This Saturday, January 26, the Watsons Bay Boutique Hotel will again host the annual Sydney event both your pooch and you will be pumped for: the Every Man and His Dog stand-up paddleboard race. Also open to those without a paddleboard (it can be hired on the day) or a four-legged friend (can't hire, go without), the race offers something for everyone, with different categories including long distance, sprint and a team relay. And there are awards for best-dressed dogs (and humans). You don't have to participate, if you're like us, you'll likely be crazily Instagramming from the shore. It's dogs on paddleboards, people. Dogs. On. Paddleboards. Kicking off at 7.30am, the SUP race will leave your tummy grumbling. Luckily, the Watsons Bay Boutique Hotel have your back (or stomach) with snacks available from the market place out the front and from inside at the bar, which is open for breakfast from 7am.
This isn't new news to anyone, but 2020 has been a big year for television. With everyone spending more time indoors due to the COVID-19 pandemic, TV has been a trusty go-to to help while away the hours, days and months — whether it's beamed into your home the old-fashioned way or streamed to your chosen device. If you've spent the past few months bingeing your way through a dark superhero tale, stepping back to 50s and 60s-era New York and watching a media mogul's personal and professional dramas, it seems that this year's Emmy Awards are on the same wavelength. Announcing the nominees for the 2020 ceremony, the Television Academy showered plenty of love on Watchmen, The Marvelous Mrs Maisel and Succession, which notched up 26, 20 and 18 nods respectively. Also doing well was Ozark, which scored 18 nominations — while The Mandalorian, Saturday Night Live and Schitt's Creek all earned 15 nods apiece. From there, everything from The Crown, Westworld and The Handmaid's Tale to Unorthodox, What We Do in the Shadows and even Tiger King earned a mention. It's worth noting that the Emmys hand out a hefty number of awards, with its full nominee list spanning 61 pages — and Netflix picking up a huge 160 nominations across the entire spectrum — so odds are that your favourite show popped up somewhere. Notably for talent from Down Under, Hugh Jackman was recognised for Outstanding Actor in a Limited Series or Television Movie, for Bad Education; Cate Blanchett received a nomination for Outstanding Actress in the same category for Mrs America; and Toni Collette nabbed a Outstanding Supporting Actress nod, also in the same field, for Unbelievable. Plus, Succession's Sarah Snook earned a nomination for Outstanding Supporting Actress in a Drama Series, Hannah Gadsby's Douglas picked up noms for Outstanding Variety Special (Pre-Recorded) and Outstanding Writing for a Variety Special, and Taika Waititi scored an Outstanding Character Voice-Over Performance nod for The Mandalorian. Both on the local front and in general, there were snubs, too. It wouldn't be a list of newly revealed award nominees without them. Russell Crowe's performance in last year's The Loudest Voice went unrewarded — and the fact that Better Call Saul's Bob Odenkirk, Rhea Seehorn and Jonathan Banks were ignored for their exceptional work isn't just surprising, but astonishing. This year's nominations did recognise The Good Place's Ted Danson and William Jackson Harper, though, as well as Brooklyn Nine-Nine's Andre Braugher. So, like all awards nominations from all awards bodies every single time they're announced, it's a mixed bag. [caption id="attachment_756726" align="alignnone" width="1920"] Succession[/caption] The 72nd Emmy Awards will take place on Monday, September 20, Australian time. Here's a rundown of the major nominations — and you can check out the full 61-page list of nominees on the Emmys' website: EMMY NOMINEES 2020 OUTSTANDING DRAMA SERIES Better Call Saul The Crown The Handmaid's Tale Killing Eve The Mandalorian Ozark Stranger Things Succession OUTSTANDING COMEDY SERIES Curb Your Enthusiasm Dead to Me The Good Place Insecure The Kominsky Method The Marvelous Mrs Maisel Schitt's Creek What We Do in the Shadows OUTSTANDING LIMITED SERIES Little Fires Everywhere Mrs America Unbelievable Unorthodox Watchmen OUTSTANDING TELEVISION MOVIE American Son Bad Education Dolly Parton's Heartstrings: These Old Bones El Camino: A Breaking Bad Movie Unbreakable Kimmy Schmidt: Kimmy vs The Reverend OUTSTANDING ACTOR IN A DRAMA SERIES Jason Bateman, Ozark Sterling K. Brown, This Is Us Steve Carell, The Morning Show Brian Cox, Succession Billy Porter, Pose Jeremy Strong, Succession OUTSTANDING ACTRESS IN A DRAMA SERIES Jennifer Aniston, The Morning Show Olivia Colman, The Crown Jodie Comer, Killing Eve Laura Linney, Ozark Sandra Oh, Killing Eve Zendaya, Euphoria OUTSTANDING ACTOR IN A COMEDY SERIES Anthony Anderson, Black-ish Don Cheadle, Black Monday Ted Danson, The Good Place Michael Douglas, The Kominsky Method Eugene Levy, Schitt's Creek Ramy Youssef, Ramy OUTSTANDING ACTRESS IN A COMEDY SERIES Christina Applegate, Dead to Me Rachel Brosnahan, The Marvelous Mrs Maisel Linda Cardellini, Dead to Me Catherine O'Hara, Schitt's Creek Issa Rae, Insecure Tracee Ellis Ross, Black-ish OUTSTANDING ACTOR IN A LIMITED SERIES OR TELEVISION MOVIE Jeremy Irons, Watchmen Hugh Jackman, Bad Education Paul Mescal, Normal People Jeremy Pope, Hollywood Mark Ruffalo, I Know This Much Is True OUTSTANDING ACTRESS IN A LIMITED SERIES OR TELEVISION MOVIE Cate Blanchett, Mrs America Shira Haas, Unorthodox Regina King, Watchmen Octavia Spencer, Self Made Kerry Washington, Little Fires Everywhere OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES Giancarlo Esposito, Better Call Saul Bradley Whitford, The Handmaid's Tale Billy Crudup, The Morning Show Mark Duplass, The Morning Show Nicholas Braun, Succession Kieran Culkin, Succession Matthew Macfadyen, Succession Jeffrey Wright, Westworld OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES Laura Dern, Big Little Lies Meryl Streep, Big Little Lies Helena Bonham Carter, The Crown Samira Wiley, The Handmaid's Tale Fiona Shaw, Killing Eve Julia Garner, Ozark Sarah Snook, Succession Thandie Newton, Westworld OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES Andre Braugher, Brooklyn Nine-Nine William Jackson Harper, The Good Place Alan Arkin, The Kominsky Method Sterling K. Brown, The Marvelous Mrs Maisel Tony Shalhoub, The Marvelous Mrs Maisel Mahershala Ali, Ramy Kenan Thompson, Saturday Night Live Daniel Levy, Schitt's Creek OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES Betty Gilpin, GLOW D'Arcy Carden, The Good Place Yvonne Orji, Insecure Alex Borstein, The Marvelous Mrs Maisel Marin Hinkle, The Marvelous Mrs Maisel Kate McKinnon, Saturday Night Live Cecily Strong, Saturday Night Live Annie Murphy, Schitt's Creek OUTSTANDING SUPPORTING IN A LIMITED SERIES OR TELEVISION MOVIE Dylan McDermott, Hollywood Jim Parsons, Hollywood Tituss Burgess, Unbreakable Kimmy Schmidt: Kimmy vs The Reverend Yahya Abdul-Mateen II, Watchmen Jovan Adepo, Watchmen Louis Gossett Jr, Watchmen OUTSTANDING SUPPORTING ACTRESS IN A LIMITED SERIES OR TELEVISION MOVIE Holland Taylor, Hollywood Uzo Aduba, Mrs America Margo Martindale, Mrs America Tracey Ullman, Mrs America Toni Collette, Unbelievable Jean Smart, Watchmen Top image: Watchmen, Mark Hill/HBO
"One more thing, Manson is small, like, really small — try not to stare," talkative serial killer Ed Kemper (Cameron Britton) warns FBI agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany) in the new trailer for Mindhunter season two. If you didn't know, Charles Manson was only 157 centimetres tall (just under 5"2), which is short — especially in comparison to Kemper's towering 206-centimetre (6"9) frame. In this season of the show — which finally drops on Netflix on Friday, August 16, returning two years after the series first hit the platform — the agents are hoping Manson (Damon Herriman) will help them solve the Atlanta child murders. For the uninitiated, across 1979–81, at least 28 kids, teens and adults were killed — and this second trailer for the show's new season shows the reaction in Georgia, the agents desperately trying to solve the case and some particularly gruesome murders. This time round, expect more criminal profiling and psychological thrills, obviously, with the show based on the excellent non-fiction book Mindhunter: Inside the FBI's Elite Serial Crime Unit. Expect more meticulous Fincher magic as well, as the Seven and Zodiac filmmaker continues his on-screen fascination with serial killers. He has company behind the lens, thanks to Australian director Andrew Dominik (Chopper, The Assassination of Jesse James by the Coward Robert Ford) and US helmer Carl Franklin (Devil in a Blue Dress, Out of Time). Get creeped out by the second trailer for Mindhunter season two below (and the first here, if you haven't already): https://www.youtube.com/watch?v=PHlJQCyqiaI Mindhunter season two drops on Netflix on Friday, August 16.
Break out the 'feel old yet?' memes, because everyone's favourite Surry Hills tequila den, Tio's Cerveceria, is turning ten years old on December 12. To celebrate that nice round milestone, the crew from Tio's will be treating patrons with their most valuable source of currency: free margaritas. Kicking off from Tuesday, November 30 up until Friday, December 10, the bar will be giving away $1000 worth of margaritas to the tequila- and mezcal-loving hordes of Sydney. You just need to keep an eye on Tio's Instagram for a chance to enter, then turn up and claim the alcoholic spoils of victory. A birthday party to mark the decade in the trade will be going down at the bar on Sunday, December 12, with margs for $10, Grifter tins for $5 and a lineup of DJs. So grab your drinking buddies to reminisce on those hazy nights where you've woken up flecked with popcorn kernels (and move any of your early commitments on the following day). Find Tio's at 4/14 Foster St, Surry Hills. It's open from 5pm–12am, Wednesday to Sunday. All images: Nikki To.
Just hours after its series finale aired, Prime Video has confirmed that The Summer I Turned Pretty will conclude with a feature film. Announced on Thursday, September 18, the adaptation of Jenny Han's bestselling trilogy will wrap up with a movie written and directed by Han herself. "The Summer I Turned Pretty has struck a chord with audiences everywhere, creating moments of joy, nostalgia, and connection that have made it a global sensation," Courtenay Valenti, head of film, streaming and theatrical at Amazon MGM Studios, and Vernon Sanders, Global Head of Television at Prime Video and Amazon MGM Studios, said in a joint statement. "We're proud of the series' extraordinary success and couldn't be more excited to partner again with Jenny Han to bring fans an unforgettable next chapter." Han added: "There is another big milestone left in Belly's journey, and I thought only a movie could give it its proper due. I'm so grateful to Prime Video for continuing to support my vision for this story and for making it possible to share this final chapter with the fans." Since premiering in 2022, The Summer I Turned Pretty has become a global phenomenon. Its second season, released in 2023, more than doubled the first season's viewership within its first three days. Season three debuted in July 2025 and was streamed by 25 million viewers worldwide in its first week, becoming Prime Video's fifth most-watched returning season. The series has also helped launch the careers of stars Lola Tung, Jackie Chung, Christopher Briney, Gavin Casalegno, Rachel Blanchard, Sean Kaufman and Rain Spencer. No release date has yet been set for the film. Images: Erika Doss | Amazon
Ten years ago director Mike Figgis made Timecode. This experimental film was shot on four digital cameras simultaneously in a series of single ninety-three minute takes. It took him fifteen attempts to get it right. He even experimented with mixing the soundtrack live in front of an audience, drawing attention with sound from one image in the corner to the next, to the next. In Super Night Shot, Anglo-German company Gob Squad have taken this technique to the stage. Super Night Shot's publicity looks like a music-video for the Flaming Lips. Animal costumes and their inhabitants bother the population of ordinary city streets. Over the course of the show the actors film an hour-long story about showbiz types types on four digital cameras, starting an hour before the curtain goes up. The shots are unedited, except for a few brief moments where they are put into sync to be screened on in front of you. They have to get it right every night. Or so they hope. Get a ticket, but if you can't — and you're around the Opera House forecourt around a quarter-to-nine one night of their week-long season — look out for four stray actors desperate for a kiss. Image by Gob Squad.
What can a bunny police officer and fox con artist teach humans about equality, diversity, fairness and keeping an open mind? In Zootopia, quite a lot. Yes, audiences are supposed to get a few giggles out of a cute, fluffy rabbit trying to enforce law and order, and nod knowingly when they see a sly predator pulling street-wise scams. But they're supposed to interrogate their initial reactions to these animal stereotypes as well. Breaking down preconceptions and teaching viewers not to form opinions based on appearances is the animated effort's main intention — quite complex material for young viewers to process. Thankfully, the feature's main message comes wrapped in a cop and crime caper that's as smart and weighty as it is colourful and amusing. When a movie combines anthropomorphic critters, bright imagery, references to Chinatown and The Godfather, and a first-rate Breaking Bad gag, the phrase "fun for all ages" really does apply. Judy Hopps (voiced by Ginnifer Goodwin) and Nick Wilde (voiced by Jason Bateman) are the respective big-eared and quick-witted creatures riding Zootopia's wave of thoughtful, frenetic entertainment, with the two crossing paths on Judy's first day on the force. When Nick pulls the wool over the newbie cop's eyes, it just adds to her woes (instead of catching bad guys, she's writing parking tickets). Of course, you can't keep an eager bunny down, particularly when the city is overrun with missing person cases. Quicker than you can say "odd couple", Judy and Nick have reluctantly teamed up to locate an absent otter, prove Judy's police prowess, and help Nick find his true calling. From there we go zipping around Zootopia's imaginative setting, segueing between observational jokes and sight gags, and listening to a stellar voice cast that includes Idris Elba, Jenny Slate, JK Simmons and Octavia Spencer. Directors Byron Howard, Rich Moore and co-director Jared Bush handle the balance of laughs and drama with the energy and emotion needed — but given that the trio boasts the likes of Tangled, Wreck-It Ralph and Big Hero 6 on their resumes, that's hardly a surprise. Indeed, when Zootopia is firing on all cylinders, it hits the majority of the targets it aims for. In the same way that animated films about people can get to the core of common issues and emotions in a way that live-action efforts can't always manage, there's something both perceptive and powerful about seeing common prejudices and problems played out by animals. The movie may tread a fine line between calling out stereotypes and reinforcing them in some parts — such as a scene set in a sloth-filled car registration department — but it mostly falls on the right side of the equation. And crucially, while Zootopia doesn't shy away from its important underlying statement, the upbeat, insightful offering doesn't overplay its hand or overstay its welcome, either.
Sitting in the front rows of the SBW Stables, your feet possibly on the stage, you're always somehow part of the show, and its best plays remind you of this brilliant awkwardness. In the party you're invited to tonight, you're a wallflower struggling to read the lips of two pairs of new acquaintances who are just out of earshot, secluded by pop music, easily bewitching and clearly starting something. When the music cuts out, they're in hotel rooms about to cheat on their spouses. Their conversations, like their rooms, overlap and sometimes, pointedly, intercut. Affairs are all the same. But the unhappy couplings around them, we're about to see, are each unhappy in their own dark and somewhat Lynchian ways. Griffin aren't dawdling in season 2011; they're playing their trump card in the very first hand, remounting one of the most successful works to ever premiere on its stage. First put on in 1996, Andrew Bovell's Speaking in Tongues went on to win an AWGIE, build renown through performances the world over and, five years later, be adapted by the playwright into the even more successful, AFI-sweeping film Lantana. It's a now classic text of adultery, mystery, death and deceit that builds a meaningful (although, by current trends at least, insanely coincidental) web among its nine characters, in four couples, portrayed by four actors (Lucy Bell, Caroline Craig, Andy Rodoreda and Christopher Stollery). There's an Australian forthrightness among its intricate, theatrey flourishes, and it comes out intensely poetic in both language and structure: a philandering husband "smells like the backyard of a petrol station, like the sweat of another woman"; a man with a pair of beautiful brown brogues returns to break your heart. This production, directed by Griffin's fresh artistic director, Sam Strong, harnesses the full power latent in the script and allows its cast to distinguish each of their conflicted individual characters and make a devastating impression in the moments they move as one. The extra oomph comes from the use of set (designed by Dayna Morrissey). The first act's contemporarily sparse, greige, catch-all interior punctuated by an ample pouffe is in the second stripped to the abstract to evoke mystery and death through haze and ash-like floors, and it hides a surprise. The effect of sharing this small space with these actors and these interactions is completely consuming, and the best way to start your theatregoing year.
UPDATE: April 27, 2020: The Biggest Little Farm is available to stream via Google Play and YouTube. Say goodbye to your inner-city digs, pack up your belongings and head to the country — it's time to swap your concrete playground for a grassy, tree-lined, animal-filled one. That's how you might be feeling after watching The Biggest Little Farm, the warm and informative documentary that charts a just-married Californian couple's quest to follow all of the above steps in the name of a better life. John and Molly Chester's dream is simple, at least on paper. They want to run their own farm, relying on traditional methods and doing so in harmony with nature. One-crop spreads, soulless egg factories and the general type of commerce-driven farming that has become common today aren't for them. Instead, their rural utopia boasts a broad array of creatures and hundreds of different types of edible plants, creating a mini-ecosystem that supplies everything the pair eats — and everything that Molly, a private chef and food blogger, could ever need to cook with. The fact that a film exists about their efforts, and that it's helmed by John himself — a cinematographer and Emmy award-winning director when he's not working the land — signals the obvious: that the Chesters turned their vision into a reality. Spanning most of the past decade, The Biggest Little Farm chronicles the ups and downs of attempting to transform an unwelcoming 200-acre patch of soil into a thriving natural farming haven, all by following the advice of biodynamic farming guru Alan York. Taking over an abandoned farm, they strip away most of the existing crops, replacing them with new ones. They wait as the greenery grows, and as their newly acquired menagerie of chickens, pigs, ducks, sheep, dogs and other diverse critters all play their part. (Of paramount importance: the animals' poop, of which there's plenty.) First laughed at by their friends and family, the Chesters' support system expands, as does the farm they call home and the business side of the equation. Bookended by wildfires, with flames threatening to encroach upon the property an hour outside of Los Angeles, The Biggest Little Farm bubbles with timeliness — and not just because of Australia's current catastrophic blazes. The documentary actually first started screening at international film festivals back in 2018, coming in third in the audience choice award in Toronto that year, but the attitude it celebrates is a clear reflection of the growing recognition that much about humanity's current existence is harming the planet. Accordingly, as proved the case with Aussie doco 2040, watching the Chesters' plight proves educational, inspirational and aspirational. Their passion is infectious, whether they're helping birth calves, tending to an ailing pig or endeavouring to save their chickens from coyotes. The movie doesn't aim to take viewers through their feats step-by-step or teach audiences exactly how to follow the same path, but it does show what's possible for anyone willing to try. When the film leans into the adorable, heartwarming side of such an idealistic venture, cuteness abounds. An outcast rooster befriends a sow, oinking piglets run riot, and dogs lick lambs as if they were cleaning their own offspring. John doesn't shy away from the tougher realities of farm life, though — including wildlife predators, birds pecking through most of their fruit, a tricky snail infestation and serious animal health issues. First and foremost, however, he's viewing his experiences through a firmly upbeat, affectionate, resilient and persistent lens. This is a true tale that starts with a promise to a just-adopted dog, which John saves from an animal hoarder with more 200 critters and pledges to give a loving home, after all. When that pup barked so much that the couple got evicted, that's when John and Molly decided to chase their farming dreams. The movie's positive spin lends itself to lively animated sequences, bringing Molly's fantasies to the screen a suitably colourful, affable way. Still, as engaging as this rich, gentle documentary is — and as likely as it is to make you wish you could take the Chesters' lead — that jovial mood also results in a few overtly cliched touches. The film's music drips with sentiment, as if it doesn't quite trust that the on-screen critters are enough by themselves. The brightly coloured hues do more than just capture the farm's sights, literally painting a vibrant, sun-dappled picture. And, when it comes to the difficult reality of actually funding this sizeable venture (and making an independent doco about it at the same time), concrete details are glaringly absent. Plus, the personal voiceover sometimes verges on cloying. Worse: the reaction to someone's ill health and its impact on the farm plays as selfish, as if this parcel of land is more important than another person. These are all minor issues, but they do stop a valuable movie about eco-conscious living from being truly great rather than just very good. You'll still want to pack your bags and leave the rat race far behind, though. https://www.youtube.com/watch?v=fcQKWkpPB3U
This article is sponsored by our partners, Toshiba. If one of Sydney’s favourite sushi restaurants and the leader in technological innovation have a food baby, how is it delivered? Via roller-coaster obviously. Last weekend Toshiba teamed up with the sushi maestros at Zushi, taking over District 01 in Surry Hills with their sushi roller-coaster. The gateway to Sydney’s latest pop-up was indicated by the crowd spilling out from within and the glowing red light hinting at the #seriouslyjapanese experience to be had inside. While I waited briefly, falling victim to mounting anticipation akin to riding an actual rollercoaster, I tried my hand at a number of Toshiba tablets and laptops on display for each guest’s enjoyment/technological literacy enhancement. Stunning Geisha girls emerged from the red lantern forest to seat us around the roller-coaster’s loop, ensuring front-row viewing and immediate access to our dinner upon its arrival. We sat, taking in a year’s quota of Hello Kitty and nodding hypnotically to the wave of the Lucky Cat, before examining the menu (also the waiter), which came in the form of the Toshiba Encore 2 tablet. Yes, we were in the future. With all other aspects of our experience perfectly managed (comfort, atmosphere, cultural awakening), choosing what to eat was by far the biggest challenge, with pre-calculated FOMO being the only tool of help. The maki with soft shell crab and tempura prawn? The salmon soba noodles with yuzu dressing? Or the delectable motley sushi and sashimi plates? I went for the latter, and just moments after putting finger to screen, my sushi was seen whizzing (yes, whizzing) down a 25m roller-coaster from above, flying 360 around a poll, gaining speed on the final decline before it nailed the last bend and slowed to a halt right in front of me. Ta-da! The assortment of nigiri and maki was packed with both the freshness and flavour Sydneysiders expect and love from Zushi, and a perfect ratio of salmon, avocado, kingfish and tuna I didn’t even know I appreciated. The sashimi being inhaled next to me was equally generous in size and delightfulness, and the maki and soba zooming past predictably incited palpable food envy. While I’m not sure every sushi train station will be upgrading to this high-octane delivery system, Toshiba and the guys at Zushi have proved they know the real definition of fusion.
If you haven't experienced a sweat-inducing, VHS-style aerobics class made popular by the likes of Jane Fonda and Richard Simmons, we recommend you change that ASAP. Luckily, we've got you covered. In partnership with Good Food Month, we're hosting a series of early morning retro aerobics classes. Whip out the hot pink and turquoise lycra, tease up your hair and get ready for fitness queen Shannon Dooley's Retrosweat, Palm Springs edition. Dubbed 'Not Another Manic Monday', these classes will get your heart pumping as you high-kick your way into a new week with beats and moves from one of the most outlandish decades — when bum bags, acid wash and power suits were king. What's more, the Good Food Month version of the '80s workout will bring out the So Cal vibes that'll make you crave a whiz down Venice Beach with your skates, high cut leotard and pastel leg warmers. Why's that? Because this year's Good Food Month will see Hyde Park transform into Hyde Park Palms, a Palm Springs-inspired food, drink and party hub. Feeling a bit intimidated by this much energy exertion on a Monday? Don't worry, after the 50 minutes of high intensity, '80s moves, you'll be given a 'naughty' takeaway brekkie courtesy of Black Star Pastry and cake creative Katherine Sabbath, to keep you buzzing the rest of the day. You can buy your tickets now for one of the aerobics classes, or even better, enter our competition to win a double pass to a Not Another Manic Monday session on October 16 or October 17. Words: Quinn Connors and Jonathan Ford.
If one of the joys of crowdfunding is being able to find out about cool ideas from the get-go rather than finish line (and it is), then today's announcement by Underbelly Arts of a matched group Pozible campaign is the equivalent of a basket of kittens at an ice-cream stand. The biennial festival, probably Sydney's leading event for fresh interdisciplinary and interactive art, is better known to audiences as that one big day of playtime on atmospheric Cockatoo Island. But Underbelly Arts doesn't spend two years sleeping; it uses that time to foster the development of new work, which you can now sample. Eight Underbelly Arts participants have launched Pozible campaigns today, with every dollar they earn through successful campaigns to be matched by the Keir Foundation (up to a value of $2500 per project). "[Crowdfunding] is a natural fit for these eight projects, all of them great ideas with ambitious plans," says artistic director Eliza Sarlos, "The next step is making them happen, and I can't think of a better way to do that than speaking to your audience at each stage of development, and bringing them into the process of art in the making — two ideas already central to what Underbelly Arts is." It's the first time this funding model will be trialled in Australia, and it's aimed not at replacing the traditional government grants and sponsors but augmenting and feeding them. It's your chance to do a bit of layman's philanthropy before festival day in July, get invested in some of the (rather epic) works and maybe get a (suitably offbeat) reward. We've profiled the eight projects below. zin's Party Mode A surprise party for everyone? This young Sydney collective promises to throw the bash of the season — clashing your usual zonked-out party mindset into the political narrative that continues to go on around you. They're putting on a series of politically charged parties this year that will be a whole lot of in your-face/food-for-thought fun. This one prompts you to think about information security...and they're not telling us much else. Plus, if you have a spare $1000, send it their way and you can have your own zin's PARTY MODE at your place. Cockatoo Island Ghost Story American Horror Story: Asylum meets art gallery audio guide, this look at Cockatoo Island's sinister past is not one for the faint of heart. Before The Island bar, the island was Biloela Public School and Reformatory for Girls, which rose from the ruins of prison to infamy during the tail end of the 1800s. Home to orphans and young girls unfortunate enough to be deemed delinquent, it was described as "simply a hell upon Earth; the abominations and acts of cruelty there practised being for the most part utterly unfit for publication" (until now) by the Brisbane Courier Mail in 1874. This is a smart phone only affair (sorry old-schoolers) based on a geolocative mobile phone app that will guide you through Cockatoo's dark side. Additionally, 19th-century institutional practises are a wonderful antidote to Austen-itis and other cases of severe nostalgia. Stations of the Southern Cross Applespiel will return to Underbelly Arts with a look at all things Australian: past, present and future. Five stations (that is right, one for each of the stars on your favourite festival tattoo) spread across the island will culminate in a journey through time, space, mediums and, judging by their intro video, wordplay. This all sounds great, but the "mentoring from Steve Le Marquand on how to be really Australian" as mentioned on their pledge page has feature-length-movie potential. Yes, he is that guy from Two Hands who has swagger in rugby short and waxes lyrical about sawn-off shotguns (if "yeah shotties are good mate" is Aussie for wax lyrical). Chip in just $25 for this Stations of the Southern Cross, and Applespiel will name a thing of your choice (pet, child, theory, etc). Project HOME Brothers Abdul Abdullah and Abdul-Rahman Abdullah are coming over from Western Australia to reimagine their family home on Cockatoo Island. It will be the premier collaboration of two artistic brothers, a sculptor and an Archibald-nominated painter, as they go autobiographical to give us the Abdullah childhood experience. The duo have identified nine as an age of awakening: as a person, and as person who has to negotiate a broader national context to build their identity — and it's also the age difference between them. The brothers will be building house with personal and found objects to explore these ideas. I met you on a city that isn't on the map What would you do if you had three minutes to live? Cry? Us too. But We Do Not Unhappen is giving us all the chance to experience those last moments before the nuclear/zombie/solar-flare/global warming apocalypse with a lived-experience game across Cockatoo Island that will encourage strangers to collaborate. They will use their raised funds to research, plan and build a 'hub', fit for touring, to create (and then spread) the experience of impending doom. To reward you for your contribution, they'll make you into a mannequin or a video installation, or, if you're really generous, abduct you and a friend off the street for funsies. Tableau Vivant Co-artistic directors of Art Month 2013, Penelope Benton and Alex Clapham, are looking backward and forwards with their living picture installation. Drawing on the popular French art form of the late 19th and early 20th centuries, this pair will explore ideas of spectacle, pop culture and food with a whole lot of colour, flair and feasting — all around the dinner table. Nothing to See Here In terms of visual identity/signifiers Sydney Harbour Bridge is a big one. Our harbour city is undoubtedly a harbour-bridge city, but artists Amy Spiers and Catherine Ryan are giving us a chance to see the harbour ditch the coat hanger and go nude. The pair will erect a viewing platform and then, somehow, blank out the bridge from view. An ode to the controversial suggestion of artist Horst Hoheisel to destroy the Brandenburg Gate as a memorial to the Jews murdered during the Holocaust, this project aims to highlight the invisible histories of modern Australia, such as those of Indigenous peoples and asylum seekers. Any money raised in excess of the target will go towards commissioning essays by Australian writers to accompany the project. In Deep Water Kate Sfetkidis, live performer and lighting designer, is bringing the bottom of the ocean, and all our childhood dreams of marine biology, to the surface at Cockatoo Island. Submerging a series of built jellyfish (and other deep sea critters) lights in darkness with an accompanying soundscape, she will give us a chance to see the light from some of our planet’s darkest corners. Plus if you check out the project blog, you can see a Vampire Squid — a pre-historic relic that can turn itself inside out when startled — which is the critter our fingers will be crossed for come opening day. By Ruby Lennon and Rima Sabina Aouf
He's played a shimmering vampire in the Twilight films, a circus newcomer in Water for Elephants, a photographer friend of James Dean in Life and a desperate small-time criminal in Good Time. Also on his resume: battling in the Triwizard Tournament in Harry Potter and the Goblet of Fire, stepping into Salvador Dali's shoes in Little Ashes, roaming around the Australian outback in The Rover, heading to space in High Life and enduring a nightmarish seaside ordeal in The Lighthouse. Yes, we're talking about Robert Pattinson, who'll also add Batman to his hefty list of roles next year — but, before then, he's playing a creepy man of faith in Netflix's new thriller The Devil All the Time. Since leaving terrible supernatural teen romance franchises behind, Pattinson has chosen many an impressive, interesting part. Indeed, add the David Cronenberg-directed Cosmopolis and Maps to the Stars, the unnerving The Childhood of a Leader, biographical drama The Lost City of Z and Shakespeare adaptation The King to the above lineup, too. So, playing an unholy and unsettling preacher in a small Ohio town between World War II and the Vietnam war seems right up his alley. That said, as The Devil All the Time's just-dropped first trailer shows, Pattinson is just one of the film's many stars. Tom Holland leads the charge as Arvin Russell, who finds himself surrounded by sinister figures — including not only Pattinson as Reverend Preston Teagardin, but Jason Clarke and Riley Keough as a twisted couple, plus Sebastian Stan as a corrupt sheriff. In a movie adapted Donald Ray Pollock's novel of the same name, IT's Bill Skarsgård also pops up, as do Aussie actors Mia Wasikowska and Eliza Scanlen. If it all sounds rather disquieting, that's the point, in a tense feature that promises a fight between the just and the crooked. It certainly looks the part and, hitting Netflix on September 16, The Devil All the Time also boasts Simon Killer and Christine's Antonio Campos behind the lens as well. Check out the trailer below: https://www.youtube.com/watch?v=EIzazUv2gtI The Devil All the Time hits Netflix on September 16. Top images: Glen Wilson/Netflix.
When it starred Lindsay Lohan (Falling for Christmas) making her film debut in dual roles in the late 90s, and when Hayley Mills (The Wheel of Time) was doing double duty back in the 60s as well, The Parent Trap told of identical twins who were separated at birth when their mother and father divorced. Each parent gained custody of a baby, then raised the child separately. Never did the sisters cross paths until a summer camp years later, where they realised their connection, then hatched a plan to reunite their family by posing as each other back home. The tale springs from the page, with German novel Lisa and Lottie also inspiring adaptations in its homeland, Japan, the UK, India and Iran. The Olsen twins' It Takes Two owes it a debt, too. But there's never been a version of this story like Josh Sharp (Search Party) and Aaron Jackson's (Broad City) iteration, as first seen onstage in Fucking Identical Twins and now in cinemas as Dicks: The Musical. So absurdly its own ridiculous, raucous, irreverent and raunchy thing, calling Dicks: The Musical exuberantly unhinged — or anything, really — doesn't do it justice. Before this A24 release brought its sibling antics to the big screen with singing, dancing, Megan Mullally (Party Down) and Nathan Lane (Beau Is Afraid) as its long-split parents, Borat and Brüno director Larry Charles behind the camera, Brisbane-born Saturday Night Live star Bowen Yang as drama-loving gay God and Megan Thee Stallion busting out a mid-movie tune, Fucking Identical Twins was a two-man production that premiered in 2014 to must-see success. Created at Upright Citizens Brigade, which was co-founded by Amy Poehler (Moxie), the then half-an-hour affair first filled a basement and now rises to share its delirium with the film-watching world. Leading the way in every guise: Sharp and Jackson, who definitely aren't twins let alone brothers, don't look a thing alike, yet know how to take audiences on a helluva wild ride. Sharp's Craig and Jackson's Trevor do have plenty in common in Dicks: The Musical's narrative, however, with both slick salesman slinging Vroomba vacuum parts who could slide into American Psycho, dripping with toxic alpha-male pride, bragging about their heterosexual prowess and, despite their professional successes and ample posturing, plagued by loneliness. As the feature kicks into gear, they're also new colleagues after their respective offices merge, which they're not initially happy about. Then the instant jostling to be seen as the company's top seller gives way to recognition when they glean that they're actually identical twins. Both yearning for the childhood with two parents and a brother that they missed, they plot to bring their mother Evelyn (Mullally) and father Harris (Lane) back together. But when Craig poses as Trevor, he doesn't know that their dad is obsessed with two creatures that he calls Sewer Boys, and has also recently come out. And when Trevor pretends to be Craig, he no idea that their mum doesn't leave the house or has a lusty penchant for inanimate objects. From the moment that Dicks: The Musical begins with a title card explaining that its two gay writers and stars are playing straight men in the movie, and also espousing their bravery for doing to, there's no room for mistaking Sharp and Jackson's film for anything but a gleefully OTT satire. Subtlety has no room when the first image that the feature shows is the faces of its orgasming protagonists. Nuance has no place when the picture's initial musical number is about having massive penises, as well as separate mansions for sex and masturbation, either. While writing both Fucking Identical Twins and Dicks: The Musical, if Sharp and Jackson — plus composers Karl Saint Lucy (returning from the stage) and Marius de Vries (Navalny) — were trying to one-up each scene, tune and joke with the next, it wouldn't come as a shock. Before the flick is out, there'll be genitals kept in a handbag, other than when they're flying, for instance. And those diaper-wearing mutants from below that even the Teenage Mutant Ninja Turtles would run from? Resembling demonic gremlins, with one voiced by SpongeBob SquarePants' Tom Kenny (so, yes, SpongeBob himself), they're fed regurgitated food from Harris like baby birds. Performative masculinity might be the obvious target, and a worthy one, but barbs are clearly and eagerly fired in other directions. Dicks: The Musical's own distributor isn't safe. Neither is queer culture, the film's second main subject for parody; "Lube is the word," one of the feature's gag posters for faux Broadway shows states (My Queer Lady and The Gay Odd Couple are others) in what might be the movie's tamest joke. There's a throw-it-all-in vibe to Dicks: The Musical, then, where that one-upping quest frequently seems as if it's driving the flick above all else. Dicks: The Musical only spans 86 minutes, but even viewers unfamiliar with Fucking Identical Twins will be able to spot how well the material would've worked at a third of that length — and, as a result, how forceful much of the movie can be, and not just because that's exactly what Sharp, Jackson and their cast are giving in every single moment. That said, when a comedy turns its outrageousness up to 111, it needs one thing first and foremost: committed players. Dicks: The Musical's actors don't even dream of holding back and couldn't have if they wanted to — that version wouldn't have made it to fruition. There was no chance of Sharp and Jackson not investing their all in their film debut, of course, or in bringing their creation to cinemas, just as they've done with the script's constant array of off-kilter and iconoclastic gags. Megan Thee Stallion not only steals her office-bound scenes, but also ensures that her tune 'Out Alpha the Alpha' is the highlight of the musical numbers. Yang is perfection. Lane and Mullally expectedly prove genius casting moves, because who else would anyone want to sing about critters from the deep drinking blood for fun and winking nipples — and with feeling? Surreal, silly, aiming for scandalous, always throwing another provocative surprise the audience's way, emphasising loving people (and Sewer Boys) for who they are above all else: that's the Dicks: The Musical approach. Still, it's apt that Charles energetically splashes an artificial look across the screen. Making the bit seem genuine might be the tactic with most of his Sacha Baron Cohen-led fare (not The Dictator), and while helming episodes of Curb Your Enthusiasm, but it would've seen this film plummet down a grate. Accordingly, with its blatant sets and puppetry, at no point does Dicks: The Musical try to hide that this is a spoof world. There's a fabricated air overall, though; even when you're laughing, it's impossible not to spy the effort being expended like twins endeavouring to make a ploy a reality, this time on courting cult status.
Given the effort they put into creating, curating, collating and copying their wares, it seems kind of weird that the makers of zines would be the kind to abbreviate words. Like, "Okay, guys, we've edited and self-published a niche interest periodical, sure, but we don't have time to pronounce the syllables 'mag' and 'a'. That's where we draw the line!"? But, then again, eccentricity and arbitrary decision making are part of the beauty of zine culture, wherein anyone with access to words and/or images and a means of putting them together can be a publisher. There are political zines and poetry zines and zines about spoons and zines about people spooning. Often stumbled across in cute indie stores and venues or tracked down online, zines also enjoy a good gathering and the MCA and the Sydney Writers' Festival are, as has become their annual tradition, throwing them another party with the 2018 MCA Zine Far on Sunday, May 6. Head along and do some collecting — you can buy or barter — or just have a look at what people are into and up to. The fair is free, as is the public program attached to it. Rock up on the day to attend zine community panel discussions and workshops on collage and writing.
Like all significant art forms, dance is a medium that transcends language, culture and geography. This November — after an Aussie debut in Melbourne — The Australian Ballet will bring Instruments of Dance to the Sydney Opera House's Joan Sutherland Theatre. Audiences are in for an exploration of the contemporary dance canon from three distinct corners of the globe, showcasing ground-breaking modern dance from the world's top choreographers. Each choreography talent has created a work inspired by musical scores by contemporary composers who work in very different musical fields. The resulting performance will be a spectacular showcase of modern dance and the music that inspires it. First on the bill is Justin Peck, the resident choreographer of New York City Ballet who is making his Australian debut. Everywhere We Go is a nine-part ballet set to a score commissioned from acclaimed singer-songwriter Sufjan Stevens. Expect 25 dancers streaming in and out of complex group formations and expertly executed pas de deux bringing the energy of Hollywood and Broadway to the classical stage. Next up, Wayne McGregor's all-male Obsidian Tear explores the dark shadows of the planet and psyche. McGregor, who is the resident choreographer of The Royal Ballet, has created a performance that touches on a range of disciplines — from geology to mythology to the powerful effects of emotion on the body — set to a suite of violin works by Finnish conductor-composer Esa-Pekka Salonen. A range of fashion designers including Gareth Pugh and the legendary Vivienne Westwood have been enlisted for the costuming, ensuring a true visual feast. Finally, The Australian Ballet's own resident choreographer Alice Topp will present her new work, the appropriately titled New Work. The piece continues the celebrated choreographer's journey into the emotional core of the lived human experience, and features Australian design and a commissioned score by AACTA Award-winning composer Bryony Marks. Sound like something you want to see? We've teamed up with The Australian Ballet to give away one double-pass to what promises to be a spectacular showcase of 21st century ballet. You and a lucky plus one will score a premium double-pass to a performance between Friday, November 18 and Saturday, November 26. Keen? Just drop your details below. [competition]877301[/competition]
Whenever you're in a traditional art gallery, reaching for your camera can result in serious pangs of guilt. You know it's wrong, but you just want to take a little memento home with you. Next thing you know, the security guard is hauling you out the door by the collar and your photograph appears in the gallery blacklist. Well, it's not always that bad. But Canadian artists Brad Blucher and Kyle Clements aren't fans of the taboo against taking photos of artworks. Their project Take a Picture seeks to change the way audiences interact with art. Blank canvases on the surface, the artworks use a series of LED lights to create simple images invisible to the human eye. The paintings can only be unlocked for the viewer when photographed by a digital camera device. The artists explain that the series "explores the relationship between the ubiquity of digital cameras and social media, which encourages all aspects of daily life to be documented and shared, and the culture of art museums and galleries, which strictly prohibits photographing works of art." https://youtube.com/watch?v=810DLIu0uBg [Via PSFK]
With over 1300 genre-defying events, the 2024 Adelaide Fringe lineup is absolutely stacked, to say the least. For the bon vivants, we're sharing six ways to combine a love of food and drink with the irreverent and cheeky laughs we've come to expect from Fringe. Whether you're watching celebrated chef Adam Liaw cook up a storm on stage, sampling local wines while overlooking the Adelaide Hills, whipping up your own cocktails or giggling through a comedian-guided wine tasting, you're sure to find a food-fuelled Fringe adventure you'll enjoy. THE COOK UP WITH ADAM LIAW One of the festival's biggest headliners is beloved Aussie chef and presenter Adam Liaw. The Fringe ambassador will take the stage at Woodville Town Hall for a live edition of his SBS series The Cook Up on Thursday, February 29 and Friday, March 1. Past guests on the show have included everyone from notable chefs Ben Shewry and Hayden Quinn to media personalities Linda Marigliano and Osher Günsberg, musician Jimmy Barnes and Paralympian Ellie Cole, so expect some surprise guests in Liaw's makeshift kitchen. With culinary tips, tall tales from his extensive travels and unconventional recipes, you'll walk away inspired for your next dinner party. HIGH TEA HIGH TEASE One can always expect some rowdy fun at Fringe, and Jazida Productions has you covered with its series of themed High Tea High Tease events. Enjoy two hours of nibbles and tipples, burlesque, games and trivia at rooftop bar Nineteen Ten from 1pm on three consecutive Sundays in March. There's a theme for everyone, so you can pick your poison. Sunday, March 3 is Alice in Wonderland; Sunday, March 10 is Rocky Horror; and Sunday, March 17 is Under the Sea. LITTLE & LOCAL Discover some underrated gems of Adelaide's drinks scene with returning Fringe event Little & Local. On Saturday, February 24, local producers and musos will set up at charming Greenock restaurant El Estanco. The South American-inspired eatery will be slinging street food, pizza and other snacks throughout the al fresco space while guests explore the various wine, beer and gin purveyors and enjoy live tunes. For only $35, a full-priced ticket includes a tasting at each stall and a glass to take home. [caption id="attachment_931905" align="alignnone" width="1920"] Jonny Pappas, Backlit Media[/caption] GATHERING EXPERIENCE Can you really say you went to Adelaide if you didn't visit a winery? Get some sightseeing done while you're at Fringe at The Lane Vineyard. From Friday, February 16 to Friday, March 15, you can book in for a one-hour wine tasting paired with amuse-bouches. Only 30 minutes from central Adelaide, the sprawling winery offers sweeping views across the Adelaide Hills, so it is well worth a short escape from the city. [caption id="attachment_932696" align="alignnone" width="1920"] Meaghan Coles[/caption] CLASSIC CRAFT COCKTAIL EXPERIENCE If your kindred spirit is more gin than wine, try creating your own boozy concoctions at a cocktail-making class hosted by the South Aussie craft gin distillery, Prohibition Liquor Co. Drop into the airy new cocktail bar, Next Door, on Saturday, February 24 or Saturday, March 9, to learn how to make signature cocktails while snacking on an antipasto platter. As well as two drinks and bites, a $65 ticket includes $15 off any bottle purchases made on the day. IN POUR TASTE: A COMEDY WINE TASTING EXPERIENCE Combine the libations and laughs for a quintessential Adelaide Fringe event. In Pour Taste: A Comedy Wine Tasting Experience is back in 2024 after selling out last year and winning an Adelaide Fringe Weekly Award. Comedians Sweeney Preston and Ethan Cavanagh will take you through five wine tastings as they dive deep into the things you've always wanted to know about wine but never wanted to embarrass yourself enough to ask. This event will sell out, so book in while you can. Image: Nick Robertson Book your FringeTIX now at the Adelaide Fringe website.
It's official — Neil Perry's Rosetta is coming to Sydney. Perry posted an image on Instagram yesterday, announcing that the restaurant's second location is in the works at Grosvenor Place in the CBD. The much-loved Melbourne original has been teasing Sydneysiders for years, offering up authentic Italian cooking from both the country's northern and southern regions. Come this autumn, we too will boast our own version of this high-class Italian affair. Word of the restaurant's migration to Sydney was first heard back in November when Urban Purveyor Group acquired the Rockpool Group to form the Rockpool Dining Group. Their combined portfolio of eateries became 47 venues overnight, and they expect their portfolio to grow to more than 80 venues in 2017 alone. They've recently launched two take away spinoffs, Fratelli Famous and Saké Jr, and plan to open 100 of each (yes, of each) over the next five years. Plus, Perry's Burger Project plans to keep expanding, with one opening in Brisbane last month and another in Parramatta this week. Rosetta will be in good company, with Perry's fine-casual dining restaurant Eleven Bridge just down the block. We personally can't wait to dig in to some buttery, handmade pasta and fresh seafood dishes that the Melbourne location is known for, along with the expertly curated and extensive wine menu from Italy's best regions. Bring that carb food coma on. Rosetta is set to open this autumn at Grosvenor Place, 225 George Street, Sydney. Watch this space for updates on the restaurant's official opening.
UPDATE, Friday, June 21, 2024: Anatomy of a Fall is available to stream via Stan, YouTube Movies, iTunes and Prime Video. The calypso instrumental cover of 'P.I.M.P.' isn't the only thing that Anatomy of a Fall's audience can't dislodge from their heads after watching 2023's deserving Cannes Film Festival Palme d'Or-winner and 2024's five-time Oscar-nominee. A film that's thorny, knotty and defiantly unwilling to give any easy answers, this legal, psychological and emotional thriller about a woman on trial for her husband's death is unshakeable in as many ways as someone can have doubts about another person: so, a myriad. This is a movie about truth that's really a feature about trust and perception. Indeed, delivering a definitive solution and explanation isn't filmmaker Justine Triet's focus. Helming her fourth full-length picture and becoming an Academy Award contender for Best Director in the process, the French talent doesn't serve up neat true crime-style closure, either, but she unflinchingly knows that the world has been conditioned to want every query and mystery — every uncertainty as well — wrapped up conclusively and categorically. The scenario conjured up by Age of Panic, Victoria and Sibyl's Triet is deeply haunting, asking not only if her protagonist Sandra Voyter (Sandra Hüller, Sisi & I) committed murder, as the on-screen investigation and courtroom proceedings interrogate, but digging into what it means to be forced to choose between whether someone did the worst or is innocent — or if either matters. While the Gallic legal system and its specifics provide the backdrop for much of the Anatomy of a Fall, the real person doing the real picking isn't there in a professional capacity, or on a jury. Rather, it's 11-year-old Daniel (Milo Machado Graner, Alex Hugo), who has a visual impairment, finds his dad Samuel (Samuel Theis, Softie) in the snow with a head injury outside their French Alps home on an otherwise ordinary day, then becomes the key witness in his mum's case. Returning from a walk with his dog Snoop, the boy didn't see what happened, but he's the closest thing that detectives have to an onlooker. Novelist and translator Sandra is introduced with that clanging version of one of 50 Cent's best-known songs echoing, a graduate student (Camille Rutherford, The Night of the 12th) interviewing her about her work and successful career in the family's remote chalet and, as he undertakes renovations upstairs, teacher Samuel turning up the soundtrack to distracting levels. Within an hour in the film's timeline and mere minutes for viewers, the latter will be dead via a fall from the home's topmost floor. When the inquiries start, Sandra says that she was asleep post-chat. Already, a wealth of details give rise to questions. Was Samuel blasting tunes to sabotage his wife's discussion? Also, why that particular track? Sipping wine as she talked, was the bisexual Sandra flirting? Did that raise her husband's ire? Do his and her actions alike that day scream volumes about the state of their marriage? Did she really not hear the incident? Was it an accident, suicide or was she responsible? Anatomy of a Fall is always a film about questions, too — and the reality that, in life-and-death situations and everyday circumstances, they never stop springing in any relationship. The police can't make a clearcut decision either way based on the available evidence, hence the presumption of murder, Sandra as the prime suspect and the shift to court. Fittingly co-writing the script with her IRL partner Arthur Harari (Onoda: 10,000 Nights in the Jungle), Triet's poising of Anatomy of a Fall's opening moments as fuel for scrutinising Sandra and Samuel's union is savvy is another way: it sets up an entire feature where their wedded bliss — or lack thereof, as quickly becomes apparent — is probed, audited and analysed. The stakes are immense, but pondering how any long-term romance can hold up to such a dissection is one of the film's many takeaways. The questions swirl again, sifting through infidelities, guilt over the accident that caused Daniel to lose his sight, the division of household tasks, gender roles, mental health, professional rivalries, at-any-cost moves, past fights and how the couple's son was caught in the middle long before he's now asked to say whether his father, who homeschooled him, was killed by his mother. A picture as intelligent and exacting as this — and as taut, tense and tenacious — isn't short of unforgettable elements. Again, the whole feature earns that description, as does its unpacking of intimate connections. Also high on the list: the performances that are so crucial in telling this tale of marital and parental bonds, especially from one of Germany's current best actors. Although her similarly astonishing portrayal in The Zone of Interest is following Anatomy of a Fall to screens Down Under, arriving in February 2024, Toni Erdmann and I'm Your Man's Hüller is two for two in movies that initially debuted globally in 2023, collected awards at Cannes (The Zone of Interest picked up the Grand Prix, aka second place in the festival's official competition), rightly received Oscar attention and are anchored by her complex portrayals of women who refuse to meet anyone's expectations but their own. Here, she steps into an icy and complicated figure's shoes with the same surgical precision that Triet applies to rifling through the character's home life (that Sandra would rather speak English with her spouse despite him being French and them living in France isn't just a minor tidbit). In flashbacks to disagreements with Samuel and with her freedom on the line, Anatomy of a Fall's accused is unwaveringly unapologetic in her insistence to put herself first — as it's plain that both the prosecutor (Antoine Reinartz, Irma Vep) and defence attorney (Swann Arlaud, About Joan) on the case can see — and Hüller at her steeliest best, always devastatingly naturalistically so, is formidable in the part. She's the one with the Academy Award nod for acting; however, the up-and-coming French talent playing her son is also exceptional. In fact, as Daniel, who couldn't be more conflicted about the nightmare situation that he's been thrust into, Graner is a revelation, frequently via his expressive face and posture alone. If Scenes From a Marriage met Kramer vs Kramer, plus 1959's Anatomy of a Murder that patently influences Anatomy of a Fall's name, this would be the gripping end result. Tearing into a relationship — and tearing it apart — feels nothing less than brutal in Triet's hands; every realisation about human nature in love and life that resounds along the way feels decidedly accurate, though. There's an aspect of Gone Girl to her masterful feature, too. While this isn't a film with a "cool girl" monologue, the societal expectations placed upon women, and on mothers, are firmly pushed to the fore. Take note of the fact that cinematographer Simon Beaufils (Antoinette in the Cévennes) is often looking up at Hüller as well: whatever Sandra did or didn't do, whatever Daniel does or doesn't choose to believe, and wherever audiences land — again, there's no simple resolution here — being a victim, or allowing herself to be seen that way, isn't part of the character's anatomy.
For those considering a trip down to Sydney for Mardi Gras this year, Virgin Australia is sweetening the deal by offering a glitter-filled flight from Brisbane full of drinks, drag and DJs. The Pride Flight is a one-way flight from Brisbane to Sydney that will include bottomless beverages, DJs spinning classic pride tunes and mid-air drag performances hosted by Sydney drag queen Ms Penny Tration of Ru Paul's Drag Race. As you would expect, passengers will also be travelling on Virgin's most bright and colourful aircraft, decked out in glitter and rainbows. The flight will leave from Brisbane at midday on Friday, March 5, just in time for the final weekend of Mardi Gras which will include the 2021 parade, hosted in the SCG for the first time this year to abide by COVID-19 restrictions. An array of parties, talks, performances and an Oxford Street protest are all also scheduled for the first weekend of March. Check out Mardi Gras' full program at its website. Tickets for the 200-seat flight went on sale at 6am on Thursday, February 11 and are sure to be snatched up quickly. An economy seat on the flight will set you back $150 one-way or you can upgrade to business for $350. Passengers will have to organise their own less glitter-filled flight home following the weekend's celebrations. Of course, Sydneysiders wanting to experience the one-off flight can also head up to Brisbane prior to the Friday event. Virgin Australia is also currently waiving change and cancellation fees for bookings made before Friday, April 30, meaning you can book your Pride Flight ticket and your return ticket without the stress of hefty fees if a snap border closure or a change in your personal schedule ruins your Mardi Gras plans. Virgin Australia's Pride Flight will fly from Brisbane to Sydney at 12pm on Friday, March 5. Tickets are on sale now from the Virgin Australia website.
In the best films of 2019, lush love stories swept across the screen, intense thrillers laid bare class inequities and Hollywood history was given a playful twist. Australia's dark past was pushed under a magnifying glass, doppelgängers wreaked havoc and a marriage came to an end — and they're just some of the year's highlights. Come 12am on January 1, 2020, they're all yesterday's news, however. When a new year arrives, it brings 12 more months of glorious movies. They won't all be winners, but plenty of standouts will rise to the top — and, spanning everything from slasher thrills to long-awaited musicals, we have our eye on these ten must-see movies. https://www.youtube.com/watch?v=RE7YVZA5YVc TRUE HISTORY OF THE KELLY GANG New year, new searing Australian film that carves up our national identity — and boasts no qualms about laying bare our troubled history. In 2018, Sweet Country did the honours, while 2019 gave us The Nightingale. Now, in 2020, it's True History of the Kelly Gang's turn. The latest distinctive and daring feature from Aussie director Justin Kurzel (Snowtown, Macbeth), this adaptation of Peter Carey's Booker Prize-winning novel follows the country's most famous bushranger from his childhood (where he's played by excellent newcomer Orlando Schwerdt) to his bush-ranging years (when talented UK actor George McKay takes over). Don't expect a standard interpretation of Kelly's well-known tale, though, because Kurzel's star-studded affair is gritty, galvanising and spans far beyond the usual cliches. Visually, emotionally and in its performances (including by Essie Davis, Russell Crowe, Nicholas Hoult and Charlie Hunnam), the result is electrifying. True History of the Kelly Gang releases in Australian cinemas on January 9, then hits Stan on January 26. https://www.youtube.com/watch?v=TkDOuzri5hw&feature=youtu.be TENET Is it a follow-up to Inception? Does Christopher Nolan just like getting twisty every ten years? Or does the acclaimed director simply enjoy messing with everyone's heads? When the trailer for Tenet dropped, it inspired all of the above questions — but keen moviegoers will need to wait until July for answers. For now, we do know that Nolan's latest will involve time travel, the afterlife and stopping World War III. Also: spies, boats, sensing things before they happen and objects running in reverse. Throw in an active attempt to bend viewers' minds, plus many a superbly shot and staged spectacle, and Nolan is back in the territory that has served him so well since Memento. BlacKkKlansman's John David Washington leads the cast, alongside Robert Pattinson, Nolan regular Michael Caine, Aussie actor Elizabeth Debicki and Kenneth Branagh. Tenet releases in Australian cinemas on July 16. BILL & TED FACE THE MUSIC It was first uttered more than three decades ago, but the world could always use Bill & Ted's main nugget of wisdom. "Be excellent to each other," Bill & Ted's Excellent Adventure first told us in 1989, before continuing the message in 1991's Bill & Ted's Bogus Journey — and it'll do so again in the long-awaited Bill & Ted Face the Music. Alex Winter and Keanu Reeves are back as everyone's favourite high school slackers and wannabe rockers, who initially started travelling through time in a phone booth to pass a history report and secure the world's future. They're middle-aged now and they even have daughters (played by Ready or Not's Samara Weaving and Bombshell's Brigette Lundy-Paine), but when you're told as a teen that your music is going to change the entire universe, that responsibility doesn't just fade because you get older. Bill & Ted Face the Music releases in American cinemas on August 21, with an Australian release date yet to be confirmed. HALLOWEEN KILLS For 42 years, the Halloween franchise has been delivering stone-cold horror masterpieces, weird and wonderful detours, and entries that deserve to be locked away for all eternity with Michael Myers. The difference between the series' John Carpenter-directed best and its trashy worst is enormous, but when David Gordon Green (Prince Avalanche, Pineapple Express) took the reins for 2018's Halloween — a direct sequel to the 1978 original that ignores the seven other follow-ups and two remakes in-between — he served up one of the saga's best chapters. It helped that Jamie Lee Curtis was back, of course. Also beneficial: a meaty story that grapples with trauma, a skill for slasher thrills, a new score by Carpenter himself, and producer Jason Blum's support. So it was great news when two more movies were announced, including 2020's Halloween Kills, which brings the whole gang back to Haddonfield for another encounter with the town's masked menace. Halloween Kills releases in Australian cinemas on October 15. https://www.youtube.com/watch?v=7i5kiFDunk8 PROMISING YOUNG WOMAN From Hustlers to Black Christmas, a swathe of great female-written and directed films haven't just been dancing in topical territory of late — they've been tackling issues of gender inequality, misogyny and sexual assault head on. Due to premiere at the 2020 Sundance Film Festival, Promising Young Woman belongs in the same company, as its immensely popular trailer shows. It all starts in a bar, where Cassie (Carey Mulligan) appears intoxicated and Jez (Adam Brody) helps her home. They've never met, but he's supposedly being nice. Then, while she's virtually passed out, he makes a move — and she makes it known that she's not going to become a drunken statistic. The feature debut of writer/director Emerald Fennell, the showrunner on Killing Eve's second season, this looks like a revenge flick with serious bite. Promising Young Woman premieres at Sundance in January, then releases in American cinemas on April 17, with an Australian release date yet to be confirmed. [caption id="attachment_756329" align="aligncenter" width="1920"] Marriage Story[/caption] ANNETTE It has been eight years since Leos Carax's Holy Motors hit cinema screens, becoming one of the most memorable movies of both the decade and the 21st century in the process. And, for four of those years, his next project has been eagerly anticipated: musical Annette, starring Adam Driver and Marion Cotillard. Lavant will make his English-language debut with the song-filled feature, which follows a stand-up comedian (Driver), his soprano opera singer wife (Cotillard) and the drastic change in their lives when their daughter Annette is born. Part of the film's delays have been put down to Driver's busy Star Wars schedule (and starring in The Dead Don't Die, The Report and Marriage Story this year alone, too), but the movie finally shot late in 2019 — so here's hoping that we soon get to see what Carax's inventive mind has put together next. Annette doesn't yet have a release date. [caption id="attachment_555885" align="aligncenter" width="1280"] Cemetery of Splendour[/caption] MEMORIA With Memoria, another acclaimed auteur makes his first film in English — and returns after a significant gap in his filmography. That'd be Apichatpong Weerasethakul, the Thai director who last splashed dreamlike visuals and poetic musings across the screen with 2015's Cemetery of Splendour, and whose resume also features three Cannes prize-winning features (including the Palme d'Or for 2010's Uncle Boonmee Who Can Recall His Past Lives). It's a claim made too often, but Weerasethakul truly does make movies unlike anyone else. Not much is known about Memoria, apart from that it was shot in Colombia, but the filmmaker's work is always about much, much more than plot. This one possesses some serious star power, too, with the international cast led by Tilda Swinton. Memoria doesn't yet have a release date. HOPE When New Zealand's Madeleine Sami and Jackie van Beek directed 2018's The Breaker Upperers, they gave the world one of the smartest and most amusing female-focused comedies in recent years. For their follow-up, Hope, the duo is keeping things funny — and given that this time they'll be pointing the camera at Aubrey Plaza, that doesn't seem particularly difficult. Another movie that's keeping its details quiet for now, it's described as a romantic comedy and is being made for Netflix. To shore up its rom-com credentials, it's based on a script by Karen McCullah and Kirsten Smith, who also wrote the screenplay for another great example of the genre: the modernised Shakespeare adaptation that is 10 Things I Hate About You. Hope doesn't yet have a release date. [caption id="attachment_756331" align="aligncenter" width="1920"] A Very Murray Christmas[/caption] ON THE ROCKS Sofia Coppola. Bill Murray. Enough said, really. The Lost in Translation duo reunite for On the Rocks, which focuses on a young mother who reconnects with her wayward dad during a New York adventure. Parks and Recreation's Rashida Jones and Jenny Slate also star, as well as Marlon Wayans, with Coppola both directing and writing the screenplay — as she has with all of her projects since her 1999 debut The Virgin Suicides. Of course, the filmmaker also teamed up with Murray back in 2015 for Netflix special A Very Murray Christmas, but more of this pair is never a bad thing. On the Rocks will also mark Coppola's first film since winning Cannes Best Director prize (and becoming only the second woman to do so) for 2017's The Beguiled. On the Rocks doesn't yet have a release date. [caption id="attachment_492422" align="aligncenter" width="1280"] Jodorowsky's Dune[/caption] DUNE David Lynch's Dune is one of the most unfairly maligned sci-fi films ever made. It's not the version that Alejandro Jodorowsky would've whipped up — as explored in excellent documentary Jodorowsky's Dune — but the 1984 movie still has its surreal delights. Just how Denis Villeneuve's new adaptation of Frank Herbert's 1965 novel will fare is still yet to be seen, but the French Canadian director has already revived another 80s sci-fi property to stunning effect with Blade Runner 2049. Once again, he has amassed a stellar cast, including Timothée Chalamet, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya, Charlotte Rampling, Jason Momoa, Javier Bardem and Doctor Sleep's Rebecca Ferguson. They'll all fight over 'the spice', the most valuable substance in the universe. Dune releases in Australian cinemas on December 26. With hundreds of movies reaching Australian screens every year, there's plenty more to look forward to in 2020 too. We've also checked out a heap of trailers for the year's upcoming flicks, including Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn), The Invisible Man, Fantasy Island, Mulan, No Time to Die, Black Widow, The Woman in the Window, Wonder Woman 1984, In the Heights, Soul, Ghostbusters: Afterlife, Jungle Cruise and The SpongeBob Movie: Sponge On the Run. Only one of them features Keanu Reeves as a talking sage, though.
Vivid Sydney is almost here — which means the city is at full capacity with enough art, music and entertainment to keep you warm over winter. Instead of spending all your time looking at the lights and crowds at Opera Bar, head over to Kings Cross Hotel, because the venue is teaming up with Vivid once again to throw parties on each Saturday of the festival. On May 25, June 1 and June 8, the hotel fill its seven levels with bands, DJs, artists and performers. Expect to party until you can party no more, because each night celebrates something new. Find yourself boogying on the rooftop to an all-female lineup led by Nina Las Vegas on the first Saturday, cutting shapes to some fresh music from electronic label Clipp Art on the second, and then rounding it all out with a curation of Australia's hip hop and dancehall up-and-comers. Best of all, entry is 100 percent free.
The Wool Modern exhibition is part of the Prince of Wales' Campaign for Wool, and aims to dissolve any preconceptions about the wool industry by demonstrating a new, fashionable, 21st-century platform for the natural fibre. Featuring the "modern, innovative, and avant-garde" use of wool throughout today's creative industries, Wool Modern promises to upstage your thick winter socks. Prominent Australian fashion and interior designers — including Collette Dinnigan, Romance Was Born and Akira Isogawa — will display their creations among industry greats such as Alexander McQueen and Vivienne Westwood. Wool Modern will be held on Pier 2 & 3 April 25 - May 1. From there, it will be transplanted to the nearby Queen Victoria Building on George Street, where it will remain through June.
“You steer my life into something I can't describe,” Toro Y Moi sings on dynamite new single “So Many Details”, a burbling, sunny slice of space-age lover's rock which hints at yet another new direction for the South Carolina native. The title proves a bit of a misdirect; this is Toro Y Moi again working in impressionistic mode, favouring gauzy, dreamy mood over specifics, and ranks with past earworms like “Go With You” and “New Beat”. Initially emerging as a key figure in chillwave's Indian summer of 2010, Toro Y Moi has since proved a harder figure to pin down, his prolific output both harking back to his early bedroom pop recordings and turning to the likes of avant-pop leviathans Animal Collective for inspiration. With some promising new songs and the irresistible new single providing a fine teaser for the release of his next record, 2013's Anything in Return, his show at The Standard looks like one not to miss.
If you're not fond of cooking every night of the week, chances are you've relied upon food delivery services a little more than usual in 2020. With heading out to eat off the cards during Australia's nationwide lockdown earlier in the year — and throughout Melbourne's current strict stay-at-home restrictions as well — being able to get meals brought to your door has been a key coping tool. You might not be able to physically go to your favourite eatery, but you can still tuck into its dishes. For three days next week — from 12.01am Tuesday, September 29–11.59pm Thursday, October 1 — you'll also be able to get those bites to eat without paying for delivery. Across that 72-hour period, Menulog is hosting its first Menulog Free Delivery Fest. And yes, it's all there in the name. You'll still have to pay for your food, obviously, but you won't have to fork out a single cent to get it delivered. And, the deal applies to every Menulog-delivered order except KFC, so you'll have plenty of dishes to choose from. To nab free delivery, you'll need to order between the above dates and times via the Menulog app and the Menulog website. Restaurants taking part will have a free delivery icon on their Menulog listing, too — with the Menulog Free Delivery Fest running in New South Wales, Victoria, Queensland, South Australia, Tasmania, the Northern Territory and the Australian Capital Territory. The Menulog Free Delivery Fest runs from 12.01am Tuesday, September 29–11.59pm Thursday, October 1 via the Menulog app and the Menulog website.
Audible is the world's largest creator and retailer of audiobook content, so you can be sure they know a thing or two about great stories. During Vivid Sydney, Audible is hosting three separate events with some of the city's best names in audio entertainment. On Wednesday, June 1, former MasterChef Australia champion Adam Liaw will be speaking about how the food we cook and eat shapes the world around us. Wednesday, June 8, sees TV presenter Melissa Doyle examine how the world handles – or rather, doesn't handle – the concept of women ageing. Finally, on June 15, writer Laura Nagy and journalist Marc Fennell uncover some of pop culture's more unusual and niche trends.
Take your cricket skills beyond your fence this Boxing Day at The Greens, North Sydney. From midday to 4pm, the 125-year-old bowling green will be transformed into one big public pitch, where backyard rules will apply. In between bats and bowls, you'll be able to contemplate your next strategy while gazing out over the venue's cracking harbour views. If you're keen to stick to the sidelines, or you need some refreshments to give your play the edge, there'll be $40 antipasto baskets and bottles of Chandon Summer Brut on offer. The Greens' regular menu is also good for sampling, featuring some pretty exotic sharing plates, such as oxtail croquettes with sweet pimento dipping sauce ($11) and house cured ocean trout with housemade pickled cucumbers, caper berries, quail eggs, and lemon creme fraiche ($14). For drinks, the bespoke cocktail menu includes yuzu daiquiris and tequila and chamomile sours (served with chamomile flowers on the side).
UPDATE: MAY 13, 2020 — Sample will allow some seating from Friday, May 15, but food and coffee will continue to be served as takeaway. It'll allow up to customers at any one time. Sample Coffee is exactly what it sounds like. They have a constantly rotating selection of origins on offer and showcase a different specialty roaster to sample each week — the coffee equivalent of giving props to a good roast. Not everyone finds their favourite origin on the first try, so this is the perfect place to experiment. We suggest visiting their St Peters Pro Store over their Surry Hills bar as there's a lot more room for to move while you down five espressos and think about your next home barista purchase. Yes, you definitely need another drip brewer. Image: Simon Wright via Flickr
For the second year in a row, one of Australia's filmmaking icons has joined the Sydney Film Festival's program: George Miller, the director responsible for all things Mad Max and Furiosa. In 2024, he hit the Harbour City festival to chat about his work, including the dystopian saga that he has gifted Aussie cinema, but his 2025 discussion will span further. Not only is Miller taking to the stage, but he'll be joined by Hideo Kojima. One is the man responsible not just for a big Australian movie franchise, but for the big Australian movie franchise. He's also followed a pig in the city, made penguins dance, gotten witchy and granted wishes, too. The other is the creator of both the DEATH STRANDING and Metal Gear Solid video-game series, and heads to Sydney just before DEATH STRANDING 2: ON THE BEACH releases at the end of June. This is a world-exclusive in-conversation session, taking place on Saturday, June 14 at Sydney Town Hall's Centennial Hall — so consider it one of the ace ways to help see out this year's cinema celebration, which runs from Wednesday, June 4–Sunday, June 15. Miller and Kojima will not only dig into how they each approach their fields, plus their respective visionary approaches, but also explore how movies and video games overlap, alongside cinematic storytelling in gaming. Greats in their own rights, the duo are also recent collaborators — Miller portrays himself in the Australia-set DEATH STRANDING 2: ON THE BEACH.
Truffle season is an indulgent time where you treat yourself to the finer things and reach peak foodie sophistication as you hunt for restaurants and menus featuring that coveted culinary black gold. This winter, BLACK Bar & Grill is embracing this luxuriousness with a one-night-only truffle feast — and we've got two tickets to the dinner to give away. The dinner will take place on Thursday, July 5, with the six-course experience prepared and hosted by Executive Chef Dany Karam, along with co-host truffle farmer Henry Terry, who was most recently spotted on My Kitchen Rules. Starting at 7pm, you'll have your fill of original dishes like scallop and truffle sandwiches, truffle poached marron and roasted pineapple and truffle ice cream that are all sure to thrill those truffle-loving tastebuds of yours. With each plate, Chef Karam hopes to showcase seasonal produce and flavours along with the truffles. "We've used rich, winter flavours and local, cool climate wines with a savoury finish to complement the truffles." You can anticipate a glorious meal along with wine selections from the house sommelier, including two glasses of Krug Champagne to set off your lavish night. While BLACK offers a special menu featuring an a la carte three-course meal and sommelier pairings options until August 5, this one-time feast will be the culmination of all your truffle-covered dreams this season. You're in for a night of well-crafted and curated fare sure to put you in a truffle trance until next winter. The BLACK Bar & Grill truffle dinner will take place on Thursday, July 5 and tickets cost $290. Enter to win tickets for you and a date. See below. [competition]674957[/competition]
In a year when we're all spending a whole lot more time at home than we ever planned to, you may have become obsessed with upgrading your abode (and we don't blame you). One of the best ways to brighten up your space is with pops of colour, and that goes hand-in-hand with one of the most colourful art movements of the last century — the pop art era. Distinguished by its flashy imagery and bold colours, pop art flourished in the 1950s and 60s across the UK and US, and, to a degree, Australia. Whether you're an art lover or just want to freshen up your space, we've picked out six simple ways you can bring a slice of pop art into your life, with help from our friends at LEGO Art — from kitschy statement jewellery to patterned cushions and build-your-own artwork. We've also made sure you can order these items from the comfort of your home. Each item can be shipped directly to your doorstep. [caption id="attachment_782323" align="alignnone" width="1920"] Nikita Majajas by Liz Ham[/caption] WEAR POP ART-INSPIRED JEWELLERY FROM DOODAD AND FANDANGO Sydney-based jewellery brand Doodad and Fandango is all about that pop art look, thanks to founder Nikita (Margarita) Majajas' obsession with Japan's Harajuku fashion movement. She creates wearable art that's inspired by the bakelite and celluloid costume jewellery of the 1930s and 50s, and she wants her customers to experience the glamorous look of the era with new, modern designs. These products are anything but fast fashion — every piece is handmade to order using locally sourced, collector's-grade material and the process is sustainable, too. Plus each item is just really fun — think a Stud choker ($140), Act Now earrings ($80) and even a range of bolo ties ($90) to choose from. BUILD ANDY WARHOL'S MARILYN MONROE AND FRAME IT We've been loving the rise of adult colouring books, paint sets and other calming kidult trends. And now a childhood favourite is offering a much more adult version of your favourite coloured bricks. There's a new LEGO Art range which is specifically designed for grown ups. Our pick is the iconic Marilyn Monroe portrait ($199), based on the artwork by Andy Warhol, one of the leading figures of the pop art movement. Each set comes with four different building options, so you can recreate and display the entire portrait series — all with a Warhol signature tile to boot. If puzzling together colourful squares isn't therapeutic enough, the experience also comes with a specially curated soundtrack to listen to as you build. SIP FROM THESE POP ART-INSPIRED MUGS Miss perusing the museum gift shop after seeing an exhibition? Sydney's Museum of Contemporary Art has you covered. Whether you live out-of-state or are just being 'rona safe, you don't have to head into the museum to check out its store. The online shop offers a huge range of art-adjacent products that can be delivered direct to your doorstep. Including these Andy Warhol-themed mugs ($24.99), dubbed the 'Andy Tea-Hall'. It's sure to make your daily (or hourly) cuppa a bit more fun. The shop also offers heaps of other ceramics and homewares, as well as jewellery and gift ideas. BRIGHTEN UP THE LOUNGE WITH PATTERNED CUSHIONS World-renowned Finnish brand Marimekko has a penchant for patterns, and it has been brightening up homes and wardrobes around the world for six decades. Expertly crafted to last, the brand's products are the perfect addition to any house. While there are stores all over Australia and New Zealand (and over 100 around the world), you can also simply order online. Marimekko's designs come in all different hues and patterns, with pillows, covers and cushions all on offer — think orange groves, vivid greens, floral patterns and bold black and white shapes. All of the textiles are printed at the company's factory in Helsinki. Cushion covers (50 x 50 centimetres) start from $53, and shipping is free if you spend over $150. STOCK YOUR LIBRARY WITH POP ART BOOKS A coffee table book is a great way to bring pop art into your home without committing to it long-term. There are (not surprisingly) heaps of books on the subject, and Brisbane's Queensland Art Gallery of Modern Art (QAGOMA) is a good place to start. Its online shop offers stacks of art books and specialises in Australian and First Nations art and artists. If you're just beginning your pop art collection, our top pick is Flavia Frigeri's Pop Art: Art Essentials ($20). The book follows the movement from its beginnings in post-war consumerism all the way to its global rise in the 1960s. Explore works by well-known artists like Roy Lichtenstein alongside Japan's Ushio Shinohara and Argentina's Marta Minujín. Delivery is a $15 flat rate across Australia, $30 for New Zealand and $10 if you live locally. SPORT YOUR LOVE FOR WARHOL WITH WEARABLE PIECES OF ART If you're looking for other ways to show your love of pop art without decorating the house, there's a huge range of clothing, jewellery and other art-related fashion accessories up for grabs from the Museum of Contemporary Art. This wooden Andy Warhol brooch ($29) is a hand-painted statement piece that closely aligns with Warhol's quote, "Fashion wasn't what you wore someplace anymore; it was the whole reason for going". Created by Milk Thieves' designer Emma Lee, the brooch was handmade on the South Coast using sustainably sourced, laser-cut bamboo. And it'll add a bit of nostalgic pop culture into your accessory roster. Discover more about the new LEGO Art range, here.
After the turbulent year that has been, summer is finally here and it's time to celebrate. One of the easiest ways to do that is with an epic (socially responsible) house party. House parties are the places where friendships are forged, dancefloors are formed and memories are made, and summer is the primo time to make use of your own house and host your friends for a knees-up. With fun in mind, we've joined forces with Hennessy for this foolproof guide to making sure your party has all the elements needed for success. Stay up to date with the developing COVID-19 outbreak in Sydney's northern beaches and current restrictions at NSW Health. FIRST, ORDER THIS HOUSE PARTY PACK No one likes to socialise when they're hangry, so sorting out food should be your first port of call. That's why Hennessy has partnered with three different restaurants to create a series of collaborative feasts. Each comes with a limited edition bottle of Hennessy, ginger ale and a fun snack pack. In Sydney, fried chicken purveyors Butter will supply you and three friends with chicken wings, corn on the cob, mash and ramen-broth gravy, slaw and rolls for $180. In Melbourne, Japanese hot spot Mr Miyagi will sort you and three mates out with pork belly bao, peking duck nori tacos, fried chicken and spiced tuna tartare crackers for $250. And in Brisbane, party people can get around a feast for ten of spring rolls, chicken karaage bao and spiced chicken wings with gochujang aioli from Mr Mista for $230. Each pack also includes party cups, balloons, a deck of cards and a disposable camera to capture all the good times you'll be having. MAKE SUPER-SIMPLE COCKTAILS FOR WELCOME DRINKS Some of the best cocktails are ones you don't even need a recipe for, and the ginger mule is exactly that. Simply pour 40ml of Hennessy into a highball glass and fill the glass with ice. Top up with around 100ml of ginger ale and garnish with a lime wedge or slices of fresh ginger. Voila! Drinks are sorted. You could also consider batching these cocktails in larger quantities for easy serving. Find this recipe and more on Hennessy's website. [embed]https://open.spotify.com/playlist/1CzIHMGk079iUL3947oYnr[/embed] OPT FOR A READYMADE PLAYLIST Instead of fussing about with aux cords or searching for artists, leave the party soundtrack responsibilities to Hennessy. Yep, the cognac brand also has a surprisingly good selection of packed-out playlists for four different moods. Head to the aptly titled House Party curated by music maestros Cool Accidents. It's filled with party-starting anthems from Hello, DMX, Missy Elliott and N.W.A. Or, try out the Beach Club, Sunset Sessions and Pre-Party Mix playlists, which will have you sorted with progressive mixes of slinky house, hip hop and R&B. [caption id="attachment_786101" align="alignnone" width="1920"] Cottonbro[/caption] SET UP SOME PARTY-STARTING GAMES AND ICEBREAKERS Now you've got food, tunes and drinks sorted, it's time to set up some party-starting games and social icebreakers. Putting a little bit of thought into some easy-to-execute games can result in some serious fun. Whip out old-school Twister from the cupboard or try a few rounds of celebrity heads (which you can do with just pieces of paper and pens). Outdoor games are also simple to set-up — borrow a Finska set from a friend or set up some classic backyard cricket. CONSIDER HOW TO TRANSFORM YOUR SPACE Now you've got all the essentials sorted, it's time to think through the flow of the space and decorations. You don't have to go all-out, but considering how people will move and groove through your house is a worthwhile exercise. Set up a designated dancefloor (the playlist will help out with this) and hire some disco lights or smoke machines. Make sure there's seating areas, too, and not placed in thoroughfares. Your guests will pick up what you're putting down and they'll move about the space as you've intended. Hennessy's House Party Packs are available takeaway now till stocks last. To order from Butter in Sydney, head here. To order from Mr Miyagi, head here. And to order from Mr Mista, head here. Top image: Inga Seliverstova
Nakkiah Lui is a new Australian voice very worth your sitting still and listening to, whether in the theatre, on TV's Black Comedy or on Twitter. She writes about life, love, politics and institutionalised racism in her new play, Kill the Messenger, and because director Anthea Williams just couldn’t imagine anyone else in the role, she'll be playing herself. Cue suddenly extra-awkward sex scenes. We loved Lui’s debut full-length play, This Heaven, also at Belvoir, and can't wait for the sharp stab of heartache and anger sure to come with this one, a very personal story about how racism becomes just a part of the system. Lui was writing about the death of a man turned away from a hospital emergency room when her own grandmother fell through the floor in her home — a home that was left in disrepair by the Aboriginal Housing Office. The two stories, and Lui's questioning of them (and of their place in the theatre), become intertwined in Kill the Messenger, a night of self-reflexive theatre not to miss.
When Virgil Oldman (Geoffrey Rush) celebrates his birthday, he does so dining alone in a high-end restaurant, staring disconsolately at a special cake baked in his honour as other patrons titter at the pitiful spectacle. Lonely as he is, Virgil has carved out a fine career as an art auctioneer and is widely respected as the best at what he does and valued for his fine eye and penchant for detail. In his fastidiously maintained home, he keeps a whole wardrobe full of top-end designer gloves, the perfect accessory for a man who likes to keep life at arm's length. The wardrobe leads into a sanctuary of his most treasured possessions, a secret stash of portraits of women. He has secured these valuable gems in league with his only real friend, Billy (Donald Sutherland), an art collector who conspires with Virgil to win valuable works at auction, sold under value to 'the best offer'. When he is engaged to value the collection of antique furniture owned by Claire (Sylvia Hoeks), a young woman whose parents have died, he goes to the spectacular but run-down old property but finds to his frustration that Claire is not there. He continues to visit the property to attend to his work, but Claire is a ghost, always finding excuses not to meet him. Eventually, he finds that a young woman has in fact been in the house all along, but is in hiding. Concealed behind a wall, she tells him she has not left the house since she a traumatic experience she had as a teenager. Sensing a kindred spirit, Virgil gets drawn into her life, against his better judgement. As Virgil becomes more familiar with the house, he finds scattered wheels and cogs of a mysterious machine, which he takes to Robert (Jim Sturgess), a twinkle-eyed, raffish young man with a busy love life and a flair for repairing old things. Increasingly Virgil comes to confide in Robert and seeks the younger man's advice on the twin mysteries of the contraption and the elusive Claire. Becoming entranced by Claire's ethereal beauty and isolation, Virgil's usually perfect work performance begins slipping, the sign of a man losing control of his ordered life as he grapples with the foreign emotional landscape of human connection. Writer/director Giuseppe Tornatore has made an exquisitely told story with a cruel sting in its tale. Rush delivers a beautifully judged and involving performance as a man whose austere and detached approach to life is thrown into disarray, while Sylia Hoeks is ideal as the mysterious Claire. While some elements of the story's final act probably don't stand up to closer scrutiny, the overriding impression as the credits roll is one of complete heartbreak, making The Best Offer one of the best feel-bad films in recent memory. https://youtube.com/watch?v=WCfXq3nFDUM
With over six decades under its belt, Surry Hills' The Forresters has quite the watering hole history. While the Foveaux Street site has housed a pub since the 1950s, in recent years you'd be more familiar with its $10 steak nights, value-packed happy hour deals and laidback hangs in those plaid-upholstered booths. Following an extensive $1.5-million renovation, this Surry Hills stalwart — now officially called Forrester's — has entered a whole new phase of its life under new owners. You'll probably recognise Applejack Hospitality as the group behind CBD newcomer Hester's, though Applejack is also responsible for popular venues including Neutral Bay's SoCal, bar and restaurant Bopp & Tone and Endeavour Tap Rooms in The Rocks. The latest Surry Hills takeover will mark the group's eighth venue. Forrester's now houses three distinct dining spaces: Phylli's restaurant, a public bar and an upstairs entertainment venue. Unlike the kitschy fit-out of old, Phylli's gives off luxe vibes aplenty. Think heaps of greenery and natural light paired with fresh timber finishes and a botanical mural by Sydney artist Mielo. [caption id="attachment_788392" align="alignnone" width="1920"] Yasmin Mund[/caption] The public bar, on the other hand, maintains a bit of that old-time pub feel, with the exposed beams, hardwood floors and tri-folding timber sash windows all kept in tact. Head upstairs and you'll find a third bar and dining space sitting alongside separate booth seating. This area is primed for the venue's weekly trivia and comedy nights. For eats, patrons can enjoy a menu of snacks and share plates across all three venues. But it's not the classic Aussie pub fare you're used to — apart from that $10 steak special, which will return every Monday night. Instead, Head Chef Jon Barrios and Executive Chef Jason Roberson have created a menu that focuses on flavours from North, Central and South America. Think beef cheek empanadas, fried crab cakes with Creole-style tartare, crispy chicken wings doused in Louisiana hot sauce and pork belly cubano sandwiches. In Phylli's, a succinct menu of larger plates is also on offer, and those include the grilled barramundi topped with a pumpkin mole and the slow-cooked lamb barbacoa served with freshly made corn tortillas. A few fancy steaks make the menu too, including a $39 wagyu rump and a $34 chargrilled sirloin. [caption id="attachment_788402" align="alignnone" width="1920"] Yasmin Mund[/caption] Phylli's also boasts its own dedicated spritz menu that will change seasonally. At the moment, varieties include ginger, mandarin, blood orange and mixed berry. Otherwise, the three venues share a menu of classic cocktails with a twist, like the spiced grapefruit margaritas, coconut espresso martinis and cold brew manhattans. The public bar will specifically focus on Aussie craft beer, with local legends Grifter, Sauce Brewing Co and Willie The Boatman all up for grabs. Starting from Saturday, November 14, Phylli's will host $79 bottomless rosé lunches every Saturday and Sunday from 12–3pm. Keen brunch-goers can head online to book a session now. Find Forrester's at 336 Riley Street, Surry Hills from 11.30am–11pm Monday–Wednesday, 11.30am–midnight Thursday, 11.30am–1am Friday–Saturday and 11.30am–10pm Sunday.
If eating your way through plenty of creative and tasty desserts is your current pandemic coping strategy, Gelato Messina has been more than willing to help over the past few months. This year alone, it has released cookie pies in choc chip, red velvet, choc-hazelnut, and peanut butter and jelly varieties; 40 of its best flavours; and full tubs of Iced VoVo gelato. Messina's own take on the classic Viennetta ice cream cake and a gelato based on Italy's famed cremino dessert. Oh, and it even whipped up a batch of sticky lamington-scroll hybrids as well. For Messina's next tastebud-tempter, it's doing what it has always done best: turning one of your favourite non-ice cream foods into gelato, then giving it a twist. This time around, that means a new take on its beloved cereal-inspired 'Just Like a Chocolate Milkshake' flavour. It still features Coco Pops, obviously, but this batch is all about white chocolate. Naturally, it's called 'Just Like a White Chocolate Milkshake'. It's made with Messina jersey milk and white chocolate Coco Pops, with the latter soaked in the former to get things rolling. From there, the cereal and milk are churned into fresh gelato, which is then layered with clusters of more white chocolate Coco Pops. As well as milk, cereal and white chocolate, you can expect to taste caramel and marshmallow notes, too. Messina's special desserts and flavours are always a limited affair, with this one on offer for a week from Tuesday, September 1. You can pick it up in-store or get it delivered via Deliveroo. [caption id="attachment_741473" align="aligncenter" width="1920"] Katrina James[/caption] If you're in Melbourne, remember that you can only venture to shops within five kilometres of your house — and only once a day — to get essentials, including food. Gelato Messina's 'Just Like a White Chocolate Milkshake' flavour will be available for a week from Tuesday, September 1, in-store and via Deliveroo — keep an eye on the Messina website for further details.
This article is part of our series on the 17 most unique things to have come out of Japan. Check out the other 16. The opening of Australia's first cat cafes have whipped up quite a frenzy over the last year, but in Japan, cat cafes are old news. The nation has long been obsessed with pet therapy — when you’re living in a crowded area, working long hours and can't keep an animal of your own, there’s nothing like a quick snuggle to relax and re-energise. Since cats, Japan has moved onto a plethora of other creatures great and small, from goats to rabbits to reptiles. Wherever you are, you need never eat or drink without a side of cuddles. At Sakuraoka Cafe, in Tokyo, two goats by the names of Chocolat and Sakura have been in residence since 2010. They inhabit their own private barnyard, within the eatery, so you can lean over for pats and nuzzles at your leisure. Meanwhile, at Usagi-to-Cafe in Nagoya, there are rabbits available for cuddles at the rate of 100 yen per minute. But the mother of all Japan’s animal cafes is probably Cafe Little Zoo, found in the Chiba prefecture just outside of Tokyo. There’s a bunch of different snakes, iguanas and a ball python. If reptiles aren’t your thing, you can choose from a slew of feathered friends, including owls and falcons.
This homewares shop prides itself on its use of raw materials and contemporary design. Born from a quest to create sustainable materials, Papaya combines ethical production with timeless and innovative designs — and the result is a beautiful (and popular) range of sofas, dining tables and other furniture that'll spruce up your home. Not here for the big house purchases? The store also sells beautifully designed soap dispensers, scented candles, and other, modern lighting, decor and home-building gifts.
UPDATE, August 31, 2020: Cats is available to stream via Amazon Prime Video, Binge, Foxtel Now, Google Play, YouTube Movies and iTunes. In case you don't already know, Cats is about moggies and mousers called Jellicle cats. If that means nothing to you, then you might want to keep it that way — unless you like overblown, nonsensical musicals that take place around a pile of trash, a sign if ever there was one. The word 'Jellicle' won't actually mean anything to you once you've seen Tom Hooper's adaptation of Andrew Lloyd Webber's popular theatre production, either, but you will have heard the term more times than any human or feline should. Cats devotes its opening song-and-dance number, called 'Jellicle Songs for Jellicle Cats', to explaining what Jellicle means; however the track only really succeeds in being repetitive and silly. The tune is basically Cats' equivalent of 90s hit 'Blue', using the same lyrics over and over until nothing means anything and you're praying for it to finish. The film's busy, jerky, bewildering opening — staged to initiate the wide-eyed Victoria (ballet dancer Francesca Hayward) into the Jellicle cats — is indicative of what's to come. As the song drags on, it also inspires questions that'll keep popping up: 'why?', 'how?' and 'what the?'. Those unfamiliar with Cats, the musical that's been prowling the stage since 1981, will be hard-pressed to understand its long-running appeal. You'll equally wonder how anyone could think it should get the big-screen treatment. Just because special effects can now cover humans with CGI fur, it doesn't mean that it should be done. And that fur, plus the twitching whiskers and ears that go with it (and the human breasts but lack of genitals, too), appear nightmarish at worst and distracting at best. After Victoria is abandoned in a London alley, and after Rum Tum Tugger (Jason Derulo) and his purring crew meow the word Jellicle at her relentlessly, she still has much to learn. It's the night of the Jellicle ball, where the Jellicle cats compete — and when the Jellicle choice will be made. Whoever is deemed the ultimate Jellicle by matriarch Old Deuteronomy (Judi Dench) will ascend to the Heaviside Layer and be reborn. So, the lazy Jennyanydots (Rebel Wilson), debonair Bustopher Jones (James Corden) and their four-legged brethren all sing their cat-sized hearts out. Alas, master criminal Macavity (Idris Elba) is also scampering about, attempting to trick his way to glory. Let's address the obvious hairball: these felines want to howl and caterwaul so they can float into the sky, die, then be resurrected for the next of their nine lives. That's a ridiculous, overtly religious concept, and it always feels the case in Cats. More kitties scramble around, competing and introducing themselves via song, but they can't croon past the baffling premise. That doesn't stop them from trying, including magician cat Mr Mistoffelees (Laurie Davidson), outcast Grizabella (Jennifer Hudson), cat-burgling duo Mungojerrie (Danny Collins) and Rumpleteazer (Naoimh Morgan), and elder statesman Gus the Theatre Cat (Ian McKellen). Those eager for Taylor Swift's catty moment as the mischievous Bombalurina, who drugs her fellow critters with catnip, will be waiting a while — and for just one slinky number. Cats is a sung-through musical, barely uttering a word that isn't belted out, which doesn't improve the storyline either. Lloyd Webber based the stage version on TS Eliot's poetry collection Old Possum's Book of Practical Cats and, even with Hooper (Les Miserables) and Lee Hall (Rocketman) tackling the film's screenplay, it's just a bunch of kitty ditties flung together like a dog's breakfast. That might've been entertaining enough if the tunes had emotional heft, but they don't. Even famed ballad 'Memory' feels thin — and that's the cowering Hudson's only substantial contribution. New Swift and Lloyd Webber-penned track 'Beautiful Ghosts' is similarly forgettable, although it does provide a noticeably quieter pace amid all the unconvincing feline razzle-dazzle. Consequently, Cats is something you endure — like emptying a cat's litter tray — with Hooper's flick failing to sink in its claws in any meaningful manner. The performances reach pantomime levels, perhaps to help you forget that Elba, Dench and McKellen are prancing, crawling and licking milk from saucers. (Or, so you don't ask why some cats don suspenders, others are naked, and Old Deut resembles The Wizard of Oz's Cowardly Lion.) Even beneath the special effects, every aspect of the movie looks like it's taking place on a stage, which is hardly immersive. Worse, Hooper can't decide if he wants to zip around amongst the cats, peer too closely at their faces or watch their dancing from afar, making the film as disjointed in its cinematography as it is elsewhere. 2019 hasn't been kind to singing cats on-screen, but at least The Lion King's uncanny photo-realistic jungle beasts didn't seem like they were staging a cat version of that other terrible recent musical: The Greatest Showman. Real-life cute kitties deserve far better than this catastrophe. https://www.youtube.com/watch?v=Pv-n0ZZHbSY
Local fitness legends Flow Athletic want to kickstart your post-Easter indulgence reboot to celebrate their very first birthday. Highly generous fitness fans they are, Flow are giving away presents on their own party day. Combining yoga, strength and cardio in one innovative exercise space, Sydney's Flow Athletic has created a unique fitness venue for gym-goers who want to shake things up a little. The centre of significant buzz on opening, the last year has seen Flow frequented by a wave of pro athletes, gym junkies and beginners alike. You can check out the space at their Open Day on Saturday May 3 and take a free 30 minute rapid class on the hour at 10am, 11am and 12pm. You'll be able to choose your own gym adventure - spin, yoga or strength - or hit up all three if you're feeling particularly post-Easter guilt-ridden. And because the fitness crowd turn up to each other's parties to celebrate, Flow's Open Day will be supported by pop-up stands from Stylerunner, Botanica handcrafted cold-pressed juices, The Nail Lab and more. If you can't make it on Saturday because you're making All The Excuses, Concrete Playground has teamed up with Flow Athletic to get you off the couch and equipped to explore your city more energetically. We've got 20 complimentary session passes to Flow to give away. To be in the running, email us with your name and address at win.sydney@concreteplayground.com.au Visit Flow Athletic, Level 1, 134 Oxford Street Paddington or www.flowathletic.com.au for more information. https://youtube.com/watch?v=l0xvrz0nMFE
When it was announced in April last year that German supermarket giant Kaufland was expanding to Australia, it was surprising news. Now, almost a year later, the chain has made an announcement that's even more surprising: it's not expanding to Australia. In a total 180, Kaufland today revealed to the public and its 200 local employees that it would make an "orderly withdrawal" from the Australian market. The reasons for why it has decided to pull the plug on Australia are still a bit vague, with a short statement merely saying that the company wants to concentrate on its "European core markets in the foreseeable future". The withdraw won't be so simple, either. With plans to open a slew of stores across Australian — including 14 in Victoria and three in Queensland — Kaufland has already purchased numerous properties and even, according to The Sydney Morning Herald, started construction on a store in Adelaide and a huge 115,000-square-metre distribution centre in Melbourne. The Australian reports that the company has already spent hundreds of millions of dollars here. In the statement, acting CEO Frank Schumann apologised for the "disruption" the decision will cause. Launched in 1984 and now with 1200 European stores to its name, Kaufland is owned by the Schwarz Group — the world's fourth largest retailer. The chain is big in Germany and parts of Eastern Europe, but this was set to be its first foray into a Pacific market as an alternative to Aldi. The withdrawal has shocked the retail sector — and while it might be good news to Woolworths and Coles, it certainly doesn't reflect well on the current state of the Australian retail market.
The human brain has been studied inside and out, and its complexities never cease to amaze us. We can make a fist, take a step or turn the wheel all because our thoughts are connected to our actions, but perhaps the new EPOC Neuroheadset will do away with the need for actions altogether. The neuroheadset is a brain-scanning device that allows you to control your computer with your mind. The headset detects brain signals to determine users' emotions and also contains gyroscope technology that reads your position, body movements and facial expressions to accurately communicate commands. Combined with the EmoLens application, the device can detect the emotions you feel as you browse through photos on Flickr and tag the photos accordingly - you don't even touch your mouse or keyboard. If you're bored of that trick, the headset can also use concentration, number of eye blinks or head shakes to determine how you're feeling. Among other applications that can be purchased include Mind Mouse, which allows the user to perform standard computer commands like clicking or double clicking a mouse or even sending an email, and Master Mind, with which users can play their favourite computer games with their minds. The applications and uses are quite limited at this stage, but along with other superhero-inspired technology coming to market, perhaps it won't be long before we can control things with our minds alone. Like a car.
For the past three years, Elisabeth Moss has been doing her best to smash and subvert an oppressive patriarchal society, all thanks to The Handmaid's Tale. For seven seasons before that, she had a somewhat similar task in Mad Men, just within the world of 1960s advertising. So if someone has to go face-to-face with an unseen foe in The Invisible Man — an imperceptible figure that happens to be her controlling ex-boyfriend, and that no one else believes exists — then she's a great candidate. As the just-dropped first trailer for this monster movie remake shows, the classic Invisible Man premise has had a thoroughly 21st-century update. Moss plays Cecilia, who's had to flee an abusive relationship with her scientist ex (Oliver Jackson-Cohen, The Haunting of Hill House), but can't escape him that easily. He turns up dead and leaves her a fortune; however strange things then start happening around her. Celia is convinced her violent former lover is behind it — and not only that, but that he's still around, but invisible. Of course, everyone else just thinks she's crazy. Yes, it's HG Wells' sci-fi novel filtered through the concept of gaslighting, in a movie that looks set to stand out from its predecessors — such as the famous 1933 horror version and its many sequels, and 2000's Hollow Man with Kevin Bacon. The Invisible Man marks Universal's latest attempt to revive its iconic monster pictures from the 1920s–50s, after trying to create a Dark Universe series with Dracula Untold and the Tom Cruise-starring version of The Mummy. In fact, a different take on The Invisible Man was initially announced a few years back that'd tie into both of the aforementioned films, with Johnny Depp slated to turn see-through. But then The Mummy crashed at the box office and the studio changed its plans, with Universal now focusing on standalone remakes of its famous horror characters rather than an interconnected on-screen universe. Alongside Moss and Jackson-Cohen, this iteration of the out-of-sight figure also features Australian actress Harriet Dyer (Killing Ground), Aldis Hodge (Straight Outta Compton) and Storm Reid (A Wrinkle in Time). Prolific producer Jason Blum is pulling the strings, and, fresh from the action thrills of Upgrade, Aussie filmmaker Leigh Whannell sits in the director's chair. Also, if any of the movie's surroundings look familiar, that's because it was shot in Sydney. Check out the trailer below. https://www.youtube.com/watch?v=KLAJyugYEiY&feature=youtu.be The Invisible Man releases in Australian cinemas on February 27, 2020.
It’s the cornerstone of any self-respecting diet. Now, Cuckoo Callay is celebrating the noble pig with the launch of their inaugural Bacon Festival — an event that’s sure to sizzle. Starting early February, the Newtown cafe will modify their menu, showcasing the best our porky pals have to offer. There’ll be bacon burgers, bacon ice cream and even a bacon Bloody Mary. Sourcing their pork from Marrickville-based suppliers Black Forest Smokehouse, the Cuckoo chefs have put together eight delectable dining options, none of which sound remotely good for your heart. The Ultimate Bacon Breakfast features five different types of pig, including bacon steak and bespoke bacon sausage. The Piggy Popcorn chicken brioche burger, meanwhile, is a veritable farmhouse reunion. In case your arteries weren't strained enough, there's also a selection of sweeter options, such as Cuckoo’s Bacon Waffles. Naturally, they come topped with bacon caramel ice cream and rashers covered in chocolate. The cafe's got you covered on the beverage front as well, with an absurd bacon milkshake to accompany their bacon cocktail. Suffice it to say, the Bacon Festival is not vegetarian friendly. Keep your snouts on the Cuckoo Callay Facebook page for the full menu, which is set to be made available for twelve weeks from February 9.
One of the redeeming aspects of spending time in an airport is the lure of duty-free shopping. But given how rushed the airport experience can often be, there's not always time to browse the aisles when you've got one eye on the time. Sydney shoppers can take the stress out of the experience at the impressive CBD outpost of Lotte, the second-largest duty-free retailer in the world, where travellers can shop and browse at their leisure while taking advantage of the duty-free offers. Located on the corner of Pitt and Market streets, in the heart of Sydney's retail precinct, the three-level boutique is home to an array of brands never before seen in Australian travel retail. There's international favourites such as Pola, Vida Glow, Cosme Decorte, Grown Alchemist and Le Labo available alongside other much-loved beauty brands like Estée Lauder, Shiseido, SK-II, Gucci Beauty, Jo Malone and more. This Thursday, September 8, Lotte's flagship Sydney store will offer 20% off storewide (although duty free limits do apply and the offer excludes Omega, La Prairie, Qeelin). Plus, if you sign up to Lotte's email distribution list, you'll go into the draw to win a luxe door prize that includes products from SK-II, Le Labo, Pola, Sulwhasoo and Vida Glow. The only catch? You'll need an international flight ticket to purchase the international brands, but don't need one to purchase products by Australian brands. Come for the bargains but stay for the world-class retail experience. The three-storey space, the work of leading Australian interior design company Bates Smart, features a concierge, a cellar door (pictured above) and state-of-the-art technology that ensures a seamless shopping experience — and one you won't have to cut short to catch a flight. The Lotte Storewide Sale takes place from 10am to 9pm on Thursday, September 8. For more information, head to the website.
Yulli's Brews can now trade until 2am — and they're throwing a massive, old-school warehouse party on their 150-person dance floor to celebrate. Get your ticket and block out your diary on Saturday June 28. Five acts are on the program. First up is anonymous producer duo 2touch, who released their debut singles in June of 2024. Then there's DJ Ari Kiko, whose sounds combine house, breaks and vocals, as well as DJ Ciara, who'll be bringing big room, global bass and techno to the dance floor. Rounding out the program is DJ Earl Grey all the way from Melbourne and f0ulplay with their trancy sounds. In between packing out the dance floor, you'll be sipping on Yulli's vegan brews and eats. Sample your way from the Seabass Mediterranean Lager and the Normal Australian Pale Ale to the Clarence Hazy Pale Ale and the Fat Nerd Vanilla Porter. The food menu takes inspiration from Southeast Asia. Start with steamed kimchi dumplings before moving onto spiced fried cauliflower, pad Thai and tom yum fried rice served in a pastry net.
Sydney sneakerheads, get ready to geek out over some of the rarest sneakers, streetwear pieces and apparel on the market — because Australia's largest sneaker convention, Sneakerland, is coming to town. The event creates a huge space for all collectors, resellers, content creators and anyone who just loves sneakers, to get together with likeminded kicks freaks to buy, sell, trade and just breathe in the heady fragrance of all that leather, Nubuck and canvas. On Saturday, December 2, Carriageworks will be filled with thousands of sneakers from over 50 different vendors and brands. Across the past two events in Melbourne and Perth, more than 13,000 footwear enthusiasts have congregated with more than $1.2 million of wares being traded on the convention floor. A horde of hardcore sneaker lovers will be at Sneakerland Sydney and, if you count yourself among them, come ready to fight over ultra exclusive shoes and apparel. But this event isn't only for cashed-up collectors. First off, there are stacks of more affordable sneakers available from both local and international sellers. And, the sneaker museum will be a huge drawcard no matter your budget. Sneakerland will also feature a heap of entertainment, setting the vibe as you peruse — and maybe purchase — all that footwear. As well as live sneaker auctions, a sneaker verification station and sneaker cleaning services, attendees will be able to get around basketball comps, try to win their share in $35,000 worth of prizes, hit up the tattoo station, nab a free haircut, fuel up at the food trucks, go head-to-head at the gaming station, and listen to DJs and a live podcast recording. While general tickets cost $30, if you nab a VIP ticket for $100 you're in for some extra swag. You'll score early access to the event, food and drinks, and a private lounge to relax in. There'll also be special live auctions featuring the most sought-after items — so if you're looking to beat all others on the trading floor, this is for you. Sneakerland Sydney takes place on Saturday, December 2 at Carriageworks. For more information, head to the event's website. Early bird tickets are on sale on Friday, June 30 via Ticketmaster.
Dear Dear Evan Hansen: don't. If a movie could write itself a letter like the eponymous figure in this stage-to-screen musical does, that's all any missive would need to communicate. It could elaborate, of course. It could caution against emoting to the back row, given that cinema is a subtler medium than theatre. It could advise against its firmly not-a-teenager lead Ben Platt, who won one of the Broadway hit's six Tony Awards, but may as well be uttering "how do you do, fellow kids?" on the big screen. It could warn against shooting the bulk of the feature like it's still on a stage, just with more close-ups. Mostly, though, any dispatch from any version of Dear Evan Hansen — treading the boards or flickering through a projector — should counsel against the coming-of-age tale's horrendously misguided milk-the-dead-guy narrative. When the most interesting thing about a character is their proximity to someone that's died, that's rarely a great sign. It's the realm of heartstring-tugging illness weepies and romances where partners or parents are bereaved, sweeping love stories are shattered and families are forever altered, and it uses the sickness or death of another person purely as a prop to make someone that's alive and healthy seem more tragic. That's worlds away from engaging sincerely with confronting mortality, loss, grief or all three, as so few movies manage — although Babyteeth did superbly in 2020 — and it's mawkish, manipulative storytelling at its worst. Dear Evan Hansen gives the formula a twist, however, and not for the better. Here, after a classmate's suicide, the titular high schooler pretends he was his closest friend, including to the dead kid's family. A anxious, isolated and bullied teen who returns from summer break with a fractured arm, Evan (Platt, The Politician) might be the last person to talk to Connor Murphy (Colton Ryan, one of the Broadway production's understudies). It isn't a pleasant chat, even if Connor signs Evan's cast — which no one else has or wants to. In the school library, Evan prints out a letter to himself as a therapy exercise, but Connor grabs it first, reads it, then gets furious because it mentions his sister Zoe (Kaitlyn Dever, Dopesick). Cue days spent fretting on Evan's part, wondering if he'll see the text splashed across social media. Instead, he's soon sitting with Cynthia Murphy (Amy Adams, The Woman in the Window) and her husband Larry (Danny Pino, Fatale), who inform him of Connor's suicide — and that they found Evan's 'Dear Evan Hansen' note on him, and they're sure it's their son's last words. With his high school misery amply established through catchy songs, and his yearning to connect as well, Evan opts to go along with the Murphys' mistaken belief, including the idea that he and Connor were secretly the best of pals. As penned for both theatre and film by Steven Levenson (Tick, Tick... Boom!) — with music and lyrics by Benji Pasek and Justin Paul (The Greatest Showman) — this plot point is meant to play with awkwardness and longing, but it's simply monstrous. Indeed, the longer it goes on, with Evan spending more time with Connor's wealthy family than with his own mum Heidi (Julianne Moore, Lisey's Story), a nurse always working double shifts, the more ghastly it proves. It's lazy writing, too, because this isn't just a tale that defines its lead by their connection to a deceased person; it's about someone who intentionally makes that move themselves, then remains the recipient of all the movie's sympathies. It'd be generous to wonder if Dear Evan Hansen feels more nuanced and earnest writ large on the stage — genuinely reckoning with Evan's actions, which see him become a viral sensation and inspiration, rather than merely excusing his lies because he's lonely, and also dismissing Connor as mostly angry and unliked. Or, if perhaps the theatre version highlights the potential dark comedy in such abhorrent choices being made by a teen that desperate to fit it and be found by others. Either way, it wouldn't change the movie's approach. Director Stephen Chbosky has a history with disaffected youth thanks to The Perks of Being a Wallflower, which he adapted from his own novel. Via the same film, he also has form with oversimplifying details to evoke strong emotional reactions. That's Dear Evan Hansen all over, no matter how unconvincingly it tries to be an uplifting tale of self-acceptance. Platt's casting doesn't help; he played a college student almost a decade ago in Pitch Perfect, and was never going to pass for a high schooler under a camera's gaze, especially with such emphatic and mannered overacting. He's inescapably forceful, appears to think he's still in a theatre and really just resembles an adult satirising teens. While Dear Evan Hansen sings heartfelt ballads about sociopathic behaviour, and bakes cognitive dissonance deep into its frames as a result, it'd be far too magnanimous to see Platt's performance as a response to the musical's many thematic and tonal mismatches. His co-stars can't save the film, but they surround him with far better work — especially from the reliably impressive Dever, plus Adams and Moore making the most of their thin parts, and also Amandla Stenberg (The Eddy) as one of Evan's high-achieving but also struggling classmates. Those standout supporting performances illustrate one of the movie's most unfortunate traits, apart from the story it's working with: its constant and incessant self-sabotage. Among the cast and the film's aesthetic choices, there's occasionally enough that hits its marks, but that can't balance out everything that doesn't. The fluid and kinetic camerawork busted out for early number 'Sincerely, Me' delivers another prime example, noticeably contrasting with the feature's otherwise static look and mood — only for the latter to return once it's done. Of course, lively cinematography and choreography could never overcome Dear Evan Hansen's questionable narrative and wildly misplaced sentiments, or its misfire of a central portrayal, but so many of the picture's choices feel like it's writing hate mail to itself.
