If you're fond of a bit of activewear, you better work some shopping time into your schedule over the next three days. The Upside is hosting a huge warehouse sale this week, taking over Paddington Town Hall from April 5–7. The Sydney-based activeware brand is offering up to 75 percent off for both men's and women's apparel, with samples starting at just 25 bucks. Clothing from the January through September 2017 seasons will be up for grabs — think colourfully patterned sports bra and legging sets, singlets, workout jumpers and tennis shorts. The pop-up shop will be open Thursday from 12–9pm, Friday from 8am–6pm and Saturday from 9am–5pm. We expect there will be a queue — move around some yoga classes to get there early.
Be nice to each other. It's a simple, sensible message that we're all guilty of forgetting sometimes, but every now and then a film pops up to remind us. Wonder is the latest, based on the book of the same name. The movie spends its running time with 10-year-old Auggie (Jacob Tremblay), his family and his friends. Born with a facial deformity and still sporting considerable scars after corrective surgery, the home-schooled Star Wars and Minecraft fan just wants to be an average boy. Understandably, he isn't too keen on finally attending classes with other kids — and facing their stares, questions and inevitable teasing. As The Elephant Man and Mask did before it, Wonder steps through the encounters that follow as Auggie interacts with the world. From bullying to peer pressure to hearing his only friend talk about him behind his back, it's the usual list of struggles. Auggie's mother Isabel (Julia Roberts) and father Nate (Owen Wilson) worry but offer encouragement, while his teenage sister Via (Izabela Vidovic) tries to lend a helping hand. Among Auggie's classmates, some taunt, such as popular kid Julian (Bryce Gheisar). Others are cautiously friendly, like scholarship student Jack (Noah Jupe). It's Wonder's willingness to look beyond Auggie that endeavours to set it apart — and helps it avoid becoming a run-of-the-mill disease-focused weepie (though that fate never feels particularly far away). In chapters narrated by other characters, we learn that everyone has insecurities, fears and woes, as the film drives home the idea that we all deserve love and affection. Wading through troubles at home, navigating first relationships, being forced to give up on your dreams, and coping with death are just some of the situations covered. As such, faulting the movie's intentions is impossible. As it tells Auggie's tale and others, the film shines a spotlight on society's troubling willingness to judge rather than help — a topic particularly relevant in today's political climate. A word of warning, however: if you're not too fond of having your emotions plucked like a harp, then you might say this family-friendly effort has too much obvious sentiment. The movie's thesis of kindness over cruelty is not only thoughtful and important, but as warm as its imagery. Still, at times it can feel as though the script is working through a checklist of every sappy cliche imaginable. In the film that results, there's rarely a moment that doesn't tell viewers how to feel. That's hardly surprising given that director Stephen Chbosky previously helmed The Perks of Being a Wallflower — a movie that telegraphed its emotional intent in much the same way as Wonder, albeit with teenage outcasts instead of a lonely boy. Here, with Room's Tremblay doing such an impressive job of balancing Auggie's bravery and vulnerability, the overt button-pushing is even more unnecessary. Wonder might tell its audience to trust, care and be kind to each other, but it'd help if it trusted them to embrace it's own core messages without quite so much poking and prodding. https://www.youtube.com/watch?v=8GHGHhucqJQ
Sydney's Electronic Music Conference (EMC) is back for the sixth year running and, this time, the event will see more than 55 artists perform across five venues over three days. By light, there'll be panels, workshops, masterclasses and talks. By dark, there'll by EMCPlay: showcases starring the most talented, hardest working musicians in Australia. Things will kick off with the inaugural invite-only Global Cities After Dark forum on Tuesday, November 28, where international speakers like Amsterdam Night Mayor Mirik Milan and Lutz Leichsenring of Berlin non-profit The Creative Footprint will give local leaders and planners valuable insights on how to foster a creative, vibrant and safe nightlife culture. Then there'll be the gigs. On Tuesday catch S.A.S.H., one of the best-known names in Sydney clubbing, on stage with Fred P at the Sly Fox Hotel in Enmore. The following evening, head to The Lansdowne for EMCPlay's headline event, featuring Commandeur, Miss Blanks, Elkkle and Tiber. Just down the road at Freda's, Of Leisure, a new indie record label, will host a free night-long showcase, while The Chippo plays temporary home to Refuge, alongside Double Up and One Hit Agency (also for free). As if that's not enough to keep your ears busy, the Cake Wines Cellar Door will be on-board, too with sets from graduates of Ableton Liveschool. The finale, happening on Thursday, November 29, will involve another showcase at the above venues. Check out the full program over here. Image: shiBBi.
It's beginning to look a lot like the festive season, and at Porteño, that means one thing. Well, a few: eating, drinking and shopping. That's what the Surry Hills spot will be serving up at their first-ever Christmas market. For a gold coin donation on entry — the proceeds of which will go to Westmead Children's Hospital — attendees will find local designers, creatives and some of Porteño shop-owning faves all descending upon Cleveland Street for a merry ol' day of gift browsing and buying. Expect all of your canned and smoked goods needs to be taken care of by Continental Deli and LP's Quality Meats, meaning that you can stock up on some edible Xmas essentials as well. Taking place from 10am to 5pm on December 3, the market will also look after your hunger and thirst while you're perusing the stalls and shelves, courtesy of caffeinated brews from 212 Blu and the Porteño kitchen's own bites to eat. As for something stronger, you'll find that at the Gardel's Bar — whether you're celebrating once you've wrapped up all your pressie purchasing for the year, or getting some liquid inspiration.
In the Iranian feature Subdued, a recently divorced woman tries to carve out a single life, but finds her quest for independence far from easy. The there's The Home, in which a daughter struggles with the contents of her recently deceased father's will. Depicting the tumult of everyday Iranian existence — the oppression, the judgement, the unfair treatment of women and the impact of unjust bureaucracy — is something that the country's cinema output has become particularly known for. Indeed, films and tales like these (and, of course, including these) abound at this year's Iranian Film Festival Australia. In fact, they're just two of the ten flicks on offer in 2017, the fest's seventh year. Nodding to the past, a retrospective session of 1997's Leila shows how little has changed in the Middle Eastern nation. Celebrating a filmmaking master only recently lost, Abbas Kiarostami's final short Take Me Home finds joy in repetitive actions with unexpected outcomes. Iranian Revolution dramas, musicians travelling abroad and a tale of friends torn apart by an organ donation request help round up the lineup. You'll find them all at Event Cinemas Top Ryde from November 9 to 12, with IFFA demonstrating that good things come in compact packages.
Warm weather means heading outside, and not only soaking up the sun, but enjoying summer's sultry evenings. It also means finding as many ways to do just that as possible, and how better than heading west and enjoying a free film? Every year for the past seventeen years, Sydney Olympic Park has played host to Movies by the Boulevard, a free summer film fest that's all about the open-air experience. It's back for 2018, and, as held on a selection of evenings between January 12 and 28, it's serving up a feast of 2017 flicks for your outdoor viewing pleasure. Missed Guardians of the Galaxy Vol. 2 the first time? Love Wonder Woman, and want to watch it on the big screen again? Eager for a dose of Lion on Australia Day? They're all on the agenda, and more. The rest of the lineup spans from the lush fairytale of Beauty and the Beast, the satirical animation of The LEGO Batman Movie, primates against people in War for the Planet of the Apes and this year's other huge Aussie hit, Ali's Wedding. Gates open at 6pm each night, with films kicking off at 8.30pm. BYO picnic, or grab some food or drink onsite.
Terms like #BlackLivesMatter and alt-right didn't exist in 1967. As such, they're not mentioned in Detroit, a film based on the infamous race riots that gripped the titular town 50 years ago. Instead, we hear other telling words and phrases. Words like "you people". Words like "them". When a racist cop compares the city to 'Nam, when offensive slurs flow freely, and when scared black men openly pray for their lives in front of white police officers, there's no mistaking the climate of hatred and fear they're all inhabiting — or the parallels with the United States today. In a film of talk as much as action, these moments shudder with significance. Often, they make the audience shudder as well. Director Kathryn Bigelow, who remains the only woman to win an Oscar for direction, wants the violence, the slurs and the sense of anxiety to stand out. At the same time, she demonstrates just how commonplace it all was — and still is. As they did with The Hurt Locker and Zero Dark Thirty, Bigelow and writer Mark Boal serve up an eye opening account of how America operates. Only this time, as they delve into racial, societal and institutionalised conflicts, they're working on home soil. Accordingly, Detroit pieces together a picture of a city and a nation seething with disharmony, weaving seemingly disparate stories together to recreate one specific incident. On the night of July 25, 1967, cops respond to reports of a sniper at the Algiers Motel, but can't locate the culprit or a weapon once they arrive. Already full of bluster from an earlier altercation, Officer Krauss (Will Poulter) and his colleagues (Jack Reynor and Ben O'Toole) aren't prepared to leave empty-handed. So the trio interrogate and intimidate a group of black men, plus two young white women, determined to put somebody in handcuffs. Among their detainees: The Dramatics singer Larry (Algee Smith) and his pal Fred (Jacob Latimore), who are staying the night en route home from their cancelled gig, and happen to cross paths with the attractive Julie Ann (Hannah Murray) and Karen (Kaitlyn Never). They're in the vicinity of the shots simply because they've followed the girls into their friend Carl's (Jason Mitchell) room. He's hanging out with a few mates, while returned soldier Greene (Anthony Mackie) is also down the hall. Arriving with the national guard, part-time security guard Melvin Dismukes (John Boyega) tries to assist in the aftermath. Detroit lets viewers get to know these characters — and to know them well. You can tell a lot about a person by the way they react when times get tough, and everyone here is swimming in pressure. After backstories are laid out in the film's first quarter, the movie spends its terse, tense mid-section in the hotel, watching the various figures face off. The camerawork is jumpy, intimate and urgent, as are the performances. Poulter is unnerving in his venomous conviction, while Smith is heartbreaking as the aspiring talent seeing his dreams fade away. Boyega, meanwhile, is a ball of internalised turmoil as the man caught in the middle. With the aforementioned war films as well as Point Break and Strange Days on her resume, Bigelow has consistently proven herself to be one of the best action directors working today, and Detroit only solidifies that status. Just as the film initially bounces around the riots to establish Detroit's volatile intensity, it also gets up close and personal with its main players, crafting a brutal snapshot not only of the events in question, but the city at the time and America as a whole. In the process, it serves as both an immersive picture of history and a horrific cautionary tale. Archival footage is used to amplify the grim mood, but it isn't really needed. Detroit would be a stunning piece of cinema either way. https://youtu.be/yv74LqiumXE
As a trio who perform in Spanish, Femina have learned to be more theatrical and expressive to ensure their message comes across. Mixing traditional South American styles with modern soul, hip-hop and R&B, sisters Sofia and Clara Trucco, along with friend Clara Miglioli bring passionate intensity to promote their message of love and equality across races, genders, ethnicity and sexual orientation. Their harmonies and intricate wordplay are sure to set the Spiegeltent alight this summer — find out why Iggy Pop is a fan, and why Rolling Stone just named them one of the 10 New Artists You Need to Know for August 2017. Image: Eliseo Miciu
Sydneysiders have a new al fresco food event to add to their calendars this sunny season as some of the city's best-loved chefs come together for the inaugural EatSummer twilight market. Helmed by the team at Cambridge Markets (who also run Watsons Bay Spring Market, Rose Bay Farmers Market), the event will grace the Entertainment Quarter's Heritage Park on Saturday, November 18. And it's bringing with it a drool-worthy lineup of food, drink and entertainment, headlined by a strong lineup of chefs from restaurants like Lucio's, Ume Burger, Mr Bao, Barzaari, Indu, Lotus and Anason. A dedicated 'dessert alley' will showcase six of Sydney's finest sweet-focused vendors, including Cow and the Moon's gelato, Fratelli Fresh's banoffee pie, and Barzaari's orange blossom and pistachio doughnuts. Meanwhile, four themed bars will include a cocktail-slinging pop-up run by local craft gin distillery Archie Rose, to be enjoyed alongside EatSummer's program of live tunes, DJ sets and performances. More EatSummer dates are planned for the coming months — we'll keep you posted as they're announced. Image: Ume Burger.
On Sunday, June 10, things are getting hot at The Bank Hotel. Tongue-tinglingly hot. Face-meltingly hot. Homer Simpson running, screaming and waving his hands around hot. That's what happens when you spice up your Sunday with a chilli festival, after all. Adding some zest to the long weekend and to Sydney in general, the King Street pub is hosting its second annual Newtown Chilli Festival from midday. There'll be chilli beers — from local brewers Young Henrys, 4 Pines, Sauce Brewing and more — heaps of homemade chilli sauce and chilli barbecue specials. Aka chilli galore. And yes, there'll definitely be enough hot hot heat to help you turn several different shades. Of course, it wouldn't be a chilli festival without the spiciest event of them all: a chilli-eating competition. If you're currently thinking "I can consume anything!", there are vouchers, hot sauce and beer on offer if your tastebuds emerge victorious. To enter you'll need to submit a short video on why you love chilli — you'll find all the details here. Our tip, and we think you'll need it: remember that milk is a chilli-lover's best friend.
Sydney-based trio Middle Kids has already toured with the likes of Paul Kelly and The War on Drugs, and even inspired the praise of Elton John. And yet, the band only one album into its career. Launched on May 4, Lost Friends is an exploration of vulnerabilities, disintegrating relationships and fear, led by singer-songwriter Hannah Joy's warm, emotive voice, which shifts from fragility to strength and back again. She's backed by her multi-instrumentalist husband Tim Fitz and drummer Harry Day, who studied jazz at the Sydney Conservatorium of Music. This is a prime time to catch the band before it hits the big-time — after this Vivid Sydney show at the Opera House, Middle Kids will be setting off on an international tour.
Among the many gifts that Japan has given the world — ramen, sake, Godzilla, Pokemon, the list goes on — bonsai is perhaps the most relaxing, even if you haven't mastered the art yourself. Cultivating tiny trees certainly sounds soothing, but it's not a skill we all have. Still, regardless of how green your thumbs are (or aren't), we all can enjoy the calming bliss of looking at these small wonders. From April 30 to May 5, Sydney's The Japan Foundation Gallery is the place where miniature plants come to life, showcasing the work of the Sydney-based Megumi and Alex Bennett. Bonsai: Generations of Growth not only highlights two generations of bonsai practitioners, but applies the practice to Australian native plants. For six days, their creations will be on display, looking cute and comforting for anyone that wants to take a gander. Warning: stare long enough, and you'll want to take up bonsai yourself. Don't say we didn't tell you. If that's you, there's also a bonsai demonstration on May 1 at the opening reception, running through the bonsai basics.
Whether you're a dedicated poké fan, an occasional dabbler or you haven't yet tried the Hawaiian food trend, you're going to want to head to Met Centre's Nudefish on Wednesday, August 8. From midday, free bowls are on the menu for the first 100 customers. While usually there's no such thing as a free lunch, that advice doesn't apply here. Hungry patrons can choose from miso sesame eggplant, marinated mushroom, spicy kale chicken and more, as drizzled with house-made sauces and pickles. It's also all gluten- and dairy-free, which means this Poké Party is for everyone. And, if you don't find yourself at the front of the queue before midday, don't worry — Nudefish is also serving up $5 bowls once their freebies have run out. The giveaway is to launch the opening of the poké chain's fourth store, with ones already location in North Sydney, Bondi Beach and the MLC Centre.
Got brunch plans? Cancel them. Whatever they were, we just found a better option. House of Crabs at The Norfolk in Redfern has relaunched its monthly Yum Cha brunch series. Happening once a month until October, the Yum Cha series will bring an Asian twist to the crab shack's usual Louisiana-style menu, delighting diners with dishes such as steamed bao cheeseburgers, char siu octopus tacos, and pulled pork and prawn spring rolls. They've even got Chinese malted mantou served with caramel ice cream for dessert. As for drinks, you can choose between a number of cocktails, including a Long Breakfast Martini made with gin, apricot brandy, lemon, mint and marmalade, and the Wasabi Mary, a Bloody Mary made with wasabi and soy sauce. So throw on your bib and scurry on down.
Prepare for a night of audio-visual immersion, as one of Melbourne's coolest film collectives comes to Sydney for the first time. Not content to simply replicate a typical cinema experience, Hear My Eyes combines little-seen films with new and original scores, performed live by local music acts in unique venues and bars around town. For this event, they're pairing Melbourne synth pop duo GL with Heartbeats, the ultra-stylish sophomore drama from Québécois wunderkind Xavier Dolan. First released in 2010, the film explores the romantic rivalry that develops between best friends Francis (Dolan) and Marie (Monia Chokri) after they both become enamoured with the same man. It's a must-see film for lovers of world cinema, particularly those who've enjoy Dolan's subsequent efforts such as Laurence Anyways, Tom at the Farm and his recent masterpiece Mommy. GL, meanwhile, are no strangers to success themselves, having played Falls Festival, Meredith and Splendour, and supported the likes of Saskwatch, Shamir and Chet Faker. https://www.youtube.com/watch?v=znpU_Aup-Bg
Whether or not you've heard of Adriana Picker, you've definitely seen her work. Well, as long as you've seen Australia, Mad Max: Fury Road, Gods of Egypt or The Great Gatsby, that is. Yep, she worked on costume illustrations for all four of them. What's more, a whole bunch of brands and publications are way, way more beautiful thanks to her – from Quay Restaurant to Australian Gourmet Traveller Magazine to Mambo. Now, she's going to share her mad skills with you. On Tuesday 5 July, Adriana will be dropping into Potts Point's Waterman's Lobster Co. to run a two-hour workshop dedicated to the art of drawing flowers. With a glass of Beaujolais in hand and canapés at your fingertips, you'll find out what's involved in starting with a concept and taking it to stunning completion. Along the way, you'll receive as much (or as little) direction as you need.
In Denial, a man downplays the atrocities committed by Adolf Hitler during the Second World War. No, it doesn't tell the tale of the current White House Press Secretary — but it does sound unnervingly familiar, doesn't it? Filmed before the rise of Trump, no one could've guessed just how relevant this movie would feel when it finally hit screens here in Australia. Sadly, fake news, racism and idiots with microphones aren't particularly new. We have long lived in a world filled with people willing to champion inaccurate takes on past events as fact. That's the truth at the heart of Denial, which recounts Deborah Lipstadt's (Rachel Weisz) courtroom battle with David Irving (Timothy Spall). In 1996, she was an American professor who had published a book about the Holocaust denial movement. He was a British historian named and shamed as a denier in her pages – and despite eagerly sharing his views whenever he could, he wasn't happy about it. So Irving sued Lipstadt for libel, taking advantage of the UK legal system, which placed the onus on her to prove that he was falsifying history. Adapted from Lipstadt's book "History on Trial: My Day in Court with a Holocaust Denier", Denial is an understandably serious and sombre affair. Restrained in its emotion, which is no easy feat considering the subject matter and its mid-movie trip to Auschwitz, the film lets the reality of the situation do the talking. Watching just how Lipstadt's defence team — including no-nonsense solicitor Anthony Julius (Andrew Scott) and dedicated barrister Richard Rampton (Tom Wilkinson) — tackles the task of exposing Irving's lies without giving him a platform to put the Holocaust on trial makes for fascinating viewing. Director Mick Jackson might be worlds away from his '90s hit The Bodyguard, but his film still sings with drama, albeit it in a completely different way. Screenwriter David Hare remains in more familiar territory given that the Oscar-nominated script for The Reader is also on his resume. Together, the two carefully but commandingly step through the weighty material, giving the story the clear-headed retelling it deserves. It takes immense strength and poise to play a woman forced to fight to ensure that history doesn't become a matter of opinion, but Weisz proves more than up to the challenge. It takes just the same, of course, to play a man with despicable beliefs without ever judging him; as a result, it's hard to tear your eyes away from Spall. Sadly, it's also hard to deny how scarily timely his portrayal feels, as indeed does the film as a whole. https://www.youtube.com/watch?v=g7k7Z6S39Zc
Sydney Film Festival takes over the city's cinemas for 12 days each year, but sometimes that's just not long enough to see all the films on your wishlist. Enter the festival's Back by Popular Demand bonus screenings, with 12 titles from the almost 300-strong lineup getting additional sessions at Dendy Newtown and Dendy Opera Quays between June 19 and 21. This is the third year that SFF has gifted cinephiles with an extension of their program, helping movie buffs catch up on high-profile titles such as Sofia Coppola's Nicole Kidman, Kirsten Dunst, Elle Fanning and Colin Farrell-starring western The Beguiled, Michael Haneke's unnerving family drama Happy End and Brokeback Mountain-like British rural romance God's Own Country. In addition, two of 2017's just-added straight-from-Cannes flicks will receive extra showings, which is welcome news to anyone unable to fit Palme d'Or winner The Square or Robert Pattinson getting gritty in Good Time into their regular SFF schedule. The bonus lineup also includes popular documentaries I Am Not Your Negro, Citizen Jane: Battle for the City, The Go-Betweens: Right Here and The Last Goldfish, as well as international efforts The Ornithologist and The Teacher. As part of the festival's Akira Kurosawa retrospective, the Japanese master's Ran will also screen again. Basically, if you thought you wouldn't be spending the days immediately after the official end of the fest sitting in a darkened room, you were wrong. "If you missed them at the festival, these screenings are a wonderful way to see some of the most talked-about films of the year," says SFF artistic director Nashen Moodley. Sydney Film Festival's Back by Popular Demand bonus screenings hit Dendy Newtown and Dendy Opera Quays between June 19 and 21.
Every time one of Australia's many cultural film festivals rolls around, viewers are taken on a journey to another country. Celebrating its 20th event, the 2017 Spanish Film Festival is embracing that idea — and they have the perfect movie for it. This year's festival will close with The Trip to Spain, the third instalment in the Steve Coogan and Rob Brydon driving-and-dining series following 2010's The Trip and 2014's The Trip to Italy. Of course, the Spanish Film Festival has put together a hefty program that showcases more than two British comedians trading Michael Caine impressions while seeing gorgeous Spanish sights and ticking off the country's fine dining spots, with the full lineup boasting 38 features. In Sydney from April 18 until May 7, the festival will kick off with Kiki, Love to Love, which actually has an Australian connection. Telling five comic tales about the passionate lives of Madrid lovers, it's based on Hoges actor Josh Lawson's 2014 directorial debut The Little Death. The film's star Natalia de Molina will be attending the opening night festivities too. Elsewhere at Palace Verona, Palace Norton Street and Chauvel Cinema, expect a vibrant cross-section of Spanish-language cinema, including moving coming-of-age effort Summer 1993, the Penelope Cruz and Cary Elwes-starring The Queen of Spain, and tense dark comedy The Bar, all heading to our shores after screening at the Berlinale. Or, viewers can catch the Goya-winning revenge flick The Fury of a Patient Man, bank robber thriller Escape Plan, secret agent spoof Heroes Wanted, literary-focused Venice Film Festival hit The Distinguished Citizen, or social realist musical At Your Doorstep. Plus, the program also features walk-and-talk romance The Reconquest, Smoke & Mirrors' true tale of corruption from the makers of 2015 festival standout Marshland, and Spain in a Day — the latest crowd-shot time-capsule companion piece to 2011's Life in a Day, joining fellow efforts made in Britain, Japan, Italy and India. This year's festival selections don't stop there, with four films embracing the joys of flamenco, spanning both dance and music. For those keen on looking back as well as catching the latest cinematic fare, three retrospective screenings will showcase the work of actress, singer and filmmaker Ana Belén, who has more than 35 albums, 40 films and 30 theatrical productions on her resume.
Prepare to add another activity to that growing list of summer must-dos: Merivale and Summer Bright are holding a slew of A+ Sunday afternoon shows at two prime waterside venues. And the best part? They're all free. Yep, all 16 of 'em. Returning for a second year, the Sunday Sundown sessions will be held over 16 Sundays from November 27 to February 26. They'll once again be going down from midday at the Coogee Pavilion rooftop and The Newport, which are both top-notch places to watch the sunset, in our humble opinion. Kicking off with a performance by Aussie hip hop artist Tuka, the Pavilion will go on to host Remi, Yolanda Be Cool and Sampology, among others. Up the coast at Newport, Client Liaison will kick things off on December 4 and will be followed by Montaigne, Ngaiire Triple J Unearthed acts Middle Kids and Jack River. Jarryd James will help welcome in 2017 playing New Year's Day, and The Bamboos will help celebrate Australia Day. But here's the full lineup. SUNDAY SUNDOWN 2016-17 LINEUP COOGEE ROOFTOP 27 NOVEMBER: TUKA + BAD EZZY 11 DECEMBER: BASENJI + SWINDAIL 1 JANUARY: ACT TBA + RUNNING TOUCH 8 JANUARY: YOLANDA BE COOL + GENERIK 22 JANUARY: NINA LAS VEGAS + DOM DOLLA 26 JANUARY: LUKE MILLION + DRO CAREY 5 FEBRUARY: SAMPOLOGY + NOAH SLEE 19 FEBRUARY: REMI + KUREN THE NEWPORT 4 DECEMBER: CLIENT LIASION + CONFIDENCE MAN 18 DECEMBER: MONTAIGNE + HEIN COOPER 1 JANUARY: JARRYD JAMES + CLEOPOLD 15 JANUARY: MIDDLE KIDS + JACK RIVER 26 JANUARY: THE BAMBOOS + ACT TBA 29 JANUARY: ACT TBA + SABLE 12 FEBRUARY: NGAIIRE + ALL OUR EXES LIVE IN TEXAS 26 FEBRUARY: SKUNKHOUR + SONS OF THE EAST Image: Bodhi Liggett.
Well, it's October. From now on, if you want anything from the shops, you might have to scale a rising mountain of Christmas paraphernalia to get to it. That said, for every hillock of premature mince pies that springs up, one has to believe there's an equal and opposite attempt by the universe to secure some cheer for those less fortunate. This weekend marks one such attempt. Australia for UNHCR is kicking off their Christmas appeal with a pop-up photography exhibition in Marrickville's Stirrup Gallery. The exhibition, entitled Nobody Left Outside, runs all weekend and features the work of Kenyan photojournalist Thomas Mukoya, who's worked with Reuters for over a decade to document the experiences of Africa's people. This time around, his focus is refugees. Photographing displaced people from all over the world, Mukoya explores what concepts of 'home' and 'shelter' mean to people deprived of them. The exhibition is free and, for the furious multitasker, runs side by side with Addison Road Community Centre's Saturday Street Food and Sunday Organic Food Markets. Images: Thomas Mukoya.
Did you know that sparkling sake is a thing? You drink it at the start of the meal in a flute-like glass, much like regular sparkling grape wine, and it tastes pretty damn good. Try it — along with six other specially selected sakes — at Tokonoma's World Sake Day dinner this Wednesday, October 19. Celebrating the day (sure, it's a day — along with International Burger Day and Cheese Pizza Day) in a way that is truly fitting, the CBD Japanese bar and restaurant has invited Australia's only sake educator Yukino Ochiai (of importer Déjà Vu Sake Co.) to host a one-off seven-course dinner. Each course of impeccable izakaya-style food will be matched with a cup of boutique sake. Don't know much about it? No worries. Yukino knows her sake and will be on-hand to take you through each course, which will move through Japan's best sake distilleries. And the food. Ah, the food. The dinner will include Tokonoma's sashimi omakase, kangaroo tartare, crispy polenta chicken karaage and an amazingly delicate white chocolate, coconut and beetroot dessert. The dinner isn't cheap at $180 per person — but Japanese food and sake never are. If you're looking for a fancy mid-week dinner, this is it. Plus, it includes the Dewazakura sparkling sake, so there's that too.
Many an idealistic couple has moved to the country to start a family, in pursuit of peace, quiet, forever love and self-sufficiency. Many an idealistic couple has, years later, watched their family (and maybe even themselves) drift away from their hopes - geographically, emotionally and morally. In The Great Fire, clever young playwright Kit Brookman takes a head-on look at this familiar story. At the play's centre are Judith and Patrick, who fled to the Adelaide Hills in the 1970s, where they built their own home and raised their children. As decades passed, the foundations on which they based their life crumbled away, ever so slowly. Now, their daughter is expecting their first grandchild, and, on a scorching hot Christmas day, returns home, along with the rest of the family. Will they ever be able to restore their old life and realise their original dream?
In Little Men, growing up is filled with illuminating revelations — some obvious, and some that can only be gleaned over time. Case in point: when 13-year-old New Yorkers Jake (Theo Taplitz) and Tony (Michael Barbieri) become firm friends thanks to a chance meeting and a shared love of fantasy novels, everything instantly seems brighter. But as circumstances conspire to test their bond, they also discover that even the strongest glow casts a shadow. Theirs is a case of opposites attracting. Jake is quiet, reserved and fond of art, while Tony is outgoing, outspoken and dreams of becoming an actor. To them, this doesn't matter — but life has a way of telling them otherwise. They're able to see past class clashes and playground taunts until conflict grows between Jake's father Brian (Greg Kinnear), a struggling actor, and Tony's mother Leonor (Paulina García), who runs a dress shop in the building that Jake's family has just inherited. Raising the rent in line with the area's increasing gentrification would make a drastic difference to both. For Brian, it would mean a steady source of income and a chance to lessen the financial burden on his wife Kathy (Jennifer Ehle). For Leonor, it would mean having to close her store and move on. While the importance of many of Little Men's exchanges might be readily apparent, this isn't a film that trades in big moments, takes sides or offers easy solutions. Instead, it thoughtfully and patiently observes as Jake and Tony respond and adapt to the complex reality around them. In that way, it calls to mind writer-director Ira Sachs' previous film, the bittersweet Love Is Strange. Indeed, Little Men could've easily been called Life Is Strange — and, like its predecessor, much hinges upon the work of its cast. It's the understated performances of Taplitz and Barbieri, specifically, that ensures the film stays on track, with the two bringing their characters to life without an ounce of cliche. When Jake and Tony decide to give their respective parents the silent treatment until they resolve their feud, their posture and expression says plenty. As the younger actors excel at making their gradual, subtle coming-of-age awakening feel authentic and relatable, Kinnear, García and Ehle help paint the world around them in the necessary shades of grey. Of course, the film's naturalistic palette doesn't quite use those tones — in fact, it favours crisp imagery and a whimsical, upbeat score. But crucial to both is balance, rather than exaggeration. Life, after all, is comprised of more than just one simple extreme or the other.
If an ancient spirit of Haitian Voodoo was to find himself in Sydney, what would he do? Perhaps he'd take his black tail coated self to Centennial Park, show his skull face at the Opera House or pay a visit Waverley Cemetery (he is guardian of the afterlife, after all). Luckily for us, folklore legend Baron Samedi has decided to skip all this and throw a party. Yes, Baron Samedi Spiced has arrived on Australian shores — and this new spicy spirit is celebrating the occasion. The beverage — made with Caribbean rum and spices such as vanilla, cacao, cinnamon and native Haitian spice Vetiver — takes its name from the ancient spirit (or Loa), and is a dash of cheekiness and mystery, all rolled into one. It's the spirit that sums up yours, and it's also the reason to head to Taylor's Rooftop during June. From Wednesday, June 8, Baron Samedi will be taking over the CBD venue from 6pm and, should you dare to step inside, you'll enter a shadowy underworld rife with magic, music and vanilla, cacao and cinnamon-flecked cocktails. You've got until July 2 to get amongst it. And remember: drink responsibly, folks.
Whether it's an elaborate escape act or a simple piece of sleight of hand, when it comes to magic audiences want two things. They want to be fooled into believing that what they're seeing is real, but they also desperately want to know how it's really done. It's the same principle behind heist films, with viewers keen to watch criminals execute high-stakes robberies, and then discover how they pulled it off. It's hardly surprising, then, that Hollywood decided to blend the two with 2013's Now You See Me – and when it proved a hit, a sequel was all but inevitable. Of course, easy and obvious isn't the same as interesting or enjoyable, a fact that the Now You See Me films seem to forget. Director Jon M. Chu spends the bulk of the movie showcasing slickly shot and quickly choreographed tricks, in the hopes that we won't notice that the script by writer Ed Solomon doesn't really make any sense. For those with short memories, the first film followed the Four Horsemen, a magic troupe that mesmerised crowds and fleeced banks at the same time. A year later, J. Daniel Atlas (Jesse Eisenberg), Merritt McKinney (Woody Harrelson) and Jack Wilder (Dave Franco) remain in the group, with newcomer Lula (Lizzy Caplan) filling the female quota. FBI agent Dylan Rhodes (Mark Ruffalo) calls the shots, throws law enforcement off of their trail and helps set up a big gig at a mobile phone product launch. Alas, when the Horsemen take to the stage, they soon find that they're caught up in someone else's game. As Lula, Caplan acts excited and mentions what the gang is up to as much as she can — and that's Now You See Me 2 in a nutshell. She doesn't ever look at the screen and say, "I'm having fun with magic, and you should be too," but she may as well. For a time the film's over-the-top eagerness to entertain is somewhat effective, especially when former boy wizard Daniel Radcliffe shows up as a villainous inventor. Over the course of 115 minutes, however, the setups get more absurd, the attempts at misdirection more laboured, the backstory more clumsy and the returning cast (particularly Morgan Freeman and Michael Caine) less enthused. In short, it all wears thin. Indeed, no matter how flashy it gets, Now You See Me 2 can't distract from a simple truth: at a certain point, seeing the same tricks over and over again is going to lose it's appeal. Eventually, people stop buying into the patter, grow tired of the parade of deceptions and explanations, and want more from a movie than a nod, a wink and a gimmick. https://www.youtube.com/watch?v=4I8rVcSQbic
First it was the smartphone game no one could've guessed they'd get addicted to. Now it's a film that spins a story around a flightless flock of feathered friends, their unhappy attitude, and a posse of porky interlopers. We're talking, of course, about Angry Birds, an animated effort that not only brings the must-have app of 2009 to the big screen, but also comes up with an origin tale to explain its feuding characters. When we first meet Red (voiced by Jason Sudeikis), he's certainly far from chirpy, preferring to live on the outskirts of his island community. Despite working as a clown, he's more likely to incite rage than inspire laughs — and after doing just that at a hatch-day party, he's sent to anger management. There, alongside the speedy Chuck (Josh Gad) and explosive Bomb (Danny McBride), he's taught to control his temper, or at least try to. But then a ship bearing green pigs arrives, with their leader Leonard (Bill Hader) attempting to charm the birds with parties and presents. Instantly suspicious, Red soon discovers that his anger has other uses. Although there's certainly a message about accepting the good with the bad bundled into The Angry Birds Movie, if you're looking for a nuanced look at the emotional spectrum, you'd be better off sticking with Inside Out. This is a bright and busy effort that sticks to the usual all-ages recipe: slap together a breezy narrative, throw in a wealth of pop culture references to everything from The Shining to 50 Shades of Grey, add a soundtrack that's designed to appeal to ironic Rick Astley lovers as much as pre-teen Demi Lovato fans, and keep things moving as fast as humanly possible. Indeed, as questionable as making a movie out of Angry Birds may seem, its source of inspiration isn't the feature's main problem. A lack of energy and enthusiasm is — though given that the film remains bouncy and bubbly from start to finish, it might not initially appear that way. Alas, as The LEGO Movie proved, there's a difference between shoehorning in the required brand elements and demonstrating a true understanding of why people like the original product. Directors Fergal Reilly and Clay Kaytis don't concern themselves with that; they're content to plaster on the movie equivalent of a fake smile, and try not to make too much of a flap. That leaves the eye-popping visuals, along with a voice cast that includes Keegan-Michael Key, Maya Rudolph and Sean Penn, to do too much heavy lifting — and while everything looks and sounds the part, it also feels quite hollow. Perhaps two of writer Jon Vitti's past credits sum up the feature's fortunes best, with the scribe's background including episodes of The Simpsons along with a couple of the Alvin and the Chipmunks films. Sadly, The Angry Birds Movie has much more in common with the lazy cheesiness of the latter than the clever comedy of the former.
Charging headlong into its third edition, Taste Orange Food and Wine Festival is set to take over Watsons Bay's Robertson Park on Sunday, May 22. For six glorious, autumnal hours, you'll get to sip and sample Orange's best offerings, while soaking in all the harbour views. Numerous wineries will be making the 260-kilometre journey coastwards. Topping the list are Rowlee, whose 2013 Arneis inspired a 4.5/5 glass rating in Halliday's 2015 Wine Guide; Ross Hill, whom Huon Hooke awarded Top Sauvignon Blanc in Australia in 2013; and Tamburlaine, whose organic wines have scored a stack of prizes. Also making appearances will be Philip Shaw, Angullong, Simon Gilbert, Slow Wine Co, Patina, Highland Heritage, Logan, Heifer Station and Cargo Road. You can definitely count on trying some spectacular Pinot Noir and Chardonnay. Should you find yourself looking for food matches, you won't have to move. Watsons Bay Boutique Hotel will be setting up food stalls in the park and dishing up some nosh, from succulent pulled pork rolls and BBQ ribs to cheese boards and soup. Entry to the Taste Orange Food and Wine Festival is free. However, you will need a few bucks on you to do some tasting. Your best bet is to nab tokens in advance - they're available online at ten for $40, which includes a free wine tasting glass.
Step into one of Australia's most iconic modern horror stories. To mark the launch of their new six-part Wolf Creek miniseries, streaming service Stan is opening a pair of roadhouse pop-up bars in Sydney and Melbourne. Sounds... fun? Maybe our April Fools' joke about that Making a Murderer bar wasn't as ridiculous as it seemed at the time. Opening in Federation Square from May 5-8 and Martin Place from May 11-14, the pop-ups were designed with the aid of the show's set designers, and promise to deliver a "fully immersive" experience. That last part may read as a little unsettling to anyone who has seen the original movie — or, y'know, knows anything about the actual murders that inspired it. But we guess you have to give them credit for really committing to the theme. The bars will serve limited edition beers by Two Birds Brewing, Mick's Bitter and Eve-ning Ale, along with non-alcoholic drinks and an outback-inspired menu. Those who attend on opening night will also get the chance to meet with the stars of the show, including John Jarratt, aka Mick Taylor — if you're game. Visit the Wolf Creek Roadhouse Bar in Federation Square, Melbourne from May 5-8 and Martin Place, Sydney from May 11-14. All six episodes of Wolf Creek will premiere on Stan on May 12.
Mother's Day begins with Sandy (Jennifer Aniston) being told by her ex-husband Henry (Timothy Olyphant) that they need to talk. Instantly, the mother of two becomes convinced that he wants to rekindle their romance. In fact, it turns out that he has actually married the much-younger Tina (Shay Mitchell). As he breaks the news, an expression washes over Aniston's face – a mix of discomfort, dismay and barely concealed disgust. Fittingly, if the actors on screen could gaze back at you in the audience, they'd see the exact same look plastered across your visage too. Mother's Day's pedigree explains part of its troubles, with the feature offering up the latest slice of holiday-oriented schmaltz in the wake of Valentine's Day and New Year's Eve. Director Garry Marshall returns once again to intertwine tales focused around a special occasion, serving up bite-sized snippets of stories that are supposed to embody the meaning and spirit of the date in question. So far, so standard. Unfortunately, the movie's problems far exceed those of its predecessors. Corralling famous talent, giving them very little to do, and even asking one — Aniston again — to shout most of her dialogue at herself, does not fit into the recipe for a successful film. Neither does clichéd scriptwriting straight out of a sub-par sitcom or soap opera, or bland visuals that look like they were made for television as well. As competing narratives unfold, you may find yourself wondering if you've seen all this before in the low-budget TV realm. Frankly, that's charitable. Other vignettes include sisters (Kate Hudson and Sarah Chalke) coping with their redneck parents (Margo Martindale and Robert Pine) as they react with racism and homophobia to their daughters' respective relationships, and a widowed father (Jason Sudeikis) commemorating the titular event a year after the death of his wife Dana (Jennifer Garner). There's also an aspiring comedian (Jack Whitehall) attempting to convince the mother of his daughter (Britt Robertson) to marry him, and a TV shopping entrepreneur (Julia Roberts) plagued by maternal issues of her own. Marshall's filmmaking sensibilities might have waned considerably since his '80s and '90s heyday, but one thing has remained constant: subtlety isn't his strong point. But at least his earlier features put some effort into evoking an emotional reaction, be it weeping at Beaches or indulging in the fantasy of Pretty Woman. Here, a checklist of contrived dramas and coincidences — two surprise reunions, hospital visits and meet-cutes, plus a wedding, a runaway motor home and a man buying tampons — are supposed to do the trick instead. It shouldn't come as a surprise that it all proves as dull and laughter-free as it sounds. Indeed, by the time Mother's Day has devolved to the point of making unnamed bystanders exclaim "I love babies!" and "I can't wait to see what they do for Father's Day", viewers will have spotted that initial look of discomfort not just on Aniston's face, but on the faces of every single cast member as well. Finding love and acceptance might be the main aim for these one-note characters, but the film they're stranded in is never going to inspire that response. If you're looking for a movie to take your mum to this Mother's Day, almost anything else would be better.
Everybody wants to be Ryan Reynolds. That's not an expression of envy, but rather the plot of a growing collection of body swap movies featuring the Deadpool star. In Self/Less, an ailing real estate mogul (Ben Kingsley) transferred his consciousness into Reynold's younger, fitter body. Now, Criminal transplants the memories of Reynolds' murdered CIA agent Bill Pope into the brain of emotion-free death-row prisoner Jericho Stewart (Kevin Costner). In both cases, the obvious happens, with the older men so profoundly influenced by the new thoughts and feelings coursing through their brains that they start to question their own life choices. And in both cases, the conflict between their old ways and a fresh beginning — as signified here by the wife and child Reynolds' hero has left behind — isn't their only battle. Gun fights, chases and a host of determined bad guys also feature prominently in the predictable narratives that follow. Indeed, if there's one thing that the London-set Criminal isn't, it's original. While Jericho's changed mental state comes courtesy of an experimental technique pioneered by neurosurgeon Dr Franks (Tommy Lee Jones), it's actually orchestrated by CIA heavy Quaker Wells (Gary Oldman), who needs to finish the mission that saw Pope lose his life. Of course Jericho isn't too keen to assist, particularly with a Spanish anarchist (Jordi Mollà), his hacker colleague (Michael Pitt) and nuclear weapon codes in the mix. Instead, he's just after a big bag of money that's been lost along the way. Or at least he is until he forms a connection with Pope's widow (Gal Gadot) and young daughter (Lara Decaro). A Frankenstein's monster of action-thriller, espionage and Reynolds mash-ups proves the end result. In fact there's even a nod to Mary Shelley's classic novel — Criminal is ultimately a film about a despised creature given a new lease on life, after all. Sadly, writers Douglas Cook and David Weisberg (The Rock) approach the subject with minimal subtlety. The same is true of director Ariel Vromen (The Iceman), who seems like he'd have been more at home directing action films in the '90s. They didn't need nuance back then — and seesawing between loud setpieces and laid-on-thick schmaltz, Vromen doesn't want any now. At least Costner, channeling his best Gary Busey and Nicolas Cage impressions, knows exactly the kind of film that he's in. In fact, his lead performance is fascinating to watch, with the veteran movie star doing his best to bring a little depth while powering through the often-silly dialogue. Jones and Oldman don't fare as well, with neither actor expending much effort in their respective one-note roles. And for all his importance to the plot, Reynolds barely makes an impact. Maybe he's saving his energies for the next instalment of Being Ryan Reynolds. At this rate, there has to be another one in cinemas before too long.
The Museum of Contemporary Art's monthly ARTBAR has become a firm fixture on Sydney's after-dark cultural calendar. Featuring a new curator each time, ARTBAR combines art, music, design and performance on the last Friday of every month. After knocking off work, head down to Circular Quay for a big dose of art, a splash of wine and your choice of fun-filled activities — with the added bonus of panoramic views of the harbour from the Sculpture Terrace. This month, the MCA is buddying up with photographer, videographer, performance and installation artist Eric Bridgeman for Yal Kuna (My Mates) = Blessed, a night about friends and relationships. Bridgeman hails from Brisbane, and creates art about his friends and family exploring major themes such as identity, social performance and cultural taboos. His art will be on display in the form of paintings, GIFs and 1930s crooner songs for you and your mates. Bring some friends with you for an evening of great art — and don't forget to drag them into the styling booth for some fashion tips on the way out. By Siobhan Ryan with Annie Murney.
The Israeli film industry is in the spotlight once again at the 13th edition of the AICE Israeli Film Festival. Leaping onto the screen at Randwick's Ritz Cinema, this year's festival program features films across a wide array of genres, from romantic comedies to horror flicks and a healthy contingent of docs. The festival begins with an opening night screening of Amir I. Wolf's Fire Birds, a murder mystery that was nominated for ten Israeli Academy awards. Similarly acclaimed is Ori Sivan's Harmonia, a drama set in the "inner sanctum" of a philharmonic orchestra. The film arrives in Australia direct from the Jerusalem Film Festival, where it won a pair of awards. This year's IFF also features plenty of non-fiction films, which is hardly surprising, given that festival director Richard Moore also coordinates Australia's documentary film festival, Hot Docs. One particular standout looks to be Who's Gonna Love Me Now?, which follows a gay Israeli man who decides to reunite with his estranged family after being diagnosed with HIV.
Performance Space has announced the program for 2016's Liveworks Festival and if you weren't already, be prepared — audiences don't just sit quietly in the dark any more. Liveworks is a mental crash-tackle of new and experimental artworks that runs from October 27 to November 6. Artistic director Jeff Khan says this year's goal is to cut through the numbness audiences have developed towards news and ever-present, ever-louder advertising. Ranging over a course of topics and genres, he says the selected works not only challenge audiences, but also establish deep artistic connections and "become a mirror of our own fears and desires." But you don't cut through numbness by watching Lady Gwendolen pass the cucumber sandwiches. Taiwanese artist River Lin will perform for a single person at a time, one on one, with the unnerving Cleansing Service. The work begins with each audience member being asked to identify a body part they consider physically or emotionally 'unclean'. In the ensuing performance, Lin will attempt to 'cleanse' it for them. Continuing the program's love for uncomfortable situations, Mish Grigor's The Talk invites anyone and everyone to relive some of the most excruciating discussions she's had with her family about sex. And when we say relive, we mean audience members are given a script, a glass of lukewarm champagne and the role of a family member. There's plenty more to the program this year, available at Liveworks' website. So saddle up the awkward horse and get going. Art doesn't have time to worry about how comfortable you are any more.
Have you heard of competitive endurance tickling? Neither had David Farrier. The New Zealand journalist came across videos of Adidas-clad men participating in the activity online quite by accident, and was (understandably) fascinated. We've all been sucked in by strange subjects before, but very few internet obsessions turn out like this. Indeed, there's a reason that Farrier decided to pick up a camera and trek from Auckland to Los Angeles with co-director Dylan Reeve to make a doco about the bizarre world he had uncovered. The result is Tickled, the kind of stranger-than-fiction film best enjoyed by those with as little pre-existing knowledge as possible. That said, because it's also a feature that has to be seen to be believed, it's guaranteed to cause a reaction regardless of how much of the story you've already heard. In fact, part of the documentary's success stems from how it balances the laughs with the cringes, making audiences feel incredulous and infuriated all at once. As someone who has, in his own words, made a career out of reporting on "the weird and bizarre part of life", Farrier started his investigation by firing off a few emails asking questions about a barely publicised but well-paying tickling contest. After a couple of responses, each one more hostile and homophobic than the last, the journo realised he had become immersed in a strange world in more ways than one. If you thought the idea of pro-tickling was unusual, just wait until you discover the alarming reality behind it. Bullying, exploitation, intimidation, fetishes and fake personas are just the beginning. In truth, Tickled is about a lot more than its title suggests. In addition to investigating the mysterious company behind the competition and exploring the experiences of others who've turned the touch of a feather duster into something lucrative, the film also serves as a reminder about the unseemly side of our interconnected existence. In that way, it sits alongside the 2010 documentary Catfish, posing queries about modern interactions and examining the ways in which technology can both bring people together and tear lives apart. Farrier himself proves a vital central figure. Whether he's on-screen guiding what becomes a race for answers, or off-screen narrating his exploits over recreated footage, the journalist manages to maintain a sense of urgency while at the same time keeping things intimate and personal. And it is personal, as anyone who has been keeping up with movie news of late will be aware. Farrier and Reeve are still receiving legal threats from the film's subjects, who have also taken to showing up to screenings unannounced. Astonishingly, that's one of the most straightforward aspects of this compelling and confounding film.
Everybody, try to remain calm. The celebration of everybody's favourite sweet, the Festival of Chocolate, is back for the weekend of September 10-11. Want to see demonstrations by some of pastry's most respected faces? The Callebaut Test Kitchen will be showing off the talents of Black Star Pastry's Christopher Thé and Carlos Heng of Mak Mak Macarons, among others. The Chocolatiers' Quarters will be home a collection of Sydney's best artisan chocolatiers, and artist James Patrick will create a piece of edible choccie art over the two-day festival. There will also be a pop-up patisserie on the MCA lawn called the Lindt Lounge, where you'll be able to stuff your face full of éclairs and create your own personal block of chocolate. As well as all that there'll be a heap of stalls, covering off all of Sydney's sweet staples like Oregano Bakery, Black Star Pastry's strawberry watermelon cake and rainbow unicorn doughnuts (whatever they are) from My Donut Box.
When you work in a creative field, what does it mean to fail or succeed? What happens in those major moments when you think you might have cracked the big time — artistically or commercially — but can never be sure? And how do you recover when things don't go your way? At Pecha Kucha: Sink or Swim, presented by AGDA, seven creatives will get seven minutes each to discuss such matters. You'll be hearing from artist Ken Done A.M., Houston Group's Stuart O'Brien, Jess Scully of Vivid Ideas, SouthSouth West's Andy Sargent, ustwo's Joel Brydon and Interbrand Australia's Kieren Cooney.
A bunch of powerhouse Indigenous designers will be gathering at the Powerhouse for this trio of events. Get there at 10.30am to meet Brett Leavy, who'll be talking about Virtual Songlines, his virtual reality tool that allows you to see local landscapes before European invasion. Come 12.30pm, it'll be time for Deadly Designers Now. Special guests Lucy Simpson (director, Gaawaa Miyay Contemporary Aboriginal Design) and Nicole Monks (CEO, blackandwhite creative) will be revealing what it's taken to get where they are today. Finally, at 2pm, a roundtable forum will tackle Indigenous technologies in the 21st century, focusing on the ethics of scanning and 3D-printing cultural objects.
Here's one for you, friends of the animals. Yalumba is travelling all the way from South Australia's Barossa Valley to Woolloomooloo's Otto Ristorante for a 100 percent vegan feast during Good Food Month. Absolutely everything on the menu — we're talking every ingredient in all three courses to the matching wines — will have been created without the involvement of furred, feathered or finned critters. Also, Yalumba's winemaker Sam Wigan will be making a special appearance to discuss the importance of sustainability and the significance of veganism to our culinary and alcoholic future. In-between courses and chats, kick back and soak up the Harbour views, guilt-free.
There's a brand new pop-up coming to Oxford Street this month and it's teeming with testosterone. Curated by Clara Ho (founder of Burton Metal Depository), presented by the Design Residency and supported by the City of Sydney's Creative Spaces initiative, The Man Cave is a brand new pop-up shop filled with Man Things — fashion, accessories, furniture, grooming tools and more — all created by emerging Australian talent with a penchant for dude-focused design. Importantly, you don't need a penis to walk through the door of this pop-up shop. Everyone's welcome, chromosome combinations aside. With Father's Day coming up, it's pretty excellent one-stop-shop for something a little eclectic for your pappy. There'll be a leather monogramming service on-site, as well as bespoke suit fittings and custom jewellery consultations. They're kicking things off on August 20 with a big ol' opening night with whiskey tasting from the crew at Balvenie Whiskey. The pop-up will also be open during Vogue's Fashion Night Out and City of Sydney's Fashion Saturday, with guest DJs, bespoke cocktails and grooming tips. Everyone loves a little beard-trimming advice with an Old Fashioned in hand, right? The Man Cave is one part of a series of pop-ups presented by the Design Residency. The next residency will be Innovators from September 16, then Local Design from October 7. Images: Lena Barridge.
Wouldn't it be nice to see a music biopic that does its subject justice? One that understands that telling the tale of a rock or pop star requires something other than splashing songs over scenes of arguing? Focusing on conflict is what most movies end up doing, but they don't always elicit much interest. While Love & Mercy does plenty that toes the genre line, thankfully it's more interested in the man behind the band than the usual unhappy group shenanigans. That man is Brian Wilson, and his band is the Beach Boys, the '60s and '70s surfer-themed act turned '80s collaborators with John Stamos. There's much, much more to them than that, of course, and to Wilson. Many consider his innovation, experimentation and harmonies, as evidenced on the widely acclaimed 1966 record Pet Sounds, as markers of musical genius. At first glance, his story reads like a typical before and after snapshot of fame and stardom, including the obligatory drug benders and erratic behaviour, as well as the later fading out of the scene. What simmers beneath the early parties and the eventual burnout is the extent of his musical abilities and its interplay with his fragile mental state. In fact, Love & Mercy makes his mindset the main attraction, rather than the career highs or lows. The film cobbles together a portrait of Wilson from two points in his life, and they comprise quite the contrast. Wide-eyed in his twenties (as played by Paul Dano), he retreats from touring to invest his talents not just in new songs, but in creating the greatest album ever made. Over-medicated in his forties (now in the guise of John Cusack), he tries to rebuild a sense of normality with the help of a new girlfriend (Elizabeth Banks) and his psychologist (Paul Giamatti), the former offering a more nurturing relationship than the latter. You need not be a Beach Boys fan to become invested in his plight, nor fond of Wilson's songs to enjoy an engaging ride through his history. For aficionados and the uninitiated alike, filmmaker Bill Pohlad makes Love & Mercy a personal tale first and foremost. Yes, the movie uses the expected soundtrack, but only when the music suits the on-screen events depicted. Singles such as the iconic 'God Only Knows' take on an entirely new meaning when they're given context by Wilson's troubles and moods. The film also attempts to match its style to its subject, collages combining the two time periods, and mimicking the ups and downs of Wilson's energy. It's a smart, immersive and entertaining move from a director who last made a movie way back in 1990 and is actually better known as a producer of Brokeback Mountain, Into the Wild, The Tree of Life and 12 Years a Slave. His choice of leads similarly proves savvy and well suited, and while Dano and Cusack look nothing alike, they do perfect the one thing that could've made or broken the entire feature. That'd be the vibe of a singer and songwriter who attempted first to thrive, and then to survive, the roller-coaster that is the music industry. Wilson's vibrations aren't always good, befitting the ebb and flow of his reality — but as sensitively transferred to the screen, they do inspire more than enough excitations.
Spot of Pac-Man and a pizza, anyone? The Keystone Group are launching a brand new foodie pop-up, Barbarello's Pizza and Arcade, on level one of the Sugarmill building in Kings Cross. Running June to September, the pop-up will see the Sugarmill space transformed into a classic Italian pizza and pasta joint — infused with old-school arcade games and a smattering of hip hop. Think pool and pinball machines, with a little Buck Hunter thrown in for good modern measure. Smack bang in the middle of the Cross, Barbarello's is being pitched as a late-night dining and drinking joint, with a no-frills, cheap and cheerful pizza and pasta menu (all under $15). Expect to find pizzas like the Mutha Clucka and Porky's Pig and Pineapple, alongside a Spagless Bolognese (made with penne, much easier for dates). Plus, for the bargain hunters, there's going to be two-for-one pasta nights on Mondays. Looking for an Italian-style tipple? Keystone's national bar manager Manuel Terron and the crew have come up with a special menu for Barbarello's, playing on traditional Italian favourites like the Negroni (only $10 before 9pm on Saturdays), Aperol Spritzes and fresh OJ and Campari go-tos. Barbarello's is the first pop-up for the Sugarmill's first level, a 250 square metre space Keystone intend to hand over to pop-up bar ideas for the foreseeable future. And while we're not sure whether it's technically a 'pop-up' if it's popping up in your own venue, we're going to run with it. Barbarello’s is open on level one of the Sugarmill, Friday – Monday evenings from 5pm. To book, call (02) 8070 2424.
John Safran's Murder in Mississippi is making a comeback. So, if you missed him last time around, here's your chance to hear all about how he one day jumped on a plane, moved to Jackson, Mississippi for half a year, got well-acquainted with a murderer and wrote a true crime novel. He's now travelling the world, presenting that novel in the form of a one-man show, which is selling out pretty much everywhere goes. This visit, he'll be at Giant Dwarf for four consecutive nights, reading excerpts, recounting his adventures in the Deep South and showing us footage that we've never seen before. Murder in Mississippi isn't just a story of a one-time crime. It's also a deep, disturbing exploration of poverty, race, imprisonment and the cultural differences that continue to divide America.
Shaun Gladwell doesn’t shy away from dissonance. His practice lies somewhere between surfing, skate parks and French philosophy. Much of his work is a bit like putting an intellectual coat of paint on Australian vernacular. After a major survey exhibition earlier this year, this contemporary heavyweight will be presenting a brand new series at Anna Schwartz Gallery this month. The Inspector of Tides makes reference to the second volume of poetry from Michael Dransfield. As something of a transnational and trans-historical wanderer, Gladwell is drawn to the eclecticism of the late Australian poet’s verse. This expansive exhibition will be rich with cultural references and will involve a range of stylistic approaches, from photography and painting through to installation and video. Image: Shaun Gladwell, Severed Head (Maximus), 2015. Photograph by Dean Tirkot. Courtesy the artist and Anna Schwartz Gallery.
Like Christmas, Easter brings a wealth of family film fare to cinemas — but not all flicks seemingly targeted at kids are created equal. Not all movies find their story in Mexican and Latin American culture in general, and in Día de los Muertos (or the Day of the Dead) specifically, for example. And not all all-ages efforts are produced by Pan's Labyrinth and Pacific Rim's Guillermo del Toro. If you haven't already guessed, The Book of Life isn't much like other offerings aimed at viewers young and old, and the reasons keep on coming. Though it tells a tale of adventure and romance, it also plunges into worlds laced with death and filled with souls lurking beyond the grave. It may stick with the usual trick of using celebrity voices, but they're not your standard selections, nor do their vocals overwhelm the visuals. And it certainly doesn't look like anything else you've seen before, with its distinctively animated frames depicting the bulk of the characters as intricately crafted marionettes. Instead, The Book of Life is an entertaining feast for the eyes and for the heart, both beautiful to watch and to become immersed in. It starts with school students bored with a museum tour, then sparked into intrigue by a savvy guide (Christina Applegate). The story she shares centres on two warring spirits — La Muerte (Kate del Castillo), ruler of the Land of the Remembered, and Xibalba (Ron Perlman), ruler of the Land of the Forgotten — who make a bet over the control of their realms. Three friends draw their attention: the feisty Maria (Zoe Saldana), who refuses to conform to customary female roles just because it is the done thing; the guitar-playing Manolo (Diego Luna), who is expected to follow in his father's bullfighting footsteps; and the headstrong Joaquin (Channing Tatum), the son of their town's famed but fallen protector. La Muerte wagers that the sensitive Manolo will win Maria's love, while Xibalba backs the bandit-fighting Joaquin. Now, don't go dismissing the film for its formulaic focus on men tussling over a woman, because that's only the broad outline of the narrative. No one in the feature adheres to type, just like the movie itself. Everyone has to open their minds to finding their right path. Everyone has stereotypes to overcome. Indeed, experienced animator turned first-time feature writer and director Jorge R. Gutiérrez oozes affection for departing from the tradition of family fare everywhere he can, including ramping up the gothic, del Toro-esque touches, playfully bathing dark material in an abundance of colour, rendering villains in metal in contrast to the wooden heroes, and using Ice Cube as a hip hop overseer of all life. It's the little things like this that make The Book of Life as fun as it sounds — and it already sounds incredibly fun. Far removed from the usual movies of the season, this is one magically macabre cinema outing.
There's a bandwagon riding around Hollywood at the moment, built on books of the young-adult sci-fi dystopia variety. Yes, contemplating teens in trouble in futuristic times is the current trend du jour, one that Insurgent happily mines. The second film based on the popular novels by Veronica Roth, Insurgent picks up where Divergent left off. As a refresher for those with short memories, the time is 200 years from now, and the place is a walled-in, post-apocalyptic Chicago. Tris Prior (Shailene Woodley) scandalised the factionalised society by daring not to conform to type. Everyone is supposed to fall into one of five categories, but her personality just wouldn’t fit, branding her divergent. After attempting to hide her true nature, incurring the wrath of power-hungry wannabe leader Jeanine (Kate Winslet), romancing the sullen Four (Theo James) and threatening to expose a few frightening home truths, Tris is now an enemy of the state — but running can only get her and her pals so far. As Jeanine’s tactics of control over the populace become more violent, rebellion and confrontation becomes Tris’s only option Sound familiar? Of course it does, because you’ve seen this before. Not just in the first film, but in the growing pile exactly like it — The Hunger Games, The Giver and The Maze Runner, just to name a few. Disaffected youth, shady dealings, unscrupulous adults, hidden agendas and the pursuit of the bigger picture: it’s a checklist they all stick to, ticking off items one by one. Slight details change; however, for the most part, everything follows the formula. That feeling, not of deja vu or of second chapter-itis, but of seeing too much of the same thing over and over again, just can’t be shaken in Insurgent, not that director Robert Schwentke (RIPD) seems to be trying too hard. With a moody electronic score reminiscent of Tron: Legacy and bleak visuals of running, scowling and fighting that could be taken from any film, the filmmaker’s vision of events paints by the numbers as much as the material it is based on (a few dream sequences aside). Instead, it is left to the high-profile cast to spice things up. Seeing strong female roles on screen is always welcome, but Woodley’s fired-up heroine and Winslet’s cold villain aren’t given too much new to do but frown and argue. Octavia Spencer flits in and out, woefully underused. Though Naomi Watts joins the ensemble, she’s really just setting up the drama for the two films still to come. It’s actually Miles Teller, fresh from Whiplash and made to play a snarky comic foil, who adds some character to the blandness. He’s clearly the only actor having fun, with no one else looking remotely like they want to be in the movie. That's the problem with bandwagons — the more people jump on them, the more others just want to fall right off. That’s the problem with Insurgent, too, as it just keeps circling around the same old teen dystopian block.
Is there anything Sam Simmons hasn’t done? He used to routinely perplex Triple J listeners with his shitty trivia, he got married in an Elvis Chapel in Vegas and invited everyone to go along or watch online, and he’s appeared on Conan O’Brien’s talk show. Simmons is also known for delivering show after show of crazy comedy gold centred around all the things that annoy him, and his new stand-up set is unlikely to be any different. Returning to Australia from LA, where he is now based, he’s certain to have a fresh batch of comic grievances to air, songs to sing and strangeness to share.
It's the kind of thing nightmares are made of. You arrive on day one of your dream job, but everyone is watching — including ever-present cameras. It's also the type of situation good documentaries can be born of, taking the fly-on-the-wall technique to its extreme. Trailing a fresh-faced new arrival in the hope that fireworks follow could be a waste of time, or it could result in something special. Both scenarios met Raf Simons when he commenced his latest post as artistic director for the House of Christian Dior in April 2012. His appointment was huge news in fashion circles, with the Belgian designer better known for his minimalistic ready-to-wear lines for his own label. Taking over the creative reigns of one of the biggest clothing houses in the industry, he had just two months to put together his first-ever haute couture collection. Observing in the atelier, director Frédéric Tcheng captures the chaos of Simons' trial-by-fire — though the dramas are few and the designs are many. From the moment he meets his new colleagues, to his reaction at the star-studded unveiling of eight weeks' worth of hard work, Dior and I charts his journey with an insider's perspective. It's that peek behind the high-pressure scenes that lifts the documentary, looking further than you might expect. Simons is focused on the massive mission at hand and reluctant to share much about his vision or processes, though he's not the only important figure to consider. The many others toiling away night and day, some mainstays in the workroom for decades, are just as crucial — and are treated accordingly. That's not just Tcheng's approach in trying to make a more interesting movie, but reflective of the status quo at Dior, where collaboration is essential. Also influential is that other figure, the legendary Christian Dior himself. The man who started the brand is worked into the film through snippets of his diary read aloud, his presence felt elsewhere in every shot bearing the label's name — and there's plenty — and discussion about its operating philosophy. Despite the title, however, what the documentary offers is an insight into the way those carrying on his legacy handle that task. Here, it's the I that has it. Tcheng is no stranger to the world of fancy frocks, celebrities and catwalks, having worked on Valentino: The Last Emperor and co-directed Diana Vreeland: The Eye Has to Travel, with his affection for the industry evident. It would've just been something to catch a crisply shot glimpse of the hallowed halls responsible for some of the greatest looks of the last 70 years, especially for the already converted — but in his hands, Dior and I delivers more than that. With clear eyes, it shows the mania behind the magic and the team behind the icon. That, folks, really is fashion, beyond the parade of beautiful dresses.
A small movie with a big heart: you've heard that claim before. Sometimes though, there's an example that proves the cliche, that one modest effort that punches above its weight in emotion. Don't just take our word for it — watch Infinitely Polar Bear, the latest great example. Its autobiographical look at growing up with a bipolar parent is the type of film this description was made for. Life doesn't fall into neat boxes for 12-year-old Amelia Stuart (Imogene Wolodarsky) and her younger sister, Faith (Ashley Aufderheide), nor for their nuclear family. Their father, Cam (Mark Ruffalo), lives with a condition that's not without its daily challenges — and even more so when their mother, Maggie (Zoe Saldana), goes away to graduate school, leaving Cam as the primary caregiver. The scenario and its stitching together of episodic slices of the Stuarts' lives sounds like something tailor-made for a quirky indie film adventure; however, writer/director Maya Forbes never takes the too-cute or too-eccentric route. Instead, in telling a tale based on her own childhood — and with her own daughter, Wolodarsky, basically playing the filmmaker's younger self — she grounds Infinitely Polar Bear in intimacy, affection and lived-in experience. Yes, the movie has adorable kids struggling with difficult situations, often embarrassed and only sometimes seeing the funny side of things — but it also shows ample warmth and acceptance. Anger and frustration bubble up on several occasions as the film touches upon issues of class, race and poverty, yet the characters are never meekly resigned their fate, nor are they despairing, self-pitying or defeated. With the type of care that only comes from having been there and done that, Forbes ensures that their perseverance remains their strongest element. You believe that times are tough, just as you believe they'll find a way to get through it all. The cast, understandably, is key, both young and old. Oozing the kind of naturalism most child actors lack, Wolodarsky's Amelia proves an ideal guide through the movie, though hers isn't the only impressive portrayal. As the younger Faith, Aufderheide is suitably innocent and mischievous in the way kids are, while Saldana simmers with the inner conflict that results from Maggie choosing the path of short-term pain for long-term gain. The movie belongs to Ruffalo, though, with his superb sliding from the manic to the depressive ends of the spectrum and back again. His isn't a performance made by the extremes, but of empathy for the moments in between, when Cam's good and bad days become one. Indeed, it is so easy to get so thoroughly wrapped up in Ruffalo's endearing turn that the film's few concessions to cliche in its style — handheld camera work, an upbeat soundtrack and heavy use of montages — are just as easily overlooked. Actually, they feel like they fit a movie that is slight but sweet in just the right proportions, and rather charming too.
Whether you’re a stirrer or a shaker, a sipper or a slurper, World Class Cocktail Weekis dedicated to you. For seven glorious days between May 25 and 31, cocktail-centred happenings will be taking place all over Sydney and Melbourne. The festival is the creation of Alex Adams (aka Ms Darlinghurst), who you might know as the founder of Secret Foodies. The program ranges from Frida Kahlo-style Mexican feasts, featuring the artist’s favourite dishes matched with margaritas, to masterclasses at Eau-de-Vie exploring all things related to the mighty martini and workshops in which Yoshi Onishi, bar manager at Tokyo Bird, teaches you how to hand chip ice balls. Then there are degustations by the bar, cocktail-tastings as time travel, high teas starring champagne cocktails and bush tucker experiences featuring native-inspired mixology.
