: "I had so much fun with it because it's rare to work with a director who has a vision of such specific pacing and tone. And so we would do these scenes with, as I mentioned, sometimes the dialogue almost feels like canned or cliched, but because of Jane's style and the way that they're playing with that type of dialogue, it's about the pace and the rhythm. So we would have rehearsed a lot, but even when we got to set, we would do the scenes too fast. And so Jane had to continuously slow us down and remind us that it was almost as if we were existing in separate universes from each other, Owen and I. And so Jane would say 'this time, do it and don't even expect him to respond'. And I think that brings out some of that eerie, dreamlike quality." On Lundy-Paine's 90s Nostalgia Bent with Bill & Ted and Now I Saw the TV Glow Brigette: "I think it's something that interests me because it's something that activates a real personal and vital process for the directors or for the people who are making these films. I was born in 94, so I didn't experience too much of the 90s, but I obviously understand what it feels like to be nostalgic for, say, 2010. And so I think working on projects that are set in the 90s, it means a lot because it's the childhood, because it's a real place for the people creating these worlds. And also it just feels iconic. I remember I watched like Fight Club and Donnie Darko while we were filming, just randomly, and both times I was like 'I want to make a movie set in the 90s'. And realised 'ohh we are making a movie set in the 90s right now'." I Saw the TV Glow is screening in select Australian cinemas now, after opening on Thursday, August 29, 2024. Images: A24.
The unrelenting onward march of technology. The thrill of unbridled power. And, er, puffins. Forty-six million, two hundred thousand puffins.Rock, Paper, Scissors takes us way back to 1995, to a lighthouse on Muckle Flugga, Scotland. It’s home to Pat (Rob Flanagan) and Ronnie (Sean Barker), a whole lot of birdlife, and not much else – that is, until the delightfully pretentious young Dougie (Phil Spencer) turns up for a two-week stint of relief work, bringing with him a secret that could spell the end of Pat’s and Ronnie’s way of life forever. The lighthouse keepers’ attempt at the normalcy of routine is rock, paper, scissors: each week, they face off to determine who will be king for the day. As Dougie’s stay stretches on, what began as a benign distraction from the tedium of life in a lighthouse becomes a high-stakes snatch at power.In the hands of a lesser director, this might have been a quirky laugh at a couple of men left behind by modernity. Instead, Leland Kean’s production offers a genuinely warm look at the brutality of isolation, and at what might induce a man to live his life apart from the world: as Ronnie points out, “there’s some right ignorant people on that mainland.â€Happily, none of the actors chooses to follow the character-as-caricature path, though Flanagan is a clear standout: his depiction of a stickler-for-the-rules ex-teacher is witty and compassionate and, at times, surprising. Spot-on writing from John AD Fraser doesn’t hurt, either. In fact, after an hour or so of Muckle Flugga, the only nagging doubt is over the attempted Scottish accents – but it’s a forgivable flaw. It may be a pretty tedious game, but Rock, Paper, Scissors makes for excellent theatre.
What do a twisted woodland, enchanted big-screen stories, the best new art that the Asia-Pacific region has to offer, movies about mad science, the work of Queensland artist Judy Watson, the fashion designs of Iris van Herpen, and an exploration of the importance of plants to Indigenous and Torres Strait Islander peoples all have in common — and with Brisbane, too? They're each featured on the Queensland Art Gallery and Gallery of Modern Art's big 2024 program. GOMA's tribute to fairy tales was announced in 2022, and arrives before 2023 is out; however, as the newly announced full lineup for next year shows, it's just one of many reasons to visit South Brisbane — and, if you're making the trip from elsewhere in Australia, Brisbane in general — before 2025 rolls around. Running from Saturday, December 2, 2023–Sunday, April 28, 2024, Fairy Tales is quite the blockbuster, and comes with movie program Fairy Tales: Truth, Power and Enchantment at Australian Cinémathèque to match. The 100-plus-piece showcase and its corresponding flicks will focus stories that we all lapped up as kids, telling us about otherworldly critters, wishes, spells and more. From venturing into the woods to peering through the looking glass, and also pondering what happily ever after means — while featuring works by Henrique Oliveira, Patricia Piccinini, Jana Sterbak, Kiki Smith, Abdul Abdullah and Ron Mueck along the way, plus a costume worn by David Bowie in all-time classic Labyrinth, pieces from Where the Wild Things Are as both a book and a movie, and threads from 2012's Mirror Mirror by Eiko Ishioka, and more — this showcase is primed to entrance. [caption id="attachment_919713" align="alignnone" width="1920"] Henrique Oliveira / Brazil b.1973 / Baitogogo 2013 / Palais de Tokyo, Paris / Plywood and tree branches / 6740 x 1179 x 2076cm / Courtesy SAM Art Projects, Galerie GP&N Vallois, Galeria Millan / © Henrique Oliveira / Photograph: André Morin / This work is indicative of a new commission by Henrique Oliveira for the exhibition 'Fairy Tales' at QAGOMA.[/caption] Set to arrive while Fairy Tales is still working its magic are both Seeds and Sovereignty and mudunama kundana wandaraba jarribirri: Judy Watson. The first will run from Saturday, March 2–Sunday, September 8, 2024 also at GOMA, and feature artworks about not only Indigenous and Torres Strait Islander peoples bond with plants, but with Country. The second will take over Queensland Art Gallery to celebrate the Queensland artist's career, spanning four decades and highlighting her emphasis on Waanyi Country in northern Queensland, where her family is from. Also on display at GOMA until Sunday, September 8, 2024: sis: Pacific Art 1980–2023, which centres on contemporary pieces from the titular region — with Lisa Reihana, Yuki Kihara and Latai Taumoepeau among the artists with works on display. [caption id="attachment_923891" align="alignnone" width="1920"] Iris van Herpen / Netherlands b.1984 / Hydrozoa dress, from the 'Sensory Seas' collection 2020 / Collection: Iris van Herpen / Photograph: David Uzochukwu / © David Uzochukwu.[/caption] Midyear, Iris van Herpen: Sculpting the Senses will head to GOMA as well, in an Australian exclusive for the massive exhibition about the Dutch fashion designer, as organised by the Musée des Arts Décoratifs. It visits Down Under after displaying in Paris. "Set in direct dialogue with a selection of contemporary works of art, installations, videos, photographs and objects from natural history, the exhibition brings together more than 100 garments created by van Herpen, seeking new forms for femininity and challenging our notions of haute couture. It will include a recreation of van Herpen's Amsterdam studio and a space dedicated to her fashion shows, accompanied by a sound work by Dutch artist Salvador Breed," said curator Cloé Pitiot. "Iris van Herpen is one of the most avant-garde figures of her generation and Sculpting the Senses, organised by Musée des Arts Décoratifs, offers a sensory exploration of the pioneering Dutch designer's multidisciplinary practice. It's a creative universe that merges fashion, contemporary art, design and science," added QAGOMA Director Chris Saines. [caption id="attachment_923890" align="alignnone" width="1920"] Mit Jai Inn / Thailand b.1960 / Planes (Electric) (detail) 2019 / Oil on canvas / Dimensions variable / Installation view, 'Encounters', Art Basel Hong Kong, 2019 / Image courtesy: The artist and Silverlens, Manila & New York / © Mit Jai Inn.[/caption] Then, come Saturday, 30 November 2024–Sunday, April 27, 2025, it'll be time for The 11th Asia Pacific Triennial of Contemporary Art (aka APT11) at both GOMA and Queensland Art Gallery. While it's too early for specifics, artists and collectives hailing from Australia, Asia and the Pacific will have pieces on display — and a cinema lineup, events, live performances and the like will also be on the agenda. As well as its fairy tale flicks, the Australian Cinémathèque has plenty in store. The Magic of Monty Python will celebrate the obvious for two January weeks, then the films of Michael Powell and Emeric Pressburger — so The Red Shoes and Black Narcissus, for instance — will be in the spotlight from February–April. When May hits, those movies about mad science will start rolling until late June, such as The Bride of Frankenstein and The City of Lost Children. [caption id="attachment_923889" align="alignnone" width="1920"] Production still from The Bride of Frankenstein 1935 / Director: James Whale / Image courtesy: Universal Pictures.[/caption] QUEENSLAND ART GALLERY AND GALLERY OF MODERN ART 2024 PROGRAM: GOMA and Queensland Art Gallery: Saturday, December 2, 2023–Sunday, April 28, 2024 — Fairy Tales at GOMA Saturday, March 2–Sunday, September 8, 2024 — Seeds and Sovereignty at GOMA Saturday, March 23–Sunday, August 11, 2024 — mudunama kundana wandaraba jarribirri: Judy Watson at Queensland Art Gallery Saturday, June 29–Monday, October 7, 2024 — Iris van Herpen: Sculpting the Senses at GOMA Until Sunday, September 8, 2024 — sis: Pacific Art 1980–2023 at GOMA Saturday, 30 November 2024–Sunday, April 27, 2025 — The 11th Asia Pacific Triennial of Contemporary Art (APT11) at GOMA and Queensland Art Gallery Australian Cinémathèque: Saturday, December 2, 2023–Sunday, April 28, 2024 — Fairy Tales: Truth, Power and Enchantment Saturday, January 13–Saturday, January 27, 2024 — The Magic of Monty Python Wednesday, January 31–Wednesday December 11, 2024 — For the Love of It: A Curator's Pick Saturday, February 3–Saturday, April 27, 2024 — Technicolor Dreams and Transcendent Reality: The Films of Powell & Pressburger Friday, May 3–Sunday, June 23, 2024 — Mad Science For more information about the Gallery of Modern Art and Queensland Art Gallery's 2024 exhibitions, plus Australian Cinémathèque's 2024 lineup — all of which will occur at Stanley Place, South Brisbane — visit the venue's website. Top image: Still from 'Cinderella' (1922) dir. Lotte Reiniger, courtesy British Film Institute.
Since opening in 2005, The Artery has been focused on giving contemporary Indigenous artists a platform to display and sell their work. Artworks are sourced from across the country — the gallery maintains long-term relationships with a number of remote art centres such as Warlukurlangu. Head along to browse the extensive range of works from local artists and those in remote Aboriginal communities. The artworks range in price but you will occasionally find smaller original works for less than $100 — yep, really. Plus, the Artery is a registered signatory of the Indigenous Art Code, so almost every piece that is purchased will come with a certificate of authenticity. You'll also get a profile on the artist so you can learn a little about where your new purchase has come from.
This kilometre-long stretch of sand is an ideal spot for group hangs. You won't get the crowds that take over some of the other nearby beaches, like Bondi and Coogee. Here, you can really spread out and take on larger-form games like soccer, or even dodgeball, without worrying about disturbing a nearby sunbather. After you've got your heart pumping, take a short stroll to Mahon Pool, which is tucked away on the beach's northern headland, for a secluded dip. Friends who love a surf should bring their boards, too. Not only is this one of Sydney's great surf spots, it's also one of only 21 National Surfing Reserves in the country. Image: Destination NSW
A little slice of the Mediterranean in North Sydney, Glorietta is located within the towering, glass-walled Dexus development and run by hospo guru Aaron Crinis — who is also responsible Glorietta's downstairs sister cafe Glory Days along with two much-loved Wollongong venues: Diggies Cafe and Dagwood Bar + Kitchen. The sprawling, 220-seat restaurant and bar is designed by Alexander & Co, which is also responsible for the striking designs at Woolwich Pier Hotel, The Imperial and Stanton & Co, to name a few. Touches of the Mediterranean are evident in the bright and airy fit-out, which includes high ceilings, green marble and stone finishes, plus rendered bench seating, rattan chairs and timber furnishings. You can drink and snack in the courtyard, sit down for a full meal in the dining room or grab a seat at the long marble counter in front of the kitchen. [caption id="attachment_760001" align="alignnone" width="1920"] Kitti Gould[/caption] In that kitchen, chef Katie Morris (Coogee Pavilion) is plating up a menu that focuses on the Italian fare and simple, produce-centred food. Think starters like pan-fried squid with burnt shallot oil and charred sourdough and beef tartare. Roman-style pizzas are a main draw card here, too, with the succinct, eight-piece menu cooked in a woodfired oven and featuring the likes of salami with jalapeño, mushroom with gruyère and cavolo nero, and zucchini with asparagus and cream. Larger plates showcase fresh seafood, such as mussels in passata, king prawns in spicy cilantro sauce and market fish in burnt lemon and caramelised tahini. Seasonal salads and charred vegetables are each awarded their own section as well — and every salad can be topped with optional burrata for an extra $10. If you're looking to go down the pasta route, Crinis' favourite menu item is the spicy vodka pasta made with paccheri: a large, tube shaped pasta that resembles rigatoni. [caption id="attachment_759973" align="alignnone" width="1920"] Kitti Gould[/caption] The same dishes are available across the bar area, as is a menu of aperitif-style cocktails. On it, there are an impressive six different negronis, including the Bianco (Four Pillars Rare gin, aromatic Cap Mattei and Italian vermouth) and the not-so-traditional Mexicano (chilli and cacao-infused tequila, Campari, Italian vermouth, Creme de Cacao and Fernet Branca). For wine, Freddie Slater (Bentley) is across the refreshingly short list, which, fittingly, focuses on Italian varieties with a lean toward minimal-intervention drops. At the moment, until February 28, Glorietta is also hosting a mid-week aperitivo hour. Running from 3–6pm daily, it features $6 wines and beers, $10 spritzes and negronis and $10 pizzette. Find Glorietta at 100 Mount Street, North Sydney. It's open from Monday–Friday 11.45am–11pm. Top images: Kitti Gould.
Picking just one film that Quentin Tarantino will always be known for is impossible. Pulp Fiction might seem to be the obvious answer, but given that his resume spans Reservoir Dogs, Jackie Brown, Kill Bill and Inglourious Basterds as well, alongside Death Proof, Django Unchained, The Hateful Eight and Once Upon a Time in Hollywood, his career is filled with standout flicks. Only one looks set to score a Brad Pitt-starring follow-up with David Fincher directing, however — and with QT writing the script. As Variety and The Playlist are reporting, the tale of Once Upon a Time in Hollywood's Cliff Booth won't be over if this new film comes to fruition. Netflix are behind it, and the focus on Booth is why Pitt (Wolfs) is in the lead, returning to the role that won him an Oscar. There's no name for the movie yet, or much else in the way of details — including whether fellow Once Upon a Time in Hollywood stars Leonardo DiCaprio (Killers of the Flower Moon) and Margot Robbie (Barbie) will also feature or even briefly pop up. Whatever title it has and whoever else is in it, the picture will see Pitt working with two familiar filmmakers. For Tarantino, he also starred in Inglourious Basterds. For Fincher, he's led Seven, Fight Club and The Curious Case of Benjamin Button. If you've been hanging out for a new movie from the latter director since 2023's The Killer, this might be it. If the Once Upon a Time in Hollywood-related film retains a look at Tinseltown and the entertainment industry, Fincher will add it alongside Mank on his resume. QT just keeps showing Once Upon a Time in Hollywood love, after releasing a novelisation based on the ten-time Academy Award-nominated as part of a two-title deal with publisher Harper Collins. The text not only retraced the tale seen on-screen, but added to it. And yes, Tarantino penned the book, which marked his first foray into printed fiction and saw him embrace his love of novels that relay the narrative of big-screen releases. It's been almost three decades since QT wrote a feature script that someone else directed, since the screenplay for 1996's From Dusk Till Dawn — which he also acted in, and Robert Rodriguez (Spy Kids: Armageddon) helmed. Tarantino is no stranger to Pitt starring in a flick that stems from his words, but with another filmmaker behind the camera, though, courtesy of 1993's Tony Scott (Unstoppable)-directed True Romance. Obviously there's no sneak peek yet for the new film, but you can check out Once Upon a Time in Hollywood's trailer below: Netflix's Once Upon a Time in Hollywood follow-up doesn't yet have a release date — we'll update you with more details when they are announced. Read our review of Once Upon a Time in Hollywood. Via Variety / The Playlist.
Friends, the time has come. Summer has, at last, arrived. La Niña has given us in Sydney a break from the endless barrage of rain, so it's time to dust off the sandals and cossies and enjoy the sun. There are activities galore to explore this summer season now that we can finally live large the way we've been aching to. When the weather for a banging beach day comes around, you might be looking for something free from a crowd. Don't worry, together with Sheridan — the expert purveyor of luxe beach towels — we've got you covered with a shortlist of only the finest swim spots in and around Sydney. [caption id="attachment_880577" align="aligncenter" width="1920"] Lance BB (Flickr)[/caption] SOMERSBY FALLS, SOMERSBY If you fancy a drive up to the Cenny Coast, Somersby Falls is a local summer favourite. Somehow it's secluded, while only being a quick hour up the freeway and turnoff from the Pacific Motorway. You'll find an all-day carpark (which requires a small fee) and a short (but steep) journey down rocky stairs of all shapes and sizes. Only 100 metres into your journey, you'll reach the larger of two pools, with the second waiting for you at the bottom — delightfully, both are great spots to cool off. Like all waterfalls, they're best after a bit of rain, just be careful not to slip. Ideal for a day trip, the journey in and out will take 20 minutes all up. [caption id="attachment_880563" align="aligncenter" width="1920"] Tim Patch (Unsplash)[/caption] AUSTINMER OCEAN POOLS, AUSTINMER Down south, approximately 90 minutes drive from Sydney, is the village of Austinmer. Easily reached by car, cityslickers can also jump on the South Coast train line to get straight to the seaside destination. It has two of the best ocean pools in the greater Sydney region, sometimes overlooked due to the legendary ocean drive to the north and The Gong's easy-breezy hub to the south. Famous as an entry-level ocean swimming spot, Austinmer's twin beach-pool design means strong swell can roll over the walls during high tide and create a natural wave pool. And when calm, it's as flat as a pancake. The southernmost pool is shallow and popular with kiddos, so if you're looking for some quiet laps, head for the longer pool. [caption id="attachment_860442" align="aligncenter" width="1920"] Andrew Harvey (Flickr)[/caption] UPPER GLEDHILL FALLS, KU-RING-GAI CHASE NATIONAL PARK If you've ever driven along McCarrs Creek Road on a drive up to the West Head Lookout or an intimate lunch at Cottage Point, you've passed within a stone's throw of this Northern Sydney favourite — Upper Gledhill Falls sits just below the road. You can park on the roadside near the bridge and make the short-but-tricky walk over – but fair warning, there are a few rocky outcroppings and big boulders to clamber over. The falls collect into a picture-perfect swimming pool — about 10 metres from end to end – that pulls in a crowd on most sunny days. It's perfect for cooling off after a long hike. A short stretch of sand offers a less-rocky alternative to sunbathing spots, and if you're in an adventurous mood, there's even a rope that swings out over the water. Just be careful to aim for the water and not any spectators. [caption id="attachment_880448" align="aligncenter" width="1920"] Phillip Terry Graham[/caption] KARLOO POOLS, ROYAL NATIONAL PARK Tucked away in the massive Royal National Park, the green realm that separates Sydney and Wollongong, Karloo Pools is one of the largest swimming pools in the greater Sydney region. It's either a 50-minute drive from the CBD or a similarly long train ride to Heathcote station, followed by a brief walk to the Karloo Track. It's a long journey, but one that's not that difficult and more than worth it. The bushy journey is accessible for all ages and most experience levels, but it's unpaved and sometimes overgrown in places. The track — which is a six-kilometre return trip — takes you directly to the pools. The largest is the most popular and, with a rim of shallow rock ledges, is easy to dip in and out of. Be warned: the hike out is uphill, so save some strength. [caption id="attachment_755788" align="aligncenter" width="1920"] Andrew Gregory[/caption] WHALE BEACH, NORTHERN BEACHES In the other direction, far into Sydney's locally dubbed 'insular peninsula', there's a beach often ignored by visiting swimmers. Whale Beach is sandwiched between Palm Beach and Avalon Headland, and can be easily passed if you're breezing up Barrenjoey Road searching for a dip. So, go there with intent or directions, otherwise you'll probably miss it. The beach is 600-metres long and feels quite secluded despite its location, which is no surprise considering it only became a residential suburb in the 1950s. If you fancy a surf, you may have heard of 'the Wedge', a famous break on the north side of the beach. But if you forgot the board, no stress. There's plenty of sand and a 25-metre rock pool at the other end (if you prefer your oceanic exposure to be cool and calm). [caption id="attachment_880568" align="aligncenter" width="1920"] Brian Waldron (Flickr)[/caption] VICTORIA CREEK CASCADES, BLUE MOUNTAINS In the magical splendour of the Blue Mountains, there are more than a few famous walking tracks that'll take you to creeks, cascades, falls and pools. But our pick of the lot is Victoria Creek Cascades, where a creek turns into falls and falls into a swimming pool. Plus, it's just under two hours out of Sydney. Be warned, this is a Blue Mountains track: it's going to be steep and mostly dirt. From the carpark, it's a one-hour walk to the pool at the base of the falls, which is the perfect place to soak your tired bones. The water stays cool even on hotter days, and it's mostly shallow and sandy, so your toes will remain unstubbed. Once you find your new favourite swim spot, elevate your summer game even further with a Sheridan beach towel. To make your pick, head to the website. Top image: Karloo Pools by Aiden Casey via Flickr
Spooky season has returned, a time of ghosts and ghouls, flirting with lolly-based diabetes and getting into the spirit by bingeing all things horror. Generally the impulse is to line up a movie marathon of monsters and murderers, but why not mix a little interactivity into your goosebump-inducing genre consumption this year? With horror being such a beloved creative territory there's a boundless wealth of frightening indie games around, but to help you dip your toe into the terrifying here's a list of six (aka 1/111th of the spookiest number possible) to try… if you dare. [embed]https://www.youtube.com/watch?v=TF3ZIJccpj8[/embed] MUNDAUN Folk horror is not a genre that shows up much in the gaming world which seems to have an overwhelming preference for sci-fi scares and general supernatural gore. Swiss developers Hidden Fields decided to buck trends with Mundaun, a first-person exploration game rendered in hand-pencilled fashion. You play as Curdin, a man visiting a small village in the alpine foothills to pay his post-funeral respects to his grandfather after the old man perished in a barn fire. Only problem is, grandpa's grave is empty. As you delve into the mystery of what happened to gramps, you uncover a historical deal made under the duress of war that has cursed the village, and it's up to you to do something about it by poking around the town of Mundaun and its surrounds, speaking with its inhabitants, and indulging in some light puzzle solving. There's a pinch of survival horror mixed in too, so you'll need to manage limited ammo and weapons to deal with a variety of enemies, from animated straw men to undead soldiers. The game's striking aesthetic lends an uneasy air that feeds excellently into the surreal, foreboding setting, steeped in a confluence of Christianity and Paganism. There's nothing else quite like it, so make sure you play with the lights off for the best experience. Spookiness Rating: 7/10 Available on: PC, Playstation 4/5, Xbox One/S/X, Nintendo Switch [embed]https://www.youtube.com/watch?v=CBuh9afznMg[/embed] YUPPIE PSYCHO If you've ever drawn a salary as a corporate wage slave, Yuppie Psycho is going to speak to you on another level. This survival horror game, developed by French/Spanish team Baroque Decay, puts you in the shoes of Brian Pasternack, a nervous young man on his first day at Sintracorp. His job? Kill the witch that has cursed the company for years. You'll spend your time roaming the 10 floors of the company's headquarters, rendered in gloriously retro pixel art. Almost from the get-go, it's clear that something is deeply, deeply wrong. Most of your coworkers are slack jawed and dead eyed, responding with gibberish when you try to talk to them. Someone keeps painting messages on the wall in blood. There's a cemetery in the woods on the 8th floor, and a spider monster in the archives. Alongside all of this standard horror, the game deftly mixes in the anxiety and imposter syndrome that accompanies starting a new job, as well as the existential despair that comes from mandatory motivational meetings, dealing with the spectrum of irritating co-workers and navigating the forced, two-faced jollity of a professional environment. With multiple endings based on choices you make, and even two vastly different paths to get to the end, it's a game you can pick up and play again and again. Spookiness Rating: 6/10 Available on: PC/Mac, Playstation 4/5, Xbox One/S/X, Nintendo Switch [embed]https://www.youtube.com/watch?v=Fe4gVfZ1Q2I[/embed] WORLD OF HORROR 'A little bit of HP Lovecraft, a little bit of Junji Ito' is a great recipe for the vibe of a horror game. WORLD OF HORROR by Polish solo dev panstasz takes place at the cusp of the apocalypse. The Old Gods are awakening, panic and madness are spreading, and monsters are stalking the streets of Shiokawa, the small Japanese town where the action takes place. The primary thrust of the game sees you investigating a series of strange occurrences. It's a roguelike, so the changing raft of cases means no two runs are exactly the same which gives the game great replayability. The turn-based combat leans towards the challenging side (hey, no one said the end of the world would be easy), but an RPG-esque upgrade system will help ease the stress of late-stage runs — provided you make smart choices. Plus it's primarily an adventure game, so if you fear fast-twitch gameplay there's nothing to worry about here... beyond everything else happening. The Junji Ito inspiration comes through heavily in the lineup of monsters, mirroring the manga artist's off-putting creations in throwback 1-bit graphics that look like they came straight off the page. Fans of Japanese horror will definitely want to give this one a whirl. Spookiness Rating: 9/10 Available on: PC/Mac, Console release coming October 26th [embed]https://www.youtube.com/watch?v=naCeKfdPbTs[/embed] CRITTERS FOR SALE Critters For Sale is weird, man. No other way to put it. Created by solo developer Sonoshee, this blend of point-and-click adventure and visual novel is a heady, paranoid time, as compelling as it is mildly repulsive. Play through five nonlinear short stories linked by broad themes of good vs evil, time travel and black magic, with woozy, grainy 1-bit graphics that help to heighten the general feelings of discomfort and discombobulation. Some feature multiple endings based on choices you make, which encourages multiple playthroughs supported by quality-of-life features that skip you to key story points so you don't have to start at the beginning every time. Others hide secrets that will only make sense once you've explored all the stories. Each tale comes from the perspective of a different character, so you're never quite able to find a stable narrative footing as you navigate between them, boosting your sense of unease. It's a highly-advanced horror game that bucks the modern trend of blood and brutality for an ineffable surrealism, leaving an impression on you long after you've completed its twisted paths. The faint-of-heart need not apply. Spookiness Rating: 9/10 Available on: PC [embed]https://www.youtube.com/watch?v=BrRWb7tFxR8[/embed] DREDGE Oceans are terrifying. Out where the water is an almost-black blue, where anything could be lurking below... that's nightmare territory. This is the niche in which Dredge, by New Zealand's Black Salt Games, floats. You're a nameless fisherman, freshly arrived to the island town of Greater Marrow after a shipwreck left you with no memories. The mayor gives you a boat and a job as the community angler and off you go to complete missions for a variety of characters, some with more sinister motives than others. The crux of the game is its day/night cycle. When the sun is up, you can roam the waves with relative impunity. Once the dark arrives your panic metre starts to fill, which can lead to reality-altering hallucinations and death if you push your luck. That's not to mention the sea monsters that inhabit the archipelagos you'll visit, which will have you navigating coastlines in frenzied fear, searching for escape. Mix all the above with a raft of compelling gameplay mechanics, such as a variety of fishing mini-games, the Tetris-like cargo management system and 128 different types of fish to catch and catalogue, and you've got an experience will truly hook you in. Spookiness Raiting: 6/10 Available on: PC, Playstation 4/5, Xbox One/S/X, Nintendo Switch [embed]https://www.youtube.com/watch?v=AI9zBBTyX-E[/embed] LITTLE NIGHTMARES II The decision to include a sequel over the original game took a lot of soul searching. But ultimately, since the focus here is spooks and scares, Little Nightmares II takes the cake (it's also technically a prequel, but let's not get bogged down in details here). Developed by Swedish team Tarsier Studios, Little Nightmares II is a 2.5D puzzle platformer that is packed with peril. You're Mono, a young boy in a paper bag mask who, along with a mysterious young girl as a sidekick, must make your way through the decrepit, dank Pale City to uncover what lies inside the Signal Tower at its heart. Along the way you'll have a lot to deal with, such as the television-addicted inhabitants who fly into an incoherent rage if you sever their connection to the cathode ray tube. The strength of the game lies in its set pieces, each of which is a polished jewel of terror. Talk to anyone who has played Little Nightmares II previously and they can wax lyrical about the School, the Hospital, or the end sequence, which features a twist that will slap a gasp out of you. The character design is also outstanding, with the adult inhabitants of the world represented as twisted grotesqueries, exactly what you'd expect from the point of view of a child. With a gameplay loop centred on dying, learning and dying again, and an atmosphere that will keep your anxiety levels at a roiling boil, Little Nightmares II is a key addition to the game library of any horror fan. Spookiness Rating: 8/10 Available on: PC, Playstation 4/5, Xbox One/S/X, Nintendo Switch
Sydneysiders are constantly searching for things to do that include more than just sitting around and drinking — we've seen that in the popularity of Newtown's Holey Moley and the growing amount of kidult activities available around town. And now, from the creators of the aforementioned mini golf bar, comes a new funhouse-slash-cocktail joint: Archie Brothers Electric Circus. The place is crammed with activities. The Alexandria warehouse features everything your inner child could possibly desire. Old-school dodgem cars? Check. Bowling lanes? Check. Arcade games? Check. A 3D interactive theatre ride? We don't even know what that is, but check. The space is anchored around a tricked-out cocktail bar with a 'carnival' aesthetic — you might find yourself sitting in a repurposed saucer seat or on an old carousel horse. That's where punters will find a selection of boozy beverages including an array of extravagant spiked shakes. The diner will also be serving food like burgers, hot dogs and fries. It's all very much a novelty, but with the promise of arcade games and cocktails, is sure to pique the interest of punters. Games are priced pretty affordably — a game of bowling is $10, a go on the dodgem cars is $4 and you can top-up a card to play arcade games for $20, $50 or $70. Images: Letícia Almeida.
The Boathouse Palm Beach may have shuttered its windows, but a new Italian-inspired venue has popped up for the summer in its homewares store: CASA by The Boathouse. With classic brunch fare, best enjoyed in a rustic setting within spitting distance of the water, CASA joins Boathouse Group's other beachfront venues, including Balmoral, Shelly Beach and Manly Pavilion. Unlike its predecessor, CASA is also offering up an all-day Italian-inspired menu and drinks — with cocktails like Aperol Spritz, Montenegroni (classic negroni with Amaro Montenegro) and Boathouse Margarita (with pineapple and jalapeño-infused olmeca altos tequila) as well as a beer and wine list. Choose between classic Italian antipasto, including arancini al formaggio and calamari fritti with chilli and aioli, pizzas and side dishes. If you can't snag a seat, the menu is also available to takeaway so you can enjoy some Italian eats at home. If you're in Palm Beach to catch some morning waves, you can enjoy breakfast and Single O coffee out the back daily from 7am until 3pm. Breakfast options include fruit salad, classic avo on toast and bircher muesli, and Italian panini.
Another Paul Schrader film, another lonely man thrust under a magnifying glass as he wrestles with the world, his place in it and his sense of morality. The acclaimed filmmaker has filled the screen with such characters and stories for more than half a century — intense tales of men who would not take it anymore — as evidenced in his screenplays for Martin Scorsese's brilliant Taxi Driver and Bringing Out the Dead, and also in his own directorial efforts such as Light Sleeper and First Reformed. You can't accuse Schrader of always making the same movie, however, as much as his work repeatedly bets on the same ideas. Instead, his films feel like cards from the same deck. Each time he deals one out, it becomes part of its own hand, as gambling drama The Card Counter demonstrates with potency, smarts and a gripping search for salvation. The film's title refers to William 'Tell' Tillich (Oscar Isaac, Dune), who didn't ever plan to spend his days in casinos and his nights in motels. But during an eight-year stint in military prison, he taught himself a new skill that he's been capitalising upon after his release. His gambit: winning modest scores from small-scale casinos. If he doesn't take the house, the house won't discipline his card-counting prowess. The money keeps him moving, but each gambling den could be the same for all that Tell cares. His motel-room routine, which involves removing all artwork from the walls, making the bed with his own linen, and covering every other surface and item with carefully tied cloth — making each space as identical as it can be, and resemble incarceration — lingers between fierce self-discipline and a stifled cry for help. Assistance arrives in two forms, not that Tell is looking or particularly receptive to having other people in his life. The regimented status quo he's carved out so meticulously is first punctured by fellow gambler-turned-agent La Linda (Tiffany Haddish, Like a Boss), who backs other punters and believes they should team up to profit big on the poker circuit. That'd bring Tell more visibility than he'd like, but it'd also increase his pay days, which would come in handy for his second new acquaintance. In Atlantic City, he meets the college-aged Cirk (Tye Sheridan, Voyagers), who has proposes a quest for revenge. Tell shares a grim past with Cirk's dad, and the twentysomething wants to punish the retired major-turned-security expert (William Dafoe, The Lighthouse) that he holds responsible — which Tell is eager to discourage. Isaac doesn't ask his reflection if it's looking in his direction. And, given that The Card Counter joins a filmography overflowing with exceptional performances — including Scenes From a Marriage already this year — it won't define his career as Taxi Driver did for a young Robert De Niro. Still, it's the highest compliment to mention the two in the same breath. At every moment, this blistering film is anchored by Isaac's phenomenal portrayal, which is quiet, slippery and weighty all at once. As conveyed with a calculating glare that's as slick as his brushed-back hair, here is a man who dons a calm facade to mask the storm brewing inside, revels in routine to avoid facing change, and anaesthetises his pain and past deeds with the repetition he's made his daily existence. Here is a man desperate to paper over his inner rot with time spent amid meaningless gloss, preferring to feel empty than to feel anything else, until he has an innocent to try to save and a clear-cut way to rally against the soulless world. In Isaac's case, here is a man surrounded by other impressive actors, too. Haddish is in career-best form, regardless of her comedy successes, and cleverly builds that confident, sharp-talking experience into La Linda's persuasive attitude. Sheridan is tasked with the most blatantly written character of the film's core trio, although that doesn't make Cirk any less riveting or pivotal. Across six decades now, Schrader has probed how America holds up, or doesn't, by using his protagonists as one-man case studies; however, due to Sheridan's single-minded, gun-ho and determined part, The Card Counter sports two examples of how the nation's decay is currently manifesting and spreading — and across two generations as well. Perhaps its plainest to see Schrader's commitment to the same themes — masculinity that's expected to brood stoically, a society that values ease over substance, a world with an ends-justify-the-means mentality, and the trauma, guilt and pursuit of redemption that all three inspire — as a filmmaker taking snapshots of the passing years. The notions he's so profoundly fascinated with are timeless, sadly, so each of his features steeps them within the US as it then exists. In The Card Counter, that also involves scrutinising American military might, the country's self-proclaimed status as the globe's leader and the horrific atrocities undertaken in its name. Indeed, the movie's most potent sequences take Tell back to his time as a guard in the Abu Ghraib prison complex following the 2003 invasion of Iraq. History has established why that's such a haunting choice, and why so much torment lingers deep in Isaac's eyes. When Schrader's now three-time cinematographer Alexander Dynan (Dog Eat Dog, First Reformed) isn't shooting those flashbacks like several layers of feverish nightmares — captured with an ultra-wide lens, warped like a carnival mirror and staged like a relentless onslaught, they're a masterclass in hellishness — The Card Counter takes ample time to peer patiently and intently. It surveys its leading man, eating up his hypnotic fastidiousness. It stalks through the faux casino glitz and lets it tarnish its own veneer, as one of the best gambling films ever made, 1974's California Split, also did. It sees not just lonely men, but sparse spaces, hollow dreams and vacuous ideals. In one short slip into a softer mode, it lets Isaac and Haddish's chemistry — and the sensuous joy of vibrant colours and lights — pose an alternative, too. Going all in on the power and passion of Schrader's lifelong cinematic obsessions and convictions, The Card Counter is another of the writer/director's aces — hands down.
Sydney's cookie titans have done it again. ButterBoy conquered Manly, Chatswood, Broadway and Brookvale with flagship stores, spread their oven-baked goodness across the city with stockist selections, dished out free mystery boxes and even pollinated Melbourne with a pop-up earlier this year. Now they're expanding their offering again for a limited time only. This time, Pitt Street is playing the lucky host, with a pop-up store in Westfield Pitt Street that's open now until Sunday, October 19. The pop-up will be slinging the usual mix of cookie flavours, sold individually or in boxes of six, alongside the more bite-sized collections of serves inside cookie tins. For refreshments, an evolution of cookies' natural pairing, cookie milk. This isn't your typical ice-cold glass of the good stuff, this is ButterBoy cookies blasted into fine crumbs, then soaked and strained into a creamy glass of milk that tastes like it came out of the oven with the cookies themselves. As well as the usual selection of flavours, the pop-up will also debut two exclusive flavours — as is tradition for ButterBoy, where every store has a signature you can't find elsewhere. This time, the exclusive flavours are Matcha & White Chocolate, perfectly paired with your matcha run for the day, and Blueberry & Lemon for those who like something a little fruitier. ButterBoy can be found on Level 2 of Westfield Pitt Street, open 9.30-7am Monday to Wednesday, 9.30am-9pm Thursday, 9.30am-7pm Friday and Saturday and 10am-7pm on Sunday. Find ButterBoy on Instagram for more information.
In his guise as Benoit Blanc in both 2019's Knives Out and 2022's Glass Onion: A Knives Out Mystery, Daniel Craig has pointed the finger at an array of well-known faces. With third film Wake Up Dead Man: A Knives Out Mystery officially on the way, that list is set to grow. The first three folks joining it: Andrew Scott (Ripley), Josh O'Connor (Challengers) and Cailee Spaeny (Civil War). If you weren't already excited about Blanc's next case, which is set to arrive on Netflix in 2025, then you should be now. The news that Wake Up Dead Man is on its way still relatively fresh, with the sleuthing saga's writer and director Rian Johnson announcing it via social media on Saturday, May 25 — and casting details have started arriving mere days later. [caption id="attachment_868527" align="alignnone" width="1920"] Courtesy of Netflix © 2022.[/caption] As reported by Variety, there's no word yet as to who Scott, O'Connor and Spaeny are playing opposite No Time to Die's Craig. But joining Wake Up Dead Man's suspect pool comes in a big year for fans of all three Down Under, with Scott's All of Us Strangers, O'Connor's La Chimera and Spaeny's Priscilla all reaching screens this year — plus the aforementioned Ripley, Challengers and Civil War, too. With the third Knives Out flick locking in a date with the small screen next year, the series continues its three-yearly pattern. Who else the filmmaker that also brought audiences Brick, The Brothers Bloom, Looper, Star Wars: Episode VIII — The Last Jedi and TV's Poker Face (which has been renewed for a second season) will get Blanc investigating hasn't been revealed, and neither has much else about the movie. "I love everything about whodunnits, but one of the things I love most is how malleable the genre is. There's a whole tonal spectrum from Carr to Christie, and getting to explore that range is one of the most exciting things about making Benoit Blanc movies," Johnson did note. [caption id="attachment_951454" align="alignnone" width="1920"] Challengers, Niko Tavernise © 2024 Metro-Goldwyn-Mayer Pictures Inc.[/caption] Exactly when in 2025 the flick will hit, and also whether it will reach cinemas before arriving on Netflix, also hasn't been announced. But, the streamer is teasing that this will be Blanc's "most dangerous case yet". So far, Johnson has plunged his detective into a familiar scenario twice, but always ensured that the end result was anything but routine. His trusty setup: bring a group of people together in a family home, mode of transport or lavish vacation setting, then watch on when one thing that always occurs in a whodunnit happens. That'd be a murder, in a formula that Agatha Christie also loved, as book-to-film adaptations Murder on the Orient Express, Death on the Nile and A Haunting in Venice have shown. The author's play The Mousetrap and recent flick See How They Run, which riffs on it, make the same point. And, so does this clearly Christie-inspired franchise. [caption id="attachment_936946" align="alignnone" width="1920"] Priscilla[/caption] The cast across Knives Out and Glass Onion has been impressive. Chris Evans (Pain Hustlers), Ana de Armas (Ghosted), Jamie Lee Curtis (Haunted Mansion), Michael Shannon (The Flash), Toni Collette (Mafia Mamma), Don Johnson (The Collective), Lakeith Stanfield (The Changeling), Christopher Plummer (Departure), Katherine Langford (Savage River) and Jaeden Martell (Mr Harrigan's Phone) all featured the first time around. In the second flick, Edward Norton (Asteroid City), Janelle Monáe (Antebellum), Kathryn Hahn (Tiny Beautiful Things), Leslie Odom Jr (The Exorcist: Believer), Jessica Henwick (The Royal Hotel), Madelyn Cline (Outer Banks), Kate Hudson (Mona Lisa and the Blood Moon) and Dave Bautista (Dune: Part Two) all co-starred. If you saw either — or any murder-mystery involving a motley crew of characters brought together in one location when someone turns up dead — then you'll know how this movie series works from there. There's a standout setting, that big group of chalk-and-cheese folks, threats aplenty and just as much suspicion. Check out the title announcement video for Wake Up Dead Man: A Knives Out Mystery below: Wake Up Dead Man: A Knives Out Mystery will release sometime in 2025 — we'll update you with an exact date when one is announced. Read our reviews of Knives Out and Glass Onion: A Knives Out Mystery. Via Variety. Top image: All of Us Strangers, photo by Chris Harris, courtesy of Searchlight Pictures. © 2023 Searchlight Pictures.
If you've been looking to keep your wardrobe choices as ethical as possible, then shopping local just got a little easier. Long-running fashion not-for-profit Ethical Clothing Australia (ECA) has launched a new online map that pinpoints all the Aussie stores featuring ECA-accredited brands on their racks. The new digital tool currently maps out over 300 accredited ethical retail destinations, allowing shoppers to easily hunt down ethically conscious fashion with just a few clicks on their smartphone or other device. In order to nab that all-important ECA accreditation, a business must be able to show that all workers involved in its manufacturing operations are being paid properly, working in safe conditions and receiving all the necessary legal entitlements. ECA conducts these audits looking deep into the whole manufacturing process, from design to dispatch. [caption id="attachment_800970" align="alignnone" width="1920"] Clothing the Gap[/caption] Some of the ethical businesses to have earned themselves a spot on the map include 53-year-old brand Cue, popular jeans label Nobody Denim and high-end designer favourite Manning Cartel. And Victoria especially looks to be flying the flag for conscious fashion, with 120 store mapped in that state alone, including The Social Studio, Vege Threads, Remuse Designs and the newly opened Clothing the Gap store. The new map comes as more and more Aussies are choosing to hunt down ethical producers when they shop. A recent ECA survey showed that a huge 70 percent of local textile, clothing, and footwear manufacturers reported their customers were asking more questions about the labour rights of their workers than ever before. On its website, the ECA also has a comprehensive directory listing all of its ethically accredited fashion businesses. To check out the ECA Digital Shopping Map, jump over to the website. Image:
Last week, the crew behind Darlinghurst's Black Bottle brought its natural wine bar vibes to Sydney's inner west with the opening of PG's. The new speakeasy takes up prime real-estate along King Street, just across from the Newtown Hotel, and it's looking like a good'un. Black Bottle co-owner Lucas Cristofle and Ben Labat (The Grounds of Alexandria) have collaborated to open the venue, which has exposed brick walls, low-lighting and pink neon signs, plus bar chow by Ricky Firth and a focus on cocktails and reasonably priced wines by the glass and bottle. Their wine list focuses on the natural and organic, with local craft beers, too. Cocktails include house specialties (all $18) such as the Lavender Fields (gin and lavender oil with an absinthe rinse), the Kaffir Lime Sour (kaffir-infused vodka with lemongrass syrup and finger lime) and the extremely boozy sounding Cabron on Fire (mezcal, a smoky scotch and agave). For eats, Firth is cooking up bar snacks like chicken wings and cheeseburger jaffles, as well as bringing over the house pâté from Black Bottle. Named for mums Pat and Gigi, the speakeasy bit comes from the library cover entrance. From the street, the space better resembles a used book store than a bar — one that houses some pretty regal-looking hard covers, we might add. "The idea behind a speakeasy came from a discussion with a fellow operator in Darlinghurst who said 'prohibition is over'," says Cristofle. "To whom we replied 'Really? Then what do you call a government which tells you where, how and when to drink? We are right in the middle of [prohibition]." Once inside, the two-level bar reveals itself and, according to Cristofle, takes on a vibe of 'house party at your mums' combined with rock 'n' roll feels. To that end, they've restored the old house back to its bare bones and set it up for big name local and international acts to take the stage. The fit-out sees a mix of seating, from aged leather Chesterfield sofas to cafe-style low tables and high bar stools, along with potted plants aplenty and classical portraits adorning the walls. The location is no lucky coincidence, either. "Newtown is the only neighbourhood that stuck together and thrived [through the lockout laws] these last few years, and we respect that," says Cristofle. "We feel the Newtown community is eager for small places and a bit more human-scaled than the multi-billion dollar hospitality giants." Open daily from 4pm until late, the upstairs bar will host live gigs two nights a week, plus one-off parties and other decadent speakeasy events. There'll also be happy hour every Wednesday through Friday from 5–7pm — with $15 carafes, $10 classic cocktails and $5 tap beers on offer — and half-price wings and tinnies on offer every Wednesday. This joint is definitely worth a gander. PG's is now open at 169 King Street, Newtown. Open daily from 4pm until late.
A Taiwanese filmmaker might've made your favourite movie, although you may not realise that. Adored the original The Wedding Banquet? A fan of Brokeback Mountain? Loved Life of Pi? Still in awe at Crouching Tiger, Hidden Dragon's action scenes? Thank Ang Lee (Gemini Man) — but he's just one of many talented directors from Taiwan. To dive into the depths of the rest of Taiwan's filmmaking prowess, Australia became home to the Taiwan Film Festival in Australia back in 2018. After starting in Sydney, it now tours to five other cities — but the Harbour City remains on the itinerary from Thursday, July 24–Saturday, September 6, 2025, complete with 2025's closing-night session of Hou Hsiao-Hsien's (The Assassin) Tony Leung (Fox Hunt)-led 1998 great Flowers of Shanghai, playing a restored 4K version, at the Sydney Opera House. Largely playing Event Cinemas George St in the New South Wales capital, this year's fest spans more than 40 sessions among its features and shorts — including 15 films scoring their Australian premieres — and puts a particular focus on showcasing female perspectives. Daughter's Daughter kicks off the program, starring Sylvia Chang (Forget You Not) and screening fresh from its berth at Sydney Film Festival. Also highlights: The Chronicles of Libidoists, about chasing desires, plus romance Unexpected Courage. From there, get ready for a range of fellow titles that, outside of occasional berths at Australia's major fests, don't often make it to our shores. Yen and Ai-Lee and the Sung Kang (Fast X)-costarring Worth the Wait both hail from filmmaker Tom Lin (The Garden of Evening Mists), Where the River Flows and Organ Child have crime thrills covered, and Stranger Eyes is a Singaporean co-production — as well as the first Singaporean feature to ever premiere in Official Competition at the Venice International Film Festival.
Sometimes you're having such a good time with your mates that you don't want to head home just yet. Maybe you need a debrief after that amazing film you just saw at the cinema, or you're so pumped from the live music you've just experienced you'd like to eke out a little more time with friends over a post-gig drink. Or, after spending the allotted time at your restaurant booking, maybe you're keen for night cap before it's time to call it a night. We've teamed up with Maker's Mark to bring you seven cocktail bars in Sydney for when you want to make the magic last a little longer, whether you've just been to the movies, out to dinner or for an evening dip in the ocean. AFTER DINING AT SAINT PETER, GO FOR A COCKTAIL AT CHARLIE PARKER'S Seafood master Josh Niland has transformed his restaurant Saint Peter into an even more intimate eatery, which seats 12–14 guests at a time. After such an exciting meal, from live purple sea urchin to murray cod fat caramel slice, you'll want to keep the conversation going afterwards. Keep to Oxford Street and head down into Charlie Parker's for an after-dinner delight. This basement bar, tucked underneath Fred's, is all class, with dark leather detailing and an open fireplace to capture the feel of a cosy country house. The drinks list has an emphasis on seasonality and freshly picked botanicals. Our pick from it is the Sage ($22), a signature cocktail made with Maker's Mark, Montenegro and verjus. [caption id="attachment_747368" align="alignnone" width="1920"] Nikki To[/caption] AFTER PASTA AT RAGAZZI, DUCK INTO J&M FOR A GLOW UP Ragazzi may be small in stature but this pasta and wine bar, found at Angel Place, more than pulls its weight when it comes to what's on the plate. After feasting on a big bowl of house-made pasta you'll be carb-loaded and ready to roll around the corner to J&M, the charming old-school cocktail bar above Angel Hotel. Pull up a cushioned armchair and spend an hour catching up with your dinner buddies. We suggest starting with a smooth Glow Up ($22), which includes Maker's Mark, exotic verbena, lemon and coconut). [caption id="attachment_622123" align="alignnone" width="1920"] Kimberly Low[/caption] AFTER A MOVIE AT THE RITZ, GO TO WILL'S FOR OYSTERS AND AN OLD-FASHIONED With its art deco charm, The Ritz is a glamorous way to spend a night at the movies. Right now you can also catch a flick under the stars in its Ritz Laneway Cinema, complete with director chair seating. Whether you watch a film indoors or out, keep the glamour — and the good times — going by heading down the hill to Will's at the Coogee Pavilion after the movie. Set on the mezzanine, with stunning ocean views and an ornate, curved central bar, this beachside gem will have you feeling every bit the sophisticate. Enjoy a classic cocktail, like an old-fashioned, paired with smoked trout and fresh oysters. [caption id="attachment_637649" align="alignnone" width="1920"] Katje Ford[/caption] AFTER A GIG AT FRANKIE'S, HEAD INTO DOOR KNOCK FOR A NIGHT CAP Thank the rock and pizza gods for Frankie's — the late-night boozer and pizza parlour where the good times are on high rotation and the live music is booming. After heading to a gig in this underground lair, you may want to find a quieter place to extend your night out and have a chat. Luckily, Door Knock is little more than a stumble away. You'll feel right at home at this subterranean bar, where the lights are low and the drinks pack a punch. In keeping with the speakeasy vibe, order a whisky sour and talk in hushed tones as you while away the hours. [caption id="attachment_790343" align="alignnone" width="1920"] Destination NSW[/caption] AFTER AN EVENING DIP AT SHELLY BEACH, HEAD TO IN SITU There are few better ways to celebrate a balmy summer's evening than with an after-work dip at Shelly Beach. Once you've been reinvigorated by the ocean, and all dried off, why not take yourself from the sand to soak up the night at In Situ? The atmosphere is always buzzing at this small bar, and, despite its size, there's a top-shelf cocktail selection to choose from. Pair the sea-salt on your lips with an old-fashioned and mingle with fellow beachgoers, first-daters and locals alike. AFTER LATE-NIGHT SHOPPING IN NEWTOWN, HEAD TO EARL'S The shops in Newtown are eclectic, mostly independently owned, and best of all, stay open late. After picking up a shiny new record, paperback, or eco shampoo, head down the road to Earl's Juke Joint to rest your legs and share your wares with your shopping pal. When you step off King Street and into this New Orleans-inspired drinking den, opt for a stool at the bar for the best vantage point to watch the bartenders make cocktails with flair. They pour a mean old-fashioned here, too. AFTER A SHOW AT STABLES THEATRE, HEAD TO JANGLING JACKS The Griffin Theatre Comapny, based at SBW Stables Theatre in Kings Cross, is one of the gems of the suburb. After getting your culture fix with a play at this intimate space, you'll want to keep the show going, and talk about what you've seen unfold on stage. Head to Jangling Jacks for post-show ramblings over a whiskey. Take a seat where the magic happens — at the bar — and let the experts take you through their carefully curated cocktail list. Find out more about Maker's Mark and how to make an old-fashioned, here. Top image: Charlie Parker's
Curating a list of the 50 best bars in Sydney is no easy feat. This city is full of outstanding places to drink, whether they're up on a rooftop, by the water or hidden in a basement. But location is just one part of an extensive set of criteria used to create this definitive list. We've spent years drinking around town to find the tastiest and most creative drinks, the best bartenders, places with the friendliest atmosphere and menus that go above and beyond at just about any price point. To rank this list, we've combined this first-hand experience with scores for the calibre of the fitout, the quality of service, the tastiness of the food offering, the energy of the vibe and of course, the sky-high standard of the drinks. But to be clear, the 50 bars on this list are the best of the best and more than worthy of a visit. Read on to see if some of your favourite watering holes have made the list of the best bars in Sydney and, perhaps, discover a few places you haven't tried yet. Recommended reads: The Best Wine Bars in Sydney The Best Pubs in Sydney The Best Restaurants in Sydney The Best Underground Bars in Sydney The Best Bars in Sydney's CBD
Summer is here and with it the holy trinity of sun, sand and surf — and conveniently long days to enjoy them. But before you book your annual leave and leg it to the beach, plan your suncation. Now is the time to invest in sun safe essentials so you don't come out the other side of summer looking like a shrivelled raisin. And one of the most overlooked sun-safe accessories is a beach tent. "A beach tent?" you shriek. "Good grief, I'm not 85!" Well, hold up now. Yes, beach tents may have started as a gaudy, fluorescent nightmare dotting the shore but the logic behind them is sound. And they've evolved way past the beach tents we remember as kids and they're the best way to keep the sun off. We've found some super cute ones that won't ruin your beach cred while you avoid the UV. BYRON BAY BEACH LIFE As if those gorgeous, vintage tropical prints weren't sweet enough, these tents by Byron Bay Beachlife have clearly been designed by someone who spends a lot of time on the beach. How can we tell? They're designed to cast shade but also give you a clear, 360-degree view of the beach so you can stay out of the sun but keep track of any fire hotties that wander past. And isn't that the whole point of lazing on the beach? They've been designed to be assembled in a few different ways too, so you can customise your set-up. GINGER AND GILLIGAN If you're looking to spend big bucks on your beach swag (we're talking $249 each) and be voted 'Most Opulent Beach Goer 2016', look no further than Ginger and Gilligan. We recommend their tie-dyed beach tipi because it's just so damn pretty. It's also a bit more contained than most beach tents, giving you some privacy while ocean-side, just in case you need to change. Each tent is hand-dyed so you can guarantee no one else on the beach will have a tent like yours. LOVIN' SUMMER Minimalist beach tents look incredible. You can rig your beach set-up to look like it's straight out of a photoshoot. But how do minimalist beach tents hold up against the elements? Pretty well apparently. The gorgeous tents from Lovin' Summer are only minimalist in look. They block out 99 percent of UV protection and come with specially-made pegs that anchor deep in the sand. They've also been designed to be easily assembled by a solo beachgoer, making them genuinely 'pop-up'. SOMBRILLA BY HOLLIE AND HARRIE The Sombrilla tent by Hollie and Harrie, similar to the Byron Bay Beach Life design, lets you gaze over the whole beach while staying in the shade. They come in a variety of pop colours and designs, bringing to mind the famous beach boxes of Brighton Beach. And best of all, they're versatile — you can put it up in the standard symmetrical formation for shade coverage or set it up more like a windbreaker for when the sun dips low. They also sell windbreakers, for those days when you just can't have the wind up in your business. SUNNY JIM When we say Sunny Jim tents are designed to make #beachlife easy, we really mean it. They've thought of everything you could possibly need to execute the perfect beach tent seamlessly. The cute tents fold away into an easy yoga bag and/or handbag and they come with a mallet. A mallet! Useful not only for banging in pegs but also for passing official judgements on your friends. Best of all, the shade material is made from UPF50+, the highest shade rating available. The Sunny Jim really isn't messing around here. CANCER COUNCIL The range of tents available from the Cancer Council might be a bit more in line with your original ideas about beach tents. They're the classic beach pod, closed in on three sides (no sunlight getting in here, no sir) in bright blues and yellows. They each boast the highest UPF rating (50+) and very high nostalgia factor. We'd also like to give an honourable mention to the 'Sunshade Chair', a fully shaded chair, with a drink holder included. Now that's how you stay sun safe with raditude. SPORTBRELLA Now, here us out on this one. The Sportbrella might look a bit whack, being a Frankenstein combo of beach tent and beach umbrella, but it's actually pretty useful. It's rocking that UPF 50+ rating, so you know no UV is getting in. The Sportbrella (but feel free to use it for leisure) combines the sturdiness of the umbrella staked into the sand with the privacy of an enclosed beach tent. Plus they're huge, at 2.45 metres wide and perfect for big groups. Stay tuned for our wrap-up of the summer's best beach umbrellas, coming soon.
Merivale added this pup-friendly locale to its collection of venues back in 2018, quickly making it into one of the best pubs in Sydney. The Vic on the Park is a Marrickville gem that welcomes the easy going with an appreciation for street murals and creative pub fares. Enjoy the drinks and the dishes as you listen to live music or pick up casual basketball games on their outdoor court. When it comes to the food, the Vic has curated a menu featuring both classics and newbies to satisfy whichever cravings you've got. They've even got a stellar late-night menu that's served on Fridays and Saturdays until 1am. Get around cheeseburgers, chicken wings and toasties before you either call it a night or kick on for a big one. Appears in: The Best Pubs in Sydney
