When Murder on the Orient Express became a big box office hit back in 2017, it wasn't the first time that the Agatha Christie novel had reached the silver screen. That honour goes to the 1974 movie of the same name, which starred Albert Finney as Hercule Poirot, and featured everyone from Sean Connery and Lauren Bacall to Vanessa Redgrave and Ingrid Bergman. And if you're keen to explore its whodunnit thrills, you can at Dendy Newtown's new Murder Mysteries Film Festival. From, Thursday, March 18–Wednesday, March 31, this six-title fest is all about sleuthing through blasts from the past. Before the next new Poirot flick, Death on the Nile, reaches cinemas — hopefully at some point this year — you can see the 1978 version with Peter Ustinov, Angela Lansbury, Mia Farrow and Maggie Smith, too. Also on the bill: Humphrey Bogart-starring classic The Maltese Falcon, Orson Welles in The Third Man and the aristocratic dramas of Kind Hearts and Coronets. There's also Alfred Hitchcock's masterpiece North by Northwest, which everyone needs to see at least once on the big screen. Like all of Dendy Newtown's festivals, different movies screen on different dates — and multiple times — so checking out the session listing is the best way to schedule your viewing. https://www.youtube.com/watch?v=ek7T9Gyl_J4
It's the excuse you need to stop for a drink on the way home from work, or to even hit quittin' time a little early. From Monday, February 22–Sunday, February 28, The Pacific Club in Bondi is serving up $1.50 oysters — and if that sounds familiar, the venue is extending its usual once-a-week happy hour special and letting you slurp down some super-affordable saltwater bivalve molluscs all day everyday across the entire week. So, whenever The Pacific Club is open during the last week of summer, you'll be able to enjoy natural Sydney rock oysters for $1.50 each. This celebration of freshly shucked oysters does come with a caveat, though: to access the cheap seafood, you will need to buy a beverage. You'll find the venue's usual array of drinks waiting to wet your whistle, including beer, wine and sparkling. And, The Pacific Club has just dropped a new cocktail list, should you feel like pairing a few new tipples with your oysters.
New year, new chance to learn new skills. For most of us, that's how every January starts — but once February, March and April roll around, it's easy to let that plan fall by the wayside. Enter a new collaboration between Carriageworks Farmers Market and Cornersmith, which will load you up with new know-how. And, you'll expand your sustainable repertoire in the kitchen, too. The Sustainable Kitchen Workshops series will take place every Saturday morning at 9am from February 6–April 17 and, because Cornersmith is leading the charge, there's a big focus on preserving, pickling and fermenting. Always wanted to know how to pickle plums? Fancy making your own bottled tomatoes? Desperate to create and perfect your own signature hot sauce? Head along and you'll learn everything you need to. Other sessions hone in on mushrooms, garlic and kosher pickles, plus waste-free shopping and cooking, turning scraps into kimchi and making an an old-fashioned vinegar drink out of preserved seasonal fruit. You'll pay $75 for each 90-minute class — which is a small price to learn a new skill that you'll use for life — and they're being held in Carriageworks' cafe space. Top image: Nikki To.
Each week, Australia's cinemas deliver plenty of excuses to spend time in a darkened theatre with your eyes glued to the big screen. But when the Jewish International Film Festival returns for 2021 — after sitting out last year due to the pandemic — it'll serve up even more reasons to spend a night or several at the flicks, especially if you're keen to explore a top-notch program of movies and television shows with ties to Jewish culture. A hefty lineup spanning 29 features, 19 documentaries and episodes from three TV series is on the bill when the festival hits Sydney between Thursday, February 18–Wednesday, March 24 — running at the Ritz in Randwick from February 18–March 17, and at Roseville Cinemas from March 6–24. JIFF 2021 will open with Incitement, which won Best Film at the Ophir Awards (aka Israel's version of the Oscars), and steps into a young Orthodox law student's attempt to assassinate the Israeli Prime Minister in 1995. At the other end of the fest, it'll close with the first two episodes from the third season of Shtisel, starring Unorthodox breakout Shira Haas as the member of a Haredi family in Jerusalem. Also on offer: Haas again, this time as a teenager with a degenerative health condition in Asia; coming-of-age comedy Shiva Baby, focusing on a college student dealing with dramas at the titular event; and When Hitler Stole Pink Rabbit, about a Jewish family fleeing Berlin in the 30s. Or, you can check out Ruth – Justice Ginsburg In Her Own Words, the latest documentary about the late, great Supreme Court Justice; Alan Pakula: Going for Truth, which pays tribute to the director of To Kill a Mockingbird, Sophie's Choice, All the President's Men and more; and The Last Vermeer, with Dracula's Claes Bang as an army officer investigating paintings taken by the Nazis and Aussie star Guy Pearce playing a Dutch art dealer. https://www.youtube.com/watch?v=sbOEtyKJ17A Top image: Shtisel, Ohad Romano.
Call it the SNL effect: in two of their past three films, Julie Cohen and Betsy West have celebrated pioneering women who've been parodied on Saturday Night Live. They've referenced those famous skits in RBG and now Julia, in fact, including their subjects' reactions; Ruth Bader Ginsburg was seen howling with laughter when she first saw Kate McKinnon slip into her robes, and Julia Child reportedly played Dan Aykroyd's blood-soaked 1978 impersonation to friends at parties. Cohen and West clearly aren't basing their documentaries on their own sketch-comedy viewing, though. Instead, they've been eagerly unpacking exactly why a US Supreme Court Justice and a French cuisine-loving TV chef made such a strong impact, and not only in their own fields. Julia makes an exceptional companion piece with the Oscar-nominated RBG, unsurprisingly; call it a great doco double helping. Julia arrives nearly two decades after its namesake's passing, and 12 years since Meryl Streep earned an Oscar nomination for mimicking Julia in Julie & Julia. If you've seen the latter but still wondered why Julie Powell (played by The Woman in the Window's Amy Adams) was so determined to work her way through Julia's most famous cookbook — first published in 1961, Mastering the Art of French Cooking completely changed America's perception of printed recipe collections — let this easy-to-consume doco fill in the gaps when it comes to the culinary wiz's mastery and achievements. Let it spark two instinctual, inescapable and overwhelming reactions, too: hunger, due to all the clips of Julia cooking and other lingering shots of food; and inspiration, because wanting to whip up the same dishes afterwards is equally understandable. In their second film of 2021 — after My Name Is Pauli Murray, another portrait of a woman thoroughly deserving the spotlight — Cohen and West take a chronological approach to Julia's life. The two filmmakers like borrowing cues from their subjects, so here they go with a classic recipe that's been given slight tweaks, but always appreciates that magic can be made if you pair a tried-and-tested formula with outstanding technique. Julia's entire cooking career, including her leap to television in her 50s, stirred up the same idea. Her take on French dining was all about making delectable meals by sticking to the right steps, even while using supermarket-variety ingredients, after all. Julia boasts a delightful serving of archival footage, as well as lingering new food porn-esque sequences that double as how-tos (as deliciously lensed by cinematographer and fellow RBG alum Claudia Raschke), but it still embodies the same ethos. Born to a well-off Pasadena family in 1912, Julia's early relationship with food is painted as functional: the household's cooks prepared the meals, and wanting to step into the kitchen herself was hardly a dream. In pre-World War II America, the expectation was that she'd simply marry and become a housewife, however, but a hunger for more out of life first took her to the Office of Strategic Services — the US organisation that gave way to the CIA — and overseas postings. While stationed in the Far East, she met State Department official Paul Child. After a berth in China, he was sent to France, where the acclaimed Cordon Bleu culinary school eventually beckoned for Julia. From there, she started her own cooking classes in Paris, co-penned the book that made her famous, turned a TV interview into a pitch for her own show and became an icon. There's more to each ingredient in Julia, of course, and to the dish that is its towering central figure (alongside her two siblings, Julia measured over six feet tall, causing their mother to joke that she'd given birth to 18 feet of children). This is an affectionate film that's as light and fluffy in tone as a souffle, but it still packs its menu with the bio-doc equivalent of a full meal. The use of text from Julia and Paul's letters — both to and about each other — seasons its collage of photographs and cooking show snippets with personality. Weaving in sensual shots of cooking in action speaks to the depth of the Childs' marriage, too; in Paris, she'd fashion him up a lavish lunch followed by a sojourn to the bedroom, the movie informs. That said, many of Julia's highlights come from simply watching Julia on TV, including when things didn't always go as planned. Talking head interviews from colleagues, friends, relatives, and other big cooking names such as José Andrés, Ina Garten, and Marcus Samuelsson help flesh out all the necessary biographical minutiae, but viewing Julia in action is the film's version of a main course and dessert all in one. She's unflappable, earthy, humorous and informative, her distinctive voice booming away as she talks through making everything from boeuf bourguignon to roast chicken — and it's easy to glean why America warmed to her as much as the butter-fuelled French fare she taught them to make. Why she sparked an entire genre of cuisine-focused television is just as plain to see, as is her trailblazing status as a female in the industry and a harbinger of better American dinners. The leap from jell-o salads to French omelettes and bouillabaisse was sizeable — and necessary. Julia does come with one spot at the table that's missing a dish. When it trifles with thornier topics than its eponymous cook's career, upbringing, marriage and influence, such as her contentment with being a homemaker pre-TV stardom, her tricky relationship with feminism despite her pro-choice views, and her early homophobia before becoming an AIDS activist, it can feel like it's snacking quickly and moving on. The film savours the good, the great and the extraordinary, but these brief notes still leave a taste. In general, though, it's still the kind of appetising movie that'd have Julia herself exclaiming "bon appétit!". Top image: Photo by Fairchild Archive/Penske Media/Shutterstock (6906383b) Julia Child on the set of her cooking show, 'The French Chef Julia Child, Boston.
If you've ever visited Japan, you've likely made your way to the top of one of Tokyo's tall towers — Tokyo Tower, even — and tried to catch a glimpse of Mount Fuji. You might've even made the trip to the active volcano yourself, and you probably saw its shape splashed across plenty of souvenirs. And you likely spotted variations of Katsushika Hokusai's art work featuring it, too. His Thirty-six Views of Mount Fuji series, which includes The Great Wave off Kanagawa, is one of the things he's best known for. Actually seeing Mount Fuji for yourself might be off the cards at the moment, but you can learn more about Hokusai and his work at Australia's annual Japanese Film Festival. It's back for its 25th year in 2021, screening at Palace Cinemas across Sydney from Thursday, November 25–Sunday, December 5, with biopic Hokusai kicking off the festival on opening night. Also on the 21-movie program: Oscar submission True Mothers, which sees acclaimed filmmaker Naomi Kawase spin a story about adoption; Wheel of Fortune and Fantasy, a Berlinale 2021 Silver Bear for director Ryūsuke Hamaguchi; and The Deer King, an animated film that steps into a world plagued by disease — and follows two survivors who might have the cure. Or, you can check out Under the Open Sky, about an ex-yakuza starting again after 13 years in prison; hostage thriller Masked Ward, which comes to the screen from the pages of a medical mystery novel; and comedy Not Quite Dead Yet, about a singer who wishes for her dad's demise. A number of movies by avant-garde directors Shūji Terayama also grace the lineup and, from Monday, November 15–Sunday, November 21, JFF is screening a range of titles free online — so you can keep watching even when you're not in a cinema. Want to transport yourself to Japan? Let the Japanese Film Festival whisk you away from November 25–Sunday, December 5 at Palace Cinemas throughout Sydney. For more information and to book your tickets, visit the website. Images: © 2021 NEOPA / Fictive and Copyright © 2020 HOKUSAI MOVIE.
The Dolphin is offering you the opportunity to sample some fruity and fizzy pet nats at its weekend wine mixer on Saturday, November 21. The party will offer up free tastings of the 20-strong list of pét-nats curated by Point Group Wine Director Shun Eto, with wine by the glass available to buy. "When we first were allowed to have picnics in Sydney my mates begged me to bring delicious pét-nat!" Eto says. "So I was inspired to bring that same bubbly refreshment to the Dolphin Hotel but bigger and better! Pét-nats are great because they aren't too serious and it's a great sesh vino for a long day in the sunshine." Kicking off at 2pm, the mixer will be led by DJ-turned-winemaker Charlie Chux who will be showcasing his new release Moonlight, an organic wine made with his company Acid Wines. Also on hand will be vino experts Tom from Viticult and Jamie from Principal Wines to guide you through the drops you'll be tasting. Best of all, entry is free to the mixer and there are no bookings, so all you have to do is rock up and be ready to sample some wines. This is the second wine mixer The Dolphin is hosting, so if you can't make this one, keep your eyes on the pub's social channels for info on any upcoming events.
There's something rather cool about being ahead of the curve when it comes to cinema, watching the latest and greatest flicks unfold on the silver screen well before anyone else. And at Australia's biggest short film festival, you can do just that. The internationally acclaimed Flickerfest is celebrating its 30th year come January 2021, too, so you can expect an A-class lineup of cinematic delights. The annual short film festival is Australia's leading Academy Award-qualifying short film fest, backed with BAFTA recognition, too. In January, you can catch screenings under the stars at the festival's new beachside home in the northern end of Bondi Beach Park. The outdoor deckchair cinema will be in a glam garden, supported by Waverley Council. And, this year, there'll also be an indoor cinema in the circus-style, mirrored tent The Famous Spiegeltent, which will be a spectacle to behold in itself. You can choose from a program of over 100 short flicks from Australia and around the world, handpicked as the most inspiring, provocative and entertaining among the whopping 2,700 submissions this year. The program is divided into categories, so you can catch all the flicks in the genres that interest you most — like comedy, romance, LGBTQIA+ and documentary films. Want to make a night of it? Drop by the festival's new pop-up garden bar for a pre- or post-show drink and pizza. Plus, there'll be an ultra-swish opening night gala and a wrap party which, for a few extra bucks, you can attend to be part of the action. After wrapping its ten-day stint in Sydney, Flickerfest will share the short film love, popping up at over 40 venues across the country between February and October. We've teamed up with Flickerfest to give away ten double passes. If you're keen to catch a flick for free, enter your details below. [competition]794395[/competition] To see the full Flickerfest 2021 program and grab tickets, head to the website. Flickerfest will run in Sydney from January 22–31, before touring nationally from February–October 2021.
Take a deep dive into the wondrous cinematic worlds of Wes Anderson — symmetry, quirkiness, pastel cinematography and all. From January 6–27, Golden Age Cinema is dedicating every Wednesday night to the acclaimed director's work. The series is called Wes Days, because of course it is. Film buffs can enjoy a weekly serve of Anderson's distinctive visual stylings, compelling soundtracks and all-star casts, with the Surry Hills venue playing a different flick or two each week. First up, catch the family dramas of The Royal Tenenbaums on the season's opening day, before opting for a Moonrise Kingdom and Rushmore double, the top-notch pairing of Fantastic Mr Fox and The Grand Budapest Hotel, and a showing of Isle of Dogs. Fancy seeing The Life Aquatic With Steve Zissou? That's also screening, but as part of another of the cinema's seasons — so you'll need to head along on Saturday, January 9. As for The Darjeeling Limited, it's planned to hit the venue sometime in February. Fingers crossed that 2021 is the year we all finally get to see Anderson's latest, the pandemic-delayed The French Dispatch, too. https://www.youtube.com/watch?v=rs7mIoG8ffI
Already known for its bottomless vegan pizza and pasta feasts, Italian restaurant chain Salt Meats Cheese is upping its cruelty-free food game at a monthly special event. Called Soul Meets Cheers, it serves up an entirely plant-based menu, featuring vegan versions of Italian classics. For the feast's November outing — taking place at all Sydney venues from 5pm on Tuesday, November 10 — it'll be focusing on bites to eat inspired the coastal region of Liguria in Italy. Think cauliflower steak with salsa verde, celeriac puree and burnt lemon; kale pesto with sun-dried tomato chips and pine nuts; and a tiramisu made from drunken cherry compote and toasted coconut. And yes, that just a few of the dishes on offer. Your $49 ticket also includes a glass of vegan wine or or Young Henrys beer or cider upon arrival. Or, you can pay an extra $15 at all venues other than Cronulla and get bottomless vegan wine and beer.
It starts with television. It takes place in a Sydney apartment. It lets you watch, and also keeps you away from other people. Yes, when it rolls out its November and December season, You Can Have It All might be the most 2020 event there is. This part-art installation, part-escape room happens inside a Potts Point flat, where director Laurence Rosier Staines unfurls a tale of drama, blackmail, murder and love triangles. One at a time, attendees will step inside the three-room event, begin by listening to someone tell you about the show they've been binge-watching, and work their way through the other two spaces. As for the rest of the details, discovering what's going on is part of the fun — and it's unlikely to resemble anything else you've been to. Head along between Wednesday, November 25–Sunday, December 6, with the exact Potts Point meeting spot only revealed once you've bought a ticket. Sessions begin every five minutes — from 6.30–10pm Wednesday–Friday, 3–6pm Saturday and 3–8pm Sunday. And the whole thing will take a minimum of 20 minutes, although most folks decide to stay longer.
Christmas may not be on your mind just yet, but it's definitely on the mind of the Four Pillars owners, whose pop-up gin store at Myer Sydney City is returning for the festive season this weekend. Located in the George Street department store, it's sticking around straight through to New Year's Eve and includes a store full of exclusive Four Pillars goodies. The gift shop will offer the entire Four Pillars core range of gins and merch, along with a few very limited releases from Four Pillars distillery and the Sydney Lab, including the much sought after 2020 Australian Christmas Gin and new double-barrelled negronis. You'll also find a heap of gin-spiked products, including Christmas puddings, cranberry and orange relish, and a new dry gin salt created by Four Pillars and Olsson's Salt. This year's store won't have tasting or cocktails, unfortunately, but Sydney is now blessed with its own Four Pillars bar in Surry Hills, which you can visit when you've finished shopping. Four Pillars' pop-up store is open 10am–6pm Sunday–Wednesday, 10am–9am Thursday, 10am–7pm Friday–Saturday.
Add Ireland to the list of places that you won't be jetting off to in 2020, but you can still visit via your screen. And, add Australia's annual Irish Film Festival to the growing ranks of cinema events making the jump online — so Aussies around the country can pop their own popcorn, scoop themselves some ice cream and watch along from their couches. In its virtual-only guise, the 2020 Irish Film Festival runs from Thursday, November 19–Sunday, November 29, with a lineup of features, shorts and documentaries on its bill. It's serving up something for everyone, so if you're keen on a dark comedy set in a small Irish town (thanks to Dark Lies the Island) or a doco about Nobel Prize-winning author Seamus Heaney (as seen Seamus Heaney and the Music of What Happens), you'll find both on the program. Among the highlights, horror-comedy Extra Ordinary stands out — as you'd expect of a movie about a driving instructor with supernatural powers, and one that co-stars Will Forte and Aussie comedian Claudia O'Doherty, too. Or, there's also grim and involving gang drama Calm with Horses, as led by Lady Macbeth's Cosmo Jarvis and The Killing of a Sacred Deer's Barry Keoghan. Tickets are on sale now — for individual sessions, in three-movie passes and as an all-access festival-long pass. https://www.youtube.com/watch?v=i4MRcUzmFv8&feature=emb_logo
Times are uncertain and the anxiety is real. But you're sure not alone in those thoughts, as you'll see when acclaimed Australian artist Tina Havelock Stevens presents her latest installation Thank You For Holding at Carriageworks this month. On show from Wednesday, January 6–Sunday, January 24 as part of Sydney Festival, the compelling single-channel video work was created and performed at Carriageworks last August, in response to the wild uncertainty our world has been facing. [caption id="attachment_796294" align="alignnone" width="1920"] Jackie Wolf[/caption] Captured in the work, you'll see Havelock Stevens perform an improvised drumming set from atop a raised platform, as it is wheeled across the space by her co-performer Ivey Wawn — with both artists wearing masks. The ritualistic sounds reverberate powerfully throughout the cavernous space of The Clothing Store building, while the movement of the stage and drum set mimic the chaos and precarity of human existence. A moving exploration of time and change, it'll help you unpack some of the craziness that was 2020. Top image: Video still from 'Thank You For Holding', 2020, by Tina Havelock Stevens.
Whoever said an old dog can't learn new tricks has never met The Dolphin. The decades-only pub received a makeover in 2016 from Icebergs' Maurice Terzini (who has since stepped away from the project), housed a pop-up bar from one of the world's best bartenders in 2019 and is now trying something it has never done before: brunch. Brunch itself is not new, of course, but it's a new concept for the Surry Hills favourite. Unlike many other iterations of brunch, this one has natural wines, cheese and bacon rotolo and not a single avo toast in sight. The brunch (yes, singular) is happening on Sunday, November 29 in the Surry Hills pub's dining room. Roll in at the leisurely hour of 10am and you'll be loaded up with coffee, food and a cocktail for $65. Coffee comes courtesy of Sydney favourite Mecca, while the food lineup has been designed by Head Chef Josh Carrick. You'll start with a toasted prawn crumpet, avocado and asparagus cracker (see, no toast) and the aforementioned rotolo, then continue with the likes of roasted beetroots, prosciutto and melon, bacon potato waffles and ocean trout, and finish with peaches and cream. Bar Manager Josh Reynolds will be mixing up two cocktails, one of which comes included in the price tag. You can pick from either a smoky bloody mary or a rum punch. Only one session of the brunch is running at 10am.
Somehow, entirely inexplicably, we're already thinking about Christmas. And, we suggest rather than schlepping to the typical department stores or your go-to online shops to get your friends, family or yourself a well-deserved gift, instead you could pick out unique goodies at The Big Design Market. The independent designer extravaganza has moved online this year, so you can nab all the top-quality, handmade, ethical and sustainable wares from your couch. With such a wide range of products, you're sure to find something for even the pickiest people on your list. As it's all virtual in 2020, The Big Design Market is combining its (usually) separate Sydney and Melbourne fairs into one epic 12-day event, featuring more than 200 makers, designers and small creative businesses. Acting as a gateway to each maker's store, the online edition will ensure 100 percent of profits go back to the designer, too, so you can support local while crossing off your Christmas list. It's win-win. Running from Wednesday, November 18 till Sunday, November 29, The Big Design Market Online's interactive catalogue will feature everything from locally made threads to jewellery, furniture, art, textiles, homewares, puzzles, festive food and drink packs, stationery, leather goods and much more. There'll also be a bunch of virtual activities and experiences, plus daily showbag giveaways (valued $300-800), filled to the brim with gorgeous goodies. Just head here for details. The Big Design Market has moved online this year and will take place from November 18–29. Check out all the designers involved — and get a head start on your Christmas shopping — via the website. Lead image: Amelia Stanwix
Every second, minute, hour, day, week, month and year could use a little more David Bowie. For one night in December, Sydneysiders can add a big dose of the music icon's tunes to their evening — and in a mighty fine way, too. iOTA, Jeff Duff, Chris Cooke and The Church's Steve Kilbey will all sing Bowie's tunes, and a 24-piece symphony orchestra will back them up. It's called We Can Be Heroes — The Music of Bowie Orchestrated, because of course it is. It'll be a greatest hits package, so prepare to revisit everything from 'Space Oddity', 'Starman' and 'Rebel Rebel' to 'Fame', 'Changes' and 'Ashes to Ashes'. 'Heroes' will get a spin, because of course it will, and 'Let's Dance' will probably resonate differently this year — as might 'Under Pressure'. It all takes place on Saturday, December 19 at the State Theatre across two performances, with tickets on sale now and capacity capped at 1000 people per gig. Expect to celebrate everything that made the man also known as Ziggy Stardust and the Thin White Duke such a unique marvel — and to add something fun, live and with a crowd to your 2020 calendar. If you need a little more motivation, check out the music video for the track that gives this gig its name below: https://www.youtube.com/watch?v=lXgkuM2NhYI&list=LLcaY6bbaXYxfYABVdRh7fYw&index=1419
How'd you like to populate your Christmas feast with local, artisanal goods to make your relatives impressed and your in-laws floored? Carriageworks is bringing back its Christmas Market, where you can buy fresh seasonal produce just a couple of days before Christmas. Importantly, you can also buy gifts just days before the big day — because we know what you're like. Taking over Carriageworks on the evening of Wednesday, December 23, the market will go all Christmas with a cornucopia of the spoils of more than 70 of Australia's best producers, restaurants and designers — think homemade plum puddings, succulent hams, fresh cherries, smelly cheeses and more. Expect the best from the weekly Carriageworks Farmers Market and more, including Christmas hams from Linga Longa Farm and Melanda Park (you'll need to pre-order these), cherries from Kurrawong Organics and Drive In Orchards, mince tarts from Flour and Stone and GF baker Nonie's, oysters from Mimosa Rock, floral beauties from Jonima Flowers and much festive beer from Wildflower and Yulli's Brews. Plus, there'll be plenty more joining the party — so expect to see wine from Eloquesta, truffles from Hartley, cured meats from LP's, desserts from Saga and fermented goodies from Cornersmith. This year, in a bid to keep the capacity COVID-safe, the market will be ticketed, with festive Sydneysiders required to register for a one-hour shopping slot between 4–8pm. Registrations will open on Tuesday, December 1. It's an exciting end to the year for the embattled multi-arts precinct, which was saved from voluntary administration by a multimillion-dollar lifeline, thanks to a group of philanthropists, back in July. Carriageworks Twilight Christmas Market runs from 4–8pm. Images: Jacquie Manning
If you only know two things about South Korea's film and television industry, then you likely know that it's been responsible for Parasite and Squid Game over the past couple of years. The nation's big- and small-screen output spans much further than that, of course — and, since 2010, Australia has boasted a film festival dedicated to its cinematic prowess. That'd be the Korean Film Festival in Australia, which returns to Sydney's Event Cinemas George Street from Thursday, August 18–Tuesday, August 23 with 13 impressive titles that showcase Korean filmmaking's finest. And while that lineup mightn't be huge numbers-wise, it's still filled with massive names, including two of the biggest movies from any country currently doing the rounds of the international and Australian festival circuits. If you didn't catch up with it at Sydney Film Festival, make a date with Broker, the latest release from acclaimed Japanese filmmaker Hirokazu Kore-eda. The 2018 Shoplifters Palme d'Or-winner has made a movie in Korea — his first Korean-language film, in fact, and it's still exploring the director's favourite topics. That'd be the ties that bind and the connections of family, following two people who illegally take an abandoned infant from a 'baby box facility'. In another drawcard, Broker stars Parasite's Song Kang-ho, who won Cannes' Best Actor Award for his efforts. Also a must-see: Decision to Leave, a noir romance that saw Korean filmmaker Park Chan-wook win Cannes' Best Director gong. Anything that the Stoker and Oldboy director helms is worth a look, but the fact that it has been six years since his movie — 2016's The Handmaiden — makes his latest even more exciting. The rest of the KOFFIA lineup spans opening-night pick Special Delivery, a crime-action film from Park Dae-min that stars Parasite's Park So-dam; mystery Hommage, which again features a Parasite alum — this time Lee Jeong-eun — and charts the searching for missing footage from one of the first feature films directed by a South Korean woman; and In Our Prime, with Oldboy's Choi Min-sik as a North Korean defector and mathematical genius working as a school security guard. Or, there's The Roundup with Train to Busan's Don Lee as a cop chasing a killer; the 80s-set Escape from Mogadishu; and Spiritwalker, about a man who loses his memory and wakes up in a different body every 12 hours — and the list goes on.
One of the great things about Alanis Morissette's discography is that it's filled with songs and lyrics that prove apt in plenty of situations. You oughta know that there's a musical dedicated to the Canadian singer's tunes, for instance — and now that it's coming back to Sydney this winter, you might want to say thank you. This news isn't like rain on your wedding day. It doesn't resemble finding a black fly in your chardonnay. And it definitely isn't anything like hitting a traffic jam when you're already late, either. But, it will have you singing those lines, because Tony-winner Jagged Little Pill the Musical will return to Theatre Royal Sydney for a second run. The Broadway show's trip Down Under kicked off at the same venue last December, then moved to Melbourne. Now, it's back in Sydney from Saturday, July 9–Sunday, August 21. Inspired by Alanis Morissette's 1995 album of the same name, Jagged Little Pill the Musical weaves a story around songs from that iconic record. So yes, it's a jukebox musical like Mamma Mia!, We Will Rock You and Rock of Ages. Famed tracks 'Ironic', 'You Oughta Know', 'Hand in My Pocket', 'Head Over Feet' and 'You Learn' all feature, in a production that boasts music by Morissette and her album co-writer and producer Glen Ballard, lyrics by Morissette, and a book by Juno Oscar-winner Diablo Cody. And, songs such as 'Thank U', 'So Pure', 'That I Would Be Good', 'So Unsexy' and 'Hands Clean' all pop up as well, even though they hail from the musician's subsequent albums. The show stars Natalie Bassingthwaighte as Mary Jane Healey, with Jagged Little Pill the Musical telling the Healey family's tale as they struggle with their seemingly idyllic suburban lives after a troubling event in their community. Expect to hear Morissette's tunes — including two new songs written just for the show — used in a story about social issues relevant to today, but also with an overall message of hope, healing and togetherness. Images: Jagged Little Pill the Musical, Australian production, Daniel Boud.
Idris Elba fights a lion. That's it, that's Beast, as far as film pitches go at least. This South Africa-set thriller's one-sentence summary is up there with 'Jason Statham battles a giant shark' and 'Liam Neeson stares down wolves' — straightforward and irresistible, obviously, in enticing audiences into cinemas. That said, the latest addition to the animals-attack genre isn't as ridiculous as The Meg, and isn't a resonant existential musing like The Grey. What this creature feature wants to be, and is, is a lean, edge-of-your-seat, humanity-versus-nature nerve-shredder. Director Baltasar Kormákur (Adrift) knows that a famous face, a relentless critter as a foe, and life-or-death terror aplenty can be the stuff that cinema dreams and hits are made of. His movie isn't completely the former, but it does do exactly what it promises. If it proves a box office success, it'll be because it dangles an easy drawcard and delivers it. There is slightly more to Beast than Idris Elba brawling with the king of the jungle, of course — or running from it, trying to hide from it in a jeep, attempting to outsmart it and praying it'll tire of seeing him as prey. But this tussle with an apex predator is firmly at its best when it really is that simple, that primal and, with no qualms about gore and jump scares, that visceral. Elba (The Harder They Fall) plays recently widowed American doctor Nate Samuels, who is meant to be relaxing, reconnecting with his teenage daughters Mare (Iyana Halley, Licorice Pizza) and Norah (Leah Jeffries, Rel), and finding solace in a pilgrimage to his wife's homeland. But Beast wouldn't be called Beast if the Samuels crew's time with old family friend Martin (Sharlto Copley, Russian Doll), a wildlife biologist who oversees the nature reserve, was all placid safaris and sunsets. Kormákur doesn't even pretend that bliss is an option, or that the stalking, scares and big man/big cat showdown aren't coming. Ramping up the tension from the outset, his feature begins with the reason that its main maned (and unnamed) creature wants to slash his way through Nate and company: poachers hunting, with the culprits sneaking in at night to elude human eyes and snuff the light out of every feline in a targeted pride, which leaves one particularly large animal, the patriarch, angry and vengeful. Arriving unknowingly in the aftermath, the Samuels family have just chosen the wrong time to visit. Their first encounter with another pride, which Martin helped raise, leaves them awestruck instead of frightened; then they spy Beast's killer beast's handiwork at a nearby village, and surviving becomes their only aim. Swap out Elba from the 'Idris Elba fights a lion' equation and Kormákur would've had a far lesser film on his hands. His premise, wonderfully concise as it is, wouldn't work with any old actor. His entire movie wouldn't, and Beast works on the level it's prowling on — mostly. Screenwriter Ryan Engle (Rampage), using a story by Jaime Primak Sullivan (Breaking In), gives Nate grief and guilt over his past mistakes to grapple with as well as that persistent lion. Yes, the script is that cliched, because action heroes almost always seem to be wooing, worrying about or mourning a woman while they're endeavouring to save something, be it the world, their families or themselves. Elba dances the bereaved absent father dance well, though, with the Beast's depths springing from him rather than the material and its deceased spouse/regretful dad/seize-the-day tropes. Whether coming to widespread fame in one of the best TV dramas ever made, cancelling the apocalypse in a different on-screen altercation with critters, or playing a complicated detective, the man with The Wire, Pacific Rim and Luther on his resume (but not yet Bond) excels at playing people juggling problems and worries beyond their immediate threats. As sure as any feline, big, small, wild or domesticated, will swipe when it's being aggressive, that's what makes Elba brawling with Beast's revenge-seeking big cat such an appealing idea. The other troubles his character weathers here are both formulaic and thinly written, as they were always likely to be in a 93-minute lion attack flick — but, reliably as ever, Elba imparts Nate with the unflinching sense that this bout of king-of-the-jungle chaos is just one of many burdens he's had to face. Elba would've brought that complexity to his part even if Beast didn't saddle Nate with an obligatory dead wife, and often that trauma feels like every other animal in the feature — merely there because the film needs to be about more than Elba feuding with a lion. Nate's thorny relationship with his daughters could've still prickled, then softened and resolidified in the throes of panic, anyway; indeed, both Halley and Jeffries are at their finest when Mare and Norah have to be resourceful, brave and in the moment amid such ever-lurking danger. Kormákur makes that peril palpable, too. With cinematographer Philippe Rousselot (an Oscar-winner three decades ago for A River Runs Through It), he keeps the camera moving and roving amid eye-catching surroundings, letting the beauty of the place linger but rarely allowing a minute's peace in lengthy, unbroken shots. The Samuels' new nemesis is fast, savage and erratic, after all — even if lions are majestic creatures — and also willing to lay in wait, and the director of disaster movies Adrift and Everest wants his viewers to feel all of the above. Perhaps it's apt that when Beast struggles, it's because it's doing more than it needs to, but also with not enough effort — over-plotting Nate, Mare, Norah and Martin's backstories, and yet keeping them so well-worn. The pixels behind the film's animal antagonist also suffer a touch of the same fate; in trying to truly terrify, this CGI cat looks photorealistic as the live-action The Lion King's creatures did, but also preternatural. Nonetheless, the narrative's inherent silliness and illogical leaps aside, too — yes, including Elba punching the movie's bloodthirsty namesake — Beast remains as ruthlessly proficient as a lion at drawing, demanding and grabbing attention. Add it to the menagerie alongside alligator flick Crawl, another wholly predictable, sparse, taut, menacing and effective effort that's never Jaws but never Sharknado. It also isn't 1981's Roar, the wildest lion picture that'll ever exist and one plagued by animal attacks off-screen as well, but nothing else is.
We've all spent more time inside than usual over the past few years. In the process, we've all been looking at our furniture far more often than we usually would. So, if you've been rocked by the urge to redecorate, rearrange and reorganise of late, that's hardly surprising — those well-loved cushions, that old couch or your overflowing shelves could probably do with sprucing up. If IKEA is your furniture go-to, then its mid-year clearance sale is here to help, too — offering discounts of up to 50 percent off on some items. Whether you're in need of something big like a bed, chair or desk, or you're eager to fill your walls and surfaces with frames and vases, you'll find slashed prices on a heap of products. The sale runs until Sunday, July 10 — and, for Sydneysiders, you have multiple options if you're eager to start buying. Head into the Tempe, Rhodes or Marsden Park stores; browse online, then opt for click-and-collect; or do all your perusing and purchasing on the company's website, before waiting for delivery. Getting in quickly is always recommended, given how popular IKEA's sales are — and the fact that all of the chain's discounted wares are available while stocks last. And if you're wondering how cheap is cheap, plates and bowls start at $1, oh-so-many plant pots and fake plants come in at under $10, there's a set of mirrors for $15, and nifty storage tables cost $20 — and that's just the beginning.
What do two nuns in the throes of sexual ecstasy gasp? "My god" and "sweet Jesus", of course. No other filmmaker could've made those divine orgasmic exclamations work quite like Paul Verhoeven does in Benedetta, with the Dutch filmmaker adding another lusty, steamy, go-for-broke picture to his resume three decades after Basic Instinct and more than a quarter-century since Showgirls. His latest erotic romp has something that his 90s dives into plentiful on-screen sex didn't, however: a true tale, courtesy of the life of the movie's 17th-century namesake, whose story the writer/director and his co-scribe David Birke (Slender Man) adapt from Judith Brown's 1986 non-fiction book Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy. For anyone that's ever wondered how a religious biopic and nunsploitation might combine, this is the answer you've been praying for. Frequently a playful filmmaker — the theories that Showgirls is in on its own joke keep bubbling for a reason — Verhoeven starts his first film since 2016's Elle with that feature's more serious tone. The screen is back, the words "inspired by real events" appear and the score is gloomy. When Benedetta's titular figure appears as a girl (played by Elena Plonka, Don't Worry About the Kids), she's the picture of youth and innocence, and she's also so devoted to her faith that she's overjoyed about joining a convent in the Tuscan village of Pescia. But then villains interrupt her trip, and this pious child demonstrates her favour with the almighty by seemingly getting a bird to shit in a man's eye. It isn't quite as marvellous as turning water into wine, but it's its own kind of miracle. As an adult (Virginie Efira, Bye Bye Morons), she'll talk to strapping hallucinations of Jesus (Jonathan Couzinié, Heroes Don't Die), too, and use her beloved childhood statuette of the Virgin Mary as a dildo. There is no line between the sacred and the profane in Benedetta: things can be both here, and frequently are. Case in point: on her first night at the convent, after a bartering session between her father (David Clavel, French Dolls) and the abbess (Charlotte Rampling, Dune) over the girl's dowry for becoming a bride of christ, a statue of the Virgin Mary collapses upon Benedetta, and she shows her sanctity by licking the sculpture's exposed breast. So, 18 years later, when she's both seeing Jesus and attracted to abused newcomer Sister Bartolomea (Daphné Patakia, Versailles), they're the most natural things that could happen. To Benedetta, they're gifts from god, too. She does try to deny her chemistry with the convent's fresh novice at first, but the lord wants what he wants for her. Unsurprisingly, not everyone in the convent — the abbess' daughter Sister Christina (Louise Chevillotte, Synonyms) chief among them — agrees, approves or in believes in her visions. Verhoeven puts his own faith in crafting a witty, sexy, no-holds-barred satire. That said, he doesn't ever play Benedetta as a one-note, over-the-top joke that's outrageous for the sake of it. His protagonist believes, he just-as-devoutly believes in her — whether she's a prophet, a heretic or both, he doesn't especially care — and he also trusts her faith in her primal desires. His allegiance is always with Benedetta, but that doesn't mean that he can't find ample humour in the film or firm targets to skewer. The hypocrisy of religion — "a convent is not a place of charity, child; you must pay to come here," the abbess advises — gets his full comic attention. Having the always-great Rampling on-hand to personify the Catholic Church at its most judgemental and least benevolent (at its money-hungry worst, too) helps considerably. Indeed, what the veteran English actor can do with a withering glare and snarky delivery is a movie miracle. The filmmaker behind RoboCop, Total Recall and Starship Troopers' futuristic visions has also long trusted in sex and violence. Here, he trusts that thrusting them together in a story about a lesbian nun who shows signs of the stigmata and scandalises her convent several times over will create his favourite kind of on-screen chaos. He's right, but there's always a smart and scathing point to Benedetta's nudity, fornication and physical altercations, and to how viciously the church responds. Humanity is messy. People are flesh and pulsating urges, no matter who they deify. Those who grasp power by instilling fear and demanding unquestioning allegiance will never put the masses ahead of their own dominance. Amid the boobs, blood and potential vaginal splinters — and communal defecation, farts lit on fire and gynaecological torture tools — these truths are steadfast. While Rampling is clearly having a ball as the abbess — and still gives the figure vulnerability — it's the committed and spirited Efira who goes deep. She visibly relishes her role as well, and brings depth, nuance and poignancy to every swoop and swirl in its tonal rollercoaster ride. The skill required to slide from religiously rapturous to sexually euphoric can't be underestimated, but Efira ensures it looks seamless and never silly, even when the film swings between soapy Jesus makeout sessions, matriarchal power struggles, porn-style sapphic tumbles in the convent sheets and comets in the sky. As Verhoeven already does, his French lead makes Benedetta's audience believe in her, too. She's fervent, bold, intelligent, rebellious and passionate, all traits her character shares, and exposes as much of Benedetta's emotional landscape as she does skin. As she navigates a torrid affair, beatific faith, the worst of Catholicism's scorn and even the looming threat of the plague (everything's a pandemic movie now), Efira is a beaming vision herself. That's part of the self-aware altar that Verhoeven worships at, knowing the glamour his star brings to a film that's always going to be known as "that lesbian nun flick" — and actively embracing the 'hot lesbian' on-screen trope while using his lead character and entire movie to subvert everything they come into contact with. He's also visually meticulous to a painterly degree; Benedetta is ravishing in multiple ways, including in the contrasting colour palette its bodies, habits and 17th-century convent life in general affords. That the feature ultimately avoids hitting just the obvious spots, embraces mayhem, gleefully provokes and doesn't completely penetrate as far as it could feels like an appropriate climax, and it's also the result that only Verhoeven could've bestowed.
When a show gets programmed for a second season you can expect it to be top-tier. And that's exactly what you'll get with Outhouse Theatre's incredible production of Ulster American which is set to return this June. After sold-out shows in 2021, the blistering comedy will take to the stage at the beloved Riverside Theatres in Parramatta from Wednesday, June 8 till Saturday, June 11. The story follows an encounter between a playwright, an ambitious theatre director and an Oscar-winning actor who all meet to discuss the career-propelling potential of a new play. But what starts out as a promising opportunity for the trio quickly descends into chaos. It's a play that doesn't shy away from the big topics either, tackling issues surrounding privilege, power and consent head-on. Keen to check it out? Ulster American will play at Riverside Theatres from Wednesday, June 8 till Saturday, June 11 with tickets starting from $49. For more information and to book, visit the website.
According to a 2019 report by Foodbank Australia, one in five Australians experienced food security at some point in the past 12 months — and that was before COVID-19 hit and an estimated 600,000 Aussies lost their jobs. To help put food on the tables of those doing it rough at the moment, ten Asian Australian singers, comedians and rappers are coming together for a one-off live-stream to raise money for Foodbank NSW and ACT. Going down on YouTube from 9–11.45pm on Saturday, June 27, the live-stream will feature comedian Harry Jun, singers Krista Monica, Yura and Christine, and rappers Andy, Rako, Mike Choe, Cooee, Goyo and Saint. The YouTube link will be published on the event's Facebook page. While the live-stream will be free to watch, those bopping along in their living rooms are encouraged to donate to Foodbank over here. The group is hoping to raise $1000 — and has a strong start with $387 garnered before the live-stream has even begun. If you'd like a taste of what to expect, have a listen to Saint's single 'Kumbaya', which features fellow live-stream artist Cooee. https://www.youtube.com/watch?v=PQH53ioF7hc
Food-themed days are threatening to become the culinary equivalent of the boy who cried wolf: so many manufactured eating occasions, only so much stomach space. Still, no matter how frequently they seem to pop up, there's one thing that always grabs attention. Boy oh boy do we all love cheap chook. Perhaps that's why El Camino Cantina is celebrating National Wing Day by giving the people what they love. On Wednesday, July 29, buffalo wings will be ten cents each all day across the chain's Sydney stores — as long as you buy a Cadillac margarita, beer or wine to wash them down with. Feeling brave? Like your poultry pieces not just super affordable, but extra spicy? El Camino is also doing 'wing roulette'. Here's how it works: you order a serving of 20 wings (for a sum total of $2), and two will come marinated in 'face-melter' sauce; however you won't know which ones until you eat your way through them. [caption id="attachment_742916" align="aligncenter" width="1920"] Tom Ferguson[/caption] El Camino Cantina's National Wing Day special is available all day onWednesday, July 29 at its Manly, The Rocks, Entertainment Quarter and Westfield Miranda stores.
If you've spent the past few months working from home in trackies and hole-ridden t-shirts, it's probably time to elevate your wardrobe. Thankfully, minimalist Australian clothing brand Assembly Label is hosting an online warehouse sale for a limited time this week, so you can buy some new linen pants, simple tees and big cosy jumpers without going too hard on the wallet. Known for its cool-yet-comfy timeless pieces, Assembly Label is a go-to for top-quality staples that'll take you from your morning coffee to working in your living room (aka the office), lounging around on weekends and going out for lunch with mates — really, you won't need much else. The online warehouse sale kicks off today, Wednesday, June 17, with a wide range of both men's and women's wear on offer. You'll find lots of winter essentials such as denim, basic tops, jumpers and jackets, plus its signature summery linen dresses, swimwear, skirts and shorts if you're already dreaming of hitting up the beach. Best of all, the selection will be on sale at up to 80 percent off — for a limited time only — with free shipping across Australia, too. Assembly Label's online warehouse sale kicks off on Wednesday, June 17 and will run until stocks last. To check what you can nab for up to 80 percent off, head here.
For some reason I always think RAFW stands for Royal Australian Fashion Week, like how the racing course is Royal Randwick. Maybe because there's a certain amount of competitiveness and a lot of young leggy creatures involved in both? But no, it is Rosemount Australian Fashion Week and it means that Circular Quay is going to be full of people wearing terrifying and amazing shoes. The fact that it's not a Biennale year makes the conceptual wardrobe thing a little harder ("I see a post-industrial textural inflection!" "I see Lady Gaga dressed up as someone who is dressing up as Lady Gaga!"), but fashion is hard work. It is a serious business. Do you know how many hours some of these garments take to make? Quite possibly you do, but I don't imagine you spend much time thinking about it. Or, to put it another way, have you ever seen Karl Lagerfeld smile? No. Like fashion weeks everywhere, RAFW is an exciting intersection of fashion as art and fashion as celebrity culture, with basically everything and everyone in the general area of it being a photo-op waiting to get blogged. 56 Australian designers, including some official household budget threats like Manning Cartell, Therese Rawsthorne, Michael Lo Sordo, Yeojin Bae, Saint Augustine Academy, Stolen Girlfriends Club and Kirrily Jonston, will be showing their Spring/Summer 2011 collections to local and international buyers, press and people who've finagled invitations or are famous. Luckily, if none of the aforementioned include you, the collections will appear on various fashiony blogs and websites before you can say 'get me out of these shoes. Now. https://youtube.com/watch?v=Gd5vlU_pM0E
With the days getting shorter and a perceptible nip in the air, autumn is definitely on its way. Despair not, help is at hand! The Rocks Ultimate Foodie Experiences should provide a welcome and comforting distraction from the impending colder months. Become a chef in a day with a masterclass from head chef at Bel Mondo , Andy Ball. Learn the fine art of macaron making at Baroque Bistro, or if you prefer not to work for your food, book an exclusive chef’s table at Rockpool or Kable’s to get a unique look behind the scenes at these top restaurants. For the adventurous gourmet, learn how to match food with wine (not the other way around!) to create taste explosions, thanks to the clever team at Wine Odyssey. Or if beer's more your tipple, tuck into a 'BeerGustation' menu at Harts Pub, which combines beer and food expertly. Oh, and don’t miss out on the handcrafted and boutique ales on offer at Australia’s oldest pub brewery, The Lord Nelson Hotel. If it’s a brew of the leafy variety you’re after, let the Observatory Hotel’s tea master tutor you in tea etiquette and correct preparation. Budding clairvoyants might enjoy the Mystic Afternoon Tea also taking place there, and learn the art of tea leaf reading. Can't decide? Then the Tour de Foodie could be just the ticket for you. It showcases seven of The Rocks' and Circular Quay's best kept gourmet secrets, including the Guylian Belgian Chocolate Café, a must for chocoholics. And the best bit is, you’ll get a $100 voucher at the end, to spend at one of the venues featured. For more tasty events, check out the website.
A dark room, a void. A woman speaks, murky yellow light throwing shadows across her face. She speaks, as a woman preparing for her day, a day like any other. An air hostess, guiding her passengers through emergency guidelines. And as a victim relentlessly pursued. This is a surprising twist for writer Duncan Graham and director Sarah John, who are long term collaborators. Another production that played last year at Belvoir Downstairs, Ollie and the Minotaur, was resolutely realist, where Cut draws more on Artaudian techniques. It's twisted, dark and disorienting. Despite this, both productions share a particular irresistibility and a determination to take the audience beyond: a recipe for truly powerful theatre. As the lone actor, Anita Hegh's role is hugely demanding. The splintered monologue is unrelenting, pushing and pulling her between the everyday and the surreal. And it's to her credit that the performance, almost as demanding on its audience as on its actor, flies by in an instant. It would also be an oversight not to mention Ekrem Mulayim, whose sound design is integral and exceptional. Delving into the murky depths of the unnamed, this is a production of sensation. It is difficult to express or comprehend and, in this, it is incredibly powerful theatre. Belvoir St Theatre have offered Concrete Playground readers a discount on all Cut performances over the Easter weekend. To purchase for just $25 (instead of $42), enter the code EASTERPLAYGROUND when purchasing tickets. Image: Anita Hegh, photo by Heidrun Lohr
Forget the arena spectacular. The new frontier of public art is found in the dimension of the intimate, in those tiny stadiums behind our eyes where imagination and emotion achieve more than the most exorbitant budgets. For the next week you have the opportunity to experience such works by a new generation of artists in the village of Erskineville. Curated by Quarterbred and produced by PACT, Tiny Stadiums overtakes public and performance spaces throughout Erskineville with live, sound, visual and participatory projects. Let's hover for a moment on that word "participatory". Long feared by audiences across the world, the concept of participation has shifted significantly for Tiny Stadiums. Rather than a forced exposure in front of your peers, this style of participation is about an invitation for the public to engage with the work on a tactile or task-based level. In this 2011 program, Tiny Stadiums will have audience members promoting shows with flyers, writing postcards to old friends, being awoken by industrial alarm clocks and competing with one another to achieve corporate success. For those not wanting to do much more than watch, Tiny Stadiums also presents works that contain a sense of intimacy without actually touching your flesh. Nat Randall's solo piece, Cheer Up Kid, is a disarming encounter with three characters whose comic idiosyncrasies become tragic revelations of quite melancholic realities. Elsewhere, Bennett Miller (of Dachshund UN fame) has created a film designed to welcome and honour the ibis birds that decorate Sydney bins, parks and playgrounds. Definitely stretch your imagination this week, and get active in rebooting your world with this third installment of Tiny Stadiums.
Story Club has been happening, like so many stories in Sydney do, in a tiny bar in the Inner West. It's been going on for over a year, like the duller of these stories can end up feeling like. But the Story Club stories are good, honest! They've put all the energy they didn't use on making up a name into sourcing the finest tellers and tales, and have ended up with a writing-performance-comedy kind of mash-up that's found itself a definite following. People, it seems, love stories. And that's really for the best, given that we can't get along without them: we need stories for our history, for making architectural metaphors about communication, so not all pornography is 'Gonzo' style (same for journalism), and generally to explain and to understand. We all hear them; we all tell them — some of them more than others, or so Story Club's story goes. That One Story scoops up some of the talent from the Sydney Comedy Festival alongside their regular participants and gets them to tell their go-to story, the one you tell when you want to say something good, or you just don't know what to say but you've got to say something. See what Felicity Ward, Dan Ilic, Chaser alums and Penguin Plays Rough readers-aloud say when they get nervous or cute.
Niels Shoe Meulman describes his art as “traditional handwriting with a metropolitan attitude”. Fusing the art of beautiful writing with the art of getting his (pseudo) name up in an urban environment, Meulman’s unique brand of art makes graffiti more accessible and calligraphy far more cool. Meulman’s career began in Amsterdam in 1979, far before tagged laneways were listed in Lonely Planet as tourist attractions. After spending a few years tagging all over Amsterdam, ruling supreme as a Crime Time King and meeting New York artists like Dondi, Rammellzee, Haze, Quik and Keith Harring, he developed his technique working in graphic design before being partner in an advertising agency-turned-brand for silk scarves. At age 40 he had the artistic version of a mid-life crisis, ditching the corporate world to return to drawing stuff on walls. Meulman’s unique mash-up of inspirations and experience results in artwork that hits you in the face before making you appreciate its traditional beauty. Who said you can’t indulge your inner typography nerd and design a range of luxury silk scarves while retaining a rebellious street edge? Calligraffiti will be touring as follows: Wednesday, 25 January – Monday, 30 January at Kind of Gallery Wednesday, 25 January – Tuesday, 7 February at Kinokuniya Bookstore Live calligraffiti show on Friday, 27 January at May’s Lane Street Art Project
In Wunderkammer, acrobats catapult themselves from one side of the stage to the other in fantastically creative and awe-inspiring ways. Human bodies become skipping ropes, hands become just another pair of feet to walk on, and the physically impossible looks effortless. All at once you feel wooden and inflexible in your theatre chair, realising that, for all your wishful thinking, your flesh is fundamentally unwilling to bend, flex and twist in on itself like a pretzel. The Circa troop are circus 'freaks' in the truest sense, fizzing with effervescent energy and carnivalesque camaraderie, flipping from hula hoop hijinks to high-voltage tumbling to aerial striptease to burlesque routines. They tease and titillate the audience, gleefully flaunting their phenomenal bodies and shared fetish for spike-heeled red patent heels. They will make you believe that they can fly as they flirt with aerial suspension — and hey, why limit themselves to flight alone; why not explore aerodynamics while they're up there? A 'wunderkammer' is, according to Wikipedia, a cabinet of curiosities or a chamber of rarities, a collection of wonders whose categorical boundaries have yet to be defined. This description fits the Circa crew perfectly. While you may feel corporeally frustrated after the show and think 'damn, my neck is sore', it's a staggeringly sexy display of strength and skill that is simply unmissable. https://youtube.com/watch?v=pbY9yvWsmHc
Coming up with a solid indie-pop band name used to just be a case of slapping a "The" in front of a noun, but now some seem so nonsensical they could only have been generated by inserting a keyword into www.bandnamemaker.com. Architecture In Helsinki's band name, despite sounding like a very successful Internet-generated band name (we got "Helsinki Custard" and "Cursed Helsinki And The Monosyllabic Ennui" amongst other disasters), is actually very fitting. These guys have been doing modernist indie-pop since the turn of the century, and they're not trying to reinvent the wheel any more than Finland's unconsciously cool capital itself. Architecture In Helsinki (the band) is unadulterated bubbly electro-pop that still manages to appear fresher than a blast of Finnish winter air. Since their early days producing a sound as endearingly mish-mash as architecture in Helsinki (the city) they've dropped a few horns and acoustics along with a few band members. The result is a soundscape equally kaleidoscopic but far more polished. On 1 September, they'll be supported by New Zealand indie power-pop group Cut Off Your Hands, who's own name implies classic Kiwi sarcasm rather than anything morbid. https://youtube.com/watch?v=IxjcszKEcHE
Surely by now you've been to the White Rabbit gallery. You've stumbled upon its minimalist exterior, tucked away behind the old brewery, and have played for a few hours on its shiny floors. Once inside you've marveled at its collection, which seems to capture a mixture of three elements: playfulness, political dissection and virtuoso craft, and you've had a chat with the engaging and helpful staff. Maybe you've even had a chance to drink a cheeky oolong in the White Rabbit Teahouse. Now if you haven't done any of this, you have the fantastic opportunity to discover the world of contemporary Chinese art when the White Rabbit reopens its doors to launch Beyond the Frame. As the name suggests, White Rabbit's new exhibition aims to shuck all sense of boundary - whether it be the wooden frame of a canvas or the crisis of national borders. Ai Weiwei (polymath visual artist, political activist and man of many millions of sunflower seeds) will have his Oil Spill porcelain work on display, tempting eco action with its lush, hand-crafted pollution. Switching to the two-dimensional are the documentary photos of Lu Nan, whose empathic eye has entered Burmese prison camps to observe the day-to-day existence of these forgotten souls, while the completely playful is found in the absurdly over-sized animals hanging out in Liu Di's urban scenes. The level of inspiration in this space is pretty staggering, so much that you'll probably come away dreaming in Chinese. Image: Daily Shapes (2009) by Dong Yuan
What do Chicago hip-hop horn band Hypnotic Brass Ensemble have in common with the von Trapp family? Well, pretty much nothing actually, besides the fact the band comprises a whole bunch of instrumentally dexterous siblings. Eight of Hypnotic Brass Ensemble's nine members are the sons of Sun Ra Arkestra trumpeter Phil Cohran, and they're mixing up a traditional brass sound with rhythmic hip-hop and big-band jazz. You might think there's only so much you can do with a brass horn, but the boys keep their sound fresh by mixing in influences they've been picking up since they began performing together from as young as three years old. Growing up listening to their father's trumpet jazz, they later flirted with sonic rebellion by hiding under the covers listening to Public Enemy and Ice Cube. And after spending years busking on streets and subways, they did what no nine-piece brass band from the South side of Chicago had done before: work with Mos Def, Gorillaz and Wu Tang's Ghostface Killah. Hypnotic Brass Ensemble are lending their horns to the Avalanche DJs Presents club night on Friday, but Saturday's solo show is where they will really show Sydney that horns and jazz at the low single-digit hours of Sunday don’t necessarily indicate that the night is drawing to a close.
Narrative and film are two long-term bed partners that have convinced a lot of the world that their union is unbreakable. But this has not and will not always be the case. Back in 1929, the Russian filmmaker Dziga Vertov did his best to burn that marital bed with his documentary works, of which Man with a Movie Camera is the most famous. Vertov despised narrative in film, saying that it was the corrupting influence of theatre and literature, and presented his films as capturing "life caught unawares". He went so far in his quest to divorce narrative from film that he shot his material without any script or structure, creating a database of footage that his wife later edited into Man with a Movie Camera. Vertov's crusade failed in his lifetime, with most films since growing out of scripts (and developing well-worn story formulas in the process), but his protest did not fall on deaf ears. In 2003, British polymath Michael Nyman was commissioned to compose a score for Vertov's silent masterpiece and it was at this point that an intriguing comparison was made between the two artists. Nyman had for years been shooting his own database of stock footage, collecting a selection of humanity caught "unawares" before the camera. The product of what was to follow is now screening at Carriageworks - NYman with a Movie Camera. Nyman edited his footage to a strict set of rules. He would match the subject matter and special effects shot for shot to Vertov's original. Even the rhythm of editing cuts was taken from the Russian film, giving NYman with a Movie Camera a hyperactive feel in contrast to Nyman's usual style. Even the score — composed by Nyman back in 2003 — was carried across. NYman with a Movie Camera is a great opportunity to see a conversation with the past, especially when you place its predecessor in context with later films, such as the epics Baraka and The Qatsi Trilogy.
From the newly formed Animal Farm Collective comes a surreal Orwellian vision. This take on the modern tale of power and exploitation features bears instead of a pig dictatorship, sex rather than politics and humans in the farmyard. More specifically, the set up is this: the head of the food chain is not the humble human, as we typically tend to suspect, but the bear. These meddlesome predators occupy themselves by masterminding psychological traps, in order to test the humans' animal instincts. What follows is sexual and social chaos. This bizarrely seductive vision is the perfect excuse for the heads of Animal Collective, Gavin Webber and Grayson Millwood, to bask in surrealism and to push their unconventional choreography to its limits. Expect the unexpected. Image by Maurice Korbel
News flash, Bush and Co did have it wrong, the internet and digital photography are the real axis of evil in this crazy 21st century existence of ours. Somehow I don't think many people would disagree with either of those statements (for the record I am no Taliban/Hussein sympathiser) but I will argue my case just in case. As soon as I walked in the door of the Blender Gallery's current Greatest Hits exhibition I was surrounded by intimate portraits — impossibly private moments shared between lucky photographers and some of the worlds most acclaimed musicians. The Beatles, the Doors, Queen, Hendrix, Jagger, Dylan, Joplin, the various incarnations of Bowie and many more. The scenarios vary from Woodstock to a plane cockpit to a Frisco park to a dark room where an orange haired Bowie glares at you through a mirror while his back is turned. Many were shot in studios and others captured iconic moments on and back stage. It is a catalogue of the bad old days with a rock overtone, nothing blatantly lewd although the smirk of Keith Richards could hardly be described as anything but. So what's the problem you ask? Life is saturated with photos, so much so that it took me a minute to adjust and realise that I was looking at some amazing moments in history, not the latest inane saturday night Facebook photo album or the omnipresent blogs full of whimsical gibberish and the borrowed images that accompany them. The exhibits are not cheap, perhaps a statement in order to distinguish themselves from the dime a dozen album that is the internet, perhaps not. But if you appreciate any of the aforementioned artists then you will definitely appreciate this.
The Laurels and Domeyko/Gonzalez must surely be two of the standout acts of the musical moment. Both bringing their own unique and terribly clever spin on traditional sounds. Together with ethereal, brooding Sydney favourites, Dark Bells, this is one quality triple bill you most certainly do not want to miss. The Laurels are a four-piece Sydney band of the psychedelic/shoegaze persuasion whose collection of guitar pedals — used to create the sweeping effects and big, richly textured guitar sounds they’re famous for — may border on a hoarding problem. Likened to My Bloody Valentine and the Jesus and Mary Chain, The Laurels' Piers Cornelius, Luke O’Farrell (both vocals/guitar), Conor Hannan (bass) and Kate Wilson (drums) have been earning massive media acclaim and gathering a harem of devoted fans since they formed in 2006. Domeyko/Gonzalez are innovative purveyors of live electronics in possession of (probably) illegal amounts of musical talent. Multi-instrumentalists James Domeyko and Jaie Gonzalez create beautifully layered and looped electronica using a huge range of synthesthised and instrumental sounds from keyboards, guitars, drums, and even violins and glockenspiels. Signed to Sydney label Death Strobe Records, they've released an inspired EP The Circle Trilogy to glowing reviews, and have been blowing minds with their engaging live sets at some of Sydney's top venues. Those in the know will be scooting down to Goodgod to catch these guys live with The Laurels and Dark Bells, and for all who have yet to have the pleasure, do yourselves a massive favour and begin your inevitable fan-dom now. Image: The Laurels
Lots of interesting things are going on in Parramatta right now. The Sydney Festival is continuing to inch westwards, Parramatta Council is looking to open up empty spaces along Renew Newcastle lines. And then there's ICE. Parramatta's Information and Cultural Exchange (ICE) works to tell the stories of western Sydney, especially its youth and new migrants. Developing the communities culture for your entertainment and their edification, it has its fingers in a lot of pies. Soon to be backing the hip-hop collaboration East London West Sydney with the UK's Jonzi D at Carriageworks for the Sydney Festival, this week it's launching the results of a different collaboration — the product of months of work with local artists: the RISE Project. RISE has taken young people from central and western Sydney and equipped them with digital and physical skills to get their tales across to the wider world — with mentors Vuli Mkwananzi of True Vibenation, MC Trey of Foreign Heights and Mirrah. The results of their work will be launched in ICE's newly refurbished and renewed Switch Digital Arts Centre, with live acts on the night. RISE launches Thursday evening, but RSVP by Monday the 13th via info@ice.org.au or on 9897 5744 to avoid missing out. Image by geishaboy500.
The Western is brought back to exhilarating life by debut feature filmmaker Patrick Hughes. Lifting a few pages from the Coen Bros' No Country for Old Men, as well as a wink to Sergio Leone, Hughes has executed a stylish modern Western, which doles out a dose of fun alongside all the bloodshed. When police officer Shane Cooper (True Blood's Ryan Kwanten) relocates with his pregnant wife Alice (Clare van der Boom) to the small town of Red Hill for some quiet country life, well, this is a Western, so we all know that's not going to happen. Indeed on his very first shift, Shane barely gets through copping flack from is new boss Old Bill (Steve Bisley), before the proverbial scheisse hits the ceiling fan and Shane gets to learn country law the hard way. The daring jailbreak of erstwhile Red Hill resident Jimmy Conway (Tommy Lewis) has the entire town spooked, and for good reason; Conway's out for blood and there's seemingly no stopping him. As the writer, producer, director and editor, you've got to be impressed by Hughes' tenacity (and versatility!) in bringing this story to the screen. His revisioning of generic conventions for the modern day are handled with a tongue-in-cheek humour that sees Shane forced to ride, awkwardly, out on horseback. So too is Hughes unafraid to play up to the Western, with wonderfully hammy hero shots of Conway's brutal antics. For the most part the performances also manage to walk this line, with Bisley at his grisly best, Kwanten proving himself an impressive lead and the wryly-reflexive casting of Lewis harking back to The Chant of Jimmie Blacksmith. Unfortunately, a few confounding edits, a slight inconsistency in tone, and a frankly ridiculous 'mysterious beast' subplot do manage to distract from Red Hill's manifold strengths. It may be enough to pull you out of the film, but then again, at 96 minutes, Hughes is careful not to overstay his welcome. Red Hill might be a bit of a mixed bag, but as a striking introduction to Patrick Hughes and a big screen Ryan Kwanten, it's certainly an exciting new frontier for Australian cinema. https://youtube.com/watch?v=9vafKLgdg94
Film fans, it's time to get up in arms. Last year celebrated Iranian film director Jafar Panahi (The White Balloon, The Circle) and fellow filmmaker Mohammad Rasoulof, who were sentenced to six-years in jail for making films that threatened the Iranian regime, and who have been banned for a further twenty years from leaving Iran, making films or talking to the press. This unconscionable imprisonment has been condemned by Hollywood heavyweights such as Steven Spielberg, Martin Scorsese, Sean Penn, Robert Redford, Oliver Stone, Terrence Malick and the Coen Brothers, with Paul Haggis heading up an online petition via Amnesty International. Now the Australian film community is doing their bit, with Sydney, Adelaide and Melbourne film festivals joining forces for the first time to host fundraising screenings of Panahi's remarkable football dramatic comedy Offside. Audaciously shot during Iran's 2005 World Cup qualifying match against Bahrain, Offside follows various women as they dress as men in an attempt to circumvent their enforced exclusion from the stadium. Charming, funny and intelligent, Offside is the perfect introduction to Panahi's filmography; the future of which we all need to fight for.
Bradford Cox is a taut wire of a man. His vocal quality may have softened very slightly over the past ten years of his leading Deerhunter, but the dangerous tension is certainly still present. Bursting out of Atlanta, Georgia, Deerhunter have struck reverbing chords with lovers and haters alike. Their sound is exploratory, taking dark ambience and giving it a jolting rock spine that is breaching maturity after six albums. The first time they officially came to our shores was in 2009, setting bones a-rattling in anticipation for their return this year. Deerhunter is in Sydney for a flash, playing at the Laneway Festival and this, their only sideshow at the Metro theatre. Previous Deerhunter gigs have shown frontman Cox's skeletal frame thrashing in fake blood and sundresses, so it is highly anticipated that their Sydney outing will be worth cramming into. https://youtube.com/watch?v=G5RzpPrOd-4
The last of the summer festivals are heading this way. Laneway, Playground Weekender, and, of course, Good Vibrations. Good Vibes has been counting some of the best, brightest and most exciting Aussie and international acts on its stages since it began. This year's lineup has a particularly dance-happy good feeling to it with the likes of Kelis, Faithless and Rusko. Did we also mention Phoenix, The Ting Tings, Miike Snow and Friendly Fires? Or Erykah Badu, Fat Freddy's Drop and Mike Posner? The lineup just continues to get better and better. If you're feeling a bit flush since your first pay after Christmas, why don't you splurge on a VIP ticket as well? While the rest of the gang are getting sweaty in the middle of the crowd, you can sit drinking cocktails, catching up with friends and enjoying that most elusive of festival commodities, a VIP toilet. Wandering around the green surrounds of Centennial Parklands as your favourite dance anthem is being pumped through those amazing festival, body thumping speakers, you'll appreciate the beauty that is a summer music festival - the sights, sounds and smells of hundreds of slippery bodies gyrating and throwing their arms in the air. Ah summer in Sydney. We do it so well. https://youtube.com/watch?v=RulP4OXxFbM
The Next Three Days is a film you could easily damn with faint praise. Written and directed by Paul Haggis (Crash, In the Valley of Elah) and staring ‘our own’ Russell Crowe, this remake of the French film Pour Elle is a good story well told: solid, meticulously crafted, with that similar, slightly old-fashioned feeling you got from watching a film like Salt. The result is a thoroughly enjoyable thriller, but one that barely lingers in your memory once you've left the cinema. Crowe plays John Brennan, a college professor with a sizable middle age spread, happily married to Lara (Elizabeth Banks) and father of an adorable son Luke (Ty Simpkins). This picture-postcard familial contentment is obliterated when Lara is arrested then found guilty of murder — where her innocence casts an impressive question mark over the film. Three years down the track, with all appeals denied, John has radicalised into a desperate man, determined to instigate Lara’s prison break. A blatant, if handy scene articulates this transformation as John lectures his class on Don Quixote. Unfortunately Haggis doesn’t so much mine this vein as lean on the allusion and allow it to do all the thematic heavy lifting. But then again, the plan that unfolds certainly has its heart-in-your-mouth moments, excluding a distracting cameo from Liam Neeson that is. Crowe carries The Next Three Days like a sturdy packhorse. He can do downtrodden but steely very well, and moreover he’s believable as an everyman following his nose, and using dubious YouTube tutorials to learn the tricks of the trade necessary to enact his daring jailbreak. After all, this isn’t Jason Bourne we’re talking about. Banks gets convincingly jail ugly and emotionally distraught, while Olivia Wilde and Brian Dennehy provide worthy if underwritten mirrors of John’s increasing dislocation from the real world. No one can fault the precision of this film (there’s that faint praise again), but for all the life-or-death stakes, The Next Three Days seems to lack some spirit. Perhaps Haggis and Crowe are taking the material a tad too seriously, or perhaps there really isn’t anything wrong with a good story well told.
Ballet taught us that the human body can be sculpted into an organic machine. And for a while that was enough, especially when it was coupled with garish sets and costumes (yes, yes, Ballet Russes) and men with questionable cheekbones and crotch mesas. But something new came onto the scene, something that seduced the meat model of almost perfection: silicon technology. Taking a look at Wayne McGregor's Sydney Festival piece, Entity, reveals an ensemble that is not so much a collection of individual dancers as it appears to be one form, of flesh and data combined. McGregor's dancers appear to move to mathematical algorithms, giving the impression that their performance is architectural rather than psychological. The result is a mesmerising panorama of more-than-humans, surrounded by the nurturing structures of mechanical screens that seem to dance alongside their living cohort. A commissioned electronic score by Jon Hopkins is also definitely worth the ticket price alone, with his ability to inject digital euphoria into your marrow. No wonder the dancer-machines move so beautifully here. Image by Ravi Deepres
For most Sydneysiders (the ones born here at least), a weekend trip to Newcastle is not at the top of their to-do list. For the weekend upcoming though, I strongly recommend that changes. The reason: Summer Vibes at The Croatian Club. For the unacquainted, The Croatian Club is an actual Croatian bowling club in the semi-industrial Newie suburb of Wickham. It has only one permanent employee, a suitably taciturn bartender called Parvo, and most nights of the week you will find only a handful of grumbling old men from the mother country there. Sounds like a swell joint, right? Well, there’s also an assortment of summery outdoor activities, a community veggie garden, a wood fire pizza oven and this Sunday, the Summer Vibes festival. Starting from 11am, you can chill on the bowling green with a beer, play bocce or giant chess, and take advantage of really cheap (and delicious) pizzas. Oh, and then there’s the bands, a stunning line-up featuring Thee Oh Sees (USA), Straight Arrows, Circle Pit, Absolute Boys, Kirin J Calinan and several handfuls of excellent others. If you still need reasons to make the trip, try this one: it will only cost you $30 to get in. For an event that is guaranteed to contain no Southern Cross tattoos or Australian flags, this is what you might call a 'ripper deal'.
There are a lot of people who don't like being called up on stage when someone needs a volunteer. These are the people who never enjoy the limelight. They never wanted their fifteen minutes. These are the boring and unfortunate souls who will never see their name in lights. Unlike the rest of us, who have registered to literally have their name in lights as part of the Sydney Festival exhibition by artist John Baldessari. This American conceptual artist has put together a production in which you are the main attraction. Every fifteen seconds, every 24 hours over the majority of the festival, those attention seeking or perhaps just art loving kids who have registered will be able to see their name pop up in lights on the side of the Australian Museum. It's not too late to register, and it's free to do so. Participants will receive an email letting them know the time their name will come up. So embrace fame, and let hundreds of glittering light globes make your name shine across Sydney.
