The festive season might be one of the happiest times of year for many, but there's no denying it can come with an all too heady financial hangover in the new year. And that's a shame because summer's most unmissable events do waggle a price tag. That's why we've teamed up with American Express, which offers a solution for Amex Credit Card card members to split a big cost into manageable sections. That's the idea behind Plan It® Instalments, a feature that allows you to split payments into instalments with no interest to be paid over 3, 6 or 12 months — T&Cs apply. But how can you use Plan It Instalments to live your best life? All over Australia's east coast, there are headline events you can secure a ticket to right now. [caption id="attachment_978661" align="aligncenter" width="1920"] Sydney Gay and Lesbian Mardi Gras Parade on March 2, 2023[/caption] Sydney The Harbour City rarely has a shortage of things to do. Many summer events take place in the prettiest (and busiest) parts of town, which only increase ticket prices. For a more relaxed but oh-so-luxurious alternative that's just as close to the water, a Sydney must-see is the Westpac OpenAir Cinema. With a program of indie films and blockbusters alike and food supplied by three on-site eateries from top Sydney chefs against a backdrop of the Sydney skyline and harbour, this isn't your average cinema experience. The pricing is worth it and easily broken down with Plan It Instalments. Finally, one of Sydney's biggest events returns in February to round out the season: Sydney Gay and Lesbian Mardi Gras Festival. This citywide celebration runs from Friday, February 14 to Sunday, March 2 and has a whole host of offerings. Sure, some events, like the main parade, are free — but many of Mardi Gras' most fun experiences are ticketed. Be it drag brunches, boat parties, concerts and more; you can secure a spot for yourself and any fellow partygoers today. [caption id="attachment_913351" align="aligncenter" width="1920"] Daniel Boud[/caption] Melbourne Down south in Melbourne, the offering is as stacked as ever in the heat of summer. Don't let the adverse weather stop you from having a good time. Melbourne is kicking off 2025 with a culture-heavy events program and Plan It Instalments will prevent the headline items from denting your savings when you need them. A truly fabulous event is at the top of the cards, TINA: The Tina Turner Story. The musical tells the story of an icon beloved by Australians and is so much more than just a biography. It's a toe-tapping dive into the life of the queen of rock 'n' roll and includes 20 of her most popular songs. Book using Plan It Instalments and get some seats before the show leaves Melbourne for good on Sunday, March 2. If you fancy heading further afield, up in Falls Creek is Feastival. Sure, this alpine town is generally a winter destination, but this three-day festival at the tail end of February will bring a new level of festivity outside of peak season. What's on the cards? Feasting (duh), comedy shows, paint and sips, pilates, heritage walks and a massive weekend of music featuring The Cat Empire, Budjerah, Azure Ryder and more. Make it a great getaway that goes steady via Plan It Instalments. Brisbane Up north in the River City, summer is the season of concerts. The regular summer offerings go on in force, but some of the hottest tickets in town are courtesy of artists stopping by on global tours. Then, on Tuesday, February 25, comes the long-awaited return of The Goo Goo Dolls to Australian shores. On their first visit in 20 years, they'll be joined by Thirsty Merc as they blow the roof off of the Brisbane Convention and Exhibition Centre with banging ballads like 'Iris', 'Slide', 'Just the Way You Are' and more. Finally, an icon among icons, Kylie Minogue, is playing two shows at the Brisbane Entertainment Centre as a part of the Tension Tour on Wednesday, February 26 and Thursday, February 27. Plan It Instalments is available for American Express Credit Card Holders for plans over $100. For more information, visit the website. Plan It Instalments Terms and Conditions: You can create an Instalment Plan as long as your account is in good standing. We may withdraw this offer, prevent you from creating any new Instalment Plans or cancel any of your existing Instalment Plan(s) at any time if your Card Account is overdue, or if you do not comply with your Card Conditions. The minimum Plan amount is AUD$100. We may also limit the amount that can be transferred to an Instalment Plan. You will be charged a Monthly Plan Fee for each Instalment Plan created. This fee will be charged each month your Instalment Plan is active and will be disclosed to you at the time of creating your Instalment Plan. Each Instalment Plan will begin from the date it is successfully created, as communicated to you in your Online Account. Payment of your first Monthly Instalment will be due in your next payment cycle. You may request to cancel your Instalment Plan(s) at any time through your Online Account or the Amex App. Any billed Monthly Plan Fees will remain payable, but no further Monthly Plan Fees will be billed after cancellation is effective. As cancellation can take 24-48 hours to process ("Processing Time"), you may be charged a further monthly plan fee after requesting cancellation if the Processing Time occurs on your payment date. View the full Plan It Instalments Terms and Conditions here. American Express Consumer Credit Cards are offered, issued and administered by American Express Australia Limited ABN 92 108 952 085, Australian Credit License No. 291313.
Most people don't imagine themselves making a career out of voicing Disney villains — but, of course, Jemaine Clement isn't most people. So did he see a Disney villain in his destiny? "If I was honest, I'd probably say yes," the comedian, actor and one half of Flight of the Conchords offers. And, lending his distinctive tones to the singing, scurrying character of Tamatoa in Disney's new film Moana, he has well and truly fulfilled that prophecy. Dwelling deep under the sea in the realm of monsters, Tamatoa is a swift-talking 50-foot crab with a fondness for treasure and a David Bowie-esque musical number in which he somewhat joyfully, somewhat menacingly declares: "I'd rather be shiny". He's also one of the formidable forces standing in the way of Moana's titular heroine (newcomer Auli'i Cravalho) as she explores the ocean to save her island-dwelling people, all with a shapeshifting demigod Maui (Dwayne Johnson) reluctantly by her side. Yes, Clement voicing a cheeky character and singing a glam rock track is the stuff that dreams are made of, and with his frequent collaborator and What We Do in the Shadows co-scribe and co-director Taika Waititi taking a first pass at Moana's screenplay — along with former Flight of the Conchords opening act and Hamilton creator Lin-Manuel Miranda co-writing the film's original music — it just gets better. With Moana now in Australian cinemas, we spoke with Clement about working on Disney's Polynesian musical, voicing giant characters and channelling his inner Bowie. ON GETTING INVOLVED WITH MOANA Concrete Playground: How did you get involved with Moana? Jemaine Clement: A friend of mine, Taika Waititi, who I work with a lot, was one of the writers. And when he was doing his draft of the film, he told me that Disney, who I've worked with a couple of times before, wanted me to do something in it. It's a Polynesian story and they've gone for a mostly Polynesian cast — and I'm part Maori, so I think it was pretty natural. And I also, I've played a lot of animated villains. So who else would you get? ON PLAYING A LIGHT-FINGERED, SELF-ABSORBED, 50-FOOT CRAB CP: How did you go getting into character for the role of 50-foot crab Tamatoa? JC: Well, I guess I'm not 50 foot — I'm only just approximately six foot, just over. So I had to work on that. It's the second 50-foot character I've played this year. In The BFG, I was also 50-foot. So I guess I must sound pretty big. CP: People are obviously getting that idea from listening to you. JC: "How this big is this guy? He sounds huge." CP: And then they meet you in person, and they realise… JC: "Oh no, he's only about six foot." ON FILLING HIS RESUME WITH ANIMATED VILLAINS CP: You recently played Fleshlumpeater in The BFG — you've got quite the CV when it comes to playing animated villains now. JC: I hope I can get some use out of that. Maybe just telling my son it's bedtime. I'll do the voice. I always was interested in animation, that was the first job I ever wanted to do. When I was five, I remember seeing a thing on The Wonderful World of Disney about the animation process and I wanted to do that as a first job — I aspired to be an animator. And I imagined that I'd do all the parts, you know, like write it, voice it, animate it, — but I haven't gotten to the other two. ON CHANNELLING DAVID BOWIE — AGAIN CP: Between Flight of the Conchords and Moana, your Bowie impression is getting a good workout too. JC: I don't even think my impression's that good. But it stuck with people. In the TV show [Flight of the Conchords]...my comedy partner is having dreams about David Bowie, so I play David Bowie. But I wasn't supposed to play him. It was very last minute that I ended up playing that character, and I've been asked to do it a few times now. CP: You originally tried to get David Bowie to play himself? JC: We did, yeah. But I think that would've been nerve-wracking. I mean, it would've been amazing as well, but, you know. ON REUNITING WITH LIN-MANUEL MIRANDA CP: How was it working with Moana songwriter and Hamilton creator Lin-Manuel Miranda again? JC: I'd remembered Freestyle Love Supreme [Lin-Manuel Miranda's hip hop comedy troupe], and I'd even seen them again not that long ago — and I hadn't connected him with the guy I had met [previously]. I didn't realise it was the same person until he said, "Oh we met. We met, we were doing that gig in 2004/2005". And yeah, suddenly it came back. Whoa. I've never seen any musical show have the reaction that Hamilton has. He deserves that. He's very clever, bright, and very talented. Moana is in Australian cinemas now. Read our review here.
It's been a long wait in Sydney if you want to rock 'n' roll with AC/DC live. 2025 marks ten years since the iconic Harbour City-formed band last took to the stage Down Under. It's also the year, thankfully, that they're making their Aussie concert return. After kicking off in 2024, the group's Power Up tour will play Australian dates, with Brian Johnson, Angus Young and company hitting up Sydney on Friday, November 21 and Tuesday, November 25. Let there be rock at Accor Stadium, then. This is the first time that the legendary Australian rockers have toured Down Under since their 2015 'Rock or Bust' world tour. In November in New South Wales capital, Amyl and The Sniffers are onboard in support to make this massive concert even more so, and to give attendees a taste of two different generations of Aussie rockstars. Playing Sydney isn't just part of a fitting homecoming for AC/DC, but comes more than half a century since the band played their first-ever show in the Harbour City. This 2025 gig will be just over a month and a half short of 52 years since that 1973 debut. Power Up is also the name of the group's 2020 album, their most-recent record — which debuted at number one on the Billboard 200, made multiple best-of lists for that year and scored Grammy nominations. For those about to rock, AC/DC's high-voltage current set list spans their entire career, however, including everything from 'If You Want Blood (You've Got It)', 'Back in Black' and 'Hells Bells' to 'Highway to Hell', 'Dirty Deeds Done Dirt Cheap' and 'You Shook Me All Night Long'. Images: Christie Goodwin. Updated: Thursday, June 26, 2025.
If four levels wasn't enough, Oxford Street mainstay The Burdekin Hotel has expanded by opening a rooftop bar and restaurant. The new sun-soaked bar sits five storeys high, looking out over Hyde Park. As well as picturesque city views, the new bar offers up cocktails, pub-style Italian food and one helluva happy hour. The expansion has been in the works for the past four years, since restaurateur Adam Celestino took over the venue. It was finally granted approval in early 2020, and the team used the time during the COVID-19 shutdowns to construct the bar. The new sky-high space, which is filled with fairy lights, black and white tables, large umbrellas and wooden banquettes, was unveiled alongside a new-look menu. A tried-and-true list of pub classics like pizza, schnitzels and salads occupy a majority of the new menu. But, if you're in more of a snackier mood, the range of meat and cheese boards will accompany sunset views just nicely. [caption id="attachment_800265" align="alignnone" width="1920"] Billy Zammit[/caption] Accompanying the food menu is a 14-strong cocktail list, including a range of traditional cocktails and some left-of-centre creations from The Burdekin team. The latter includes the Slutty Mermaid, which combines vodka, Malibu, blue curacao, pineapple juice and tropical Red Bull, and the Island Invite starring rum from Surry Hills distillery Brix, maple syrup, cinnamon and orange and pineapple juice. If you head in between 4–6pm Monday–Friday, you can try some of the new menu and drinks for cheap. With the weekday happy hour featuring $10 pizza and $5 wine, beer and spirits. As an added bonus, this two-hour special is available venue-wide. Live entertainment and parties are also expected to occupy the space once venue restrictions are rolled back further. The Burdekin Hotel has a long history of packed dance floors and live music. It was one of the first to be granted an exemption from the lockout laws back in 2017 and has remained a hotspot for nightlife and a Mardi Gras hub since. Downstairs, the hotel hosts regular comedy shows, trivia nights and drag competitions. The Burdekin's regular dance party We Love and pop-punk night AM//PM have also recently returned after a prolonged hiatus, although attendees are obviously required to be seated for the time being. The Burdekin Hotel is located at 2–4 Oxford Street, Darlinghurst. The rooftop bar is open 4–10pm Monday–Thursday, 12pm–12am Friday–Saturday and 12–10pm Sunday. Images: Billy Zammit
Right now, Sydney's Western Harbour is hosting Waterfront Whale Tales — a new outdoor exhibition that aims to strengthen our connection to Gadigal Country, its people and culture. The free exhibition sees 30 whale tail sculptures scattered along a six-kilometre trail along the harbour, with each two-metre-high tail replica painted by a different local artist. Each tail tells a unique story inspired by its location and the land, and allows the audience to step into a different story and gain a new perspective on Indigenous culture and history. Uncle Graham Toomey, one of the exhibition's two Indigenous Curatorial Advisors, says Waterfront Whale Tales allows artists to engage with the public through open dialogue and storytelling — a crucial part of preserving history. "This project is a doorway that invites the public to step through to learn and connect to the spirit of Gadigal Country, its people and its culture. Gadigal Country is an old Country with an enduring spirit that is strong and beautiful. This spirit holds old stories, old beliefs, values, lore and practices. It's also a powerful tool that brings us all together as allies in trying to make the world a better place through sharing, understanding and creativity." Uncle Toomey says the aim of this project is for the public to understand what the Country means to First Nations people and how important this knowledge is for the health and wellbeing of future generations. "Aboriginal people are not only connected to Country and its water, but we are literally the Country and the water. We are the ground and what lies beneath it. We are its dust, the flora, the fauna and the environment. In sharing our responsibilities as custodians of Country, we aim to educate those on the project, to understand that we have obligations to care for Country and to preserve culture." Aunty Joanne Selfe, the exhibition's other Indigenous Curatorial Advisor, says that passing knowledge and stories in an oral form is an important tradition passed from generation to generation — and this tradition is one that's reflected in the exhibition experience via audio narratives that can be accessed via the Waterfront Whale Tales website. "Visitors will hear directly from the artists, their thoughts and the messaging behind their work. Accompanying this, there is a First Nations audio narrative. In this narrative, First Nations perspectives and understandings of Country, of people and place are shared with visitors, demonstrating the enduring connection and knowledge held within these oral traditions." A diverse range of artists was selected by curators Art Pharmacy to participate in this project, to produce artwork that represents the Sydney art world's extensive range of voices. Art Pharmacy collaborated with Toomey and Selfe to identify both emerging and established artists who came from different backgrounds — including school groups, artists working with a disability, CALD artists and even eco-warrior artists — each with their own stories to tell. The lineup includes Indigenous artists, street artists, illustrators and muralists, making for a richly diverse body of works. "We selected an exciting program of artists — all local to Sydney and all with a unique story to share," says Zeta Xu from Art Pharmacy. "The result was a whole range of stories of Sydney, water and whales told through magnificent life-sized tails. These vary from stories of childhood nostalgia and memories of the ocean, to environmental concerns and Dreamtime storytelling. The range of styles, stories and designs means there is something for everyone who visits the trail." Geoff Parmenter, Chair of the New Sydney Waterfront Company, emphasises the importance of having community events such as Waterfront Whale Tales. "In times of global pandemics and unseasonal weather events, these sorts of active, outdoor community events have never been more important." So what would he like visitors to take away from the exhibition? "I would like audiences to take a little piece of the waterfront away with them! Whether that is in the form of knowledge or just the feel-good factor that comes with experiencing beautiful art." Waterfront Whale Tales is on exhibit at Western Harbour until Saturday, September 24. For more information, head to the website.
Living up to its splendid first date with audiences has never been a problem for Starstruck. When the Rose Matafeo (Baby Done)-starring BBC and HBO series first strode into streaming queues in 2021, its initial episode was an all-timer in the charming stakes, as was the show's entire six-instalment debut season. When Starstruck returned for a second run in 2022, its next go-around instantly proved as much of a smart, savvy and charismatic delight. Streaming via ABC iView from 9.30pm on Wednesday, September 6 and in New Zealand via TVNZ+ since 8.30pm on Saturday, September 2, season three continues the trend — and keeps demonstrating that no romantic rendezvous, no matter how idyllic, can just keep repeating itself. Plot-wise, Starstruck has always had one couple at its centre: New Zealander-in-London Jessie (Matafeo) and British actor Tom (Nikesh Patel, Four Weddings and a Funeral). Frequently, however, they're not actually together, with the show charting the ins and outs of a complicated relationship that started with a New Year's Eve meet-cute and one-night stand. The hook from the get-go: that Tom is an A-list star, which Jessie doesn't know until after they've hooked up. So, Starstruck asks what it's like to live the Notting Hill life. In season three, more accurately, it ponders what comes after that's been and gone. Season two might've finished with a scene right out of The Notebook, and with echoes of Bridget Jones' Diary as well, but its follow-up quickly establishes that Jessie and Tom didn't get their happy-ever-after ending — they're no longer together, and haven't been for some time. Starstruck season three starts with a bold move, spending a few minutes zipping through Jessie and Tom's romance since season two via a heartbreaking montage. That choice is also deeply fitting for a show that's exceptional at endings. One of the best newcomers of its debut year and best returning series of its second, Starstruck's excellence is like a perfect bouquet, with vibrancy blooming everywhere — in Matafeo's lead performance, the show's ability to unpack a genre it clearly loves, its glorious nods to rom-coms past, and its astute insights into 2020s-era dating and life, to name a mere few. How its star, creator and co-writer wrapped up both season one and two was equally as sublime, though. So, season three goes all in on something cherished and blissful approaching its conclusion. If that train of thought has you wondering if this is it for Starstruck itself, a fourth season hasn't yet been locked in. The green light for season three came four months after season two dropped, so not having a future confirmed so far isn't an ominous sign for fans. Matafeo and co-scribes Alice Snedden and Nic Sampson have always treated their series as something to treasure there and then, too; it's the epitome of revelling in the here and now, as anyone in love should. No one knows where life will take them, including Starstruck's guiding hands. So, every season could put a bow on the tale and say farewell — but unboxing more after each finale, whether it involves a The Graduate-style stint on a bus or frolicking in a pond, wouldn't destroy the storytelling, either. Thanks its rush through Jessie and Tom's attempts to make their relationship work, then its huge leap forward afterwards, as much time has passed in Starstruck's world as it has for viewers. Two weddings now loom over the narrative: Jessie's now-pregnant best friend Kate's (Emma Sidi, Black Ops) to Ian (Al Roberts, What We Do in the Shadows), and Tom's to his fellow-actor fiancée Clem (Constance Labbé, Balthazar). It's at the first set of nuptials that Jessie and Tom cross paths again, sparking a torrent of emotions that neither has worked past (some knowingly, some not). While awkwardly trying to avoid her ex and endeavouring to make it appear that she has powered on happily without him, Jessie also connects with kindly Scottish electrician Liam (Lorne MacFadyen, Operation Mincemeat). Chronicling Jessie's blossoming bond with someone other than Tom might seem like another of Starstruck's bold season-three moves, but it's a vintage choice for a series that's obsessed with tearing into rom-com tropes. The idea that there's only one big, sweeping, heart-aflutter, existence-defining affair in anyone's life is foundational in the romantic-comedy genre, and yet that's rarely a guaranteed outcome. In a six-episode batch that's as bingeable as ever, Starstruck grapples with grappling with that fact. Jessie and Tom keep tumbling back into each other's orbits, finding themselves caught between yearning for yesterday, wishing today was different and forging a fresh tomorrow — and tossing and turning over which outcome they want. Deepening their dilemma is Starstruck's focus on reaching that late-20s, early-30s stage where committing and picking a way forward is the norm. Indeed, instead of the tension between the celebrity realm and everyday existence, this season's main clash arises from the contrast between getting settled and still feeling like you'll never have it together. There Starstruck goes, interrogating rom-com conventions again, including the notion that falling in love immediately solves or smooths life's other messes. It's no wonder that the sitcom has become one of the most-relatable romantic comedies there is — and best all round. In the show's writing, performances and directing alike, Matafeo and company understand why their chosen genre spins the fantasies it does. They're well-aware why audiences swoon over such tales as well. And, they're eager to face the reality, but with warmth, humour and empathy. Starstruck's version of laying the truth bare: a sidesplittingly frank chat directed Jessie's way, where she's told that her life mightn't be living up to her wildest dreams but, given that she has a house and a job — and she's "not even that bad of a person" — it's actually not awful. There goes Starstruck's main season-three takeaway again, as given voice: "just appreciate what you have while you have it". Being grateful for this wonderful sitcom as a whole, and for Matafeo's luminous turn at its centre, isn't just easy — it's automatic. Season after season, Starstruck keeps painting a portrait of love, life, friendship and chaos that's both clear-eyed and rosily affectionate, complete with fleshed-out and lived-in performances that embrace the fact that every person and every romance has flaws and joys in tandem. This far in, Jessie, Tom, Kate, their pals and partners are as rich and resonant as any group of long-term friends and acquaintances on-screen and -off. Matafeo, Patel, Sidi and their co-stars' efforts are also that emotionally honest. Everything about Starstruck keeps evolving, too, other than how stellar it has always been. Check out the trailer for Starstruck season three below: Starstruck season three streams in Australia via ABC iView from 9.30pm on Wednesday, September 6, and in New Zealand via TVNZ+ from 8.30pm on Saturday, September 2. Starstruck's first and second seasons are also available to stream in Australia via ABC iView and in New Zealand via TVNZ+. Read our full review of Starstruck's first season — and our full review of its second season, too. Images: Mark Johnson/HBO Max.
Internationally acclaimed photo-artist Samantha Everton has gone to extraordinary lengths to source exactly the right antique marionettes, hand-sewn curtains, kingfisher-blue smocks and oddball flourishes for her 2011 Marionettes series. From a distance, her domestic tableaux look like sweet snapshots of well-seamed splendour. Up close, they reveal themselves to be unsettling images of women caught in moments of silent implosion; the unhappy inhabitants of hyper-realities. Marionettes float in airless rooms, clamber up the wall; demonstrate the depths of their despair by plonking face-first into birthday cakes. Their immaculate baby-doll dresses mock the mendacity of modern fantasy, and in most photos a large stuffed bird, such as a duck, observes proceedings impassively. Everton is drawing attention to the difference between picture-perfect worlds and lived experience; her previous bodies of photographic art, namely the Utopia series, the Vintage Dolls series, and the Catharsis series, also illuminate women's psychological and sociological isolation. Everton always captures her images on traditional film using a medium format camera to heighten the surrealism of the narrative content and underlying symbolism. In Marionettes, her characters experience catatonic crisis in stifling settings and the unerring precision of her photographic processes means that we too dive into the shadowy depths of subconscious desire. Come witness these captured moments of implosion — in Blue Day, a woman hangs from the picture-rail in her bedroom, waiting for you. Image: Birthday Cake, Samantha Everton, 2011
If you've always wanted to audition for Australian Idol but never worked up the courage, you can now let your show-stopping singing voice ring out over Potts Point. Diana, a Korean-Chinese restaurant, has added its name to the growing list of new Potts Point venues, opening on Macleay Street with late-night open mic karaoke every weekend. Diana is the brainchild of owner Sammy Jeon and is based on his cult-favourite regional karaoke bar, Mr Lim. Located in Orange, Mr Lim is one of four venues Jeon owns in regional NSW. After moving from a small Korean island to Griffith to pick apples, Jeon met winemakers Phillip and Diana Shaw. His time spent with the Shaw family sparked his love of food and wine, and has inspired the name of this new restaurant. "When I moved to Orange, I worked in the vineyard at Philip Shaw wines and had dinner cooked by the family most days for two and a half years," Jeon said. "The time spent with the Shaw family, and in particular Diana, was a very memorable experience and inspired the name for Diana Potts Point. Diana even came to visit me in Korea once, and although wasn't keen on the cuisine at first (she just wanted chips!), I managed to covert her through my cooking." Jeon is now bringing the homely atmosphere of his regional outposts to the heart of Sydney, with Diana opening in the former digs of Kylie Kwong's Billy Kwong. On Wednesdays, Thursdays and Sundays, you can head to Diana for its combination of Korean and Chinese cuisine, sans karaoke. Throughout the week, you'll find standout dishes on the menu such as a sashimi salad that combines salmon, tuna, kingfish and abalone with a crisp collection of fresh vegetables ($39); or twice-cooked spicy Korean fried chicken, seasoned with Korean chilli paste, spring onion and almonds ($28). As you continue down the menu, you'll come across house-made kimchi, served solo ($7), wrapped in pork dumplings ($16 for three) or fired and placed atop a bowl of rice ($18). Come 9.30pm on Friday and Saturday nights, the bar comes alive as diners take to the mic and sing to their hearts' desire. Unlike local-favourite karaoke bars like Goros or Ding Dong Dang (RIP), Diana doesn't have secluded rooms for you to book out with your friends, rather, the microphone and a karaoke system sits right in front of the dining area where visitors can take turns jumping up and busting out their favourite tunes. If you need some liquid courage in order to perform 'Purple Rain' to a restaurant full of people, Diana luckily has an extensive wine list with plenty of choice selections from Jeon's time in regional NSW. "It's jam-packed full of wines from Orange to remind me of my Australian hometown and to repay all the support that I have received during the years from the community," Jeon says.
Before the COVID-19 pandemic, there was hardly a shortage of streaming platforms and online viewing services, all offering up plenty of movies for avid cinephiles to watch from the comfort of their couches. Since cinemas closed a few months back to help stop the spread of to the coronavirus, even more digital options have hit the market, including FanForce TV, Quibi and the Amazon Prime Video Store — as well as the latest newcomer, At Home. A video-on-demand service, At Home has a major point of difference: it's run by the team behind four Australian cinemas. Offering up recent and retro pay-per-view films for online rental, it's the new venture from the folks at Sydney's Ritz and Melbourne's Lido, Classic and Cameo cinemas. Launching today, Thursday, May 14, At Home's range spans movies from well-known distributors like Madman, Umbrella, Roadshow and StudioCanal — as well films that mightn't have received much attention in Australia otherwise, such as classic genre movies from sources like the American Genre Film Archive. New titles are added weekly, with the lineup curated by the teams from the four cinemas. Prices start at $4.99, with movies available for viewing over a 48-hour window. That means that film buffs can currently check out the straight-to-streaming movies like Hugo Weaving-starring Aussie drama Hearts and Bones and sci-fi mind-bender Vivarium; see recent cinema releases such as Parasite, For Sama, Color Out of Space and Portrait of a Lady on Fire; and look back at flicks from the past few years, including God's Own Country, Aquarius and Shoplifters. Themed strands focus on female filmmakers, LGBTQI+ cinema, and Jewish and Israeli films, as well as Australian flicks, music and fashion documentaries, and weird and wonderful genre fare. If the idea of cinemas jumping into the streaming game sounds a little out of character, that's understandable. As the battle between the big-screen experience and streaming at home has heated up in recent few years, cinemas and online platforms haven't always gotten along. Case in point: the number of Australian picture palaces that have been reluctant to screen films such as Roma, The Irishman, Marriage Story, Brittany Runs a Marathon and True History of the Kelly Gang, which all released in theatres just a few weeks before they made their way to streaming services such as Netflix, Stan and Amazon Prime Video. That makes At Home an interesting move, with Ritz, Lido, Classic and Cameo owner Eddie Tamir seeing the VOD service as complementing watching a movie in cinemas — when they reopen. "We are thrilled that our new At Home platform allows us to present great films of the recent and distant past alongside our cinema experience," he said in a statement. "Our At Home platform allows us to place the new releases in our cinemas in context of what came before them." For more information about At Home, visit the Ritz, Lido, Classic and Cameo At Home sites.
A new boutique wine shop has opened in the North Shore with an outstanding selection of 1000+ bottles representing some of the world's most acclaimed and emerging wine regions and producers. Hunters Hill Wine Room is the brainchild of Adrian Filiuta, one of just six Australian's to have earned the Master Sommelier rank. Adrian has made the move to in-store curation after a lengthy career in-venue as the Group Sommelier for Merivale across the group's myriad restaurants and pubs for over decade. Consequently, he knows better than most the range required to adapt to price, palate and occasion of wine-drinking Australians, and the selection at Hunters Hill Wine Room has been curated with that range in mind — whether you're after a drop to go with a weeknight dinner or you're a hardcore aficionado after a collectible vintage. Regardless of what you're after, the best thing to do is take advantage of Adrian's expertise and just ask him for a recommendation. We recently hit him up with a few questions in the lead up to Hunters Hill Wine Room opening its doors. CONCRETE PLAYGROUND: What wine regions seem to be surging in popularity? I feel like there's more Greek wine on restaurant wine lists than ever before... ADRIAN FILIUTA: "That is definitely the case at Le Foote. They have an amazing selection of Greek and Mediterranean wines. Island wines are definitely becoming more popular, as I think consumers are linking it to experience and travel. I've also seen Italy going through a big resurgence from north to south." "In our back yard [I'm seeing] heaps of excitement with lighter shiraz, and grenache from old bush vines in SA — higher toned, elegant, perfumed, delicious. Lastly, I feel there is a growing consumer awareness of natural/organic/bio wines, and not so much how it tastes but more about how is it farmed and who are the people behind the label." Wine is still a bit of an intimidating category - particularly for younger drinkers who are just starting to get a taste for it. What's the best way for burgeoning wine-drinkers to ask you about what to drink if they're still finding their feet? "Yes it is, even so when you dine at a nice restaurant with a big wine menu. But here's the exciting part. Sommeliers love to geek about wine and flavors. I suggest be open/clear about your personal taste, what you like to drink. Do you usually like a spritz, a Bloody Mary or a martini…this helps understand your palate profile." What's a bottle in the shop that you're reaching for if there's a particularly special occasion? "Champagne for sure, and if is a grower champagne even better... something like A. Levasseur or Chartogne-Taillet punch above their weight in terms of value. Otherwise Ruinart Blanc de Blancs is my go-to." Hunters Hill Wine Room is now open at 35 Alexandra Street in Hunters Hill. Open seven days, the trading hours are Sunday and Monday from 11am-7pm, Tuesday and Wednesday from 11am-8pm, and Thursday to Saturday from 11am until 9pm. For more details visit the website.
Not to be confused with recent Australian film Limbo, six-part Aussie dramedy In Limbo takes its title to heart, and also uses its eponymous idea as fuel for a supernatural buddy comedy. Before the end credits run on the show's first episode, Nate (Bob Morley, Love Me) is palling around with his lifelong best mate Charlie (Ryan Corr, House of the Dragon) from the afterlife — and the dearly departed Brisbanite is stuck. He isn't staying by choice. Instead, he hasn't moved on. He can't, and he doesn't know why he's lingering. Audiences can instantly guess in general terms, because ghost fare both comic and spooky overflows with spirits tied to the mortal coil via unresolved business, but In Limbo is never about scares and definitely isn't only about laughs. While Nate grapples with his newly loitering status, Charlie is reeling over losing his best friend unexpectedly at the age of just 38. Initially, he thinks that spying his pal again is a drunken hallucination in his grief-stricken state, especially given that he found the body. No one else can see Nate, not his widow Freya (Emma Harvie, Colin From Accounts); the eight-year-old daughter, Annabel (Kamillia Rihani, The Twelve), he doted on; or his very Catholic mother Maria (Lena Cruz, Wellmania) and affable father Frank (Russell Dykstra, Irreverent). As Charlie does his best to help his pal's family cope, he's the sole one spotting Nate as an apparition — and, more than that, he falls back into their usual rapport. It's Christmas, too, in this Sunshine State-shot and -set series, with facing the festivities after such a shock far from easy. As it heartily deploys Brisbane Powerhouse and New Farm Park as settings, that's a lot for one show to delve into — and delve it attentively does. On paper, In Limbo's mix seems delicate. It's an otherworldly sitcom with an odd couple at its centre, their bond transcending life and death, and it isn't afraid of having a sense of humour. That said, it's also a heartwrenching tragedy. In addition, it delivers a sincere musing on loss, shame and guilt, and a weighty exploration of mental health. And, In Limbo confronts how difficult it is to ask for assistance, and to notice when even your closest loved ones need it, plus the fact that men requiring a hand can still be regarded a weakness. Tackling mourning, mental struggles and suicide isn't simple, even in a show about someone haunting their best mate, and including when such topics have been increasingly popping up on Australian screens lately (see also: Totally Completely Fine). Created by Lucas Taylor, marking his second series for 2023 after Black Snow, In Limbo is clearly crafted with empathy and understanding for its subject matter, its characters and everyone among its audience that can relate. Penned by him as well, with Doctor Doctor's Tamara Asmar co-scripting and Trent O'Donnell (Ride the Eagle) and David Stubbs (Daffodils) directing, the show crucially doesn't attempt to offer any firm answers. Rather, whether facing a tough topic with humour, heart, or clear-eyed and head on, the series acts as a conversation starter — an important function. In Limbo entertains, engages and moves, potently so, but it's even more committed to being meaningful. There's zero doubt that the show knows how immensely hard it is to navigate loss — in fact, it leans in. In its opening episode, before Nate and Charlie switch from the comfortable banter that's flavoured their friendship since childhood to picking it up from the beyond, it sees the pain that becomes Charlie and Freya's second skins. It watches their expressions as everything they thought they knew crumbles. It sits with their confusion, sadness, desperation and yearning. It knows that nothing will ever be the same again, and that this will always be a part of them. In a rarity for on-screen depictions of death, In Limbo also acknowledges the mundane but essential tasks that the experience places on those left behind. It understands that finances need getting in order, funerals require planning and children need guiding. It wades through the conventions and expectations around how the bereaved grieve, and for how long; how they share the traumatic news and where; and how they start working through their new future. As the admin of mourning piles up, In Limbo also knows that everything changes but so much heartbreakingly stays the same. Here, Annabel still has soccer games to play. The festive season remains in full swing. Charlie hasn't forgotten about the looming divorce that he's been avoiding, either, and matters of addiction and domestic violence in his broader circle don't just fade away. It boasts considerate writing, compassionate aims and the right balance of comedy at its core; however, a series like In Limbo was always going to need the best cast that it could get. With Corr and Morley as its leads, it couldn't have managed better. The ever-excellent Corr plays a supremely complicated role with charm and sensitivity, which is no surprise given his Holding the Man, 1% and Wakefield-filled resume, and decades in the business. In a likeable and layered performance, he fleshes out Charlie's troubles, plunges into his doubts and challenges his grin-and-bear-it status quo. In Limbo dives deep into Charlie's whirlwind of emotions without Nate physically by his side, with Nate now his ghostly offsider and with his own problems, and doesn't ever dream of brushing past the character's flaws. Corr also makes such a great double act with Morley that filmmakers should be clamouring to pair them up again ASAP. The focus on 21st-century masculinity and friendship demands that their camaraderie feel real, which it achieves reliably and effortlessly. The series tasks Morley with providing an outwardly spirited portrayal with equal range as Corr, a feat that he similarly perfects. But In Limbo doesn't only value its main duo. Harvie's work is just as complex, Rihani makes an impact as Annabel, and Cruz and Dykstra are never reduced to grating in-laws. Cherishing everything you can while you can and peering beyond what's right in front of you beat at the heart of this thoughtful show, after all — and that's meaningful, too. Check out the trailer for In Limbo below: In Limbo streams via ABC iView.
Let's face it, we all wished we lived in 1920s Paris. The period, referred to as the Roaring Twenties or les années folles (meaning 'crazy years' in French), was a time of decadence and excess, of glitz, glamour and creativity. Artists flourished — from Hemingway to Fitzgerald, Picasso to Matisse — taking inspiration from their mesmerising surrounds. Passion flowed through the city's veins; the streets were alive with intellectual fervour and people expressed themselves freely. Who wouldn't want to live in this grandiose world? Unfortunately, unlike Owen Wilson in Midnight in Paris, you can't just step back in time and sip Champagne with Toulouse-Lautrec. Bummer, we know. You can, however, spend the night like a true hedonistic Parisian right here in Sydney, and we've partnered with the Opera House to show you how. Our French-centric itinerary is based around Blanc de Blanc Encore, the new immersive cabaret extravaganza showing this summer at the Studios, and features extravagant activities that will transport you back to post-war Paris faster than you can say merci beaucoup. PICK UP SOMETHING SPARKLY TO WEAR The French are renowned for their effortless elegance and impossibly chic style. So, it's time to get a little fashion, cheris, and pick out your own showstopping number at Fabrique Vintage. A cut above your usual thrift shop, Fabrique imports clothes from Europe and has all kinds of très bien wares. But, tonight, you're looking for 'vintage white with a dash of sparkle' — the dress code for Blanc de Blanc Encore. Think shiny satins, glittering sequins, feather boas and endless fringe. Something fun and frivolous; part Daisy Buchanan, part Kidman's Satine in Moulin Rouge!. And, les garçons, we haven't forgotten about you — slicked-back debonair hair, a dapper suit and suspenders, and you're ready to go, old sport. ENJOY PRE-SHOW VINO AND ESCARGOT All that shopping will have you feeling famished, so head to dimly lit French diner Hubert for a pre-show tipple and bite to eat. Located in the heart of the CBD, Hubert oozes opulence with dark wood accents, splashes of red velvet and a baby grand piano setting the luxurious scene. And, while it all feel very fancy, you needn't worry about breaking the bank; the restaurant runs a daily aperitif hour (4–6pm) and serves up a whole heap of affordable dishes and drinks, including $5 glasses of wine, $10 negronis and $5 G&Ts. Grab a glass of top-notch vino, some beef tartare ($26) and roasted escargot ($26), and enjoy the high life. GET FURTHER IN THE SPIRIT AT THE BLANC DE BLANC POP-UP BAR Before you settle in for the extravaganza that is Blanc de Blanc Encore at the Opera House, take in those iconic harbour views while sipping Champagne or gin cocktails offerings (or both) at the show's Blanc Bar, popping up till Monday, February 4. Should you still be hungry after Hubert (or if you've decided to just head straight for the water), the French-inspired menu also features nibbles that pair with the beverages on offer. Think ocean trout with cucumber jelly, native lime and elderflower dressing or Sydney rock oysters with verjus vinaigrette. Plus, there'll be DJs on the decks all night long, so après show, you can head back to the bar to keep the opulent party atmosphere going. SETTLE INTO BLANC DE BLANC ENCORE Alright, les amoureux, this is what you've been waiting for: a risqué cabaret show with all the glitz and glamour of 1920s Paris. Now you're glad you bought your sparkly outfit, huh? Running till Saturday, March 9, this fully immersive cabaret extravaganza is bursting with jaw-dropping acts, including cabaret, jazz, circus tricks and comedy. Seen Moulin Rouge!? It's like that but better because you're living it. It's like an F. Scott and Zelda Fitzgerald party: a night you'll never forget and the closest thing to the real roaring-twenties deal. FINISH WITH A NIGHTCAP AND CRÈME BRÛLÉE After all that raucous fun, chances are you'll need a stiff drink to calm your nerves and set you up for a good slumber. Finish the night with a nightcap at nearby cocktail bar Kittyhawk — themed around the Liberation of Paris (okay, that was some 20 years later but you'll still find those French celebratory vibes you're after). Stocked with more than 900 spirits, Kittyhawk exudes indulgence. Whatever tipple tickles your fancy, you'll find it here. You'll also find a rather French-ified menu packed with the likes of steak frites ($28), croque monsieur ($17) and salade niçoise ($28). We suggest ending the night on a sweet note with a classic crème brûlée ($15) and one of the 'rum n rye' old fashioneds from the lengthy list. Grab your tickets to Blanc de Blanc Encore and start planning your roaring night on the town.
After expanding south to Melbourne late last year, Camperdown's Acre Eatery has ventured north and opened a sprawling plant-filled restaurant on Sydney's lower north shore. Spread across 2000 square metres with 400 seats all up, Acre Artarmon is designed to educate and inspire its visitors, while putting them back in touch with the terroir of their food. That said, it's not just a restaurant, either. It's also a bakery, cafe, terrace bar and greenhouse-style functions space, surrounding by sprawling indoor and outdoor gardens. First up is the Atrium cafe and bakery, which is serving up all of the usual suspects — croissants, pastries, country-style pies and sausage rolls — alongside salads and baguettes for lunch. Cuppas by Sydney's Gypsy Coffee Roasters are also on offer, as is house-made gelato (in flavours like pavlova and banana dulce de leche). Italiano restaurant, which is opening this Friday, November 6, features dishes made using sustainably sourced produce. For starters, think local burrata, salmon crudo and peach prosciutto. There's also a pizza oven slinging a three simple Neapolitan-style pies — margherita, prawn and prosciutto — and a lineup of seasonal pasta dishes, which currently includes spanner crab linguine and bucatini carbonara with zucchini flowers. Larger plates feature whole john dory in a brown butter, lemon and caper sauce, spicy woodfired eggplant with pine nuts and ricotta, and a cotoletta to share, made using ethically raised chicken that's been stuffed with fontina and finished with burnt sage from the kitchen garden. If you want to try a bit of everything, the banquet menu will sort you out. The cocktail list is also Italian-inspired, with barrel-aged negronis and seasonal spritzes (think native flavours like lemon verbena) sitting alongside less popular tipples. Those include the garibaldi — which uses gin from neighbouring distillery Finders, plus Campari and freshly squeezed orange juice — and the sgroppino (vodka, prosecco, lemon sorbet and fresh mint). You can enjoy these drinks in the restaurant or the adjoining greenery-filled terrace. Designed by Sydney interior design studio Etic (Barangaroo House), the spaces are filled with curved planter banquettes surrounded by banana trees and a water fountain that doubles as seats, as well as greenery aplenty, with bougainvillea, fruit trees and vertical planters all making the cut. Apart from Acre's gardens, the space features a chicken coop, worm farm, community compost area and kids' playground. Guided tours, chefs' demonstrations, long lunches and meet-the-maker events will all be on the docket as well.
The next dancefloor filler from 'Love Tonight' favourites SHOUSE is on its way, but it needs your help in the best possible fashion: by taking part in a huge music party that'll fill Melbourne's St Paul's Cathedral for RISING 2024. The Victorian capital's major annual arts festival has announced its first commission for next year, with Ed Service and Jack Madin overseeing Communitas — where hundreds of people will make tunes, then a single will be released. Free to attend, Communitas wants its participants to form a choir; however, not only using their voices but dancing and making sound vibrations will be on the agenda. Think of it as a huge gathering that's also a jam and a ritual, composing collectively and spontaneously as everyone parties and communes. There's no audience here, just folks joining in, connecting and chasing shared joy. The date to pop in your diary: Saturday, June 15, for what's certain to be a standout event on the full RISING lineup. Nothing else has been announced for the fest so far, but the entire program of art, music, installations and performances for its third year will run from Saturday, June 1–Sunday, June 16. Jon Madin is creating handmade instruments for participants to use, while Deep Soulful Sweats is in charge of the choreography. While the end result is something to experience, the single that springs will give everyone who is there a songwriting credit as it aims to share the fun beyond Communitas' one massive night. "Communitas is more than a musical event; it's a collective celebration of the human spirit, a symphony of shared joy that transcends boundaries," said Service. "We're thrilled to collaborate with RISING, and invite hundreds into the heart of St Paul's Cathedral to join us in forging connections through the language of music. Join us in the beat of drums, a chorus of voices, a mass of humanity, finally together in space and time." Getting its audience participating en masse, and not just passively watching, is one of RISING's focuses, including at 2023's fest when 11,000 people formed a kazoo orchestra. RISING 2024 runs from Saturday, June 1–Sunday, June 16 across Melbourne, with Communitas taking place on Saturday, June 15 at St Paul's Cathedral, Flinders Street. Head to the festival's website for further information and to register to take part in Communitas.
If you're on the hunt for the perfect activity for a cold, wintry day, we have seven right here. This winter, Sydney (and, further afield, Canberra) has some awesome exhibitions showcasing Australian and overseas talent that you really shouldn't miss. The MCA is hosting two decades worth of work from Shaun Gladwell in a new survey, the Powerhouse is harbouring a giant moon sculpture and Artspace has a year-long project hanging on its walls. From political interventions to technological experiments, you'll be kept very busy over the last two months of winter with these local exhibitions. Best of all, four of the seven are absolutely free.
A seductive new Sydney dining and drinking venue by the Cîroc Collective is opening this Friday, just above Infinity Bakery on Darlo’s main drag. Housed across two levels of the contemporary, loft-style space is the Salon de Thé (translates to tearoom in French) and the Bar de Thé. The restaurant will focus on French-Vietnamese fusion cuisine, while on the upper level, the Bar de The will be Sydney’s first martini bar. You may not have heard of Cîroc Collective before, but we’re pretty sure you’ll soon be hearing a lot more of them. It’s a recent alliance between exclusive CÎROC vodka (made from fine French grapes) and five Australian entrepreneurs with their eyes on luxe drinking concepts across Australia. Acclaimed restaurateur Maurice Terzini (Icebergs, Da Orazio) has united his restaurant expertise with the crew behind the ksubi fashion label: Paul Wilson (The Flinders Hotel, Duke Bistro), George Gorrow, Dan Single and Mikey Nolan. Although the group draws upon a variety of restaurant and bar industry experience, as a collective, Salon de Thé and Bar de Thé marks the launch of their first collaborative venture. In order to suit Sydney’s more laidback lifestyle, Salon de The will be serving something a little different to the typically refined French dining options, by adding a Vietnamese twist. French chef Julien Perraudin has been lured from Melbourne to design a menu that uses seasonal produce to create food that is light, fragrant and complex. He utilises aromatic influences, and the use of infusions and tea smoking aligns perfectly with the restaurant's core concept. Casual French fare in the form of luxe street style bar food is set to complement the sophisticated cocktails at Bar de Thé. There will be the signature CÎROC tea infusion cocktails made especially from house blend organic teas — again, paying homage to the name, as well as just showing some flare. Sommelier Rocco Esposito offers patrons a selection of local and international wines, as well as an extensive champagne menu to accompany the French/Vietnamese-inspired food. Bar de Thé and Salon de Thé will be open at 225 Victoria Street, Darlinghurst on August 8. Opening hours are Monday - Saturday from 5pm - midnight. Words and images by Eddie Hart.
Shocking. Controversial. Bleurgh. These are just some words you will need to describe the films you'll watch during World Movies presentation of Films That Shocked The World. This week of outrageous cinema features five of the most contentious films of all time that have been banned globally, resulted in arrests or court cases, or caused an uproar defending morality (or all of the above). For five nights from Monday, 19 August, you can watch them from the sanctuary of your own home free from judgement thanks to World Movies, the only channel in Australia sanctioned to show R18+ films on national television. So if you've been warned against these films, it is time to take a bold step into the unknown and be amazed and horrified. https://youtube.com/watch?v=0piFZXT8Zxo The Human Centipede (2009) Tom Six's disturbing modern horror classic is a perfect film to commence this confronting week, somehow being both repulsive and beautiful. Despite the centipede technically being a few legs short, the film was claimed to be "100 percent medically accurate", which makes it considerably more terrifying given its scientific merits. The genre-redefining story of a demented German surgeon who kidnaps three tourists before joining their gastric systems to form a 'human centipede' more than deserves to be on this list — but be warned: it is not for the faint hearted and will cause countless viewers to watch from behind the safety of their fingers. Monday, 19 August, 9.30pm https://youtube.com/watch?v=Myzec1dgSqc Kids (1995) It is no surprise that Larry Clark's first feature film was deemed shocking in 1995 given it details the unrestrained behaviour of adolescents towards sex and substances. Written by Harmony Korine (Spring Breakers), its controversial subject material is matched by its directing of teenage sex, explicit dialogue and physical and sexual violence that makes anyone watching feel at least uncomfortable. Be prepared for a confronting tale of modern immorality that was released without classification in the US. Tuesday, 20 August, 9.30pm https://youtube.com/watch?v=cZ-Xp6VC7RQ Cannibal Holocaust (1980) Cannibal Holocaust would be shocking purely for its depiction of graphic murders and execution of live animals during filming. However, the added mystery of whether it was a snuff film in which the actors had been allegedly murdered on screen for authenticity caused the film to be almost immediately banned internationally and its director Ruggero Deodato to be arrested for murder — of which he was later acquitted after the actors were proved alive. This is controversial with a capital C. Wednesday, 21 August, 9.30pm Deep Throat (1972) Whilst the film gained notoriety for being one of the premier pornographic films featuring a (ridiculous) plot of obscenity and relatively high production values, its true shock value derives from the later claims of sexual abuse that linger over the film. Leading lady Linda Boreman (also known as Linda Lovelace) initially claimed the film was sexually liberating but later revealed her lack of consent to many of the sexual acts in the film, only being coerced into them by her abusive then-husband Chuck Traynor. If you decide to watch knowing this information, then apparently you can see the bruises on Boreman's body throughout the film. Thursday, 22 August, 9.30pm https://youtube.com/watch?v=hRubuJki4Mk Baise-moi (2000) Concluding the week of controversial cinema is perhaps the most shocking film of all, Baise-moi. The French favourite about two female prostitutes on a road trip towards retribution for their raping still cannot be shown here in its entirety today given the original features a close-up shot of penetration during rape and a scene showing a gun being pressed into a man's anus before being fired. However, World Movies will still be showing the R18+ cut, which is still many adjective levels above shocking that I would get fired for writing here. Friday, 23 August, 9.30pm
By the time Sunday rolls around, you're lucky if you have the energy and willpower to think, let alone cook. So do neither. Instead, grab a friend or three and head for LL Wine and Dine in Potts Point, where, from 11am, you can sink into all-you-can-eat yum cha for 30 bucks a head, accompanied by live music, $25 cocktail jugs, $10 Bloody Marys and good coffee. The menu is big on dumplings of all kinds, from straight-ahead prawn, to more exotic scallop and pork, to animal-friendly vegetable. Also look out for spring rolls, rice paper rolls, barbecue pork buns and pork spare ribs. That's right, you won't be going hungry around here — no matter how worn out or ragged you might be from the night before. You'd be smart to make a booking: this is one of Sydney's more popular Sunday feasts.
No half-half. No ham and pineapple. Only Italian mozzarella. Only Italian toppings. It might sound like you're back in the classroom, but dining at Rosso Pomodoro is an authentic Italian experience that tops any biology lesson — the lengthy queues a sheer reflection of why. The restaurant is small and in typical Italian form can be a tad noisy. Nonetheless, it's all about the pizzas that are reassuringly crispy and slightly blistered. We could go on and on about all the delicious pizzas at Rosso, but absolute standouts would have be the bresaola with rocket and parmesan ($22) and the calzone with salami and olives. Vegetarians will be delighted with the Funghi ($19), but it's the Della Casa with Italian sausage, hot salami, baby spinach and parmesan that takes the cake (or pizza?).
If you're a fan of musical theatre, then you know the name Jonathan Larson, the creator and composer behind smash-hit production Rent. And, you likely know his story, too, with the playwright and lyricist passing away at the age of 35 on the day that that now-huge show premiered its first off-Broadway preview performance, and never seeing the Tony Award- and Pulitzer Prize-winning phenomenon that it would become. Before that, Larson also created another musical called tick, tick…BOOM!; however, it didn't chart the same path. Instead, the semi-autobiographical piece was performed as a solo work before his death, following a character called Jon who worried that he'd made the wrong decision by chasing his dream of becoming a composer. After Larson died, tick, tick…BOOM! was reimagined as a three-actor show, then made its way from off-Broadway to off-West End, as well as West End itself. And, in 2021, it took the leap to the screen, too, courtesy of Netflix — in a film directed by Lin-Manuel Miranda and starring Andrew Garfield, the latter turning in an Oscar-nominated performance as Larson. That's a whole lot of history behind the latest big musical announcement Down Under: that tick, tick…BOOM! will make its Australian mainstage debut in 2023. It'll run two seasons, kicking off at Melbourne's Comedy Theatre from Wednesday, February 1–Sunday, February 5, 2023, then hitting Brisbane's QPAC Playhouse on Saturday, March 4–Sunday, March 5. If you're wondering about tick, tick…BOOM!'s narrative, the rock musical is set in 1990, with promising young composer Jon as its focus. He's almost 30, living in New York City, and life as an artist isn't turning out as he planned — so he has to decide what to do next. The production is an ode to theatre and a tribute to New York, too, and has kept proving popular since it premiered in its current format off-Broadway in 2001. While exactly who'll take to the stage in Australia is yet to be revealed, tick, tick…BOOM!'s upcoming Aussie seasons will be produced by Adrian Storey from StoreyBoard Entertainment (Chess the Musical, Barnum, Follies, One Flew Over the Cuckoo's Nest) and directed by Tyran Parke (Chess the Musical, Barnum, Follies, Sunday in the Park with George). The Australian production doesn't yet have any footage, either, but you can check out the trailer for the Netflix film below: tick, tick…BOOM! will play Melbourne's Comedy Theatre in February 2023, then Brisbane's QPAC Playhouse in March. For further details and tickets, head to the musical's Australian website. Top image: Macall Polay / Netflix.
Ever since Sex and the City wormed its way into our collective subconscious, brunch has been synonymous with getting boozy. And Luke Mangan knows it. This year, Brunch of Fun is coming back to his Waterloo restaurant Mojo, and it's sweeter than ever. On Sunday, April 23, Mangan is bringing together some big foodie names for a brunch that would even make Samantha blush, including Insta-famous baker Andres Fatso and the ballers from N2 Extreme Gelato and Black Star Pastry. On the menu you'll find brunch delicacies aplenty to line your stomach such as sweet treats from the above stallholders and burgers from Mangan's own Chicken Confidential. You'll be able to wash it down with coffee, juices, cocktails and a selection of wines. Those of you who really, really love brunch can buy a seat at a five-course bottomless brunch (tickets are $75) to be held at the same time. It will also featuring endless free-flowing sparkling and mimosas. Trade Weet-Bix for champers? Fabulous.
Next up at 4a is Not Niwe, Not Nieuw, Not Neu, a group exhibition inspired by botanist Sir Joseph Banks and the research he undertook as part of the HMS Endeavour voyage 1768–1771. Under Lieutenant James Cook, the then-little-known Banks collected a crazy huge amount of plant life from all across the Asia Pacific, including approximately 1600 species that at the time were completely new to the scientific world. It was exciting stuff, yes, but the exhibition is interested in the complex ideas of power and 'colonial prejudice' that arise when you consider these pioneers named and defined what was new to them, creating imposed systems of vocabulary and hierarchies for describing and making sense of this strange 'new world' that we still use today. Artists including Daniel Boyd, Newell Harry, Fiona Pardington, Michael Parekowhai and James Tylor aim to 'disturb the past, by reframing and reworking the mythologies of nationhood' established by Banks' work. Combining archival and recent works, along with a series of copperplate etchings of Australian botanical illustrations by Banks himself, Not Niwe, Not Nieuw, Not Neu is sure to get you thinking. Image: Michael Parekowhai, Robert Hayden, 2004, sparrow, two pot paint and aluminium. Image courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Michael Lett Gallery, Auckland.
Innovative performance trio post need a really, really big cast to pull off their latest show, Sydney Festival's upcoming extravaganza Oedipus Schmoedipus. How big? Try 700 people big. So they're inviting the public to join in their fun and become part of a new cast of volunteer performers every night. In addition to their 1/700th share of the limelight, participants will score a light meal and one complimentary ticket to the show. Post are keeping their lips tightly zipped about exactly what it is volunteers will be doing, but as the aim is to squeeze every memorable death scene from the most celebrated plays of all-time into one hilarious, crazy medley, it's probably a safe bet to assume it'll be something to do with dying — gloriously, gorily and dramatically. “We want you, your nan, your cousins and their cousin's work friends. Absolutely everyone. You don’t need any experience at all. In fact we’d rather prefer you didn't," reads their volunteer registration page. There's no need to memorise anything, and you'll rehearse with post on the day of the performance. People of every age, background and ethnicity are encouraged to apply. Coombs Marr won the 2011 Philip Parsons Playwright Award for her solo show And That Was the Summer That Changed My Life. Post are probably most known for their hilarious 2011 Sydney Theatre Company show Who's the Best. Oedipus Schmoedipus runs from January 9 to February 2 at Belvoir St Theatre Upstairs. If you're keen, then you need to sign up to volunteer. Rehearsal image by Brett Boardman.
Taking place as part of The Big Anxiety festival, Eco- Anxiety at The Japan Foundation gallery explores the ideas of ecological empathy and the growing tide of shared human anxiety in the face of a changing environment. Showcasing five Japanese and Australian designers and artists, the show uses the Australian landscape as an inspirational jumping-off point. Hiromi Tango and Ken and Julia Yonetani's works explore the "an empathetic dialogue of breath" between landscape, plants and humans – and if you caught Tango's Healing Chromosomes earlier this year at Sullivan + Strumpf, you'll no doubt be keen as mustard to see her latest work. Performance artist Yumi Umiumare draws on butoh references in AnxieaTEA Pop Up Tearoom, inviting audiences to engage with existential contemplations over a calming cup of tea. Kosuke Tsumura's FINAL HOME, meanwhile, takes a design response to environmental emergency, creating personal survival garments designed to work in tandem with an evacuee's essential "kit" of food, ID documents and personal mementos. Image: Hiromi Tango, Insanity Magnet #4, 2009
Winner of the 2007 Thelonious Monk International Jazz Competition, signed to Blue Note and frequently heralded as "the future of jazz", Ambrose Akinmusire is a must-see for any jazz fans during the upcoming Sydney Festival. The youthful trumpeter-composer from Oakland has turned international heads with his 2011 album When the Heart Emerges Glistening. Named 2012 trumpeter of the year by a critic's poll in Downbeat Magazine, the talented musician has since amassed a heap of critical praise from California to Paris to our very own sunny shores. For the first time he and his quintet will be playing in Australia and introducing Sydney audiences to what the New York Times described as "limber, straight-ahead jazz with mystery and pop instincts". Akinmusire and his quintet will also performing a show at the City Recital Hall on January 11 at 7.30pm. Image by by Emra Islek. https://youtube.com/watch?v=I1qgqSLYLZ0
After a weekend of warm weather in Sydney, it feels like spring is finally almost here. With it, the expansive wildflower garden of the Muogamarra Nature Reserve will open its gates to visitors for six weekends only from Saturday, August 12 through Sunday, September 17. Located up the coast just an hour north of Sydney's CBD, the reserve is closed most of the year to protect the fragile ecosystems and Aboriginal heritage sites within — so it's a rare chance to get a peek inside. The reserve is dedicated to preserving wildflowers and contains over 900 species native to Australia — think waratahs, angophoras, banksias, pink boronias and native orchids to name a few. The parkland is also home to a variety of native animals, including echidnas, wedge-tail eagles and lyrebirds, which wander freely through the reserve. Guided expert tours are available for pre-booking only through the NSW National Parks Discovery Guide, with options to reserve walking or kayak tours along the Hawkesbury River. Discovery tours include the brand new Muogamarra Highlights Walk, along with the shorter Bird Gully Walk and Lloyd Trig Walk. For those looking for an all-day hike, the six-hour Peats Bight Walk takes visitors on a leisurely trek along the riverbank. If you're more of the DIY kind, visitors are also welcome to simply pack a picnic and enjoy a self-guided walk. The different paths wind along the river and rainforest, offering views of Aboriginal rock engravings and other historic relic sightings. Since it's the 50th Anniversary for the NSW National Parks and Wildlife Service, the opening weekend will also include a lineup of celebratory events within the reserve from August 12 through 13. The Muogamarra Nature Reserve will be open from Saturday, August 12 through Sunday, September 17. Open Saturdays and Sundays only from 9am to 4.30pm with a park access fee of $15 adults/$10 children. To pre-book guided tours, head over here.
Vivid is one of the best times of the year to be in Sydney — and also one of the most crowded. The festival of light, music and ideas has returned for 23 days from May 25 to June 16, and its tenth-anniversary program is sure to draw the biggest crowds yet. Want to see all of those glorious CBD light shows without packing into the streets like sardines? We know the best spots where you can get in on all the Vivid action — drink in one hand, phone in the other snapping shots from a unique vantage point. We've also partnered with our mates at Samsung to ensure we've selected bars with the primest of views, so you can use that new Galaxy S9 and S9+ with it's specially developed low light camera to snap the best evening shots. So whether you're into authentic margaritas with views of the Harbour Bridge, DJ sets with a front row seat to the new Luna Park installations or glowing gin cocktails with rooftop panoramas of those illuminated Opera House sails, we've picked out five of the best spots to hit for epic Vivid sights. MCA ROOFTOP BAR The MCA Cafe's rooftop boasts quite possibly the best Vivid vantage point the city has to offer — sans the heaving crowds. Panoramic sights of nearly all the festival highlights are visible from here (apart from the MCA itself, of course), so it's an ideal spot for snapping wide-angle pics. This year, Bombay Sapphire will be running the pop-up bar, which is open on Wednesdays, Fridays and Saturdays from 5–9pm during the festival. Here, you can sip on glowing gin cocktails while taking in unobstructed views of the Opera House light show. The MCA has also extended its Lights on Later program to coincide with the Vivid hours; so in between drinks up at the bar, you can catch the last days of its 21st Biennale exhibition, running until Monday, June 11. THE GLENMORE Since being refurbished back in 2012, The Glenmore terrace has become one of our go-to spots all year 'round — especially during Vivid. The heritage-listed pub's rooftop offers 180-degree views over Sydney Harbour, featuring up-close sights of the Harbour Bridge light show. Tuck into some pub grub favourites and raise a glass to snagging one of Sydney's very best views of the festival. Our tip? Get in early (pre-sunset) so you can get a front row seat to all the glowing action come sundown. SMOKE No matter what you decide to snack on, this is really food with a view, as Smoke at Barangaroo House was designed to lead the eye out over the harbour. Thanks to Vivid Sydney, it's a prime location for a little light spotting. Barangaroo becomes a magical bushland of lights with The Liminal Hour, featuring the fiery six-metre high Marri Dyin, Eora for 'great woman'. You'll also surely catch a glimpse of the Australian National Maritime Museum rooftop, which will be projecting the underwater delights of BBC Earth and David Attenborough's Blue Planet II. Between sips of an Autumn Spritz — which blends Martini Riserva Abrato with pink grapefruit, St Germain elderflower liqueur, juniper and prosecco — you'll also be able to aim your lens at floating light boats and the beams of Skylark, an interactive custom-built laser, controlled out of nearby Pier 8. GOLDIE'S MUSIC HALL AT SYDNEY OPERA HOUSE Along with the Sydney Opera House's massive Vivid lineup comes its annual pop-up bar. This year, Goldie's Music Hall has taken over the northern foyer — brought to you by the team from Newtown's The Midnight Special. Themed 60s and 70s, the bar features a black and gold fit-out complete with beaded lampshades, plush furnishings and peacock chairs. DJs including Gonz, Mama Disquo and Rusty and Boonge will be spinning playlists of funk, soul and R&B, while you relax with signature cocktails like the Golden Years (a boozy concoction of cognac, rye whiskey and amaretto with whisky barrel bitters and orange zest), plus craft beers from The Grifter and Young Henrys, liquor from Poor Toms and Archie Rose and decadent small bites. Of course, you also get prime viewing of the Harbour and can snap all the waterside shots you want from the comfort of the bar. Goldie's is open daily from 6pm–late and runs until Monday, June 4. BLU BAR AT SHANGRI-LA Set on the 36th floor and fitted with floor-to-ceiling windows, the Shangri-La Hotel's Blu Bar boasts sky-high panoramas of the Harbour. So, if you want some sprawling overhead shots of Vivid, this is the place to be. From here, the technicolour lights dance below while you enjoy the late-night menu with an extensive cocktail list, featuring both classics and inventive signatures (like the chamomile sour or a yuzu-thyme vodka concoction), plus refined bar snacks that you can nibble on while watching the show below. Escape the crowds, opt for exclusive sights from some of the best bars with Vivid views and snap some seriously professional-looking shots on the new Samsung Galaxy S9 and S9+, designed especially for low light. Images: Cole Bennetts.
When the weather warms up, there's nothing better than heading out to catch some live music with your mates. After a year of cancelled gigs and music festivals, you can safely say we're extra hungry for it this summer. Sydney is full of live music venues for big-ticket gigs, but when you want to catch a show on a whim, sometimes you need to dig a little deeper. Together with Jim Beam, we've compiled a list of places where you can catch live music on the fly every night of the week. LAZY BONES LOUNGE Lazy Bones Lounge is known for serving up quality live music in the heart of Marrickville seven nights a week. Across its two floors you'll find up to 15 bands playing each week from a variety of genres, including R&B, jazz, afrobeat and soul. Tickets will set you back around $30–35, which includes a whole pizza. For an even cheaper and more improvisational option, make sure you check out its Jazz Jam Mondays where you can see some of Australia's best jazz musicians for just $15. [caption id="attachment_793729" align="alignnone" width="1920"] Louisiana Loudmouth at Gasoline Pony via Diana Carniato[/caption] THE GASOLINE PONY Also in Marrickville, cosy neighbourhood bar The Gasoline Pony hosts local musicians most nights of the week. The Gaspo leans into its namesake showcasing all things folk, blues and country-adjacent as well as jazz, rockabilly and swing. It's got an extensive drinks menu, too, including a stacked selection of local beers that pair perfectly with its pizzas and dumplings. Head here for a laidback Saturday afternoon in the sunny courtyard, or for a midweek pick-me-up. [caption id="attachment_793807" align="alignnone" width="1920"] The Buoys at Waywards; April Josie for Happy Mag[/caption] WAYWARDS Upstairs at The Bank Hotel in Newtown is where you'll find Waywards — a narrow-shaped live music venue showcasing the best and brightest in Sydney's burgeoning indie music scene. It's where you'll catch local acts in an intimate setting, before they blow up and go on to bigger venues. Catch shows here from Thursday to Saturday at either its early time slot, 6.30pm, or the later one at 9.30pm for around $20–25. [caption id="attachment_793809" align="alignnone" width="1920"] The Lazy Eyes at the Marly; Tom Wilkinson for Happy Mag[/caption] MARLY BAR Live music at The Marly Bar in Newtown will return this summer after taking a break for most of 2020. At this Newtown institution you can see local acts playing in the front room of the pub in a setting that makes you feel like you are best friends with the band. Here you'll get a mix of newcomers and local darlings playing their new songs for the first time. It's the perfect spot to discover your next favourite outfit and also the place to go if you want to stay ahead of the curve and hear songs from your favourite local artists before they're officially released. VIC ON THE PARK For all your weekend music needs, head to bustling corner pub Vic on the Park for live tunes from some of Sydney's rising stars, without paying a cent. The Marrickville venue is where you'll catch your favourite local artists, including Annie Hamilton, Andy Golledge and Babitha. Shows kick off from 10pm and bookings are strongly encouraged. Since you don't have to fork out for a ticket to see gigs here, use that cash to tuck into a bit of pub grub such as its mushroom burger or eggplant parmy. [caption id="attachment_786619" align="alignnone" width="1920"] Destination NSW[/caption] OXFORD ART FACTORY A mainstay in the Sydney music scene, Oxford Art Factory is dishing up tasty musical treats all summer long from its home on Oxford Street in Darlinghurst. Viewed by some as a place where artists are anointed by the industry, here you'll find both established artists who've already started to make their mark on the Australian music scene as well as fresh, emerging acts playing in support. Ticket prices start from $15 but vary in price depending on the act. [caption id="attachment_793714" align="alignnone" width="1920"] Destination NSW[/caption] DARLO UNDERGROUND Usually you'd think of Darlinghurst Theatre Company for exactly that: theatre. However, this summer the team at DTC is soundtracking your midweek drinks, too. On Wednesdays, its home at Eternity Theatre is transformed into a New York-inspired jazz bar called Darlo Underground. Then, on Thirsty Thursdays, it offers a loose and lyrical night featuring the country's best musical theatre and cabaret stars. Treat yourself to one of its signature cocktails and a few share plates from its restaurant Two Trout, then let performers like Brendan Maclean and Miss Cairo transport you to the Big Apple from $25–38. Top image: Oxford Art Factory, Destination NSW
Towards the end of Tokyo Vice's gripping eight-episode first-season run, its lanky American-in-Japan protagonist struts down an ordinary Tokyo street donning a suit and shades while smoking a cigarette. Jake Adelstein (Ansel Elgort, West Side Story) sports a post-coital glow, too, and looks as if he feels on top of the world. He also stands out awkwardly, no matter how cool he thinks he is, even before a high-school pal from home in Missouri spots him and bursts his bubble. This stride-of-pride scene sums up Tokyo Vice perfectly, because what's going on around Jake, and simply the complex city he's in, is always far more intriguing than he is. Don't go thinking that this HBO series doesn't know that, though. Available to stream in full in Australia via Paramount+ — and already renewed for a second season by HBO Max, the US network's streaming service — Tokyo Vice's first season uses an outsider as its entry point into the Japanese capital's neon-lit hustle, bustle and underworld. It uses two, in fact. Also making the city her base is fellow American expat Samantha Porter (Rachel Keller, Legion), a club hostess who spends her nights charming men who'll pay for her glamorous barside company, and also just generally being as far away from the USA as she can manage. But this series is about Tokyo happening around Jake and Sam, as it would regardless of whether they were there or not, as much as it's about the pair in Tokyo. It's a noir series about the bucket-list travel spot's shadows, and it knows that they'd linger no matter who was playing tourist. A smart and sleek crime-thriller? Tokyo Vice easily checks that box. A fish-out-of-water swim through yakuza territory? Yes, that one, too. A mostly after-dark trip through streets and spots that've largely been off limits to travellers for more than two years now? Naturally, the series ticks that one as well. It's also a 90s throwback, taking place in 1999 with Faithless and ATB bangers helping to rick gleaming nightclub dance floors, featuring references to The Matrix, and offering one of pop culture's great 'I Want It That Way' sing-alongs (and discussions about its true meaning). And, Tokyo Vice is the latest release from one of America's best directors, who is finally back behind the lens seven years after making his most recent movie. Indeed, this must-see series is many things — and the fact that it's Michael Mann project is among the reasons that it's essential. The filmmaker's last stint in the director's chair, the Chris Hemsworth (Thor: Love and Thunder)-starring 2015 film Blackhat, also followed a determined and ambitious American, and used every visual and audio trick it had to immerse its audiences in his mindset and his world. That's not the only parallel from the Thief, Heat, The Insider and Collateral helmer's resume that makes its presence known here, either. Mann only directs Tokyo Vice's pilot, but what a tone-setting debut episode it is — as stylish and gritty a piece of television as you're likely to stream any time soon, and one brimming with the filmmaker's usual look and mood. He also serves as the book-to-screen series' executive producer, which explains why its slice of Japanese-set thrills always feels like it bears his fingerprints. Of course, Tokyo Vice isn't shy about its links to Mann, who also executive produced the original 1980s TV series Miami Vice, and wrote and directed the 2006 big-screen remake. Attaching any other filmmaker's name would've simply felt incongruous. That said, the show's moniker actually stems from the IRL Jake Adelstein's memoir Tokyo Vice: An American Reporter on the Police Beat in Japan, about his years writing for Yomiuri Shimbun as a non-Japanese journalist. Adapted for the screen by playwright JT Rogers (Oslo), what a twisty, gritty, fast-paced narrative it spins, too. Still, everything about the HBO-backed program feels as if it was always fated to end up in Mann's hands. Adelstein was Yomiuri Shimbun's first foreign staff writer, with Tokyo Vice exploring his quest to cement himself inside the publication from the bottom up. Just like in that aforementioned stroll down the street, the on-screen version of Jake always sticks out, as does his dogged enthusiasm to chase the stories he's explicitly instructed to ignore. He aces the strict and gruelling Japanese-language test needed to even get his job. He makes history by earning his post. But murders don't happen in Japan, he's told. He's advised of plenty more, sometimes yelled at him insultingly by his boss Baku (Kosuke Toyohara, Deliver Us From Evil), sometimes offered as cautious words of wisdom by his immediate supervisor Emi Maruyama (Rinko Kikuchi, Pacific Rim: Uprising). The deaths he's witnessing on Tokyo's streets scream otherwise, though. So, Jake starts spending his own time investigating, befriending two Tokyo detectives for guidance and tips: the vice squad's Jin Miyamoto (Hideaki Itô, Memoirs of a Murderer), plus organised crime division veteran Hiroto Katagiri (Ken Watanabe, Godzilla: King of the Monsters). Both know that their new pal is desperate to make a name for himself, and that he's potentially playing a dangerous game; both are just as involved in charting the yakuza's actions, including the war between faction heads Hitoshi Ishida (Shun Sugata, Tomorrow's Dinner Table) and Shinzo Tozawa (Ayumi Tanida, Killing for the Prosecution), in their own ways. Jake's pursuit of the truth also involves getting close to Sam, who knows the lay of the land and has dreams of starting her own club. And, it sees him cross paths with jaded yakuza enforcer Sato (Shô Kasamatsu, Love You as the World Ends), an underling to Ishida and Sam's best-paying customer. Noting that Elgort is the weakest part of the series isn't quite the criticism it would be in any other show. The Baby Driver and The Goldfinch actor is well cast for precisely that reason, because making Jake the least interesting aspect of Tokyo Vice wholeheartedly suits the overall narrative, its focus on the city's underworld, and its embrace of the layers of complication that thrive and thrum beneath its must-visit exterior. Also, everything around Elgort, especially the performances by Watanabe, Kasamatsu, Kikuchi and Itô, proves stellar — both demanding and deserving attention. Getting drawn into this supremely well-made turn-of-the-millennium-set jaunt through Tokyo's underbelly is easy; instantly wanting more, especially from its exceptional Japanese talent, is as well. Check out the trailer for Tokyo Vice below: Tokyo Vice is available to stream via Paramount+.
When Taika Waititi received an Oscar in 2020 for Jojo Rabbit, he became the first person of Maori descent to achieve that feat, as well as the first Indigenous person to be both nominated in and win the Best Adapted Screenplay category. When Meyne Wyatt won the 2020 Archibald Packing Room Prize for his self-portrait, he became the first Indigenous Australian to win any Archibald award across the competition's 99 years. Both Waititi and Wyatt deserve the acclaim and awards that have come their respective ways. But the fact their recent wins made history — more than nine decades after both the Oscars and the Archibalds were first created, too — demonstrates the ongoing lack of diversity in the arts. So, when NITV and Sydney Theatre Company decided to team up to make a three-part series exploring the topic, as well as other Indigenous issues in creative fields, the two must've been at the top of the guest list. The resulting show is called The Whole Table, and its first episode is available to stream now via SBS On Demand. The following two episodes will air at 8.30pm on Wednesday, January 27 and Wednesday, February 3 on NITV, and then stream online afterwards — and Waititi and Wyatt are in great company. The Sapphires, Top End Wedding and Redfern Now's Shari Sebbens is on hosting duties, while Sydney Festival artistic director Wesley Enoch, Black Comedy's Nakkiah Lui and Sydney Opera House's head of First Nations programming Rhoda Roberts sit on the show's panel. Joining them at the table each week is a lineup of guests, not only including Waititi and Wyatt, but also The Dry's Miranda Tapsell and musician Adam Briggs — all chatting about their experiences. Expect to hear spirited discussions that not only touch upon the arts in Australia and New Zealand, but also explore Indigenous involvement and representation worldwide — in the past, now and the possible future. The series forms part of SBS and NITV's 'Always Ways, Always Will Be' programming leading up to January 26 — such as its Australian Made TV collection, curated by Enoch, that's streaming on SBS On Demand as well. Check out the very brief trailer for The Whole Table below: https://www.youtube.com/watch?v=1FabOIRhNC0 The first episode of The Whole Table is available to stream now via SBS On Demand, with future episodes airing on Wednesdays at 8.30pm — and streaming online afterwards.
There's something special and foolproof about tapas bars. Gone is the anxiety of choosing your main and possibly missing out on something better, instead you're presented with a far-reaching spread of selections from the restaurant's menu. Combining the thrill of this experience with the luxurious atmosphere of a fine diner, Parlar offers tapas taken up a notch, with ingredients like sturgeon caviar, kingish and wagyu rump carpaccio on offer. The Catalan-inspired bar and restaurant is open in Potts Point, beside its accompanying French brasserie Franca. Both Franca and Parlar are the creation of owner Andrew Becher who has been running the popular French restaurant out of Macleay Street since 2019. "Sydney hasn't seen anything like this and I am incredibly excited to finally bring our Catalan-inspired fine diner to life," Becher says. "We have created a very special and unique offering that highlights the flavours and food of the Catalonian coastline and surrounding regions." Seating 45 guests indoors and 10 in the al fresco area, Parlar offers a range of share plates and a la carte dishes that take inspiration from the coastlines of Spain and Sicily. The obvious place to start is the oysters, served with 15-year Cava mignonette. Highlights of the tapas include croquettes topped with caviar; an English muffin with chorizo, manchego and egg; and an anchovy churro. And the larger share plates include diamond clams paired with tomato and smoked salmon roe, or bonito and white gazpacho. The accompanying wine and cocktail list continues the Catalonian themes. "The wines we offer are largely made with ancient native varietals and using methods and techniques that are centuries old," General Manager Alex Cameron says. "There will also be plenty of interesting bottles open and available under the coravin system so you can try something different." Parlar is now open at 3/81 Macleay Street, Potts Point. It's open for lunch Friday and Saturday and dinner Tuesday–Saturday.
Bright lights aren't hard to find in Tokyo, and neither are gorgeous patches of greenery. And yet, the city's best blend of both sits inside a warehouse on an artificial island. Lengthy lines (another Tokyo hallmark) snake outside the seemingly average building from mid-morning until early evening, with the eager masses queuing beneath a giant ferris wheel. They've ventured over the famous Rainbow Bridge to get there, and possibly spied both a replica of the Statue of Liberty and a towering Gundam monument on their travels; however what awaits inside eclipses it all. Welcome to Tokyo's Borderless Digital Art Museum. Open since June 2018 in Odaiba, and run by interdisciplinary art collective Teamlab, it's an immersive playground teeming with kaleidoscopic digital works that move, shift, evolve and interact with each other. And we do mean teeming — this hefty collection of digital art spreads across more than 10,000 square metres, using 520 computers and 470 projectors for more than 50 works. Indeed, from the moment that patrons step through the museum's black curtains, the entire space is alive with pieces begging them to look and touch. And to sit in wonder and stare at as well. As you'll see if you scroll through the #borderless Instagram feed, it also invites audiences to take many, many, many photos. If some of them look familiar, it might be because Teamlab ran an exhibition at Sydney's Powerhouse Museum earlier year. Given the astonishing digital art on display, dropping your jaw and capturing the art on camera are completely understandable reactions. There's just so much going on. One instant, you're frolicking in a field of flowers. The next, you might be relaxing on a suspended net while watching fish swim, or wandering through a sea of glowing lamps, or feasting your eyes and ears on an astonishing concert of light and music. You could be relaxing as the ocean's waves come towards you, or spying flowers bloom from your cup of tea. It just might be the most vibrant place in a city filled with more stunning sights than anyone could see in a lifetime, and it's an absolute must-see on any trip to Tokyo, with more than a million people doing just that in the museum's first seven months. For those making the journey, we've run through seven of the dazzling delights that await in this digital art wonderland. WANDER THROUGH AN EVER-CHANGING FOREST OF FLOWERS If The Forest of Flowers and People was all that the Borderless Digital Art Museum had to offer, it'd still be a stunning achievement. The space's main section is a labyrinthine assemblage of halls, corridors and open voids where animated flowers grow, bud and blossom — and weave and wind their way around the huge room. Each bloom also withers, sheds its petals and decays, and responds to both the other works in the space (think butterflies, stampeding animals, waterfalls and more), and the museum's visitors. It's never the same work twice, with its cherry blossom hues proving equally calming and energising. You could walk around all day, never be bored and never see the exact same thing, although you will want to find your way to the cavernous Rock Where People Gather at the heart of it all. WATCH LIGHT BEAMS TURN INTO A SYMPHONY OF SCULPTURE It looks so straightforward: a darkened square room, with lights mounted on all four walls, as well as along the floor and across the ceiling. You scamper inside and find a spot to sit on the ground, and then look up. But what happens next is far from straightforward. Across ten pieces with names like The Haze, Light Vortex and Descent of the Gods, beams of light erupt through the space, building both monochromatic and colourful sculptures out of nothing more than their luminous rays. Each work is also set to a mesmerising soundtrack that's played loud to truly immerse you in the moment. While the entirety of the Borderless Digital Art Museum feels futuristic, this feels like being steeped in a sci-fi film in the very best way. LET THE OCEAN WASH OVER YOU Whether rushing towards the shore in stormy weather or lapping gently under the glistening sun, the ocean is an ongoing natural artwork. It's also a soothing sight, especially at a time when we all spend our days staring at screens rather than at the planet around us. Black Waves combines the best of both worlds, turning walls into a canvas and projecting a constant barrage of digital water across it. Unsurprisingly, people don't just sit here — they recline upon the island in the room's centre and simply let the waves wash over them. Prepare to feel vey calm — you'll want to get cosy and stay here for hours. WALK THROUGH A HYPNOTIC FOREST OF COLOURFUL LAMPS To enter the Borderless Digital Art Museum, there's a line. To then enter The Forest of Resonating Lamps, there's another — but both are worth it. Specifically, this walk-through installation lets you mosey through a mirrored room where suspended lanterns made of Venetian glass and hung at different heights are the main attraction. As you get close to a lamp, the colour changes, and then the whole space starts to cycle through a palette of eye-catching pastel views. Only a select number of people are allowed inside at a time, and you won't spend more than two minutes within the forest; however you will want to queue up for a second wander immediately afterwards. JOURNEY THROUGH A MOUNTAINOUS RICE FIELD First, you'll feel small. Then, you'll feel tall. Yes, playing with size and scale are what this piece is all about. You'll enter a room that resembles a mountainous rice field, wandering beneath a sea of plant sculptures and then towering above them, and you'll feel the enormity of the landscape. That said, that's just the structural part of the artwork. The Memory of Topography is located in a digital art museum, after all. While the main projection evokes life in a real field, complete with insects and flowers and changing seasons, another fish-fuelled effort flows across the space's varying elevations, painting with colour in reaction to whoever's in the room. BOUNCE BETWEEN BULBOUS FLOATING SCULPTURES Sometimes, the simplest things are the most thrilling, which is true in this interactive installation in Borderless Digital Art Museum's more active Athletics Forest. In The Weightless Forest of Resonating Life, bulbous sculptures float through a room as you — and plenty of other folks — roam between them. Some are weighed to the floor, and tip and sway when you walk past. Others rise into the air, heading towards the ceiling. Their colours change when someone touches them, which in turn influences all of the other 3D sculptures around them. If it's busy in here, which it always is, expect a rainbow of hues and a cavalcade of movement. ENJOY AN EXTRAORDINARY CUP OF TEA Walking around the Borderless Digital Art Museum is exciting and exhilarating. Given that you can spend hours inside, it's also a little exhausting. That's where the EN Tea House comes in, and it doesn't just serve up different flavours of both hot and cold green tea. While you're sitting at long benches in a dimly lit room, your cuppa will come to life thanks to Flowers Boom in an Infinite Universe Inside a Teacup. It all starts with a flower on top of your tea, then moves with your drink. When you've finished sipping, this gorgeous piece finishes as well. Find teamLab Borderless Tokyo: MORI Building Digital Art Museum in Odaiba Palette Town, 1-3-8 Aomi, Koto-ku, Tokyo, Japan. It's open seven days a week — for more information, visit the museum's website. Images: Sarah Ward.
All you holiday-planners, Queensland is calling with a long list of weird and wonderful things to do in 2023 — and it's time you knew about them. Wanting to experience something a little bit different? Longing for events that can't be found anywhere else? Listen up. In 2023, the Sunshine State is celebrating everything from rock music in the desert to Mary Poppins, Elvis and medieval times — there's even a festival that celebrates both jazz and jumpers (yep, that's a thing). So, together with Queensland, we've rounded up 11 fantastically different events that need to be added to your 2023 travel diary, stat. Plus, while you're there having a memorable time, make a real trip out of it and explore some of Queensland's regional areas — or scoot back to Brisbane and dive deeper into the thriving arts scene. AGNES BLUES, ROOTS & ROCK FESTIVAL, 1770 The town of 1770, at the Great Barrier Reef's southernmost tip, will host the eighth Agnes Blues, Roots & Rocks Festival from Friday, February 17 till Sunday, February 19. The three days will be packed full of music (courtesy of over 30 bands, including headliner Busby Marou), stand-out food from local vendors and free-flowing bevs. Discovering new music or soaking up your faves, dancing away your Queensland days — in a numerically named township — is a terrific way to live. You could be leaving with new skills as well, with a range of workshops run by performers. All this takes place on a stunning stretch of Queensland's coast — so be sure to spend a few extra days swimming and surfing in the area. Agnes Blues, Roots & Rocks Festival, Friday, February 17 till Sunday, February 19, 2023 [caption id="attachment_881866" align="alignnone" width="1920"] Visual Poet Society[/caption] FESTIVAL OF OUTBACK OPERA, OUTBACK QUEENSLAND Opera in the outback? Delightfully different. Outdoor concerts under star-filled skies, pop-up performances taking over main streets and panel discussions in local parks — these are the experiences that made the 2022 Festival of Outback Opera a huge success. And Opera Queensland is bringing it back for its third year from Friday, May 19 until Monday, May 22. Forming part of this year's Queensland Music Trails, the festival will be running in the towns of Winton and Longreach, offering visitors the opportunity to interact with a diverse group of local and national artists all while experiencing some proper outback culture. Festival of Outback Opera, Friday, May 19 till Monday, May 22, 2023 [caption id="attachment_881863" align="alignnone" width="1920"] Bianca Holderness[/caption] COOLY ROCKS ON FESTIVAL, GOLD COAST From Wednesday, June 7 until Sunday, June 11, Coolangatta will go back in time with this old school rock 'n' roll, swing and rockabilly festival. Expect this coastal Queensland town to welcome all who are ready to rock out to classic tunes, appreciators of retro motors and countless hip-shaking groovers making moves towards the preliminary round of the Ultimate Elvis Tribute Artist Contest — with the winner heading straight to Memphis to compete in Elvis Week. It's a must-see part of the Cooly Rocks On Festival. But that ain't all. The festival also includes a pin-up pageant celebrating the days of rockabilly fashion and beauty, a 1940s-themed Harvest Moon Swing Ball and a huge selection of vintage cars for the motoring enthusiasts to gawk at. Either come to dress up and join the festival-goers who attend religiously each and every year, or come as you are and watch on as fun-loving fanatics do their very own version of larping. Cooly Rocks On Festival, Wednesday, June 7 till Sunday, June 11, 2023 [caption id="attachment_881862" align="alignnone" width="1920"] Matt Williams[/caption] BIRDSVILLE BIG RED BASH, OUTBACK QUEENSLAND This music festival is kind of like an Australian version of Burning Man — but significantly more family friendly. People head to the Simpson Desert, dressed up in their brightest and wackiest costumes, to party along to the sweet sounds of Aussie music legends. This year, Icehouse is headlining, with Pete Murray, Human Nature and the Hoodoo Gurus taking to the big stage as well. Hire an RV with your mates or bring your own camping gear along to the Birdsville Big Red Bash from Tuesday, July 4 till Thursday, July 6. Along with the stellar sounds, you can take part in a bunch of super quirky activities too. From a colourful drag race (a literal running race) along steep sand dunes to a fashion show for pooches, air guitar championship and camel rides, this is one fun-filled desert party. Birdsville Big Red Bash, Tuesday, July 4 till Thursday, July 6, 2023 MARY POPPINS FESTIVAL, FRASER COAST Each year, lovers of all things Mary Poppins descend upon Maryborough's Portside Precinct. Dressing up in their best Mary Poppins garb, they gather to celebrate Pamela Lyndon Travers — the author of the classic tale — who was born in the town. (We bet you didn't know that nugget of Australian trivia!) The most hardcore attendees dress up in their very best outfits to take part in The Great Nanny Race (where competitors attempt to reach the finish line first with their baby doll still safely in its pram), the Chimney Sweep Challenge (a race to guide a balloon up a chimney before demonstration of the best chimney-sweep jump) and the Costume Competition. But, you don't need to go all in at the Mary Poppins Festival — many come to watch the beautifully bizarre activities and wander around this part of the Fraser Coast, enjoying sidewalk performers, pop-up art installations and great local grub. It's a whole lot of wholesome fun. Mary Poppins Festival, Sunday, July 3, 2023 JUMPERS & JAZZ IN JULY, SOUTHERN QUEENSLAND COUNTRY 'Jumpers' on trees and jazz — who knew such an unlikely pairing could be so popular? Back in 2004, the Jumpers & Jazz in July festival was created in response to a streetscaping project by Warwick Art Gallery. The idea was simple: get the community together to enliven the wintery locale by knitting some jumpers to put on leafless trees and then play some jazz. And now? The festival is massive. From Thursday, July 20 to Sunday, July 30, the population of Warwick will almost quadruple in size as visitors descend to get in on the arty merriment. And as it's grown, so has the lineup of events. There's the usual — trees in the town centre covered in brightly hued yarn and live jazz music performances all over town — but there are also art exhibitions, markets, workshops, a vintage car show and heaps of pop-up food and drink stalls. It's a really unique way to brighten up your winter. Jumpers & Jazz in July, Thursday, July 20 till Sunday, July 30, 2023 [caption id="attachment_881860" align="alignnone" width="1920"] Ken Huntley[/caption] ABBEY MEDIEVAL FESTIVAL, BRISBANE Live your best A Knight's Tale fantasy at the 2023 Abbey Medieval Festival on Saturday, July 8 and Sunday, July 9. Yes, it is super geeky, but that's the fun of it all. Geeks are cool. Get on board. Join the club. Dress up in your finest ye-olde 'fits and go watch some jousting or shoot your shot in an archery competition. As you explore the Abbeystowe grounds you may also happen across actors playing Vikings and Turkish oil wrestlers while a string of food stalls sling medieval-themed food — think venison pies and other delights. You can even rest up at The Stag Inn to refuel while you sip mead or cider. Abbey Medieval Festival, Saturday, July 8 and Sunday, July 9, 2023 CRAFTED BEER & CIDER FESTIVAL, GOLD COAST Beer and cider fans best get around the beachside Crafted Festival in September. While the exact dates are yet to be announced — keep your eyes peeled in the coming months — in 2022, more than 50 of Australia's top craft brewers landed on the Gold Coast's Broadbeach, with a whopping 250-plus sips on pour. (This lineup included wine, spirits and cocktails for those who needed a break from the hopsy bevs.) If it's anything like last year, you'll be tasting all your favourite brews in the ocean air, with live music in your ears and stacks of local food stalls dishing out delicious bites to eat. Crafted Beer & Cider Festival, August 2023 CAPRICON POP CULTURE CONVENTION, ROCKHAMPTON Cosplayers, this one is for you. CapriCon Pop Culture Convention is a yearly event that celebrates comics, collectibles, anime, medieval larping, gaming and steampunk culture in Queensland's Rockhampton — and it's back for one day only on Saturday, September 2, 2023. In years gone by, there have been Star Wars lightsaber classes, cartoon and manga drawing workshops and monumental LEGO competitions (for all ages). There are also awards for those with the most spectacular costumes — so come dressed to impress. CapriCon Pop Culture Convention, Saturday, September 2, 2023 [caption id="attachment_881868" align="alignnone" width="1920"] Leximagery, Clayton Blake's Bathing Box[/caption] SWELL SCULPTURE FESTIVAL, GOLD COAST You'll be hard pressed to find an Australian outdoor art exhibition in more breathtaking surrounds. From Friday, September 8 till Sunday, September 17, over 70 large-scale contemporary sculptures will pop up along the picturesque Currumbin Beach while several other parts of the Gold Coast host a series of art exhibits — a huge (and fantastically arty) undertaking. But Queensland's biggest outdoor art festival isn't just about the artworks themselves. Throughout SWELL Sculpture Festival, there will be guided twilight walks around the installations, live music performances, comedy shows, masterclasses and talks. Be sure to stick around to get the full experience. SWELL Sculpture Festival, Friday, September 8 till Sunday, 17 September, 2023 MITCHELL CREEK ROCK 'N' BLUES FEST, SUNSHINE COAST This annual music festival in the Noosa Hinterland brings a wide range of Aussies together — that all have a common love for classic rock 'n' roll and blues. For three days and nights, over 140 local bands hit the stages to perform to excited crowds. But, it's super laidback, with visitors drinking and eating the day away at their campsites or hitting up pop-up markets and vintage car shows. A diverse selection of food vendors are also at the Mitchell Creek Rock 'n' Blues Fest throughout the festival — from Friday, September 15 right up until the last tent packs up on Sunday, September 17. The event organisers are also known for making this festival — its amenities, stages and camping grounds — accessible for those with disabilities. They even have an area for those who come camping with their dogs — everyone's welcome at this party. Mitchell Creek Rock 'n' Blues Fest, Friday, September 15 till Sunday, September 17, 2023 To explore more arts and culture events taking over Queensland in 2023, head to the website. Top image: Ravel, Alejandro Propato's Permanent Sunrise at SWELL Sculpture Festival
Young Adult tells the story of Mavis Gary (Charlize Theron), a teen author and recent divorcee who lives in a spacious apartment in Minneapolis. Tired of spending alcohol-soaked nights alone, she decides to venture back to her hometown of Mercury in an attempt to rekindle a romance with her high-school sweetheart, Buddy (Patrick Wilson). However, Buddy is recently married and has recently become a father. Always determined and slightly sinister, Mavis develops a plot to break up Buddy's marriage and further her own love interests. Along the way she manages to form an unusual bond with a former classmate (Patton Oswalt), who is also keen on reliving his earlier teenage years. Young Adult is a romantic comedy with an unusual twist, exploring the concept of forbidden love and the extreme lengths at which we go to recapture happiness. Although we may see Mavis as a villain, we identify with her sense of nostalgia and desperation. What results is a hilarious insight into human nature and our adaption to change and age. The film marks the reuniting of director Jason Reitman and screenwriter Diablo Cody, who previously collaborated on the Academy Award-winning Juno. To win one of twenty double passes to see Young Adult, just make sure you are subscribed to Concrete Playground then email your name and postal address through to hello@concreteplayground.com.au
Hanami and Japan go hand in hand, but what if you could indulge in the art of flower viewing (yes, that's what the term translates to in English) a bit closer to home? Well, that's where the Sydney Cherry Blossom Festival comes in. It's a celebration of everyone's favourite pink flora in Sydney's west. Between August 17 and 26, the Auburn Botanic Gardens will transform its Japanese Gardens into a beautiful, blooming wonderland. You'll be able to ramp up your appreciation of the fleeting natural phenomena that is cherry blossom season by attending a massive viewing party in the lead up to spring. Tis the season, after all. And taking in the spectacular scenery isn't the only thing you'll be doing. Over the two weekends of the festival (that is August 18-19 and 25-26), you'll be able to get your fill of Japanese entertainment by floating on over to stages filled with sumo wrestling, J-pop performers and Hello Kitty makeovers. On Friday, August 17, there'll also be a food- and sake-filled opening night party. This year, the festival is ramping up its food offering, too. As well as eating your way through an array of Japanese food trucks doling out doses of bao, bento boxes, Japanese hot dogs, gyoza and okonomiyaki, you'll also be able to try a heap of cherry blossom-inspired eats. There'll be pink lotus buns from Tsuru, taiyaki by Otsu, Gelato Messina's Aunty Tomsu's Cherry Blossom Cheesecake and pink sakura burgers. A pop-up izakaya will serve up sake and Japanese craft beer, too, and Sydney's Sakeshop will be selling limited cups of Hanamikura Aya sake — which is made from a yeast extracted from the cherry blossom flower. If you've got a day off and want to skip the crowds, they'll also be opening up the gardens for four days during the week (August 20–24). Entry will cost five bucks, and is free for Cumberland residents. Images: Destination NSW.
The noble crab, with its rock-hard shell, crusty legs and creepy, boggling eyes has a secret: it's delicious AF. Somehow people figured this out (what a surprise that would have been for the first person to crack open that shell and discover that perfect, perfect crabbery), including the seafood-crazy folk at The Morrison. And so, the annual Crab Carnival was born. From March 20 to April 16, The Morrison will be putting crab in everything — we mean everything. Expect conventional crab dishes like fried crab, crab toast and soft shell crab po' boys alongside less conventional offerings like mini crab doughnut burgers washed down with a Crabby Mary (crab doesn't sounds like a word anymore, right?). No crab is left unturned during this four-week festival. Especially if you head down on Thursday nights for the Louisiana crab broil — you'll be able to don a bib, grab a mallet and hoe into a sea of blue swimmer crab, corn on the cob, new potato and sausage.
It was inevitable that Vino Paradiso, the sprawling wine and food festival, would be a hit with Sydneysiders — with our insatiable love for great local booze and outstanding food. Last year's three-day Australian Technology Park instalment had both in spades, but a year later the festival is changing things up, moving to the The Rocks and ditching the ticket price. Yep, this year's event is free. Vino Paradiso's revamped, now outdoor festival will run from November 6-8 and will feature 130 stalls with some of the biggest (and smallest) names in the food and beverage game. The festival will also feature interactive highlights like the 'Great Wall of Wine' (otherwise known as your recycling bin before bin day) and old-school grape crushing in oak barrels. The geeks among you may be interested in the food and wine masterclasses, if you’re too good to crush grapes with your bare feet (but you'll be missing out on bragging to anyone who'll listen that soaking your feet in wine is actually a French technique and the best way to enjoy wine thank you very much). As well as getting as well-fed and boozed as possible (or until your budget runs out), festivalgoers will enjoy a plethora of cultural delights with live music, interactive exhibits and installations, ambient music collaborations and visual artistry. What more could you ask for? Oh right, stunning views of the Opera House and harbour? Done. Cheers.
Do you guys ever think about all the new movies that didn't get as much love while everyone was seeing Barbie and the rest of 2023's huge box-office hits? If you haven't so far, the time to do so is now. This year's's slate of cinema releases is like the year's biggest blockbuster, serving up multiple variations for everyone. So, while The Super Mario Bros Movie, Oppenheimer, Guardians of the Galaxy Vol. 3, John Wick: Chapter 4, The Little Mermaid, Elemental and Fast X were among the typical successes (and 2022's Avatar: The Way of Water and Puss in Boots: The Last Wish as well), the massive money earners are just a fraction the flicks that've graced the silver screen over the last 12 months. All of the aforementioned pictures made piles of cash from Australia audiences, and earned attention and chatter along the way. Elsewhere, stunning thrillers, warped mindbenders, thoughtful dramas, queer romances, propulsive action efforts, twisty delights and gorgeous animation also awaited — and they're worth catching up with ASAP. As we have since 2014 (see also: 2015, 2016, 2017, 2018, 2019, 2020, 2021 and 2022), we've picked a heap of must-see movies that you likely didn't see in 2023, because that's what the cinema takings tell us, but you should definitely add to your list. Thanks to our 15 selections, don't say that you don't have anything new to watch. HOW TO BLOW UP A PIPELINE Every story is built upon cause and effect. One thing happens, then another as a result, and so a narrative springs. Inspired by Andreas Malm's non-fiction book of the same name, How to Blow Up a Pipeline isn't just strung together by causality — it's firmly, actively and overtly about starting points, consequences and the connections between. Here's one source for this impassioned tale about determined and drastic environmental activism: the warming world. Here's an originator for that, too: fossil fuels, humanity's reliance upon them and the profits reaped from that status quo. Now, a few outcomes: pollution, catastrophic weather changes, terminal illnesses, stolen and seized land, corporate interests prioritised over ecological necessities, and a growing group that's driven to act because existence is at stake. Turning a text subtitled Learning to Fight in a World on Fire into a fictional feature, How to Blow Up a Pipeline joins all of the above, stressing links like it is looping string from pin to pin, and clue to clue, on a detective's corkboard. In his second feature after 2018's smart and effective camgirl horror Cam, writer/director Daniel Goldhaber isn't trying to be subtle about what dovetails in where. With co-screenwriters Jordan Sjol (a story editor on Cam) and Ariela Barer (also one of How to Blow Up a Pipeline's stars), he isn't attempting to rein in the film's agenda or complexity. This movie tells the tale that's right there in its name, as eight people from across America congregate in Texas' west with a plan — an octet of folks who mostly would've remained loosely connected, some strangers and others lovers and friends, if they weren't desperate to send a message that genuinely garners attention. Goldhaber's latest is explosive in its potency and thrills, and startling in its urgency, as it focuses on a decision of last resort, the preparation and the individual rationales before that. How to blow up hedging bets on-screen? That's also this tightly wound, instantly gripping, always rage-dripping picture. Read our full review. INFINITY POOL Making his latest body-horror spectacle an eat-the-rich sci-fi satire as well, Brandon Cronenberg couldn't have given Infinity Pool a better title. Teardowns of the wealthy and entitled now seem to flow on forever, glistening endlessly against the film and television horizon; however, the characters in this particularly savage addition to the genre might wish they were in The White Lotus or Succession instead. In those two hits, having more money than sense doesn't mean witnessing your own bloody execution but still living to tell the tale. It doesn't see anyone caught up in cloning at its most vicious and macabre, either. And, it doesn't involve dipping into a purgatory that sports the Antiviral and Possessor filmmaker's penchant for futuristic corporeal terrors, as clearly influenced by his father David Cronenberg (see: Crimes of the Future, Videodrome and The Fly), while also creating a surreal hellscape that'd do Twin Peaks great David Lynch, Climax's Gaspar Noe and The Neon Demon's Nicolas Winding Refn proud. Succession veteran Alexander Skarsgård plunges into Infinity Pool's torments playing another member of the one percent, this time solely by marriage. "Where are we?", author James Foster asks his wife Em (Cleopatra Coleman, Dopesick) while surveying the gleaming surfaces, palatial villas and scenic beaches on the fictional island nation of Li Tolqa — a question that keeps silently pulsating throughout the movie, and also comes tinged with the reality that James once knew a life far more routine than this cashed-up extravagance. Cronenberg lets his query linger from the get-go, with help from returning Possessor cinematographer Karim Hussain. Within minutes, the feature visually inverts its stroll through its lavish setting, the camera circling and lurching. As rafters spin into view, then tumble into the pristine sky, no one in this film's frames is in Kansas anymore. Then, when fellow guest Gabi (Mia Goth, Pearl) gets James and Em into a tragic accident, which is followed by arrests, death sentences and a wild get-out-of-jail-free situation, no one is anywhere they want to be, either. Read our full review. BROKER No matter how Hirokazu Kore-eda's on-screen families come to be, if there's any actual blood between them, whether they're grifting in some way or where in the world they're located, the Japanese writer/director and Shoplifters Palme d'Or winner's work has become so beloved — so magnificent, too — due to his care and sincerity. A Kore-eda film is a film of immense empathy and, like Like Father, Like Son, Our Little Sister, After the Storm and The Third Murder also in the prolific talent's past decade, Broker is no different. The setup here is one of the filmmaker's murkiest, with the feature's name referring to the baby trade. But showing compassion and humanity isn't up for debate in Kore-eda's approach. He judges the reality of modern-day life that leads his characters to their actions, but doesn't judge his central figures. In the process, he makes poignant melodramas that are also deep and thoughtful character studies, and that get to the heart of the globe's ills like the most cutting slices of social realism. It isn't just to make a buck that debt-ridden laundromat owner Sang-hyun (Song Kang-ho, Parasite) and orphanage-raised Dong-soo (Gang Dong-won, Peninsula) take infants abandoned to the Busan Family Church's 'baby box' — a chute that's exactly what it sounds like, available to mothers who know they can't embrace that part for whatever reason — then find good families to sell them to. There's a cash component, of course, but they're convinced that their gambit is better than letting children languish in the state system. In Kore-eda's usual kindhearted manner, Broker sees them with sensitivity. Even if blue hues didn't wash through the film's frames, nothing is ever black and white in the director's movies. The same understanding and tenderness flows towards mothers like So-young (Lee Ji-eun, Hotel Del Luna, aka K-Pop star IU), whose decision to leave Woo-sung (debutant Park Ji-yong) isn't easily made but puts Broker on its course. Read our full review. REALITY Sydney Sweeney is ready for her closeup. Playwright-turned-filmmaker Tina Satter obliges. A household name of late due to her exceptional work in both Euphoria and The White Lotus, Sweeney has earned the camera's attention for over a decade; however, she's never been peered at with the unflinching intensity of Satter's debut feature Reality. For much of this short, sharp and stunning docudrama, the film's star lingers within the frame. Plenty of the movie's 83-minute running time devotes its focus to her face, staring intimately and scrutinising what it sees. Within Reality's stranger-than-fiction narrative, that imagery spies a US Air Force veteran and National Security Agency translator in her mid-twenties, on what she thought was an ordinary Saturday. It's June 3, 2017, with the picture's protagonist returning from buying groceries to find FBI agents awaiting at her rented Augusta, Georgia home, then accusing her of "the possible mishandling of classified information". Reality spots a woman facing grave charges, a suspect under interrogation and a whistleblower whose fate is already known to the world. It provides a thriller of a procedural with agents, questions, allegations and arrests; an informer saga that cuts to the heart of 21st-century American politics, and its specific chaos since 2016; and an impossible-to-shake tragedy about how authority savagely responds to being held to account. Bringing her stage production Is This a Room: Reality Winner Verbatim Transcription to the screen after it wowed off-Broadway and then Broadway, Satter dedicates Reality's bulk to that one day and those anxious minutes, unfurling in close to real time — but, pivotally, it kicks off three weeks earlier with its namesake at work while Fox News plays around her office. Why would someone leak to the media a restricted NSA report about Russian interference in getting Donald Trump elected? Before it recreates the words genuinely spoken between its eponymous figure and law enforcement, Reality sees the answer as well. Read our full review. CORSAGE Britain's two Queen Elizabeths have enjoyed their fair share of film and TV depictions, aided by Cate Blanchett, Judi Dench, Margot Robbie, Helen Mirren, Claire Foy, Olivia Colman, Imelda Staunton and more — to name just a few — but they're not the only royals of that first name to grace the screen. While the spelling differs slightly and she's played as more of a Diana-style people's princess in her latest stint in cinemas, Empress Elisabeth of Austria (also Queen of Hungary) has received several celluloid and pixel resurrections of her own. Corsage ranks among the best of them, as famed as Austria's Sissi films from the 50s are and as recently as Netflix's The Empress hit streaming, in no small part due to two other outstanding women. One is Luxembourgish actor Vicky Krieps (Bergman Island), who is shrewd, wry and wily as the Bavarian-born wife to Emperor Franz Joseph I. The other is Austrian writer/director Marie Kreutzer (The Ground Beneath My Feet), whose handsomely staged and smartly anachronistic feature is no mere dutiful biopic. Corsage's lead casting is the dream it instantly seems on paper; if you're wondering why, see: Krieps' scene-stealing work opposite Daniel Day-Lewis in 2017's Phantom Thread. Here, she's been earning deserved awards — the Best Performance prize in the 2022 Cannes Film Festival's Un Certain Regard section among them — for a portrayal that never feels like she's stepping into someone else's shoes or jumping back to the past for a part. Krieps is, naturally. Also, given that Sissi lived between 1837–1898, viewers have no way of knowing how close this characterisation is. But Krieps' fierce, dynamic and layered performance goes far further than easy impersonation, or providing a period-appropriate rendering of the Empress based on how history dictates that women of the era behaved (or what flicks set then or focusing on regal women back then have served up before). Corsage is a portrait of a lady, after all, and not of a time. Read our full review. SCRAPPER Trust a movie that's all about connection and pluck to boast plenty itself. The second of cinema's 2023 father-daughter pictures out of Britain that's directed by a first-time feature filmmaker called Charlotte — the first: Charlotte Wells' Aftersun — Charlotte Regan's Scrapper couldn't be better cast or any more fearless about telling its tale. Starring as 12-year-old Georgie, a pre-teen striving to survive on her own with any help from adults or the authorities after her mum Vicky's (Olivia Brady, The Phantom of the Open) death from cancer, debutant Lola Campbell is an electrifying find. Fresh from playing a model in Triangle of Sadness, Harris Dickinson is now an absent rather than ideal dad, a part that he infuses with equal doses of soul, sorrow, charisma and cheek. And, recognising that she's hardly skipping through new narrative territory, writer/director Regan heaps on character and personality. This is a perky, bright and bubbly take on a kitchen-sink story. There's sadness in 2023's Sundance Film Festival Grand Jury Prize-winner, too, with Scrapper scoring its award in the fest's World Cinema Dramatic Competition. There's anger as well, especially about a society that has Georgie convinced that staying solo in the council flat she lived in with her mother — a space that she's now fastidious about keeping exactly as it was before heartbreak struck — is her top choice. But Regan sees colour amid the grey, plus possibilities alongside struggles. Her view is clear-eyed but never steely. Regan unblinkingly witnesses the realities of working-class existence, yet also spies joy and whimsy, and similarly isn't afraid of getting surreal. This is a flick with talking spiders — cue literal bubbles, of the speech variety — alongside scrapping to get by. Read our full review. SHAYDA Whether or not Noora Niasari was ever explicitly told to write what she knew, the Iranian Australian filmmaker has taken that advice to heart. Her mother listened to the same guidance first, even if it was never spoken to her, either. The latter penned a memoir that has gone unpublished, but helped form the basis of the powerful and affecting Shayda. This account of a mum and her daughter attempting to start anew in a women's shelter doesn't entirely stick to the facts that writer/director Niasari and her mother lived through. The Sundance-premiering, Melbourne International Film Festival-opening, Oscar-contending feature — it's Australia's entry for Best International Feature Film at the 2024 Academy Awards — isn't afraid to fictionalise details in search of the best screen story. Still, the tale that's told of courage, resilience, rebuilding lives and finding a new community is deeply and patently personal. Perhaps even better, it's inescapably authentic. Niasari peers back at being barely of primary-school age and making a new home. Fleeing to a women's shelter is the only option that the film's eponymous figure (Zar Amir Ebrahimi, 2022's Cannes Best Actress-winner for Holy Spider) has to get away from the abusive Hossein (Osamah Sami, Savage River), whose controlling nature is matched by that of their patriarchal culture. So, Shayda leaves with six-year-old Mona (debutant Selina Zahednia). As she waits for her divorce proceedings to go through — a complicated task under Iranian law and customs — she seeks refuge at a secret site overseen by the caring Joyce (Leah Purcell, The Lost Flowers of Alice Hart). Even surrounded by kindness and filled with desperation for a better future, every iota of Shayda's decision is fraught and tense; Niasari starts the film with Mona at an airport being told what to do if she's ever there with her father, should he try to take her not only away from her mum but also back to Iran. Read our full review, and our interview with Noora Niasari. OF AN AGE You Won't Be Alone isn't just the name of Macedonian Australian writer/director Goran Stolevski's debut feature, which hit cinemas in 2022. It's also a phrase that applies now that his second film is here. Of an Age initially premiered in the same year as well, bowing in Melbourne International Film Festival's opening-night slot — and, while it tells of growing up queer in 90s Melbourne, falling in love for the first time, then sifting through the aftermath a decade later, it's a glorious companion piece to its predecessor. No one is chosen by a sorceress here. The place isn't Macedonia, the period isn't the 19th century and supernatural shapeshifting isn't part of the narrative. But even just a mere duo of movies into his helming career, Stolevski makes pictures that profoundly ruminate upon two of life's purest truths: that absolutely everything changes and, consequently, nothing completely lasts forever. 1999 is inching towards becoming Y2K when Of an Age begins, and 17-year-old Nikola aka Kol (Elias Anton, Australia Day) is only hours from taking to the floor at a Melbourne dance championship. That's how his day is meant to pan out, at least, and what he's preparing for when the film meets him practising his smooth ballroom moves in his suburban garage — conjuring up visions of John Travolta in a flick made famous two decades prior, in fact. Kol's ordinary morning fever breaks, however, thanks to friend and dance partner Ebony (Hattie Hook, Savage River) and her bender of an evening. She's awoken on the beach in Altona with no idea where she is, scrounging up change for the payphone call to say she thinks she'll miss the recital unless Kol can pick her up. To attempt to make his big performance, he has to convince Ebony's older brother Adam (Thom Green, Eden) to play taxi — and he's still all aflutter with anxiety, and just the inertia of being so keyed up from endeavouring to sort things out, when he slides into the twentysomething's brown car and feels sparks fly instantly. Read our full review. THE ORIGIN OF EVIL Laure Calamy doesn't star in everything that's hitting screens big and small from France right now, but from Call My Agent! and Only the Animals to Full Time and The Origin of Evil, audiences can be forgiven for feeling otherwise. Calamy isn't new to acting, either, with a resume dating back to 2001; however, her in-demand status at present keeps showering viewers with stellar performances. Indeed, The Origin of Evil is a magnificent Calamy masterclass. She's playing a part while playing a part, and she makes both look effortless. The Antoinette in the Cévennes César Best Actress-winner is also a picture of unnerving determination and yearning, and resourcefulness and anxiety, too, as a seafood-factory worker usually tinning anchovies, then packing herself into a mix of Knives Out, Succession, The Talented Mr Ripley and Triangle of Sadness. Unleashing in-fighting upon a wealthy family residing on Côte d'Azur island Porquerolles, this instantly twisty and gripping thriller from Faultless and School's Out writer/director Sébastien Marnier (who collaborates on the screenplay with Amore mio scribe Fanny Burdino) takes a setting that'd do The White Lotus proud as well, then wreaks havoc. On the agenda in such lavish and scenic surroundings, which come filled with an unsettling menagerie of taxidermied animals: witnessing savage squabbling over who'll inherit a business empire, bathing in the kind of bitterness that only the bonds of blood among the affluent and entitled can bring, more than one person wishing that patriarch Serge Dumontet (Jacques Weber, The World of Yesterday) would shuffle off this mortal coil and, just as crucially, not everything being what it seems. Read our full review. FINGERNAILS In the world of Fingernails, 'Only You' isn't just a 1982 pop song that was made famous by Yazoo, is easy to get stuck in your head, and is now heard in this film in both French and English. It's also the philosophy that the first English-language feature by Apples filmmaker Christos Nikou has subscribed its characters to as it cooks up a fascinating sci-fi take on romance. In a setup somewhat reminiscent of Elizabeth Holmes' claims to have revolutionised blood testing (see: The Dropout), Fingernails proposes an alternative present where love can be scientifically diagnosed. All that's needed: an extracted plate of keratin, aka the titular digit-protecting covering. At organisations such as The Love Institute, couples willingly have their nails pulled out — one apiece — then popped into what resembles a toaster oven to receive their all-important score. Only three results are possible, with 100 percent the ultimate in swooning, 50 percent meaning that only one of the pair is head over heels and the unwanted zero a harbinger of heartbreak. When Fingernails begins, it's been three years since teacher Anna (Jessie Buckley, Women Talking) and her partner Ryan (Jeremy Allen White, The Bear) underwent the exam, with the long-term duo earning the best possible outcome — a score that's coveted but rare. Around them, negative results have led to breakups and divorces as society's faith is placed not in hearts and souls, but in a number, a gimmick and some tech gadgetry (one of the sales pitches, though, is that finding out before getting hitched will stop failed marriages). As their friends go the retesting route — satirising the need for certainty in affairs of the heart pumps firmly through this movie's veins — Anna hasn't been able to convince Ryan to attend The Love Institute as a client. She's soon spending her days there, however, feeding her intrigue with the whole scenario as an employee. When she takes a job counselling other pairs towards hopeful ever-after happiness, she keeps the career shift from her own significant other. Quickly, she has something else she can't tell Ryan: a blossoming bond with her colleague Amir (Riz Ahmed, Sound of Metal). Read our full review. THE INSPECTION If war is hell, then military boot camp is purgatory. So told Full Metal Jacket, with Stanley Kubrick's masterpiece making that observation echo and pierce with the relentlessness of machine-gun fire. Now, The Inspection stresses the same point nearing four decades later, plunging into the story of a gay Black man enlisting, then navigating the nightmare that is basic training. This too is a clear-eyed step inside the United States Marine Corps, but drawn from first-time fictional feature filmmaker Elegance Bratton's own experiences. New Yorker Ellis French (Jeremy Pope, One Night in Miami) is the Pier Kids documentarian's on-screen alter ego — an out queer man who has spent a decade from his teens to his mid-20s homeless after being kicked out by his ashamed mother Inez (Gabrielle Union, Strange World), and pledges his post 9/11 freedom away for a place to fit in, even if that means descending into a world of institutional homophobia and racism. It would've been easy for Bratton to just sear and scorch in The Inspection; his film is set in 2005, "don't ask, don't tell" was still the US military forces' policy and discrimination against anyone who isn't a straight white man is horrendously brutal. Life being moulded into naval-infantry soldiers is savage anyway; "our job is not to make Marines, it's to make monsters," says Leland Laws (Bokeem Woodbine, Wu-Tang: An American Saga), Ellis' commanding officer and chief state-sanctioned tormentor. And yet, crafting a film that's as haunting as it is because it's supremely personal, Bratton never shies away from Ellis' embrace of the Marines in his quest to work out how he can be himself. There's nothing simple about someone signing up for such heartbreaking anguish because that's the only option that they can imagine, but this stunning movie is anything but simple. Read our full review. SISU Lean, mean and a Nazi-killing machine: that's Sisu and its handy-with-a-hunting-knife (and pickaxe) protagonist alike. This stunningly choreographed Finnish action film's title doesn't have a literal equivalent in English, but writer/director Jalmari Helander's (Rare Exports: A Christmas Tale) latest effort means stoic, tenacious, resolute, brave and gritty all in that four-letter term; again, both the movie and the man at its centre fit the description. Former soldier Aatami Korpi (Jorma Tommila, also Rare Exports: A Christmas Tale) has one aim. After he strikes gold and plenty of it in Lapland's far reaches, he's keen to cash in. For someone who has already lost everyone and everything to World War II, that requires transporting his haul; however, the year is 1944 and German troops still lurk even as the combat winds down. Accordingly, getting those gleaming nuggets from the wilderness to a bank means facing a greedy and unrelenting platoon led by Helldorf (Aksel Hennie, The Cloverfield Paradox), who can spy a payday and an exit strategy for himself. Before anything yellow shimmers, Nazi-filled tanks are sighted, a single shot is fired or a blow swung, Sisu explains its moniker as "a white-knuckled form of courage and unimaginable determination". Text on-screen also advises that "sisu manifests itself when all hope is lost." As a film, Sisu may as well be shorthand for John Wick meets Inglourious Basterds meets Django, the iconic 1966 spaghetti western that Quentin Tarantino riffed on with Django Unchained, too — plus all of that meets the work of legendary spaghetti western director Sergio Leone as well. The carnage is that balletic. The Nazi offings are that brutal, roguish and inventive. And valuing deeds over dialogue as a lone figure dispatches with nefarious forces against an unforgiving landscape, and no matter what they throw at him, is firmly the setup. Read our full review. COBWEB When Song Kang-ho hasn't been starring in Bong Joon-ho's films, he's been featuring Park Chan-wook's and Kim Jee-woon's, plus Lee Chang-dong's and Hong Sang-soo's as well. One of Korea's acting greats boasts a resume filled with the country's directing greats — so getting the Memories of Murder, The Host, Thirst, Snowpiercer and Parasite star, plus Joint Security Area, Sympathy for Mr Vengeance, Lady Vengeance and Secret Sunshine talent, to play a filmmaker for his The Good the Bad the Weird and The Age of Shadows filmmaker feels like perfect casting even before Cobweb starts spinning its reels. Song's career highlights are already many, complete with a Cannes Best Actor Award for working with Japan's Hirokazu Kore-eda in Broker. Here, he's reliably and rakishly charming in a movie-making ode and on-set farce. For his own director Kim, Song plays a director Kim — but on-screen version Kim Ki-yeol is living in the 70s, and also in a rut. Once an assistant to a famed and acclaimed helmer who has passed away, now he's openly mocked by critics for his trashy fare in one of Cobweb's first scenes. He's made most of a masterpiece, however, or so he believes. The only thing that's required to ensure it's a complete classic is two more days to undertake re-shoots. His film is meant to be finished, but he's adamant that the cast and crew reteam (and his producer foot the bill) to ensure that the creative visions that keep haunting his dreams can become a feted triumph. Convincing everyone that he needs to isn't the only tricky feat, with challenges upon challenges unspooling the longer that the fictional Kim and his colleagues spend bustling. Read our full review. THE BLUE CAFTAN In The Blue Caftan, a tailor's hands say everything that needs conveying about how he holds himself in the world. That garment-maker is Halim (Saleh Bakri, My Zoe), and he plies he trade in the Moroccan city of Salé, in a humble store overseen by his no-nonsense wife Mina (Lubna Azabal, Rebel). Refusing to use machines, Halim is meticulous in his work. He's patient, careful and thorough, as one needs to be in the painstakingly detailed job of hand-embroidering women's traditional tunics. As a result of his precision and artistry, he isn't short on customers — and that rigour and commitment seeps from him like breath whether he's letting Mina run the show; training Youssef (first-timer Ayoub Missioui), the apprentice brought on to help meet the demand for his exquisite wares; or finding ways to deal with his feelings, including the pull he feels towards his new protege. For her sophomore feature after the also-tender and moving Adam, writer/director Maryam Touzani again makes a delicately layered and intricately woven film — a movie that digs deep into a subject considered taboo in Morocco, too, via an exceptionally well-observed triple character study. If her pictures say everything they need to about the filmmaker herself, then Touzani clearly values intimate and weighty connections, examining the needless pressures enforced by antiquated attitudes, the bonds that spring in such complex circumstances, and heartbreakingly poignant pictures about that list. She both appreciates and elicits sensitive performances, too, with Adam alum Azabal again superb under the helmer's gaze, and Bakri just as wonderful. It's no wonder that The Blue Caftan, with its resonant tale, rich cinematography and willingness to surprise while remaining emotionally raw as well, was chosen as Morocco's 2023 Best International Feature Oscar contender. MARCEL THE SHELL WITH SHOES ON Every couple has in-jokes, a valuable currency in all relationships, but only Jenny Slate and Dean Fleischer-Camp have turned a cute private gag into Marcel the Shell with Shoes On. The Parks and Recreation actor and the Fraud director are no longer together romantically, marrying and divorcing in the 13 years since they first gave the world the cutest talking shell anyone could've imagined; however, they've now reteamed professionally for an adorable film based on their 2010, 2011 and 2014 shorts. Marcel the Shell with Shoes On also gave rise to two best-selling children's picture books, unsurprisingly, following a familiar internet-stardom path from online sensation to print and now the big screen. Neither Slate and Fleischer-Camp's faded love nor their joint project's history are ignored by their footwear-sporting seashell's cinematic debut, either; in fact, acknowledging both, whether subtly or overtly, is one of the things that makes this sweet, endearing, happily silly, often hilarious and deeply insightful movie such an all-round gem. That inside jest? A voice put on by Slate, which became the one-inch-high anthropomorphic Marcel's charming vocals. In Marcel the Shell with Shoes On's three initial mockumentary clips, the tiny critter chats to an unseen filmmaker chronicling his life, with earnestness dripping from every word. ("My name is Marcel and I'm partially a shell, as you can see on my body, but I also have shoes and a face. So I like that about myself, and I like myself and I have a lot of other great qualities as well," he advises in his self-introduction.) The same approach, tone and voice sits at the heart of Marcel the Shell with Shoes On's feature-length leap, of course, but so does a touching meditation upon loss, change and valuing what's truly important. Fleischer-Camp plays the movie's documentarian, mostly off-camera, who meets Marcel and his grandmother Connie (voiced by Isabella Rossellini, Cat Person) after moving into an Airbnb following a relationship breakup — and, yes, their work together becomes a viral phenomenon. Read our full review.
Never Mind the Bollocks, Here's the Sex Pistols should never be far from anyone's ears — but there's listening to the iconic 1977 punk album, the only studio record from Sex Pistols, and then there's hearing it played live in full. Down Under in 2025, Australian music lovers will be treated to that very experience, with the group locking in a tour. Band members Paul Cook, Steve Jones and Glen Matlock are heading this way in April, as part of a project dubbed Sex Pistols Featuring Frank Carter. As the band's moniker makes plain, this is a case of punk figures joining punk figures, as first happened back in August 2024 for fundraiser gigs in London. Clearly the setup worked. This will be Sex Pistols' first trip this way in almost 30 years, since 1996 — this time pairing drummer Cook, guitarist Jones and bassist Matlock with Gallows, Pure Love and Frank Carter and the Rattlesnakes alum Carter on vocals. The group have announced seven stops, including at Sydney's Hordern Pavilion on Tuesday, April 8. John Lydon, aka Johnny Rotten, the band's well-known former lead vocalist, was last part of their lineup in 2008 — which is when Sex Pistols last toured before 2024. Hearing Never Mind the Bollocks live and in full almost five decades since its original release means hearing 'Anarchy in the UK', 'God Save the Queen', 'Pretty Vacant', 'Bodies', 'Holidays in the Sun' and more. If this feels like an incredibly rare chance to experience a slice of music greatness, that's because it is — and if you need any more motivation, Sex Pistols Featuring Frank Carter's UK gigs earned rave reviews. Top image: Henry Ruggeri.
Abel 'The Weeknd' Tesfaye is swapping screens for stages, and ditching playing a sleazy nightclub owner on HBO for his usual music superstar beat. Fresh from starring in The Idol, the Canadian singer-songwriter has locked in Down Under dates for his After Hours Til Dawn stadium tour, heading to Australia and New Zealand in November and December this year. The 'Starboy', 'I Feel It Coming', 'Can't Feel My Face', 'The Hills' and 'Blinding Lights' artist will hit up arenas in Brisbane, Sydney, Melbourne and Auckland, as part of a tour that's been notching up soldout shows far and wide. In the UK, The Weekend saw 160,000 folks head to London Stadium across two nights, smashing the venue's attendance record. And in Milan, he became the first artist to sell out the Ippodromo La Maura for two nights. Those feats are just the beginning. In Paris, he scored Stade de France's biggest sales this year — and in Nice, the 70,000 tickets sold across his two shows are the most in the city's history. Will his Down Under dates add to his record-breaking run? Australia in particular has been loving the return of huge international tours. See: the Taylor Swift frenzy. The reason for the Aussie and Aotearoa gigs, other than just because, is to celebrate The Weeknd's 2020 record After Hours and its 2022 followup Dawn FM. Obviously, he'll be playing tracks from 2013's Kiss Land, 2015's Beauty Behind the Madness and 2016's Starboy as well. In support across The Weeknd's four Down Under shows: Mike Dean and Chxrry22. The tour will help a good cause, too, other than your need to see The Weeknd live. The artist has been contributing funds for his shows to the United Nations World Food Programme's XO Humanitarian Fund, as one of the organisation's Goodwill Ambassador, raising over $1 million from his Europe run alone. THE WEEKND'S 'AFTER HOURS TIL DAWN TOUR' 2023: Monday, November 20 — Suncorp Stadium, Brisbane Friday, November 24 — Accor Stadium, Sydney Friday, December 1 — Marvel Stadium, Melbourne Thursday, December 7 — Eden Park, Auckland The Weeknd is touring Australia and New Zealand in November and December 2023. For more information, and for pre-sale tickets from Friday, August 25, then general tickets from Friday, September 1, head to the tour website.
The world's most-famous enigmatic smile is beaming down on Australia in 2024, all thanks to the team at Grande Experiences. The Melbourne-based company is the mastermind behind the immersive walkthrough art experiences that've been sweeping the country, both touring them and opening the nation's first permanent digital-only art gallery The Lume — and Leonardo da Vinci and the Mona Lisa are its latest point of focus. The Lume in the Victorian capital is all-in on the artist and inventor. The site's major 2024 exhibition is Leonardo da Vinci: 500 Years of Genius, with the gallery is calling its "most ambitious, immersive and breathtaking yet". That's quite the claim for a collection that follows a van Gogh celebration, a focus on Monet and his contemporaries and the current First Nations-centric Connection. Leonardo da Vinci: 500 Years of Genius displays to art lovers from Saturday, March 16. The Last Supper also enjoys the spotlight in a big way, because Grande Experiences' whole setup is making iconic, important and stunning works larger than life, surrounding attendees like never before. The Mona Lisa links in with the segment of the exhibition that's all about French optical engineer Pascal Cotte, who invented a multispectral camera and has peeled back the artwork's layers using his research. So, get excited about Mona Lisa Revealed, which will include an exact 360-degree replica — the only one in the world — as created thanks to Cotte's 240,000,000-pixel multispectral camera. That said, Leonardo da Vinci: 500 Years of Genius isn't just about its namesake's well-known works, with the 3000-square-metre multi-sensory gallery also exploring his inspirations and contemporaries. So, you can also scope out Botticelli's The Birth of Venus, Michelangelo's Sistine Chapel ceiling and works by Caravaggio. Melbourne is home to an experience that steps through da Vinci's journey, too, including Florence's streets, Venice's canals and Milan — as brought to life via sight, sound, scent, touch and taste. Also among Leonardo da Vinci: 500 Years of Genius' highlights: 50 of da Vinci's "machine inventions", which are on loan the Museo Leonardo da Vinci in Rome. Alongside the Mona Lisa, The Last Supper and his anatomical drawings — and more — da Vinci is well-known for his flying machine concepts, with his 15th-century vision of human flight set to score The Lume's attention. This part of the exhibition heroes recreations made in Italy from the artist and inventor's sketches, and also using the materials and techniques he would've at the time. Updated Friday, October 25, 2024.
More than once in Farming, Enitan stares into a mirror and loathes his reflection. Born in Britain to Nigerian parents, fostered out to a white working-class family and constantly taunted about his race, he even tries to scrub away his darker pigment while glaring daggers at himself. When that doesn't work, the boy (Zephan Amissah) cakes his skin in talcum powder, such is his desperation to see anything but his usual likeness looking back. By the time that Eni becomes a teenager (now played by Damson Idris), his self-hating gaze has solidified, and yet it has also taken on a different tone. As he peers forward, he shaves his head, buttons up his collared shirt and pops his suspenders over his shoulders, all to fit in with the local skinheads. Farming depicts Eni peering intently at a mirror again and again for a reason: no matter which cruel names are spat his way, the feature makes plain that it's his own opinion of himself that matters most. Sadly, he internalises the surrounding resentment and prejudice, so that's all that he can see in his own reflection. But, the fact that Farming even exists is proof that something changes. The film itself is a mirror — and in a more literal sense than most movies. Written and directed by Adewale Akinnuoye-Agbaje, this picture relays the actor-turned-filmmaker's own childhood. Known as Enitan as a kid, he once tried to scratch off his own skin, then joined forces with the very thugs that made his life hell — and now, after a two-decade on-screen career that's seen him feature in everything from Oz, Lost and Game of Thrones to The Bourne Identity, Thor: The Dark World and Suicide Squad, he shares that story. In Farming, Akinnuoye-Agbaje's tale begins with the actor and director playing his own father, Femi — who, alongside his wife Tolu (Genevieve Nnaji), is tearfully handing over baby Enitan to Ingrid Carpenter (Kate Beckinsale). It's 1967, and the practice that gives the movie its moniker is common. Kids like Eni are left with white families while their birth parents study and find work, with couples such as Femi and Tolu hoping their children will get better opportunities in the process. As Farming steps through Eni's Essex-based youth, showing him weather threats from Ingrid and torment from everyone else around him, it demonstrates the impact of this decision — a hard choice made with love by the people who brought him into the world, and one with significant repercussions. Eni transforms from a smiling infant, to a shy kid happily lost in his own head, to a self-loathing outcast who believes that his only path forward is to embrace the hatred he keeps being made to wear like a second skin. In scenes such as the aforementioned soap and talcum powder incidents, it's clear that Farming is directed by an actor, as well as by someone with a personal stake in this bleak and challenging story. This is a highly physical and expressive film that often feels like memories transposed onto the screen — and frequently highlights strikingly framed images and visceral, palpable emotions over dialogue. Thankfully, that's a mode that suits the talented Idris, who takes on that most difficult of tasks: not only playing a real-life figure, but playing the teen-aged version of his director. Raw pain doesn't just burn in his eyes, but infects every move that he makes, whether Eni is lashing out at his self-centred foster mother, himself or the only person (Gugu Mbatha-Raw, in a one-note role as a kindly teacher) who sees past his skin colour. That said, Farming is also a forceful movie — building its confronting, compelling tale one horrific moment at a time, and hitting as bluntly as the blows directed Eni's way. As a boy, he may turn his skin a shade of grey, but the movie he's in only paints in black and white. Of course, that's how this experience clearly felt to Akinnuoye-Agbaje. There's nothing subtle about being told by your foster mother that you come from 'Wooga-Wooga Land', or being expected to grin through daily teasing from neighbourhood kids, or getting stripped naked and spray-painted with racist statements by the Tilbury Skins, after all. There's nothing nuanced about Eni's time among his violent bullies, either, where he's treated like a pet by vicious leader Levi (John Dagleish) and never considered an equal, even as he desperately hopes otherwise. It's tough viewing, but Farming's great achievement — like the hallmark British race-relations drama of the 21st century, This Is England — springs from its willingness to stare unflinchingly at its grim contents. That Akinnuoye-Agbaje treats his adult successes as a mere footnote is telling; who he has since become is important, but what he endured to get there, and the ugly attitudes he faced that still echo today, are far more vital. https://www.youtube.com/watch?v=_xWwFfT5jak
No one likes it when their phone rings from an unknown number, whether "no caller ID" or digits that you don't recognise flash up on your mobile's screen. Telemarketers isn't going to change that response. It won't dampen the collective ire that the world holds towards the pushy people on the other end of the line, either. HBO's thrilling three-part docuseries doesn't just reinforce what viewers already feel about the nuisance industry that thinks it can interrupt your day and life with a spiel that no one wants, and impact your bank balance in the process. In addition, it spins a true tale that demonstrates why a deep-seated dislike of telemarketing is so well-founded, and also why cold-calling operations can be so insidious. This true-crime story about the New Jersey-based Civic Development Group surpasses even the most call centre-despising audience member's low expectations of the field — and it's gripping, can't-look-away, has-to-be-seen-to-be-believed stuff. "Every other telemarketer who drives you crazy in the whole world is because of CDG," advises one of the series' interviewees. That might seem like a big claim, but co-directors Sam Lipman-Stern (Live From the Streets) and Adam Bhala Lough (The New Radical) step through its truth. The former knows the outfit's approach from experience, working there for seven years from the age of 14 after dropping out of high school, while the latter is the filmmaker cousin he wasn't aware of. Lipman-Stern is Telemarketers' on-screen guiding hand, too, but his ex-colleague Patrick J Pespas is its heart and soul. As seen early — with the show streaming its trio of chapters weekly via Binge since Monday, August 14 — Pespas is called a "telemarketing legend". Although he's happy snorting heroin on-camera in 2000s-era footage, he's switched on to CDG's shonkiness; more than that, he's determined to expose it even if it takes two decades. When Lipman-Stern began earning $10 an hour convincing ordinary Americans to donate to charities represented by CDG, he found himself at a place where anyone could get hired with few questions asked. The only requirement: bringing in funds while hitting the phone. As long as the company's employees kept making money, anything went. Those workers are a motley crew of vulnerable misfits in Lipman-Stern's low-res fly-on-the-wall footage, spanning not just dropouts and addicts but also ex-cons recruited directly from halfway houses and folks who didn't fit the usual nine-to-five grind. And their work environment? It "was like you was just going to a big-ass cookout every fucking day," one past staff member notes. Drinking, drugs, sex, nodding off on the phone, getting tattoos in the office, baby turtles crawling over keyboards, general seediness and raucousness that even telemarketing sitcom Workaholics didn't dream up: that was all a part of cashing a CDG cheque, as Lipman-Stern captured at the time, then uploaded to YouTube. Telemarketers' main pair and their boiler-room colleagues were paid to ring their way through the organisation's sales lists, rustling up financial support for police officers, their widows, veterans, firemen, dying children and cancer survivors. When it's the cops they're touting — typically under the Fraternal Order of Police, which is akin to a law-enforcement union — they also send out stickers emblazoned with the particularl lodge's logo. It usually goes unspoken, but those decals come with shifty promise: if you display them on your car, house or shop because you've slung some funds towards the police, you might get favourable treatment if an officer ever has cause to cross your path. Yes, that's dodgy. If only it was the most dubious aspect of CDG's gambit. Everywhere that Lipman-Stern and Pespas look, this tale gets worse. It's no wonder that Uncut Gems and Good Time filmmakers Benny and Josh Safdie are among Telemarketers' executive producers, plus Eastbound & Down's Danny McBride, Jody Hill and David Gordon Green. Barely giving any of the money raised to any of the charities represented? Tick. Using underhanded and forceful tactics, flat-out lying and adopting voices resembling a "cartoon caricature of police officer", all to con people into donating? Check there, too. Unsurprisingly attracting legal attention across several states, and multiple levels of government, yet managing to keep operating? Tick again. Slippery founders — two sets of brothers, one of which includes the member of a Christian rock band — who aren't fussed about CDG's ongoing legal troubles? Check once more. Turning nonprofit fundraising into a complete sham? Keep on ticking. Constantly devolving, whether by letting fear-inducing convicted murderers loose on the phones, using artificial intelligence to keep calls going without needing staff or capitalising upon America's increasingly polarised political landscape? That's all part of this story as well. Making for jaw-on-the-floor viewing, Telemarketers is a wild portrait of greed, exploitation and corruption — and while screens aren't short of those of late, this isn't a Succession or Squid Game-style eat-the-rich effort. There's nothing luxurious or stylish here. All that's on display is pure predatory behaviour from CDG's owners and their cronies towards everyone below them, employees and folks picking up the phone alike alike. Lipman-Stern and Pespas are as much scam victims as the people they called. But, when a disguised player in the industry notes that "it's not the telemarketers you should be worried about", Telemarketers gets even more sinister. When the strikes end, expect Hollywood to pounce on a dramatised remake. The Bear's Ebon Moss-Bachrach could easily slip into Lipman-Stern's shoes, and Saturday Night Live and Mr Mayor's Bobby Moynihan into Pespas'. Fantasy casting aside, any future retelling of CDG's exploits needs Lipman-Stern and Pespas at its centre — because Telemarketers wouldn't be what it is without them, or even exist. As much as HBO's series is a takedown of a horrific swindle, it's also an ode to guerrilla journalism by a couple of average guys fighting back, and a character study of the pair as well. As the show jumps across 20 years, it surveys who Lipman-Stern and Pespas are, what changes in their lives, their evolving friendship, their commitment to exposing their old workplace and why they took up this battle. It also doesn't shy away from the fact that they're plucky amateurs doing what they feel compelled to. The Safdies were approached to direct Telemarketers, only to glean what audiences can now see: that authenticity couldn't be more crucial. When 2022 became a banner year for true-crime deceptions on-screen, unravelling real-life stories through Inventing Anna, The Dropout and more, polish reigned supreme. Getting an inside view from everyday sleuths taking on the crooks who gave them a gig, as chronicled through rough-around-the-edges footage and scrappy chats — that's a raw, like-you're-there experience, and it's both powerful and electrifying. So too is Lipman-Stern and Pespas' transformation as they get immersed in their investigation over the years. Initially, Lipman-Stern just wants to film office pranks, while the ever-earnest Pespas has his own personal tussles. Before our eyes, they become the tenacious duo revealing a billion-dollar fraud and bringing this stunning whistleblower documentary to the world. Check out the trailer for Telemarketers below: Telemarketers streams via Binge from Monday, August 14.
Australia's real-time restaurant deals app, EatClub — which was launched by celeb chef Marco Pierre White — has now entered into the realm of takeaway eats. No longer just a way to book in to restaurants at a discounted price, EatClub now lets you redeem takeaway deals, plus order and pay for them via the app. To celebrate the launch of this new feature, EatClub's CBD restaurant partners are offering $5 dishes all week. From Monday, November 25 to Sunday, December 1, you can score a $5 feed. All you have to do is redeem a takeaway deal, then use the app's new ordering and payment feature to complete your order. To give you an idea of what's part of this sweet deal, you could be tucking into Kung Pao chicken from Superfly, a cheeseburger from Burger Project or a Roll'd noodle salad — all for just a fiver. This is in addition to all the deals the eateries already offer as part of the app's whole deal to start with. So, overall, you'll be able to score a delicious feed for less than a trip to your local chicken shop. To get involved, you just have to update the app, or download it if you're a newbie. Then claim a takeaway deal from any venue displaying a $5 icon on the map, select order and pay via the app and take your pick of a cheap treat (and anything else your heart desires). The chefs will whip it up in the kitchen, ready for you to pick up in no time. So your next cheap feed — which you'll tuck into while reclined on the couch — will be as tasty as it is convenient. Make sure you download the EatClub app here.
Sydney's museum scene is undergoing a significant shake-up. First, the New South Wales Government announced that it's moving the Powerhouse Museum to Parramatta. Now, it has revealed that the Australian Museum will take a 12-month hiatus. Fancy taking a peek at both sites before the huge changes hit — and doing so for free? Across the weekend of Saturday, August 17 and Sunday, August 18, the Powerhouse Museum and the Australian Museum will throw open their respective doors, scrap their entry fees, and welcome anyone and everyone to walk their halls and enjoy the pieces decking their halls. If you're particularly keen on stellar photographs of nature, the free weekend coincides with the launch of this year's Australian Geographic Nature Photographer of the Year 2019 exhibition, which'll be held at the Powerhouse Museum. You'll also be able to check out the Apollo 11 exhibit, plus favourites such as Transport and Space. Over at the Australian Museum, the Wild Planet, Dinosaurs and Surviving Australia displays all await, and so do the First Australians Galleries. While moseying along won't cost you a cent, you will need to register in advance. Head to the Powerhouse Museum and Australian Museum websites to nab your free ticket.
No one makes neon-lit, red-hued, emotion-dripping tales of yearning and loneliness like Wong Kar-Wai, as everyone who has seen 2000's In the Mood for Love knows. It isn't the Chungking Express, Happy Together, 2046, Ashes of Time: Redux and The Grandmaster filmmaker's only masterpiece, but the 1960s Hong Kong-set romantic drama is utterly unforgettable as it unfolds its love story against a backdrop of festering societal tension. Viewers have fallen for the film for almost a quarter of a century now. Sydney Opera House clearly feels the same way. Back in 2020, it hosted and livestreamed dreamy song cycle In the Mood — A Love Letter to Wong Kar-Wai & Hong Kong, which delivered exactly what its title promised. Come 2025, the venue will also welcome in the Australian premiere of In the Mood for Love in Concert. As everything from Batman, Back to the Future, Home Alone and Spider-Man: Into the Spider-Verse to The Lion King, The Princess Bride, Black Panther and Star Wars films has in the past — and plenty more — the iconic movie will return to the big screen while an orchestra brings its score to life. In this case, the film will flicker across Sydney Opera House's HD silver screen as conductor Guy Rundle leads a 39-piece group of musicians playing live. Ready to get audiences swooning, In the Mood for Love in Concert has locked in two shows on the one date, at 2pm and 7pm on Saturday, March 22. The BAFTA-nominated and César-winning film — which also picked up two awards at Cannes, including Best Actor — stars the great Tony Leung (Hidden Blade) and Maggie Chen (Better Life) as Chow Mo-wan and Su Li-zhen. In a complicated time and place, the two neighbours are drawn together when they begin to suspect that their partners are not only being unfaithful, but that they're having an affair with each other. While In the Mood for Love is rightly acclaimed for its affecting performances and evocative direction, as well as its gorgeously lush cinematography, its score is just as exceptional. Indeed, the filmmaker has called it "a poem itself". This is a stellar opportunity to find out why — and to discover why this movie, and Wong Kar-Wai, keep proving so influential. Check out the trailer for In the Mood for Love below: In the Mood for Love in Concert plays Sydney Opera House's Concert Hall at 2pm and 7pm on Saturday, March 22, 2025, with ticket presales from Tuesday, November 5, 2024 and general sales from Thursday, November 7, 2024 — head to the Sydney Opera House website for more details.
Despite our country being one that's girt by sea, as our anthem reminds us, we've become rather obsessed with waves of the man-made kind of late. Surfing legend Kelly Slater intends to open his second surf ranch on the Sunshine Coast and NSW's Hawkesbury region is getting a giant wave pool and luxury resort come 2022. But, most excitingly, Australia's first inland surf park Urbnsurf, near the Melbourne Airport, finally started pumping waves in 2020. Now, the Urbnsurf team is setting its sights on three more landlocked locations across Australia. Because, these days, you no longer need the beach to be able to hang ten. After a tumultuous first year at the Melbourne location due to the global pandemic — and with the on-site Three Blue Ducks' all-day diner now open — Urbnsurf is set to open locations in Sydney, Brisbane and Perth. The 3.2-hectare Sydney spot got approved way back in 2017 and, after the success of the Melbourne outpost, the team is now focusing on delivering its NSW project at Sydney Olympic Park. Construction on the Sydney surf lagoon is expected to commence in 2021. While an exact opening date is yet to be announced, the wave pool is set to make a splash come summer 2022/2023 — don't worry, we'll be sure to keep you updated. [caption id="attachment_796164" align="alignnone" width="1920"] Render of Urbnsurf Sydney[/caption] Meanwhile, the company also plans to make headway on projects in Brisbane and Perth. With the progress of these two locations still very much in the early stages, the details are under wraps for now. Urbnsurf Melbourne powers up to 1000 waves per hour, day and night. Plus, every wave has six different take-off spots equating to 3600 surfable positions every hour. So, if that's anything to go by, Sydneysiders, Brisbanites and Perthians can expect A-class surfing year-round — come rain or shine. Urbnsurf Sydney is slated to open in summer 2022/2023. Urbnsurf's Brisbane and Perth locations and opening dates are yet to be announced — but we'll be sure to keep you posted. Top image: Courtesy Urbnsurf and Ed Sloane
The first of Harvest's headline shows has now been announced, following the festival's cancellation last week. Black Rebel Motorcycle Club will tour in November, playing Billboard in Melbourne, The Hi-Fi in Brisbane and Sydney and the Metro Fremantle. After weeks of speculation, AJ Maddah announced the official cancellation of Harvest 2013 on September 16. "I am very sad to confirm that Harvest 2013 is cancelled. All tickets will be 100% refunded (incl. all charges) by Oztix in the next week," the promoter tweeted. Later he mentioned that his partner, Jo Ward, had had "a nervous breakdown" over it. The event was scheduled to happen in mid-November in Melbourne, Sydney and Brisbane. With Massive Attack and Franz Ferdinand already established as headliners, the festival announced the addition of Volcano Choir just a fortnight ago. Maddah did manage to offer some relief to devastated ticket holders when he stated that most of the (now ex-) Harvest artists would perform their own headline shows. "Will be announcing headline shows by most of the Harvest artists in the next 10 days," he tweeted. "Those who have purchased Harvest tickets will be given priority access to these headline shows. Please stay tuned for details." According to theMusic.com.au, "industry sources have confirmed" that the outspoken promoter, who was named the most powerful person in the music industry earlier this year, has purchased Ken West's sizeable share of the Big Day Out (the rest of which is owned by US promoters C3 Presents). Watch this space for more news of Harvest artists' headline shows. Black Rebel Motorcycle Club Wednesday, November 13 – Metro Fremantle, Perth Friday, November 15 – Billboard, Melbourne Saturday, November 16 – The Hi-Fi, Sydney Sunday, November 17 – The Hi-Fi, Brisbane
